Album Notes and Credits
Notes & Personnel Info
|The Beatles: John Lennon (vocals, acoustic & electric guitars, harmonica, piano, harpsichord, organ, clavioline, Mellotron, maracas, tambourine, tape loops); George Harrison (vocals, guitar, violin, harmonica, Hammond organ, timpani, congas, firebell, tambourine, tabla); Paul McCartney (vocals, guitar, flute, recorder, piano, acoustic & electric basses, bongos, congas); Ringo Starr (vocals, drums, maracas, tambourine, finger cymbals, tape loops).|
|Additional personnel includes: Dave Mason (piccolo, trumpet); Philip Jones (trumpet); George Martin (piano); Mal Evans (tambourine); Mick Jagger, Gary Leeds, Keith Richards, Marianne Faithfull, Jane Asher, Patti Harrison, Keith Moon, Graham Nash (background vocals).|
|Recorded at Abbey Road Studios, Olympic Sound Studios, De Lane Lea and Chappell Recording Studios, London, England between November 24, 1966 and November 7, 1967.|
|This reissue of MAGICAL MYSTERY TOUR has been digitally re-mastered. It comes packaged with replicated original U.K. album art, an expanded booklet containing original and newly written liner notes, and rare photos. Limited quantities of the CD are embedded with a brief documentary film about the album.|
|Audio Remasterers: Sam Okell; Sean Magee; Steve Rooke; Guy Massey; Paul Hicks.|
|Liner Note Authors: Mike Heatley; Kevin Howlett.|
|Recording information: 04/25/1967-11/07/1967.|
|The first six songs on MAGICAL MYSTERY TOUR were the soundtrack to the Beatles' TV movie of the same name. The film was an experimental mess, but the experimental pop of the album included some of their most memorable productions. The soundtrack side was dominated by Paul McCartney pop tunes, including the bittersweet piano ballad "Fool On The Hill" and "Your Mother Should Know," an impossibly catchy bit of Vaudevillian pop. But it also featured George Harrison's mystical "Blue Jay Way" (about his house in Hollywood) and John Lennon's "I Am The Walrus," which wedded a stream-of-consciousness lyric to a fierce drum beat, layers of strings, odd voices and some dialogue from Shakespeare's "King Lear."|
|McCartney's "Hello Goodbye," which led off the assorted singles, featured some neatly arranged contrapuntal vocals, and may well have been about the dissolving partnerships (songwriting and otherwise) between McCartney and Lennon. Lennon's strangely arranged "Strawberry Fields Forever," whose two halves blend different takes of the same song, one slowed down to match the pitch of the other, was a trippy reverie; its bridges, orchestrated with horns, cellos, and backward cymbals, are sheer brilliance. "Penny Lane," a wistful fantasy featuring a beautiful trumpet solo, was McCartney at his melodic best, the AM foil to Lennon's FM headiness.|
Producer: George Martin
Engineer: Geoff Emerick; Ken Scott
|Best Of George Harrison|
|In The Beginning|
Associated Artists and Works
|Release Date : 09/09/2009|
|Original Release Date : 1967|
|Catalog ID : 3824652|
|Label : Apple Corps|
|Number of Discs : 1|
|Studio/Live : Studio|
|Mono/Stereo : Stereo|
|SPAR Code : n/a|
|UPC : 00094638246527|
- Included in Q Magazine's "Best Psychedelic Albums of All Time" issue.
- "...the weirdest beast in the entire Beatles catalogue....As good an indicator as any that all the madness was about to end. It had to."
- "With much better material and no forced concept to weigh down the proceedings, Martin's production work shines, particularly on the Lennon tracks."
"I have never seen anything like it. Nor heard any noise to approximate the ceaseless, frantic, hysterical scream which met the Beatles when they took the stage after what seemed a hundred years of earlier acts. All very good, all marking time, because no one had come for anything other than the Beatles...
Then the theatre went wild. First aid men and police -- men in the stalls, women mainly in the balcony -- taut and anxious, patrolled the aisles, one to every three rows.
Many girls fainted. Thirty were gently carried out, protesting in their hysteria, forlorn and wretched in an unrequited love for four lads who might have lived next door.
The stalls were like a nightmare March Fair. No one could remain seated. Clutching each other, hurling jelly babies at the stage, beating their brows, the youth of Britain's second city surrendered themselves totally."
- Derek Taylor (From his book Fifty Years Adrift)