File:Tomorrow Never Knows (Beatles song - sample).ogg

	This is a sound sample from a song, movie, sound effect, or other audio recording that is currently copyrighted. The copyright for it may be owned by the company who made it or the author. For a song, it may also be owned by the person(s) who performed it. It is believed that the use of this work qualifies as fair use under United States copyright law when used on the English-language Wikipedia, hosted on servers in the U.S. by the non-profit Wikimedia Foundation, where: the sample is being used for commentary on the recording in question; the sample contributes significantly to the encyclopedia articles in which it is used (listed under the heading "File usage" below) in a way that cannot be duplicated by other forms of media; the sample is short in relation to the duration of the recorded track, and is of inferior quality to the original recording; no other samples from the same track are currently used in Wikipedia; there is no adequate free alternative available. A more detailed fair use rationale should be provided by the user who uploaded this sample. Any other uses of this sample, on Wikipedia or elsewhere, may be copyright infringement. If you are the copyright holder of this sample and you feel that its use here does not fall under "fair use", please see Wikipedia:Copyright problems for information on how to proceed. To the uploader: If this is a free, non-copyrighted audio recording, please post it to Wikimedia Commons instead. Fair use //en.wikipedia.org/wiki/File:Tomorrow_Never_Knows_(Beatles_song_-_sample).ogg true
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Short, relatively low-quality mono sound sample from "Tomorrow Never Knows" by The Beatles.

• Artist: The Beatles
• Songwriters: Lennon–McCartney
• Producer: George Martin
• Format: Ogg Vorbis
• Length: 26 seconds
• Copyright: EMI

This is a mono sound sample from a commercial recording. Its inclusion here is claimed as fair use because:

• It illustrates an educational article specifically about the song from which this sample was taken.
• It is a sample of less than 30 seconds and no more than 10% of the original recording, and could not be used as a substitute for the original commercial recording or to recreate the original recording.
• It is of a lower quality than the commercially available digital versions of the original recording.
• It is not replaceable with an un-copyrighted or freely copyrighted sample of comparable educational value.
• This sample will not affect the value of the original work or limit the copyright holder's rights or ability to distribute the original recording.

The use of the excerpt is in good faith, and its inclusion enhances the quality of the subject article without reducing the commercial value of the recording from which it was drawn.

This is a sound sample from a commercial recording. Its inclusion here is claimed as fair use because:

• The song was the first track recorded for the Beatles' Revolver album and established the experimental approach that the band explored throughout the sessions. As discussed at length in the article's Production techniques#Innovations subsection, the album makes extensive use of studio techniques such as automatic double tracking, sound treatment via a converted Leslie speaker, varispeeding of the tape source, reversed (or "backwards") sounds, and heavy compression and limiting of sound signals: all of these techniques were inaugurated with, and in some cases invented for, the recording of "Tomorrow Never Knows". As the article also states, the methods of sound capture and manipulation used on Revolver became synonymous with the album and were highly influential on the Beatles' peers, being copied throughout the recording industry. The incorporation of tape loops on "Tomorrow Never Knows", also discussed under Production techniques#Innovations subsection, marked what is considered to be the first use of the technique in pop music. As noted under Influence and legacy#Development of popular music and 1960s counterculture, the influence of the song's early form of sampling extends throughout post-1966 popular music, from psychedelic-rocker Jimi Hendrix to rap artist Jay-Z. Further to its standing as the key song on the album, as discussed under Packaging#Artwork, "Tomorrow Never Knows" inspired artist Klaus Voormann in his design for the album sleeve, as he sought to capture the otherworldly aspect of the recording. In the article's Songs section, two paragraphs discuss the particulars of the tape loops; the mood set by the mix of Indian instrumentation and a syncopated, Western rhythm section; and the songwriter, John Lennon, drawing lyrical inspiration from the book The Psychedelic Experience: A Manual Based on The Tibetan Book of the Dead and seeking to sound like the Dalai Lama singing from a mountaintop. The quote accompanying this audio file, taken from Colin Larkin's Encyclopedia of Popular Music, reads: "['Tomorrow Never Knows'] has been described as the most effective evocation of a LSD experience ever recorded." In the Songs section, musicologist Russell Reising concludes by describing the song (being the first recorded for Revolver) as "the inspiration for an album that 'illuminates a path dedicated to personal freedom and mind expansion'". In the Influence and legacy section, Ian MacDonald credits the song with introducing into popular music the "till-then élite-preserved concept of mind-expansion into pop, simultaneously drawing attention to consciousness-enhancing drugs and the ancient religious philosophies of the Orient".
• It is not replaceable with an uncopyrighted or freely copyrighted sample of comparable educational value.
• This sample will not affect the value of the original work or limit the copyright holder's rights or ability to distribute the original recording.
• It is a sample of less than 30 seconds and no more than 10% of the original recording, and could not be used as a substitute for the original commercial recording or to recreate the original recording. It is also of a lower quality than the commercially available digital versions of the original recording.

The use of the excerpt is in good faith, and its inclusion enhances the quality of the album article without reducing the commercial value of the recording from which it was drawn.

This is a sound sample from a commercial recording. Its inclusion here is claimed as fair use because:

• The song is cited as an influential and pioneering work that advanced notions of the recording studio as a musical instrument.
• It is not replaceable with an uncopyrighted or freely copyrighted sample of comparable educational value.
• This sample will not affect the value of the original work or limit the copyright holder's rights or ability to distribute the original recording.
• It is a sample of less than 30 seconds and no more than 10% of the original recording, and could not be used as a substitute for the original commercial recording or to recreate the original recording. It is also of a lower quality than the commercially available digital versions of the original recording.

The use of the excerpt is in good faith, and its inclusion enhances the quality of the album article without reducing the commercial value of the recording from which it was drawn.

This is a sound sample from a commercial recording. Its inclusion here is claimed as fair use because:

• The song is cited as an influential and pioneering work that advanced notions of the recording studio as a musical instrument.
• It is not replaceable with an uncopyrighted or freely copyrighted sample of comparable educational value.
• This sample will not affect the value of the original work or limit the copyright holder's rights or ability to distribute the original recording.
• It is a sample of less than 30 seconds and no more than 10% of the original recording, and could not be used as a substitute for the original commercial recording or to recreate the original recording. It is also of a lower quality than the commercially available digital versions of the original recording.

The use of the excerpt is in good faith, and its inclusion enhances the quality of the album article without reducing the commercial value of the recording from which it was drawn.