739:' development at this time, whereby a group's songs "had to comment on the values that marked affluence in Britain". In a 1968 interview, Lennon referenced "Taxman" as part of the Beatles' anti-authoritarian outlook; he said it was an "anti-establishment tax song" and that the band still protested against having to pay the government unless it was for a "communal or Communist or real Christian society". He was taken aback when the Dutch interviewer, Abram de Swaan, criticised the song's message and insisted that taxes should be high to benefit the whole of society.
421:(MBEs). An unprecedented award for pop musicians, the MBEs recognised the group's sizeable contribution to the national economy, as their international breakthrough in 1964 created an export market for British pop for the first time. The band's international success also benefited the country's tourism and fashion industries, and entertainment generally; the surge in exports revenue extended to film and other commercial artistic pursuits, and by early 1966, recognition of London as the "
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285:. Coinciding with the song's creation, Harrison learned that the band members' tax obligations were likely to lead to their bankruptcy, and he was outspoken in his opposition to the government using their income to help fund the manufacture of military weapons. Drawing on 1960s soul/R&B musical influences, the song portrays the taxman as relentless in his pursuit of revenue and name-checks Wilson and
1029:, and through "the 'Beatles clause' – a targeted anti-avoidance rule aimed at preventing entertainers from converting highly taxed income to lower-tax capital receipts". While debating the merits of reintroducing supertax in the UK, the writers warned against a return to the level imposed by Wilson, which they said, in support of Harrison's contention, "wasn't a fair
995:, adopting a personal anecdote from his past as a student in England, detailing how he defended Starr in a Liverpool pub brawl, as part of his campaign rhetoric. In early 2002, according to musicologist Russell Reising, "one of the largest preparation companies in the United States" used a version of "Taxman" in their television commercials. In 2006,
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ranked "Taxman" at number three in their list of "The
Beatles' 50 Greatest Guitar Moments". They praised the solo as "a stunningly sophisticated creation, drawn from an Indian-derived Dorian mode and featuring descending pull-offs that recall Jeff Beck's work on the Yardbirds' 'Shapes of Things'" and
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When
Harrison published his autobiography in 1980, Lennon was deeply hurt by the minimal coverage afforded him in the book. Responding to this in a 1987 interview, Harrison said: "He was annoyed 'cos I didn't say he'd written one line of the song 'Taxman'. But I also didn't say how I wrote two lines
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The song is in the key of D major and in 4/4 time. The recording begins before the actual song with coughing and counting (pointedly cut short, as the real count being heard in the background). The counting is delivered by
Harrison in a "grim, miserly voice", according to Beatles biographer Jonathan
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provided a withering account of
Harrison's initial efforts to work out a solo, this was more reflective of Emerick's personality and is not borne out in McCartney and Harrison's recollections. McCartney said that he was discussing his idea for the solo with Harrison, and Harrison invited him to play
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as "revolutionary" and the
Beatles' "great leap forward", and highlighted "Taxman" as "the album's example of political cheek, in which George enumerates Britain's current economic woes". He added that by naming both Wilson and Heath as "the villains", the Beatles "lay it right on the non-partisan
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actually aged more gracefully over the years than many another "political" song from the sixties or any other period. Must be something about the perennial inevitability of the subject matter ... I heard it played over the P.A. system at the local post office one recent ides of April. Cheap joke,
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cited the track as a "brilliant example" of how, just as
Harrison's guitar playing was often crucial in Lennon and McCartney's compositions, he was never selfish in his musicianship but was instead motivated to "get the best for the song" each time. Brown added: "everyone chipping in with guitar
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The chanted names of Wilson and Heath replaced two rapidly sung refrains of "Anybody got a bit of money?" heard in take 11 of the song. The intro – a spoken "One, two, three, four" – was added during an overdubbing and mixing session on 16 May. The song's ending was created on 21 June. This
917:, Rob Chapman highlights "Taxman" as an example of the Beatles' widespread influence on rock music's developments during the 1960s. He says that Harrison's guitar riff "runs like an unbroken thread through the development of English psychedelia" and is also present "as a trace element in many a
1070:. He took to introducing it as "a very old song written in 1873". In other comments at that time, he said its message was relevant "regardless if it's the Sixties, Seventies, Eighties, Nineties", since "There's always a taxman." Harrison changed much of the lyric, updating the politicians to
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sequencing, Everett writes that whereas McCartney's imagery in "Eleanor Rigby" is "common enough to elicit enormous compassion" for that song's two lonely protagonists, "only those in the highest earning brackets would be likely to feel an overwhelming compassion for the ultrarich victims of
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discovered they were in a financially precarious position. In April 1966, a report from the London accountancy firm Bryce, Hammer, Isherwood & Co. advised them that despite the group's immense success, "Two of you are close to being bankrupt, and the other two could soon be." In his 1980
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s reviewer said it was "One of the best and most commercial George
Harrison compositions for some time", adding: "It is also one of the best, most concise satirical comments on British society and the current tax situation (not to mention our own!) to come along from
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Aside from the financial imposition, "Taxman" was informed by
Harrison's consternation that the vast sums the Beatles paid in tax were being used to fund the manufacture of military weapons. Harrison voiced this concern in his "How a Beatle Lives" interview with
324:" When performing "Taxman" on tour in the early 1990s, Harrison adapted the lyrics to reference contemporaneous leaders, citing its enduring quality beyond the 1960s. The song's impact has extended to the tax industry and into political discourse on taxation.
494:'s drums and McCartney's bass and Harrison's distorted rhythm guitar, followed by overdubs of McCartney's lead guitar, Harrison's lead vocal, and Lennon and McCartney's backing vocals. Beatles biographer Robert Rodriguez writes that although EMI engineer
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in 2010, the song appeared at number 55, where the editors described it as "a crucial link between the guitar-driven clang of the
Beatles' 1963–65 sound and the emerging splendor of the group's experiments in psychedelia". In 2018, the music staff of
376:, because Paul wouldn't have helped him at that period." Lennon said he was reluctant to agree to Harrison's request, since it was "enough to do my own and Paul's ", but he did so "because I loved him and didn't want to hurt his feelings".
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Gould, and contrasts with a traditional count-in before a live performance. Gould sees "subtle self-mockery" in this gesture, since it reflects how, in the space of three years, the
Beatles' focus had moved "from the dance floor to the
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recognised his incorporation of dissonance in the melody to "Taxman" and "I Want to Tell You" as having been "revolutionary in popular music" in 1966. Gilmore considered this quality to be "perhaps more originally creative" than the
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Clayson comments that while Harrison was the most immersed in Indian music, McCartney was especially aware of market trends, and his "Taxman" solo reflected "shades of the abrasive passagework" used by Beck on the Yardbirds' hit
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Ian MacDonald writes that, while Harrison was "rightly praised" for his composition, "Taxman" benefited from the whole group's creativity. He highlights McCartney's bass part as "remarkable" and his guitar solo as "outstanding".
