Tomorrow Never Knows - wikipedia Tomorrow Never Knows For other uses, see Tomorrow Never Knows ( disambiguation ). `` Tomorrow Never Knows '' Cover of the Northern Songs sheet music ( licensed to Sonora Musikförlag ) Song by the Beatles from the album Revolver Published Northern Songs Released 5 August 1966 Recorded 6, 7 and 22 April 1966 EMI Studios, London Genre Psychedelic rock raga rock hard rock avant - pop Length 2 : 58 Label Parlophone Songwriter ( s ) Lennon -- McCartney Producer ( s ) George Martin Audio sample file help `` Tomorrow Never Knows '' is a song by the English rock band the Beatles, released as the final track on their August 1966 album Revolver. Credited as a Lennon -- McCartney song, it was written primarily by John Lennon. The song has a vocal filtered through a Leslie speaker cabinet ( which was normally used as a loudspeaker for a Hammond organ ). Tape loops prepared by the Beatles were mixed in and out of the Indian - inspired modal backing underpinned by a constant but non-standard drum pattern. It marked the first recorded use of reversed sounds in a pop song. `` Rain '', which was released showcasing the technique three months earlier, was recorded after. `` Tomorrow Never Knows '' is considered one of the greatest songs of its time, with Pitchfork Media placing it at number 19 on its list of `` The 200 Greatest Songs of the 1960s '' and Rolling Stone placing it at number 18 on its list of the 100 greatest Beatles songs. Contents 1 Inspiration 2 Title 3 Musical structure 4 Recording 5 Interpretation 6 Release and reception 7 Love remix 8 In popular culture 8.1 In music 8.1. 1 Cover versions 8.2 In television 9 Personnel 10 References 11 Sources 12 External links Inspiration See also : Counterculture of the 1960s John Lennon wrote the song in January 1966, with lyrics adapted from the book The Psychedelic Experience : A Manual Based on the Tibetan Book of the Dead by Timothy Leary, Richard Alpert, and Ralph Metzner, which was in turn adapted from the Tibetan Book of the Dead. Although Peter Brown believed that Lennon 's source for the lyrics was the Tibetan Book of the Dead itself, which, he said, Lennon had read whilst under the influence of LSD, George Harrison later stated that the idea for the lyrics came from Leary, Alpert, and Metzner 's book ; Paul McCartney confirmed this, stating that when he and Lennon visited the newly opened Indica bookshop, Lennon had been looking for a copy of The Portable Nietzsche and found a copy of The Psychedelic Experience that contained the lines : `` Whenever in doubt, turn off your mind, relax, float downstream ''. Lennon bought the book, went home, took LSD, and followed the instructions exactly as stated in the book. The book held that the `` ego death '' experienced under the influence of LSD and other psychedelic drugs is essentially similar to the dying process and requires similar guidance. This is a state of being known by eastern mystics and masters as samādhi ( a state of being totally aware of the present moment ; a one - pointedness of mind ). Title The title never actually appears in the song 's lyrics. Lennon later revealed that, like `` A Hard Day 's Night '', it was taken from one of Ringo Starr 's malapropisms. 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. The piece was originally titled `` Mark I ''. `` The Void '' is cited as another working title but according to Mark Lewisohn ( and Bob Spitz ) this is untrue. Musical structure McCartney remembered that even though the song 's harmony was mainly restricted to the chord of C, Martin accepted it as it was and said it was `` rather interesting ''. The song 's harmonic structure is derived from Indian music and is based upon a high volume C drone played by Harrison on a tamboura. The `` chord '' over the drone is generally C major, but some changes to B flat major result from vocal modulations, as well as orchestral and guitar tape loops. The song has been called the first pop song that attempted to dispense with chord changes altogether. Here, the Beatles ' harmonic ingenuity is nonetheless displayed in the upper harmonies -- `` Turn off your mind '', for example, is suitably a run of unvarying E melody notes, before `` relax '' involves an E -- G melody note shift and `` float downstream '' an E -- C -- G descent. `` It is not dying '' involves a run of three G melody notes that rise on `` dying '' to a B ♭, creating a ♭ VII / I ( B ♭ / C ) ' slash ' polychord. This is a prominent device in Beatles songs such as `` All My Loving '', `` Help ! '', `` A Hard Day 's Night '', `` Norwegian Wood ( This Bird Has Flown ) '', `` Hey Jude '', `` Dear Prudence '', `` Revolution '' and `` Get Back ''. Recording A cross-section showing the inner workings of a Leslie speaker cabinet Lennon first played the song to Brian Epstein, George Martin and the other Beatles at Epstein 's house at 24 Chapel Street, Belgravia, London. The 19 - year - old Geoff Emerick was promoted to replace Norman Smith as engineer on the first session for the Revolver album. This started at 8 pm on 6 April 1966, in Studio Three at Abbey Road. Lennon told producer Martin that he wanted to sound like a hundred chanting Tibetan monks, which left Martin the difficult task of trying to find the effect by using the basic equipment they had. The 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. Emerick made a connector to break into the electronic circuitry of the cabinet and then re-recorded the vocal as it came out of the revolving speaker. A 7 - inch reel of ⁄ - inch - wide ( 6.4 mm ) audio recording tape, which was the type used by McCartney to create tape loops As Lennon hated doing a second take to double his vocals, Ken Townsend, the studio 's technical manager, developed an alternative form of double - tracking called artificial double tracking ( ADT ) system, taking the signal from the sync head of one tape machine and delaying it slightly through a second tape machine. 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. By altering the speed and frequencies, he could create various effects, which the Beatles used throughout the recording of Revolver. 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. The track included the highly compressed drums that the Beatles currently favoured, with reverse cymbals, reverse guitar, processed vocals, looped tape effects, a sitar and a tambura drone. The use of these 1⁄4 - inch audio tape loops resulted primarily from McCartney 's admiration for Stockhausen 's Gesang der Jünglinge. By disabling the erase head of a tape recorder and then spooling a continuous loop of tape through the machine while recording, the tape would constantly overdub itself, creating a saturation effect, a technique also used in musique concrète. 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. 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. Each loop was about six seconds long. The tape loops were played on BTR3 tape machines located in various studios of the Abbey Road building and controlled by EMI technicians in Studio Two at Abbey Road on 7 April. Each machine was monitored by one technician, who had to hold a pencil within each loop to maintain tension. The four Beatles controlled the faders of the mixing console while Martin varied the stereo panning and Emerick watched the meters. Eight of the tapes were used at one time, changed halfway through the song. The tapes were made ( like most of the other loops ) by superimposition and acceleration. 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. Five tape loops are prominent in the finished version of the song. According to author Ian MacDonald, writing in the 1990s, these loops contain the following : A recording of McCartney 's laughter, sped up to resemble the sound of a seagull ( enters at 0 : 07 ) An orchestral chord of B flat major ( 0 : 19 ) A Mellotron on its flute setting ( 0 : 22 ) A Mellotron strings sound, alternating between B flat and C in 6 / 8 time ( 0 : 38 ) A sitar playing a rising scalar phrase, recorded with heavy saturation and sped up ( 0 : 56 ). 