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"Hello, Goodbye"
US picture sleeve
Single by the Beatles
B-side"I Am the Walrus"
Released24 November 1967 (1967-11-24)
Recorded2 October – 2 November 1967
StudioEMI, London
GenrePop,[1] psychedelia[2]
Length3:27
Label
SongwriterLennon–McCartney
ProducerGeorge Martin
The Beatles singles chronology
"All You Need Is Love"
(1967) 		"Hello, Goodbye"
(1967) 		"Lady Madonna"
(1968)
Promotional film
"Hello, Goodbye" on YouTube

"Hello, Goodbye" (sometimes titled "Hello Goodbye") is a song by the English rock band the Beatles, written by Paul McCartney and credited to Lennon–McCartney. Backed by John Lennon's "I Am the Walrus", it was issued as a non-album single in November 1967, the group's first release since the death of their manager, Brian Epstein. The single was commercially successful around the world, topping charts in the United States, the United Kingdom, France, West Germany, Canada, Australia and several other countries. In the UK, it was the Christmas number one of 1967.

McCartney later said that the lyrics take duality as their theme. The song originated when, in response to a question from Beatles aide Alistair Taylor about songwriting, McCartney sat down at a harmonium and asked Taylor to say the opposite of whatever he said. The completed song includes a musical coda, which was improvised by the Beatles when they were recording the track in October 1967. Unimpressed with the composition, Lennon pushed for "I Am the Walrus" to be the single's A-side, before reluctantly accepting that "Hello, Goodbye" was the more commercial-sounding of the two sides. The Beatles produced three promotional films for the song, one of which was shown on The Ed Sullivan Show in America. Due to the regulations against lip-syncing on British television, none of the clips were aired there.

"Hello, Goodbye" has traditionally received a varied response from music critics. While some reviewers praise the song for its classic pop qualities, others deem it unadventurous by the Beatles' standards, and inconsequential. The track was included on the expanded US release of the Magical Mystery Tour soundtrack EP, and later appeared on compilation albums such as 1967–1970 and 1. McCartney has often performed "Hello, Goodbye" in concert, beginning with his Driving World Tour in 2002. James Last, Bud Shank, Allen Toussaint, the Cure and the cast of Glee are among the acts who have also recorded the song.

Background

[edit]

The answer to everything is simple. It's a song about everything and nothing ... If you have black you have to have white. That's the amazing thing about life.[3]

– Paul McCartney, discussing "Hello, Goodbye" in a 1967 interview with Disc magazine

Although "Hello, Goodbye" is credited to Lennon–McCartney, the song was written solely by Paul McCartney.[4] The composition came about through an exercise in word association between McCartney and Alistair Taylor,[5] an assistant of the Beatles' manager, Brian Epstein.[6] It originated during a period when, following the completion of their album Sgt. Pepper's Lonely Hearts Club Band in April 1967, the Beatles typically embraced randomness and simplicity as part of the creative process.[7]

According to Taylor's recollection, he was visiting McCartney at his home in St John's Wood, London, and asked the Beatle how he went about writing a song. In response, McCartney took Taylor into the dining room, where they both sat at a harmonium; McCartney then began playing the instrument and asked Taylor to call out the opposite to each word he happened to sing.[8] Author Steve Turner writes of the result: "And so it went – black and white, yes and no, stop and go, hello and goodbye."[8] Taylor later reflected: "I've no memory at all of the tune ... I wonder whether Paul really made up [the melody to] that song as he went along or whether it was running through his head already."[8]

Talking in the 1990s to his official biographer, Barry Miles, McCartney said that the lyrics address duality, reflecting his astrological sign of Gemini.[9] He added: "It's such a deep theme in the universe, duality – man woman, black white, ebony ivory, high low, right wrong, up down, hello goodbye – that it was a very easy song to write." McCartney also said that, in "Hello, Goodbye", he was promoting "the more positive side of the duality".[10]

Among Beatles biographers, Ian MacDonald dates the composition to late September 1967,[11] while Bob Spitz says it was written in time for the Our World international television broadcast, in June that year.[12] According to Spitz, McCartney suggested "Hello, Goodbye" as the Beatles' contribution to Our World,[12] an honour that instead went to the John Lennon-composed "All You Need Is Love".[13][nb 1]

Composition

[edit]

"Hello, Goodbye" is in the key of C major and in 4
4 time.[14] MacDonald describes the musical structure as "characteristically scalar" and founded on "a descending sequence in C", with "a brief touchdown on A flat as its only surprise".[15] Musicologist Walter Everett writes that the bassline in the chorus is an inverted form of the descending scale, which is accentuated on the Beatles' recording by the lead guitar part.[16]

In Everett's estimation, much of "Hello, Goodbye" references previous Lennon–McCartney compositions: over the verses, the parallel thirds in the vocal recall the band's unreleased song "Love of the Loved", among others; melodically, the chorus is similar to the keyboard part on "For No One"; and the complementary vocal parts in the final verse recall "Help!"[17] Everett also suggests that, early in "Hello, Goodbye", McCartney appears to be imitating the V–VI chord "ambivalence" of "Strawberry Fields Forever".[16] Everett describes the composition as "derivative McCartney", for the most part, "freshened up" primarily through the use of phrase lengths that deviate from a standard eight bars.[16]

