“Don't Pass Me By” on The White Album is thought to be Ringo's tribute to his late friend. For in this song Ringo’s sings “I listened for your footsteps coming up the drive but they don't arrive. I wonder where you are tonight, don't pass me by.”
I listen for your footsteps
Coming up the drive
Listen for your footsteps
But they don't arrive
Waiting for your knock dear
On my old front door
I don't hear it
Does it mean you don't love me any more.
I hear the clock a'ticking
On the mantel shelf
See the hands a'moving
But I'm by myself
I wonder where you are tonight
And why I'm by myself
I don't see you
Does it mean you don't love me any more.
Don't pass me by don't make me cry don't make me blue
'Cause you know darling I love only you
You'll never know it hurt me so
How I hate to see you go
Don't pass me by don't make me cry
I'm sorry that I doubted you
I was so unfair
You were in a car crash
And you lost your hair
You said that you would be late
About an hour or two
I said that's alright I'm waiting here
Just waiting to hear from you.
One of the first signs of dissension in the Beatles: were the fierce arguments between Paul and Ringo. Perhaps it was after one of these, that Paul stormed out of studio on that tragic night and we’re hearing of Ringo’s sad evening at home hoping the Paul would come over to resolve their differences. He never made it, and Ringo tells us why:
John’s death Pan is I'm so tired.
I'm so tired, I haven't slept a wink
I'm so tired, my mind is on the blink
I wonder should I get up and fix myself a drink
no,no,no.
I'm so tired I don't know what to do
I'm so tired my mind is set on you
I wonder should I call you but I know what you would do
You'd say I'm putting you on
But it's no joke, it's doing me harm
You know I can't sleep, I can't stop my brain
You know it's three weeks, I'm going insane
You know I'd give you everything I've got
for a little peace of mind
I'm so tired, I'm feeling so upset
Although I'm so tired I'll have another cigarette
And curse Sir Walter Raleigh
He was such a stupid git.
You'd say I'm putting you on
But it's no joke, it's doing me harm
You know I can't sleep, I can't stop my brain
You know it's three weeks, I'm going insane
You know I'd give you everything I've got
for a little peace of mind
I'd give you everything I've got for a little peace of mind
I'd give you everything I've got for a little peace of mind
(mumbling).
First he describes his mental anguish over missing Paul: “I haven't slept a wink, my mind is on the blink, I'd give you everything I've got for a little peace of mind.”
The real find comes right at the end of the song: a mumbling voice can be heard at the end of this cut and before the next one begins. When this mumbling is played backwards the voice is very clearly saying, “Paul is a dead man miss him miss him miss him.“
(End played backwards 3 times)
Paul is a dead man miss him miss him miss him!
The voice is probably John's, though some people insist it belongs to George.
The granddaddy of all the clues comes elsewhere on The White Album.
One of the more interesting aspects of The White Album is the short little song that appears on the record right before “Revolution Number 9.” It does not appear in the list of song titles nor do its lyrics appear on the lyric sheet.
(Song played)
Can you take me back where I came from?
Can you take me back?
Can you take me back where I came from?
Brother can you take me back?
Can you take me back?
Mm can you take me where I came from?
Can you take me back?
These allegorical lines leads into the selection which convinces many people that the Paul is dead rumor to be something thought of more than just a series of coincidences. The track is “Revolution Number 9.” In the beginning of the song one can hear two men quietly talking they're saying, “Realize I know all about George I'm sorry do you forgive me, yes.”
Listen carefully.
(First part played)
This is apparently is a conversation with the producer George Martin and could be about placing clues on the track. Then a voice repeats the phrase “Number 9” thirteen times. Listen again:
Number nine, number nine, number nine, number nine, number nine, number nine, number nine, number nine, number nine, number nine, number nine, number nine, number nine.
Why should this phrase be repeated so many times and then again later in the song?
When one plays this phrase backwards, a voice says something entirely different”
Turn me on demand, turning on dead man, turn me on dead man, turn me on dead man, turn me on demand, turning on dead man, turn me on dead man, turn me on dead man, turn me on demand, turning on dead man, turn me on dead man.
In “A Day in the Life” on Sergeant Pepper, Paul sang, “I love to turn you on,” and now, if in answer several years later, we hear a voice saying in a Beatles song “turn me on dead man.”
