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| The Beatles - Revolution |
The Beatles - Revolution Lyrics and Youtube Music VideosAlbum:
Past Masters, Vol. 2 Released:
1968 You say you want a
RevolutionWell, you know
We all want to change the world
You tell me that it's evolution
Well, you know
We all want to change the world
But when you talk about destruction
Don't you know that you can count me out
Don't you know it's gonna be all right
All right, all right
You say you got a real solution
Well, you know
We'd all love to see the plan
You ask me for a contribution
Well, you know
We're doing what we can
But when you want money
For people with minds that hate
All I can tell is brother you have to wait
Don't you know it's gonna be all right
All right, all right
Ah
Ah, ah, ah, ah, ah...
You say you'll change the constitution
Well, you know
We all want to change your head
You tell me it's the institution
Well, you know
You better free you mind instead
But if you go carrying pictures of chairman Mao
You ain't going to make it with anyone anyhow
Don't you know it's gonna be all right
All right, all right
All right, all right, all right
All right, all right, all right
Writer/s: LENNON, JOHN / MCCARTNEY, PAUL
Publisher: Sony/ATV Music Publishing LLC
Lyrics licensed and provided by
LyricFindRevolution Song Chart This was the first overtly political Beatles song. It was John Lennon's response to the Vietnam War. John Lennon wrote this in India while The Beatles were at a transcendental meditation camp with The Maharishi. Lennon told Rolling Stone: "I had been thinking about it up in the hills in India. I still had this 'God will save us' feeling about it, that it's going to be all right (even now I'm saying 'Hold on, John, it's going to be all right,' otherwise, I won't hold on) but that's why I did it, I wanted to talk, I wanted to say my piece about revolution. I wanted to tell you, or whoever listens, to communicate, to say 'What do you say? This is what I say.'" Revolutionaries take different approaches to reach their goals. In a 1998 interview with Uncut, Yoko One gave her thoughts on Lennon's approach and how he expressed it in this song: "John's idea of revolution was that he did not want to create the situation where when you destroy statues, you become a statue. And also what he means is that there's too much repercussion in the usual form of revolution. He preferred evolution. So you have to take a peaceful method to get peace rather than you don't care what method you take to get peace, and he was very, very adamant about that." The original slow version appears on The White Album. The fast, loud version was released as a single. In the slow version, Lennon says "count me in" as well as "count me out" when referring to violence. This gives the song a dual meaning. This was released as the B-side of "Hey Jude." Lennon wanted it to be the first A-side released on Apple Records, the label The Beatles started, but "Hey Jude" got the honor. There are so many versions of this song because Paul McCartney didn't like it. Lennon really wanted this song to be the 'A' side of the single instead of "Hey Jude," and kept changing it around to come up with something that would make Paul see it his way. He basically wrote the song because he felt like he was being pulled in so many directions by different people, all of whom wanted his backing, politically. It was also him questioning his own belief in the revolution that was going on... whether he was "out" or "in." In truth, he was writing about a revolution of the mind rather than a physical "in the streets" revolution. He truly believed that revolution comes from inner change rather than social violence. (This is discussed in the DVD Composing the Beatles Songbook ) Nike used this for commercials in 1987. Capitol Records, who owns the performance rights, meaning The Beatles version of the song, was paid $250,000. Michael Jackson, who owns the publishing rights, meaning use of the words and music, also had to agree and was paid for the song.
The Nike commercials caused a huge backlash from Beatles fans who felt that Nike was disrespecting the legacy of John Lennon, who probably would have objected to its use. There were plans to use more Beatles songs in future ads, but they were abandoned when it became clear it was not good business practice. As years went by, it became more acceptable to use songs in commercials, but Beatles songs were still considered sacred, especially since the group did not control their rights. In 2002, "When I'm 64" was used in a commercial for Allstate insurance. Many Beatles fans were not pleased, but it didn't get nearly the reaction of the Nike commercials, partly because it was not a political song, but also because it was sung by Julian Lennon , which implied endorsement by his father. On September 4, 1968, The Beatles made a promotional film for this song and "Hey Jude" at Twickenham Studios in London. These were directed by Michael Lindsay-Hogg, who did the previous Beatles videos: "Paperback Writer" and "Rain."
Unlike those clips, which were shot outdoors, the "Hey Jude" and "Revolution" videos were shot in a studio setting and meant to look like the band was performing it live. They both aired September 8 on Frost On Sunday, a popular UK show hosted by David Frost, who was at the Twickenham shoot to introduce the clip for the segment on his show, making it appear that the band was really there.
Another edit of the footage was later broadcast on Top Of The Pops, and yet another was shown in America on The Smothers Brothers Comedy Hour. When the Beatles compilation 1+ was released in 2015, a restored version of the video was included in the set. Nicky Hopkins played the piano. When The Beatles needed keyboards, they usually used Hopkins, Billy Preston, or their producer, George Martin. The dirty guitar sound was created by plugging the guitars directly into the audio board. The guitar sounded so scratchy that many who bought the 45 RPM single tried to return it, thinking it was defective. (thanks to Dwight Rounds, author of The Year The Music Died, 1964-1972 ) The word "Revolution" is mentioned just once, in the first line. John Lennon wanted his vocals to have an unusual sound, so he recorded most of them lying on his back in the studio. The famous scream at the beginning is a double-tracked recording of Lennon. (thanks, Bertrand - Paris, France and Jonathon - Clermont, FL) The version on the Hey Jude compilation, released in February 1970 in the US, was the B-side of the "Hey Jude" single. The Hey Jude compilation album peaked at #2 in the US and consists of a collection of singles and B-sides that had not previously appeared on US non-soundtrack album releases. The album cover was taken at the final Beatles photo session, at Lennon's (later Starr's) country estate in Ascot, England. (thanks, Bertrand - Paris, France) Thompson Twins performed this song at the Philadelphia stage of Live Aid on July 13, 1985. The concert, which raised money for famine relief in Africa, had a global audience of at least 1.5 billion. Thompson Twins were joined on stage for the performance by Madonna (who contributed backing vocals and tambourine), Steve Stevens (best known as Billy Idol's guitarist) and Nile Rodgers, who was also on guitar.
Thompson Twins included the song on their album Here's to Future Days, which was released a few months later and produced by Rodgers. The Stone Temple Pilots performed this at Madison Square Garden as part of the 2001 special, Come Together: A Night For John Lennon's Words And Music. Their version was released as a single, with proceeds going to charity. 