Psychedelic Rock: Top 100 Songs

Psychedelic Rock: Top 100 Songs

Psychedelic rock emerged in the mid-‘60s as music inspired, influenced, or representative of the experience of taking hallucinogenic drugs, most notably LSD. The Summer of Love in 1967 and the Woodstock Festival in 1969 were major cultural events which have been tied to the psychedelic rock movement. This list was created by aggregating 24 lists focused on psychedelic rock songs. Click here to see other genre-specific song lists. 1. Jefferson Airplane “White Rabbit” (1967) 2. The Jimi Hendrix Experience “Purple Haze” (1967) 3. The Beatles “Lucy in the Sky with Diamonds” (1967) 4. The Doors “Light My Fire” (1967) 5. Strawberry Alarm Clock “Incense and Peppermints” (1967) 6. The Beatles “Strawberry Fields Forever” (1967) 7. The Byrds “Eight Miles High” (1966) 8. The Beatles “Tomorrow Never Knows” (1966) 9. Pink Floyd “Interstellar Overdrive” (1967) 10. Procol Harum “A Whiter Shade of Pale” (1967) 11. Jefferson Airplane “Somebody to Love” (1967) 12. Iron Butterfly “In-a-Gadda-Da-Vida” (1968) 13. Grateful Dead “Dark Star” (1968) 14. The Amboy Dukes “Journey to the Center of the Mind” (1968) 15. The Electric Prunes “I Had Too Much to Dream Last Night” (1966) 16. The Beatles “I Am the Walrus” (1967) 17. Cream “Sunshine of Your Love” (1967) 18. Scott McKenzie “San Francisco (Be Sure to Wear Some Flowers in Your Hair)” (1967) 19. The Jimi Hendrix Experience “Are You Experienced?” (1967) 20. Steppenwolf “Magic Carpet Ride” (1968) 21. The Small Faces “Itchycoo Park” (1967) 22. The Chambers Brothers “Time Has Come Today” (1967) 23. The Doors “The End” (1967) 24. The Beatles “A Day in the Life” (1967) 25. Status Quo “Pictures of Matchstick Men” (1967) 26. The Animals “Sky Pilot” (1968) 27. Pink Floyd “Astronomy Domine” (1967) 28. Cream “White Room” (1968) 29. The Beatles “All You Need Is Love” (1967) 30. The Velvet Underground & Nico “Venus in Furs” (1967) 31. The United States of America “The American Metaphysical Circus” (1968) 32. Pink Floyd “See Emily Play” (1967) 33. The Rolling Stones “2000 Light Years from Home” (1967) 34. Tommy James & the Shondells “Crimson and Clover” (1968) 35. The Who “I Can See for Miles” (1967) 36. The Count Five “Psychotic Reaction” (1966) 37. The Doors “Strange Days” (1967) 38. Tomorrow “My White Bicycle” (1967) 39. The Beach Boys “Good Vibrations” (1966) 40. The Turtles “Happy Together” (1967) 41. Kenny Rogers & the First Edition “Just Dropped in to See What Condition My Condition Was In” (1967) 42. Big Brother & the Holding Company “Piece of My Heart” (1968) 43. Pink Floyd “Set the Controls for the Heart of the Sun” (1968) 44. Donovan “Hurdy Gurdy Man” (1968) 45. The Rolling Stones “She’s a Rainbow” (1967) 46. The Balloon Farm “A Question of Temperature” (1968) 47. The Byrds “Mr. Tambourine Man” (1965) 48. The Kinks “Waterloo Sunset” (1967) 49. The Yardbirds “The Shapes of Things” (1966) 50. The Animals “San Franciscan Nights” (1967) 51. Buffalo Springfield “For What It’s Worth” (1966) 52. The Grass Roots “Let’s Live for Today” (1967) 53. The Bubble Puppy “Hot Smoke & Sassafras” (1969) 54. The Young Rascals “Groovin’” (1967) 55. The Beatles “Within You Without You” (1967) 56. Pink Floyd “Echoes” (1971) 57. The Box Tops “The Letter” (1967) 58. Vanilla Fudge “You Keep Me Hangin’ On” (1967) 59. Donovan “Sunshine Superman” (1966) 60. Country Joe & the Fish “Grace” (1967) 61. Traffic “Dear Mr. Fantasy” (1967) 62. The Doors “People Are Strange” (1967) 63. Love “The Red Telephone” (1967) 64. Kaleidoscope “Beacon from Mars” (1968) 65. The 13th Floor Elevators “You’re Gonna Miss Me” (1966) 66. The Lemon Pipers “Green Tambourine” (1967) 67. The Jimi Hendrix Experience “Third Stone from the Sun” (1967) 68. Traffic “Paper Sun” (1967) 69. Bobbie Gentry “Ode to Billie Joe” (1967) 70. The Rolling Stones “Ruby Tuesday” (1967) 71. The Monkees “Pleasant Valley Sunday” (1967) 72. Pink Floyd “Comfortably Numb” (1979) 73. The Moody Blues “Nights in White Satin” (1967) 74. Pink Floyd “Arnold Layne” (1967) 75. H.P. Lovecraft “At the Mountains of Madness” (1968) 76. The Blues Magoos “We Ain’t Got Nothin’ Yet” (1966) 77. The Crazy World of Arthur Brown “Fire” (1968) 78. The Jimi Hendrix Experience “All Along the Watchtower” (1968) 79. Donovan “Mellow Yellow” (1966) 80. The Yardbirds “Happenings Ten Years Time Ago” (1966) 81. Blue Cheer “Summertime Blues” (1968) 82. Cream “Strange Brew” (1967) 83. The Youngbloods “Get Together” (1967) 84. The 13th Floor Elevators “Roller Coaster” (1966) 85. Country Joe & the Fish “Bass Strings” (1967) 86. The United States of America “Cloud Song” (1968) 87. Donovan “Season of the Witch” (1966) 88. The Beatles “Norwegian Wood (This Bird Has Flown)” (1965) 89. Black Sabbath “Planet Caravan” (1970) 90. Country Joe & the Fish “Section 43” (1967) 91. West Coast Pop Art Experimental Band “Shifting Sands” (1967) 92. The Byrds “Mind Gardens” (1967) 93. The Rolling Stones “We Love You” (1967) 94. Steve Miller Band “In My First Mind” (1968) 95. Tim Buckley “Hallucinations” (1967) 96. The Doors “Break on Through” (1967) 97. Funkadelic “Maggot Brain” (1971) 98. It’s a Beautiful Day “White Bird” (1969) 99. The Doors “When the Music’s Over” (1967) 100. Cream “I Feel Free” (1966) Resources/Related Links: Dave’s Music Database: “Other Genre/Category Song Lists” Dave’s Music Database: “Psychedelic Rock Albums: Top 50” First posted 4/17/2020; last updated 9/29/2023.