Continuing frontwards on the cut, many strange sounds can be heard including car horns, a car crashing, fire burning. These clues are very difficult to pick out on the radio, so I will leave it to you to listen to your own version of “Revolution Number 9.” In the middle of the song a man calmly says, “He had a pole, we better get in to see a surgeon. So anyhow he went to the dentist instead. They give him a pair of teeth that weren't any good at all. So my wings are broken and so is my hair I'm not in the mood for words. Find the night watchman, a fine natural and balance, must've got it in the shoulder blades.“
This monologue is not constant and is interrupted by horns, screams and the sound of fire. Other dangling phrases can be heard such as, “take this brother may serve you well.” Some suggest that this might be Paul passing on his fame talent etc. to Billy Campbell the new Paul McCartney.
When this song is played totally in reverse more interesting phrases can be heard, besides the famous “turn me on dead man.” While the crashes, screams, and fire can still be heard, after about one minute and 10 seconds a faint “let me out” can be heard apparently from someone burning in a car. At two minutes and 30 seconds the fire sounds are very clear and we hear the phrase “there were two there are none now.” Paul and Rita? At five minutes and 35 seconds we hear someone screaming, “Let me out! Let me out!”
Depending on the quality of your stereo headphones, other phrases can be heard such as, “if you want it you can prove it. I'm not in the mood for work or words from John.” This song in the whole White LP became the world's most backwards played album and indeed opened up a whole new way of looking at recorded music. One thing should be mentioned in the context: it should be understood by everyone before a record is finalized and finally pressed and released, it goes through a cleaning and checking by engineers and this involves both frontwards and backwards playing of the tape in order to edit out any stray sounds for noises. All Beatles records went through this process as well; therefore, we can conclude that all the extraneous sounds—words that we have just listed—were checked out, and allowed to remain on the record by someone in control of such matters.
I listen for your footsteps
Coming up the drive
Listen for your footsteps
But they don't arrive
Waiting for your knock dear
On my old front door
I don't hear it
Does it mean you don't love me any more.
I hear the clock a'ticking
On the mantel shelf
See the hands a'moving
But I'm by myself
I wonder where you are tonight
And why I'm by myself
I don't see you
Does it mean you don't love me any more.
Don't pass me by don't make me cry don't make me blue
'Cause you know darling I love only you
You'll never know it hurt me so
How I hate to see you go
Don't pass me by don't make me cry
I'm sorry that I doubted you
I was so unfair
You were in a car crash
And you lost your hair
You said that you would be late
About an hour or two
I said that's alright I'm waiting here
Just waiting to hear from you.
One of the first signs of dissension in the Beatles: were the fierce arguments between Paul and Ringo. Perhaps it was after one of these, that Paul stormed out of studio on that tragic night and we’re hearing of Ringo’s sad evening at home hoping the Paul would come over to resolve their differences. He never made it, and Ringo tells us why:
John’s death Pan is I'm so tired.
I'm so tired, I haven't slept a wink
I'm so tired, my mind is on the blink
I wonder should I get up and fix myself a drink
no,no,no.
I'm so tired I don't know what to do
I'm so tired my mind is set on you
I wonder should I call you but I know what you would do
You'd say I'm putting you on
But it's no joke, it's doing me harm
You know I can't sleep, I can't stop my brain
You know it's three weeks, I'm going insane
You know I'd give you everything I've got
for a little peace of mind
I'm so tired, I'm feeling so upset
Although I'm so tired I'll have another cigarette
And curse Sir Walter Raleigh
He was such a stupid git.
You'd say I'm putting you on
But it's no joke, it's doing me harm
You know I can't sleep, I can't stop my brain
You know it's three weeks, I'm going insane
You know I'd give you everything I've got
for a little peace of mind
I'd give you everything I've got for a little peace of mind
I'd give you everything I've got for a little peace of mind
(mumbling).
First he describes his mental anguish over missing Paul: “I haven't slept a wink, my mind is on the blink, I'd give you everything I've got for a little peace of mind.”
