Comparing it to the 87’s is simply put an absolute disaster vs and absolute work of art. Hearing the remastered mono recording of MMT is really like experiencing this song for the first time for me. He could afford produce some real clunkers because he could always make up for it ten times over with masterpiece after masterpiece. Paul would dominate that list as well but he also takes the cake in many of my all time favorite beatles songs. Granted there are exceptions and if I ever get bored enough with their compact and complete catalogue, I would get a kick in naming the top 50 or 100 worst beatles songs. Without all 4 of them together with the chemistry they had in relationship to one another, inspiring and demanding eachothers A+ game no matter what was going on, we wouldn’t even be having ongoing conversations like this 40 years later. He represents the frontman for me…Looking at all the beatles post work including Paul’s, it doesn’t even matter. I just give Paul the slight overall edge in his contributions. I have to say that “Walrus” and “Strawberry Field” are phenomenal compositions by John and George Martin with the rest of the band doing their thing to back them up flawlessly. The song was then mixed in stereo and mono.
A tape loop of traffic noise, assembled back on 25 April, was also added. McCartney recreated Lennon’s spiel, although he left out the “Hurry, hurry, hurry!” section.
During the editing of the film, Lennon had added a spoken introduction: “Roll up, roll up for the Magical Mystery Tour! Step right this way! Hurry, hurry, hurry!” It was decided that this should be added to the record release too. The recording of ‘Magical Mystery Tour’ was completed on 7 November. According to Philip Jones, a friend of the session musicians, that was the idea The Beatles ended up using. One of the trumpeters, Gary Howarth, reportedly became so impatient that he wrote a score himself. In the end the players were sent away while McCartney and George Martin worked out the notation on the piano in Abbey Road’s studio three. The session began by McCartney humming notes to the brass players to let them know what he wanted, but he mostly failed to get his intentions across. McCartney taped his lead, with backing from Lennon and Harrison.Īn overdub of four trumpets was added on 3 May. The following day still more vocals were added. McCartney, John Lennon, and George Harrison also taped extra vocals.
#Magical mystery tour songs plus
On 26 April McCartney recorded his bass part, and all The Beatles plus Neil Aspinall and Mal Evans played percussion instruments, including tambourine, maracas and cowbell. After this they raided the Abbey Road sound effects collection, creating a tape loop of the sound of coaches to be added at the mixing stage. The Beatles spent much time rehearsing and improvising the song, with Paul McCartney at the piano suggesting ideas to the others in the group.Įventually they recorded three takes of the basic rhythm track: two guitars, piano and drums. The first ‘Magical Mystery Tour’ session took place on 25 April 1967. Paul McCartney Many Years From Now, Barry Miles In the studio It can take off!’ In fact, in the early script, which was just a few fireside chats more than a script, the bus was going to actually take off and fly up to the magicians in the clouds, which was us all dressed in red magicians’ costumes, and we’d mess around in a little laboratory being silly for a while. We can take ’em anywhere we want, man!’ Which was the feeling of the period. ‘That’ll be good, a far-out mystery tour. ‘Magical Mystery Tour’ was the equivalent of a drug trip and we made the film based on that. We stuck all that stuff in for our ‘in group’ of friends really.
We put all these words in and if you were just an ordinary person, it’s a nice bus that’s waiting to take you away, but if you’re tripping, it’s dying, it’s the real tour, the real magical mystery tour. ‘Magical Mystery Tour is waiting to take you away,’ so that’s a kind of drug, ‘it’s dying to take you away’ so that’s a Tibetan Book of the Dead reference. We were always sticking those little things in that we knew our friends would get veiled references to drugs and to trips. But it employs all the circus and fairground barkers, ‘Roll up! Roll up!’, which was also a reference to rolling up a joint. Because those were psychedelic times it had to become a magical mystery tour, a little bit more surreal than the real ones to give us a licence to do it.
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