Editing Magical Mystery Tour (section)

==Songs==
===Soundtrack===
''Magical Mystery Tour'' included six tracks, a number that posed a challenge for the Beatles and their UK record company, [[EMI]], as there were too few for an [[LP record|LP album]] but too many for an [[Extended play|EP]].{{sfn|Lewisohn|2005|p=131}} One idea considered was to issue an EP that played at 33'''⅓''' [[Revolutions per minute|rpm]], but this would have caused a loss of audio fidelity that was deemed unacceptable. The solution chosen was to issue the music in the innovative format of a double EP.{{sfn|Neaverson|1997|p=53}} It was the first example of a double EP in Britain.{{sfn|Neaverson|1997|p=53}}{{sfn|Larkin|2006|p=488}}

According to music journalist [[Rob Chapman (journalist)|Rob Chapman]], each of the new tracks "represents a distinct facet of the group's psychedelic vision". He gives these as, in order of the EP's sequencing: celebration, nostalgia, absurdity, innocence, bliss and dislocation.{{sfn|Chapman|2015|p=298}} Musicologist Russell Reising says that the songs variously further the Beatles' exploration of the thematic links between a psychedelic trip and travelling, and address the relationship between travel and time.{{sfn|Reising|LeBlanc|2009|pp=102–03, 105–06}} Ethnomusicologist David Reck comments that despite the Beatles' association with Eastern culture at the time, through their championing of the Maharishi, just two of the EP's songs directly reflect this interest.{{sfn|Reck|2008|pp=70–71}}

===="Magical Mystery Tour"====

"[[Magical Mystery Tour (song)|Magical Mystery Tour]]" was written as the main theme song shortly after McCartney conceived the idea for the film.{{sfn|Lewisohn|2005|pp=109–10}} In [[Hunter Davies]]' contemporary account of the 25 April session, McCartney arrived with the chord structure but only the opening refrain ("Roll up / Roll up for the mystery tour"), necessitating a brainstorming discussion the following day to complete the lyrics.{{sfn|Winn|2009|p=103}} Like "[[Sgt. Pepper's Lonely Hearts Club Band (song)|Sgt. Pepper's Lonely Hearts Club Band]]", the song serves to welcome the audience to the event and uses a trumpet fanfare.{{sfn|Schaffner|1978|pp=90–91}}{{sfn|Spitz|2005|p=684}}

===="Your Mother Should Know"====
"[[Your Mother Should Know]]" is a song in the [[music hall]] style{{sfn|Everett|1999|p=141}} similar to McCartney's "[[When I'm Sixty-Four]]" from ''Sgt. Pepper''.{{sfn|Lewisohn|2005|p=121}} Its lyrical premise centres on the history of hit songs across generations.{{sfn|Gould|2007|p=454}} He originally offered it for the ''Our World'' broadcast, but the Beatles favoured Lennon's "All You Need Is Love" for its social significance.{{sfn|Hertsgaard|1996|p=224}} McCartney later said he wrote the song as a production number for ''Magical Mystery Tour'',{{sfn|Miles|1997|p=355}} where it provides the film's closing, [[Busby Berkeley]]–style dance sequence.{{sfn|Greene|2016|pp=39–40}} In author Doyle Greene's view, the lyrics advocate generational understanding in the manner of "[[She's Leaving Home]]" but, unlike in the latter song, to the point of "maternal authority and youth compliance", and contrast sharply with the confrontational message of the EP's next track.{{sfn|Greene|2016|pp=40–41}}{{refn|group=nb|Greene adds that the sense of old-fashioned compliance in "Your Mother Should Know" is lessened in the film sequence for the song. He cites the entrance of a group of female RAF cadets, amid a crowd of formally dressed ballroom dancers, as an example of the scene having "a satirical undercurrent and [addressing] the fissures of late 1960s politics".{{sfn|Greene|2016|pp=39–40}}}}