Consistent with the song title, the lyrics comprise a series of antonyms – such as yes–no, high–low and stop–go.[18] With the narrative perspective alternating between first and second person, the composition also recalls George and Ira Gershwin's "Let's Call the Whole Thing Off".[14][4]

Following the third chorus, at 2:36 on the released recording, the bassline descends chromatically to mark the start of what musicologist Alan Pollack terms the "first outro"[14] and Everett calls a "codetta".[16] After this false ending, the song returns with a 45-second coda,[14] which MacDonald identifies as a "Maori finale – a mistake for 'Hawaiian' (aloha)".[19] The coda consists of a repeated musical phrase over a pedal point in C major,[14] accompanied by the vocal refrain "Helaheba-hello-a".[20]

Recording

[edit]

The Beatles began recording "Hello, Goodbye" at EMI Studios (now Abbey Road Studios) in October 1967,[21] towards the end of filming for their Magical Mystery Tour television special.[15] The latter was a film project that McCartney had initiated[22] in an effort to focus the group in the wake of Epstein's death that August.[23][24] Under the working title "Hello Hello", the Beatles taped the basic track for the song on 2 October,[25] with George Martin producing the session and Geoff Emerick and Ken Scott as engineers.[20] Author Richie Unterberger comments that the production and recording was unusually straightforward, relative to the experimentalism that had characterised much of the Beatles' studio work since completing Sgt. Pepper.[26] The line-up on the take selected for overdubs, take 14,[27] was McCartney on piano, Lennon on Hammond organ, George Harrison on maracas, and Ringo Starr on drums.[28]

The band members then added tambourine, conga drum and bongos over the coda.[16] This last section of the song came about while the group were working in the studio.[20] Lennon, who was otherwise highly critical of "Hello, Goodbye",[10] approved of the addition, saying: "The best bit was the end, which we all ad-libbed in the studio, where I played the piano. Like one of my favourite bits on 'Ticket to Ride', where we just threw something in at the end."[29] In McCartney's recollection, the coda "didn't sound quite right" until Emerick increased the reverberation on the tom-tom drums, at which point, "it just came alive."[30][nb 2] Everett cites the "Maori finale" as an example of the Beatles' pioneering use of codas in their recordings; in this instance, they provided "the cold ending followed by an unrelated coda", having similarly pioneered the "fade-out–fade-in coda" at the end of "Rain" and "Strawberry Fields Forever".[31]

The Beatles returned to the song on 19 October, two days after attending a memorial service for Epstein at the New London Synagogue on Abbey Road.[32][33] At this session, Harrison added his lead guitar parts (treated with Leslie effect), McCartney recorded the lead vocal,[nb 3] and Lennon, McCartney and Harrison supplied backing vocals; handclaps were also overdubbed.[16] With two reduction mixes having been carried out since 2 October, to free up space on the four-track tape for these and later overdubs, the master take was now nominally take 16.[27] This version of the song appeared on the 1996 outtakes compilation Anthology 2.[35][36] In his book The Unreleased Beatles, Unterberger writes that take 16 features a more "active" guitar line from Harrison, who answers McCartney's vocal phrasing over the opening verse with a series of descending fills.[37] Also present on this version is a short guitar solo, which would be replaced on the official release by what Unterberger terms "some inspired Paul scat-tinged singing".[37] Unterberger speculates that the removal of these guitar parts may have caused tension between McCartney and Harrison, anticipating the pair's disagreements regarding the lead guitarist's role on McCartney compositions such as "Hey Jude" and "Two of Us" over 1968–69.[38]

Two violas were added to "Hello, Goodbye" at Abbey Road on 20 October.[39][40] These string parts were played by classical musicians Kenneth Essex and Leo Brinbaum,[15] and scored by Martin, who based the arrangement on a melody McCartney supplied on piano.[41] McCartney overdubbed bass guitar on 25 October and, following a trip to Nice in France to film his "Fool on the Hill" segment for Magical Mystery Tour,[40] added further bass to the track on 2 November.[42][43] A mono mix of "Hello, Goodbye" was completed that same day, and the stereo version on 6 November.[42]

Release

[edit]

That's another McCartney. Smells a mile away, doesn't it? An attempt to write a single. It wasn't a great piece.[29]

– John Lennon, 1980

"Hello, Goodbye" was selected as the Beatles' single for the 1967 Christmas season,[5] their first release since Epstein's death.[44] Lennon pushed for his composition "I Am the Walrus" to be the A-side instead, but then ceded to McCartney and Martin's insistence that "Hello, Goodbye" was the more commercial of the two tracks.[45] Lennon remained dismissive of the song;[46] he later said: "'Hello, Goodbye' beat out 'I Am the Walrus' ... Can you believe that? I began to submerge."[47] Everett writes that, had "I Am the Walrus" been the A-side, "[it] would probably have encouraged Lennon to lead the Beatles to new heights", whereas the decision to choose "Hello, Goodbye" was "one more nail in the Beatles coffin".[48][nb 4]

