The black and white cover designed by Klaus Voormann, should give you a large clue as to the psychodelic slant the music on this album has. More cohesive than should be expected considering the drug intake, this album is Beatles to the core. Skilled musicianship. Magnificent melodies. Intriguing lyrically and with the new sound that sixties was evolving, this was a fantastic flagship for those times. And controversially for some people, I rate this higher than Sgt. Pepper's.
Taxman - Chords that The Jam hadn't even dreamed of run through this track. Raw and heavy sounding, surprisingly this was penned by the quiet bloke, George Harrison.
Eleanor Rigby - Such a timeless classic that it's really somewhat redundant to sit here and give my op on it. However. Atmospheric in the extreme, sad, lonely, somewhat sinister, this is a wonderful tapestry of a song. I was 6 when this came out and it spun Auburey Beardsley like drawings in my head when I heard this. No wonder I'm a bit odd these days.
I'm Only Sleeping - I love this. Terrific karaoke material, there is something deeply satisfying in singing about telling someone to bugger off and leave you to sleep. Good job that Lennon had McCartney to write his lyrics for him, I don't think my touch would have had the same fabulous result.
Love You To - Subliminally, I always fancy a curry when I hear this track. Reflecting the influence of the Maharishi Yogi, this is Harrison at his sitar-inspired best. A totally authentic feel to this track, which is hardly surprising considering the deep impact that this had on George's life, and he's taken it very seriously here. Full committment to the Indian style of music.
Here, There and Everywhere. - A beautiful love song. McCartney has that magic touch of creating classics from very simple melodies. This has a slow and childlike approach, keeping the charm going through it from start to finish. The production is cleverly low key and is just a joy to listen to.
Yellow Submarine. - Mental. Completely mental. Did you know that the late Brian Jones, ex-Rolling Stone is one of the chaps clinking the glasses and calling out in the background of the track. No? Well you do now. I think Eric Clapton was the other bloke. Wonder what ever happened to him??
She Said She Said. - The conversation between a drug addled Peter Fonda and John Lennon must have been something to behold. This is a remnant of it, being made out of some of the conversation they'd dribbled to each other during the evening. Fantastically psychodelic in lyric and tone, very sixties.
Good Day Sunshine. - This erupts from the speakers like a kick in the head after the meandering journey of the previous track. Love that little bar room piano sound that boogies about in the middle of the track. Very toe tappy and jolly. Although you know it's stuff that your nan would be happy to sing along to, it still sounds pretty decent.
And Your Bird Can Sing. - Reverting somewhat to the more mersey beat sound of the sixties, this happy little track is in a bit of a contrast to the rest of the album. Although they hadn't left the sixties by any means, this was already sounding a bit retro, even for them.
For on one. - Be prepared for your heart to break a little when you listen to this sad little song. Classy orchestration keeps this in the other sixties vibe that was going on, the kitchen-sink dramas that became the vogue on the cinema circuits. This is a little kitchen-sink drama in the musical sense and with a haunting quality.
Doctor Robert. - Bop along sort of song, where the guitar line reminds me of a few Monkee's tracks, but seeing as this is the Beatles it's infinitely better. A nice litte choral side step adds interest to the overall song.
I want to tell you. - Slightly off-key piano playing works charmingly in yet another song by George . Probably the most bland song on the album, but I still bet that Oasis would do a more than passable job if they covered it now.
Got To Get You Into My Life. - Another classic and excellently boppy song. Some big horns this time round, and just the kind of sound that was being produced by Burt Bacarach at the time. Contemporary, infectious, this was an instant hit that was covered by loads of people, few as successfully as the Beatles or Cliff Bennett.
Tomorrow Never Knows. - An absolute corker to end on, this track is a fitting climax to an album that was experiementing in ways that people didn't generally understand at the time. I can remember feeling scared by the "rushing" that I could sense when the music was playing, I was left speechless by the sheer assault it made on my young ears at the time, an incredible sensation when the house used to groove along to Glenn Miller or Deanna Durbin at that time.
All in all this has to be the ultimately most satisfying album. It represents so much more than just the Beatles. This was the culture, the way of life, the direction that the Beatles took the rest of the world in. It's almost the secret to life itself...
Bookmarks