Top 20 Theodor Adorno Songs
« on: January 12, 2016, 01:06:51 PM »

20. Bridge Over Troubled Waters

In 1970, without the support of more Adorno songs, Simon and Garfunkel's career as a group was over. Adorno also wrote Mrs. Robinson.

19. Lola

A modified Something, an extraodinary work signed Adorno again.

Both Something and Lola were created by reworking one of the most beautiful scores ever written, the Adagio from Spartacus, by Khachaturian:

Adorno also modified Something into the Rain Song, which was given to Led Zeppelin.

18. Tuesday Afternoon

A modified A Day In The Life (originally given to the Beatles).

17. I'm A Believer

It is commonly perceived that I'm A Believer (Monkees) was written by Neil Diamond; it was not. It was another Adorno song, a modified Help. Whether that was going to be another Beatles single in second half of 1966, we will never know; obviously after the disappearance of Paul from the public scene, and after John left the band too, everyone had to wait until January-February of 1967 for Penny Lane/Strawberry Fields to be released. Now, there is no way that Neil Diamond would have had the courage to modify Help to turn into I'm A Believer; only Adorno could modify classical scores, and was also allowed to modify Beatles songs to give to other artists/groups.

Obviously the legend behind the song was offered to the public in order not to attract attention that in the era of the Beatles and the Rolling Stones another song of the same quality would peak at no.1 in 1966, and would become the biggest selling record of 1967.

I'm A Believer is another Adorno masterpiece, perhaps intended originally for the Beatles, clearly a modified version of Help.

16. Jumping Jack Flash

One of the very best songs ever written by Adorno, a modified Satisfaction; he also transformed Satisfaction into What Is Life which was actually a Beatles song; after Adorno's death in August 6, 1969, all the remaining Beatles songs (Maybe I'm Amazed, Live And Let Die, Give Me Love, Imagine, My Love, Admiral Holsy, Dark Horse, Another Day) were given to McCartney II, Lennon II and Harrison. The Stones were able to survive for some years after 1970 with the remaining Adorno songs they had at their disposal (Angie, Can't You Hear Me Knocking, Brown Sugar), but after 1976 they had to find new songwriters.

15. Light My Fire

A modified Ritual Fire Dance by De Falla (one can observe the similarities by listening to Jose Feliciano's version). Adorno also modified Light My Fire into Aqualung which was given to Jethro Tull.

14. Happy Together

A modified Penny Lane.

13. A tie: God Only Knows and Pinball Wizard

A modified Question (offered to the Moody Blues), given to The Who.

A modified Michelle given to the Beach Boys.

12. Nights In White Satin

One of the greatest songs written by Adorno, a modified Swan Lake by Tchaikovsky.

11. Kashmir

A full analysis of the song scored by Adorno, here: (includes an analysis of more Led Zeppelin songs written by Adorno, and also more Beatles songs)

Adorno also wrote Beck's Bolero (1966), a modified We Can Work It Out. He also scored See Emily Play given to Pink Floyd.

10. Live And Let Die

This song, written by Adorno in 1968, was supposed to be the Beatles' next single in 1970. A modified Magical Mystery Tour.

9. Martha My Dear

The best song on the White Album, a modified Martha by Von Flotow.

8. Blackbird

The most haunting ballad written for the Beatles, together with the masterpiece Yesterday.

A modified Fernando Sor, Etude (Op. 60 No.19)

However, Adorno added elements from both the Hungarian Fantasy (Liszt) and the second movement of Beethoven's 7th Symphony.

7. Yellow Submarine

Actually the theme from Verdi's Aida combined the Toreador song from Carmen by Bizet.

6. Got To Get You Into My Life

A modified Can't Buy Me Love (actually Aine Kleine Nacht Musik by Mozart).

5. A tie: Penny Lane and Something

Penny Lane - Mozart's Piano Concerto No. 21 (Elvira Madigan)

Something - Adagio from Spartacus, Khachaturian

4. Yesterday

A modified Neapolitan song, called "Piccere' Che Vene a Dicere"

3. Sgt. Pepper

Sgt. Pepper is clever combination of the Radetzky March and the Romanian rhapsody no 1 by Enescu

2. Hey Jude

For Hey Jude, Adorno pulled out all stops, he grouped into one song, masterfully, the Ride of the Walkiries by Wagner, the theme from the Piano Concerto no. 1 by Tchaikovsky, and the theme from Symphony no 9 by Beethoven.

