Baby, You're a Rich Man

"Baby, You're a Rich Man"

US picture sleeve
Single by the Beatles
A-side "All You Need Is Love"
Released 7 July 1967
Format 7-inch record
Recorded 11 May 1967
Olympic Sound Studios, London
Genre Psychedelic pop,[1] psychedelic rock[2]
Length 3:03
Label
Songwriter(s) Lennon–McCartney
Producer(s) George Martin
The Beatles singles chronology
"Strawberry Fields Forever" / "Penny Lane"
(1967) Strawberry Fields ForeverPenny Lane1967		 "All You Need Is Love" / "Baby, You're a Rich Man"
(1967) All You Need Is LoveBaby, You're a Rich Man1967		 "Hello, Goodbye"
(1967) Hello, Goodbye1967

"Baby, You're a Rich Man" is a song by the English rock band the Beatles. It was written by John Lennon and Paul McCartney, and released as the B-side of the band's "All You Need Is Love" single in July 1967. The song was recorded and mixed at Olympic Sound Studios in London, making it the first of the Beatles' EMI recordings to be entirely created away from EMI Studios. The track features a monophonic keyboard instrument known as a clavioline, which Lennon played on its oboe setting, creating a sound that suggests an Indian shehnai. In its lyrical themes, the song addresses the "beautiful people" of the 1960s hippie movement and partly echoes the utopian message of "All You Need Is Love". The lyrics have also invited interpretation as a message to the Beatles' manager, Brian Epstein.

"Baby, You're a Rich Man" peaked at number 34 on America's Billboard Hot 100 chart. A month after its release, George Harrison performed the song during his visit to Haight-Ashbury, in San Francisco, during the height of the Summer of Love. The track also appeared on the Beatles' Magical Mystery Tour album and in a sequence in their 1968 animated film Yellow Submarine. Although the song was not included on the soundtrack album for the latter film, a new mix of the track appeared on the expanded 1999 release, Yellow Submarine Songtrack. Among the varied reviews of the song, Billboard admired it as "an Eastern-flavored rocker with an infectious beat and an intricate lyric",[3] while Pitchfork Media has dismissed it as "a second-rate take on John Lennon's money-isn't-everything theme".[4] In 2010, Rolling Stone ranked "Baby, You're a Rich Man" at number 68 on its list of the "100 Greatest Beatles Songs".

Background

That's a combination of two separate pieces ... put together and forced into one song. One half was all mine. [Sings] "How does it feel to be one of the beautiful people, now that you know who you are, da da da da." Then Paul comes in with [sings] "Baby, you're a rich man," which was a lick he had around.[5]

– John Lennon, 1980

"Baby, You're a Rich Man" was the result of combining two unfinished songs written by Lennon and McCartney,[6] in a similar fashion to "A Day in the Life" and "I've Got a Feeling".[7][8] The working title, based on Lennon's verses, was "One of the Beautiful People", to which McCartney added the "Baby, you're a rich man" chorus.[9] In a 1980 interview, Lennon described it as "two separate pieces ... put together and forced into one song".[5]

During the 1960s, "beautiful people" was the term adopted by Californian hippies to refer to themselves.[10] It is thought that McCartney wrote his section of the song about the band's manager, Brian Epstein.[8] Lennon's lyrics are in the form of a question-and-answer exchange, similar to that used by him and McCartney in "With a Little Help from My Friends". Musicologist Walter Everett writes that the song "asks an unnamed Brian Epstein what it's like to be one of the 'beautiful people'"; Everett adds: "This appellation was used of both communal hippies and those who mingle with the most celebrated entertainers."[11] Another interpretation is that the "Beautiful People" verses were meant as a "tip of the hat" to Epstein for finally taking the psychedelic drug LSD. Lennon claimed, however, that the meaning of the song was that everybody is a rich man, saying, "The point was stop moaning. You're a rich man and we're all rich men ..."[12] George Harrison said that the message of the song was that all individuals are wealthy within themselves, regardless of material concerns.[13][nb 1] According to author and critic Ian MacDonald, Lennon was most likely inspired to write the verses after attending the first recognised coming together of Britain's "beautiful people" – an all-night festival known as the 14 Hour Technicolor Dream, held at Alexandra Palace in north London on 29 April 1967.[15]