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system. It was outright theft." Cultural commentator Christopher Bray finds "Taxman" highly amusing and describes Harrison as "one of the Sixties' greatest poets of sybaritic hedonism". However, he cites the song, along with
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resentment". He sees this as an example of how Harrison's songwriting could turn from focusing on transcendence on "Love You To", which the Beatles recorded a week earlier, to secular concerns "in the blink of a third
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to embellish the tonic D7 chord at the end of each two-line verse (at 0:12 and 0:19 secs), and a 6th-string form to create a complementary "jarring dissonance" with the lyrics in the subdominant (IV) G chord (to a
350:'Taxman' was when I first realised that even though we had started earning money, we were actually giving most of it away in taxes; it was and still is typical." As their earnings placed them in the top
829:" but that the Indian-style instrumental break was "out of place" unlike on "Love You To". He said that lines such as "Ha-ha, Mr Wilson" were "delightful" and dubbed the song "Batman goes protest".
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helped Harrison complete the song's lyrics. Lennon recalled in 1980: "I threw in a few one-liners to help the song along, because that's what he asked for. He came to me because he couldn't go to
1279:"butcher" cover. While Lennon and McCartney joked about the issue, Harrison complained that the government would never reduce taxes because they needed the revenue for "buying all that crap like
463:, the band's manager, investigated the possibility of recording at Stax, but the idea was abandoned after locals began descending on the Stax building, as were alternative plans to use either
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modes. There is one flat-III (F chord) near the end, but unusually no V (A) chord. According to musicologist Dominic Pedler, the composition is also notable for its use of both a 5th-string
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consisted of the section containing the guitar solo being spliced onto the end of the recording, replacing a formal ending after Harrison's final vocal line, and continuing into a fadeout.
748:, released three years after the group's break-up. In 1976, following the expiration of the band's contract with EMI/Capitol, "Taxman" was included on Capitol's themed Beatles compilation
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in its active lines and glissandi (at 0:55–1:08). In the third verse McCartney doubles his own pentatonic bass line while outlining the jarring Iflat7 chord in octaves (at 1:32–1:44).
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The chords stress the flat VII scale degree (C-natural in the key of D major) and frequently involve a major/minor I chord (D/Dm) in the harmony, which consequently evokes either
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and was not fussed about who played the guitar solo. He added: "I was pleased to have him play that bit on 'Taxman'. If you notice, he did like a little Indian bit on it for me."
4239:
611:– Harrison's choppy fuzz-toned guitar chords moving against an R&B dance beat", with McCartney contributing a "screeching-raga guitar solo". The solo uses what musicologist
580:". Gould sees the band's exclamation of the word "Taxman!" before the solo as accentuating the comic comparison between the tax collector as a "civil servant superhero" and the
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274:, which saw the Beatles paying a 95% supertax. The song was selected as the album's opening track and contributed to Harrison's emergence as a songwriter beside the dominant
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reporter Aamna Mohdin describes "Taxman" as "the mother of all tax protest songs" amid a wealth of creative works that convey "the misery of taxes". A 2019 article in
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similarly writes that the Jam "hijacked" the original recording's key "eccentric force ... in Harrison's hydraulic-R&B rhythm guitar", but did so "with love".
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concerned many individuals in pop music, "even stars with social scruples, anxious not to lose out financially while they were at their peak". At this time, in "
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nightclub in New York, the five-minute track contains "fiery" improvisation, according to Ingham, who deems it a "witty, intense, unsettling" interpretation.
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The omission of "Taxman", along with any other Harrison-written track, was one of the main complaints that fans levelled against the Beatles' 1973 double LP
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The Beatles began recording "Taxman" on 20 April, but the results were left unused. Ten new takes were taped on 21 April, the four tracks being filled with
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introduced an amendment to make "Taxman" the state song of Virginia, stating that taxes were an important part of Virginia history. He gave the example of
719:"Taxman" was the Beatles' first topical song and the first political statement they had made in their music. Music historian David Simonelli, in his book
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considers it "faintly mind-boggling" that the Beatles departed from their usual approach to album tracks by issuing "Yellow Submarine" as a single from
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666:'". McCartney recalled that he approached the part wanting to add something "feedback-y and crazy" and likened its style and attitude to early-period
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describes as "fast triplets, exotic modal touches, and a melodic shape which traverses several octaves and ends with a breathtaking upward flourish".
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said that while McCartney had played lead guitar on some previous Beatles tracks, "Taxman" was when he " into his own as a guitarist". In 2001, when
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The series premiered in January 1966 in the United States but not until late May in the UK. However, the Beatles had each received copies of
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s list of "The 101 Greatest Beatles Songs", compiled in 2006 by a panel of critics and musicians. In his commentary for the magazine, singer
1086:, and including a new bridge that ended with the lines "If you wipe your feet, I'll tax the mat / If you're overweight, I'll tax your fat."
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483:" might have sounded better recorded in an American studio, but otherwise, the Beatles "found a new British sound almost by accident" on
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Harrison concluded: "I think, in the balance, I would have had more things to be niggled with him about than he would have had with me."
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states that in Harrison's off-tempo delivery and sneer, the spoken count-in on "Taxman" announced the "new studio aesthetic of
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1159:" BBC music critic Chris Jones describes it as "'Taxman' in all but name, but done so wonderfully as to negate any gripes".
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stated that the Beatles' legacy endures in the "world of tax" through the song, which had become the "karaoke favourite" of
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stated that he would be using a tape of "Taxman" in his campaign rallies. This was in response to his Democratic opponent,
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Harrison references Prime Minister Harold Wilson (pictured) and Conservative Party leader Ted Heath in the song's lyrics.
754:. Later that year, Capitol – ignoring Harrison's wishes that none of his Beatles-era songs appear – also included it on
694:, having an unprecedented three compositions on a Beatles album – "Taxman", the fully Indian-styled "Love You To", and "
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writes that despite Lennon's stated reluctance, he acknowledged Harrison's role in helping him and McCartney complete "
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706:". He views this as a contrast with the shouted "One, two, three, four!" that introduced the band's "live sound" on "
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to support the contention that "If pop music were destroyed tomorrow, we could re-create it from this album alone."
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partnership. It was the group's first topical song and the first political statement they had made in their music.
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Although some writers have said that an edit of the "Taxman" solo, slowed down and reversed, was overdubbed onto "
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as its all-time greatest rock 'n' roll album, "Taxman" was among the four tracks, along with "Eleanor Rigby", "
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views Harrison's guitar riff as similarly American R&B-derived, citing also the Stax Records band
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similarly complained that "The taxman's taken all my dough" and begged to be "saved" from Wilson's
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MacDonald writes that "Taxman" suggests the rhythmic influence of contemporaneous hit singles by
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The Beatles began recording "Taxman" in April 1966, a month after Wilson's landslide win in the
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The Complete Beatles Recording Sessions: The Official Story of the Abbey Road Years 1962–1970
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in Britain were too quick to take them for granted by 1965, an approach he sees as enabling
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song" due to the references to Wilson and Heath and its drawing musical inspiration from
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Reising, Russell (2002). "Introduction: 'Of the beginning'". In Reising, Russell (ed.).
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Harrison was also highly outspoken about taxation when the Beatles were interviewed on
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768:' or three lines of 'Eleanor Rigby', you know – I wasn't getting into any of that."