Today in Music (1967): The Beatles released Sgt. Pepper’s

Sgt. Pepper’s Lonely Hearts Club Band The Beatles

image from beatlestrade.narod.ru

Released: May 26, 1967 Peak: 115 US, 128 UK, 1 CN, 130 AU Click for codes to charts. Sales (in millions): 11.0 US, 5.1 UK, 32.0 world (includes US and UK), 32.58 EAS Genre: classic psychedelic rock

Tracks: Click on a song title for more details. Sgt. Pepper’s Lonely Hearts Club Band [2:02] With a Little Help from My Friends [2:44] Lucy in the Sky with Diamonds [3:28] Getting Better [2:47] Fixing a Hole [2:36] She’s Leaving Home [3:35] Being for the Benefit of Mr. Kite [2:37] Within You Without You [5:05] When I’m Sixty-Four [2:37] Lovely Rita [2:42] Good Morning, Good Morning [2:41] Sgt. Pepper’s Lonely Hearts Club Band (Reprise) [1:18] A Day in the Life [5:33] Inner Groove (unlisted track) Total Running Time: 39:36 The Players: John Lennon (vocals, guitar) Paul McCartney (vocals, bass) George Harrison (guitar, vocals) Ringo Starr (drums, vocals)

Rating: 4.741 out of 5.00 (average of 54 ratings) Quotable: "The single most influential album in the history of pop" – Chris Speicher, The Review Awards: (Click on award to learn more).

