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The Beatles - Yellow Submarine BEST

When asked in May 1966 about his vocal spot on the Beatles' forthcoming album, Ringo Starr told an NME reporter, with reference to "Yellow Submarine": "John and Paul have written a song which they think is for me but if I mess it up then we might have to find another country-and-western song off somebody else's LP."[4] In a joint interview taped for use at the Ivor Novello Awards night in March 1967, McCartney and Lennon said that the song's melody was created by combining two different songs they had been working on separately.[5][6] Lennon recalled that McCartney brought in the chorus ("the submarine ... the chorus bit"), which Lennon suggested combining with a melody for the verses that he had already written.[6]

The Beatles - Yellow Submarine

According to McCartney, the idea of a coloured submarine originated from his 1963 holiday in Greece, where he had enjoyed an iced spoon sweet that was yellow or red, depending on the flavour, and known locally as a submarine.[15] Lennon had also thought of an underwater craft when he and Harrison and their wives first took the hallucinogenic drug LSD in early 1965.[16][17] After the disorienting experience of visiting a London nightclub, they returned to Harrison's Surrey home, Kinfauns, where Lennon perceived the bungalow design as a submarine with him as the captain.[18][19][nb 2] Musicologists Russell Reising and Jim LeBlanc comment that the band's adoption of a coloured submarine as their vessel chimed with Cary Grant captaining a pink one in the 1959 comedy film Operation Petticoat, made during the height of his psychoanalytical experimentation with LSD.[21]

Following a reduction mix of take 4, Starr recorded his lead vocal[36] and he, Lennon, McCartney and Harrison sang vocals over the choruses.[8] The vocal parts were again treated with varispeed;[38] in this instance, they were recorded a semitone lower.[37] Harrison's contribution is especially prominent,[39] departing from his bandmates' to sing an f1 note on the word "submarine".[40][nb 4] The recording was given another reduction mix, reducing the four tracks to two,[33] to allow for the inclusion of nautical and party-like sound effects.[42]

The recording includes a sound-effects solo over the non-singing verse,[48] designed to convey the submarine's operation.[25] Lennon blew through a straw into a pan of water to create a bubbling effect.[42] Other sounds imitate the whirring of machinery,[25] a ship's bell, hatches being slammed,[48] chains hitting metal,[42] and finally the submarine submerging.[51][nb 7] Lennon used the studio's echo chamber to shout out commands and responses[44] such as "Full speed ahead, Mr Boatswain."[52] From a hallway just outside the studio, Starr yelled: "Cut the cable!"[44] Gould describes the section as a "Goonish concerto" consisting of sound effects "drawn from the collective unconscious of a generation of schoolboys raised on films about the War Beneath the Seas".[48][nb 8] According to Echard, the effects are "an especially rich example of how sound effects can function topically" in psychedelia, since they serve a storytelling role and further the song's "naval and oceanic" narrative and its nostalgic qualities.[54] The latter, he says, is "due to their timbre, recalling radio broadcasts not only as a contemporary experience but also as an emblem of the near-distant past", and he also sees the effects as cinematic in their presentation as "a coherent sonic scenario, one that could be diegetic to an imagined series of filmic events".[28]

The song originally opened with a 15-second section containing narration by Starr and dialogue by Harrison, McCartney and Lennon, supported by the sound of marching feet (created by blocks of coal being shaken inside a box).[43][57] Written by Lennon,[57] the narrative focused on people marching from Land's End to John o' Groats, and "from Stepney to Utrecht", and sharing the vision of a yellow submarine.[43][nb 9] Despite the time taken in developing and recording this intro, the band chose to discard the idea, and the section was cut from the track on 3 June.[59] Everett comments that the recording of "Yellow Submarine" took twice as much studio time as the band's debut album, Please Please Me.[42][nb 10]

A writer for the P.O. Frisco commented in 1966, "the Yellow Submarine may suggest, in the context of the Beatles' anti-Vietnam War statement in Tokyo this year, that the society over which Old Glory floats is as isolated and morally irresponsible as a nuclear submarine."[122] At a Mobe protest, also in San Francisco, a yellow papier-mâché submarine made its way through the crowd, which Time magazine interpreted as a "symbol of the psychedelic set's desire for escape".[118] Writer and activist LeRoi Jones read the song as a reflection of white American society's exclusivity and removal from reality, saying, "The Beatles can sing 'We all live in a yellow submarine' because that is literally where they, and all their people (would like to), live. In the solipsistic pink and white nightmare of 'the special life' ..."[118]