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game's popularity. Titled "Pac-Man", it was first released on the 2017 compilation
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in concert, and Harrison first played "Taxman" live on his 1991 Japanese tour with
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has often been cited as the album on which Harrison came of age as a songwriter."
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in his discussion of "Taxman", the substantial tax the Beatles paid to Britain's
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describes as " pretty close to the original arrangement", while a recording by
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Tell Me Why – The Beatles: Album by Album, Song by Song, the Sixties and After
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1365:' recording of "Batman Theme" and Harrison had the record on his home jukebox.
1337:", technological advances in the 21st century have shown this to be incorrect.
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it on the recording. Harrison said he was happy to have the song recorded for
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The song includes references to "Mr Wilson" and "Mr Heath", the latter being
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Alexander, Phil; et al. (July 2006). "The 101 Greatest Beatles Songs".
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has been recognised as having inspired new subgenres of music, anticipating
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Working Class Heroes: Rock Music and British Society in the 1960s and 1970s
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found it " bit repetitive" but "Loved the wild, strident guitar mid-way".
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in late March, shortly before the photo session that produced the banned
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ranked "Taxman" at number seven on their list of the best Beatles songs.
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facility in Detroit. McCartney later said that only "Taxman" and his own
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2477:"The Beatles Songs: 'Taxman' – The history of this classic Beatles song"
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on 5 August 1966, with "Taxman" sequenced as the opening track, before "
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That Magic Feeling: The Beatles' Recorded Legacy, Volume Two, 1966–1970
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Scapelliti, Christopher; Fanelli, Damian; Brown, Jimmy (6 July 2015).
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in his selection of "bizarre Beatles covers". Recorded in 1992 at the
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recorded a parody of "Taxman" in late 1981, during the height of the
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adapted the riff and rhythm from "Taxman" in their 1980 hit single "
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government; hence the lyric "There's one for you, nineteen for me".
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and were especially impressed with the sound on records created at
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Bull, George; Hubbard, Andrew; Shepherd, Frank (7 February 2019).
1639:"'The song George Harrison wrote that changed The Beatles forever"
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movement", in "Taxman" the chord "resolve a progression through a
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9) at 1:29 (after the solo) on "'Cause I'm the taxman, yeah – I'm
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3350:"'Weird Al' Yankovic shares his unreleased Beatles parody about
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This article is about the Beatles song. For the profession, see
1905:"You might hate taxes. But they sure do inspire some great art"
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3276:"10 Insanely Great Cheap Trick Songs Only Hardcore Fans Know"
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Revolution in the Head: The Beatles' Records and the Sixties
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Songs From The Material World: A Tribute To George Harrison
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Green, Richard; Jones, Peter (30 July 1966). "The Beatles:
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MacDonald also comments that Wilson's landslide win in the
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borrowed heavily from the song for their 1980 hit single "
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Full lyrics for the song at the Beatles' official website
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The Beatles as Musicians: Revolver Through the Anthology
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The Beatles Diary Volume 2: After the Break-Up 1970–2001
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in the United Kingdom, the Beatles were liable to a 95%
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The Beatles chose not to perform any of the songs from
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and brought to the Beatles' work over the same period.
304:"Taxman" was influential in the development of British
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Squeeze Box: The Complete Works of "Weird Al" Yankovic
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All the Songs: The Story Behind Every Beatles Release
2869:"The Fab 50: The Beatles' 50 Greatest Guitar Moments"
2838:
2817:
2815:
2732:
Uncredited writer (10 September 1966). "The Beatles:
2631:
2586:
2538:
2403:
2267:
2243:
2226:
2092:
2073:
2061:
2020:
2008:
1960:
1948:
1879:
1733:
1716:
1704:
1596:
1141:
views as "effective, if not particularly memorable".
591:
McCartney's bass line has been considered to imitate
3800:
Fab Four FAQ 2.0: The Beatles' Solo Years, 1970–1980
2658:
2439:
2291:
2214:
1855:
1828:
1804:
1584:
3592:
Can't Buy Me Love: The Beatles, Britain and America
3385:
2511:
1581:, p. 200: "Harrison's psyche-garage cruncher".
1565:, p. 172: "a contagious blast of garage rock".
1390:". Where the latter employs it as part of a "slick
1101:fully explored the song's soul traits. Writing for
3822:Revolver: How the Beatles Reimagined Rock 'n' Roll
3797:
3434:
2992:"Searching for a Song, Legislators Weigh 'Taxman'"
2812:
2308:
2306:
2167:
1187:'s 2004 track "Sandman" parodies "Taxman" and the
3610:Guesdon, Jean-Michel; Margotin, Philippe (2013).
2731:
2470:
2468:
2466:
1757:
4371:
2190:
2188:
2186:
2184:
2182:
1898:
1896:
1894:
1413:Chapman describes the song's lyrics as "full of
1346:This early version was subsequently released on
1203:According to Ian MacDonald, except where noted:
930:s Harrison commemorative book, in January 2002,
425:" of international culture. According to author
4240:1966 tour of Germany, Japan and the Philippines
3609:
3149:
2303:
2122:
2055:
1674:
607:has described the completed track as "skeleton
2463:
1119:played "Taxman" in tribute to Harrison at the
825:found it succeeded as a humorous song unlike "
710:" in 1963, at the start of their debut album,
4020:
3975:The Beatles Encyclopedia: Everything Fab Four
3020:"Why the Beatles' Legacy Lives On ... in Tax"
2607:"The Beatles: Love – PopMatters Music Review"
2179:
1891:
1133:Harrison tribute album, former Rolling Stone
327:
3045:: CS1 maint: multiple names: authors list (
2899:: CS1 maint: multiple names: authors list (
1137:contributed a version that Johnny Loftus of
939:styling that Lennon and McCartney took from
206:
50:sheet music (licensed to Sonora Musikförlag)
3928:
3614:. New York, NY: Black Dog & Leventhal.
3429:
3071:
2532:
2149:
1698:
623:that Harrison had recently adapted for his
417:, Wilson had nominated the four Beatles as
4027:
4013:
2705:
2314:"100 Greatest Beatles Songs: 55. 'Taxman'"
1054:'s "neo-liberal revolution" of the 1980s.
433:was the "price" they paid for their MBEs.
419:Members of the Order of the British Empire
262:, it protests against the higher level of
4395:Song recordings produced by George Martin
3885:
3861:
3818:
3795:
3707:
3574:. New York, NY: Oxford University Press.
2953:
2821:
2778:
2676:
2580:
2568:
2556:
2505:
2457:
2421:
2385:
2361:
2261:
2134:
2110:
2043:
1978:
1942:
1930:
1849:
1822:
1798:
1549:, p. 241: "brittle-hard soul music".
413:. In June 1965, during his first term as
254:. Written by the group's lead guitarist,
3934:The Unreleased Beatles: Music & Film
3685:
3628:
3520:
3498:
3347:
3273:
2965:
2790:
2757:
2474:
2397:
2373:
2161:
1686:
1602:
514:
3750:
3564:
3474:
3155:
2977:
2925:
2913:
2664:
2544:
2409:
2349:
2337:
2194:
2086:
2031:
1636:
1147:'s "Taxman, Mr Thief", from their 1977
731:" as examples of the Beatles' "pointed
619:considers that the solo is in the same
4372:
3969:
3906:
3839:
3733:The Songwriting Secrets of the Beatles
3729:
3715:(2nd rev. ed.). London: Pimlico.