About the Album: "The Beatles were undoubtedly the most successful and significant rock group in history" NRR and Sgt. Pepper was their masterwork. It is "one of the most influential albums of all time," AZ "the album that many regard as having changed the course of popular music forever" CD and that "revolutionized rock & roll." RS’87 London Times critic Kennety Tynana called it a "decisive moment in the history of Western civilization." CS "When Sgt. Pepper’s dropped, everything about it – its ambition, conceptual unity, drug references, elaborate cover art, bizarre sound effects - made an immediate, incalculable impact." RS’97 "Critics [say] that this is the most experimental, the most groundbreaking album ever produced by rock, after which inspired listeners go and put on Freak Out! or The Piper at the Gates of Dawn or, well, even The Velvet Underground & Nico and say: ‘THAT was experimentation? C’mon, that was just a bunch of pretty pop songs!" GS Aliases: "Weary of performing in stadiums full of screaming teeny-boppers," RS’97 the Beatles permanently retreated from live performances in 1966, opting to focus on working in the studio instead. "A chasm had begun to open between their growing musical sophistication and the public’s perception of them as lovable mop tops. The magnitude of the Beatles phenomenon was starting to encroach on the band…Already trapped, in their early twenties, the Beatles had to find a way out." RS’87 Paul McCartney dreamed up the idea for the Fab Four to take on aliases as the fictitious "Sgt. Pepper’s Lonely Hearts Club Band." He said, "‘Why don’t we just make up some incredible alter egos and think, ‘Now how would he sing it? How would he approach this track?’ And it freed us. It was a very liberating thing to do.’" RS’87 The four of them "all grew long hair, they all sported different mustaches, and they donned outfits, all of which would be emblazoned on the album’s cover art." CQ "Unsurprisingly, the band’s appearance factored into this album big time." CQ Musically, the alter-egos allowed the Beatles "to experiment with new sounds and ideas that would not necessarily be found on any other Beatles album." CQ The result was "a concept album that The Beatles hoped could do their touring for them." CQ John Lennon later said that his contributions were "not in character and not in theme with the whole Sgt. Pepper’s… concept." CQ "Apart from some relatively modest touches - the colorful uniforms, the opening theme song, the reprise near the end and Ringo’s entertaining turn as ‘the one and only Billy Shears’ in ‘With a Little Help from My Friends’ – the alter egos make no discernible appearances on the album." RS’87 The Cover: But one look at the cover of Sgt. Pepper – festooned with the band’s wildly eclectic gallery of heroes and…wax figures of the youthful Fab Four standing next to their far more…serious-looking real-life counterparts – eloquently tells how greatly removed the group had grown from what they were." RS’87 "The Fab Four wax statues fossilized the formerly frivolous pop sensations, or the Ghost of Beatles Past." IB "Under the guise of alter egos the Beatles had finally allowed their real selves to emerge." RS’87 The album was the first to feature a gatefold sleeve. CS Along with the Beatles, the cover featured cardboard cutouts of icons including Bob Dylan, W.C.Fields, Carl Jung, Karl Marx, Elvis Presley, and Mae West. It looked "like a backstage photograph of musicians surrounded by their stagehands from a very, very strange tour." CS A Cohesive Work: The album worked as a whole because "it flows seamlessly together. The tightly-knit transition in between songs is something that had not really been used before and was therefore considered groundbreaking at the time." CQ Sgt. Pepper was "conceived as a complete listening experience. Previously popular albums were generally a couple of hit singles patched together with some album tracks and some filler to create the necessary minutes for two LP sides. The Beatles changed all of that forever." CRS The Impact: In 1966, the Beach Boys’ Pet Sounds album "created a new landmark in ambition and beauty in rock" BN while the Beatles cranked out their own music-altering masterpiece with Revolver, "reaching a previously unheard-of level of sophistication and fearless experimentation." AM "With Sgt. Pepper’s Lonely Hearts Club Band, the Beatles completely altered the face of popular music for the second time" RS’97 and created what "is regarded by many music critics and fans alike as not only the climax of the Beatles career, but also one the finest albums ever recorded." CA "It was this album, and not any other, that led serious music lovers, many ‘classical snobs’ included, to finally recognize rock music" GS "as actual art." AZ "While Frank Zappa was too ‘crazy’ to be considered ‘worthy’, the Beach Boys spoiled all the fun with their Hollywood arrangements, and Bob Dylan was still primarily a lyricist, the Beatles did it exactly the right way" GS with "this very psychedelic work at the peak of the summer of love, influencing hundreds of up-and-coming musicians." CRS "The record is a flawless, cohesive landmark of a sound that transcends the folk, rock and pop." PM "There has never been another band that could do so many different things – [the] songs…cover more ground than you get in most rock careers." TL "The songs embrace a myriad of divergent styles yet, through the collective genius of these musicians, they are melded into a cohesive whole." NRR "The musicianship [is] unparalleled, the production [is] perfect." TL "The songs are breathtaking," TL "each masterfully arranged." NRR "It’s possible to argue that there are better Beatles albums, yet no album is as historically important as this. After Sgt. Pepper, there were no rules to follow – rock and pop bands could try anything, for better or worse." AM "This one album revolutionized, altered, and reinvented the boundaries of 20th century popular music, style, and graphic art." CL "Sgt. Pepper captures the British sixties atmosphere to perfection, probably better than any other album from the era…Along with Revolver, Abbey Road and The White Album, Sgt. Pepper should be in everyone’s album collection." CA "A splendid time is still guaranteed for all." TL Studio Magic: With Sgt. Pepper’s, the Beatles became "the first band to fully utilize the studio as an instrument in itself." CS The 700 hours of studio time CA and "four meticulous months spent putting the album together were like an aural experiment in some laboratory. The Beatles used the studio as an instrument: changing tape speeds, experimenting with microphone placement, using unconventional instruments…etc." CRS "The 129 days it took…to complete Sgt. Pepper’s Lonely Hearts Club Band are sometimes referred to as the most creative 129 days in music history." RV By comparison, the Beatles recorded their debut album, 1963’s Please Please Me, in one day. CS "Inspired by Eastern influences, classical music, Pet Sounds and mind-altering substances, The Beatles pushed the envelope of recording capabilities," RV experimenting "with music that was too complex …to perform onstage." RS’97 They "consciously synthesized such disparate influences as psychedelia, art-song, classical music, rock & roll, and music hall, often in the course of one song. Not once does the diversity seem forced." AM "Sgt. Pepper was the most breathtaking and innovative piece of modern music the world had ever heard." IB "This four-track recording is still a masterpiece." CL "The musical experimentation was dynamic and fresh, several tracks were edited to create seamless transitions, and even the visual design was more elaborate than anything previously attempted." VH1 George Martin "was the chemist who made their crazy ideas work. He shaped their glorious songs and fantasmagorical lyrics with melody and harmony, pushing recording technique into unknown waters." CL "Martin and The Beatles searched for new sounds and studio effects. They added crowd sounds and animal cries from sound-effects recordings, sped up Paul McCartney’s vocals in ‘When I’m Sixty-Four’ (to make him sound younger), and sustained a single piano chord for 40 seconds to end ‘A Day in the Life.’ The orchestrations, scored by Martin, were hailed by critics as bridging the gap between pop and classical music, and many people who had never bought a rock record bought Sgt. Pepper’s." VH1 There are also the "sly inside jokes…take, for example, the dog whistle – which humans can’t hear – buried on the album’s second side. "We’re sitting around the studio, and one of the engineers starts talking about wavelengths, wave forms and stuff, kilohertz," McCartney recalls…‘We were all saying, ‘Wow, man. Hey, wow…We gotta have it on! There’s going to be one dog and his owner, and I’d just love to be there when his ears prick up.’" RS’87 Psychedelic Masterpiece: While the Beatles were recording Sgt. Pepper’s, "San Francisco’s psychedelic scene was in full swing" CS thanks to the "sophisticated, LSD-inspired grooves" CS of the Grateful Dead, Jefferson Airplane, and Big Brother & the Holding Company. Paul was influenced by a 1966 visit to the bay area. CS Author Chris Smith says the album "continues to dominate the consciousness of 1960s psychedelic rock the way the 1977 film soundtrack Saturday Night Fever embodies disco…and Nirvana’s 1991 Nevermind personifies grunge." CS Concept Album? Before the idea of taking on aliases came along, the intent was to create "a song cycle based on the Beatles’ lives starting with ‘Strawberry Fields Forever’ and ‘Penny Lane.’ However, the recording process became expensive and behind schedule, so the two songs were released as a single and the song cycle was dropped." CRS Consquently, "even though this isn’t a concept album as such it remains the very first concept album in popular public consciousness." AD "It is the first Beatles album conceived as an album, not just a bunch of songs (their first released identically in the US and the UK), and the first rock album where the songs blend into each other with no breaks." DBW A "Paul" Album? "The preponderance of whimsy and self-conscious art gives the impression that Paul McCartney is the leader...He dominates the album in terms of compositions, setting the tone for the album with his unabashed melodicism and deviously clever arrangements." AM "There’s McCartney’s effortless mastery of all manner of pop styles, including…the ballad ‘She’s Leaving Home,’" the rock-classic title song, and "the music-hall cameo" BN of the "vaudevillian ‘When I’m 64’ [which] seems like a logical extension of ‘Within You Without You’ and how it provides a gateway to the chiming guitars of ‘Lovely Rita.’" AM "In comparison, Lennon’s contributions seem fewer…but his major statements are stunning," AM including his "wild excursions into psychedelia" BN and the evocative word/sound pictures [of] the trippy ‘Lucy in the Sky With Diamonds’ [or] the carnival-like ‘Being for the Benefit of Mr. Kite.’" AZ Notes: In 2017, a 50th anniversary box set was released which includes a new stereo remix of the album, two discs of alternate takes during the making of the album, and the original 1967 mono mix of the album. The Songs Here are looks at each of the songs from the album.

