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vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Critical_reception"> <div class="vector-toc-text"> 6 Critical reception </div> </a> <ul id="toc-Critical_reception-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Love_remix" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Love_remix"> <div class="vector-toc-text"> 7 Love remix </div> </a> <ul id="toc-Love_remix-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Influence_and_legacy" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Influence_and_legacy"> <div class="vector-toc-text"> 8 Influence and legacy </div> </a> <button aria-controls="toc-Influence_and_legacy-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> Toggle Influence and legacy subsection </button> <ul id="toc-Influence_and_legacy-sublist" class="vector-toc-list"> <li id="toc-In_popular_culture" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#In_popular_culture"> <div class="vector-toc-text"> 8.1 In popular culture </div> </a> <ul id="toc-In_popular_culture-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-In_music" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#In_music"> <div class="vector-toc-text"> 8.2 In music </div> </a> <ul id="toc-In_music-sublist" class="vector-toc-list"> <li id="toc-Cover_versions" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Cover_versions"> <div class="vector-toc-text"> 8.2.1 Cover versions </div> </a> <ul id="toc-Cover_versions-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-In_television_and_film" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#In_television_and_film"> <div class="vector-toc-text"> 8.3 In television and film </div> </a> <ul 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data-language-local-name="Welsh" class="interlanguage-link-target">Cymraeg</a></li><li class="interlanguage-link interwiki-de mw-list-item"><a href="https://de.wikipedia.org/wiki/Tomorrow_Never_Knows" title="Tomorrow Never Knows – German" lang="de" hreflang="de" data-title="Tomorrow Never Knows" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target">Deutsch</a></li><li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/Tomorrow_Never_Knows" title="Tomorrow Never Knows – Spanish" lang="es" hreflang="es" data-title="Tomorrow Never Knows" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target">Español</a></li><li class="interlanguage-link interwiki-eo mw-list-item"><a href="https://eo.wikipedia.org/wiki/Tomorrow_Never_Knows" title="Tomorrow Never Knows – Esperanto" lang="eo" hreflang="eo" data-title="Tomorrow Never Knows" data-language-autonym="Esperanto" data-language-local-name="Esperanto" class="interlanguage-link-target">Esperanto</a></li><li class="interlanguage-link interwiki-fr badge-Q17437796 badge-featuredarticle mw-list-item" title="featured article badge"><a href="https://fr.wikipedia.org/wiki/Tomorrow_Never_Knows" title="Tomorrow Never Knows – French" lang="fr" hreflang="fr" data-title="Tomorrow Never Knows" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target">Français</a></li><li class="interlanguage-link interwiki-ko mw-list-item"><a href="https://ko.wikipedia.org/wiki/Tomorrow_Never_Knows" title="Tomorrow Never Knows – Korean" lang="ko" hreflang="ko" data-title="Tomorrow Never Knows" data-language-autonym="한국어" data-language-local-name="Korean" class="interlanguage-link-target">한국어</a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Tomorrow_Never_Knows" title="Tomorrow Never Knows – Italian" lang="it" hreflang="it" data-title="Tomorrow Never Knows" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target">Italiano</a></li><li class="interlanguage-link interwiki-he mw-list-item"><a href="https://he.wikipedia.org/wiki/Tomorrow_Never_Knows" title="Tomorrow Never Knows – Hebrew" lang="he" hreflang="he" data-title="Tomorrow Never Knows" data-language-autonym="עברית" data-language-local-name="Hebrew" class="interlanguage-link-target">עברית</a></li><li class="interlanguage-link interwiki-ka mw-list-item"><a href="https://ka.wikipedia.org/wiki/Tomorrow_Never_Knows" title="Tomorrow Never Knows – Georgian" lang="ka" hreflang="ka" data-title="Tomorrow Never Knows" data-language-autonym="ქართული" data-language-local-name="Georgian" class="interlanguage-link-target">ქართული</a></li><li class="interlanguage-link interwiki-hu mw-list-item"><a href="https://hu.wikipedia.org/wiki/Tomorrow_Never_Knows" title="Tomorrow Never Knows – Hungarian" lang="hu" hreflang="hu" data-title="Tomorrow Never Knows" data-language-autonym="Magyar" data-language-local-name="Hungarian" class="interlanguage-link-target">Magyar</a></li><li class="interlanguage-link interwiki-nl mw-list-item"><a href="https://nl.wikipedia.org/wiki/Tomorrow_Never_Knows" title="Tomorrow Never Knows – Dutch" lang="nl" hreflang="nl" data-title="Tomorrow Never Knows" data-language-autonym="Nederlands" data-language-local-name="Dutch" class="interlanguage-link-target">Nederlands</a></li><li class="interlanguage-link interwiki-ja mw-list-item"><a href="https://ja.wikipedia.org/wiki/%E3%83%88%E3%82%A5%E3%83%A2%E3%83%AD%E3%83%BC%E3%83%BB%E3%83%8D%E3%83%90%E3%83%BC%E3%83%BB%E3%83%8E%E3%82%A6%E3%82%BA" title="トゥモロー・ネバー・ノウズ – Japanese" lang="ja" hreflang="ja" data-title="トゥモロー・ネバー・ノウズ" data-language-autonym="日本語" data-language-local-name="Japanese" class="interlanguage-link-target">日本語</a></li><li class="interlanguage-link interwiki-no mw-list-item"><a href="https://no.wikipedia.org/wiki/Tomorrow_Never_Knows" title="Tomorrow Never Knows – Norwegian Bokmål" lang="nb" hreflang="nb" data-title="Tomorrow Never Knows" data-language-autonym="Norsk bokmål" data-language-local-name="Norwegian Bokmål" class="interlanguage-link-target">Norsk bokmål</a></li><li class="interlanguage-link interwiki-nn mw-list-item"><a href="https://nn.wikipedia.org/wiki/Tomorrow_Never_Knows" title="Tomorrow Never Knows – Norwegian Nynorsk" lang="nn" hreflang="nn" data-title="Tomorrow Never Knows" data-language-autonym="Norsk nynorsk" data-language-local-name="Norwegian Nynorsk" class="interlanguage-link-target">Norsk nynorsk</a></li><li class="interlanguage-link interwiki-pl mw-list-item"><a href="https://pl.wikipedia.org/wiki/Tomorrow_Never_Knows" title="Tomorrow Never Knows – Polish" lang="pl" hreflang="pl" data-title="Tomorrow Never Knows" data-language-autonym="Polski" data-language-local-name="Polish" class="interlanguage-link-target">Polski</a></li><li class="interlanguage-link interwiki-pt mw-list-item"><a href="https://pt.wikipedia.org/wiki/Tomorrow_Never_Knows" title="Tomorrow Never Knows – Portuguese" lang="pt" hreflang="pt" data-title="Tomorrow Never Knows" data-language-autonym="Português" data-language-local-name="Portuguese" class="interlanguage-link-target">Português</a></li><li class="interlanguage-link interwiki-ru mw-list-item"><a href="https://ru.wikipedia.org/wiki/Tomorrow_Never_Knows" title="Tomorrow Never Knows – Russian" lang="ru" hreflang="ru" data-title="Tomorrow Never Knows" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target">Русский</a></li><li class="interlanguage-link interwiki-simple mw-list-item"><a href="https://simple.wikipedia.org/wiki/Tomorrow_Never_Knows" title="Tomorrow Never Knows – Simple English" lang="en-simple" hreflang="en-simple" data-title="Tomorrow Never Knows" data-language-autonym="Simple English" data-language-local-name="Simple English" class="interlanguage-link-target">Simple English</a></li><li class="interlanguage-link interwiki-fi mw-list-item"><a href="https://fi.wikipedia.org/wiki/Tomorrow_Never_Knows" title="Tomorrow Never Knows – Finnish" lang="fi" hreflang="fi" data-title="Tomorrow Never Knows" data-language-autonym="Suomi" data-language-local-name="Finnish" class="interlanguage-link-target">Suomi</a></li><li class="interlanguage-link interwiki-sv mw-list-item"><a href="https://sv.wikipedia.org/wiki/Tomorrow_Never_Knows" title="Tomorrow Never Knows – Swedish" lang="sv" hreflang="sv" data-title="Tomorrow Never Knows" data-language-autonym="Svenska" data-language-local-name="Swedish" class="interlanguage-link-target">Svenska</a></li><li class="interlanguage-link interwiki-vi mw-list-item"><a href="https://vi.wikipedia.org/wiki/Tomorrow_Never_Knows" title="Tomorrow Never Knows – Vietnamese" lang="vi" hreflang="vi" data-title="Tomorrow Never Knows" data-language-autonym="Tiếng Việt" 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.hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">For other uses, see <a href="/wiki/Tomorrow_Never_Knows_(disambiguation)" class="mw-disambig" title="Tomorrow Never Knows (disambiguation)">Tomorrow Never Knows (disambiguation)</a>.</div> <style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist li{margin:0;display:inline}.mw-parser-output .hlist.inline,.mw-parser-output .hlist.inline dl,.mw-parser-output .hlist.inline ol,.mw-parser-output .hlist.inline ul,.mw-parser-output .hlist dl dl,.mw-parser-output .hlist dl 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.infobox-table{display:table!important}body.skin--responsive .mw-parser-output .infobox-table>caption{display:table-caption!important}body.skin--responsive .mw-parser-output .infobox-table>tbody{display:table-row-group}body.skin--responsive .mw-parser-output .infobox-table tr{display:table-row!important}body.skin--responsive .mw-parser-output .infobox-table th,body.skin--responsive .mw-parser-output .infobox-table td{padding-left:inherit;padding-right:inherit}}</style><table class="infobox vevent"><tbody><tr><th colspan="2" class="infobox-above summary" style="color: #202122;background-color: #E6E8FA; font-size: 125%;">"Tomorrow Never Knows"</th></tr><tr><td colspan="2" class="infobox-image"><a href="/wiki/File:Tomorrow_Never_Knows_sheet_music_cover.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/en/thumb/c/c0/Tomorrow_Never_Knows_sheet_music_cover.jpg/160px-Tomorrow_Never_Knows_sheet_music_cover.jpg" decoding="async" width="160" height="228" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/c/c0/Tomorrow_Never_Knows_sheet_music_cover.jpg/240px-Tomorrow_Never_Knows_sheet_music_cover.jpg 1.5x, //upload.wikimedia.org/wikipedia/en/c/c0/Tomorrow_Never_Knows_sheet_music_cover.jpg 2x" data-file-width="251" data-file-height="357" /></a><div class="infobox-caption">Cover of the <a href="/wiki/Northern_Songs" title="Northern Songs">Northern Songs</a> sheet music (licensed to Sonora Musikförlag)</div></td></tr><tr class="description"><th colspan="2" class="infobox-header description" style="color: #202122;background-color: #E6E8FA;"><a href="/wiki/Song" title="Song">Song</a> by <a href="/wiki/The_Beatles" title="The Beatles">the Beatles</a></th></tr><tr class="description"><th colspan="2" class="infobox-header description" style="color: #202122;background-color: #E6E8FA;">from the album <a href="/wiki/Revolver_(Beatles_album)" title="Revolver (Beatles album)">Revolver</a> </th></tr><tr><th scope="row" class="infobox-label">Released</th><td class="infobox-data plainlist">5 August 1966 (1966-08-05)</td></tr><tr><th scope="row" class="infobox-label">Recorded</th><td class="infobox-data plainlist">6, 7 and 22 April 1966</td></tr><tr><th scope="row" class="infobox-label"><a href="/wiki/Recording_studio" title="Recording studio">Studio</a></th><td class="infobox-data plainlist"><a href="/wiki/Abbey_Road_Studios" title="Abbey Road Studios">EMI</a>, London</td></tr><tr><th scope="row" class="infobox-label"><a href="/wiki/Music_genre" title="Music genre">Genre</a></th><td class="infobox-data category hlist"> <ul><li><a href="/wiki/Psychedelic_rock" title="Psychedelic rock">Psychedelic rock</a><a href="#cite_note-FOOTNOTEDeRogatis200314,_48-1">[1]</a><a href="#cite_note-2">[2]</a><a href="#cite_note-3">[3]</a><a href="#cite_note-FOOTNOTEDeRogatis200348-4">[4]</a></li> <li><a href="/wiki/Raga_rock" title="Raga rock">raga rock</a><a href="#cite_note-FOOTNOTEEchard20176-5">[5]</a><a href="#cite_note-6">[6]</a></li> <li><a href="/wiki/Electronic_music" title="Electronic music">electronic music</a><a href="#cite_note-FOOTNOTEHolmes2012468-7">[7]</a></li> <li><a href="/wiki/Acid_rock" title="Acid rock">acid rock</a><a href="#cite_note-8">[8]</a></li> <li><a href="/wiki/Avant-pop" title="Avant-pop">avant-pop</a><a href="#cite_note-Hoberman/VV-9">[9]</a></li></ul> </td></tr><tr><th scope="row" class="infobox-label">Length</th><td class="infobox-data plainlist">2:58</td></tr><tr><th scope="row" class="infobox-label"><a href="/wiki/Record_label" title="Record label">Label</a></th><td class="infobox-data hlist"><a href="/wiki/Parlophone" title="Parlophone">Parlophone</a></td></tr><tr><th scope="row" class="infobox-label"><a href="/wiki/Songwriter" title="Songwriter">Songwriter(s)</a></th><td class="infobox-data hlist"><a href="/wiki/Lennon%E2%80%93McCartney" title="Lennon–McCartney">Lennon–McCartney</a></td></tr><tr><th scope="row" class="infobox-label"><a href="/wiki/Record_producer" title="Record producer">Producer(s)</a></th><td class="infobox-data hlist"><a href="/wiki/George_Martin" title="George Martin">George Martin</a></td></tr><tr><td colspan="2" class="infobox-below"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1257001546" /></td></tr><tr><th colspan="2" class="infobox-header" style="background: #E6E8FA">Audio sample</th></tr><tr class="haudio"><td colspan="2" class="infobox-full-data" style="padding-top:1em"><div style="display:inline-block;"><figure class="mw-default-size mw-halign-center" typeof="mw:File/Frameless"><audio id="mwe_player_0" controls="" preload="none" data-mw-tmh="" class="mw-file-element" width="220" style="width:220px;" data-durationhint="28" data-mwtitle="Tomorrow_Never_Knows_(Beatles_song_-_sample).ogg" data-mwprovider="local"><source src="//upload.wikimedia.org/wikipedia/en/f/f3/Tomorrow_Never_Knows_%28Beatles_song_-_sample%29.ogg" type="audio/ogg; codecs="vorbis"" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/en/transcoded/f/f3/Tomorrow_Never_Knows_%28Beatles_song_-_sample%29.ogg/Tomorrow_Never_Knows_%28Beatles_song_-_sample%29.ogg.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /></audio><figcaption></figcaption></figure></div><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374" /><div class="hlist"><ul><li><a href="/wiki/File:Tomorrow_Never_Knows.ogg" class="mw-redirect" title="File:Tomorrow Never Knows.ogg">file</a></li><li><a href="/wiki/Help:Media" title="Help:Media">help</a></li></ul></div></td></tr><tr style="display:none"><td colspan="2"> </td></tr></tbody></table> "Tomorrow Never Knows" is a song by the English rock band <a href="/wiki/The_Beatles" title="The Beatles">the Beatles</a>, written primarily by <a href="/wiki/John_Lennon" title="John Lennon">John Lennon</a> and credited to <a href="/wiki/Lennon%E2%80%93McCartney" title="Lennon–McCartney">Lennon–McCartney</a>.<a href="#cite_note-Gilliland-10">[10]</a> It was released in August 1966 as the final track on their album <a href="/wiki/Revolver_(Beatles_album)" title="Revolver (Beatles album)">Revolver</a>, although it was the first song recorded for the LP. The song marked a radical departure for the Beatles, as the band fully embraced the potential of the recording studio without consideration for reproducing the results in concert. When writing the song, Lennon drew inspiration from his experiences with the hallucinogenic drug <a href="/wiki/Lysergic_acid_diethylamide" class="mw-redirect" title="Lysergic acid diethylamide">LSD</a> and from the 1964 book <a href="/wiki/The_Psychedelic_Experience" title="The Psychedelic Experience">The Psychedelic Experience: A Manual Based on the Tibetan Book of the Dead</a> by <a href="/wiki/Timothy_Leary" title="Timothy Leary">Timothy Leary</a>, <a href="/wiki/Richard_Alpert" class="mw-redirect" title="Richard Alpert">Richard Alpert</a> and <a href="/wiki/Ralph_Metzner" title="Ralph Metzner">Ralph Metzner</a>. The Beatles' recording employed musical elements foreign to pop music, including <a href="/wiki/Musique_concr%C3%A8te" title="Musique concrète">musique concrète</a>, <a href="/wiki/Avant-garde" title="Avant-garde">avant-garde</a> composition and <a href="/wiki/Electroacoustic_music" title="Electroacoustic music">electro-acoustic</a> sound manipulation.<a href="#cite_note-bloomsbury-11">[11]</a> It features an <a href="/wiki/Indian_classical_music" title="Indian classical music">Indian</a>-inspired <a href="/wiki/Mode_(music)" title="Mode (music)">modal</a> backing of <a href="/wiki/Tanpura" title="Tanpura">tambura</a> and <a href="/wiki/Sitar" title="Sitar">sitar</a> <a href="/wiki/Drone_(music)" class="mw-redirect" title="Drone (music)">drone</a> and bass guitar, with minimal harmonic deviation from a single chord, underpinned by a constant but non-standard drum pattern; added to this, <a href="/wiki/Tape_loop" title="Tape loop">tape loops</a> prepared by the band were overdubbed "live" onto the rhythm track. Part of Lennon's vocal was fed through a <a href="/wiki/Leslie_speaker" title="Leslie speaker">Leslie speaker</a> cabinet, normally used for a <a href="/wiki/Hammond_organ" title="Hammond organ">Hammond organ</a>. The song's <a href="/wiki/Reverse_tape_effects" title="Reverse tape effects">reverse guitar parts and effects</a> marked the first use of reversed sounds in a pop recording, although the Beatles' 1966 B-side "<a href="/wiki/Rain_(Beatles_song)" title="Rain (Beatles song)">Rain</a>", which they recorded soon afterwards using the same technique, was issued over two months before the release of Revolver. "Tomorrow Never Knows" was an early and highly influential recording in the <a href="/wiki/Psychedelic_music" title="Psychedelic music">psychedelic</a> and <a href="/wiki/Electronic_music" title="Electronic music">electronic music</a> genres, particularly for its pioneering use of <a href="/wiki/Sampling_(music)" title="Sampling (music)">sampling</a>, tape manipulation and other production techniques. It also introduced lyrical themes that espoused mind expansion, anti-materialism and Eastern spirituality into popular music. On release, the song was the source of confusion and ridicule by many fans and journalists; it has since received praise as an effective representation of a <a href="/wiki/Psychedelic_experience" title="Psychedelic experience">psychedelic experience</a>. <a href="/wiki/Pitchfork_(website)" title="Pitchfork (website)">Pitchfork</a> placed the track at number 19 on its list of "The 200 Greatest Songs of the 1960s", and <a href="/wiki/Rolling_Stone" title="Rolling Stone">Rolling Stone</a> ranked it at number 18 on the magazine's list of the 100 greatest Beatles songs. <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Background_and_inspiration">Background and inspiration</h2>[<a href="/w/index.php?title=Tomorrow_Never_Knows&action=edit&section=1" title="Edit section: Background and inspiration">edit</a>]</div> <figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:TimothyLeary-LectureTour-OnStage-SUNYAB-1969.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/3/39/TimothyLeary-LectureTour-OnStage-SUNYAB-1969.jpg/220px-TimothyLeary-LectureTour-OnStage-SUNYAB-1969.jpg" decoding="async" width="220" height="147" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/3/39/TimothyLeary-LectureTour-OnStage-SUNYAB-1969.jpg/330px-TimothyLeary-LectureTour-OnStage-SUNYAB-1969.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/3/39/TimothyLeary-LectureTour-OnStage-SUNYAB-1969.jpg/440px-TimothyLeary-LectureTour-OnStage-SUNYAB-1969.jpg 2x" data-file-width="2520" data-file-height="1680" /></a><figcaption><a href="/wiki/Timothy_Leary" title="Timothy Leary">Timothy Leary</a> before a crowd of university students during a lecture tour in 1969. In his lyrics to "Tomorrow Never Knows", Lennon drew from Leary's espousal of LSD as a means to transcend material concerns.</figcaption></figure> <a href="/wiki/John_Lennon" title="John Lennon">John Lennon</a> wrote "Tomorrow Never Knows" in January 1966, with lyrics adapted from the 1964 book <a href="/wiki/The_Psychedelic_Experience" title="The Psychedelic Experience">The Psychedelic Experience: A Manual Based on the Tibetan Book of the Dead</a> by <a href="/wiki/Timothy_Leary" title="Timothy Leary">Timothy Leary</a>, <a href="/wiki/Richard_Alpert" class="mw-redirect" title="Richard Alpert">Richard Alpert</a> and <a href="/wiki/Ralph_Metzner" title="Ralph Metzner">Ralph Metzner</a>, which was in turn adapted from the <a href="/wiki/Bardo_Thodol" title="Bardo Thodol">Tibetan Book of the Dead</a>.<a href="#cite_note-FOOTNOTEMacDonald2005188-12">[12]</a> Although Beatles aide <a href="/wiki/Peter_Brown_(music_industry)" class="mw-redirect" title="Peter Brown (music industry)">Peter Brown</a> believed that Lennon's source for the lyrics was the Tibetan Book of the Dead itself, which, he said, Lennon had read while under the influence of <a href="/wiki/Lysergic_acid_diethylamide" class="mw-redirect" title="Lysergic acid diethylamide">LSD</a>,<a href="#cite_note-FOOTNOTEBrownGaines1980-13">[13]</a> <a href="/wiki/George_Harrison" title="George Harrison">George Harrison</a> later stated that the idea for the lyrics came from Leary, Alpert and Metzner's book.<a href="#cite_note-FOOTNOTEThe_Beatles2000210-14">[14]</a> <a href="/wiki/Paul_McCartney" title="Paul McCartney">Paul McCartney</a> recalled that when he and Lennon visited the newly opened <a href="/wiki/Indica_Gallery" title="Indica Gallery">Indica</a> bookshop, Lennon had been looking for a copy of <a href="/wiki/Friedrich_Nietzsche" title="Friedrich Nietzsche">The Portable Nietzsche</a> and found a copy of The Psychedelic Experience that contained the lines: "Whenever in doubt, turn off your mind, relax, float downstream."<a href="#cite_note-FOOTNOTESpitz2005600-15">[15]</a> In 1980, Lennon said he wrote the song during his "Tibetan Book of the Dead period."<a href="#cite_note-FOOTNOTESheff2000299-16">[16]</a> Lennon said he bought the book, went home, took LSD, and followed the instructions exactly as stated in the text.<a href="#cite_note-FOOTNOTEThe_Beatles2000209-17">[17]</a><a href="#cite_note-FOOTNOTESpitz2005600–601-18">[18]</a> The book held that the "<a href="/wiki/Ego_death" title="Ego death">ego death</a>" experienced under the influence of LSD and other <a href="/wiki/Psychedelic_drug" title="Psychedelic drug">psychedelic drugs</a> is essentially similar to the dying process and requires similar guidance.<a href="#cite_note-19">[19]</a><a href="#cite_note-20">[20]</a> This is a state of being known by eastern mystics and masters as <a href="/wiki/Samadhi" title="Samadhi">samādhi</a> (a state of being totally aware of the present moment; a one-pointedness of mind).[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>] Harrison questioned whether Lennon fully understood the meaning of the song's lyrics: <blockquote> Basically [the song] is saying what meditation is all about. The goal of meditation is to go beyond (that is, transcend) waking, sleeping and dreaming... I am not too sure if John actually fully understood what he was saying. He knew he was onto something when he saw those words and turned them into a song. But to have experienced what the lyrics in that song are actually about? I don't know if he fully understood it.<a href="#cite_note-FOOTNOTEThe_Beatles2000210-14">[14]</a> </blockquote> The title never appears in the song's lyrics. Lennon later revealed that, like "<a href="/wiki/A_Hard_Day%27s_Night_(song)" title="A Hard Day's Night (song)">A Hard Day's Night</a>", it was taken from one of <a href="/wiki/Ringo_Starr" title="Ringo Starr">Ringo Starr</a>'s <a href="/wiki/Malapropism" title="Malapropism">malapropisms</a>.<a href="#cite_note-FOOTNOTEThe_Beatles2000209-17">[17]</a> In a television interview in early 1964, Starr had uttered the phrase "Tomorrow never knows" when laughing off an incident that took place at the British Embassy in Washington, DC, during which one of the guests had cut off a portion of his hair.<a href="#cite_note-FOOTNOTEWomack2014917-21">[21]</a><a href="#cite_note-FOOTNOTETurner2016135-22">[22]</a> The piece was originally titled "Mark I"<a href="#cite_note-FOOTNOTESpitz2005600-15">[15]</a><a href="#cite_note-FOOTNOTEEverett199934-23">[23]</a> and was referred to as such in the EMI studio documentation until the Beatles were remixing tracks for the <a href="/wiki/Revolver_(Beatles_album)" title="Revolver (Beatles album)">Revolver</a> album in June.<a href="#cite_note-FOOTNOTELewisohn200582-24">[24]</a> "The Void" is cited as another working title, but according to Beatles historian <a href="/wiki/Mark_Lewisohn" title="Mark Lewisohn">Mark Lewisohn</a>, this resulted from <a href="/wiki/Neil_Aspinall" title="Neil Aspinall">Neil Aspinall</a>, the band's <a href="/wiki/Road_manager" title="Road manager">road manager</a> and assistant, referring to it as such in a contemporary issue of <a href="/wiki/The_Beatles_Book" title="The Beatles Book">The Beatles Book</a>.<a href="#cite_note-FOOTNOTELewisohn200570-25">[25]</a> Lennon said he settled on Starr's phrase "to sort of take the edge off the heavy philosophical lyrics".<a href="#cite_note-FOOTNOTEEverett199935-26">[26]</a> He also said "The Void" would have been a more suitable title, but he was concerned about its obvious drug connotations.<a href="#cite_note-FOOTNOTEMacDonald2005188fn-27">[27]</a> According to Aspinall's account in The Beatles Monthly, the musical portion of the song was the result of all four Beatles working to ensure the music matched the power of Lennon's lyrics: "The basic tune was written during the first hours of the recording session."<a href="#cite_note-FOOTNOTEEverett199935,_323-28">[28]</a> <div class="mw-heading mw-heading2"><h2 id="Musical_structure">Musical structure</h2>[<a href="/w/index.php?title=Tomorrow_Never_Knows&action=edit&section=2" title="Edit section: Musical structure">edit</a>]</div> McCartney remembered that even though the song's harmony was mainly restricted to the <a href="/wiki/Chord_(music)" title="Chord (music)">chord</a> of <a href="/wiki/C_(musical_note)" title="C (musical note)">C</a>, <a href="/wiki/George_Martin" title="George Martin">George Martin</a>, the Beatles' producer, accepted it as it was and said it was "rather interesting".<a href="#cite_note-FOOTNOTEThe_Beatles2000210-14">[14]</a><a href="#cite_note-30">[nb 1]</a> The harmonic structure is derived from <a href="/wiki/Music_of_India" title="Music of India">Indian music</a>, a genre that Harrison had introduced to the Beatles' sound late in 1965 with his <a href="/wiki/Sitar" title="Sitar">sitar</a> part on "<a href="/wiki/Norwegian_Wood_(This_Bird_Has_Flown)" title="Norwegian Wood (This Bird Has Flown)">Norwegian Wood</a>", and is based on a high volume C <a href="/wiki/Drone_(music)" class="mw-redirect" title="Drone (music)">drone</a> played on a <a href="/wiki/Tanpura" title="Tanpura">tambura</a>.<a href="#cite_note-FOOTNOTELavezzoli2006174–75-31">[30]</a> The song's <a href="/wiki/Key_(music)" title="Key (music)">musical key</a> is C <a href="/wiki/Mixolydian_mode" title="Mixolydian mode">Mixolydian</a>.<a href="#cite_note-FOOTNOTEMacDonald1998454-32">[31]</a> The chord over the drone is generally C major, but some changes to B♭ major result from vocal modulations, as well as orchestral and guitar tape loops.<a href="#cite_note-FOOTNOTEMiles1997291–92-33">[32]</a><a href="#cite_note-FOOTNOTESpitz2005601-34">[33]</a> According to author Peter Lavezzoli, the composition is the first pop song to eschew formal chord changes altogether.<a href="#cite_note-FOOTNOTELavezzoli2006175-35">[34]</a><a href="#cite_note-39">[nb 2]</a> Despite this limitation, musicologist Dominic Pedler sees the Beatles' harmonic ingenuity displayed in the upper harmonies – "Turn off your mind", for example, is a run of unvarying E melody notes, before "relax" involves an E–G melody-note shift and "float downstream" an E–C–G descent.<a href="#cite_note-FOOTNOTEPedler2003263-40">[38]</a> "It is not dying" involves a run of three G melody notes that rise on "dying" to a B♭, at the start of the verse's fifth bar,<a href="#cite_note-FOOTNOTEReisingLeBlanc200994-41">[39]</a> creating a ♭VII/I (B♭/C) "slash" polychord.<a href="#cite_note-FOOTNOTEPedler2003263-40">[38]</a><a href="#cite_note-43">[nb 3]</a> Due to Lennon's adherence to Leary's text, "Tomorrow Never Knows" was also the first song by the Beatles to depart from any form of rhyming scheme.<a href="#cite_note-FOOTNOTEEverett199934-23">[23]</a> <div class="mw-heading mw-heading2"><h2 id="Recording">Recording</h2>[<a href="/w/index.php?title=Tomorrow_Never_Knows&action=edit&section=3" title="Edit section: Recording">edit</a>]</div> <figure class="mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Leslie_speaker_(mechanical_diagram).svg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/0f/Leslie_speaker_%28mechanical_diagram%29.svg/200px-Leslie_speaker_%28mechanical_diagram%29.svg.png" decoding="async" width="200" height="100" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/0f/Leslie_speaker_%28mechanical_diagram%29.svg/300px-Leslie_speaker_%28mechanical_diagram%29.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/0f/Leslie_speaker_%28mechanical_diagram%29.svg/400px-Leslie_speaker_%28mechanical_diagram%29.svg.png 2x" data-file-width="1400" data-file-height="700" /></a><figcaption>A cross-section showing the inner workings of a Leslie speaker cabinet</figcaption></figure> "Tomorrow Never Knows" was the first song attempted during the sessions for Revolver,<a href="#cite_note-FOOTNOTEWinn20097-44">[41]</a> which started at 8 pm on 6 April 1966,<a href="#cite_note-FOOTNOTEMiles2001228-45">[42]</a> in Studio 3 at EMI Studios (subsequently <a href="/wiki/Abbey_Road_Studios" title="Abbey Road Studios">Abbey Road Studios</a>).<a href="#cite_note-FOOTNOTESpitz2005600-15">[15]</a> <a href="/wiki/Geoff_Emerick" title="Geoff Emerick">Geoff Emerick</a>, who was promoted to the role of the Beatles' <a href="/wiki/Recording_engineer" class="mw-redirect" title="Recording engineer">recording engineer</a> for Revolver, recalled that the band "encouraged us to break the rules" and ensure that each instrument "should sound unlike itself".<a href="#cite_note-46">[43]</a> Lennon sought to capture the atmosphere of a <a href="/wiki/Tibetan_Buddhism" title="Tibetan Buddhism">Tibetan Buddhist</a> ceremony;<a href="#cite_note-FOOTNOTETurner2016142-47">[44]</a> he told Martin that the song should sound like it was being chanted by a thousand Tibetan monks, with his vocal evoking the <a href="/wiki/Dalai_Lama" title="Dalai Lama">Dalai Lama</a> singing from a mountaintop.<a href="#cite_note-FOOTNOTERodriguez2012106-48">[45]</a><a href="#cite_note-FOOTNOTEWinn20098-49">[46]</a> The latter effect was achieved by using a Leslie speaker. When the concept was explained to Lennon, he inquired if the same effect could be achieved by hanging him upside down and spinning him around a microphone while he sang into it.<a href="#cite_note-FOOTNOTESpitz2005600-15">[15]</a><a href="#cite_note-FOOTNOTEMiles1997291-50">[47]</a> Emerick made a connector to break into the electronic circuitry of the Leslie cabinet and then re-recorded the vocal as it came out of the revolving speaker.<a href="#cite_note-FOOTNOTEThe_Beatles2000211-51">[48]</a><a href="#cite_note-FOOTNOTESpitz2005602-52">[49]</a> <figure class="mw-default-size mw-halign-left" typeof="mw:File/Thumb"><a href="/wiki/File:India_-_Ladakh_-_Leh_-_012_-_lonely_gompa_south_of_Leh_(3841440587).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/4/43/India_-_Ladakh_-_Leh_-_012_-_lonely_gompa_south_of_Leh_%283841440587%29.jpg/220px-India_-_Ladakh_-_Leh_-_012_-_lonely_gompa_south_of_Leh_%283841440587%29.jpg" decoding="async" width="220" height="165" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/43/India_-_Ladakh_-_Leh_-_012_-_lonely_gompa_south_of_Leh_%283841440587%29.jpg/330px-India_-_Ladakh_-_Leh_-_012_-_lonely_gompa_south_of_Leh_%283841440587%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/43/India_-_Ladakh_-_Leh_-_012_-_lonely_gompa_south_of_Leh_%283841440587%29.jpg/440px-India_-_Ladakh_-_Leh_-_012_-_lonely_gompa_south_of_Leh_%283841440587%29.jpg 2x" data-file-width="3264" data-file-height="2448" /></a><figcaption>A small <a href="/wiki/Gompa" title="Gompa">gompa</a> (Tibetan Buddhist monastery) in <a href="/wiki/Ladakh" title="Ladakh">Ladakh</a>. Lennon sought to capture the mood of Tibetan monks chanting from a mountaintop.</figcaption></figure> Further to their approach when recording <a href="/wiki/Rubber_Soul" title="Rubber Soul">Rubber Soul</a> late the previous year, the Beatles and Martin embraced the idea of the <a href="/wiki/Recording_studio_as_an_instrument" title="Recording studio as an instrument">recording studio as an instrument</a> on Revolver, particularly "Tomorrow Never Knows".<a href="#cite_note-FOOTNOTELuhrssenLarson201725–26-53">[50]</a> As Lennon hated doing a second take to double his vocals, <a href="/wiki/Ken_Townsend" title="Ken Townsend">Ken Townsend</a>, the studio's technical manager, developed an alternative form of double-tracking called <a href="/wiki/Artificial_double_tracking" class="mw-redirect" title="Artificial double tracking">artificial double tracking</a> (ADT) system, taking the signal from the <a href="/wiki/Sel-Sync" title="Sel-Sync">sync head</a> of one tape machine and delaying it slightly through a second tape machine.<a href="#cite_note-FOOTNOTEMartin199482-54">[51]</a> The two tape machines used were not driven by mains electricity, but from a separate generator which put out a particular frequency, the same for both, thereby keeping them locked together.<a href="#cite_note-FOOTNOTEMartin199482-54">[51]</a> By altering the speed and frequencies, he could create various effects, which the Beatles used throughout the recording of Revolver.<a href="#cite_note-FOOTNOTESpitz2005603-55">[52]</a> Lennon's vocal is double-tracked on the first three verses of the song: the effect of the Leslie cabinet can be heard after the (backwards) guitar solo.<a href="#cite_note-FOOTNOTEMacDonald2005191-56">[53]</a> The track includes the highly compressed drums that the Beatles favoured at the time, with reverse cymbals, reverse guitar, processed vocals, <a href="/wiki/Tape_loop" title="Tape loop">looped tape</a> effects, and sitar and tambura drone.<a href="#cite_note-FOOTNOTEMiles1997291-50">[47]</a> In the description of musicologist Russell Reising, the "meditative state" of a psychedelic experience is conveyed through the musical drone, enhancing the lyrical imagery, while the "buzz" of a drug-induced "high" is sonically reproduced in Harrison's tambura rhythm and Starr's heavily treated drum sound.<a href="#cite_note-FOOTNOTEReisingLeBlanc200994-41">[39]</a> Despite the implied chord changes in the verses and repeatedly at the end of the song,<a href="#cite_note-FOOTNOTEReisingLeBlanc200994-41">[39]</a> McCartney's bass maintains a constant <a href="/wiki/Ostinato" title="Ostinato">ostinato</a> in C.<a href="#cite_note-FOOTNOTEEverett199926,_38-57">[54]</a> Reising writes of the drum part: <blockquote>Starr's accompaniment throughout the piece consists of a kind of stumbling march, providing a bit of temporal disruption ... [The] first accent of each bar falls on the measure's first beat and the second stress occurs in the second half of the measure's third quarter, double sixteenth notes in stuttering pre-emption of the normal rhythmic emphasis on the second backbeat – hardly a classic rock and roll gesture.<a href="#cite_note-FOOTNOTEReisingLeBlanc200994-41">[39]</a></blockquote> The use of ¼-inch audio tape loops resulted primarily from McCartney's admiration for <a href="/wiki/Stockhausen" class="mw-redirect" title="Stockhausen">Stockhausen</a>'s <a href="/wiki/Gesang_der_J%C3%BCnglinge" title="Gesang der Jünglinge">Gesang der Jünglinge</a>.<a href="#cite_note-FOOTNOTERodriguez2012101–02-58">[55]</a><a href="#cite_note-FOOTNOTEMacDonald1998168fn,_198–99-59">[56]</a> By disabling the <a href="/wiki/Tape_head" title="Tape head">erase head</a> of a tape recorder and then spooling a continuous loop of tape through the machine while recording, the tape would constantly <a href="/wiki/Overdubbing" title="Overdubbing">overdub</a> itself, creating a saturation effect, a technique also used in <a href="/wiki/Musique_concr%C3%A8te" title="Musique concrète">musique concrète</a>.<a href="#cite_note-FOOTNOTERodriguez2012101–02-58">[55]</a> The tape could also be induced to go faster and slower. McCartney encouraged the other Beatles to use the same effects and create their own loops.<a href="#cite_note-FOOTNOTESpitz2005601-34">[33]</a> After experimentation on their own, the various Beatles supplied a total of "30 or so" tape loops to Martin, who selected 16 for use on the song.<a href="#cite_note-FOOTNOTEMartin199480-60">[57]</a> Each loop was about six seconds long.<a href="#cite_note-FOOTNOTEMartin199480-60">[57]</a> The overdubbing of the tape loops took place on 7 April.<a href="#cite_note-FOOTNOTEMiles1997291-50">[47]</a> The loops were played on <a href="/wiki/British_Tape_Recorder" title="British Tape Recorder">BTR3 tape machines</a> located in various studios of the Abbey Road building<a href="#cite_note-FOOTNOTEMartin199480–81-61">[58]</a> and controlled by <a href="/wiki/EMI" title="EMI">EMI</a> technicians in Studio Three.<a href="#cite_note-FOOTNOTELewisohn200571-62">[59]</a> Each machine was monitored by one technician, who had to hold a pencil within each loop to maintain tension.<a href="#cite_note-FOOTNOTEMartin199480-60">[57]</a> The four Beatles controlled the faders of the mixing console while Martin varied the stereo panning and Emerick watched the meters.<a href="#cite_note-FOOTNOTEMartin199481-63">[60]</a><a href="#cite_note-FOOTNOTEMacDonald2005190-64">[61]</a> Eight of the tapes were used at one time, changed halfway through the song.<a href="#cite_note-FOOTNOTEMartin199481-63">[60]</a> The tapes were made (like most of the other loops) by superimposition and acceleration.<a href="#cite_note-FOOTNOTEMiles1997292-65">[62]</a><a href="#cite_note-FOOTNOTEMacDonald2005190–191-66">[63]</a> According to Martin, the finished mix of the tape loops could not be repeated because of the complex and random way in which they were laid over the music.<a href="#cite_note-FOOTNOTEThe_Beatles2000210-14">[14]</a> Harrison similarly described the mix of loops as "spontaneous", given that each run-through might favour different sounds over another.<a href="#cite_note-FOOTNOTEThe_Beatles2000210-14">[14]</a> <figure class="mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Magtape1.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/8/83/Magtape1.jpg/150px-Magtape1.jpg" decoding="async" width="150" height="183" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/83/Magtape1.jpg/225px-Magtape1.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/83/Magtape1.jpg/300px-Magtape1.jpg 2x" data-file-width="400" data-file-height="488" /></a><figcaption>A 7-inch reel of <style data-mw-deduplicate="TemplateStyles:r1154941027">.mw-parser-output .frac{white-space:nowrap}.mw-parser-output .frac .num,.mw-parser-output .frac .den{font-size:80%;line-height:0;vertical-align:super}.mw-parser-output .frac .den{vertical-align:sub}.mw-parser-output .sr-only{border:0;clip:rect(0,0,0,0);clip-path:polygon(0px 0px,0px 0px,0px 0px);height:1px;margin:-1px;overflow:hidden;padding:0;position:absolute;width:1px}</style>1⁄4-inch-wide (6.4 mm) audio recording tape, which was the type used to create the song's tape loops</figcaption></figure> Five tape loops are prominent in the finished version of the song. According to author <a href="/wiki/Ian_MacDonald" title="Ian MacDonald">Ian MacDonald</a>, writing in the 1990s, these loops contain the following: <ol><li>A recording of McCartney's laughter, sped up to resemble the sound of a seagull (enters at 0:07)</li> <li>An orchestral chord of B♭ major (0:19)</li> <li>A <a href="/wiki/Mellotron" title="Mellotron">Mellotron</a> on its flute setting (0:22)</li> <li>A Mellotron strings sound, alternating between B♭ and C in 6 8 time (0:38)</li> <li>A sitar playing a rising scalic phrase, recorded with heavy saturation and sped up (0:56).<a href="#cite_note-FOOTNOTEMacDonald1998169-67">[64]</a></li></ol> Author Robert Rodriguez writes that the content of the five loops has continued to invite debate among commentators, however, and that the manipulation applied to each of the recordings has made them impossible to decipher with authority.<a href="#cite_note-FOOTNOTERodriguez2012108–09-68">[65]</a> Based on the most widely held views, he says that, aside from McCartney's laughter and the B♭ major chord, the sounds were two loops of sitar passages, both reversed and sped up, and a loop of Mellotron string and brass voicings.<a href="#cite_note-FOOTNOTERodriguez2012108-69">[66]</a> In their 2006 book <a href="/wiki/Recording_the_Beatles" title="Recording the Beatles">Recording the Beatles</a>, Kevin Ryan and <a href="/wiki/Brian_Kehew" title="Brian Kehew">Brian Kehew</a> list two loops of sitar recordings yet, rather than Mellotron, list a <a href="/wiki/Mandolin" title="Mandolin">mandolin</a> or acoustic guitar, treated with <a href="/wiki/Tape_echo" class="mw-redirect" title="Tape echo">tape echo</a>.<a href="#cite_note-FOOTNOTEWomack2014917-21">[21]</a><a href="#cite_note-FOOTNOTETurner2016146-70">[67]</a> Rather than revert to standard practice by having a guitar solo in the middle of the song, the track includes what McCartney described as a "tape solo".<a href="#cite_note-FOOTNOTEMiles200676-71">[68]</a> This section nevertheless includes a lead guitar part played by Harrison<a href="#cite_note-FOOTNOTETurner2016146-70">[67]</a> and recorded with the tape running backwards, to complement the sounds.<a href="#cite_note-FOOTNOTEHertsgaard1996179-72">[69]</a> The final overdubs were recorded on 22 April.<a href="#cite_note-FOOTNOTEWinn200913–14-73">[70]</a> According to Lewisohn, who had access to EMI's studios logs and notes, these overdubs comprised Harrison's sitar and Lennon's Leslie-treated vocal part.<a href="#cite_note-FOOTNOTELewisohn200576-74">[71]</a><a href="#cite_note-76">[nb 4]</a> Lennon later told Beatles biographer <a href="/wiki/Hunter_Davies" title="Hunter Davies">Hunter Davies</a>: "I should have tried to get near my original idea, the monks singing. I realise now that's what I wanted."<a href="#cite_note-FOOTNOTEThe_Beatles2000211-51">[48]</a><a href="#cite_note-FOOTNOTEHarry20001078-77">[73]</a> The discarded take 1 was issued on the <a href="/wiki/Anthology_2" title="Anthology 2">Anthology 2</a> compilation in 1996.<a href="#cite_note-FOOTNOTEHarry20001078-77">[73]</a><a href="#cite_note-FOOTNOTEWinn20098-49">[46]</a> <div class="mw-heading mw-heading2"><h2 id="Previews_and_influence_on_Revolver_project">Previews and influence on Revolver project</h2>[<a href="/w/index.php?title=Tomorrow_Never_Knows&action=edit&section=4" title="Edit section: Previews and influence on Revolver project">edit</a>]</div> While highlighting "<a href="/wiki/Love_You_To" title="Love You To">Love You To</a>" as an example of the Beatles fully exploring Indian musical form during the Revolver sessions, music historian Simon Philo identifies "Tomorrow Never Knows" as the track that "made few if any concessions to formula, and so confirmed that the Beatles had unequivocally moved on. 'Tomorrow Never Knows' was barely a song, let alone a pop song."<a href="#cite_note-FOOTNOTEPhilo2015111-78">[74]</a> Musicologist William Echard describes it as an example of a <a href="/wiki/Raga_rock" title="Raga rock">raga rock</a> song "rubb[ing] shoulders with the classical avant-garde".<a href="#cite_note-FOOTNOTEEchard20176-5">[5]</a> After completing the recording, McCartney was eager to gauge the reaction of the band's contemporaries. On 2 May, he played the song to <a href="/wiki/Bob_Dylan" title="Bob Dylan">Bob Dylan</a> at the latter's hotel suite in London; as the track started, Dylan said dismissively: "Oh, I get it. You don't want to be cute anymore."<a href="#cite_note-FOOTNOTETurner2016175,_177-79">[75]</a> According to <a href="/wiki/Marianne_Faithfull" title="Marianne Faithfull">Marianne Faithfull</a>, who was also present, Dylan then walked out of the room.<a href="#cite_note-FOOTNOTERodriguez2012167-80">[76]</a> McCartney recalled that when the Beatles played the song to members of <a href="/wiki/The_Rolling_Stones" title="The Rolling Stones">the Rolling Stones</a> and <a href="/wiki/The_Who" title="The Who">the Who</a>, they "visibly sat up and were interested", whereas <a href="/wiki/Cilla_Black" title="Cilla Black">Cilla Black</a> "just laughed".<a href="#cite_note-FOOTNOTEClayson2003203-81">[77]</a> After experimenting with the techniques on "Tomorrow Never Knows", the Beatles used reversed sounds and tape-speed variation extensively throughout the Revolver sessions.<a href="#cite_note-FOOTNOTERodriguez2012130–31-82">[78]</a><a href="#cite_note-FOOTNOTEReisingLeBlanc200995–96-83">[79]</a> On "<a href="/wiki/Rain_(Beatles_song)" title="Rain (Beatles song)">Rain</a>", which was issued as the <a href="/wiki/B-side" class="mw-redirect" title="B-side">B-side</a> of their "<a href="/wiki/Paperback_Writer" title="Paperback Writer">Paperback Writer</a>" single in May 1966, part of Lennon's vocal track was reprised backwards over the coda,<a href="#cite_note-FOOTNOTEReisingLeBlanc200994,_95-84">[80]</a> while Harrison planned and recorded his lead guitar parts for "<a href="/wiki/I%27m_Only_Sleeping" title="I'm Only Sleeping">I'm Only Sleeping</a>" with the tape direction reversed, in order to achieve a dislocated effect.<a href="#cite_note-FOOTNOTERodriguez2012131-85">[81]</a><a href="#cite_note-FOOTNOTEBrend200556-86">[82]</a><a href="#cite_note-88">[nb 5]</a> <a href="/wiki/Tony_Hall_(music_executive)" title="Tony Hall (music executive)">Tony Hall</a>, a music industry figure and journalist with a reputation for predicting trends, was also given a preview of the song, along with other tracks from early in the sessions.<a href="#cite_note-FOOTNOTESavage201544,_137-89">[84]</a> Writing in his column for <a href="/wiki/Record_Mirror" title="Record Mirror">Record Mirror</a> in the issue dated 14 May, Hall especially highlighted "The Void" when describing the new songs as "the most revolutionary ever made by a pop group".<a href="#cite_note-91">[nb 6]</a> Focusing on the otherworldly electronic effects, he wrote: "Sound-wise, it's like an hypnotically horrific journey through the dark never-ending jungle of someone's mind ... And the effect is of shapes and sounds and colours looming over and above one and zooming in and out of a monotonous drone."<a href="#cite_note-FOOTNOTESavage2015137-92">[86]</a> Hall added that the track was "as revolutionary as <a href="/wiki/Ornette_Coleman" title="Ornette Coleman">Ornette Coleman</a> appeared to the jazz scene a decade ago", before concluding: "[The Beatles] are so far ahead. And I'm longing to hear your reaction when the album is eventually issued."<a href="#cite_note-Hall/RM-90">[85]</a> <div class="mw-heading mw-heading2"><h2 id="Release">Release</h2>[<a href="/w/index.php?title=Tomorrow_Never_Knows&action=edit&section=5" title="Edit section: Release">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1224211176">.mw-parser-output .quotebox{background-color:#F9F9F9;border:1px solid #aaa;box-sizing:border-box;padding:10px;font-size:88%;max-width:100%}.mw-parser-output .quotebox.floatleft{margin:.5em 1.4em .8em 0}.mw-parser-output .quotebox.floatright{margin:.5em 0 .8em 1.4em}.mw-parser-output .quotebox.centered{overflow:hidden;position:relative;margin:.5em auto .8em auto}.mw-parser-output .quotebox.floatleft span,.mw-parser-output .quotebox.floatright span{font-style:inherit}.mw-parser-output .quotebox>blockquote{margin:0;padding:0;border-left:0;font-family:inherit;font-size:inherit}.mw-parser-output .quotebox-title{text-align:center;font-size:110%;font-weight:bold}.mw-parser-output .quotebox-quote>:first-child{margin-top:0}.mw-parser-output .quotebox-quote:last-child>:last-child{margin-bottom:0}.mw-parser-output .quotebox-quote.quoted:before{font-family:"Times New Roman",serif;font-weight:bold;font-size:large;color:gray;content:" “ ";vertical-align:-45%;line-height:0}.mw-parser-output .quotebox-quote.quoted:after{font-family:"Times New Roman",serif;font-weight:bold;font-size:large;color:gray;content:" ” ";line-height:0}.mw-parser-output .quotebox .left-aligned{text-align:left}.mw-parser-output .quotebox .right-aligned{text-align:right}.mw-parser-output .quotebox .center-aligned{text-align:center}.mw-parser-output .quotebox .quote-title,.mw-parser-output .quotebox .quotebox-quote{display:block}.mw-parser-output .quotebox cite{display:block;font-style:normal}@media screen and (max-width:640px){.mw-parser-output .quotebox{width:100%!important;margin:0 0 .8em!important;float:none!important}}</style><div class="quotebox pullquote floatright" style="width:30%; ; padding:8px;"> <blockquote class="quotebox-quote left-aligned" style=""> "Tomorrow Never Knows" was the most experimental and psychedelic track on Revolver, in both its structure and production ... [T]he lyrics were philosophical, existential, sometimes inscrutable reflections on the state of being: a heavy subject for popular music, whether in 1966 or any other year.<a href="#cite_note-93">[87]</a> </blockquote> <div style="padding-bottom: 0; padding-top: 0.5em"><cite class="left-aligned" style="">– Music critic <a href="/wiki/Richie_Unterberger" title="Richie Unterberger">Richie Unterberger</a></cite></div> </div> "Tomorrow Never Knows" was sequenced as the final track on Revolver, which EMI's <a href="/wiki/Parlophone" title="Parlophone">Parlophone</a> label issued on 5 August 1966.<a href="#cite_note-FOOTNOTELewisohn200584-94">[88]</a><a href="#cite_note-FOOTNOTEMiles2001237-95">[89]</a> According to author <a href="/wiki/Mark_Hertsgaard" title="Mark Hertsgaard">Mark Hertsgaard</a>, as the first song recorded during the Revolver sessions, its sequencing ensures that the track serves as "the summit to which the entire album ascends".<a href="#cite_note-FOOTNOTEHertsgaard1996177-96">[90]</a> In his design for the LP cover, <a href="/wiki/Klaus_Voormann" title="Klaus Voormann">Klaus Voormann</a> drew inspiration from the song, recognising the need for artwork that would capture the Beatles' new direction<a href="#cite_note-FOOTNOTETurner2016209-97">[91]</a> and the avant-garde aspect of the recording.<a href="#cite_note-FOOTNOTERodriguez2012157-98">[92]</a> Voormann later said that he found "Tomorrow Never Knows" "frightening", adding that it was "so far away from the early Beatles stuff that even I myself thought, well, the normal kind of Beatles fan won't want to buy this record. But they did."<a href="#cite_note-Stummer/Guardian-99">[93]</a> In an interview in October 1966, Harrison described the song as "easily the most amazing new thing we've ever come up with", but acknowledged that it might represent "a terrible mess of a sound" to listeners who approached the track without "open ears". He added: "It's like the Indian stuff. You mustn't listen to Eastern music with a Western ear."<a href="#cite_note-FOOTNOTETurner2016146-70">[67]</a> In advance of the release, EMI had issued the songs to radio stations throughout July, in increments, to prepare the Beatles' audience for the new music. "Tomorrow Never Knows" was the last track to receive a public airing, a few days before the album was issued commercially.<a href="#cite_note-FOOTNOTEPhilo2015110-100">[94]</a> Reaction to Revolver was "generally ecstatic", according to MacDonald, with listeners marvelling at the album's "aural invention".<a href="#cite_note-FOOTNOTEMacDonald2005213-101">[95]</a> To the Beatles' less progressive fans, however, the radical changes in the band's sound were the source of confusion.<a href="#cite_note-FOOTNOTESchaffner197853–54-102">[96]</a><a href="#cite_note-FOOTNOTELeonard2014121–22-103">[97]</a> The editor of the Australian teen magazine Mirabelle wrote: "Everyone, from Brisbane to Bootle, hates that daft song Lennon sang at the end of Revolver."<a href="#cite_note-FOOTNOTEClayson2003203-81">[77]</a> Recalling the release in his 1977 book The Beatles Forever, <a href="/wiki/Nicholas_Schaffner" title="Nicholas Schaffner">Nicholas Schaffner</a> commented that whereas the group's more traditional fans warmed to McCartney's new songs, "some people thought Lennon was sprouting complete gibberish, and concluded that the poor lad had slid off the deep end."<a href="#cite_note-FOOTNOTESchaffner197863-104">[98]</a><a href="#cite_note-106">[nb 7]</a> Aged 16 in 1966, author and academic <a href="/wiki/Nick_Bromell" title="Nick Bromell">Nick Bromell</a> says that psychedelic drugs were a year away from "erupting" into American youth culture, and most contemporary listeners heard "strangeness, undiluted and outrageous strangeness" in the song.<a href="#cite_note-FOOTNOTEBromell200289,_94-107">[100]</a> He adds: "'Tomorrow Never Knows' was an enigma they would understand only gradually, through many listenings and over many months. They heard it first and foremost as a place to dwell, not as an answer or as a deliverance."<a href="#cite_note-FOOTNOTEBromell200294-108">[101]</a> <div class="mw-heading mw-heading2"><h2 id="Critical_reception">Critical reception</h2>[<a href="/w/index.php?title=Tomorrow_Never_Knows&action=edit&section=6" title="Edit section: Critical reception">edit</a>]</div> In his album review for the <a href="/wiki/NME" title="NME">NME</a>, Allen Evans expressed confusion over "Tomorrow Never Knows".<a href="#cite_note-FOOTNOTETurner2016259–60-109">[102]</a> In response to the lyric's exhortation to "relax and float downstream", he wrote: "But how can you relax with the electronic, outer-space noises, often sounding like seagulls? ... Only Ringo's rock-steady drumming is natural."<a href="#cite_note-CSM/Mojo-110">[103]</a> <a href="/wiki/Peter_Jones_(journalist)" title="Peter Jones (journalist)">Peter Jones</a> of Record Mirror commented: "You need some sort of aural microscope to get the message from this. But it's darned compelling listening."<a href="#cite_note-111">[104]</a> <a href="/wiki/Disc_and_Music_Echo" class="mw-redirect" title="Disc and Music Echo">Disc and Music Echo</a>'s review of Revolver took the form of a track-by-track rundown by <a href="/wiki/Ray_Davies" title="Ray Davies">Ray Davies</a> of <a href="/wiki/The_Kinks" title="The Kinks">the Kinks</a>, who, in author <a href="/wiki/Steve_Turner_(writer)" title="Steve Turner (writer)">Steve Turner</a>'s opinion, took the opportunity to air his longstanding bitterness towards the Beatles.<a href="#cite_note-FOOTNOTETurner2016260–61-112">[105]</a> Davies was unimpressed with the track,<a href="#cite_note-FOOTNOTERodriguez2012176-113">[106]</a> and concluded that the band must have had "George Martin tied to a totem pole when they did this".<a href="#cite_note-Davies/Disc-114">[107]</a> Writing in the recently launched <a href="/wiki/Crawdaddy!" class="mw-redirect" title="Crawdaddy!">Crawdaddy!</a>, <a href="/wiki/Paul_Williams_(Crawdaddy!_creator)" class="mw-redirect" title="Paul Williams (Crawdaddy! creator)">Paul Williams</a> derided "Tomorrow Never Knows" and the album's single, "<a href="/wiki/Yellow_Submarine_(song)" title="Yellow Submarine (song)">Yellow Submarine</a>", saying of Lennon's song: "A good artist doesn't publish first drafts."<a href="#cite_note-FOOTNOTERodriguez2012175-115">[108]</a> <a href="/wiki/Edward_Greenfield" title="Edward Greenfield">Edward Greenfield</a> of <a href="/wiki/The_Guardian" title="The Guardian">The Guardian</a> described the track as "the most remarkable item on a compulsive new record". He said the lyrics were a "curious sort of poetry" that conveyed the concept of "pop-music as a substitute, both for jungle emotions and for the consolations of religion", as teenagers followed in the long societal tradition of disengaging the mind and surrendering "to the tribal leader, the priest, or now the pop-singer". Greenfield concluded by saying, "Thank goodness Lennon is being satirical: at least one hopes so."<a href="#cite_note-116">[109]</a> Reporting from London for <a href="/wiki/The_Village_Voice" title="The Village Voice">The Village Voice</a>, <a href="/wiki/Richard_Goldstein_(writer_born_1944)" class="mw-redirect" title="Richard Goldstein (writer born 1944)">Richard Goldstein</a> said that Revolver had opened up <a href="/wiki/Electronic_music" title="Electronic music">electronic music</a> as a commercial proposition, adding, "<a href="/wiki/John_Cage" title="John Cage">John Cage</a> move over – the Beatles are now reaching a super-receptive audience with electronic soul." He recognised "Tomorrow Never Knows" as the key track in this regard and concluded that "The boundaries [of pop music] will now have to be re-negotiated."<a href="#cite_note-117">[110]</a> <a href="/wiki/Maureen_Cleave" title="Maureen Cleave">Maureen Cleave</a> of <a href="/wiki/Evening_Standard" title="Evening Standard">The Evening Standard</a> described the song as a "lengthy and monstrous piece of nonsense about love being all and love being everyone, punctuated by what appear to be bagpipes and Zulu noises", adding: "Even this is gripping. Never have I been able to recommend an LP with more conviction."<a href="#cite_note-118">[111]</a> In 2006, <a href="/wiki/Pitchfork_(website)" title="Pitchfork (website)">Pitchfork</a> ranked "Tomorrow Never Knows" at number 19 on its list of "The 200 Greatest Songs of the 1960s"<a href="#cite_note-119">[112]</a> and <a href="/wiki/Q_(magazine)" title="Q (magazine)">Q</a> magazine placed the track 75th on a list of "The 100 Greatest Songs of All Time".<a href="#cite_note-FOOTNOTEWomack2014917-21">[21]</a> "Tomorrow Never Knows" appears at number 18 on <a href="/wiki/Rolling_Stone" title="Rolling Stone">Rolling Stone</a>'s list of the best Beatles songs<a href="#cite_note-120">[113]</a> and at number 4 on similar lists compiled by <a href="/wiki/Uncut_(magazine)" title="Uncut (magazine)">Uncut</a> in 2001<a href="#cite_note-FOOTNOTEReising20024-121">[114]</a> and <a href="/wiki/Mojo_(magazine)" title="Mojo (magazine)">Mojo</a> in 2006.<a href="#cite_note-122">[115]</a> In 2018, the music staff of <a href="/wiki/Time_Out_London" class="mw-redirect" title="Time Out London">Time Out London</a> ranked it at number 2 on their list of the best Beatles songs.<a href="#cite_note-123">[116]</a> <div class="mw-heading mw-heading2"><h2 id="Love_remix">Love remix</h2>[<a href="/w/index.php?title=Tomorrow_Never_Knows&action=edit&section=7" title="Edit section: Love remix">edit</a>]</div> <figure class="mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Beatles_love.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f3/Beatles_love.jpg/200px-Beatles_love.jpg" decoding="async" width="200" height="133" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f3/Beatles_love.jpg/300px-Beatles_love.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f3/Beatles_love.jpg/400px-Beatles_love.jpg 2x" data-file-width="1944" data-file-height="1296" /></a><figcaption>The Love project, which combined "Tomorrow Never Knows" and "Within You Without You"</figcaption></figure> In 2006, Martin and his son, <a href="/wiki/Giles_Martin" title="Giles Martin">Giles Martin</a>, remixed 80 minutes of Beatles music for the Las Vegas stage performance <a href="/wiki/Love_(Cirque_du_Soleil)" title="Love (Cirque du Soleil)">Love</a>, a joint venture between <a href="/wiki/Cirque_du_Soleil" title="Cirque du Soleil">Cirque du Soleil</a> and the Beatles' <a href="/wiki/Apple_Corps" title="Apple Corps">Apple Corps</a>.<a href="#cite_note-124">[117]</a> On the <a href="/wiki/Love_(Beatles_album)" title="Love (Beatles album)">Love</a> album, the rhythm to "Tomorrow Never Knows" was mixed with the vocals and melody from "<a href="/wiki/Within_You_Without_You#Love_remix" title="Within You Without You">Within You Without You</a>", creating a different version of the two songs.<a href="#cite_note-125">[118]</a><a href="#cite_note-126">[119]</a> Reviewing the album for <a href="/wiki/PopMatters" title="PopMatters">PopMatters</a>, Zeth Lundy wrote: "The 'Within You Without You'/'Tomorrow Never Knows' mash-up, perhaps the most thrilling and effective track on the entire disc, fuses two especially transcendental songs into one: ... a union of two ambiguous, open-ended declarations of spiritual pursuit."<a href="#cite_note-127">[120]</a> In their chapter on the Beatles' psychedelic period in The Cambridge Companion to the Beatles, authors Russell Reising and Jim LeBlanc describe "Within You Without You/Tomorrow Never Knows" as "the most musically and visually stunning segment" of the Cirque du Soleil show.<a href="#cite_note-FOOTNOTEReisingLeBlanc2009105-128">[121]</a> The Love remix is one of the main songs in <a href="/wiki/The_Beatles:_Rock_Band" title="The Beatles: Rock Band">The Beatles: Rock Band</a>.<a href="#cite_note-129">[122]</a> <div class="mw-heading mw-heading2"><h2 id="Influence_and_legacy">Influence and legacy</h2>[<a href="/w/index.php?title=Tomorrow_Never_Knows&action=edit&section=8" title="Edit section: Influence and legacy">edit</a>]</div> <div class="mw-heading mw-heading3"><h3 id="In_popular_culture">In popular culture</h3>[<a href="/w/index.php?title=Tomorrow_Never_Knows&action=edit&section=9" title="Edit section: In popular culture">edit</a>]</div> Nicholas Schaffner said that listeners who had been confused by the song's lyrics were most likely unfamiliar with hallucinogenic drugs and Timothy Leary's message, but that the transcendental quality became clear during the build-up to the 1967 <a href="/wiki/Summer_of_Love" title="Summer of Love">Summer of Love</a>.<a href="#cite_note-FOOTNOTESchaffner197864-130">[123]</a> According to <a href="/wiki/Colin_Larkin_(writer)" class="mw-redirect" title="Colin Larkin (writer)">Colin Larkin</a>, writing in the <a href="/wiki/Encyclopedia_of_Popular_Music" class="mw-redirect" title="Encyclopedia of Popular Music">Encyclopedia of Popular Music</a>, "Tomorrow Never Knows" has been recognised as "the most effective evocation of a LSD experience ever recorded".<a href="#cite_note-Larkin_p_489-131">[124]</a> Ian MacDonald says that the song's message represented a revolutionary concept in mainstream society in 1966, and by introducing LSD and Leary's "psychedelic revolution" to Western youth, it is "one of the most socially influential records The Beatles ever made".<a href="#cite_note-FOOTNOTEMacDonald2005188,_192-132">[125]</a> He adds: "'Tomorrow Never Knows' launched the till-then élite-preserved concept of mind-expansion into pop, simultaneously drawing attention to consciousness-enhancing drugs and the ancient religious philosophies of the Orient, utterly alien to Western thought in their anti-materialism, rapt passivity, and world-sceptical focus on visionary consciousness."<a href="#cite_note-FOOTNOTEMacDonald2005192-133">[126]</a> According to Simon Philo, "Tomorrow Never Knows" was the most groundbreaking track on an album that announced the arrival of the "underground London" sound.<a href="#cite_note-FOOTNOTEPhilo2015112-134">[127]</a> <a href="/wiki/Barry_Miles" title="Barry Miles">Barry Miles</a> also sees it as the experimental highpoint of Revolver, which he recalls as an "advertisement for the underground" and a work that resounded on the level of <a href="/wiki/Experimental_jazz" class="mw-redirect" title="Experimental jazz">experimental jazz</a> among members of the movement, including those who soon founded the <a href="/wiki/UFO_Club" title="UFO Club">UFO Club</a>.<a href="#cite_note-FOOTNOTEMiles200672,_76–77-135">[128]</a> <div class="mw-heading mw-heading3"><h3 id="In_music">In music</h3>[<a href="/w/index.php?title=Tomorrow_Never_Knows&action=edit&section=10" title="Edit section: In music">edit</a>]</div> Hernan Campbell of Sputnikmusic recognises "Tomorrow Never Knows" as "the most important Psychedelic composition in the history of the genre" and "the epitome of everything that psychedelia stands for".<a href="#cite_note-136">[129]</a> In the opinion of former Mojo editor <a href="/wiki/Paul_Trynka" title="Paul Trynka">Paul Trynka</a>, the track benefited most from the Beatles' ability to channel their ideas into a recognisable song form, a discipline that ensured their psychedelic recordings were superior to those by <a href="/wiki/The_Grateful_Dead" class="mw-redirect" title="The Grateful Dead">the Grateful Dead</a> and other contemporary <a href="/wiki/San_Francisco_sound" title="San Francisco sound">San Francisco</a> acts.<a href="#cite_note-Leigh/LoveMeDo-137">[130]</a> In the 1997 Mojo feature article "Psychedelia: The 100 Greatest Classics", <a href="/wiki/Jon_Savage" title="Jon Savage">Jon Savage</a> listed the April 1966 recording as the first item in his chronological history of UK psychedelia,<a href="#cite_note-FOOTNOTEReising20028-138">[131]</a> adding that the song "immediately impacted on pop culture".<a href="#cite_note-139">[132]</a> According to Bromell, writing in his book Tomorrow Never Knows: Rock and Psychedelics in the 1960s, the track is "regarded by many critics as the most important rock song of the decade".<a href="#cite_note-FOOTNOTEBromell200293-140">[133]</a> In his book Electronic and Experimental Music, Thom Holmes includes "Tomorrow Never Knows" in his list of the "pioneering works" in electronic music. He credits the song with "usher[ing] in a new era in the use of electronic music in rock and pop music".<a href="#cite_note-FOOTNOTEHolmes2012468-7">[7]</a> Music historians David Luhrssen and Michael Larson say that with Revolver the Beatles "erased boundaries of time and culture", adding: "Ancient met modern on 'Tomorrow Never Knows' as sitars encountered tape loops. 'Tomorrow Never Knows' reintroduced the sustained repetition of the drone, absent in Western music since the Middle Ages and only recently discovered by avant-garde composer <a href="/wiki/La_Monte_Young" title="La Monte Young">La Monte Young</a>."<a href="#cite_note-FOOTNOTELuhrssenLarson201726-141">[134]</a> According to Peter Lavezzoli, in his book The Dawn of Indian Music in the West, "'Tomorrow Never Knows' was the most groundbreaking production to date in popular music" and he says it "still retains a terrifying visceral power".<a href="#cite_note-FOOTNOTELavezzoli2006175-35">[34]</a> Musicologist <a href="/wiki/Walter_Everett_(musicologist)" title="Walter Everett (musicologist)">Walter Everett</a> describes Revolver as "an innovative example of electronic music" and says that "Tomorrow Never Knows" was also "highly influential" on <a href="/wiki/Psychedelic_rock" title="Psychedelic rock">psychedelic rock</a>.<a href="#cite_note-FOOTNOTEEverett199931,_324-142">[135]</a><a href="#cite_note-144">[nb 8]</a> He identifies its studio effects and musical form as central to <a href="/wiki/Pink_Floyd" title="Pink Floyd">Pink Floyd</a>'s "<a href="/wiki/Pow_R._Toc_H." title="Pow R. Toc H.">Pow R. Toc H.</a>" and recognises the same use of extreme tape-speed manipulation in subsequent recordings by <a href="/wiki/Jimi_Hendrix" title="Jimi Hendrix">Jimi Hendrix</a> and <a href="/wiki/Frank_Zappa" title="Frank Zappa">Frank Zappa</a>, and backwards tapes in the work of Hendrix, Pink Floyd, <a href="/wiki/The_Byrds" title="The Byrds">the Byrds</a>, the Who, <a href="/wiki/The_Electric_Prunes" title="The Electric Prunes">the Electric Prunes</a>, <a href="/wiki/Spirit_(band)" title="Spirit (band)">Spirit</a>, <a href="/wiki/Tomorrow_(band)" title="Tomorrow (band)">Tomorrow</a>, <a href="/wiki/Soft_Machine" title="Soft Machine">Soft Machine</a> and <a href="/wiki/The_First_Edition_(band)" class="mw-redirect" title="The First Edition (band)">the First Edition</a>. He also identifies the Leslie-treated vocal as a precedent for similar experimentation by Hendrix, the Grateful Dead, <a href="/wiki/The_Moody_Blues" title="The Moody Blues">the Moody Blues</a>, <a href="/wiki/Cream_(band)" title="Cream (band)">Cream</a>, <a href="/wiki/Yes_(band)" title="Yes (band)">Yes</a>, <a href="/wiki/Led_Zeppelin" title="Led Zeppelin">Led Zeppelin</a> and <a href="/wiki/Black_Sabbath" title="Black Sabbath">Black Sabbath</a>.<a href="#cite_note-FOOTNOTEEverett1999324-145">[137]</a> <a href="/wiki/Jon_Pareles" title="Jon Pareles">Jon Pareles</a>, the chief pop music critic at <a href="/wiki/The_New_York_Times" title="The New York Times">The New York Times</a>, has described "Tomorrow Never Knows" as "a portal to decades of music to come".<a href="#cite_note-146">[138]</a> Steve Turner highlights the sound <a href="/wiki/Sampling_(music)" title="Sampling (music)">sampling</a> and tape manipulation as having had "a profound effect on everyone from Jimi Hendrix to <a href="/wiki/Jay_Z" class="mw-redirect" title="Jay Z">Jay Z</a>".<a href="#cite_note-FOOTNOTETurner2016405-147">[139]</a> Having introduced these techniques to mainstream pop, Turner writes, "Tomorrow Never Knows" inspired the sampling that became commonplace over ten years later – such as in <a href="/wiki/Sugarhill_Gang" class="mw-redirect" title="Sugarhill Gang">Sugarhill Gang</a>'s "<a href="/wiki/Rapper%27s_Delight" title="Rapper's Delight">Rapper's Delight</a>" and other examples of an artist taking a well-known riff or musical motif from an existing song; in <a href="/wiki/David_Byrne" title="David Byrne">David Byrne</a> and <a href="/wiki/Brian_Eno" title="Brian Eno">Brian Eno</a>'s <a href="/wiki/My_Life_in_the_Bush_of_Ghosts_(album)" title="My Life in the Bush of Ghosts (album)">My Life in the Bush of Ghosts</a>, with its use of assorted spoken-word and vocal samples; in recordings by <a href="/wiki/Big_Audio_Dynamite" title="Big Audio Dynamite">Big Audio Dynamite</a>, which included samples from film soundtracks; and in <a href="/wiki/Moby" title="Moby">Moby</a>'s <a href="/wiki/Play_(Moby_album)" title="Play (Moby album)">Play</a>, with its incorporation of little-known and disparate vocal tracks.<a href="#cite_note-FOOTNOTETurner2016405-147">[139]</a> In 2011, <a href="/wiki/DJ_Spooky" title="DJ Spooky">DJ Spooky</a> said that the Beatles' song remained "in the DNA of so much going on these days" and that the use of "<a href="/wiki/Overdubbing" title="Overdubbing">tape collage</a> alone makes it one of the first tracks to use sampling really successfully. I also think that Brian Eno's idea of the studio-as-instrument comes from this kind of recording.<a href="#cite_note-148">[140]</a> Recalling his introduction to "Tomorrow Never Knows" in 1966, American producer <a href="/wiki/Tony_Visconti" title="Tony Visconti">Tony Visconti</a> has said: "It was incredible how the music matched the lyrics and, previous to this album, nobody was writing like that." He also said that Revolver "showed how the studio could be used as an instrument" and contributed to his decision to relocate to London, because, "I had to learn how people made records like this."<a href="#cite_note-149">[141]</a> In his 2004 book Sonic Alchemy: Visionary Music Producers and Their Maverick Recordings, David Howard pairs Martin's work on "Tomorrow Never Knows" with <a href="/wiki/Phil_Spector" title="Phil Spector">Phil Spector</a>'s 1966 production of "<a href="/wiki/River_Deep_%E2%80%93_Mountain_High" title="River Deep – Mountain High">River Deep – Mountain High</a>" as the two "visionary achievements in sound" that ensured that "the recording studio was now its own instrument: record production had been elevated into art."<a href="#cite_note-FOOTNOTEHoward20042–3-150">[142]</a><a href="#cite_note-152">[nb 9]</a> The song is referenced in the lyric to <a href="/wiki/Oasis_(band)" title="Oasis (band)">Oasis</a>' 1995 song "<a href="/wiki/Morning_Glory_(Oasis_song)" title="Morning Glory (Oasis song)">Morning Glory</a>": "Tomorrow never knows what it doesn't know too soon".<a href="#cite_note-FOOTNOTEEverett1999323-153">[144]</a><a href="#cite_note-154">[145]</a><a href="#cite_note-156">[nb 10]</a> <a href="/wiki/The_Chemical_Brothers" title="The Chemical Brothers">The Chemical Brothers</a> have referred to "Tomorrow Never Knows" as the template for their music;<a href="#cite_note-157">[147]</a> their 1996 track "<a href="/wiki/Setting_Sun_(The_Chemical_Brothers_song)" title="Setting Sun (The Chemical Brothers song)">Setting Sun</a>" is a direct tribute to it, as is "<a href="/wiki/Let_Forever_Be" title="Let Forever Be">Let Forever Be</a>". <a href="/wiki/John_Foxx" title="John Foxx">John Foxx</a> of <a href="/wiki/Ultravox" title="Ultravox">Ultravox</a> also cited "Tomorrow Never Knows" as an influence, saying that "As soon as I heard it, I knew it contained almost everything that I would want to investigate for the rest of my life."<a href="#cite_note-Leigh/LoveMeDo-137">[130]</a> In 2012, the song was included as the title track of the Beatles' <a href="/wiki/ITunes" title="ITunes">iTunes</a> compilation album <a href="/wiki/Tomorrow_Never_Knows_(Beatles_album)" title="Tomorrow Never Knows (Beatles album)">Tomorrow Never Knows</a>, which the band's website described as a collection of "the Beatles' most influential rock songs".<a href="#cite_note-FOOTNOTEWomack2014918-158">[148]</a> <div class="mw-heading mw-heading4"><h4 id="Cover_versions">Cover versions</h4>[<a href="/w/index.php?title=Tomorrow_Never_Knows&action=edit&section=11" title="Edit section: Cover versions">edit</a>]</div> <ul><li><a href="/wiki/801_(band)" title="801 (band)">801</a>, an <a href="/wiki/Experimental_rock" title="Experimental rock">experimental rock</a> group that included Brian Eno and his former <a href="/wiki/Roxy_Music" title="Roxy Music">Roxy Music</a> bandmate <a href="/wiki/Phil_Manzanera" title="Phil Manzanera">Phil Manzanera</a>, performed the song live at their three concerts in 1976, under the name "TNK (Tomorrow Never Knows)". The final performance at London's <a href="/wiki/Queen_Elizabeth_Hall" title="Queen Elizabeth Hall">Queen Elizabeth Hall</a> was released on their album <a href="/wiki/801_Live" title="801 Live">801 Live</a>. Author and musician <a href="/wiki/Alan_Clayson" title="Alan Clayson">Alan Clayson</a> cites 801's adoption of the track as evidence that the Beatles' musical influence remained strong among 1970s <a href="/wiki/Glam_rock" title="Glam rock">glam rock</a> artists, and that the latter scene lacked the generational divisiveness that would soon characterise <a href="/wiki/Punk_rock" title="Punk rock">punk rock</a>.<a href="#cite_note-FOOTNOTEClayson2003326-159">[149]</a></li> <li>The English musician and former <a href="/wiki/Genesis_(band)" title="Genesis (band)">Genesis</a> drummer <a href="/wiki/Phil_Collins" title="Phil Collins">Phil Collins</a> released a cover of the song on his 1981 debut solo album <a href="/wiki/Face_Value_(album)" title="Face Value (album)">Face Value</a>.<a href="#cite_note-160">[150]</a></li> <li>UK world music/pop trio <a href="/wiki/Monsoon_(band)" title="Monsoon (band)">Monsoon</a> released a cover of the song as a single in 1982. It is included on their debut album, <a href="/wiki/Third_Eye_(Monsoon_album)" title="Third Eye (Monsoon album)">Third Eye</a>.</li> <li>The American Doom Metal band <a href="/wiki/Trouble_(band)" title="Trouble (band)">Trouble</a> released a cover of the song on their 1995 album <a href="/w/index.php?title=Plastic_Green_Head_(album)&action=edit&redlink=1" class="new" title="Plastic Green Head (album) (page does not exist)">Plastic Green Head</a>.</li> <li>In 2007, Oasis set "Within You Without You" to the music of "Tomorrow Never Knows" as their contribution to the BBC's 40th anniversary tribute to the Beatles' <a href="/wiki/Sgt._Pepper%27s_Lonely_Hearts_Club_Band" title="Sgt. Pepper's Lonely Hearts Club Band">Sgt. Pepper's Lonely Hearts Club Band</a> album.<a href="#cite_note-FOOTNOTEWomack2014917-21">[21]</a></li></ul> <div class="mw-heading mw-heading3"><h3 id="In_television_and_film">In television and film</h3>[<a href="/w/index.php?title=Tomorrow_Never_Knows&action=edit&section=12" title="Edit section: In television and film">edit</a>]</div> The song was parodied, as "L.S. Bumblebee", as part of a satirical sketch on the <a href="/wiki/Swinging_London" class="mw-redirect" title="Swinging London">Swinging London</a> phenomenon in the <a href="/wiki/Not_Only..._But_Also" title="Not Only... But Also">Not Only ... But Also</a> 1966 Christmas TV special,<a href="#cite_note-FOOTNOTEWinn200971-161">[151]</a> which included a cameo appearance by Lennon.<a href="#cite_note-FOOTNOTEMiles2001247,_249-162">[152]</a> Sung by comedians <a href="/wiki/Peter_Cook" title="Peter Cook">Peter Cook</a> and <a href="/wiki/Dudley_Moore" title="Dudley Moore">Dudley Moore</a>, both of whom are dressed in Indian clothing, the song evokes the seagull sounds of "Tomorrow Never Knows" through the presence of a bird squawking in the studio, and includes lyrics playing on the sensory contradictions of lines such as "Listen to the colour of your dreams" from the Beatles track.<a href="#cite_note-FOOTNOTEWinn200971-161">[151]</a><a href="#cite_note-FOOTNOTETurner2016380–81-163">[153]</a> In 1967, <a href="/wiki/Bruce_Conner" title="Bruce Conner">Bruce Conner</a> used "Tomorrow Never Knows" as the soundtrack to his LSD-inspired experimental film Looking for Mushrooms.<a href="#cite_note-FOOTNOTEHarris2012333-164">[154]</a> When reworking the film for a 1996 presentation, Conner replaced the song with an instrumental piece by avant-garde composer <a href="/wiki/Terry_Riley" title="Terry Riley">Terry Riley</a>.<a href="#cite_note-Hoberman/VV-9">[9]</a> The title of the song inspired the title of <a href="/wiki/Portrayal_of_James_Bond_in_film" title="Portrayal of James Bond in film">James Bond</a>'s 1997 adventure <a href="/wiki/Tomorrow_Never_Dies" title="Tomorrow Never Dies">Tomorrow Never Dies</a>, when screenwriter <a href="/wiki/Bruce_Feirstein" title="Bruce Feirstein">Bruce Feirstein</a>, still looking for a title, heard the song on the radio. The original title of the film then was Tomorrow Never Lies, but a typo changed it into the eventual title.<a href="#cite_note-165">[155]</a> "Tomorrow Never Knows" was featured during the final scene of the 2012 <a href="/wiki/Mad_Men" title="Mad Men">Mad Men</a> episode "<a href="/wiki/Lady_Lazarus_(Mad_Men)" title="Lady Lazarus (Mad Men)">Lady Lazarus</a>". <a href="/wiki/Don_Draper" title="Don Draper">Don Draper</a>'s wife Megan gives him a copy of Revolver, calling his attention to a specific track and suggesting, "Start with this one".<a href="#cite_note-wsj07May2012-166">[156]</a> Draper, an advertising executive, is struggling to understand youth culture, but after contemplating the song for a few puzzled moments, he shuts it off.<a href="#cite_note-Itzkoff-167">[157]</a> The track also played over the closing credits.<a href="#cite_note-168">[158]</a> The rights to the song cost the producers around $250,000,<a href="#cite_note-Itzkoff-167">[157]</a> "about five times as much as the typical cost of licensing a song for TV".<a href="#cite_note-wsj07May2012-166">[156]</a> The fact that Tomorrow Never Knows has been used twice in a non-Apple produced American television program using the original master recording (i.e. master rights) is unique for a Beatles song. Whether it is true or not, <a href="/wiki/The_Wall_Street_Journal" title="The Wall Street Journal">The Wall Street Journal</a> reported that <a href="/wiki/Lionsgate" class="mw-redirect" title="Lionsgate">Lionsgate</a> claimed the 2012 use of this song marked "the first time a master recording by the Beatles has been licensed for a television show."<a href="#cite_note-169">[159]</a> <div class="mw-heading mw-heading2"><h2 id="Personnel">Personnel</h2>[<a href="/w/index.php?title=Tomorrow_Never_Knows&action=edit&section=13" title="Edit section: Personnel">edit</a>]</div> According to Ian MacDonald:<a href="#cite_note-FOOTNOTEMacDonald2005185-170">[160]</a> The Beatles <ul><li><a href="/wiki/John_Lennon" title="John Lennon">John Lennon</a> – vocals, <a href="/wiki/Hammond_organ" title="Hammond organ">Hammond organ</a>, <a href="/wiki/Mellotron" title="Mellotron">Mellotron</a>,<a href="#cite_note-FOOTNOTERodriguez2012109-171">[161]</a> <a href="/wiki/Tape_loop" title="Tape loop">tape loops</a></li> <li><a href="/wiki/Paul_McCartney" title="Paul McCartney">Paul McCartney</a> – bass guitar, tape loops</li> <li><a href="/wiki/George_Harrison" title="George Harrison">George Harrison</a> – <a href="/wiki/Sitar" title="Sitar">sitar</a>, <a href="/wiki/Tanpura" title="Tanpura">tambura</a>, lead guitar, tape loops</li> <li><a href="/wiki/Ringo_Starr" title="Ringo Starr">Ringo Starr</a> – drums, tambourine, tape loops</li></ul> Additional musician <ul><li><a href="/wiki/George_Martin" title="George Martin">George Martin</a> – <a href="/wiki/Tack_piano" title="Tack piano">tack piano</a><a href="#cite_note-FOOTNOTERodriguez2012109-171">[161]</a></li></ul> <div class="mw-heading mw-heading2"><h2 id="Notes">Notes</h2>[<a href="/w/index.php?title=Tomorrow_Never_Knows&action=edit&section=14" title="Edit section: Notes">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist reflist-columns references-column-width" style="column-width: 30em;"> <ol class="references"> <li id="cite_note-30"><a href="#cite_ref-30">^</a> Lennon first played the song to <a href="/wiki/Brian_Epstein" title="Brian Epstein">Brian Epstein</a>, Martin and the other Beatles at Epstein's house at 24 <a href="/wiki/Chapel_Street,_Belgravia" title="Chapel Street, Belgravia">Chapel Street, Belgravia</a>, London.<a href="#cite_note-FOOTNOTEMiles1997290-29">[29]</a> </li> <li id="cite_note-39"><a href="#cite_ref-39">^</a> Limited chord changes, typical of <a href="/wiki/Indian_classical_music" title="Indian classical music">Indian classical music</a>, were a characteristic of several of the songs the Beatles recorded early in the sessions for Revolver.<a href="#cite_note-FOOTNOTEMacDonald2005194fn,_198-36">[35]</a><a href="#cite_note-FOOTNOTEEverett199941,_42-37">[36]</a> Harrison's "<a href="/wiki/Love_You_To" title="Love You To">Love You To</a>" similarly features an implied ♭VII chord as its only departure from the I chord (of C major).<a href="#cite_note-FOOTNOTEReisingLeBlanc200996-38">[37]</a> </li> <li id="cite_note-43"><a href="#cite_ref-43">^</a> This is a prominent device in Beatles songs such as "<a href="/wiki/All_My_Loving" title="All My Loving">All My Loving</a>", "<a href="/wiki/A_Hard_Day%27s_Night_(song)" title="A Hard Day's Night (song)">A Hard Day's Night</a>", "<a href="/wiki/Help!_(song)" title="Help! (song)">Help!</a>", "Norwegian Wood", "<a href="/wiki/Hey_Jude" title="Hey Jude">Hey Jude</a>", "<a href="/wiki/Revolution_(Beatles_song)" title="Revolution (Beatles song)">Revolution</a>", "<a href="/wiki/Dear_Prudence" title="Dear Prudence">Dear Prudence</a>" and "<a href="/wiki/Get_Back" title="Get Back">Get Back</a>".<a href="#cite_note-FOOTNOTEPedler2003215-42">[40]</a> </li> <li id="cite_note-76"><a href="#cite_ref-76">^</a> According to author John Winn, however, Lewisohn is mistaken. Winn says the overdubs that day were: organ, tambourine and piano, all on one track of the multitrack tape; Lennon manually doubling his non-Leslie vocal over the first two verses; and lead guitar (possibly played by McCartney) recorded with the tape direction reversed.<a href="#cite_note-FOOTNOTEWinn200914-75">[72]</a> <a href="/wiki/Steve_Turner_(writer)" title="Steve Turner (writer)">Steve Turner</a> also identifies this session as the date when the "backwards" lead guitar was added, although he credits Harrison as the player,<a href="#cite_note-FOOTNOTETurner2016146-70">[67]</a> as does <a href="/wiki/Mark_Hertsgaard" title="Mark Hertsgaard">Mark Hertsgaard</a>.<a href="#cite_note-FOOTNOTEHertsgaard1996179-72">[69]</a> </li> <li id="cite_note-88"><a href="#cite_ref-88">^</a> The band experimented further with tape loops in their later projects. Examples include "<a href="/wiki/Carnival_of_Light" title="Carnival of Light">Carnival of Light</a>", an unreleased piece recorded during the <a href="/wiki/Sgt._Pepper%27s_Lonely_Hearts_Club_Band" title="Sgt. Pepper's Lonely Hearts Club Band">Sgt. Pepper's Lonely Hearts Club Band</a> sessions; the Sgt. Pepper track "<a href="/wiki/Being_for_the_Benefit_of_Mr._Kite!" title="Being for the Benefit of Mr. Kite!">Being for the Benefit of Mr. Kite!</a>"; and "<a href="/wiki/Revolution_9" title="Revolution 9">Revolution 9</a>", released on <a href="/wiki/The_Beatles_(album)" title="The Beatles (album)">The Beatles</a>.<a href="#cite_note-FOOTNOTEHolmes2012444–45-87">[83]</a> </li> <li id="cite_note-91"><a href="#cite_ref-91">^</a> Hall emphasised that the titles were not yet finalised, adding: "The boys talk about it as 'The Void'. But I very much doubt if it will end up as that."<a href="#cite_note-Hall/RM-90">[85]</a> </li> <li id="cite_note-106"><a href="#cite_ref-106">^</a> In her 2014 book Beatleness, sociologist Candy Leonard quotes the reaction of contemporary fans to the song. One recalls that his anxiety was heightened by the album's sequencing: "['Tomorrow Never Knows'] was the last thing they were leaving me with ... I was hoping they don't completely go this way."<a href="#cite_note-FOOTNOTELeonard2014122-105">[99]</a> </li> <li id="cite_note-144"><a href="#cite_ref-144">^</a> In his book Turn on Your Mind, which he titled in recognition of the song, <a href="/wiki/Jim_DeRogatis" title="Jim DeRogatis">Jim DeRogatis</a> lists Revolver in first place in his "Ultimate Psychedelic Rock Library", and ranks "Tomorrow Never Knows" as the best of all the Beatles' psychedelic rock songs, ahead of "Rain".<a href="#cite_note-FOOTNOTEDeRogatis2003xi,_48,_565-143">[136]</a> </li> <li id="cite_note-152"><a href="#cite_ref-152">^</a> Writing for <a href="/wiki/Classic_Rock_(magazine)" title="Classic Rock (magazine)">Classic Rock</a> in 2014, <a href="/wiki/Jon_Anderson" title="Jon Anderson">Jon Anderson</a> of Yes recalled first hearing the song in 1966 and likened the experience to "listening to music for the first time". He added that, while he and his fellow musicians already looked to the Beatles as the leaders in pop's evolution at the time, "You've got no concept of how they put it together, and how they came up with the lyrics, or any of it. 'Tomorrow Never Knows' had an effect on me, and on everybody, because it was so revolutionary."<a href="#cite_note-Anderson/CR-151">[143]</a> </li> <li id="cite_note-156"><a href="#cite_ref-156">^</a> In his foreword to Mojo's list of "The 101 Greatest Beatles Songs" in 2006, <a href="/wiki/Noel_Gallagher" title="Noel Gallagher">Noel Gallagher</a> described "Tomorrow Never Knows" as "the sound of the counterculture".<a href="#cite_note-155">[146]</a> </li> </ol></div> <div class="mw-heading mw-heading2"><h2 id="References">References</h2>[<a href="/w/index.php?title=Tomorrow_Never_Knows&action=edit&section=15" title="Edit section: References">edit</a>]</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239543626" /><div class="reflist reflist-columns references-column-width" style="column-width: 20em;"> <ol class="references"> <li id="cite_note-FOOTNOTEDeRogatis200314,_48-1"><a href="#cite_ref-FOOTNOTEDeRogatis200314,_48_1-0">^</a> <a href="#CITEREFDeRogatis2003">DeRogatis 2003</a>, pp. 14, 48. </li> <li id="cite_note-2"><a href="#cite_ref-2">^</a> <style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite id="CITEREFBernstein2008" class="citation book cs1">Bernstein, David W. (2008). The San Francisco Tape Music Center: 1960s Counterculture and the Avant-garde. University of California Press. p. 247.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+San+Francisco+Tape+Music+Center%3A+1960s+Counterculture+and+the+Avant-garde&rft.pages=247&rft.pub=University+of+California+Press&rft.date=2008&rft.aulast=Bernstein&rft.aufirst=David+W.&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"> </li> <li id="cite_note-3"><a href="#cite_ref-3">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFRay2012" class="citation book cs1">Ray, Michael (2012). Alternative, Country, Hip-hop, Rap, and More: Music from the 1980s to Today. Britannica Educational Pub. p. 144.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Alternative%2C+Country%2C+Hip-hop%2C+Rap%2C+and+More%3A+Music+from+the+1980s+to+Today&rft.pages=144&rft.pub=Britannica+Educational+Pub.&rft.date=2012&rft.aulast=Ray&rft.aufirst=Michael&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"> </li> <li id="cite_note-FOOTNOTEDeRogatis200348-4"><a href="#cite_ref-FOOTNOTEDeRogatis200348_4-0">^</a> <a href="#CITEREFDeRogatis2003">DeRogatis 2003</a>, p. 48. </li> <li id="cite_note-FOOTNOTEEchard20176-5">^ <a href="#cite_ref-FOOTNOTEEchard20176_5-0">a</a> <a href="#cite_ref-FOOTNOTEEchard20176_5-1">b</a> <a href="#CITEREFEchard2017">Echard 2017</a>, p. 6. </li> <li id="cite_note-6"><a href="#cite_ref-6">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFHasted2017" class="citation book cs1">Hasted, Nick (2017). "4: The Suburban Hit Machine". You Really Got Me: The Story of The Kinks. Omnibus.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=4%3A+The+Suburban+Hit+Machine&rft.btitle=You+Really+Got+Me%3A+The+Story+of+The+Kinks&rft.pub=Omnibus&rft.date=2017&rft.aulast=Hasted&rft.aufirst=Nick&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"> </li> <li id="cite_note-FOOTNOTEHolmes2012468-7">^ <a href="#cite_ref-FOOTNOTEHolmes2012468_7-0">a</a> <a href="#cite_ref-FOOTNOTEHolmes2012468_7-1">b</a> <a href="#CITEREFHolmes2012">Holmes 2012</a>, p. 468. </li> <li id="cite_note-8"><a href="#cite_ref-8">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFVance1972" class="citation magazine cs1">Vance, Joel (February 1972). <a rel="nofollow" class="external text" href="https://worldradiohistory.com/hd2/IDX-Audio/Archive-Stereo-Review-IDX/IDX/70s/HiFi-Stereo-Review-1972-02-OCR-Page-0064.pdf#search=%22acid%20rock%22">"The Fragmentation of Rock"</a> (PDF). <a href="/wiki/Sound_%26_Vision_(magazine)" title="Sound & Vision (magazine)">Stereo Review</a>. p. 64. Retrieved 30 July 2021.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Stereo+Review&rft.atitle=The+Fragmentation+of+Rock&rft.pages=64&rft.date=1972-02&rft.aulast=Vance&rft.aufirst=Joel&rft_id=https%3A%2F%2Fworldradiohistory.com%2Fhd2%2FIDX-Audio%2FArchive-Stereo-Review-IDX%2FIDX%2F70s%2FHiFi-Stereo-Review-1972-02-OCR-Page-0064.pdf%23search%3D%2522acid%2520rock%2522&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"> </li> <li id="cite_note-Hoberman/VV-9">^ <a href="#cite_ref-Hoberman/VV_9-0">a</a> <a href="#cite_ref-Hoberman/VV_9-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFHoberman2010" class="citation news cs1">Hoberman, J. (10 November 2010). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20161129021603/http://www.villagevoice.com/film/before-there-was-mtv-there-was-bruce-conner-6429080">"Before There Was MTV, There Was Bruce Conner"</a>. <a href="/wiki/The_Village_Voice" title="The Village Voice">The Village Voice</a>. Archived from <a rel="nofollow" class="external text" href="http://www.villagevoice.com/film/before-there-was-mtv-there-was-bruce-conner-6429080">the original</a> on 29 November 2016. 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No. January.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Vanity+Fair&rft.atitle=Bruce+Feirstein%3A+The+Tao+of+Bond-Film+Naming&rft.issue=January&rft.date=2008-01-29&rft.aulast=Feirstein&rft.aufirst=Bruce&rft_id=https%3A%2F%2Fwww.vanityfair.com%2Fnews%2F2008%2F01%2Fbruce-feirste-2&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"> </li> <li id="cite_note-wsj07May2012-166">^ <a href="#cite_ref-wsj07May2012_166-0">a</a> <a href="#cite_ref-wsj07May2012_166-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFJurgensen2012" class="citation web cs1">Jurgensen, John (7 May 2012). <a rel="nofollow" class="external text" href="https://blogs.wsj.com/speakeasy/2012/05/07/how-much-mad-men-paid-for-the-beatles/">"How Much 'Mad Men' Paid for The Beatles"</a>. <a href="/wiki/The_Wall_Street_Journal" title="The Wall Street Journal">wsj.com</a>. Retrieved 27 September 2014. <q>Don Draper unsheathed a Revolver LP and cued up the song 'Tomorrow Never Knows.' The general reaction on Twitter was, 'Whoa.' That sentiment was immediately followed by something like, 'How much did that cost them?' Answer: about $250,000, according to people familiar with the deal. That's about five times as much as the typical cost of licensing a song for TV. In an interview, series creator <a href="/wiki/Matthew_Weiner" title="Matthew Weiner">Matthew Weiner</a> disputed that figure, but declined to discuss financial details of the deal. The surviving Beatles, along with <a href="/wiki/Yoko_Ono" title="Yoko Ono">Yoko Ono</a> and <a href="/wiki/Olivia_Harrison" title="Olivia Harrison">Olivia Harrison</a>, signed off on the 'Mad Men' usage.</q></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=How+Much+%27Mad+Men%27+Paid+for+The+Beatles&rft.pub=wsj.com&rft.date=2012-05-07&rft.aulast=Jurgensen&rft.aufirst=John&rft_id=https%3A%2F%2Fblogs.wsj.com%2Fspeakeasy%2F2012%2F05%2F07%2Fhow-much-mad-men-paid-for-the-beatles%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"> </li> <li id="cite_note-Itzkoff-167">^ <a href="#cite_ref-Itzkoff_167-0">a</a> <a href="#cite_ref-Itzkoff_167-1">b</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFItzkoffSisario2012" class="citation news cs1">Itzkoff, Dave; Sisario, Ben (7 May 2012). <a rel="nofollow" class="external text" href="https://artsbeat.blogs.nytimes.com/2012/05/07/how-mad-men-landed-the-beatles-all-you-need-is-love-and-250000/">"How 'Mad Men' Landed the Beatles: All You Need Is Love (and $250,000)"</a>. <a href="/wiki/The_New_York_Times" title="The New York Times">The New York Times</a>. Retrieved 12 August 2012.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+New+York+Times&rft.atitle=How+%27Mad+Men%27+Landed+the+Beatles%3A+All+You+Need+Is+Love+%28and+%24250%2C000%29&rft.date=2012-05-07&rft.aulast=Itzkoff&rft.aufirst=Dave&rft.au=Sisario%2C+Ben&rft_id=https%3A%2F%2Fartsbeat.blogs.nytimes.com%2F2012%2F05%2F07%2Fhow-mad-men-landed-the-beatles-all-you-need-is-love-and-250000%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"> </li> <li id="cite_note-168"><a href="#cite_ref-168">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFLeeds2012" class="citation magazine cs1">Leeds, Sarene (7 May 2012). <a rel="nofollow" class="external text" href="https://www.rollingstone.com/movies/news/mad-men-recap-secrets-and-lies-20120507">"'Mad Men' Recap: Secrets and Lies"</a>. <a href="/wiki/Rolling_Stone" title="Rolling Stone">Rolling Stone</a>. Retrieved 7 May 2012.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Rolling+Stone&rft.atitle=%27Mad+Men%27+Recap%3A+Secrets+and+Lies&rft.date=2012-05-07&rft.aulast=Leeds&rft.aufirst=Sarene&rft_id=https%3A%2F%2Fwww.rollingstone.com%2Fmovies%2Fnews%2Fmad-men-recap-secrets-and-lies-20120507&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"> </li> <li id="cite_note-169"><a href="#cite_ref-169">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFJurgensen2012" class="citation news cs1">Jurgensen, John (7 May 2012). <a rel="nofollow" class="external text" href="https://www.wsj.com/articles/BL-SEB-69999">"How Much 'Mad Men' Paid for The Beatles"</a>. The Wall Street Journal. <a href="/wiki/ISSN_(identifier)" class="mw-redirect" title="ISSN (identifier)">ISSN</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/issn/0099-9660">0099-9660</a>. Retrieved 28 October 2022.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Wall+Street+Journal&rft.atitle=How+Much+%27Mad+Men%27+Paid+for+The+Beatles&rft.date=2012-05-07&rft.issn=0099-9660&rft.aulast=Jurgensen&rft.aufirst=John&rft_id=https%3A%2F%2Fwww.wsj.com%2Farticles%2FBL-SEB-69999&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"> </li> <li id="cite_note-FOOTNOTEMacDonald2005185-170"><a href="#cite_ref-FOOTNOTEMacDonald2005185_170-0">^</a> <a href="#CITEREFMacDonald2005">MacDonald 2005</a>, p. 185. </li> <li id="cite_note-FOOTNOTERodriguez2012109-171">^ <a href="#cite_ref-FOOTNOTERodriguez2012109_171-0">a</a> <a href="#cite_ref-FOOTNOTERodriguez2012109_171-1">b</a> <a href="#CITEREFRodriguez2012">Rodriguez 2012</a>, p. 109. </li> </ol></div> <div class="mw-heading mw-heading2"><h2 id="Sources">Sources</h2>[<a href="/w/index.php?title=Tomorrow_Never_Knows&action=edit&section=16" title="Edit section: Sources">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1239549316">.mw-parser-output .refbegin{margin-bottom:0.5em}.mw-parser-output .refbegin-hanging-indents>ul{margin-left:0}.mw-parser-output .refbegin-hanging-indents>ul>li{margin-left:0;padding-left:3.2em;text-indent:-3.2em}.mw-parser-output .refbegin-hanging-indents ul,.mw-parser-output .refbegin-hanging-indents ul li{list-style:none}@media(max-width:720px){.mw-parser-output .refbegin-hanging-indents>ul>li{padding-left:1.6em;text-indent:-1.6em}}.mw-parser-output .refbegin-columns{margin-top:0.3em}.mw-parser-output .refbegin-columns ul{margin-top:0}.mw-parser-output .refbegin-columns li{page-break-inside:avoid;break-inside:avoid-column}@media screen{.mw-parser-output .refbegin{font-size:90%}}</style><div class="refbegin refbegin-columns references-column-width" style="column-width: 30em"> <ul><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFThe_Beatles2000" class="citation book cs1">The Beatles (2000). <a rel="nofollow" class="external text" href="https://archive.org/details/beatlesanthology0000unse">The Beatles Anthology</a>. San Francisco, CA: Chronicle Books. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8118-2684-8" title="Special:BookSources/0-8118-2684-8"><bdi>0-8118-2684-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Beatles+Anthology&rft.place=San+Francisco%2C+CA&rft.pub=Chronicle+Books&rft.date=2000&rft.isbn=0-8118-2684-8&rft.au=The+Beatles&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fbeatlesanthology0000unse&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFBrend2005" class="citation book cs1">Brend, Mark (2005). Strange Sounds: Offbeat Instruments and Sonic Experiments in Pop. San Francisco, CA: Backbeat Books. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9-780879-308551" title="Special:BookSources/9-780879-308551"><bdi>9-780879-308551</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Strange+Sounds%3A+Offbeat+Instruments+and+Sonic+Experiments+in+Pop&rft.place=San+Francisco%2C+CA&rft.pub=Backbeat+Books&rft.date=2005&rft.isbn=9-780879-308551&rft.aulast=Brend&rft.aufirst=Mark&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFBromell2002" class="citation book cs1"><a href="/wiki/Nick_Bromell" title="Nick Bromell">Bromell, Nick</a> (2002). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=CLs0WtOozmYC&q=Revolver">Tomorrow Never Knows: Rock and Psychedelics in the 1960s</a>. Chicago, IL: University of Chicago Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-226-07562-1" title="Special:BookSources/0-226-07562-1"><bdi>0-226-07562-1</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Tomorrow+Never+Knows%3A+Rock+and+Psychedelics+in+the+1960s&rft.place=Chicago%2C+IL&rft.pub=University+of+Chicago+Press&rft.date=2002&rft.isbn=0-226-07562-1&rft.aulast=Bromell&rft.aufirst=Nick&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DCLs0WtOozmYC%26q%3DRevolver&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFBrownGaines1980" class="citation book cs1"><a href="/wiki/Peter_Brown_(music_industry)" class="mw-redirect" title="Peter Brown (music industry)">Brown, Peter</a>; <a href="/wiki/Steven_Gaines" title="Steven Gaines">Gaines, Steven</a> (1980). The Love You Make: An Insider's Story of The Beatles. Methuen Publishing. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-451-20735-7" title="Special:BookSources/978-0-451-20735-7"><bdi>978-0-451-20735-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Love+You+Make%3A+An+Insider%27s+Story+of+The+Beatles&rft.pub=Methuen+Publishing&rft.date=1980&rft.isbn=978-0-451-20735-7&rft.aulast=Brown&rft.aufirst=Peter&rft.au=Gaines%2C+Steven&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFClayson2003" class="citation book cs1"><a href="/wiki/Alan_Clayson" title="Alan Clayson">Clayson, Alan</a> (2003). George Harrison. London: Sanctuary. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-86074-489-3" title="Special:BookSources/1-86074-489-3"><bdi>1-86074-489-3</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=George+Harrison&rft.place=London&rft.pub=Sanctuary&rft.date=2003&rft.isbn=1-86074-489-3&rft.aulast=Clayson&rft.aufirst=Alan&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFDeRogatis2003" class="citation book cs1"><a href="/wiki/Jim_DeRogatis" title="Jim DeRogatis">DeRogatis, Jim</a> (2003). Turn on Your Mind: Four Decades of Great Psychedelic Rock. Milwaukee, WI: Hal Leonard. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-634-05548-5" title="Special:BookSources/978-0-634-05548-5"><bdi>978-0-634-05548-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Turn+on+Your+Mind%3A+Four+Decades+of+Great+Psychedelic+Rock&rft.place=Milwaukee%2C+WI&rft.pub=Hal+Leonard&rft.date=2003&rft.isbn=978-0-634-05548-5&rft.aulast=DeRogatis&rft.aufirst=Jim&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFEchard2017" class="citation book cs1">Echard, William (2017). Psychedelic Popular Music: A History through Musical Topic Theory. Bloomington, Indiana: Indiana University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0253026590" title="Special:BookSources/978-0253026590"><bdi>978-0253026590</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Psychedelic+Popular+Music%3A+A+History+through+Musical+Topic+Theory&rft.place=Bloomington%2C+Indiana&rft.pub=Indiana+University+Press&rft.date=2017&rft.isbn=978-0253026590&rft.aulast=Echard&rft.aufirst=William&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFEverett1999" class="citation book cs1"><a href="/wiki/Walter_Everett_(musicologist)" title="Walter Everett (musicologist)">Everett, Walter</a> (1999). The Beatles as Musicians: Revolver Through the Anthology. New York, NY: Oxford University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-19-512941-5" title="Special:BookSources/0-19-512941-5"><bdi>0-19-512941-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Beatles+as+Musicians%3A+Revolver+Through+the+Anthology&rft.place=New+York%2C+NY&rft.pub=Oxford+University+Press&rft.date=1999&rft.isbn=0-19-512941-5&rft.aulast=Everett&rft.aufirst=Walter&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFHarris2012" class="citation book cs1">Harris, Mark (2012). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=D8agqQBU_OAC&q=%22Looking+for+Mushrooms%22+%22Tomorrow+Never+Knows%22&pg=PA333">"Countercultural Intoxication: An Aesthetics of Transformation"</a>. In Auther, Elissa; Lerner, Adam (eds.). West of Center: Art and the Counterculture Experiment in America, 1965–1977. Minneapolis, MN: University of Minnesota Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8166-7725-2" title="Special:BookSources/978-0-8166-7725-2"><bdi>978-0-8166-7725-2</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Countercultural+Intoxication%3A+An+Aesthetics+of+Transformation&rft.btitle=West+of+Center%3A+Art+and+the+Counterculture+Experiment+in+America%2C+1965%E2%80%931977&rft.place=Minneapolis%2C+MN&rft.pub=University+of+Minnesota+Press&rft.date=2012&rft.isbn=978-0-8166-7725-2&rft.aulast=Harris&rft.aufirst=Mark&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DD8agqQBU_OAC%26q%3D%2522Looking%2Bfor%2BMushrooms%2522%2B%2522Tomorrow%2BNever%2BKnows%2522%26pg%3DPA333&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFHarry2000" class="citation book cs1"><a href="/wiki/Bill_Harry" title="Bill Harry">Harry, Bill</a> (2000). The Beatles Encyclopedia. London: Virgin Publishing. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-7535-0481-2" title="Special:BookSources/0-7535-0481-2"><bdi>0-7535-0481-2</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Beatles+Encyclopedia&rft.place=London&rft.pub=Virgin+Publishing&rft.date=2000&rft.isbn=0-7535-0481-2&rft.aulast=Harry&rft.aufirst=Bill&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFHertsgaard1996" class="citation book cs1"><a href="/wiki/Mark_Hertsgaard" title="Mark Hertsgaard">Hertsgaard, Mark</a> (1996). A Day in the Life: The Music and Artistry of the Beatles. London: Pan Books. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-330-33891-9" title="Special:BookSources/0-330-33891-9"><bdi>0-330-33891-9</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=A+Day+in+the+Life%3A+The+Music+and+Artistry+of+the+Beatles&rft.place=London&rft.pub=Pan+Books&rft.date=1996&rft.isbn=0-330-33891-9&rft.aulast=Hertsgaard&rft.aufirst=Mark&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFHolmes2012" class="citation book cs1">Holmes, Thom (2012). <a rel="nofollow" class="external text" href="https://archive.org/details/electronicexperi00holm">Electronic and Experimental Music: Technology, Music, and Culture (4th edn)</a>. New York, NY: Routledge. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-415-89636-8" title="Special:BookSources/978-0-415-89636-8"><bdi>978-0-415-89636-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Electronic+and+Experimental+Music%3A+Technology%2C+Music%2C+and+Culture+%284th+edn%29&rft.place=New+York%2C+NY&rft.pub=Routledge&rft.date=2012&rft.isbn=978-0-415-89636-8&rft.aulast=Holmes&rft.aufirst=Thom&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Felectronicexperi00holm&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFHoward2004" class="citation book cs1">Howard, David N. (2004). Sonic Alchemy: Visionary Music Producers and Their Maverick Recordings. Milwaukee, WI: Hal Leonard. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-634-05560-7" title="Special:BookSources/0-634-05560-7"><bdi>0-634-05560-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Sonic+Alchemy%3A+Visionary+Music+Producers+and+Their+Maverick+Recordings&rft.place=Milwaukee%2C+WI&rft.pub=Hal+Leonard&rft.date=2004&rft.isbn=0-634-05560-7&rft.aulast=Howard&rft.aufirst=David+N.&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFLavezzoli2006" class="citation book cs1">Lavezzoli, Peter (2006). The Dawn of Indian Music in the West. New York, NY: Continuum. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8264-2819-3" title="Special:BookSources/0-8264-2819-3"><bdi>0-8264-2819-3</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Dawn+of+Indian+Music+in+the+West&rft.place=New+York%2C+NY&rft.pub=Continuum&rft.date=2006&rft.isbn=0-8264-2819-3&rft.aulast=Lavezzoli&rft.aufirst=Peter&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFLeonard2014" class="citation book cs1">Leonard, Candy (2014). Beatleness: How the Beatles and Their Fans Remade the World. New York, NY: Arcade Publishing. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-62872-417-2" title="Special:BookSources/978-1-62872-417-2"><bdi>978-1-62872-417-2</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Beatleness%3A+How+the+Beatles+and+Their+Fans+Remade+the+World&rft.place=New+York%2C+NY&rft.pub=Arcade+Publishing&rft.date=2014&rft.isbn=978-1-62872-417-2&rft.aulast=Leonard&rft.aufirst=Candy&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFLewisohn2005" class="citation book cs1"><a href="/wiki/Mark_Lewisohn" title="Mark Lewisohn">Lewisohn, Mark</a> (2005) [1988]. The Complete Beatles Recording Sessions: The Official Story of the Abbey Road Years 1962–1970. London: Bounty Books. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7537-2545-0" title="Special:BookSources/978-0-7537-2545-0"><bdi>978-0-7537-2545-0</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Complete+Beatles+Recording+Sessions%3A+The+Official+Story+of+the+Abbey+Road+Years+1962%E2%80%931970&rft.place=London&rft.pub=Bounty+Books&rft.date=2005&rft.isbn=978-0-7537-2545-0&rft.aulast=Lewisohn&rft.aufirst=Mark&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFLuhrssenLarson2017" class="citation book cs1">Luhrssen, David; Larson, Michael (2017). Encyclopedia of Classic Rock. Santa Barbara, CA: Greenwood. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-4408-3513-1" title="Special:BookSources/978-1-4408-3513-1"><bdi>978-1-4408-3513-1</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Encyclopedia+of+Classic+Rock&rft.place=Santa+Barbara%2C+CA&rft.pub=Greenwood&rft.date=2017&rft.isbn=978-1-4408-3513-1&rft.aulast=Luhrssen&rft.aufirst=David&rft.au=Larson%2C+Michael&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFMacDonald1998" class="citation book cs1"><a href="/wiki/Ian_MacDonald" title="Ian MacDonald">MacDonald, Ian</a> (1998). Revolution in the Head: The Beatles' Records and the Sixties. London: Pimlico. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7126-6697-8" title="Special:BookSources/978-0-7126-6697-8"><bdi>978-0-7126-6697-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Revolution+in+the+Head%3A+The+Beatles%27+Records+and+the+Sixties&rft.place=London&rft.pub=Pimlico&rft.date=1998&rft.isbn=978-0-7126-6697-8&rft.aulast=MacDonald&rft.aufirst=Ian&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFMacDonald2005" class="citation book cs1"><a href="/wiki/Ian_MacDonald" title="Ian MacDonald">MacDonald, Ian</a> (2005). Revolution in the Head: The Beatles' Records and the Sixties (2nd rev. ed.). London: Pimlico. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-84413-828-3" title="Special:BookSources/1-84413-828-3"><bdi>1-84413-828-3</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Revolution+in+the+Head%3A+The+Beatles%27+Records+and+the+Sixties&rft.place=London&rft.edition=2nd+rev.&rft.pub=Pimlico&rft.date=2005&rft.isbn=1-84413-828-3&rft.aulast=MacDonald&rft.aufirst=Ian&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFMartin1994" class="citation book cs1"><a href="/wiki/George_Martin" title="George Martin">Martin, George</a>; with Pearson, William (1994). Summer of Love: The Making of Sgt. Pepper. London: Macmillan. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-333-60398-2" title="Special:BookSources/0-333-60398-2"><bdi>0-333-60398-2</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Summer+of+Love%3A+The+Making+of+Sgt.+Pepper&rft.place=London&rft.pub=Macmillan&rft.date=1994&rft.isbn=0-333-60398-2&rft.aulast=Martin&rft.aufirst=George&rft.au=with+Pearson%2C+William&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFMiles1997" class="citation book cs1"><a href="/wiki/Barry_Miles" title="Barry Miles">Miles, Barry</a> (1997). <a href="/wiki/Paul_McCartney:_Many_Years_from_Now" title="Paul McCartney: Many Years from Now">Paul McCartney: Many Years from Now</a>. Vintage. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-7493-8658-4" title="Special:BookSources/0-7493-8658-4"><bdi>0-7493-8658-4</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Paul+McCartney%3A+Many+Years+from+Now&rft.pub=Vintage&rft.date=1997&rft.isbn=0-7493-8658-4&rft.aulast=Miles&rft.aufirst=Barry&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFMiles2001" class="citation book cs1">Miles, Barry (2001). The Beatles Diary Volume 1: The Beatles Years. London: Omnibus Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-7119-8308-9" title="Special:BookSources/0-7119-8308-9"><bdi>0-7119-8308-9</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Beatles+Diary+Volume+1%3A+The+Beatles+Years&rft.place=London&rft.pub=Omnibus+Press&rft.date=2001&rft.isbn=0-7119-8308-9&rft.aulast=Miles&rft.aufirst=Barry&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFMiles2006" class="citation magazine cs1">Miles, Barry (July 2006). "Revolver: The Tripping Point". <a href="/wiki/Mojo_(magazine)" title="Mojo (magazine)">Mojo</a>. pp. 70–77.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Mojo&rft.atitle=Revolver%3A+The+Tripping+Point&rft.pages=%3Cspan+class%3D%22nowrap%22%3E70-%3C%2Fspan%3E77&rft.date=2006-07&rft.aulast=Miles&rft.aufirst=Barry&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFPedler2003" class="citation book cs1">Pedler, Dominic (2003). The Songwriting Secrets of the Beatles. London: Omnibus Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7119-8167-6" title="Special:BookSources/978-0-7119-8167-6"><bdi>978-0-7119-8167-6</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Songwriting+Secrets+of+the+Beatles&rft.place=London&rft.pub=Omnibus+Press&rft.date=2003&rft.isbn=978-0-7119-8167-6&rft.aulast=Pedler&rft.aufirst=Dominic&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFPhilo2015" class="citation book cs1">Philo, Simon (2015). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=WqiDBQAAQBAJ">British Invasion: The Crosscurrents of Musical Influence</a>. Lanham, MD: Rowman & Littlefield. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8108-8626-1" title="Special:BookSources/978-0-8108-8626-1"><bdi>978-0-8108-8626-1</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=British+Invasion%3A+The+Crosscurrents+of+Musical+Influence&rft.place=Lanham%2C+MD&rft.pub=Rowman+%26+Littlefield&rft.date=2015&rft.isbn=978-0-8108-8626-1&rft.aulast=Philo&rft.aufirst=Simon&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DWqiDBQAAQBAJ&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFReising2002" class="citation book cs1">Reising, Russell (2002). "Introduction: 'Of the beginning'". In Reising, Russell (ed.). 'Every Sound There Is': The Beatles' Revolver and the Transformation of Rock and Roll. Farnham, UK: Ashgate Publishing. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7546-0557-7" title="Special:BookSources/978-0-7546-0557-7"><bdi>978-0-7546-0557-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Introduction%3A+%27Of+the+beginning%27&rft.btitle=%27Every+Sound+There+Is%27%3A+The+Beatles%27+Revolver+and+the+Transformation+of+Rock+and+Roll&rft.place=Farnham%2C+UK&rft.pub=Ashgate+Publishing&rft.date=2002&rft.isbn=978-0-7546-0557-7&rft.aulast=Reising&rft.aufirst=Russell&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFReisingLeBlanc2009" class="citation book cs1">Reising, Russell; LeBlanc, Jim (2009). "Magical Mystery Tours, and Other Trips: Yellow submarines, newspaper taxis, and the Beatles' psychedelic years". In Womack, Kenneth (ed.). The Cambridge Companion to the Beatles. Cambridge, UK: Cambridge University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-521-68976-2" title="Special:BookSources/978-0-521-68976-2"><bdi>978-0-521-68976-2</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Magical+Mystery+Tours%2C+and+Other+Trips%3A+Yellow+submarines%2C+newspaper+taxis%2C+and+the+Beatles%27+psychedelic+years&rft.btitle=The+Cambridge+Companion+to+the+Beatles&rft.place=Cambridge%2C+UK&rft.pub=Cambridge+University+Press&rft.date=2009&rft.isbn=978-0-521-68976-2&rft.aulast=Reising&rft.aufirst=Russell&rft.au=LeBlanc%2C+Jim&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFRodriguez2012" class="citation book cs1">Rodriguez, Robert (2012). Revolver: How the Beatles Reimagined Rock 'n' Roll. Milwaukee, WI: Backbeat Books. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-61713-009-0" title="Special:BookSources/978-1-61713-009-0"><bdi>978-1-61713-009-0</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Revolver%3A+How+the+Beatles+Reimagined+Rock+%27n%27+Roll&rft.place=Milwaukee%2C+WI&rft.pub=Backbeat+Books&rft.date=2012&rft.isbn=978-1-61713-009-0&rft.aulast=Rodriguez&rft.aufirst=Robert&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFSavage2015" class="citation book cs1"><a href="/wiki/Jon_Savage" title="Jon Savage">Savage, Jon</a> (2015). 1966: The Year the Decade Exploded. London: Faber & Faber. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-571-27763-6" title="Special:BookSources/978-0-571-27763-6"><bdi>978-0-571-27763-6</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=1966%3A+The+Year+the+Decade+Exploded&rft.place=London&rft.pub=Faber+%26+Faber&rft.date=2015&rft.isbn=978-0-571-27763-6&rft.aulast=Savage&rft.aufirst=Jon&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFSpitz2005" class="citation book cs1"><a href="/wiki/Bob_Spitz" title="Bob Spitz">Spitz, Bob</a> (2005). <a rel="nofollow" class="external text" href="https://archive.org/details/beatlesbiography00spit">The Beatles: The Biography</a>. New York, NY: Little, Brown and Company. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-84513-160-6" title="Special:BookSources/1-84513-160-6"><bdi>1-84513-160-6</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Beatles%3A+The+Biography&rft.place=New+York%2C+NY&rft.pub=Little%2C+Brown+and+Company&rft.date=2005&rft.isbn=1-84513-160-6&rft.aulast=Spitz&rft.aufirst=Bob&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fbeatlesbiography00spit&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFSchaffner1978" class="citation book cs1"><a href="/wiki/Nicholas_Schaffner" title="Nicholas Schaffner">Schaffner, Nicholas</a> (1978). <a rel="nofollow" class="external text" href="https://archive.org/details/beatlesforever00scha">The Beatles Forever</a>. New York, NY: McGraw-Hill. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-07-055087-5" title="Special:BookSources/0-07-055087-5"><bdi>0-07-055087-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Beatles+Forever&rft.place=New+York%2C+NY&rft.pub=McGraw-Hill&rft.date=1978&rft.isbn=0-07-055087-5&rft.aulast=Schaffner&rft.aufirst=Nicholas&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fbeatlesforever00scha&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFSheff2000" class="citation book cs1"><a href="/wiki/David_Sheff" title="David Sheff">Sheff, David</a> (2000) [1981]. <a rel="nofollow" class="external text" href="https://archive.org/details/allwearesayingla00lenn">All We Are Saying: The Last Major Interview with John Lennon and Yoko Ono</a>. New York, NY: St. Martin's Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-312-25464-4" title="Special:BookSources/0-312-25464-4"><bdi>0-312-25464-4</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=All+We+Are+Saying%3A+The+Last+Major+Interview+with+John+Lennon+and+Yoko+Ono&rft.place=New+York%2C+NY&rft.pub=St.+Martin%27s+Press&rft.date=2000&rft.isbn=0-312-25464-4&rft.aulast=Sheff&rft.aufirst=David&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fallwearesayingla00lenn&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFTurner2016" class="citation book cs1"><a href="/wiki/Steve_Turner_(writer)" title="Steve Turner (writer)">Turner, Steve</a> (2016). Beatles '66: The Revolutionary Year. New York, NY: Ecco. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-06-247558-9" title="Special:BookSources/978-0-06-247558-9"><bdi>978-0-06-247558-9</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Beatles+%2766%3A+The+Revolutionary+Year&rft.place=New+York%2C+NY&rft.pub=Ecco&rft.date=2016&rft.isbn=978-0-06-247558-9&rft.aulast=Turner&rft.aufirst=Steve&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFWinn2009" class="citation book cs1">Winn, John C. (2009). That Magic Feeling: The Beatles' Recorded Legacy, Volume Two, 1966–1970. New York, NY: Three Rivers Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-307-45239-9" title="Special:BookSources/978-0-307-45239-9"><bdi>978-0-307-45239-9</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=That+Magic+Feeling%3A+The+Beatles%27+Recorded+Legacy%2C+Volume+Two%2C+1966%E2%80%931970&rft.place=New+York%2C+NY&rft.pub=Three+Rivers+Press&rft.date=2009&rft.isbn=978-0-307-45239-9&rft.aulast=Winn&rft.aufirst=John+C.&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"></li> <li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222" /><cite id="CITEREFWomack2014" class="citation book cs1"><a href="/wiki/Kenneth_Womack" title="Kenneth Womack">Womack, Kenneth</a> (2014). The Beatles Encyclopedia: Everything Fab Four. Santa Barbara, CA: ABC-CLIO. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-313-39171-2" title="Special:BookSources/978-0-313-39171-2"><bdi>978-0-313-39171-2</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Beatles+Encyclopedia%3A+Everything+Fab+Four&rft.place=Santa+Barbara%2C+CA&rft.pub=ABC-CLIO&rft.date=2014&rft.isbn=978-0-313-39171-2&rft.aulast=Womack&rft.aufirst=Kenneth&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATomorrow+Never+Knows" class="Z3988"></li></ul> </div> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2>[<a href="/w/index.php?title=Tomorrow_Never_Knows&action=edit&section=17" title="Edit section: External links">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1235681985">.mw-parser-output .side-box{margin:4px 0;box-sizing:border-box;border:1px solid #aaa;font-size:88%;line-height:1.25em;background-color:var(--background-color-interactive-subtle,#f8f9fa);display:flow-root}.mw-parser-output .side-box-abovebelow,.mw-parser-output .side-box-text{padding:0.25em 0.9em}.mw-parser-output .side-box-image{padding:2px 0 2px 0.9em;text-align:center}.mw-parser-output .side-box-imageright{padding:2px 0.9em 2px 0;text-align:center}@media(min-width:500px){.mw-parser-output .side-box-flex{display:flex;align-items:center}.mw-parser-output .side-box-text{flex:1;min-width:0}}@media(min-width:720px){.mw-parser-output .side-box{width:238px}.mw-parser-output .side-box-right{clear:right;float:right;margin-left:1em}.mw-parser-output .side-box-left{margin-right:1em}}</style><style data-mw-deduplicate="TemplateStyles:r1237033735">@media print{body.ns-0 .mw-parser-output .sistersitebox{display:none!important}}@media screen{html.skin-theme-clientpref-night .mw-parser-output .sistersitebox img[src*="Wiktionary-logo-en-v2.svg"]{background-color:white}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .sistersitebox img[src*="Wiktionary-logo-en-v2.svg"]{background-color:white}}</style><div class="side-box side-box-right plainlinks sistersitebox"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1126788409" /> <div class="side-box-flex"> <div class="side-box-image"><a href="/wiki/File:Wikiquote-logo.svg" class="mw-file-description"><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/34px-Wikiquote-logo.svg.png" decoding="async" width="34" height="40" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/51px-Wikiquote-logo.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/68px-Wikiquote-logo.svg.png 2x" data-file-width="300" data-file-height="355" /></a></div> <div class="side-box-text plainlist">Wikiquote has quotations related to <a href="https://en.wikiquote.org/wiki/Revolver_(Beatles_album)" class="extiw" title="q:Revolver (Beatles album)">Revolver (Beatles album)</a>.</div></div> </div> <ul><li><a rel="nofollow" class="external text" href="https://www.thebeatles.com/tomorrow-never-knows">Full lyrics for the song at the Beatles' official website</a></li> <li><a href="/wiki/Alan_W._Pollack" title="Alan W. Pollack">Alan W. Pollack</a>'s <a rel="nofollow" class="external text" href="http://www.icce.rug.nl/~soundscapes/DATABASES/AWP/tnk.shtml">Notes on "Tomorrow Never Knows"</a></li></ul> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374" /><style data-mw-deduplicate="TemplateStyles:r1236075235">.mw-parser-output .navbox{box-sizing:border-box;border:1px solid #a2a9b1;width:100%;clear:both;font-size:88%;text-align:center;padding:1px;margin:1em auto 0}.mw-parser-output .navbox .navbox{margin-top:0}.mw-parser-output .navbox+.navbox,.mw-parser-output .navbox+.navbox-styles+.navbox{margin-top:-1px}.mw-parser-output .navbox-inner,.mw-parser-output .navbox-subgroup{width:100%}.mw-parser-output .navbox-group,.mw-parser-output .navbox-title,.mw-parser-output .navbox-abovebelow{padding:0.25em 1em;line-height:1.5em;text-align:center}.mw-parser-output .navbox-group{white-space:nowrap;text-align:right}.mw-parser-output .navbox,.mw-parser-output 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style="width:1%">Songs</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%">Side one</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li>"<a href="/wiki/Taxman" title="Taxman">Taxman</a>"</li> <li>"<a href="/wiki/Eleanor_Rigby" title="Eleanor Rigby">Eleanor Rigby</a>"</li> <li>"<a href="/wiki/I%27m_Only_Sleeping" title="I'm Only Sleeping">I'm Only Sleeping</a>"</li> <li>"<a href="/wiki/Love_You_To" title="Love You To">Love You To</a>"</li> <li>"<a href="/wiki/Here,_There_and_Everywhere" title="Here, There and Everywhere">Here, There and Everywhere</a>"</li> <li>"<a href="/wiki/Yellow_Submarine_(song)" title="Yellow Submarine (song)">Yellow Submarine</a>"</li> <li>"<a href="/wiki/She_Said_She_Said" title="She Said She Said">She Said She Said</a>"</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Side two</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li>"<a href="/wiki/Good_Day_Sunshine" title="Good Day Sunshine">Good Day Sunshine</a>"</li> <li>"<a href="/wiki/And_Your_Bird_Can_Sing" title="And Your Bird Can Sing">And Your Bird Can Sing</a>"</li> <li>"<a href="/wiki/For_No_One" title="For No One">For No One</a>"</li> <li>"<a href="/wiki/Doctor_Robert" title="Doctor Robert">Doctor Robert</a>"</li> <li>"<a href="/wiki/I_Want_to_Tell_You" title="I Want to Tell You">I Want to Tell You</a>"</li> <li>"<a href="/wiki/Got_to_Get_You_into_My_Life" title="Got to Get You into My Life">Got to Get You into My Life</a>"</li> <li>"<a class="mw-selflink selflink">Tomorrow Never Knows</a>"</li></ul> </div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Non-album single</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li>"<a href="/wiki/Paperback_Writer" title="Paperback Writer">Paperback Writer</a>"</li> <li>"<a href="/wiki/Rain_(Beatles_song)" title="Rain (Beatles song)">Rain</a>"</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Related articles</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/The_Beatles_albums_discography" title="The Beatles albums discography">The Beatles albums discography</a></li> <li><a href="/wiki/Recording_practices_of_the_Beatles" title="Recording practices of the Beatles">Recording practices of the Beatles</a></li> <li><a href="/wiki/Yesterday_and_Today" title="Yesterday and Today">Yesterday and Today</a></li> <li><a href="/wiki/The_Beatles%27_1966_tour_of_Germany,_Japan_and_the_Philippines" title="The Beatles' 1966 tour of Germany, Japan and the Philippines">1966 tour of Germany, Japan and the Philippines</a></li> <li><a href="/wiki/The_Beatles%27_1966_US_tour" title="The Beatles' 1966 US tour">1966 US tour</a></li> <li>"<a href="/wiki/More_popular_than_Jesus" title="More popular than Jesus">More popular than Jesus</a>"</li></ul> </div></td></tr><tr><td class="navbox-abovebelow" colspan="2"><div><div class="hlist" style="text-align:center;"> <ul><li>The Beatles albums:</li> <li><a href="/wiki/Please_Please_Me" title="Please Please Me">Please Please Me</a></li> <li><a href="/wiki/With_the_Beatles" title="With the Beatles">With the Beatles</a></li> <li><a href="/wiki/A_Hard_Day%27s_Night_(album)" title="A Hard Day's Night (album)">A Hard Day's Night</a></li> <li><a href="/wiki/Beatles_for_Sale" title="Beatles for Sale">Beatles for Sale</a></li> <li><a href="/wiki/Help!" title="Help!">Help!</a></li> <li><a href="/wiki/Rubber_Soul" title="Rubber Soul">Rubber Soul</a></li> <li><a href="/wiki/Revolver_(Beatles_album)" title="Revolver (Beatles album)">Revolver</a></li> <li><a href="/wiki/Sgt._Pepper%27s_Lonely_Hearts_Club_Band" title="Sgt. Pepper's Lonely Hearts Club Band">Sgt. Pepper's Lonely Hearts Club Band</a></li> <li><a href="/wiki/Magical_Mystery_Tour" title="Magical Mystery Tour">Magical Mystery Tour</a></li> <li><a href="/wiki/The_Beatles_(album)" title="The Beatles (album)">The Beatles</a></li> <li><a href="/wiki/Yellow_Submarine_(album)" title="Yellow Submarine (album)">Yellow Submarine</a></li> <li><a href="/wiki/Abbey_Road" title="Abbey Road">Abbey Road</a></li> <li><a href="/wiki/Let_It_Be_(album)" title="Let It Be (album)">Let It Be</a></li></ul> </div></div></td></tr></tbody></table></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374" /><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235" /></div><div role="navigation" class="navbox" aria-labelledby="Timothy_Leary133" style="padding:3px"><table class="nowraplinks hlist mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374" /><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239400231" /><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:Timothy_Leary" title="Template:Timothy Leary"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Timothy_Leary" title="Template talk:Timothy Leary"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Timothy_Leary" title="Special:EditPage/Template:Timothy Leary"><abbr title="Edit this template">e</abbr></a></li></ul></div><div id="Timothy_Leary133" style="font-size:114%;margin:0 4em"><a href="/wiki/Timothy_Leary" title="Timothy Leary">Timothy Leary</a></div></th></tr><tr><td class="navbox-abovebelow" colspan="2"><div><a href="/wiki/Timothy_Leary_bibliography" title="Timothy Leary bibliography">Bibliography</a></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Books</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/The_Psychedelic_Experience" title="The Psychedelic Experience">The Psychedelic Experience: A Manual Based on the Tibetan Book of the Dead</a> (1964)</li> <li><a href="/wiki/High_Priest_(book)" title="High Priest (book)">High Priest</a> (1968)</li> <li><a href="/wiki/Neurologic_(book)" title="Neurologic (book)">Neurologic</a> (1973)</li> <li><a href="/wiki/Flashbacks_(book)" title="Flashbacks (book)">Flashbacks</a> (1983)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Theories</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Reality_tunnel" title="Reality tunnel">Reality tunnel</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Philosophy</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Eight-circuit_model_of_consciousness" title="Eight-circuit model of consciousness">Eight-circuit model of consciousness</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Models</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Interpersonal_circumplex" title="Interpersonal circumplex">Interpersonal circumplex</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Research</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Harvard_Psilocybin_Project" title="Harvard Psilocybin Project">Harvard Psilocybin Project</a> <ul><li><a href="/wiki/Concord_Prison_Experiment" title="Concord Prison Experiment">Concord Prison Experiment</a></li> <li><a href="/wiki/Marsh_Chapel_Experiment" title="Marsh Chapel Experiment">Marsh Chapel Experiment</a></li></ul></li> <li><a href="/wiki/League_for_Spiritual_Discovery" title="League for Spiritual Discovery">League for Spiritual Discovery</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Communities</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Zihuatanejo_Project" title="Zihuatanejo Project">Zihuatanejo Project</a></li> <li><a href="/wiki/Hitchcock_Estate" title="Hitchcock Estate">Millbrook</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Music</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Turn_On,_Tune_In,_Drop_Out_(album)" title="Turn On, Tune In, Drop Out (album)">Turn On, Tune In, Drop Out</a> (1967 album)</li> <li>"<a href="/wiki/Give_Peace_a_Chance" title="Give Peace a Chance">Give Peace a Chance</a>" (1969, vocals)</li> <li><a href="/wiki/You_Can_Be_Anyone_This_Time_Around" title="You Can Be Anyone This Time Around">You Can Be Anyone This Time Around</a> (1970 album)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Collaborators</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Ram_Dass" title="Ram Dass">Ram Dass</a></li> <li><a href="/wiki/Ralph_Metzner" title="Ralph Metzner">Ralph Metzner</a></li> <li><a href="/wiki/Robert_Anton_Wilson" title="Robert Anton Wilson">Robert Anton Wilson</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Related</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Set_and_setting" title="Set and setting">Set and setting</a></li> <li><a href="/wiki/Turn_on,_tune_in,_drop_out" title="Turn on, tune in, drop out">Turn on, tune in, drop out</a></li> <li><a href="/wiki/Question_authority" title="Question authority">Question authority</a></li> <li><a href="/wiki/Ego_death" title="Ego death">Ego death</a></li> <li><a href="/wiki/Leary%E2%80%93Lettvin_debate" title="Leary–Lettvin debate">Leary–Lettvin debate</a></li> <li><a href="/wiki/Leary_v._United_States" title="Leary v. United States">Leary v. United States</a></li> <li>"<a class="mw-selflink selflink">Tomorrow Never Knows</a>" (1966 song)</li> <li>"<a href="/wiki/Legend_of_a_Mind" title="Legend of a Mind">Legend of a Mind</a>" (1968 song)</li> <li>"<a href="/wiki/Come_Together" title="Come Together">Come Together</a>" (1969 song)</li> <li><a href="/wiki/Return_Engagement_(1983_film)" title="Return Engagement (1983 film)">Return Engagement</a> (1983 documentary)</li> <li><a href="/wiki/The_Sekhmet_Hypothesis" title="The Sekhmet Hypothesis">The Sekhmet Hypothesis</a> (1995 book)</li> <li><a href="/wiki/Dying_to_Know:_Ram_Dass_%26_Timothy_Leary" title="Dying to Know: Ram Dass & Timothy Leary">Dying to Know: Ram Dass & Timothy Leary</a> (2014 documentary)</li> <li><a href="/wiki/Joanna_Harcourt-Smith" title="Joanna Harcourt-Smith">Joanna Harcourt-Smith</a></li> <li><a href="/wiki/Winona_Ryder" title="Winona Ryder">Winona Ryder</a> (goddaughter)</li></ul> </div></td></tr></tbody></table></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374" /><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235" /></div><div role="navigation" class="navbox" aria-labelledby="Ram_Dass49" style="padding:3px"><table class="nowraplinks mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374" /><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1239400231" /><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:Ram_Dass" title="Template:Ram Dass"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Ram_Dass" title="Template talk:Ram Dass"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Ram_Dass" title="Special:EditPage/Template:Ram Dass"><abbr title="Edit this template">e</abbr></a></li></ul></div><div id="Ram_Dass49" style="font-size:114%;margin:0 4em"><a href="/wiki/Ram_Dass" title="Ram Dass">Ram Dass</a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">Writings</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/The_Psychedelic_Experience" title="The Psychedelic Experience">The Psychedelic Experience</a> (1964)</li> <li><a href="/wiki/Be_Here_Now_(book)" title="Be Here Now (book)">Be Here Now</a> (1971)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Other work</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Harvard_Psilocybin_Project" title="Harvard Psilocybin 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class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Marsh_Chapel_Experiment" title="Marsh Chapel Experiment">Marsh Chapel Experiment</a></li> <li><a href="/wiki/Hitchcock_Estate" title="Hitchcock Estate">Millbrook</a></li> <li><a href="/wiki/Lama_Foundation" title="Lama Foundation">Lama Foundation</a></li> <li><a href="/wiki/Dying_to_Know:_Ram_Dass_%26_Timothy_Leary" title="Dying to Know: Ram Dass & Timothy Leary">Dying to Know: Ram Dass & Timothy Leary</a> (2014 documentary)</li> <li><a href="/wiki/Ram_Dass,_Going_Home" title="Ram Dass, Going Home">Ram Dass, Going Home</a> (2017 documentary)</li> <li>"<a class="mw-selflink selflink">Tomorrow Never Knows</a>" (song)</li> <li><a href="/wiki/Be_Here_Now_(George_Harrison_song)" title="Be Here Now (George Harrison song)">"Be Here Now" (song)</a></li></ul> </div></td></tr></tbody></table></div> <div class="navbox-styles"><link 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class="vector-user-links"> </div> </div> </div> </div> </div> <div class="mw-portlet mw-portlet-dock-bottom emptyPortlet" id="p-dock-bottom"> <ul> </ul> </div> <script>(RLQ=window.RLQ||[]).push(function(){mw.config.set({"wgHostname":"mw-web.codfw.main-76d4c66f66-lswt6","wgBackendResponseTime":224,"wgPageParseReport":{"limitreport":{"cputime":"1.611","walltime":"1.781","ppvisitednodes":{"value":16204,"limit":1000000},"postexpandincludesize":{"value":228643,"limit":2097152},"templateargumentsize":{"value":23131,"limit":2097152},"expansiondepth":{"value":20,"limit":100},"expensivefunctioncount":{"value":5,"limit":500},"unstrip-depth":{"value":1,"limit":20},"unstrip-size":{"value":345724,"limit":5000000},"entityaccesscount":{"value":1,"limit":400},"timingprofile":["100.00% 1541.979 1 -total"," 28.80% 444.098 154 Template:Sfn"," 23.55% 363.098 2 Template:Reflist"," 17.81% 274.694 43 Template:Cite_book"," 16.63% 256.507 2 Template:Infobox"," 13.98% 215.636 1 Template:Infobox_song"," 5.02% 77.451 167 Template:Main_other"," 5.00% 77.171 1 Template:Short_description"," 4.73% 72.865 16 Template:Cite_web"," 4.39% 67.641 1 Template:Audio_sample"]},"scribunto":{"limitreport-timeusage":{"value":"0.965","limit":"10.000"},"limitreport-memusage":{"value":11550353,"limit":52428800},"limitreport-logs":"anchor_id_list = table#1 {\n [\"CITEREFAlexander2006\"] = 1,\n [\"CITEREFAnderson2014\"] = 1,\n [\"CITEREFBernstein2008\"] = 1,\n [\"CITEREFBrend2005\"] = 1,\n [\"CITEREFBromell2002\"] = 1,\n [\"CITEREFBrownGaines1980\"] = 1,\n [\"CITEREFCampbell2012\"] = 1,\n [\"CITEREFClayson2003\"] = 1,\n [\"CITEREFCleave1966\"] = 1,\n [\"CITEREFDeRogatis2003\"] = 1,\n [\"CITEREFDennis2014\"] = 1,\n [\"CITEREFEchard2017\"] = 1,\n [\"CITEREFEverett1999\"] = 1,\n [\"CITEREFFeirstein2008\"] = 1,\n [\"CITEREFFrushtick2009\"] = 1,\n [\"CITEREFGallagher2006\"] = 1,\n [\"CITEREFGilliland1969\"] = 1,\n [\"CITEREFGoldstein2020\"] = 1,\n [\"CITEREFGreenfield2016\"] = 1,\n [\"CITEREFHall1966\"] = 1,\n [\"CITEREFHarris2012\"] = 1,\n [\"CITEREFHarry2000\"] = 1,\n [\"CITEREFHasted2017\"] = 1,\n [\"CITEREFHertsgaard1996\"] = 1,\n [\"CITEREFHoberman2010\"] = 1,\n [\"CITEREFHolmes2012\"] = 1,\n [\"CITEREFHorn2017\"] = 1,\n [\"CITEREFHoward2004\"] = 1,\n [\"CITEREFHunt2002\"] = 1,\n [\"CITEREFIrvin2002\"] = 1,\n [\"CITEREFItzkoffSisario2012\"] = 1,\n [\"CITEREFJurgensen2012\"] = 2,\n [\"CITEREFLarkin2006\"] = 1,\n [\"CITEREFLavezzoli2006\"] = 1,\n [\"CITEREFLeeds2012\"] = 1,\n [\"CITEREFLeigh2016\"] = 1,\n [\"CITEREFLeonard2014\"] = 1,\n [\"CITEREFLevith2013\"] = 1,\n [\"CITEREFLewisohn2005\"] = 1,\n [\"CITEREFLuhrssenLarson2017\"] = 1,\n [\"CITEREFLundy2006\"] = 1,\n [\"CITEREFMacDonald1998\"] = 1,\n [\"CITEREFMacDonald2005\"] = 1,\n [\"CITEREFMansnerus1996\"] = 1,\n [\"CITEREFMarszalek2012\"] = 1,\n [\"CITEREFMartin1994\"] = 1,\n [\"CITEREFMiles1997\"] = 1,\n [\"CITEREFMiles2001\"] = 1,\n [\"CITEREFMiles2006\"] = 1,\n [\"CITEREFPaine2006\"] = 1,\n [\"CITEREFPedler2003\"] = 1,\n [\"CITEREFPhilo2015\"] = 1,\n [\"CITEREFPitchfork_Staff2006\"] = 1,\n [\"CITEREFQuinn2017\"] = 1,\n [\"CITEREFRay2012\"] = 1,\n [\"CITEREFReising2002\"] = 1,\n [\"CITEREFReisingLeBlanc2009\"] = 1,\n [\"CITEREFRodriguez2012\"] = 1,\n [\"CITEREFSavage1997\"] = 1,\n [\"CITEREFSavage2015\"] = 1,\n [\"CITEREFSchaffner1978\"] = 1,\n [\"CITEREFShaar_Murray2002\"] = 1,\n [\"CITEREFSheff2000\"] = 1,\n [\"CITEREFSpitz2005\"] = 1,\n [\"CITEREFStummer2016\"] = 1,\n [\"CITEREFThe_Beatles2000\"] = 1,\n [\"CITEREFThe_Editors_of_Rolling_Stone_2011\"] = 1,\n [\"CITEREFThill2011\"] = 1,\n [\"CITEREFTime_Out_London_Music2018\"] = 1,\n [\"CITEREFTurner2016\"] = 1,\n [\"CITEREFUnterberger\"] = 1,\n [\"CITEREFVance1972\"] = 1,\n [\"CITEREFWatson2006\"] = 1,\n [\"CITEREFWinn2009\"] = 1,\n [\"CITEREFWomack2014\"] = 1,\n}\ntemplate_list = table#1 {\n [\"'\"] = 3,\n [\"Audio sample\"] = 1,\n [\"Authority control\"] = 1,\n [\"Citation needed\"] = 1,\n [\"Cite AV media\"] = 1,\n [\"Cite book\"] = 43,\n [\"Cite magazine\"] = 10,\n [\"Cite news\"] = 9,\n [\"Cite web\"] = 16,\n [\"Convert\"] = 1,\n [\"Duration\"] = 1,\n [\"Good article\"] = 1,\n [\"Infobox song\"] = 1,\n [\"Music\"] = 9,\n [\"Noteson\"] = 1,\n [\"Other uses\"] = 1,\n [\"Quote box\"] = 1,\n [\"Ram Dass\"] = 1,\n [\"Refbegin\"] = 1,\n [\"Refend\"] = 1,\n [\"Reflist\"] = 2,\n [\"Refn\"] = 10,\n [\"Revolver\"] = 1,\n [\"Sfn\"] = 154,\n [\"SfnRef\"] = 1,\n [\"Short description\"] = 1,\n [\"Snd\"] = 5,\n [\"Start date\"] = 1,\n [\"Timothy Leary\"] = 1,\n [\"Use British English\"] = 1,\n [\"Use dmy dates\"] = 1,\n [\"Wikiquote\"] = 1,\n}\narticle_whitelist = table#1 {\n}\nciteref_patterns = table#1 {\n}\n"},"cachereport":{"origin":"mw-api-ext.codfw.main-779b98c79f-g6mp2","timestamp":"20250302033237","ttl":2592000,"transientcontent":false}}});});</script> <script type="application/ld+json">{"@context":"https:\/\/schema.org","@type":"Article","name":"Tomorrow Never Knows","url":"https:\/\/en.wikipedia.org\/wiki\/Tomorrow_Never_Knows","sameAs":"http:\/\/www.wikidata.org\/entity\/Q630338","mainEntity":"http:\/\/www.wikidata.org\/entity\/Q630338","author":{"@type":"Organization","name":"Contributors to Wikimedia projects"},"publisher":{"@type":"Organization","name":"Wikimedia Foundation, Inc.","logo":{"@type":"ImageObject","url":"https:\/\/www.wikimedia.org\/static\/images\/wmf-hor-googpub.png"}},"datePublished":"2005-05-11T17:10:02Z","dateModified":"2025-02-17T23:42:52Z","image":"https:\/\/upload.wikimedia.org\/wikipedia\/en\/c\/c0\/Tomorrow_Never_Knows_sheet_music_cover.jpg","headline":"original song written and composed by Lennon-McCartney"}</script> </body> </html>