Revolution . . . . The Beatles
Key 1 Step Down:
G C G
You say you want a revolution, well you know We all want to change the world
C D7
You tell me that it's evolution, well you know We all want to change the world
Am D Am F G E D
But when you talk about destruction Don't you know that you can count me out
G C D
Don't you know it's gonna be, alright [3x]
G C G
You say you got a real solution, well you know We'd all love to see the plan
C D7
You ask me for a contribution, well you know We're all doing what we can
Am D
But if you want money for people with minds that hate
Am F G E D G C D
All I can tell you is brother you have to wait Don't you know it's gonna be, alright [3x]
G C G
You say you'll change the constitution, well you know We all want to change your head
C D7
You tell me it's the institution, well you know You better free your mind instead
Am D Am F G E D
But if you go carrying pictures of Chairman Mao You ain't gonna make it w/ anyone anyhow
G C G
Don't you know it's gonna be, alright [3x] .... Alright
ORIG KEY
A D A
You say you want a revolution, well you know We all want to change the world
D E7
You tell me that it's evolution, well you know We all want to change the world
Bm *** E Bm G A F# E
But when you talk about destruction Don't you know that you can count me out
A D E
Don't you know it's gonna be, alright [3x]
A D A
You say you got a real solution, well you know We'd all love to see the plan
D E7
You ask me for a contribution, well you know We're all doing what we can
Bm E
But if you want money for people with minds that hate
Bm G A F# E A D E
All I can tell you is brother you have to wait Don't you know it's gonna be, alright [3x]
A D A
You say you'll change the constitution, well you know We all want to change your head
D E7
You tell me it's the institution, well you know You better free your mind instead
Bm E Bm G A F# E
But if you go carrying pictures of Chairman Mao You ain't gonna make it w/ anyone anyhow
A D A
Don't you know it's gonna be, alright [3x] .... Alright
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From Soundfacts:
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This was the first overtly political Beatles song. It was John Lennon's response to the Vietnam War.
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John Lennon wrote this in India while The Beatles were at a transcendental meditation camp with The Maharishi. Lennon told Rolling Stone: "I had been thinking about it up in the hills in India. I still had this 'God will save us' feeling about it, that it's going to be all right (even now I'm saying 'Hold on, John, it's going to be all right,' otherwise, I won't hold on) but that's why I did it, I wanted to talk, I wanted to say my piece about revolution. I wanted to tell you, or whoever listens, to communicate, to say 'What do you say? This is what I say.'"
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Revolutionaries take different approaches to reach their goals. In a 1998 interview with Uncut, Yoko One gave her thoughts on Lennon's approach and how he expressed it in this song: "John's idea of revolution was that he did not want to create the situation where when you destroy statues, you become a statue. And also what he means is that there's too much repercussion in the usual form of revolution. He preferred evolution. So you have to take a peaceful method to get peace rather than you don't care what method you take to get peace, and he was very, very adamant about that."
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There are two very different versions of this song: a slow version that appears on The White Album, and a fast, loud version was released as a single. In the slow version, Lennon says "count me in" as well as "count me out" when referring to violence. This gives the song a dual meaning.
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The fast version was released as the B-side of "Hey Jude" in August 1968, three months before the slow version appeared on The White Album. John Lennon wanted it to be the first A-side released on Apple Records, the label The Beatles started, but Paul McCartney's "Hey Jude" got the honor.
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There are so many versions of this song because Paul McCartney didn't like it. Lennon really wanted this song to be the "A" side of the single instead of "Hey Jude," and kept changing it around to come up with something that would make Paul see it his way. He basically wrote the song because he felt like he was being pulled in so many directions by different people, all of whom wanted his backing, politically. It was also him questioning his own belief in the revolution that was going on... whether he was "out" or "in." In truth, he was writing about a revolution of the mind rather than a physical "in the streets" revolution. He truly believed that revolution comes from inner change rather than social violence. (This is discussed in the DVD Composing the Beatles Songbook)
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Nike used this for commercials in 1987. Capitol Records, who owned the performance rights, meaning The Beatles version of the song, was paid $250,000. Michael Jackson, who owned the publishing rights, meaning use of the words and music, also had to agree and was paid for the song (Jackson acquired the rights to 251 Beatles songs in 1985 when he outbid Paul McCartney for them, fracturing their friendship in the process).
