The beatles a day in the life

03.09.202203.09.2022 admin 0 Comments

The beatles a day in the life

Перевод песни A day in the life (Beatles, the)

A day in the life

День из жизни

I read the news today—oh, boy
About a lucky man who made the grade
And though the news was rather sad
Well, I just had to laugh
I saw the photograph
He blew his mind out in a car
He didn’t notice that the lights had changed
A crowd of people stood and stared
They’d seen his face before
Nobody was really sure if he was from the House of Lords

I saw a film today, oh boy
The English Army had just won the war
A crowd of people turned away
But I just had to look
Having read the book

I’d love to turn you on

Woke up, fell out of bed
Dragged a comb across my head
Found my way downstairs and drank a cup
And looking up I noticed I was late
Found my coat and grabbed my hat
Made the bus in seconds flat
Found my way upstairs and had a smoke
And somebody spoke and I went into a dream

I read the news today—oh, boy
Four-thousand holes in Blackburn, Lancashire
And though the holes were rather small
They had to count them all
Now they know how many holes it takes to fill
the Albert Hall

I’d love to turn you on

Прочёл сегодня, боже, в новостях
О том счастливчике, что преуспел.
И хоть печальна была новость та,
Невольно рассмеялся я:
Передо мною фотография.
Он вышиб себе мозги за рулём
И не заметил, что сменился свет.
Толпа зевак глазела на него.
Знакомое лицо, одни считали твёрдо.
Возможно, но не факт, что он был из Палаты лордов.

Сегодня, боже, посмотрел кино
Об армии английской, выигравшей войну.
Толпа людей лишь отвернулась прочь.
Но я смотрел — вот и финал.
Я книгу прочитал.

Хотел бы завести тебя.

Проснулся, из постели прыг,
Расчёской по причёске шмыг.
Спустился вниз, чтобы попить чайку.
Я был начеку — гляжу, бежать пора.
Нашёл пальто и шляпу ухватил,
Догнал автобус, выбился из сил.
Наверх поднялся, покурил.
И кто-то говорил, и сон меня сморил.

Прочёл сегодня, боже, в новостях:
Четыре тысячи ям в Блэкберне, Ланкашир.
И хоть едва заметны были ямы на шоссе,
Пришлось пересчитать их все.
Теперь известно сколько ям вместил бы Альберт Холл,
Написано в эссе.

A Day In The Life

Directors – The Beatles. Producer – Subaﬁlms Ltd.
Filmed – 10 February 1967.
Location – Studio One, Abbey Road, London.

Of very few individual songs can it be said, ‘This changed the course of popular music.’ ‘A Day In The Life’ is one such song and it is the closing track – it had to be as nothing could follow it – on Sgt. Pepper’s Lonely Hearts Club Band. On the album’s release in June 1967, BBC Radio initially banned it and at over ﬁve minutes, it was the longest number The Beatles had recorded so far. John and Paul wrote it together, with each contributing separate parts of the song.

John took his initial inspiration from several unconnected events – socialite and friend Tara Browne, who was killed in a car crash, a report in a British newspaper about pot-holes in Blackburn, Lancashire and John’s own role in the ﬁlm How I Won The War. Paul’s contribution was the middle section that acts as a counterbalance to John’s surreal take on events.

Getting the opus on tape, on 19 January, was comparatively straightforward. The recording used just two tracks; there was a rhythm track plus John’s voice with heavy echo applied to it. The following day they worked on the middle section. Ten days later, while The Beatles were making their promo ﬁlm in the grounds of Knole House for ‘Strawberry Fields Forever’, George Martin completed a rough mix of ‘A Day In The Life’ – much of this can be heard on Anthology 2.

On Friday 3 February, Paul re-recorded his vocal for the middle section and there were some additional overdubs. Exactly a week later in Studio One at Abbey Road, a large orchestra was assembled for the amazing additional ﬂourishes and ﬁlls, although at ﬁrst the 40 classically trained musicians struggled with the concept of what they were being asked to play. Paul originally wanted 90 musicians, but in the event the 40 were recorded on four separate tracks, which sounded more like 160 musicians. George Martin and Paul conducted the orchestra and helped to create a ﬁnished track that was more than just different, it was utterly unique. Starting from John’s beautiful song, the end result was something simply unbelievable.

