I made this for music class.

A music video to the song The Fool on the Hill by The Beatles.

the best song ever made by the beatles

Here, There, and Everywhere: My Life Recording The Beatles by Geoff Emerick (and Howard Massey) is probably my favorite book on The Beatles because it allows me to take such an intimate look at the recording of classic Beatles LPs like 1966′s Revolver (the first album that Emerick was lead recording engineer on.)

I love that this book is concentrated on what was going on at Abbey Road Studios instead of what the guys (John, Paul, George, & Ringo) up to personally (like going to India for example.) Not that I don’t enjoy that kind of stuff but that I’ve already read all about their personal biography so many times in other books that I don’t really need to read about it anymore. Too many books have been written about The Beatles biography in comparison to about the music that made anyone care about their biography.

The book isn’t entirely about recording The Beatles, it’s really a Geoff Emerick autobiography (with an obvious focus on his time recording The Beatles) however if you think that that may make it less interesting, I really don’t think that is true. I actually think it helps make his stories about The Beatles seem more “real.” I also enjoyed his perspective on life in London at the 1960s. He had a keen interest in technology and reading his story about how he was interested in this new fangled technology called “stereo” (I believe this was in the late ’50s) was very cool.

This book gives a great look into The Beatles as musicians (although not really in a music theory sort of way, if you’re interested in that – you should check out the two books that are called The Beatles as Musicians.)

We get a glimpse of Paul working tirelessly to get his bass lines on Sgt. Pepper perfect and we see George improve his guitar playing abilities through the decade. As a struggling guitarist myself, I was actually encouraged by Emerick’s stories of how George often struggled to get his parts down.

Emerick was an essential part of the band’s sound during their most creative period in the mid ’60s. And that means he has really interesting stories on how some of the most unusual sounds that The Beatles got down on tape came to be.

He describes in great detail how George wrote the backwards guitar solo in “I’m Only Sleeping.” He also talks about how they got the distortion sound on the guitar on “Revolution.” All of these kind of details that may not be of too much interest to casual fans are extremely interesting to people like myself who like to record music.

It’s not all about the music though. He also describes in great detail what it was like to be in the studio with these guys. He describes their personalities in ways that makes them seem much more human. Overall he does make Paul come off sounding the best probably. Some may question his motives on that as he was closest to Paul of all of the Beatles (and he ended up working on some of his solo albums) but it’s more likely that Paul was the type of guy that most people would like most in a day to day sort of situation.

I just found this to be a truly fascinating read. Anyone who loves the “Fab Four” anywhere near as much as I do will probably agree.

Bill Wren was only fourteen when The Beatles took the stage on the Ed Sullivan Show. It wasn’t long before he bought a bass guitar at a local music store and learned to play. In high school, Bill and his band performed the Fab Four’s “Day Tripper” to the adulation of their fanatic classmates. It was in that very moment his world changed forever. He would spend the next fifteen years playing bass in Rock bands stretching from Michigan to Texas. However, after a twenty-five year detour from music, Bill has now returned to music as much more than a bass player. His debut release, One Day in a Life, displays how his well-honed songwriting skills have evolved with his seamless ability to blend styles.

In One Day in a Life, Orchestral, Acoustic Rock, and New Age music collide to create something simply beautiful. Like a master Renaissance painter, Bill has a musical palette of Jazz, Blues, and Rock which he mixes and blends perfectly on a canvas of his life experience. Says Wren, “I endeavor to write music that moves the human heart in a positive way.” One Day in a Life presents eleven tracks that are soothing, smooth and flow easily. “Heart to Heart” features acoustic piano, guitar, and bass which collide with gentle percussion and speak directly to the soul. Moody and mellow soundscapes emerge from complex and soaring melodies in “Betrayal” and “Day Break.” Compositions such as “Ocean Breeze” and “Old Friend” reveal subtle melodic menageries, with a hint of his influence from the sixties.

The success of One Day in a Life started long before it was released. Many of the songs have already placed at #1 or in the Top 10 on SoundClick.com and Broadjam.com. In fact, Bill’s songs have been played over 37,000 times on SoundClick.com. Additionally, Wren’s compositions have already won awards such as: The Indie International Songwriting Contest, and the UK International Songwriting Contest. Even in pre-release, this album was slated for success, but this success is due to a trio of talent, not simply Bill. The album features the masterful production and arranging work of Frank Ralls. Further arrangement was completed by the gifted musical prowess of Terry Winch and Ike Sturm. It’s the professional work of these three pros that bring Wren’s compositions to life with their flawless harmonic/rhythmic structure and polished production.

