As the years have gone by, Rubber Soul has distinguished itself more and more from the “typical” early album by The Beatles. While the 14 selections remain pretty much bright and poppy, the underlying lyrical content starts to touch on more mature themes, as its center of gravity migrates from teenage love to young adult sex. More importantly are the compositions, the music and the sound production which feature a stream of creative innovativeness by the group and producer George Martin.
Following the band’s international success in 1964, the year 1965 saw many new achievements and discoveries for the group, ranging from their reception of Members of the Order of the British Empire (MBE) in June to their first experiences with LSD and other drugs later in the year. During the summer of 1965, the motion picture and accompanying soundtrack album Help! were released and continued their phenomenal chart success. The group’s third US tour followed, opening with a then world-record crowd of over 55,000 at Shea Stadium in New York on August 15th, with many more sold out cities to follow. That Fall even saw the premier of an American Saturday-morning cartoon series of the band, the first ever television series to feature animated versions of real, living people.
After the tour, the group had little time to record their sixth album in order for it to hit the markets in time for Christmas. However, due to their second straight year of top-level success, there was little pressure to focus on hit singles, which made this their most cohesive album effort to date. They returned to London in October 1965 and nearly all of the songs were composed and recorded within a four week period into November. The Beatles grew up quite a bit on this album. The harmonies are simple but artfully arranged while the production begins to get a bit “edgy” (without being too revolutionary) but adding more piano and keyboards as well as excess percussion and some non-traditional instrumentation.
Stylistically, the group incorporates contemporary R&B, soul, folk rock, and just a tad of psychedelic music styles. In fact, the album’s title is a play on the slang term “plastic soul”, which some musicians coined to describe Mick Jagger of The Rolling Stones when he attempted to replicate the “soul” singing style.
Rubber Soulby The Beatles
Released: December 3, 1965 (Parlophone) Produced by: George Martin Recorded: EMI Studios, London, October-November, 1965
Drive My Car
You Won’t See Me
Think For Yourself
What Goes On
I’m Looking Through You
In My Life
If I Needed Someone
Run For Your Life
John Lennon – Guitars, Keyboards. Vocals George Harrison – Guitars, Sitar, Bass, Vocals Paul McCartney – Bass, Piano, Vocals Ringo Starr – Drums, Percussion, Organ, Vocals
The album opener, “Drive My Car”, reaches back to The Beatles’ roots as a pure rocker with little deviation, save for the overdubbed piano during chorus sections and Ringo Starr‘s cow bell throughout. Lyrically, the comical phrases are augmented by the title, which is an old blues euphemism for sex. Rubber Soul‘s next two tracks feature incredible production value. John Lennon‘s, “Norwegian Wood (This Bird Has Flown)”, is where the group takes its first real leap into the unknown as an acoustic folk song with a complementing sitar riff played by George Harrison. This works to gives a mystical feel to this story of what seems to be about a love affair that has lost its spark and the fire that was once warm and welcoming becomes vengeful in the end. Some have credited this song as the conception of the “world music” genre. “You Won’t See Me”, is a somewhat forgotten gem by Paul McCarftney. It is piano driven with fine chord progressions and melodies throughout. The bridge section shows off McCartney’s complex compositional skills, while the three part-harmonies throughout are another highlight to the song.
“Nowhere Man”, features clever lyrics and philosophical commentary by Lennon, all while remaining melodic and pop-oriented. Harrison provides a slight guitar lead after first verse, while McCartney and Starr thumb out good rhythms throughout on this track which reach number 3 on the pop charts in America. “Think for Yourself”, is the first of two compositions by Harrison this album and features an intriguing “fuzz” bass line by McCartney, complemented by a Vox Continental organ played by Lennon, giving it a total mid sixties vibe. While still entertaining, “The Word”, is the first song in the sequence which is not absolutely excellent, as the harmonies seem a bit too forced. However, this track does contain a cool piano backdrop and outstanding drums by Starr. The first side wraps with another unique track, the European folk-influenced, “Michelle”, complete with lyrics partially in French. This melodramatic love song is beautifully produced with rich background harmonies and Chet Atkins-style finger-picked electric guitar by McCartney for great sonic effect. “Michelle”, which was originally written as a spoof on French Bohemians during the Beatles’ early days, was re-written with proper lyrics for Rubber Soul and eventually won the Grammy Award for Song of the Year in 1967.
Side two of the album is not quite as excellent as the first side, but still contains solid songs throughout. “What Goes On”, is Starr’s country and western influenced contribution, in which he sings lead vocals and receives partial compositional credit for the only time on the album. Lennon’s, “Girl”, features great folk rhythms and melodies and previews some of his finer solo works years later. With more fine harmonies, the songs lyrics paint a vivid picture of a character who drives the protagonist crazy but is mesmerizing nonetheless;
Was she told when she was young that pain would lead to pleasure? Did she understand it when they said… That a man must break his back to earn his day of leisure? Will she still believe it when he’s dead?”
Following McCartney’s bright and sparse acoustic pop track, “I’m Looking Through You”, comes Lennon’s masterpiece of this album, “In My Life”. Everything about this two and a half minute ballad showcases the Beatles at their best in 1965, The opening guitar notes, which were written by McCartney but played by Harrison, instantly tug at heartstrings. The poetic lyrics drip with sentimentality and lead to the climatic, Baroque–style piano lead played by Martin, which got a unique effect when the producer recorded it at half speed and found an authentic-sounding harpsichord result when played back at the normal rate. The first of its kind, Lennon wrote the song as a long poem reminiscing on his childhood years, themes which would be further explored by Beatles’ members on future band albums.
“Wait”, features great choruses and a decent bridge by McCartney along with a creative percussive ensemble and pedal-effected guitars, but is otherwise a weak song for this album. This is followed by Harrison’s smooth classic, “If I Needed Someone”, which features deliberate vocals, a sweet guitar and upbeat rhythms. This song was nearly simultaneously recorded and released as a cover by the Hollies and became a minor hit for that group. While Rubber Soul is a bright album overall, it concludes with the dark and violent, “Run for Your Life”, an ode to domestic violence or perhaps the “outlaw country” of 1965, as presented by Lennon. A very far cry from the “Give Peace a Chance” theme of the near future, it is hard to discern if this is serious or dark comedy lyrically, but musically it contains a plethora of guitar textures – from the strummed acoustic, to the slide electric and rockabilly lead – which make it undeniably catchy overall.
Like all albums to that point, Rubber Soul was released with differing British and American versions, with the British version eventually becoming canon (and hence, the one we review here). The album was another commercial success, originally staying on the charts for nearly a year, with several chart comebacks throughout the decades. Within the following year of 1966, The Beatles would continue to accelerate their recording innovations with the follow-up, Revolver ,and give up on touring completely to strictly become a studio-oriented band.
Part of Classic Rock Review’s celebration of the 50th anniversary of 1965 albums.
Their fifth overall studio album, Help!, is perhaps the final of The Beatles‘ pop-centric, “mop-top” era records released over the course of 30 months. Still, the group did make some musical strides on this album, most particularly a stylistic move towards folk and country on several tracks and the addition of piano and keyboards, performed by John Lennon and Paul McCartney on a few songs. Released in conjunction with their second feature-length film (of the same name), Help!, contains fourteen tracks split evenly between seven that were featured in the film (side one) and seven other 1965 studio tracks on the original second side of the LP.
Already a relentlessly hard working group, The Beatles’ American and worldwide breakthrough in early 1964 only served to expand their schedule as their label and management looked to fully capitalize on their unprecedented popular success. During March and April of 1964, the group members filmed A Hard Day’s Night as they played themselves in a “mock-umentary” about their sudden success where the Beatles showed a knack for comedy. That film was accompanied by their third studio LP with each being very well received. During the summer of 1964, the Beatles embarked on an international tour through Europe, Asia, and Australia, followed by a 30-concert tour of the United States. Returning to Abbey Road studios, the Beatles recorded and released their fourth studio LP, Beatles for Sale in late 1964, which had a much darker tone than any of their previous work.
In early 1965, the group filmed the movie, Help!, which included a much larger budget than the previous year’s A Hard Days Night. As a result, this movie was filmed in color and at many disparate locations including various places in England, the Bahamas, and the Austrian Alps. However, the richer plot and cast served to alienate the band members who stated that they felt like “guest stars” or even extras in their own film, despite the fact that the drummer, Ringo Starr, plays a central part in the plot.
Music for the film and album was produced by George Martin who, for the first time, employed “track bouncing” techniques for overdubbing. Distinct versions of the record were released in the UK and North America (we focus on the long since canonized British LP version in this review). The North American (Capitol Records) release was of EP length and features some orchestral scores produced by Dave Dexter, with omitted songs later appearing on the US versions of Beatle VI and Rubber Soul. On the other end of the spectrum, a few songs that were recorded intended for the film were not used in either the movie or on the album, including the tracks “If You’ve Got Trouble”, “That Means a Lot”, “Yes It Is”, and an early version of, “Wait”, a song re-recorded for Rubber Soul later in the year.
Help!by The Beatles
Released: August 6, 1965 (Parlophone) Produced by: George Martin Recorded: EMI (Abbey Road) Studios, February–June 1965
The Night Before
You’ve Got to Hide Your Love Away
I Need You
You’re Going to Lose That Girl
Ticket to Ride
It’s Only Love
You Like Me Too Much
Tell Me What You See
I’ve Just Seen a Face
Dizzy Miss Lizzy
John Lennon – Guitar, Piano, Vocals Paul McCartney – Bass, Piano, Keyboards Vocals George Harrison – Guitars, Vocals Ringo Starr – Drums, Percussion, Vocals
The title track storms in with a sudden vocal explosion of the distinct intro section of “Help”. Written by Lennon to express his personal difficulties with the Beatles’ sudden success, the song contains a desperate message lyrically but an excited and frantic approach musically and tonally, making for a strange but effective mix of emotions throughout. The descending bass and guitar line during the chorus is the most effective and interesting element of this fine track which became the group’s tenth #1 pop hit. McCartney’s, “The Night Before”, features a nice mixture of guitars and electric piano, adding an overall twang effect to the background. The sharp beat and rhythm is kind of boilerplate Beatles at this point in their career but this song does feature a unique, duo guitar lead by McCartney and George Harrison.
