On Sunday, November 6, 2022 at 3:10:35 PM UTC-5, eagali...@gmail.com wrote:
> Since the portions of song analysis in my books are typically too far into the text to be read in the online sample, the unembellished portion about the lead track from the last featured album, "Beatle For Sale," in "The Quality Of Mersey" is below. After that, some extremely important time-sensitive updates, continuing the themes from my previous thread ("Getting To The Riff Stage") and beyond...
>
> {concept}
> <<
> "No Reply" is Side One's opening track, thought to have been conceived by Lennon during a Tahiti vacation in May 1964, first emerging in the studio on 3 June. John offered it to Tommy Quickly, who was in Brian Epstein's stable of recording artists, taping a demo in a hotel room to be sent to him: according to Colin Manley, who would play guitar on Quickly's (unreleased) version, there was no bridge, and the demo concluded with the sound of a flushing toilet as an expression of the composer's negative assessment. Lennon apparently required input from McCartney to realize the song's potential: "We wrote 'No Reply' together but from a strong original idea of his," Paul recalled modestly," I think he pretty much had that one, but as usual, if he didn't have the third verse and the middle eight, then he'd play it to me pretty much formed, then we would shove a bit in the middle or I'd throw in an idea." John's basic theme was inspired by another song: "It was sort of my version of 'Silhouettes' [by New York R&B quartet The Rays from 1957] ...I had that image of walking down the street and seeing her silhouetted in the window and not answering the phone, although I never called a girl on the phone in my life! Because phones weren't part of the English child's life." Once it was completed, the track was nearly selected as single material, until "I Feel Fine" was done.
>
> {recording}
>
> Due to Ringo's tonsillitis, the 3 June session at EMI Studio Two planned for the fourteenth track on "A Hard Day's Night" (which would have filled their EMI quota, probably with Ringo as lead vocalist) became instead when replacement drummers were being auditioned on the verge of their world tour, selecting Jimmy Nichol who performed on six songs between 3 and 4 pm; that settled, new songs were considered, one of which was a demo for Harrison's "You Know What To Do" (a self-composed follow-up to "Don't Bother Me," which the band never released) along with a basic run-through of Lennon's "No Reply" (with a drummer who could have been a Beatle), which from the first take included the bridge John's demo had lacked. The lyrics seemed complete, although sung incorrectly at certain points; the tune was shelved for several months. The last day of September, after completing "Every Little Thing" and further work on "What You're Doing," around 8:30 pm the band (with Ringo) developed their final version of "No Reply," which took about two hours. The basic track consisted of Lennon and Harrison both playing Gibson J160E rhythm guitars, Paul playing with subdued restraint on his Hofner bass, and Ringo on drums. On take five, they experimented with repeating the bridge and final verse, extending the duration beyond three minutes, thereafter reverting to concluding after the third verse without a second bridge. The eighth take was chosen for overdubbing, starting with John's lead vocal along with Paul singing harmony: because Lennon's voice was strained, he could not sing the higher harmony part, as intended for the lead melody line, so McCartney had to assume that role in the duet portions. Further overdubs included John double-tracking his lead vocal, George Martin playing piano, and all four band members supplying handclaps. The track was mono mixed on 16 October by George Martin, with engineers Norman Smith and A.B. Lincoln; the stereo mix was done on 4 November, Martin being assisted by second engineer Mike Stone.
>
> {structure}
>
> John disclosed years later receiving back-handed praise from their music publisher: "I remember Dick James coming up to me after we did this one, and saying, 'You're getting much better now - this is a complete story.' Apparently before that, he thought my songs tended to sort of wander off." Engineer Norman Smith declared this tune one of his favorites among their originals. The tune keyed in C major starts with John's double-tracked lead vocal commencing before the first downbeat of the first measure, as was done on their second album opening track, "It Won't Be Long," but instead of an aggressively rocking onset, the first eight measures of each of the three sixteen-measure verses have a bossa nova beat, unfamiliar in their music. Those first eight measures begin by repeating the same melody, facilitating a rhyme, modified by a closing variation (the first ending in a modulation [on the title in the first instance], the second more simply resolved), as John lyrically sets up the thematic context in his huskily subdued voice; the next four measures explode with emotion, as the percussion powerfully syncopates with cymbal crashes, Paul joining John in a repeated distraught harmony; in the closing four measures of the verses the melodic pattern of the second four-measure part returns, with the simpler resolution. The first verse outlines the singer's realization his visits are being intentionally ignored ("This happened once before,/ When I came to your door, No Reply"), with family members palpably aiding in his being deceived ("They said it wasn't you,/ But I saw you peep through – your window"); the repeated emphatically shouted harmonically dual declaration, "I saw the light," puns on the parted curtain exposing interior lamplight, as well as the truth dawning on him he is no longer wanted; the last portion reveals denial would insult his intelligence, since they made eye contact ("I know that you saw me,/ 'Cause I looked up to see – your face"). In the second verse he adds his attempt to call was also rebuffed ("I tried to telephone,/ They said you were not home – that's a lie"), and insinuates something akin to admittedly stalking ("'Cause I know where you've been,/ I saw you walk in – your door"); then the repeated shout becomes the lamentation, "I nearly died," again alternated with the crashing syncopated percussion; and finally an overt admission of witnessing his betrayal ("'Cause you walked hand in hand/ With another man – in my place"). After the second verse, a sixteen-measure bridge ensues, with handclaps and insistent piano carrying the more standard rhythm, as John and Paul vocally again merge harmonically, desperately attempting to bargain for a reconciliation by reminding of his extreme devotion – "If I were you, I'd realize that I – love you more than any other guy"; the dramatic tension builds as he sweetens the deal with unconditional absolution for the disloyalty – "And I'll forgive the lies [modulating the word] that I heard before, when you gave me No Reply." Rather than repeating the first verse (as would be typical), the second returns, with his stunning confession he has known what was happening all along; a singular cymbal crash ushers in a hasty four-measure coda, invoking the song title in a variation of the explosive third section of the verse, giving the conclusive effect of indignation over being avoided. Without an instrumental break or solo, they had delivered a song where the emotional impact appeared palpably genuine.