===="I Am the Walrus"====
"[[I Am the Walrus]]" was Lennon's main contribution to the film and was primarily inspired by both his experiences with LSD and [[Lewis Carroll]]'s poem "[[The Walrus and the Carpenter]]"{{sfn|Spitz|2005|p=721}} from ''[[Through the Looking Glass]]''.{{sfn|Gould|2007|pp=443–45}} The impetus came from a fan letter Lennon received from a student at his former high school, [[Calderstones School|Quarry Bank]], in which he learned that an English literature teacher there was interpreting the Beatles' lyrics in a scholarly fashion. Amused by this, Lennon set out to write a lyric that would confound analysis from scholars and music journalists.{{sfn|Everett|1999|p=133}} In addition to drawing on Carroll's imagery and Shakespeare's ''King Lear'', he reworked a nursery rhyme from his school days,{{sfn|Courrier|2009|p=191}} and referenced [[Edgar Allan Poe]]{{sfn|MacDonald|2005|p=267}} and (in the vocalised "googoogajoob"s) [[James Joyce]].{{sfn|Everett|1999|p=138}} Author Jonathan Gould describes "I Am the Walrus" as "the most overtly 'literary' song the Beatles would ever record",{{sfn|Gould|2007|p=444}} while MacDonald deems it "[Lennon's] ultimate anti-institutional rant&nbsp;– a damn-you-England tirade that blasts education, art, culture, law, order, class, religion, and even sense itself".{{sfn|MacDonald|2005|p=267}}

===="The Fool on the Hill"====
McCartney wrote the melody for "[[The Fool on the Hill]]" during the ''Sgt. Pepper'' sessions but the lyrics remained incomplete until September.{{sfn|Winn|2009|p=121}} The song is about a solitary figure who is not understood by others, but is actually wise.{{sfn|Gould|2007|p=455}} In Everett's interpretation, the fool's innocence leaves him adrift from and unwilling to engage with a judgmental society.{{sfn|Everett|1999|pp=138, 139–40}} McCartney said the idea was inspired by the Dutch design collective [[the Fool (design collective)|the Fool]], who derived their name from the [[The Fool (tarot)|tarot card of the same name]], and possibly by the Maharishi.{{sfn|Miles|1997|pp=343, 365–66}}{{refn|group=nb|In the recollection of [[Alistair Taylor]], a former assistant of Epstein, the song originated after he and McCartney were walking on [[Primrose Hill]] in north London and a man appeared before them but suddenly vanished. According to Taylor, he and McCartney later discussed the existence of God, which led McCartney to write "The Fool on the Hill".{{sfn|Womack|2014|pp=280–81}}}} A piano ballad, its musical arrangement includes flutes and [[bass harmonica]]s,{{sfn|Ingham|2006|pp=200–01}} and a recorder solo played by McCartney.{{sfn|Everett|1999|p=138}} The song's sequence in ''Magical Mystery Tour'' involved a dedicated film shoot, featuring McCartney on a hillside overlooking Nice, in the South of France,{{sfn|Miles|2001|p=282}} which added considerably to the film's production costs.{{sfn|Brown|Gaines|2002|p=254}}

===="Flying"====
"[[Flying (Beatles instrumental)|Flying]]" is an instrumental and the first Beatles track to be credited to all four members of the band. It was titled "Aerial Tour Instrumental" until late in the sessions{{sfn|Lewisohn|2005|pp=123, 127}} and appears in the film over footage of clouds{{sfn|Courrier|2009|p=193}} and outtakes from [[Stanley Kubrick]]'s ''[[Dr. Strangelove]]''.{{sfn|Everett|1999|p=131}}{{refn|group=nb|Recorded three days before shooting on ''Magical Mystery Tour'' began, "Aerial Tour Instrumental" was originally intended to accompany a scene in which the Beatles' psychedelic coach took flight with the aid of [[special effect]]s.{{sfn|Miles|2001|p=278}}}} The track's musical structure is similar to a [[12-bar blues]]{{sfn|Everett|1999|p=142}} and set to what music historian [[Richie Unterberger]] terms a "rock–soul rhythm".{{sfn|Unterberger|2006|p=180}} It consists of three rounds of the 12-bar pattern, led first by guitars, then Mellotron and organ, and finally a chanted vocal chorus.{{sfn|Everett|1999|p=142}}