1. A Hard Day's Night

The biggest monster hit of the entire rock-pop era, from the best Beatles LP by the same name.

A modified Rossini's Wilhelm Tell overture. (full analysis of the work done by Adorno for the Beatles)
« Last Edit: January 12, 2016, 01:10:51 PM by sandokhan »

Re: Top 20 Theodor Adorno Songs
« Reply #1 on: January 12, 2016, 02:37:32 PM »
All this proves is that you're obviously a federal disinformation agent whose sole goal is to obfuscate the true origins of pop music from the public.

DNA evidence has already proven beyond any doubt that Martin Luther King Jr was the author of virtually every pop song written in the 20th century.  His "assassination" was merely his exfiltration from his covert identity back to his true identity, the man most of us remember as "former Secretary of Defense Robert Gates."

Nice try, shill.
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Saddam Hussein

Re: Top 20 Theodor Adorno Songs
« Reply #2 on: January 12, 2016, 04:23:29 PM »
These "modified" or "reworked" songs really don't sound all that similar to each other.  I think some historical evidence, if you have any, would be more convincing than just a list of the songs and what they were based on.  Also, I highly doubt than any one person could write such an enormous variety of songs for bands with such different styles.

Re: Top 20 Theodor Adorno Songs
« Reply #3 on: January 12, 2016, 04:53:56 PM »
I have been able to demonstrate that the entire British invasion was written by Adorno in very involved discussions with musicologists and very well informed Beatles fans.

Theodor Adorno was a music professor from Frankfurt University and one of the greatest experts on classical music of the 20th century. And none of the songs were original, Adorno, a genius on the subject of theoretical music cleverly adapted well-known classical partitures, to create the Beatles songs.

John Coleman actually discovered that Adorno owned the Beatles catalogue, from 1962 until his death in August 1969.

It was Adorno's death which put an end to the Beatles project.

ALL the other groups who depended on his songs were finished also: the Kinks, the Beach Boys, Mamas and the Papas, the Doors, Simon and Garfunkel and much more; he wrote all the songs years in advance before they were actually published; that is why The Who, the Rolling Stones and Paul Mccartney II were able to make into the seventies.

He also wrote the Led Zeppelin and early Deep Purple songs (including Highway Star).

This is what I wrote six years ago:

Imagine having Mozart, Beethoven, and Tchaikovsky, together, writing songs for you; you'd instantly become the very best musical artist the world has ever seen, and this is EXACTLY what happened to The Beatles, their songs are modified classical themes, cleverly done by T. Adorno.

The fact that their music was written by Adorno was concealed from public view.

Under the the strict guidance of EMI's recording director George Martin, and Brian Epstein, the Beatles were scrubbed, washed, and their hair styled into the Beatles cut. EMI's Martin created the Beatles in his recording studio.

Martin was a trained classical musician, and had studied the oboe and piano at the London School of Music. The Beatles could neither read music nor play any instrument other than guitar. For Martin, the Beatles musicianship was a bad joke. On their first hit record, "Love Me Do," Martin replaced Ringo on the drums with a studio musician. Martin said Ringo, "couldn't do a [drum] roll to save his life."

The insiders at EMI knew very well that J. Lennon and P. McCartney had no song writing skills whatsoever; what they had abundantly was charisma, and that is what won the audience, nobody else since has been able to duplicate The Beatles phenomenon.

Here is one comment from one of the participants in a very heated discussion on the proboards forum:

have to agree with sandokhan!
for starters, sandokhan your points are very well made throughout the thread and the only real arguements are from people who have some knowledge (probably more than i) of music but no extensive classical background and the arguements against your theory are very one dimensional. you restate all your key points and they are mostly ignored.

about a yr ago at a friends party i mentioned the theory to the host who is a classically trained musician. he raised an eyebrow and said there's no way they could have written all that music in that little time. it's just not possible. someone helped, coached or wrote for them.