Musical characteristics

The song opens in what appears to be the key of G in Mixolydian mode, a G chord moving to ♭VII/I (Fadd9/G) on "now that you know who you are", all over a G pedal (sustained harmonic tone).[11][16] Soon, however, the song moves to the key of C major and becomes reminiscent of "Norwegian Wood (This Bird Has Flown)" with its use of non-Western sounding gamak melodies on the clavioline.[11] Musicologist Alan Pollack considers a notable feature in the chorus to be the bass move from C to G via a ♭III (B♭).[17]

Recording

The Beatles recorded the song at Olympic Sound Studios. According to author Mark Lewisohn, "Baby, You're a Rich Man" was "the first Beatles song to be recorded and mixed for record entirely outside of [EMI Studios]".[18]

The Beatles recorded "Baby, You're a Rich Man" during a six-hour session held at Olympic Sound Studios in Barnes, south-west London, on 11 May 1967.[19] The session marked a rare example of the Beatles recording outside of EMI's facility at Abbey Road, after the band had briefly used Regent Sound in central London during the sessions for their album Sgt. Pepper's Lonely Hearts Club Band.[20] The engineers assisting George Martin, the Beatles' producer, were Olympic manager Keith Grant and Eddie Kramer.[18] Mick Jagger, whose band the Rolling Stones regularly used the same studio,[21] also attended the session.[18]

The song was mixed (in mono) that same day. The music featured an unusual oboe-like sound reminiscent of an Indian shehnai,[22] which was created with a clavioline[23] (an early forerunner of the synthesizer being a three-octave monophonic keyboard).[18] In addition, "spin-echo", a feed back delay effect, was used to fill from the end of one line of the verse to the start of the next.[24] In its doubling of the vocal line, Harrison's lead guitar part mirrors the role of a sarangi in an Indian khyal vocal piece,[25] an effect that Harrison first used on Lennon's song "Lucy in the Sky with Diamonds".[26][27]

Following the completion of Sgt. Pepper in late April 1967, the Beatles' recording sessions for the remainder of that year have been dismissed as uninspired by the majority of commentators.[28][nb 2] Kramer contests this view, however; he says of the Beatles' playing during the session for "Baby, You're a Rich Man": "The energy level was so intense … that you were riding wave upon wave of amazing creativity. It was like watching a well-oiled machine. Just incredible."[28] According to another Olympic staff engineer, Grant and Kramer were highly complimentary of Lennon as a vocalist and "couldn't believe anyone could sing that well".[18] Having enjoyed the experience of working at Olympic Sound, the Beatles returned to Barnes on 14 June[31] to record the basic track for "All You Need Is Love".[32][33]

During the session for "Baby, You're a Rich Man", Lennon changed a line in the chorus to "Baby, you're a rich fag jew".[13] According to author Bob Spitz, this was either a joke at the expense of Epstein or a provocation in reaction to the band's former moptop image.[34] Spitz writes that the session tapes also reveal Lennon improvising similarly "wicked" remarks about McCartney, Ringo Starr and Jagger.[35][nb 3]

Release

"Baby, You're a Rich Man" was initially submitted for inclusion in the Beatles' upcoming animated film, Yellow Submarine.[37][18] While the song was used in the film, its initial release was as the B-side of "All You Need Is Love",[38] which the Beatles performed on the Our World satellite broadcast on 25 June 1967[39] and then rush-released as a single.[40][41] The release took place on 7 July in the United Kingdom and on 17 July in the United States.[42]

Peace symbol drawn on a walkway at Hippie Hill in San Francisco's Golden Gate Park. Harrison busked the song at the hill during his visit to Haight-Ashbury in August 1967.

