Magical Mystery Tour

Magical Mystery Tour album artworkRecorded: November 1966-November 1967
Producers: George Martin, Dave Harries
Engineers: Geoff Emerick, Dave Harries, Malcolm Addey, Keith Grant, Eddie Kramer, John Timperley, Peter Vince, Ken Scott

Released: 8 December 1967 (UK), 27 November 1967 (US)

John Lennon: vocals, electric guitar, acoustic guitar, piano, organ, Mellotron, electric piano, clavioline, harpsichord, banjo, harmonica, Jew's harp, bongos, congas, percussion, handclaps
Paul McCartney: vocals, piano, electric guitar, acoustic guitar, bass, double bass, Mellotron, recorder, harmonium, bongos, conga, timpani, tambourine, percussion
George Harrison: vocals, electric guitar, acoustic guitar, Hammond organ, harmonica, svarmandal, violin, timpani, maracas, percussion, handclaps
Ringo Starr: vocals, drums, maracas, finger cymbals, tambourine, handbell, percussion
George Martin: piano
Mal Evans: tambourine, percussion
Neil Aspinall: guiro, percussion
Terry Doran: maracas
Eddie Kramer: vibraphone
Sidney Sax, Jack Rothstein, Ralph Elman, Andrew McGee, Jack Greene, Louis Stevens, John Jezzard, Jack Richards, Patrick Halling, Eric Bowie, John Ronayne: violins
Kenneth Essex, Leo Birnbaum: violas
Lionel Ross, Eldon Fox, Bram Martin, Terry Weil, John Hall, Derek Simpson, Norman Jones, Jack Holmes: cellos
Frank Clarke: double bass
David Mason, Elgar Howarth, Roy Copestake, John Wilbraham, Tony Fisher, Greg Bowen, Derek Watkins, Stanley Roderick, Leon Calvert, Freddy Clayton, Bert Courtley, Duncan Campbell, Stanley Woods: trumpets, flugelhorn
Rex Morris, Don Honeywill: tenor saxophone
Evan Watkins, Harry Spain: trombone
Neil Sanders, Tony Tunstall, Morris Miller: horns
Gordon Lewin: clarinet
Dick Morgan, Mike Winfield: oboes, cor anglais
Christopher Taylor, Richard Taylor, Jack Ellory, Ray Swinfield, P Goody, Manny Winters, Dennis Walton: flutes, piccolos
Jack Emblow: accordion
Mick Jagger, Keith Richards, Marianne Faithfull, Jane Asher, Mike McCartney, Pattie Harrison, Eric Clapton, Graham Nash, Keith Moon, Hunter Davies, Gary Leeds, Peggie Allen, Wendy Horan, Pat Whitmore, Jill Utting, June Day, Sylvia King, Irene King, G Mallen, Fred Lucas, Mike Redway, John O'Neill, F Dachtler, Allan Grant, D Griffiths, J Smith, J Fraser: backing vocals

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Tracklisting:
Magical Mystery Tour
The Fool On The Hill
Flying
Blue Jay Way
Your Mother Should Know
I Am The Walrus
Hello, Goodbye
Strawberry Fields Forever
Penny Lane
Baby You're A Rich Man
All You Need Is Love

Released as a six-song double EP in the United Kingdom and an 11-song album in the US and elsewhere, Magical Mystery Tour was the soundtrack to the television film of the same name, which was first broadcast by the BBC on 26 December 1967.

In the wake of the death of Brian Epstein on 27 August 1967, The Beatles found themselves suddenly without direction. Whereas since 1962 they had been carefully guided by their manager, at the peak of their career they were unused to making their own business decisions or having absolute autonomy over their future.

On 1 September 1967, five days after Epstein's body was discovered in his London home, The Beatles met at Paul McCartney's house at 7 Cavendish Avenue, St John's Wood. The previous day an announcement had been issued stating that they would continue to be managed by NEMS Enterprises - now under the guidance of Epstein's brother Clive - until further notice.

During the 1 September meeting The Beatles agreed to continue with Magical Mystery Tour, a project begun in April shortly after the completion of Sgt Pepper's Lonely Hearts Club Band. Crucially, this was a time when Paul McCartney began steering many of the group's decisions, encouraging them to continue during a period in which they might easily have collapsed amid a lack of direction.

I was still under a false impression. I still felt every now and then that Brian would come in and say, 'It's time to record,' or, 'Time to do this.' And Paul started doing that: 'Now we're going to make a movie. Now we're going to make a record.' And he assumed that if he didn't call us, nobody would ever make a record. Paul would say, well, now he felt like it - and suddenly I'd have to whip out twenty songs. He'd come in with about twenty good songs and say, 'We're recording.' And I suddenly had to write a fucking stack of songs.

John Lennon, 1972
Anthology

McCartney's concept for Magical Mystery Tour was to produce a television special about a group of ordinary people taking a mystery trip on a coach. The film would take in various locations in England and France, and would be mostly improvised and take advantage of the encounters they had on the road.

Magical Mystery Tour was Paul's idea. It was a good way to work. Paul had a great piece of paper - just a blank piece of white paper with a circle on it. The plan was: 'We start here - and we've got to do something here...' We filled it in as we went along.

We rented a bus and off we went. There was some planning: John would always want a midget or two around, and we had to get an aircraft hangar to put the set in. We'd do the music, of course. They were the finest videos, and it was a lot of fun. To get the actors we looked through the actors' directory, Spotlight: 'Oh, we need someone like this, and someone like that.' We needed a large lady to play my auntie. So we found a large lady.

Ringo Starr
Anthology

18 responses on “Magical Mystery Tour

  1. bruce

    best beatle album
    a collection of hits
    Such a master piece, along with revolver, rubber soul, sgt pepper, and white album

    and help.
    and a hard days night
    and well all beatle music.

