... that Sgt. Pepper's Lonely Hearts Club Band was first released in the UK (it was released on June 2 in the US). And while most music lovers now cite Revolver as the more quintessential Beatles album, one can't deny the magnitude of that endless sea of famous faces on the cover, or the music within... "Lucy In The Sky With Diamonds," "Within You Without You," "A Day In The Life"...
"Strawberry Fields Forever," of course, was not on Pepper, but kind of gave way to that era. Was it Dick Clark who introduced this clip on Bandstand, much to the shock of an audience who barely recognized The Beatles in this incarnation?
Here's the promotional clip:
http://www.youtube.com/watch?v=Ywg-PdeGVL0
It was 40 years ago today...
It was 40 years ago today...
This morning you've got time for a hot, home-cooked breakfast! Delicious and piping hot in only 3 microwave minutes.
I've said it before, but one of the things that is amazing about the Beatles is how fresh most of their music actually sounds. Credit EMI, George Martin, Geoff Emerick or whoever, but while the music of their contemporaries (particularly the Kinks and the Who) sound wonderfully terrible, the Beatles sound absolutely fantastic to this day. There is so much space in the music, even in the densest arrangements (Strawberry Fields, Being for the Benefit of Mr. Kite). Just wonderful.
I agree. It's unfortunate though, because the current CD release of Sgt. Pepper sounds so stale compared to Love, which they did a terrific job remastering. Where's my 40th anniversary edition of Pepper, EMI???
This morning you've got time for a hot, home-cooked breakfast! Delicious and piping hot in only 3 microwave minutes.
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Mechanical Grace
- Posts: 878
- Joined: Thu Sep 18, 2003 12:40 pm
Coming soon, DRM-free, to iTunes??BlueChair wrote:Where's my 40th anniversary edition of Pepper, EMI???
I remember listening obsessively to SPLHCB in headphones a year or two after it came out (making me 8-ish), reading the tiny black lyrics through that red sleeve, and feeling it was something illicitly powerful. It scared me a little, the sounds were so unknown. Loved it though, of course.
Thank Geoff Emerick - hes the unsung hero of the best of the Beatles records - the guy is a genius as far as I can tell - phenomenal engineer.
Cant recommend his book "Here, There and Everywhere" enough. a very very down to earth, and very honest peek into the Beatles world.
And all those people who say Revolver is better are deaf. The sheer artistry on display on Pepper is still staggering to this day.
Cant recommend his book "Here, There and Everywhere" enough. a very very down to earth, and very honest peek into the Beatles world.
And all those people who say Revolver is better are deaf. The sheer artistry on display on Pepper is still staggering to this day.
echos myron like a siren
with endurance like the liberty bell
and he tells you of the dreamers
but he's cracked up like the road
and he'd like to lift us up, but we're a very heavy load
with endurance like the liberty bell
and he tells you of the dreamers
but he's cracked up like the road
and he'd like to lift us up, but we're a very heavy load
Beatles online deal seen for 2008 - Harrison widow
Fri Jun 1, 2007 5:40pm ET
By Dean Goodman
LOS ANGELES, June 1 (Reuters) - Beatles fans will probably have to wait until next year before they can buy the Fab Four's tunes from online retailers such as Apple Inc.'s (AAPL.O: Quote, Profile , Research) iTunes store, George Harrison's widow said on Friday.
A recent settlement to a lengthy trademark dispute between Apple and the Beatles' company, Apple Corps Ltd., has cleared the way for the band to distribute its catalog in cyberspace.
But Olivia Harrison told Reuters, "We just have a few things to work out elsewhere."
Specifically, all the Beatles CDs have been remastered -- good news for fans who have long complained about the poor sound quality -- and the organization wants to get the artwork ready for the physical packages.
Asked if the catalog would be available online by the end of next year, she said, "Oh God, yeah. Hope so ... I don't know if it would be the end of this year, but it would be nice. Imminent, let's put it that way."
Paul McCartney, who has adopted an aggressive digital marketing strategy for the release next week of his solo album, "Memory Almost Full," told trade publication Billboard last month that an online deal for the Beatles catalog was "virtually settled." But he, too, shied away from saying that anything would happen in the short term.
The Beatles are the highest-profile omission from digital retailers. While the dispute with Apple did not help, the band's organization has traditionally adopted a conservative approach to new technology, including CDs.