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. Based on the most widely held views, he says that, aside from McCartney 's laughter and the B flat major chord, the sounds were two loops of sitar passages, both reversed and sped up, and a loop of Mellotron string and brass voicings. In their book Recording the Beatles, Kevin Ryan and Brian Kehew list two loops of sitar recordings yet, rather than Mellotron, list a mandolin or acoustic guitar, treated with tape echo. Lennon was later quoted as saying that `` I should have tried to get my original idea, the monks singing. I realise now that 's what I wanted. '' The Beatles experimented further with tape loops. Later examples include `` Carnival of Light '', an unreleased piece recorded during the Sgt. Pepper 's Lonely Hearts Club Band sessions ; the Sgt. Pepper track `` Being for the Benefit of Mr. Kite ! '' ; and `` Revolution 9 '', released on The Beatles. Take one of `` Tomorrow Never Knows '' was included on the Anthology 2 compilation in 1996. After completing the recording, McCartney was eager to gauge the reaction of the band 's contemporaries. On 2 May, he played the song to Bob Dylan at the latter 's hotel suite in London ; as the track started, Dylan said dismissively : `` Oh, I get it. You do n't want to be cute anymore. '' According to Marianne Faithfull, who was also present, Dylan then walked out of the room. McCartney recalled that when the Beatles played the song to members of the Rolling Stones and the Who, they `` visibly sat up and were interested '', whereas Cilla Black `` just laughed ''. Interpretation Harrison questioned whether Lennon fully understood the meaning of the song 's lyrics : You can hear ( and I am sure most Beatles fans have ) `` Tomorrow Never Knows '' a lot and not know really what it is about. Basically it is saying what meditation is all about. The goal of meditation is to go beyond ( that is, transcend ) waking, sleeping and dreaming. So the song starts out by saying, `` Turn off your mind, relax and float downstream, it is not dying. '' Then it says, `` Lay down all thoughts, surrender to the void -- it is shining. That you may see the meaning of within -- it is being. '' From birth to death all we ever do is think : we have one thought, we have another thought, another thought, another thought. Even when you are asleep you are having dreams, so there is never a time from birth to death when the mind is n't always active with thoughts. But you can turn off your mind, and go to the part which Maharishi described as : `` Where was your last thought before you thought it ? '' The whole point is that we are the song. The self is coming from a state of pure awareness, from the state of being. All the rest that comes about in the outward manifestation of the physical world ( including all the fluctuations which end up as thoughts and actions ) is just clutter. The true nature of each soul is pure consciousness. So the song is really about transcending and about the quality of the transcendent. 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 do n't know if he fully understood it. Release and reception `` Tomorrow Never Knows '' was sequenced as the final track on Revolver, which EMI 's Parlophone label issued on 5 August 1966. In his design for the LP cover, Klaus Voormann drew inspiration from the song, recognising the need for artwork that would capture the Beatles ' new direction and the avant - garde aspect of the recording. 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 wo n't want to buy this record. But they did. '' Reaction to the release was `` generally ecstatic '', according to MacDonald, with listeners marvelling at the album 's `` aural invention ''. To the Beatles ' less progressive fans, however, the radical changes in the band 's sound were the source of confusion. 