As you can see from the ﬁlm, this was no ordinary recording session. The classical musicians, who had been asked to wear evening dress, fake noses, funny hats and generally enter into the spirit of the occasion. Filmed between 8 pm and 1 am with guests including Mick Jagger and Keith Richards, the occasion provided some of the inspiration for what transpired during the recording and ﬁlming of ‘All You Need Is Love’ for the Our World project.

Given the BBC’s ban, because of what they assumed were drug references, they did not show the ﬁlm at the time of its release in the UK. And yet this is the ﬁlm, perhaps more than any other, that captures the spirit of that amazing year – a year when The Beatles changed what was expected of ‘pop stars’ and entirely reinvented popular music.

A Day In The Life

Release date: 01 June 1967

I read the news today, oh boy.
About a lucky man who made the grade.
And though the news was rather sad,
Well, I just had to laugh
I saw the photograph

He blew his mind out in a car;
He didn’t notice that the lights had changed.
A crowd of people stood and stared,
They’d seen his face before,
Nobody was really sure if he was from the House of Lords.

I saw a film today, oh boy;
The English army had just won the war.
A crowd of people turned away,
But I just had to look,
Having read the book

I’d love to turn you on.

Woke up, fell out of bed,
dragged a comb across my head.
Found my way downstairs and drank a cup,
and looking up, I noticed I was late.

Found my coat and grabbed my hat
Made the bus in seconds flat.
Found my way upstairs and had a smoke.
And somebody spoke and I went into a dream.

Ah I read the news today, oh boy,
Four thousand holes in Blackburn, Lancashire
And though the holes were rather small,
They had to count them all
Now they know how many holes it takes to fill the Albert Hall.

I’d love to turn you on.

«A Day in the Life» is the final song on The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band album. Credited to Lennon-McCartney, the song comprises distinct sections written independently by John Lennon and Paul McCartney, with orchestral additions. While Lennon’s lyrics were inspired by contemporary newspaper articles, McCartney’s were reminiscent of his youth. The decisions to link sections of the song with orchestral glissandos and to end the song with a sustained piano chord were made only after the rest of the song had been recorded.

The supposed drug reference in the line «I’d love to turn you on» resulted in the song initially being banned from broadcast by the BBC. Since its original album release, «A Day in the Life» has been released as a B-side, and also on various compilation albums. It has been covered by other artists including Sting, Bobby Darin, Jose Feliciano, Wes Montgomery, the Fall, Neil Young, Tori Amos, Jeff Beck, the Bee Gees, Robyn Hitchcock, Chris Cornell, Phish and since 2008, by McCartney in his live performances. It was ranked the 28th greatest song of all time by Rolling Stone magazine.

The Beatles перевод A Day In The Life

Сегодня новости читал
Везунчик как один успешным стал.
Печальный хоть в статье финал,
Смех на меня напал, лишь фото увидал:
На красный свет в машине мчал и вышиб мозг, забыв про светофор,
У трупа весь народ молчал, не вспомнив, где видал,
Так никто и не признал, что был он из Палаты лорд.

Сегодня фильм один видал, в войне как взвод английский побеждал,
Из зала весь народ сбегал, но до конца я ждал, я о том читал,
Включить твой мозг желал.

Шляпу я и плащ сорвал,
В двухэтажный бус вбежал,
Вверх поднявшись, в небо дым пускал, и с кем-то трепал,
И потом в дремоту впал.

I read the news today, oh boy,
About a lucky man who made the grade.
And though the news was rather sad,
Well, I just had to laugh, I saw the photograph,
He blew his mind out in a car,
He didn’t notice that the lights had changed,
A crowd of people stood and stared.
They’d seen his face before,
Nobody was really sure
If he was from the House of Lords.

I saw the film today, oh boy.
The English Army had just won the war.
A crowd of people turned away, but I just had to look
Having read the book.
I’d love to turn you on.

Woke up, fell out of bed, dragged a comb across my head,
Found my way downstairs and drank a cup,
And looking up I noticed I was late.

Found my coat and grabbed my hat,
Made the bus in seconds flat.
Found my way upstairs and had a smoke,
And somebody spoke, and I went into a dream.

I read the news today, oh boy,
Four thousand holes in Blackburn, Lancashire.
And though the holes were rather small,
They had to count them all.
Now they know how many holes
It takes to fill the Albert Hall.
I’d love to turn you on.

