How many Pepper runout groove messages are there?

[noodles]

Are there more than two?

[JoJo]

There's backwards and forwards..

Do you pose the question because you suspect there's more?

EDIT: forwards and backwards.

[noodles]

Hi JoJo, I was asking because mine's different from from the main version I've heard. I was wondering if there were differing versions but maybe mine's just a mispressing?

mp3

[JoJo]

I see what's going on here, someone isolated the first couple of seconds of the entire runout groove, (forwards) and repeated it. Interesting, because there is a little extra "something" in that beginning portion, never would have noticed otherwise.

I'll put your version up here, because yousendit links don't last very long.

[JoJo]

I slowed down your version, but here is the normal runout groove slowed down. I think "never could see any other way" is pretty clear this way..

Now your version given the same treatment: link.

Less clear, and at the risk of directing anyone's mind away from other possibilities, this is my interpretation:

Man..shoot me..(goodbye?).. never..

Also entirely John's voice IMO.

[plastic paul]

Now it's weird coz we all kjnow the "never couuld..." but in the slow one you notice someone (i agree jojo, john) saying something else in the background, though i can't say what it is i hear just yet...

Should this thread not be in the clues section...?

[plastic paul]

Good work JoJo!!

[paulumbo]

In a London Times article of June 12, 1967, they were talking about the run-out groove on A DAY IN THE LIFE, and they identify it as "a six-note phrase which repeats itself automatically, as long as the needle stays in the groove, to words which sound like 'I never could see any of them.'"

[P(D)enny La(i)ne]

Oct 10, 2008 17:30:57 GMT -5 @paulumbo said:

In a London Times article of June 12, 1967, they were talking about the run-out groove on A DAY IN THE LIFE, and they identify it as "a six-note phrase which repeats itself automatically, as long as the needle stays in the groove, to words which sound like 'I never could see any of them.'"

I'm only aware of ONE Sgt. Pepper Inner Groove, paulumbo.

[paulumbo]

I made a copy of the article; they say it's there. They also mentioned the high-pitched electronic note in the pause after DAY IN THE LIFE that's meant to be only be heard by dogs. BTW, the article is titled "Strictly for the dogs."

[sunsoflight]

To my ears, I always heard the surface voice saying: "I never could have seen it any other way"
What confuses things are the multiple voices since it is only a snippet of sounds or even perhaps snippets of layered sounds.

[iameye]

"never coo (l)ucy any other way"
forwards and backwards.

just kidding

[P(D)enny La(i)ne]

Oct 21, 2008 10:44:17 GMT -5 @sunsoflight said:

To my ears, I always heard the surface voice saying: "I never could have seen it any other way"
What confuses things are the multiple voices since it is only a snippet of sounds or even perhaps snippets of layered sounds.

I've always heard it as one of these:

"Never you see any other way"

or

"Whenever you see any other"

As in:

"...ever you see any other when...ever you see any other when...ever you see any other when...ever you see any other when"

[Girl]

"Never Lucy, Abbey all the way."

So says "ispauldead.com".

I hadn't heard this one before, so my first impression was that perhaps Paul turned off somewhere when he should have stayed on Abbey Road. So I examined a map of the area, Paul was supposedly living at 7 Cavendish Ave. at that time which is not too far from the studio? Anyhow, no conclusions yet.

[TotalInformation]

I never could see any other way-I never could see any other way-I never could see any other way-I never could see any other way-I never could see any other way-

I will love you like a superman.I will love you like a superman.I will love you like a superman.I will love you like a superman.I will love you like a superman.

[ramone]

I always thought it said - 'Never could be any other way."

[TotalInformation]

"way" elides into "I" on the loop

[iwasyou66]

i personally hear "never could be any other way" forwards, but backwards i hear "will Paul be back as superman?"