===="Blue Jay Way"====
{{listen
|filename=Blue Jay Way.ogg
|title="Blue Jay Way"
|description= Led by Harrison's Hammond organ, "[[Blue Jay Way]]" features an arrangement in which Western instruments capture an Indian setting,{{sfn|Schaffner|1978|p=91}}{{sfn|Miles|2001|p=286}} with a cello evoking a [[sarod]].{{sfn|Courrier|2009|p=194}}
}}

"[[Blue Jay Way]]" was named after a street in the [[Hollywood Hills]] of Los Angeles where Harrison stayed in August 1967. The lyrics document his wait for music publicist [[Derek Taylor]] to find his way to Blue Jay Way through the fog-ridden hills, while Harrison struggled to stay awake after the flight from London to Los Angeles.{{sfn|Gould|2007|p=454}} MacDonald describes the song as Harrison's "farewell to psychedelia", since his subsequent visit to [[Haight-Ashbury]] led to him seeking an alternative to hallucinogenic drugs and opened the way to the Beatles' embrace of Transcendental Meditation.<ref>{{cite book|last=MacDonald|first=Ian|author-link=Ian MacDonald|year=2002|chapter=The Psychedelic Experience|title=Mojo Special Limited Edition: 1000 Days That Shook the World (The Psychedelic Beatles&nbsp;– April 1, 1965 to December 26, 1967)|location=London|publisher=Emap|pages=35–36|title-link=Mojo (magazine)#Special editions}}</ref> The composition marked a rare example of the [[Lydian mode]] being used in pop music{{sfn|Everett|1999|p=340}} and, in Reck's view, incorporates scalar elements from the [[Carnatic raga]] [[Ranjani]].{{sfn|Reck|2008|p=70}}{{refn|group=nb|Alternatively, Everett considers "Blue Jay Way" to be related to the Carnatic raga [[Kosalam]] and to [[Multani (raga)|Multani]], a [[Hindustani raga]].{{sfn|Everett|1999|p=141}}}}

===Singles===
Because EPs were not popular in the US at the time, [[Capitol Records]] released the soundtrack as an LP by adding tracks from that year's non-album singles.{{sfn|Lewisohn|2005|p=131}}{{sfn|Miles|2001|pp=285–86}} The first side contained the film soundtrack songs, although in a different order from the EP.{{sfn|Guesdon|Margotin|2013|p=422}} Side two contained both sides of the band's two singles released up to this point in 1967, along with "Hello, Goodbye", which was issued as a single backed by "I Am the Walrus". Three of the previously released tracks&nbsp;– "[[Penny Lane]]", "[[Baby, You're a Rich Man]]" and "All You Need Is Love"&nbsp;– were presented in [[duophonic]] (or "processed") stereo sound on Capitol's stereo version of the LP.{{sfn|Lewisohn|2005|p=131}}

The Beatles were displeased about this reconfiguration, since they believed that tracks released on a single should not then appear on a new album.{{sfn|Lewisohn|2005|p=131}}{{sfn|Greene|2016|pp=41–42}} Lennon referred to the LP at a May 1968 press conference to promote Apple Corps in the US,{{sfn|Winn|2009|pp=164–65}} saying: "It's not an album, you see. It turned into an album over here, but it was just [meant to be] the music from the film."<ref>{{cite web|first=Jay|last=Spangler|url=http://www.beatlesinterviews.org/db1968.0514pc.beatles.html|title=John Lennon & Paul McCartney: Apple Press Conference 5/14/1968|publisher=Beatles Interviews Database|access-date=21 July 2020|archive-date=24 June 2020|archive-url=https://web.archive.org/web/20200624045759/http://www.beatlesinterviews.org/db1968.0514pc.beatles.html|url-status=live}}</ref>