In Britain, Parlophone issued "Hello, Goodbye" backed by "I Am the Walrus" on 24 November 1967,[50] with the catalogue number R 5655.[51] Within a day of its release, the record had sold over 300,000 copies there.[48] It went on to top the national chart compiled by Record Retailer (later the UK Singles Chart)[52] for seven weeks, through to 23 January 1968,[53] giving the Beatles their longest run at number 1 on that chart since "She Loves You" in 1963.[54] In the process, the song became the group's fourth Christmas number 1 single in five years.[55] For three weeks from 27 December 1967, the band held the top two positions in the UK, with the Magical Mystery Tour soundtrack EP trailing "Hello, Goodbye".[56]

The single was released on 27 November in the United States, as Capitol 2056,[51] and in the issue dated 30 December replaced the Monkees' "Daydream Believer" at number one on Billboard's Hot 100, where it remained for three weeks,[57] becoming the band's fifteenth American chart-topper.[58] The single was certified gold by the Recording Industry Association of America on 15 December 1967.[59] It was later listed by Billboard magazine as the band's seventh biggest US chart hit.[58] The single was successful in many other countries, topping charts in Australia,[60] Canada,[61] West Germany, Holland and Norway.[62] It also peaked at number 2 in Ireland,[63] Austria, Belgium and Switzerland.[62]

"Hello, Goodbye" was included on the American Magical Mystery Tour album,[64] which Capitol Records compiled by adding five non-album singles tracks from 1967 to the six songs issued in most other countries on the double EP.[55][65] In the Magical Mystery Tour film, which aired on British television on 26 December 1967,[66] the song's coda plays over the end credits.[3] "Hello, Goodbye" subsequently appeared on Beatles compilation albums such as 1967–1970 and 1.[67] As part of EMI's policy of celebrating the 20th anniversary of each Beatles single, "Hello, Goodbye" was reissued in the UK in November 1987[68] and peaked at number 63 on the UK Singles Chart.[69]

Promotional films

[edit]

[Directing] was something I'd always been interested in, until I actually tried it ... I didn't really direct the film[s] – all we needed was a couple of cameras, some good cameramen, a bit of sound and some dancing girls ... we took our Sgt Pepper suits along.[70]

– Paul McCartney, 2000

The band made three promotional clips for "Hello, Goodbye".[71] Filmed on 10 November 1967 at the Saville Theatre in London,[72] a theatre leased by Epstein since 1966, the clips were directed by McCartney.[71][73] The first one shows the Beatles dressed in their Sgt. Pepper uniforms,[74] apart from some brief cut-aways where the group are wearing their 1963-era matching collarless suits.[75][76] In author John Winn's description of the three clips, this version shows the Beatles performing the song against a psychedelic backdrop, while over the coda they are joined on the stage by female hula dancers. Starr is seen playing a miniature drum kit and, unusually, Lennon appears without his granny glasses. In the second clip, the Beatles mime to the song dressed in more conventional attire and with the stage backdrop depicting a rural setting. The third version combines footage shot during these two scenes with the band playing the song before what Winn terms a "glittery pastel backdrop".[75][nb 5]

The first of the three promotional clips for "Hello, Goodbye", showing the Beatles in their Sgt. Pepper outfits, accompanied by female hula dancers

In the US, the first promo for "Hello, Goodbye" was premiered on The Ed Sullivan Show on 26 November.[76][77] Author Mark Hertsgaard describes the film as "a slapdash affair featuring the hula dancers that was salvaged only by some ludicrously spastic dancing by Lennon".[18] Music critic Robert Christgau was also unimpressed; speculating in the May 1968 issue of Esquire on the content of the Magical Mystery Tour film, which had yet to air in America, Christgau wrote: "But if Paul McCartney's work on the film clip of 'Hello Goodbye' is any indication, we would be wise not to hope for too much."[78] In his book Rock, Counterculture and the Avant-Garde, author Doyle Greene finds it significant that Starr's miniature bass drum lacks the familiar Beatles logo, and he interprets the band's waving to the viewer while dressed in their 1963 stage attire as the Beatles "waving 'goodbye' to the mop-top era and 'hello' to the counterculture".[79]

In Britain, the Beatles ran foul of the Musicians Union's ban on miming on television.[80] With the first clip scheduled to premier on the 23 November edition of Top of the Pops,[76] George Martin mixed a version of the track without violas, since no musician was seen to be playing those instruments;[80] the Beatles then allowed the BBC to film them at work editing Magical Mystery Tour on 21 November, in the hope that this new footage would replace any sections that contravened the ban.[75] Instead, Top of the Pops aired the song over scenes from the band's 1964 film A Hard Day's Night.[71] For the 7 December edition of the same show, the BBC ran a clip comprising still photographs mixed with some of the editing-suite film[75] – a combination that served as the promo for "Hello, Goodbye" throughout the remainder of its UK chart run.[80]

