Sage of Quay™ - Mike Williams - Did The Beatles Write All Their Own Music? (Apr 2020)

"I've Gotta Be Me"

The speaker talks about the importance of being true to oneself.

Embracing Individuality

• The speaker encourages listeners to be themselves and not worry about conforming to others' expectations.

Did the Beatles Write Their Own Music?

The speaker introduces a controversial topic and outlines the structure of their presentation.

Introduction

• The mainstream narrative is that Lennon and McCartney were brilliant songwriters, but some have questioned this premise.

• A team of researchers with decades of experience will analyze evidence related to this conspiracy theory.

• Viewers should approach the presentation with an open mind and think critically about the information presented.

Table of Contents

• Part 1 discusses how questioning the Beatles' songwriting abilities is not a new discussion.

• Part 2 provides an overview of arguments for and against the idea that the Beatles wrote all their own music.

• Part 3 analyzes where the Beatles spent their time from 1962 through 1966, a period when they made significant strides in songwriting ability.

• Part 4 examines melodies and riffs borrowed or pinched from other songs, using mainstream sources whenever possible.

• Part 5 explores claims by Dr. John Coleman that Tavistock created the Beatles as part of social engineering efforts by the deep state.

• Part 6 looks at contributions and opinions of session musicians and music industry insiders.

• Part 7 takes a deep dive into the making of Rubber Soul, which the speaker believes is an important piece of evidence.

• Part 8 examines potential anomalies in the official narrative around the White Album.

• Part 9 concludes with the speaker's personal thoughts and commentary on the findings.

The History of Questioning Beatles Songwriting

The speaker discusses how questioning whether the Beatles wrote all their own music has been debated since they first became popular.

Background

• Lennon and McCartney had no formal musical training but produced hit after hit, leading some to question how their songwriting abilities developed so quickly.

• Some professional songwriters find it suspicious that the Beatles wrote approximately 200 original compositions from 1962 through 1969, especially given their lack of experience before recording Please Please Me.

Complexity

• Even mainstream sources acknowledge that the complexity of Beatles songs evolved rapidly over a short period of time.

• Lyrics also appear beyond what one would expect from young adults.

Conclusion

• The fact that this debate has persisted for almost sixty years suggests there may be more to explore regarding who wrote Beatles songs.

The Beatles' Songwriting Abilities

This section discusses the arguments for and against The Beatles writing all of their own songs.

Arguments For The Beatles Writing Their Own Songs

• The Beatles were incredibly talented, musical geniuses, exceptional songwriters, and a supernatural force.

• Between 1962 and 1966, they wrote and recorded seven albums containing 97 songs, 77 of which were original compositions.

• The maturity and complexity of their music took a significant leap in just two and a half years.

Arguments Against The Beatles Writing Their Own Songs

• It is highly unlikely that they could have written so many original songs while also touring extensively, attending interviews and press conferences, starring in movies, etc.

• Some argue that the evolution of their songwriting from basic rock to complex compositions appears suspect since none of them could read or write music except for Billy Preston.

Did Lennon & McCartney Naturally Evolve to Their Level of Songwriting?

This section explores whether Lennon & McCartney naturally evolved to their level of songwriting or if there is more to the story.

Analysis of Time Allocation

• Between 1962 and 1966, The Beatles spent 584 days performing live shows and touring.

• They also attended interviews, press conferences, photo shoots, starred in movies like A Hard Day's Night and Help!, had promotional obligations such as Christmas records and TV appearances.

• They spent time with family/friends and had to eat/sleep.

• Touring became intolerable for them because it became a terrible prison.

Songwriting Progression

• The Beatles' third album, A Hard Day's Night, consisted of 13 original songs and no covers, which was unheard of back in the day.

• Their original compositions evolved significantly in both complexity and sophistication in a very short period of time.

How Did The Beatles Spend Their Time Between 1962 and 1966?

This section explores how The Beatles spent their time between 1962 and 1966.

Time Allocation Analysis

• The Beatles wrote, rehearsed, and recorded 97 songs while logging 584 days of live performances and touring over this time period.

• They also attended interviews, press conferences, photo shoots, starred in movies like A Hard Day's Night and Help!, had promotional obligations such as Christmas records and TV appearances.

• They spent time with family/friends and had to eat/sleep.

• Touring became intolerable for them because it became a terrible prison.

Occult Number Theory

• The seven albums containing 97 songs regroup to the occult number of 777 which is referred to as the lightning flash of creation tied back to the Kabbalah and Aleister Crowley.

Conclusion

This section concludes the video by discussing how touring became intolerable for The Beatles.

Touring Became Intolerable

• Touring had become intolerable for them because all they could do was go to concerts then go back to their hotel room where they were locked in with no life at all.

Challenges Faced by the Beatles

The speaker talks about the challenges faced by the Beatles when they traveled and performed.

Challenges Faced by the Beatles

• It was difficult for them to get rest due to their busy schedule of traveling, performing, and recording.

Analysis of the Beatles' First Seven Albums

The speaker analyzes the first seven albums of the Beatles, starting with Please Please Me and ending with Revolver.

Analysis of First Seven Albums

• Columns are used to represent different aspects of each album, such as total number of songs, original songs, days between start and finish dates for recording, release date, filming dates for movies like A Hard Day's Night and Help!, live performances or tours in UK or outside UK.

• The number of days between start and stop dates is not contiguous in all cases. For example, With The Beatles was recorded in seven sessions contained within 97 days. Times when they were not actively participating might be when George Martin was mixing editing or mastering songs or if they had other commitments scheduled as they did when they received their MBEs during Rubber Soul timeline.

Recording Time for Each Album

The speaker discusses how much time it took to record each album.

Recording Time for Each Album

• Please Please Me took one day to record while With The Beatles took 97 days. A Hard Day's Night took 125 days while Help! took 124 days. Rubber Soul took 37 days while Revolver took 77 days.

Live Performances and Touring

The speaker talks about the live performances and touring done by the Beatles.

Live Performances and Touring

• In 1962, they played live for 226 out of 365 days or 62% of the year. In 1963, they played live or toured for 68% of the year. In 1964, it was 47% of the year while in 1965 and 1966 it was only around 15-16%.

• There was overlap between live performance dates meaning that they were also doing gigs during the same time period they were recording their albums and filming their movies.

Overlap Between Albums, Films, and Live Performances

The speaker discusses how there was overlap between albums, films, and live performances.

Overlap Between Albums, Films, and Live Performances

• A Hard Day's Night album spanned over a period of 125 days with embedded within it are also17 days of live performances and53 days of filming. The same applies to Beatles For Sale which took76 days to record along with40 days of live performance overlapping with its recording time frame. During Help! album recording time frame,

they did13 days of live performances as well as51 days working on the film.

Time Spent Writing Music

The speaker talks about how much time the Beatles had to write music.

Time Spent Writing Music

• Their schedule was packed leaving what appears to be very little down time for them to engage in the creative process of writing songs.

Songwriting Process

This section describes the process of songwriting, including how lyrics and music are created and structured. It also explains how a song is revised and refined before being presented to band members or collaborators.

Creating the Song Structure

• The lyrics come first if the music comes first then the lyrics are written to fit the music and vice versa.

• The songwriter starts to write the structure of the song, which includes verse, bridge, chorus, and melody.

• After working through the structure, a draft or working version of the song is created.

Revising and Refining

• Even after a working version of the song is written, there are still puts and takes to further adjust things like chords, lyrics, and melody.

• If the song falls flat or if the songwriter is not satisfied with certain parts of it, it might be shelved forever or set aside to be revisited at a later date.

• If deemed worthy, then the songwriter will present it to their band members or collaborators for additional changes based on feedback.

Recording Process

This section explains what happens once a well-rehearsed band enters into a recording studio. It covers basic tracks recording process as well as overdubs that include vocals harmonies arrangements etc.

Basic Tracks Recording

• Once in the studio, bands record basic tracks which may result in several or sometimes dozens of takes to finalize.

• The band will add overdubs which would include vocals harmonies arrangements etc.

Mixing Down & Mastering

• The song is then mixed down and mastered before lacquer cutting sleeve art labels are created.

Writing Music While Touring/Recording

This section discusses whether it's possible for musicians like The Beatles to write songs while touring or recording. It explains that songwriting is a creative process that requires time and hectic schedules are not conducive to that process.

Writing Music While Touring

• Touring and playing live usually means traveling by plane and bus from city to city or country to country, which is not conducive to writing music.

• A well-rehearsed band will reduce studio time and associated costs.

Writing Music While Recording

• Using the studio to write, rehearse, and then record can be a very costly proposition, especially with a big label like EMI.

• Time is money; therefore, it's unlikely for musicians like The Beatles to write songs while in the recording studio.

Time Analysis of Songwriting Process

This section provides an analysis of how much time The Beatles had available for writing music within a given year.

1963: Please Please Me & With The Beatles Albums

• The Beatles spent 11% of their time engaged in the recording process for Please Please Me and With The Beatles albums.

