“Yellow-matter custard dripping from a dead dog's eye”
What is unique about this song?
Among the 217, it is one of two that use contrabass clarinet, 'Hey Jude' being the other, and one of only three that show the mark of the Goons, next to 'Yellow Submarine' and 'You Know My Name (Look Up the Number)'. It is also referred to in 'Glass Onion' and 'Come Together', and is one of the songs caught up in the Paul-is-dead rumour. This is the largest vocabulary of any Beatles lyric, 170 different words. Nothing earlier in the catalogue leans on choral, and four records followed it, 'Good Night' and 'The Long and Winding Road' among them. The mono and the stereo versions are not the same record (mono has King Lear fed live, stereo is fake-stereo from mono in that section). This song is the first Beatles record to feature choir.
What happened around it?
see full timeline →Work on 'The Fool on the Hill' and 'Blue Jay Way' was going on beside it. By the time the Beatles cut it, work on Magical Mystery Tour had been going nine months. In the same stretch, 12 days before the session, The Beatles met Maharishi Mahesh Yogi. Meanwhile, 3 days later, Brian Epstein died. Elsewhere, six days before Magical Mystery Tour's release, the pound was devalued.
This song is the most-annotated song in the catalogue, carrying 729 distinct tags.
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Text369 tags
This song puts real places in the words (Eiffel Tower, English garden), and it deals in the motifs of smoking and drugs too. The lyric is written in stream of consciousness, a habit 3 years old by this point, and 18 songs deep. It reaches outside the Beatles for a line (Lewis Carroll's 'The Walrus and the Carpenter'), and they had done the same on 'Paperback Writer' a year earlier. An extrametrical rhyme arrives once, "naughty boy / Tuesday". The language is dealing in violence or mortality ('dead dog's eye', 'untimely death') and full of nonsense words ('goo goo g'joob', 'crabalocker', 'umpa'). Idle but true, "pornographic" is a word they sang exactly once, here.
Recurring words
Lyric shape
Cover-shared shape
Distinctive word
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Music213 tags
In A major at roughly 86 BPM, 'I Am the Walrus' is a psychedelic and art rock song, and the writing shows the influence of Goons and avant-garde. It brings in a woodwind group, one of 22 across the catalogue, 1968 being the year for it. Then, the record has a descending bass (outro Moebius strip A G F E D C B) and an ascending bass (verse 2 F-G-A Aeolian ascent). The outro departs from the rest of the song (spoken Shakespeare distinct from all sections). A curiosity, its A → F♯m7 → F → E chord progression is the move 'Free as a Bird' makes as A → F♯m → F → E.
Chord shape
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Studio15 tags
Sixteen rhythm-track takes were cut at EMI Studio 2 before orchestral and choral overdubs. Lennon tuned an AM radio to a BBC broadcast of King Lear during the final mix. Part of it was taped in EMI Studio 1, one of only fifteen Beatles records to use that room. The Hohner Pianet was played by John Lennon. ADT (double tracked vocal) was used in making the record. It is taken out on a fade-out, a habit 4 years old by this point, and 46 songs deep. Among the 25 songs they began recording in 1967 this was the 21st, and the 142nd of the career.
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People70 tags
The track is Lennon’s, both the writing and the voice. Friends of the band are in the room for it, Ray Thomas and Mike Pinder. Contrabass clarinet, violin, cello, french horn and clarinet play behind them, the fourth record to carry strings, brass and woodwind at once, after 'Penny Lane' did it first. The electric piano on this one is a Hohner Pianet, played by Lennon. BBC King Lear radio broadcast. Peggie Allen, F Dachtler and June Day sing behind them.
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Info25 tags
The record was issued as the B-side of Hello, Goodbye in the UK and US. The single topped the UK charts while the Magical Mystery Tour EP reached #2 simultaneously. This song was the 18th of the 24 records the Beatles released in that year, and the 136th they ever made.
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Sources & references
Tags on this page are original analysis, transcribed and cross-checked against the fine work of others: Alan W. Pollack's “Notes on…” series, the Beatles Complete Scores (Hal Leonard), Mark Lewisohn's session histories, Ian MacDonald's Revolution in the Head, Dave Rybaczewski's Beatles Music History and Andy Babiuk's Beatles Gear for the instruments and studio equipment, and others besides - then verified by ear against the recordings. Full bibliography: Sources & thanks.
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