The Beatles: VOS anecdotes sur LEURS techniques de Prise de Son

Citation : Right before the long medley sections that dominate side two of Abbey Road (or the last half of the CD, if you prefer) comes the interlude of "Because," one of John Lennon's downright quietest ballads, and certainly one of his most reflective. There's not much traditional rock instrumentation in "Because," which has no drums and is dominated by an eerie spinet electric harpsichord, played by the Beatles' producer, George Martin. The haunting melody was quite classical in feel, and that's no accident -- as eventually became well known, Lennon was inspired to write it when hearing Yoko Ono playing Beethoven's Moonlight Sonata on piano. He asked Ono to play the chords in the reverse order, which provided the basis for his own composition. The other most striking feature of "Because" is the three-part harmony, arguably as impressive and sophisticated as the Beatles ever managed, in part because it's not just three voices -- it's three voices overdubbed twice, essentially yielding nine-part harmony. The lyrics have childlike simplicity, and arguably had Paul McCartney written them, Lennon would have later turned on him and dismissed them as one more example of his ex-partner's facile nature. Still, like McCartney's "Mother Nature's Son" to use one example, "Because" is strong enough musically to make its rather hippie-ish sentiments work, and sound profound in their simplicity rather than naïve in the extreme. As on several Abbey Road cuts, the musical texture's imaginatively enhanced by unobtrusive Moog synthesizer (particularly on the instrumental break), here played by George Harrison. Perhaps the most credible cover of the song was done by Elliott Smith, who did a version for the American Beauty soundtrack.

Citation : "everybody had a wet dream"