The Beatles - Tomorrow Never Knows by Al-Maranca

The Beatles - Tomorrow Never Knows
by Al-Maranca and the Round Coloured Note -
End of Summer 2020 and it's clear, nobody knows what 's going to happen in the near future, no one can really make solid plans at the moment, about where to go or what to do, suddenly we had a major change of scene, again we are at a crossroads..

On one side there it is, our total failure as species, a crumbling cardboard tower right before our very eyes, on the other end a glimpse of how amazing it would be if we could only manage to get out of this “loop” and eventually evolve into something new, more aligned with higher levels of consciousness..

It seems that most of the Great Masters and Avatars from the past pointed towards within in order to find answers..

Although it travels outwardly in infinite waveforms, music is realized within and that's where the magic happens, therefore each song or piece speaks directly to us, as single individuals, as souls..

I had my first mesmerizing Beatles moment at the age of four with “Day Tripper” thanks to my dad and by the way that was at the end of 70s, but what an experience must have been 54 years ago, listening for the first time to Revolver front to back and eventually landing on Tomorrow Never Knows!..

Real Beatles fans do know about the beauty and importance of this album and in particular of this monumental track.

Some youtube commenter humorously said that maybe humanity is not ready yet for this song, which is possibly the most groundbreaking, innovative, experimental, profound and mystical among all Beatles’ tracks, however I do think we are now well ready for it!

Today, more than ever before, is the day to “lay down your thoughts and surrender to the Void” because “it is shining”!

Some critics divide pop music history in “before and after” TNK, as it marks many beginnings: the introduction of loops and reverse tape effects into the world of recording, altering and processing vocals, using loud and distinct hammering bass lines on a strong solid drum groove, defining world fusion with some kind of ancestral, embryonic trance driving factor on a one chord structure typical of Eastern and Indian music, laying the first stone of the so called “underground” sound, finally, lyrically bringing profound spiritual concepts into mainstream and what a mainstream that was!

In other words: “A portal for the music of the future” (New York Times)

And now that we are in that future, does it make any sense making a new version? Well let’s find out..

A Northwest African kind of pulsing rhythm came with it.
As one of the very few positive aspects of globalization, during the last twenty years African music has finally gone back on the throne it deserves and has been influencing and inspiring a whole new generation of musicians worldwide.
Africa is the roots of everything in many aspects and especially music, so I presume after a big lap the “portal” has been taking many of us back there..

We found out that Lennon later regretted not having recorded chanting Tibetan monks on the original TNK, so we thought of doing it and honouring his wish, you will hear the ancient Buddhist mantra “ Om Mani Pad Me Hum” which means “Praise to the Jewel in the Lotus.”

As the Dalai Lama said, its meaning is “great and vast” because all the teachings of Buddha are wrapped up in this one phrase.


It was a great pleasure putting back together part of Round Coloured Note band and of course teaming up again with Klesha Production who made the video, we both accepted the challenge of dealing with a real “giant”!

We'd like to think that in the process of making it, we tuned, like the Beatles did, into that everlasting stream of sounds and consciousness which runs in between this dimension and higher realms, a place everybody can access through music, arts, prayer or meditation, somewhere we come back from as Re-evolved spirits..


"The whole point is that we are the song" (George Harrison)


Video animation and editing: Pasquale D’Amico (Mr.Klesha Animation)
https://www.pasqualedamico.it/
Al-Maranca: Vocals, baglama, Bass
Rastko Rasic: Drums
Luigi Ferracci: Percussions
Trevor Joseph: Keyboards and Analogue Synths
Mixed at the Friary Studios (Aspley Guise, England) by Hugh Neal and Chris Webb, studio assistant Matteo Cortinovis
Mastering: Neil Pickles http://www.revealsound.com/

Special thanks to: Saori Ito, Hugh Neil

Produced by Al-Maranca
https://www.al-maranca.com/