На съёмках фильма "Magical Mystery Tour"

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MAGICAL MYSTERY TOUR
Album released 27 November 1967

Without Paul's enthusiasm for the Magical Mystery Tour it is probable that the other Beatles would have taken an extended holiday instead. Both bemused at Paul's oddball project and resentful of his leadership, John and George approached the prospect of both a new film and an album in a begrudging mood.
John's drug use - photos of John taken during filming show him as pale and drawn - meant that he was by his own admission too weak to assert himself at this time. If he had been stronger he would almost certainly have vetoed or modified Paul's plans. Tragically too, the Beatles lost the cautionary managerial guidance of Brian Epstein who died in August 1967. Deciding against a new manager, Paul took on many of his responsibilities. Towards the end of the year Paul, who underestimated how long it would take to make the film, also found himself bogged down with its editing and the music for the first time took second priority. Indeed, many of the recordings were made more as film music than as songs in their own right. Typical of the lack of attention to detail is the cheap and garish packaging for the eventual EP, easily the Beatles' worst-ever cover.
Paul's idea for the project was, like Sgt. Pepper, another half-baked concept album. Beyond the theme song, again none of the other songs follow the concept. Lyrically they say more about the influence of the San Franciscan alternative counter-culture which valued spirituality over materialism and inward beauty over outward appearance. This is evident in the sarcastic mention of policemen in 'I Am The Walrus', the anti-materialism of 'Baby You're A Rich Man, the Utopian vision of the title song, the questioning of popular opinion on 'The Fool On The Hill' and the anti-war All You Need Is Love'.
Psychedelia reached its heights in the summer and autumn of 1967 and temporarily groups were competing to produce increasingly 'far-out' sounds that often led to wasteful hours spent experimenting in the studio, as opposed to writing tunes or lyrics. While the Beatles' first recordings for the Magical Mystery Tour in April 1967 maintained the standards of Sgt. Pepper, over the summer of '67 their sense of purpose was lost and sessions descended into anarchic jams and experimentation, from which little could be salvaged. The breakthrough in sound the Beatles were probably looking for at this point would have been much better served on eight-track equipment, which would not be available to them for another year. Most of the productive work on what would become the Magical Mystery Tour EP took place between September and November 1967.
The Beatles relied increasingly less on George Martin for guidance, and he was likewise disaffected by their new attitude to recording. Martin later described a 'schism' taking place between himself and the Beatles in this period. Indeed, from the Magical Mystery Tour until Let It Be, the Beatles would on many occasions produce recordings in Martins absence. Bad feeling also arose after the release of Sgt. Pepper, from which opinion grew - as one commentator put it - that George Martin was the 'brains' behind the Beatles' music.
Despite the experimentation that went into recording the Magical Mystery Tour, it relied most on tested gimmicks like backwards tapes, varied tape speeds, sound effects and the phasing of vocals through the process of automatic double tracking.

'HELLO GOODBYE'
(McCartney) Single released 24 November 1967

'Hello Goodbye' is unusual as a Beatles single in that it makes no kind of artistic progression; rather, its purpose seems to have been solely an exercise in making a slice of perfect pop guaranteed to hit the number one spot. "While John was angry that his bold and sublime 1 Am The Walrus' had the indignity of becoming its B-side, Paul's piece of uplifting pop was exactly what the Magical Mystery Tour project needed.
Paul put into the song almost every trick he had learnt with the Beatles. The simple, happy, sing-along lyrics hark back to their early singles. Musically the tune offers an upbeat roller-coaster melody, featuring several stops and starts as well as a surprise ending to catch the attention of a radio audience. Unusually for a Beatles record too, the percussion is pushed way up in the mix to capitalise on its infectious, bouncy melody. In hindsight the only drawback is its muddy production, which shows none of the care lavished on 'Penny Lane' earlier in the year.
John's dislike of 'Hello Goodbye' may have come from paranoia that the lyrics were an attack on him. The words, which contrast Paul's positivity with another's negative outlook, were clearly aimed at somebody. Possibly they compare Paul's feelings for the Beatles with the sapped enthusiasm of John and George.

