Written by: Harrison
Recorded: 25, 31 May; 2 June 1967
Producer: George Martin
Engineer: Dave Siddle
Released: 17 January 1969 (UK), 13 January 1969 (US)
George Harrison: vocals, Hammond organ
John Lennon: harmony vocals, lead guitar
Paul McCartney: harmony vocals, bass
Ringo Starr: drums, tambourine
David Mason and three others: trumpets
Paul Harvey: bass clarinet
Available on:
Yellow Submarine
Yellow Submarine Songtrack
Written while under the influence of LSD, It's All Too Much was the second song by George Harrison to feature on the Yellow Submarine soundtrack.
It's All Too Much was written in a childlike manner from realizations that appeared during and after some LSD experiences and which were later confirmed in meditation.
Based on a droning G chord, the song transposed the continuing influence of Indian music onto a psychedelic setting. The lyrics combined the cosmic philosophy favoured by Harrison with some nursery rhyme-style whimsy.
It's all too much for me to take
The love that's shining all around here
All the world's a birthday cake,
So take a piece but not too muchSail me on a silver sun, for I know that I'm free
Show me that I'm everywhere, and get me home for tea
It's All Too Much contained a couplet from The Merseys' 1966 hit single Sorrow: "With your long blonde hair and your eyes of blue". The trumpeters, meanwhile, performed a motif from Jeremiah Clarke's Prince of Denmark's March, also known as Trumpet Voluntary.
I just wanted to write a rock 'n' roll song about the whole psychedelic thing of the time. Because you'd trip out, you see, on all this stuff, and then whoops! you'd just be back having your evening cup of tea! 'Your long blond hair and your eyes of blue' – that was all just this big ending we had, going out. And as it was in those days, we had the horn players just play a bit of trumpet voluntarily, and so that's how that Prince of Denmark bit was played. And Paul and John just came up with and sang that lyric of 'your eyes of blue'.
The version used on the film soundtrack was 6'28" long. An eight-minute mix, meanwhile, has appeared on Beatles bootlegs, and contains a verse which also featured in the Yellow Submarine film.
Nice to have the time
To take this opportunity
Time for me to look at you
And you to look at me.
In the studio
Recording began with the working title Too Much, at De Lane Lea Studios in London. On 25 May 1967 The Beatles recorded a number of rehearsal run-throughs before taping four takes of the rhythm track – Hammond organ, lead guitar, bass and drums.
On 31 May they returned to De Lane Lea, adding percussion, lead and backing vocals, and handclaps.
John and Paul's backing, meanwhile, started to waver a little, the chanted 'too much' eventually becoming 'tuba' and then 'Cuba'. It was that sort of a song.
It's All Too Much was completed on 2 June, with the addition of four trumpets and a bass clarinet. The session took place between 8.30pm and 2am. One of the trumpet players was David Mason, who also performed on Penny Lane, A Day In The Life, Magical Mystery Tour and All You Need Is Love.
Given that all the guitar-playing Beatles were wonderful in their own ways, if you consider their styles, it becomes obvious that Paul plays the lead guitar on It’s All Too Much. In the 60s, Paul tended to solo in confidently improvisatory bursts and favored a wiry, stinging treble tone. Compare the tone and style here with his bits on Taxman, Sgt Pepper’s LHCB (the song), Good Morning Good Morning and The End. He’s pretty consistent. If you consider John’s style, he tends to play aggressive but fairly static chordal solos, as in You Can’t Do That, Yer Blues or The End – or else fairly simple licks as on Get Back or The Ballad of John and Yoko. John certainly never recorded anything in the 60s or 70s that sounds like the soloing on It’s All Too Much, even if he used feedback on I Feel Fine. George also frequently favored a trebly sound but his solos tended to be more organized and thought-out, with almost a loping gait or a swing to them, as on their rockabilly covers or, say, Fixing a Hole. George also never took a solo like this in any of his other recordings.
They were all great musicians and fully capable soloists, but It’s All Too Much is Paul all the way.
(Odd that the lead line drops out after a few minutes, don’t you think?)
@Ethan, your insightful explanation is the best I’ve seen regarding the lead guitar mystery of this song. This is the most compelling mystery of instrumentation to me due to the expressive character of the lead guitar throughout the recording. I agree with all of what you suggest above, especially when comparing with Paul’s relative guitar work during this recording period (spring 1967). In addtion, the events before and after May 25, 1967 are very interesting: all four members went to see Procul Harum perform the night before recording the basic tracks. Then, the night after this first recording session there was a party which Paul only did not attend, where John was still buzzing on Procul Harum. And finally after all sessions complete on this song, there was another concert attendance, only this time it was Paul and George to see Hendrix. All this considered, I’m leaning toward Paul laying down this expressive, exploratory lead guitar – feedback to lead fills (all one guitar) – and John on the rudimentary, droning bassline. Still surprising there is so little said about this extraordinary guitar recording!