Sgt. Pepper’s Lonely Hearts Club Band The Beatles

Writer(s): John Lennon, Paul McCartney Lead Vocals: Paul McCartney Released: single paired with “With a Little Help from My Friends” (9/16/1978) Sgt. Pepper’s Lonely Hearts Club Band (1967), The Beatles 1967-1970 (compilation, 4/2/1973) B-Side: “A Day in the Life” Peak: 71 BB, 92 CB, 2 CL, 63 UK, 78 AU, 2 DF Click for codes to charts. Covered by: Jimi Hendrix (1967), Bee Gees (1978), Paul McCartney with U2 (2005, #48 BB)

Awards: (Click on award to learn more).

About the Song: With its "cool guitar solo and the trombone-led band anthem." GS "the introductory title track immediately sets Sgt. Pepper apart…George Harrison’s distorted guitar couples with classical horns before John Lennon informs listeners ‘It was 20 years ago today / Sgt. Pepper taught the band to play.’" RV This song and the reprise at the end of the album before the epic "A Day in the Life," are "almost a Cavern-style throwback as if to remind you who exactly you are listening to" AD and "are actually two of the least interesting things here." AD Jimi Hendrix famously covered the song just days after its release.

With a Little Help from My Friends The Beatles

Writer(s): John Lennon, Paul McCartney (see lyrics here) Lead Vocals: Ringo Starr Released: 9/16/1978 as a single paired with "Sgt. Pepper’s Lonely Hearts Club Band," Sgt. Pepper’s Lonely Hearts Club Band (1967), The Beatles 1967-1970 (compilation, 4/2/1973) Peak: 71 BB, 92 CB, 63 UK, 4 CL, 1 DF Click for codes to charts. Airplay/Streaming (in millions): 1.0 radio, 22.9 video, 156.20 streaming Covered by: Young Idea (1967, #10 UK), Joe Brown (1967, #32 UK), Joe Cocker (1968, #68 BB, 54 CB, 46 HR, 1 UK), Sergio Mendes & Brasil ’66 (1968, #31 AC), Santana (1969), Ike & Tina Turner (1973), Jeff Lynne (1976), Bee Gees (1978), Wet Wet Wet with Billy Bragg (1988, #1 UK), Toto (1993), Sam & Mark (2004, #1 UK), Zac Brown Band (2018)

With a Little Help from My Friends Joe Cocker

First Charted: October 2, 1968 Released: With a Little Help from My Friends (1969) Peak: 68 BB, 54 CB, 46 HR, 3 CL, 11 UK, 1 DF Click for codes to charts. Airplay/Streaming (in millions): 1.0 radio, 46.20 video, 199.79 streaming

Awards (The Beatles): (Click on award to learn more). Awards (Joe Cocker): (Click on award to learn more).

About the Song: When the Beatles released Sgt. Pepper’s Lonely Hearts Club Band, they decided to not release any singles to promote it. However, "With a Little Help from My Friends" became one of the album favorites. The song is "about togetherness, friendship, the importance of not being lonely." FT Although written by John Lennon and Paul McCartney, they gave it to Ringo Starr. "He’s not very good at singing" FT but in his hands, it becomes an almost nursery-rhyme-like singalong, a la "Yellow Submarine." The song flows out of the album’s title cut with an introduction of "the one and only Billy Shears," in what is really the only other attempt to hang on to the album’s loose we’re-another-band concept. The song "was the last track to be recorded for the album. It was included…as it was felt by the group that a happy sing-along tune was all that was missing from the finished product." CA It is the ideal Ringo tune, a rolling, friendly pop song that hides genuine Lennon anguish, ala ‘Help!.’" AM The song is "possibly Ringo’s finest ever Beatles vocal" AD showcasing his "steady drumming and his timeless, everyman vocals." BN When British blue-eyed soul singer Joe Cocker covered the song in 1968, it took on a new life. "Everything about the song is massive." FT "He stumbles and howls convincingly," FT "the track gets quite a lot longer, and a great deal louder, and you can feel the charm being steamrollered out: who needs charm when you have force on your side?" FT In his book Revolution in the Head, Ian Macdonald calls it "the song [that] became an anthem for ‘Woodstock Nation,’" FT referring to the "historic four-day extravaganza of peace, love, and tie-dye…the concert of its time." KL "With his unique raspy blues voice and distinctive stage presence, which involved him swinging his arms around like a flailing human windmill" KL the 25-year-old Cocker sang it "in a New York field in front of a half a million people" KL adorned in "a tie-dyed T-shirt and was drenched in sweat throughout the performance, securing his reputation as an entertainer who would give his all on stage." SF What did the Beatles think? They congratulated him via telegram and took out an ad in the music papers in praise of his rendition. When Cocker died at age 70, Paul McCartney said, "It was just mind-blowing, totally turning the song into a soul anthem, and I was forever grateful for him for having done that." SF

Lucy in the Sky with Diamonds The Beatles

Writer(s): John Lennon, Paul McCartney (see lyrics here) Lead Vocals: John Lennon Released: Sgt. Pepper’s Lonely Hearts Club Band (1967), The Beatles 1967-1970 (compilation, 4/2/1973) Peak: 3 CL, 1 DF Click for codes to charts. Airplay/Streaming (in millions): 2.0 radio, 29.60 video, 207.77 streaming Covered by: Elton John (1974, #1 BB, 1 CB, 1 GR, 1 HR, 1 RR, 1 CL, 10 UK, 1 CN, 3 AU), Hooters (1986), The Christians (1988), Marc Anthony (2001), The Black Crowes (2002), The Flaming Lips with Sean Lennon (2014)

Lucy in the Sky with Diamonds Elton John

Released: 11/18/1974 as a single, Greatest Hits Volume II (1977) First Charted: 11/22/1974 Peak: 12 BB, 11 CB, 12 HR, 11 RR, 1 CL, 10 UK, 14 CN, 3 AU, 7 DF Click for codes to charts. Sales (in millions): 1.0 US Airplay/Streaming (in millions): 2.0 radio, 4.70 video, 25.91 streaming

Awards (The Beatles): (Click on award to learn more). Awards (Elton John): (Click on award to learn more).