A Day In The Life

Written by: Lennon-McCartney
Recorded: 19, 20 January; 3, 10, 22 February 1967
Producer: George Martin
Engineer: Geoff Emerick

Released: 1 June 1967 (UK), 2 June 1967 (US)

Personnel

John Lennon: vocals, acoustic guitar, piano
Paul McCartney: vocals, piano, bass
George Harrison: maracas
Ringo Starr: drums, bongos
George Martin: harmonium
Mal Evans: piano, vocals, alarm clock
Erich Gruenberg, Granville Jones, Bill Monro, Jurgen Hess, Hans Geiger, D Bradley, Lionel Bentley, David McCallum, Donald Weekes, Henry Datyner, Sidney Sax, Ernest Scott: violins
John Underwood, Gwynne Edwards, Bernard Davis, John Meek: violas
Francisco Gabarro, Dennis Vigay, Alan Dalziel, Alex Nifosi: cellos
Cyril MacArthur, Gordon Pearce: double basses
John Marston: harp
Basil Tschaikov, Jack Brymer: clarinets
Roger Lord: oboe
N Fawcett, Alfred Waters: bassoons
Clifford Seville, David Sanderman: flutes
Alan Civil, Neil Sanders: French horns
David Mason, Monty Montgomery, Harold Jackson: trumpets
Raymond Brown, Raymond Premru, T Moore: trombones
Michael Barnes: tubas
Tristan Fry: timpani, percussion
Marijke Koger: tambourine

The climax of their masterpiece Sgt Pepper, ‘A Day In The Life’ found The Beatles at the peak of their creative powers, an astonishing artistic statement that saw them fearless, breaking boundaries and enthralling generations of listeners with the timeless quality of their music.

The lyrics

A detached, dispassionate glimpse through the looking glass at the everyday life he was content to let pass him by, ‘A Day In The Life’ was inspired by a series of disconnected events that entered John Lennon’s consciousness: the death of millionaire socialite Tara Browne, his own appearance in Richard Lester’s film How I Won The War, and a council survey that found 4,000 holes in the roads of Blackburn, Lancashire.

The 17 January 1967 edition of the newspaper reported the coroner’s verdict into the death of Tara Browne, an Irish friend of The Beatles who on 18 December 1966 had driven his Lotus Elan at high speed through a red light in South Kensington, London and into a stationary van.

Browne was the great grandson of the brewer Edward Cecil Guinness and the son of Lord and Lady Oranmore and Browne. He was in line to inherit a £1m fortune upon his 25th birthday, but died at the age of 21.

In Hunter Davies’ authorised biography of The Beatles, John Lennon explained how the words of the song were indirectly inspired by the events.

In his authorised biography Many Years From Now, Paul McCartney suggested that the Browne story featured to a lesser extent.

Filmed in Spain and Germany in autumn 1966, How I Won The War was John Lennon’s only non-Beatles film role. The lyrics of ‘A Day In The Life’ also alluded to the novel on which the film was based, written by Patrick Ryan and first published in 1963.

The middle section (“Woke up, fell out of bed”) was an unfinished song fragment written by Paul McCartney, its practical earthiness providing a perfect counterpoint to Lennon’s languorous daydreaming.

The final verse was also taken from the Daily Mail’s Far and Near column. “There are 4,000 holes in the road in Blackburn, Lancashire,” it read, “or one twenty-sixth of a hole per person, according to a council survey.”

It was Terry [Doran, a former car dealer and friend of Brian Epstein’s who later became head of Apple Music] who said ‘fill’ the Albert Hall. And that was it. Perhaps I was looking for that word all the time, but couldn’t put my tongue on it. Other people don’t necessarily give you a word or a line, they just throw in the word you’re looking for anyway.

Latest Comments

My Aunt gave me a copy of Sgt Pepper when I was 7 and I got to know it inside out during my formative years as a gifted air guitarist. I was always fascinated how the album ended with this song, it was so jarring. Like the ending of the Planet of the Apes (1968). A few years later I was a paperboy and delivered the news of Lennon’s assassination. For several days I listened to this song and stared at his picture on the cover, and read over the lyrics in disbelief.

George plays guitar, at least on the first take. You can clearly hear John Lennon say, “my maracas” in the Anthology version. Geoff Emerick is known to overlook George’s contribution to the Beatles’ songs.

Geoff Emerick says in an interview https://www.youtube.com/watch?v=D5caf6mAACA that it is John who siings the “Ahhhhhhhh, ahhhhh, ah-ah-ahhhhhh;…” melody that links the middle section back to the last verse, but it is obvious to me when I listen to it that it is Paul´s voice.

