The Cavern
Rock & Words
YELLOW SUBMARINE (The Beatles, 1969)
Artist: Beatles (A)
Recording Dates: May ’66 – Feb ‘68
Release Date: January 17th, 1969. UK
Record Label: Apple
Producer: George Martin
Rating: 7
Era: Psychedelia (1966-1969)
Subgenre: Psychedelia
Best Song: It’s All Too Much or Hey Bulldog
Tracklist: 1) Yellow Submarine; 2) Only A Northern Song; 3) All Together Now; 4) Hey Bulldog; 5) It's All Too Much; 6) All You Need Is Love; 7) Pepperland; 8) Sea Of Time; 9) Sea Of Monsters; 10) Sea Of Holes; 11) March Of The Meanies; 12) Pepperland Laid Waste; 13) Yellow Submarine In Pepperland.
Ah! We've arrived at the ugly duckling of the Beatles' discography. The one many haven't even heard of, or if they did, never listened to again. The one that, by almost universal consensus, is the weakest link in the near-perfect Beatles discography. What's more, the one many don't even take seriously as part of the Fab Four's discography.
Well, I disagree! It's not that I think it's an misunderstood masterpiece, nor am I going to give it a 10, but I find the criticism very harsh when, in my opinion, For Sale is much weaker creatively, and even a step backwards in terms of the direction they were taking at the time. And at least I listen to this album more often than For Sale.
It's worth noting that this is a soundtrack, for the very few who might not know. Which isn't really an excuse, since A Hard Day's Night, Help!, and Magical Mystery Tour are also soundtracks (and Let It Be, strictly speaking). The difference here is that the Beatles weren't as involved in the film Yellow Submarine, which, as we all know, is the animated monument to psychedelia and LSD.
What few people know is that the Beatles had a three-film contract with United Artists, similar to a record deal, but committing them to make three movies. A Hard Day's Night and Help! were the first two, but United Artists didn't consider the Magical Mystery Tour for credit. In any case, by the end of '67, the idea for an animated film was already being considered, and production began in early '68.
The Beatles didn't lose sight of the project, and from the outset, they had plans for songs that had been discarded from Sgt. Pepper's, such as "Only A Northern Song," which was recorded during those sessions but ultimately didn't fit the album's mood. After Pepper's and before fully immersing themselves in Magical Mystery Tour, they recorded "It's All Too Much," without it being intended for any specific project. Around this time, the first version of "Across The Universe" was also released, which was initially intended for inclusion on Yellow Submarine, but the single version that appears on Past Masters was released on a charity compilation and was ultimately rejected for the album. "You Know My Name" was also a track in progress, featuring Brian Jones on saxophone, which sparked rumors that Brian would switch sides as the Beatles' arranger due to his problems with the other Rolling Stones (Can you imagine??? But well, they already had Martin, and it never went beyond mere speculation). The song also had no apparent destination at that time, but it was never finished.
By February 1968 they were jamming in the studio for a promotional single for "Lady Madonna" and ended up recording "Hey Bulldog," which in my opinion is a great song and the last song with a real collaboration not only from Lennon/McCartney as composers, but from the whole band contributing to make a real kick-ass song that I will delve into later.
Other songs that were considered were “Baby You're A Rich Man,” which wasn't on the MMT EP, but was dropped because it was the B-side to “All You Need Is Love,” and instead, the Lennon anthem was included, which I don't understand. And “Lucy In The Sky With Diamonds,” which is a key track from the film and even appeared on some later editions, but isn't considered an official song on the album.
Well, the thing is… can you imagine what an amazing album it would have been under the original concept? A psychedelic gem at least on par with Magical Mystery Tour, which at the time hadn't yet been released as an LP. But due to contractual reasons, B-sides, and incomplete tracks, the band ended up releasing two already well-known songs (“Yellow Submarine” and “All You Need Is Love”), a couple of minor tracks recorded specifically for the film (“Only A Northern Song” and “All Together Now”), and a couple of hidden gems from the Beatles' discography: the aforementioned “Hey Bulldog” and George's sublime “It's All Too Much,” also written for the album, which vies with “Bulldog” for the title of best track. Later, an album called “Yellow Submarine: Tracklist” or something like that was released, with something close to the original project, but by then MMT had already been released as an LP, along with several singles and Past Masters, so it completely lost its appeal.
