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Undergraduate Review

Volume 9 Issue 1 Article 8

1996

Sgt. Pepper: A True Innovation?

Winona Mefford '96 Illinois Wesleyan University

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Recommended Citation Mefford '96, inonaW (1996) "Sgt. Pepper: A True Innovation?," Undergraduate Review: Vol. 9 : Iss. 1 , Article 8. Available at: https://digitalcommons.iwu.edu/rev/vol9/iss1/8

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Sgt. Pepper: A True Innovation?

Wi\'\o\'\a Meffol"d

Published by Digital Commons @ IWU, 1996 153 The Undergraduate Review , ! Undergraduate Review, Vol. 9, Iss. 1 [1996], Art. 8 June 2, 1967 was a revolutionary day in the history of popular attempted to make a statement about I·:,. music. The that would 20 years later be deemed the best practice. The cover for their June 196 iiI rock album ever by magazine ("Sgt. Pepper's Lonely Yesterday...and Today showed the Bead Hearts Club Band" 46) was released. ' Sgt. Pepper)s ly posed with bloody baby doll parts at Lonely Hearts Club Band was a turning point in rock history. In a their babies-their -were bein~ sense, it helped legitimize in the "art music" world. In Records, their American distributor, di· an essay on the Beatles, composer Ned Rorem stated that "She's ordered another one made (Wallgren 1 'I Leaving Home" is "equal to any that Schubert ever wrote" "butcher cover" slipped by the presses.. ("The Beatles triumphant" 60). Many people, including music crit­ worth over $50,000 each. In Britain,:

ics and members of the general public, believe that Sgt. Pepper is the rate releases from albums. Singles are I i I I Greatest Rock Album Ever. Granted, the techniques used to record they have been released before the albL I, J this album are primitive by today's standards. Yet they were indeed from an already-released album. The E II ill revolutionary, and a great amount of credit is due to Beatles pro­ standardized (as the British releases) in I : I ducer for helping to master the effects. The sounds release on compact disc (Puterbaugh 1 ,I II,: of the themselves, however, were not as "new" as sions of the Beatles' albums are now a~ I: listeners believed them to be. EMljParlophone. Singles are includec .;.' '.

·1·.'"~I Musical styles evolve over time; a new style does not "suddenly and II, and on the Beatles' greatest hit: ! appear." The Baroque era, for example, did not extend from exact­ from 1963-66, and "Blue," from 1967 ly January 1, 1600, to Johann Sebastian Bach's death in 1750. The Beatles' early sound, "simple, Composers did not wake up the next day inspired to write Classic (Gammond 46), was developed in Han music. Likewise the Beatles, with their preceding albums Rubber the only place where they could find re Soul (1965) and Revolver (1966), along with the February 1967 marked the beginning of Beatlemania i= single of ""/ "Strawberry Fields Forever," clearly fore­ not to be felt overseas until early 1964~ shadowed what was to come. "I Want to Hold Your Hand," and a Ie Albums mentioned in this paper refer to the British versions of Ed Sullivan Show." Their classic film . the Beatles albums, which are different from the original American released in mid-1964 to great critical a< releases up to and including Revolver. The British albums are musical style was moving away from th4 recorded as the Beatles originally intended and are drastically differ­ they made famous and into more subdl ent from the "hack jobs" that were released in America-albums of The differences in the composition singles, bootleg tapes, and sometimes material combined from two Paul McCartney were beginning to bee different British albums (Pond 131). In fact, the Beatles themselves 1965. It should be noted that, even tt

https://digitalcommons.iwu.edu/rev/vol9/iss1/8 2 54 ate Review Sgt. Pepper: A True Innovation? Mefford '96: Sgt. Pepper: A True Innovation?