“You’ve Got to Hide Your Love Away” is a loose tribute to Bob Dylan which features a tremendous sound that is at once simple but still fills the room. Lennon constructed this not as a lovey-dovey song, but as an introspective track where he delivers totally distinct vocals and gives early Beatles fans a glimpse into what group would the later become. Aside from Lennon’s strummed acoustic, the song musically features simple, layered percussion and an earthy, ending flute solo by guest John Scott. “I Need You” is an early, forgotten gem by Harrison that features sweet sounds, such as a cool guitar pedal effect, and somber vocals.
Later on the first side, the Beatles revert back to some of their traditional styles. “Another Girl” includes some bluesly slide guitars, possibly influenced by Brian Jones, as well as a nice little solo lead at the very end. But otherwise, the track was garden variety and had not ever been played live by any Beatle until April 2015, over 50 years after it was recorded. Lennon’s “You’re Going to Lose That Girl” was a bit more popular, in somewhat the same vein of the female vocal groups of the day, with its backing vocal chorus call-and-response. “Ticket To Ride” is not only the only track to exceed three minutes in length, but may well be the finest overall song on the album. There are inventive and entertaining blends of sound throughout and droning rhythms with steady but interesting drum patterns by Starr during the verse/chorus sections that work seamlessly with Harrison’s ringing guitar riff and Lennon and McCartney’s harmonized melodies. The song transitions to a few upbeat bridge sections which transition back with a slight solo guitar flourish. Lyrically, the song caught some controversy due to its sexual connotations, but nonetheless topped the charts on both sides of the Atlantic when it was released ahead of the album in April 1965.
The album’s second side features two tracks which made up one of the oddest inverted 45 singles ever. The cover “Act Naturally”, with lead vocals by Starr is a country-flavored acoustic track and complete change of pace for the group, which was originally issued as a single with McCartney’s “Yesterday” occupying the ‘B’ side. Of course, “Yesterday” became one of the most popular songs in music history, even though its solo performance by McCartney with string quartet and non-rock-n-roll approach was considered a significant risk by the band at the time. It is a song that hits every note in your emotions and a universal song that makes one feel a little nostalgic no matter what age. McCartney says he received the entire melody in a dream and hurried to a piano to play the tune before he forgot it, using the filler theme “Scrambled Eggs”.
The remaining songs on side two are relatively lesser known, albeit interesting. “It’s Only Love” is a short blend of Byrds-meet-Roy Orbison with a slight preview of the psychedelic flower-power English pop to come. Harrison’s “You Like Me Too Much” is another retro-sounding tune with a hi-hat and double piano holding the beat and a bridge section which features trade-offs between lead guitar and piano by Lennon and Martin. On “Tell Me What You See”, complex percussion rules the day through the first two verses and an electric piano section at end. “I’ve Just Seen a Face” features a great intro with dueling acoustic guitars, fantastic vocals by McCartney, and a fast-paced skiffle beat throughout. If anything, this track shows how the Beatles can take common instruments, voices and tools to make unique and divergent sounds. The Larry Williams cover, “Dizzy Miss Lizzy” concludes the album as a groovy early sixties jam which, if anything, shows that this is still the “Beatles” after the unconventional track, “Yesterday”. This song is also notable as the final cover song on a Beatles album until 1970’s Let It Be, which included the traditional folk song, “Maggie Mae”.
Beyond spawning three #1 singles, Help! became an album chart-topper as well as a multi-platinum seller worldwide. Following the album’s release, The Beatles embarked on their third US tour, which opened with the classic Shea Stadium performance on August 15, 1965 that shattered all previous attendance records. Following the tour, the group took some time to focus on their next album, which would become the classic Rubber Soul late in 1965.
Part of Classic Rock Review’s celebration of the 50th anniversary of 1965 albums.
Released less than a month after the announcement of their breakup, Let It Be was a unique release by The Beatles on several fronts. First, the bulk of the album was recorded over a year earlier (and before the recording and release of 1969’s Abbey Road) and was slated to be released twice in 1969 as different incarnations of an album called Get Back. Also, after it was finally released, there was debate over the enriched production added by Phil Spector, which ultimately led to a 2003 re-mixed version called Let It Be Naked.
The idea for this project was sparked by Paul McCartney who wanted to use these sessions to “get back” to the rock basics of the band’s early years. McCartney was also eager to play live again and wanted simplify the band’s sound, which had gotten increasingly complex in the studio. As an added dimension, the rehearsals and recording sessions would be filmed as part of a planned documentary showing the group prepare for a return to playing live.
Starting in late 1968, the project was marred by confusion in purpose and production duties and, ultimately, led to strong animosity within the band itself. In fact, George Harrison temporarily quit the band and agreed to return only if plans for a live tour were nixed (the band ended up playing a single “show” on the roof of Apple Studios). Still, the band was incredibly prolific in rehearsing over a hundred songs during these sessions, which included early incarnations of songs which would end up on Abbey Road and several early solo albums by individual band members.
An originally intended release date for Get Back was set for the summer of 1969, but the group members were dissatisfied with the mix and the project was temporarily shelved while they worked on Abbey Road. Early in 1970, a second version was attempted, again to less-than satisfactory results. Finally, Spector was brought in to “save” the project in March 1970 and finished the album which now had a new title and new status as the final album by the world’s most popular rock band.
Let It Beby The Beatles
Released: May 8, 1970 (Apple) Produced by: Phil Spector & George Martin Recorded: Abbey Road, Twickenham & Apple studios, London, February 1968-April 1970
Two of Us
Dig a Pony
Across the Universe
I Me Mine
Let It Be
I’ve Got a Feeling
One After 909
The Long and Winding Road
For You Blue
John Lennon – Guitars, Bass, Vocals George Harrison – Guitars, Tambora, Vocals Paul McCartney – Bass, Keyboards, Guitar, Vocals Ringo Starr – Drums, Percussion
“Two of Us” was written by McCartney about a driving adventure with his future wife, Linda. While early incarnations were electric guitar-driven, the final album version was mostly acoustic with harmonized vocals by McCartney and John Lennon. “Dig a Pony” was composed and sung by Lennon, almost as a counterpart to the opener as it was inspired by his future wife, Yoko. This song was also the first of several to feature guest Billy Preston on electric piano.
The oldest composition on Let It Be, “Across the Universe” was written by Lennon in 1967 and originally recorded in early 1968. The song’s vibe was heavily influenced by the transcendental meditation the band was studying at the time, and its melodic flow make it one of the most enjoyable tracks on the album. “I Me Mine” was Harrison’s first songwriting contribution to the album with lyrics that mock the bickering within the band. Late on the album’s first side are a couple of filler tracks, each less than a minute in duration. “Dig It” is credited to all four group members (giving Ringo Starr a rare songwriting credit), while “Maggie Mae” is a traditional British skiffle tune.
McCartney’s title ballad was Billboard’s highest debut single to that date and the final single before the band’s breakup announcement. The song was sparked by a dream he had about his mother (Mary), who had died when Paul was a teenager and its title and theme served as a call for serenity in the face of the band’s breakup.
The album’s second side begins with “I’ve Got a Feeling”, a fusion of two unfinished songs, along with John Lennon’s “Everybody Had a Hard Year”, which may have been one of the last true collaborations between the famous songwriting team. McCartney’s guitar-driven and upbeat rock theme fuses nicely with Lennon’s mellow folk lines to make a unique tune. In contrast, “One After 909” was a song written a full decade earlier in 1960, as one of the first Lennon–McCartney compositions. It was recorded here as a symbolic gesture to signify the band’s return to “good ol’ rock n’ roll”. “The Long and Winding Road” became the group’s twentieth and final number one song as a mature and philosophical piano ballad by McCartney. After production modifications by Spector, which included orchestral strings Richard Anthony Hewson and a choral arrangement by John Barham, McCartney expressed outrage at the enhancements without his input.
Harrison’s “For You Blue” features Lennon playing lap steel guitar with McCartney playing an intentionally dulled piano, which act as the only “bass” on the track. The album closer, “Get Back”, was the earliest single from the album, released over a year before the album as a single credited to “The Beatles with Billy Preston.” The album’s version is a different mix of the song. The song’s evolution was fully documented on film and the album’s version ends with the ironic quote by Lennon,
I’d like to say thank you on behalf of the group and ourselves, and I hope we passed the audition…”
Let It Be topped national charts in a half dozen countries worldwide and won an Academy Award for the Best Original Score for the songs in the film. Beatles fans still debate whether this is truly their final studio album or more of a posthumous release of tracks from an unfinished project. In any case, it is a quality addition to the band’s portfolio.
Part of Classic Rock Review’s celebration of the 45th anniversary of 1970 albums.
Our third and final installment of the “Life After Beatles” series looks at the critically acclaimed debut record by John Lennon called John Lennon / Plastic Ono Band. Unlike any other that Lennon had recorded within or beyond the Beatles, this album was raw and forthright lyrically and stripped to the bare essentials musically. The songs were largely the product of the “primal scream” psychological therapy that Lennon and his wife Yoko Ono undertook through a large part of 1970, following the Beatles’ breakup. This technique emphasized the emotional release of repressed traumas, which is evident throughout the album as Lennon touches on the most base elements of life and death.
Prior to 1970, Lennon and Ono had jointly issued three experimental albums along with Live Peace in Toronto 1969, which was credited to the “Plastic Ono Band”, a newly enshrined joint vehicle for Lennon and Ono’s musical projects. In early 1970 they released the single “Instant Karma!”, which sold over a million copies and reached the top five on both sides of the Atlantic, making it the first true solo “hit” by any of the Beatles. The song was produced by Phil Spector, who was also working on the Beatles Let It Be album, and featured Klaus Voormann on bass, who Lennon would retain for this album.
