for the benefit of mr kite lyrics meaning

Kite!" This guitar solo is evidenced in the second half of the first instrumental section of the song. Two more overdubs were performed on this day, one being an “oom-pah-style organ played by John,” as described by Geoff Emerick.

The third of these chords is the home key of D minor, although this is quickly dissolved to make way for a transitional chord (G major) to get us to the first verse that follows. BEING FOR THE BENEFIT OF MR. KITE, (LATE OF WELLS’S CIRCUS) AND MR. J. HENDERSON, THE CELEBRATED SOMERSET THROWER! "Mr. J. Henderson" was John Henderson, a wire-walker, equestrian, trampoline artist, and clown. On TUESDAY Evening, February 14th, 1843. We pretty much took it down word for word and then just made up some little bits and pieces to glue it together. The original rhythm track and tape effects are augmented by John on ‘oom-pah’ style organ playing and the main melody line of the verses played by George Martin on the organ. About Being for the Benefit of Mr. Kite! This is followed by a truncated replica of the introduction of the song, complete with the organ riff, the harmonica menagerie and the snare drum roll. Pepper” got its first compact disc release, its liner notes mistakenly referring to the song as written entirely by John. While the exact verbiage from the poster, as spelled out above, is hardly an exact match to the lyrics of the song “Being For The Benefit Of Mr. Kite,” we can see how John would be attracted to the spellbinding huckster-like approach used here, complete with its use of … He slurred the words “Mr. This transitional chord on the organ, harmonicas and bass guitar is accompanied by Ringo’s tightly-tuned snare drum roll, played as if to quickly divert our attention to the center ring for the start of the show. According to Geoff Emerick, the conversation between John and George Martin apparently continued in the control room before the session ended early the following morning. Whether John was serious or just being facetious is not known. This third verse consists of John on Hammond organ and George Martin on Wurlitzer organ, both played at half time so George could play the fast descending swirly organ riffs. John may have been quick to dismiss it, but most would beg to differ. It was undoubtedly at this point also that he double-tracked his vocals in key spots as well as recruited Paul and George to contribute harmony vocals in strategic places. In 1810 he had founded Kite’s Pavilion Circus and later moved to Wells’ Circus.

Mr. Kite will, for this night only, introduce the CELEBRATED HORSE ZANTHUS!

Pablo Fanque was a talented performer-turned British circus owner whose real name was said to be William Darby. ‘What I want…is some kind of swirly music, you know?’ George Martin didn’t know. Kite!” by adding a series of overdubs. And, as usual, his background harmonies are perfect. AND POSITIVELY THE LAST NIGHT BUT THREE! A rough mono mix was then made of the song as it was thus far, studio documentation showing that Paul, not John taking it home with him. Pepper’s Lonely Hearts Club Band”. Kite’ isn’t right.”.

I learned that the hard way one night when I slated a take in a hurry and mistakenly shortened the title to ‘For The Benefit Of Mr. Kite.’ John immediately corrected me in an irritated tone of voice: ‘No, that’s “Being For The Benefit Of Mr. Kite.”’”. The tape was rolling while John humoursly ran through the first line of the song and requested "iced water" while the others were goofing around on their instruments, which prompted George Martin from behind the harmonium to exclaim, “OK, men, let’s go. Pepper" album.

was released in this portable format, "Being For The Benefit Of Mr. I didn't believe in it when I was doing it. The sound effect montage is more subdued during the waltz instrumental section and is heard primarily in the left channel at that time, but this montage spans the stereo landscape in the conclusion of the song to create a tantalizing experience when listening with headphones. attitude was taken on the chin by the group, John Lennon in particular. I'm still practicing, still trying to figure it out…It's like, ‘How does this one go again?’…But like I said, you've got to look what you're doing when you play that one.”, It’s really quite telling how John quickly dismissed the whole “Sgt. So what do you do on your lunch breaks? “When you get down to it, it was nothing more than an album called ‘Sgt. "Pablo FANQUE’S CIRCUS ROYAL, TOWN MEADOWS, ROCHDALE. !’ ‘Cut it up into little parcels about a foot long, and don’t be too careful about the cuts.’ Clearly thinking I had lost my senses, he did it, leaving me with a bunch of pieces of tape some one foot long – about sixty in all. I just did it.

And then, sometime between 2016 and 2017, Giles Martin and engineer Sam Okell brought out all of the tapes for "Mr. I mean, something like ‘Being for the Benefit of Mr. Kite!’ is hard to do. Kite,” with his elaborate harmonium, organ and glockenspiel playing, some of which were played at half-speed to get the required speed and effect. It was Pablo Fanque’s fair, and it said ‘being for the benefit of Mr. Kite’; almost the whole song was written right off this poster.”  “Everything in the song is from that poster,” John related earlier, “except the horse wasn’t called Henry. Pepper" album, went very well as far as most of the rhythm track was concerned, John putting in a very good performance on vocals as well. The rhythm track for the majority of the song was deemed best, but an edit apparently had to be made to capture the final measures of the song from a previous 'take,' possibly the excellent 'take four.' Over Men & Horses, through Hoops, over Garters and lastly through a Hogshead of REAL FIRE! Pepper’s Lonely Hearts Club Band” in the US. Well known to be one of the best Broke Horses IN THE WORLD!!! In regards to the rhythm track recorded on this day, Geoff Emerick has a vivid recollection: “It did take quite a few tries to nail it down, though, which caused problems for George (Martin), because the harmonium required pedaling to get air through its bellows, kind of like riding a bicycle. Pepper” album – even as early as late 1967. Not so, according to Paul in his book “Many Years From Now.” “We just sat down and wrote it. This all abruptly grinds to a halt in the twelfth measure as the crashing piano chords and pounding drums of the thirteenth measure bring us back from the “Henry the horse” fantasy to the next feature of the circus. This was, in fact, a session intended for creating mono mixes for the album, this beginning at 7 pm in the control room of EMI Studio Two with the production team of Martin, Emerick and Lush.