[Rubber Soul]

Forward it sounds like, never could be any other way, backwards it sounds like. Paul will Fuck you like you're superman

[Rubber Soul]

Forward it sounds like, never could be any other way, backwards it sounds like. Paul will Fuck you like you're superman

[delysid]

There are definitely several edits of the run out groove, some of which were generated by different pressings and masters or edits (like the one for the 1987 CD which was an actual re-performance of several cycles of the 'run-out groove' from vinyl.
But there is also at least one bootleg cut which is a long take in which the run-out groove section occurs.
Somewhere in my collection I have that cut and I'll try to get back and post it if I find it.


And the official 'interpretation' of the backward play was always 'We'll Fuck You Like We're Supermen' until this century when someone suggested it sounded like 'We'll all be magic supermen' which I've never heard it sounding like that even with a bit of imagination.
The incumbent McCartney (or one of his triples) hasn't dealt with this more than a couple of times but the fullest version was in a book of interviews with Paul Gambuccini (Paul McCartney In His Own Words, published in 1975).
And actually, I just went to my digital version of that book and found that it contains a bit more PID-relevant stuff than I remembered so here is the relevant bit in fullness of context (especially noting McCartney's run-in comment immediately before Gambuccini inserts a PID article from the underground paper RAT -SUBTERRANEAN NEWS):

-----------

Paul Gambuccini:
When you do have rough edges on an album, you're open to interpretation. There's the famous example of John and Yoko's 'Wedding Album', where the reviewer reviewed the tone on the test pressing and said that the subtle fluctuations in this tone were very arty.

Paul McCartney:
The whole analysis business is a funny business, it's almost like creating history before it's been created. When a thing happens you immediately start analyzing it as if it was fifty years ago, as if it was King Henry VIII who said it. It is daft, actually, but you can't blame anyone for doing it, they've got to write something. Unless they can say "I was around at his house and he gave me a nice cup of tea... funny little blue cups he gave it in...'' they've got to say, well, what did you mean by this, or what was that tone.

PG:
With one song you mentioned just a few minutes ago, 'Hey Jude,' everyone was trying to figure out who Jude was.

PM:
I happened to be driving out to see Cynthia Lennon. I think it was just after John and she had broken up, and I was quite mates with Julian (their son). He's a nice kid, Julian. And I was going out in me car just vaguely singing this song, and it was like "'Hey, Jules." I don't know why, "Hey, Jules." It was just this thing, you know, "Don't make it bad/Take a sad song…" And then I just thought a better name was Jude. A bit more country and western for me.
In other words, it was just a name. It was just like "'Hey Luke" or "Hey Max" or "Hey Abe", but "Hey Jude" was better. To one fellow Jude meant Jew, "Juden Raus," "Jew Get Out." At the time we had the Apple shop. I went in one night and put whitewash on all the windows and rubbed out 'Hey Jude' as a big ad. I thought it was a great thing, nothing happening in the shop, let's use the window as a big advertising thing for the record. So I did this 'Hey Jude' right across the window and some feller from a little Jewish delicatessen rang up the office the next day. He said "If my sons vere vif me, I'd sent von of them round to kill you. Yuu are doing this terrible thing with the Jewish name. Wat you want, Juden Rans, you trying to start the whole Nazi thing again?"
Those are the kind of things, you know, that do happen. But really in nine cases out of ten, even when all this bit went down after the Beatles, John writing a song at me, me supposed to be writing songs back at him... OK, there was a little bit of it from my point of view, certain little lines, I'd be thinking, "Well, this will get him." You do, you know. Christ, you can't avoid it. 'Too Many People,' I wrote a little bit in that, "too many people preaching." That was actually the only thing I was saying referring to John at the time.
What I meant to say was, once you get analyzing something and looking into it, things do begin to appear and things do begin to tie in. Because everything ties in, and what you get depends on your approach to it. You look at everything with a black attitude and it's all black.