The real find comes right at the end of the song: a mumbling voice can be heard at the end of this cut and before the next one begins. When this mumbling is played backwards the voice is very clearly saying, “Paul is a dead man miss him miss him miss him.“
(End played backwards 3 times)
Paul is a dead man miss him miss him miss him!
The voice is probably John's, though some people insist it belongs to George.
The granddaddy of all the clues comes elsewhere on The White Album.
One of the more interesting aspects of The White Album is the short little song that appears on the record right before “Revolution Number 9.” It does not appear in the list of song titles nor do its lyrics appear on the lyric sheet.
(Song played)
Can you take me back where I came from?
Can you take me back?
Can you take me back where I came from?
Brother can you take me back?
Can you take me back?
Mm can you take me where I came from?
Can you take me back?
These allegorical lines leads into the selection which convinces many people that the Paul is dead rumor to be something thought of more than just a series of coincidences. The track is “Revolution Number 9.” In the beginning of the song one can hear two men quietly talking they're saying, “Realize I know all about George I'm sorry do you forgive me, yes.”
Listen carefully.
(First part played)
This is apparently is a conversation with the producer George Martin and could be about placing clues on the track. Then a voice repeats the phrase “Number 9” thirteen times. Listen again:
Number nine, number nine, number nine, number nine, number nine, number nine, number nine, number nine, number nine, number nine, number nine, number nine, number nine.
Why should this phrase be repeated so many times and then again later in the song?
When one plays this phrase backwards, a voice says something entirely different”
Turn me on demand, turning on dead man, turn me on dead man, turn me on dead man, turn me on demand, turning on dead man, turn me on dead man, turn me on dead man, turn me on demand, turning on dead man, turn me on dead man.
In “A Day in the Life” on Sergeant Pepper, Paul sang, “I love to turn you on,” and now, if in answer several years later, we hear a voice saying in a Beatles song “turn me on dead man.”
Continuing frontwards on the cut, many strange sounds can be heard including car horns, a car crashing, fire burning. These clues are very difficult to pick out on the radio, so I will leave it to you to listen to your own version of “Revolution Number 9.” In the middle of the song a man calmly says, “He had a pole, we better get in to see a surgeon. So anyhow he went to the dentist instead. They give him a pair of teeth that weren't any good at all. So my wings are broken and so is my hair I'm not in the mood for words. Find the night watchman, a fine natural and balance, must've got it in the shoulder blades.“
This monologue is not constant and is interrupted by horns, screams and the sound of fire. Other dangling phrases can be heard such as, “take this brother may serve you well.” Some suggest that this might be Paul passing on his fame talent etc. to Billy Campbell the new Paul McCartney.
When this song is played totally in reverse more interesting phrases can be heard, besides the famous “turn me on dead man.” While the crashes, screams, and fire can still be heard, after about one minute and 10 seconds a faint “let me out” can be heard apparently from someone burning in a car. At two minutes and 30 seconds the fire sounds are very clear and we hear the phrase “there were two there are none now.” Paul and Rita? At five minutes and 35 seconds we hear someone screaming, “Let me out! Let me out!”
Depending on the quality of your stereo headphones, other phrases can be heard such as, “if you want it you can prove it. I'm not in the mood for work or words from John.” This song in the whole White LP became the world's most backwards played album and indeed opened up a whole new way of looking at recorded music. One thing should be mentioned in the context: it should be understood by everyone before a record is finalized and finally pressed and released, it goes through a cleaning and checking by engineers and this involves both frontwards and backwards playing of the tape in order to edit out any stray sounds for noises. All Beatles records went through this process as well; therefore, we can conclude that all the extraneous sounds—words that we have just listed—were checked out, and allowed to remain on the record by someone in control of such matters.
5 comments:
Paul will probably outlive all his bandmates in the end.
'Is Paul dead ?'
Nah, all old people smell like that !
Paul is dead!, Ringo is the Beatles!
"'Is Paul dead ?'
Nah, all old people smell like that !"
I'm not sure if I should laugh or smack you for that... :-)
Nothing personal, but that was really lame. Why would they wait a full two years after his supposed death (1966, pre-Sgt Pepper) to sing about it? Realistically, Paul is the one who fought to keep the band together. If he were to have died, The Beatles would have packed it in at that point. So it's a very good thing he didn't and so neither did they.
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