Apple lossless files are compressed to around 50% of the file size, but it is still a true Lossless codec (i.e. returns the same waveform as the original, the exact original data reconstructed from the compressed data).
Translation: It's only iPods (not tablets), but we like it.
The Beatles and Stones were friends, at least back in the day, and several of the Beatles jammed on a few cuts on the Stones one venture into psychedelia (my fave Stones album ever which no one recognizes when I play a few cuts for people) - "Their Satanic Majesties Request"
The reason I ask is that given CDs aren't a perfect reproduction, is there scope for a compressed format that is actually better than a CD?
Yes, if it's lossless compression. It would have to be a higher sampling rate and word length, like the 96/24 of DVD-Audio or the 1-bit audio of SACD. But those high-resolution formats completely failed in the marketplace in physical CD form because people chose the convenience of portable audio over quality and because even in testing, 95% of people could not tell the difference between standard 44.1/16 Redbook CD and the high resolution formats. Some people think the new Blu-ray Dolby True HD and DTS-HD Master Audio formats are the future for high-resolution audio, but I just don't see the labels going there in the short term.
A well recorded and mastered CD is actually quite wonderful, as good if not better than anything we heard in the studio back in the 1970s and 1980s. The problem is playing them back on a $30 CD player that has inferior D to A conversion as well as poor recording, mixing and mastering techniques. CDs have the capability of 90db of dynamic range and the tendency today is to give them less dynamic range than LPs were capable of, just to make everything sound louder. But overcompressed audio sounds like crap.
In the 1960s and 70s, there was tremendous interest in high-end audio, but that market is pretty much dead, except for extreme audiophiles and to some extent, in home theatre. And in spite of all the hype about renewed interest in vinyl (which actually doesn't sound better, people just want to believe that it does), in 2008, it was less than 1/2 of 1% of unit sales in the marketplace. That's not a market, it's a rounding error.
The only way we're going to get to better audio is if people want a multichannel experience at home: 5.1 or more channels. The better quality will come along for the ride.
Apple lossless files are compressed to around 50% of the file size, but it is still a true Lossless codec (i.e. returns the same waveform as the original, the exact original data reconstructed from the compressed data).
Sort of like a zip file.
yes
and no
not only do you lose 50% percent < by compressing and un compressing the sound it becomes cold metal like> you lose the warm rich bright bass sound .>>
the cd digital process itself lowers the highs and and shortens the low wave lengths
loseless to most people is fine > our damaged hearing from loud rock and roll could not tell the difference anyway and since space until recently was so hard to keep smaller files was sorley needed .
BUT now its all changed gigbits are cheap and dragging a file straight from the cd to harddrive give you exactly what the band intended you to hear
the files are large i know .
AIFF IS THE FORMAT
So for a live bootleg soundboard by pink floyd a AIFF file give you as close to what the band heard during a live show as possible
AIFF for a studio album gives you exactly what the sound mixer intended . EXACTLY .
LOSLESS i find to be a litle less bright and cold
this really matters for hendrix and the who and bands like that
for milli Vanilli mp3 or mp2 is fine
Of course if you own a 160g ipod classic AIFF ROCKS
IF YOU own a iphone lossless is still too large
just some thoughts
go beatles
PLay maxwells silver hammer in lossless and AIFF and you may see what i mean .
Yes, if it's lossless compression. It would have to be a higher sampling rate and word length, like the 96/24 of DVD-Audio or the 1-bit audio of SACD. But those high-resolution formats completely failed in the marketplace in physical CD form because people chose the convenience of portable audio over quality and because even in testing, 95% of people could not tell the difference between standard 44.1/16 Redbook CD and the high resolution formats. Some people think the new Blu-ray Dolby True HD and DTS-HD Master Audio formats are the future for high-resolution audio, but I just don't see the labels going there in the short term.
A well recorded and mastered CD is actually quite wonderful, as good if not better than anything we heard in the studio back in the 1970s and 1980s. The problem is playing them back on a $30 CD player that has inferior D to A conversion as well as poor recording, mixing and mastering techniques. CDs have the capability of 90db of dynamic range and the tendency today is to give them less dynamic range than LPs were capable of, just to make everything sound louder. But overcompressed audio sounds like crap.
