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Psychedelic music first originated in Britain and the United States during the 1960s, giving rise to a number of sub genres such as psychedelic pop, psychedelic rock, psychedelic folk, and acid rock. The music is influenced by the subculture of people who are under the influence of psychedelic drugs which can lead to hallucinatory experiences and altered states of consciousness.

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In April 1965, George Harrison, John Lennon, their wives, and George's dentist, John Riley, spent an evening socialising together in London. Unknown to the group, Riley had slipped LSD into their coffees, leading to their first experiences of the hallucinogenic drug. They described the small room they were staying in as feeling "as big as the Albert Hall" and inducing the sense of "falling in love".

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Help! is the fifth studio album released by the Beatles, and the single "Help" has been considered as the first LSD-induced song by the group. The song is an expression of the pressure felt by Lennon due to their rapid rise to fame. Imagery used in the song is thought to relate to descriptions of LSD included in the book "The Doors of Perception" by Aldous Huxley, ranging from an altered state of mind to feelings of floating and helplessness.

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Please Please Me is the first studio album released by the Beatles, following the success of two singles released by the rock band.

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Many critics recognise the album as fundamental to the creation of genres such as psychedelia. Journalist Lillian Roxon wrote that Rubber Soul was "the classic psychedelic album now played at all the psychedelic discotheques". She attributed pop's embrace of psychedelia and "many of the strange new sounds now in records" to the album’s influence. Lennon referred to the album as the band’s “pot album,” due to its introspective lyrics and mesmerizing guitars, and reflections on their use of cannabis.

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Lennon and McCartney photographed during the recording of Rubber Soul

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Lennon and McCartney photographed during the recording of Rubber Soul

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Although McCartney was not a regular user of LSD, he did see value in transferring the effects of the drug into music. At the time of recording, he was closely involved with underground music scene in London, trying to scope out upcoming trends, and became inspired by early experiments with electronic music by the likes of Stockhausen. He brought loops of sounds including guitars tuning, shrieks, and unnerving sounds that were played forwards and backwards to create the unique soundscapes found in the album.

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'Take a trip with The Beatles and their 8 most psychedelic songs'

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'Take a trip with The Beatles and their 8 most psychedelic songs'

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It's easy to think of The Beatles as the four mop-top suited lads from Liverpool who took the pop charts by storm. It was their fresh faces epitomised what it was to be the Fab Four but things changed after 1965, the band moved away from trying to top the charts and instead chose to represent the changing world around and within them. It would end up defining the band's continued success.

From that moment on John Lennon, Paul McCartney, George Harrison and Ringo Starr began writing songs which affected them personally and saw them as individuals connect with the material more and more. It meant that as they experienced new and interesting things, those such topics usually found their way into the lyrics sheet and some of their best songs. Like any four young people in the cradle of swinging London, one of those experiences was LSD.

The group tried the drug at different points in their careers with Harrison and Lennon first trying it together in 1965 alongside the demon dentist John Riley, while McCartney would dabble with acid himself a few years later. But there can be no doubt that it affected the band's writing and infiltrated a huge chunk of their work between 1966 and 1968, seemingly slowing as the band reached their natural conclusion.

As such, some of The Beatles most beloved songs are the psychedelic ones, the tracks which could transport you from your dingy bedsit in the lower end of Crapsville to a new higher plain, one where you could join the paisley patrons and get lost int he lucidity of losing your mind. While The Beatles were certainly so much more than acid, there's still a hefty dose of it to be enjoyed in their music.

The Beatles most psychedelic songs:

'She Said, She Said'

Back in August 1965, The Beatles were holed up in a rented mansion hidden deep within the mountains above Beverly Hills, California. It was the perfect breeding ground for the newly famous Beatles to open up the taps on their celebrity and head straight for hedonism.

One such celebrity was Peter Fonda who somehow broke into the mansion to join the band during a particularly deep acid trip. For both Lennon and Harrison, this acid trip wasn't their first rodeo and, while believing in their new-found LSD enlightenment, the duo pushed both Paul McCartney and Ringo Starr to join them on their journey into the mind-melding trip. While Starr agreed, McCartney refused, Macca later shared his maiden voyage with his pal, Lennon.

As Harrison descended into a deep fear of death, Fonda tried to lighten up proceedings by recalling his own near-death experience. It stuck with Lennon and became the basis of the Revolver song 'She Said, She Said', the song written about Peter Fonda being suitably "uncool, man".