"I think we're a little bit behind," Harrison said, noting that it was "ridiculous" that properly remastered CDs of the band's catalog were not yet available.
"We (the band's members and widows) all agree. It's been done. It's just trying to now get it out there."
She said that Neil Aspinall, the recently retired businessman who oversaw the group's complex business affairs, had been busy in recent years on the remastering project.
"That's a big job. That means you have to go back through all the archives and find great photographs and really give a nice package to the fans."
Aspinall retired in April and was replaced by Jeff Jones, an American music industry executive who specializes in deluxe reissues of classic albums. Harrison said Aspinall's departure was voluntary, dispelling fan speculation to the contrary.
But she said Jones would "pick up the pace" now that the most recent project, a Beatle-inspired Cirque du Soleil stage show in Las Vegas, was underway after years of preparation initiated by her husband before he died in 2001.
Fri Jun 1, 2007 5:40pm ET
By Dean Goodman
LOS ANGELES, June 1 (Reuters) - Beatles fans will probably have to wait until next year before they can buy the Fab Four's tunes from online retailers such as Apple Inc.'s (AAPL.O: Quote, Profile , Research) iTunes store, George Harrison's widow said on Friday.
A recent settlement to a lengthy trademark dispute between Apple and the Beatles' company, Apple Corps Ltd., has cleared the way for the band to distribute its catalog in cyberspace.
But Olivia Harrison told Reuters, "We just have a few things to work out elsewhere."
Specifically, all the Beatles CDs have been remastered -- good news for fans who have long complained about the poor sound quality -- and the organization wants to get the artwork ready for the physical packages.
Asked if the catalog would be available online by the end of next year, she said, "Oh God, yeah. Hope so ... I don't know if it would be the end of this year, but it would be nice. Imminent, let's put it that way."
Paul McCartney, who has adopted an aggressive digital marketing strategy for the release next week of his solo album, "Memory Almost Full," told trade publication Billboard last month that an online deal for the Beatles catalog was "virtually settled." But he, too, shied away from saying that anything would happen in the short term.
The Beatles are the highest-profile omission from digital retailers. While the dispute with Apple did not help, the band's organization has traditionally adopted a conservative approach to new technology, including CDs.
"I think we're a little bit behind," Harrison said, noting that it was "ridiculous" that properly remastered CDs of the band's catalog were not yet available.
"We (the band's members and widows) all agree. It's been done. It's just trying to now get it out there."
She said that Neil Aspinall, the recently retired businessman who oversaw the group's complex business affairs, had been busy in recent years on the remastering project.
"That's a big job. That means you have to go back through all the archives and find great photographs and really give a nice package to the fans."
Aspinall retired in April and was replaced by Jeff Jones, an American music industry executive who specializes in deluxe reissues of classic albums. Harrison said Aspinall's departure was voluntary, dispelling fan speculation to the contrary.
But she said Jones would "pick up the pace" now that the most recent project, a Beatle-inspired Cirque du Soleil stage show in Las Vegas, was underway after years of preparation initiated by her husband before he died in 2001.
This morning you've got time for a hot, home-cooked breakfast! Delicious and piping hot in only 3 microwave minutes.
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Mr. Average
- Posts: 2031
- Joined: Sat Jun 28, 2003 12:22 pm
- Location: Orange County, Californication
I was a kid who had purchased Revolver and loved it, eschewing Sgt. Pepper when it was released because my big brother loved it and lets just say we weren't getting along.
So when I gave it a chance, sitting in my parents living room in Dayton, Ohio just short of 40 years ago ( I would have been 10 years old) I was captivated, but had no interest in purchasing it because nothing beat Revolver for me.
When The Jam released "START" on the "Sound Effects" LP, it brought Revolver back to the direct drive, with the parallels between Taxman and Start too hard to deny and too hard to disassociate.
So when I gave it a chance, sitting in my parents living room in Dayton, Ohio just short of 40 years ago ( I would have been 10 years old) I was captivated, but had no interest in purchasing it because nothing beat Revolver for me.
When The Jam released "START" on the "Sound Effects" LP, it brought Revolver back to the direct drive, with the parallels between Taxman and Start too hard to deny and too hard to disassociate.
"The smarter mysteries are hidden in the light" - Jean Giono (1895-1970)
I'm going to go ahead and say that while Sgt. Pepper was very important for the time (I can't say myself, since I wouldn't be released for another 13 months) Revolver has emerged as the iconic album of its time. I've turned a few people onto the Beatles over the years, and while they'll usually give a begrudging nod to Sgt. Pepper, Revolver is the one that leaves their mouths agape.
