Who actually wrote the Beatles music?

[sandokhan]

The person who actually wrote all the Beatles songs was Theodor Adorno, a music professor from Frankfurt University. And none of the songs were original, Adorno, a genius on the subject of theoretical music cleverly adapted well-known classical partitures, to create the Beatles songs.

And he was hired to do just that for all of the other well-known groups of the 60s: Rolling Stones, The Who, Beach Boys, The Kinks, Jimi Hendrix, Cream, Moody Blues, The Doors, Simon & Garfunkel, The Association, The Turtles, The Monkees, and much more.

The reason the Beatles (the new version of The Beatles) had to disband in 1969 was the departure of Adorno in August in the same year. Adorno had left hundreds of songs of which the Beatles were given to start their solo careers. The other songs were given to Led Zeppelin, ABBA, Queen (We Are The Champions, Seaside Rendezvous and Bohemian Rhapsody), Jethro Tull (Aqualung, Thick As A Brick, Living In The Past, Bungle In The Jungle, Warchild). Yes, We Are The Champions was actually a Beatles song, but since the project had to be shelved, it was given to someone else.

A quick example:

I was able to find the classical score most related to Blackbird:

www.youtube.com/watch?v=Ow_BbVxdFSs

Fernando Sor, Etude (Op. 60 No.19)


Martha My Dear is a modified Martha by von Flotow (M'appari tutt' amor):

www.youtube.com/watch?v=uVA1wmv1KVk

What Adorno did, however, is to blend this song with the Humoresque by Dvorak:

www.youtube.com/watch?v=mOmNVj1HDKQ


Norwegian Wood is a modified Aquarium (Saint Saens, Carnival of the Animals).



God Only Knows is a modified version of Gymnopedie No. 1 (Satie).





The solo career of John Lennon II featured these songs written by Adorno:



Imagine - a modified Let It Be



#9Dream - a modified We Can Work It Out



Watching The Wheels - a modified Maybe I'm Amazed



Just Like Starting Over - a modified Pretty Woman (R. Orbison)



Mind Games - a modified All You Need Is Love



Bless You - a modified Band On The Run


Mrs. Robinson (given to Simon & Garfunkel) is a modified theme from Porky and Bess by Gershwin.

www.youtube.com/watch?v=d1UVd8c4jz0 (0:25 to 1:25)



Pretty Woman (given to R. Orbison) is a modified Do You Want to Know a Secret (Beatles).



She Said, She Said (one of the most beautiful songs from the Revolver album) is a modified The Word (from Rubber Soul).



Beck's Bolero is a modified We Can Work It Out.



Oh My My (the biggest hit of Ringo Starr's solo career) is a modified Get Back.


Yellow Submarine is actually the theme from Verdi's Aida.

Can't buy me love is actually Aine Kleine Nacht Musik by Mozart, first movement.

From me to you is the Peer Gynt suite, Morning Mood, by E. Grieg.


I want to hold your hand is a modified From me to you.


Yesterday is a modified Neapolitan song, called "Piccere' Che Vene a Dicere".

I feel fine is actually the Fire Dance by M. de Falla.

[sandokhan]

Hey Jude is a modified version of the beautiful Polovetsian Dances by Borodin:



www.youtube.com/watch?v=QWU1uj9WmOM ("Na na na na" refrain is taken from the dance which starts at 3:50)



All You Need Is Love is a modified version of Tchaikovsky's 1812 overture:



www.youtube.com/watch?v=u2W1Wi2U9sQ



Sloop John B. is a modified Chinese Dance from Tchaikovsky's Nutcracker suite:



www.youtube.com/watch?v=M8J8urC_8Jw (12:06)


Behind Blue Eyes (The Who) is a modified version of one of the most haunting and mystical scores ever written, Khachaturian's Gayaneh:



www.youtube.com/watch?v=LQ7IHbluNsY



www.youtube.com/watch?v=dMrImMedYRo



Good Vibrations is considered to be the best Beach Boys song, and one of the best ever, by any rock/pop bands. That is why the Beach Boys were more popular, in late 1966, than the Beatles (even though Yellow Submarine and Eleanor Rigby are just as good, not to mention Got To Get You Into My Life).

Why did Good Vibrations break all records, and set the standard for decades to come? Because it is a modified Rhapsody in Blue by Gershwin. Each separate musical part of Good Vibrations is matched by a similar part from the Rhapsody in Blue. That is why it sounded so good, and was so extraordinary.



No one else has yet managed to solve the mystery of the Smile album. Some say it was a conspiracy against Brian Wilson: but God Only Knows is a modified Gymnopedie No. 1 by Satie, someone else could easily have written the song. It was not a conspiracy, the records companies simply defended their vested interests. What Adorno did is to write his most elegant work ever; Smile had less hits than Sgt. Pepper or the White Album, as many hits as the songs featured on the Moody Blues album. But it had something else, an elegance and a beauty which elevated the soul. Some music experts said that the Beatles would have been set back by the Smile album: not at all, Penny Lane and Strawberry Fields came out before the Smile album.



It was something else: the Smile album would have had a lasting influence on the events which were about to take place in 1967 and 1968. A social and cultural influence which those in charge of the music industry had no desire to see it go through.



Surfs Up is a masterpiece, a modified Sanctus by Faure.