The B-side, as we know it, was completed with instrumental tracks from the film, composed by George Martin. He had actually only recorded fragments of the pieces for the film to fit the scenes, so some songs had to be re-recorded entirely. And well, George Martin is no Mozart by any stretch of the imagination, but I don't consider the B-side of the record to be rubbish; in fact, I find "Pepperland" beautiful enough to warrant a red highlight.
As a curious fact about the film: United Artists had asked them to lend their voices or make some kind of real-life appearance in the movie so that it could be considered their third film and the contract finalized. Since they were quite busy that year in India and then recording one of the best double albums in history (if not the best), they didn't have time to record their voices, so UA didn't consider it, even though it brought them much better reviews and profits than Magical Mystery Tour. This is how they were forced to record the documentary Let It Be, which UA accepted as the final payment for the contract, and which remains as a testament to the band falling apart on camera, and which, in a way, also triggered the group's breakup.
One last, touching anecdote: It was when Sean was four years old that the movie Yellow Submarine, which he saw at a friend's house, finally dawned on him that his dad had been a Beatle. Apparently, he came home asking Yoko how his dad had become a cartoon character, and that he already knew his job was fighting bad guys (meanies). So sweet!
The album opens with "Yellow Submarine", which we'd already heard on Revolver. I'm not going to review it again. I still don't consider it a great song, except for its sentimental value as my introduction to the Beatles. Here, it's essential, as it's the film's central theme and sets the stage for all the animated psychedelic imagery.
Then there's "Only A Northern Song", George's first song. It was recorded during the Sgt. Pepper's sessions in 1967, but wasn't included on the album. Personally, I think it would have fit in quite well, even if it's not one of the standout tracks. The atmosphere is psychedelic, bizarre, and very intense, with a kaleidoscopic organ dominating from beginning to end, somewhat reminiscent of the circus sounds of "Mr. Kite," but without being as jarring, and the melody is better. The lyrics are strange, talking about the quartet's songs. Northern Songs Ltd was the label through which the group recorded their tracks. It also features a lot of unusual effects, from trumpets (played by Paul, who was trying to learn at the time), monochords, and little bells, among other recognizable sounds, creating a strange, cacophonous feel.
Next up is “All Together Now”. Most people find this little Paul McCartney song irritating because it’s so childish and simplistic. And this time, I agree with the majority. I think it’s one of the most irritating and silly songs McCartney ever wrote. I’m not even sure it can be considered a children’s song because of the “Can I take my friend to bed?” part. But yes, from the opening acoustic guitar and ukulele (played by John), the theatrical tone when John sings, the clapping, the harmonica, the toy train, the bells, the simplistic bass line… it all creates a kindergarten classroom atmosphere. I suppose it was written specifically for the film scene, in which it makes a certain amount of sense, but I still find it one of the most irritating songs in the entire Beatles discography.