'I AM THE WALRUS'
(Lennon)

John's masterpiece of lyrical surrealism carries three strands of inspiration. Where before he had sewed separate lyrical ideas together to create the impression of a unified work, here he took delight in doing the opposite. The first lines, with its statement that T, you' and 'we' are all the same, tell of the ego death brought on by LSD and read like the start of one of his more conventional lyrics. A year earlier John might have pursued these to a more logical and commercially acceptable conclusion.
Writing now purely for his own pleasure, he next took inspiration from a letter he had received from a pupil at his old school, telling how Lennon/McCartney songs were being used in English classes. Incredulous at such a twist of fortune, John saw a chance to renew the pranks that he had relished playing on his teachers, by writing a set of lyrics incapable of analysis. This inspired such notable creations as the 'boy who has been 'a naughty girl' and the 'semolina pilchards climbing up the Eiffel tower'. In 1980 John also claimed that the song was a spoof on Dylan, saying 'I was writing obscurely a la Dylan, never saying what you mean, but giving the impression of something ... I thought well I can write that crap too.'
The lyrics have a bitter, unhappy mood, enforced by the relentless falling chord sequence and the repeated words 'I'm crying'. John's vocals too tumble out in a torrent of pent-up anger and emotional pain. It is hard not to draw some connection with this mood and the death of the Beatles' manager only a week before recording; of all the Beatles, John was closest to him. While our knowledge of John's angry and aggressive side is well documented and understood, this is the first instance of him expressing truly convincing anger in song. If this was his reaction to the tragic death of yet another close friend, then it provides a marked contrast to the reported accounts of his reactions to Epstein's death, which range from nonchalance to shock.
The tune owes a debt to John's favourite record of the summer of 1967, Procul Harum's 'A Whiter Shade Of Pale', with its similarly somnambulant Hammond organ chord descent. Where on Procul Harum's record the tune is paramount though, here a swirl of discordant overdubs including George Martin's oriental-sounding string arrangement, random words and hiss from the radio and the shrieking inanities of a choir emphasise the confusion of the lyrical images. These overdubs, teeter over the song but never break its flow, creating a compelling tension throughout.

'MAGICAL MYSTERY TOUR'
(McCartney/Lennon) EP released 8 December 196?
This serves the same purpose as the Sgt. Pepper title song, to introduce the Magical Mystery Tour project in a hip, subversive spoof on the cliches used by masters of ceremonies. While one of the better songs from the eventual film and EP of the same name, this approach did not break any new ground for the Beatles, providing poor inspiration for what was to follow.
The fantastical concept of the Magical Mystery Tour, like that of Sgt. Pepper came to the creatively restless Paul on a long plane flight. Returning to London from a short stay in California, Paul was inspired by the legendary tales he had just heard of Ken Kesey's (author of One Flew Over The Cuckoo's Nest) travels in a bus around the West Coast of the USA, dispensing LSD to all who he met. Inspired to create his own bus tour as a film and music project, he gave his idea an English spin by combining Kesey's experiences with his own memories of surprise bus tours for Liverpool pensioners - 'mystery tours' as he remembered them - from his youth. While the lyrics suggest these surprise tours, the music, especially the dissonant jazzy ending, strongly hints at the druggy connotations of the 'mystery tour'; tellingly, it is referred to once in the lyrics as 'a trip'. Bringing only the germ of an idea to the studio, much of the lyrics were written on the spot with John's equal help.
Recorded four days after the final overdub for Sgt. Pepper had been completed in April 1967, this retains much of the high definition sound achieved on that album. In a trick first used on 'Lovely Rita', the massed backing vocals here, were recorded slowly, then speeded up for the mix, creating a disembodied sound that contrasts the entrance of Paul's clear lead vocal, recorded at normal speed.

'THE FOOL ON THE HILL'
(McCartney)
One of Paul's deepest songs, 'The Fool On The Hill' symbolised what he saw as society's attitudes to those with ideas that were either different or ahead of their time. This was a moot point in the fast-changing western world of the 1960s, when many people, the Beatles included, were suggesting new sets of values for society. Indeed it is clear that Paul identifies with the fool and probably took inspiration from his morning walks on Primrose Hill in North London, close to his St John's Wood residence. Primrose Hill offers a clear view of central London, which suggests one of the song's key lines about being able to see the world turn around. This line is also uncannily similar to the 'kaleidoscope eyes' mentioned in 'Lucy In The Sky With Diamonds' and also, of course, suggests the use of hallucinogenic drugs.
Paul's message does not sound a hopeful or persuasive one, sung against the sad and desolate arrangement of flutes and recorders - a pied piper reference? The original demo, now released on the Anthology 2 compilation, offers a more upbeat and in many ways preferable version. Here Paul alone sings and plays piano.
Written in March 1967 'The Fool On The Hill', unlike most of the Magical Mystery Tour's songs, was not written with the film in mind.

'FLYING'
(Lennon/McCartney/Harrison/Starkey)
Many experimental jams were recorded by the Beatles over the summer of 1967; this one from September was edited down from its original length of twenty minutes to the one-and-a-half minutes featured here. George plays the spaced-out blues progression, John is on mellotron while Paul plays the melody on a cheap-sounding organ. An extra 30 seconds of separately made backwards tapes were added to this jam.
'Flying' was intended as incidental music for a planned, but never filmed sequence to the Magical Mystery Tour film which was to portray the coach flying off into the clouds. Presumably not made for logistical reasons, the image was intended to emphasise the druggy connotations of the Mystery Tour.

