Song Analysis Of 'Revolution' By John Lennon
“Revolution”, the single version, was recorded in the studio in July 1968. Originally, The Beatles recorded “Revolution” as a combination of “Revolution 1” and “Revolution 9”, written by John Lennon, for the White Album that was released later that year. Eventually, “Revolution 1” and “Revolution 9” were split into two tracks. “Revolution 1” was suppose to be the next single from the group. However, McCartney and Harrison had objections to the track for it’s tempo was too slow to be a single. After some objection from Lennon, they re-recorded the track at a moderate tempo and with heavily distorted electric guitars. The song became a raw, raucous, and feverous rock single. This outspoken and feverish single stands as one of Lennon’s first
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The song is written in A1A2BC form, or verse-chorus/verse-refrain form, which contains a particular level of predictability; however, at the same time, “Revolution” still holds many raw imperfections that leave it from seeming boring and monotonous (Platoff, p. 245). While most of the song and the verse, or A sections, is in duple meter (4 beats per bar), there are consistent irregularities that appear towards the middle of each verse. On the lyrics “Well you know”, there is a half measure (2 beats per bar) that throws off the meter of the song and can appear unusual to listeners (Pollack, “Notes on ‘Revolution’”). Furthermore, it creates “uneven phrases in a pattern of ABAB'CC'” (Pollack, “Notes on ‘Revolution”’). This allows the song to feel raw with little imperfections in between. In addition, the short B sections of the song act as a pre-chorus or bridge that links the previous verses of A to the chorus of the C sections. These bridges act as Lennon’s method of connecting what he sees happening with his views and how he can be “counted out” from the violence. This gives the song the “revolutionary” mood it’s meant to have. As well as linking Lennon’s ideas, the B sections also display the irregularities in meter that the verse contained. On the last phrase of the section, there is a half measure instead of a full one again, which continues to give the track the raw feel it has set out to be from the start. Lastly, the C sections act as a refrain present throughout the song. The C sections exemplifies Lennon’s overall belief that everything will be “alright” without the violence that is currently occurring in
The song is written in A1A2BC form, or verse-chorus/verse-refrain form, which contains a particular level of predictability; however, at the same time, “Revolution” still holds many raw imperfections that leave it from seeming boring and monotonous (Platoff, p. 245). While most of the song and the verse, or A sections, is in duple meter (4 beats per bar), there are consistent irregularities that appear towards the middle of each verse. On the lyrics “Well you know”, there is a half measure (2 beats per bar) that throws off the meter of the song and can appear unusual to listeners (Pollack, “Notes on ‘Revolution’”). Furthermore, it creates “uneven phrases in a pattern of ABAB'CC'” (Pollack, “Notes on ‘Revolution”’). This allows the song to feel raw with little imperfections in between. In addition, the short B sections of the song act as a pre-chorus or bridge that links the previous verses of A to the chorus of the C sections. These bridges act as Lennon’s method of connecting what he sees happening with his views and how he can be “counted out” from the violence. This gives the song the “revolutionary” mood it’s meant to have. As well as linking Lennon’s ideas, the B sections also display the irregularities in meter that the verse contained. On the last phrase of the section, there is a half measure instead of a full one again, which continues to give the track the raw feel it has set out to be from the start. Lastly, the C sections act as a refrain present throughout the song. The C sections exemplifies Lennon’s overall belief that everything will be “alright” without the violence that is currently occurring in