• They spent 68% of their time playing gigs (247 days out of the year).

• This leaves approximately two and a half months (76 days) to compose music while also attending other activities.

1964: A Hard Day's Night & Beatles For Sale Albums

• Lennon and McCartney wrote 21 original songs between these two albums.

• Between the studio and filming A Hard Day's Night, they spent 29% of their time engaged in that endeavor (108 days).

• They spent 10% of their time working on their Beatles For Sale album (36 days).

• They played live/toured for 47% of their time (173 days out of the year).

• This leaves approximately one month (48 days) to potentially write music while also attending other activities.

The Beatles' Songwriting Process

This section discusses the time spent by The Beatles on recording and touring, and how it affected their songwriting process.

Time Spent Recording and Touring

• The Beatles spent 24% of their time recording the "Help!" album and filming the movie.

• In 1965, they spent 51% of their time recording "Rubber Soul" and engaging in other activities.

• The time between albums was typically when a band would write music. However, during this period, The Beatles were performing live for most of that time.

Impact on Songwriting

• Despite the limited time available for writing music, "Help!" and "Rubber Soul" are considered pivotal moments in The Beatles' songwriting evolution.

• As the amount of time spent performing live decreased after "Rubber Soul," their songwriting became more complex with each subsequent album release.

• Given the limited amount of free time available to write music, it raises questions about whether all of their songs were written by John Lennon and Paul McCartney.

Summary

The Beatles released seven albums with 77 original songs from 1962 to 1966. Their extensive touring schedule left little time for writing music. However, despite these challenges, they managed to produce some of their most iconic work during this period.

Introduction to George Martin

In this section, we hear from George Harrison and John Lennon commenting on George Martin's musical background. We also listen to what George Martin has to say about his impressions of the Beatles' material when he was introduced to them back in 1962.

First Impressions of the Beatles

• Brian Epstein played a demo tape for George Martin, who gave the band an audition at Abbey Road.

• George had done little or no rock and roll when he met the Beatles, and they had never been in a studio before.

• At first, George wasn't impressed with their music but liked their sense of humor and charisma.

• None of the members shone above all others, so he decided to take them as a group.

Finding Originality

• After struggling with sound, they listened together in the control room for something original.

• Love Me Do was the best song that they could find from them at that time.

Did The Beatles Write Their Own Songs?

This section explores whether The Beatles wrote their own songs by examining an article from 1962 that states they received numbers specifically written for them by recording manager George Martin.

Article From 1962

• A Mercy Beat article from August 23rd through September 4th edition clearly states that The Beatles will be recording numbers specifically written for them which they have received from their recording manager, George Martin.

Ringo Refers To Songwriters As "The Writers"

In this section, we hear from Ringo Starr referring to the songwriters as "the writers" versus John and Paul.

Ringo's Comment

• In a clip, Ringo refers to the songwriters as "the writers" versus John and Paul.

The Beatles and Plagiarism

In this section, the speaker discusses how some of The Beatles' music may have been influenced by other songs and artists. They explain what music plagiarism is and how it occurs in two contexts: musical ideas (melody or motif) and sampling. The speaker provides examples of songs where The Beatles borrowed from other artists and compares them side by side.

Borrowed Songs

• Revolution borrows from Pee Wee Creighton's Do Unto Others.

• Come Together borrows from Chuck Berry's You Can't Catch Me.

• I Feel Fine borrows from Bobby Parker's Watch Your Step.

• I Saw Her Standing There borrows from Chuck Berry's I'm Talking About You.

• Lady Madonna borrows from Humphrey Lyttelton's Bad Penny Blues.

Paul McCartney's Baseline

• Paul McCartney played the exact baseline from Chuck Berry's I'm Talking About You in The Beatles' song, I Saw Her Standing There, and didn't deny it when asked about it later on.

George Harrison Lawsuit

• George Harrison was sued for similarities between his song My Sweet Lord and The Chiffons' He's So Fine, which he lost. John Lennon commented that Harrison must have known what he was doing but was smarter than that when asked about the lawsuit in a 1980 Playboy interview.

Neapolitan Song Influence

• Neapolitan songs are Italian music with roots in Naples, Italy, popularized by Italian immigrants who brought the music abroad. Many famous neapolitan songs became a permanent part of musical consciousness outside of Italy.

The Beatles and Neapolitan Song

The video discusses the influence of Neapolitan song on the music of The Beatles, specifically comparing "Hey Jude" to "O Sole Mio" and "Yesterday" to "Santa Lucia". It questions how four middle-class Scousers from Liverpool could have been exposed to Italian music.

Neapolitan Song Influence

• The video compares "Hey Jude" to "O Sole Mio" and "Yesterday" to "Santa Lucia", highlighting the influence of Neapolitan song on The Beatles' music.

• It questions how likely it is that Lennon and McCartney were listening to Italian music in their early 20s when they wrote these songs.

• Billy (Paul McCartney) drops a clue regarding the true nature of where the song yesterday originated from. He went around checking if anyone had ever heard the melody before.

Yesterday's Origin Story

• Paul McCartney tells the story behind how he came up with the melody for "Yesterday". He woke up one morning with a tune in his head, thinking it was an old tune his dad played or he had heard before.

• He went around asking friends if they recognized it until he decided it was his own creation.

• Billy's comments suggest that perhaps Paul did not write yesterday, but rather reworked an old neapolitan song.

In My Life Controversy

• An article claims that Paul McCartney misremembered writing In My Life, which was actually written by John Lennon. Harvard analysis used computer models to prove it was Lennon's song.

• The original lyrics to In My Life were deemed too personal by Lennon and rewritten. The revised version raises questions about whether the same person wrote both versions of the song.

In My Life: The Beatles

This transcript discusses the origins of the song "In My Life" by The Beatles and its connection to Western classical traditions. It also explores the use of technical musical terms in describing their music.

Origins of "In My Life"

• The song "In My Life" is a reflection on past lovers and friends, with no one comparing to the person being addressed in the song.

• The original lyrics were choppy and disjointed, but were later polished into a flowing and rhyming structure.

• The final version of the lyrics may have been inspired by an old poem called "The Old Familiar Faces" by Charles Lamb.

Connection to Western Classical Traditions

• There are connections between "In My Life" and Western classical traditions.

• However, it is unclear whether these influences came from four Liverpool lads or people schooled in such traditions.

• Critics praised The Beatles for their imaginative and inventive use of harmony and melody, including chains of pandiatonic clusters and aeolian cadences.

Technical Musical Terms

• William Mann referred to Lennon and McCartney as composers, which was done to elevate their status among music critics.

• John Lennon admitted that he had no idea what aeolian cadences were, despite them being used in his songs.

• There is a difference between a composer and a songwriter, with composers typically receiving formal training in music theory while songwriters may be self-taught or have little knowledge of music theory.

The Beatles' Impact on Society and Culture

In this section, the speaker discusses how the Beatles became a force in shaping society and culture. They also talk about how Capitol Records promoted the band in the US and how their music structure was beyond the grade of musicians who lacked proper training in music theory and composition.

The Beatles' Rise to Fame

• The road was being paid for the Beatles to become a force in shaping society and culture.

• Capitol Records had been told they could have the Beatles on condition they spend seventy thousand dollars promoting them.

• Ed Sullivan had seen them in England, and Time, Life, and Newsweek had all put covers of the Beatles on their magazines prior to their arrival.

The Complexity of Their Music Structure

• Alan Pollock's analysis of every Beatles song shows that their music structure was beyond the grade of musicians who lacked proper training in music theory and composition.

• George Martin played a significant role as composer, arranger, and producer throughout their recording history.

All You Need Is Love: Written for Our World Program?

This section discusses whether "All You Need Is Love" was written specifically for Our World program or not.

Uncertainty About When It Was Written

• There is no unified recall on when exactly "All You Need Is Love" was written or if it was written specifically for Our World program.

• McCartney and Harrison say they were unsure whether "All You Need Is Love" was written for Our World program during interviews for The Beatles Anthology in the 1990s.

Tailored to the Program

• The song was tailored to Our World program once they had it.

• It was a commission that Brian Epstein suddenly whirled in and said, "We are to represent Britain in this round the world hookup, and you've got to write a song."

The Composition of "All You Need is Love"

This section discusses the composition and musical structure of the song "All You Need is Love" by The Beatles.

Songwriting Credits

• John Lennon wrote "All You Need is Love" for Our World, but Billy Preston suggests that someone else may have been involved in writing the song.

• Ringo Starr refers to the writers of "All You Need is Love" as "they," which raises questions about who actually contributed to the song's composition.

Musical Structure

• "All You Need is Love" features an asymmetric time signature and complex changes, with a change in meter during the verses being the sole example of experimentation within the band's work in that genre.

• The main verse pattern contains a total of 29 beats split into two 7/4 measures, a single bar of 8/4 followed by a one-bar return of 7/4 before repeating the pattern.