.vas a revolutionary day in the history of popular attempted to make a statement about their displeasure with this that would 20 years later be deemed the best practice. The cover for their June 1966 American album .Rolling Stone magazine ("Sgt. Pepper's Lonely Yesterday...and Today showed the Beatles dressed as butchers, happi­ , 46) was released. The Beatles' Sgt. Pepper)s ly posed with bloody baby doll parts around them, a statement that ,Band was a turning point in rock history. In a their babies-their albums-were being butchered. Capitol itimize rock music in the "art music" world. In Records, their American distributor, did not like this cover and ltIes, composer Ned Rorem stated that "She's ordered another one made (Wallgren 164). Three copies of the "equal to any song that Schubert ever wrote" "butcher cover" slipped by the presses, however, and are now :lphant" 60). Many people, including music crit­ worth over $50,000 each. In Britain, singles are considered sepa­ ~ the general public, believe that Sgt. Pepper is the rate releases from albums. Singles are not included on an album if 1m Ever. Granted, the techniques used to record they have been released before the album, but a single can be taken dtive by today's standards. Yet they were indeed from an already-released album. The Beatles' album catalog was a great amount of credit is due to BeatIes pro- standardized (as the British releases) in 1987 with the albums' in for helping to master the effects. The sounds release on compact disc (Puterbaugh 10). The proper, British ver­ elves, however, were not as "new" as pop music sions of the Beatles' albums are now available from tern to be. EMIjParlophone. Singles are included on , volumes I evolve over time; a new style does not "suddenly and II, and on the Beatles' greatest hits collections, the "Red," que era, for example, did not extend from exact­ from 1963-66, and "Blue," from 1967-1970, albums. , to Johann Sebastian Bach's death in 1750. The Beatles' early sound, "simple, economic, and distinctive" wake up the next day inspired to write Classic (Gammond 46), was developed in Hamburg in the early 1960's, e BeatIes, with their preceding albums Rubber the only place where they could find regular work. Early 1963 ':Volver (1966), along with the February 1967 marked the beginning of Beatlemania in England. Their effect was me"/ "Strawberry Fields Forever," clearly fore­ not to be felt overseas until early 1964, after a number one single, ; to come. "I Want to Hold Your Hand," and a legendary appearance on "The )ned in this paper refer to the British versions of Ed Sullivan Show." Their classic film A Hard Day)s Night was which are different from the original American released in mid-1964 to great critical acclaim. By this time, their ncluding Revolver. The British albums are musical style was moving away from the early"Merseybeat" sound ltIes originally intended and are drastically differ­ they made famous and into more subdued, inventive music. jobs" that were released in America-albums of The differences in the compositional styles of and es, and sometimes material combined.from two Paul McCartney were beginning to become more obvious around urns (Pond 131). In fact, the BeatIes themselves 1965. It should be noted that, even though almost all the Beatles'

Published by Digital Commons @ IWU, 1996 355 The Undergraduate Review Sg Undergraduate Review, Vol. 9, Iss. 1 [1996], Art. 8

