Great Point Nothing will ever equal the White Album version

Agreed. ​@@mikefitzgerald41

they were active since 1968 and their previous band formation Mithology existed since 1966.

Not anything like it was done before...some bands might have done some heavy tunes...but not like this....way ahead of its time...

Or the 1st song on St. Pepper album and the reprise version toward the end. Hendrix did a version of the former in 1967.

Is it just me or does anyone hear this as punk more than metal? Could pass as either imo such a hard ass tune.

Some think the Kinks got their in ‘64 with “You really got” with Dave Davis slashing his guitar speaker to get that distorted sound.

How

@@conorhayes8818 use your imagination...bro...

@@conorhayes8818 use your imagination...bro...he's right about it....

@@juliobauer7451 no

@@conorhayes8818 Yes! “Do you don’t you want me to make you. I’m coming down fast but don’t let me break you. Tell me tell me your answer. You may be a lover but you ain’t no dancer”. If that doesn’t sound sexual to you I don’t know what does.

Plus individually going on to fantastic solo careers.

WHERE is it "falling apart" ??!!

and they DID!!!

@@patticrichton1135 NOT TRAP, Fortunately 😂😂😂😂😂😂😂😂

This song was in direct competition with The Who. Kinda like how Back In the USSR is an “answer” to The Beach Boys

And after they did the song for 29 minutes Ringo's fingers was bleeding that what cause I GOT BLISTERS ON ME FINGERS

Managed to make it sound pretty good with the quackiness of the Bass VI

The 'stories' are --there's a 29 min. version 'somewhere'...... and Lennon was very nervous about playing bass and McCartney told him that he couldn't 'mess' up the song which-ever way he played ---just play.

The original version of Summertime Blues was by Eddie Cochran, not The Who. They covered his song.

I think that's my favorite in their catalog.

I think it was ringo who shouted it they said it was recorded at the end of a 3 hour jam session and ringo had blisters coz he was playing drums for 3 hours but thats only what i heard anyway but as a drummer i know that i get blisters on my hands when i play for over an hour

But to be honest it could have been either of them

@@derekgilligan3290 I personally lean more towards it being Ringo as well, because it sounds more like his voice. If it was 3 hours, then conceivably John was playing bass for that long as well, in which case he's likely to have at least as difficult a time physically as Ringo is. So it's a little hard to say, but I agree with you.

@@StannisHarlock Yeah interesting i never heard that john played the bass on that song i thought it was paul but then again i dont know for certain if he did or not so i wont argue against it. Do you happen to know why he was playing it instead of paul ?

@@derekgilligan3290 Apparently there are bass parts that Paul added in there. I think John is credited with the bulk of it however. I've always wondered why John was on bass that day. In the Beatles Anthology, George claimed that he played bass on some of the songs as well. I don't know why John played it on this song, other than his style of musicianship might gel with the vibe Paul wanted a little more, but I also imagine switching instruments was more prevalent in that group than we would otherwise think.

Don't walk away Rene,tell it like it is.Love your take.

White this, white that? Only Blackbird is about race stuff

@@se6369 : Listen much more carefully -- or read the lyrics--to "The Continuing Story of Bungalow Bill"; it's a scathing, mocking indictment of White imperialism; "Piggies" is a brutal takedown of White entitlement; "Happiness is A Warm Gun" skewers White male fetishizing of guns (the year that the Beatles recorded the dark, sardonic track was the year of the shocking assassinations of Bobby and Martin, which followed those of Malcolm and John). Really, to deny the Beatles' OBVIOUS prescient critiques of White racist constructs via the aforementioned songs is to (a) evince an unfamiliarity with any of the songs listed and their lyric content and/or (b) to deny that White racism exists and the absolutely clear history of the Beatles' opposition to it. GET THEE TO A LYRIC site, and don't annoy me with this vulgar obtuseness again.

@@renechateaubriand2645 You're reading into this more than Charles Manson did. I can maybe see kind of a point with Bungalow Bill, yet I don't agree it's about race. As for the other songs, can you show me quotes from the songs or interviews to show it's about white people?

