Editing Revolver (Beatles album) (section)

==== "Tomorrow Never Knows" ====
{{quote box|quote= This is easily the most amazing new thing we've ever come up with. Some people might say it sounds like a terrible mess of a sound{{nbsp}}... But the song ought to be looked on as interesting – {{em|if}} people listen to it with open ears. It's like the Indian stuff. You mustn't listen to Eastern music with a Western ear.{{sfn|Turner|2016|p=146}}|source= – George Harrison, October 1966|width=25%|align=left|style=padding:8px;}}
Rodriguez describes Lennon's "[[Tomorrow Never Knows]]" as "the greatest leap into the future" of the Beatles' recording career up to this point.{{sfn|Rodriguez|2012|p=7}} The recording includes reverse guitar, processed vocals, and looped tape effects, accompanying a strongly [[syncopated]], repetitive drum-beat. Lennon adapted the lyrics from [[Timothy Leary]]'s book [[The Psychedelic Experience|''The Psychedelic Experience: A Manual Based on The Tibetan Book of the Dead'']], which equates the realisations brought about through LSD with the spiritually enlightened state achieved through [[meditation]].{{sfn|Everett|1999|pp=34–35}} Originally known as "Mark I", and then briefly "The Void",<ref name="Irvin/Tomorrow" />{{sfn|Turner|2016|p=135}} the eventual title came via one of Starr's [[malapropism]]s.{{sfn|Harry|2004|p=3}}{{sfn|Miles|2006|p=76}}{{refn|group=nb|Lennon later said "The Void" would have been a more suitable title, but he was concerned about its obvious drug connotations.{{sfn|MacDonald|2005|p=188fn}}}}

{{listen|pos=right|filename=Tomorrow Never Knows (Beatles song - sample).ogg|title=Sample from "Tomorrow Never Knows"|description=According to author [[Colin Larkin (writer)|Colin Larkin]], Lennon's drug-inspired song "has been described as the most effective evocation of a LSD experience ever recorded".{{sfn|Larkin|2006|p=487}}}}
Lennon intended the track as an evocation of a [[Tibetan Buddhism|Tibetan Buddhist]] ceremony.{{sfn|Turner|2016|p=142}} The song's harmonic structure is derived from [[Music of India|Indian music]] and is based on a high-volume [[C (musical note)|C]] drone played by Harrison on a tambura.{{sfn|Lavezzoli|2006|p=175}}{{sfn|MacDonald|2005|pp=188–89}} Over the foundation of tambura, bass and drums, the five tape loops comprise various manipulated sounds:{{sfn|Winn|2009|p=8}} two separate sitar passages, played backwards and sped up; an orchestra sounding a B{{music|flat}} chord; McCartney's laughter, sped up to resemble a seagull's cry; and a [[Mellotron]] played on either its flute, string or brass setting.{{sfn|Rodriguez|2012|p=108}}{{refn|group=nb|According to Rodriguez, this list seems the most likely combination of sounds fed into the track, although commentators have long disagreed on the precise content of the five loops.{{sfn|Rodriguez|2012|pp=108–09}} In place of the Mellotron sample, Ryan and Kehew list a [[mandolin]] or acoustic guitar, treated with [[tape echo]].{{sfn|Turner|2016|p=146}}}} The Leslie speaker treatment applied to Lennon's vocal originated from his request that Martin make him sound like he was the [[Dalai Lama]] singing from the top of a high mountain.{{sfn|MacDonald|2005|p=191}}{{sfn|Millard|2012|p=181}} Reising describes "Tomorrow Never Knows" as the inspiration for an album that "illuminates a path dedicated to personal freedom and mind expansion".{{sfn|Reising|2006|pp=111–12, 113–14}} He views the song's message as a precursor to the more explicitly political statements the Beatles would make over the next two years, in "[[All You Need Is Love]]" and "[[Revolution (Beatles song)|Revolution]]".{{sfn|Reising|2006|pp=111, 119}}