Now that's not to say that I don't like Sgt. Pepper. There are some great tunes on there, especially outside of the 'concept'. And those tunes led to the great tunes now included on the Magical Mystery Tour CD. But the whole "40 years" thing only reminds me that it's been 20 years since the last time we were able to use "it was 20 years ago today" in relation to Sgt. Pepper. And back then the big deal was its debut on CD. What do we have today? The anticipation of a new McCartney album and the reissue of the Traveling Wilburys albums. We've come a long way indeed. Even McCartney, always good with a planned soundbite, isn't doing anything special for this anniversary.
We live in world with only two Beatles on the planet. And that's still just a weird concept to me.
Now that's not to say that I don't like Sgt. Pepper. There are some great tunes on there, especially outside of the 'concept'. And those tunes led to the great tunes now included on the Magical Mystery Tour CD. But the whole "40 years" thing only reminds me that it's been 20 years since the last time we were able to use "it was 20 years ago today" in relation to Sgt. Pepper. And back then the big deal was its debut on CD. What do we have today? The anticipation of a new McCartney album and the reissue of the Traveling Wilburys albums. We've come a long way indeed. Even McCartney, always good with a planned soundbite, isn't doing anything special for this anniversary.
We live in world with only two Beatles on the planet. And that's still just a weird concept to me.
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Mechanical Grace
- Posts: 878
- Joined: Thu Sep 18, 2003 12:40 pm
As in many matters musical, I'm with Mr. Boom on this one.
Revolver is an utterly PERFECT pop record, but Sgt. Pepper is something much bigger than that. It's a trip, in every sense-- as I described above, its contemporary effect was viscerally different from anything else that had come before. It's all of a piece, a collection of short stories that sort of blend into a psychedelic opera that was the apotheosis of the decade.
Revolver is an utterly PERFECT pop record, but Sgt. Pepper is something much bigger than that. It's a trip, in every sense-- as I described above, its contemporary effect was viscerally different from anything else that had come before. It's all of a piece, a collection of short stories that sort of blend into a psychedelic opera that was the apotheosis of the decade.
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Mechanical Grace
- Posts: 878
- Joined: Thu Sep 18, 2003 12:40 pm
Well I can understand that, because they're fantastic singles, but to me that's all(!) the record is. Because I grew up soaked in the Beatles, the only discs I really play at all are those I don't hear piecemeal on the unavoidable Beatles Brunch-type radio show. I know those so well it's usually more fun to stumble upon them on the radio, etc., with the joy of being surprised by old friends, you know?
Revolver is black and white small screen TV, Sgt Pepper is full screen technicolour.
The songs are terrific on Revolver, but its still pop music. With Sgt Pepper theres is magic, its not so much the songs as the sounds and the sheer scope and vision to create something that was such a giant step foward. Something nobody else could have even comprehended let alone pulled off and that everyone aftewards tried to copy, emulate or was the very least, inspired by.
Before Sgt Pepper there was nothing like A Day In The Life, or Lucy in the Sky...
The playing is exceptional, especially McCartneys bass, the production is groundbreaking, the intrumentation and experimentation is genius, the packaging is a work of art.
Revolver is collection of excellent pop songs.
Sgt Pepper is bottled magic.
The songs are terrific on Revolver, but its still pop music. With Sgt Pepper theres is magic, its not so much the songs as the sounds and the sheer scope and vision to create something that was such a giant step foward. Something nobody else could have even comprehended let alone pulled off and that everyone aftewards tried to copy, emulate or was the very least, inspired by.
Before Sgt Pepper there was nothing like A Day In The Life, or Lucy in the Sky...
The playing is exceptional, especially McCartneys bass, the production is groundbreaking, the intrumentation and experimentation is genius, the packaging is a work of art.
Revolver is collection of excellent pop songs.