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. '' In his review for the NME, Allen Evans said, in response to the lyric 's exhortation to `` relax and float downstream '' : `` But how can you relax with the electronic, outer - space noises, often sounding like seagulls ?... Only Ringo 's rock - steady drumming is natural. '' Peter Jones of Record Mirror commented : `` You need some sort of aural microscope to get the message from this. But it 's darned compelling listening. '' Writing in 1977, author Nicholas Schaffner said that those who had been confused by the 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 Summer of Love. In 2006, Pitchfork Media ranked `` Tomorrow Never Knows '' at number 19 on its list of `` The 200 Greatest Songs of the 1960s '' and Q magazine placed the track 75th on a list of `` The 100 Greatest Songs of All Time ''. `` Tomorrow Never Knows '' appears at number 18 on Rolling Stone 's list of the best Beatles songs and at number 4 on a similar list compiled by Mojo. Love remix The Love project, which combined `` Tomorrow Never Knows '' and `` Within You Without You '' In 2006, Martin and his son, Giles Martin, remixed 80 minutes of Beatles music for the Las Vegas stage performance Love, a joint venture between Cirque du Soleil and the Beatles ' Apple Corps Ltd. On the Love album, the rhythm to `` Tomorrow Never Knows '' was mixed with the vocals and melody from `` Within You Without You '', creating a different version of the two songs. The soundtrack album from the show was released in 2006. The Love remix is one of the main songs in The Beatles : Rock Band. In Popular culture According to Colin Larkin, writing in the Encyclopedia of Popular Music, `` Tomorrow Never Knows '' has been recognised as `` the most effective evocation of a LSD experience ever recorded ''. Ian MacDonald says that the song 's message represented a revolutionary concept in mainstream society in 1966. 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. '' In music 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 ''. In the opinion of former Mojo editor Paul Trynka, 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 the Grateful Dead and other contemporary San Francisco acts. Writing in his book Electronic and Experimental Music, Thom Holmes includes `` Tomorrow Never Knows '' in his list of the `` pioneering works '' in electronic music. He says that the track `` ushered in a new era in the use of electronic music in rock and pop music ''. Steve Turner highlights the sampling and tape manipulation used on the song as having had `` a profound effect on everyone from Jimi Hendrix to Jay Z ''. In 2011, DJ Spooky said of the track : `` Tomorrow Never Knows '' is one of those songs that 's in the DNA of so much going on these days that it 's hard to know where to start. Its tape collage 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. The song is referenced in the lyric to the 1995 Oasis song `` Morning Glory '' : `` Tomorrow never knows what it does n't know too soon ''. The Chemical Brothers refer to `` Tomorrow Never Knows '' as their `` manifesto '' ; their 1996 track `` Setting Sun '' is a direct tribute to it. John Foxx of Ultravox also cited the song 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. '' Cover versions 801 performed the song live at their three concerts in 1976, under the name `` TNK ( Tomorrow Never Knows ) ''. The final performance at London 's Queen Elizabeth Hall was included on the subsequent release 801 Live. A rehearsal of the song at Shepperton Studios was included on the 2009 Collectors Edition of the album. Listed in setlists as `` TNK '', The Grateful Dead performed the song 12 times in the 1990s, always segueing out of The Who 's `` Baba O'Riley ''. Subsequently, former Grateful Dead members Phil Lesh, Bob Weir and Vince Welnick have played the song in their post-Dead projects. Ride performed a cover version during their 2015 reunion tour in North America. Tangerine Dream recorded an instrumental version in 2008. Marianne Nowottny and the Sensorium Saxophone Orchestra recorded a cover version in 2015. Phil Collins released a version on his album Face Value. In television The song was featured during the final scene of the 2012 Mad Men episode `` Lady Lazarus ''. Don Draper 's wife Megan gives him a copy of Revolver, calling his attention to a specific track and suggesting, `` Start with this one ''. Draper, an advertising executive, is struggling to understand youth culture, but after contemplating the song for a few puzzled moments, he shuts it off. The track also played over the closing credits. The rights to the song cost the producers about $250,000, `` about