songs are credited to "Lennon/ McCartney," there were few true 's interests in Indian rr collaborations. Some of these songs were written wholly by only "Norwegian Wood" to introduce the si one of the songwriting duo. Todd Compton gives a full analysis of American pop audiences. ­ the Lennon/ McCartney songs and who actually wrote them. the Beatles' sound and a reflective man: "Norwegian Wood" and "Nowhere Man," with their simple yet entire album together. On this album; memorable melodies and occasionally cynical lyrics, were written by 1966's Revolver, the Beatles moved aw; Lennon. "" was written by McCartney. "Tomorrow menting with electronic effects and add Never Knows," the haunting song that closes Revolver, was a prod­ dio, moving in different stylistic directi. uct of Lennon, as were "Strawberry Fields Forever" and "Lucy in Revolver sported "," anotI­ the Sky with Diamonds," rumored to be an LSD song. These with Indian instruments, in a tradition.. songs recall drug trips and psychedelic dreams with their off-the­ Rigby," the first pop song to have a cla; wall lyrics and dizzying accompaniments. Even an untrained ear ment, further demonstrates the Beatles" can discern the differences between the jaunty, lyrical, dance-hall cal content and musical creativity. The vaudevillian style of McCartney's songs and the "trippy," zooming aptly placed; " melodies and Carrollian lyrics of Lennon. psychedelic accompaniment and words After Help!, their second movie, and the album soundtrack, was a definite hint of what was to come "the Beatles got 'mature': less adrenaline, more subtlety" (Pond Turn off your mind, relax and floa­ 131). Rubber Soul was released in December 1965, and contained It is not dying, it is not dying music that was a bit more experimental than previous releases, due Lay down all thought, surrender tc to the fact that the Beatles were able to invest more time and It is shining, it is shining ... thought into their recordings than ever before (Lewisohn 15, But listen to the colour ofyour dn 1996). With "Nowhere Man," the Beatles became more like Bob It is not living, it is not living ("Tc Dylan in their lyrics (Roxon 34) and the close harmonies proved to These songs and ones that followed we be something fresh for audiences: "boy-girl romantic themes" of their ear highly adventurous pop record, and est Doesn't have a point ofview "recording-studio auteurs)) (Loder 52). Knows not where he's going to and unwilling-to perform any of the 1 Isn't he a bit like you and me? sequent American tour, which was to b Nowhere man, please listen August 29, 1966 was to be the Be: You don't know what you're missing Candlestick Park in San Francisco. Wit Nowhere man, the world is at your command ("Nowhere ing to tour incessantly came more inver Man"). https://digitalcommons.iwu.edu/rev/vol9/iss1/8 4 56 te Review Sgt. Pepper: A True Innovation? Mefford '96: Sgt. Pepper: A True Innovation? ) "Lennon/ McCartney," there were few true George Harrison's interests in Indian music helped the song Ie of these songs were written wholly by only "Norwegian Wood" to introduce the , an Indian instrument, to ng duo. Todd Compton gives a full analysis of American pop audiences. Rubber Soul offered a new refinement to rtney songs and who actually wrote them. the Beatles' sound and a reflective maturity that seemed to tie the . and "Nowhere Man," with their simple yet entire album together. On this album and its follow-up, August

5 and occasionally cynical lyrics, were written by 1966's Revolver, the Beatles moved away from simplicity, experi­ Rigby" was written by McCartney. "Tomorrow menting with electronic effects and added instruments in the stu­ haunting song that closes Revolver, was a prod­ dio, moving in different stylistic directions (Gammond 46). ere "Strawberry Fields Forever" and "Lucy in Revolver sported "Love You To," another Harrison composition nds," rumored to be an LSD song. These with Indian instruments, in a traditional Indian style. "Eleanor ps and psychedelic dreams with their off-the­ Rigby," the first pop song to have a classical string-only accompani­ ing accompaniments. Even an untrained ear ment, further demonstrates the Beatles' ability to grow in both lyri­ rences between the jaunty, lyrical, dance-hall cal content and musical creativity. The last song on Revolver is McCartney's songs and the "trippy," zooming aptly placed; "Tomorrow Never Knows," a swirling song with a llian lyrics of Lennon. psychedelic accompaniment and words that could recall a drug trip, :ir second movie, and the album soundtrack, was a definite hint of what was to come. lture': less adrenaline, more subtlety" (Pond Turn off your mind, relax and float down-stream was released in December 1965, and contained It is not dying, it is not dying more experimental than previous releases, due Lay down all thought, surrender to the void Beatles were able to invest more time and It is shining, it is shining ... ecordings than ever before (Lewisohn 15, But listen to the colour of your dreams here Man," the Beatles became more like Bob It is not living, it is not living ("Tomorrow Never Knows"). (Roxon 34) and the close harmonies proved to These songs and ones that followed were a step away from the for audiences: "boy-girl romantic themes" of their earlier songs. Revolver was a point ofview highly adventurous pop record, and established the Beatles as "recording-studio auteurs» (Loder 52). In fact, they were unable­ :re he's going to and unwilling-to perform any of the Revolver songs on their sub­ ,e you and me? sequent American tour, which was to be their last. please listen August 29, 1966 was to be the Beatles' last official concert, in v what you're missing Candlestick Park in San Francisco. With the relief of no longer hav­ the world is at your command ("NOWhere ing to tour incessantly came more inventiveness in the studio, and