Giles Martin says the basic track reveals John sings the main melody and Paul does a falsetto harmony. So they are both on it.

PLEASE give me a direct Giles Martin-quote and a source of that, James, because that would surprise me a LOT.
It would also cost GM a LOT of credibility, but I don’t expect it to be true, anyway.

James, I found a long interview with Giles Martin and he says it’s PAUL doing the “aaaahs” (Sorry, this is the German version):
“Pauls Main-Vocal-Spur ist stereo, weil wir ihr mit dem Waves S1 Stereo Imaging Plug-in etwas Spannweite gegeben haben, daher klingt sie anders als Johns Lead-Stimme. Wir haben auch zwei kleine Stückchen abgespalten, um die Möglichkeit zu haben, sie links und rechts zu pannen. Seine vierte Vocal-Spur ist die ›Aaah‹-Sektion, und darunter ist eine ›Aaah‹-Delay-Aux-Spur.«
Source: https://www.soundandrecording.de/stories/neu-gemischt-beatles-meisterwerk-sgt-peppers-lonely-hearts-club-band/

Yes there’s everyone that works with the Beatles has a different opinion on that(Geoff Emerick said it was John). It’s clear though that anyone who knows the Beatles voices says that it sounds like John. John had a rustic, rasping quality almost going to a whine in the upper register. It’s what sets his voice apart in general and from Paul. The voice does not sound like Paul one bit. The sad thing is all the things Paul has claimed after John’s death when John wasn’t there to explain his side.

The sad thing is that John had plenty of time to mouth off about credits before he died. Typical Lennon fan to exploit John’s death to keep Paul’s mouth shut. Paul didn’t ask for John to be killed and he wasn’t responsible for it either. Lesson learned: be careful with what you say as you’ll never know if they will be your last words. As for the aahhs, sorry, but it’s subjective. I hear both voices and similar to those in Lovely Rita.

Find it hard to believe that so many people who were not there know the answers. I would also like to say in response to the comment “Lennon had plenty to mouth off credits” WHY. Also Geoff Emerick and Giles who both had access to the original tapes are a poor source of truth. I presume they might know a little! Maybe someone is a Lennon hater. As far a sources go listen to the Youtube Lennon and McCartney tapes of them speaking over I think five recordings where Lennon lists Paul’s masterpieces vey generously.

“Yes there’s everyone that works with the Beatles has a different opinion on that(Geoff Emerick said it was John). ”
In fact, I misread that interview and it was mixer Sam Okell who explained how this is Paul’s vocal track. He did the actual intense work on the tracks, so he should know what he’s talking about. Giles obviously doesn’t have a clue.
Emerick himself didn’t even remember who was playing the piano on ADITL – he thought it was probably John in an interview from 1979. Ken Scott called out his fairy-tale book. Emerick’s account is not one to be trusted, sadly.

“It’s clear though that anyone who knows the Beatles voices says that it sounds like John. ”
On the contrary: practically every respected and well known Beatles-expert confirms it’s Paul.

“John had a rustic, rasping quality almost going to a whine in the upper register. It’s what sets his voice apart in general and from Paul.”
That’s totally correct, and you can clearly hear that “whine” in the background, where John does his unmistakable nasal falsetto. The lead “aaah” is done by Paul, though, in a smooth chest-voice that would have been too high for John.

“The voice does not sound like Paul one bit. ”
That’s funny, because it IS Paul, and it DOES sound quite similar to what he does on “Lovely Rita”, the way he bends the notes and everything. It is also his part, his dream, John had no business singing lead here. AND he’s in the background, so he can’t be singing lead at the same time.

“The sad thing is all the things Paul has claimed after John’s death when John wasn’t there to explain his side.”
Yeah, this is a popular taking point among concerned “John”-fans. Anyone daring them to actually list “all the things Paul has claimed” usually receive VERY short replies! 😀
If you read “Many years from now” with a open mind you’ll find Paul very humble and respectful in giving credit to John, in some cases in a – for me – surprisingly high amount!

А Day In The Life

A DAY IN THE LIFE

Автор:

Длина:

Релиз в Великобритании:

альбом Sgt Pepper’s Lonely Hearts Club Band. 1 июня 1967 г.

Релиз в США:

альбом Sgt Pepper’s Lonely Hearts Club Band. 2 июня 1967 г.