Further to Sgt. Pepper, which was issued in June 1967, the single provided a soundtrack to that year's Summer of Love.[37][43] On 7 August, Harrison and a small entourage visited the Haight-Ashbury district of San Francisco[44] to experience the atmosphere in the self-styled centre of the counterculture's hippie movement.[45][46] When handed an acoustic guitar in Golden Gate Park,[47] Harrison briefly performed "Baby, You're a Rich Man",[48] leading a crowd around in a manner that press reports likened to the Pied Piper of Hamelin.[37][49][nb 4]

Later that year, contrary to the Beatles' wishes, "Baby You're a Rich Man" and other tracks from their 1967 singles were included on the US album Magical Mystery Tour, available in both mono and 'mock stereo' formats.[55] While the song featured in the 1968 film Yellow Submarine, it was not included on the accompanying soundtrack album.[18] The sequence for "Baby, You're a Rich Man" appears towards the end of the film, when Sgt. Pepper's Lonely Hearts Club Band have been released from the paralysis initiated by the Blue Meanies' hatred of music.[35] Later editions of the US single include a voice saying "Seven" or "Eleven" before the song starts.[56]

Critical reception

Writing in the NME in July 1967, Derek Johnson recognised the song's "modern" qualities, relative to the sing-along style of the A-side. He highlighted Lennon's falsetto singing, the recording's "Oriental instrumentation and … unusual shuffle beat, emphasised by handclaps", and concluded: "The whole effect is startling and packed with interest from the word go."[57][58] Billboard's reviewer described it as "an Eastern-flavored rocker with an infectious beat and an intricate lyric".[3] In one of the first cultural essays to acknowledge the Beatles' impact on American culture in a meaningful way, for the journal Partisan Review,[59] Richard Poirier cited both sides of the single as a "particularly brilliant example" of how contemporary British rock bands had "restor[ed] to good standing ... the simplicities that have frightened us into irony and the search for irony".[60] He described the musical backing on "Baby, You're a Rich Man" as "bursts of sitar music and the clip-clopping of Indian song", which combined to "operate in the manner of classical allusion in Pope", and he admired the lyrics' satirical quality as superior to Lennon's Lear-inspired poetry writing.[61][nb 5]

Nobody thought that Baby You're A Rich Man was about money. And how did it feel to be one of the beautiful people? When we listened to The Beatles, we all were … This music was nothing if not inclusive.[64]

– Music critic Charles Shaar Murray, 2002

In his assessment of the track, Ian MacDonald welcomes the use of clavioline, saying that the instrument evokes "a beguiling joss-stick exoticism", and he praises Starr's drumming as the equal of his performance on the song "Rain".[65] MacDonald bemoans the lack of focus evident in this and other Beatles recordings from the immediate post-Sgt. Pepper period, however; he says that, while "Baby, You're a Rich Man" demonstrates the band's command of musical "feel" and "black-white acid-dance fusion" a year ahead of the Rolling Stones, McCartney's choruses are weak and, overall, the song is devoid of any "well-crafted music".[66]

Writing for Mojo in 2003, Martin O'Gorman paired "Baby, You're a Rich Man" with Harrison "It's All Too Much" as two of the Beatles' "most sonically intriguing, but unfocused tracks".[67] In a 2009 review of Magical Mystery Tour, Scott Plagenhoef of Pitchfork Media dismissed the song as "a second-rate take on John Lennon's money-isn't-everything theme from the considerably stronger 'And Your Bird Can Sing'". He added that it was "the one lesser moment on an otherwise massively rewarding compilation".[4] Dan Caffrey of Consequence of Sound writes that, while it lacks the wholly universal scope of other songs by the band, "it's a nice little Lennon morality ditty on the perils of materialism with some innovative work with the clavioline from Lennon."[68] In 2010, "Baby, You're a Rich Man" was ranked at number 68 in Rolling Stone's list of the 100 greatest Beatles songs.[12] The magazine's editors wrote: "Lennon's deeply stoned delivery and abstract questions about 'the beautiful people' captured the playfully spaced-out mood of the summer of 1967 – a spirit the Beatles were more tapped into than anyone."[69]