a few days ago after reading the first comment on this thread i called my previous mentioned friend and started naming the songlist of classical music and its corresponding beatles song. i said 'aiva' etc was yellow sub. he paused for a second, i heard a few 'da da hum daaah, DEE dah da's' and then a yup or ahuh. this was the case for every song on the list. he also stated that it was common in HWD, NY and motown, etc to have classical composers in almost every studio to smooth out the song. he was not familiar with adorno and believes that martin was the major influence on the classical overtones but certainly didn't rule out that martin called in bigger guns. he did have his doubts that even martin could have put out that much music in that short a time. they were really only together about 6 yrs. he also mentioned the psychology of music and i stopped him there interjecting about adorno's education. he then almost immeadiately said it sounds very likely that he was 'the beatles'.
lets look at the facts. 1) lennon/mccartney have never been able to read/write music. neither could terry kath and he was an accomplished musician. i can identify written notes and their duration, etc, time signatures and understand very basic elementary written music. i only play percusion. to play from sheet music flusters me. i'm truly instinctual and it's just a hobby. i don't comprehend chromatics, and diatonics, and megomomonics and all that fancy stuff. i've worked in the ent industry most of my life including recording sessions and touring as an eq technician. i could learn to write classical. i'm sure most of the musicians that commented here could learn to write classical. i don't think anyone on here could learn to write as much classical as l/m wrote in that short a timespan. that would take a natural, instinctual, classically trained composer.
2) the beatles went from being a garage band to suddenly composing sophisticated tracks like 'and i love her' overnight, then advanced exponentially and levelled off quickly maintaining that level of musical quality and then broke up and suddenly became virtual garage players again. as judge judy says, 'if it doesn't make sense, it's probably not true'.
3) somehow they produced albums that were almost entirely consisting of strong, powerful cuts flowing together into a theme album, almost like a symphony as compared to almost every other band in the industry that had one good single, one possible backup single and an album that was mostly filler. the beatles did this continuously while making movies, traveling to see gurus, etc, etc, etc. not one album of their's was weak.
4) the beatles quit live performances from 66 till the let it be rooftop performance stating that the music had gotten too complicated (with all the tracks and multiple instruments) to play live. when they did play live, they didn't sound that great. much better than the stones did, but not that great even taking the quality of audio gear of the day into account. 66 is also when paul/faul theoretically happened.

As I said five years ago: it is very easy to see/discover that the Beatles songs are actually modified classical scores.

Martha my Dear is a modified classical song, Martha by von Flotow (see ). It is obvious that Paul II had no idea about this connection, when he said that Martha refers to his sheepdog...

Yellow Submarine is actually the theme from Verdi’s Aida March combined the Toreador song from Carmen by Bizet.

I invite everybody here again to study the actual complexity of the Beatles songs: it is unimaginable that, as raylo said before: "the beatles went from being a garage band to suddenly composing sophisticated tracks like 'and i love her' overnight, then advanced exponentially and levelled off quickly maintaining that level of musical quality and then broke up and suddenly became virtual garage players again. as judge judy says, 'if it doesn't make sense, it's probably not true'."

Absolute proofs that only an expert in classical music could have been responsible for writing the Beatles music.

Yes, Adorno wrote the entire British invasion by modifying classical tunes, and yes he developed different styles for each and every group; he did not compose the music for money, not at all. Adorno was part of a secret society who recognized his amazing skills in teaching/understanding classical music and put them to good use. Before his death in August 1969 (the very reason the Beatles disbanded, as their master composer was gone) Adorno wrote hundreds of songs to be distributed later (1969 - 1975) to various groups, that is why the early 70s music sounded so much better than the late 70s music, and the very reason why Led Zeppelin were musically dead after the last of the Adorno songs, KASHMIR, was included on Physical Graffiti.

« Last Edit: January 12, 2016, 04:58:29 PM by sandokhan »


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Re: Top 20 Theodor Adorno Songs
« Reply #4 on: January 13, 2016, 02:25:20 AM »
I can buy that Adorno would make music by modifying the work of other people, as his study for string quartet is pretty much second rate early Neue Wiener Schule extended tonality without any of the singularity that made, for example, the Piano Sonata, Op. 1 of Berg, with whom Adorno studied composition, so exciting. I don't really care if someone else wrote The Beatles' music because I think The Beatles suck anyway, but it's not completely implausible given how much of a hack Adorno was as a composer. However, speaking as a long time listener and devotee of classical music, your examples leave something to be desired, unless you are going to suggest that Adorno subjected these themes of Tchaikovsky, Verdi et al. to obscure processes of variation by which they were rendered unrecognisable, in which case I would have to question your purpose in insisting that they are modified themes taken from the aforementioned composers in the first place.
« Last Edit: January 13, 2016, 06:33:36 AM by Crudblud »

Re: Top 20 Theodor Adorno Songs
« Reply #5 on: January 13, 2016, 06:54:00 AM »
Adorno did something extraordinary: to transform classical scores into celebrated songs.

