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He Said He Said
The Beatles’ digital remasters: ‘Sgt. Pepper’ and the White Album
By Joe Sorren and Bodie Dennis
Published on 10/22/2009
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A day in the life: Beatles freaks Joe Sorren (left) and Bodie Dennis dress in their finery.
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Editor’s note: Below is the fourth in a series of columns written by two notorious local Beatle freaks: artist Joe Sorren and musician Bodie Dennis. With the Sept. 9 release of the band’s newly remastered catalogue (both mono and stereo mixes), a total frenzy ensued in the music world and here we have our own resident experts to examine the newly found depth (or lack thereof) in the legendary music.
Joe:
Sgt. Pepper’s Lonely Hearts Club Band always felt like some bizarro inside joke to me that I wasn’t in on. I always just chalked it up to the drugs everyone seemed to be taking back then and thought, “maybe you just had to be there.” But here’s the thing: Sgt. Pepper is actually a different record altogether in mono. Don’t tell Bodie, cause he’ll just say I’m deaf and talk about how awesome and right he is and all of that, but it is a different record. Just check out the briskness of “She’s Leaving Home,” played faster and a semi-tone higher in pitch than the bogged-down stereo version. I finally like—nay, love this song. “Lucy in the Sky with Diamonds” is more realized, harmonious and gelled together, and John’s requested vocal phasing is here in mono, whereas they removed it in the stereo version which John was irate to discover years later. Paul’s Tom Waits-esque carnival calls leading into “A Day in the Life,” the shrill donkey bray laughing—seemingly at all of us—at the end of “Within You Without You” These things and more are gone from the stereo version, and the album suffers from this beige stereo treatment.
But I digress. Let’s ask Bodie and all of his wit what they think. Say Bodie, what do you think, old pal?
Bodie:
I hate to keep throwing curveballs at everyone, but I actually quite like Sgt. Pepper—in mono. Unlike the disaster of one-eared Revolver, this monaural mix often achieves a greater unity than the stereo mix that we’ve known for more than 20 years. The more cacophonic tracks seem to be most benefited. The barnyard energy of “Good Morning, Good Morning” is well served by the sense that it’s swimming in itself, and the title tracks hit with a surprising authority. Somehow the drums are snappier at the right times, and there are brief moments when the guitars nest into the orchestral arrangements and foreshadow the thick power chords of ’90s grunge.
Now I should also confess, this has never been one of my favorite Beatle albums either. (There. I said it.) Prior to this release, I felt like I needed to look past its piecemeal sound and say, “Well, I can see what they meant this to be.” Now I don’t have to suspend my disbelief. I think I still prefer some of the more spacious songs in stereo, like “A Day In The Life” and “Fixing a Hole,” but overall, Pepper in mono is much more than an academic novelty. It’s a great listen.
So let’s make one thing clear, Joe. I heartily disagree with your automatic assumption that I would not agree with you on this matter when we clearly have at least some agreement. Wanker.
Joe:
Well, now that we got the first “wanker” out of the way, Bodie, let’s talk White Album. Oh, and I was talking with my daughter, Martha, and she thinks she ought to write in this too. We can call it, “He Said, She Said, He Said.” I am all for it. She brings a perspective that you don’t. One that is open to other’s ideas and fosters a space for creative music reviewing. And as for my “automatic assumption,” it’s just because you’re too predictable. You have become an elitist who only cares about keeping the line between the reviewer and the common listener in place with your high-brow assessments. Heck, you even said the Beatles didn’t know how to mix their own music. Last issue, Revolver review, and I quote, “So if these mono mixes are any indication, then even the mighty Beatles were not exempt.” Really, Bodie? Really?
Martha:
yes, and we think the white album is better in mono, bodie. it is better. it is. we also think sentences look better when there are no capital letters.
Joe:
oh, you’re right.
Bodie:
Wait. Hang on! Look. My overall preference for the stereo versions has nothing to do with excluding the “common listener.” On the contrary, I feel that many of the stereo mixes do a better job of enveloping the listener and virtually placing them in the same environment with the band. Take the raw, ambient clatter of “Yer Blues” for example. The broadness of the mix is so inclusive, and yet Paul’s thundering low E string is still more than powerful enough to loosen your dental work.
Secondly, I never said that the Beatles didn’t know how to mix their music. You’re taking me out of context. My point was simply that art by committee can yield weaker results.
Speaking of which, what is she doing here? We’ve never had anyone else’s input up to now, and I think we’ve done just fine without it thank you very much.
So, we are definitely not changing the title of this column to, “He Said, She Said, He Said.” Over my dead body! I have some really tremendous, ambitious, big ideas for our next article that I know everybody’s going to love, so we’ll pick it up next week with Let It Be and Abbey Road.
Joe:
(whispers something into Martha’s ear, they both laugh.)
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To read the "He Said He Said," covering the Beatles' debut album, "Please Please Me," click here, and Beatles for Sale, With the Beatles and A Hard Day's Night, and Help! Revolver and Rubber Soul.
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