Said She Said" and "Yellow Submarine", it was being denied the recognition it deserved. Retrospective assessment and legacy Writing in Rolling Stones Harrison commemorative issue, in January 2002, Mikal Gilmore recognised his incorporation of dissonance on "I Want to Tell You" as having been "revolutionary in popular music" in 1966. Gilmore considered this innovation to be "perhaps more originally creative" than the avant-garde styling that Lennon and McCartney took from Karlheinz Stockhausen, Luciano Berio, Edgar Varese and Igor Stravinsky and incorporated into the Beatles' work over the same period. According to musicologist Dominic Pedler, the E79 chord that Harrison introduced in the song became "one of the most legendary in the entire Beatles catalogue". Speaking in 2001, Harrison said: "I'm really proud of that as I literally invented that chord … John later borrowed it on I Want You (She's So Heavy): [over the line] 'It's driving me mad.'" In his overview of "I Want to Tell You", Alan Pollack highlights Harrison's descending guitar riff as "one of those all-time great ostinato patterns that sets the tone of the whole song right from the start". Producer and musician Chip Douglas has stated that he based the guitar riff for the Monkees' 1967 hit "Pleasant Valley Sunday" on that of the Beatles' song. Neil Innes of the Bonzo Dog Doo-Dah Band (and later the Rutles) recalls being at Abbey Road Studios while the Beatles were recording "I Want to Tell You" and his band were working on a 1920s vaudeville song titled "My Brother Makes the Noises for the Talkies". Innes said he heard the Beatles playing back "I Want to Tell You" at full volume and appreciated then, in the words of music journalist Robert Fontenot, "just how far out of their league he was, creatively". Innes has since included his recollection of this episode in his stage show. Among Beatles biographers, Ian MacDonald cites the song as an example of Harrison's standing as "[if] not the most talented then certainly the most thoughtful of the songwriting Beatles". He comments that, in keeping with the lyrics' subtle Hindu-aligned perspective, Harrison's embrace of Indian philosophy "was dominating the social life of the group" a year after its release. Jonathan Gould considers that the track would have been a highlight of any Beatles album before Revolver but, such was the standard of songwriting on their 1966 album, it "gets lost in the