>
> {insight}
>
> While Martin preferred to open their albums with a rousing, up-tempo "potboiler," their original compositions in this phase trended towards a slower, mid-tempo style, outside of the accompanying single. Interestingly, their last song on their previous album, "I'll Be Back," spoke of returning if his heart were broken, making this situation a suitable follow-up. The lyrics are also close to a Lennon-McCartney original the band gave to Billy J. Kramer and The Dakotas, "From A Window," released that July: "I saw a light shine from a window/ And when I looked again your face came into sight." Yet there the theme was simply being enthralled by beauty - "I couldn't walk on until you'd gone from your window"; however, "I'd live my life for you," and "I knew you were the one" could go beyond sexual attraction, potentially inferring religious devotion. While the overt meaning "No Reply" is clear and effective as a romantic drama, the subliminal intention asserts itself as an expression of tested faith: in a somewhat twisted version of the discovery of the Resurrection, with the open Tomb and attending angels, the subject seems a fictionalized full witness as by Mary Magdalene. The Sepulcher was sealed by a heavy stone, representing the shut door, which for a brief time would deceptively yield no response; reports of Christ having risen from death could be met with disbelief ("They said it wasn't You"); His being seen at the open Tomb would correspond with peeping through the "window"; the angelic associates unknown to the Apostles could constitute walking "hand in hand with another man in my place." The dazzling appearance of the angels and Risen Christ suggest seeing "the light," as Jesus referred to Himself (along with "The Way" and "The Truth"). His face was recognized, conversing with Mary Magdalene, walking about His open "door" with the stone removed; the unanswered phone call could symbolize prayers for His return coming to naught temporarily, with the attending soldiers mistakenly certain He was lifeless within ("They said You were not home"). Thus the shock conveyed by "I nearly died" could be meant ironically, Jesus having amazingly overcome death, the force rolling the stone stunning the guarding Roman soldiers into fainting. The bridge suggests Lennon's own offer of faith, declaring the greatness of his devotion ('I – love you more – than any other God'), and dismissing any prior instance when it falsely appeared that his prayers were not being answered – it seems a submission to a greater Plan that could fail to manifest proof immediately upon request. The prominent musical features cement this otherworldly interpretation. The modulation of the last syllable of the title in the first verse seems merely stylistic, but when the same melodic element recurs in the second verse on the lyric, "That's a lie," rendering the last word as if it contained four syllables suggests,
>
> 'That's a Lion at heart'
>
> Jesus is mystically identified as the Lion of Judah in Revelations. The percussive accent with cymbal crashing appearing twice in the third section of each verse suggests,
>
> HE –
> HAD woken from DEATH!
>
> During the second verse (and not in its subsequent repetition), after the lyric "your door," the relatively quiet guitar work subtly implies,
>
> Christ was only sleeping
>
> The sole cymbal crash leading into the coda appears to dismissively reinvoke the word
>
> DEATH!
>
> There it seems a mocking addition, as something Christ had the power to overcome. In the final repetition of the syncopated percussion closing the coda, the last cymbal crash seems more sustained as it closes the tune. The down-trodden nature of the singer's plight becomes even more explicit in the following track, while taking responsibility it is due to his own fault.
> >>
>
> *
>
> It was known the rhythm track for "Rain" was played ultra-fast, with the tape also speeded up, to give a languid sound at normal playback: but having heard this from the newly-released recordings, it is amazing the entire song was done this way (including the over-the-top drumming), with bass overdubbed at high-speed, then vocals applied to the slowed music - and the result seems incredibly carefully articulated, rather than raced through in another pitch.