'A Day in the Life'

One track that may not necessarily be entirely descended from an acid trip like 'She Said, She Said' but is certainly dripping with psychedelia is 'A Day In The Life'. A track imbued with the same mysticism as the best of Beatles work, the song is a fragmented retelling of the day's papers.

Lyrically it doesn't necessarily imbue you with the sense of 'what-the-fuckery' as some of the band's other pieces, but musically, the track is one of the band's most expansive. Beginning as a simple acoustic guitar and piano piece, the sonics continue to move up and up before a swirling climax finally explodes.

It is rightly regarded as one of The Beatles' finest moments on tape and is a perfect example of just how well the two principal songwriters of the group could patch their styles and motifs so effortlessly together.

'Within You Without You'

Written by George Harrison for Sgt. Pepper's Lonely Hearts Club Band, the track has widely been seen as one of the most obviously acid-inspired tracks of the band's canon. While there's certainly elements of psychedelia in the song, we think the majority of that 'vibe' can be put down to Harrison's own spirituality.

Often thought of as 'Paul McCartney's record', Sgt. Pepper wasn't a pleasant experience for Harrison. "Sgt Pepper was the one album where things were done slightly differently," he said in Anthology. "A lot of the time... we weren't allowed to play as a band so much. It became an assembly process - just little parts and then overdubbing."

It was misaligned with Harrison's new found spiritualism, having just returned from six weeks in India, his songwriting style which was far-removed from a costumed concept album. "After [the India trip], everything else seemed like hard work," George said. "It was a job, like doing something I didn't really want to do, and I was losing interest in being 'fab' at that point."

That wouldn't stop the guitarist from contributing one of the finest moment of the album in the beautiful 'Within You Without You'. It is deeply ingrained with the new Eastern identity Harrison had gathered and was an accurate reflection of where his music would eventually go without the band.

'Strawberry Fields Forever'

Featuring on the band's 1967 album Magical Mystery Tour, Lennon drew on his life in Liverpool to add a certain sentimentality to this otherwise trippy number, "Strawberry Fields is a real place. After I stopped living at Penny Lane, I moved in with my auntie who lived in the suburbs in a nice semi-detached place with a small garden and doctors and lawyers and that ilk living around... not the poor slummy kind of image that was projected in all the Beatles stories."

For Lennon the time spent around those houses and fields, losing marbles and having fun was all the symbolism he ever really cared for: "We always had fun at Strawberry Fields. So that's where I got the name. But I used it as an image. Strawberry Fields forever."

While 'Penny Lane' is a similar song in tone and sentiment, Lennon takes this track into a brand new realm and rather than reminiscing about his home as an unattainable place, Lennon pictures it as his own personal heaven, his safe place.

'I Am The Walrus'

Lennon was quick to lean heavily on his inspirations when writing songs and the words for 'I Am The Walrus' leapt right up from the page. The song was directly inspired by Lewis Carroll's Alice in Wonderland and sees Lennon use an allegory to create a mystifying point.

"Walrus is just saying a dream," recalled John in his infamous 1980 interview with Playboy. Like many dreams, the song is actually a composite of a few different themes. The basic rhythmic pattern came from one song about inner-city police which Lennon had based on a police siren. The other two threads were dreamed up when Lennon was high on acid, with one being written as if he was on a cornflake.

In the same 1980 Playboy interview, Lennon confirmed: "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 Yoko... I'd seen Allen Ginsberg and some other people who liked Dylan and Jesus going on about Hare Krishna. It was Ginsberg, in particular, I was referring to. The words 'Element'ry penguin' meant that it's naïve to just go around chanting Hare Krishna or putting all your faith in one idol."

It sees Lennon put down on paper the fuzzy drug-fuelled sessions that underwrote the band's output at this time and also showed that songs don't necessarily have to mean anything to be considered great.

'Norwegian Wood (This Bird Has Flown)'

The Rubber Soul track is often considered Lennon's first real acid-rock tune but the truth is a little way off. Instead, this track is the first time he establishes that sound as part of his own musical vocabulary. Of course, he needed help for the sitar part on the song, luckily he had Harrison on hand. In an interview with Rolling Stone in 1971, John Lennon explained why it was decided to use the sitar on this song. He recalled: "I think it was at the studio. George had just got the sitar and I said 'Could you play this piece?' We went through many different sort of versions of the song, it was never right and I was getting very angry about it, it wasn't coming out like I said. They said, 'Well, just do it how you want to do it' and I said, 'Well I just want to do it like this.'"