In the 1960s and 70s, there was tremendous interest in high-end audio, but that market is pretty much dead, except for extreme audiophiles and to some extent, in home theatre. And in spite of all the hype about renewed interest in vinyl (which actually doesn't sound better, people just want to believe that it does), in 2008, it was less than 1/2 of 1% of unit sales in the marketplace. That's not a market, it's a rounding error.
The only way we're going to get to better audio is if people want a multichannel experience at home: 5.1 or more channels. The better quality will come along for the ride.
great info
great post
except vinyl sound true to what the artist intended when played back on say a SANSUI 5000 b
VINLY in a pure digital world may not sound better
And vinyl may have 10 good playbacks before degrading
BUT play
FROM WOODSTOCK's on vinly
ALVIN LEE'S >>> I GO HOME >>>>
The timbre or fabric or brightness of that song is not as good in the cd world
maybe a sacd froma gold master would be close .BUT i go on vinly is miind blowing
of course i may be wrong about all this i was alive for each beatle album release .
I think if the invite said "It was 20 years ago today", it would be a dead giveaway.
Agree. Given Apple's legendary secrecy, using the Stones reference could be the perfect red herring for a return to the "one more thing...[Beatles catalog]"
TO ME IT MEANT JOHN WAS SAD ABOUT ALL THE BULLSHIT OF 66/67 LIFE AS A BEATLE JOHN WAS SAD ABOUT A LOSS OF INNOCENCE HIS AND THE WORLDS
>>>>
WINI SAYS THIS
>>>m Wikipedia, the free encyclopedia
"I Am the Walrus"
Single by The Beatles
from the album Magical Mystery Tour
A-side\t"Hello Goodbye"
Released\t24 November 1967 (UK)
27 November 1967 (U.S.)
Format\t7"
Recorded\tAbbey Road Studios
5 September 1967
Genre\tPsychedelic rock
Length\t4:34
Label\tParlophone (UK)
Capitol Records (U.S.)
Writer(s)\tLennon/McCartney
Producer\tGeorge Martin
The Beatles singles chronology
"All You Need Is Love"
(1967)\t"Hello, Goodbye"
(1967)\t"Lady Madonna"
(1968)
Magical Mystery Tour track listing
"Your Mother Should Know"
(5)\t"I Am the Walrus"
(6)\t"Hello Goodbye"
(7)
Love track listing
"Eleanor Rigby/Julia (transition)"
(4)\t"I Am the Walrus"
(5)\t"I Want to Hold Your Hand"
(6)
"I Am the Walrus" is a 1967 song by The Beatles, written by John Lennon and credited to Lennon/McCartney.[1] Lennon claimed he wrote the first two lines on separate acid trips.[2] The song was in The Beatles' 1967 television film and album Magical Mystery Tour, and was the B-side to the #1 hit "Hello, Goodbye".
Lennon composed the avant-garde song by combining three songs he had been working on. When he learned that a teacher at his old primary school was having his students analyse Beatles' lyrics, he added a verse of nonsense words.[3]
The walrus is a reference to the walrus in Lewis Carroll's "The Walrus and the Carpenter" (from the book Through the Looking-Glass). Lennon expressed dismay upon learning that the walrus was a villain in the poem.
Contents [hide]
1 Origins
2 Recording
3 Personnel
4 Reception
5 Interpretation
5.1 Who was the walrus?
5.2 Who was the Eggman?
6 Cover versions
7 Notes
8 References
[edit]Origins
The genesis of the lyrics is found in three song ideas that Lennon was working on, the first of which was inspired by hearing a police siren at his home in Weybridge; Lennon wrote the lines "Mis-ter cit-y police-man" to the rhythm of the siren. The second idea was a short rhyme about Lennon sitting in his garden, while the third was a nonsense lyric about sitting on a corn flake. Unable to finish the ideas as three different songs, he combined them into one.
Lennon received a letter from a pupil at Quarry Bank Grammar School, which he had attended. The writer mentioned that the English master was making his class analyse Beatles lyrics. (Lennon wrote an answer, dated September 1, 1967, which was auctioned by Christie's of London in 1992.) Lennon, amused that a teacher was putting so much effort into understanding The Beatles' lyrics, wrote the most confusing lyrics he could. Lennon's friend and former fellow member of The Quarrymen, Peter Shotton, was visiting, and Lennon asked Shotton about a playground nursery rhyme they sang as children.
