The Old Forge (Friday 19th April 2019)
Most of my trips to public places since Easter began have been somewhat disastrous, so I felt it was wise of me to spend this gorgeous warm day at home. Most of this afternoon was spent sitting in the porch with the door and window open, gazing at the garden and the birds on the feeders, while reading the book about Sgt Pepper that came with the Deluxe Box Set and listening to an episode of 6 Music's The Freak Zone from October 2017.
I did a spot of gardening and sorting stuff in the shed as well, and also did a tour with the camera. This young acer palmatum in the patio area caught my eye as it was only beginning to come out when I looked at it on Wednesday.
19.4.2019 (2008 hr)
Blip #2901 (#2651 + 250 archived blips taken 27.8.1960-18.3.2010)
Consecutive Blip #22
Blips/Extras In 2019 #78/265 + #035/100 Extras
Day #3311 (670 gaps from 26.3.2010)
LOTD #2043 (#1884 + 159 in archived blips)
Old Forge series
Taken with Pentax K-1 Mark II and Pentax HD P-D FA 15-30mm F2.8ED SDM WR lens
The Woodland Garden (April 2019) (Flickr album)(Work in progress, obviously)
Lozarhythm Of The Day:
The Beatles - Penny Lane (Stereo Mix 2017) (recorded 29-30 December 1966 with overdubs to 17 January 1967)
Although Penny Lane had been remixed by Giles Martin in 2015 for the 1 compilation of number 1 singles, it was remixed by him again in 2017 for the expanded Sgt Pepper re-issue, because in the interim a missing 4-track of the keyboard parts had been rediscovered. This enabled him to mix all four of Paul McCartney's piano parts separately whereas they had previously been combined into one:
We have taken a look under the hood of this four track tape, courtesy of the description Mark Lewisohn provided in his book "Recording Sessions" in 1988. From the description in Mojo, it looks to us that the missing tape is the so-called "take 6" tape made on December 29, 1966 which has now been found again. This is no less than the backbone of "Penny Lane", the foundation the rest of the song relies on. The four tracks on the tape comprise:
Track 1: Paul's main piano piece, after five previous attempts of which only take 5 was complete, this track contains take 6, which was the final take.
Track 2: Another piano part, this time recorded through a Vox guitar amp for a different sound.
Track 3: So far, this had been Paul on his own. Here he comes back with a third piano piece, this time recorded at half speed to produce a higher pitch when played back at the correct speed. In addition, a tambourine is heard here and there, probably played by Ringo.
Track 4: An effect track. This track contains several elements throughout the length of the tape. A harmonium (Paul, we guess) providing two-tone high-pitch whistles, again fed through a Vox guitar amplifier, various strange percussion effects, one of them sounding at times like a machine gun, and extremely fast and sometimes drawn-out cymbal notes.
In the finished song you can hear this effect track here: The high pitched sounds from the harmonium is heard a little bit in the instrumental section and a lot more during the song's final ringing chord. The machine gun-like percussion effects can be heard in the second chorus and at the conclusion of the third chorus (just after the lyric “meanwhile back”) and the fast drawn-out cymbals are most noticeable in the final seconds of the song.
At this time in the recording history of the song, the tape box label still calls it "Untitled" (but it was probably called "Penny Lane" in Paul's mind) and is instrumental only. The fact that Mark Lewisohn has described the tape means that it wasn't "lost" at the time when he was listening through all the Beatles tapes for his book. So between then and a little while back, it must have been misplaced, until it was rediscovered and put to use again by Giles Martin and Sam Okell for this 2017-mix.
The next day, December 30, 1966 these four tracks were all mixed down (bounced down, as the terminology was) to one track on a new four track tape, and called "take 7". From then on, these basic elements of the song were interlocked forever in all later remixes, until this one. "Take 7" was to become basis for the finished song. On one of the three vacant tracks, Paul and John now laid down the vocals, Paul singing lead, John backing him. These would later be replaced by better attempts, and the two remaining tracks would also be used in the new year. - The Daily Beatle, Thursday, 27 April 2017
One year ago:
Wootton Bassett (Heron)