3669:The Words and Music of George Harrison
3666:
3647:
3633:. San Francisco, CA: Chronicle Books.
3458:1965: The Year Modern Britain Was Born
3441:. San Francisco, CA: Chronicle Books.
3410:
3379:
3231:
3219:
3207:
3181:
3143:
3112:
2989:
2652:
2637:
2592:
2433:
2285:
2273:
2249:
2237:
2098:
2067:
2002:
1990:
1966:
1954:
1902:
1873:
1861:
1775:
1739:
1727:
1710:
1662:
1590:
1546:
791:line". In their joint album review in
532:describes "Taxman" as a "smart little
441:The Beatles had hoped to record their
4322:Sgt. Pepper's Lonely Hearts Club Band
4008:
3936:. San Francisco, CA: Backbeat Books.
3771:
3588:
3550:. New York, NY: Rolling Stone Press.
3301:
3083:
2881:from the original on 19 November 2019
2839:Time Out London Music (24 May 2018).
2677:Goldstein, Richard (25 August 1966).
2604:
2445:
2297:
2220:
1837:
1810:
1751:
1216: – backing vocals, rhythm guitar
1058:Other versions, tributes and parodies
987:, publicity for Republican candidate
771:
447:album in a more modern facility than
297:-influenced guitar solo performed by
266:imposed in the United Kingdom by the
244:" is a song by the English rock band
4430:Cultural depictions of Harold Wilson
3955:. New York, NY: Three Rivers Press.
3950:
3455:
3394:
3059:
2791:Petridis, Alex (26 September 2019).
2520:
2173:
2014:
1885:
1763:
1380:9 chord also appears in McCartney's
258:, with some lyrical assistance from
95:21–22 April, 16 May and 21 June 1966
4435:Cultural depictions of Edward Heath
3912:Beatles '66: The Revolutionary Year
3757:. Farnham, UK: Ashgate Publishing.
3086:"Harrison Live: Here Comes the Fun"
901:" and "Yellow Submarine", cited by
690:". According to Beatles biographer
544:", from the 1966 television series
13:
4228:Recording practices of the Beatles
3845:1966: The Year the Decade Exploded
3348:Barsanti, Sam (16 February 2017).
3243:
2758:Williams, Paul (September 1966). "
1500:The song has also been covered by
567:dominant seventh sharp ninth chord
14:
4446:
4400:Songs published by Northern Songs
3993:
3825:. Milwaukee, WI: Backbeat Books.
3804:. Milwaukee, WI: Backbeat Books.
3182:Turner, Gustavo (15 April 2010).
1637:Whatley, Jack (8 November 2021).
1027:Her Majesty's Revenue and Customs
4390:Songs written by George Harrison
3781:. Cambridge, MA: Da Capo Press.
3460:. London: Simon & Schuster.
3341:
3295:
3267:
3237:
3175:
3077:
3011:
2990:Lessig, Hugh (31 January 2006).
2983:
2860:
2832:
2793:"The Beatles' Singles – Ranked!"
2605:Lundy, Zeth (15 December 2006).
1494:
1210: – lead vocals, lead guitar
40:
3977:. Santa Barbara, CA: ABC-CLIO.
3892:. Lanham, MD: Lexington Books.
2784:
2751:
2725:
2699:
2670:
2598:
2195:Pollack, Alan W. (1 May 1994).
1903:Mohdin, Aamna (16 April 2016).
1485:
1458:
1444:
1437:Author Ian Inglis writes that "
1431:
1421:
1407:
1368:
1355:
1340:
1327:
1315:
1286:
1263:
1242:
1117:Tom Petty and the Heartbreakers
1093:in a version that music critic
3671:. Santa Barbara, CA: Praeger.
3650:The Rough Guide to the Beatles
3274:Beaujour, Tom (5 April 2016).
3084:White, Timothy (4 July 1992).
1630:
1608:
1568:
1552:
1540:
1127:in November 2002. On the 2003
510:
335:wrote "Taxman" at a time when
1:
3871:. New York, NY: McGraw-Hill.
3847:. London: Faber & Faber.
3484:. London: Faber & Faber.
3481:Psychedelia and Other Colours
1534:
1374:Pedler comments that this IV7
1130:Songs from the Material World
985:1996 US presidential election
915:Psychedelia and Other Colours
4034:
1618:. WalesOnline. 23 April 2009
1198:
850:"Taxman" was ranked 48th in
436:
293:. The recording includes an
7:
4170:Got to Get You into My Life
2841:"The 50 Best Beatles songs"
2123:Guesdon & Margotin 2013
2056:Guesdon & Margotin 2013
1675:Guesdon & Margotin 2013
1294:March 1966 general election
921:-pop mutation". Writing in
757:The Best of George Harrison
658:'s ground-breaking solo on
481:Got to Get You into My Life
394:. He likened Wilson to the
10:
4451:
4103:Here, There and Everywhere
3819:Rodriguez, Robert (2012).
3796:Rodriguez, Robert (2010).
3629:Harrison, George (2002) .
3456:Bray, Christopher (2014).
3403:
673:
652:Booker T. & the M.G.'s
328:Background and inspiration
15:
4420:British garage rock songs
4260:
4215:
4190:
4126:
4066:
4059:
4044:
3886:Simonelli, David (2013).
3736:. London: Omnibus Press.
3415:. London: Omnibus Press.
2475:Fontenot, Robert (2015).
1522:Mutual Admiration Society
1464:For the 2006 remix album
999:State Senator and future
963:in the case of "Taxman".
908:
646:, while music journalist
234:
204:
199:
195:
181:
167:
150:
134:
112:
99:
91:
76:
66:
55:
39:
34:
3730:Pedler, Dominic (2003).
3693:. London: Bounty Books.
3652:. London: Rough Guides.
3589:Gould, Jonathan (2007).
2748:(subscription required).
2722:(subscription required).
2679:"Pop Eye: On 'Revolver'"
1236:
1003:gubernatorial candidate
882:In 2015, the editors of
708:I Saw Her Standing There
27:1966 song by The Beatles
4405:Songs about occupations
4251:More popular than Jesus
4223:The Beatles discography
3521:Clayson, Alan (2003b).
644:the Spencer Davis Group
80:5 August 1966
22:Taxman (disambiguation)
4142:And Your Bird Can Sing
3951:Winn, John C. (2009).
3914:. New York, NY: Ecco.
3648:Ingham, Chris (2003).
3411:Badman, Keith (2001).
3158:"The Beatles 'Taxman'"
2376:, pp. 97–98, 115.
1082:, making reference to
971:
520:
248:from their 1966 album
214:
20:. For other uses, see
3525:. London: Sanctuary.
3506:. London: Sanctuary.
3437:The Beatles Anthology
3302:Jones, Chris (2008).
3156:Unterberger, Richie.