RAT
SUBTERRANEAN NEWS

“It’s High Time Our BILLY Received The Credit He Deserves” - DAD

(Editors' note: Lee Merrick, an old friend of ours, sent this RAT exclusive by cable just a day before publication.)
by Lee Merrick

London - October 26. Paul McCartney is dead.
All the Beatles, of course, know it but they aren't talking.
All the insiders at Apple Corporation have known it for a long time without ever leaking a word. It's been the world's best-kept secret.
But, in the last few days I have discovered absolute proof of Paul's death; and I think it's time that the world knew the truth. The hoax has gone on long enough.
I have gotten to know a lot of people at Apple Corp, pretty well during the six months that I've hung around jamming and doing various studio gigs.
I had seen the Beatles, including ‘Paul’, many times around the studio and offices. Rumors about them are a dime a dozen.
I had heard the one about Paul's death, but it was just one of scores that went around. Even when the death rumor received international press coverage, I didn't take the whole thing very seriously.
But my opinion changed radically as a result of a party I attended last Wednesday.
The party, at the house of a London rock musician, included the usual assortment of hip writers, rock-stars and hangers-on.
Several Apple friends also showed up. The latest Beatle rumor was, of course, the main topic of conversation.
Everyone there considered himself to be very in with the Beatles, and they all joked about the obvious foolishness of the latest out-cropping of Beatlemania.
After a while, several of my Apple friends and I decided to split to one of their apartments to smoke a little dope and check out some new tapes that had just come in.
People eventually drifted off to crash or ball, living only myself and my friend.
I had noticed earlier that the light talk about Paul's rumored death had put him very up tight, and the idea to leave had been his in the first place.
In the past few months we had grown pretty close - and we were pretty stoned - so I began to question him about the whole affair.
The story I drew out of him over the next few hours went like this:

Remember the first cut on the Sgt. Pepper album? The one with the line "And now we introduce to you the one and only Billy Shears"?
Did you ever wonder just who ‘Billy Shears' actually was? Of if he even existed?
Billy Shears was a young London rock musician who did short gigs in London nightclubs and occasional tours, waiting for the chance to make it big.
As the fifties rock-and-roll craze spread across to Europe, he got a chance to play various clubs on the Continent.
In 1962 Shears played on the same night­club bill as Paul McCartney. In fact, he was virtually a dead ringer for Paul.
Of course, you could tell the difference if they stood side by side. Billy had a somewhat over-sized, beak-shaped nose.
But in photographs or at a distance, they were absolutely indistinguishable.
Their friendship remained intermittent over the next year or so as their respective tour paths occasionally crossed.
When fame came to the Beatles in 1964, however, they lost touch with obscure Billy who drifted from small bandsman to studio musician.

In November, 1966, Paul McCartney was involved in an auto accident - a fatal accident. John, George and Ringo first wanted to stage a gigantic funeral in memory of Paul.
But super-sharp mana­ger, Brian Epstein, feared that Paul's death would destroy the Beatles mystique and managed almost entirely to suppress the news.
Epstein's calculating mind had already devised a scheme for keeping the Beatles intact - at least for the public.
With a minor nose job, Billy Shears would make a perfect replace­ment for Paul. Though hesitant at first, Shears soon accepted Epstein's offer.
What musician could resist the oppor­tunity to step into the shoes of one of the superstars of the rock world.
In the first album after Paul's death, Sgt. Pepper, the Beatles cryptically introduced the new "Paul" in the first cut.
The album closes with "A Day in the Life", the story of Paul's death. (" ...He blew his mind out in a car/He didn't notice that the light had changed/A crowd of people stood and stared/They'd seen his face before ... ")
Knowing perhaps that the ruse couldn't last, the Beatles have hinted at the truth in every successive album. On the Sgt. Pepper album centerfold, only 'Paul' faces away from the camera.
Epstein did not want a large close-up of 'Paul' to be shown until people became accustomed to the slight difference from the deceased Beatle.
On the Magi­cal Mystery Tour insert, only 'Paul' wears a black rose. "Revolution Number Nine", on the double album, contains the phrase "I buried Paul" when played backwards.
The cover picture of the most recent Abbey Road shows the Beatles walking single file. The first two, Ringo and John, wear mourning clothes;
'Paul' is barefoot and dressed as for burial; George follows in the work clothes of an English gravedigger.
Even though I knew that my friend, who asked to remain un-named, had known and worked with the Beatles from the early days in the fifties, his story seemed almost too fantastic to believe.
And certainly people who did not know him would have no reason to believe that Billy took Paul's place three years ago.
So, for the next few days, I searched for evidence to absolutely confirm the story.
My search ended in the quiet Chelsea section of London where I talked with Philip Shears, father of the new Paul McCartney.
At first, Mr. Shears hesitated to discuss the matter. He had kept his lips sealed for three long years in the pleasant, middle-class home his son had bought for him.
But after I repeated the story my Apple friend had told me, the elderly Mr. Shears relented and confirmed the facts.
"Mums and me always knew that it couldn't stay secret forever. The Beatles are a bunch of wonderful lads and have made a whole new world for us."
But, he added, "It’s high time that our Billy received the credit he deserves."
And now he has.