The clip included in the 1996 Beatles Anthology video release consists of the Beatles' first Saville Theatre film, until the song's coda, which incorporates footage from all three of the original promo films.[81] The first of the original promos was included in the Beatles' 2015 video compilation 1, and all three were included in the three-disc versions of the compilation, titled 1+.[82] The BBC-compiled clip appeared as a bonus feature on the 2012 DVD reissue of Magical Mystery Tour,[83] under the title "Top of the Pops 1967".[84] In May 2013, a Vox electric guitar used by Lennon during part of the filming for "Hello, Goodbye" sold for US$408,000 at an auction in New York.[85][86][nb 6]

Critical reception

[edit]

Writing in December 1967, Richard Goldstein of The New York Times said that "Hello, Goodbye" "sounds like a B-side" and described it as "interesting but subordinate".[87] In his single review for Melody Maker, Nick Jones wrote: "Superficially it's a very 'ordinary' Beatles record without cascading sitars, and the involved, weaving hallucinogenic sounds that we've grown to love so much. However, all the Beatles soul and feeling is shining through ..."[88] Derek Johnson of the NME welcomed the simplicity of "Hello, Goodbye", describing it as "Supremely commercial, and the answer to those who feel The Beatles are going too way out".[89] Cash Box's reviewer said that the song's closing section was "brilliant" and wrote: "Minimum of words, minimum of melody and practically no subject at all, yet the Beatles have a new side that packs a panchromatic rainbow of sound into the narrow limits that Lennon & McCartney have chosen to work with …"[90]

In his book Revolution in the Head, Ian MacDonald views the track as "blandly catchy" and comments that its long stay at number 1 in Britain "says more about the sudden decline of the singles chart than the quality of the song itself".[91] Rob Sheffield of Rolling Stone considers that, at this stage in their career, "the Beatles didn't need to push – they could have hit #1 with a tape of themselves blowing their noses", which, he suggests, "would have been catchier" than both "Hello, Goodbye" and the band's next single, "Lady Madonna".[92] Writing for Rough Guides, Chris Ingham describes "Hello, Goodbye" as a "harmless, facile word and chord-play that kept the far more challenging 'Walrus' from being the A-side of the [Beatles'] first post-Epstein single".[93] In the opinion of cultural commentator Steven D. Stark, the song has "the catchiest of tunes" but "insipid" lyrics, which, had the Beatles' two principal songwriters been collaborating in the manner of previous years, Lennon would have insisted that McCartney rework.[94] Peter Doggett labels it "commercial but rather inconsequential ... three minutes of contradictions and meaningless juxtapositions, with a tune that was impossible to forget".[95]

In a 2005 review of the Magical Mystery Tour album, Sputnikmusic lauded the song for "encapsulating everything that made the Beatles such a great pop band", and praised its piano line, Starr's drumming, and the coda.[96] Writing for AllMusic, Richie Unterberger names "Hello, Goodbye" as one of the "huge, glorious, and innovative singles" on Magical Mystery Tour,[97] while Billboard's Chris Payne rates the track among the band's "most perfect pop songs".[98] Scott Plagenhoef of Pitchfork cites it as an example of how McCartney "excelled at selling simplistic lyrics that risk seeming cloying", although he adds: "the kaleidoscopic, carnival-ride melody and interplay between lead and backing vocals ensure it's a much better record than it is a song."[99]

In the NME's 2015 list of the "100 Greatest Beatles Songs" as selected by other musicians, "Hello, Goodbye" was chosen by the Cure and ranked 91st.[100] Ultimate Classic Rock website places the track at number 45 on its list of the "Top 50 Beatles Songs",[101] while Rolling Stone ranks it last on the magazine's "100 Greatest Beatles Songs" list, with the editor remarking: "McCartney never claimed that the irresistibly bouncy 'Hello, Goodbye' was his most profound songwriting moment."[102] In 2006, the track appeared at number 36 in a similar list compiled by Mojo, accompanied by commentary from Alan McGee, who described it as "the greatest-ever pop song, bar none".[103] "Hello, Goodbye" is ranked 76th by Stephen Spignesi and Michael Lewis in their book 100 Best Beatles Songs, where the authors call it a "classic" and a "fine, fresh, fun piece of pop".[1]

Cover versions and Paul McCartney live performances

[edit]

James Last, the Hollyridge Strings, Bud Shank and the Soulful Strings were all among the artists who covered "Hello, Goodbye" in the year following its release in 1967. Allen Toussaint, with whom McCartney worked briefly on his and Wings' 1975 album Venus and Mars,[104] released a version of the song in 1989.[105] More recent covers include recordings by Dwight Twilley and the band Ash, and a novelty version by Looney Tunes characters credited to "Bugs & Friends".[106]

