the Pops aired the song over scenes from the band's 1964 film A Hard Day's Night. For the 7 December edition of the same show, the BBC ran a clip comprising still photographs mixed with some of the editing-suite film – a combination that served as the promo for "Hello, Goodbye" throughout the remainder of its UK chart run. The clip included in the 1996 Beatles Anthology video release consists of the Beatles' first Saville Theatre film, until the song's coda, which incorporates footage from all three of the original promo films. The first of the original promos was included in the Beatles' 2015 video compilation 1, and all three were included in the three-disc versions of the compilation, titled 1+. The BBC-compiled clip appeared as a bonus feature on the 2012 DVD reissue of Magical Mystery Tour, under the title "Top of the Pops 1967". In May 2013, a Vox electric guitar used by Lennon during part of the filming for "Hello, Goodbye" sold for US$408,000 at an auction in New York. Critical reception Writing in December 1967, Richard Goldstein of The New York Times said that "Hello, Goodbye" "sounds like a B-side" and described it as "interesting but subordinate". In his single review for Melody Maker, Nick Jones wrote: "Superficially it's a very 'ordinary' Beatles record without cascading sitars, and the involved, weaving hallucinogenic sounds that we've grown to love so much. However, all the Beatles soul and feeling is shining through ..." Derek Johnson of the NME welcomed the simplicity of "Hello, Goodbye", describing it as "Supremely commercial, and the answer to those who feel The Beatles are going too way out". Cash Boxs reviewer said that the song's closing section was "brilliant" and wrote: "Minimum of words, minimum of melody and practically no subject at all, yet the Beatles have a new side that packs a panchromatic rainbow of sound into the narrow limits that Lennon & McCartney have chosen to work with …" In his book Revolution in the Head, Ian MacDonald views the track as "blandly catchy" and comments that its long stay at number 1 in Britain "says more about the sudden decline of the singles chart than the quality of the song itself". Rob Sheffield of Rolling Stone considers that, at this stage in their career, "the Beatles didn't need to push – they could have hit #1 with a tape of