Когда Джон писал «She Said She Said», он совместил две песни в одну. В случае с «А Day In The Life» Джон взял свою незаконченную песню и совместил ее с незаконченной песней Пола, и в результате появилась самая амбициозная композиция на альбоме.

Свою песню Джон начал писать по мотивам заголовка, который он прочитал в газете «4000 holes in Blackburn, Lancashire» в Daily Mail от 17 января 1967 года. В статье говорилось, что местная администрация города Блэкберн насчитала на собственных дорогах около четырех тысяч ям — по 126 ям на каждого жителя. Когда Джон застрял на одной из рифм, «small», его старый друг Терри Доран предложил «Albert Hall».

Во время записи Sgt Pepper’s Lonely Hearts Club Band лидером группы явно стал Пол. Джон слишком наслаждался ничегонеделанием.

Фильмом об английской армии, которая выиграла войну, разумеется, был фильм How I Won The War, который не вышел на экраны до октября 1967 года, но о нем уже много говорили в прессе.

Группа позирует со своим новым альбомом в доме Брайана Эпштайна 22 мая 1967 года.

После полуночи Браун ехал из Редклиф-Гарденз в районе Earl’s Court. Внезапно из переулка выехал «Фольксваген». Браун резко свернул, но его «Лотус Элан» врезался в стоящий фургон. О его смерти сообщили в больнице — он скончался от сильной черепно-мозговой травмы. Его пассажирка, модель Суки Потье, отделалась несколькими царапинами и шоком.

Незаконченная песня Пола, позитивная история о том, как он просыпается утром и идет в школу, появилась между вторым и третьим куплетами песни Джона. «Это была совершенно другая песня, но по какой-то случайности она подошла к песне Джона, — говорил Пол. — Я просто вспоминал, как я ходил в школу, как бежал по улице к школьному автобусу, как потом, позже, я курил нефильтрованные сигареты Woodbine перед так, как выйти к школьному крыльцу… Это были воспоминания о школьных днях».

Данный текст является ознакомительным фрагментом.

Продолжение на ЛитРес

The Beatles — A Day in The Life

A Day in The Life

I read the news today oh boy
About a lucky man who made the grade
And though the news was rather sad
Well I just had to laugh
I saw the photograph.

He blew his mind out in a car
He didn’t notice that the lights have changed
A crowd of people stood and stared
They’d seen his face before
Nobody was really sure

If he was from the House of Lords.
I saw a film today oh boy
The English Army had just won the war
A crowd of people turned away

But I just had to look
Having read the book
I’d love to turn you on.

Woke up, fell out of bed,
Dragged my comb across my head
Found my way downstairs and drank a cup,
And looking up I noticed I was late.

Found my way coat and grabbed my hat
Made the bus in seconds flat
Found my way upstairs and had a smoke,
Somebody spoke and I went into a dream.

I read the news today oh boy
Four thousand holes in Blackburn, Lancashire
And though the holes were rather small
They had to count them all

Now they know how many holes it takes
to fill the Albert Hall.
I’d love to turn you on

День из жизни

Газету я читал, друг мой,
О том счастливце, что достиг высот.
Хотя статья была скучна,
Но смех вдруг разобрал…
Там фото увидал…

По всей машине кровь была,
Он не заметил, как сменился свет.
Вокруг столпились, смотрят все, –
Знакомое лицо;
Может быть, он из Палаты Лордов был,
не знал никто…

Сегодня фильм смотрел, друг мой,
Как англичане выиграли бой.
Из зала вышли люди все,
Я ж до конца ждать стал, –
Книгу я читал…

Развлечь бы Вас…я…мог…

***
Вот встал,
С кровати слез,
Причесал на голове.
Вниз спустился, где я выпил чай,
Вдруг вижу я –
Опаздываю ведь…
Шляпу взял
И плащ одел,
Вышел прочь,
В автобус сел.
Вверх поднялся и вкурил дымок,
И от чужих слов я погрузился в сны…

***
Газету я читал, друг мой,
О ямах в Блэкберн графства Ланкашир.
И хоть размер их небольшой,
Кое-кто подсчёт провёл –
Сколько нужно ямок,
чтобы уместился Альберт-Холл…

Развлечь бы Вас…я…мог…

перевод песни: Александр Joystick

День из жизни

Ему вышибло мозги во время поездки на автомобиле:
Он не заметил, что свет сменился с красного на зеленый.
Уличные зеваки столпились возле него:
Кто бы это был, интересно?
Лицо незнакомое.