Shotton remembered:
"Yellow matter custard, green slop pie,
All mixed together with a dead dog's eye,
Slap it on a butty, ten foot thick,
Then wash it all down with a cup of cold sick".[4]
Lennon borrowed a couple of words, added the three unfinished ideas and the result was "I Am the Walrus". The Beatles' official biographer Hunter Davies was present while the song was being written and wrote an account in his 1968 book on the band. Lennon remarked to Shotton, "Let the fuckers work that one out."[3]
All the chords are major chords or seventh chords, and all the musical letters of the alphabet (A, B, C, D, E, F and G) are used. The song ends with a chord progression built on ascending and descending lines in the bass and strings, repeated over and over as the song fades. Musicologist Alan W. Pollack analyses: "The chord progression of the outro itself is a harmonic Moebius strip with scales in bassline and top voice that move in contrary motion."[5] The bassline descends stepwise A, G, F, E, D, C, and B, while the strings' part rises A, B, C, D, E, F#, G: this sequence repeats as the song fades, with the strings rising higher on each iteration. Pollack also notes that the repeated cell is seven bars long, which means that a different chord begins each four-bar phrase.
Lennon explained much of the song to Playboy in 1980:[2]
"The first line was written on one acid trip one weekend. The second line was written on the next acid trip the next weekend, and it was filled in after I met Yoko... I'd seen Allen Ginsberg and some other people who liked Dylan and Jesus going on about Hare Krishna. It was Ginsburg, in particular, I was referring to. The words "Element'ry penguin" meant that it's näive to just go around chanting Hare Krishna or putting all your faith in one idol. In those days I was writing obscurely, a la Dylan."
"It never dawned on me that Lewis Carroll was commenting on the capitalist system. I never went into that bit about what he really meant, like people are doing with the Beatles' work. Later, I went back and looked at it and realized that the walrus was the bad guy in the story and the carpenter was the good guy. I thought, Oh, shit, I picked the wrong guy. I should have said, 'I am the carpenter.' But that wouldn't have been the same, would it? [Sings, laughing] 'I am the carpenter....'"
Some have speculated that the opening line, "I am he as you are he as you are me and we are all together", is a parody of the opening line of "Marching to Pretoria", a folk song: "I'm with you and you're with me and we are all together." [6]
[edit]Recording
"I Am the Walrus" was the first studio recording made after the death of The Beatles' manager Brian Epstein in August 1967. The basic backing track featuring The Beatles was released in 1996 on Anthology 2. George Martin arranged and added orchestral accompaniment that included violins, cellos, horns, clarinet and a 16-piece choir. Paul McCartney said that Lennon gave instructions to Martin as to how he wished the orchestration to be scored, including singing most of the parts as a guide. A large group of professional studio vocalists named "The Mike Sammes Singers", took part in the recording as well, variously singing "Ho-ho-ho, hee-hee-hee, ha-ha-ha", "oompah, oompah, stick it up your jumper!", "got one, got one, everybody's got one" and making a series of shrill whooping noises.[7]
The dramatic reading in the mix towards the end of the song is a few lines of Shakespeare's King Lear (Act IV, Scene VI), which were added to the song direct from an AM radio receiving the broadcast of the play on the BBC Home Service (or possibly the BBC Third Programme).[3] The bulk of the audible dialogue, heard in the fade, is the death scene of the character Oswald (including the words, "O untimely Death! Death!"); this is a piece of the Paul is Dead urban legend.
In the original (1967) stereo release, at around two minutes through the song, the mix changes from true stereo to "fake stereo" (with most of the bass on one channel, and most of the treble on the other). This came about because the radio broadcast had been added ‘live’, off-air, into the mono mix-down and so was unavailable for inclusion in the stereo mix; hence, fake stereo from the mono mix was created for this portion of the song. In 2003, the first-ever true stereo mix of the song (excepting the introduction) was included on The Beatles Anthology soundtrack DVD, and in 2006, the first-ever stereo mix of the complete song (from beginning to end, including the formerly "fake stereo" second half) was issued on The Beatles' album Love. The true stereo mix had been made possible when a separate recording of the same King Lear radio performance used in the original mix was located.