Adding: "He was not sure whether he could play it yet because he hadn't done much on the sitar but he was willing to have a go, as is his wont, and he learned the bit and dubbed it on after. I think we did it in sections." But the real story behind the song is one a little more scandalous. He disclosed: "I was trying to write about an affair without letting my wife know I was having one. I was sort of writing from my experiences - girl's flats, things like that. I was very careful and paranoid because I didn't want my wife, Cyn, to know that there really was something going on outside of the household."

Lennon then honestly stated: "I'd always had some kind of affairs going on, so I was trying to be sophisticated in writing about an affair, but in such a smoke-screen way that you couldn't tell. But I can't remember any specific woman it had to do with."

'Lucy in the Sky with Diamonds'

The title is about all you would need to spark theories that this song was about acid. The fact that it came equipped with some of Lennon's most visually inspiring and kaleidoscopic lyrical imagery only added to the misconception, but Lennon was always resolute in his defence that he had no idea the song's title, spelt out LSD, "I had no idea it spelt LSD. This is the truth: my son came home with a drawing and showed me this strange-looking woman flying around. I said, 'What is it?' and he said, 'It's Lucy in the sky with diamonds,' and I thought, 'That's beautiful.' I immediately wrote a song about it."

It's a track that was largely written by Lennon but also sought advice and guidance from Paul McCartney who remembered writing the song for The Beatles Anthology, saying, "I showed up at John's house and he had a drawing Julian had done at school with the title 'Lucy In The Sky With Diamonds' above it. Then we went up to his music room and wrote the song, swapping psychedelic suggestions as we went."

So while the song may not have been 'about drugs' it was certainly inspired by them, "I remember coming up with 'cellophane flowers' and 'newspaper taxis' and John answered with things like 'kaleidoscope eyes' and 'looking glass ties'. We never noticed the LSD initial until it was pointed out later - by which point people didn't believe us."

'Tomorrow Never Knows'

He was the man behind 'Lucy in the Sky With Diamonds' but it's not the first one Lennon wrote, according to the man himself, that was 'Tomorrow Never Knows'. "This was my first psychedelic song," said Lennon in 1972 in reference to the track.

Lennon was a vicious critic of his own work and confessed just two years later that despite his epic vision he couldn't bring the song to fruition. "'Tomorrow Never Knows'...I didn't know what I was saying, and you just find out later. I know that when there are some lyrics I dig, I know that somewhere people will be looking at them."

Adding: "Often the backing I think of early-on never comes off. With 'Tomorrow Never Knows' I'd imagined in my head that in the background you would hear thousands of monks chanting. That was impractical, of course, and we did something different. It was a bit of a drag, and I didn't really like it. I should have tried to get near my original idea, the monks singing. I realise now that was what I wanted."

It may not have been a part of Lennon's vision but the song really shines as one of his best.

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Take a trip with The Beatles and their 8 most psychedelic songs

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It's easy to think of The Beatles as the four mop-top suited lads from Liverpool who took the pop charts by storm. It was their fresh faces epitomised what it was to be the Fab Four but things changed after 1965, the band moved away from trying to top the charts and instead chose to represent the changing world around and within them.

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Acclaimed for its exploration of musical styles, diverse sounds, and lyrical content. The album marks the beginning of their psychedelic period and the use of their experiences of drugs such as LSD as a source of inspiration. None of the songs on the album were ever performed live, partially due to their difficulty. The album artwork was sketched by Klaus Voorman who drew the band from memory.

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A painting of a psychedelic landscape commissioned by the Beatles originally intended to be used on the inner sleeve of their album Sgt. Pepper's Lonely Hearts Club Band.

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Credited to Lennon-McCartney, the song is based on Lennon's recollection of his childhood and playing in the garden of Strawberry Field, a children's home run by the Salvation Army. The lyrics are informed by Lennon's experiences on the hallucinogenic drug LSD. The song become influential on psychedelic-rock, establishing the standard for the movement that would follow. Extensive use of studio technologies employed throughout the recording and editing of the track.