А я был вынужден смотреть,
ведь я читал книжку.
Я бы хотел завести тебя.

Проснулся, выпрыгнул из постели,
Провел гребешком по голове.
Спустился вниз, выпил чашечку чая,
И, взглянув на часы, понял, что опоздал.

Столько ям, что ими можно было бы доверху заполнить Альберт-Холл.
Я бы хотел разбудить тебя.

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Джона Леннона вдохновила на написание части песни статья в Daily Mail о Таре Брауне, наследнике рода Гиннесов, с которым Леннон дружил. В газете говорилось об автоаварии в 1966 году, в которой Браун погиб.

Пол дирижировал оркестром, задействованным в этой песне. Участники оркестра пришли на запись в формальной одежде, но их попросили надеть что-то смешное, типа шляп для вечеринок, накладных носов и т.д.

Финальный аккорд был написан Джоном Ленноном, Полом Маккартни, Ринго Старром и Мэлом Эвансом, играющими на трех разных фортепиано одновременно с Джорджем Мартином на фисгармонии.

Цикл из студийных шумов с Полом Маккартни, который говорит: «Никогда не мог видеть иначе», был создан забавным образом, чтобы виниловые диски постоянно воспроизводили его в выбегающей канавке, создавая впечатление, что с записью что-то не так.

Эта песня занимает 28 строку в рейтинге величайших песен всех времён по версии журнала Rolling Stone.

Текст песни A Day In the Life

I read the news today oh boy
About a lucky man who made the grade
And though the news was rather sad
Well I just had to laugh
I saw the photograph
He blew his mind out in a car
He didn’t notice that the lights had changed
A crowd of people stood and stared
They’d seen his face before
Nobody was really sure
If he was from the House of Lords
I saw a film today oh boy
The English Army had just won the war
A crowd of people turned away
But I just had to look having read the book
I’d love to turn you on

I read the news today oh boy
Four thousand holes in Blackburn, Lancashire
And though the holes were rather small
They had to count them all
Now they know how many holes it takes to fill the Albert Hall
I’d love to turn you on

