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"I Am the Walrus" is a song by
released in November 1967. It was featured in the Beatles'
(MMT) in December of that year, as a track on the associated British
and its American counterpart LP, and was the
to the number 1
"". Since the single and the double EP held at one time in December 1967 the top two slots on the British singles chart, the song had the distinction of being at number 1 and number 2 simultaneously.
received a letter from a pupil at , which he had attended. The writer mentioned that the English master was making his class analyse Beatles' lyrics. (Lennon wrote an answer, dated 1 September 1967, which was auctioned by
of London in 1992.) Lennon, amused that a teacher was putting so much effort into understanding the Beatles' lyrics, decided to write in his next song the most confusing lyrics that he could.
According to author , the "model" for "I Am the Walrus" was most likely 's "", which was a hit single during the summer of 1967 and Lennon's favourite song of the period. The lyrics came from three song ideas that Lennon had been working on, the first of which was inspired by hearing a police s Lennon wrote the lines "Mis-ter cit-y police-man" to the rhythm and melody of the siren. The second idea was a short rhyme about Lennon sitting amidst his garden, while the third was a nonsense lyric about sitting on a . Unable to finish the three different songs, he combined them into one. The lyrics also included the phrase "Lucy in the sky", a reference to the Beatles' earlier song "".
refers to 's poem "" (from the book ). Lennon later expressed dismay upon belatedly realising that the walrus was a
in the poem.
The final piece of the song came together when Lennon's friend and former fellow member of ,
visited, and Lennon asked him about a playground nursery rhyme they sang as children. Shotton recalled the rhyme as follows:
Yellow matter custard, green slop pie,
All mixed together with a dead dog's eye,
Slap it on a , ten foot thick,
Then wash it all down with a cup of cold .
Lennon borrowed a couple of images from the first two lines. Shotton was also responsible for suggesting that Lennon change the lyric "waiting for the man to come" to "waiting for the van to come". The Beatles' official biographer
was present while the song was being written and wrote an account in his 1968 biography of the Beatles. According to this biography, Lennon remarked to Shotton, "Let the fuckers work that one out."
Lennon claimed he wrote the first tw he explained much of the song to
The first line was written on one acid trip one weekend. The second line was written on the next acid trip the next weekend, and it was filled in after I met
... I'd seen
and some other people who liked
and Jesus going on about . It was Ginsberg, in particular, I was referring to. The words 'Element'ry penguin' meant that it's na?ve to just go around chanting Hare Krishna or putting all your faith in one idol. In those days I was writing obscurely, à la Dylan. [...]
It never dawned on me that Lewis Carroll was commenting on the
system. I never went into that bit about what he really meant, like people are doing with the Beatles' work. Later, I went back and looked at it and realized that the walrus was the bad guy in the story and the carpenter was the good guy. I thought, Oh, shit, I picked the wrong guy. I should have said, 'I am the carpenter.' But that wouldn't have been the same, would it? [Sings, laughing] 'I am the carpenter ...'
All the chords are
or , and all the musical letters of the alphabet (A, B, C, D, E, F and G) are used. The song ends using a , with a chord progression built on ascending and descending lines in the bass and strings, repeated as the song fades. Musicologist
analyses: "The chord progression of the outro itself is a harmonic
with scales in bassline and top voice that move in contrary motion." The bassline descends stepwise A, G, F, E, D, C, and B, while the strings part rises A, B, C, D, E, F?, G: this sequence repeats as the song fades, with the strings rising higher on each iteration. Pollack also notes that the repeated cell is seven bars long, which means that a different chord begins each four-bar phrase. The fade is described by
as a "false ending", in the form of an "unrelated " consisting of the orchestral chord progression, chorus, and sampling of the radio play.