Sgt Pepper is bottled magic.
echos myron like a siren
with endurance like the liberty bell
and he tells you of the dreamers
but he's cracked up like the road
and he'd like to lift us up, but we're a very heavy load
with endurance like the liberty bell
and he tells you of the dreamers
but he's cracked up like the road
and he'd like to lift us up, but we're a very heavy load
-
so lacklustre
- Posts: 3183
- Joined: Tue Jun 03, 2003 2:36 pm
- Location: half way to bliss
Interesting project here with Emerick remaking the album with 'modern' artistes using the original recording equipment. The programme they showed last night had the Kaiser Chiefs really struggling tocome to terms with 4 track, they were doing Getting Better, which eventually turned out quite good. Bryan Adams did the opening SPLHCB track without too much trouble. The Fray looked pretty interesting, I'm not familiar with them but they did a good version of Fixing a Hole. The Magic Numbers looked calss in doing the vocals on She's Leaving Home. With a little help from my friends was done mby Razorlight who used their drummer (who else) to do the vocal (the bass player struggled a bit untill Emerick sorted him out). I think I've missed a track from the programme and I'm not sure who did the rest of the tracks they didn't show.
signed with love and vicious kisses
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Otis Westinghouse
- Posts: 8856
- Joined: Tue Jun 03, 2003 3:32 pm
- Location: The theatre of dreams
I saw some of that, but sadly missed Magic Numbers. That would have been good. It would have all been pretty pointless were it not for the interest of Geoff Emerick and thhe original studio/technology. It was funny to see just how much it was getting to the Kaisers. I also saw tedious Kelly Le Brock Jones doing the closing SPLHCB.
I've never owned the LP. A fried had it on vinyl, and therefore, as with Trust (same friend), I felt I didn't need to. I wouldn't mind hearing it again now, especially a really good mastering on good gear, but at this point my vote would be heavily on Revolver. I find the groundbreakingness of Tomorrow Never Knows far more interesting and enjoyable than Lucy in the Sky, which just find annoying. Likewise With A Little Help. It's impossible to be objective as they're so over-familiar. I agree with those who find Revolver the pinnacle of their achievement. Not in terms of crafting away in the studio to be groundbreaking, but in the more interesting terms of writing music that stays with you forever. I'd take And Your Bird Can Sing over anything on SP. It's maybe a parallel to The Bends and OK Computer. OK C tops the LP polls, but I think The Bends is a stronger record all round, with more viscerally thrilling songs.
Seems to me the typecasting of Revolver you're giving applies to the more straightforward, although of course utterly wonderful, Rubber Soul. Revolver was more evolved than that. So for me Revolver is a really involving and memorable accessible arthouse movie, whereas SP is an overblown epic with too big a budget and too much excess.
¡Toma ya!
I've never owned the LP. A fried had it on vinyl, and therefore, as with Trust (same friend), I felt I didn't need to. I wouldn't mind hearing it again now, especially a really good mastering on good gear, but at this point my vote would be heavily on Revolver. I find the groundbreakingness of Tomorrow Never Knows far more interesting and enjoyable than Lucy in the Sky, which just find annoying. Likewise With A Little Help. It's impossible to be objective as they're so over-familiar. I agree with those who find Revolver the pinnacle of their achievement. Not in terms of crafting away in the studio to be groundbreaking, but in the more interesting terms of writing music that stays with you forever. I'd take And Your Bird Can Sing over anything on SP. It's maybe a parallel to The Bends and OK Computer. OK C tops the LP polls, but I think The Bends is a stronger record all round, with more viscerally thrilling songs.
Seems to me the typecasting of Revolver you're giving applies to the more straightforward, although of course utterly wonderful, Rubber Soul. Revolver was more evolved than that. So for me Revolver is a really involving and memorable accessible arthouse movie, whereas SP is an overblown epic with too big a budget and too much excess.
¡Toma ya!
There's more to life than books, you know, but not much more
Agree with a lot of what you have to say, Otis, especially regarding your comparisons with Radiohead. I'd still vote for the White Album as the pinnacle though, with Revolver the best collection of songs and Sgt. Pepper the biggest leap forward for music in general. The sheer expanse and excellence of the White album combines both qualities as far as I'm concerned. At the same time though, to show my complete bias towards the genius of the Beatles, I think that the first two albums are the best 1-2 albums in history, even with all the covers.
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Otis Westinghouse
- Posts: 8856
- Joined: Tue Jun 03, 2003 3:32 pm
- Location: The theatre of dreams
Very democratically put! I was going to say I'd have the Whitey over SP any day, although I would have been happier with a single LP and less of it. That's a pretty bold assertion re the first two LPs. How about MAIT + TYM? Actually that wouldn't get my vote as I'm not that fond of much of MAIT. For me there's only one possible choice there: Unknown Pleasures + Closer.