Remixes, further releases and cover versions

For a 1971 German release of the Magical Mystery Tour album, George Martin and recording engineer Geoff Emerick created the first true stereo mix of the song; unable to recreate the spin-echo effect that had been introduced at the mixing stage of the original recording, they simply omitted it.[24] The stereo mix fades out approximately eight seconds earlier than the mono version. When standardising the Beatles' catalogue for worldwide CD release in 1987, the (1971 stereo) Magical Mystery Tour album was included with the otherwise British album line-up.[70]

"Baby, You're a Rich Man" was mixed in stereo for a second time for the 1999 DVD release of the Yellow Submarine film and the accompanying Yellow Submarine Songtrack album.[71] Portions of Lennon's clavioline part appear in the Love version of "Lucy in the Sky with Diamonds", released in 2006.[72] In 2009, remastered stereo (per 1971) and mono (per 1967) Magical Mystery Tour album CDs were released.[73]

The song plays at the end of The Social Network, a 2010 film directed by David Fincher about the rise of Facebook.[35] P.M. Dawn used a sample of the Beatles' recording in their song "The Beautiful" from the 1991 album Of the Heart, of the Soul and of the Cross: The Utopian Experience.[35]

The Fat Boys perform "Baby, You're a Rich Man" in the 1987 film Disorderlies. Their version appeared as the opening track on the Disorderlies soundtrack album. The song has also been covered by Kula Shaker, the Presidents of the United States of America[9] and Umphrey's McGee.[74]

Personnel

According to Mark Lewisohn[18] and Ian MacDonald:[75]

The Beatles

Additional personnel

Charts

Chart (1967) Peak
position
US Billboard Hot 100[77] 34
US Cash Box Top 100[78] 60

Notes

  1. ↑ Speaking about the song in 1987, Harrison said that, given the Beatles' influence during the 1960s, "the idea was to show that we, being rich and famous and having all these experiences, had realized that there was a greater thing to be got out of life – and what's the point of having that on your own? You want all your friends and everyone else to do it, too."[14]
  2. ↑ According to the group's recording historian, Mark Lewisohn, their efforts "display a startling lack of cohesion and enthusiasm",[29] while MacDonald cites the band members' drug intake and over-reliance on random events for inspiration.[30]
  3. ↑ In a feature article on the clavioline, Gordon Reid of Sound on Sound magazine pairs "Baby, You're a Rich Man" with the Tornados' 1962 hit "Telstar" as the two seminal pop recordings made with the instrument. He says that, according to one report from the session, Lennon created the trill sound "by rolling an orange up and down the keyboard" of the clavioline.[36]
  4. ↑ Although the visit was viewed as the Beatles' endorsement of a youth movement that they had helped to inspire,[47] Harrison was disappointed at how Haight-Ashbury represented a haven for dropouts and drug addicts, rather than a community looking to explore the possibility of enlightenment that LSD presented.[46] On his return to London, he shared this disillusionment with Lennon,[50] after which the pair became spokesmen for Transcendental Meditation[51][52] and the Beatles publicly disavowed LSD.[53][54]
  5. ↑ According to author Jonathan Bellman, Poirier's comments also had an adverse effect on the public's perception of Transcendental Meditation, which became inadvertently linked with rock music, the sitar and LSD.[62] Poirier said that whereas the Beatles' "sitar music" on Sgt. Pepper had represented India in the form of the Bhagavad Gita, on "Baby, You're a Rich Man" it evoked "another India, of fabulous riches, the India of the British and their Maharajahs, a place for exotic travel, but also for josh sticks and the otherworldliness of 'the trip'".[63]
  6. ↑ Jagger's name appears on a session tape box,[76] possibly indicating that he provided backing vocals near the end of the song.[18][75]

