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John Lennon had been the first to venture out, accepting a part in director Richard Lester's satire How I Won the War.

It was little more than a glorified cameo, but the role required him to be shorn of his famous mop-top – a metaphor if there ever was one – and film on location in West Germany and Spain.

"They measure you and match the color of your hair, so it was like a genuine moustache with real glue," he told biographer Barry Miles in Many Years From Now.

After clearing customs, he disguised his world-famous face with a false mustache specially made by Wig Creations, who had worked with the Beatles on the set of A Hard Day's Night.

Unencumbered by the burden of celebrity and liberated from any preconceived expectations, he could indulge his every impulse or curiosity. As the jet hurtled towards London, bringing him ever closer to the epicenter of over-ripened Beatlemania, he contemplated how to apply these same principles to a band in danger of being suffocated by their own fame.

It had already robbed them of live performance, and if they weren't careful, it would crush their musical creativity. Let's develop alter egos so we don't have to project an image that we know. What would really be interesting would be to actually take on the personas of this different band.

The Beatles' moniker, for all its global recognition, belonged to a different pop era by the end of 1966.

Had the band extended their stay in San Francisco after playing Candlestick Park, they would have encountered Big Brother and the Holding Company, Country Joe and the Fish, the Only Alternative and His Other Possibilities, and Quicksilver Messenger Service.

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"It was the start of the hippy times, and there was a jingly-jangly hippy aura all around in America," Mc Cartney remembered in the Beatles Anthology documentary.

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