It’s been a long trip from “Day Tripper” to One Day in a Life, but it’s a ride that is well worth the wait. It has proven you can take Bill Wren out of music, but you can’t take the music out of Bill Wren. Either way, Wren is back from his detour, and he is right where he belongs. The debut album is available now at SoundClick.com as well as Bill’s web site at the links below. Take time out of your day to get One Day in a Life – it will touch your heart.

http://www.billwrenmusic.com

Take a listen to “Old Friend”
http://www.billwrenmusic.com/emagazine/08.mp3

In 21 century there are lots of music instruments that are changing rhythm of music and becoming trance based including lots of technology to produce music to groove us. You would get some diversity with traditional and latest music adopting slowly slowly. For entertaining life, you would get lots of disco bars like.

Hard Rock Café: you would get two guitars on door with welcoming to you. You would enjoy their rock, roll and iconography. You can wet your whistle with lots of beers, and fries snacks to nibbles on. You would get their Rock beats with different beer for wetty whistle. Your bar is located at Hard Rock Cafe Dubai, Sheikh Zayed Rd., Exit 32, P.O. Box 26422, Dubai, United Arab Emirates. For enjoying life, there is opening from noon to 2 AM.

Trilogy: With Moroccan style, this is one of premium clubs. It is also known as DJ scale. You would get three levels of floor. You would get revelers party in main rooms. Entertaining time is 9 PM to 3 AM. You would enjoy with beer, liquor and wine and DJ style. This is combination of bar and dance club with trendy or stylish dress.

Buddha Bar: this is club cum restaurants along with vast statue. This is quiet romantic, conversation bar with fine and appetizers food selection. For dress limitation there is allowed to have casual, trendy and stylish look. This is bar and hotel both combination to enjoy life.

Planet Hollywood: Planet Hollywood provides American fare with terrific hamburgers, chicken wings, buffalo shrimp and all sorts of fried goodies. You may visit restaurants from inside and you may wet your whistle with beer, wine and liquor. Opening hours are nice to meet with sat â??Thu midnight; Fri 11:30 Am to midnight. This is bar type with Rock music collection, served food is Appetizers, Pub Grub style.

Visit website for amusement parks, water park list, disco clubs

The actual recording of the final track for the album, A Day In The Life Beatles was done in a full out creative environment where Paul McCartney and John Lennon were in their top song writing form. Writing two separate pieces of the song separately, the had to deal with how to incorporate the two pieces and join them together. After some time, it was McCartney and George Martin who came up with the orchestral middle section.

After the basic track for the song was refined and additional parts added, there was still the problem of the missing 24-bar middle that would connect the two sections of song. Paul McCartney had the idea of bringing in a full 90 piece orchestra to fill in the missing gap and requested that George Marting write a loose score for the section that would encourage the classically trained musicians to improvise a little within the parameter of A Day In The Life Beatles. While wanting the full 90 piece orchestra, in the end a 40 piece ensemble recorded the improvised section a total of 4 times, with eventual overdubbing for a massive crescendo of sound that is powerful, and reverberating. To cap it off, the orchestra members were asked to wear costume pieces over their orchestral uniforms which was to keep in line with the Beatles penchant for experimentation and flair for the flamboyant. In the end, after 34 hours of recording time, ‘A Day In The Life’ can be easily regarded as on of the more creative recording sessions of the Beatles career and a song that still lives on in several covers and samples.

The culmination of their fascination with pushing the recording studio to the very limits of the possible was the ‘Sgt. Pepper’s Lonely Hearts Club Band’ album, which presented the Beatles in full-blown psychedelic regalia. The record employed everything from harpsichords to backward-masked lyrical tracks, and it is regarded as one of pop music’s greatest masterpieces of all time.

For the final track on the album, A Day In The Life Beatles members Paul McCartney and John Lennon pulled out all of the stops. Together with Martin, they constructed what can only be described as a song in 2 distinct movements linked by noisy, urgent crescendos. The two Beatles had written a few short verses independently of each other, and as neither of them had found a way to create a full song out of what they had recorded, they decided that the best thing to do would be to incorporate the two into a single track.

The transition between the two different parts of ‘A Day In The Life’ proved to be an early sticking point while recording. As can be heard on the Beatles Anthology, a simple piano bridge was initially inserted, along with the voice of a recording technician counting out the bars that the projected interlude would last. George Martin, at the request of McCartney, wrote a hasty orchestral score and presented it to a 40 piece group to record the 24 bars necessary to make the song whole. In order to make the orchestra sound larger than it actually was, their part was recorded and overdubbed 4 times, creating a cacophony of sound that to this day is enough to disturb the peace.

The raucous final crescendo was capped off by a single piano chord, reverberating into silence. The song is followed by what was originally the run-out track on the record, a mish-mash of Beatle-talk that was cut up and re-arranged by Martin into complete nonsense. Compact disc and cassette releases of ‘Sgt. Pepper’s Lonely Hearts Club Band’ tacked this track onto the end of ‘A Day In The Life’, and faded it out into eventual silence.