The mono version opens with a four-beat chord while stereo mix features six beats on the initial chord. The U.S. mono single mix also includes an extra bar of music before the words "yellow matter custard"; an early, overdub-free mix of the song released on The Beatles Anthology 2 reveals John singing the lyrics "Yellow mat - " too early—this was edited out.
Can someone explain how exactly this works unless your machine has an actual blu-ray laser in it? \
Yes, you go out and buy either an external or internal BluRay drive and install it yourself. Of course you wasted your money on a useless product for a computer, but I am sure some dumbshit went out and bought one. Wow, $25+ per disc. What a bargain.
What about giving iTunes a new app icon? Perhaps that's the biggest news with iTunes 9?
It's weird that Apple is clingin on to the CD as an icon for their music playing software. I don't know about you but I'm rarely using CD's for playing music anymore.
[...]not only do you lose 50% percent < by compressing and un compressing the sound it becomes cold metal like> you lose the warm rich bright bass sound .>>[...]
AIFF for a studio album gives you exactly what the sound mixer intended . EXACTLY .
LOSLESS i find to be a litle less bright and cold [...]
Please look up "lossless compression". Thanks! You're unfortunately spreading misinformation.
Comments
Yeah, we want touch users to be able to deep cycle their batteries in a much shorter time frame, if they want.
Touch users don't need power for phone calls, etc.
lossless transfer ??
lossless is still 50% compressed
Apple lossless files are compressed to around 50% of the file size, but it is still a true Lossless codec (i.e. returns the same waveform as the original, the exact original data reconstructed from the compressed data).
Sort of like a zip file.
Oh... I have tons of flashless pics from my phone that are terrific. I just use a little creativity.
Flash from the camera generally sucks anyway. Flattens everything.
You must be one of those geniuses who use flash at a concert from the 50th row.
No- you must have tons of underexposed pics that are worthless and wasted precious moments.
And I want to support your spelling here, not the PC pedant who said "audiophile." Because you often do play the same song over and over again.
(Jus' tweakin' you a little, TS. It'd be a blander forum without your prickly self.)
No problem. That was kind of funnny. Kind of.
cd sound like shit
vinyl has a fabric that makes beatles shine
if the beatles come to itunes it will strike a death blow to any other music player vendor
million never forgot the beatles
millions will now find out how great they are/were
peace
9
Dat true- but what would you buy, a Beatles CD or an iTunes file?
Must be looking at two different articles.
I don't see anything like that.
Okay. You were posting about a different article -> Sources: Apple to unveil new iPod lineup on September 9
not this one -> Apple confirms annual iPod event for September 9, which this thread is about.
Ah... well that's embarrassing. \
Quote: It's only rock and roll, but we like it.
Translation: It's only iPods (not tablets), but we like it.
The Beatles and Stones were friends, at least back in the day, and several of the Beatles jammed on a few cuts on the Stones one venture into psychedelia (my fave Stones album ever which no one recognizes when I play a few cuts for people) - "Their Satanic Majesties Request"
http://en.wikipedia.org/wiki/Their_S...esties_Request
So the event title doesn't, methinks at least, totally preclude an overdue "#9, #9, #9" resolution between Apple and Apple.
The reason I ask is that given CDs aren't a perfect reproduction, is there scope for a compressed format that is actually better than a CD?
Yes, if it's lossless compression. It would have to be a higher sampling rate and word length, like the 96/24 of DVD-Audio or the 1-bit audio of SACD. But those high-resolution formats completely failed in the marketplace in physical CD form because people chose the convenience of portable audio over quality and because even in testing, 95% of people could not tell the difference between standard 44.1/16 Redbook CD and the high resolution formats. Some people think the new Blu-ray Dolby True HD and DTS-HD Master Audio formats are the future for high-resolution audio, but I just don't see the labels going there in the short term.