The cast of the US television show Glee released a recording of "Hello, Goodbye" as the opening track of their 2010 album Glee: The Music, Volume 3 Showstoppers.[107] This version became a hit when issued as a single.[108][nb 7] In 2014, the Cure recorded the song with McCartney's son James, for inclusion on the multi-artist compilation The Art of McCartney.[111] Classic Rock magazine described it as "Sufficiently clattery and 'Love Cats'-ish to escape comparisons with the original".[112] Evanescence's co-founder and lead vocalist Amy Lee included a cover of "Hello, Goodbye" on her 2016 children's album Dream Too Much.[113]

McCartney has performed "Hello, Goodbye" on many of his tours as a solo artist.[45] These include 2002's Driving World Tour and 2003's Back in the World Tour, when he opened his concerts with the song,[114] and the On the Run Tour in 2011–12.[45] In addition, throughout his 1989–90 world tour, McCartney segued the coda onto the end of "Put It There".[115][116] This medley was included on McCartney's 1990 triple album Tripping the Live Fantastic,[117] while a full live rendition of "Hello, Goodbye" appeared on Back in the U.S. in 2002.[118]

Personnel

[edit]

According to Ian MacDonald:[15][nb 8]

The Beatles

Additional musicians and production

Charts

[edit]

Certifications and sales

[edit]
Region Certification Certified units/sales
Denmark (IFPI Danmark)[143] Silver 50,000[143]
France — 200,000[144]
Netherlands — 100,000[145]
United Kingdom — 500,000[146]
United States (RIAA)[147] Gold 1,000,000^
Summaries
Worldwide — 2,000,000[146]

^ Shipments figures based on certification alone.

Notes

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Hello, Goodbye

View on Grokipedia
from Grokipedia
"Hello, Goodbye" is a song by the English rock band , written primarily by and credited to the songwriting partnership. Released as a double A-side single with "" on 24 November 1967 in the United Kingdom and 27 November 1967 in the United States, it became the band's first release following the death of their manager . The track topped the UK Singles Chart for seven weeks and the US for three weeks, achieving gold certification from the RIAA on 15 December 1967. The song's lyrics explore themes of duality and opposites, such as hello/goodbye and yes/no, inspired by McCartney's of Gemini and a word-association exercise he conducted with ' associate at his home in 1967. McCartney described the composition as addressing "everything and nothing," emphasizing the simplicity of contrasts in life, with the line "The sun is up, the sky is blue" serving as an affirmation of positivity. , however, expressed disdain for the song, later dismissing it in 1980 as "three minutes of contradictions and meaningless juxtapositions," though he praised its improvised fade-out. Recording took place at EMI Studios (now ) in across several sessions in October and early November 1967, coinciding with the filming of the project. The instrumentation features McCartney on lead vocals, , , bongos, and conga; Lennon on backing vocals, , and organ; on backing vocals and ; on drums, maracas, and tambourine; and violas played by Kenneth Essex and Leo Birnbaum. Produced by and engineered by and , the track includes an extended coda with ad-libbed chants like "Hela" and "Aloha," which was incorporated into the Magical Mystery Tour film's end credits. As ' final single of 1967, "Hello, Goodbye" marked a transitional period for the band, promoting the sound of their EP and album. Promotional films directed by McCartney were shot at the in , featuring the band in their Sgt. Pepper's Lonely Hearts Club Band uniforms; these clips, considered early music videos, were banned by the for lip-synching. The song has since appeared on compilations such as (1967), 1 (2000), and (1996), and was noted in 2009 as the most-played track in UK public spaces according to data.

Origins

Background

The death of ' manager on August 27, 1967, from an accidental overdose of sleeping pills, marked a significant period of transition for the band, leaving them without their key organizational figure and amid growing internal uncertainties. This event occurred just weeks after the release of their experimental album Sgt. Pepper's Lonely Hearts Club Band, prompting the group to navigate self-management while seeking to maintain momentum in their career. Paul McCartney emerged as the primary songwriter for "Hello, Goodbye," driven by a motivation to deliver a straightforward, uplifting single that contrasted the band's recent psychedelic explorations and provided a sense of stability during this turbulent time. He aimed for an accessible track suitable as a release, emphasizing positivity to counter the disorientation following Epstein's passing. McCartney later described the as an exploration of duality, stating, "It's just a of duality, with me advocating the more positive," and noted that the theme was inspired by his astrological sign of Gemini, which symbolizes opposites and twins. McCartney composed the initial ideas for "Hello, Goodbye" at his home on in late September 1967, during a casual demonstration of his songwriting process for executive , using a harmonium to play contrasting phrases like "hello" and "goodbye." This personal creative moment captured the song's essence amid the band's evolving dynamics.