• The chorus maintains a steady 4/4 beat with the exception of the last bar of 6/4 on the lyric "love is all you need."

• The prominent cello line draws attention to this departure from pop single normality.

• The song is in G major, and its verse opens with a G chord and D melody note.

Conspirators Hierarchy: Committee of 300

This section discusses Dr. John Coleman's book Conspirators Hierarchy: The Story Of The Committee Of 300.

Dr. John Coleman

• Dr. John Coleman was a British intelligence officer with access to highly classified documents.

• He was thoroughly familiar with the Royal Institute of International Affairs, the Council on Foreign Relations, the Bilderberg Group, the Trilateral Commission, Zionism/Bolshevism, Freemasonry, Rosicrucianism and many secret society spin-offs.

The Committee of 300

• In Conspirators Hierarchy, Dr. Coleman claims that the Beatles were a creation of Tavistock and Theodore O'Donnell wrote their music and lyrics.

• Although his book lacks citations due to its content being based on highly classified or top-secret information not found in the public domain, it accurately depicts the New World Order strategy via the Committee of Three Hundred.

• The book outlines 21 worldwide objectives most of which are well underway and still relevant as centralized control becomes more evident.

The Committee of 300 and U.S Policy Making

This section discusses the power and control of the Committee of 300 over various aspects such as politics, religion, commerce, industry, banking, insurance, mining, drug trade and petroleum trade. It also talks about how U.S policy making is controlled and channeled at the top where issues are created and decided.

The Power of the Committee of 300

• The Committee of 300 controls every aspect of politics, religion, commerce, industry, banking, insurance, mining and drug trade.

• U.S policy making is controlled by the royal families' top illuminati members along with the committee itself.

• Social scientists like Willis Harmon who have ties to conglomerates that control media gave an opportunity to change the world through bands like Beatles and Stones.

Memoirs of Billy Shears

This section discusses a passage from "Memoirs" which points towards Dr. Coleman's book. It also talks about George Martin's role in making Beatles huge even though he felt they lacked talent.

Passage from Memoirs

• A passage on page 351 in "Memoirs" appears to point towards Dr. Coleman's book.

• George Martin was ordered to make Beatles huge even though he felt they lacked talent.

• George Martin changed parts added piano network with media etc., to make them marketable.

• Rolling Stones were promoted as hellish demons while Beatles were promoted as good boys for societal fragmentation.

The Snitch & Social Scientists

This section discusses the snitch and social scientists who operated within the same circles as Theodor Adorno.

Key Players

• The snitch is referred to in "Memoirs" and it is unclear who they are.

• Social scientists like Willis Harmon and Theodor Adorno operated within the same circles.

• Tavistock is engaged with evaluation, action research, organizational development, change consultancy, executive coaching and professional development.

• Stanford Research Institute's focus includes biomedical sciences, chemistry and materials, computing earth and space systems.

Omission of Adorno & Conclusion

This section discusses the omission of Theodore Adorno in "Memoirs" and concludes that it neither confirms nor denies the songwriting conspiracy.

Omission of Adorno

• Memoirs does not mention Theodore Adorno or specifically state anyone other than Beatles writing their songs.

• George Martin's role in Beatles story aligns with what has been covered so far.

• The passage from "Memoirs" is intriguing but neither confirms nor denies the songwriting conspiracy.

The Human Potential Movement and Tavistock

This section discusses the human potential movement (HPM) and its connection to Tavistock, an organization that specializes in mass mind manipulation and social engineering.

The Human Potential Movement

• HPM is a concept that advocates for cultivating extraordinary potential in all people.

• Unleashing this potential can lead to a better quality of life filled with happiness, creativity, and fulfillment.

• Those who unleash their potential often direct their actions towards assisting others, resulting in positive social change.

Tavistock's Public Face

• Tavistock's website contains standard information about the organization and its work.

• The tagline "we work with hidden sometimes unconscious factors" is appropriate given Tavistock's role in the hidden world.

• Keywords such as evaluation, development, coaching, action learning, change, and sustainable are associated with transformation and social engineering.

Tavistock's Hidden Face

• According to Dr. Coleman's work, Tavistock is tucked within a span of control that includes organizations such as MIT, NATO (including the US military), the drug business, and more.

• Tavistock uses sophisticated mind control techniques to alter human behavior and thinking to engineer society and culture.

• No one achieves prominence in any field unless they have been trained in behavioral science at Tavistock or one of its subsidiaries.

Esalen Institute

This section discusses the Esalen Institute, an American retreat center in Big Sur, California, and its connection to the human potential movement.

• Tavistock controls mechanisms in academia, multimedia, intelligence, medicine (especially pharmaceuticals), and more.

• The Esalen Institute is a major player in solidifying the new age movement.

• The institute's vision statement emphasizes transforming humankind by integrating heart, mind, body, spirit, and community with the environment.

• Its mission statement highlights exploring and realizing human potential through experience, education, and research.

The Aquarian Conspiracy

This section discusses Marilyn Ferguson's book "The Aquarian Conspiracy" and its significance to the new age movement.

• Marilyn Ferguson's book "The Aquarian Conspiracy" defined the new age movement.

• No further information provided.

Birth of the New Age Movement

This section discusses the birth of the New Age movement and its key figures.

Key Figures in the New Age Movement

• Marilyn Ferguson was a founding member of the Association of Humanistic Psychology and published and edited the science newsletter Brain Mind Bulletin from 1975 to 1996. She befriended influential figures such as Buckminster Fuller, Ram Das, Ilya Prigojean, and Ted Turner.

• Ferguson's work influenced Deepak Chopra and Vice President Al Gore, who participated in her informal network while a senator. In 1985, she was featured as a keynote speaker at the United Nations-sponsored Spirit of Peace conference where she appeared along with Mother Teresa and the Dalai Lama of Tibet.

The Aquarian Conspiracy

• The Aquarian Conspiracy emerged from the late 1960s as a continuation of the human potential movement and was rebranded as the New Age movement. It aimed to move away from what Tavistock social scientists considered to be rigid and oppressive systems that stifled human potential.

• Capitalism and institutionalized religion, specifically Christianity, were considered major obstacles that needed to be overcome. This transformation coincided with an astrological transition from Pisces to Aquarius.

• The New Age would shift people's mindsets toward practicing metaphysics, awakening spiritually, exploring ways to expand consciousness (including drug use), and embracing happiness.

Events That Transformed Society

This section discusses events that transformed society starting in the 1960s.

Transformation Through Music

• Elvis Presley, The Beatles, The Rolling Stones, and the entire British Invasion were instrumental in reshaping the thinking of the younger generation. This was done to break ties with their parents' way of life.

• Pop music and culture were further reshaped by bands such as Kiss, which promoted Satanism as an alternative to traditional thought and religious beliefs. Androgyny was introduced with performers like David Bowie and glam bands of the 1980s.

Psychedelic Era

• Many planned events were rolled out by controllers starting in the 1960s to radically transform society's cultural landscape. For example, Woodstock was known as the Aquarian Exposition.

• The psychedelic era encompassed the Summer of Love, Monterey Pop Festival, Woodstock, hippie movement, free love, and drug culture.

Hedonism Rampant

• In the 1970s hedonism ramped up with disco nightclubs such as Studio 54 promoting a mindset of "if it feels good do it."

Tavistock and The Beatles

In this section, the speaker discusses how Tavistock is a major player in manipulating the thoughts, beliefs, and values of the masses. He also talks about how The Beatles were a catalyst for the new paradigm that kicked off in the 1960s.

The Age of Aquarius and The New Age

• Derek Taylor, who was The Beatles' press officer, talks about being connected to The Beatles in order to be in "the light," which is code for Lucifer.

• John Lennon responds to his "Beatles were bigger than Jesus" comment intentionally expressed as part of an agenda to marginalize institutionalized religion.

• Lennon says that by the year 2012 or by the beginning of the age of Aquarius Paul will be Jesus. This is in reference to Paulism which is a Luciferian cult involving The Beatles where biological Paul McCartney is considered a graven Christ figure who died and was resurrected.

Clips About The Beatles

• Three clips are played having to do with The Beatles which illustrate concepts of the age of Aquarius and the new age.

• Clip one: An interview with Derek Taylor

• Clip two: John Lennon responding to his "Beatles were bigger than Jesus" comment

• Clip three: Lennon saying that by 2012 or by the beginning of the age of Aquarius Paul will be Jesus.

Interview with Derek Taylor

In this section, Derek Taylor talks about why he thinks The Beatles decided to document their past after 25 years. He also talks about how The Beatles showed a light on the world and how he wanted to be illuminated by it.

• Taylor says that after 25 years, The Beatles felt there might be some interest in documenting their past.

• Taylor talks about how he fell for The Beatles and decided that they showed a light on the world.

• Taylor says that The Beatles are happy with each other and that they illuminate our life.