GM: Were you surprised by Brian's sudden jump in creativity?


AJ: Yeah, I couldn't figure it out. We came back from Japan, and here we had this massive amount of music already laid out for us to sing and we hadn't even heard any of it. It was the Pet Sounds material. That's really where I noticed it.





Musician Elvis Costello said that when he discovered a bootlegged tape of Wilson performing the song (Surfs Up), "It was like hearing a tape of Mozart. It's just Brian and his piano and yet it's all there in that performance. The song already sounds complete."



Record Collector's Jamie Atkins said it was "so far ahead of the work of their contemporaries that it is not entirely surprising Wilson found himself recoiling from its sophistication and majesty; the songwriting equivalent of scaling Everest, only to find yourself thinking, 'Well, what now?'"



In 2011, Mojo staff members voted it the greatest Beach Boys song. The song's entry stated, "Not so much timeless but a song out of time, Surf's Up is an elegy the richness and mystery of which only deepens with age."

Surfs Up, the best song on the Smile album, is a modified Sanctus by Faure:



www.youtube.com/watch?v=XFLM99FprvM



Then, Adorno altered Surfs Up, which became Time of the season for the Zombies.


Bridge Over Troubled Waters is a modified version of Mozart's Voi Che Sapete (Le Nozze di Figarro):



www.youtube.com/watch?v=VjAah1mZq2Q



It is only now, decades later, that people are beginning to ask questions about Surfs Up and A Day In The Life:



brianwilson.websitetoolbox.com/post/did-the-beatles-plagiarise-the-original-smile-recordings-7904797



Let us carefully analyze We Are The Champions, given to Queen.



www.youtube.com/watch?v=7ViATS5_Eog



In the classical style/version, it is easier to discern, to find out the original score upon which it was based.



It is obvious that We Are The Champions is a modified version of Tchaikovsky's Piano Concerto No. 1:



www.youtube.com/watch?v=BWerj8FcprM



Yes, it does have notes borrowed from Nights in White Satin, but essentially it is a beautifully modified version of the Piano Concerto No. 1.



Thus, we can reach a most interesting conclusion: both We Are The Champions and Seaside Rendezvous (a modified version of Martha My Dear) were originally Beatles songs; after the disappearance of Adorno in August, 1969, the Beatles project was put on hold, and the remaining best songs were shelved. From that formidable arsenal of songs, both We Are The Champions and Seaside Rendezvous were given to Queen, since the Beatles project was no longer feasible.



Obladi Oblada is a modified Yellow Submarine.



With A Little Help From My Friends is a modified version of Eight Days a Week.



Magical Mystery Tour is a brilliantly modified Nights On a Bald Mountain by Mussorgsky:



www.youtube.com/watch?v=iCEDfZgDPS8



The theme from Nights On a Bald Mountain was also used by Adorno in Good Day Sunshine.



Magical Mystery Tour was itself modified at least twice to come up with Jet and Live And Let Die (Wings).



Help is a modified version of the Air suite by Bach:



www.youtube.com/watch?v=rrVDATvUitA



Strawberry Fields is a modified Pachelbel's Canon:



www.youtube.com/watch?v=s3RRQypEf4I



Sgt. Pepper vs. Barber of Seville





www.youtube.com/watch?v=gLlWIfKO0sU (Sgt. Pepper, take 9)



0:07 - 0:15 (intro to Sgt. Pepper, guitar riff)





www.youtube.com/watch?v=OloXRhesab0 (the Barber of Seville)



(2:09 - 2:31)







www.youtube.com/watch?v=gLlWIfKO0sU



0:16 - 0:35 (Paul II)



www.youtube.com/watch?v=OloXRhesab0



2:14 - 2:21





www.youtube.com/watch?v=gLlWIfKO0sU





0:36 - 0:48 orchestral transition to main theme



www.youtube.com/watch?v=OloXRhesab0



2:21 - 2:27





www.youtube.com/watch?v=gLlWIfKO0sU



0:49 - 1:18



www.youtube.com/watch?v=OloXRhesab0



3:42 - 4:19





www.youtube.com/watch?v=gLlWIfKO0sU



1:19 - 1: 38 (John II)



www.youtube.com/watch?v=OloXRhesab0



4:16 - 4:29





Now the entire theme from the Barber of Seville:



www.youtube.com/watch?v=OloXRhesab0



5:17 - 6:38



That is why Sgt. Pepper is one of the best Beatles songs, it was adapted from the Barber of Seville overture.

[jarvitronics]

May 24, 2023 11:12:28 GMT -5 sandokhan said:

That is why Sgt. Pepper is one of the best Beatles songs, it was adapted from the Barber of Seville overture.

I think not.

But this cartoon is pretty funny:

[sandokhan]

It's not the first time that Adorno had used a work signed by Rossini. A Hard Day's Night is a modified version of Rossini's Wilhelm Tell overture. Then, in 1968, Adorno modified A Hard Day's Night again, and came up with one of the most fantastic songs of all time, Lady Madonna.

Lady Madonna, baroque:



www.youtube.com/watch?v=icH6E7nd25Q



A Hard Day's Night, baroque:



www.youtube.com/watch?v=TUri_wedPRg



A rhythm similar to Bad Penny Blues (1956) was produced, but Lady Madonna is a wonderful modified version of A Hard Day's Night, that is why it sounds to great.