Composition

"Hello, Goodbye" was composed entirely by , though credited to the partnership as per ' standard practice. The song originated during a casual word-association exercise at McCartney's home in late September 1967, involving NEMS Enterprises press officer , who suggested words like "hello" to which McCartney responded with opposites such as "goodbye," "yes" to "no," and "good" to "bad." McCartney began developing the piece on , creating an initial demo that captured its upbeat, scalar in C major and 4/4 time. From the outset, he envisioned incorporating orchestral elements to enhance its pop-orchestral feel, aligning with the band's evolving studio experimentation. The lyrical structure revolves around binary oppositions, as in lines like "You say yes, I say no" and "You say goodbye and I say hello," illustrating the dualities inherent in human interaction and without delving into explicit . Musically, the song follows a straightforward verse-refrain (chorus) form, with verses building tension through descending basslines and the refrain resolving in a brighter, ascending at approximately 99 beats per minute. The outro features a mantra-like repetition of "hello, goodbye," evoking a , chant-like quality. John Lennon expressed initial skepticism toward the song, viewing it as superficial and later describing it as "three minutes of contradictions and meaningless juxtapositions." Reflecting the band's internal tensions during this period, he preferred more introspective material amid their collaborative dynamics.

Production

Recording

The recording of "Hello, Goodbye" took place at EMI Studios (now Abbey Road Studios) in London, spanning several sessions from 2 October to 2 November 1967, under the production of George Martin and engineering by Ken Scott and Geoff Emerick. The initial session on 2 October in Studio Two began at 7 p.m. and lasted until 3:30 a.m., where the Beatles captured the basic rhythm track across 16 takes, featuring Paul McCartney on piano and bass guitar, John Lennon on rhythm guitar and organ, George Harrison on guitar, and Ringo Starr on drums. This foundational work established the song's upbeat structure, with McCartney providing lead vocals during later overdubs. Subsequent sessions built on this track through extensive overdubs, highlighting the band's collaborative input and Martin's orchestral enhancements. On 19 October in the larger Studio One, from 7 p.m. to 3:30 a.m., McCartney double-tracked his lead vocals, while Lennon and Harrison added backing vocals and dual parts; the group also recorded handclaps and improvised "Hela, heba, heloa" chants for the coda, creating a layered, rhythmic vocal texture that contributed to the song's playful energy. Lennon contributed throughout, Harrison added parts, and Starr enhanced the percussion with maracas and on the basic track. A tape reduction combined elements into take 17, freeing tracks for further additions. The following day, 20 October, focused on the coda's development, with Martin arranging two viola parts—played by session musicians Kenneth Essex and Leo Birnbaum—based on McCartney's hummed piano melody, introducing a string element that added emotional depth to the fade-out without overwhelming the rock arrangement. Additional overdubs occurred on 25 October, including McCartney's first layer, before the final session on 2 November, where McCartney added a second bass part and the track was deemed complete. During mixing, Martin and the engineers opted to extend the viola coda for dramatic effect, applying heavy echo to Starr's tom-toms to heighten the sense of resolution and expansiveness, resulting in a mono mix that emphasized the song's dynamic close.

Personnel

The personnel for "Hello, Goodbye" consisted of the core lineup, supplemented by session musicians for the string overdubs in the coda. Additional musicians
  • Kenneth Essex: viola (coda)
  • Leo Birnbaum: viola (coda)
Production and technical staff
  • George Martin: producer, arranger (viola parts)
  • Geoff Emerick: engineer (tape editing, effects including echo on tom-toms)
  • Ken Scott: engineer (mixing)
These credits are confirmed in official releases, including the 1987 EMI CD reissue of and subsequent Apple remasters, as documented in sessionographies by .

Release and Promotion

Release

"Hello, Goodbye" was issued as a non-album single in the on 24 November 1967 by Records, with the catalogue number R 5655 and "" as the B-side. In the United States, released it on 27 November 1967 as catalogue number 2056, again backed by "". The UK edition featured a standard pictureless sleeve typical of Parlophone singles at the time, while initial US copies were sometimes distributed in imported picture sleeves derived from the accompanying album artwork. The track was included on The Beatles' Magical Mystery Tour project, appearing on the double EP release in the UK on 8 December 1967 (Parlophone MMT-1/MMT-2), which represented a departure from the standard single-EP format with its gatefold packaging and 24-page color booklet containing lyrics and photographs from the accompanying television film. In the US, "Hello, Goodbye" led off the Magical Mystery Tour LP, issued on 27 November 1967 (Capitol MAS-2835), expanding the EP's content with additional non-album singles to create a full-length album. The choice of "Hello, Goodbye" as the A-side occurred despite John Lennon's strong preference for "I Am the Walrus" to serve in that role, a decision ultimately driven by Paul McCartney and producer George Martin to prioritize commercial appeal following the death of manager Brian Epstein. The single saw robust initial sales, exceeding 300,000 copies in the UK within its first day of availability.