Starting in July 1970, Lennon recorded demos of tracks inspired by the ongoing therapy which was then taking place in the United States. In September the couple returned to England and began recording at Abbey Road. The sessions began with Lennon, Voormann, and former Beatle bandmate Ringo Starr jamming to early rock standards to forge a tight sound among the three. Ultimately, the new tracks were laid down with this base, three-piece arrangement. Originally slated to be the album’s producer, Spector’s busy schedule meant he could only work on a few songs, so Lennon and Ono produced most of the material themselves, forging a dry rhythmic sound which worked perfectly with the thematic feel of the album. John Lennon / Plastic Ono Band was recorded simultaneously with Ono’s debut solo album of avant garde sounds, Yoko Ono/Plastic Ono Band.
Plastic Ono Bandby John Lennon
Released: December 11, 1970 (Apple) Produced by: John Lennon, Yoko Ono, & Phil Spector Recorded: Abbey Road Studios & Ascot Sound Studios, London, September–October 1970
I Found Out
Working Class Hero
Well Well Well
Look at Me
My Mummy’s Dead
John Lennon – Lead Vocals, Guitars, Piano Klaus Voormann – Bass Ringo Starr – Drums
On the same day they released their respective albums, the couple also released a joint single of Ono’s “Why” and Lennon’s “Mother”. Starting with a tolling bell which symbolizes the death of his mother when John was a teenager, the song abruptly enters as a raw and untamed prayer with choppy piano chords and bass notes along with Starr’s moderately steady drum beat. Actually a cry to both parents (who Lennon pretty much grew up without), this ode to abandonment features a final line which is repeated nearly a dozen times with increasing intensity and dramatic effect. This represents the fact that being left behind by both parents will always be in the back drop of anything else in his life. In contrast, the sweet and soft “Hold On” changes the tone from the inner battle that has been going on forever to a hopeful mood of optimism. Musically, this is led by fantastic, jazzy tremolo guitar by Lennon.
I heard something ’bout my Ma and my Pa, they didn’t want me so they made me a star…”
We return to the primal scream, angry-at-the-world material with “I Found Out”. Starting with pure, raw blues as Lennon’s vocals mimicks his guitar riff, the song takes off when Voorman and Starr break in with upbeat rhythms, with the bass line being the true highlight of this dark but fine tune. Speaking of dark, “Working Class Hero” is a solo folk performance where Lennon provides at once a slightly profound anthem to the “regular guy” and a bitch fest to suppress all hope of escaping to a better life. Closing side one, “Isolation” is a largely underrated classic as a great desperate ballad where Lennon’s vocal skills are at their best. A beautiful piano is upfront while the rhythm is very refined and laid back and everything is staggered (or “isolated”), eventually climaxing in a crescendo with exquisite timing.
People say we got it made, don’t they know we’re so afraid, isolation…”
With a consistent, driving beat and vocals methodically delivered with long pauses between each verse line, “Remember” is another gem from the heart of this album. During the well-spaced chorus sections the song briefly changes direction with more standard, melodic rock timings. Lyrically, this song deals with remembering events of the past and how some memories are not that rosy but they still help you shape your today. For the song’s climax, Lennon references “The Fifth of November”, a British holiday known as Guy Fawkes Night and celebrated with fireworks, hence the ending explosion. “Love” is a soft and weepy ballad, which works well as a counterbalance on this emotional album. Musically, the song features piano by Spector and a soft, tender acoustic guitar by Lennon. This song was eventually released as a single in 1982, in the wake of Lennon’s assassination.
The weakest part of the album begins with “Well Well Well”, a six minute filler that is not at all focused or anywhere nearly as interesting as the other “primal scream” tracks. Aside from some interesting stomping and crunchy guitar riffs, this song has about as much merit as a prolonged conversation where no one says anything of substance. “Look At Me” is another weak track, albeit at least a bit moody and melodic. The only song to predate the Beatles’ breakup, this song was written during sessions for the White Album in 1968 and contains a finger-picked acoustic technique similar to that album’s “Dear Prudence”. The album does recover nicely with the philosophical closer, “God”, featuring Billy Preston on piano. The song features a totally unique compositional formation with long, repetitive mid-section screed. Here, Lennon earnestly declares what he believes in and (most prominently) doesn’t believe in, with a whole list of terrestrial idols culminating with The Beatles themselves. This is followed by the sad closing section where Lennon repeatedly declares “the dream is over”, ultimately addressing the elephant in the room to which all previous subjects have built towards.
Much like the classic Abbey Road a year earlier, Platic Ono Band ends with a song after the final song, in this case a low-fi demo of a brief diddy called “My Mummy’s Dead”. The album reached Top 10 and spent several months in 1971 in the charts. Lennon followed up on the success of this album with Imagine, another self-confessional (albeit tamer) album which was a worldwide hit for Lennon.
Part of Classic Rock Review’s celebration of the 45th anniversary of 1970 albums.
Released just three weeks before he was murdered, Double Fantasy was at once John Lennon‘s great comeback effort and tragic final release of his lifetime. The album was a true collaboration with Lennon’s wife, Yoko Ono, with songs pretty much alternating throughout the album’s sequence between songs written and sung by Lennon and those written and sung by Ono. While the album was initially panned by critics, most changed their tune after Lennon’s death and the subsequent deluge of popular support, which served to propel the record to the top of the charts worldwide.
With the birth of Lennon and Ono’s son Sean in October 1975, John Lennon effectively began a hiatus from the music business. Prior to this, Lennon had released an album of cover songs simply titled Rock n’ Roll. Over the subsequent five years, Lennon gave all his attention to his family and performed no touring or recording save from the occasional acoustic demo recorded in his New York apartment. Lennon took a sailing trip down the Atlantic coast to Bermuda in the summer of 1980, which sparked his compositional creativity as he began to write new songs and rework earlier demos. At the same time, Ono also wrote many songs and the couple decided to release their combined work on a single album. The end result was an album of personally focused material with an underlying theme about a man and woman who found each other years into their relationship, with the tracks sequenced as a dialogue between Lennon and Ono.
They enlisted producer Jack Douglas, and asked him to assemble a backing band without telling them for whom they would be recording. Lennon and Ono initially financed the recording sessions as Lennon was not signed to a record label at the time and the couple wanted the recording sessions to remain secret until they were satisfied with the finished production. After leaking the news to a few A&R folks, the Lennons chose the fledgling Geffen Records, reportedly because David Geffen was the only one who showed Ono the proper respect.
Double Fantasyby John Lennon & Yoko Ono
Released: November 17, 1980 (Geffen) Produced by: Jack Douglas, John Lennon & Yoko Ono Recorded: The Hit Factory, New York, August–September 1980
(Just Like) Starting Over
Kiss Kiss Kiss
Give Me Something
I’m Losing You
I’m Moving On
Beautiful Boy (Darling Boy)
Watching the Wheels
Yes, I’m Your Angel
Every Man Has a Woman
Hard Times Are Over
John Lennon – Piano, Keyboards, Guitars, Vocals Yoko Ono – Vocals Hugh McCracken – Guitars Tony Levin – Bass Andy Newmark – Drums
The album’s lead single, “(Just Like) Starting Over” is also Double Fantasy‘s opening track. A slight chime noise cues the opening strummed acoustic with Lennon’s crooning vocals in the intro section. The track next breaks into a full, 50s-style rock doo-wop with modern rock elements as a very entertaining, quasi-tribute to Elvis Presley. The outro fadeout includes Ono speaking while Lennon adds soprano chants to complete the track which would posthumously become Lennon’s biggest solo hit, topping the charts for five weeks. Later on the first side, “Cleanup Time” is a funky rocker throughout and reminiscent of certain tracks from Lennon’s 1974 album Walls and Bridges, his last studio album prior to Double Fantasy.
Ono’s three tracks on the first side are “Kiss Kiss Kiss”, the disco and new wave-influenced song features Ono gasping heavily and appearing to reach orgasm, the Devo-influenced “Give Me Something”, and “I’m Moving On”, which complements and closely mimicks Lennon’s, “I’m Losing You”. Both of these latter tracks were originally recorded by Cheap Trick members Rick Nielson and Bun E. Carlos, but were re-recorded by the session musicians, including guitarists Hugh McCracken and Earl Slick. “I’m Losing You” is a great, moody track where Lennon’s voice sits above the slow rock jam with superb musical motifs. The song was written by Lennon in Bermuda after unsuccessfully trying to connect on a phone call to Ono.
“Beautiful Boy (Darling Boy)” was written by Lennon for his young son and starts with the same percussive bells as the opening song. Musically, it contains strong Caribbean elements along with a consistently strummed acoustic and an extended ending with pleasant sound effects. The song also contains some of the best lyrics on the album;
I can hardly wait to see you come of age / Everyday, in every way it’s getting better and better / Life is what happens to you while you’re busy making other plans…”
“Watching the Wheels” is the best produced song on the album, along with a great musical performance by all players. The bass is spectacular by Tony Levin, bouncy and out front but still nicely locked in with the steady beat of drummer Andy Newmark. On top, the bluesy piano adds for a whimsical mood and Lennon’s parting vocals are very strong and exciting. Ideally, “Watching the Wheels” would have made a great album closer, as Lennon speaks of his “lost” 5 years when he concentrated on domestic life.
The remainder of side two is dominated by Ono, as she composed and sang four of the six tracks while the two remaining tracks were written by Lennon, directly for her. “Yes, I’m Your Angel” starts with some urban sound effects which go on for nearly a minute before music comes to the forefront as a piano-driven show-tune with accompanying instrumentation and sound collages. “Beautiful Boys” is musically interesting with great layered guitars and potent, high notes of bass, with Ono’s lyrics directly addressing Sean and John. “Every Man Has a Woman Who Loves Him” is a moderate and reserved funk/disco, while the closer “Hard Times Are Over” contains a bluesy beat and piano with a live, night club feel.