Eleanor Rigby is a modified version of Vivaldi's Four Seasons:

www.youtube.com/watch?v=l-dYNttdgl0 (Spring, ~3:30)

The intro to Eleanor Rigby is from the Summer movement, ~8:30.



Listen carefully to the Barber of Seville (you have the links and the minutes) and then to Sgt. Pepper: they are the same actually, that is how the Beatles huge hits were produced.


You have to remember that Adorno gave the Beatles everything first, it was his pet project, and then anything else to other bands. Can you guess which version of Kashmir (given to Led Zeppelin) Adorno gave to the Beatles first? It is Here Comes The Sun.

www.youtube.com/watch?v=sfR_HWMzgyc (0:53 - 1:05) same as 

www.youtube.com/watch?v=GKdl-GCsNJ0 (1:30 - 2:00)


Kashmir is the modified theme from Scheherazade by Rimsky-Korsakov:



www.youtube.com/watch?v=jR_Q7NbLzyU (5:05, especially 5:30 to 5:40 and of course the majestic 40:06 to 41:03, the part from 40:43 to 41:03 is exactly the famous instrumental in Kashmir, that is where Adorno got the idea for Kashmir)



The magic of Kashmir, piano cover:



www.youtube.com/watch?v=6UZrqe_PvEI

[sandokhan]

Third Stone from the Sun, the best song given to Jimi Hendrix (together with Purple Haze) is a modified Bolero given to J. Beck (it also contains elements from Ravel's Bolero):



www.youtube.com/watch?v=wKj3sGPxdLY



vimeo.com/314994398





One of the best songs by ABBA, Tiger, is actually the Lieutenant Kije suite by Prokofiev:



www.youtube.com/watch?v=htziQt0pCAQ



www.youtube.com/watch?v=DkoKGA-30cY (Romance, Kije's wedding, Sleigh Ride)



Compare, the Romance 5:14 - 6:15 with 1:07 - 1:21 (the refrain from Tiger, also at 2:03 - 2:16)



Knowing Me, Knowing You is a modified Tiger.



Waterloo is Liszt's Raphsody No. 2:



www.youtube.com/watch?v=goeOUTRy2es



Does Your Mother Know is a modified Mamma Mia.



Eagle (ABBA) is a modified Guitar Concerto by Rodrigo:



www.youtube.com/watch?v=erwLhFO2f88



Rock Me (ABBA) is a modified Piano Concerto by Grieg:



www.youtube.com/watch?v=fKfGDqXEFkE



Take a Chance on Me (ABBA) is a modified Symphony No. 40 by Mozart:



www.youtube.com/watch?v=BOJ8_MJAV38 (disco style)


Prior to 1972 both B. Anderson and B. Ulvaeus manifested no songwriting talent whatsoever, all of a sudden, beginning with 1972, they came up, inexplicably, with a Mozart genius-like talent at writing songs, which expired suddenly in 1979.



Philadelphia Freedom (given to Elton John) is a modified version of Help. The only question that remains to be answered is this: was Help modified after 1970 or was Philadelphia Freedom taken from the Beatles song catalog? As I have mentioned before, We Are The Champions was actually a Beatles song, and was given later to Queen.



In the eyes of musicians/music critics, Intermezzo No 1 from ABBA proved that they were the equal of Mozart in terms of songwriting skills:



www.youtube.com/watch?v=0ZQ9qqPG3EM



We have already analyzed here most of the ABBA songs, and I had said that Intermezzo No 1 had the pace/rhythm of the Infernal Galop and also of Rondo Alla Turca. Why does it sound as good as a Mozart serenade? Because it is a modified Mozart score.



www.youtube.com/watch?v=fIDhzcKVXpY (Eine Kleine Nachtmusik, fourth movement)



The opening piano/orchestral intro is from Grieg's Piano Concerto:



www.youtube.com/watch?v=I1Yoyz6_Los

[sandokhan]

All of the main Pink Floyd songs were written by Theodor Adorno.



See Emily Play is a modified Eleanor Rigby (which Adorno adapted from Vivaldi's Four Seasons suite).



Pink Floyd's Money is a modified Moondance (Van Morrison).



Moondance is a modified Bouree (Bach's Suite in E Minor for Lute), given by Adorno to Jethro Tull.



Pink Floyd's Brain Damage is a modified Space Oddity given to David Bowie by Adorno.

Another Brick In The Wall Pt. 2 is a modified And Your Bird Can Sing (Beatles).


Shine On You Crazy Diamond is a modified Dig A Pony (Beatles).



Jumping Jack Flash

One of the very best songs ever written by Adorno, a modified Satisfaction; he also transformed Satisfaction into What Is Life which was actually a Beatles song.

In order to find out which classical score was slightly modified so as to create Satisfaction, here is the acoustic/demo version:

www.youtube.com/watch?v=SpdUkOut_JQ

This is exactly the Pictures At An Exhibition (Promenade) by Mussorgsky:

www.youtube.com/watch?v=3GuQg0rWDbo



The legend goes like this: Ruthann Friedman wrote Windy for the Association in 1967.