Promotional Films

The Beatles produced three promotional films for their single "Hello, Goodbye," continuing their use of filmed visuals to promote releases and helping lay early groundwork for the modern format that would later be popularized by decades hence. Directed primarily by with assistance from Apple Films producer Tony Bramwell, the films were shot on November 10, 1967, at the in London's West End, a venue leased by manager . Filmed in color on 35mm stock by a small crew using a single camera, the productions featured the band miming to the track amid a psychedelic stage setup, despite British Musicians' Union restrictions on lip-syncing that initially limited UK broadcasts. The first version depicted the group in everyday "street clothes," performing straightforwardly on stage with a sequence of dancing girls in the finale to evoke a lively atmosphere. The second version showcased the band in their colorful Sgt. Pepper's Lonely Hearts Club Band uniforms against a swirling psychedelic backdrop, incorporating quick cutaways to archival footage of in their 1963 collarless suits as a symbolic nod to their origins, and concluding with hula-dancing women in Hawaiian costumes. A third, more experimental version compiled outtakes from the prior shoots, including playful mime sequences where danced the Twist and the group engaged in spontaneous, surreal antics like exaggerated gestures and stage romping, adding a layer of whimsy without reverse footage or additional locations. These elements—mime, costume shifts, and lighthearted symbolism—highlighted McCartney's improvisational directing style, as he called out shots on the fly during the single afternoon's filming. Although the films could not air on the BBC's due to the miming ban, they debuted internationally on in the United States on November 26, 1967, and on November 28, 1967, helping propel the single to the top of charts worldwide. In the UK, still photographs from the shoots were eventually used on in December 1967 as a compromise. The promotional films underwent restoration for the 2015 reissue of The Beatles 1 compilation, where high-definition transfers preserved their vibrant colors and sharp details, making them available on DVD, Blu-ray, and digital platforms for the first time in enhanced form.

Reception

Critical Reception

Upon its release in November 1967, "Hello, Goodbye" garnered positive initial reviews for its catchiness and pop appeal. In , Nick Jones described it as superficially ordinary but infused with the Beatles' soul and feeling, highlighting its enduring charm despite lacking exotic elements like sitars. Similarly, New Musical Express critic Derek Johnson praised it as supremely commercial, serving as a reassuring to perceptions that had veered too far into experimental territory. However, responses were mixed; Richard Goldstein in deemed it akin to a B-side—interesting yet subordinate to the band's more ambitious work, particularly when contrasted with the psychedelic complexity of its B-side, "." John Lennon expressed personal disdain for the track, viewing it as a lesser McCartney composition and dismissing it as "three minutes of contradictions and meaningless juxtapositions" in a 1980 interview, reflecting his preference for more substantive material. In contrast, defended it as an intentional exploration of pop duality, emphasizing themes of opposites like yes/no and hello/goodbye to capture life's fundamental tensions in an accessible form. Retrospective assessments have often highlighted the song's orchestral innovations amid its simplicity. In Revolution in the Head: The Beatles' Records and the Sixties (1994), called it "blandly catchy" but commended the lavish string arrangement by , which elevated its playful structure into a sophisticated pop artifact. It ranked #100 on Rolling Stone's 2010 list of the 100 greatest Beatles songs, with critics noting its irresistible bounce and role in bridging the band's psychedelic phase with classic pop sensibilities. Post-2020 analyses have underscored the song's accessibility in the streaming era, where its concise, duality-driven lyrics resonate with modern pop's thematic contrasts, as seen in tracks by artists like exploring emotional binaries. A 2023 Ultimate Classic Rock retrospective linked its enduring streams—over 168 million on as of November 2025—to this timeless exploration of opposites, positioning it as a precursor to contemporary duality motifs in hits like Taylor Swift's "Anti-Hero."

Commercial Performance

"Hello, Goodbye" was a major commercial success for , topping charts in multiple countries and achieving strong sales figures shortly after its release. In the , the single debuted at number two on the Official Singles Chart before ascending to number one on 6 December 1967, where it remained for seven consecutive weeks. It sold over 500,000 copies within its first three weeks on sale and is estimated to have reached approximately 750,000 units in the UK market during its original run. The track also ranked as the second-best-selling single of 1967 in the UK. In the United States, "Hello, Goodbye" entered the at number 71 before climbing to number one on 30 1967, holding the top position for three weeks. The (RIAA) certified the single on 15 1967, recognizing one million units shipped at the time. Sales in the US are estimated at 1.4 million copies from the original release period, with the song reaching #11 on year-end Hot 100 chart for 1968. Internationally, the single performed strongly, reaching number one in on the RPM 100 chart and in on the . It also topped charts in countries including , the , , and .
Chart (1967–1968)Peak PositionWeeks at No. 1Source
UK Singles Chart17
13
Canadian RPM 1001N/ARPM
1N/A
Global sales for "Hello, Goodbye" are estimated at 4.13 million units as of September 2025, reflecting its enduring popularity through physical sales and later digital equivalents.