The song is in the key of A, and the instrumental introduction starts in the Lydian mode of B major. Verse 1 begins with a I–?III–IV–I rock pattern: "I am he" (A chord)..."you are me" (C chord) "and we are all toge..." (D chord) "...ther" (A chord). Verse 2, however, involves a ?VI–?VII–I Aeolian ascent: "waiting" (F chord) "for the van" (G chord) "to come" (A chord). The chorus uses a ?III–IV–V pattern: "I am the eggman (C chord) "they are the eggmen (D chord). "I am the walrus (E chord), "goo goo g'joob" hanging as an imperfect cadence until resolved with the I (A chord) on "Mr. City Policeman". At the line "Sitting in an English garden" the D? melody note (as in the instrumental introduction) establishes a Lydian mode (sharp 4th note in the scale), and this mode is emphasised more strongly with the addition of a D? note to the B chord on "If the sun don't come".
"I Am the Walrus" was the first studio recording made by the Beatles after the death of their manager, , in August 1967. The basic backing track featuring the Beatles was released in 1996 on . George Martin arranged and added orchestral accompaniment that included , , , and . Paul McCartney said that Lennon gave instructions to Martin as to how he wished the orchestration to be scored, including singing most of the parts as a guide. A 16-voice choir of professional studio vocalists named
took part in the recording as well, variously singing "Ho-ho-ho, hee-hee-hee, ha-ha-ha", "oompah, oompah, stick it up your jumper!", "everybody's got one" and making a series of shrill whooping noises.
In 2015, founding
said in an interview that he and fellow band member
contributed backing vocals to the song, as well as harmonicas to "".
The dramatic reading in the mix is 's
(Act IV, Scene 6), lines 219–222 and 249–262, added to the song on 29 September 1967 direct from an AM radio Lennon was fiddling with that happened to be receiving the 7:30 pm to 11 pm broadcast of the play on the .
The first excerpt (ll. 219–222) moves in and out of the text, containing fragments of lines only. It begins where the disguised Edgar talks to his estranged and maliciously blinded father the Earl of Gloucester (timings given):
Gloucester: (2:35) Now, good sir, wh— (Lennon appears to change the channel away from the station here)
Edgar: (2:38) — poor man, made tame by fortune — (2:44) good pity —
In the play Edgar then kills Oswald, Goneril's steward. During the fade of the song the second main extract (ll. 249–262), this time of continuous text, is heard (timings given):
Oswald: (3:52) Slave, thou hast slain me. Villain, take my purse.
If ever thou wilt thrive, (4:02) bury my body,
And give the (4:05) letters which thou find'st about me
To (4:08) Edmund, Earl of G (4:10) seek him out
Upon the British party. O, (4:14) untimely Death!
Edgar: (4:23) I know thee well: a (4:25)
As duteous to the (4:27) vices of thy mistress
As badness would desire.
Gloucester: What, is he dead?
Edgar: (4:31) Sit you down father, rest you.
On the radio broadcast the roles were read by
(Gloucester),
(Edgar), and John Bryning (Oswald).
In the original (1967)
release, at around two minutes through the song, the mix changes from true stereo to "". This came about because the radio broadcast had been added "live" into the mono mix-down and so was unavailable for inclusi hence, fake stereo from the mono mix was created for this portion of the song.
The mono version opens with a four-beat chord, while the stereo mix features six beats on the initial chord. The four-beat-only intro is also included on a different stereo mix (overseen by ) for the previous
version of Magical Mystery Tour, especially the US
album. The US mono single mix includes an extra bar of music before the words "yellow matter custard". This is actually the original uncut version of the mono mix called RM23. An early, overdub-free mix of the song released on
reveals John singing the lyrics "Yellow mat-" too early—this was edited out. A hybrid version prepared for the 1980 US
LP combines the six-beat opening with the extra bar of music that precedes the words "yellow matter custard" (from the aforementioned US mono single mix). An entirely new full stereo remix was done in 2012 for Apple's DVD and
release of the restored version of Magical Mystery Tour.
