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Pieces like "Pepperland", "Sea of Holes", and "March of the Meanies", however they were received at the time, function now primarily as garish kitsch, lushly orchestrated orchestral music that could have come from anywhere.
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To round out the album, the second side of Yellow Submarine is filled with George Martin's score for the film. They might be second-rate Beatles songs, but still. For McCartney's part, "All Together Now" is a cheery and pleasant sing-along befitting an animated soundtrack, and Lennon's "Hey Bulldog" is a tough and funky piano-driven rocker, by a good margin the best song here. But "It's All Too Much" stretches on for an endless six and a half minutes, the constipated production in fruitless search of a tune. "Only a Northern Song" at least has a good joke going for it, simultaneously alluding to the North of England and the Beatles' Lennon-McCartney-dominated publishing company (i.e., no matter what Harrison wrote for this particular number, it belonged to Northern Songs, Ltd.). "Only a Northern Song" and "It's All Too Much" are filled with swirling psychedelic production- tooting horns, backward instruments, shimmering percussion- but beneath the din there's not much else interesting going on. Neither of Harrison's songs ranks with his best. But even setting aside their exceedingly high standards, this lot is pretty middling, if certainly still enjoyable. Granted, we're talking about a time when the Beatles were making some of the finest pop albums of all time, so the question of what constitutes "good enough" is relative. They never found release during the time they were recorded because, well, they weren't good enough. The other four were holdovers from sessions in 1967 (Paul McCartney's "All Together Now", George Harrison's "It's All Too Much" and "It's Only a Northern Song") and 1968 (John Lennon's "Hey Bulldog"). Of the six tracks by the Beatles on the album's first side, two, "Yellow Submarine" and "All You Need Is Love", are already familiar from their original contexts (as part of Revolver and as a single, respectively). So actors mimicked their voices, their input into the story consisted of a meeting or two with the filmmakers, and when it came time to assemble the soundtrack, they combed through the vault to see what was left over. Brian Epstein had died in August, and with him gone, there was little motivation for the Beatles to participate in any meaningful way. And while the record releases associated with Magical Mystery Tour are of staggeringly high quality, the Yellow Submarine soundtrack is like the work of a supremely talented band that couldn't really be bothered. While the latter film was derided as pretentious and incoherent, the Yellow Submarine feature was well-received. As those were at the time the only contact most people had with computers, this typeface was often used to convey a "high-tech" or "futuristic" feel, but it looks horribly dated today.In one sense, the Yellow Submarine project is the opposite of Magical Mystery Tour. The typeface in which the title is set is Westminster, devised at the Westminster Bank (which later merged with the National & Provincial to become the National Westminster) in the early 1960s in imitation of the MICR digits printed on cheques in order to make them computer-readable.
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John Lennon - lead and backing vocals, lead and rhythm guitar (1962 Gibson J-160E, 1965 Epiphone 230TD Casino on It's All Too Much, and 1964 Gibson SG Standard on Hey Bulldog).