Lennon’s remaining two songs are the upbeat and funky “Dear Yoko”, with rockabilly vocals, bouncy bass, and a strong horn section, and the much superior ballad, “Woman”. Here, Lennon’s words are deeply romantic, while his vocals are almost desperate. Musically, this track contains a great chord progression throughout along with a pleasant but refrained musical backing. The key jump upward for the third verse perfectly completes the love-song vibe of this song which reached the Top 3 on both sides of the Atlantic.
Following the recording of Double Fantasy, Lennon and Ono immediately started working on a follow-up album, which eventually surfaced as Milk and Honey in early 1984 and is officially listed as Lennon’s final studio album. However, most consider Double Fantasy as the ex-Beatle’s true swan song, as he was working hard promoting it right up until the day he died. On that day, he gave his final interview and optimistically spoke of the future, completing the thought with the now sad phrase; “While there’s life, there’s hope.”
Part of Classic Rock Review’s celebration of the 35th anniversary of 1980 albums.
Walls and Bridges seems to be one album that often gets lost in the John Lennon collection. It is not as dramatic as Plastic Ono Band, nor is it as popular as Imagine, nor as sad and tragic as the circumstances surrounding Double Fantasy. Still, this fifth post-Beatles album by Lennon (which he self-produced) is unique in its production and arrangements with a decidedly “modern” sound which includes sharp guitars, well-rounded yet thumping bass, dry snare drum with deep delays, and plenty of horn arrangements throughout. This album also captures Lennon’s mood during his 18 month “Lost Weekend”, his only separation form Yoko Ono during the last 13 years of Lennon’s life.
Lennon and Ono moved to New York in 1971 and escalated their anti-war message, which brought the Nixon administration and FBI to embark on a multi-year attempt at deportation. 1972’s Some Time in New York City was an overtly political album, which was mainly a commercial and critical flop. Lennon’s next album, Mind Games in 1973, was an effort to move back towards a more standard rock and roll arrangement and included Ken Ascher on keyboards and Jim Keltner on drums, both of whom would be brought back for Walls and Bridges.
After he and Ono decided to separate, Lennon moved to Los Angeles with May Pang, an assistant of Ono’s. During this time, he was drinking and was involved with many alcohol-fueled public antics, which brought the former Beatle some negative publicity. In the midst of this chaos, it was growing ever harder to get any recordings done. So Lennon and Pang settled back in New York in the Spring of 1974 and started rehearsing new material with a group of core musicians, including Keltner, Jesse Ed Davis on guitar, and Klaus Voormann (who played on Lennon’s first two solo albums) on bass. After moving to the studio and recording the basic tracks, Lennon took the helm during overdubbing, which gave the album it s distinct arrangements and sound.
Walls and Bridgesby John Lennon
Released: September 26, 1974 (Apple) Produced by: John Lennon Recorded: Record Plant East, New York City, July–August 1974
Going Down on Love
Whatever Gets You Thru the Night
Old Dirt Road
What You Got
Surprise, Surprise (Sweet Bird of Paradox)
Steel and Glass
Nobody Loves You
John Lennon – Lead Vocals, Piano, Keyboards, Guitars, Percussion Jesse Ed Davis – Guitars Ken Ascher – Piano, Keyboards Klaus Voormann – Bass Jim Keltner – Drums
The opener “Going Down on Love” is marked by the percussion by Arthur Jenkins under the main blues riff and hook. This multi-section song with higher-register vocals contains the first horn ensemble which sets the tone for the album. This is followed by the only non-Beatles song by Lennon to top the charts, “Whatever Gets You thru the Night”. Lennon’s lead vocals are harmonized by Elton John, who also plays piano on the track and was so impressed with the final result that he made a bet with Lennon that it would reach #1 on the charts. When Lennon lost the bet, he agreed to perform a few songs at an Elton John concert on what would turn out to be Lennon’s last major public performance of his life.
Lennon also collaborated with Harry Nilsson on “Old Dirt Road”. This song contains a country flavored piano and strummed acoustic, harkening back to “Jealous Guy” from Imagine, as a slow and steady ballad with a bit of Beatles bounce in the pre-chorus. On “What You Got”, Lennon gives a wild vocal performance in a funk-infused track with piano, strong horns, and very animated drums by Keltner. “Bless You” is a soul-inspired ballad with heavy electric piano, slowly strummed acoustic, and a moody sax solo. Lennon’s vocals are very melody driven and song is perfect for soft-rock, easy listening in 1974 and he called this track the “best piece of work on the album”. Side one of Walls and Bridges wraps with “Scared”, which contains dramatic, wolf howling sound effects before breaking into a direct, bass and piano driven beat which reminds one of the Plastic Ono Band album in its raw emotion and candidness.
“#9 Dream” is one of the most indelible Lennon songs ever recorded. The slide guitar by Davis, which seems to mimic fellow Beatle George Harrison, is accompanied by strummed acoustic, deep strings, and very ethereal vocals. There are sudden but non-abrasive changes in the arrangement and a chorus of background vocals including some whispers by May Pang. Lennon claims the entire song, including the chorus hook; “Ah! böwakawa poussé, poussé” (which has no specific meaning), came to him in a dream. “Surprise, Surprise (Sweet Bird of Paradox)” is the second song harmonized by Elton John through lead verses. There is a lot packed into this short song, with multiple melodies and moods. “Steel and Glass” is a dark folk song, with dramatic picked acoustic guitars in minor chords beneath strong and poignant vocals in opening verses before it breaks into richer arrangement for subsequent choruses and verses.
The mostly instrumental “Beef Jerky” starts with guitar feedback effects before morphing into an arrangement with a more “modern sound”. “Nobody Loves You (When You’re Down and Out)” is a sad acoustic song about fair-weather friends. Lyrically, it contains the potent line; “I’ve been across to the other, I’ve shown you everything, I’ve got nothing to hide…” while musically the strings seem to mimic those in “Mind Games” from the previous album and the bluesy guitar lead above slow horn ensemble is one of the finest moments on the album. The album closes with “Ya Ya”, a short and upbeat cover which features Julian Lennon on drums and was included as a surprise for John’s 11-year-old son with the credit; “Starring Julian Lennon on drums and Dad on piano and vocals”.
Walls and Bridges rose quickly up the charts and reached #1 in the US less than a week after its release. In 1975, Lennon released an album of cover songs called Rock n’ Roll. He also reunited with Yoko Ono and commenced a five year retirement from music when the arrival of the couple’s son, Sean, later in that year.
Part of Classic Rock Review’s celebration of the 40th anniversary of 1974 albums.
Short of careers cut short by tragedy, there are very few times in rock history where a band or artist finished with their greatest work. Abbey Road, the eleventh and final studio album by The Beatles, is one such occasion. Released in October of 1969, This album marks the last true collaboration all four Beatles in the studio with producer George Martin (Let It Be was released in April of 1970, weeks before the Beatles broke up, it was mostly recorded prior to any Abbey Road recording sessions). This final effort with their classic producer and at the studio they would make famous, Abbey Road would go on to tremendous popularity and critical success and become our of the Year for 1969.
It is no secret that the Beatles were going through internal turmoil later in their career. Having lost the glue that held them together, manager Brian Epstein just two years earlier, the band had been going through personal and financial struggles. The strained business relationship was complicated by the addition of John Lennon‘s new love interest, Yoko Ono, who was a constant presence in their recording sessions. During a break in recording in March 1969, Lennon and Ono were married and when Lennon returned from his honeymoon, he approached Paul McCartney with a song he had written about the occasions called “The Ballad of John and Yoko”. The song was immediately recorded without George Harrison or Ringo Starr, who were both away from London when Lennon had his sudden inspiration. With McCartney on piano, bass, and drums, and Lennon on vocals and guitars, “The Ballad of John and Yoko” became the Beatles’ 17th and final UK number one single, all done without half the group members knowledge or consent. But such was the case for the Beatles in 1969.
Early in the year, The Beatles seemed to be on the road to breaking up during the recording of what would become Let it Be, as each member had started doing solo projects. It was McCartney who approached George Martin and asked him to work with them on another studio album. Martin agreed as long as the band agreed to his strict discipline in the studio and let him have control over the production from start to finish. So, recording began in February 1969 with Martin at the helm as well as all four Beatles at Abbey Road Studio. Some of the early recordings for the Abbey Road sessions included non-album material which would surface elsewhere, such as Harrison’s acoustic demo of “All Things Must Pass” (later on a solo album of the same name), McCartney’s “Come And Get It” (a minor hit for Badfinger in 1970), and “Old Brown Shoe”, an interesting composition by Harrison, used as the B-side for “The Ballad of John and Yoko”. However, as the sessions moved along, the Beatles found their magic formula once again and made the classic Abbey Road music which showcases each member of the band performing at their finest level.
Abbey Roadby The Beatles
Released: September 26, 1969 (Apple) Produced by: George Martin Recorded: EMI Abbey Road Studios, London, February-August 1969
Maxwell’s Silver Hammer
I Want You (She’s So Heavy)
Here Comes the Sun
You Never Give Me Your Money
Mean Mr. Mustard
She Came In Through Bathroom Window
Carry That Weight
John Lennon – Guitars, Piano, Keyboards, Percussion, Vocals Paul McCartney – Bass, Piano, Keyboards, Percussion, Vocals George Harrison – Guitars, Keyboards, Percussion, Vocals Ringo Starr – Drums, Percussion, Piano, Vocals
The album aptly begins with the Lennon led “Come Together” While the title sounds like a lead in to a hippie commune sing along, it is actually has a rougher edge to it with a funky bass, bluesy guitar and sloshy drums. “Come Together” and “Something” were released as a double A-sided single. George Harrison’s, “Something”, is often regarded as Harrison’s finest composition. It is certainly one of the greatest love songs ever recorded. It starts with the line, “Something in the way she moves…” and the music flows right along with that movement. It has a natural, fluid feel to it with the steady bass, beautiful guitar riffs and cricket like sounds that lead into a perfect fade out.