As much as I love the guitar on this song, can I bring up the drums? For some reason, Ringo’s drumming during the Revolver/Sgt. Pepper’s era is absolutely astounding as we see here. It’s whirling and innovative, but it goes unnoticed by many it seems. Unfortunately, the original mix of this song featured on the Yellow Submarine is incredibly subpar and undermines the instrumental majesty on this song. Give me the Yellow Submarine Songtrack remix any day. It has so much more depth and really lets the guitar and drums shine.
Clearly it’s Lennon’s voice shouting “TO YOUR MOTHE” instruments kick in. That is definitely not George’s style and Lennon’s voice is easily recognizable.
He is saying “to Jorma!” As in Jorma Kaukonen the former Jefferson Airplane lead guitarist and early experimentor in feedback….
Your right it is not George on lead but rather John…See my comment on John’s guitar influence and experimentation with feedback on this tune. Too bad George Martin didn’t encourage more free flowing instrumentals. He was absent for this session and the band came together as they used to play live with intensity and vigor! Going to see Paul in Milwaukee at Summerfest on Friday!
Any vocals for this song would have been overdubs. Whoever is shouting at the beginning doesn’t really impact who is playing lead guitar on this song. This part is rather precise and complex and if this was John I’d think he would have mentioned this song at some point. I think McCartney is the most likely choice here.. it shares a lot in common with his guitar work in 1966-67 not to mention his guitar on McCartney and Ram(Maybe I’m Amazed, Too Many People) and the soloing on Wild Life . Let’s not forget Harrison on Hey Bulldog and Revolution and Everybody’s Got Something… so I’m open to it possibly being Harrison or McCartney and Harrison in combination.
I’m surprised that no Beatle has spent much time talking about this song. Either it is not much liked by Harrison a la Don’t Bother Me or McCartney’s guitar participation here was more of a sore point as the organ and guitar work generally fade to the background against George Martin’s horn arrangement and the overdubbed percussion. I’m thinking that the recording of this song and it’s eventual release 18 months later possibly points to some conflict and hard feelings over it’s recordings. Might have been something they didn’t want to revisit and it would be two years until the disdain for Harrison as a Beatle songwriter began to lift.
One more possibility is that a third party is involved. The guitar work does sound like the Beatles and it does have that Taxman, Good Morning, Hey Bulldog quality to it but maybe someone else help out using one of the guitars on hand. Also.. whoever did the Songtrack remix might have some insights.
Actually, this is the one song that was not remixed for the soundtrack album (though the short version was for the movie itself). It’s still the same crappy mix – who would do it that way twice?
Since they’re chanting ‘too much, too much, too much’ at the end of the song, it’s likely John blurting out ‘Tooo-oo Much’ at the start while adding vocal overdubs.
Sounds like George for sure !!
It sounds so much like Paul, especially considering George actually says it in an interview, in answer to a question about that song I think, that Paul played the feedback. He had Paul play it because he himself was playing the organ. The feedback seems to lead into the actual guitar playing thus if Paul is playing the feedback, Paul is playing the guitar part. In an interview in Rolling Stone in June 1999 I think. Why would George credit Paul with anything unless Paul actually did it? If he could have thought of any reason to “think” John played it, he’d have credited John before Paul.
Plus it seems like people are going by their stereotypes again and forgetting just how into Jimi Hendrix Paul was during this period and he was playing a lot of guitar too. Paul definitely would have been into this sort of thing AND it was George’s idea to play the feedback anyway, it just happened to be Paul playing the guitar to do it. So it was George’s idea, he wanted it that way.
That’s Paul playing on It’s All Too Much, if I had something worthwhile to bet, I’d bet on it. LOL
In any case there is more evidence Paul played it than John played it and it sounds far more like his style(plus if I remember correctly John was at this period kind of sometimes not really wanting to work much on George’s songs, for whatever reason(I could have the time period wrong but I swear it was this Sgt Pepper/Magical Mystery Tour period where John seemed to become reluctant to put much work onto George’s songs). So I don’t know why John is listed so definitively as the lead guitarist. The bass part isn’t all that complicated, it’s the sort of thing John could play.
That’s why in a way it’s funny that George was so outright resentful of Paul, Paul would at least put time and effort into his songs – even if only after making them do 250 takes of his songs whereas John half the time couldn’t be bothered. I really put most of it down to Paul and George being friendly before they were in a group together and being close in age(they were only 9 months apart) and George never quite losing that adolescent hero worship of John. Not saying Paul didn’t earn his enmity but I think George gave John passes for things he’d never give Paul passes for.