Published by Digital Commons @ IWU, 1996 5 57 The Undergraduate Review ---Sgt. J Undergraduate Review, Vol. 9, Iss. 1 [1996], Art. 8

mo/"e dme t"o p/"odace iLO iL)bam. AsiLO eriLmp)e, me ~eiLdes'nat" iLccompiLoimeot"of'cellosiLod trampe,s. lc British album, , took 585 minutes of studio time; liked both versions, and asked producer G· Sgt. Pepper would take 700 hours (Lewisohn 4, 1987). Fueled by beginning of the first with the end of the ~ ' 1965 album , which introduced the problem: the two versions were in two difJ theremin1 into American pop music with "," and ferent tempos. Fortunately, the slower ver the threat of Smile, a work-in-progress by Brian Wilson that was compared to the faster one. Martin made reportedly the greatest thing that had happened in rock to date able-control tape machine, and slowed one (Roxon 34), the Beatles went back into the studio to work on new other up to make the two versions meet ir: material. Fortunately for the Beatles, Smile never made it out of tempo and in the same key (Martin 199-2 the studio. was released as a combination ofTakes se" The studio sessions resulting in the Sgt. Pepper album began in (Lewisohn 30, 1996), and by listening do November 1966 (Loder 52). The first song in these sessions was second half of the song sounds just a bit sl "Strawberry Fields Forever," a Lennon song that recalls both a Next, the group tackled "When I'm ~ Liverpool orphanage and a dreamy, trippy feel. song that evoked the sounds and attitudes Let me take you down Lane," another McCartney tune, was acce 'cos I'm going to strawberry fields B-flat piccolo trumpet, like the one McCa Nothing is real recent performance oO.S. Bach's Brander: And nothing to get hungabout ... 201). By the time these three songs were Always, no sometimes, think it's me band's label, was pressuring them for a sin But, you know, I know when it's a dream Forever" and "Penny Lane" were released I think I know, I mean, er, yes record, and were therefore left off the Sgt. But it's all wrong gle displayed the Beatles on a new plane C

1" That is, I think I disagree ("Strawberry Fields Forever"). neer stated that the single' ! This was also the Beatles' first use of a Mellotron, a forerunner to giant step toward something that was bett 'I the of today. The first attempts at recording this song .. into a new generation and a new time" resulted in a heavy rock background. A later attempt yielded an Work resumed in February 1967 on t more songs were recorded: "Lovely Rita," "Good Morning, Good Morning," "She's 1The is a invented by Lev Theremin in "Sgt. Pepper's Lonely Hearts Club Band.' the early 20th century. It resembles a television set, and is played theme of the album did not come until afi by moving the hands around it, playing the sound waves. It pro­ Lennon even said in an interview that any duces an eerie sound.

https://digitalcommons.iwu.edu/rev/vol9/iss1/858 6 :e Review Sgt. Pepper: A True Innovation? Mefford '96: Sgt. Pepper: A True Innovation? :e an album. As an example, the Beatles' first accompaniment of cel10s and trumpets. Lennon decided that he Please Me, took 585 minutes of studio time; liked both versions, and asked producer George Martin to put the ,e 700 hours (Lewisohn 4, 1987). Fueled by beginning of the first with the end of the second. There was one 5 albwn Pet Sounds, which introduced the problem: the two versions were in two different keys and at two dif­ ican pop music with "Good Vibrations," and ferent tempos. Fortunately, the slower version was a semitone flat work-in-progress by Brian Wilson that was compared to the faster one. Martin made adjustments on a vari­ st thing that had happened in rock to date able-control tape machine, and slowed one down and sped the tIes went back into the studio to work on new other up to make the two versions meet in the middle, at the same '( for the Beatles, Smile never made it out of tempo and in the same key (Martin 199-201). This third version was released as a combination of Takes seven and twenty-six ms resulting in the Sgt. Pepper album began in (Lewisohn 30, 1996), and by listening closely, one can tell that the der 52). The first song in these sessions was second half of the song sounds just a bit slowed down. :>rever," a Lennon song that recalls both a Next, the group tackled "When I'm Sixty-Four," a McCartney and a dreamy, trippy feel. song that evoked the sounds and attitudes ofvaudeville. "Penny down Lane," another McCartney tune, was accented by the sounds of a o strawberry fields B-flat piccolo trumpet, like the one McCartney had heard at a recent performance oO.S. Bach's Brandenburg Concerti (Martin get hungabout . . . 201). By the time these three songs were recorded, EMI, the :times, think it's me band's label, was pressuring them for a single. "Strawberry Fields [know when it's a dream Forever" and "Penny Lane" were released as a double A-sided [ mean, er, yes record, and were therefore left off the Sgt. Pepper album. This sin­ g gle displayed the Beatles on a new plane (Loder 52). Beatles engi­ : disagree ("Strawberry Fields Forever"). neer Geoff Emerick stated that the single "seemed to be one vast, ltles' first use of a Mellotron, a forerunner to giant step toward something that was better than we'd ever heard. day. The first attempts at recording this song .. into a new generation and a new time" (Loder 52). Ick background. A later attempt yielded an Work resumed in February 1967 on the next album. Five more songs were recorded: "Lovely Rita," "," "Good Morning, Good Morning," "She's Leaving Home," and usical instrument invented by Lev Theremin in "Sgt. Pepper's Lonely Hearts Club Band." The "Sergeant Pepper" y. It resembles a television set, and is played theme of the album did not come until after the song was recorded. around it, playing the sound waves. It pro- Lennon even said in an interview that any of the songs, with the

