Does Carnival of Light *Really* exist?

False.

I'm better.

 

I could've swore that a few years back, Paul was going to do a show featuring Linda's photography, and COL was going to be one of the tracks featured. Or something along those lines?

 

I think Paul did mention something on the lines of wanting to do a video or film of her photos with COL as the music, but like you, I can't recall the specifics.

 

Can't Paul issue Carnival of Light himself if he wants to, once the copyright expires in 2008?

I think they should release an EP called "Beatles Experiments" or something, with Carnival of Light, their unreleased and unbooted jams from May and June 1967, Helter Skelter, Revolution, Palace of the King of Birds (or whatever it's called), the incidental music from Magical Mystery Tour, the long version of It's All Too Much, the full 12-Bar Original, etc. Make sure people understand it's avant garde, uncommerical music released for historical perspective. Just upload it to iTunes one day without comment.

 

Never going to happen. Would probably cast some very serious shade on the Beatles' sunny King Midas myth.

 

And I think this one is better than both...

 

Edina and Patsy accidentally recorded over it. Haha

 

Without question.

 

"Small few"? Hell, that's the only version of "Revolution 1" I ever play! :-D I even enjoy the fan remix where they put in elements of the album version of Revolution 1, both mixes of Revolution 9, and Yoko's diary tape!

 

are you alright?

 

It's pretty well known that George only agreed to do the Anthology under duress because he was hard up for $$ after he'd gotten bilked by the guy running his affair & film company. He didn't exactly go into it with guns blazing, by all accounts. And it's not hard to see his disdain for Paul, even at that late stage, in every scene the three of them were in together.

 

Yeah.... note who verbally tries to put a halt to their reunion jam session on the DVD extras.

It's also fairly well known that the reason we DIDN'T get more from the Threetles - such as "All For Love" - was George just not giving a damn. (George also insisted that "You Know My Name" be edited - and spliced out that chunk of the 'cuckoo' section himself. Awful edit, too.)

 

If that were the case we wouldn't have gotten anthology. Some pretty ordinary stuff on those CDs.

 

Carefully tidied up and edited to their liking, mind you.

 

The first time my wife heard "Revolution 9," she asked me if my CD player was broken.

 

Number nine, number nine, number nine...

Yeah, I can see her point I guess.

 

He could have signed off on the CDs without agreeing to be interviewed on camera or having the "Threetles" reunion, if all he needed was a cash infusion. I don't believe that the only reason he went along with it was for the money. It may have been half the reason, but not the only reason.

 

I think a lot of this is just silly. George's comment regarding Blue Moon Of Kentucky is NOT an invitation to cut the proceedings short, it refers specifically to playing the song WITHOUT the straight, slow country intro that Elvis originally performed. Nothing more than that. According to Jeff Lynne the entire afternoon was full of fun and went on for hours. He never indicated that George, or the others, weren't enjoying themselves. We have no idea what to make of All For Love or their works on Now And Then and Grow Old With Me. George MAY have been disgruntled with them.... or perhaps he thought they weren't up to snuff. Certainly none of the participants mentioned that George didn't give a damn. Apparently he was displeased that Real Love wasn't a massive hit and FUTURE sessions were abandoned or never scheduled.

Yes, George himself was in the control room when he had Geoff Emerick and the staff edit You Know My Name and Shout. Not smart choices for sure, but he was certainly entitled to his opinion.... as was Paul and Ringo for that matter. My guess is that he had no idea he was editing out material that was previously released. Sometimes an artist can get TOO involved in the processes....especially regarding archival material. One reason why Paul won't simply release outtakes as-is... he often tinkers with them, sometimes decades after-the-fact. Ron

 

Maybe Paul could let Kanye use the track and do some vocals over it.... It would be a really good test for the recently upgraded SHTV servers...

 

According to Geoff Emerick parts of the "Carnival of Light" session were used in Revolution 9
From: http://www.abbeyrd.net/carnival.htm (which has a lot of other information about "Carnival of Light")

Geoff Emerick discussed "Carnival of Light" in his book "Here, There and Everywhere":

Midway through the recording of "Penny Lane," we spent the better part of an evening creating a tape of sound effects, under Paul's direction, for a live "happening" called the Carnival of Light. It was a bit of nonsense, really, but everyone had fun doing it. Whenever The Beatles tried something really outrageous, George Martin would roll his eyes and mutter a clipped "Oh my God" under his breath. Looking back, I guess that everyone was tripping his brains out that night, but we didn't know it then. When John started shouting "Barcelona" repeatedly in one of his Goon-like voices, Phil and I were doubled over in laughter. That line, and other bits and pieces from that night's sessions, were later used in the sound pastiche "Revolution 9" on the White Album.

In this 2006 interview with Ear Candy, Emerick goes into a little detail about how "Carnival of Light" and "Revolution #9" may have been related:

E.C.: You also mention "Carnival of Light" in your book. Was any of this used in Paul’s “Liverpool Sound Collage”? You also mention that parts of it were used in “Revolution 9”? Do you remember which parts? Do you think it was a good choice to leave it off of the Anthology? I mean, if you have John’s “What’s the New Mary Jane” dribble, why not some experimental Beatles?

Geoff: I’m not familiar with the “Liverpool Sound Collage,” so I don’t know if any of it was used there. The bits from the Carnival of Light session that were used in Revolution 9, as I recall, were of John saying the word “Barcelona,” and some other random sound effects. It was really just noise and cacophony, not a proper song.

 

You could argue that it's a possibility COL starts at the 6:00 minute mark. Paul gives us a quick sneak peak and the rest is blurred out. It could be just a new creation though.

 

Wouldn't it be funny that after all this talk about how awful Carnival of Light must be that when it gets released it ends up being something wonderful?

 

I thought I heard it, but it turned out to be Here Come Da Honeydew Man by Miles Davis.

 

^clip above
George's Tune
To you....

 

Mark says Carnival of Light is about 100 times less interesting than What's the New Mary Jane?.