Controversy Over John Lennon's Comments

In this section, the speaker discusses the controversy over John Lennon's comments about Christianity. He also talks about how right-wing fanatics demonstrated against The Beatles in Tokyo.

• A news report announces that violence broke out when right-wing fanatics demonstrated against The Beatles and their effect on Japanese youth.

• Tommy Charles urges American teenagers to take their Beetle records, pictures, and souvenirs to pickup points where they will be destroyed in a huge public bonfire.

• An interviewer asks if the religious controversy worries John Lennon. He responds by saying that he hopes everything will be alright in the end of the day.

• Lennon says that The Beatles need to watch what they say because they're in such a position that a lot of teenagers really think of them as something really big.

• Lennon clarifies his "Beatles were bigger than Jesus" comment, saying he was using expressions on things he just read and derived from about Christianity only.

The Passover Plot and Theodore Adorno's Philosophy

In this section, the speaker discusses the book "The Passover Plot" which speculates that Jesus did not die on the cross and instead survived to create a new religion with himself as the messiah. The speaker also introduces Theodore Adorno, a German philosopher who rejected capitalism and promoted socialism.

The Passover Plot

• "The Passover Plot" suggests that Jesus did not die on the cross but instead survived to create a new religion with himself as the messiah.

• According to the author of "The Passover Plot," by 2012, people would be listening to Bill's music and Paul would be considered Jesus.

• Theodore Adorno was a German philosopher who rejected capitalism and promoted socialism.

Adorno's Philosophy

• Adorno believed that mass media and culture appealed to the lowest common denominator in pursuit of maximum profit.

• He identified popular culture as a reason why people become passive, believing that easy pleasures available through consumption of popular culture made people docile and content no matter how terrible their economic circumstances.

• Adorno argued that humans in modern society are programmed at work and in their leisure time, seeking to escape monotony but merely moving from producer at work to consumer at home.

• He believed there is no chance of becoming a free individual who can take part in creating society under current systems.

• When he came to the United States, he was both fascinated and repelled by consumer culture.

• Within capitalist-driven mass media, leisure time becomes toxic, and humans settle for manufactured desires when what they really need is tenderness, understanding, calm insight, and community.

• Adorno believed fascist beliefs are embedded within society. He designed a questionnaire called the F scale or the Fascist Scale to prove this.

Adorno's Beliefs

• Adorno believed that the primary obstacles to social progress are cultural and psychological rather than political or economic.

• He believed there was enough money, resources, time, and skills to house people, provide fulfilling work, foster community support as well as not destroying the environment.

• The reason for suffering and people hurting one another is because our minds are sick meaning brainwashed and conditioned.

• Adorno's philosophy aligned very well with Tavistock's social engineering agenda to break down the dogma of traditional society and culture which includes political and economic systems as well as institutionalized religious beliefs.

The Tavistock Institute and the Human Potential Movement

This section discusses the involvement of the Tavistock Institute in the human potential movement, as well as the philosophies shared by two key figures, Adorno and Harman.

Adorno and Harman's Philosophies

• Adorno and Harman were both focused on human potential and believed that current societal systems were limiting it.

• They both saw a spiritual and moral crisis in Western culture caused by industrialism.

• Both men were deeply connected to the Tavistock network and likely worked together to implement social change.

• They believed that steering or engineering was required to push their agenda forward.

The Beatles as a Tool for Change

• The entertainment industry is a powerful tool for implementing change, which is why Tavistock primed the pump with The Beatles in 1962.

• The media played a crucial role in promoting The Beatles' music, which was part of a larger plan to introduce atonal music into mainstream culture.

The Role of Ed Sullivan and Atonal Music

This section delves deeper into Dr. Coleman's claims about Ed Sullivan's role in promoting The Beatles, as well as his statements about atonal music.

Ed Sullivan's Role

• According to Dr. Coleman, Ed Sullivan was coached by conspirators on how to promote The Beatles.

• Without Sullivan's promotion, nobody would have paid much attention to them.

Atonal Music

• Dr. Coleman claims that The Beatles' music was written by Adorno and contained elements of the 12-tone system, which was based on the music of the cults of Dionysus and Baal.

• Atonal music was used to create a sense of dissonance and chaos in listeners, which would make them more susceptible to social change.

English Tavistock and the Beatles

This section discusses how the Beatles were used as a tool for mass control of American youth by Tavistock Institute. The group was given saturation coverage by the media, which helped to proliferate drug use among young Americans.

Tavistock's Role in Creating the Beatles

• The Beatles were created by Tavistock Institute as part of their plan for mass control of American youth.

• Code words for using drugs and making it cool were devised to promote drug use among young Americans.

• Willis Harmon and his team of social scientists and genetic engineering tinkerers worked out a male adaptation process that included fragmentation to upset older generations.

• Without massive media hype, the hippie beatnik rock drug culture would never have gotten off the ground.

Ed Sullivan's Role in Promoting the Beatles

• Ed Sullivan was sent to England to become acquainted with the first Tavistock Institute rock group to hit the shores of America.

• Sullivan returned to America and drafted a strategy for electronic media on how to package and sell the group.

• Without full cooperation from electronic media, particularly Ed Sullivan, the Beatles would not have gained national attention.

The Impact of Beatlemania on American Youth

• Teenagers were subjected to non-stop barrage of beetle music until they became convinced that they liked it.

• With help from illegal substances, a whole new class of young Americans was created in precise mold ordained by Tavistock Institute.

• Dr. Coleman asserts that Tavistock created the Beatles and Theodor Adorno wrote their music and lyrics, which were atonal.

Theodor Adorno's Role in Writing Beatles Music

• Adorno was a philosopher, sociologist, psychologist, composer known for his critical theory of society.

• He was a strong advocate of socialism and critiqued the capitalist society which he referred to as the culture industry.

• Adorno became a public figure through his books and essays, radio and newspaper appearances throughout 1950s and 60s.

• Considering his busy schedule, it is unlikely that Adorno had time to personally write 237 original songs for the Beatles.

The Relationship Between Adorno and the Beatles

This section discusses the relationship between Adorno, George Martin, and social scientists in relation to the creation of Beatles music. It also explains atonal music and how it differs from tonal music.

Adorno's Role in Writing Beatles Music

• Composers and songwriters on the EMI staff or within the Tavistock network were employed to write Beatles music according to direction given by Adorno, George Martin, and social scientists.

• It is unlikely that Adorno personally wrote the music and lyrics for the Beatles due to his other commitments.

Atonal Music vs. Tonal Music

• Atonal music lacks a clear tonal center while tonal music has a prominent tonal center.

• Arnold Schoenberg is generally seen as the first composer to fully embrace atonality.

• Western classical tradition primarily uses tonality with a hierarchically organized structure around a prominent tonal center.

• Atonal music tends to deny or expand this notion by using alternative structural strategies frequently but not exclusively mathematical with serialism being one of them.

The Beatles' Music: Tonal or Atonal?

This section explores whether or not the Beatles' music can be classified as atonal.

Coleman's Claim

• Dr. Coleman referred to the Beatles' music as "tonal" in his book despite occasional dissonance in some songs.

• It is possible that Coleman was expressing personal dislike for rock music with its rhythmic backbeat and repetitive structure.

Analysis of Beetle Music

• Beetle music can be described as following in the classical European tradition with influences from American blues, R&B, folk, country, etc.

• There are stylistic differences between McCartney's pre-and post-1966 songs, indicating that more than one person was involved in their creation.

• The available data does not support the claim that Adorno held the rights to the Beatles' music.

Conclusion

This section concludes the discussion on Adorno's relationship with the Beatles and whether or not their music can be classified as atonal.

Final Thoughts

• Atonal music is different from tonal music due to its lack of a clear tonal center.

• While there may be occasional dissonance in some Beatles songs, they are still considered tonal with a tonal center.

• The claim that Adorno held the rights to the Beatles' music cannot be validated based on available data.

The Beatles and Tavistock Institute

This section discusses the existence of the deep state structure, the role of Tavistock and its affiliates in social engineering and mind control, and the link between The Beatles and Tavistock's rollout of the new agenda.

The Deep State Structure

• Many alternative researchers have confirmed the existence of the deep state structure.

• Adorno's schedule makes it inconclusive that he wrote all of The Beatles' music.

• Others with Adorno's ideology from Frankfurt School or Human Potential Movement could have been involved in The Beatles' music.

Tavistock Institute and Social Engineering

• Adorno and Willis Harmon were prominent social engineers who operated within the Committee of 300 enterprise via Tavistock and Stanford Research Institute.

• Both promoted changing current culture through Tavistock's network of organizations like Esalen Institute, Human Potential Movement, Aquarian Conspiracy, and New Age Movement.

Link Between The Beatles and Tavistock

• The Beatles played a huge role in Tavistock's rollout of the new agenda which became known as Aquarian Conspiracy.

• Based on research presented, The Beatles can be logically linked to Committee of 300 and Tavistock's social engineering agenda.