>
> A version of "Got To Get You Into My Life" was also previewed with a distorted electric guitar performing the horn part, with the cadence in both reminiscent of how 'marijuana' is vocalized, a whiff of the subliminal tangent McCartney implied when calling it 'an Ode to pot.'
>
> The recent hammer attack on Paul Pelosi has recalled the 30 December 1999 knife attack on George Harrison: while the 1999 incident fit I.52 line 1 for a sinister conjunction of Pluto and Chiron, the 25 October 2022 partial solar eclipse was described in the latter half (Northern Europe having a more intense view than low-level for Europe), which shortly preceded the Pelosi attack on the 28th. The 2022 event also fit the final line of X.35, 'Going to be injured through an unknown one of Mainz," for the 28 October feast day of Saint Ferrutius. A more complete version of the Harrison attack is in II.98, but I.52 line 2 - 'The Grand Seignior injured in his abode' alternately fit both, honoring Harrison like a Turkish Sultan, and referring to Paul Pelosi as a renowned senior citizen simultaneously. The French verb used for assault in both quatrains is the same, 'meurtri.'
>
> Another incident that has been predicted has occurred since the 25 October eclipse, which was the Seoul, South Korea, Halloween crowd crush on 29 October. A massive crowd of about 100,000, mostly young girls, attended, many without telling their parents; the tragedy ensued from narrow alleyways trapping people, slipping back into the compression of bodies, being lifted off their feet and losing their shoes - over 150 were killed. This seems fulfillment of line 3 from X.28: 'By fat and thin (bodies), nearly half (of the crowd) emaciated' - the thinning was not gradual by starvation, but immediate by lethal compression.
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> The first line of X.28 suggests an obvious meaning to Beatle fans -
>
> Second and third who make prime music...
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> John Lennon as leader would be first, Ringo Starr is usually ranked fourth: so the impression is Paul McCartney and George Harrison are the subjects, continuing,
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> ...Will be sublimated in honor by a King
>
> The astronomical 'Kings' are solar eclipses, so this is predicting that both McCartney and Harrison would have their respective major honors around the time of a solar eclipse. The 9 March 1997 total solar eclipse preceded by two days McCartney receiving Knighthood on 11 March 1997!
>
> The story emerged in December 2013 that Harrison had been offered an upgrade of his MBE to an OBE for the New Year Honour List, but he had declined, apparently feeling insulted by having the monarchy rank him below Sir Paul.. He commented that while the US president seemed like a heavy character, the Queen maintained popularity mainly by simply smiling and waving, which he considered could be even worse. But the seer was not in error, since Harrison had been the first recipient of the Billboard Music Century Award on 9 December 1992 - and about two weeks later the 24 December 1992 partial solar eclipse proved Nostradamus correct.
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> The final line of X.28 is for 2 November 2022, yet deals with the esoteric field of judicial astrology, focused on the Geneva location. A complex set of precursor clues, some acting in a dual fashion as pre-precursors, is reaching ultimate culmination with the two eclipses currently happening, finishing with the lunar one of 8 November, coinciding with the conjunction of the Sun and Mercury. In 2020 that was the first day Joe Biden was US president-elect, feast day for Four Crowned Martyrs of Pannonia: VIII.15 links the eclipses and Pannonia for an event reinforcing life and death.
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> The Neptune lunar conjunct on 4 November 2022 was a Lombardy day, for Saint Charles Borromeo of Milan: clues about Corinth and Ephesus regarded conditions for Piscean Neptune's two lunar adjacencies - the 'swimming in two seas' condition on 2 November showed Venus at the Ascendant for Geneva, slightly into Scorpio and therefore under the Balance of the Libra constellation. The Friday 9 September 2022 condition was also ominous with the Saturn-Ceres opposition in a fateful brief dual aspect with Fortune (when Juno was overhead in a Grand Trine with Lilith and the South Node).
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> So X.28 depicts the 2 November 2022 'false rapport with Venus' that leads to the rendering of debasement. The 8 November 2022 5:12 pm CET (11:12 am EST) critical time has Venus falling at the Descendant after Sunset, and Saturn directly overhead. [The benign 6 November other Neptune adjacency, with the Moon in Aries, showed Geneva at Sunset, with the already-risen Moon in opposition with Fortune.]
