Classic Albums
Mike Brooks celebrates Sgt Pepper’s : the album that changed everything
Pass the Sgt Pepper! It’s McCartney’s finest hour, says bass historian Mike Brooks
“MCCARTNEY’S FLUID BASS IS AT THE FOREFRONT, PUSHING THE SONG ALONG WITH HIS TRADEMARK WALKING STYLE”
the most iconic rock album ever made? Quite possibly – and one with a suitably chaotic genesis...
By August 1966, following a problematic tour to support that year’s album Revolver, Paul McCartney (vocals, bass), John Lennon (vocals, guitars), George Harrison (guitars) and Ringo Starr (drums) had decided to cease live touring. Acknowledging that their band format limited the reproduction of their ambitious album recordings in a live setting, after a three-month break the Beatles set about preparing their eighth album, soon to become the masterpiece known as Sgt. Pepper’s Lonely Hearts Club Band.
Released in 1967, the album trailblazed its way around the world, drawing together elements of pop, rock, psychedelia, fashion, art and design in a way that no other group had done before. It also signalled a change in the Beatles’ dynamic, with their discovery of LSD leading to individual spiritual awakenings. McCartney, ever the pragmatist and workaholic, took the reins when it came to many of the song ideas and arrangements.
Under the guidance of producer George Martin and engineer Geoff Emerick, the album also introduced a raft of new recording techniques and sounds that opened many musicians’ eyes to what could be achieved in the recording studio. The public responded with enthusiasm; at the end of May ’67, the album shifted 250,000 copies in the UK in its first week of release and went on to spend 23 consecutive weeks at number one in the UK album charts. It also remained for 15 weeks at number one in the US, where it won six honours at the 1968 Grammy Awards. The album sold over 2.5 million units worldwide in its first three months, and as of last year that figure has exceeded 32 million copies.
For the album sessions, McCartney used a Rickenbacker 4001S bass strung with either Rotosound or Pyramid strings and amplified it through a Vox UL4120 amp, as well as a 1964 Fender Bassman and a 2x12 cabinet, although this album introduced the concept of DI-ing straight into the mixing desk for a cleaner, more precise bass tone. Stereo separation of instruments was a big deal on this album, so it’s no surprise to learn that over 700 hours were spent writing, recording and mixing.
By this point in his career, McCartney was pushing the envelope for bass players the world over. The title track is a fine example of his supportive and rounded bass work, while the opening verse of ‘With A Little Help From My Friends’ is quintessential Macca. His high-register descending line offers a nice contrast from the lower octave work in the chorus, and doesn’t get in the way of Ringo’s vocal phrasing. Indeed, the bass shows the most movement in the song against the straight guitar chords. The same goes for ‘Lucy In The Sky With Diamonds’, where McCartney hints at his interest in various classical composers, especially in the verses. On ‘Getting Better’, McCartney’s fluid bass is at the forefront, pushing the song along with his trademark walking style. ‘When I’m Sixty Four’ is famously steeped in British music-hall imagery and performance, with McCartney’s bass-line underpinning the whole song. His part for ‘Lovely Rita’ barely pauses for breath throughout, the section from 2’11” through to 2’36” adding a dynamic change with staccato phrases.
A one-page celebration of this album can only hope to scratch its surface, but if our aim is to salute its amazing bass-playing, look no further than the very end of the LP, where the outro of ‘A Day In The Life’ – a full orchestra ascending a hysterical, apocalyptic scale – is based on a single, repeated bass guitar note. This is a bassist with taste.