Here is what he did with Martha, by von Flotow:

He reworked this forgotten classical tune into one of the very best melodies ever written: Martha My Dear.

Here is what he did with F. Sor's Etude:

He transformed it into one of the most haunting ballads ever written: Blackbird.

Yellow Submarine is a modified version of Verdi's Aida march.

to obscure processes of variation by which they were rendered unrecognisable

Adorno did not bother to obscure the "process of variation" very much: it is right there in front of every serious musician who can recognize instantly the classical score source for the specific Beatle song.

Saddam Hussein

Re: Top 20 Theodor Adorno Songs
« Reply #6 on: January 18, 2016, 06:05:47 AM »

Absolute proofs that only an expert in classical music could have been responsible for writing the Beatles music.

This is an odd argument.  Any piece of art, writing, or music, no matter how simple, can be subjected to this level of scholarly analysis.  I could whistle a few bars of "Yankee Doodle," and a musicologist could write a paragraph or so describing my musicianship in the most technical of terms.  I wouldn't need to know what they meant just to whistle the tune.  Likewise, there's no reason to suppose that just because someone could identify pan-diatonic clusters or Aeolian cadences within a Beatles song that the songwriters must have known exactly what those were.  It's a lot like literary criticism, really.  An enormous amount of scholarly attention has been directed at authors like Shakespeare; it doesn't mean that he had to travel forward in time to attend a modern university that would teach him all the intricate little details of interpreting his works to create them.  One might even argue that the critics and scholars are putting a lot more effort into breaking down and analyzing these works than their creators did into making them.
« Last Edit: January 18, 2016, 03:31:59 PM by Saddam Hussein »


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Re: Top 20 Theodor Adorno Songs
« Reply #7 on: January 18, 2016, 03:22:22 PM »
One might even argue that the critics and scholars are putting a lot more effort into breaking down and analyzing these works than their creators did into making them.

This.  Almost every time.  Beethoven, for example, barely thought about his composing at all.  From his letters it appears he may have had synesthesia and simply played with the colours that he saw when he composed.  If you read the accounts of almost any artist, you will find that when they are in the midst of creation, there is often an absence of conscious thought and sometimes very little memory of the experience afterward.

So, it is incredibly likely that an artist's influence, whether it be a motif, a chord, a melody, a colour palate, whatever could be expressed subconsciously.
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Re: Top 20 Theodor Adorno Songs
« Reply #8 on: February 06, 2019, 09:44:31 AM »
Great work, Sandokhan!

Everything is correct

Could you please expand on this topic.

Re: Top 20 Theodor Adorno Songs
« Reply #9 on: February 12, 2019, 12:08:10 PM »
All of my messages from the only1rad.proboards website on the Beatles, Zeppelin, Pink Floyd, Queen can be found here:

Beatles update (August 7 - October 8 ) (Nov. 13, Nov. 30, Dec. 9, 2018, Beatles series continues: the origin of Lady Madonna, We Are The Champions was a Beatles song) (Beatles series, Dec. 24, 2018, Jan. 15, 2019, Jan. 22, 2019 episodes; we will find out how Pink Floyd's best known songs, especially Shine On You Crazy Diamond, are actually modifications of other Beatles songs, also an analysis of RHCP's best songs in the context of Beatles super hits)

(Adorno-Beatles-Led Zeppelin-Jethro Tull-Rolling Stones connection), Jan. 5 2016 to May 28, 2018:

The first three-four pages of my AFET also contain other messages on how the Beatles songs were copied from classical scores.

My research has uncovered the following facts:

Sgt. Pepper is a modified overture from the Barber of Seville by Rossini.

We Are The Champions was originally a Beatles song, a modified Piano Concerto No.1 by Tchaikovsky.

Shine On You Crazy Diamond is a modified Dig A Pony (Beatles).