1969 short subject Vertige uses as the entirety of its soundtrack the song slowed down to 1/8 speed.[ – ]
full stereo remix of the song appeared on the DVD release of
in 2003, on disc 4. A full stereo digital remix was also done for the
and , released in 2006. Producers George and Giles Martin were allowed access to early generations of the original master tapes. Musical parts that had previously been mixed were now available as separate elements. Additionally, a copy of the BBC broadcast of King Lear was acquired. Now, with all the sound sources used in the original mono mix present, a proper stereo remix could be accomplished. These tracks were transferred digitally and lined up to create a new multi-track master, from which a new mix would be made.
In addition to the stereo remixes prepared for the Love show and the 2012 Apple reissue referenced above, the DVDs that were released for those same projects contain a 5.1 surround sound mix of the song, making three distinct 5.1 remixes of the same song.
In Spring/Summer 1988 a Dutch radio station aired a no-overdub version that was acquired through dubious raids on the Apple vaults and titled Beatles unlimited. (Private copy, used by owner only, is noted here.)
 – lead vocals, electric piano
 – bass guitar, tambourine, backing vocals
 – electric guitar, backing vocals
 – drums
Orchestrated, directed and produced by .
Session musicians – , , and
 – backing vocals
 – backing vocals
 – backing vocals
Engineered by
Mixed by Geoff Emerick and John Lennon[]
Critical reception at the time of the track's release was largely positive:
"John growls the nonsense (and sometimes suggestive) lyric, backed by a complex scoring incorporating violins and cellos. You need to hear it a few times before you can absorb it" — Derek Johnson.
"Into the world of
now and you can almost visualise John crouching on a deserted shore singing 'I am the walrus' to some beautiful strings from far away on the horizon and a whole bagful of Beatle sounds, like a ringing doorbell and someone sawing a plank of wood. A fantastic track which you will need to live with for a while to fully appreciate" — Nick Logan.
In the 21st century, professional Beatleologist Scott Freiman called the song "the Beatles' last psychedelic masterpiece".
The song was banned by the
for the use of the word "knickers" in the line "You’ve been a naughty girl, you’ve let your knickers down".
Although it has been reported that Lennon wrote "I Am the Walrus" to confuse those who tried to interpret his songs, there have nevertheless been many attempts to analyse the meaning of the lyrics.
Seen in the
film singing the song, Lennon, apparently, on the track-list of the accompanying soundtrack album, however, underneath "I Am the Walrus" are printed the words " 'No you're not!' said Little Nicola" (in the film, Nicola Hale is a little girl who keeps contradicting everything the other characters say). Lennon returned to the subject in the lyrics of three of his subsequent songs: in the 1968 Beatles song "" he sings, "I told you 'bout the walrus and me, man / You know that we're as close as can be, man / Well here's another clue for you all / The walrus was Paul"; in the third verse of "" he sings the line "he bag production, he got walrus gumboot"; and in his 1970 solo song "", admits: "I was the walrus, but now I'm John".
, lead singer of , claims to be the "Eggman" mentioned in the song's lyric. Burdon was known as "Eggs" to his friends, the nickname originating from his fondness for breaking eggs over naked women's bodies.[] Burdon's
mentions such an affair taking place in the presence of , who shouted "Go on, go get it, Eggman..."
song "" includes the line "coo-coo-ca-choo".
In the October 30, 1993 episode of , motivational speaker
(played by ) is speaking to a group of teenagers who have just returned from
houses in the neighborhood, and references the song by saying "I’m the eggman, goo, goo, ga joo!"
English rock band
covered the song as a B-side for their 1994 single "". The cover was featured in the compilation album .
In the 2007 movie , it was the featured song of Dr. Robert (played by ) as they went for their "magical bus tour" on a trip for enlightenment.
In the movie , a reference is made to this song as a play on words between quotes from "" and "".[]
. The Foundations of Rock: From "Blue Suede Shoes" to "Suite: Judy Blue Eyes". p. 154
Dominic Pedler. The Songwriting Secrets of the Beatles. Music Sales Limited. Omnibus Press. NY. 2003. p. 270
Dominic Pedler. The Songwriting Secrets of the Beatles. Music Sales Limited. Omnibus Press. NY. 2003. pp. 233–34
Dominic Pedler. The Songwriting Secrets of the Beatles. Music Sales Limited. Omnibus Press. NY. 2003. pp. 270–71.