“Maxwell’s Silver Hammer” is a duplicitous song. The lyrics describing the antics of a sociopathic serial killer are in stark contrast to the syrupy sweet music. The anvil banging and McCartney’s mischievous vocal delivery add to the effect that this is a children’s song gone awry, but one can’t help but sing along. The next McCartney led song, “Oh Darling” has a completely different style. McCartney’s voice carries the whole thing. This doo-wop inspired song actually has a tinge of Motown in it with the intense, strained vocal and simple accompaniment.
Ringo Starr’s contribution, “Octopus’s Garden” is another childlike fantasy song. Ringo has said it was inspired by a story he had heard about how octopus like to gather shiny objects and make their own little “garden”. This song lightens the mood after the intensity of “Oh Darling” and the black hole that ends side one, “I Want You, She’s So Heavy”. This is a lengthy indulgence that has some interesting parts, a few moments of brilliance and some superb musicianship. That said it carries on for a nearly eight minute decent into repetitive madness.
The second side is where the magic of this album really starts. It opens with the uplifting and fresh sounds of Harrison’s second contribution, the sonic masterpiece, “Here Comes the Sun”. The harmony of vocals and the light, catchy melody capture the feeling of rebirth that comes from a new beginning, like the sun coming out from behind the clouds as winter fades and spring blooms. This, along with the outstanding, “Something” may make this Harrison’s best Beatles album ever. “Because” features a three part harmony tripled in production so it sounds like nine voices over a simple moog synthesizer and harpsichord. The vocals are masterful and the production technique is superb. Beethoven’s, “Moonlight Sonata”, played backwards, inspired the chords of the song.
“You Never Give Me Your Money” drops in perfectly with soft piano chords and dramatic vocals, there is a plethora of music in this piece. The sounds draw you in and the steady drum beat is mesmerizing. The production on this one is masterful as it leads the listener into the medley that is the heart of this production masterpiece. The production of these little vignettes is brilliant in how they blend together into a cohesive story. “Sun King” reprises the triple three part harmonies while, “Mean Mr. Mustard” and “Polythene Pam” are more upbeat and end in a crash. “She Came in through the Bathroom Window” was inspired by a determined female fan who crawled through a bathroom window of Paul’s home. There is a cool riff going on throughout the song.
With a slight pause in the medley, “Golden Slumbers” rises as another melodramatic McCartney contribution showcasing his knack for making pretty melodies. This abruptly leads to “Carry That Weight”, featuring a reprise of “You Never Give Me Your Money” where Ringo is prominent in the vocal harmonies. Fittingly, it all culminates with “The End”. There is a showcase for each performer here. The guitar parts were done by Paul, John and George and Ringo has his only drum solo as a Beatle. It is a grand finale that brings this album, as well as the Beatles recording days, to an end in grand style.
Abbey Road’s cover, though it appears to be a simple shot of the band walking across the street in single file, has been said to have some clues to the rumored death of Paul McCartney. Paul is walking barefoot in a suit, George is dressed in jeans, much like a gravedigger, Ringo is dressed in similar fashion as an undertaker while John is dressed in white to symbolize a minister. Adding to the intrigue is the license plate on the VW that reads, “28 IF” as Paul would have been 28 if he had lived. Of course, Paul McCartney is not dead, but the “clues” became a fan obsession and the band seemed to have an endless supply of “clues” to egg them on.
Of course, the album was a huge success, reaching the top of the charts in scores of countries as the sixties came to an end. The songs on this album lean on each other much as the Beatles needed to lean on each other to produce the quality and quantity of music they made throughout their career. There are a few outstanding singles, but the medley only shines because they put together pieces of songs that weren’t quite complete on their own and created something unique, special and fleeting as the Beatles rode off into history shortly after Abbey Road was released.
Part of Classic Rock Review’s celebration of the 45th anniversary of 1969 albums.
In 1968, The Beatles released their only double studio album, an eponymous release commonly referred to as The White Album. Despite the official title which emphasized group identity, the actual recordings were segmented and increasingly individualized based on the original composer of each tune. Much of this was due to dissent and inner turmoil in which members openly objected to certain tunes. In fact, all four members of the group play together on barely half of the album’s 30 tracks and producer George Martin later admitted he advocated for a “very good single album” in lieu of including so many marginal individualized tracks. Thematically, the White Album was a complete withdrawal from The Beatles 1967 albums, retreating from the lush and vivid colorful themes of Sgt. Pepper’s Lonely Hearts Club Band and Magical Mystery Tour with a plain white sleeve (save for the band’s name discreetly embossed) to pair with the most simple of titles. This was also the first release by the group on their independent label, Apple Records.
Even with 30 tracks, the album omitted much potential material. Several songs started during the five months of recording were later included on Abbey Road and several solo albums by the members and the group opted to release the tracks “Hey Jude” and “Revolution” (two of the most popular songs ever by the Beatles) as a pre-release single than include them on the White Album. With such a large amount of tracks, the album contains an eclectic mix of songs from wide musical genres, including folk, country , avant-garde, classical and chamber music, and British dance-hall music. The Beatles only slightly continued their psychedelic leanings from 1967 but spent much more effort returning to basic rock and blues of their earlier years. Such diversity on a single album was largely unprecedented in 1968 and seemed to bring equal measures of praise and criticism from fans and critics over the years. Still, The Beatles was a phenomenal commercial success, reaching number one on both side of the Atlantic and selling well over 10 million copies worldwide.
Many of the songs originated in Rishikesh, India while the band was collectively on a Transcendental Meditation retreat with Maharishi Mahesh Yogi in the spring of 1968. Both John Lennon and Paul McCartney used the time to write songs in earnest and would frequently meet to discuss song ideas (even though this was in contrast to the meditation “course”). Theses songs were composed on acoustic guitar, the only Western instrument available during their Indian visit. Once back in England, the group gathered at George Harrison‘s home to hash out the close to forty new compositions and make preliminary plans for recording. The sessions for The White Album were the first on which the band used 8-track recording, starting with “Hey Jude” at Trident Studios in central London before returning to Abbey Road Studios once EMI installed their own 8-track machine.
During the lengthy sessions from May through October 1968 much internal conflict began, group members later pinpointed this as the beginning of their ultimate breakup. Frustrated with his diminished role on several tracks, drummer Ringo Starr quit the band for a brief time, leaving McCartney as the drummer on a couple of tracks. These were also the first Beatles sessions where wives and girlfriends frequently attended, most notably Lennon’s future wive Yoko Ono, who was constant presence at the sessions. As a result of the tension McCartney and Lennon would often record in separate studios at Abbey Road (there were three), each using different engineers. The turmoil of these sessions extended beyond the band members. Engineer Geoff Emerick, who had worked on several albums with the Beatles, abruptly quit and announced he would no longer work with the band and even George Martin took an unannounced holiday midway through the sessions, leaving the group to scramble for an interim producer. In the end, however, Lennon. McCartney, and Martin got together for a 24-hour session to mix, master, and sequence the White Album.
The Beatlesby The Beatles
Released: November 22, 1968 (Apple) Produced by: George Martin Recorded: EMI and Trident Studios, London, May-October, 1968
Back In the U.S.S.R.
Wild Honey Pie
The Continuing Story of Bungalow Bill
While My Guitar Gently Weeps
Happiness Is a Warm Gun
Martha My Dear
I’m So Tired
Don’t Pass Me By
Why Don’t We Do It in the Road?
Mother Nature’s Son
Everybody’s Got Something to Hide…
…Except Me and My Monkey
Long, Long, Long
Cry Baby Cry
John Lennon – Guitars, Keyboards, Harmonica, Saxophone, Vocals Paul McCartney – Bass, Guitars, Keyboards, Drums, Flugelhorn, Vocals George Harrison – Guitars, Organ, Percussion, Vocals Ringo Starr – Drums, Percussion, Piano, Vocals
McCartney played drums on the first two tracks of The Beatles. The opener “Back in the USSR” commences with jet aircraft effects and breaks into an upbeat rocker, combining elements of earlier Beatles and Beach Boys songs. In fact, Mike Love of the Beach Boys also attended the retreat in Rishikesh and he encouraged McCartney to “talk about the girls all around Russia” when Paul told him of his idea to write a song called “Back in the USSR” as a homage to Chuck Berry’s “Back in the USA”. Although no tracks from The White Album were initially released as singles, “Back in the USSR” was released by Parlophone as a single in the UK in 1976, eight years later. “Dear Prudence” arrives like an awakening or a drawing out, with the hypnotically picked, rotating guitars by Lennon. The subject of this song is Prudence Farrow, part of the Rishikesh entourage, who became so serious about her meditation that she rarely came out of the cottage she was living in, prompting others to enlist Lennon to try and make sure she came out more often. Towards the end of the song is a good rock jam which previews some of the finer moments on the album.
“Glass Onion” contains lyrics and music that acts as an epilogue to Magical Mystery Tour. Like a psychedelic trip through the past year, the lyrics call out earlier Beatles songs by name with provocative lyrics to fans such as; “Well here’s another clue for you all, the Walrus was Paul”, which Lennon later dismissed as having no deeper meaning. On the gibberish front, McCartney’s “Ob-La-Di, Ob-La-Da” may contain sophomoric lyrics, but this song shines for its pure sonic quality, starting with McCartney’s vocals which sound like nothing else he had (or has) done. Thematically, this infectiously fun song is an expression of the pure joy of everyday, ordinary life. While Lennon, openly detested this song in its original, reggae-influenced form, the band spent many sessions reworking it towards its finished form.
After the filler experimental piece “Wild Honey Pie”, a flamenco guitar phrase introduces “The Continuing Story of Bungalow Bill”. Like a kids song gone rogue, the song mocks a guy in Maharishi’s meditation camp who took break from meditation to go hunting tigers. Recorded later in the album sessions, “Bungalow Bill” features Yoko Ono singing co-lead vocals for a single line, the only female lead vocal in the Beatles library. Harrison’s “While My Guitar Gently Weeps” is the best moment on the album. With a great piano intro and chord structure, the song features a pulsating rhythm beneath the profound vocals of Harrison and wild guitar by guest Eric Clapton. Inspiration for the song came from reading the I Ching which prompted Harrison to experiment by writing a song based on the first words he saw upon opening a random book. Those words were “gently weeps” and he immediately began writing the song, although many of his verses were later omitted. The presence of Clapton also served to temporarily alleviate the studio tension, as the band members were on their best behavior during his time in the studio.