Donovan later said that "Yellow Submarine" represented the Beatles' predicament as prisoners of their international fame, to which they reacted by singing an uplifting, communal song.[123] In November 1966, artist Alan Aldridge created a cartoon illustration of "Yellow Submarine" and three other Revolver tracks to accompany a feature article on the Beatles in Woman's Mirror magazine. The illustration depicted the submarine as a large boot with the captain peering out from the top. The article, which drew from Maureen Cleave's interviews with the band members from early in the year, was flagged on the cover in a painting by Aldridge that showed the Beatles ensnared by barbed wire under a giant speech balloon reading: "HELP!"[124]

In the last minutes before his capture, Pepperland's elderly Lord Mayor sends Young Fred to get help. Fred takes off in the Yellow Submarine ("Yellow Submarine"). He travels to Liverpool ("Eleanor Rigby"), where he follows a depressed Ringo to "The Pier", a house-like building on the top of a hill, and persuades him to return to Pepperland with him. Ringo collects his mates John, George, and Paul. The four decide to help Old Fred, as they call him, and journey with him back to Pepperland in the submarine. As they operate the submarine, they sing "All Together Now", after which they pass through several regions on their way to Pepperland, including the Sea of Time, where time flows both forwards and backwards ("When I'm Sixty-Four"), the Sea of Science ("Only a Northern Song") and the Sea of Monsters, where Ringo is rescued from monsters after being ejected from the submarine. In the Sea of Nothing, the protagonists meet Jeremy Hillary Boob Ph.D., a short and studious creature ("Nowhere Man"). As they prepare to leave, Ringo feels sorry for the lonely Boob, and invites him to join them aboard the submarine. They arrive at the Foothills of the Headlands, where they are separated from the submarine and Old Fred ("Lucy in the Sky with Diamonds"). They then find themselves in the Sea of Holes, where Ringo picks up a hole and puts it in his pocket. Jeremy is kidnapped by a Blue Meanie, and the group finds their way to Pepperland.

The real Beatles then appear in live-action, and playfully show off souvenirs from the events of the film. George has the submarine's motor, Paul has "a little 'love'," and Ringo has "half a hole" in his pocket (having apparently given the other half to Jeremy). Ringo points out John looking through a telescope, which prompts Paul to ask what he sees. John replies that "newer and bluer Meanies have been sighted within the vicinity of this theatre" and claims "there is only one way to go out... Singing!" The four oblige with a short reprise of "All Together Now", which ends with translations of the song's title in various languages appearing in sequence on the screen.

American animators Robert Balser and Jack Stokes were hired as the film's animation directors.[15][16] Charlie Jenkins, one of the film's key creative directors, was responsible for the entire "Eleanor Rigby" sequence, as well as the submarine journey from Liverpool, through London, to splashdown. Jenkins also was responsible for "Only a Northern Song" in the Sea of Science, plus much of the multi-image sequences. A large crew of skilled animators, including (in alphabetical order) Alan Ball, Ron Campbell, John Challis, Hester Coblentz, Geoff Collins, Rich Cox, Duane Crowther, Tony Cuthbert, Malcolm Draper, Paul Driessen, Cam Ford, Norm Drew, Tom Halley, Dick Horne, Arthur Humberstone, Dennis Hunt, Greg Irons, Dianne Jackson, Anne Jolliffe, Dave Livesey, Reg Lodge, Geoff Loynes, Lawrence Moorcroft, Ted Percival, Mike Pocock, Gerald Potterton, and Peter Tupy, were responsible for bringing the animated Beatles to life. The background work was executed by artists under the direction of Alison de Vere and Millicent McMillan, who were both background supervisors. Ted Lewis and Chris Miles were responsible for animation cleanup.

The Hot Wheels model is basically the submarine that appears in the 1968 animated musical movie Yellow Submarine. Its proportions do not match to the "real" submarine, although it has the same amazing architecture. The four periscopes extend from the top and the double four port holes are also present on each side. And it even has the two four-bladed red propellers on the back.

Not long after the British-made film landed in the United States, "submarine churches" attracted urban, young people. They adopted the outline of a yellow submarine with a small cross on its periscope as their symbol and displayed it alongside peace signs, flowers and other popular emblems of the 1960s.

"In the Beatles' movie, the submarine was the place where they loved each other in a groovy way and got strength to do battle with the Blue Meanies," Rev. Tony Nugent, a former co-pastor of a submarine church in Berkeley, Calif., told The New York Times in 1970. "It also shows that a church has to have flexibility and maneuverability." 041b061a72


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