The album is worth it for the following reason alone. “Hey Bulldog” is one of the most underrated songs in the entire Beatles catalog, although it has recently been getting some recognition, perhaps due to its inclusion in Rock Band as one of the most difficult songs. And indeed, it is one of the most complex Beatles songs to perform with live instruments. It supposedly originated in early 1968 when they were recording “Lady Madonna” and John and Paul started jamming to some rock and roll tune. The riff emerged, one of the most spectacular, dark, and catchy they ever created, but still not taking it seriously, they improvised with barking sounds. George liked the riff and kept refining it, and the song began to take shape under the working title “Hey Bullfrog.” Geoff Emerick, the Beatles' sound engineer, would say it was the last song in which all four members showed a commitment and great enthusiasm in its completion, contributing equally. In fact, it would be the last time it was a true Lennon/McCartney piece, since although the idea and most of the lyrics were John's (not very coherent, by the way), it was the last time he would not only willingly, but enthusiastically, let Paul help him compose the final verses. All the instruments sound spectacular. From the formidable piano/guitar riff that gives it a dark and menacing air, very unusual for the Beatles; the complex drum pattern that includes some of Ringo's uncopyable off-beats; one of George's most spectacular, incendiary, and distortion-laden guitar solos at 1:15; and above all, Paul's incredibly complex bass line, perhaps the best he ever played, leaping all over his neck, traversing all four strings, showcasing technique, great speed, and above all, sheer spectacle. The bridge where they gradually build the pitch while singing “You can talk to me, you can talk to meeee” is one of the band's most brilliant moments. Follow the drums right after this, when the guitar riff returns, to understand the complexity of what Ringo is doing here. I think the great vibe between the four of them is palpable from beginning to end. It's a psychedelic rocker that generates a burst of energy without being a butt-kicking juggernaut like “Helter Skelter.” And despite the menacing air it conveys, it also exudes a festive atmosphere, especially in the coda, where they go wild with John and Paul conversing: “'What did you say? I said woof. D'ya know any more? Whoa-wah AAAAHH!...” followed by a simply epic barking outro.
Changing the mood but not the quality, we have “It's All Too Much”, another of the Beatles' most underrated tracks, which in this case doesn't seem to have gained more popularity or recognition over time, unlike “Hey Bulldog.” This song is by George. You know I have standard tastes, so it might surprise you that, in my opinion, this, along with “My Sweet Lord,” is Harrison's best song with spiritual undertones. A gem that has only grown in stature, and which amazes me more with each listen. Everything here is perfect. It has a simplicity and complexity that is breathtaking. Musicologists are still debating whether it's unitonal or not, since the bass doesn't change from G, but the guitars and organs seem to alternate between C and A minor. The subtle, flute-like Hammond organ that opens it is captivating. The guitar is perhaps the most feedback-laden in the entire Beatles discography. John and George each added a lead and a rhythm guitar, and the layers alternate to create a stunning tapestry. The horns are complex, majestic, giving that fast, rhythmic feel, and also certain Eastern nuances. Paul plays with the bass lines as much as he can, mostly in a single tone, but managing to keep it from sounding flat and only breaking away for brief moments. And the drums are even more colossal than on the previous track. I looked for information to see if Ringo had done double recordings or overdubs, but Starr was always very honest and always against recording anything he couldn't replicate live himself. Everything is off-beat, and it's one of his most incredible performances with the quartet, constantly changing, multiplying, covering the entire drum kit… you'd say he was improvising and making it impossible for any drummer to even try to copy the pattern. If I ever said Ringo was overrated, I take my hat off to him and offer my sincerest apologies. The lyrics are exquisite. Without being a sermon urging belief in Hinduism, it's a delicate reflection of what George was discovering: “When I look into your eyes, your love is there for me, And the more I go inside, the more there is to see…” or “Sail me on a silver sun, where I know that I'm free, Show me that I'm everywhere, and get me home for tea,” or the breathtaking beauty of the chorus: “It's all too much for me to see, The love that's shining all around here, The more I learn, the less I know, But what I do is all too much.” I think it manages to summarize the essence of Hinduism in very few words, but above all, those lines “It's all too much for me to see” and “The more I learn, the less I know” move me like few other songs. At the end, he makes a reference to Patti Boyd, his wife: “With your long blond hair and your eyes of blue, you're too much, ah!” in which he takes the opportunity to dedicate an epic line to her. "Blame you, Patti, how could you betray him?" The music is simply a velvet glove for this message: simple, yet complex and profound… very, very profound. I think the world will never be able to see what George intended to show us in this song. Many complain that it's too long and that the long coda with the "too much - too much - too much" is unnecessary, but six and a half minutes seems too short to me. A highly underrated gem, even more so than "Bulldog."