A well recorded and mastered CD is actually quite wonderful, as good if not better than anything we heard in the studio back in the 1970s and 1980s. The problem is playing them back on a $30 CD player that has inferior D to A conversion as well as poor recording, mixing and mastering techniques. CDs have the capability of 90db of dynamic range and the tendency today is to give them less dynamic range than LPs were capable of, just to make everything sound louder. But overcompressed audio sounds like crap.
In the 1960s and 70s, there was tremendous interest in high-end audio, but that market is pretty much dead, except for extreme audiophiles and to some extent, in home theatre. And in spite of all the hype about renewed interest in vinyl (which actually doesn't sound better, people just want to believe that it does), in 2008, it was less than 1/2 of 1% of unit sales in the marketplace. That's not a market, it's a rounding error.
The only way we're going to get to better audio is if people want a multichannel experience at home: 5.1 or more channels. The better quality will come along for the ride.
Apple lossless files are compressed to around 50% of the file size, but it is still a true Lossless codec (i.e. returns the same waveform as the original, the exact original data reconstructed from the compressed data).
Sort of like a zip file.
yes
and no
not only do you lose 50% percent < by compressing and un compressing the sound it becomes cold metal like> you lose the warm rich bright bass sound .>>
the cd digital process itself lowers the highs and and shortens the low wave lengths
loseless to most people is fine > our damaged hearing from loud rock and roll could not tell the difference anyway and since space until recently was so hard to keep smaller files was sorley needed .
BUT now its all changed gigbits are cheap and dragging a file straight from the cd to harddrive give you exactly what the band intended you to hear
the files are large i know .
AIFF IS THE FORMAT
So for a live bootleg soundboard by pink floyd a AIFF file give you as close to what the band heard during a live show as possible
AIFF for a studio album gives you exactly what the sound mixer intended . EXACTLY .
LOSLESS i find to be a litle less bright and cold
this really matters for hendrix and the who and bands like that
for milli Vanilli mp3 or mp2 is fine
Of course if you own a 160g ipod classic AIFF ROCKS
IF YOU own a iphone lossless is still too large
just some thoughts
go beatles
PLay maxwells silver hammer in lossless and AIFF and you may see what i mean .
Dat true- but what would you buy, a Beatles CD or an iTunes file?
i would try to buy a beatles 5.1 audio DVD if it exists
or buy an album which is the best since the 5.1 or 7.1 dvd is mastered from an analog gold audiophile album anyway
last choice would be the new reissued cd's
ITUNES is 3 yrs away from true HD .or ACC file encoding. But itunes can now import winmax and the wav so i forgive itunes
The beatles will rock the world
Yes, if it's lossless compression. It would have to be a higher sampling rate and word length, like the 96/24 of DVD-Audio or the 1-bit audio of SACD. But those high-resolution formats completely failed in the marketplace in physical CD form because people chose the convenience of portable audio over quality and because even in testing, 95% of people could not tell the difference between standard 44.1/16 Redbook CD and the high resolution formats. Some people think the new Blu-ray Dolby True HD and DTS-HD Master Audio formats are the future for high-resolution audio, but I just don't see the labels going there in the short term.
A well recorded and mastered CD is actually quite wonderful, as good if not better than anything we heard in the studio back in the 1970s and 1980s. The problem is playing them back on a $30 CD player that has inferior D to A conversion as well as poor recording, mixing and mastering techniques. CDs have the capability of 90db of dynamic range and the tendency today is to give them less dynamic range than LPs were capable of, just to make everything sound louder. But overcompressed audio sounds like crap.
In the 1960s and 70s, there was tremendous interest in high-end audio, but that market is pretty much dead, except for extreme audiophiles and to some extent, in home theatre. And in spite of all the hype about renewed interest in vinyl (which actually doesn't sound better, people just want to believe that it does), in 2008, it was less than 1/2 of 1% of unit sales in the marketplace. That's not a market, it's a rounding error.
The only way we're going to get to better audio is if people want a multichannel experience at home: 5.1 or more channels. The better quality will come along for the ride.
great info
great post
except vinyl sound true to what the artist intended when played back on say a SANSUI 5000 b
VINLY in a pure digital world may not sound better
And vinyl may have 10 good playbacks before degrading
BUT play
FROM WOODSTOCK's on vinly
ALVIN LEE'S >>> I GO HOME >>>>
The timbre or fabric or brightness of that song is not as good in the cd world
maybe a sacd froma gold master would be close .BUT i go on vinly is miind blowing
of course i may be wrong about all this i was alive for each beatle album release .
i would try to buy a beatles 5.1 audio DVD if it exists....