However, Windy is a modified Good Morning, Good Morning by the Beatles (also 1967).


Cherish is a modified Here, There and Everywhere (Beatles, 1966).


Never My Love is a modified She Said, She Said (Beatles, 1966).


Let us remember that Happy Together was also written by Adorno and given to the Turtles (the modified trumpet solo from Penny Lane).



From the comments section of Reasons for Waiting (Jethro Tull):

One of the most beautiful rock songs ever written.

I still consider this the most beautiful song Ian Anderson ever wrote.

However, Reasons for Waiting is a modified Mother Nature's Son given to the Beatles, that is the reason for its haunting beauty.


The theme from Thick as a Brick is a modified Gymnopedie 1 and 2 by Satie (the first modification became God Only Knows, given to the Beach Boys, the second modification, the most magnificient, was Mother Nature's Son given to the Beatles).





www.youtube.com/watch?v=9fM_gwMAezE

Uncle Albert/Admiral Halsey, which I believe was going to be the next Beatles single in 1970 (a modified version of Lucy in the Sky with Diamonds)



Honey Pie (one of the best songs on the White Album) is a modified theme from An American In Paris by Gershwin:

www.youtube.com/watch?v=TGAMa9iiQ9o (2:40 - 5:30)

[joseph]

Is there any indication in either Theodor Adorno or any of the bands mentioned histories that anything you say is true? The gist of what you are saying seems to be lifted from this blog at a site called "rocknerd" (how innocuous)

rocknerd.co.uk/2016/10/13/theodor-adorno-of-the-frankfurt-school-wrote-all-the-beatles-songs-as-a-cultural-marxist-assault-on-america-possibly/

There's nothing in that article that has any truth in it either. There's lots of links to other articles in that blog, but so what? Whole lotta nothing.

[sandokhan]

No, the author of the article (David Gerard) had copied my messages (word for word) which were written back in 2009-2014.

Do you agree that Blackbird is a modified version of Fernardo Sor's guitar piece, and that Martha My Dear is also an adapted version of Martha by von Flotow (see my first message on this thread)? They certainly are. And the person who wrote Blackbird and Martha My Dear also created A Hard Day's Night, Eleanor Rigby and Hey Jude. Ask yourself: what are the classical scores that he had used to create the Beatles songs?

More examples:


For No One (one of the best songs on the Revolver album) is a modified La Donna E Mobile by Verdi:



www.youtube.com/watch?v=uvhUmzBP_aI



On the same LP, Adorno used another famous song by Verdi, the theme from Aida, to create Yellow Submarine.



Raindrops Keep Falling On My Head, the theme from the 1969 movie Butch Cassidy and the Sundance Kid, is a modified version of Dvorak's Humoresque.



www.youtube.com/watch?v=OT1HCQcSHW0



www.youtube.com/watch?v=mOmNVj1HDKQ



Hello Goodbye is a modified Great Gate of Kiev by Mussorgsky:



www.youtube.com/watch?v=vw7OM_Q810k

[sandokhan]

Letting Go (Wings) is a modified I've Got A Feeling (Beatles).



Magneto and Titanium Man (Wings) is a modified Hi, Hi, Hi (Wings) which in turn is a modified Helter Skelter.



Venus and Mars is a modified Maybe I'm Amazed (a modified version of Long and Winding Road).



Junk (one of the best songs on McCartney II's first solo album) is a modified Fixing A Hole.



I'm Only Sleeping (Beatles) is a modified version of Daydream (Lovin Spoonful).



Can't You Hear Me Knocking (Rolling Stones) is a modified version of the aria from Barber of Seville (Rossini):



www.youtube.com/watch?v=JhLxK2xGqqo



Does Anybody Really Know What Time It Is (Chicago) is a modified version of Got To Get You Into My Life (Beatles).


Here is the unbelievable complexity of the Beatles songs:



www.icce.rug.nl/~soundscapes/VOLUME01/A_Beatles_Odyssey.shtml



www.icce.rug.nl/~soundscapes/DATABASES/AWP/awp-notes_on.shtml

[sandokhan]

Adaggio from Spartacus (Khachaturian) was modified into the Rain Song (the first modification was Something given to the Beatles; the second modification was Lola for the Kinks).

www.youtube.com/watch?v=of5ebCY5__Q


Over the Hills and Far Away is a modified Afternoon of a Faun by Debussy, that is why the guitar intro is pure magic.


Gerry Rafferty's Baker Street is also  modified version of Debussy's masterpice Prelude To The Afternoon Of a Faun (which Adorno also recast into Over The Hills And Far Away, given to Led Zeppelin), the similarities can be verified by listening to the London Symphony Orchestra version of Baker Street.


It's only rock'n'roll is a modified version of Bang a gong given to Trex.


Tommy/Overture (The Who):

www.youtube.com/watch?v=QhNawCtaffw

The first two themes from the Overture are modified versions of von Weber's Hunter's Chorus:



www.youtube.com/watch?v=mRXL3gJdAHY


Adorno also used the theme from Tommy for Space Oddity (acoustic guitar part):



www.youtube.com/watch?v=iYYRH4apXDo odd 2:39-2:45



Space Oddity is a modified Dear Prudence (given to The Beatles).



