Editing Reverse tape effects (section)

== Examples ==
One of the best-known examples of music featuring reverse tape effects is the ''[[Doctor Who]]'' theme (1963), composed by [[Ron Grainer]] and realised electronically by [[Delia Derbyshire]] of the [[BBC Radiophonic Workshop]]. 

Several [[The Beatles]] songs of the period — including ''[[Revolver (Beatles album)|Revolver]]'' (1966) tracks "[[I'm Only Sleeping]]" and "[[Tomorrow Never Knows]]" — also feature recordings of electric guitars, sitars and "birds" which have been reversed.<ref>{{citation |title=20 Things You Didn't Know About The Beatles' 'Revolver' |url=https://www.nme.com/blogs/nme-blogs/20-things-you-didn-t-know-about-the-beatles-revolver |publisher=[[NME]] |date=2016-08-03}}</ref> Another famous example of the use of reverse tape effects is their 1967 single "[[Strawberry Fields Forever]]." During the verses, Lennon's voice is accompanied by a series of rapid "swooshing" sounds; these are actually the sounds of [[Ringo Starr]]'s drum and cymbal accompaniment. These patterns were carefully pre-recorded, the tape reversed and the reversed percussion effects meticulously edited into the master tape to synchronise with the music. 

Around the same time, [[Jimi Hendrix]] recorded backward guitar for tracks such as "[[Are You Experienced (song)|Are You Experienced?]]" and "[[Castles Made of Sand (song)|Castles Made of Sand]]," both released 1967. [[Stephen Stills]], a close friend of Jimi Hendrix, used the effect on [[Graham Nash]]'s song [[Crosby, Stills & Nash (album)|"Pre-Road Downs"]] from [[Crosby, Stills & Nash]]'s debut album.

Occasionally, record labels would use a reverse tape song on the B-side of a single, to ensure that only the A side got radio play. One example is "Noolab Wolley" by the US group [[The Yellow Balloon (band)|The Yellow Balloon]]; A-side “[[Yellow Balloon]]” was a big cheery harmony-drenched slice of [[sunshine pop]] that went to #25 in Billboard in the spring of 1967. The flip side of the single reversed the tape to create a surprisingly listenable off-kilter bit of shoopy drums and near-psychedelic "lyrics" that worked pretty well. In the year prior, there was "Aaah-ah, Yawa Em Ekat Ot Gnimoc Er’yeht" by [[Napoleon XIV]] (Jerry Samuels). In the original song "[[They're Coming to Take Me Away, Ha-Haaa!|They’re Coming To Take Me Away, Ha-Haaa!]]", Samuels created one of the most bizarre one-hit oddities of the 1960s, going to #1 in Cashbox, #3 in Billboard, #4 in the UK, and #2 in Canada in the summer of 1966. The reverse version fared reasonably well on the flip side, since the martial drumming of the A side remained more or less intact, and the lyrics were only slightly less warped.{{cn|date=June 2022}}

Another example of the use of reverse tape effects can be heard in the song "[[Roundabout (Yes song)|Roundabout]]" by the British  [[progressive rock]] group [[Yes (band)|Yes]], on their 1972 album [[Fragile (Yes album)|Fragile]]. The song begins with a sound which gradually fades in, and then ends suddenly, changing abruptly into guitar music, performed by guitarist [[Steve Howe (guitarist)|Steve Howe]].
The "fade-in" sound is a minor chord (played on a grand piano by keyboardist [[Rick Wakeman]]) that was sounded and allowed to fade to silence. The tape of this piano chord was then reversed by producer [[Eddy Offord]] and carefully edited into the track. With the fading piano sound is thus reversed, it slowly builds up in volume before ending suddenly, at which point Offord edited it seamlessly into the first notes of Howe's guitar introduction. This distinctive effect is heard several times during the introduction and its reprise.{{citation needed|date=January 2022}}