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Sgt. Pepper's Lonely Hearts Club Band (1967)

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Sgt. Pepper's Lonely Hearts Club Band (1967)

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Sgt Pepper's Lonely Hearts Club Band Cover

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Following on from the the studio experimentation that had typified Sgt. Pepper’s Lonely Hearts Club Band and the psychedelic sound they had pursued since Revolver, they aimed to move further into their world of Utopianism and expanding on their conception of psychedelia.

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Blue Jay Way music video - features lots of psychedelic imagery

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Blue Jay Way music video - features lots of psychedelic imagery

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The album was seen as a contractual obligation, providing the soundtrack to an animated film of the same name. The title song received several political and social interpretations, including being seen as a code for drugs and in particular, the barbiturate Nembutal due to its form as a yellow capsule. The imagery of the ocean, childhood and nostalgia used in the song makes it a prime example of the UK psychedelia's preoccupation with a return to childhood.

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Suspicion arose after the released of the album, with fans pointing out that the first letter of the nouns intentionally spelling out the acronym for the hallucinogenic drug "LSD". Although Lennon and McCartney denied the drug as the inspiration behind the song, they did acknowledge the influence of the drug on their compositions at the time.
It is considered a key work in the psychedelic genre.

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1967 - When The Beatles, Psychedelia and Traditional Society Collided

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1967 - When The Beatles, Psychedelia and Traditional Society Collided

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Paul Defending London's 'Counter Culture' on the TV Programme "Scene" in 1967

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The album is one of the most stylistically diverse releases by the band, covering a variety of genres and showcasing all the personalities of the members. The writing of the album took place during a difficult period for the group, in which tensions that would ultimately break them up began to rise.

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'A lot of people are too scared, too afraid to step that far out but not The Beatles – they weren’t afraid.' 

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'A lot of people are too scared, too afraid to step that far out but not The Beatles – they weren’t afraid.' 

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Peter Fonda

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The Beatles have taken on an almost mythical status within music since they first arrived as four lads from Liverpool nearly 60 years ago. As such, the Fab Four of John Lennon, Paul McCartney, George Harrison and Ringo Starr have been cited on thousands of occasions as gigantic influences by some of the music's world's biggest names. It would appear that most artists would cite the band as some cultural touchpoint at the very least.

While there's no doubting the influence the band have had on the world it does beg the question of who were the bands and musicians that inspired The Beatles. Below, we've pulled together a list of 10 artists who left an indelible on the band and, in turn, the world of music itself.

As Beatlemania swept the entire globe in the early sixties, nobody could have truly predicted that The Beatles would still be as vitally important today as they were then. Except, of course, Brian Epstein who was famously quoted as saying, "The children of the 21st century will be listening to The Beatles."

The group arrived, under the tutelage of Epstein, as a seemingly fully formed unit. A band equipped with the fast-living bounce of the rock 'n' roll before them but with a more crafted and coiffed approach, could only have existed with the work of their predecessors, many of which the band have cited as great influences on their career.

As the group progressed and evolved as a band in the latter part of their time together, they gathered more musical muses. It's a mark of not only The Beatles' musical output but as a sign of their dedication to the art of songwriting from John, Paul, George and Ringo that despite being the biggest band on the planet at the time, they were more than happy to welcome the influence of their contemporaries as ways to improve their overall sound.

The artists set out below have all offered the members of The Beatles another avenue of creative freedom to explore and each one can say they had a hand in their sound. Ultimately that means they had a hand in thousands if not millions of others too.

The Beatles' biggest influences:

Cliff Richard and The Shadows

It's fair to say that in Britain, before The Beatles there was Cliff Richard and The Shadows. The group were the closest thing Britain had to a rock 'n' roll band and did draw on a lot of American inspiration with a slight British twist. While the band's song 'Move It' and Richard's performances definitely shaped some of their work, it was the way the band dressed that landed most heavily.

Harrison remembered of that influence, "Cliff Richards and the Shadows became the big thing. They all had matching ties and handkerchiefs and grey suits, but we were still doing Gene Vincent, Bo Didley, you know, Ray Charles things. So when we got back to England that was the big thing." The band had returned from Hamburg with their live show tuned but their image way off. "A year or so after that, When Brian Epstein came on the scene, he said, 'You should smarten up because nobody wants to know you'."

Bob Dylan

Cliff Richard and the Shadows may have shaped the band's early sound and vision but Bob Dylan arguably had the biggest influence on The Beatles. His style of songwriting was a keen influence on all of the British groups at the time but his message of opening up oneself to your audience through personally reflective pop songs landed most heavily on John Lennon.