Next up: best 1 + 3. How about Velvets' 'banana' + VU. Many would rightly fight for The Clash + London Calling. Interesting that both messed up to some extent on second LPs (if you agree with that verdict on White Light White Heat - I do partially, it's very much flawed genius).
Next up: best 1 + 3. How about Velvets' 'banana' + VU. Many would rightly fight for The Clash + London Calling. Interesting that both messed up to some extent on second LPs (if you agree with that verdict on White Light White Heat - I do partially, it's very much flawed genius).
There's more to life than books, you know, but not much more
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Otis Westinghouse
- Posts: 8856
- Joined: Tue Jun 03, 2003 3:32 pm
- Location: The theatre of dreams
Actually, I invite you all to tell me to shut up! Reviewing the tracklisting of SP, I see I can't recall chunks of it. I would, for sure, know it all on hearing, but without checking out extracts, my verdict is this:
1. Sgt. Pepper's Lonely Hearts Club Band [don't want to hear it again]
2. With A Little Help From My Friends [nice verse, but that's all, don't want to hear it much again, especially with the horrible memories of Joe Cocker]
3. Lucy In The Sky With Diamonds [don't want to hear it again]
4. Getting Better [OK]
5. Fixing A Hole [can't really remember...]
6. She's Leaving Home [outstanding, timeless]
7. Being For The Benefit Of Mr. Kite! [can't really remember, but title is entirely offputting]
8. Within You Without You [bugger - I have absolutely no recollection of this]
9. When I'm Sixty-Four [I want to hear this once more only, on my 64th birthday, if I have to suffer it ever again before then, I'll scream, though I do have a pretty funny and I'd say rather original story about being forced to join in singing this song in a secondary school English class in the most prestigious state school in Santiago de Chile which I'll happily share with you over a beer sometime, and the story involved me being renamed not 'Mr Kite' but 'Mr 9', honest!]
10. Lovely Rita [too much whimsy]
11. Good Morning Good Morning [as per 8]
12. Sgt. Pepper's Lonely Hearts Club Band (Reprise) [don't want to hear it reprised!]
13. A Day In The Life [genius]
So out of 13 songs, unless the three or so that I have no recollection of are masterpieces, and surely they'd be more famous if they were, only two songs on the LP are good enough to want to hear over and over.
Come on folks, it's a con, just cos it's got a striking cover, you can't begin to compare this LP with the true genius of Revolver, Whitey, Blonde On Blonde, Bringing It All Back Home, Highway 61 and other more deservedly celebrated LPs of the 60s.
I rescind the invitation to tell me to shut up.
1. Sgt. Pepper's Lonely Hearts Club Band [don't want to hear it again]
2. With A Little Help From My Friends [nice verse, but that's all, don't want to hear it much again, especially with the horrible memories of Joe Cocker]
3. Lucy In The Sky With Diamonds [don't want to hear it again]
4. Getting Better [OK]
5. Fixing A Hole [can't really remember...]
6. She's Leaving Home [outstanding, timeless]
7. Being For The Benefit Of Mr. Kite! [can't really remember, but title is entirely offputting]
8. Within You Without You [bugger - I have absolutely no recollection of this]
9. When I'm Sixty-Four [I want to hear this once more only, on my 64th birthday, if I have to suffer it ever again before then, I'll scream, though I do have a pretty funny and I'd say rather original story about being forced to join in singing this song in a secondary school English class in the most prestigious state school in Santiago de Chile which I'll happily share with you over a beer sometime, and the story involved me being renamed not 'Mr Kite' but 'Mr 9', honest!]
10. Lovely Rita [too much whimsy]
11. Good Morning Good Morning [as per 8]
12. Sgt. Pepper's Lonely Hearts Club Band (Reprise) [don't want to hear it reprised!]
13. A Day In The Life [genius]
So out of 13 songs, unless the three or so that I have no recollection of are masterpieces, and surely they'd be more famous if they were, only two songs on the LP are good enough to want to hear over and over.
Come on folks, it's a con, just cos it's got a striking cover, you can't begin to compare this LP with the true genius of Revolver, Whitey, Blonde On Blonde, Bringing It All Back Home, Highway 61 and other more deservedly celebrated LPs of the 60s.
I rescind the invitation to tell me to shut up.
There's more to life than books, you know, but not much more
Everyone always talks about Revolver and Sgt Peppers when rating the quintessential Beatles albums... but aren't we forgetting Rubber Soul?