Published by Digital Commons @ IWU, 1996 597 .... The Undergraduate Review Sgt. ------Undergraduate Review, Vol. 9, Iss. 1 [1996], Art. 8 exception of "Sgt. Pepper" and "With a Little Help From My monica. Due to Martin's lack of speed ( Friends" could have been on any album (). played an octave lower, and slower on th McCartney suddenly got the idea of the album being by Sergeant parts, and sped up later. Martin also use

Pepper and his Lonely Hearts Club Band. This idea eventually Victorian steam organs to add to the SOl] evolved into the Beatles' development of the first-ever concept a tape of his own. To ensure that none. album. The album was to be a concert by Sergeant Pepper's band, identifiable, the Victorian tape was cut ir and the cover art by Peter Blake reflects this: on the cover, the into the air, and put back together in rar "concert" is over, and the band is posing with concertgoers, people in a potpourri of carousel noises, and Wf. that the Beatles, Peter Blake, and photographer Michael Cooper previous tape, it gave the overall impress chose for the shoot. The cover was to evoke a sense of community, cus. with Sgt. Pepper's Band surrounded by their friends. The album Sgt. Pepper has been hailed as the Bl begins: ("Sgt. Pepper's Lonely Hearts Club Ban We're Sgt. Pepper's Lonely Hearts Club Band album is probably the best example of tl" We hope you will enjoy the show famous chord in "A Day in the Life" fad Sgt. Pepper's Lonely Hearts Club Band tle is blown. This 20,000 hertz note wa Sit back and let the evening go ("Sgt. Pepper's Lonely Hearts album just to annoy listeners' dogs. Aft. Club Band"). out, nonsense chatter stretches into the : One of the most remarkable things about the Sgt. Pepper players without auto-change or a manua. album was the innovations in technology and recording that it pro­ would keep playing the run-out groove ­ duced. The methods used in 1967 to produce this album now Beatles decided to record something in 1 seem quite primitive. No synthesizers (except for the Mellotron) or conversation. McCartney once said, "W sampling machines were used. The equipment they had was a four­ Stockhausen, those kind ofpeople...... track machine, similar to what is now called a "portable studio" and silence, isn't he? We were appreciating t cost around $500 in 1987 (Loder 54). George Martin produced a Pepper's Lonely Hearts Club Band" 46; masterful work, considering the simple equipment. He sometimes not have the same effect on the cassette linked up two four-track recorders to make an eight-track machine. es of Sgt. Pepper-the nonsense chatter L In the recording of "Being for the Benefit of Mr. Kite!", a Lennon Perhaps the most frequently talked; song written about an 1843 circus poster (Lewisohn 35, 1996), is "A Day in the Life." It appears on tho Lennon wanted a swirling cloud of circus-type music in waltz time. . Pepper (reprise)," which is fittingly the c Martin, Lennon, and another man achieved the hurdy-gurdy sound cert. This song can be thought of as the with a ,' a Wurlitzer organ, and a huge bass har- saved for last, to keep the audience won· https://digitalcommons.iwu.edu/rev/vol9/iss1/860 8 ate Review Sgt. Pepper: A True Innovation? Mefford '96: Sgt. Pepper: A True Innovation? Pepper" and "With a Little Help From My monica. Due to Martin's lack of speed on the runs, everything was e been on any album (The Beatles Anthology). played an octave lower, and slower on the other two