Ringo Starr Replaced by Andy White

This section discusses how Ringo Starr was replaced by Andy White during a recording session for "Love Me Do" due to scheduling conflicts.

Ringo Starr Replaced by Andy White

• Ringo Starr was not informed that Andy White would be playing drums for "Love Me Do."

• Ringo was devastated and felt he wasn't doing anything great.

• Jimmy Nicol replaced Ringo during the Beatles' tour of Denmark, Australia, and Hong Kong.

The Beatles' Music Died

• The Beatles sold out and the music died before they even went on the theater tour of Britain.

• As musicians, they killed themselves to make it.

• George and John missed the club days when they were playing music.

Guitar Playing Skills

This section discusses how Paul McCartney rates himself as a rhythm guitarist while George Harrison is rated as pretty good.

Paul McCartney's Guitar Playing Skills

• Paul McCartney rates himself as okay but not technically very good.

• He is embarrassed about his guitar playing skills but can make a guitar speak.

George Harrison's Guitar Playing Skills

• George Harrison is rated as pretty good.

The Beatles' Musical Abilities

This transcript discusses the musical abilities of The Beatles and their level of skill as musicians. It includes interviews with band members and industry professionals, as well as articles that shed light on the topic.

Drummers Andy White and Bernard Purdy

• The transcript starts by discussing drummers Andy White and Bernard Purdy, who caused a stir when he claimed to have played drums on 21 Beatles songs.

• It then moves on to a Quincy Jones interview where he rendered his opinion on the playing abilities of Ringo Starr and Paul McCartney.

The Beatles' Musical Skill

• The article states that The Beatles were not virtuoso musicians, which is something John Lennon confirmed in an interview with Playboy's David Sheff in 1980.

• None of the band members could read music, according to Lennon. George Harrison also admitted that his guitar technique slipped in the late '60s after focusing on the sitar for three years.

• Paul McCartney was considered the best all-around musician in the band but struggled with playing the piano riff on "Martha My Dear."

• Ringo Starr was a competent drummer but refused to take a solo until the last track of the band's last studio album. Lack of technique sometimes got in their way during recording sessions.

George Martin's Initial Take on Ringo's Playing Abilities

• An article from Cheat Sheet dated July 2019 reveals that George Martin did not consider Ringo ready after hearing him play drums at their first session at EMI.

• As a result, Ringo played tambourine while a session drummer hired by Martin worked with the band.

• Paul McCartney was even directing Ringo on drums and banging a tambourine to help him keep time during the recording of "Tomorrow Never Knows."

Documentary Recommendation

• The transcript concludes with a recommendation for a documentary that takes viewers through how the music business works and who is really playing on the songs of their favorite artists or bands.

The Beatles Drummers: Ringo Starr and Bernard Purdie

This transcript discusses the drumming styles of Ringo Starr and Bernard Purdie, as well as Purdie's claims to have played on 21 Beatles songs.

Ringo Starr's Drumming Style

• Ringo Starr was known for his unique drumming style that emphasized simplicity and groove.

• He often used a Ludwig drum kit with a 20-inch bass drum, which gave him a distinctive sound.

• His use of fills was minimal but effective, and he often played in service of the song rather than showing off his technical abilities.

Bernard Purdie's Drumming Style

• Bernard Purdie is an American drummer known for his precise timekeeping and signature use of triplets against a halftime backbeat, which has been dubbed the "Purdie shuffle."

• He has worked with many famous artists such as Aretha Franklin, Steely Dan, James Brown, and Tom Jones.

• Purdie claims to have overdubbed the drumming on several Tony Sheridan recordings featuring The Beatles. He also claims to have played drums on 21 Beatles songs.

Bernard Purdie's Claims

• In his book "Let the Drums Speak," Purdie claimed to be the drummer on 21 Beatles songs.

• He says he was hired by Brian Epstein to overdub Ringo's tracks without George Martin's knowledge.

• However, it is impossible that George Martin did not know about this since he was the producer of The Beatles' recordings.

• Purdie claims he was paid five figures by Epstein and told to keep his mouth shut about the overdubs.

The Purdie Shuffle

• The Purdie shuffle is a drumming technique that uses quarters, eights, sixteenths, dotted notes, triplets, half notes, and whole notes.

• It involves playing ghost notes on the snare drum to create a groove.

• This technique can be heard in many early Beatles songs.

Conclusion

• Ringo Starr's drumming style emphasized simplicity and groove while Bernard Purdie's signature "Purdie shuffle" used precise timekeeping and triplets against a halftime backbeat.

• While Purdie claims to have played on 21 Beatles songs, it is unlikely that he actually did so without George Martin's knowledge.

Ringo Starr Controversy

This transcript discusses the controversy surrounding Ringo Starr's drumming on early Beatles recordings. It includes interviews with Bernard Purdie, a session drummer who claims to have played on 21 of the Beatles' early tracks, and Quincy Jones, who worked with Ringo on his solo debut album.

George Martin's Hiring of Session Drummers

• George Martin was not impressed with Ringo's drumming.

• It is unlikely that Ringo played drums on any of the early Beatles songs.

• Martin intended to use session drummers from the beginning.

Bernard Purdie's Claims

• Purdie claims to have played drums on 21 of the Beatles' early tracks.

• He was called in to overdub the drummer on these tracks and was paid for his contribution.

• Purdie received hate mail, death threats, and ridicule for his comments over the years.

Quincy Jones' Comments

• In a 2018 interview, Quincy Jones said that the Beatles were "the worst musicians in the world."

• He recounted a recording session for Ringo's solo debut album where Ronnie Varel, a jazz drummer, had to come in and fix a four-bar section that took Ringo three hours.

• After Jones' comments were published, he reportedly phoned McCartney to apologize.

Overall, this transcript provides insight into the controversy surrounding Ringo Starr's drumming on early Beatles recordings. The interviews with Bernard Purdie and Quincy Jones shed light on their experiences working with Ringo and their opinions about his abilities as a drummer.

Ringo's Drumming and Beatles' Substance Abuse

This section discusses the hidden story behind Ringo's drumming on "Don't Pass Me By" and the Beatles' substance abuse during their heyday.

Ringo's Drumming on "Don't Pass Me By"

• According to beatlesbooks.com, Billy played drums on "Don't Pass Me By," not Ringo.

• Billy also drummed on other Beatles songs, including "Back in the USSR," "Dear Prudence," and "Come and Get It."

The Beatles' Substance Abuse

• Clues suggest that some level of substance abuse existed during the Beatles' days. For example, in a scene from A Hard Day's Night, Ringo admitted he pulled off the scene even though he was extremely hungover.

• John Lennon went public with his heroin addiction, which started with the White Album and continued through filming Let It Be.

• During filming Help!, The Beatles smoked pot in the plane all the way to the Bahamas. They were often high or drunk during filming sessions.

Official Narrative Around The Beatles

• When considering all of this information together, it calls into question the official narrative around The Beatles.

The Beatles and their Music

This transcript discusses the creation of The Beatles' music, including who was responsible for composing and arranging their songs.

Paul's Role in Sgt. Pepper

• Paul replaced George's work with a stunning solo on "Sgt. Pepper" that Harrison was not happy about.

• Paul directed the "Sgt. Pepper" sessions and took over rhythm guitar duties from John Lennon.

• Billy Shears confirms in his memoirs that he redid or replaced tracks done by John and George with his own playing.

Recording Process

• Not all four members of The Beatles participated on every song; some were recorded only with vocals.

• Examples include "The Ballad of John and Yoko," which was recorded by Billy and John, and "Don't Pass Me By," which was recorded by Billy and Ringo.

• Two songs, "Eleanor Rigby" and "She's Leaving Home," were written by Paul but arranged into orchestral pieces by George Martin.

George Martin's Role

• George Martin deflects attention away from himself when discussing his role in creating The Beatles' music.

• He offers detailed insights into a particular song before passing the baton to Paul and John to ensure songwriting credit.

• Given The Beatles' lack of musical training, it is unlikely they composed many of their advanced songs without help from someone like Martin.

Eleanor Rigby vs. Yesterday

• It is possible that Billy composed "She's Leaving Home," but it is unlikely that Paul composed "Eleanor Rigby."

• "Eleanor Rigby" is an orchestral piece with no guitar on the recording, and it was likely arranged by George Martin.

• George Martin is proud of his arrangement of "Yesterday," which he says is pretty naive but couldn't be anything else.

Overall, this transcript provides insights into the creation of The Beatles' music and challenges the notion that all four members were equally responsible for composing their songs. It also highlights the important role played by George Martin in arranging many of their most famous pieces.

The Beatles' Early Sound

In this section, the speaker discusses the early sound of The Beatles and how it was influenced by Paul McCartney and Bernard Hammond. He also talks about his initial skepticism towards their music.

The Strings Being Short and Spiky

• The speaker describes the strings being short, spiky, and hitting like a piano.

