MAGICAL MYSTERY TOUR

It's almost comical that these guys are not classed as progressive rock as many of these songs basically helped start the genre of progressive rock. The Beatles did their share of pop songs but they also did their share of progressive rock. Strawberry Fields Forever alone helps pioneers this genre.

Magical Mystery Tour: Intruguing mix of stomping rock/R+B rhythms and jazzy sections, particularly jazzy in the coda. Great use of trumpets; the vocal trade-offs between Paul and George are also notable. The group employ use of a BBC sound effects tape of traffic riding past a microphone to good effect, too, panning in across the stereo spectrum at various points of the recording.

The Fool On The Hill: Melodious, poignant McCartney fable/ballad about standing out in a crowd and sticking to one's guns in face of adversity; nice use of beautiful multi-tracked recorders/flutes on the track. Ringo complements the melody switching between finger cymbals to drums.

Flying: Group-written three chord moody instrumental; John Lennon plays trumpet-melody/chords on then-novel dual-manual Mellotron Mark II which would be a commonplace instrument for them that year. Ending features innovative use of backwards tape loops, initiating a trippy effect.

Blue Jay Way: With Abbey Road staff flanging (by hand)the recording tape (very innovative sound for '67!) the dirgy, spacey track is driven along by a swirly George-played Hammond organ and Ringo's plodding drums. Cello accompaniment and backwards backing vocals add tension to what is already one of the Fab's most macabre efforts.

Your Mother Should Know: Infectiously catchy Macca throwback to 1930's Tin Pan Alley dittys, done Summer-Of-Love-style.

I Am The Walrus: The prog gem. Four minutes and thirty-five seconds of Lennon madness/genius (with producer George Martin's help). Stomping, electric piano-driven beat married to avant-garde tape loops, taped radio broadcasts, strings, brass, choirs. distorted lead vocal and Mellotron. Lennon's fantastically nonsensical lyrics add to the organized chaos. Great headphone-listen.

Hello Goodbye: Tuneful Macca pop song, notable for wall-of-sound production, cellos and echoed vocals. Beautiful high harmonies by John and George.

Strawberry Fields Forever: Childhood-memories-enhanced-by-acid-trip-inspired cut, noted for first notable influential use of Mellotron in musical applications (the flute sound; brass towards the end). The Beatles'/George Martin's technical advancement is in full view here, from backwards cymbals to exotic instrumentation to tape loops to tape-speed manipulation to over-compressed drums and bass to outside orchestration. The arrangement is effectively dynamic and atmospheric. Spooky tacked-on false ending, too.

Penny Lane: Paul's PL is a melodic and peppy recalling of a bustling Liverpool street. Compare Paul's upbeat lyrics and music with John's nightmare-on-vinyl. Quite possibly Pet Sounds-influenced, but unmistakably Beatle-ish.

Baby You're A Rich Man: Somewhat back to the more chaotic, a big-beated psychedelic rocker making good use of John Lennon's Clavoline (a unique, monophonic keyboard instrument) doodlings (the Arabic-sounding blasts in the background). John and Paul share lead vocals and are credited with co-writing the apropos sections that would merge into the song.

All You Need Is Love: Tightly constructed pop song, a peace anthem with inspirational lyrics and great orchestration by George Martin alternating between 4/4 and 7/8