five times as much as the typical cost of licensing a song for TV ''. Personnel According to Ian MacDonald : John Lennon -- vocals, Hammond organ, Mellotron, tape loops Paul McCartney -- bass, tape loops George Harrison -- sitar, tambura, lead guitar, tape loops Ringo Starr -- drums, tambourine, tape loops George Martin -- tack piano References ^ Jump up to : Gilliland 1969, show 39, tracks 4 - 5. Jump up ^ The 100 Most Influential Musicians of All Time, by Gini Gorlinski, `` the hallucinatory hard rock song ' Tomorrow Never Knows ' '' Jump up ^ Hoberman, J. ( November 10, 2010 ). `` Before There Was MTV, There Was Bruce Conner ''. The Village Voice. Jump up ^ Reising & LeBlanc 2009, pp. 94, 95. Jump up ^ MacDonald 2005, p. 188. Jump up ^ Brown & Gaines 1980. Jump up ^ Harrison 1995. ^ Jump up to : Spitz 2005, p. 600. Jump up ^ Lennon. Jump up ^ Spitz 2005, pp. 600 -- 601. Jump up ^ The New York Times 1996. Jump up ^ Summum 2009. Jump up ^ The Beatles Interview Database 2009. ^ Jump up to : Womack 2014, p. 917. ^ Jump up to : Peter Lavezzoli. The Dawn of Indian Music in the West. Bhairavi. The Continuum International Publishing Group Inc. New York 2006. ISBN 0 - 8264 - 1815 - 5 ISBN 978 - 0 - 8264 - 1815 - 9, 2006. p175 Jump up ^ Miles 1997, pp. 291 -- 292. ^ Jump up to : Spitz 2005, p. 601. ^ Jump up to : Pedler, Dominic ( 2003 ). The Songwriting Secrets of the Beatles. London : Omnibus Press. p. 263. ISBN 978 - 0 - 7119 - 8167 - 6. Jump up ^ Pedler, Dominic ( 2003 ). The Songwriting Secrets of the Beatles. London : Omnibus Press. p. 215. ISBN 978 - 0 - 7119 - 8167 - 6. Jump up ^ Miles 1997, p. 290. ^ Jump up to : Miles 1997, p. 291. Jump up ^ Martin 1995a. Jump up ^ Spitz 2005, p. 602. ^ Jump up to : Martin 1994, p. 82. Jump up ^ Spitz 2005, p. 603. Jump up ^ `` Tomorrow Never Knows '' ( Verses 4 / 7 : 1 : 27 until 2 : 47 ) Jump up ^ MacDonald 2005, p. 191. ^ Jump up to : Rodriguez 2012, pp. 101 -- 02. Jump up ^ MacDonald 1998, pp. 168fn, 198 -- 99. ^ Jump up to : Martin 1994, p. 80. Jump up ^ Martin 1994, pp. 80 -- 81. Jump up ^ McCartney 1995. ^ Jump up to : Martin 1994, p. 81. Jump up ^ MacDonald 2005, p. 190. Jump up ^ Miles 1997, p. 292. Jump up ^ MacDonald 2005, pp. 190 - 191. Jump up ^ Martin 1995b. Jump up ^ MacDonald 1998, p. 169. Jump up ^ Rodriguez 2012, pp. 108 -- 09. Jump up ^ Rodriguez 2012, p. 108. Jump up ^ Turner 2016, pp. 224 -- 25. ^ Jump up to : Harry 2000, p. 1078. Jump up ^ Marinucci 2007. Jump up ^ Holmes 2012, p. 444 -- 45. Jump up ^ Turner 2016, p. 269. Jump up ^ Rodriguez 2012, p. 167. ^ Jump up to : Clayson 2003, p. 203. Jump up ^ The Beatles Anthology. Weidenfeld & Nicolson. 2000. p. 210. ISBN 978 - 0 - 304 - 35605 - 8. Jump up ^ Lewisohn 2005, p. 84. Jump up ^ Turner 2016, p. 320. Jump up ^ Rodriguez 2012, p. 157. Jump up ^ Stummer, Robin ( 23 July 2016 ). `` How I drew a pop art masterpiece for the Beatles -- a snip at just £ 50 ''. The Guardian. Retrieved 22 June 2017. Jump up ^ MacDonald 2005, p. 213. Jump up ^ Schaffner 1978, pp. 53 -- 54. Jump up ^ Evans, Allen ( 27 July 1966 ). `` Beatles Break Bounds of Pop ''. NME. p. 3. Jump up ^ Green, Richard ; Jones, Peter ( 30 July 1966 ). `` The Beatles : Revolver ( Parlophone ) ''. Record Mirror. Available at Rock 's Backpages ( subscription required ). Jump up ^ Schaffner 1978, p. 64. Jump up ^ Pitchfork Staff ( 18 August 2006 ). `` The 200 Greatest Songs of the 1960s ''. Pitchfork Media. Retrieved 16 April 2017. Jump up ^ The Editors of Rolling Stone ( 19 September 2011 ). `` 100 Greatest Beatles Songs : 18. ' Tomorrow Never Knows ' ''. rollingstone.com. Retrieved 16 April 2017. Jump up ^ https://www.rollingstone.com/music/lists/100-greatest-beatles-songs-20110919/tomorrow-never-knows-19691231 Jump up ^ Alexander, Phil ; et al. ( July 2006 ). `` The 101 Greatest Beatles Songs ''. Mojo. p. 93. Jump up ^ Watson 2006. Jump up ^ Paine 2006. Jump up ^ CTV News 2006. Jump up ^ Frushtick 2009. Jump up ^ Larkin, Colin ( 2006 ). Encyclopedia of Popular Music. 