1402:Double Plagal wrap-up
1149:eponymous debut album
966:
941:Karlheinz Stockhausen
518:
451:'s London studios at
400:Sheriff of Nottingham
283:1966 general election
213:
4329:Magical Mystery Tour
4177:Tomorrow Never Knows
3667:Inglis, Ian (2010).
3210:, pp. 378, 380.
3115:, pp. 471, 473.
3062:, pp. xvii–xix.
2340:, pp. 263, 277.
2264:, pp. 127, 240.
1643:faroutmagazine.co.uk
1335:Tomorrow Never Knows
899:Tomorrow Never Knows
721:Working Class Heroes
409:, the leader of the
289:, the leader of the
4234:Yesterday and Today
3930:Unterberger, Richie
3868:The Beatles Forever
3863:Schaffner, Nicholas
3595:. London: Piatkus.
2487:on 6 September 2015
2197:"Notes on 'Taxman'"
1276:Yesterday and Today
1171:"Weird Al" Yankovic
1123:, held at London's
1048:Keynesian economics
864:parts and harmonies
751:Rock 'n' Roll Music
4425:British soul songs
4287:A Hard Day's Night
4266:The Beatles albums
4163:I Want to Tell You
3234:, pp. 124–25.
2968:, pp. 430–31.
2928:, pp. 262–63.
2781:, pp. 200–01.
2655:, pp. 397–98.
2619:on 31 January 2007
2571:, pp. 124–25.
2436:, pp. 7, 160.
2288:, pp. 440–41.
2152:, pp. 142–43.
2058:, pp. 324–25.
2046:, pp. 128–29.
2005:, pp. 128–29.
1993:, pp. 127–28.
1981:, pp. 103–04.
1876:, pp. 152–53.
1852:, pp. xiv–xv.
1778:, pp. 161–62.
1754:, pp. 310–11.
1689:, pp. 201–02.
1665:, pp. 888–89.
1506:Stevie Ray Vaughan
1502:Black Oak Arkansas
1450:Commenting on the
1121:Concert for George
1095:Richie Unterberger
772:Critical reception
737:the Rolling Stones
696:I Want to Tell You
692:Nicholas Schaffner
521:
411:Conservative Party
291:Conservative Party
215:
128:garage psychedelia
4385:The Beatles songs
4367:
4366:
4186:
4185:
4135:Good Day Sunshine
4117:She Said She Said
4089:I'm Only Sleeping
3984:978-0-313-39171-2
3962:978-0-307-45239-9
3943:978-0-87930-892-6
3921:978-0-06-247558-9
3899:978-0-7391-7051-9
3854:978-0-571-27763-6
3832:978-1-61713-009-0
3811:978-1-4165-9093-4
3788:978-0-306-81120-3
3764:978-0-7546-0557-7
3743:978-0-7119-8167-6
3700:978-0-7537-2545-0
3678:978-0-313-37532-3
3640:978-0-8118-5900-4
3621:978-1-57912-952-1
3602:978-0-7499-2988-6
3581:978-0-19-512941-0
3557:978-0-7432-3581-5
3491:978-0-571-28200-5
3467:978-1-84983-387-5
3422:978-0-7119-8307-6
3246:"Various Artists
2684:The Village Voice
2017:, pp. 12–13.
1480:What You're Doing
1258:She Said She Said
1125:Royal Albert Hall
1107:Fred Lonberg-Holm
1091:the Music Machine
1052:Margaret Thatcher
784:Richard Goldstein
779:The Village Voice
733:social commentary
346:, Harrison says:
238:
237:
211:
4442:
4343:Yellow Submarine
4294:Beatles for Sale
4280:With the Beatles
4273:Please Please Me
4216:Related articles
4199:Paperback Writer
4191:Non-album single
4110:Yellow Submarine
4064:
4063:
4029:
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4015:
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3271:
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3244:Loftus, Johnny.
3241:
3235:
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3081:
3075:
3072:Unterberger 2006
3069:
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2788:
2782:
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2770:
2769:
2762:, The Beatles".
2755:
2749:
2746:Rock's Backpages
2743:
2729:
2723:
2720:Rock's Backpages
2717:
2703:
2697:
2696:
2694:
2692:
2687:. pp. 25–26
2674:
2668:
2662:
2656:
2650:
2641:
2635:
2629:
2628:
2626:
2624:
2615:. Archived from
2602:
2596:
2590:
2584:
2578:
2572:
2566:
2560:
2554:
2548:
2542:
2536:
2533:The Beatles 2000
2530:
2524:
2518:
2509:
2503:
2497:
2496:
2494:
2492:
2483:. Archived from
2481:oldies.about.com
2472:
2461:
2455:
2449:
2443:
2437:
2431:
2425:
2419:
2413:
2407:
2401:
2395:
2389:
2383:
2377:
2371:
2365:
2364:, p. 201fn.
2359:
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2218:
2212:
2211:
2209:
2207:
2192:
2177:
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2165:
2159:
2153:
2150:Unterberger 2006
2147:
2138:
2132:
2126:
2120:
2114:
2108:
2102:
2096:
2090:
2084:
2071:
2065:
2059:
2053:
2047:
2041:
2035:
2029:
2018:
2012:
2006:
2000:
1994:
1988:
1982:
1976:
1970:
1964:
1958:
1952:
1946:
1940:
1934:
1933:, p. 200fn.
1928:
1922:
1921:
1919:
1917:
1900:
1889:
1888:, p. xviii.
1883:
1877:
1871:
1865:
1859:
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1841:
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1826:
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1773:
1767:
1761:
1755:
1749:
1743:
1737:
1731:
1725:
1714:
1708:
1702:
1699:The Beatles 2000
1696:
1690:
1684:
1678:
1672:
1666:
1660:
1654:
1653:
1651:
1649:
1634:
1628:
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1313:
1290:
1284:
1267:
1261:
1246:
1111:Knitting Factory
1044:welfare policies
979:
929:
867:
858:
827:Yellow Submarine
815:for some time."
809:
725:Paperback Writer
713:Please Please Me
664:Shapes of Things
575:
574:
465:Atlantic Studios
387:Evening Standard
349:
276:Lennon–McCartney
212:
186:
172:
146:
145:
141:
130:
87:
85:
44:
32:
31:
4450:
4449:
4445:
4444:
4443:
4441:
4440:
4439:
4410:Political songs
4370:
4369:
4368:
4363:
4362:
4256:
4211:
4182:
4122:
4055:
4050:Special Edition
4040:
4033:
3996:
3991:
3985:
3971:Womack, Kenneth
3963:
3944:
3922:
3900:
3879:
3855:
3833:
3812:
3789:
3765:
3744:
3723:
3701:
3679:
3660:
3641:
3622:
3603:
3582:
3566:Everett, Walter
3558:
3540:The Editors of
3533:
3514:
3504:George Harrison
3492:
3468:
3449:
3423:
3406:
3401:
3393:
3386:
3378:
3374:
3364:
3362:
3346:
3342:
3332:The Editors of
3330:
3326:
3316:
3314:
3300:
3296:
3286:
3284:
3272:
3268:
3258:
3256:
3242:
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3206:
3202:
3192:
3190:
3180:
3176:
3166:
3164:
3154:
3150:
3142:
3138:
3128:The Editors of
3126:
3119:
3111:
3107:
3097:
3095:
3082:
3078:
3070:
3066:
3058:
3054:
3038:
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3016:
3012:
3002:
3000:
2988:
2984:
2976:
2972:
2964:
2960:
2956:, p. xiii.
