When was yellow submarine written

Donovan helped with the lyrics. Good friend Donovan Leitch relates his input in writing the song. Another thing that stayed in was a slight contribution from Ringo while in the studio. We used to love that. See me," as if written by a school teacher. One can only assume that it was John who didn't approve of these lyrics, which he apparently agreed to because, not only did the lines make it on the released record, John himself vocalizes these words in an echo-like fashion on the recording.

Recording History. As a result, there was a lot of clowning around that evening — silliness that George Martin would not have tolerated — and so rehearsals took up a lot more time than the session itself. But eventually they settled down and began recording the backing track.

On record it was faded out. The fourth take was deemed the best, although it was necessary to perform a tape reduction in order to free up more tracks for the various overdubs that the song would need. This tape reduction then became take five. Onto this, the main vocals of the song were recorded. O ne final vocal overdub was recorded before the evening was over. The first order of business concerned concocting a rather bizarre feature to the song that was eventually dropped entirely. Even though we spent hours and hours putting it together, the whole idea was eventually scrapped.

With this complete, it was time for a break. The Beatles met up with some friends for dinner who also received a special invitation. They were all dressed in the finest Carnaby Street outfits, the women in miniskirts and flowing blouses, the men in purple bell-bottoms and fur jackets.

The whole marijuana-influenced scene that evening was completely zany, straight out of a Marx Brothers movie. The entire EMI collection of percussion instruments and sound effects boxes were strewn all over the studio, with people grabbing bells and whistles and gongs at random. To simulate the sound of a submerging, John grabbed a straw and began blowing bubbles into a glass — fortunately, I was able to move a mic nearby in time to record it for posterity.

We filled it with water, got some old chains and swirled them around. It worked really well. The raucous atmosphere of this recording session was actually simulated during the second verse of the song. The instrumental section of the song was not filled with an instrument at all but sound effects interspersed with muffled nautical voices performed mostly by John and Paul, reportedly shouted into tin cans. The ambience around his voice was just perfect, and that was the way that all those bits happened.

Although the record sounds quite produced, it was actually spur of the moment — John and the others were just out there having a good time. Somehow it worked, though, despite the chaos. The chaos was controlled, however, by someone who was experienced in how to do it well.

There was one technical mishap that occurred while putting together the sound effect section of the song, this concerning the answering voices in the final verse that John had recorded during the first recording session for the song. In fact, I had recorded him repeating the first two lines also, but a few days later, Phil McDonald accidentally erased the beginning of them — one of the few times his usually accurate drop-in skills failed him.

The band did agree to appear as themselves in a short live action sequence at the end of the film. The tale concerns Young Fred, a sea captain in the idyllic world of Pepperland, which is invaded by the music-hating Blue Meanies.

He hijacks the Yellow Submarine and makes his way to Liverpool, where he beseeches The Beatles to come and bring music back to Pepperland and break the boring spell of the Meanies. Along the way, the crew embark on a series of surreal adventures - losing Ringo in the Sea Of Monsters and getting trapped in the Sea Of Holes - before unleashing Beatle music on the Blue Meanies, who realise the error of their ways.

Some of the animated sequences in Yellow Submarine are stunning - a mix of psychedelic and pop art visuals set to Beatle songs. Even the lacklustre new tunes are given life by the hand-drawn visuals. On its release, The Beatles themselves realised the quality of the product and the film was a huge success, spawning all kinds of elaborate merchandise.

Yellow Submarine has celebrated its 50th anniversary in with a very nice remastered edition, issued in 4k digital quality for the first time. So true, Don. The animation is beautiful and they love the soundtrack. Children and adults all over the world know and sing this song joyfully. Would you have a 4 yo singing this with his family or gangsta rapping?

Sod off! I would love to have written that weak song. A raid of the Studio Two trap room allowed for two additional and separately taped tracks — sometimes combined together and sometimes split. Pretty innovative stuff. Oh, I agree! Have you heard that one? Just to let you know! I always thought that the title was derived from the fact that a fat joint in yellow rolling paper Bambu? Hi everybody, could someone tell me who repeat the verses in funny voice at the final of the song: As we live a life of ease life of ease Every one of us every one of us has all we need, has all we need Sky of blue, sky of blue and sea green, sea of green In our yellow In our yellow submarine.

That was John Lennon, during this session. Paul wrote Yellow Submarine in the same key Ringo tuned his drums, which he found easiest to sing in. Could anybody tell me what the final spoken words of the lyrics are?

Both populations were hearing their radios at the same moment, but the singing reached us at slightly different moments. From our position, we heard it as a boisterous guy-chant being chased by an angelic echo. It would be fantastic if someone could figure out how to replicate the effect, a capella, then we can all truly live a life of ease, and every one of us will have all we need. Release date was This is the only reference to this song that I have seen in my 50 years as a Beatle fan.

Has anyone ever heard this song? It was one of the first four Apple singles, produced and written by Paul McCartney. Where exactly is the source of this identification that it is John?

So not al the info on this site seems to be accurate all the time. So we had one message for the world-- Love. We need more love in the world. I threw in a few ideas, as did other members of the group, but it was largely ad libs like singing 'She Loves You' or 'Greensleeves' or silly little things like that at the end, and we made those up on the spot. If a door opened or a funny face appeared at a window, and those moments needed to be pointed-up, it was the musical score that had to do the job.

You plan whatever tempo your rhythm is going to be, and then you lay down what is called a 'click track.

You know that mm film runs at 24 frames per second, so knowing what tempo you want, you simply ask the film editor to put on a click at whatever interval you want. In that way you can write your score knowing that, even if something happens a third of the way or halfway through a bar, you can safely put in whatever musical effect you want, with absolute certainty that it will match the picture In one sequence, in the 'Sea Of Monsters,' the yellow submarine is wandering around and all kinds of weird little things are crawling along the sea floor, some with three legs.

One monster is enormous, without arms but with two long legs with wellington boots on, and in place of a nose there is a kind of long trumpet.

This is a sucking-up monster-- when it sees the other little monsters, it uses it's trumpet to suck them up. Eventually it sucks up the yellow submarine, and finally gets hold of the corner of the movie screen and sucks that up too, until it all goes white. I felt, naturally, that scene required special 'sucking-up' music-- the question was how to do it with an orchestra! Music played backwards sounds very odd anyway, and a trombone or cymbal played backwards sounds just like a sucking-in noise.