The beatles will rock the world
That would be a Beatles Blu-ray audio.
PS: What does "I am A Walrus" mean?
I think if the invite said "It was 20 years ago today", it would be a dead giveaway.
Agree. Given Apple's legendary secrecy, using the Stones reference could be the perfect red herring for a return to the "one more thing...[Beatles catalog]"
That would be a Beatles Blu-ray audio.
PS: What does "I am A Walrus" mean?
or S A C D
OR A C C 5.1
// 7.1
OR
GOLD AUDIO PHILE DISC FROM MASTER
OR DVD ECODED IN Q SOUND
>>>>>
A H AHA
PAUL IS DEAD
PAUL ID DEad
NUMBEE 9 NUMBER9 NUMBER 9
THE WALRUS PLAYED BACK WORDS SAID OR SAYS PAUL IS THE WALRUS
PAUL IS DEAD >>>>>>
READ THIS WHILE I THINK OFANWSER
I
Two of us riding nowhere
Spending someone's
Hard earned pay
Two of us Sunday driving
Not arriving
On our way back home
We're on our way home
We're on our way home
We're going home
Two of us sending postcards
Writing letters
On my wall
You and me burning matches
Lifting latches
On our way back home
We're on our way home
We're on our way home
We're going home
You and I have memories
Longer than the road that stretches out ahead
Two of us wearing raincoats
Standing so low
In the sun
You and me chasing paper
Getting nowhere
On our way back home
We're on our way home
We're on our way home
We're going home
You and I have memories
Longer than the road that stretches out ahead
Two of us wearing raincoats
Standing so low
In the sun
You and me chasing paper
Getting nowhere
On our way back home
We're on our way home
We're on our way home
We're going home
We're going home
Better believe it
>>>>>>
I am he as you are he as you are me and we are all together.
See how they run like pigs from a gun, see how they fly.
I'm crying.
Sitting on a cornflake, waiting for the van to come.
Corporation tee-shirt, stupid bloody Tuesday.
Man, you been a naughty boy, you let your face grow long.
I am the eggman, they are the eggmen.
I am the walrus, goo goo g'joob.
Mister City P'liceman sitting
Pretty little p'licemen in a row.
See how they fly like Lucy in the Sky, see how they run.
I'm crying, I'm crying.
I'm crying, I'm crying.
Yellow matter custard, dripping from a dead dog's eye.
Crabalocker fishwife, pornographic priestess,
Boy, you been a naughty girl you let your knickers down.
I am the eggman, they are the eggmen.
I am the walrus, goo goo g'joob.
Sitting in an English garden waiting for the sun.
If the sun don't come, you get a tan
From standing in the English rain.
I am the eggman, they are the eggmen.
I am the walrus, goo goo g'joob g'goo goo g'joob.
Expert textpert choking smokers,
Don't you thing the joker laughs at you?
See how they smile like pigs in a sty,
See how they snied.
I'm crying.
Semolina pilchard, climbing up the Eiffel Tower.
Elementary penguin singing Hari Krishna.
Man, you should have seen them kicking Edgar Allan Poe.
I am the eggman, they are the eggmen.
I am the walrus, goo goo g'joob g'goo goo g'joob.
Goo goo g'joob g'goo goo g'joob g'goo...
That would be a Beatles Blu-ray audio.
PS: What does "I am A Walrus" mean?
TO ME IT MEANT JOHN WAS SAD ABOUT ALL THE BULLSHIT OF 66/67 LIFE AS A BEATLE JOHN WAS SAD ABOUT A LOSS OF INNOCENCE HIS AND THE WORLDS
>>>>
WINI SAYS THIS
>>>m Wikipedia, the free encyclopedia
"I Am the Walrus"
Single by The Beatles
from the album Magical Mystery Tour
A-side\t"Hello Goodbye"
Released\t24 November 1967 (UK)
27 November 1967 (U.S.)
Format\t7"
Recorded\tAbbey Road Studios
5 September 1967
Genre\tPsychedelic rock
Length\t4:34
Label\tParlophone (UK)
Capitol Records (U.S.)