2952:
2948:
2938:The Editors of
2936:
2932:
2924:
2920:
2916:, pp. 3–4.
2912:
2908:
2892:
2891:
2884:
2882:
2865:
2861:
2851:
2849:
2846:Time Out London
2837:
2833:
2820:
2813:
2803:
2801:
2789:
2785:
2777:
2773:
2768:. pp. 3–4.
2756:
2752:
2742:. pp. 2–3.
2730:
2726:
2710:(Parlophone)".
2704:
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2141:
2133:
2129:
2121:
2117:
2109:
2105:
2097:
2093:
2085:
2074:
2066:
2062:
2054:
2050:
2042:
2038:
2030:
2021:
2013:
2009:
2001:
1997:
1989:
1985:
1977:
1973:
1965:
1961:
1953:
1949:
1941:
1937:
1929:
1925:
1915:
1913:
1901:
1892:
1884:
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1575:The Editors of
1573:
1569:
1559:The Editors of
1557:
1553:
1545:
1541:
1537:
1532:
1528:, among others.
1499:
1495:
1490:
1486:
1463:
1459:
1449:
1445:
1436:
1432:
1426:
1422:
1412:
1408:
1396:
1395:
1392:Cycle of Fifths
1376:
1375:
1373:
1369:
1360:
1356:
1345:
1341:
1332:
1328:
1320:
1316:
1298:Sunny Afternoon
1291:
1287:
1268:
1264:
1247:
1243:
1239:
1228: – drums,
1208:George Harrison
1201:
1060:
1040:Sunny Afternoon
981:
974:– Musicologist
973:
953:Igor Stravinsky
927:
911:
876:Time Out London
865:
856:
807:
774:
682:label released
676:
572:
571:
513:
467:in New York or
439:
347:
340:autobiography,
333:George Harrison
330:
264:progressive tax
256:George Harrison
230:
216:
207:
182:
176:George Harrison
168:
143:
139:
138:
126:
83:
81:
67:from the album
51:
28:
25:
12:
11:
5:
4448:
4438:
4437:
4432:
4427:
4422:
4417:
4412:
4407:
4402:
4397:
4392:
4387:
4382:
4365:
4364:
4361:
4360:
4353:
4346:
4339:
4332:
4325:
4318:
4311:
4304:
4297:
4290:
4283:
4276:
4269:
4262:
4261:
4258:
4257:
4255:
4254:
4247:
4242:
4237:
4230:
4225:
4219:
4217:
4213:
4212:
4210:
4209:
4202:
4194:
4192:
4188:
4187:
4184:
4183:
4181:
4180:
4173:
4166:
4159:
4152:
4145:
4138:
4130:
4128:
4124:
4123:
4121:
4120:
4113:
4106:
4099:
4092:
4085:
4078:
4070:
4068:
4061:
4057:
4056:
4054:
4053:
4045:
4042:
4041:
4032:
4031:
4024:
4017:
4009:
4003:
4002:
3995:
3994:External links
3992:
3990:
3989:
3983:
3967:
3961:
3948:
3942:
3926:
3920:
3904:
3898:
3883:
3877:
3859:
3853:
3837:
3831:
3816:
3810:
3793:
3787:
3769:
3763:
3748:
3742:
3727:
3721:
3709:MacDonald, Ian
3705:
3699:
3687:Lewisohn, Mark
3683:
3677:
3664:
3658:
3645:
3639:
3626:
3620:
3607:
3601:
3586:
3580:
3562:
3556:
3537:
3531:
3523:Paul McCartney
3518:
3512:
3496:
3490:
3472:
3466:
3453:
3447:
3427:
3421:
3407:
3405:
3402:
3400:
3399:
3384:
3382:, p. 890.
3372:
3340:
3338:, p. 200.
3324:
3294:
3266:
3236:
3224:
3222:, p. 380.
3212:
3200:
3174:
3148:
3146:, p. 108.
3136:
3134:, p. 174.
3117:
3105:
3076:
3074:, p. 152.
3064:
3052:
3010:
2982:
2970:
2958:
2954:Rodriguez 2012
2946:
2930:
2918:
2906:
2859:
2831:
2811:
2783:
2779:MacDonald 2005
2771:
2750:
2724:
2698:
2669:
2657:
2642:
2640:, p. 158.
2630:
2597:
2595:, p. 191.
2585:
2583:, p. 188.
2581:Schaffner 1978
2573:
2569:Rodriguez 2010
2561:
2559:, p. 121.
2557:Rodriguez 2010
2549:
2537:
2535:, p. 207.
2525:
2523:, p. 234.
2510:
2506:Simonelli 2013
2498:
2462:
2458:Rodriguez 2012
2450:
2448:, p. 182.
2438:
2426:
2422:Schaffner 1978
2414:
2402:
2390:
2388:, p. 128.
2386:Rodriguez 2012
2378:
2366:
2362:MacDonald 2005
2354:
2352:, p. 285.
2342:
2330:
2302:
2300:, p. 350.
2290:
2278:
2276:, p. 440.
2266:
2262:Rodriguez 2012
2254:
2252:, p. 223.
2242:
2240:, p. 162.
2225:
2223:, p. 349.
2213:
2178:
2166:
2154:
2139:
2137:, p. 126.
2135:Rodriguez 2012
2127:
2125:, p. 325.
2115:
2113:, p. 110.
2111:Rodriguez 2012
2103:
2101:, p. 889.
2091:
2072:
2070:, p. 241.
2060:
2048:
2044:Rodriguez 2012
2036:
2019:
2007:
1995:
1983:
1979:Rodriguez 2012
1971:
1969:, p. 253.
1959:
1957:, p. 127.
1947:
1945:, p. 103.
1943:Rodriguez 2012
1935:
1931:MacDonald 2005
1923:
1890:
1878:
1866:
1854:
1850:Simonelli 2013
1842:
1840:, p. 273.
1827:
1825:, p. 208.
1823:Simonelli 2013
1815:
1813:, p. 183.
1803:
1801:, p. 200.
1799:MacDonald 2005
1780:
1768:
1756:
1744:
1742:, p. 126.
1732:
1730:, p. 161.
1715:
1713:, p. 131.
1703:
1691:
1679:
1677:, p. 324.
1667:
1655:
1629:
1607:
1595:
1593:, p. 160.
