The film tells the story of the band’s travels through the eyes of Saltzman, who, after a breakup, finds himself searching for spiritual enlightenment in India, only to run into and form a friendship with Paul, John, George, and Ringo. Luckily for musical historians, Saltzman, a future filmmaker, had his camera with him.

Despite their humble origins growing up in working-class Liverpool, nothing could hold them back, even as sophisticated Londoners looked down their noses at these lads from the supposedly uncouth British north country. Their fantastic commercial success was something as a teenager I could dream about for myself either in music or some other still-to-be-determined pursuit.

Tago Mago rages schizophrenically from song to song, from the two-bricks-shy of a pop song “Mushroom” to the sprawling “Halleluhwah” and everything in between. This confusion, this constant search for how best to communicate, is part of the album’s appeal. West Germany and its people had to find new ways to be heard in the world—a nation dismembered, no longer quite German, not yet fully Westernized, and always idling in the Cold War shadows of the Iron Curtain.