In addition to whatever else was happening on any given day during this period, we can assume that someone was working on the editing of the Magical Mystery Tour movie. They sometimes ended up working at cross-purposes, according to Philip Norman’s Shout:
“Paul would come in and edit in the morning,” Tony Bramwell says. “Then John would come in in the afternoon and re-edit what Paul had edited. Then Ringo would come in…” When not editing and re-editing they would stand in the cutting room, having singsongs with a toothless Soho busker who carried a port bottle balanced on his head.
Music-wise, the focus today was on “I Am the Walrus,” which was the subject of two separate sessions. At the first, a 16-piece orchestra added violins, cellos, horns, and clarinet; at the second, a group of session vocalists called the Mike Sammes Singers added vocals. They were essentially jingle singers, and might have been more comfortable singing about shampoo, but did a bang-up job with “Oompah, oompah, stick it up your jumper,” “Got one, got one, everybody’s got one,” and “Ho-ho-ho, hee-haw-hee, ha-ha-ha.”
Toward the end of the session, Paul recorded a new vocal for “The Fool on the Hill.” Then he probably went back to the cutting room for a nip of port and to re-edit what Ringo had done.
Another day … Wish I could’ve been there. As is was, I was peaking on a massive dose of Blue Wedge acid a month or two later the first time I heard “I Am The Walrus” on the radio. Fifty years later, I am more certain, as well as grateful, than ever that the synaptic routing system in my brain was permanently warped by the experience.