The fantastic first side concludes with Lennon’s “Happiness Is a Warm Gun”, an asymmetrical mini suite, which moves several sections rapidly, each becoming more anthemic and rocking. Lennon claims the title came from the cover of a gun magazine that George Martin showed him. and it has been cited by both McCartney and Harrison as one of their favorites on the White Album.
“Martha My Dear” begins with a great piano through intro, soon accompanied by orchestration and a very slight thumping rock section during the middle of the bridge. McCartney is the only Beatle to appear on this track (written about his English sheepdog), which includes nice brass and string arrangements by Martin. “I’m So Tired” is another short masterpiece by Lennon with very emotive vocals masterfully adjusted for differing effects. A direct, first-person account of a sleepless night in India, the unabashed examination of his own fragile state of mind, previews later solo work by Lennon such as Plastic Ono Band. Back to McCartney, with the solo recording of “Blackbird”, a beautiful acoustic solo piece with music based on J.S. Bach’s “Bourrée”. The hypnotizing acoustic, double-tracked vocals and tapping percussion and the guitar make for a pretty and inspirational tune with lyrics inspired by the Civil Rights struggle.
“Piggies” is a Baroque influenced song by Harrison as social commentary on the class system. Originally written in 1966 at his parents’ home, Harrison’s mother provided the line “What they need’s a damn good whacking” while Lennon contributed the line “clutching forks and knives to eat their bacon.” The predominant harpsichord is accompanied by a string quartet, produced by Chris Thomas in Martin’s absence. “Rocky Raccoon” is a Western saloon type folk song with McCartney on consistent acoustic and lead vocals, Lennon providing harmonica and harmonium, and George Martin adding the nice honky-tonk piano breaks. An actual collaboration between McCartney and Lennon, this storytelling song originated during a three man acoustic jam with folk singer Donovan on retreat in India. “Don’t Pass Me By” is the first composition credited to Richard Starkey (Ringo Starr) and would have made for a good Ringo Starr solo track. Starr also provides an interesting tack piano, accompanied by great bluegrass fiddle playing by guest Jack Fallon. The song was a #1 hit in Denmark in April 1969.
Following his frivolous, minute and a half “Why Don’t We Do It in the Road?”, McCartney provides the retro feeling “I Will”. With much nod towards early Beatles, this song contains a unique arrangement with vocal bass and unconvential percussion. Although simple and short, “I Will” took 67 takes to record. Lennon’s solo ballad “Julia” is a finger-picking acoustic song written for his mother Julia Lennon, who died in car accident when John was 17 years old. The fun celebration rocker “Birthday” starts the album’s third side. One of the rare tracks written in the studio, the song features a catchy blues progression guitar riff augmented by choppy piano.
This third side is where some of the White Album’s weaker spots come to the fore. “Yer Blues” is one of these, as an almost-annoying blues tune with the only redeeming quality being the slight middle jam section that is unfortunately cut short by a return to the repetitive verse. “Everybody’s Got Something to Hide Except Me and My Monkey” is another marginal song by Lennon, albeit a little more interesting due to its frantic rocking style, complete with groovy late sixties guitars and rudiments. in between these is the pleasant folk diddy “Mother Nature’s Son” by McCartney, the best song on this side. This song completely captures the intended mood with great acoustic riffs and horns ensemble musically and inspired lyrics based on a lecture by the Maharishi. McCartney recorded it “live”, singing and playing acoustic guitar simultaneously with overdubs done later.
The four Beatles left India at different times and with different opinions of the Maharishi. Lennon, a t one point a “true believer”, ultimately became the most jaded by the experience and expressed this brilliantly on the song “Sexy Sadie”. starting with an interesting reverbed piano, the song is arranged in manner frequently used by the group Queen a decade later, with lush backing vocal choruses, other parts laden with effects, and a lead guitar lying sharply above the mix. “Helter Skelter” is a style piece, with little substance by McCartney, in a deliberate effort to create a sound as loud and dirty as possible. Still, this became one of the most famous (or infamous) on the album following the Manson family murder spree and its use as title for the subsequent book. After the 18th take, Ringo Starr flung his drum sticks across the studio and screamed, “I got blisters on me fingers!”, included on the stereo mix of the song. Harrison’s “Long, Long, Long” completes side three as a cross between jazz waltz, folk, and psychedelia with good underlying riffs and great drum interludes, but not very cohesive overall. With the topical organ this track sounds like it may have been influenced by Pink Floyd.
And then there is Lennon’s “Revolution”. Originally, a single ten-minute piece comprised of a song proper and an improvised coda, the first part of the song was edited out as “Revolution 1”, a slow acoustic blues number with “shooby-do-wah” vocals and added horns. However, most of the Beatles were unhappy with this version, so a heavier, more upbeat version of “Revolution” was recorded and released as the B-side of the “Hey Jude” single. Still, Lennon wanted to return to the earlier recording and fought to have “Revolution 1” included on the White Album as well as re-record the avant-garde sound collage as the track “Revolution 9”, using the last six minutes of the original recording as a starting point. With numerous sound effects, tape loops, and overdubs, and virtually no musical melody, the eight and a half minute track is the longest track that the Beatles officially released. McCartney was against including this song on the album and Beatles fans have debated its merits for four and a half decades. In any case, it was a dissatisfying “tour de force” for this otherwise fine musical collection.
The Beatles was quickly followed up by Yellow Submarine less than two months later in January 1969. By then the band had already moved on to their next project, which was eventually released as Let It Be. Despite the unevenness of the music, the controversial inclusions, and the utter lack of promotion, the album became a classic. As McCartney later unapologetically put it, “it’s the bloody Beatles White Album!”
Part of Classic Rock Review’s celebration of the 45th anniversary of 1968 albums.
Nearly from its inception, rock and roll and Christmas songs have made for a potent mixture of holiday-flavored punch. This marriage dates back to 1957 with the first Elvis Presley Christmas Album and Bobby Helms’s timeless “Jingle Bell Rock”, a rockabilly Christmas classic which was actually written by an advertising executive and a publicist, joining together the overt commercialism with these early anthems. However, it wasn’t all about dollars and cents, as demonstrated in 1963 when major Christmas initiatives by producer Phil Spector and The Beach Boys were pulled off the shelf after the assassination of President John F. Kennedy.
Below we review our favorite songs during the classic rock era. Please be sure to let us know which ones you like best, including those that we omit.
“Christmas” by The Who, 1969
This is a truly fantastic song from the rock opera Tommy but, as such, this song is only about Christmas for a short period of the song, the rest of the song is spent pondering whether the aforementioned Tommy’s soul can be saved as he is deaf, dumb and blind – lacking the capacity to accept Jesus Christ. This aspect of the song works exceptionally well in the scheme of the album, but not so much in the scheme of it being a Christmas song. That said, no song captures the majesty of children on Christmas day as well as this one.
“Happy Christmas (War Is Over)” by John Lennon, 1971
John Lennon’s voice is fantastic and the song itself evokes the kind of melancholy Christmas spirit I find in great Christmas songs. The backing vocals work very well and the bass guitar, sleigh bells, chimes, glockenspiel all play their part as well, a testament to the excellent production by Phil Spector. It does sound a little dated with the overt political correctness and, of course ant-war sentiment. Then there is a bit of irony, foe, although the song advocates “War is Over”, the personal war between Lennon and Paul McCartney was at a fevered pitch with Lennon poaching McCartney’s lead guitarist for this very song just to stick him in the eye a bit. So, in that sense, I guess war was not quite over.
“I Believe In Father Christmas” by Greg Lake, 1975
You really do learn something new every day. In fact while doing research into this song’s origin I discovered that this is actually a Greg Lake solo song and not an Emerson, Lake, and Palmer song which I had always believed because of its inclusion on their 1977 Works compilation album. This new revelation does not diminish my love of the song one iota. The song was written by Lake with lyrics by Peter Sinfield. Lake says the song was written in protest at the commercialization of Christmas, while Sinfield says it is more about a loss of innocence and childhood belief. I tend to believe them both, as I’ve always found the melancholy song to be much too complex to be written about any single subject or incident. Musically and melodically, the song is a masterpiece, with Lake’s finger-picked acoustic ballad complemented by ever-increasing orchestration and choral arrangements. Each verse is more intense than the last and the arrangement elicits all kinds of emotions, far deeper than the typical “feel good” Christmas song.
“Father Christmas” by The Kinks, 1977
Just listen to the first fifteen seconds of this song and you will see, it’s amazing! Starting with a Christmas-y happy piano melody and sleigh bells before punk-influenced guitar and drums crash in with the impact of a meteor. Lead singer Ray Davies sings as two characters in the song; the first is a department store Santa (“Father Christmas”), the second is a gang of poor kids. Davies makes his vocals more forceful for their demands, “Father Christmas give us some money!” I have long thought Davies is probably the most underrated singer in Rock, and the Kinks may be the most underrated band in rock history. What other band appeared in the British invasion did a few concept albums and then practically invented punk rock!? Dave Davies lead guitar is fantastic, definitely the most entertaining work in any of the Christmas songs on this list. The drums are also a huge high point as they roll franticly between verses. If you needed a definition of it, this IS Christmas Rock!
“Peace On Earth/Little Drummer Boy” by David Bowie & Bing Crosby, 1977
This partial cover (Bowie’s “Peace On Earth” part was original, while Crosby sang the traditional “Little Drummer Boy”) was actually as about as original a compositions as any Christmas song with a rock theme to it. So why does this song make the cut? Well it is fantastic! It’s DAVID BOWIE and BING CROSBY! It’s a great little song that feels like Christmas. Two totally different artists from different genres and eras coming together to sing a song for a television special, only around Christmas could this happen. Well, in fact it was recorded in London in August of 1977 for an upcoming Christmas special and Crosby passed away in October, before it aired, making it even more special.
