beauty of friendship and music have been restored to Pepperland". Author George Case describes the same victory scene as "a psychotropic cartoon dreamscape" and an example of the Beatles' more overt allusions to the hallucinogenic experience. Speaking in 1999, Starr said of "It's All Too Much": "that's the [track] that really sets the mood of the movie ... that's where the music and the movie really gel." The film represented the final episode in the Beatles' psychedelic period, although the band had already returned to making more roots-based music at the start of 1968. Referring to the drug-inspired imagery that led Rank to pull Yellow Submarine from its UK cinema run, Glynn writes: "Indeed, the imagery accompanying [Harrison's] 'Only a Northern Song' and 'It's All Too Much' only 'makes sense' when read as attempting an audio-visual recreation of the hallucinogenic state ..." Release and reception An EP containing "It's All Too Much" and the three other new soundtrack songs had been scheduled for September 1968, but a full album was created instead. With the addition of the previously issued "Yellow Submarine" and "All You Need Is Love" to fill out side one of the LP, George Martin's orchestral pieces from the film made up the second side. Viewed as a secondary release beside the band's recently issued double LP, The Beatles, the Yellow Submarine album appeared in January 1969, six months after the film's London premiere. In January 1996, "It's All Too Much" (backed by "Only a Northern Song") was issued on a jukebox-only single, pressed on blue vinyl. That release was part of a series of Beatles jukebox singles issued by Capitol Records' CEMA Special Markets division. Recalling the release of Yellow Submarine in his 1977 book The Beatles Forever, Nicholas Schaffner described "It's All Too Much" as the only one of the new songs that appeared "to have taken more than a few hours to write". He added: "[its] highlights include some searing Velvet Underground feedback and an unusually witty epigram that just about sums up the Spirit of '67: Show me that I'm everywhere, and get me home for tea." Rodriguez recognises the timing of the song's release on its public perception. He comments that the recording was "positively anarchic" in mid-1967 but, by 1969, when it received widespread release, the song was "slightly less groundbreaking and a little more reactionary to the psychedelic movement that the