Writer(s)\tLennon/McCartney
Producer\tGeorge Martin
The Beatles singles chronology
"All You Need Is Love"
(1967)\t"Hello, Goodbye"
(1967)\t"Lady Madonna"
(1968)
Magical Mystery Tour track listing
"Your Mother Should Know"
(5)\t"I Am the Walrus"
(6)\t"Hello Goodbye"
(7)
Love track listing
"Eleanor Rigby/Julia (transition)"
(4)\t"I Am the Walrus"
(5)\t"I Want to Hold Your Hand"
(6)
"I Am the Walrus" is a 1967 song by The Beatles, written by John Lennon and credited to Lennon/McCartney.[1] Lennon claimed he wrote the first two lines on separate acid trips.[2] The song was in The Beatles' 1967 television film and album Magical Mystery Tour, and was the B-side to the #1 hit "Hello, Goodbye".
Lennon composed the avant-garde song by combining three songs he had been working on. When he learned that a teacher at his old primary school was having his students analyse Beatles' lyrics, he added a verse of nonsense words.[3]
The walrus is a reference to the walrus in Lewis Carroll's "The Walrus and the Carpenter" (from the book Through the Looking-Glass). Lennon expressed dismay upon learning that the walrus was a villain in the poem.
Contents [hide]
1 Origins
2 Recording
3 Personnel
4 Reception
5 Interpretation
5.1 Who was the walrus?
5.2 Who was the Eggman?
6 Cover versions
7 Notes
8 References
[edit]Origins
The genesis of the lyrics is found in three song ideas that Lennon was working on, the first of which was inspired by hearing a police siren at his home in Weybridge; Lennon wrote the lines "Mis-ter cit-y police-man" to the rhythm of the siren. The second idea was a short rhyme about Lennon sitting in his garden, while the third was a nonsense lyric about sitting on a corn flake. Unable to finish the ideas as three different songs, he combined them into one.
Lennon received a letter from a pupil at Quarry Bank Grammar School, which he had attended. The writer mentioned that the English master was making his class analyse Beatles lyrics. (Lennon wrote an answer, dated September 1, 1967, which was auctioned by Christie's of London in 1992.) Lennon, amused that a teacher was putting so much effort into understanding The Beatles' lyrics, wrote the most confusing lyrics he could. Lennon's friend and former fellow member of The Quarrymen, Peter Shotton, was visiting, and Lennon asked Shotton about a playground nursery rhyme they sang as children.
Shotton remembered:
"Yellow matter custard, green slop pie,
All mixed together with a dead dog's eye,
Slap it on a butty, ten foot thick,
Then wash it all down with a cup of cold sick".[4]
Lennon borrowed a couple of words, added the three unfinished ideas and the result was "I Am the Walrus". The Beatles' official biographer Hunter Davies was present while the song was being written and wrote an account in his 1968 book on the band. Lennon remarked to Shotton, "Let the fuckers work that one out."[3]
All the chords are major chords or seventh chords, and all the musical letters of the alphabet (A, B, C, D, E, F and G) are used. The song ends with a chord progression built on ascending and descending lines in the bass and strings, repeated over and over as the song fades. Musicologist Alan W. Pollack analyses: "The chord progression of the outro itself is a harmonic Moebius strip with scales in bassline and top voice that move in contrary motion."[5] The bassline descends stepwise A, G, F, E, D, C, and B, while the strings' part rises A, B, C, D, E, F#, G: this sequence repeats as the song fades, with the strings rising higher on each iteration. Pollack also notes that the repeated cell is seven bars long, which means that a different chord begins each four-bar phrase.
Lennon explained much of the song to Playboy in 1980:[2]
"The first line was written on one acid trip one weekend. The second line was written on the next acid trip the next weekend, and it was filled in after I met Yoko... I'd seen Allen Ginsberg and some other people who liked Dylan and Jesus going on about Hare Krishna. It was Ginsburg, in particular, I was referring to. The words "Element'ry penguin" meant that it's näive to just go around chanting Hare Krishna or putting all your faith in one idol. In those days I was writing obscurely, a la Dylan."
