• It's all too much!!
  • For us to take, it's all too much
  • Poetic Licence All Too Much New Red
  • The cover of The Beatles "It's All Too Much"

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The Beatles carried out final on "It's All Too Much", again at De Lane Lea, on 12 October 1967, while completing work on their EP. In the months since recording the song, Harrison had sworn off acid after visiting the district of San Francisco in August, with , Taylor and others. He said he found himself disillusioned at how, rather than an enlightened micro-society, Haight-Ashbury seemed to be a haven for dropouts and drug addicts. On 29 September, Harrison and Lennon appeared on 's weekly television show, during which they publicly disavowed LSD, and espoused the benefits of .

Maginnis describes the opening of the song as "a burst of howling guitar feedback and jubilant, church-like organ", adding: "The atmosphere hints at Harrison's fascination with Indian music and Hindu philosophy at the time, having a distinct, Eastern-flavored, droning undercurrent." Following the intro to "" in 1964, "It's All Too Much" is a rare example of the Beatles' use of on a recording and suggests the influence of . Womack credits this guitar part to Harrison, who played his using "the instrument's Bigsby [tremolo] bar in searing, full vibrato force". Harrison later rued the prominence of the brass accompaniment, saying: "To this day I am still annoyed that I let them mess it up with those damn trumpets. Basically, the song's quite good but, you know, messed up with those trumpets."

Reviews

It's All Too Much - Wikipedia, the free encyclopedia

Among the contemporary reviews of the album, described "It's All Too Much" and "Only a Northern Song" as "superb pieces" that "redeem" side one. In his lengthy assessment of the track, of wrote: "Endless, mantric, a round, interwoven, trellised, tessellated, filigreed, gidouiled, spiralling is It's All Too Much [–] George's Indian-timed, with drums fading-in-and-out, spurts of life to a decaying note, multi-level, handclapping number ... High treble notes flicker like moths around the top register. Happy singalong music." In his 1998 book , Miles praised it further as "the most striking piece of psychedelia The Beatles ever recorded" and concluded: "Discordant, off-beat and effortlessly brilliant, the song was (alongside '') Harrison's finest piece of Western rock music to date."