One track that Lennon later admitted to David Sheff in 1980 came from "me in my Dylan period" was 'I'm A Loser' from Beatles For Sale to which he added, "part of me suspects I'm a loser and part of me thinks I'm God Almighty." Lennon wasn't the only Beatle under Bob's influence.

Later in the band's journey George Harrison sought solace and tutelage from Dylan as he tried to get his songwriting moving along more effectively. Dylan would champion the formerly Quiet Beatle and give him the confidence to enter the, most lucrative songwriting period of his life, one which would buoy his career with and without the Beatles.

Chuck Berry

"If you had to give rock and roll another name, you might call it Chuck Berry," once said John Lennon and it's hard to disagree with him. Without a doubt the forefather of modern rock 'n' roll, Berry's ability to not only perform but write some of the most vibrant music the group had ever heard at the time.

In fact, for much of The Beatles early songwriting career, he and Paul McCartney would trade their lyrics and songs and they'd both be undoubtedly influenced by one man, Chuck Berry. "To us, he was a magician making music that was exotic, yet normal, at the same time," Paul McCartney wrote on his website following Berry's death. "We learnt so many things from him which led us into a dream world of rock and roll music."

Later, as Lennon welcomed Berry to perform alongside him, he said of Berry, "He was writing good lyrics and intelligent lyrics in the 1950s when people were singing 'Oh baby I love you so, it was people like him that influenced our generation to try and make sense out of the songs rather than just sing 'do wah diddy.'"

Buddy Holly

One of the saddest stories of music history, Buddy Holly and The Crickets were stopped in their tracks following Holly's sad and tragic death. But before he perished he left behind an incredible array of songs which harmonised rock 'n' roll and laid the foundations for what pop music would become with a string of rhythmically blessed toe-tappers.

The group have always cited Holly as one of the band's most influential artists. Sometimes in the right way, when asked about their influences in 1964, Paul happily picks Holly as one of the direct inspirations for the group. Sometimes it was in the wrong way as Lennon suggests when reflecting on the moment he and Paul began writing more about their lives, "Before, we were just writing songs a la Everly Brothers, Buddy Holly- pop songs with no more thought to them than that."

The myth also goes that the band were influenced by Holly's band The Crickets to name themselves The Beatles but the chances of that being true are slim to none.

Eric Clapton

Perhaps a surprise inclusion for some of our readers is the iconic guitarist Eric Clapton. As well as being a part of one of the most influential bands of the decade in Cream-a group that would inspire countless heavy rhythm and blues acts to spring out of London in the mid-sixties-Clapton's influence on the band in the latter part of their career, namely George Harrison, was huge.

As well as being sought as Harrison's replacement after the guitarist walked out on The Beatles during the Get Back sessions, Clapton was also employed by Harrison to help craft some of his most iconic songs for the Fab Four. His sensational solo for 'While My Guitar Gently Weeps' is one aspect of how he helped Harrison and the band but on 'Here Comes The Sun' he proved extra fruitful.

On this song, he may not have played any instruments but he did provide Harrison with the space and solace he needed to write the song in the first place. "One day I decided, 'I'm going to sag-off Apple,' and I went over to Eric Clapton's house. I was walking in his garden. The relief of not having to go and see all those dopey accountants was wonderful. And I was walking around the garden with one of Eric's acoustic guitars, and wrote 'Here Comes The Sun.'"

The Beach Boys

The Beatles and The Rolling Stones may have been the tabloid's favourite band rivalry but by insisting the two factions were warring with each other, it seems they missed the actual competition between Paul McCartney and Brian Wilson. The two mutually appreciative artists were consistently inspired by one another to push themselves creatively.

Whether it was The Beatles releasing Rubber Soul, which would go on to inspire Pet Sounds which would, in turn, inspire Sgt. Pepper or the fact that McCartney cites, Wilson's masterpiece 'God Only Knows' as his favourite song of all time-it's clear that with the California boys, The Beatles may never have reached the heights they did.

McCartney said in 1990: "The early surf records...I was aware of them as a musical act, and I used to like all that, but I didn't get deeply interested in it-it was just a real nice sound.