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> John Lennon claimed "Nowhere Man" emerged from mere boredom, yet the line "The World Is At Your Command" appears pro-Messianic Reign; the trebly guitar solo there seems to declare (with a minor omission),
>
> 'Divinely - Prophesied,
> {4 notes}...Powerful:
> And His Wrath -
> Will Be Felt -
> Through The
> SCEP-TER'
>
> The 8 April 2024 solar eclipse will be joined precisely by Chiron, in an alignment excluding other minor asteroids, a prime candidate for the esoteric 'Rod Of Iron' through which the Second Coming Christ will take command: this would be clearer with the riff transcription, and has a subliminal parallel with the middle section from "A Day In The Life." Other recent alignments have surfaced in the French seer's texts. The correct positions of the Moon and Mercury during the Winter Solstice 2020 Jupiter-Saturn conjunction were given, while alluding to a cataclysm; events have coalesced such that the Capitol violence of 6 January 2021 constituted a transgression during the long cycle for Saturn reigning as lead planet in lunar aspects.
>
> The disturbance of 6 January is featured in I.62, warning that fire and flood will be the divine retribution, more for 'ignoramuses with scepters' than to prevent the long cycle being repeated. In I.54 the seer pre-attests that a second revolt with Saturn will occur, which is verified elsewhere for March 2023, yet the intervening cataclysm will somehow counter this, identified by Libra as the movable token.
>
> The piano work in the middle of "Good Day Sunshine" appears to inadvertently foretell by subliminal tangent crossover,
>
> 'When They Have Instigated
> A Second COUP...
> They'll Deserve -
> To Lose
> ALL
> Their Freedom!'
>
> The flood is linked with Lorraine in X.50, presumably for Saint Vitonus of 9 November, with a Benedictine Abbey in Lorraine dedictated to him.
>
> The scenario is clear in V.83, where an unparalleled realm has a three-night event to warn of subversion, when the greatest at the table will be reading the Bible, perhaps for Saint Pope Leo the Great of 10 November, who was declared a Doctor of the Church.
>
> The first half of V.24 gives the judicial astrology featuring Venus for the day the "Help!" album was released, 9 August 1965; the concept of the spirit of prophecy being appropriated in association with Venus is in V.53, which scripture says is possible through the testimony of Jesus.
>
> The second half of VI.16 combines several esoteric concepts: 'the villains of the Temple,' meaning the Crucifixion stage with Stations of The Cross; 'where stood the Black Forest' - the Austrian Alps, the location for some scenes, is the obvious meaning; 'will make a tavern and fire from Lombardy - this is where the complex appropriation of prophecy effect takes over.
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> The seer has referred to subliminal aspects of two songs from the "Help!" sessions, which are a subset of tunes that have alternate auditory allusions to the cataclysmic event. A change in global rotation, daylight being blown out like a candle, an experiment gone awry, disturbing things consistent with Isaiah 24. First, it is not exactly 'a tavern and fire,' but from the electric guitar middle solo of "I'm Down," which was likely intended to concern the suicide of Judas Iscariot -
>
> 'We'll Build A Fire -
> TO Light A Tavern;
>
> We'll Build A Fire -
> To LIGHT A TAVERN -
>
> And The 'Tavern'
> Of NORTH AMERICA -
> Could Do Better -
>
> Than - To...' [etc.]
>
> Second, the location of the Black Forest appears in the instrumentation for "I've Just Seen A Face," whose intro sounds like,
>
> 'Somewhere -
> Near The Fabled -
> Location -
> For The Books -
> By Grimm -
> The Fabled -
> Location -
> For The Books -
> By Grimm -
> The Fabled Location'
>
> There Paul's scatting happens to sound like,
>
> 'Near the Grimm-Brother Land' -
>
> As well as a phrase about the Lamb of God having to die, since it correponds to the Station where Jesus dies. The acoustic middle section could be heard as commencing,
>
> 'Somewhere Near The
> FOREST OF BLACK,
> They'll Build A Machine Strong Enough To -
> Somewhere Near The
> FOREST OF BLACK,
> They'll Build A Machine Strong Enough To -
>
> Blow - Up
> The Whole...' [etc.]
>
> These should be included as sound-parallels for the Christian transcriptions - some second-meanings on other topics have been found that were entirely unexpected. And while the "Rubber Soul" album was considered their take on Christ's Agony in the Garden of Gethsemane, layered with an insightful exploration of the Zodiac signs, mentally releasing that and approaching it for some other direct message revealed it as something like the concept from the film "Contact." In that film a distant signal from space was found to have taken an early broadcast from Earth and returned it as the carrier wave for their own message, which contained the plans to build some incredible device. Some of the songs on "Rubber Soul" appear to do this for the Apocalyptic proverbial 'New Song,' which only the firstfruits of the divine Soul-Harvest will be able to learn. Finding disparate elements for something like a song does not provide the spark of inspiration needed to bring that endeavor to proper fruition, however it could be a foundation for its eventual arrival by serendipity.

Re: 'Rain' and it's use of tape speed changes, when did this capability become available, and were the Beatles the first pop band to use it? If not, who did it before them?