'BLUE JAY WAY'
(Harrison)
An experimental mood piece which, like 'Flying', seems to have been created largely to emphasise the drug references in the Magical Mystery Tour film. Listened to without the images to support it, George's dirge, like most film music is repetitive and overlong.
To achieve its sound a plethora of studio tricks were used. Much of the percussion sounds are played backwards, the main organ sound and George's vocals are taped at different speeds to create new sound textures and heavy delay is used on automatic double tracking. The song was written by George while visiting Los Angeles and simply describes a wait for friends at a house in the Hollywood hills on a street named Blue Jay Way.

'YOUR MOTHER SHOULD KNOW'
(McCartney)
Where tracks such as 'Flying' and 'Blue Jay Way' emphasised the druggy side of the Magical Mystery Tour concept, this was written by Paul as a contrast and a chance, as he visualised it, to perform an old-fashioned 'production number' in the style of Hollywood musicals. Where 'When I'm 64' had been completed in honour of Paul's dad turning 64, 'Your Mother Should Know' was also in part influenced by the presence of his aunt and uncle, who were staying with Paul when he came up with the tune. Like the '30s style of 'When I'm 64', this undeniably fine tune suffers from a lack of orchestration and by comparison sounds like a raw demo version.
Paul tried to explain one of the Beatles' more baffling lyrics in his biography: 'I was basically trying to say your mother might know more than you think she does.'

Майор Маккартни и сержант Спинетти.

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Отставить смех@ёчки в строю!

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11 сентября

Автобус для "Волшебного таинственного путешествия" всё ещё приводили в психоделический вид и отъезд его с Оллсоп-плейс, откуда обычно стартуют все рок-н-ролльные дела, задержался на два часа. Пол выскочил на чашечку чая в близлежащую столовую Лондон-Транспорт в районе станции Бейкер-стрит. Там он подписал несколько автографов и болтал с прохожими, пока автобус не прибыл. Обнаружив, что водитель и экскурсовод остались без надлежащей униформы, Пол отправился в Сохо вместе с Малом Эвансом, чтобы приобрести соответствующую одежду.

За остальными тремя битлами заехали домой в Вирджиния-Уотер, Суррей. Все 43 места в автобусе заняли техники, Битлз, Maл, Нейл и даже несколько секретарей фан-клуба. Компания направилась в Тейнмут, Девон, по пути остановившись в Винчестере в ресторанчике Pied Piper. В Тейнмуте вся толпа заселилась в Королевскую Гостиницу, где под проливным дождём их уже дожидалось четыре сотни местных фанатов. Пол дал краткую пресс-конференцию по поводу фильма.

12 сентября

По дороге на ярмарку Уайдкомб автобус застрял на мосту, загородив движение, и чтобы развернуться, ему пришлось проехать целых полмили. Джон вышел из себя, и этот фрагмент был запечатлён на плёнку, но в фильм не попал. Отказавшись от планов посетить ярмарку, они остановились на завтрак в "Гранд-отеле" Плимута.

Джон и Пол дали интервью Хью Скалли для местного выпуска новостей Spotlight South West (BBC1) и позволили себя сфотографировать.

Автобус продолжил путь в Ньюквэй, Корнуолл, по пути делая остановки для съёмок. В Ньюквэе они остались в отеле "Атлантик", где провели собрание со съёмочной группой, обсудив вопрос чёткого соблюдения съёмочного графика.

13 сентября

Джон снял в качестве режиссёра эпизод, в котором шотландский "специалист по забавной походке" Нат Джекли преследует полуголых девушек у бассейна отеля "Атлантик". Одновременно, Пол и Ринго ставили свою сцену на ньюквэйском пляже.

Спенсер Дэвис находился в Корнуолле и увидел в новостях сюжет о том, как местная полиция пыталась убрать битловский автобус с моста. Он позвонил в отель "Атлантик", связавшись с Малом Эвансом, и тот пригласил его в компанию Битлз.

Джордж дал интервью Миранде Уорд для новой радио-программы "Scene and Heard" (Би-Би-Си 1).

В эфире Би-Би-Си ТВ прошла передача "Spotlight South West", в котором было показано интервью с Джоном и Полом.

Пол: "Мы не собираемся выпускать отчетные пластинки или фильмы ради галочки. Мы не хотим что-либо говорить, пока нам не будет, что сказать. Нам нравится записываться, но мы хотим идти дальше. Я хотел бы придумать полностью новую форму музыки, изобрести новое звучание. И в настоящее время я в поиске. Похоже, в моей жизни сейчас некая пауза - время для переоценки пройденного".

там же

тогда же