The Beatles’ retreat to India didn’t mean they were insulated from the happenings of the world. Early 1968 saw not only the march on the American Embassy in the U.K. because of the Vietnam War, but also other major acts of protest around the world. The Beatles were never a band to get into politics or activism; “Taxman” was the extent of their political commenting, and George only wrote that because of how the government affected him directly. But John thought it was time for them to cease their silence. As the biggest band in the world, people were looking to them for a voice, whether they wanted to be that voice or not.
Nowadays, rock musicians of every stripe are airing their unqualified opinions on wars and presidents to the point where it’s “unhip” to not do so. Anti-war stances are a matter of course, and the more vocal the better. For whatever reason, rock and roll has always been the music of the anti-establishment, the rebels. All too often, that means people are standing against authority not because they disagree with anything specific, but merely to have something, anything to stand against; authority just happens to have a target painted on it. As time went by and rock musicians became more distant and removed from everyday society, that activism didn’t decrease; it increased. So now we have rockers talking loudly about an issue and knowing very little about it. More than that, rock musicians are expected to take the anti-government, anti-establishment position. When they don’t, things get ugly.
When the Beatles released “Revolution” as a single slightly before The White Album came out, there was naturally some fervor. One would think by the title that it was a rallying call for the end of “the War,” but it was actually a stinging indictment of people who use anti-war activism as a different means for destruction. Many on the political left saw “Revolution” as a betrayal. What they miss is that despite some biting language, it has a very positive message. John’s rationale behind the chorus of “Y’know it’s gonna be alright” was that God is in control of all things, and it will all work out in the end.
John thought it was time the Beatles spoke up, but Paul wasn’t so sure, and was hesitant to spark controversy, which he knew “Revolution” would do. When John said he wanted it to be a single, Paul sided with George in saying it was too slow, to which John responded in kind by recording a version that was fast, aggressive and single-worthy. Paul and George couldn’t argue with that. The original, which was bluesy and soft-sung, was retitled “Revolution 1” and remained as an album track. It was also separated from its musique concrete second part, which was expanded and dubbed “Revolution 9.”
Now, thanks to Wikipedia, I know that musique concrete is an established recording style (I can’t call it a “musical style;” though some may disagree with me, it’s not music), but I haven’t heard anything other than “Revolution 9” which is called musique concrete. There’s probably something to get, but I don’t get it. It eludes me, and I’m pretty sure I’m not losing anything by being eluded. Listen to the track and you’ll see what I mean.
On Sunday: George writes a song chiding Eric Clapton about his love for… chocolates?