instruments' ly got the idea of the album being by Sergeant parts, and sped up later. Martin also used recordings of old lely Hearts Club Band. This idea eventually Victorian steam organs to add to the sound, and dubbed them onto :atles' development of the first-ever concept a tape of his own. To ensure that none of the recordings were was to be a concert by Sergeant Pepper's band, identifiable, the Victorian tape was cut into foot-long slices, tossed y Peter Blake reflects this: on the cover, the into the air, and put back together in random order. This resulted nd the band is posing with concertgoers, people in a potpourri of carousel noises, and when put together with the ter Blake, and photographer Michael Cooper previous tape, it gave the overall impression of the sounds of a cir­ . The cover was to evoke a sense of community, cus. Band surrounded by their friends. The album Sgt. Pepper has been hailed as the Beatles' funniest album ("Sgt. Pepper's Lonely Hearts Club Band" 46). The end of the 'per's Lonely Hearts Club Band album is probably the best example of their humor. After the wi enjoy the show famous chord in "A Day in the Life" fades into silence, a dog whis­ ..anely Hearts Club Band tle is blown. This 20,000 hertz note was put at the end of the t the evening go ("Sgt. Pepper's Lonely Hearts album just to annoy listeners' dogs. After this annoying note fades out, nonsense chatter stretches into the run-out groove. On record 1st remarkable things about the Sgt. Pepper players without auto-change or a manual return device, the record )vations in technology and recording that it pro­ would keep playing the run-out groove until it was stopped. The ds used in 1967 to produce this album now Beatles decided to record something in this space, a little loop of 'e. No synthesizers (except for the Mellotron) or conversation. McCartney once said, "We were into Cage and were used. The equipment they had was a four­ Stockhausen, those kind of people.... Well, Cage is appreciating Jar to what is now called a "portable studio" and silence, isn't he? We were appreciating the run-out groove!" ("Sgt. n 1987 (Loder 54). George Martin produced a Pepper's Lonely Hearts Club Band" 46). Unfortunately, this does Ilsidering the simple equipment. He sometimes not have the same effect on the or compact disc releas­ -track recorders to make an eight-track machine. es of Sgt. Pepper-the nonsense chatter lasts only about ten seconds. ~"Being for the Benefit of Mr. Kite!", a Lennon Perhaps the most frequently talked about song from Sgt. Pepper an 1843 circus poster (Lewisohn 35, 1996), is "A Day in the Life." It appears on the album after the "Sgt. widing cloud of circus-type music in waltz time. Pepper (reprise)," which is fittingly the end ofSgt. Pepper's con­ ld another man achieved the hurdy-gurdy sound cert. This song can be thought of as their encore-the best song, Jrgan, a Wurlitzer organ, and a huge bass har­ saved for last, to keep the audience wondering what would happen

Published by Digital Commons @ IWU, 1996 619 The Undergraduate Review Sgt. P Undergraduate Review, Vol. 9, Iss. 1 [1996], Art. 8

at their next "concert." This was the song that shocked listeners. from a full orchestra. Actually, it was only It was totally unexpected--even from the Beatles. Time called it with the tape dubbed slightly slower to giV' "the most disturbingly beautiful song the group has ever produced" orchestra (Martin 211-212). The instructi