1. Muze. p. 489. ISBN 0 - 19 - 531373 - 9. Jump up ^ MacDonald 2005, p. 192. Jump up ^ Campbell, Hernan M. ( 27 February 2012 ). `` Review : The Beatles -- Revolver ''. Sputnikmusic. Retrieved 16 April 2017. ^ Jump up to : Leigh, Spencer ( 2016 ). Love Me Do to Love Me Do n't : Beatles on Record. Carmarthen, UK : McNidder & Grace. ISBN 978 - 0 - 857 - 16135 - 2. Retrieved 22 April 2017. Jump up ^ Holmes 2012, p. 468. Jump up ^ Turner 2016, p. 612. Jump up ^ Thill, Scott ( 9 June 2011 ). `` Paul McCartney Brings ' Tomorrow Never Knows ' Back to the Future ''. wired.com. Retrieved 14 July 2012. Jump up ^ Hunt, Chris ( ed. ) ( 2002 ). `` Vinyl Countdown ''. Q Special Edition : Oasis -- Ten Years of Rock ' n ' Roll Mayhem. London : EMAP Metro. p. 73. CS1 maint : Extra text : authors list ( link ) Jump up ^ `` DeadBase ''. Deadbase.com. Retrieved 12 February 2011. Jump up ^ `` For all your setlist needs ! ''. Setlist.com. Retrieved 12 February 2011. Jump up ^ http://www.setlist.fm/setlist/ride/2015/terminal-5-new-york-ny-1bc9f1a8.html Jump up ^ http://www.voices-in-the-net.de/_tomorrow_never_knows.htm Jump up ^ https://theanswerisinthebeat.net/2015/09/26/marianne-nowottny-and-the-sensorium-saxophone-orchestra-tomorrow-never-knows-bw-strawberry-fields-forever-7-single-abaton-book-company-2015/ ^ Jump up to : Jurgensen, John ( 7 May 2012 ). `` How Much ' Mad Men ' Paid for The Beatles ''. Wall Street Journal. Retrieved 2014 - 09 - 27. 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 Matthew Weiner disputed that figure, but declined to discuss financial details of the deal. The surviving Beatles, along with Yoko Ono and Olivia Harrison, signed off on the `` Mad Men '' usage. ^ Jump up to : Itzkoff, Dave and Ben Sisario ( 7 May 2012 ). `` How ' Mad Men ' Landed the Beatles : All You Need Is Love ( and $250,000 ) ''. New York Times. Retrieved 12 August 2012. Jump up ^ Leeds, Sarene ( 7 May 2012 ). `` ' Mad Men ' Recap : Secrets and Lies ''. Rolling Stone. Retrieved 7 May 2012. Jump up ^ MacDonald 2005, p. 185. ^ Jump up to : Rodriguez 2012, p. 109. Sources `` Revolver ''. The Beatles Interview Database. 2009. Retrieved 20 November 2009. `` Return to London from the USA ''. 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Pollack 's Notes on `` Tomorrow Never Knows '' Tomorrow Never Knows : History Revolver Songs Side one `` Taxman '' `` Eleanor Rigby '' `` I 'm Only Sleeping '' `` Love You To '' `` Here, There and Everywhere '' `` Yellow Submarine '' `` She Said She Said '' Side two `` Good Day Sunshine '' `` And Your Bird Can Sing '' `` For No One '' `` Doctor Robert '' `` I Want to Tell You '' `` Got to Get You into My Life '' `` Tomorrow Never Knows '' Non-album single `` Paperback Writer '' `` Rain '' Related articles Yesterday and Today More popular than Jesus The Beatles ' 1966 tour of Germany, Japan and the Philippines The Beatles ' 1966 US tour The Beatles discography Please Please Me With the Beatles A Hard Day 's Night Beatles for Sale Help ! Rubber Soul Revolver Sgt. Pepper 's Lonely Hearts Club Band Magical Mystery Tour The Beatles ( White Album ) Yellow Submarine Abbey Road Let It Be Past Masters Retrieved from `` https://en.wikipedia.org/w/index.php?title=Tomorrow_Never_Knows&oldid=802124919 '' Categories : 1966 songs Avant - pop songs British psychedelic rock songs Counterculture of the 1960s Song recordings produced by George Martin Songs about drugs Songs published by Northern Songs Songs written by Lennon -- McCartney The Beatles songs Hidden categories : CS1 maint : Extra text : authors list Use dmy dates from July 2011 Use British English from August 2010 Pages using deprecated image syntax Articles with hAudio microformats CS1 maint : Extra text : editors list Good articles Talk Contents About Wikipedia Català Cymraeg Deutsch Español Français 한국어 Italiano עברית ქართული Nederlands 日本 語 Norsk Norsk nynorsk Polski Português Русский Simple English Suomi Svenska Tiếng Việt 中文 Edit links This page was last edited on 24 September 2017, at 04 : 14. 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Question: where did john lennon get lyrics for the revolutionary tomorrow never knows track from revolver
Answer: The Psychedelic Experience: A Manual Based on the Tibetan Book of the Dead by Timothy Leary, Richard Alpert, and Ralph Metzner