References

  1. ↑ Borack 2007, p. 3.
  2. ↑ DeRogatis 2003, p. 48.
  3. 1 2 Billboard Review Panel (15 July 1967). "Spotlight Singles". Billboard. p. 16.
  4. 1 2 Plagenhoef, Scott (9 September 2009). "The Beatles: Magical Mystery Tour Album Review". Pitchfork Media. Retrieved 8 March 2017.
  5. 1 2 Sheff 2000, p. 184.
  6. ↑ Womack 2014, p. 57.
  7. ↑ Miles 1997, pp. 370–371.
  8. 1 2 Turner, Steve. A Hard Day's Write. New York: MJF Books.
  9. 1 2 Fontenot, Robert (3 March 2017). "The Beatles Songs: 'Baby, You're a Rich Man' – The history of this classic Beatles song". ThoughtCo./about.com. Retrieved 9 March 2017.
  10. ↑ MacDonald 2005, p. 258fn.
  11. 1 2 3 Everett 1999, p. 126.
  12. 1 2 Womack 2014, p. 58.
  13. 1 2 MacDonald 2005, p. 258.
  14. ↑ Dowlding 1989, p. 188.
  15. ↑ MacDonald 2005, pp. 258fn–259fn.
  16. ↑ Pedler 2003, pp. 260–61.
  17. ↑ Pollack, Alan W. (1996). "Notes on 'Baby You're a Rich Man'". soundscapes.info. Retrieved 11 March 2017.
  18. 1 2 3 4 5 6 7 8 9 Lewisohn 2005, p. 111.
  19. ↑ Miles 2001, p. 264.
  20. ↑ Lewisohn 2005, pp. 95, 111.
  21. ↑ Frost, Matt (August 2012). "Keith Grant: The Story Of Olympic Studios". Sound on Sound. Retrieved 10 March 2017.
  22. 1 2 Guesdon & Margotin 2013, p. 416.
  23. ↑ MacDonald 2005, p. 259.
  24. 1 2 Russell 1982, p. 246.
  25. ↑ Leng 2006, p. 30.
  26. ↑ The Beatles 2000, p. 243.
  27. ↑ Lavezzoli 2006, pp. 179–80.
  28. 1 2 Harris, John (March 2007). "The Day the World Turned Day-glo!". Mojo. p. 89.
  29. ↑ Lewisohn 2005, p. 114.
  30. ↑ MacDonald 2005, pp. 254–55, 259–60.
  31. ↑ Miles 2001, p. 269.
  32. ↑ Everett 1999, p. 125.
  33. ↑ Lewisohn 2005, p. 116.
  34. ↑ Womack 2014, pp. 58–59.
  35. 1 2 3 4 Womack 2014, p. 59.
  36. ↑ Reid, Gordon (March 2007). "The Story of the Clavioline". Sound on Sound. Retrieved 28 July 2017.
  37. 1 2 3 Schaffner 1978, p. 86.
  38. ↑ Schaffner 1978, pp. 86, 99.
  39. ↑ Miles 2001, p. 271.
  40. ↑ Lewisohn 2005, pp. 111, 120–21.
  41. ↑ Edwards, Gavin (28 August 2014). "The Beatles Make History With 'All You Need Is Love': A Minute-by-Minute Breakdown". rollingstone.com. Retrieved 11 March 2017.
  42. ↑ Miles 2001, pp. 271, 272.
  43. ↑ Henke 2003, p. 30.
  44. ↑ Miles 2001, p. 274.
  45. ↑ The Beatles 2000, p. 259.
  46. 1 2 Doggett 2007, pp. 100–01.
  47. 1 2 Unterberger, Richie (June 2007). "George Harrison Visits Haight-Ashbury In Summer 1967". Mojo. Available at Rock's Backpages (subscription required).