Re the chants of “tooooo much!” You can hear one singer go one chorus beyond what he should have, and then speak “too much!”, in acknowledgement of his own mistake.
Funny, I never noticed. But when you listen for it, it’s quite obvious. Sussing out who the culprit is, is easy enough: it very much sounds like Paul.
The backing vocals are quite chaotic but listening close to them brings out some lovely moments. I like McCartney harmonizing this Indian type vocal melody just before the TOO MUCH stuff begins with Harrison.. then McCartney and Harrison do it again right at the end… also some nice ad libbed singng by McCartney. Although the song falls apart at points I think any new mix should go longer than 6 27 and maybe go all the way to the 8 minute ending with a little editing!
what are the first words heard at the top of the song? It certainly isn’t “it’s all too much” which some folks claim.
“To your mother”
“To Jorma” as in Jorma Kaukonen.
(It)’s to you mother (f#ckers) I am talking.
Yes, it is certainly (It)’s to you mother (f#ckers). I think John Lennon is shouting these words!
God, Harrison was so underrated. He was writing at the level of his mates by Revolver. The albums should have been 1/3 split, released one every few weeks(!)….
@turnedoutfine…The first words heard at the begining after feadback is George saying, ” To your mother!…” as something of aggressive statement because this is a rocking, in your face kind of song.
If anybody knows of a more biting and cleaned up version of this song please let me know. The original mix is a bit muddy and would like to see the rhythm backing more up front and the feedback at the begining more prominent and stinging.
I love the remix on the Yellow Submarine songtrack. Awesome song.
Hope you got the reissued vinyl Songtrack! I hope they rerelease it in 5..1
This song is, without a doubt, my favorite Beatles song. And, in my humble opinion, the most underrated Beatles song by far.
I think You Know My Name (Look Up The Number) takes the cake for most underrated Beatles song. I this song though. Does anyone know what that whooping sound is that sounds like clapping but really distorted is? It really adds to the song. Imagine if this song made it on Sgt. Pepper, that would’ve been amazing along with Only A Northern Song.
Makes one wonder… In 1967 the Beatles recorded three great album closers… Day in the Life, All You Need is Love and All Too Much. That Would have made an awesome side on Pepper. I too am a big fan of OANS and though it’s kind of a lark it’s a good song though truly incomplete. Lennon and McCartney both take pains to say that You Know My Name wasn’t much of a melody… which makes me think BOTH of them wish they’d taken a crack at really doing that one because I think it would have been an interesting idea for a song if an album had been made during the MMT to Lady Madonna era!
George Martin has stated in an interview that they rejected this song for Pepper as it was not ‘good enough’. Hard to see where it would fit into the Pepper running sequence and the ‘long blond hair’ lines are not Pepper worthy, although as a stand alone track they work. George Martin did wish they had included Penny Lane and Strawberry Fields.
are we 100% that It John Lennon on lead guitar as you have listed ?? Doesnt sound like his style
I agree with you. It’s melodic and sweeping, like George’s style. I say it’s George, unless it’s physically impossible due to recording tracks/limitations.
I think it’s George too
The Beatles began recording “It’s All Too Much” on 25 May 1967 at De Lane Lea Studios,[41][42] located on Kingsway in central London.[43] With producer George Martin not in attendance that day, nor for the subsequent session, on the 26th,[44] the band produced the recording themselves.[35] The song had the working title of “Too Much”,[45] a phrase that journalist Robert Fontenot terms “beatnik vernacular for an experience that was exceptionally mind-blowing”.[46] The group taped four takes of the basic track, the final version of which extended to over eight minutes,[41] with Harrison playing Hammond organ, Lennon on lead guitar, Paul McCartney on bass, and Ringo Starr on drums.[4] The following day, they added overdubs, comprising vocals, percussion and handclaps.[41][44] In addition, according to authors Ian MacDonald and Kenneth Womack, Harrison also played lead guitar on the track.[35][47] – Wikipedia
Does anyone know why this wasn’t recorded at abbey road ? It seems a pretty “loose” track and i’m not certain that george martin was particularly involved (also stated in “revolution in the head”)
I’ve always loved this tune though, the bottom end is out of this world good and trippy. The version on the yellow submarine remaster is a big improvement.
Maybe because Abbey Road was already booked for other sessions and the guys wanted to do it right away?
