I had 'I am he as you are he as we are all together. Then I had the whole verse, or verse and a half, and then sang it. I had this idea of doing a song that was a police siren, but it didn't work in the end sings like a siren 'I-am-he-as-you-are-he-as The second line was written on the next acid trip the next weekend, and it was filled in after I met Yoko.
Following the usual expressions of adoration, this lad revealed that his literature master was playing Beatles songs in class; after the boys all took their turns analyzing the lyrics, the teacher would weigh in with his own interpretation of what The Beatles were really talking about.
He turned to me, smiling. An interesting footnote to this account is that the sender of the original letter to John, Stephen Bayley, received a written answer letter from John dated September 1st, Mine, too. But it was the intellectuals who read all this into Dylan or The Beatles. Dylan got away with murder. Lennon went into considerable detail during many interviews concerning the meaning behind various elements of the lyrics. It never dawned on me that Lewis Carroll was commenting on the capitalist system. 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 mean, even I did. I was up early one morning cooking breakfast, naked except for my socks, and she slid up behind me and cracked an amyl nitrate capsule under my nose.
As the fumes set my brain alight, and I slid to the kitchen floor, she reached to the counter and grabbed an egg, which she broke into the pit of my belly. The white and the yellow of the egg ran down my naked front and Sylvia…began to show me one Jamaican trick after another. Shakespeare wrote words a lot more naughtier than knickers! It rolls off the tongue.
It could 'mean' anything.
The Delights of Parsing the Beatles' Most Nonsensical Song
Home Site Map. Search by Keyword Search. First Name. Last Name. Email Address. John and Julian Lennon by the pool in Kenwood, circa Recording History.
Everyone seemed bewildered. The melody consisted largely of just two notes, and the lyrics were pretty much just nonsense — for some reason John appeared to be singing about a walrus and an eggman. There was a moment of silence when he finished, then Lennon looked up at George Martin expectantly. To me, The Beatles seemed a bit lost, as if they were looking for another place to be, a new start…and even in its raw state I could hear that the song had potential.
George became even more exasperated when it became apparent that Ringo was having trouble holding the beat steady; it was a long song, played at a laconic tempo, so it was tough going. For the first few takes, Paul played bass as usual, but then he opted to switch to tambourine, standing directly in front of Ringo, effectively acting as both a cheerleader and a human click track.
It was a classic case of him taking charge when things were beginning to unravel, and he would do that more and more as the years went on. No vocals were recorded for the song at this point. This time, he informed us that he wanted his voice to appear to be coming from the moon. I had no idea what a man on the moon might sound like — or even what John was really hearing in his head — but, as usual, no amount of discussion with him could shed a lot of light on the matter. To make his voice sound even edgier, I used a cheap low-fidelity talkback microphone. Even though the song had a long way to go, it was already complicated enough to pose as a detriment to getting a good mono mix created.
The first three tries were unsuccessful but the fourth attempt made it all the way through the song and was deemed acceptable enough for now. I arranged to have a radio tuner brought down from the maintenance office so we could experiment with it. George Martin had to figure out how to get the radio from above down into the studio where they were recording.
The tape copy they used was created on September 16th, , which was a duplicate copy of mono mix 4 as detailed above. Sixteen session musicians were brought into EMI Studio One at pm to record this score on this day, featuring eight violins, four cellos, a contra bass clarinet and three horns. After first performing another tape reduction, thus vacating one track on the four-track tape, these musicians recorded seven tries at the overdubs, the final four being edit pieces only. It is not known if any Beatles were present at this afternoon session, which completed at pm. The Beatles were present, however, at the evening session on this day, which moved back over to EMI Studio Two and began somewhere around 7 pm.
But in the score I simply orchestrated the laughs and noises, the whooooooah kind of thing. John was delighted with it. It was a session to be remembered.
- Cytometry, Part A: 63 (Methods in Cell Biology).
- I Am The Walrus – The Beatles Bible.
- Alan W. Pollack's Notes on "I Am The Walrus".
- I Am the Walrus Lyrics!
- Wet, Erotic Kisses!
It was a fascinating session. This was surprisingly not the case! The next day or should I say later that day , September 28th, , intricate work was undertaken to create a usable mono mix of the song. They had to have worked very hard to sync up these two tapes to get them to mesh well together, the results showing a slight variation in tape speeds noticeable on the finished product especially where the drums come in for the first time. At pm, this session was complete. However, the next session of the day began around 7 pm in the same studio, this time with The Beatles present.
What especially made it problematic was their experimenting with changing different elements of the song along the way. Instead, it was flown into the two-track, live, as the mix was occurring. It was just whatever came through on the radio was coming through. It was interesting to mix the whole thing with a live radio coming through it. As expected, this stereo mix proved to be very problematic to make.
Or are they running? In the later verses, I could feel the song pushing back at me, or anyone who might dare pick it apart. And then the voices in the background chortle in ridicule. Magical Mystery Tour is one of my favorite albums, because it was so weird. I preferred to think of Humpty Dumpty as the original Eggman. On my American playground, we had a gross-out song like that too, but it started off with Great green gobs of greasy, grimy gopher guts.
The Beatles - I Am The Walrus Lyrics | MetroLyrics
The student said that his literature class was analyzing lyrics to Beatles songs, which Lennon found utterly ridiculous. Fine then.
Maybe the song is just a put-on, or a kind of a dare. No wonder I felt like it was resisting me. It is endlessly analyzable, and yet somehow analysis-proof.
Any interpretive effort runs aground on the limits of interpretation. Lennon sneers at the overanalyzing expert-texperts like that Quarry Bank literature teacher who would kick Edgar Allan Poe if given half a chance. As it turns out, the performance of Lear just happened to be on a radio that was tuned to the BBC while they were mixing the song. Tenniel picked the carpenter. People looked for all sorts of hidden meanings. When Lennon and McCartney started writing original songs, I was invariably paired with you.
What can combining first-, second-, and third-person pronouns in one song accomplish? If done well, it can create a kind of personal identification, an empathy, shared across the boundaries of the singer, the imagined listener, and the world of the song. The show of identification feels forced. Then fuse all of the above into an inclusive first-person plural we. All together now. But even nonsense words have to come from somewhere, there must have been a thought process that threw them up.
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