“With great power comes great responsibility,” according to some old sage or another. It may well be the motto embroidered on Giles Martin’s jammies, because it’s difficult to think of a band with a back catalogue that’s handled with the same kind of caution as The Beatles’. In this age of three-disc comes-with-translucent-mouse-mat editions of records by everyone from Britpop also-rans to none-hit wonders it’s startling to consider that this is the first time any of their albums have been given the multi-disc deluxe treatment.
Why Pepper’s then? It could be argued that song-wise it’s among their least consistent albums; the studio effects may now appear a little gauche compared to the dazzling interplay of Revolver, and the band were splitting into islands of self-interest before our ears – McCartney’s “story songs”, Lennon’s embrace of surrealism and postmodernism, Harrison’s meditations, Ringo’s trousers. Yet – as they always did – they got there first, creating a proper event of an LP just as pop music grew up and started taking itself seriously. It doesn’t matter that the concept is loose at best; the spectacular sleeve ties it all together. And the songs on which its game-changing reputation was formed (Lucy In The Sky With Diamonds, Fixing A Hole, Within You Without You, A Day In The Life) remain creative peaks, emblematic of the wider cultural changes afoot.
And why now? Well aside from a becoming-customary way of protecting copyright, it’s a chance to use the same techniques deployed on the mixes for the 1+ DVD to create a stereo mix fit for purpose. For many the original, band-approved mono is the one, while the stereo has always felt like an awkward twin – less verve and punch; weird choices when it comes to separation and levels; She’s Leaving Home at the wrong speed. The intention here (with half an ear towards how it’ll sound among more modern sounds on future streaming services perhaps?) was to produce a stereo mix based on the mono, but retaining the good things about the stereo (the smoother transition into the reprise of the title track, vocal effects on Lucy…). Revealingly, at an Abbey Road Q&A session Giles Martin pointed out, “they were not old when they made this, they shouldn’t sound it”.
It’s also a chance to tell the story of the creation of Pepper’s via outtakes. While the remit has been extended to include Strawberry Fields Forever and Penny Lane, as they were originally slated for the record, this means we’re not treated to alternate takes of say, Only A Northern Song and (most disappointingly for fans, though the suspicion remains that if it was any cop it’d have emerged already) no Carnival Of Light. Again.
So have they achieved it? Well the mix is a massive improvement on the stereo that we’re used to – there’s so much more presence here from the off. For an album you know to feel somehow fresh, that’s quite an achievement. Purists may balk at some of the perceived liberties Giles Martin has taken (splitting and panning drum parts or backing vocals for starters), but he’s by no means claiming this is the definitive version of the album, and has clearly acted in the interests of the material.
The guitars of the title track have more bite and crunch, the vocals are no longer frustratingly off-centre; listening after the original stereo mix the effect is almost like unblocking your ears after swimming – yep, that satisfying. You’ll find different things to fixate on every time: Lucy In The Sky With Diamonds is a much meatier prospect, the rhythm guitar’s way up in the mix, transforming it into something altogether more urgent; the clarity of McCartney’s rolling basslines on Getting Better allows listeners to get properly lost in following them before they’re rudely awakened by the now-even-more-terrifying tambura from George. Fixing A Hole emphasises the in-the-room feeling; it’s heavier and more live-sounding – guitars snarl, the doop-doops and coos of the backing vocals more intimate.
Rare Beatles find. Sgt Pepper's Capitol Employees Club Band An American record collector has uncovered what may be one of the rarest Beatles albums in the world. Although John Tefteller's copy. Offered in Catawiki's Record auction: Beatles 'Sgt. Pepper's lonely hearts club band' rare MARBLE VINYL lp from Canada. Record is in EX condition/ cover is.
Correcting the speed of She’s Leaving Home emphasises the quality of McCartney’s delivery of a lyric that in its own homespun, concise and subtle way says more about the emerging generation gap than any other of the time (the idea that the wife is calling her husband “daddy” might explain why the protagonist felt the need to fly the nest as much as anything else). It’s slightly frustrating that an artist capable of this, For No One and Here, There, And Everywhere was knocking out the knockabout likes of When I’m 64, but therein lies the eternal enigma that is Paul McCartney.
Unsurprisingly, the truly psychedelic heart of Pepper’s, George’s Within You Without You is one of the chief benefactors of the new mix, the astounding detail (where did that whispered count-in before the last verse come from?) giving dizzying life to the interplay. It sticks out like a sore thumb of course, but its contemplative, transformative power has only increased with the spruce-up. Another highlight is the sonic ambush of Good Morning Good Morning, which makes the previous mix appear limp and lifeless and bodes well for any new takes on the heavier “White Album” material that may be around the corner. Similarly A Day In The Life in stereo is now that bit more magnificent – more body than a Vidal Sassoon factory, richer than tiramisu, and Paul no longer sounds like he’s singing his part through his jumper. Result.
As for the sessions, fans will love the upgrade in sound quality from their trusty bootlegs and will hopefully not take Martin to task too much for the tinkering evident (moving dialogue from different takes, more sonic separation, etc). It may be short of genuine revelations, and perhaps the most interesting takes have already surfaced on Anthology 2, but fans will be thrilled to have them blessed with this kind of definition.
If you opt for the most lavish of the sets on offer there are also various mono mixes, 5.1 surround sound mixes, video footage and thoroughly snazzy-looking packaging. Devotees, fill your (Beatle) boots.
It was twenty years ago today,
Sergeant Pepper taught the band to play.
They've been going in and out of style,
But they're guaranteed to raise a smile.
So may I introduce to you the act you've known for all these years?
Sergeant Pepper's Lonely Hearts Club Band.
Sergeant Pepper taught the band to play.
They've been going in and out of style,
But they're guaranteed to raise a smile.
So may I introduce to you the act you've known for all these years?
Sergeant Pepper's Lonely Hearts Club Band.
We're Sergeant Pepper's Lonely Hearts Club Band,
We hope you will enjoy the show,
We're Sergeant Pepper's Lonely Hearts Club Band,
Sit back and let the evening go.
Sergeant Pepper's lonely, Sgt. Pepper's lonely,
Sergeant Pepper's Lonely Hearts Club Band.
We hope you will enjoy the show,
We're Sergeant Pepper's Lonely Hearts Club Band,
Sit back and let the evening go.
Sergeant Pepper's lonely, Sgt. Pepper's lonely,
Sergeant Pepper's Lonely Hearts Club Band.
It's wonderful to be here.
It's certainly a thrill.
You're such a lovely audience,
We'd like to take you home with us.
We'd love to take you home.
It's certainly a thrill.
You're such a lovely audience,
We'd like to take you home with us.
We'd love to take you home.
I don't really want to stop the show,
But I thought you might like to know
That the singer's gonna sing a song
And he wants you all to sing along.
So let me introduce to you,
The one and only Billy Shears,
And Sergeant Pepper's Lonely Hearts Club Band, yeah.
But I thought you might like to know
That the singer's gonna sing a song
And he wants you all to sing along.
So let me introduce to you,
The one and only Billy Shears,
And Sergeant Pepper's Lonely Hearts Club Band, yeah.