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The song was also viewed as a code for drugs, at a time when it became common for fans to scrutinise the Beatles' lyrics for alternative meanings. [131] [132] "Yellow Submarine" was adopted by the counterculture as a song promoting the barbiturate Nembutal, [133] which was nicknamed a yellow submarine for the colour and shape of its capsule. [134]
"It's All Too Much" is a song by the English rock band the Beatles from their 1969 album Yellow Submarine. Written by George Harrison in 1967, it conveys the ideological themes of that year's Summer of Love.
Yellow Submarine is the tenth studio album by the English rock band the Beatles, released in January 1969. It is the soundtrack to the animated film of the same name, which premiered in London in July 1968. The album contains six songs by the Beatles, including four new songs and the previously released "Yellow Submarine" and "All You Need Is ...
"Hey Bulldog" is a song by the English rock band the Beatles released on their 1969 soundtrack album Yellow Submarine. Credited to Lennon–McCartney, but written primarily by John Lennon, it was finished in the recording studio by both Lennon and Paul McCartney. [1]
Yellow Submarine, a 1968 feature-length animated film featuring The Beatles' music; Yellow Submarine, 1969 soundtrack to the film; Yellow Submarine Songtrack, 1999 expanded remix of the Yellow Submarine album; Yellow Submarine, large-scale work of art at Liverpool Airport, based on the song and film; Ringo's Yellow Submarine, 1983 radio show ...
The group returned to take 3 of "Only a Northern Song" on 20 April, a day when members of the Yellow Submarine production team visited them in the studio. [57] The band started working on the song less than 45 minutes after completing the final mixing on Sgt. Pepper, demonstrating what Lewisohn terms a "tremendous appetite" to continue recording.
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The light atmosphere of "Yellow Submarine" is broken by what Riley terms "the outwardly harnessed, but inwardly raging guitar" that introduces Lennon's "She Said She Said". [214] The song marks the second time that a Beatles arrangement used a shifting metre, after "Love You To", as the foundation of 4/4 briefly switches to 3/4. [ 216 ]