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| Magical Mystery Tour |
01 |
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02:51 |
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| The Fool on The Hill |
02 |
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03:00 |
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| Flying |
03 |
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02:17 |
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| Blue Jay Way |
04 |
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03:57 |
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| Your Moher Should Know |
05 |
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02:30 |
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| I Am The Walrus |
06 |
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04:37 |
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| Hello, Goodbye |
07 |
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03:32 |
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| Strawberry Fields Forever |
08 |
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04:10 |
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| Penny Lane |
09 |
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03:03 |
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| Baby You're A Rich Man |
10 |
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03:04 |
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| All You Need is Love |
11 |
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03:53 |
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Released Nov 27, 1967
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. All songs written by John Lennon and Paul McCartney except "Blue Jay Way" (George Harrison) and "Flying" (John Lennon/Paul McCartney/George Harrison/Richard Starkey).Side one of MAGICAL MYSTERY TOUR--the first six songs on the CD--was the soundtrack to the Beatles' TV film of the same name. The film was an experimental mess, the album a hodge-podge of experimental pop. But it was a Beatles hodge-podge, and in closing out their baroque SGT. PEPPER era they commited to record some of their most memorable productions. The soundtrack side was dominated by Paul McCartney pop tunes, including "Fool On The Hill," a piano-and-recorder ballad, 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 wed 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 side with some neatly arranged contrapuntal vocals, may well have been about his and Lennon's dissolving songwriting partnership. But they worked well alone (while continuing to share songwriting credits), and the two songs that followed are among their best. 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 cymbal hits, are sheer brilliance. And "Penny Lane," a wistful fantasy featuring a beautiful trumpet solo, was McCartney at his melodic best, the AM foil to Lennon's FM psychedelia.�
