Contents 1 Background and inspiration 2 Composition 2.1 Music 2.2 Lyrics 3 Production 3.1 Recording 3.2 Studio effects 4 Appearance in Magical Mystery Tour film 5 Release and reception 6 Retrospective assessment 7 Cover versions and cultural references 8 Personnel 9 Notes 10 References 11 Sources 12 External links


Background and inspiration[edit] View of Los Angeles from Griffith Park, at the eastern end of the Hollywood Hills George Harrison wrote "Blue Jay Way" after arriving in Los Angeles on 1 August 1967 with his wife Pattie Boyd[2] and Beatles aides Neil Aspinall and Alex Mardas.[3] The purpose of the trip was to spend a week with Derek Taylor,[4] the Beatles' former press officer and latterly the publicist for California-based acts such as the Byrds and the Beach Boys.[5] The visit also allowed Harrison to reunite with his sitar tutor, Ravi Shankar,[6] whose Kinnara School of Music[7] and upcoming concert at the Hollywood Bowl he helped publicise.[4][8] I told [Derek Taylor] on the phone that the house was in Blue Jay Way … There was a fog and it got later and later. To keep myself awake, just as a joke to fill in time, I wrote a song about waiting for him in Blue Jay Way. There was a little Hammond organ in the corner of this rented house … I messed around on this and the song came.[9] – George Harrison to Hunter Davies, 1968 The title of the song came from a street named Blue Jay Way, one of the "bird streets" high in the Hollywood Hills West area overlooking the Sunset Strip,[10] where Harrison had rented a house for his stay.[11] Jet-lagged after the flight from London, he began writing the composition on a Hammond organ[12][13] as he and Boyd waited for Taylor and the latter's wife, Joan, to join them.[14] The home's location, on a hillside of narrow, winding roads, together with the foggy conditions that night, created the backdrop for the song's opening lines: "There's a fog upon L.A. / And my friends have lost their way."[15] Harrison had almost completed the song by the time the Taylors arrived,[16] around two hours later than planned.[17] The week with Taylor proved to be important for the direction of the Beatles.[18] At the height of the Summer of Love and the popularity of the band's Sgt. Pepper's Lonely Hearts Club Band album,[19] Harrison, Taylor and their small entourage visited the international "hippie capital" of Haight-Ashbury, in San Francisco,[20] on 7 August.[21] Harrison had expected to encounter an enlightened community engaged in artistic pursuits[22][23] and working to create a viable alternative lifestyle;[24][25] instead, he was disappointed that Haight-Ashbury appeared to be populated by drug addicts, dropouts and "hypocrites".[26][27] Following his return to England two days later,[21] Harrison completed work on "Blue Jay Way" at his home in Esher.[12] He also shared his disillusionment about Haight-Ashbury with John Lennon,[25] soon after which the Beatles publicly denounced the popular hallucinogen LSD (or "acid") and other drugs[4] in favour of Transcendental Meditation under Maharishi Mahesh Yogi.[28][29] While noting Harrison's role in "inspir[ing] the West's mainstream acquaintance with Hindu religion" through his leadership in this aspect of the Beatles' career, author Ian MacDonald describes "Blue Jay Way" as a "farewell to psychedelia", just as "It's All Too Much", which the Beatles recorded in May 1967,[30] became Harrison's "farewell to acid".[31]


Composition[edit] Music[edit] "Blue Jay Way" was one of several songs that Harrison composed on a keyboard over 1966–68 – a period when, aside from in his work with the Beatles, he had abandoned his first instrument, the guitar, to master the sitar,[32][33] partly under Shankar's tutelage.[34][35] The song is in 4/4 time throughout; its structure consists of an intro, three combinations of verse and chorus, followed by repeated choruses.[36] While MacDonald gives the musical key as "C major (minor, diminished)",[37] musicologist Alan Pollack views it as a mix of C major and C modal, and acknowledges the "highly unusual" incorporation of the notes D♯ and F♯.[36] The inclusion of the latter note suggests the Lydian mode,[38] which, according to musicologist Walter Everett, had only been heard previously in popular music in the Left Banke's 1966 single "Pretty Ballerina".[39] A Hammond B3 organ, beside a Leslie speaker cabinet. Both the Hammond organ and sound treatment via a Leslie speaker feature significantly on the Beatles' recording. The song's melody oscillates over the chords of C major and C diminished,[40][41] a chord favoured by Harrison in his Indian music-inspired compositions for the Beatles.[42] Acknowledging Harrison's statement that the tune is "slightly Indian",[14] Everett considers "Blue Jay Way" to be related to the ragas Kosalam and Multani.[43] According to author Simon Leng, however, Harrison based the song partly on Raga Marwa.[44][nb 1] Following the inclusion of a raga-style introduction (or alap) in his previous Indian compositions, "Love You To" and "Within You Without You",[46] "Blue Jay Way" begins with a preview of the song's melody played softly, in free time, over the opening drone.[36][nb 2] Author Ian Inglis credits the song's incorporation of ambient drone, specifically its role in providing "an anchorage point for vocal and instrumental improvisation", as one of the first examples of a musical device that soon became prevalent in the work of Fairport Convention, the Incredible String Band and other folk artists.[47] The length of the verses falls short of an even eight bars through the omission of a final beat. Pollack recognises this detail as reflecting a sense of impatience, in keeping with the circumstances surrounding the song's creation.[36] Following the third verse–chorus combination, the outro comprises four rounds of the chorus, with the lyrics to the final round consisting of the repeated "Don't be long" refrain. As a feature that Pollack terms "compositionally impressive", each of the four sections in this outro varies in structure by being either shorter in length or less musically detailed.[36] Lyrics[edit] The lyrics to "Blue Jay Way" relate entirely to Harrison's situation on that first night in Los Angeles.[48] He refers to fighting off sleep and recalls his advice to Taylor to ask a policeman for directions to Blue Jay Way.[49] Author Jonathan Gould views the song as "darkly funny", with the singer's concern over his friends' tardiness almost resembling "a metaphysical crisis".[48] In the choruses, Harrison repeatedly urges "Please don't be long / Please don't you be very long",[50] a refrain that Inglis identifies as central to the composition's "extraordinary sense of yearning and melancholy".[18] Taylor later expressed amusement at how some commentators interpreted "don't be long" as meaning "don't belong" – a message to Western youth to opt out of society – and at how the line "And my friends have lost their way" supposedly conveyed the idea that "a whole generation had lost direction".[16] With regard to whether Harrison was telling contemporary listeners not to "belong", Inglis writes, this "alternative reading" of the song aligned with Timothy Leary's catchphrase for the 1960s American psychedelic experience, "Turn on, tune in, drop out".[51][nb 3] In Gould's opinion, the continual repetition of the line at the end of "Blue Jay Way" transforms the words into "a plea for nonattachment – 'don't belong'".[48] Rather than attaching any countercultural significance to this, however, Gould views it as the Beatles repeating the wordplay first used in the chorus of Lennon's 1963 song "It Won't Be Long".[53]


Production[edit] Recording[edit] The Beatles began recording "Blue Jay Way" on 6 September 1967 at EMI's Abbey Road Studios in London.[54][55] The song was Harrison's contribution to the television film Magical Mystery Tour,[56][57] the first project undertaken by the band following the death of their manager, Brian Epstein.[58][59][nb 4] Author Nicholas Schaffner describes "Blue Jay Way" as the first Harrison-written Beatles recording on which he "adapt[ed] some of his Indian-derived ideas to a more Western setting", with Hammond organ, cello and drums serving the function of, respectively, tambura drone, sitar and tabla.[61] The group achieved a satisfactory rhythm track in a single take.[55][57] On 7 September, this recording – comprising two organ parts, bass guitar and drums – was reduced to two tracks on the 4-track master tape, after which Harrison overdubbed his double-tracked lead vocal, and he, Lennon and Paul McCartney added backing vocals.[57] Among Beatles biographers, MacDonald credits Harrison as the sole organ player on the song,[40] while Kenneth Womack and John Winn write that Lennon played the second keyboard part.[57][62][nb 5] Recording was completed at Abbey Road on 6 October, with the addition of tambourine, played by Ringo Starr,[13] and cello.[63][64] The latter was performed by an unnamed session musician.[13] As with all the songs recorded for Magical Mystery Tour,[65] final mixing was carried out on 7 November.[43] Studio effects[edit] "Blue Jay Way" features extensive use of three studio techniques employed by the Beatles over 1966–67:[13][49] flanging, an audio delay effect;[66] sound-signal rotation via a Leslie speaker;[57] and (in the stereo mix only) reversed tapes.[43] Beatles historian Mark Lewisohn compares "Blue Jay Way" with two Lennon tracks from this period, "Strawberry Fields Forever" and "I Am the Walrus", in that the recording "seized upon all the studio trickery and technical advancements of 1966 and 1967 and captured them in one song".[55][nb 6] Together with the pedal drone supplied by the keyboard parts, the various sound treatments reinforce the sense of dislocation evident in the song.[40] In the case of the reversed-tape technique, a recording of the completed track was played backwards and faded in at key points during the performance.[67] This effect created a response to Harrison's lead vocal over the verses, as the backing vocals appear to answer each line he sings.[43] Due to the limits of multitracking, the process of feeding in reversed sounds was carried out live during the final mixing session.[67] Described by Lewisohn as "quite problematical",[65] the process was not repeated when the Beatles and their production team worked on the mono mix.[67]


Appearance in Magical Mystery Tour film[edit] The movie only really comes to life when everything stops for a Beatles tune ... "Blue Jay Way" might be the most dated, as we see George Harrison sitting in a blue[-lit] room as five similar images swirl around him.[68] – Film critic Collin Souter, 2003 The song's segment in Magical Mystery Tour was shot mainly at RAF West Malling, an air force base near Maidstone in Kent,[69] during the week beginning on 19 September.[57][nb 7] Described by Womack as "the movie's hazy, psychedelic sequence",[71] it features Harrison sitting on a pavement and playing a chalk-drawn keyboard.[72] Dressed in a red suit,[16] he is shown busking on a roadside; next to his keyboard are a white plastic cup and a message written in chalk, reading: "2 wives and kid to support".[73] The depiction of Harrison, seated in the lotus position and seemingly zoned out, matched his public image as the most committed of the Beatles to Transcendental Meditation and Eastern philosophy.[74] Harrison performing in the "Blue Jay Way" film sequence The filming took place in an aircraft hangar, with the scene designed to re-create a typically smog-ridden Los Angeles.[75] Music journalist Kit O'Toole writes that the smoke surrounding Harrison "almost engulf[s] him, mimicking the 'fog' described in the lyrics".[49] Through the use of prismatic photography,[16] the "Blue Jay Way" segment also shows Harrison's "image refracted as if seen through a fly's eye", according to author Alan Clayson, who describes the scene as mirroring "the requisite misty atmosphere" suggested by the recording.[74][nb 8] In its preview of Magical Mystery Tour in 1967, the NME highlighted the segment as one of the film's "extremely clever" musical sequences, saying: "For 'Blue Jay Way' George is seen sitting cross-legged in a sweating mist which materialises into a variety of shapes and patterns. It's a pity that most TV viewers will be able to see it only in black and white."[77] At other times during the sequence, the four Beatles alternate in the role of a solo cellist.[71] These scenes were filmed on 3 November, on the rockery[75] at Sunny Heights, Starr's house in Weybridge, Surrey.[78] Tony Barrow, the production manager for Magical Mystery Tour, recalls that, as "a colourful conclusion" to the segment, they set off fireworks that had been bought for the upcoming Guy Fawkes Night celebrations.[75] The version of "Blue Jay Way" appearing in the 2012 DVD release of Magical Mystery Tour is an alternative edit and includes some previously unused footage.[79] O'Toole admires the "Blue Jay Way" sequence as "one of the film's too-few bright spots" and "a perfect representation of the track's hallucinatory qualities".[49]


Release and reception[edit] "Blue Jay Way" was issued in Britain as the final song on the Magical Mystery Tour double EP on 8 December 1967.[80][81] In America, where Capitol Records had combined the six EP tracks with five songs issued on the band's singles throughout the year, creating a full album,[82][83] the release took place on 27 November.[84] Reviewing the EP for the NME, Nick Logan considered it to be "Sergeant Pepper and beyond, heading for marvellous places", during which "we cruise down 'Blue Jay Way' with [Harrison] almost chanting the chorus line. A church organ starts this one off and leads us into a whirlpool of sound ..."[85][86] Among reviews of the US release, Saturday Review admired the album as a "description of the Beatles' acquired Hindu philosophy and its subsequent application to everyday life",[87] while Robert Christgau wrote in Esquire that, despite three of the new songs being "disappointing", Magical Mystery Tour was "worth buying ... especially for Harrison's hypnotic 'Blue Jay Way'". Christgau described the track as "an adaptation of Oriental modes in which everything works, lyrics included".[88] In a combined review of concurrent releases such as Magical Mystery Tour, the Rolling Stones' Their Satanic Majesties Request and Cream's Disraeli Gears, Hit Parader praised the Beatles for further "widening the gap between them and 80 scillion other groups". The reviewer added: "The master magicians practice their alchemy on Harrison's 'Blue Jay Way', recorded perhaps in an Egyptian tomb, and 'I Am The Walrus', a piece of terror lurking in foggy midnight moors. These two songs accomplish what the Stones attempted."[89]


Retrospective assessment[edit] A critic of the Beatles' output immediately post-Sgt. Pepper,[90] Ian MacDonald found "Blue Jay Way" "as unfocused and monotonous as most of the group's output of this period", adding that the song "numbingly fails to transcend the weary boredom that inspired it".[40] Writing for Rolling Stone in 2002, Greg Kot considered it to be "one of [Harrison's] least-memorable Beatles tracks … a song essentially about boredom – and it sounds like it".[91] Similarly unimpressed with Magical Mystery Tour, Tim Riley describes "Blue Jay Way" as a song that "goes nowhere tiresomely", with a vocal that "sounds as tired and droning" as the musical accompaniment.[92] Ian Inglis writes that the emotion Harrison conveys on the track "belies its apparently trivial lyrics" and that, together with the instrumentation and backing vocals, his pleas "create an unusually atmospheric and strangely moving song".[18] Writing for Rough Guides, Chris Ingham deems the song to be "essential Beatlemusic"; he views it as Harrison's "most haunting and convincing musical contribution of the period", after "Within You Without You", as well as "possibly the most unnerving of all Beatles tracks".[93] In a 2002 review for Mojo, Charles Shaar Murray described the song as "eerie, serpentine" and "a fine and worthy companion for Pepper's Within You Without You".[94] Writing in Uncut that same year, Carol Clerk called it "a weirdly atmospheric triumph".[95] What could have been a simple, maudlin ditty was transformed by The Beatles' studio process into an exotic, almost mystical journey. Harrison's vocal was treated until it sounded as if it was coming from beyond the grave ... Backwards tapes, droning organs, and a cello combined to heighten the Eastern atmosphere – without a single Indian instrument being employed.[96] – Peter Doggett, 2001 In his book Indian Music and the West (1997), Gerry Farrell refers to the song when discussing its author's contribution to popularising Indian classical music,[97] writing: "It is a mark of Harrison's sincere involvement with Indian music that, nearly thirty years on, the Beatles' 'Indian' songs remain among the most imaginative and successful examples of this type of fusion – for example, 'Blue Jay Way' and 'The Inner Light.'"[98] Simon Leng writes of the song: "Harrison was working at a sophisticated level of extrapolating Indian scales to the Western setting, something no one else had done … 'Blue Jay Way' explores the structures of Indian music just as 'Within You Without You' debates its philosophical roots."[41] In her song review for the music website Something Else!, Kit O'Toole describes "Blue Jay Way" as one of its composer's "most eccentric and abstract compositions" and "the perfect snapshot of the Beatles' most unusually creative artistic phase".[49] Former Record Collector editor Peter Doggett, writing in Barry Miles' The Beatles Diary, similarly admires the recording, saying that the Beatles rendered the song "an exotic, almost mystical journey" that evokes a mysterious Eastern mood "without a single Indian instrument being employed".[96] Music critic Jim DeRogatis ranks "Blue Jay Way" at number 7 in his list of the Beatles' best psychedelic rock songs.[99] In a 2009 review for Consequence of Sound, Dan Caffrey highlights the track among the "stellar moments in the album's first half" and considers it to be "George Harrison's most underrated song". Caffrey adds: "For a piece inspired by the simple act of waiting for a friend to arrive at his Los Angeles home on a foggy night, 'Blue Jay Way' is a haunted house of a hit, adding an ethereal, creepy mythos to the City of Angels."[1] Writing for The A.V. Club, Chuck Klosterman describes the song as being among "the trippiest ... material [the Beatles] ever made",[100] while Mark Kemp of Paste views it as "wonderfully wobbly".[101] Scott Plagenhoef of Pitchfork Media includes "Blue Jay Way" among the EP's four "low-key marvels", about which he opines: "Few of them are anyone's all-time favorite Beatles songs ... yet this run seems to achieve a majesty in part because of that: It's a rare stretch of amazing Beatles music that can seem like a private obsession rather than a permanent part of our shared culture."[102]


Cover versions and cultural references[edit] Lord Sitar included "Blue Jay Way" on his 1968 album of Indian music-style recordings, titled Lord Sitar.[103][104] The artist credit was a pseudonym for London session guitarist Big Jim Sullivan,[105] although rumours circulated that Lord Sitar was in fact Harrison himself,[103][106] partly as a result of EMI/Capitol's refusal to deny the claim.[107][nb 9] Also in 1968, jazz saxophonist and flautist Bud Shank, another associate of Ravi Shankar,[111][112] recorded the song for his album Magical Mystery.[113] "Blue Jay Way" was a rare Beatles song released before their 1968 self-titled double album that Charles Manson adopted as part of his theory of an impending social revolution in the United States,[114][115] a scenario that led to his followers carrying out a series of murders in Los Angeles during the summer of 1969.[116] Finding parallels between the Beatles' lyrics and the Book of Revelation, and believing himself to be the messiah,[117] Manson interpreted Harrison's opening verse and chorus as the Beatles calling out to Jesus Christ.[118] Colin Newman (pictured in 2011) covered the song on his 1982 album Not To. Colin Newman, singer and guitarist with the post-punk band Wire,[119] included a cover of "Blue Jay Way" on his 1982 solo album Not To.[120] In March 2015, the song was also his selection for the NME's "100 Greatest Beatles Songs" poll. Newman cited the track as an example of how the Beatles were "properly serious about their art" and why they now "need to be rescued from the clammy clutches of the heritage industry".[121] Borbetomagus released a live recording of the song on their 1992 album Buncha Hair That Long, a version that Trouser Press later said "could easily reunite the Beatles for good if it were played in the presence of the surviving trio".[122] On their 2003 live album Seven Year Itch, Siouxsie and the Banshees included a reading that, according to The Guardian's reviewer, "transformed [the song] into an apocalyptic howl".[123] Other artists who have covered "Blue Jay Way" include Tracy Bonham, on her 2007 album In the City + In the Woods,[124] and the Secret Machines, whose version appears in the Julie Taymor-directed film Across the Universe (2007).[71] Former Cars keyboardist Greg Hawkes recorded a ukulele rendition for his 2008 solo album The Beatles Uke.[125] Downtown Los Angeles (viewed from the Hollywood Hills) – the city has continued to be associated with the Beatles' song. Harrison's experience when writing "Blue Jay Way" is referenced in the Jonathan Kellerman novel Obsession (2007), as the lead character, Alex Delaware, waits among the "bird streets" overlooking Sunset Strip.[126] The US hip hop group Death Grips included a reversed sample of "Blue Jay Way" as well as a quote from the song's lyrics in their 2012 track "Double Helix", released on The Money Store,[127] an album that Clash magazine described as sounding like "the burning skies of LA's decaying empire".[128] In a 2011 interview, music producer and radio host Kim Fowley identified "Blue Jay Way" as the first song in which a member of the Beatles wrote about America and cited it as evidence of Harrison's standing as "the most American of all the Beatles" during the 1960s. Fowley highlighted this connection – including Harrison's friendships with David Crosby of the Byrds and other California-based musicians, such as Leon Russell – as the foundation for rock music's first all-star charity concert, the Concert for Bangladesh, which Harrison staged in New York in August 1971.[129][nb 10] Due to the attention created by the Beatles' song, the street signs for Blue Jay Way have long been collector's items for fans visiting the Hollywood Hills.[11][131] In May 2015, a lane in the Heavitree area of Exeter, in the English county of Devon, was named Blue Jay Way after the song.[132] In addition to much of the filming for Magical Mystery Tour having taken place at various locations in the West Country,[133][134] the title commemorates the Beatles' three concert appearances at Exeter's ABC Cinema over 1963–64.[135]


Personnel[edit] According to Ian MacDonald:[40] George Harrison – lead vocals, Hammond organ, backing vocal John Lennon – backing vocal, Hammond organ[2][57] Paul McCartney – backing vocal, bass guitar Ringo Starr – drums, tambourine Unnamed session musician – cello


Notes[edit] ^ Leng quotes John Barham, with whom Harrison began collaborating on the soundtrack album to the film Wonderwall in late 1967, as saying that Harrison acknowledged Barham's piano adaptation of Raga Marwa as his influence.[45] ^ On the released recording, the Lydian-mode sharp 4th note (F♯) is first presented in the cello's brief appearance during this introduction (at 0:19). The same note then becomes a melodic feature as Harrison sings "Or I may be asleep", at the end of the choruses, and in the backing vocals on "Don't be long".[38] ^ Despite the Beatles' public rejection of LSD before the song's release, Kris DiLorenzo of Trouser Press later described "Blue Jay Way" as "the archetypal acid song".[52] ^ Harrison was also credited as co-writer of the group composition "Flying", however.[60] ^ In Womack's description, Harrison and Lennon performed "a psychedelic duet of dueling Hammond organs".[2] ^ Lewisohn adds that, like the two Lennon-written tracks, the song "makes fascinating listening for anyone interested in what could be achieved in a 1967 recording studio".[55] According to authors Jean-Michel Guesdon and Philippe Margotin, "'Blue Jay Way' was the only Beatles song to use practically all the effects available at that time."[13] ^ With recording on the song incomplete at this point, Harrison mimed to a mix created at Abbey Road on 16 September.[57][70] ^ In Gould's description, the effect "yields prismatic projections of George yogically floating on air".[76] ^ Dee Long of the Canadian band Klaatu covered "Blue Jay Way" on the 2004 tribute album It Was 40 Years Ago Today: Tribute to the Beatles.[108] In 1977, seven years after the Beatles' break-up, Capitol had similarly exploited rumours that Klaatu was the four ex-Beatles recording under a new name.[109][110] ^ According to former Guardian music critic Geoffrey Cannon, Harrison performed "Blue Jay Way" with Crosby, Stills & Nash in their London flat in the late 1960s, shortly before the trio's official formation.[130]


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Retrieved 23 March 2016.  ^ "100 Greatest Beatles Songs As Chosen By Music's A-Listers". nme.com. 17 March 2015. Retrieved 26 April 2016.  ^ Sprague, David (2007) [1995]. "Borbetomagus". trouserpress.com. Retrieved 26 April 2016.  ^ Griffiths, James (10 October 2003). "Siouxsie and the Banshees, The Seven Year Itch Live". The Guardian. Retrieved 23 March 2016.  ^ "Tracy Bonham In the City + In the Woods". AllMusic. Retrieved 23 March 2016.  ^ "Greg Hawkes The Beatles Uke". AllMusic. Retrieved 26 April 2016.  ^ Kellerman 2008, pp. 230–31. ^ The Money Store (CD lyrics sheet). Death Grips. Epic Records. 2012.  ^ Bennett, Matthew (23 April 2012). "Death Grips – The Money Store". clashmusic.com. Retrieved 26 April 2016.  ^ Kubernik, Harvey (July 2011). "With a Little Help from His Friends: George Harrison and the Concert for Bangla Desh". Rock's Backpages. Retrieved 23 March 2016.  ^ Cannon, Geoffrey (April 2012). "A Life in Pop Writing". Rock's Backpages. Retrieved 2 May 2016. (Subscription required (help)).  ^ Shea & Rodriguez 2007, p. 18. ^ Vergnault, Oliver (15 May 2015). "Residents win right to rename their street after Beatles song". Western Morning News. Retrieved 26 April 2016.  ^ Womack 2014, p. 600. ^ MacDonald 1998, p. 394. ^ Walmesley, Adam (15 May 2015). "Exeter street named Blue Jay Way after Beatles 1967 song". exeterexpressandecho.co.uk. Retrieved 26 April 2016. 


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External links[edit] Full lyrics for the song at the Beatles' official website Blue Jay Way – Google Maps The REAL Blue Jay Way v t e Magical Mystery Tour Songs Side one "Magical Mystery Tour" "The Fool on the Hill" "Flying" "Blue Jay Way" "Your Mother Should Know" "I Am the Walrus" Side two "Hello, Goodbye" "Strawberry Fields Forever" "Penny Lane" "Baby, You're a Rich Man" "All You Need Is Love" Outtakes "All Together Now" "It's All Too Much" "You Know My Name (Look Up the Number)" Related articles Magical Mystery Tour (film) The Beatles discography Please Please Me With the Beatles A Hard Day's Night Beatles for Sale Help! Rubber Soul Revolver Sgt. Pepper's Lonely Hearts Club Band Magical Mystery Tour The Beatles (White Album) Yellow Submarine Abbey Road Let It Be Past Masters v t e Streets in Los Angeles and the metropolitan area Numbered streets 1–10 1st 3rd 11–40 41–250 Avenues North–south streets Alameda Alvarado Atlantic Blvd./Atlantic Ave. Avalon Blvd. Aviation Blvd. Beverly Dr. Broadway Cahuenga Blvd. Central Ave. Crenshaw Blvd. Doheny Dr. Fairfax Ave. Figueroa Garfield Ave. Glendale Blvd./Brand Blvd. Gower Grand Avenue Highland Ave. Hill Hoover La Brea Ave./Hawthorne Blvd. La Cienega Blvd. Laurel Canyon Blvd./Crescent Heights Blvd. Lincoln Blvd. Los Angeles Main Normandie Ave. Ocean Ave. Robertson Blvd. Rosemead Blvd./Lakewood Blvd. San Fernando Rd. San Pedro Sawtelle Blvd. Sepulveda Blvd. Sierra Hwy. Soto Pacific Blvd./Long Beach Blvd. Vermont Ave. Vine Western Ave. Westwood Blvd. Wilcox Avenue East–west streets Adams Blvd. Alondra Blvd. Arrow Hwy. Artesia Blvd. Bandini Blvd. Beverly Blvd. Carroll Ave. Carson Century Blvd. Compton Blvd./Marine Ave. Del Amo Blvd. El Segundo Blvd. Florence Ave. Franklin Ave. Garvey Ave. Hollywood Blvd. Imperial Hwy. Jefferson Blvd. Lomita Blvd. Los Feliz Blvd. Manchester Ave./Firestone Blvd. Manhattan Beach Blvd. Martin Luther King Jr. Boulevard Melrose Ave. Montana Ave. Mulholland Dr. Nadeau Olympic Blvd. Pico Blvd. Rosecrans Ave. Santa Monica Blvd. Slauson Ave. Sunset Blvd./Cesar Chavez Ave. Temple Valley Blvd. Vernon Ave. Venice Blvd. Washington Blvd. Whittier Blvd. Wilshire Blvd. The Valleys Arrow Hwy. Balboa Blvd. Beverly Glen Blvd. Cahuenga Blvd. Coldwater Canyon Ave. Colorado Blvd. Foothill Blvd. Glenoaks Blvd. Lankershim Blvd. Laurel Canyon Blvd. Mulholland Dr. Reseda Blvd. Riverside Dr. San Fernando Rd. Sepulveda Blvd. Sierra Hwy. Sunland Blvd./Vineland Ave. Topanga Canyon Blvd. Valley Blvd. Van Nuys Blvd. Ventura Blvd. Victory Blvd. Intersections and traffic circles Hollywood and Vine Los Alamitos Circle Diagonal streets Centinela Ave./Bundy Dr. San Vicente Blvd. California Incline Streets in San Pedro Gaffey Western Ave. Alleyways Olvera Santee Alley In popular culture 77 Sunset Strip "All I Wanna Do" "Blue Jay Way" "Dead Man's Curve" "Down Rodeo" "I Love L.A." Mulholland Drive "Pico and Sepulveda" "LA Devotee" Sunset Boulevard (film, musical) All un-suffixed roads are streets unless otherwise noted. Retrieved from "https://en.wikipedia.org/w/index.php?title=Blue_Jay_Way&oldid=813172102" Categories: 1967 songsThe Beatles songsSongs written by George HarrisonSong recordings produced by George MartinSongs published by Northern SongsSongs about Los AngelesBritish psychedelic rock songsHidden categories: CS1 maint: Extra text: authors listPages containing links to subscription-only contentUse dmy dates from April 2015Use British English from April 2015Pages using deprecated image syntaxArticles with hAudio microformatsGood articles


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ClubPaste (magazine)Pitchfork MediaUltimate Classic RockITunesAllMusicAllMusicAllMusicAllMusicNMETrouser PressThe GuardianAllMusicAllMusicThe Money Store (album)Epic RecordsClash (magazine)Rock's BackpagesRock's BackpagesWestern Morning NewsExpress & EchoInternational Standard Book NumberSpecial:BookSources/0-7119-7575-2International Standard Book NumberSpecial:BookSources/0-8118-2684-8International Standard Book NumberSpecial:BookSources/0-393-08700-XInternational Standard Book NumberSpecial:BookSources/0-345-25680-8International Standard Book NumberSpecial:BookSources/1-86074-489-3International Standard Book NumberSpecial:BookSources/978-0-393-33874-4International Standard Book NumberSpecial:BookSources/978-0-634-05548-5International Standard Book NumberSpecial:BookSources/978-0-7432-3581-5International Standard Book NumberSpecial:BookSources/978-0-19-512941-0International Standard Book NumberSpecial:BookSources/978-0-19-816717-4International Standard Book NumberSpecial:BookSources/978-0-7499-2988-6International Standard Book NumberSpecial:BookSources/978-0-470-12780-3International Standard Book NumberSpecial:BookSources/978-1-57912-952-1International Standard Book NumberSpecial:BookSources/978-0-8118-5900-4International Standard Book NumberSpecial:BookSources/978-1-84836-525-4International Standard Book NumberSpecial:BookSources/978-0-313-37532-3International Standard Book NumberSpecial:BookSources/978-0-345-45264-1International Standard Book NumberSpecial:BookSources/0-8264-2819-3International Standard Book NumberSpecial:BookSources/978-1-4234-0609-9Mark LewisohnInternational Standard Book NumberSpecial:BookSources/0-600-61001-2International Standard Book NumberSpecial:BookSources/978-0-7537-2545-0International Standard Book NumberSpecial:BookSources/978-0-7126-6697-8International Standard Book NumberSpecial:BookSources/0-7119-8308-9International Standard Book NumberSpecial:BookSources/978-0-7119-8167-6International Standard Book NumberSpecial:BookSources/978-0-306-81120-3International Standard Book NumberSpecial:BookSources/1-56025-396-7International Standard Book NumberSpecial:BookSources/0-07-055087-5International Standard Book NumberSpecial:BookSources/1-56649-104-5International Standard Book NumberSpecial:BookSources/978-1-4234-2138-2International Standard Book NumberSpecial:BookSources/978-0-8356-0900-5International Standard Book NumberSpecial:BookSources/0-06-273698-1International Standard Book NumberSpecial:BookSources/978-0-307-45239-9International Standard Book NumberSpecial:BookSources/0-906071-89-5International Standard Book NumberSpecial:BookSources/978-0-313-39171-2Template:Magical Mystery TourTemplate Talk:Magical Mystery TourMagical Mystery TourMagical Mystery Tour (song)The Fool On The HillFlying (Beatles Instrumental)Your Mother Should KnowI Am The WalrusHello, GoodbyeStrawberry Fields ForeverPenny LaneBaby, You're A Rich ManAll You Need Is LoveAll Together NowIt's All Too MuchYou Know My Name (Look Up The Number)Magical Mystery Tour (film)The Beatles DiscographyPlease Please MeWith The BeatlesA Hard Day's Night (album)Beatles For SaleHelp! 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