About the Song: The Beatles chose not to release any singles from their Sgt. Pepper’s Lonely Hearts Club Band because "the entire album was meant to hang together as a whole." SG "The beautiful and vivid" CQ "Lucy in the Sky with Diamonds," "possibly the most enduring song on the album," SG has "a fragile spaced-out dreaminess to it" SG which made it "one of the touchstones of British psychedelia." AM There were rumors that it was an acid song. The initials spelled out "LSD" and the "lyrics are all dazed, hallucinatory meditations on a girl who keeps disappearing and a world where things don’t make sense." SG Paul McCartney said "drugs did influence some of the group’s compositions…including ‘Lucy in the Sky with Diamonds’…[but it’s] easy to overestimate the influence of drugs on the Beatles’ music." WK John Lennon claimed the song was inspired by a painting by his son. SG He said, "My son Julian came in one day with a picture he painted about a school friend of his named Lucy. He had sketched in some stars in the sky and called it ‘Lucy in the Sky with Diamonds.’" FB Julian reconnected with the drawing’s muse, his nursery school classmate Lucy O’Donnell, in their adult lives before she died of complications from lupus in 2009. WK John also explained that "the images were from Alice in Wonderland." FB The title of the drawing reminded John of the chapter "Which Dreamed It?" in Lewis Carroll’s Through the Looking Glass, in which Alice floats in a "boat beneath a sunny sky." WK McCartney explained, "We did the whole thing like an Alice in Wonderland idea, being in a boat on the river…Every so often it broke off and you saw Lucy in the sky with diamonds all over the sky. This Lucy was God, the Big Figure, the White Rabbit." WK Elton John referred to it as "one of the best songs ever written." SG When he recorded it, Lennon sang and played guitar under the uncredited pseudonym of "Winston O’Boogie." Elton’s version "is six minutes long, nearly twice the length of the original. There’s a lot of showy piano-banging. There are tempo changes. There’s a part that’s clearly supposed to sound like reggae. There are many, many repetitions of the song’s title." SG

Getting Better The Beatles

Writer(s): John Lennon, Paul McCartney Lead Vocals: Paul McCartney Released: Sgt. Pepper’s Lonely Hearts Club Band (1967) Peak: 12 CL, 11 DF Click for codes to charts. About the Song: "The guitar riff that opens" AD the "giddy ‘60s anthem" JA Getting Better "sets the tone for a straightforward pop/rock song," AD an "optimistic and uptight Paul rocker." GS "McCartney is most noticeable with the extremely melodic bass lines that push the song forwards. The handclaps are attention to detail. Nothing is missed for what is essentially a simple song" AD "said to have been written after a remark McCartney made to a friend one spring day whilst out walking his dog." CA

Fixing a Hole The Beatles

Writer(s): John Lennon, Paul McCartney Lead Vocals: Paul McCartney Released: Sgt. Pepper’s Lonely Hearts Club Band (1967) Peak: 23 CL, 6 DF Click for codes to charts. About the Song: The introspective Fixing a Hole "benefits from McCartney’s melodic bass lines, and the harmonies [which are] perfectly and subtly placed but always in exactly the right places." AD Accusations that it was "influenced by drugs…were denied by McCartney, who claimed that the song was actually about ‘the hole in your personal make-up’ and also about himself "examining his own thoughts.’" CA On a personal note, in the ‘80s and ‘90s, I did a weekly chart of my favorite songs. When I launched the chart in September 1982, “Fixing a Hole” was in the top 10.

She’s Leaving Home The Beatles

Writer(s): John Lennon, Paul McCartney Lead Vocals: Paul McCartney and John Lennon Released: Sgt. Pepper’s Lonely Hearts Club Band (1967) Peak: 12 CL, 8 DF Click for codes to charts. Covered by: Bryan Ferry (1976), Billy Bragg with Cara Tivey (1988, #1 UK)

Awards: (Click on award to learn more).

About the Song: The "beautiful" AD She’s Leaving Home, "certainly Paul’s most gorgeous ballad ever," GS is "written around a newspaper story about a girl who runs away from home to find excitement." CA The song "could have been a chamber piece done centuries before." IB

Being for the Benefit of Mr. Kite The Beatles

Writer(s): John Lennon, Paul McCartney Lead Vocals: John Lennon Released: Sgt. Pepper’s Lonely Hearts Club Band (1967) Peak: 17 CL, 2 DF Click for codes to charts. Covered by: Billy Conolly (1998)

Awards: (Click on award to learn more).

About the Song: This is supposedly John Lennon’s lyrical transformation of an 1843 circus advertising poster. CA The song is "a very visual track" CA with a "great Lennon vocal" AD and a "swirly sounding steam organ" CA to create a "quasi-carnival atmosphere." CQ It "is musically complicated, working with organs, guitar, and some harmonicas" CQ but also experiments "with backwards tapes…as a silly but groovy experiment with cutting up tapes and stitching them again in random order." GS The song was covered in Julie Taymor’s 2007 movie musical tribute to the Beatles, Across the Universe.