All the tracks on the songtrack were spectacular. I remember getting it and being blown away by the number of instruments you could now hear. The piano on Hey Bulldog never sounded better. I think all the tracks should be remixed because there are so many layers to Beatles tracks and it would be nice to hear them in the clarity of remixes.
Songtrack best thing that’s been done. A beautiful job done and the mixes might be better than what Giles is doing. I wish they’d released the album in surround.
I have a theory that the guitar is played in open G. Not sure if Paul ever dealt with different timings, but George was familiar and John was from his youth learning banjo. It’s prob between those two if that’s the case.
This song reminds me a lot of the earlier B-side Rain.
If you can listen to the 9 minute version .its stunning!
Are you sure that Lennon played all the guitar parts?
Steve Hillage’s version is pretty good too.
Flaming Lips Tribute To George!
On my fantasy re-worked Pepper album, 64 and Pepper Reprise are dropped. It’s All Too much precedes Day in the Life. Just as it fades out, Day fades in quietly. Would have been a flawless segue. But that’s just me…
I may have to disagree with George. I think the trumpet was a good break from the guitar overload… It was very well incorporated in the song, it made it more alive.
Asset to “Yellow Submarine” album and film. George Harrison’s song written and recorded in 1967 epitomizes the Summer of Love. Though it was released some time later. I love the line “and get me home for tea”.
I read somewhere a theory that the intro is John yelling “To Jorma!,” as in Jorma Kaukonen, lead guitarist with the Jefferson Airplane. Jorma had been around John days earlier, as I recall reading.
i can’t get passed the fact of hearing the ‘S’. so i’ve always figured he was saying ‘Sue Your Mother’
Any thoughts on the odd double tracked hand clap. I have been recently listening to this song many times over (due to my kids love of Yellow Sub!) and the hand clap seems to have all kinds of stuff mixed into it. I can hear a voice track inside the claps for sure. I dont see any mention of anything unusual in the Lewishon book or Wiki page on the song
Totally agree. There is so much layering on this track that I wish Lewison had really broken this track down with more detail. It’s an awesome sounding song. Everything builds and builds and just leaves you completely satisfied.
Has anyone noticed many of the guitar licks and the tone sound so much like what U2’s The Edge uses on his tracks. I also don’t think it’s John on guitar. It just doesn’t like his style. To me it sounds like McCartney or Harrison.
I am not totally convinced John is playing lead here either. In fact I seem to remember an interview with George back after the new version of the Yellow Submarine Songtrack album came out where George said it was Paul.
I found the interview with George on Billboard.com for the original article titled “A New ‘Yellow Submarine Songtrack’ Due in Sept.” by Timothy White, and originally dated June 19, 1999.
On page 77 of this article, George states (in reference to “It’s All Too Much”):
“But, now, I don’t think I was playing the guitar feedback; as I say, I was playing the organ, so I think that was probably Paul that did that.”
Now, I’ll admit that this is not firmly conclusive, it’s clearly hard for the Beatles to remember every detail within a song so many years later. But using my musician’s ears together with my familiarity of each Beatle’s style, this is enough for me to believe that it was indeed Paul who played the playfully expressive lead guitar lines, with feedback, in this unique song by George Harrison.
And by process of elimination, the bass must have been played by John; all of the Beatles working as a collective to fully flesh-out George’s vision of a bombastic, psychedelic song which he led from the organ.
This fits with the comments that you and Ethan had earlier in this thread. Truth is, George wasn’t very interested in being a lead guitarist in 1967, and Paul was quite happy to take up the slack on numerous songs and have a ball doing it in his own inimitable way. (Somewhat true of ’66 as well — as with “Paperback Writer” and George’s own “Taxman”.)
This clearly is one of those songs where we need to be able to hear a session outtake to hear the voices of them talking to figure out whose playin that guitar. In the outtakes released with the anniversary pepper it was nice to hear voices and conversation that gave clues as to what they were playing. For example in with a little help George asks John what he’s playing and he hits the cowbell a few times. In songs where you don’t hear the bass you then know Paul is on keyboards or guitar. Come on Apple just release it all. Let the fans enjoy this stuff
“To your Mother” Definitely George.. After all he wrote the song!!
It’s a great debate about the lead guitar here. Credited as John, the opening does sound like his The End/Plastic Ono Band multi-string roars and squeals. Ahh but then! We get into the Pauly Ticket To Ride/Taxman rocking out wild flamboyant runs, Then we have the George-like Indian influenced/Echo the melody lines going on. My vote is for Pauly though – it’s more his style. Discuss.
George forgot about singing the long blonde hair part, but I doubt he would have credited the out of this world guitar work on this to Paul if he was really himself. I think it was a live take, sounds like it. That puts john on bass!