  48. ↑ MacDonald 2005, p. 265.
  49. ↑ Selvin 2014, p. 202.
  50. ↑ Tillery 2009, p. 58.
  51. ↑ "Timeline: Sep 6–Oct 4, 1967". Mojo Special Limited Edition: 1000 Days That Shook the World (The Psychedelic Beatles – April 1, 1965 to December 26, 1967). London: Emap. 2002. p. 113.
  52. ↑ Winn 2009, pp. 127, 130.
  53. ↑ Bellman 1998, pp. 199–200.
  54. ↑ Doggett 2007, pp. 101–02.
  55. ↑ Lewisohn 2005, p. 131.
  56. ↑ Brennan, Joseph. "The Usenet Guide to Beatles Recording Variations: 1967". Columbia University in the City of New York. Retrieved 10 March 2017.
  57. ↑ Johnson, Derek (8 July 1967). "Singles". New Musical Express. p. 6.
  58. ↑ Sutherland, Steve (ed.) (2003). NME Originals: Lennon. London: IPC Ignite!. p. 50.
  59. ↑ Weber, Bruce (18 August 2009). "Richard Poirier, a Scholar of Literature, Dies at 83". The New York Times. Retrieved 30 June 2017.
  60. ↑ Poirier 1992, p. 124.
  61. ↑ Poirier 1992, pp. 125, 126.
  62. ↑ Bellman 1998, p. 299.
  63. ↑ Poirier 1992, p. 125.
  64. ↑ Shaar Murray, Charles (2002). "Magical Mystery Tour: All Aboard the Magic Bus". Mojo Special Limited Edition: 1000 Days That Shook the World (The Psychedelic Beatles – April 1, 1965 to December 26, 1967). London: Emap. p. 130.
  65. ↑ MacDonald 2005, pp. 258fn, 259.
  66. ↑ MacDonald 2005, pp. 257, 258, 261.
  67. ↑ O'Gorman, Martin (2003). "Double Trouble". Mojo Special Limited Edition: 1000 Days of Revolution (The Beatles' Final Years – Jan 1, 1968 to Sept 27, 1970). London: Emap. p. 23.
  68. ↑ Caffrey, Dan (23 September 2009). "The Beatles – Magical Mystery Tour (Remastered)". Consequence of Sound. Retrieved 11 March 2017.
  69. ↑ Hudak, Joseph. "'Baby, You're a Rich Man' – 100 Greatest Beatles Songs". Rolling Stone. Retrieved 8 March 2017.
  70. ↑ "Magical Mystery Tour". The Beatles. Retrieved 19 September 2015.
  71. ↑ "Yellow Submarine Songtrack". Norwegianwood.org. Archived from the original on 19 July 2011. Retrieved 20 August 2011.
  72. ↑ Winn 2009, p. 92.
  73. ↑ Bosso, Joe (8 September 2009). "REVIEW: The Beatles remastered 1967–70". MusicRadar. Retrieved 20 August 2011.
  74. ↑ Plotnicki, Gideon (8 July 2016). "Umphrey's McGee Welcomes Taylor Hicks For Rager In Birmingham". Live For Live Music. Retrieved 14 March 2017.
  75. 1 2 MacDonald 2005, p. 257.
  76. ↑ Guesdon & Margotin 2013, p. 417.
  77. ↑ "The Beatles' 50 Biggest Billboard Hits". Billboard. Retrieved 28 February 2015.
  78. ↑ "Cashbox 8/19". Retrieved 28 February 2015.