Side A closes with “All You Need Is Love”. The Magical Mystery Tour LP would have included it, but it wasn't released until 1987. Until then, MMT was a 6-track EP, and the other 6 songs had been released as singles, so their inclusion on Yellow Submarine was justified for those who couldn't spend their lives buying singles. However, since the MMT LP became established and was immediately accepted as part of the official discography, Yellow Submarine seemed even more unnecessary. For many, this album in 1969 was the first choice for having this song. But nowadays, it seems somewhat out of place in terms of the psychedelic mood. What I find fitting is that it seems to round off George's message in the previous song, or summarize it in a single phrase. It's as if George were explaining in a few words how to need only love, so I think they complement each other in a way.
The B-side consists of instrumental pieces by George Martin. Seven simple, not-too-short tracks that perfectly complement the film's picturesque atmosphere. And as mentioned, while George Martin isn't a classical maestro, he demonstrates here why he's the only one who can truly be called "The Fifth Beatle," creating beautiful melodies that, in themselves, evoke landscapes and emotions.
“Pepperland” strikes me as the most beautiful and unique track, with its own distinct personality and an exceptional instrumental combination. The main melody evokes images of jungle landscapes, waterfalls, and mountains, radiating serenity. To give you an idea, it was one of my father's favorite songs, and he's openly anti-rock. He nearly fell over backward when I told him that the song he loves so much was by the Beatles. Well, it's not exactly theirs, but you get the idea. I had to play the record for him to believe me.
Without going into too much detail about the others, I think they are good works. The intrigue and innocence of "Sea of Time" with its ticking clocks (a Floydian prelude to "Time"?). The paranoia and suspense of "Sea of Holes." The beautiful waltz in the middle of "Sea of Monsters", with its humorous and then epic ending (isn't it like reliving the film just by listening to it?). The terrifying "March of the Meanies", which manages to create a magnificent portrait of persecution, power, and fear. "Pepperland Laid Waste" is perhaps the weakest track on this side, lacking a main melody and instead featuring constant background sounds that follow one another without much order. And finally, "Yellow Submarine in Pepperland", which is simply an orchestrated version of the album's title track, with some structural tweaks. The entire B-side lasts a little over 17 minutes, and frankly, it's easy to listen to, with imaginative, evocative, and well-crafted songs. I think Martin deserved at least some recognition for his work with the band.
Some later editions included “Lucy In The Sky With Diamonds” at the end of side B, which is key in the film and fits perfectly into the psychedelic atmosphere of the record, but officially it was never considered as part of the album.
Well, Yellow Submarine is a very cute, very colorful album, and while it falls into the group's weaker categories, I think it's far too underrated. It's not the kind of album you give a single listen to and then forget about for the rest of your life. I listen to it from time to time. Especially considering that the closing track on side A is phenomenal. "Hey Bulldog" and "It's All Too Much" alone justify the entire album. They're two unfairly forgotten tracks that seem quite out of place compared to the rest of the Beatles' discography, but they're VERY good. I know it's a matter of taste, but believe me, they have to be among my 20 favorite Beatles songs. And chronologically, "All You Need Is Love" made its first appearance on LP, although time has made it seem like a reprise. If MMT had never been released as an LP, would it still seem like a weak album?
I don't know. The point is, it's unfairly underrated. If you've never heard it, or if you thought it was forgettable back then, it might be worth another listen, and you might be surprised.
P.S. The movie is also highly recommended. Unlike the heavy-handed psychedelic joke that was Magical Mystery Tour, this one is very entertaining, lighthearted, full of detail, and a key piece within the Beatles' mythology. Many children have their first contact with the Fab Four through the songs in this animated film… It's funny that I, as a teenager, found my ticket into this universe in the title song. It must have some symbolism. Ringo says that when kids recognize him on the street, they still ask him why on earth he pressed the button. XD
Soon I'll be able to show it to my children, who have a brand new Yellow Submarine made of foam in their room, which I made for them the afternoon I found out I was going to be a dad…
PS 2: I'm excited to finish this review because you now know which Beatles album is next and what it means to me. And if you don't, I'll sum it up in a few words: it's the album I want played at my funeral, and I want to have the vinyl record with its iconic cover in my hands when I'm buried...
PS 3: Thank goodness Disney backed out of their 3D movie project. It saved us the trouble of having to burn down two or three of their parks for being sacrilegious.
By Corvan
Apr/19/2013