• This emphasized the syncopated nature of the song.

Initial Skepticism Towards Their Music

• The speaker admits to being skeptical about their music initially.

• Although he liked their audition recording, he didn't think any of their songs were hits.

• He signed them with the condition that they write better songs.

Finding Good Songs for The Beatles

• After signing them, the speaker went looking for good songs for The Beatles.

• He gave them "How Do You Do It," which became a hit.

• They later came back with "From Me to You" and "She Loves You," which were also hits.

Lutheran/Anglican Harmony in Beatles' Songs

In this section, the speaker discusses a specific musical question regarding harmonies in several Beatles' songs.

Lutheran/Anglican Harmony in Paul's Songs

• The speaker mentions a kind of Lutheran/Anglican harmony present in several Paul McCartney songs such as "Blackbird" and "Yesterday."

• These harmonies have inversions where the bass isn't the root cause.

Influence on Harmonies

• When asked about his influence on these harmonies, the speaker says it was really all them (The Beatles).

• He couldn't claim part of the songs and wished he could.

• He judged them based on their charisma rather than the music they played.

The Beatles' World Tour

In this section, the speaker talks about The Beatles' first world tour and how it became a terrible prison for them.

First World Tour

• The Beatles made their first world tour in June, playing in Scandinavia, Holland, the Far East, and Australia.

• Ringo had tonsillitis and missed three-quarters of the tour.

• A 22,000-mile tour of North America followed in August.

Touring Becomes a Terrible Prison

• Touring became intolerable for The Beatles.

• They were locked in their hotel rooms with no life at all except for concerts.

• Nobody knows what kind of life it was except those four themselves.

Mediocre Musicianship

• By 1966, The Beatles were becoming mediocre musicians due to touring.

• They realized that nobody was listening to them anymore and that they were playing badly.

Conclusion

In this section, the speaker concludes by recommending a documentary called "Hired Gun" and summarizing The Beatles' early sound and touring experiences.

Documentary Recommendation

• The speaker recommends watching "Hired Gun," a documentary that takes you behind the scenes of how the music industry really works by interviewing famous musicians responsible for famous solos.

Summary

• The early sound of The Beatles was influenced by Paul McCartney and Bernard Hammond.

• Initially skeptical about their music, the speaker signed them with the condition that they write better songs.

• Harmonies present in several Paul McCartney songs have inversions where the bass isn't the root cause.

• Touring became a terrible prison for The Beatles, and they were becoming mediocre musicians due to it.

The Making of Music

In this section, the speaker talks about how they made music and their creative process.

Creative Process

• They would take certain substances but never to a great extent during sessions.

• They would go home happy with the tape, but when they listened to it again, they realized that they had to do it again because it didn't work for the Beatles.

• Whoever composed the song would sing it with an acoustic guitar. Then, they would work out what to do next.

• They would decide on the introduction, change of key, and which instrument to bring in.

• They were always looking for new sounds and ideas. Sometimes it exhausted them.

Deconstructing Rubber Soul

In this section, the speaker talks about how Rubber Soul was created within 30 days.

Background Information

• Rubber Soul was written rehearsed and recorded all within 30 days.

• The Beatles had virtually no backlog of songs going into the sessions; essentially, they had to write all new material when they walked into the studio.

• The Beatles were exhausted after coming off a tour and were tired.

Recording Timeline

• The Beatles entered the studio on October 11th or 12th with an objective of having an album in stores by Christmas.

• They had 30 days to write rehearse arrange and record Rubber Soul.

• The presentation focuses on the British version of Rubber Soul and not the US Capitol release.

• Any other group would have written two or three songs.

English The Making of Rubber Soul

In this section, the speaker discusses the timeline of the Beatles from 1961 to 1965 and how they transformed as musicians, performers, and songwriters. The role of George Martin in turning them into people who could perform in a studio is highlighted.

The Beatles' Transformation

• The Beatles played thousands of hours in Germany and became better musicians and performers.

• They spent a lot of time doing live performances and tours from 1962 through 1964.

• George Martin took this rough group of performers and turned them into people who could perform in a studio.

• Together, George Martin and the Beatles wrote scores of music.

Other Bands' Influence

• Pop songs were becoming lyrically complex, political, and blues influenced.

• Other bands like the Rolling Stones, The Who, The Animals, The Yardbirds with Eric Clapton, The Birds with David Crosby, and Bob Dylan put pressure on the Beetles.

Rubber Soul Recording Sessions

• After coming back from their third American tour returning on September 2nd, 1965 they entered into rubber soul.

• Most of the songs on Rubber Soul were composed soon after the Beatles returned to London following their August 1965 North American tour.

Rubber Soul Recording Sessions

This section discusses the recording sessions for The Beatles' album "Rubber Soul" and the tight deadline they had to complete it.

Recording Schedule

• The sessions were held over 13 days, totaling 113 hours with an additional 17 hours spread over six days allowed for mixing.

• The band was forced to work to a tight deadline to ensure the album was completed in time for a pre-Christmas release.

• The sessions began on October 11th or 12th depending on the source and recording must wrap up by November 11, 1965, so they have 30 days to nail everything down.

• The album needs to be released by December 3rd, 1965, in order to get the album into stores by Christmas.

Songwriting Process

• Lennon and McCartney struggled to complete enough songs for the project after a session on October 27th was cancelled due to lack of new material.

• With the exception of some pre-existing material, most of these songs did not exist in any shape or form when the band walked into the studio.

• They were composing all of these songs from scratch while in the studio and then nailing down basic tracks in one to five attempts.

Song Takes

• Not one song exceeds five takes.

• Highly improbable given that they had virtually no material going into Rubber Soul.

• Basic tracks and probably George Martin's arrangements were already recorded by session musicians.

• The job that The Beatles had was to record vocals and harmonies and get it done in a month.

Number of Takes per Song

This section focuses on how many takes were required per song during recording sessions for "Rubber Soul."

Take Numbers

• A take refers to the number of attempts made to nail down the basic rhythm tracks.

• The official story tells us that Paul McCartney had some partial elements of "Michelle" drafted, and there was an attempted demo of "What Goes On" from 1963 but it was not recorded.

• With the exception of pre-existing material, most songs were bits and pieces, ideas, fragments or partial versions.

• Not one song exceeds five takes.

• Highly improbable given that they had virtually no material going into Rubber Soul.

Comparison with White Album Sessions

• Examples of song takes from the 1968 White Album sessions show a much higher number of takes per song.

• This further highlights how unlikely it is that The Beatles could have recorded all the songs for Rubber Soul in so few takes.

Conclusion

This section summarizes the main points made in the transcript regarding The Beatles' recording sessions for "Rubber Soul."

Recap

• The Beatles had a tight deadline to complete their album "Rubber Soul" in time for a pre-Christmas release.

• They struggled to complete enough songs for the project and had virtually no material going into recording sessions.

• Despite this, they managed to record all 16 original compositions and a flexi disc within 30 days.

• Not one song exceeded five takes during recording sessions.

Final Thoughts

• Given these facts, it seems highly unlikely that The Beatles could have composed and recorded all these songs from scratch while in the studio and then nailed down basic tracks in just one to five attempts.

Rubber Soul Timeline

This section discusses the timeline of events leading up to the recording of The Beatles' album, Rubber Soul. It questions the official narrative that states they had no backlog of songs and examines their schedule leading up to the recording sessions.

Daunting Task Ahead

• The Beatles had no completed or near-completed songs going into Rubber Soul.

• 12 other songs needed to be written from scratch as soon as they walked into the EMI studios on October 11, 1965.

• This was a daunting task given their hectic schedule leading up to this point.

Official Narrative vs Reality

• The official narrative tells us that most of the songs on Rubber Soul were composed soon after The Beatles returned to London following their August 1965 North American tour.

• However, this is ambiguous and open to interpretation as it does not specify when exactly they started writing these songs.

• Their grueling touring schedule leading up to Rubber Soul makes it difficult for them to have had time to write all these incredible songs.

Timeline Leading Up To Rubber Soul

• January 1965 - Finishing Christmas shows in London

• Mid-Feb - Help recording sessions began which ran through June 18th

• Feb-April - Filming of Help movie

• June-July - European tour consisting of 15 shows

• Aug - US tour consisting of 16 shows in 16 days across the United States including a show in Canada

• Oct-Nov - Recording sessions for Rubber Soul

• Composing, rehearsing, arranging and recording 16 original songs within a month's time frame

Importance Of Rehearsal

• Rehearsal is an important part of the process before recording a song.

• It is not just about composing and recording but also rehearsing before recording.

Rubber Soul Timeline Overview

This section provides an overview of the timeline for the recording and release of The Beatles' album "Rubber Soul".

October 11th - 24th

• Completed six out of sixteen songs, which were then mixed on October 25th and 26th.

• Songs were written, rehearsed, arranged, and recorded in these days.

• No recording on November 1st or 2nd due to a TV show commitment.