1583:
1567:
1551:
1538:
1536:
1533:
1531:
1530:
1514:Garrison Starr
1493:
1484:
1457:
1443:
1430:
1420:
1406:
1367:
1354:
1339:
1326:
1314:
1310:credit squeeze
1285:
1271:Radio Caroline
1262:
1240:
1238:
1235:
1234:
1233:
1223:
1220:Paul McCartney
1217:
1211:
1200:
1197:
1059:
1056:
1005:Ken Cuccinelli
965:
910:
907:
773:
770:
675:
672:
617:Walter Everett
597:James Jamerson
526:counting house
512:
509:
438:
435:
415:prime minister
398:character the
382:Maureen Cleave
358:introduced by
329:
326:
299:Paul McCartney
270:government of
236:
235:
232:
231:
229:
228:
223:
217:
205:
202:
201:
197:
196:
193:
192:
187:
179:
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165:
164:
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136:
132:
131:
116:
110:
109:
103:
97:
96:
93:
89:
88:
78:
74:
73:
64:
63:
53:
52:
48:Northern Songs
45:
37:
36:
26:
9:
6:
4:
3:
2:
4447:
4436:
4433:
4431:
4428:
4426:
4423:
4421:
4418:
4416:
4415:Protest songs
4413:
4411:
4408:
4406:
4403:
4401:
4398:
4396:
4393:
4391:
4388:
4386:
4383:
4381:
4378:
4377:
4375:
4359:
4358:
4354:
4352:
4351:
4347:
4345:
4344:
4340:
4338:
4337:
4333:
4331:
4330:
4326:
4324:
4323:
4319:
4317:
4316:
4312:
4310:
4309:
4305:
4303:
4302:
4298:
4296:
4295:
4291:
4289:
4288:
4284:
4282:
4281:
4277:
4275:
4274:
4270:
4267:
4264:
4263:
4259:
4252:
4248:
4246:
4243:
4241:
4238:
4236:
4235:
4231:
4229:
4226:
4224:
4221:
4220:
4218:
4214:
4207:
4203:
4200:
4196:
4195:
4193:
4189:
4178:
4174:
4171:
4167:
4164:
4160:
4157:
4156:Doctor Robert
4153:
4150:
4146:
4143:
4139:
4136:
4132:
4131:
4129:
4125:
4118:
4114:
4111:
4107:
4104:
4100:
4097:
4093:
4090:
4086:
4083:
4082:Eleanor Rigby
4079:
4076:
4072:
4071:
4069:
4065:
4062:
4058:
4052:
4051:
4047:
4046:
4043:
4039:
4038:
4030:
4025:
4023:
4018:
4016:
4011:
4010:
4007:
4001:
3998:
3997:
3986:
3980:
3976:
3972:
3968:
3964:
3958:
3954:
3949:
3945:
3939:
3935:
3931:
3927:
3923:
3917:
3913:
3909:
3908:Turner, Steve
3905:
3901:
3895:
3891:
3890:
3884:
3880:
3878:0-07-055087-5
3874:
3870:
3869:
3864:
3860:
3856:
3850:
3846:
3842:
3838:
3834:
3828:
3824:
3823:
3817:
3813:
3807:
3802:
3801:
3794:
3790:
3784:
3780:
3779:
3774:
3770:
3766:
3760:
3756:
3755:
3749:
3745:
3739:
3735:
3734:
3728:
3724:
3722:1-84413-828-3
3718:
3714:
3710:
3706:
3702:
3696:
3692:
3688:
3684:
3680:
3674:
3670:
3665:
3661:
3659:1-84353-140-2
3655:
3651:
3646:
3642:
3636:
3632:
3627:
3623:
3617:
3613:
3608:
3604:
3598:
3594:
3593:
3587:
3583:
3577:
3573:
3572:
3567:
3563:
3559:
3553:
3549:
3548:
3543:
3542:Rolling Stone
3538:
3534:
3532:1-86074-482-6
3528:
3524:
3519:
3515:
3513:1-86074-489-3
3509:
3505:
3501:
3500:Clayson, Alan
3497:
3493:
3487:
3483:
3482:
3477:
3473:
3469:
3463:
3459:
3454:
3450:
3448:0-8118-2684-8
3444:
3439:
3438:
3432:
3428:
3424:
3418:
3414:
3409:
3408:
3397:, p. 13.
3396:
3391:
3389:
3381:
3376:
3361:
3360:
3359:The A.V. Club
3355:
3353:
3344:
3337:
3335:
3334:Rolling Stone
3328:
3313:
3309:
3307:
3306:Sound Affects
3298:
3283:
3282:
3281:Rolling Stone
3277:
3270:
3255:
3251:
3249:
3240:
3233:
3228:
3221:
3216:
3209:
3204:
3189:
3185:
3178:
3163:
3159:
3152:
3145:
3140:
3133:
3131:
3130:Rolling Stone
3124:
3122:
3114:
3109:
3093:
3092:
3087:
3080:
3073:
3068:
3061:
3056:
3048:
3042:
3041:cite magazine
3027:
3026:
3021:
3014:
2999:
2998:
2993:
2986:
2980:, p. 14.
2979:
2974:
2967:
2966:Clayson 2003a
2962:
2955:
2950:
2944:, p. 37.
2943:
2941:
2940:Rolling Stone
2934:
2927:
2922:
2915:
2910:
2902:
2896:
2895:cite magazine
2880:
2876:
2875:
2870:
2863:
2848:
2847:
2842:
2835:
2828:. p. 80.
2827:
2826:
2818:
2816:
2800:
2799:
2794:
2787:
2780:
2775:
2767:
2766:
2761:
2754:
2747:
2744:Available at
2741:
2740:
2735:
2728:
2721:
2718:Available at
2715:
2714:
2713:Record Mirror
2709:
2702:
2686:
2685:
2680:
2673:
2666:
2661:
2654:
2649:
2647:
2639:
2634:
2618:
2614:
2613:
2608:
2601:
2594:
2589:
2582:
2577:
2570:
2565:
2558:
2553:
2547:, p. 53.
2546:
2541:
2534:
2529:
2522:
2517:
2515:
2508:, p. 53.
2507:
2502:
2486:
2482:
2478:
2471:
2469:
2467:
2460:, p. 17.
2459:
2454:
2447:
2442:
2435:
2430:
2424:, p. 63.
2423:
2418:
2412:, p. 67.
2411:
2406:
2400:, p. 84.
2399:
2398:Lewisohn 2005
2394:
2387:
2382:
2375:
2374:Clayson 2003b
2370:
2363:
2358:
2351:
2346:
2339:
2334:
2319:
2318:Rolling Stone
2315:
2309:
2307:
2299:
2294:
2287:
2282:
2275:
2270:
2263:
2258:
2251:
2246:
2239:
2234:
2232:
2230:
2222:
2217:
2202:
2198:
2191:
2189:
2187:
2185:
2183:
2176:, p. 14.
2175:
2170:
2164:, p. 78.
2163:
2162:Lewisohn 2005
2158:
2151:
2146:
2144:
2136:
2131:
2124:
2119:
2112:
2107:
2100:
2095:
2089:, p. 49.
2088:
2083:
2081:
2079:
2077:
2069:
2064:
2057:
2052:
2045:
2040:
2034:, p. 48.
2033:
2028:
2026:
2024:
2016:
2011:
2004:
1999:
1992:
1987:
1980:
1975:
1968:
1963:
1956:
1951:
1944:
1939:
1932:
1927:
1912:
1911:
1906:
1899:
1897:
1895:
1887:
1882:
1875:
1870:
1864:, p. 73.
