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The Beatles, album "Magical Mystery Tour"

Lyrics of the album - Listen the album

Studio albums - Studio Parlophone - 1967
stereo: 27.11.1967

Magical Mystery Tour

  1. 02:50 Magical Mystery Tour (John Lennon and Paul McCartney) - Remastered 2009 - 07.11.1967

  2. 02:59 The Fool On the Hill (Paul McCartney – John Lennon and Paul McCartney) - Remastered 2009 - 25.10.1967

    JOHN 1980: 'Now that's Paul.
    Another good lyric.
    Shows he's capable of writing complete songs.'

    PAUL circa-1994: ''Fool On The Hill' was mine and I think I was writing about someone like the Maharishi.
    His detractors called him a fool.
    Because of his giggle he wasn't taken too seriously… I was sitting at the piano at my father's house in Liverpool hitting a D6 chord, and I made up 'Fool On The Hill.''

  3. 02:15 Flying (John Lennon, Paul McCartney, Richard Starkey and George Harrison) - Remastered 2009 - 28.09.1967

    PAUL circa-1994: ''Flying' was an instrumental that we needed for (the film) 'Magical Mystery Tour' so in the studio one night I suggested to the guys that we made something up.
    I said, 'We can keep it very, very simple, we can make it a 12-bar blues.
    We need a little bit of a theme and a little bit of a backing.' I wrote the melody, otherwise it's just a 12-bar backing thing.
    It's played on the mellotron, on a trombone setting.
    It's credited to all four (Beatles), which is how you would credit a non-song.'
  4. 03:55 Blue Jay Way (George Harrison) - Remastered 2009 - 06.10.1967

    GEORGE 1968: 'Derek Taylor got held up.
    He rang to say he'd be late.
    I told him on the phone that the house was in Blue Jay Way.
    And he said he could find it okay… he could always ask a cop.
    So I waited and waited.
    I felt really nackered with the flight, but I didn't want to go to sleep until he came.
    There was a fog and it got later and later.
    To keep myself awake, just as a joke to pass the time while I waited, I wrote a song about waiting for him in Blue Jay Way.
    There was a little Hammond organ in the corner of this house which I hadn't noticed until then… so I messed around on it and the song came.'
  5. 02:28 Your Mother Should Know (Paul McCartney – John Lennon and Paul McCartney) - Remastered 2009 - 29.09.1967

    PAUL circa-1994: 'I dreamed up 'Your Mother Should Know' as a production number… I've always hated generation gaps.
    I always feel sorry for a parent or a child that doesn't understand each other.
    A mother not being understood by her child is particularly sad because the mother went through pain to have that child, and so there is this incredible bond of motherly love, like an animal bond between them.
    But because we mess things up so readily they have one argument and hate each other for the rest of their lives.
    So I was advocating peace between the generations.
    In 'Your Mother Should Know' I was basically trying to say your mother might know more than you think she does.
    Give her credit.'
  6. 04:35 I Am the Walrus (John Lennon – John Lennon and Paul McCartney) - Remastered 2009 - 29.09.1967

    PAUL 1967: 'Everyone keeps preaching that the best way is to be 'open' when writing for teenagers.
    Then when we do we get criticized.
    Surely the word 'knickers' can't offend anyone.
    Shakespeare wrote words alot more naughtier than knickers!'

    JOHN 1967: 'We chose the word (knickers) because it is a lovely expressive word.
    It rolls off the tongue.
    It could 'mean' anything.'

    GEORGE 1967: 'People don't understand.
    In John's song, 'I Am The Walrus' he says: 'I am he as you are he as you are me.' People look for all sorts of hidden meanings.
    It's serious, but it's also not serious.
    It's true, but it's also a joke.'

    JOHN 1968: 'We write lyrics, and I write lyrics that you don't realize what they mean till after.
    Especially some of the better songs or some of the more flowing ones, like 'Walrus.' The whole first verse was written without any knowledge.
    With 'I Am the Walrus,' I had 'I am he as you are he as we are all together.' I had just these two lines on the typewriter, and then about two weeks later I ran through and wrote another two lines and then, when I saw something, after about four lines, I just knocked the rest of it off.
    Then I had the whole verse or verse and a half and then sang it.
    I had this idea of doing a song that was a police siren, but it didn't work in the end (sings like a siren) 'I-am-he-as-you-are-he-as…' You couldn't really sing the police siren.'

    JOHN 1980: 'The first line was written on one acid trip one weekend.
    The second line was written on the next acid trip the next weekend, and it was filled in after I met Yoko.
    Part of it was putting down Hare Krishna.
    All these people were going on about Hare Krishna, Allen Ginsberg in particular.
    The reference to 'Element'ry penguin' is the elementary, naive attitude of going around chanting, 'Hare Krishna,' or putting all your faith in any one idol.
    I was writing obscurely, a la Dylan, in those days.
    It's from 'The Walrus and the Carpenter.' 'Alice in Wonderland.' To me, it was a beautiful poem.
    It never dawned on me that Lewis Carroll was commenting on the capitalist and social system.
    I never went into that bit about what he really meant, like people are doing with the Beatles' work.
    Later, I went back and looked at it and realized that the walrus was the bad guy in the story and the carpenter was the good guy.
    I thought, Oh, shit, I picked the wrong guy.
    I should have said, 'I am the carpenter.' But that wouldn't have been the same, would it? (singing) 'I am the carpenter…''

  7. 03:28 Hello, Goodbye (Paul McCartney – John Lennon and Paul McCartney) - Remastered 2009 - 02.11.1967

  8. 04:07 Strawberry Fields Forever (John Lennon – John Lennon and Paul McCartney) - Remastered 2009 - 22.12.1966

    JOHN 1968: 'Strawberry Fields was a place near us that happened to be a Salvation Army home.
    But Strawberry Fields – I mean, I have visions of Strawberry Fields.
    And there was Penny Lane, and the Cast Iron Shore, which I've just got in some song now, and they were just good names – just groovy names.
    Just good sounding.
    Because Strawberry Fields is anywhere you want to go.'