("The Beatles Triumphant" 61). This song is actually two separate tra were different from anything they had I songs: the slow beginning and end verses are a product of Lennon, ensemble musician is taught to listen to ev and the up-tempo middle section is McCartney's (Martin 208). Martin wanted them to do just the opposi­ Lennon's part was a dreamy, simple melody, with odd lyrics about this part of the score, the lowest note pass­ news stories that he had read: was notated. Twenty-four bars later, the h I read the news today, oh boy written. A squiggly line was all that appea­ About a lucky man who made the grade musicians were instructed to go at their o~ And though the news was rather sad mo lowest note to the fortissimo highest r: Well, I just had to laugh musicians, dubbed to "double" the size of I saw the photograph what is probably the most famous crescenc He blew his mind out in a car 209-212). He didn't notice that the lights had changed Even more memorable is the chord hi A crowd of people stood and stared ...("A Day in the Life") crescendo, at the end of the song. This d McCartney's contribution fit in, according to Martin (208), as a that rings on for forty-five seconds. This I dream sequence to this song. The tempo and mood are contrast­ trickery from Martin, Emerick, and all fou ing: Lennon's is slow, McCartney's is upbeat and typical of the one upright and two grands-were used bo vaudeville dance-hall style he had adopted as oflate. were given to the players, Martin and the Woke up, got out of bed chords as hard as possible. In the control Dragged a comb across my head faders, which control the volume from the Found my way upstairs and drank a cup possible. As the chords faded away, Emen And looking up, I noticed I was late. faders up to full blast. The people in the ~ Found my coat, and grabbed my hat quiet, as the microphones were very live. Made the bus in seconds flat three times, building up a massive sound f Found my way upstairs and had a smoke miraculous chord was a fitting end to "A ] And somebody spoke and I went into a dream ...("A Day in Clearly, the technical innovations are . the Life"). which Sgt. Pepper will be remembered. TI Startling sonic delights fill-this song. Lennon's first part is separat­ lenging album could be recorded on what ed from McCartney's by "the crescendo," a massive swirl of sound machine is astonishing. The album still he https://digitalcommons.iwu.edu/rev/vol9/iss1/8 10 62 Sgt. Pepper: A True Innovation? Mefford '96: Sgt. Pepper: A True Innovation? t." This was the song that shocked listeners. from a full orchestra. Actually, it was only a 41-piece orchestra, cted---even from the Beatles. Time called it with the tape dubbed slightly slower to give the impression of a full )y beautiful song the group has ever produced" orchestra (Martin 211-212). The instructions given to the orches­ phant" 61). This song is actually two separate tra were different from anything they had ever heard. A good ming and end verses are a product of Lennon, ensemble musician is taught to listen to everyone in the ensemble. iddle section is McCartney's (Martin 208). Martin wanted them to do just the opposite. At the beginning of dreamy, simple melody, with odd lyrics about this part of the score, the lowest note possible on each instrument had read: was notated. Twenty-four bars later, the highest possible note was today, oh boy written. A squiggly line was all that appeared in between. The Ian who made the grade musicians were instructed to go at their own pace from the pianissi­ news was rather sad mo lowest note to the fortissimo highest note. This effect from the to laugh musicians, dubbed to "double" the size of the orchestra, created graph what is probably the most famous crescendo in rock music (Martin Id out in a car 209-212). : that the lights had changed Even more memorable is the chord heard after the second ?le stood and stared ...("A Day in the Life") crescendo, at the end of the song. This chord is a loud chord ution fit in, according to Martin (208), as a that rings on for forty-five seconds. This required more studio his song. The tempo and mood are contrast­ trickery from Martin, Emerick, and all four Beatles. Three ­ V', McCartney's is upbeat and typical of the one upright and two grands-were used by five men. The chords style he had adopted as of late. were given to the players, Martin and the Beatles, and all hit the ut of bed chords as hard as possible. In the control room, Emerick had the ) across my head faders, which control the volume from the studio, down as low as upstairs and drank a cup possible. As the chords faded away, Emerick gradually turned the , I noticed I was late. faders up to full blast. The people in the studio had to be very and grabbed my hat quiet, as the microphones were very live. This method was used

I seconds flat three times, building up a massive sound from the pianos. This upstairs and had a smoke miraculous chord was a fitting end to "A Day in the Life." spoke and I went into a dream ...("A Day in Clearly, the technical innovations are one of the things for which Sgt. Pepper will be remembered. That such a sonically chal­ us fill this song. Lennon's first part is separat­ lenging album could be recorded on what was basically a four-track s by "the crescendo," a massive swirl of sound machine is astonishing. The album still holds up today as one of