I rate that, along with Revolver, way ahead of Sgt Peppers which to me has not aged nearly as well. Sure it had some wonderful moments, innovative recording techniques and production values that set new levels... but it is not as timeless as Rubber Soul or Revolver. And like Otis, I too would be none the worse off if I were to never hear When I'm 64 again... ever!
I rate that, along with Revolver, way ahead of Sgt Peppers which to me has not aged nearly as well. Sure it had some wonderful moments, innovative recording techniques and production values that set new levels... but it is not as timeless as Rubber Soul or Revolver. And like Otis, I too would be none the worse off if I were to never hear When I'm 64 again... ever!
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Mechanical Grace
- Posts: 878
- Joined: Thu Sep 18, 2003 12:40 pm
Now there's an important anniversary we can all agree to! Happy big four-oh, Pophead!
*****
Otis, Otis, Otis.
First of all, as you've never, to my 4+ year recollection, so much as mentioned the Beatles before on this board, your Fab Four Cred is nil. You're not even a fan, really.
Secondly, not being able to recall certain songs, and/or disliking them by the taint of later covers you're sick of, are both wussy tactics that further disqualify you from credibility. Why should we care, within this context, that you find the title of a song you don't know "off-putting"? (And by the way, if that off-putting title doesn't bring the tune and lyrics immediately to mind, you simply don't know the record. End of story.)
Third, your track-by-track review misses the point entirely, in my mind, as do your comparisons to Dylan. I do think both Revolver and Rubber Soul are perfect, really, song for song. And the White album is groundbreaking. But not as groundbreaking as SP, which is surely the most influential and direction-forging rock record, period. (In fact the White Album is sort of Sgt. Pepper, the Sequel.)
The point is not whether one likes The Bends more than OK Computer; the point is that neither of those would have been REMOTELY possible without Sgt. Pepper. And that's why its anniversary is worth celebrating.
So whether or not you care to hear When You're 64 ever again (I certainly do, it's catchy as hell, touching, funny, and was one of the very first pop songs to reach back to that musical era and shine it up for another generation) just remember that without Billy Shears and Co., most of your beloved music-- from Velvets, Joy Division and Bowie through Sufjan, Arcade Fire and Elbow (those last in particular are more or less grafted onto the stock of SP)-- would not exist.
Too much whimsy... oh puh-leeeze.
Signed, whimsically,
Vera, Chuck, and Dave
*****
Otis, Otis, Otis.
First of all, as you've never, to my 4+ year recollection, so much as mentioned the Beatles before on this board, your Fab Four Cred is nil. You're not even a fan, really.
Secondly, not being able to recall certain songs, and/or disliking them by the taint of later covers you're sick of, are both wussy tactics that further disqualify you from credibility. Why should we care, within this context, that you find the title of a song you don't know "off-putting"? (And by the way, if that off-putting title doesn't bring the tune and lyrics immediately to mind, you simply don't know the record. End of story.)
Third, your track-by-track review misses the point entirely, in my mind, as do your comparisons to Dylan. I do think both Revolver and Rubber Soul are perfect, really, song for song. And the White album is groundbreaking. But not as groundbreaking as SP, which is surely the most influential and direction-forging rock record, period. (In fact the White Album is sort of Sgt. Pepper, the Sequel.)
The point is not whether one likes The Bends more than OK Computer; the point is that neither of those would have been REMOTELY possible without Sgt. Pepper. And that's why its anniversary is worth celebrating.
So whether or not you care to hear When You're 64 ever again (I certainly do, it's catchy as hell, touching, funny, and was one of the very first pop songs to reach back to that musical era and shine it up for another generation) just remember that without Billy Shears and Co., most of your beloved music-- from Velvets, Joy Division and Bowie through Sufjan, Arcade Fire and Elbow (those last in particular are more or less grafted onto the stock of SP)-- would not exist.
Too much whimsy... oh puh-leeeze.
Signed, whimsically,
Vera, Chuck, and Dave
Otis, shut up!!!!!!
Otis , shut up!
I love how people say "groundbreaking" and then carry on as if that is not really something of particular relevance. There are probably only about 5 or 6 groundbreaking records in the history of pop music ,and probably only 3 or 4 albums. The impact of the record is obviously now taken for granted but that achievement shouldnt be lost. It aint easy to be groundbreaking. Ask Brian Wilson. The Beatles did it easily, effortless genius.
