it moves with lines like 'The higher you fly the deeper you go' and 'Your inside is out and your outside is in' ... but the end takes the cake." Barry Miles of International Times said the song had "a great set of lyrics for those who want to read drug meanings in" and "ends with Bo Diddley, clanging bells and 'come-on, come-on, come-on' like the 'Gobble Chorus' by the Fugs". Reviewing for Rolling Stone, Jann Wenner lauded the album as a representation of "the history and synthesis of Western music", and in "Everybody's Got Something to Hide" he welcomed how "all the old elements of the Beatles are brought back, right up to date, including use of all the old fashions and conventions in such a refreshingly new manner." Wenner highlighted the song's structure and harmonic tones in this regard, adding that listeners should compare it with Steppenwolf's incorporation of the same elements in their work. Melody Makers Alan Walsh similarly dismissed the idea that the Beatles were merely "going backwards" and credited Lennon with being the main impetus for the album's "staple diet of rock". He described the song as "a plea to take it easy and be cool" with a "tremendous driving beat with heavy electric guitar predominating". Writing for Rolling Stone shortly after Harrison's death in November 2001, David Fricke featured the track in his article "25 Essential Harrison Performances". Calling it an "explosion of blistering guitars and barking vocals", Fricke concluded: "The song is a Lennon salute to the joys of 1950s rock & roll animalism. But its locomotive heart is Harrison's whirl-around guitar figure, played with ferocious attitude against Lennon's crisp strum and the incessant clang of a hand bell." In 2018, the music staff of Time Out London ranked the track at number 13 on their list of the best Beatles songs. Coinciding with the 50th anniversary of its release, Jacob Stolworthy of The Independent listed "Everybody's Got Something to Hide Except Me and My Monkey" at number 21 in his ranking of the White Album's 30 tracks. He wrote that "With its jangly guitar riff, repetitive lyrics and frantic bass line, this song – borne from the growing unease with Yoko Ono's presence in the studio – grows more fun with each listen." Personnel According to Walter Everett, except where noted: John Lennon – double tracked lead vocal, rhythm guitar, handclaps Paul