So the song starts out by saying, "Turn off your mind, relax and float downstream, it is not dying. "[99] Disc and Music Echo's review of Revolver took the form of a track-by-track rundown by Ray Davies of the Kinks, who, in author Steve Turner's opinion, took the opportunity to air his longstanding bitterness towards the Beatles. "[124] In 2012, the song was included as the title track of the Beatles' iTunes compilation album Tomorrow Never Knows, which the band's website described as a collection of "the Beatles' most influential rock songs". So the song is really about transcending and about the quality of the transcendent. From birth to death all we ever do is think: we have one thought, we have another thought, another thought, another thought. 'Tomorrow Never Knows' reintroduced the sustained repetition of the drone, absent in Western music since the Middle Ages and only recently discovered by avant-garde composer La Monte Young. ", Then it says, "Lay down all thoughts, surrender to the void – it is shining. Lennon desired the effect that the listener could hear the words but not hear him, like a group of Tibetan monks chanting on a mountain top. Phil Collins covered this on his debut solo album, Our Lady Peace remade this song for the soundtrack to the movie. "[98] Peter Jones of Record Mirror commented: "You need some sort of aural microscope to get the message from this. [nb 6] Focusing on the otherworldly electronic effects, he wrote: "Sound-wise, it's like an hypnotically horrific journey through the dark never-ending jungle of someone's mind ... And the effect is of shapes and sounds and colours looming over and above one and zooming in and out of a monotonous drone. "[70] According to Marianne Faithfull, who was also present, Dylan then walked out of the room. "[114] In their chapter on the Beatles' psychedelic period in The Cambridge Companion to the Beatles, authors Russell Reising and Jim LeBlanc describe "Within You Without You/Tomorrow Never Knows" as "the most musically and visually stunning segment" of the Cirque du Soleil show. [16][17] The piece was originally titled "Mark I"[11][18] and was referred to as such in the EMI studio documentation until the Beatles were remixing tracks for the Revolver album in June. [38] Lennon sought to capture the atmosphere of a Tibetan Buddhist ceremony;[39] he told Martin that the song should sound like it was being chanted by a thousand Tibetan monks, with his vocal evoking the Dalai Lama singing from a mountaintop. [89] Reaction to Revolver was "generally ecstatic", according to MacDonald, with listeners marvelling at the album's "aural invention". [110], In 2006, Martin and his son, Giles Martin, remixed 80 minutes of Beatles music for the Las Vegas stage performance Love, a joint venture between Cirque du Soleil and the Beatles' Apple Corps. [55][56] Eight of the tapes were used at one time, changed halfway through the song. And I'm longing to hear your reaction when the album is eventually issued. [40][41] The latter effect was achieved by using a Leslie speaker. [28] After experimentation on their own, the various Beatles supplied a total of "30 or so" tape loops to Martin, who selected 16 for use on the song. [83][84] According to author Mark Hertsgaard, as the first song recorded during the Revolver sessions, its sequencing ensures that the track serves as "the summit to which the entire album ascends". [64], The final overdubs were recorded on 22 April. [131], Jon Pareles, the chief pop music critic at The New York Times, has described "Tomorrow Never Knows" as "a portal to decades of music to come". But Also 1966 Christmas TV special,[146] which included a cameo appearance by Lennon. Dean wrote the screenplay and lyrics to all the songs in Footloose. On 2 May, he played the song to Bob Dylan at the latter's hotel suite in London; as the track started, Dylan said dismissively: "Oh, I get it. [34], The use of ¼-inch audio tape loops resulted primarily from McCartney's admiration for Stockhausen's Gesang der Jünglinge. [65] According to Lewisohn, who had access to EMI's studios logs and notes, these overdubs comprised Harrison's sitar and Lennon's Leslie-treated vocal part. [10][nb 1] The harmonic structure is derived from Indian music, a genre that Harrison had introduced to the Beatles' sound late in 1965 with his sitar part on "Norwegian Wood", and is based on a high volume C drone played on a tambura. [52] The four Beatles controlled the faders of the mixing console while Martin varied the stereo panning and Emerick watched the meters. [52], The overdubbing of the tape loops took place on 7 April. "In The Air Tonight" by Phil Collins was revived when it was used in the first episode of Miami Vice, three years after it was released.