Sources

  • The Beatles (2000). The Beatles Anthology. San Francisco, CA: Chronicle Books. ISBN 978-0-8118-2684-6. 
  • Bellman, Jonathan (1998). The Exotic in Western Music. Lebanon, New Hampshire: UPNE. ISBN 1-55553-319-1. 
  • Borack, John M. (2007). Shake Some Action: The Ultimate Power Pop Guide. Fort Collins, CO: Not Lame Recordings. ISBN 0-9797714-0-4. 
  • DeRogatis, Jim (2003). Turn on Your Mind: Four Decades of Great Psychedelic Rock. Milwaukee, WI: Hal Leonard. ISBN 978-0-634-05548-5. 
  • Doggett, Peter (2007). There's a Riot Going On: Revolutionaries, Rock Stars, and the Rise and Fall of '60s Counter-Culture. Edinburgh, UK: Canongate Books. ISBN 978-1-84195-940-5. 
  • Dowlding, William J. (1989). Beatlesongs. New York, NY: Simon & Schuster. 
  • Everett, Walter (1999). The Beatles as Musicians: Revolver Through the Anthology. New York, NY: Oxford University Press. ISBN 0-19-512941-5. 
  • Guesdon, Jean-Michel; Margotin, Philippe (2013). All the Songs: The Story Behind Every Beatles Release. New York, NY: Black Dog & Leventhal. ISBN 978-1-57912-952-1. 
  • Henke, James (2003). Lennon Legend: An Illustrated Life of John Lennon. San Francisco, CA: Chronicle Books. ISBN 978-0-8118-3517-6. 
  • Leng, Simon (2006). While My Guitar Gently Weeps: The Music of George Harrison. Milwaukee, WI: Hal Leonard. ISBN 978-1-4234-0609-9. 
  • Lewisohn, Mark (2005) [1988]. The Complete Beatles Recording Sessions: The Official Story of the Abbey Road Years 1962–1970. London: Bounty Books. ISBN 978-0-7537-2545-0. 
  • MacDonald, Ian (2005). Revolution in the Head: The Beatles' Records and the Sixties (Second Revised ed.). London: Pimlico (Rand). ISBN 1-84413-828-3. 
  • Miles, Barry (1997). Paul McCartney: Many Years From Now. New York: Henry Holt and Company. ISBN 0-8050-5249-6. 
  • Miles, Barry (2001). The Beatles Diary Volume 1: The Beatles Years. London: Omnibus Press. ISBN 0-7119-8308-9. 
  • Pedler, Dominic (2003). The Songwriting Secrets of the Beatles. London: Omnibus Press. ISBN 978-0-7119-8167-6. 
  • Poirier, Richard (1992) [1967]. "Learning from the Beatles". The Performing Self: Compositions and Decompositions in the Languages of Contemporary Life. New Brunswick, NJ: Rutgers University Press. ISBN 0-8135-1795-8. 
  • Russell, Jeff (1982). The Beatles Album File and Complete Discography. London: Blandford Press. ISBN 0-7137-2065-4. 
  • Schaffner, Nicholas (1978). The Beatles Forever. New York, NY: McGraw-Hill. ISBN 0-07-055087-5. 
  • Selvin, Joel (2014). The Haight: Love, Rock, and Revolution. San Rafael, CA: Insight Editions. ISBN 978-1608873630. 
  • Sheff, David (2000) [1981]. All We Are Saying: The Last Major Interview with John Lennon and Yoko Ono. New York, NY: St. Martin's Friffin. ISBN 0-312-25464-4. 
  • Tillery, Gary (2009). The Cynical Idealist: A Spiritual Biography of John Lennon. Wheaton, IL: Quest Books. ISBN 978-0-8356-0875-6. 
  • Winn, John C. (2009). That Magic Feeling: The Beatles' Recorded Legacy, Volume Two, 1966–1970. New York, NY: Three Rivers Press. ISBN 978-0-307-45239-9. 
  • Womack, Kenneth (2014). The Beatles Encyclopedia: Everything Fab Four. Santa Barbara, CA: ABC-CLIO. ISBN 978-0-313-39171-2. 
Wikiquote has quotations related to: Magical Mystery Tour
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.