To close out this week's videos, let's take a closer look at three songs

associated with the Magical Mystery Tour EP, double EP album.

And that is, All You Need Is Love A Fool on the Hill and Blue Jay Way.

Let's start with All You Need is Love.

A John song that, as I said in the previous videos,

was written, for the big satellite broadcast that they did worldwide,

in June in the summer of 1967.

What's interesting to me is the, the, use of a

collage of styles that, that, sort of fit together in this

tune, again indicating not only the kind of stylistic breath

in just position that happens in a lot of Beatles music.

But also a kind of an Avant-garde tendency as well

although here done in a way that is in no

way kind of aggressively alien, alienating like a lot of

avant garde stuff can sometimes be, especially to pop audience.

You know from a typical point of view, I mean, in terms of what's typical.

This song, it's a contrasting verse chorus song.

Very square cut from that point of view.

The lyrics, very philosophical. All you need is love.

It really sort of encapsulates the whole idea of

the summer of love, all you need is love.

Maybe as people got older they realized, well you might need

a little bit more than love but love's not a bad either.

Remember that the topic of love.

Really goes back to Rubber Soul and the song called The Word.

Remember, what's the word? The word is love.

So when we look back, we can say this is hardly the first time they've

done a kind of embrace of, of love is kind of the solution to most

of what ails the world. So the lyrics are philosophically.

If you, if you're the kind of person who, who

likes musical details you might note that the song all the

way through really seems to go along in 4/4 time except

at the end of every phrase there's a measure of 3/4.

So interestingly they drop a beat at the end of, at the ends of phrases.

So whenever you come to end of a musical phrase, count a measure of three.

And that'll that'll all work out exactly the way it's suppose to do.

I can't tell you how many times I first entered this for other people.

You know, sophisticated musicians who know the Beatles music are surprised

when they, they notice, "Oh gosh, I guess that is right."

So there's this sort of irregular meter or irregular phrasing element

of it that, that's kind of interesting that goes on here.

But I think by far the most interesting part of All You Need

Is Love is the way in which these different styles are brought together.

It, of course, starts with the French national anthem and then goes into

the song All You Need Is Love, which in many ways is almost a kind of, music hall

singalong kind of tune, you know, complete with sort of chromatic brass lines to make

it sound sort of Musical, or

you know, give it a style drawn from the past, past popular styles and then when

you get to the very end of it,

the Beatles superimpose four different quotations at the end.

If you listen very carefully you can hear the song, the tune Greensleeves.

Being played by the strings. They you hear trumpets, come in with the

[MUSIC]

This, I didn't sing that very well but you get the idea.

The [UNKNOWN] is drawn from a, an invention by J.S. Bach.

So you get this classical reference going on,

you got clean, Greensleeves going on underneath it.

And then they sing Yesterday over top of it, and also She Loves You.

is, is some over tops.

You've got all of these, oh and, In The Mood.

Glenn Miller's, In The Mood.

Is also added in there with the saxophones.

And so you get these five things

all kind of melted together in a kind of a collage effect over top of

the very ending of the piece which is a kind of an avant-garde kind of thing.

And they're all in the same key and

nothing about it sounds grating or wrong or, or

particularly avant-garde, it just sounds like a bunch

of things being played together at the same time.

so, All You Need Is Love.

Probably seen as a pretty good example of

where things were at in the summer of 1967.

The Fool

on the Hill, the Paul song from, maybe the best Paul song out of the Magical

Mystery Tour project is an another one of Paul's

sort of Paul solo philosophical tunes. I mean when you think about it

Yesterday was kind of mildly philosophical.

You think about Eleanor Rigby, it was about two people who live close to

each other Eleanor Rigby and Father McKenzie,

who both of whom are longing for.

Some kind of, you know, contact with others who are

very lonely, that are living right next to each other.

They're lonely, but being the only contact they have

is when she dies, and he and he's shoveling

dirt on her grave at the end.

So it's a kind of an alienation you know there's a

whole, a whole School of thought that believes the closer your

put people together in urban settings or various kinds of social

settings, sometimes the more alienate and alone they can feel ironically.

And when you think about She's Leaving Home, that's about a kind

of domestic alienation, right, where A father and a mother, and a daughter

have somehow become so estranged from each other that the girl feels like she has

to not just leave home, but escape home in a lot of kinds of ways.

So, Paul, dealing with these various kinds of topics in this way.

Fool on the Hill engages what you might call the idiot/savant topic.

That is, is the person who seems to be.

You know, a kind of totally perhaps mentally

unstable or, or, or, or unable to, to think and act in normal kinds of ways.

A person who you might think is actually disabled are they actually enabled?

In a way that makes them possible to see things that most regular people can't see.

You know, Pete Townsend takes up this idea with

the rock opera, supposed first rock opera, in 1969, Tommy.

Where of course Tommy is deaf, dumb, and blind, but

has access to a certain kind of knowledge that most

other people don't have and so they seek him out

in order to gain that knowledge and to learn from him.