Paul McCartney:
This other idea of Paul Is Dead. That was on for a while.
I had just turned up at a photo session and it was at the time when Linda and I were just beginning to knock around with each other steadily.
It was a hot day in London, a really nice hot day, and I think I wore sandals. I only had to walk around the corner to the crossing because I lived pretty nearby.
I had me sandals on and for the photo session I thought I'd take my sandals off.

Linda McCartney:
No, you were barefoot.

PM:
Oh, I was barefoot. Yeah, that's it. You know, so what? Barefoot, nice warm day, I didn't feel like wearing shoes. So I went around to the photo session and showed me bare feet. Of course when that came out and people start looking at it they say "Why has he got no shoes on? He's never done that before." OK, you've never seen me do it before, but in actual fact, it's just me with my shoes off. Turns out to be some old Mafia sign of death or something.
Then the this-little-bit-if-you-play-it-back-wards stuff. As I say, nine times out of ten it's really nothing.
Take the end of 'Sergeant Pepper', that backwards thing. "We'll fuck you like Supermen." Some fans came around to my door giggling.
I said, "Hello, what do you want?" They said, "Is it true, that bit at the end? Is it true? It says 'We'll fuck you like Supermen.' "
I said, "No, you're kidding. I haven't heard it, but I'll play it." It was just some piece of conversation that was recorded and turned backwards.
But I went inside after I'd seen them and played it seriously, turned it backwards with my thumb against the motor, turned the motor off and did it backwards.
And there it was, sure as anything, plain as anything. "We'll fuck you like Supermen." I thought, Jesus, what can you do?

Paul Gambuccini:
And then there was "I buried Paul."

PM:
That wasn't "I buried Paul" at all, that was John saying "cranberry sauce." It was the end of 'Strawberry Field Forever.'
That's John's humor. John would say something totally out of synch, like "cranberry sauce."
If you don't realize that John's apt to say '"cranberry sauce" when he feels like it, then you start to hear a funny little word there, and you think "Aha!"

PG:
When you were alive and presumed dead, what did you think?

PM:
Someone from the office rang me up and said "Look, Paul, you're dead." And I said, "Oh, I don't agree with that."
And they said, "Look, what are you going to do about it? It's a big thing breaking in America. You're dead."
And so I said leave it, just let them say it. It'll probably be the best publicity we've ever had and I won't have to do a thing except stay alive.
So I managed to stay alive through it.
A couple of people came up and said "Can I photograph you to prove you're not dead?"
Coincidentally, around about that time, I was playing down a lot of the old Beatle image and getting a bit more to what I felt was me, letting me beard grow and not being so hung up on keeping fresh and clean.
I looked different, more laid back, and so I had people coming up saying "You're not him!"
And I was beginning to think, "I am, you know, but I know what you mean. I don't look like him, but believe me."

PG:
You were supposedly Billy Shears, according to one of the theories.

PM:
Ringo's Billy Shears. Definitely. That was just in the production of Sergeant Pepper. It just happened to turn out that we dreamed up Billy Shears.
It was a rhyme for "years"... "band you've know for all these years... and here he is, the one and only Billy Shears."
We thought, that's a great little name, it's an Eleanor-Rigby-type name, a nice atmospheric name, and it was leading into Ringo's track.
So as far as we were concerned it was purely and simply a device to get the next song in.