“A Wonderful Christmas Time” by Paul McCartney, 1979
Not to be out done by his former Beatle mate turned musical rival (see above), Paul McCartney launched the post-Wings phase of his solo career with “Wonderful Christmas Time”. A song with an uncanny ability to instantly put one into the Christmas spirit, this synth-driven, new-wave ballad showcased McCartney’s mastery at writing pleasant pop songs in just about any sub-genre. Unfortunately, his “wonderful Christmas” was interrupted soon after the new year of 1980, when he got busted In Japan for marijuana possession and spent ten days in prison before he was released.
“Christmas Wrapping” by The Waitresses, 1981
“Christmas Wrapping” is a really fun new-wave style song that jives musically by an otherwise obscure group. The song goes through quite a few little progressions – a little guitar rift and some jolly percussion instruments introduce the listener to the song’s primary beat of guitar and drums. Lead singer Patty Donahue flirts with actually rapping through the song which comes out really cool despite my less than enthused relationship to that genre. The interlude of horns really makes this song fun as they bridge the gap between verses.
“2000 Miles” by The Pretenders, 1983
Not really intended to be so much a Christmas song as a lament about missing someone with the hope they return at Christmas. It was nevertheless released in 1983 in advance of the band’s 1984 album Learning To Crawl because of its holiday season potential. The vivid lyrics which paint the Christmas landscape and activity, along with the masterful delivery by lead vocalist Chrissie Hynde above the simple folk-guitar riff, makes this one for the ages.
“Thank God It’s Christmas” by Queen, 1984
This is a Christmas rock song that often gets overlooked but is virtually impossible to ignore due to Freddie Mercury’s singing. Co-written by drummer Roger Taylor, the drums have a smooth grooving feeling, albeit very processed. Mercury’s backing keyboards and occasional Christmas bells give the song that holiday feeling it needs. The addition of the guitar later in the song by the other co-writer, Brian May adds some earthiness, but the song would benefit from more of it. The piece never quite transcends the mellowness or the karaoke-like quality of the song, but is still a Christmas classic.
Do They Know It’s Christmas?” by Band Aid, 1984
Sure, it is outrageously corny, especially when you are watching Boy George and other eighties has-beens singing next to the likes of Bono and Sting. But underneath all the silliness lies a pretty good song, written in a decent style of British pop. This song is the brainchild of Bob Geldof, lead singer of the Boomtown Rats, who co-wrote this song along with Midge Ure, and then they brought together these top-notch English musicians to perform under the name Band Aid as all proceeds went to relief for the Ethiopian famine of 1984-1985. The success of this single eventually lead to the worldwide benefit concert Live Aid, the following summer.
“Santa Claus Is Coming to Town” by Bruce Springsteen and the E Street Band, 1985
The only true cover of a “traditional” Christmas song on this list, this song was actually recorded in December 1975, but was not released for a solid decade when Bruce Springsteen began putting together his triple live album 1975-1985. It was put out as the B-Side to his single “My Hometown” in 1985 and has since become a holiday staple and rock and pop stations worldwide.
“Another Christmas Song” by Jethro Tull, 1989
We conclude with a beautiful and elegant song put out by Ian Anderson and Jethro Tull during their leaner years, this May be one that many do not know. From the 1989 album Rock Island, this is actually a sequel to “A Christmas Song” put out by Jethro Tull on their 1968 debut album two decades earlier, but is far superior in beauty elegance than the original. With some light flute, drums, and the occasional wood block sound and other percussive effects, the song features Tull’s traditional guitarist Martin Barre who nicely accents the flute line from Anderson in the interweaving musical passages. Lyrically, it describes an old man who is calling his children home to him for Christmas and subtly drawing their attention to other parts of the world and other people;
Everyone is from somewhere, even if you’ve never been there
So take a minute to remember the part of you that might be the old man calling me…”
Through the 1990s and early 2000s, the Christmas rock tradition continued with fine originals such as “Christmas All Over Again” by Tom Petty and the Heartbreakers, a rendition of “Heat Miser” by The Badlees, “Don’t Shoot Me Santa Clause” by The Killers, and Coldplay’s “Christmas Lights”. It is likely this tradition will continue for years to come.
There has never been (nor probably will ever be) a year in which a single band produced so much quality material as The Beatles did during the year 1967. In order to properly pay tribute, we at Classic Rock Review have put together our largest article ever. This includes extensive reviews of both the Sgt. Pepper’s Lonely Hearts Club Band and Magical Mystery Tour albums along with a look at all the rest of the band’s output from that year which included recordings for future projects, several promotional videos, a live television special, and their third dedicated film. Unlike our normal album reviews, we look at everything in a strictly chronological order, delving into everything as it came about in sequence. This method works best because so many projects and elements overlapped during the year and only found their proper, permanent place as history unfolded.
Before diving into 1967, it is important to provide the context of the Beatles’ career in 1966. By that time the Beatles had conquered the musical world like no other rock act before, but still things were starting to unravel. There was major controversy over John Lennon‘s “more popular than Jesus” comments, causing the members to need heavy guards everywhere they went and they had nearly lost their lives in the Philippines after offending dictator Ferdinand Marcos. Further, the band was getting tired of the constant touring and frenzied fans and decided to halt touring altogether by the end of the summer of ’66. Despite putting out the brilliant album Revolver, it was under-appreciated in its day and many wondered whether the band was past its peak. All four members decided to take an extended break and decide what to do next. George Harrison took his first trip to India while Lennon starred in the major motion picture How I Won the War. On his way home from a vacation in America, Paul McCartney came up with the idea of doing an album from the perspective of an alter-ego band.
The band reconvened at Abbey Road Studios on November 24, 1966 (Thanksgiving in the USA, but just a normal Thursday in England) to start their new album. That night they recorded one song, a simple folk song by Lennon called “Strawberry Fields Forever”. But ultimately, this song would be anything but simple as it took a total of 45 hours to record, and this initial version of the song would not even be used. A second version was started at the end of November, this time featuring a mellotron intro by McCartney. The instrument had just been introduced to the band by Mike Pinder of the Moody Blues (who at the time was working at the instrument’s manufacturing factory) and “Strawberry Fields” would become the first song by a major act to use the instrument. It gave this version of the song a surreal element and atmosphere. Still, Lennon thought he could do more with the song and a third distinct version, scored by producer George Martin, including brass, strings, backwards masking, and complex rhythm section led by Ringo Starr and “about 9 or 10 other players.” When Lennon couldn’t decide if he wanted to use the second or third version of the song, the true magic took place. Martin fused the two together, even though version 3 was at a faster tempo and in a higher key, by using two tape machines varying the speed of one. The result is a production masterpiece which blazed the path for the upcoming Sgt. Pepper album.
Ironically, “Strawberry Fields Forever” would not be included on the Sgt. Pepper’s album. It was released as a “double A” single along with McCartney’s companion piece, “Penny Lane”, at the urging of manager Brian Epstein who wanted a song on the charts. Both songs shared the theme of nostalgia for their early years in Liverpool and both referred to actual locations familiar to all of the Beatles. Although possessing many of the same surreal elements, “Penny Lane” is more sing-songy, like a children’s ballad. It takes a typical suburban scene and turns into something dreamier, like a parade of life. The song has a basic piano melody overlaid by several brass elements and a distinctive piccolo trumpet lead by Dave Mason, who McCartney saw perform on television and commissioned for this song. Although Martin has stated that he believes “Penny Lane”/”Strawberry Fields Forever” is the greatest single ever released by the group, it peaked at #2 on the UK charts.
Sgt. Peppers Lonely Hearts Club Band
Released: June 1, 1967 (Capitol) Produced by: George Martin Recorded: EMI Sound Studios, London, December 1966 – April 1967
Sgt. Peppers Lonely Hearts Club Band
With a Little Help From My Friends
Lucy In the Sky With Diamonds
Fixing a Hole
She’s Leaving Home
Being For the Benefit of Mr. Kite
Within You Without You
When I’m Sixty-Four
Good Morning Good Morning
Sgt. Pepper’s (Reprise)
A Day in the Life
Magical Mystery Tour
Released: November 27, 1967 (Capitol) Produced by: George Martin Recorded: EMI Sound Studios, London, December 1966 – December 1967
Magical Mystery Tour
The Fool On the Hill
Blue Jay Way
Your Mother Should Know
I Am the Walrus!
Strawberry Fields Forever
Baby You’re a Rich Man
All You Need Is Love
Band Musicians (Both Albums)
John Lennon – Guitars, Piano, Mellotron, Harmonica, Vocals Paul McCartney – Bass, Piano, Mellotron, Recorder, Vocals George Harrison – Guitars, Sitar, Tambala, Vocals Ringo Starr – Drums, Percussion, Vocals
The earliest recording to actually end up on Sgt. Pepper’s Lonely Hearts Club Band was a vaudevillian number called “When I’m Sixty-Four”, which was recorded during the same sessions as “Strawberry Fields Forever” and “Penny Lane”. Written by McCartney when he was only 16 (about 8 years earlier), the song includes a clarinet trio and sounds like it needs a companion, choreographed stage dance routine to go with it. It was recorded as homage to Paul’s father James McCartney, who actually had turned 64 earlier in 1966.