Dear Prudence includes two modified scores from Pictures At An Exhibition:



www.youtube.com/watch?v=kkC3chi_ysw (Gnomus and Cum Mortuis in Lingua Mortua)



Pinball Wizard is a modified version of Ippolitov-Ivanov's majestic Caucasian Sketches:



www.youtube.com/watch?v=KiF8JPARwCc



www.youtube.com/watch?v=4AKbUm8GrbM



Listening To You, one of The Who's greatest hits and anthems is a modified version of the second movement from Beethoven's 7th Symphony:



www.youtube.com/watch?v=Vi05EG6sTVQ



www.youtube.com/watch?v=ZqmC1T9rukk


Magic Bus is a modified version of My Generation.



Tuesday Afternoon is a modified version of A Day In The Life (originally given to the Beatles).


I'm A Believer  is a modified version of Help.


Light My Fire (given to The Doors)

A modified Ritual Fire Dance by De Falla (one can observe the similarities by listening to Jose Feliciano's version). Adorno also modified Light My Fire into Aqualung which was given to Jethro Tull.


Nights In White Satin


One of the greatest songs written by Adorno, a modified Swan Lake by Tchaikovsky.


Live And Let Die is a modified version of Magical Mystery Tour.

[sandokhan]

"At the very beginning of this journey, I noted that Jim Morrison’s story was not “in any way unique.” As it turns out, however, that proclamation is not exactly true. It was a true enough statement in the context in which it appeared – which is to say that Morrison’s family background did not differ significantly from that of his musical peers – but in many other significant ways, Jim Morrison was indeed a most unique individual, and quite possibly the unlikeliest rock star to ever stumble across a stage.





Morrison essentially arrived on the scene as a fully-developed rock star, complete with a backing band, a stage persona and an impressive collection of songs – enough, in fact, to fill the Doors’ first few albums. How exactly Jim Morrison reinvented himself in such a radical manner remains something of a mystery, since before his sudden incarnation as singer/songwriter, James Douglas Morrison had never shown the slightest interest in music. None whatsoever. He certainly never studied music and could neither read nor write it. By his own account, he never had much of an interest in even listening to music. He told one interviewer that he “never went to concerts – one or two at most.” And before joining the Doors, he “never did any singing. I never even conceived of it.” Asked near the end of his life if he had ever had any desire to learn to play a musical instrument, Jim responded, “Not really.”



So here we had a guy who had never sang (apparently not even in the shower or in his car, which seems rather odd to me), who had “never even conceived” of the notion that he could open his mouth and makes sounds come out, and who couldn’t play an instrument and had no interest in learning such a skill, and who had never much listened to music or been anywhere near a band, even just to watch one perform, and yet this guy somehow emerged, virtually overnight, as a fully-formed rock star who would quickly become an icon of his generation. And even more bizarrely, legend holds that he brought with him enough original songs to fill the first few Doors’ albums. Morrison did not, you see, do as any other singer/songwriter does and pen the songs over the course of the band’s career; instead, he allegedly wrote them all at once, before the band was even formed. As Jim once acknowledged in an interview, he was “not a very prolific songwriter. Most of the songs I’ve written I wrote in the very beginning, about three years ago. I just had a period when I wrote a lot of songs.”



In fact, all of the good songs that Morrison is credited with writing were written during that period – the period during which, according to rock legend, Jim spent most of his time hanging out on the rooftop of a Venice apartment building, consuming copious amounts of LSD. This was just before he hooked up with fellow student Ray Manzarek to form the Doors. Legend also holds, strangely enough, that that chance meeting occurred on the beach, though it seems far more likely that the pair would have actually met at UCLA, where both attended the university’s rather small and close-knit film school.





In any event, the question that naturally arises (though it does not appear to have ever been asked of him) is: how exactly did Jim “The Lizard King” Morrison write that impressive batch of songs? I’m certainly no musician myself, but it is my understanding that just about every singer/songwriter across the land composes his or her songs in essentially the same manner: on an instrument – usually either a piano or a guitar. Some songwriters, I hear, can compose on paper, but that requires a skill set that Jim did not possess. The problem, of course, is that he also could not play a musical instrument of any kind. How then did he write the songs?



He would have had to have composed them, I’m guessing, in his head. So we are to believe then that a few dozen complete songs, never heard by anyone and never played by any musician, existed only in Jim Morrison’s acid-addled brain. Anything is possible, I suppose, but even if we accept that premise, we are still left with some nagging questions, including the question of how those songs got out of Jim Morrison’s head. As a general rule of thumb, if a songwriter doesn’t know how to read and write music, he can play the song for someone who does and thereby create the sheet music (which was the case, for example, with all of the songs that Brian Wilson penned for the Beach Boys). But Jim quite obviously could not play his own songs. So did he, I don’t know, maybe hum them?



And these are, it should be clarified, songs that we are talking about here, as opposed to just lyrics, which would more accurately be categorized as poems. Because Jim, as we all know, was quite a prolific poet, whereas he was a songwriter only for one brief period in his life. But why was that? Why did Morrison, with no previous interest in music, suddenly and inexplicably become a prolific songwriter, only to just as suddenly lose interest after mentally penning an impressive catalogue of what would become regarded as rock staples? And how and why did Jim achieve the accompanying physical transformation that changed him from a clean-cut, collegiate, and rather conservative looking young man into the brooding sex symbol who would take the country by storm? And why, after a few years of adopting that persona, did Jim transform once again, in the last year or so of his life, into an overweight, heavily-bearded, reclusive poet who seemed to have lost his interest in music just as suddenly and inexplicably as he had obtained it?





