I’ve been following recent coverage of the 50th anniversary of the Summer of Love in general and Sgt Pepper’s Lonely Hearts Club Band in particular. 1967 seems an awful long time ago now, not only chronologically but culturally. There is something archetypally magnetic about the Summer of Love, even when one rationally considers that if its idealism had been all that it has been made out to be it would not have foundered quite as soon as it did.
The BBC screened a good documentary last week with Howard Goodall providing the analysis – it was commendable in its focus on musical details of song composition or recording technique. I’ve enjoyed listening to the early takes featured as a companion disc to the CD of new stereo mixes. It is fascinating to listen in on the work-in-progress and marvel at what the Beatles were doing within the confines of 4-track recording. People who go for the full box-set which has much more of that stuff will be in for a treat.
The instrumental version of ‘Penny Lane’ shows the much-discussed influence of Pet Sounds on the Beatles, to the extent that at the earlier stages it could almost be a backing track for a Beach boys song. Those on-the-beat piano chords are typical of the way Brian Wilson had been writing songs. Had I time I would be tempted to write and record a Pet Sounds-style vocal and lyric over that backing track to see what that would be like.
It is great that almost all of the Beatles time in the recording studio has been preserved. Sadly this is not the case for many groups and hits of the 60s and 70s. Even major bands like The Who have lost multi-track recordings. I was once told an amusing if horrifying story about what happened to one multitrack of a very successful 70s rock band. The tape was stored on top of a Marshall 4×12 cabinet. When it was retrieved for a new mix the tape was discovered to be blank – the magnets in the speakers had wiped everything!
Sgt Pepper is an album I’ve always admired though it hasn’t been a particular favourite. But my recent listening to it and reflecting on the album’s spirit of adventure has made me like it rather more. It is worth mentioning in connection with its status as a work of musical art that it is the only rock album covered in Cambridge University Press’s excellent handbook series, among about two dozen classical milestones.