  2. vonbontee

    The only Capitol release that improved upon a British release. (Or even equalled it, for that matter, since the UK “Pepper” was ever-so slightly better than the US version, which excluded the inner-groove gibberish and for-dogs-only tone.)

  3. Colonel Salt

    How can you not love MMT? It gives me a warm, magical, mysterious feeling just thinking about it. The only downer is Blue Jay Way which is tough to get all the way through. They should have put “It’s All Too Much” on this instead of Yellow Submarine. Then it would be spotless!

  4. graham

    I love all the Beatle albums, but between this one and Beatles for sale, they are my least favorite.I find it suprising that John Lennon said it was his favorite.I heard that in the Anthology DVD and I assumed it was from an interview at the time of MMT’s release but on here it says from a Rolling Stone 1974 interview.I am the Walrus is definetly one of Lennons best works, but the album as a whole just doesnt stand up there for me.It’s still a great record, just not one of their better ones in my opinion.

  5. newyorkjoe

    In the states, MMT was a Christmas release, 6 months after Sgt. P. It was seen as the next Beatles album, when in fact it was an extension of Sgt. P. That the White Album was in fact the next Beatles album has been lost on the American public’s consciousness.

    One has to wonder what might have happened if they didn’t feel the need or succumb to the pressure to churn out album after album in the wake of Brian’s death. The massive White Album, then 5 months later convening for Get BAck/Let It Be… then Abbey Road right after. Bands today could never maintain the pace of recording/movies/business pressures as did the Beatles. Perhaps, if… they might have… oh well. There are a lot of “perhaps’ ” in the history of the Beatles.

    1. Francisco Javier Gil Vidal

      Yeah, it’s UNCANNY (and terribly stupid on their part) that less than ONE MONTH AND A HALF after releasing the White Album, these crazy workaholics should convene again for the drudgery of more recording AND filming. Even without the alleged “tensions” attending the recording of The Beatles, any four human beings should have been exhausted after such strenuous work. Why not wait at least until spring/early summer to resume work, have a good rest of writing/rehearsing/recording (and putting up with each other!), and then “get back” with renewed energy? I’m sure The Beatles wouldn’t have split up if they had respected themselves a little bit more. They seemed to have gotten caught up into a masochistic groove: what sense does it make to play LIVE in the middle of the winter on a windswept rooftop in London!!!? That, despite all the odds, that performance should have been SO good is yet another proof of how great The Beatles were, but they simply seem to have stretched human nature too far…. What a waste!

  6. thebeatlesalbum1968mono

    This album has its similarities to the white album not pepper think about it The Fool On The Hill and Mother Natures Son or Flying and Wild Honey Pie, Strawberry Fields Forever and Glass Onion, Baby Your A Rich Man and Happiness Is A Warm Gun!!

  7. FrankDialogue

    I saw ‘MMT’, the color version, in a small ‘art’ theatre in my city in early 1968…I was quite intrigued as it had a dreamlike and slightly ‘down’ air about it, quite different from ‘HDN’ & ‘Help’.

    I can only imagine what the UK Boxing Day audience who saw the black & white version thought.

    Very ‘surrealistic’ and way ahead of later MTV rubbish.

    1. Joseph Brush

      MMT was not distributed in North America until late 1968-early 1969 in small theatres with Eric Anderson doing a short concert as well as introducing the movie.

  8. Juliana Melo

    The MMT movie best moment is definettly Jonh serving sppaghetti to the big lady! That’s so genius!. I like the album very very much! Except for “Hello Goodbye”(I hate it, but fits the purposes of the movie/album I guess), all the songs are great and fit within The Beatles best work!

  9. mja6758

    This has to be said: MMT is NOT a Beatles album. It is an American COMPILATION of Beatles music. Nothing to do with them apart from that.
    Since its entry to the “official canon” the attitude seems to have grown that it should be considered as if one of the UK albums that they put so much thought and effort into. Comparing it to those albums is just wrong.
    I love the album. It is one the great COMPILATION albums – but to see how the group wanted the music on it presented at the time, look to the UK double-ep (which is a fantastic package) and the relevant singles.
    However much I love it as an album, one of my big disappointments is that it made the original CD reissue series in the ’80s. That gave the impression there were 13 albums instead of 12.
    What would Mark have done? I would have had “Past Masters” live up to its job description – to collect ALL recordings not featured on the 12 albums they recorded and released as they envisioned them. You could then have a “Past Masters” that made sense, instead of having a big 1967-shaped hole at its centre.
    And if anyone’s wondering, it would easily fit. “Past Masters” is about 94 minutes, MMT 36, giving a “Past Masters” that would be around 130 minutes. Volume/Disc 1: 1962-66, Volume/Disc 2: 1967-70 (think I’ve heard that split somewhere before).
    A later release of MMT could have been done later, as has happened with other Capitol albums.
    Don’t get me wrong though, I don’t dislike the album or anything, I just dislike it’s elevated status alongside the 12 albums they did record.
    I dread the day when I come across a comment telling me that The Beatles never recorded a better album than “1″!

    1. Joe Post author

      It’s a nice idea. However, having MMT incorporated into Past Masters may have meant we didn’t get the MMT artwork – the booklet is really worth having. Personally I’m glad they kept it as a standalone release, but it’s all personal preference. I do think there’s quite a big hole in PM because MMT hoovered up all the amazing 1967 singles.

    2. JohnKing67

      True it’s technically not a Beatles album although I believe Parlophone did decide to start pressing copies of it in the U.K. at some point like it was a Beatles album. It’s a great companion album to Sgt. Pepper since those two albums basically give you 99% of their 67 output.

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