"We used to admire the singing, the high falsetto really and the very sort of 'California' lyrics. It was later... it was Pet Sounds that blew me out of the water. First of all, it was Brian's writing. I love the album so much. I've just bought my kids each a copy of it for their education in life-I figure no one is educated musically 'til they've heard that album. I was into the writing and the songs."

The Everly Brothers

If there's one band who can attest for being an integral part of The Beatles' early vocal sound then it has to be The Everly Brothers. The group's shudderingly beautiful vocals made the singing sensations one of music's hottest properties in the early sixties.

It was a style that was undoubtedly borrowed or at least leaned upon when The Beatles began writing chart-topping pop songs like 'Love Me Do', and 'Please, Please Me'. The band even pay tribute to the group on Let It Be during the song 'Two of Us', on which Macca tips his hat by saying "Take it, Phil." You won't see many people point to The Everly Brothers as an influential band too much these days but for the Fab Four, they were everything.

The Byrds

As you may have guessed by now, George Harrison felt pretty shunned by the strong songwriting partnership of John Lennon and Paul McCartney. With Ringo Starr usually happy to float between all the different factions within the band's set-up, it left Harrison looking for places he could fully express himself. Whether it was Bob Dylan, Eric Clapton or The Byrds' guitarist Roger McGuinn.

Some of our inspirations on this list have seen The Beatles lean on their style to create something new but in regards of McGuinn and The Byrds, Harrison admitted he lifted the riff from 'The Bells of Rhymney' for Rubber Soul song 'If I Needed Someone', which although morally questionable, is certainly high praise.

The Byrds also happened to be sharing the studio with a little known Indian musician by the name of Ravi Shankar, an artist who would undoubtedly shape the band too.

Ravi Shankar

Ravi Shankar and George Harrison's relationship quickly evolved from teacher and pupil to friends as Harrison threw himself deeply into the art of playing the classical Indian instrument, the sitar. Shankar, an undoubted master of the guitar-like instrument, took Harrison under his wing as the Beatles man explored India during the mid-sixties.

The influence of Indian classical music on The Beatles can be clearly seen in a few of their songs but none more so than the simply sumptuous 'Norwegian Wood'. Later in Harrison's life, Shankar would also be the driving force behind him arranging arguably his greatest triumph the Concert for Bangladesh.

With Shankar by his side, Harrison explored not only the finer points of Eastern music but its philosophy too, imbuing much of his later work with a sense of spirituality that would have undoubtedly never truly have been expressed without Shankar's help.

Elvis Presley

"Before Elvis, there was nothing," John Lennon once famously said of The King. To miss Presley off our list would be a horrendous mistake. The singer's impact on British culture as a whole can hardly be understated so when a group of teenage boys who were about to call themselves The Quarrymen heard this new rock 'n' roll sound you can imagine the fire it sparked within them.

Later the band would meet The King and after he released a series of uninspiring tracks the group tended to lose interest in him as an artist, despite in 1968 still being influenced by him, if you believe Ringo's tongue-in-cheek remark about 'Lady Madonna': "It sounds like Elvis, doesn't it? No, it doesn't sound like Elvis... it IS Elvis. Even those bits where he goes very high."

However much the band's appreciation for Presley might have waned by the end of his career and life, it cannot be denied that he was the first electric shock of hyper-charged rock 'n' roll that sparked life into the members of The Beatles.

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From Bob Dylan to Buddy Holly: 10 musicians who inspired The Beatles

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The Beatles have taken on an almost mythical status within music since they first arrived as four lads from Liverpool nearly 60 years ago. As such, the Fab Four of John Lennon, Paul McCartney, George Harrison and Ringo Starr have been cited on thousands of occasions as gigantic influences by some of the music's world's biggest names.

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George Martin was a producer, arranger, composer, conductor, audio engineer, and musician. He was referred to as the "The Fifth Beatle" due to his extensive involvement on each of The Beatles' original albums. Band member Paul McCartney said upon Martin's death, "If anyone earned the title of the fifth Beatle, it was George".

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Photographer Iain Macmillan captures the Beatles crossing the street, walking away from Abbey Road studios. The image is used on the group's final recorded album Abbey Road, and becomes one of the most iconic album covers in history. The image came at a time when conspiracists claimed Paul McCartney had been involved in a fatal car crash in 1966 and had been replaced by an imposter, with some Beatlemaniacs taking the image as morbid symbolism.

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The final album released by the band just a month after their break-up and prior to the launch of the cinema film of the same name.