Legacy

Cover Versions

Soon after the Beatles' original release, several instrumental covers emerged in 1968, adapting the song to orchestral and jazz styles. German bandleader James Last included an orchestral medley of "Hello, Goodbye" with the Bee Gees' "Massachusetts" on his album Non Stop Dancing '68, emphasizing upbeat big-band arrangements typical of his easy-listening approach. Similarly, the Hollyridge Strings delivered a lush, string-based rendition on their Beatles Song Book Vol. 5, part of a series that reimagined Beatles tracks in symphonic form without vocals. Jazz saxophonist Bud Shank offered a more improvisational take on his album Magical Mystery, featuring flugelhorn by Chet Baker and blending the melody with bebop elements for a cool jazz interpretation. In the rock and pop genres, covers have highlighted the song's melodic hooks while adding contemporary twists. Northern Irish band Ash recorded a punk-infused version for their 2011 EP Little Infinity, accelerating the tempo and infusing it with their raw energy during a series of Beatles tributes. American singer-songwriter Dwight Twilley released a power-pop rendition on his 2009 tribute album The Beatles, capturing the original's jangly guitars and harmonies in a style reminiscent of his 1970s hits. British alternative rock group The Cure provided a gothic-tinged cover in 2014 for the tribute album The Art of McCartney, with frontman Robert Smith's emotive vocals and guest guitar from James McCartney, Paul's son, staying faithful to the psychedelic arrangement. More recent and novelty interpretations demonstrate the song's enduring versatility across formats. Dutch Beatles tribute band have performed "Hello, Goodbye" live as part of their 2024 tour Hello Goodbye: The Best of the Studio Years, replicating the original's studio orchestration with authentic instrumentation on stage. In a vocal-only twist, the Meddiebempsters, an group from , arranged a harmonious, beatbox-driven version for their 2024 Senior Solos concert, showcasing layered harmonies without instruments. A whimsical 1995 novelty cover appeared on the children's album Bugs & Friends Sing The Beatles, where characters like and sang the track in cartoonish voices, blending humor with the pop melody.

Paul McCartney Live Performances

McCartney first performed "Hello, Goodbye" live as a solo artist during his 2002 Driving USA Tour, opening every one of the 58 shows with the upbeat track to energize audiences. The song retained its position as the set opener for the follow-up Back in the World Tour in 2003, where it was played at all 32 dates across Europe and the UK. Throughout his solo career, McCartney played "Hello, Goodbye" 113 times from 2002 to 2012, accounting for about 13.8% of his approximately 819 solo concerts through 2023. It reappeared sporadically in later tours, including 16 performances during the 2011 leg of the On the Run Tour and 6 in 2012, plus a one-off at the 2008 Friendship First concert in . The song was performed once more in 2024 at the festival in , marking a return after over a decade and bringing the total to 114 as of November 2025; it has not appeared in 2025 Tour dates. McCartney's live arrangements of "Hello, Goodbye" typically involve his longstanding touring band, emphasizing a rock-infused rendition with extended codas that build to a climactic finish. In the era, versions incorporate modern production elements like enhanced lighting and visuals, though the song was absent from main tour dates after 2012 until the 2024 festival appearance. The track's role as a frequent opener has made it a staple for high-energy concert starts, often prompting immediate audience sing-alongs and applause, as noted in reviews of early tours where it set an exuberant tone for the evening.

Cultural Impact

The promotional films for "Hello, Goodbye," produced on November 10, 1967, at London's Savile Theatre, represented a pioneering effort in promotion that foreshadowed the modern era. Directed by , the three distinct versions featured the band in performances against simple backdrops, with varying camera angles and editing styles to suit different television broadcasts, such as in the United States and in the . These films allowed to promote the single globally without the logistical challenges of live appearances, establishing a template for integrating narrative visuals with recorded audio. This innovation had a profound influence on the development of , serving as direct precursors to popularized by MTV's launch in 1981. ' approach demonstrated how films could enhance a song's marketability and artistic expression, inspiring later artists to adopt similar techniques; for instance, Queen's 1975 "Bohemian Rhapsody" video drew on ' multi-faceted visual storytelling, while Michael Jackson's 1983 "" expanded the cinematic scope first explored in such promotional works. By blending performance with creative direction, the "Hello, Goodbye" films helped shift the music industry toward video as an essential promotional tool. Thematically, "Hello, Goodbye" explores the concept of duality—opposing forces like yes/no, stop/go, and hello/goodbye—which McCartney intended as a reflection of universal binaries, drawing from Geminian influences and philosophical contrasts. McCartney elaborated that the advocate the positive side of these opposites, creating a that balances tension and resolution in a way that mirrors life's contradictions. This duality has echoed in broader cultural discussions, including psychological interpretations of balancing polarities for personal equilibrium, as seen in analyses linking the song to themes of and opposition in human experience. The song has permeated various media beyond music. It has also been licensed for television advertisements, notably in a 2007 Target campaign that playfully altered the chorus to "Goodbuy" to evoke shopping transitions. Since the 2010s, the track's catchy refrain has fueled online memes and visual content on platforms like Giphy, often juxtaposing greetings with ironic goodbyes in viral formats. The Beatles' use of AI to isolate vocals for their 2023 single "Now and Then" highlights ongoing innovations in music production. This enduring motif reinforces "Hello, Goodbye" as a cultural touchstone for navigating opposites, from personal interactions to technological advancements, maintaining its relevance in global pop culture through phrases like "you say goodbye, I say hello" in everyday expressions of connection and parting.

References

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