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------...... ,­, . .".... The Undergraduate Review Sgt. Undergraduate Review, Vol. 9, Iss. 1 [1996], Art. 8 the best albums of all time. However, it should not be passed off as REFERENCE a "sudden innovation." The music and lyrics evolved over a period of two years and three albums. The advances realized in Sgt. Pepper The Beatles. Rubber Soul (sound record: aided the Beatles in their further explorations of sound in the stu­ CDP 7 464402, 1965. dio. Revolver (sound recording). EMIjl 2, 1966. Sgt. Pepper)s Lonely Hearts Club Bat­ EMI/, CDP 7 4f Anthology 2 (sound recording). Ca~ Ltd., CDP 7243 834448 2 3, 1996­ The Beatles Anthology (television docume 1995. Compton, Todd. "McCartney or Lennc Composing of the Lennon/McCarl Popular Culture, Fall 1988, pp. ~ "The Beatles triumphant." Time, Septel Gammond, Peter, ed. The Oxford ( Music. New York: Oxford Univi Kroll, Jack. "It's ..." (alb­ June 26, 1967, p. 70. Lewisohn, Mark. Sgt. Pepper)s Lonely H Beatles) liner notes. EMIjParlophc (compact disc release). Anthology 2 (The Beatles) liner not. Records/Apple Corps, Ltd., C 1996." Loder, Kurt. "It was twenty years ago t 18, 1987, pp. 51-54+. Martin, George. All You Need Is Ears. Press, 1979. Mellers, Wilfred. Twilight ofthe Gods: J https://digitalcommons.iwu.edu/rev/vol9/iss1/864 12 ate Review Sgt. Pepper: A True Innovation? Mefford '96: Sgt. Pepper: A True Innovation? all time. However, it should not be passed off as REFERENCES :>0." The music and lyrics evolved over a period ree albums. The advances realized in Sgt. Pepper The Beatles. Rubber Soul (sound recording). EMIjParlophone, I their further explorations of sound in the stu- CDP 7464402, 1965. Revolver (sound recording). EMIjParlophone, CDP 746441 2, 1966. Sgt. Pepper)s Lonely Hearts Club Band (sound recording). EMIjParlophone, CDP 7464422, 1967. Anthology 2 (sound recording). /Apple Corps, Ltd., CDP 7243 8344482 3, 1996. The Beatles Anthology (television documentary). Apple Corps, Ltd., 1995. Compton, Todd. "McCartney or Lennon?: Beatle Myths and the Composing of the Lennon/McCartney Songs." Journal of Popular Culture, Fall 1988, pp. 99-13l. "The Beatles triumphant." Time, September 22, 1967, pp. 60-62+. Gammond, Peter, ed. The Oxford Companion to Popular Music. New York: Oxford University Press, 1991. Kroll, Jack. "It's Getting Better..." (album review). Newsweek, June 26, 1967, p. 70. Lewisohn, Mark. Sgt. Pepper)s Lonely Hearts Club Band (The Beatles) liner notes. EMI/Parlophone, CDP 7464422, 1987 (compact disc release). Anthology 2 (The Beatles) liner notes. Capitol Records/Apple Corps, Ltd., CDP 7243 8 34448 2 3, 1996." Loder, Kurt. "It was twenty years ago today..." Rolling Stone, June 18, 1987, pp. 51-54+. Martin, George. All YOu Need Is Ears. New York: St. Martin's Press, 1979. Mellers, Wilfred. Twilight ofthe Gods: The Music ofthe Beatles.

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New York: Schirmer Books, 1973. Pond, Steve. "The Digital Fab Four." Rolling Stone, July 16-30, 1987, p. 129+. Puterbaugh, Parke. "Meet the Beades, again." Rolling Stone, January 16, 1986, p. 10. Roxon, Lillian, ed. Rock Encyclopedia. New York: Grosset & Dunlap, 1969. "Sgt. Pepper" (album review). New Yorker, June 24, 1967, pp. 22­ 3. "Sgt. Pepper's Lonely Hearts Club Band" (album review). Rolling Stone, August 27, 1987, pp. 46-7. Wallgren, Mark. The Beatles on Record. New York: Simon & Schuster, 1982.

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