It wasn’t just Morrison who was, in retrospect, a bit of an oddity; the entire band differed from other Laurel Canyon bands in a number of significant ways. As Vanity Fair noted many years ago, “The Doors were always different.” All four members of the group, for example, lacked previous band experience. Morrison and Manzarek, as noted, were film students, and drummer John Densmore and guitarist Robby Kreiger were recruited by Manzarek from his Transcendental Meditation class – which is, I guess, where one goes to find musicians to fill out one’s band. That class, however, apparently lacked a bass player, so they did without – except for those times when they used session musicians and then claimed that they did without.





Anyway, the point is that none of the four members of the Doors had band credentials. Even a band as contrived as the Byrds, as we shall soon see, had members with band credentials. So too did Buffalo Springfield, with Neil Young and Bruce Palmer, for example, having played in the Mynah Birds, backing a young vocalist by the name of Rick “Superfreak” James (Goldie McJohn of Steppenwolf, oddly enough, had been a Mynah Bird as well). The Mamas and the Papas were put together from elements of the Journeymen and the Mugwumps. And so on with the rest of the Laurel Canyon bands



The Doors could cite no such band lineage. They were just four guys who happened to come together to play the songs written by the singer who had never sung but who had a sudden calling and a magical gift for songwriting. And as you would expect with four guys who had never actually played in a band before, they pretty much sucked. But don’t take my word for it; let’s let the band’s producer, Paul Rothchild, weigh in: “The Doors were not great live performers musically. They were exciting theatrically and kinetically, but as musicians they didn’t make it; there was too much inconsistency, there was too much bad music. Robby would be horrendously out of tune with Ray, John would be missing cues, there was bad mike usage too, where you couldn’t hear Jim at all.”



Another thing that was unusual about the band, however, is that, from the moment the band was conceived, the lineup never changed. No one was added, no one was replaced, no one dropped out of the band over ‘artistic differences,’ or to pursue a solo career, or to join another band, or for any of the other reasons that bands routinely change shape.



It would be difficult to identify another Laurel Canyon band of any longevity that could make the same claim. After their first two albums, the Byrds changed line-ups with virtually every album release. Frank Zappa’s Mothers of Invention were in a near-constant state of flux. Laurel Canyon’s country-rock bands were also constantly changing shape, usually by incestuously swapping members amongst themselves.



But not the Doors. Jim Morrison’s band arrived on the scene as a fully-formed entity, with a name, a stable line-up, a backlog of soon-to-be hit songs – and no previous experience writing, arranging, playing or performing music. Other than that though, they were just your run-of-the-mill, organic, grass-roots rock-and-roll band – with a curious aversion to political advocacy."

[joseph]

May 25, 2023 23:42:30 GMT -5 sandokhan said:

No, the author of the article (David Gerard) had copied my messages (word for word) which were written back in 2009-2014.

Do you agree that Blackbird is a modified version of Fernardo Sor's guitar piece, and that Martha My Dear is also an adapted version of Martha by von Flotow (see my first message on this thread)? They certainly are. And the person who wrote Blackbird and Martha My Dear also created A Hard Day's Night, Eleanor Rigby and Hey Jude. Ask yourself: what are the classical scores that he had used to create the Beatles songs?

More examples:


For No One (one of the best songs on the Revolver album) is a modified La Donna E Mobile by Verdi:



www.youtube.com/watch?v=uvhUmzBP_aI



On the same LP, Adorno used another famous song by Verdi, the theme from Aida, to create Yellow Submarine.



Raindrops Keep Falling On My Head, the theme from the 1969 movie Butch Cassidy and the Sundance Kid, is a modified version of Dvorak's Humoresque.



www.youtube.com/watch?v=OT1HCQcSHW0



www.youtube.com/watch?v=mOmNVj1HDKQ



Hello Goodbye is a modified Great Gate of Kiev by Mussorgsky:



www.youtube.com/watch?v=vw7OM_Q810k

I've already written a thread in "The Beatles" section where I show how their vinyl output and their concert setlists diverge from what you would expect from a band of performing songwriters.

All that matters is the songs are written by "Somebody else" it was probably a few people pilfering bits of classical music and repurposing them into pop tunes. I mean if you can synthesise four lookalikes into the most popular musical group at the time you can synthesise some pop tunes for them to add the vocals too.

Now this Channel 4 documentary by Howard Goodall I watched at the time, which was long before I came across PID, but he shows with his extensive musical knowledge that Beatles tracks were lifting from the classics.

On a side note I started watching the video and it starts with one of the pictures behind him being of Shostakovich. I have investigated him and I believe he was replaced with an imposter in the early 30s after which many of his former friends and colleagues were rounded up and executed in the great purge.



I'm not gonna waste my time on which bits of which songs of The Fetals had which bits of classical music in them. The Beatles post-June 1964 are dead.

[sandokhan]

All that matters is the songs are written by "Somebody else" it was probably a few people pilfering bits of classical music and repurposing them into pop tunes.

