Track Listing
1. Magical Mystery Tour
2. Fool on the Hill, The
3. Flying
4. Blue Jay Way
5. Your Mother Should Know
6. I Am the Walrus
7. Hello Goodbye
8. Strawberry Fields Forever
9. Penny Lane
10. Baby You're a Rich Man
11. All You Need Is Love
| Details | | Playing Time: | 36 min. | | Contributing Artists: | George Martin, Graham Nash, Keith Moon, Keith Richards, Marianne Faithfull, Mick Jagger | | Producer: | George Martin | | Distributor: | EMI Music Distribution | | Recording Type: | Studio | | Recording Mode: | Stereo | | SPAR Code: | n/a |
Album Notes
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.
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.
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