You may have heard the BIG NEWS from hither and yon that Sgt Pepper’s Lonely Hearts Club Band is getting a super deluxe edition from Apple in celebration of the album turning 50. It’s BIG NEWS because this is the first Beatles album to get this kind of remaster/expanded reissue. The deluxe edition will contain a new remix from Giles Martin, two discs of outtakes, and a dvd and blu-ray of even more goodies — including a 5.1 mix (!!) and the Making of Sgt Pepper documentary from 1987. The new stereo remix, per Martin, is not the original remaster we heard on the 2009 box set, but a true remix, in which he shifted the sounds to make it sound more like the original mono mix.*
Yer darn tootin’ I pre-ordered it as soon as I heard about it!
Anyway…I’m looking forward to hearing this new mix. I gave the album a good listen the other day (the mono mix, actually) and it really did break a hell of a lot of rules and boundaries. Hundreds of other bands who heard the album for the first time were completely blown away by it, even more influenced by it. When people call songs ‘Beatlesque’, they usually mean it sounds like something from this album.
Me? I’m looking forward to hearing “A Day in the Life”…it’s what I think of as their finest moment, not just in songwriting but in production. It transcends being just a pop song and turns into an orchestral piece. Hearing a new stereo mix of this song should be a treat.
To quote from my ‘Blogging the Beatles’ series from a few years back, plus a few added notes:
Though this track was recorded relatively early in the sessions (19-20 January, with additional work done a week or so later), by the time they finished recording, they knew that this absolutely had to be the last track on the album, no question. It’s long been considered one of their best compositions, and given the amount of time dedicated to it (a total 34 hours, twenty-two more than the entirety of Please Please Me!), it’s by far one of their most complex productions.
There are three distinct parts – the first and third, written mostly by John and taken from recent newspaper articles (the death of friend Tara Browne in a car accident, the report that the roads in Blackburn were filled with potholes, and so on), and the middle section provided mostly by Paul (a simple nostalgic trip of riding the double-decker bus through Liverpool when he was younger), each with its own personality.
The first part is performed with deliberate slowness, starting quietly but growing increasingly louder until we reach the end. [EDIT: Ringo’s drumming here is to the fore, punctuating each line of the verse, mixed high and given a thunderous echo. The deliberate slowness of this first part adds to its haunting mood, which makes the first orchestral swell sound like a maelstrom.]
The link to part two is via a crazy idea from Paul and Martin, in which an orchestra plays an unscripted rise from the instrument’s lowest E up to its highest in the space of 24 bars. [EDIT: if you listen closely, you can just about hear Mal Evans under the din, counting out said bars, leading up to the alarm clock going off.] That link serves not just to wind up the listener but the speed, as Paul’s section comes in double-time, a bouncy and simple melody meant to evoke a commuter running late.
The second gives way to a third part via an absolutely breathtaking eight bars – it’s not complex, but listen to how Martin takes a simple four-note score and makes it dynamic by gradually increasing the volume of the brass, pulling them from the back to the foreground, while simultaneously pushing John’s angelic ‘aah’s being pushed back into the increasingly echoey mix. [EDIT: In the mono mix, John merely fades into the mix, but in the stereo mix he pans from right to left as well. This entire section is by far one of my favorite moments of any Beatle song ever. A few simple mixing and scoring tricks, but they’re done so beautifully.]
In part three we’ve returned to an abbreviated repeat of John’s first section, played double-time as well…only to be brought back to that nightmarish ascension again. This time, once everyone hits that high E, we’re left floating up in the air for a brief second…only to come crashing down – hard – on a final low E chord. That final breathtaking moment is played by John, Paul, Ringo and Mal Evans on three pianos and George Martin on a harmonium, and is drawn out to nearly forty seconds via the recording level being brought up as high as possible as the piano’s natural reverberation slowly fades.
* Some background here…the Beatles were present for the original mono mix of the album back in ’67, but were not present for the stereo mix, which was done afterwards. Audiophiles often say the mono mix is much better, as it’s closer to what the band wanted. It also has a fuller, tighter sound, whereas the stereo mix feels a bit spacious. Oh–and “She’s Leaving Home” is at the right speed on the mono mix, and in my opinion makes it a stronger song, where the stereo mix was slower and more maudlin, maybe too much so.