Tomorrow Never Knows

On this date sixty years ago, The Beatles began recording Tomorrow Never Knows, the revolutionary and groundbreaking track from the album Revolver, released in August 1966.  Though it was the last song on the second side of that album, it was the first song recorded in the sessions for the record, something I was surprised to discover decades later.  At the time, we'd never heard anything remotely like this before, and thought its placement as the closing song was a signal that big musical changes were coming for The Beatles.  As with A Hard Day's Night, the title is from an off hand remark by Ringo.  Before settling on Tomorrow Never Knows was called The Void and Mark 1.

Tomorrow Never Knows is primarily a one-chord song with a droning tone, interspersed with weird, swirling snippets from something strange, and backwards guitar bits.  Behind it is Ringo's drum pattern, which remains unchanging throughout.  I've seen recent commentary from younger listeners thinking that because the drum pattern is so unerringly accurate Ringo must have played a small part that was then digitally repeated.  However, the technology did not exist at the time and it really is Ringo from start to finish.  George Harrison plays sitar or tamboura, depending on the analysis, on the track.

Topping it off are Lennon's lyrics, "turn off your mind, relax and float downstream/ All play the game
Existence to the end, of the beginning".  John's instruction to George Martin was to make his voice sound like he was the Dalai Lama singing from a mountaintop, which, with some studio ingenuity, Martin accomplished by feeding the vocal through a revolving Leslie speaker inside a Hammond organ (the effect starts 87 seconds into the song).

The most innovative aspect was the use of tape loops  This description is from The Beatles Recording Sessions: The Official Abbey Road Studio Session Notes by Mark Lewisohn (1988):

Perhaps the most striking sound on Tomorrow Never Knows is one of tape loops [the sound achieved by tape saturation, by removing the erase head of a machine and then recording over and over on the same piece of tape]. . . .  The seagull-like noise on Tomorrow Never Knows is really a distorted guitar. (According to studio documentation, other loops used included the sounds of a speeded up guitar and a wine glass.)  "We did a live mix of all the loops," says George Martin. "All over the studios we had people spooling them onto machines with pencils while Geoff [Emerick] did the balancing.  There were many other hands controlling the panning." . . . "It was done totally off the cuff.  The control room was as full of loops as it was people".  "I laid all of the loops onto the multi-track and played the faders like a modern day synthesizer" says Emerick.

You can watch a video about the recording here which contains additional details and differs in some respects from the Lewisohn book.  You can listen to the isolated tape loops here.