. Discussionsmagazine.com. .
. Accessed 2 May 2014
. Accessed 2 May 2014.
. BBC Genome Project. British Broadcasting Corporation 2016.
Walter Everett. The Beatles as Musicians. Revolver Through the Anthology. Oxford University Press. NY. 1999.  .  . pp. 134–35.
. Books.google.com 2011.
. Books.google.com 2011.
. DangerousMinds.
Freiman, Scott. . beatleslectures.com. Archived from
on 2 April .
. Recmusicbeatles.com 2011.
. The Internet Beatles Album 2016.
Du Noyer, Paul (7 November 1998). .
. About The Beatles. .
, ed. (1990). The Beatles Illustrated Lyrics. Boston:
/ Seymour Lawrence.  .
. Encyclopedia.com. 17 November .
Fontenot, Robert (2007). .
Johnson, Derek (18 November 1967). "Hello Goodbye/I am the Walrus". .
(1988). The Beatles Recording Sessions. New York: Harmony Books.  .
Logan, Nick (25 November 1967). "Magical Mystery Tour". .
MacDonald, Ian (2005). Revolution in the Head: The Beatles' Records and the Sixties (2nd rev. edn). Chicago, IL: Chicago Review Press.  .
(1997). Paul McCartney: Many Years From Now. New York: Henry Holt & Company.  .
(2000). All We Are Saying: The Last Major Interview with John Lennon and Yoko Ono. New York: St. Martin's Press.  .
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April 18th, 2011 by
Note: There is a much updated and expanded version of this on my free eBook
Like it or not, texting is here to stay. As part of the dating process, you’re responsible for keeping in touch with her and making things interesting. Thankfully, this works in your favor.
Texting allows you to come up with witty and enticing responses from a comfortable location. It’s easy enough to master and with some basic guidelines, you should be a pro in no time. Here are some simple points to remember when texting a girl you’re interested in.
Avoid improper grammar
Well-written text messages make you look mature and intelligent. Sloppiness is not only a turn-off but also a potential deal breaker. Some shortcuts like “np at all” are okay but “kk can’t wait 2 c u 2nite” is excessive. Double-check your spelling, grammar, and auto correct before you press send.
Use emoticons wisely
A smile or wink is great for adding emphasis or being flirtatious. However, using them in every other sentence can be overkill and distracting from what you’re trying to say. Sticking to no more than one emoticon per message is usually a good idea.
Don’t flood her with texts
Replying with three texts for every one she sends shows you’re too eager and too invested. You shouldn’t over-think it but go easy and feel out the pace of the conversation. If she takes an hour to respond, just give it a few minutes before messaging her back.
Text at reasonable times
Unless she’s working the graveyard shift, texting her randomly at four in the morning won’t look good. I’m positive whatever you have to say can wait until the next day. Also, if you’ve had a heavy night of drinking, be cautious of what you’re writing.
Use more statements
How do you talk with your friends? You probably shoot the shit and ask the occasional question. Use this as a reference point for your natural style and add a dash of spice when talking to her. Bombarding her with questions will make it feel like an interrogation.
Keep things light
A girl loves to see her phone buzz and read a text from you that’s cute, intriguing, and makes her laugh. Don’t get too personal over text – it isn’t worth it and should be saved for in-person or phone conversations. Tell her about your funny train ride home and not your life story.
Start flirting with her
Short, sweet, and your opportunity to shine, flirtatious texts are a great way to generate sparks. Trust and comfort have to build over time, but light and teasing messages will keep her on her toes until then. Make fun of her for watching Dancing With the Stars or even playfully accuse her of seducing you.
Set up a date
Texting is a low-pressure way to setup a date. When she’s responding well, suggest an activity that you can do together. Try something like, “Hey I’m going to X on Thursday, you should come along – it’ll be awesome :)” It’s casual and she’s more likely to say yes.
Now that you’ve read my ideas, I’d love to see some of yours. What are some texting tips that have worked for you?
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