1863:
1858:
1851:
1846:
1839:
1834:
1832:
1824:
1819:
1812:
1807:
1800:
1795:
1793:
1791:
1789:
1787:
1785:
1777:
1772:
1765:
1760:
1753:
1748:
1741:
1736:
1729:
1724:
1722:
1720:
1712:
1707:
1701:, p. 97.
1700:
1695:
1688:
1687:Clayson 2003a
1683:
1676:
1671:
1664:
1659:
1644:
1640:
1633:
1617:
1611:
1605:, p. 94.
1604:
1603:Harrison 2002
1599:
1592:
1587:
1580:
1578:
1577:Rolling Stone
1571:
1564:
1562:
1561:Rolling Stone
1555:
1548:
1543:
1539:
1527:
1526:Power Station
1523:
1519:
1515:
1511:
1507:
1503:
1497:
1488:
1481:
1477:
1473:
1469:
1468:
1461:
1453:
1447:
1440:
1434:
1424:
1416:
1415:nouveau riche
1410:
1403:
1393:
1389:
1385:
1384:
1371:
1364:
1358:
1351:
1350:
1343:
1336:
1330:
1323:
1322:Steve Cropper
1318:
1311:
1307:
1303:
1299:
1295:
1289:
1282:
1278:
1277:
1272:
1266:
1259:
1255:
1254:Eleanor Rigby
1251:
1245:
1241:
1231:
1227:
1224:
1221:
1218:
1215:
1212:
1209:
1206:
1205:
1204:
1196:
1194:
1193:Enter Sandman
1190:
1186:
1182:
1181:
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1172:
1168:
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1165:Rolling Stone
1162:
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1126:
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1108:
1104:
1100:
1099:Junior Parker
1096:
1092:
1087:
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1081:
1080:Boris Yeltsin
1077:
1073:
1069:
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1055:
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1037:
1032:
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1023:
1018:
1017:
1012:
1010:
1009:Patrick Henry
1006:
1002:
998:
994:
990:
986:
980:
977:
970:
964:
962:
958:
954:
950:
946:
945:Luciano Berio
942:
938:
933:
932:Mikal Gilmore
926:
925:
924:Rolling Stone
920:
916:
906:
904:
903:Bill Flanagan
900:
896:
892:
887:
886:
880:
878:
877:
871:
870:Rolling Stone
862:
855:
854:
848:
846:
842:
841:
836:
835:Alex Petridis
830:
828:
824:
823:
818:
817:Paul Williams
814:
806:
805:
800:
796:
795:
794:Record Mirror
789:
785:
781:
780:
769:
767:
766:Come Together
761:
759:
758:
753:
752:
747:
746:
740:
738:
734:
730:
726:
722:
717:
715:
714:
709:
705:
701:
697:
693:
689:
688:Eleanor Rigby
685:
681:
671:
669:
665:
661:
660:the Yardbirds
657:
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2206:15 September
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1472:Drive My Car
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1250:Alan Clayson
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530:Steve Turner
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287:Edward Heath
280:
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241:
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200:Audio sample
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4336:The Beatles
4308:Rubber Soul
4096:Love You To
3841:Savage, Jon
3631:I, Me, Mine
3431:The Beatles
3380:Womack 2014
3232:Inglis 2010
3220:Ingham 2003
3208:Ingham 2003
3144:Inglis 2010
3113:Badman 2001
3094:. p. 3
3025:Tax Journal
2997:Daily Press
2852:11 December
2653:Badman 2001
2638:Ingham 2003
2623:12 December
2593:Badman 2001
2434:Inglis 2010
2323:16 December
2286:Pedler 2003
2274:Pedler 2003
2250:Savage 2015
2238:Turner 2016
2201:Soundscapes
2099:Womack 2014
2068:Ingham 2003
2003:Turner 2016
1991:Turner 2016
1967:Savage 2015
1955:Turner 2016
1874:Turner 2016
1862:Savage 2015
1776:Turner 2016
1740:Savage 2015
1728:Turner 2016
1711:Turner 2016
1663:Womack 2014
1591:Turner 2016
1547:Ingham 2003
1383:Rubber Soul
1349:Anthology 2
1226:Ringo Starr
1214:John Lennon
1145:Cheap Trick
1076:George Bush
1031:progressive
1022:Tax Journal
983:During the
937:avant-garde
799:Peter Jones
776:Writing in
648:Rob Chapman
636:James Brown
629:Love You To
621:Dorian mode
511:Composition
492:Ringo Starr
479:-inspired "
457:Stax Studio
392:Vietnam War
370:John Lennon
352:tax bracket
343:I, Me, Mine
337:the Beatles
306:psychedelia
260:John Lennon
246:the Beatles
184:Producer(s)
123:garage rock
61:the Beatles
4380:1966 songs
4374:Categories
4350:Abbey Road
4149:For No One
3773:Riley, Tim
2765:Crawdaddy!
2612:PopMatters
2446:Riley 2002
2298:Gould 2007
2221:Gould 2007
1838:Gould 2007
1811:Riley 2002
1752:Gould 2007
1648:21 January
1535:References
1400:VII–IV–I,
1302:Ray Davies
1185:Beatallica
1135:Bill Wyman
1072:John Major
1001:Republican
822:Crawdaddy!
786:described
680:Parlophone
640:Lee Dorsey
584:character
578:the taxman
555:Mixolydian
538:Neil Hefti
528:". Author
453:Abbey Road
396:Robin Hood
157:Parlophone
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4357:Let It Be
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3502:(2003a).
3395:Winn 2009
3365:16 August
3317:16 August
3312:BBC Music
3304:"The Jam
3287:16 August
3259:17 August
3193:21 August
3167:17 August
3091:Billboard
3060:Bray 2014
3031:18 August
3003:16 August
2885:16 August
2804:18 August
2739:KRLA Beat
2691:22 August
2521:Winn 2009
2491:17 August
2174:Winn 2009
2015:Winn 2009
1916:18 August
1886:Bray 2014
1764:Winn 2009
1306:the Kinks
1199:Personnel
1189:Metallica
1036:the Kinks
961:punk rock
861:Joe Brown
804:KRLA Beat
745:1962–1966
700:Tim Riley
656:Jeff Beck
627:part in "
582:DC Comics
437:Recording
407:Ted Heath
314:punk rock
4315:Revolver
4127:Side two
4067:Side one
4037:Revolver
3973:(2014).
3932:(2006).
3910:(2016).
3865:(1978).
3843:(2015).
3711:(2005).
3568:(1999).
3547:Harrison
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3478:(2015).
3433:(2000).
3254:AllMusic
3162:AllMusic
2879:Archived
2760:Revolver
2734:Revolver
2708:Revolver
1518:Rockwell
1476:The Word
1452:Revolver
1439:Revolver
1397:♭
1388:Michelle
1377:♯
1352:in 1996.
1139:AllMusic
1064:Revolver
997:Virginia
989:Bob Dole
957:Revolver
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845:Revolver
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704:Revolver
684:Revolver
595:bassist
573:♯
501:Revolver
485:Revolver
444:Revolver
431:Treasury
356:supertax
251:Revolver
108:, London
92:Recorded
77:Released
70:Revolver
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3404:Sources
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3308:Review"
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1386:track "
1248:Author
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