And the project, which was published by Parlophone Records on May 26th, 1967, produced a ton of hits. ), Take one began with John becoming slightly irritated at engineer Geoff Emerick as can be heard on the 1996 release “Anthology 2” and explained in Geoff’s book “Here, There And Everywhere”: “John Lennon always had a precise title for each of his songs, and woe betold any of us who didn’t get it correct. (Note: Paul related to Rolling Stone magazine in 2013 his recollections of adding the bass part as an overdub after the rhythm track was recorded, but listening to the original takes of the song, as witnessed on “Anthology 2,” reveals otherwise. In his book “All You Need Is Ears,” George Martin gives the details (however, suggesting it was his initial idea and forgetting they had done it before the previous year for “Yellow Submarine”).

‘What did you do that for?!! George continued, "You'll hear it, I mean, it'll be on the bass..," which prompted John to reply, "Well, we'll have the 'Massed Alberts' on by then, won't we?" Then, when we double the tape speed, it’ll come out all nice and smooth and very swirly.’ Of course, we could always have got a professional organist in to do it, but our attitude was ‘Why the hell! The first verse is fourteen measures in length and consists primarily of John’s double-tracked lead vocals and Paul’s thumping melodic bass runs set against George Martin’s harmonium playing and Ringo’s open hi-hat accents on the two- and four-beat of each measure.

Well known to be one of the best Broke Horses IN THE WORLD!!! I didn't dig that song when I wrote it. ‘You know, cutting up some tapes of sound effects to try to create an atmosphere?’ By this point, Lennon had lost interest and was heading out of the control room in search of some new stimulation. John Henderson, with his wife Agnes, travelled throughout Europe and Russia during that time as circus performers, John being a noteworthy trampolinists, wire-walker and clown. Plus the fact that I'd never done it. I want to feel like I’m at the circus with Mr. Kite and the Hendersons and all that.’…his request didn’t seem all that outlandish, but he wasn’t exactly giving us specific directions in how to achieve his vision, either.”. Mr. KITE will appear, for the first time this season, On The Tight Rope, When Two Gentlemen Amatuers of this Town will perform with him. For the benefit of Mr. Kite There will be a show tonight on trampoline The Hendersons will all be there Late of Pablo Fanques Fair, what a scene! Not to mention his ingenuity, along with Geoff Emerick, in creating the fantastic backdrop of tape effects which complete the picture. Kite” under a gazebo in Pepperland from the “, It’s really quite telling how John quickly dismissed the whole “. When it was quickly apparent that this wasn’t what they intended, Paul then demonstrated the correct feel on his bass to clue Ringo in on what was needed for the song. The eleventh and twelfth measures bring in Paul and George’s harmonies on the highly-reverbed phrase “in this way Mr. K. will challenge the world-dah,” the last exaggerated syllable sung by John alone. Onto this, John overdubbed his lead vocals as also heard on the finished product, this being recorded at 49 cycles per second instead of the normal 50 so his voice would sound slightly higher when played back. Mr. HENDERSON will undertake the arduous Task of THROWING TWENTY-ONE SOMERSETS, ON THE SOLID GROUND. Kite! I had never seen heroin in that period. ‘The Hendersons, Pablo Fanques, somersets…’ We said, ‘What was 'somersets'? While George nowhere touches a guitar on this song, his work on bass harmonica and harmony vocals (not to mention his maraca shaking from the rhythm track) show him cooperative to the spirit of the occasion. You play the tune twice as slow and an octave down, and I’ll do my runs as fast as I can, but an octave down as well.

Before the song started, John is heard saying, "This time you'll get it in the middle of the song...I had to laugh myself, y'know," and then, as Paul was thumping on his bass, John sang, "Wild, wild, Smack-on." Kite.’” During a 1968 interview for Hunter Davies’ biography “The Beatles,” John’s opinion of the song was the same: “I hardly made up a word, just connecting the lists together.

The fairground sound would have to be created inside Abbey Road using other equipment.”, The recording staff of George Martin, Geoff Emerick and 2nd engineer Richard Lush assembled in EMI Studio Three on February 20th, 1967, at the usual starting time of 7 pm to work out this dilemma. The CD was then remastered and re-released on September 9th, 2009. It really is.

Kite!”. After it concluded, George Martin gave a suggestion to John concerning his not needing to sing the song so forcefully.

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