Sure, but there wasn't anyone in England, France or Italy at that point in time who had the theoretical music knowledge to achieve this remarkable feat. The best music school was in Germany. And it took the very best expert in theoretical music to produce those modified versions of classical scores.

Why were the Beatles replaced? Because you had the Yardbirds coming along, then Jimi Hendrix. For example, the playlist in 1966 still included Rock'n'Roll Music and Baby's in Black, that's all they could play. So, a new team of better players, better musicians had to be introduced, it was John who was replaced first, not Paul. Because of the threats in the US, this new team arrived in time to play in the states, and have one of them featured in How I Won The War. I think it was Paul (the original) singing on Hey Jude.


"I was an electric guitar player from 1965 because of the strange noises the girls made around the Beatles. I used to play the ‘Peter Gunn’ theme on my dad’s old Gretsch archtop like it was a stand up bass. In Facebook correspondence with Jim Fetzer about this, I stated I believed there had been a replacement, but the ongoing recorded releases had proved to me the fellow was still alive and kicking. I soon thereafter received a ‘Facebook friend’ request from Paul McCartney and a short recording of Mr. McCartney trying to teach the new guy how to sing the chorus of ‘Hey, Jude’. Impossible task. I thus believe that ‘the new guy’ is lip sync’ing for the real Paul McCartney’s voice. I won’t go into the details, but the boys were overburdened by their careers and the drugs they were constantly fed so there were some spin outs.



Paul still alive. New Paul lip synched. Old Paul back. There was a bad car crash 1966. girl injured. Paul said, “No more Beatlemania insanity.” Somebody sent me a tape of Paul McCartney trying to teach ‘New Paul’ how to sing the chorus to ‘Hey, Jude’. ‘New Paul could not get it so ‘Hey, Jude’ from Smothers Brothers is most likely lip-synched.



As a performing Beatle, Paul bowed out. They did not dig him up to pose for pictures. The dude on the bench playing and singing ‘Hey, Jude’ on The Smothers Brothers Show in 1968 mat not be Paul McCartney. The voice is. Check it out at the lab.



The substitute could not sing that song, so to keep the queen in new shoes, McCartney returned. ‘Hey, Jude’ seems to be the replacement with McCartney’s voice in a lip-sync."



So, this should be easy enough to figure out: if the new Paul is not singing Hey Jude on that live show, then we know that they had to get Paul in to do the job.

Now this Channel 4 documentary by Howard Goodall I watched at the time, which was long before I came across PID, but he shows with his extensive musical knowledge that Beatles tracks were lifting from the classics.

With all that extensive musical knowledge at his disposal, he is unable to provide and point out the specific classical scores for each and every Beatles song. But I was. You see, Adorno provided the songs for each and every group at that time and it is important to find out what his sources were.

[ekauqodielak]

May 29, 2023 2:08:19 GMT -5 sandokhan said:

it was John who was replaced first, not Paul.

You need to look at the Hamburg era pictures and the Dezo Hoffman shoots. There were always multiples of all of them.

[sandokhan]

Yes. But when I say "John" I mean the Beatle who appeared in the Ticket to Ride, We Can Work It Out and Day Tripper videos (also the Paperback Writer clips), his last photograph on the Yesterday And Today album. That's who got replaced with the "John" in the How I Won The War and who also toured the US as a Beatle in the summer of '66.

This is what I wrote back in 2009:

"Imagine having Mozart, Beethoven, and Tchaikovsky, together, writing songs for you; you'd instantly become the very best musical artist the world has ever seen, and this is EXACTLY what happened to The Beatles."

Let us supppose that no classical scores were modified/copied. Then, this musician who did write all of the songs for The Beatles, Rolling Stones and the rest of the 60s groups, was as good or even better than Mozart, or Beethoven, or even Tschaikovsky. The output written for the Beach Boys, Beatles, Rolling Stones 1963-1966 alone, would qualify this composer as being better than all of these three classical music composers put together. This is what most people do not understand, even when they infer that these groups did not write their own songs. It wasn't that these songs were written for them, the thing is that this song writer was the very best of all time, exceeding anyone else. That is why the only option out of this mystery, is to decipher which classical scores were modified, with little or no effort on the part of a master of theoretical music, and then were turned into the huge hits of the '60s and '70s.


PS The original Michael Jackson could not write songs either; actually Thriller is Don't stop till you get enough all over again; we know that Jackson's biggest 70s hit, Ease on down the road was written by Charlie Smalls, and the other two songs bear a strange resemblance to this one. M. Jackson was an entertainer, dancer/singer, but not a songwriter. To write songs you need to know musical theory big time; it is all but forgotten that, in the official chronology of history,  Mozart and Beethoven were first of all absolute masters of theoretical music.

[ramone]

I didn't go thru all the links -
Of what I saw - some seemed somewhat of a stretch.

But, Blackbird and Martha caught my attention.

www.youtube.com/watch?v=Ow_BbVxdFSs

Martha about .30 into it:
www.youtube.com/watch?v=uVA1wmv1KVk

[Paul Bearer]

The Adorno conpsiracy theory that he wrote Beatles music is BS. We have been down that road, it is utter crap.