The commercials caused a huge backlash from Beatles fans who felt that Nike was disrespecting the legacy of John Lennon, who likely would have objected to its use, but the ad campaign, called "Revolution in Motion," was successful, helping Nike expand their market by featuring ordinary joggers, gym rats and cyclists. "We're trying to promote the concept of revolutionary changes in the fitness movement and show how Nike parallels those changes with product development," the company stated. "Because of this 'revolution,' we were able to draw a strong correlation with the music and the lyrics in the Beatles song."
It wasn't just fans who had beef with the ads: the surviving Beatles, along with Yoko Ono (representing Lennon's estate), sued Nike, bringing even more publicity to the campaign. The ads ran for about a year, and eventually a settlement was reached in the lawsuit. As years went by, it became more acceptable to use songs in commercials, but Beatles songs remained off-limits, as any use would result in a lawsuit and hostile reaction by fans. What was "revolutionary" about the Nike commercials were that they were the first to do it.
In 2002, "When I'm 64" was used in a commercial for Allstate insurance. Many Beatles fans were not pleased, but it didn't get nearly the reaction of the Nike commercials, partly because it was not a political song, but also because it was sung by Julian Lennon, which implied endorsement by his father. -
On September 4, 1968, The Beatles made a promotional film for this song and "Hey Jude" at Twickenham Studios in London. These were directed by Michael Lindsay-Hogg, who did the previous Beatles videos: "Paperback Writer" and "Rain."
Unlike those clips, which were shot outdoors, the "Hey Jude" and "Revolution" videos were shot in a studio setting and meant to look like the band was performing it live. They both aired September 8 on Frost On Sunday, a popular UK show hosted by David Frost, who was at the Twickenham shoot to introduce the clip for the segment on his show, making it appear that the band was really there.
Another edit of the footage was later broadcast on Top Of The Pops, and yet another was shown in America on The Smothers Brothers Comedy Hour. When the Beatles compilation 1+ was released in 2015, a restored version of the video was included in the set. -
Before this song was used to shill for Nike, Yoko Ono was fine with using John Lennon's music in commercials; she authorized "Imagine" for a Japanese ad and said it was "making John's music accessible to a new generation." Nike bypassed the living Beatles, but went to her for approval, since the lead vocalist (the "principal performer") of a song needs to grant permission under certain statutes. Also, as the keeper of Lennon's legacy, it helped to have her consent for publicity purposes. Nike claimed the song was used "with the active support of Yoko Ono Lennon."
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This is one of the Beatles songs ("Help!" and "In My Life" are other examples) where John Lennon's falsetto makes an appearance. He takes it up high for the word "be" in the line, "You know it's gonna be all right."
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Nicky Hopkins played the piano. When The Beatles needed keyboards, they usually used Hopkins, Billy Preston, or their producer, George Martin.
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The dirty guitar sound was created by plugging the guitars directly into the audio board. The guitar sounded so scratchy that many who bought the 45 RPM single tried to return it, thinking it was defective. >>
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The word "Revolution" is mentioned just once, in the first line.
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John Lennon wanted his vocals to have an unusual sound, so he recorded most of them lying on his back in the studio. The famous scream at the beginning is a double-tracked recording of Lennon. >>
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The version on the Hey Jude compilation, released in February 1970 in the US, was the B-side of the "Hey Jude" single. The Hey Jude compilation album peaked at #2 in the US and consists of a collection of singles and B-sides that had not previously appeared on US non-soundtrack album releases. The album cover was taken at the final Beatles photo session, at Lennon's (later Starr's) country estate in Ascot, England. >>
*The above file is this author's own work and
represents his interpretation of this well-known
song. This file may only be used for private study,
scholarship, or research.