    PAUL 1974: 'That wasn't 'I buried Paul' at all – that was John saying 'Cranberry sauce.' It was the end of Strawberry Fields.
    Thatīs Johnīs humor.
    John would say something totally out of sync, like cranberry sauce.
    If you donīt realize that Johnīs apt to say cranberry sauce when he feels like it, then you start to hear a funny little word there, and you think, 'Aha!''

    JOHN 1980: 'Strawberry Fields is a real place.
    After I stopped living at Penny Lane, I moved in with my auntie who lived in the suburbs… not the poor slummy kind of image that was projected in all the Beatles stories.
    Near that home was Strawberry Fields, a house near a boys' reformatory where I used to go to garden parties as a kid with my friends Nigel and Pete.
    We always had fun at Strawberry Fields.
    So that's where I got the name.
    But I used it as an image.
    Strawberry Fields Forever.
    'Living is easy with eyes closed.
    Misunderstanding all you see.' It still goes, doesn't it? Aren't I saying exactly the same thing now? The awareness apparently trying to be expressed is – let's say in one way I was always hip.
    I was hip in kindergarten.
    I was different from the others.
    I was different all my life.
    The second verse goes, 'No one I think is in my tree.' Well, I was too shy and self-doubting.
    Nobody seems to be as hip as me is what I was saying.
    Therefore, I must be crazy or a genius – 'I mean it must be high or low,' the next line.
    There was something wrong with me, I thought, because I seemed to see things other people didn't see.
    I thought I was crazy or an egomaniac for claiming to see things other people didn't see.
    I always was so psychic or intuitive or poetic or whatever you want to call it, that I was always seeing things in a hallucinatory way.
    Surrealism had a great effect on me, because then I realized that the imagery in my mind wasn't insanity; that if it was insane, I belong in an exclusive club that sees the world in those terms.
    Surrealism to me is reality.
    Psychic vision to me is reality.
    Even as a child.
    When I looked at myself in the mirror or when I was 12, 13, I used to literally trance out into alpha.
    I didn't know what it was called then.
    I found out years later there is a name for those conditions.
    But I would find myself seeing hallucinatory images of my face changing and becoming cosmic and complete.
    It caused me to always be a rebel.
    This thing gave me a chip on the shoulder; but, on the other hand, I wanted to be loved and accepted.
    Part of me would like to be accepted by all facets of society and not be this loudmouthed lunatic musician.
    But I cannot be what I am not.'

  9. 03:00 Penny Lane (Paul McCartney – John Lennon and Paul McCartney) - Remastered 2009 - 17.01.1967

    JOHN 1968: 'We really got into the groove of imagining Penny Lane – the bank was there, and that was where the tram sheds were and people waiting and the inspector stood there, the fire engines were down there.
    It was just reliving childhood.'

    JOHN 1980: 'Penny Lane is not only a street but it's a district… a suburban district where, until age four, I lived with my mother and father.
    So I was the only Beatle that lived in Penny Lane.'

    PAUL circa-1994: 'John and I would always meet at Penny Lane.
    That was where someone would stand and sell you poppies each year on British Legion poppy day… When I came to write it, John came over and helped me with the third verse, as often was the case.
    We were writing childhood memories – recently faded memories from eight or ten years before, so it was recent nostalgia, pleasant memories for both of us.
    All the places were still there, and because we remembered it so clearly we could have gone on.'

  10. 03:01 Baby, You're a Rich Man (John Lennon and Paul McCartney) - Remastered 2009 - 11.05.1967

    JOHN 1968: 'In 'Baby You're a Rich Man' the point was, stop moaning.
    You're a rich man and we're all rich men, heh, heh, baby!'

    JOHN 1980: 'That's a combination of two seperate pieces, Paul's and mine, put together and forced into one song.
    One-half was all mine.
    (sings) 'How does it feel to be one of the beautiful people/ Now that you know who you are…'
    Then Paul comes in with, (sings) 'Baby you're a rich man,' which was a lick he had around.'

  11. 03:50 All You Need Is Love (John Lennon – John Lennon and Paul McCartney) - Remastered 2009 - 25.06.1967

    PAUL 1967: 'We had been told we'd be seen recording it by the whole world at the same time.
    So we had one message for the world – Love.
    We need more love in the world.'

    PAUL circa-1994: ''All You Need Is Love' was John's song.
    I threw in a few ideas, as did other members of the group, but it was largely ad libs like singing 'She Loves You' or 'Greensleeves' or silly little things like that at the end, and we made those up on the spot.'


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