What is the significance of yellow submarine

Share this website. Song Yellow Submarine Release date: 05 August We all live in a yellow submarine, Yellow submarine, yellow submarine, We all live in a yellow submarine, Yellow submarine, yellow submarine, And our friends are all aboard, Many more of them live next door, And the band begins to play. We all live in a yellow submarine, Yellow submarine, yellow submarine, We all live in a yellow submarine, Yellow submarine, yellow submarine, As we live a life of ease, Ev'ryone of us has all we need, Sky of blue and sea of green, In our yellow submarine.

All rights reserved. Used by permission. We used to love that. See me," as if written by a school teacher. One can only assume that it was John who didn't approve of these lyrics, which he apparently agreed to because, not only did the lines make it on the released record, John himself vocalizes these words in an echo-like fashion on the recording.

Recording History. As a result, there was a lot of clowning around that evening — silliness that George Martin would not have tolerated — and so rehearsals took up a lot more time than the session itself. But eventually they settled down and began recording the backing track. On record it was faded out. The fourth take was deemed the best, although it was necessary to perform a tape reduction in order to free up more tracks for the various overdubs that the song would need.

This tape reduction then became take five. Onto this, the main vocals of the song were recorded. O ne final vocal overdub was recorded before the evening was over. The first order of business concerned concocting a rather bizarre feature to the song that was eventually dropped entirely. Even though we spent hours and hours putting it together, the whole idea was eventually scrapped. With this complete, it was time for a break. The Beatles met up with some friends for dinner who also received a special invitation.

They were all dressed in the finest Carnaby Street outfits, the women in miniskirts and flowing blouses, the men in purple bell-bottoms and fur jackets.

The whole marijuana-influenced scene that evening was completely zany, straight out of a Marx Brothers movie. The entire EMI collection of percussion instruments and sound effects boxes were strewn all over the studio, with people grabbing bells and whistles and gongs at random. To simulate the sound of a submerging, John grabbed a straw and began blowing bubbles into a glass — fortunately, I was able to move a mic nearby in time to record it for posterity. We filled it with water, got some old chains and swirled them around.

It worked really well. The raucous atmosphere of this recording session was actually simulated during the second verse of the song. The instrumental section of the song was not filled with an instrument at all but sound effects interspersed with muffled nautical voices performed mostly by John and Paul, reportedly shouted into tin cans. The ambience around his voice was just perfect, and that was the way that all those bits happened.

Although the record sounds quite produced, it was actually spur of the moment — John and the others were just out there having a good time. Somehow it worked, though, despite the chaos. The chaos was controlled, however, by someone who was experienced in how to do it well. There was one technical mishap that occurred while putting together the sound effect section of the song, this concerning the answering voices in the final verse that John had recorded during the first recording session for the song.

In fact, I had recorded him repeating the first two lines also, but a few days later, Phil McDonald accidentally erased the beginning of them — one of the few times his usually accurate drop-in skills failed him. From his station in the machine room, he got on the intercom and let George and me know of his gaffe while The Beatles were out of earshot.

I could hear the distress in his voice and could sympathize — almost every assistant had made a similar mistake at one time or another. That same library was to be put to good use later that night, when it came time to add a solo to the song. So instead, he came up with an ingenious solution — one that, with the passage of time, he has apparently forgotten.

The end result should have been random, but, somehow, when I pieced it back together, it came back nearly the same way it had been in the first place! No one could believe their ears; we were all thoroughly amazed. But by this point, it was very late at night and we were running out of time — and patience — so George had me simply swap over two of the pieces and we flew it into the multitrack master, being careful to fade it out quickly. Another sound effect reportedly fetched from the EMI library on this day was the sound of a cash register, the same exact sound effect that would eventually wind up on Pink Floyd's song "Money" seven years later, their album " Dark Side Of The Moon " also being recorded at EMI Studios.

Briefly heard with discerning ears during the instrumental section of "Yellow Submarine," this effect seems quite unusual for its context. I don't know of too many submarines that are equipped with cash registers. Five mono mixes were made on this day, presumably the fifth being the released version for the mono album and single. As for the stereo placement of the elements, all the lead and harmony vocals are completely in the right channel while the rhythm track is entirely in the left channel.

Since the sound effects and voices recorded on June 1st, were only faded up sporadically during the initial mixing stages, this mix brought more of them to the fore and at a higher level. Also tacked on to the beginning of this mix is a good portion of the spoken word introduction that was never released before. It could have sunk without a trace, a cinematic curio of the flower power age. Yet Yellow Submarine has become an enduring cult classic.

The yellow sub can be found on all sorts of merchandise, from socks and tea infusers to Lego sets and Monopoly boards. Long before Pixar, this funny little film directed by George Dunning pulled off the trick of simultaneously appealing to both kids and their parents.

I should know: I was raised on it, courtesy of hippie parents and a beloved grainy VHS I must have watched hundreds of times. For the uninitiated, the movie tells the story — such as it is — of Pepperland, a peaceful place full of gardens and bandstands, 80, leagues beneath the sea. Flowers and foliage curl and multiply in eye-popping hues. Flat outlined figures look like Aubrey Beardsley drawings on acid. Watercolour shading on landscapes and plants lends an unsettling beauty.

And there are also suitably mind-blowing op-art style sequences — the seemingly infinite black-and-white sea of holes still freaks me out. Animation, in general, does possess an almost unique power to be, well, strange: you can create anything you can imagine, play wildly with scale and colour, even collapse space and time. Yellow Submarine realises the full potential of all that.