Within You Without You The Beatles

Writer(s): George Harrison Lead Vocals: George Harrison Released: Sgt. Pepper’s Lonely Hearts Club Band (1967), The Beatles 1967-1970 (compilation, 2023 reissue) Peak: 13 CL, 11 DF Click for codes to charts.

Awards: (Click on award to learn more).

About the Song: George Harrison was "engulfed in Indian Mysticism" CA when he wrote the "dramatic sitar composition Within You Without You" BN that is filled with "Indian-influenced pearls of wisdom" JA and "the paradoxical wisdom of Eastern religious philosophy." RS’87 While "many people seem to hate" the song, Harrison "manages to fit into the Indian pattern and make a catchy melody at the same time." GS

When I’m Sixty-Four The Beatles

Writer(s): John Lennon, Paul McCartney Lead Vocals: Paul McCartney Released: Sgt. Pepper’s Lonely Hearts Club Band (1967) Peak: 14 CL, 5 DF Click for codes to charts. Covered by: Keith Moon (1976), Barry Gibb (2014) About the Song: When I’m 64 is a "happy sing-along type of song" CA with a "stupidly happy base line [and] and English music hall feel" AD that McCartney wrote "as a tribute to his father," CA supposedly about ten years before. GS In 1982, the song was used as the intro for the Robin Williams’ movie The World According to Garp.

Lovely Rita The Beatles

Writer(s): John Lennon, Paul McCartney Lead Vocals: Paul McCartney Released: Sgt. Pepper’s Lonely Hearts Club Band (1967) Peak: 9 CL, 20 DF Click for codes to charts. Covered by: Roy Wood (1976) About the Song: Another McCartney composition, this one "is said to have been influenced by a chance meeting with a London traffic warden, although the finished song leans towards the seduction of a woman in uniform." CA The "vocal apes Lennon, the bass rises and falls, the lyrics are a storytelling humorous delight, and then these wonderful harmonies come in." AD

Good Morning, Good Morning The Beatles

Writer(s): John Lennon, Paul McCartney Lead Vocals: John Lennon Released: Sgt. Pepper’s Lonely Hearts Club Band (1967) Peak: 18 CL, 14 DF Click for codes to charts. Covered by: Marillion (2007) About the Song: Next up is one of John Lennon’s "abrasive, slice-of-life rockers" JA "is all about being tired of the same old routine, day after day." CA It "is the only real rock song here, with some cooking guitar solos and lots of wailing animals in the end." GS

Sgt. Pepper’s Lonely Hearts Club Band (Reprise) The Beatles

Writer(s): John Lennon, Paul McCartney Lead Vocals: John Lennon, Paul McCartney, George Harrison, Ringo Starr Released: Sgt. Pepper’s Lonely Hearts Club Band (1967) Peak: 47 CL, 7 DF Click for codes to charts. About the Song: The title cut is repeated here, but this time as a show closer instead of opener. Of course, there’s still a major encore ahead.

A Day in the Life The Beatles

Writer(s): John Lennon, Paul McCartney (see lyrics here) Lead Vocals: John Lennon, Paul McCartney Released: B-side of “Sgt. Pepper’s Lonely Hearts Club Band” / “With a Little Help from My Friends” (9/16/1978), Sgt. Pepper’s Lonely Hearts Club Band (1967), The Beatles 1967-1970 (compilation, 4/2/1973) Peak: 71 BB, 1 CL, 78 AU, 1 DF Click for codes to charts. Sales (in millions): -- Airplay/Streaming (in millions): -- radio, 104.9 video, 147.92 streaming Covered by: Frankie Vallie (1976), The Fall (1988), Sting (1993), Jeff Beck (1998), Larrikin Love (2007), Chris Cornell (2018)

Awards: (Click on award to learn more).