[sandokhan]

You have been down "a" road, "your" road", or "some" road. With me, you get to find out exactly what happened. Who had modified all these classical scores for the 60s bands? Could anybody, at that time, in England, France, Italy have done this? Not a chance. Only someone from the German school of music had the skills to modify classical music. So who was it? Who had the know-how and the connections to the British music industry? Obviously someone who did see the Beatles in action in Hamburg and realized that they'd be the perfect vehicle for his music.

[sandokhan]

www.icce.rug.nl/~soundscapes/DATABASES/AWP/ailh.shtml (source)

And I Love Her is a modified version of Schumann's "Im Wunderschönen Monat Mai" (In the wonderfully-beautiful month of May), opening song from "Dichterliebe" (Poet's Love):

www.youtube.com/watch?v=RbzUl1LtRKQ

[ramone]

And I'd guess the main point you're making from the link is?:

" Uncannily, the opening song of Robert Schumann's (1810 - 1856) "Dichterliebe" (Poet's Love) has a very similar tonal design to "And I Love Her".
Next note Schumann's song is called "Im Wunderschönen Monat Mai" (In the wonderfully-beautiful month of May ...). Schumann's song also creates an overall feeling of being in the relative minor key, even though there is no full cadence ever made to the minor key (its V is always left hanging), and his verse section immediately moves to a full cadence in the relative Major. Instead of a Picardy Third ending, Schumann ends the song on V7 of the relative minor; a ballsey move for mid-19th century.
Next note Anyway, if it's good enough for Robert Schumann ...
Regards,
Alan (030800#3.3)"

[privyprincess]

I'm actually glad they got someone to make some new and interesting sounding music.

I mean...how long were they gonna run with the ice cream changes?

I mean...I like the sound myself, but my goodness you can't have every single song having the same chord structure year after ever-loving year.

I personally think the man deserves his flowers. lol

[maclen]

Dumb & debunked long ago

[sandokhan]

No one has ever "debunked" my messages. The entire debate is very simple to understand: all of the songs which belonged to the British invasion and to most American bands (1963-1969) were written by one person, a German music professor. What he did is to cleverly adapt classical scores and turn them into modern musical anthems. He also left many other songs which were later used by ABBA, Pink Floyd, and other groups of the 70s.

Many songs from the Beatles catalog were later given to other groups, most notably We Are The Champions, which was offered to Queen, as an example. We Are The Champions is a modified version of Tchaikovsky's Piano Concerto No 1 (first movement), and was written for the Beatles, not for Queen.

[Deleted]

Sept 23, 2023 15:44:11 GMT -5 sandokhan said:

No one has ever "debunked" my messages. The entire debate is very simple to understand: all of the songs which belonged to the British invasion and to most American bands (1963-1969) were written by one person, a German music professor. What he did is to cleverly adapt classical scores and turn them into modern musical anthems. He also left many other songs which were later used by ABBA, Pink Floyd, and other groups of the 70s.

Many songs from the Beatles catalog were later given to other groups, most notably We Are The Champions, which was offered to Queen, as an example. We Are The Champions is a modified version of Tchaikovsky's Piano Concerto No 1 (first movement), and was written for the Beatles, not for Queen.

Damn, this one guy wrote basically every popular song of the 1960s and 70s? Must have been super talented, and had a lot of time on his hands.

[sandokhan]

Read my messages again. Adorno could write the entire A Hard Day's Night album in a couple of hours. Or the entire Pet Sounds LP for that matter. Do you understand how he wrote all these songs? All he had to do is choose which classical partiture he would have to modify, that's all (he left the finishing details to George Martin, as an example). That is why Elvis was so furious at The Beatles since he had hundreds of songwriters at his disposal who could not as much as come up with something like Please Please Me. Elvis met the four lads and inferred right away that they could not write any songs at all, their voices was the only useful feature that could be used. Who, then, was this mystery songwriter who was at least the equal of Mozart, Beethoven and Tchaikovsky, put together? Fourteen years ago, as I was pointing out the errors in digilander's analysis of the Beatles' music I said: "Imagine having Mozart, Beethoven and Tchaikovsky writing the songs for your next album. You'd instantly become the biggest music act in the world, which is exactly what happened to the Beatles".

Verdi's Triumphant March from Aida became Yellow Submarine. Borodin's splendid Polovtsian Dances was turned into Hey Jude. Satie's Gymnopedie No 1 became God Only Knows. Brian Wilson really pissed Adorno off at the end of 1966, that is why the Beach Boys never again received another song from him (Darling, Do It Again, Feel Flows were written before 1967). Without the support of more Adorno songs, Lennon II's solo career was over at the end of 1969, since no one would want to attend a concert with the Plastic Ono Band.

Paul sang Hey Jude, just listen to it, since Paul II could not hit those notes. So he was alive in 1968. It was John who was replaced first, in the first few months of 1966: there were at least two replacements, the John who was on stage for the Beatles US tour in 1966, and the fellow who was featured in How I Won The War. The original Beatles teams (since there were several) were replaced since they could not play live anything else other than Baby's In Black (in 1966). Listen to the Hepstars and to the Hootenanny Singers: before 1970 both Ulvaeus and Andersson could not write any songs at all. Where then did all of the ABBA songs came from? You already have my analysis of the ABBA songs, they too were modifications of classical scores.