November

• The Beatles needed to finish their fan club record which they did on November 8th with more mixing taking place on November 9th and 10th.

• Recording ends on November 11th but not before the Beatles are said to have completed four songs on the very last day.

• More mixing takes place on November 15th and the mono lacquer is cut on November 17th which leads to Rubber Sole being released in the UK on December 3rd,1965.

Borrowed Songs

• Four songs that were borrowed by The Beatles when writing Rubber Soul: "Run For Your Life", "Drive My Car", "If I Needed Someone" and "You Won't See Me".

• Samples of each song are played for comparison purposes.

Comparison of October and November

• A color-coded chart is presented comparing events and activities in October versus those in November.

• Yellow represents turnkey events; red shows us songs that were started on a particular day; green denotes the recording of a song was completed; orange indicates days where other activities such as mixing and commitments outside of the studio took place; light blue are days where no specific activity was found.

Conclusion

• Rubber Soul was released in the UK on December 3rd, 1965, a mere 53 days after The Beatles entered the studio on October 11th, 1965.

• Nine out of sixteen songs were recorded in one day.

Rubber Soul Album Creation

This section discusses the timeline of the creation of The Beatles' album Rubber Soul and raises questions about its feasibility.

Timeline Questions

• The recording schedule for Rubber Soul was compressed, spanning only 53 days from October 11th to December 3rd.

• There were only 22 days between when recording ended on November 11th and the release date of December 3rd.

• There were only 16 days between cutting the lacquer on November 17th and the release date of December 3rd, which is not enough time for key activities such as stampers, labels, pressing, sleeve design, printing, and distribution.

Song Creation Timeline

• The Beatles wrote, rehearsed, recorded and arranged sixteen original compositions for Rubber Soul in just thirty days. Of those thirty days: ten were available for writing and rehearsal; fifteen were spent recording songs; five went to activities outside the studio.

• Even if writing and rehearsal or rehearsal and recording were done concurrently (which is unlikely), creating so many songs from scratch within a thirty-day window is unrealistic. Something else must have been at play during this time period.

Think For Yourself Audio Clip

• An audio clip from the Revolver sessions featuring "Think For Yourself" is played to demonstrate how slowly things moved in the studio during vocal recordings. John Lennon even expressed frustration with his own performance during these sessions. It's hard to believe that they could record sixteen songs in just thirty days given how slow things moved during this session alone.

Introduction

The speaker introduces the topic of the video.

Speaker Introduces Topic

• The speaker introduces the topic of the video.

Feeling Useless

The speaker expresses feeling useless during these sessions and shares an excerpt from Wikipedia regarding "Think for Yourself."

Feeling Useless

• The speaker expresses feeling less than useless during these sessions.

• Cynthia understands how the speaker feels, and they often talk about it when they get home.

• The speaker shares an excerpt from Wikipedia regarding "Think for Yourself."

Musical Form of "Think for Yourself"

This section discusses the musical form of George Harrison's composition, "Think for Yourself."

Key and Mode Combination

• The song's musical key is a combination of G major and G minor.

• Lennon and McCartney regularly employed a major key and its parallel minor to provide an element of contrast in their songs.

• Harrison's composition ensures that the two modes are blended, creating a form that is neither quite really major nor minor.

Chord Progression

• The chord progression in "Think for Yourself" is an example of the Beatles' use of chords for added harmonic expression.

• Harrison adopted this device from Lennon's approach to melody.

• Musicologist Walter Everett describes the composition as a tour de force of altered scale degrees.

• Such ambiguity throughout its tonal quality forms the perfect conspirator with the texts and rhythms hesitations in unexpected turns.

Stylistic Hybrid

• Musicologist Alan Pollock views the composition as musically adventurous.

• He identifies it as a curious stylistic hybrid in the pop rock genre comprising blues-inflected motifs within a folk-based framework.

• Here again, we see published information that is intended to paint the Beatles as brilliant songwriters and in this case, George Harrison.

John Lennon's Technical Knowledge

This section discusses John Lennon's technical knowledge of music theory.

Aeolian Cadences

• The speaker mentions William Mann's declaration of the Beatles' use of aeolian cadences and pandiatonic clusters.

• John Lennon admits he has no idea what aeolian cadences are.

• None of the Beatles are technical musicians; they cannot read or write music.

Learning to Play Sitar

This section discusses George Harrison's experience learning to play the sitar.

Playing Sitar

• The speaker asks George if he expects to learn any more instruments now that he has learned to play the sitar.

• George clarifies that he hasn't learned to play the sitar yet; Ravi Shankar hasn't even learned it after playing for 35 years.

Rubber Soul Release Timeline

This section examines the timeline for releasing Rubber Soul and its feasibility.

Suspicious Timeline

• The time between November 11th when recording ended and December 3rd when Rubber Soul was distributed and stocked in retail stores is suspicious.

• Recording ends on November 11th, then six days later, the mono lacquer is cut.

• The lacquer is required in order to begin pressing vinyl records.

• On December 3rd, rubber sole is in stores, which means it took only 22 days from recording end date (November 11th) and 16 days after lacquer cut date (November 17th).

Manufacturing Process

• The process of manufacturing the records includes creating the lacquer, stampers, record labels, pressing the records, creating the sleeves, packaging the records, and distribution.

• A team member who has been in the music business for decades confirms that six weeks is a minimum cycle time to release an album from when the lacquer has been approved and cut.

• Eight weeks is more typical.

• Rubber Soul's clock to release started on November 17th when the lacquer was cut and not on November 11th when recording ended.

Release Date

• Using November 17th as our start date puts Rubber Soul in stores no earlier than December 29th.

• This date is aggressive because of logistics around Christmas holiday.

The Beatles' Rubber Soul Album Release Process

This transcript discusses the process behind releasing a record, specifically focusing on The Beatles' Rubber Soul album release process. It explores how the album was released in just 16 days and examines the band's busy schedule leading up to its release.

The Record Release Process

• After recording ends, songs are mixed, mastered, and sequenced.

• An initial lacquer is cut and needs to be approved before creating a test pressing.

• Record labels and album sleeves are created once all songs are known.

• Four-color printing or CMYK printing is used for album sleeves.

• Once sleeves are finalized, records are inserted into them and then packed and distributed to retail outlets.

Rubber Soul Release Timeline

• EMI's forecasts for Christmas sales period would have been jeopardized if Rubber Soul's release date was delayed.

• Part of the process must have already been underway for the 16-day release timeline to work.

• Rubber Soul was recorded in just 30 days with virtually no backlog of material going into the sessions.

• The lack of time was a constant major factor when trying to reconcile when John Lennon and Paul McCartney had time to collaborate, compose, and rehearse new material before its release on December 3rd.

The Beatles as Musicians and Songwriters

• The Beatles were initially a cover band playing bars and clubs from their early days up through 1962 when they met George Martin.

• When George Martin met the band, he was not impressed and thought their music was rubbish.

• Mainstream articles tell us The Beatles borrowed from other songs, including the possibility of "Yesterday" in "Hey Jude," lifting content from Italian Neapolitan songs.

• Quincy Jones tells us The Beatles couldn't play, saying they were no playing mothers. Ringo told us that because of all the... (transcript cuts off)

The Beatles Did Not Write Their Own Music

In this section, the speaker discusses how the Beatles did not write their own music and provides evidence to support this claim.

George's Guitar Skills

• George's guitar skills suffered as he focused on the sitar.

• This was part of the reason why he relinquished guitar solos.

John and Ringo in a Haze of Marijuana

• John and Ringo were in a haze of marijuana during the filming of Help.

George Martin's Reaction

• George Martin puts his index finger to his lips flashing up the masonic telno secrets symbolism when asked about who was responsible for the advanced musical construct of Beatles songs.

• By doing what he did, George Martin is telling us that the Beatles did not write these compositions.

Rubber Soul Photo Shoot Date

• The exact date of the photo shoot for Rubber Soul album cover is unknown.

• It took place either during the six-week break after the European tour or during US break right before Rubber Soul sessions.

• The date is a mystery because if it is known, it would be easier for researchers to start examining the timeline and conclude that Rubber Soul was in works way before October 11th.

English Rubber Soul: Behind the Scenes

This transcript discusses the process behind the release of The Beatles' album, Rubber Soul. It covers the timeline leading up to its release and what may have happened behind the scenes to make it possible.

Timeline Overview

• The Beatles had 30 days to write, rehearse, arrange, and record 16 new original songs from October 11th through November 11th.

• The minimum amount of time in real-world cycle time to release a record is six weeks or 42 days.

• By starting with December 3rd and counting back six weeks, we can identify a date which is more indicative of when the process should have started in order to release Rubber Soul on December 3rd. That date is represented by number 6 on the slide which is October 22nd.

• Other key components of the process must have been either already underway or completed by the time The Beatles showed up in the studio on October 11th.