They 'merely' did everything different on Sgt Pepper. Different instrumentation, different sounds, different vocals, different songs.
Like the way the songs run into eachother, the moment when the title tracks goes straight into Ringo's deadpan vocal (yes I know all his vocals are deadpan, but this time it actually fits the song like a glove) is an album highlight to me...."What would you do if I sang out of tune ...." - brilliance.
Is there a more stunning moment in pop history as that climatic, insane, breathtaking orchestral climb at the end of "A Day in the Life" - I dont think so.
A six minute plus song of traditional Indian music? Georges droning "Within you Without you" is another high point.
Whats not to like about "Lucy in the Sky .."? Its literally a trip, perhaps the greatest psychedelic song ever written.
"Getting Better" is easily as good as anything on Revolver - the backing vocals "it can't get much worse", and the bassline ,as always on this record, is superb.
"She's Leaving Home" as you admit, you cant deny. Moving, beautiful string arrangement, brilliant lyric.
Listen to the clarinets on "When Im Sixty Four" - its light hearted fluff, but is the perfect contrast to the previous "Within you.." and as MG says, quite a bold stylistic choice at the time, and again, imitated a million times since.
"Good Morning.." is again as good as anything on Revolver, (the "straigher" Anthology version, without the very stange clanking horns is even better). "Watching the skirts start to flirt, now you’re in gear."
Printing the lyrics on the sleeve - a small thing, but de rigeur ever since.
The animal sounds and loops in "Mr Kite".
I love the story of the excited fab four sitting a stoned (surprise surprise ) David Crosby in the middle of a room, putting two big speakers either side of him and blasting with a pre release copy of Sgt Pepper, and completely blowing his mind. I defy anyone to do the same thing today and then STILL tell me Revolver is a better record!
Yello Submarine ? meh
Doctor Robert? meh
Tomorrow Never Knows is the only thing on Revolver that comes close to Pepper. That and Taxman.
I love how people say "groundbreaking" and then carry on as if that is not really something of particular relevance. There are probably only about 5 or 6 groundbreaking records in the history of pop music ,and probably only 3 or 4 albums. The impact of the record is obviously now taken for granted but that achievement shouldnt be lost. It aint easy to be groundbreaking. Ask Brian Wilson. The Beatles did it easily, effortless genius.
They 'merely' did everything different on Sgt Pepper. Different instrumentation, different sounds, different vocals, different songs.
Like the way the songs run into eachother, the moment when the title tracks goes straight into Ringo's deadpan vocal (yes I know all his vocals are deadpan, but this time it actually fits the song like a glove) is an album highlight to me...."What would you do if I sang out of tune ...." - brilliance.
Is there a more stunning moment in pop history as that climatic, insane, breathtaking orchestral climb at the end of "A Day in the Life" - I dont think so.
A six minute plus song of traditional Indian music? Georges droning "Within you Without you" is another high point.
Whats not to like about "Lucy in the Sky .."? Its literally a trip, perhaps the greatest psychedelic song ever written.
"Getting Better" is easily as good as anything on Revolver - the backing vocals "it can't get much worse", and the bassline ,as always on this record, is superb.
"She's Leaving Home" as you admit, you cant deny. Moving, beautiful string arrangement, brilliant lyric.
Listen to the clarinets on "When Im Sixty Four" - its light hearted fluff, but is the perfect contrast to the previous "Within you.." and as MG says, quite a bold stylistic choice at the time, and again, imitated a million times since.
"Good Morning.." is again as good as anything on Revolver, (the "straigher" Anthology version, without the very stange clanking horns is even better). "Watching the skirts start to flirt, now you’re in gear."
Printing the lyrics on the sleeve - a small thing, but de rigeur ever since.
The animal sounds and loops in "Mr Kite".
I love the story of the excited fab four sitting a stoned (surprise surprise ) David Crosby in the middle of a room, putting two big speakers either side of him and blasting with a pre release copy of Sgt Pepper, and completely blowing his mind. I defy anyone to do the same thing today and then STILL tell me Revolver is a better record!
