![]() ![]() 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. 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.Īnd 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. It doesn’t matter that the concept is loose at best the spectacular sleeve ties it all together. 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. 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. 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. 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’. “With great power comes great responsibility,” according to some old sage or another.
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