Process Behind-the-Scenes

Pre-Recording Activities

• All of the songs for Rubber Soul were written and arranged beforehand by professional songwriters.

• Instrumental tracks for the album were then recorded by session musicians and produced by George Martin.

Recording Activities

• The vocals and harmonies for the songs would be recorded between October 11th and November 11th by The Beatles.

• Once instrumental tracks of songs were recorded including any orchestration, they were mixed down awaiting vocals.

• Once vocals are done George Martin creates final mix of each song by mixing The Beatles vocal tracks down with music previously recorded by session musicians he does this on October 25th, 26th and November 15th.

Post-Recording Activities

• George Martin can now calculate the run times and do the sequencing which is required to start the process of printing the labels and sleeves.

• The album art sleeves and labels are then sent off for printing.

• All that is left to do is to have the records pressed and then inserted into the record sleeves and prepped for distribution.

Rubber Soul Album Creation Process

This section discusses the creation process of the Beatles' album, Rubber Soul.

The Manufacturing Process

• The first batch of albums was delivered to stores between December 1st and December 3rd.

• Pressings and deliveries continued after December 3rd as part of the normal production and distribution process.

• The time period from when the lacquer was cut on November 17th to Rubber Soul being in stores on December 3rd was focused on expediting the manufacturing of the first batch of albums or initial pressings.

• Everything else in the process such as labels, sleeves, etc., were already in a holding pattern waiting for the records to be pressed so they can be packaged and sent down to stores.

Stages of Creation

• Rubber Soul was created in stages; otherwise, it would not have been possible to meet the deadline for release by December 3rd.

• Professional songwriters wrote all songs for Rubber Soul with most if not all arrangements being done by George Martin.

• With music tracks recorded, run times and sequencing could now be completed. Then recorded tracks are mixed down in preparation for vocals.

• From October 11th through November 11th, The Beatles were in the studio recording vocal tracks.

• George Martin finalized the mix to merge music with vocals with last mix taking place on November 15th.

Beatles' First Seven Albums

This section discusses how Rubber Soul's creation process was used as a model for all seven of The Beatles' first albums.

Model Used For All Albums

• Rubber Soul's creation process was used as a model for all seven of The Beatles' first albums up through and including Revolver.

• Four guys in their twenties who could grind it out were used as the veneer for music that was not written by them but by uncredited professional songwriters and composers who were working behind the scenes on behalf of Tavistock to use The Beatles as a tool for social engineering.

• The Beatles were not groomed to be songwriters because Tavistock already had their songwriters.

• The Beatles were trained to be actors performing in front of the curtain on the world stage who would play music and recite scripts given to them by people operating behind the scenes.

John Lennon's Clues

This section discusses clues left by John Lennon about The Beatles' role in society.

Clues Left By John Lennon

• In a 1980 Playboy interview, John Lennon tells us that he had become a craftsman and could have continued being one, but he was not interested in becoming one.

• When The Beatles played in America for the first time, they played pure craftsmanship meaning they were already old hands in freemasonry.

• In the 1971 Rolling Stone interview, John mentions the myth of The Beatles several times. He tells us that he no longer believes in myth; The Beatles are another myth.

The White Album Narrative

This section discusses the creation of The Beatles' ninth studio album, The White Album, and its significance in the band's history.

Creation of The White Album

• John and Paul had accumulated over 30 new songs while in India.

• The backlog of songs was enough to make a two-record set, which they planned to call simply "The Beatles."

• The White Album was recorded between May 30th and October 17th, 1968.

• It was released on November 22nd, 1968.

• The number nine is significant in the album's creation and content.

• There are several occulted numbers associated with the album's release cycle time.

Significance of The White Album

• The White Album scaled back on sound and studio innovation compared to previous albums like Sgt. Pepper.

• George Martin did not attend all sessions for the album.

• Escher demos were recorded at George Harrison's bungalow before recording began for the album.

• Of the 27 songs known to exist from that day, only 19 would wind up on the white album.

The White Album Recording Process

This section discusses the recording process of The White Album and its release date.

Rubber Soul and The White Album Recording Process

• In 1965, the Beatles recorded by writing and rehearsing while the tape rolled to capture the right moment.

• George Martin or Chris Thomas would then use the best takes to splice and edit to create a song.

• This approach was unlikely for recording since it could result in an undisciplined and unreliable schedule.

Release Date of The White Album

• The White Album was scheduled to release on November 22nd, which is highly occulted as it is also the same day of JFK's assassination and the release of their second album with The Beatles.

Composition of The White Album

• Only 16 out of 30 tracks had all four band members performing, meaning almost half the album did not feature the full group.

• Billy Shears intended to have 33 songs on The White Album but had to settle for 30 due to lack of material and time.

• Apple later released Past Masters containing 33 songs.

Writing Songs in India

This section discusses how the Beatles wrote over 30 songs while in India.

Prolific Burst of Creativity in India

• Two-thirds of over 30 songs written by the Beatles in India ended up on The White Album.

• They arrived in mid-February with Ringo leaving on March 1st, Billy leaving later that month, and John and George departing on April 12th after finding out that Maharishi had lusty thoughts.

The White Album's Eclectic Sound

This section discusses the eclectic sound of The White Album and how it differs from previous Beatles albums.

Differences in Playing Styles

• The playing styles on The White Album were different from those on earlier albums.

• There was a mix of composers and songwriters contributing to the pool of songs, some of whom were not part of the Beatles.

• The people writing for The White Album were not the same people writing songs during the 1962-1966 period.

• It appears that the Beatles started to play on more recordings beginning with Sgt. Pepper and into The White Album, Abbey Road, and Let It Be.

Departure from Earlier Albums

• The White Album lacks the tightness and polish of earlier albums.

• It has none of the psychedelic feel of Sgt. Pepper or Magical Mystery Tour, nor does it have the production value of Abbey Road.

• It even has a very different feel than Let It Be.

• At times, it comes across as an eclectic set of 30 songs with various songwriting styles coming into play.

Introduction

In this video, the speaker discusses the possibility that The Beatles did not write all of their own music and were instead a construct of Tavistock for social engineering purposes.

The White Album

The speaker discusses the creation of The Beatles' White Album and how it was likely written by a team of composers and songwriters rather than solely by The Beatles themselves.

• The people writing the music for the White Album were connected to Paul McCartney, who was calling all the shots pertaining to The Beatles.

• George Martin picked up and left during the White Album sessions because Billy (Paul McCartney) was now in control.

• The official story of how the material for the White Album manifested is fiction. It is likely that Billy was part of a songwriting team going back to at least 1965 during Help! and Rubber Soul sessions.

• It is possible that individual Beatles wrote some material on their own, but many tracks on the album were recorded by session musicians which would include Billy.

Sgt. Pepper's Lonely Hearts Club Band

The speaker compares Sgt. Pepper's Lonely Hearts Club Band to The White Album in terms of creative control.

• Sgt. Pepper's Lonely Hearts Club Band was tightly controlled by George Martin and Billy.

• Beginning with The White Album, we get to experience more of what The Beatles sounded like as a band since they are more actively involved in playing and recording on the album.

Conclusion

In conclusion, the speaker believes that The Beatles did not write all their own music and were instead a construct of Tavistock for social engineering purposes.

• The Beatles were groomed from very early on to play the role that they played to alter the course of history.

• Most of the mainstream narrative about The Beatles is fiction, and it is likely that professional songwriters and composers crafted many of their songs during the 1962-1966 period.

The Beatles' Early Years

This section discusses the Beatles' early years and how they prepared to become the face of Tavistock's music.

Preparation for Success

• The Beatles spent two-thirds of 1961 and 1962 playing live performances for hours each night.

• Their musicianship was good enough to play live, but not sufficient for studio recordings where perfection was sought by George Martin.

• George Martin is considered the most important person in this story because without him, none of this could have happened.

Billy Takes Control

This section discusses how Billy took control of the Beatles starting with Sergeant Pepper and how their contributions continued with the White Album.

Changes in Dynamic

• Billy took control of the Beatles starting with Sergeant Pepper.

• John, George, and Ringo participated more in recording albums after Billy took control.

• However, Billy still interceded when he thought John or George's track was not up to his expectations and standards.

• Contributions from songwriters and musicians outside the band continued throughout their entire body of work.

Conclusion

This section concludes the presentation on the real story behind The Beatles.

Final Thoughts

• Everything we know about The Beatles is from what we have been told through books, films, and other media.

• Clues left behind by those who gave us The Beatles psychological operation reveal a different story than what has been presented to us.

• The presenter thanks everyone who worked with him on the presentation.

• The video ends with three "so" statements.

Other Timestamps

• A person is heard singing a song while walking down a dusty road.

• An old woman is standing next to the person singing.

• Voices are heard saying "beware."

• More voices are heard saying "none of this."

• A voice is heard saying "drivers."

• Another voice is heard saying "beware."

• A voice says, "it'll be all."

• Someone sings, "give me peace feel my soul."

• A sound is made.