So, here, the fool on the hill is perhaps the one

who understands things better than the so called normal people around him.

The instrumentation is interesting again, the use of

Of not only flutes, so that sort of indicates

you know, a classical connection which by now is pretty

standard in Beatles music but also prominent use of the harmonica.

Something may be influenced by the use of the, of the harmonica

prominently by The Beach Boys, especially in an album like Pet Sounds.

The use of the recorder for a big solo in the center of it.

Sounds almost Amateurish on purpose, that recorded as.

Ringo's playing some finger cymbals so there's a, there's a bit of interesting

percussion going on, but again I would take this

as, as, as another take on the Paul Solo Song.

Even though in this tune the other three Beatles are performing on the

track along with Paul and sort of follows in that succession of pieces.

Finally let's take a look at George Harrison's Blue Jay Way.

It's a contrasting verse-chorus tune. And it's similar to his Indian

songs but now without Indian instruments.

In fact, you know, he's got the, the

sort of eerie sounding organ that goes on there.

Some cello kind of taking the role maybe of what the sitar would have done before.

There's a lot of studio phasing effects, by which

I mean a kind of a swishing kind of sound.

Sound on the vocals that enhances what I think

is kind of the general trippiness of this particular track.

It almost sounds like it's in a bit of a kind of drug fog.

But when, in fact, the fog he's talking about is

a fog that he's, that's, that has come upon LA.

I mean, the, the bi, the, the autobiographical nature of it is, he kind

of wrote this song while he was waiting for some friends to show up.

And meet him to go out or to get together or whatever.

When he was renting a place in L.A., and the

fog rolled in and they were having a hard time finding the house and all that.

So he wrote the song while he was waiting for them.

But the whole tune is very sort of other-worldly in a kind of way.

It's like George taking the, the Indian sort of drone approach that

he's used in tracks like Love You To, and Within You Without You.

And now not using Indian instruments or percussion so much, but by

creating the same kind of ambience to create something that sounds you

know, deeply philosophical.

When in fact it really is almost a kind of a, a, a quickly composed, not very

meaningful piece for George himself, but still

it fits in this succession of new songs.

Where we begin to knit them together.

Starting from Norwegian Wood, we go to Love You

Do, within You, Without You, and then Blue Jay Way.

Interesting, when we get to the White Album starting to talk next week.

And then into Abbey Road, how a lot of the

kind of Indian connection starts to kind of fall away.

In other words, he stops making as many of these direct kind of references to Indian

music, even though a lot of his lyrics retain the philosophical

bent and in, in a very sort of Indian philosophical orientation Well,

let's just summarize what we've talked about in this week thinking through

1966 and 1967, a lot of music to go through, I know.

And even more music that I didn't get a chance to talk about.

I think one of the things we can say about the, the, this period from,

going from Revolver through the end of 1967 and Magical Mystery Tour

is the move from the craft model to the artist mo, model.

Is now complete.

We're no longer talking about a progression.

They're there.

There as there and with the artist model as they're going to become.

We can see this through looking at the lyrics, the

use of styles, the use of diverse instrumentation and the use

of studio Effects.

We can also see an awful lot of what I say use of styles, I mean an increased use

of a lot of different styles including kind of avant guarde approaches to, to.

Both the, the studio sounds they get, as well as the lyrics.

Think about John Lennon reading off a circus poster for example.

They do not, at the same time, abandon pop models.

However, it would be wrong to say all their music was crazy and way out.

A lot of it, retains, some of the structure.

And some of the pop sensibility that

earlier music, and maybe that's why the experimentation

they did during this period was so much easier for people to accept and enjoy.

Because it was still full of a fantastic pop

sensibility and knowledge of how to sort of really make these

things appealing to, to more of a general audience and less to sort of

music studios, music students listening to some

composers concert somewhere at a conservatory somewhere.

They complete the move from live act to studio band.

So, there's going to be no going back to the Beatles tours,

to the mop top screaming girls and all that kind of thing, that's

over!

That job goes to the Monkeys [LAUGH] who at about the same time are

sort of ramping up their television show at the end of 66, and 1967.

So, the Monkeys become the mop top Beetles.

The mop top Beetles grow their hair on their face, on their head, all that.

And become more of a band that appeals to college

students and the newly virgining FM radio in the United States.

And the Monkeys

are now the AM.

Band that appears to, that appeals to teenie boppers and teenagers.

And so there's a real difference in terms

of audience between the Monkeys, and the Beatles.

But this move from live act to studio band

starts to lead to friction with George and Ringo.

And what we'll learn about as we, As we go into 1968 and 1969 is how

both George and Ringo get frustrated with the situation and quit

the band because they just, it's just not what it was.

And what it used to be was a great performing live group.

And when that couldn't happen anymore for those two guys, it

was less interesting because John and Paul were running the show.

So next week, we'll talk about 1968. India and the White Album.

SCU - All You Need Is Love, Fool on the Hill, Blue Jay Way

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