About the Song: The Beatles’ masterful Sgt. Pepper’s album closes with the "avant-garde mini-suite" AZ A Day in the Life. "This is pure Lennon and McCartney genius and is without doubt the highlight track" CA on "the single most influential album in the history of pop." RV If there is any doubt as to whether or not Sgt. Pepper is one of the greatest feats in music history, then revisiting…‘A Day in the Life’ will likely do the trick. Few songs have encapsulated an overall project’s legacy as deftly as that one." PM "It would be worth buying the album just for this track alone." CA This "haunting number" AM is "one of the most complex and ambitious…songs performed by the Beatles;" AMG heck, it "may be the most ambitious song ever recorded, veering in unexpected directions and pushing the boundaries of experimentation." RV How producer George Martin "squeezes so much sound into this track is incredible, especially when you consider the equipment available to him at the time." CA It is "the most outstanding instance" AMG of "seemingly disparate elements...fitted together into a cohesive and powerful whole." BBC The song "skillfully blends Lennon’s verse and chorus with McCartney’s bridge." AM Martin said, "‘We put two pieces of songs together that weren’t connected in any way. Then we had that 24-bars-of-nothing in between…I wondered whether we were losing our audience...but...when I played it to the head of Capitol Records in America...he...said, ‘That’s fantastic.’ And of course, it was.’" SF "The beginning was based on two stories John Lennon read." SF One was a Daily Mail story about "the death of Guinness heir Tara Browne in a car crash," BBC the other a Daily Express article about a surveyor who said the material needed to repair the roads of Blackburn "was enough to fill the Albert Hall." SF Lennon created a "narrative of going through the motions and observing, in a detached manner, the cruelties and absurdities of the everyday world." AMG "The simple phrase ‘I’d love to turn you on’ sends the song swirling" RV into a "jaunty McCartney tune about waking up and going to work. By itself, [it]...wouldn’t have been much. What made it effective was its juxtaposition next to Lennon’s dreamier sections." AMG In the middle was the "musical orgasm of the whole orchestra building up" GS to an "apocalyptic string crescendo." BBC The "complex orchestration" JA was McCartney’s idea. BBC The orchestra was instructed to start "with the lowest note of their instruments and gradually play to the highest." SF The song seems to "teeter on the edge of a musical abyss until a thundering piano chord" RV ends what is "arguably rock music’s most empathetic, sublime creation: a suicide, a ringing alarm clock, and the chord to end all chords." BN The Beatles invited friends like Mick Jagger and Marianne Faithfull who, as Martin says, were "‘passing out sparklers and joints and…party novelties…The orchestra leader, David McCallum, who used to be the leader of the Royal Philharmonic, was sitting there in a bright red false nose.’" TC

Inner Groove The Beatles

Writer(s): John Lennon, Paul McCartney Released: Sgt. Pepper’s Lonely Hearts Club Band (1967) About the Song: Of course, from a completely technical standpoint, the album isn’t over. There’s still "the famous Inner Groove – the snippet of pointless conversation that sticks in the album’s run-out groove… – has [a]…zany genesis…McCartney explains, ‘a lot of record players didn’t have auto-change. You would play an album and it would go, ‘Tick, tick, tick,’ in the run-out groove - it would just stay there endlessly…We said, ‘What if…every time it did that, it said something?’ So we put a little loop of conversation on.’" RS’87

Resources/References DMDB blog (2/29/1968). "The Beatles’ Sgt. Pepper’s wins the Grammy for Album of the Year" AM AllMusic.com review by Stephen Thomas Erlewine AMG AllMusic.com review by Richie Unterberger of "A Day in the Life" JA John Alroy, Wilson & Alroy's Record Reviews AZ Amazon.com review by Billy Altman BN Barnes & Noble review by Bill Wyman BBC BBC Radio 2 (2004). "Sold on Song Top 100" FB Fred Bronson (2007). The Billboard Book of Number One Hits (4th edition). Billboard Books: New York, NY. Page 388. CD CD Universe RC Robert Christgau CA ClassicAlbums.co.uk. Review by Ryan Mulligan. No longer online. CQ Consequence.net (9/12/2022). "The 100 Greatest Albums of All Time" TC Toby Creswell (2005). 1001 Songs: The Great Songs of All Time. Thunder’s Mouth Press: New York, NY. Pages 677-8. AD Adrian Denning FT FreakyTrigger.co.uk (8/31/2006). "Popular (UK #1 Singles)" by Tom Ewing IB Ink Blot Magazine review by Lars Rosenblum Sorgenfrei KL Jon Kutner and Spencer Leigh. (2005). 1000 UK Number One Hits. Omnibus Press: London, UK. Page 145. CL Colin Larkin (1998). Virgin All-Time Top 1000 Albums. London, England; Virgin Books. CRS Tim Morse (1998). Classic Rock Stories: The Stories Behind the Greatest Rock Songs of All Time. New York, NY: St. Martin's Griffin. Pages 181-195. NRR National Recording Registry PM PasteMagazine.com (6/3/2024). "The 300 Greatest Albums of All Time" RV The Review (Oct./Nov. 2001). "The 100 Greatest Albums of All Time" by Clarke Speicher RS’87 RollingStone.com (originally in print issue 507: 8/27/87) RS’97 Rolling Stone (print issue 760: 5/15/97) CS Chris Smith (2009). 101 Albums That Changed Popular Music. Oxford University Press. Pages 46-9. SF Songfacts page for "A Day in the Life" SF Songfacts page for "With a Little Help from My Friends" GS George Starostin SG Stereogum (6/20/2019). "The Number Ones" by Tom Breihan TL Time Magazine (11/13/2006). "All-TIME 100 Albums" by Josh Tyrangiel and Alan Light VH1 VH1.com "100 Greatest Albums of Rock-n-Roll." No longer online. WK Wikipedia page for "With a Little Help from My Friends" WK Wikipedia page for "Lucy in the Sky with Diamonds" DBW David Bertrand Wilson, Wilson & Alroy's Record Reviews WR The Wire (June 1992). "The 100 Most Important Records Ever Made" Related DMDB Links: First posted 2/15/2008; last updated 5/3/2026.