"It never dawned on me that Lewis Carroll was commenting on the capitalist system. I never went into that bit about what he really meant, like people are doing with the Beatles' work. Later, I went back and looked at it and realized that the walrus was the bad guy in the story and the carpenter was the good guy. I thought, Oh, shit, I picked the wrong guy. I should have said, 'I am the carpenter.' But that wouldn't have been the same, would it? [Sings, laughing] 'I am the carpenter....'"
Some have speculated that the opening line, "I am he as you are he as you are me and we are all together", is a parody of the opening line of "Marching to Pretoria", a folk song: "I'm with you and you're with me and we are all together." [6]
[edit]Recording
"I Am the Walrus" was the first studio recording made after the death of The Beatles' manager Brian Epstein in August 1967. The basic backing track featuring The Beatles was released in 1996 on Anthology 2. George Martin arranged and added orchestral accompaniment that included violins, cellos, horns, clarinet and a 16-piece choir. Paul McCartney said that Lennon gave instructions to Martin as to how he wished the orchestration to be scored, including singing most of the parts as a guide. A large group of professional studio vocalists named "The Mike Sammes Singers", took part in the recording as well, variously singing "Ho-ho-ho, hee-hee-hee, ha-ha-ha", "oompah, oompah, stick it up your jumper!", "got one, got one, everybody's got one" and making a series of shrill whooping noises.[7]
The dramatic reading in the mix towards the end of the song is a few lines of Shakespeare's King Lear (Act IV, Scene VI), which were added to the song direct from an AM radio receiving the broadcast of the play on the BBC Home Service (or possibly the BBC Third Programme).[3] The bulk of the audible dialogue, heard in the fade, is the death scene of the character Oswald (including the words, "O untimely Death! Death!"); this is a piece of the Paul is Dead urban legend.
In the original (1967) stereo release, at around two minutes through the song, the mix changes from true stereo to "fake stereo" (with most of the bass on one channel, and most of the treble on the other). This came about because the radio broadcast had been added ‘live’, off-air, into the mono mix-down and so was unavailable for inclusion in the stereo mix; hence, fake stereo from the mono mix was created for this portion of the song. In 2003, the first-ever true stereo mix of the song (excepting the introduction) was included on The Beatles Anthology soundtrack DVD, and in 2006, the first-ever stereo mix of the complete song (from beginning to end, including the formerly "fake stereo" second half) was issued on The Beatles' album Love. The true stereo mix had been made possible when a separate recording of the same King Lear radio performance used in the original mix was located.
The mono version opens with a four-beat chord while stereo mix features six beats on the initial chord. The U.S. mono single mix also includes an extra bar of music before the words "yellow matter custard"; an early, overdub-free mix of the song released on The Beatles Anthology 2 reveals John singing the lyrics "Yellow mat - " too early—this was edited out.
[edit]Personnel
dude get real that tech is years away yet
yea and some jap company will make hundreds of them
Can someone explain how exactly this works unless your machine has an actual blu-ray laser in it? \
Yes, you go out and buy either an external or internal BluRay drive and install it yourself. Of course you wasted your money on a useless product for a computer, but I am sure some dumbshit went out and bought one. Wow, $25+ per disc. What a bargain.
It's weird that Apple is clingin on to the CD as an icon for their music playing software. I don't know about you but I'm rarely using CD's for playing music anymore.
[...]not only do you lose 50% percent < by compressing and un compressing the sound it becomes cold metal like> you lose the warm rich bright bass sound .>>[...]
AIFF for a studio album gives you exactly what the sound mixer intended . EXACTLY .
LOSLESS i find to be a litle less bright and cold [...]
Please look up "lossless compression". Thanks! You're unfortunately spreading misinformation.
Very likely:
- iPod touch with camera, larger storage (16 to 64 GB), lower price.
- iPod nano with camera.
- iTunes 9 with app organization and Cocktail.
- iPhone 3.1 and iPod touch 3.1 OS update.
Somewhat likely:- iPod nano with larger storage (16 - 32 GB).
- iPod classic with camera. Possibly larger storage (160 GB).
- iTunes 9 with social networking, Blu-Ray, and TV subscription.
Wildcard:This is the best guesses I have seen so far. Good job!