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Various Artists - I'd Love To Turn You On ~ Classical And Avant-Garde Music That Inspired The Counter-Culture (3CD) [CD]

Various Artists - I'd Love To Turn You On ~ Classical And Avant-Garde Music That Inspired The Counter-Culture (3CD) [CD]

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  • The Beatles played their last advertised public concert on 29 August 1966 at Candlestick Park, San Francisco. The American tour had been unsatisfactory. The group had tired of uncritical audiences who came only to scream and onstage it was proving impossible for them to do justice to their increasingly sophisticated material. Exhaustion and the pressures of fame had finally taken their toll. They returned to Britain determined to concentrate on pushing he boundaries of pop music in the recording studio. They had matured as artists and were ready to enter a new phase in their career, a feeling passionately expressed at the time by John Lennon, ´we can create something that's never been heard before, a new kind of record with new kinds of sounds.´ In due course, The Beatles would turn Abbey Road into a playground of musical experimentation and the consequences would be far-reaching.
  • With the Beatles' schedule now dramatically less intensive, Paul McCartney revelled in the London arts scene, meeting Peter Blake and Richard Hamilton, grooving to Pink Floyd and Soft Machine at the UFO Club, sitting in on AMM sessions, and further investigating the soundworlds of major figures in the international avant-garde: Karlheinz Stockhausen, Luciano Berio and John Cage. From them, both he and eventually John would borrow authentic musique concrete and electronic music techniques, breaking incredible new ground by applying these advanced procedures to pop. Effectively making them Beatles music.
  • The influence of the avant-garde can be heard in the heavily treated vocals and complexity of tape loops that are Tomorrow Never Knows; the long ascending string bridges and tumultuous sustained single-note ending of A Day In the Life; the free-form coda of Strawberry Fields Forever; the collage of fairground organs in the middle eight bars of Being for the Benefit of Mr. Kite; the dial-spinning transistor radio in the closing chaos of I am the Walrus; the sequence of classical snatches in the maelstrom of sound amid the final choruses of All You Need Is Love, and the entirety of both McCartney's still unreleased freak-out, Carnival of Light, and of Revolution 9, Lennon's dizzying exercise in aural free association which borrows from the cut-ups of John Cage and Stockhausen's Hymnen, a vast canvas of national anthems from around the world.
  • Producer George Martin's playful inventiveness and wide musical experience proved invaluable in helping the Beatles realise their vision. Martin was the bridge between the group and the classical musicians who contributed to the creation of Yesterday, Penny Lane, Eleanor Rigby, A Day in the Life and All You Need is Love. He recalled Bach and Bernard Herrmann and applied the musical Impressionism of his beloved Debussy and Ravel where he could.
  • Martin enhanced Geo
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Description
  • The Beatles played their last advertised public concert on 29 August 1966 at Candlestick Park, San Francisco. The American tour had been unsatisfactory. The group had tired of uncritical audiences who came only to scream and onstage it was proving impossible for them to do justice to their increasingly sophisticated material. Exhaustion and the pressures of fame had finally taken their toll. They returned to Britain determined to concentrate on pushing he boundaries of pop music in the recording studio. They had matured as artists and were ready to enter a new phase in their career, a feeling passionately expressed at the time by John Lennon, ´we can create something that's never been heard before, a new kind of record with new kinds of sounds.´ In due course, The Beatles would turn Abbey Road into a playground of musical experimentation and the consequences would be far-reaching.
  • With the Beatles' schedule now dramatically less intensive, Paul McCartney revelled in the London arts scene, meeting Peter Blake and Richard Hamilton, grooving to Pink Floyd and Soft Machine at the UFO Club, sitting in on AMM sessions, and further investigating the soundworlds of major figures in the international avant-garde: Karlheinz Stockhausen, Luciano Berio and John Cage. From them, both he and eventually John would borrow authentic musique concrete and electronic music techniques, breaking incredible new ground by applying these advanced procedures to pop. Effectively making them Beatles music.
  • The influence of the avant-garde can be heard in the heavily treated vocals and complexity of tape loops that are Tomorrow Never Knows; the long ascending string bridges and tumultuous sustained single-note ending of A Day In the Life; the free-form coda of Strawberry Fields Forever; the collage of fairground organs in the middle eight bars of Being for the Benefit of Mr. Kite; the dial-spinning transistor radio in the closing chaos of I am the Walrus; the sequence of classical snatches in the maelstrom of sound amid the final choruses of All You Need Is Love, and the entirety of both McCartney's still unreleased freak-out, Carnival of Light, and of Revolution 9, Lennon's dizzying exercise in aural free association which borrows from the cut-ups of John Cage and Stockhausen's Hymnen, a vast canvas of national anthems from around the world.
  • Producer George Martin's playful inventiveness and wide musical experience proved invaluable in helping the Beatles realise their vision. Martin was the bridge between the group and the classical musicians who contributed to the creation of Yesterday, Penny Lane, Eleanor Rigby, A Day in the Life and All You Need is Love. He recalled Bach and Bernard Herrmann and applied the musical Impressionism of his beloved Debussy and Ravel where he could.
  • Martin enhanced Geo
Track Listing