In early 1967, the Beatles were considering releasing a companion film with the Sgt. Pepper’s album, and recorded a lot of footage of their massive sessions for the song “A Day In the Life” in January and February. The song would be the final track on the album and its crowning jewel as it fused separate compositions by Lennon and McCartney into a singular masterpiece. It starts with Lennon’s folk ballad based on contemporary newspaper articles, accompanied by a strummed acoustic guitar, a bouncy, staccato piano, and great drum fills by Starr. After the initial recordings, Lennon felt like the song needed something more in the middle and McCartney had a short, happy-go-lucky song about his youth which was added. Unsure of how to connect the sections, 24 bars of “empty space” was left on either side of the middle section with assistant engineer Mal Evans counting out the bars on top of a simple, repeating piano. This section was later “filled in” with a building, “orgasmic” orchestral passage, conducted by McCartney and Martin, using 40 players which were later quadriple-tracked to give the effect of an orchestra of 160. The result is perhaps the best Beatles composition ever, ending with the most famous chord in rock history, a single strike played by Lennon, McCartney, Starr, and Martin simultaneously on four separate pianos and sustained four over a minute to finish the song and the album.
Along with “A Day In the Life”, Lennon and McCartney fully collaborated with the duet “She’s Leaving Home”, after reading a newspaper story about a young girl who’d left home and, at the time, was not again found (until many year later). With Martin unavailable to do the score, McCartney enlisted Mike Leander to do the orchestration, including a harp was played by Sheila Bromberg, who became the first female musician to appear on a Beatles record. The song would become one of the last true collaborations by Lennon and McCartney, who constantly worked together during the early years but would each maintain more solo control over future Beatles compositions.
The title song to Sgt. Pepper’s Lonely Hearts Club Band, written by McCartney, is an entertaining albeit tacky song which fits in with the overall image of the album, right down to the cover art which included a montage of of the Beatles’ “heroes” on designed by artist Peter Blake. The song itself has a strong rock presence with a super electric guitar tied together beautifully by a great rock vocal by McCartney, interspersed by many production elements including French horns and audience sounds. The song is reprised later, as a “closing” message just prior to “A Day In the Life”. The opening song segues into “With a Little Help From My Friends”, an entertaining number with a double meaning written by McCartney for Ringo Starr to sing.
McCartney also wrote several other upbeat rock songs for the album including “Lovely Rita”, a literal song about a female traffic warden featuring a piano solo by Martin and “Getting Better”, an optimistic creed featuring some excellent instrumentation. Lennon plays a distinct, choppy guitar, while Harrison adds an Indian tambura part and all Beatles sing fine harmonies throughout. “Fixing a Hole” is a more moderate pop song led by Martin’s harpsichord and Harrison’s double-tracked guitar riffs. McCartney said he wrote the song about the the fans who hung around outside his home day and night.
Lennon’s compositions on the album were more experimental than McCartney’s. “Lucy In the Sky with Diamonds” was inspired by a drawing that his young son made in nursery school. The song modulates between musical keys, with Lennon singing a monotone verse over an increasingly complicated underlying arrangement featuring Harrison’s tambura and a counter-melody organ played by McCartney. Although the song has long been associated with “LSD”, the Beatles firmly deny that was ever the intent in this case while openly admitting that drugs influenced other songs. “Being for the Benefit of Mr. Kite!” contained lyrics which were lifted from an old poster, nearly verbatim. Musically, Lennon wanted a strong carnival atmosphere and this was accomplished by using tape loops from the Abbey Road library, several odd instruments, including a real steam organ and a big bass harmonica, influenced by the sounds on the Beach Boys’ Pet Sounds album. On the sarcastic “Good Morning Good Morning”, Lennon did a sonic version of Andy Warhol’s pop art by lifting themes and phrases from television commercials and shows and adding a sequence of animal sounds to the end, with each successive animal being capable of devouring the one before.
Aside from the aforementioned songs excluded for a single release, the only song recorded for Sgt. Pepper’s and not included on the album was Harrison’s “Only a Northern Song”, a protest of the Beatles’ music publishing practice which gave Lennon and McCartney higher royalties to all songs by the band, even those composed by Harrison. With this exclusion, Harrison had only one composition on the album, “Within You Without You”. This song was heavily influenced by the sitar, the virtuoso Ravi Shankar, and Indian music in general. The recording featured several uncredited Indian musicians along with several more session players. Harrison was the only actual Beatle to perform on the song. This was originally written as a 30-minute piece, but was abbreviated to about 5 minutes for the album.
Although Sgt. Pepper’s Lonely Hearts Club Band was not released until June 1, 1967, recording had wrapped by mid April and the Beatles dove right into writing and recording new material. Some of these sessions proved fruitless, such as an Abbey Road session on May 7th, where the band “jammed” for over seven hours with little committed to tape and no new material to build on. They also spent several sessions working on “You Know My Name (Look Up the Number)”, perhaps the weirdest song in the Beatles collection which is only really interesting because it features a saxophone part by Rolling Stone Brian Jones. This song was not released for nearly 3 years when it became the ‘B’ side for the 1970 single “Let It Be”.
During this time the band also wrote and recorded the bulk of the new material for the upcoming animated film Yellow Submarine (although thatsoundtrack would not be released until January 1969). Along with “Only a Northern Song”, the soundtrack would include The June 1967 recordings “All Together Now”, which McCartney described as a children’s sing-along in the music hall tradition and “It’s All Too Much”, one of the few Beatles songs to be recorded in a studio outside of Abbey Road. Another song written and recorded during that time for Yellow Submarine was “Baby You’re a Rich Man”, a hybrid of two songs which makes heavy use of the clavioline, an unusual instrument. However, this last song was pushed up for release, first as the ‘B’ side to their next single “All You Need Is Love” and later included on the US version of the album Magical Mystery Tour.
“All You Need Is Love” was written specifically for a worldwide television broadcast called Our World, which was the first ever live global television broadcast on June 25, 1967, and was watched by 400 million people worldwide. The BBC had commissioned The Beatles to write a song as the United Kingdom’s contribution, requesting a song containing a simple message that could be understood by all nationalities. Lennon gladly took up the task and wrote the song in a short time with Martin arranging a live orchestra in the studio for the broadcast with the band accompanied by friends and acquaintances seated on the floor. The result is a simple anthem with the message “nothing else means anything without love”, and the leading indicator for what would be termed the “summer of love”. The single “All You Need Is Love”/”Baby You’re a Rich Man” was released on July 7, 1967 and reached the #1 position in every major country that had a pop chart.
After the live broadcast, the Beatles took much of the rest of the summer off to plan for their next project. In August, all four members of the band traveled to Bangor, Wales to study with Maharishi Mahesh Yogi, who they collectively regarded as their spiritual advisor at the time. While in Wales, the band received the tragic news that their manager Brian Epstein had died from an accidental drug overdose. Later referred to by band members as “the fifth Beatle”, Epstein had forged the band’s image and shaped their early career through all the madness of “Beatlemania”. After the band ceased touring in 1966, Epstein’s role in the band diminished quickly and he began to display erratic behavior and developed chemical dependency. Many music historians would later pin-point this moment, the moment of Epstein’s death, as setting the ultimate course for the band’s eventual breakup.
The band returned to Abbey Road studio on August 22nd to work on material for their next project, a film and score called Magical Mystery Tour. The title came from a song the band recorded back in May, which would serve the same basic purpose as the title song for Sgt. Pepper’s – an introduction for the listener to the adventure they are about to take. This catchy tune contains good effects and production techniques. The songs key lyric, “Roll up, roll up” served the duo purpose of harkening back to the old circus barkers as well as a veiled reference to rolling up a joint. The first song written specifically for Magical Mystery Tour was “Your Mother Should Know”, serving as an old-fashioned dance segment choreographed for the film to the sounds of this song with fine organ interludes. Here McCartney sported a black carnation, different than the rest of the band, which was cited as one of the many clues in the “Paul is dead” conspiracy.
The film was made in September in various English locations which were traveled to by the bus carrying the band and cast members. There was no script, as the emphasis was on the “mystery” of what would happen during the tour. Nothing much did, and the band grew increasingly frustrated by fans who began to trail the band along the way. Still, the band made some very interesting music during the fall of 1967. Included here was the cool instrumental “Flying”, featuring a dual guitar by McCartney and Harrison and a mellotron lead by Lennon. This was the only Beatles song credited to all four members of the band. “The Fool On The Hill” is a fine ballad by McCartney, written during a visit back to his father’s house in Liverpool. Lyrically, the song paints a pictures in the mind and fits in perfectly with the music, mainly performed by McCartney. Harrison’s contribution to the album is the surreal “Blue Jay Way”, with creepy, and literal Lyrics.
Lennon later admitted that “I Am the Walrus” was written during an acid trip. It was a combination of three separate songs that Lennon had been working on, with the Walrus being a reference to a Lewis Carroll poem. Lennon also intentionally wrote the most amusing lyrics he could when he was informed that a teacher at his old high school was deciphering Beatle lyrics in one of his classes and found the the whole process absurd. Musically, the song employs many of the techniques started in Sgt. Pepper’s Lonely Hearts Club Band, with orchestral parts laid on top of a driving electric piano and some fine drumming by Starr.
The band wrote and recorded “Hello Goodbye” as their next single. Lyrically, the song derived from a songwriting demonstration that McCartney gave when he asked the participant to shout out the opposite of what he sang. Musically, it is a throwback to the mop-top pop days of the band, with some fine overdubs of electric guitar and viola. The song reprises with a coda which came about spontaneously in the studio. The single was released in late November and reached #1 in 10 countries.
Magical Mystery Tour was released on December 8, 1967 as a six song double EP in the UK, featuring only the songs recorded specifically for the film. In the US, these songs were combined with the five songs released on singles earlier in the year – “Strawberry Fields Forever”, “Penny Lane”, “All You Need is Love”, “Baby You’re a Rich Man”, and “Hello, Goodbye” – in order to make a full LP, which was later adapted as the official version of the album. Although the album hasn’t received the same critical acclaim as its predecessor, Sgt. Pepper’s Lonely Hearts Club Band, the album is of similar quality when weighted with the quality singles. On December 26th, the Magical Mystery Tour film was screened on the BBC-1 in black and white and promptly savaged by critics, which may have soured some to the fine music of the album.
The Beatles would continue with a few more years of top quality output prior to their breakup in April 1970. However, they would not again reach the phenomenal level they achieved in 1967.
Part of Classic Rock Review’s celebration of the 45th anniversary of 1967 albums.