@@se6369 Your obtuseness slides into racism denial. The very title, "The Continuing Story Bungalow Bill " practically telegraphs its mockery of White imperialism (bungalows were the dominant architectural style of suburban developments in "settler nations," i.e., White -conquered/plundered Australia, New Zealand, India, et al. "Bungalow Bill" recounts in savage parody the life of upper class British RAJ in the colonies, with the to-the-jugular jibe, and I quote verbatim, "He went out tiger hunting with his elephant and gun/In case of accidents he always took his mum/He's the ALL-AMERICAN bullet-headed SAXON mother's son." Only a White racist himself or herself can deny the Beatles' literal mockery of racist, colonizing Whites ("All-American"/ "SAXON") and their imperialism ("Hey Bungalow Bill, what did you kill?"). Likewise, in 1968 as in today, the majority of people who lives privileged lives of material comfort, wealth, political power, and superior social status are WHITE, and thus the scathing indictment of them in Harrison's "Piggies, "and I quote verbatim: "Have you seen the bigger piggies/In their starched white shirts?/ You will find the bigger piggies/Stirring up the dirt,/ Always have clean shirts to play around in" The "Bigger piggies" with their "starched white shirts" were and remain clearly the corporate WHITE MEN with their gluttonous appetite for power and the Hannah Arendt-banality of their evil; Harrison presses his attack on unearned WHITE privilege, and I quote verbatim, "In their styes with ALL THEIR BACKING/They DON'T CARE WHAT GOES ON AROUND." At this point, your denial of the Beatles' scathing indictments of White imperialism, racism,and unearned privilege is actually a bad-faith denial of the Beatles' decidedly Left-wing perspectives--which got them into quite a bit of trouble with Right-wing, racist record buyers and politicians in Red State America and elsewhere, evinced in the South's organized record burnings for Lennon's and the rest of the Beatles' litany of Left-wing remarks, ranging from opposition to the Vietnam War to skepticism about the relevance of Jesus Christ (as Americans envision "him"), to opposition to American apartheid. Your denial of the obvious anti-White-racism lyric, tone, and tenor of the Beatles' White Album songs listed are really just another manifestation of YOUR OWN White racism and your discomfort that so iconic a band as the Beatles were so confrontational AND prescient in their critique of White racism, White supremacy, and White self-entitlement. The measure of your pathetic and risible bad faith is that after I had ALREADY provided examples of the Beatles' dissent, you demand that I provide you "interviews" to back my case. This is the tactic of racist Right-wingers (a redundant phrase) time immemorial, as they deny the existence of racism, deny the Holocaust, deny any number of injustices: when confronted with irrefutable evidence, you Right-wingers most often invoke the (a) Red Herring Logical Fallacy and (b) Post hoc ergo propter hoc logical fallacy, both forms of LYING, a low-rent "esprit d'escalier," so as to obfuscate and draw attention away from your failure to acknowledge and address the evisceration of your false propositions. Indeed, it is the very embodiment of Harrison's dead-on target takedown of self-privileging, self-entitling, and self-deluding Whites , whose hypocrisy and bad-faith keeps them ""In their styes with ALL THEIR BACKING/They DON'T CARE WHAT GOES ON AROUND." But you know this, S.E.. What makes your Right-wing, White racist mendacity so offensive is its stupidity and vulgar meretriciousness; you KNOW that the Beatles were not ever merely a "hit-making" band but rather LEADERS AT THE FOREFRONT OF THE 1960s CULTURAL/SOCIAL/POLITICAL REVOLUTION, one that was decidedly "progressive"; you KNOW that the Beatles' Left-wing politics and multicultural aspirations made them ANATHEMA to the Conservatives/Right-wing of the day, compelling figures ranging from Nixon to Wm Buckley, Jr. to rage against them and their message; you KNOW that the Beatles' anti-White Supremacy dissents are relevant TODAY: "Happiness is a Warm Gun" excoriates and mocks White male gun fetishizing of the sort that has led to the massacres of school children and the concomitant refusal of White Right-wing politicians to impose ANY sensible gun control; "Piggies" is a full-frontal attack on the Jared and Ivanka Kushners and Donald TrumPIG of today; "The Continuing Story of Bungalow Bill" is a sneering takedown of every "ALL-AMERICAN, BULLET-HEADED SAXON MOTHER'S SON." The Beatles' messaging, the Beatles dissent, the Beatles very music--informed and so deeply influenced by communities of colour, be they African-American or South Asian--enraged Right-winger of the day, i.e., those committed to maintaining White male dominance. And thus the Right-wing universe of the day, from Buckley to the Nixon administration (which placed Lennon on its "enemies list" and subjected him to threat of deportation in the years following the Beatles' break-up), raged against the Beatles, their music, their gender-fluidity, their Left-wing stances, their "INFLUENCE," their leadership in the 1960s cultural, social, political rebellion. The Right-wing of America--the "SAXON MOTHERS' SONS"-- of today seethes in rage over what the 1960s Worldwide youth revolution unleashed, over what and how the Beatles represented, symbolized, and articulated that very Left-leaning revolution, and you KNOW this. Thus, your denial of what is patently obvious really is a typical Right-wing display of White racism support and gaslighting. I told you not to annoy me with your vulgar mendacity and crétinous denialism. You've already made clear what you are and who you represent. Suffice it to say, you have pride of place in George Harrison's song--the one about the gluttonous, self-privileging, self-entitled barnyard animals--whom we KNOW with absolute certitude are NOT the communities of colour who have no such unearned privileges as both the "little" and "bigger" interminably oinking denizens do, the very light-complexioned ones with all their "backing." In other words, GFY, S.E.

A Helter Skelter is a spiral slide. Google helter skelter pics.

@@kenchristie9214 when i first heard "when i get to the bottom i go back to the top of the slide" i new from the start that it's an amusement place

@@kenchristie9214 Yes, it is a word used in the UK to call this type of ride common in fairs.

@@kenchristie9214 The ride was named Helter Skelter after the expression which means: noun disorder; confusion

Charles Manson ruined this song.

The first written use of the term 'Heavy Metal' was on an album by Hapsash and the Coloured Coat in 1967, titled 'Featuring the Human host and the Heavy Metal Kids'. Anything less like 'Heavy Metal would be hard to imagine.

Being a drummer doesn’t exclude you from getting blisters on your fingers, it was Ringo shouting it was confirmed by Paul

I was playing the augmented 9th. I assume you’re referring to when I said they playing the E really hard.

Yeah. I was struggling to find why there was so much hiss in our videos. I finally figured it out and it has been fixed. Check out our new Beatles reactions in 4K. I nearly eliminated 100% of the hiss.

Yes, Blue Cheer, I couldn't remember their name. Thanks for that. And I also forgot to mention the Who backstory in the reaction. I meant to.

He only played drums. He got the blisters from his drum sticks.

Ozzy wanted to be in a band because of the Beatles. They are his favourite band.

Paul is Ozzy's hero, everytime he meets him it's fangirling time!

On U2's Rattle and Hum album, Bono announces the song as "This is a song Charles Mansion stole from The Beatles...we're stealing it back". Bono referring to Charles Mansion and his hijacking of the song and the White Album to commit murders based on Charles Mansion's intrepretation of the album.