Bach - Brandenburg Concerto No. 2, Bwv1047 - Allegro Assai (Penny Lane)

Rouget De Lisle - La Marseillaise (All You Need Is Love)

Six Dukes Went A-Fishing

Bach - Bourree In E Minor (Blackbird)

Ralph Vaughan Williams - Fantasia On Greensleeves (All You Need Is Love)

Sibelius - Symphony 2 - Allegretto

Beethoven - Piano Sonata 14 Op 7 No 2 Moonlight - Adagio Sostenuto (Because)

J S Bach - Two-Part Invention No. 8 In F Major (All You Need Is Love)

Delius - A Song Of The High Hills - Tranquillo

Iannis Xenakis - Metastasis (Excerpt) (A Day In The Life)

J S Bach - Air On The G String From Suite No. 3 In D Bwv1068 (Yellow Submarine)

Ne Me Quitte Pas

Gesang Der Jünglinge (Tomorrow Never Knows)

The Autumn Leaves

Sibelius - Valse Triste -

Thema (Omaggio A Joyce) (Tomorrow Never Knows)

Intersellar Low Ways

Ralph Vaughan Williams - Fantasia On A Theme By Thomas Tallis

Williams Mix (Revolution 9)

G F Handel - Halleluijah Chorus From The Messiah

Maurice Ravel - Jeux D'eau

The Murder From Psycho (Eleanor Rigby)

Angi

Claude Debussy - Nuages From Nocturnes

King Lear (Act Iv, Scene 6) (I Am The Walrus)

Raga Simhendra Madhyamam

Heitor Villa-Lobos - Guitar Etude No. 5

Sibelius - Symphony 7 (Excerpt) (Revolution 9)

Tunji

Sergei Rachmaninoff - Vocalise

Improvisation On The Theme From Pather Panchali

Love Theme From Spartacus

Frederick Chopin - Prelude 4 Op 28

Maurice Ravel - Lever Du Jour - Scène (From Daphnis & Chloe)

Pannonica

Estrada Do Sol

Claude Debussy - Prélude À L'après-Midi D'une Faune - OSCC

Yardbird Suite

Estate

Claude Debussy - La Soiree Dans Grenade From Estampes (Day Tripper)

Introduction

Alma Brasileira

Gustav Holst - Neptune From The Planets

The Augurs Of Spring

Mock Abduction

Spring Round Dances

Games Of The Rival Tribes

Procession Of The Wise Elder

Adoration Of The Earth

Dance Of The Earth

Edgard Varèse - Hyperprism

Details
  • Genre: Classical
  • Product Type: AUDIO CD
  • Barcode: 5013929335103
  • Release Date: November 10, 2025
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