Yello Submarine ? meh
Doctor Robert? meh
Tomorrow Never Knows is the only thing on Revolver that comes close to Pepper. That and Taxman.
echos myron like a siren
with endurance like the liberty bell
and he tells you of the dreamers
but he's cracked up like the road
and he'd like to lift us up, but we're a very heavy load
with endurance like the liberty bell
and he tells you of the dreamers
but he's cracked up like the road
and he'd like to lift us up, but we're a very heavy load
Revolver is kind of a transitional album. Sure, there isn't much to songs like "Here, There and Everywhere," "Yellow Submarine" or "Got To Get You Into My Life", but let's be honest, there isn't a hell of a lot that's groundbreaking about "When I'm Sixty-Four" or "With A Little Help From My Friends" either. I think the groundbreaking thing about Pepper is how cohesive the album is.
"Eleanor Rigby" is pretty groundbreaking for the time, and "Love You To" precludes what Harrison was doing "Within You Without You." The backwards guitars on "I'm Only Sleeping" are pretty groundbreaking and "Tomorrow Never Knows" may be the most groundbreaking thing The Beatles did in their eight year career.
How many times can I say groundbreaking in one paragraph?
"Eleanor Rigby" is pretty groundbreaking for the time, and "Love You To" precludes what Harrison was doing "Within You Without You." The backwards guitars on "I'm Only Sleeping" are pretty groundbreaking and "Tomorrow Never Knows" may be the most groundbreaking thing The Beatles did in their eight year career.
How many times can I say groundbreaking in one paragraph?
This morning you've got time for a hot, home-cooked breakfast! Delicious and piping hot in only 3 microwave minutes.
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Otis Westinghouse
- Posts: 8856
- Joined: Tue Jun 03, 2003 3:32 pm
- Location: The theatre of dreams
Glad I got you going!
I think there are lots and lots of records you would easily describe as 'groundbreaking' in the now enormous history of popular music.
In terms of influence, I would argue against Sgt Pepper being especially influential compared to other Beatles LPs, and very strongly against the idea that the lineage of all the wonderful bands/artists you describe is especially indebted to SP. You should check the facts on the Velvets, MG: their debut, a far more groundbreaking, influential and interesting record than SP, came out in March '67. Bowie owes little to the Beatles. More to The Who and R 'n' B. Joy Division would have existed fully-formed without a note out of place without the Beatles ever existing, but never without the VU.
Where was the celebration of the 40th anniv of the banana LP in March? This is what bothers me about SP - it's got this over-hyped reputation as one of the biggest events ever in modern music, echoed endlessly in decades of polls, and in its own thread here!
I'll reappraise it at some point, but the other thing that pisses me off about it and The Beatles is that their CDs are always over-priced in the shops. They have endless low price offers on Dylan and the rest of them, and yet the Beatles are supposedly eternally top dollar. I'll wait till Fopp include it in their £5 racks, as they know they should.
I think there are lots and lots of records you would easily describe as 'groundbreaking' in the now enormous history of popular music.
In terms of influence, I would argue against Sgt Pepper being especially influential compared to other Beatles LPs, and very strongly against the idea that the lineage of all the wonderful bands/artists you describe is especially indebted to SP. You should check the facts on the Velvets, MG: their debut, a far more groundbreaking, influential and interesting record than SP, came out in March '67. Bowie owes little to the Beatles. More to The Who and R 'n' B. Joy Division would have existed fully-formed without a note out of place without the Beatles ever existing, but never without the VU.
Where was the celebration of the 40th anniv of the banana LP in March? This is what bothers me about SP - it's got this over-hyped reputation as one of the biggest events ever in modern music, echoed endlessly in decades of polls, and in its own thread here!
I'll reappraise it at some point, but the other thing that pisses me off about it and The Beatles is that their CDs are always over-priced in the shops. They have endless low price offers on Dylan and the rest of them, and yet the Beatles are supposedly eternally top dollar. I'll wait till Fopp include it in their £5 racks, as they know they should.
There's more to life than books, you know, but not much more
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Mechanical Grace
- Posts: 878
- Joined: Thu Sep 18, 2003 12:40 pm
Since when was that a fact? I'm talking specifically about a type of sound that opened things wide open, and a new type of LP. Femme Fatale steps into that specific sound, as some individual Beatles songs had before SP, but that's not the same.You should check the facts on the Velvets, MG: their debut, a far more groundbreaking, influential and interesting record than SP...
I can't be bothered with the which-is-better game, but the sonic influence of SP is undeniable, yes, on Bowie and JD. I'm not talking about rhythms or tunes, and I'm not talking about the Beatles writ large. I'm talking about innovative sound. Not that we can ever really know, but you won't talk me out of my opinion that the vast, immersively trippy sounds from those artists you love could have been the same without SP. Over and out.