Перевод песни A Day In the Life

The Beatles A Day In The Life

05:13 6.87 MB 139M

A Day In The Life

05:24 7.11 MB 4.3M

A Day In The Life

05:09 6.78 MB 311.2K

The Beatles A Day In The Life Lyrics Original Audio

04:29 5.90 MB 179.6K

The Beatles A Day In The Life Lyrics

04:02 5.31 MB 41.8K

Paul McCartney A Day In The Life Live

14:11 18.67 MB 48.4K

Лучшая песня в мире The Beatles A Day In The Life

24:03 31.65 MB 1M

A Day In The Life With Orchestra The Beatles Arr Sam Haug

04:59 6.56 MB 3.5M

The Beatles A Day In The Life Legendado

05:38 7.41 MB 271K

The Beatles A Day In The Life 1 HOUR

01:01:16 80.63 MB 28.8K

Paul McCartney A Day In A Life Give Peace A Chance Let It Be Live

10:01 13.18 MB 6M

The Beatles A Day In The Life New Video

05:01 6.60 MB 46.6K

The Beatles A Day In The Life

04:36 6.05 MB 4.8M

A Day In The Life Anthology 2 Version

05:05 6.69 MB 829.7K

A Day In The Life

A Day In The Life Remastered 2010

05:08 6.76 MB 504.7K

THE BEATLES A DAY IN THE LIFE Piano Tutorial

04:55 6.47 MB 226.2K

First Time Hearing The Beatles A Day In The Life First Reaction Asia And BJ

10:55 14.37 MB 153.3K

A Day In The Life Take 1

04:42 6.19 MB 100.5K

The Beatles Strawberry Fields Forever

04:24 5.79 MB 71.1M

The Beatles A Day In The Life Remastered Promo Outtakes

04:46 6.27 MB 11K

A Day In The Life Take 1 With Hums

04:52 6.40 MB 240.2K

A Day In The Life The Beatles Audio Original Subtitulada Al Español

04:54 6.45 MB 54.7K

A Day In The Life Remix

05:31 7.26 MB 1.1M

A Day In The Life The Beatles Subtitulada Al Español Lyrics Cover

04:36 6.05 MB 758K

A Day In The Life The Beatles Full Instrumental Recreation 4K

05:06 6.71 MB 88.2K

The Beatles A Day In The Life Full Band Cover Guitar Cover

05:03 6.65 MB 547.3K

Paul McCartney Talks How The Beatles Wrote A Day In The Life

04:29 5.90 MB 157K

Royal Philharmonic Orchestra A Day In The Life 17 04 11 Moscow

05:16 6.93 MB 73.2K

The Beatles A Day In The Life REACTION THE BEST BEATLES SONG

10:44 14.13 MB 307.2K

The Beatles A Day In The Life 영어자막 한글번역

04:50 6.36 MB 6.6K

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04:50 6.36 MB 716.1K

A Day In The Life Paul Mccartney

05:20 7.02 MB 162.3K

Neil Young Paul McCartney A Day In The Life New Sound Live From Hyde Park 27th June 2009

08:24 11.05 MB 3.9M

The Beatles A Day In The Life Cover

04:48 6.32 MB 221.2K

Paul McCartney Breaks Down His Most Iconic Songs GQ

26:50 35.31 MB 11.3M

PAUL MCCARTNEY TALKS A DAY IN THE LIFE Shorts Thebeatles Paulmccartney Johnlennon Music Rock

A Day In The Life The Beatles Azroy Jamiri Cover

04:01 5.29 MB 19.7K

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04:03 5.33 MB 24.8K

A Day In The Life The Beatles Covered By Sting Live In NYC

01:34 2.06 MB 12.6K

Como Tocar A Day In The Life The Beatles Parte 1 2 Piano Tutorial Partitura Y Mp3

45:21 59.68 MB 94.9K

A Day In The Life LIVE 06 01 08 Paul McCartney

05:50 7.68 MB 121.2K

A DAY IN THE LIFE BOOTLEG BEATLES FESTIVAL No6 2017

06:45 8.88 MB 147.3K

Ed Sheeran In My Life Tribute To The Beatles 2014 720p HQ Audio

03:01 3.97 MB 1.4M

The Beatles A Day In The Life Royal Philharmonic Orchestra Version

04:33 5.99 MB 131K

A Day In The Life Lesson With Strumming Tips Beatles

14:43 19.37 MB 24.4K

Beatles Part 1 How To Play A Day In The Life

10:20 13.60 MB 279.9K

A Day In The Life Beatles Cover By Emily Linge

04:22 5.75 MB 254.5K

A Day In The Life Beatles Best Karaoke Instrumental Lyrics Chords Cover

05:02 6.62 MB 56.9K

George Martin Discusses The Beatles I Want To Hold Your Hand And A Day In The Life

06:17 8.27 MB 29.3K

Для вашего поискового запроса The Beatles A Day In The Life мы нашли 50 песен, соответствующие вашему запросу. Теперь мы рекомендуем загрузить первый результат The Beatles A Day In The Life который загружен TheBeatlesVEVO размером 6.87 MB, длительностью 5 мин и 13 сек и битрейтом 192 Kbps.

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A Day In the Life

I read the news today oh boy

О, приятель! — сегодня я прочел в газете

About a lucky man who made the grade

О счастливчике, который прославился и разбогател.

And though the news was rather sad

И, несмотря на то, что новости были неважные,

Well I just had to laugh

Я был не в силах сдержать смех.

I saw the photograph

Там была фотография —

He blew his mind out in a car

Ему вышибло мозги во время поездки на автомобиле:

He didn’t notice that the lights had changed

Он не заметил, что свет сменился с красного на зеленый.

A crowd of people stood and stared

Уличные зеваки столпились возле него:

They’d seen his face before

Кто бы это мог быть, интересно?

Nobody was really sure

If he was from the House of Lords

А не из Палаты ли Лордов он.

I saw a film today oh boy

О, приятель! — Я видел сегодня фильм:

The English Army had just won the war

Британская армия только что выиграла войну.

A crowd of people turned away

But I just had to look having read the book

А я был вынужден смотреть, ведь я читал книжку.

I’d love to turn you on

Я бы хотел завести тебя.

Woke up, fell out of bed

Проснулся, выпрыгнул из постели,

Dragged a comb across my head

Провел гребешком по голове.

Found my way downstairs and drank a cup

Спустился вниз, выпил чашечку чая,

And looking up I noticed I was late

И, взглянув на часы, понял, что опоздал.

Found my coat and grabbed my hat

Отыскал пальто, захватил с собой шляпу,

Made the bus in seconds flat

Found my way upstairs and had a smoke

Ушел наверх, зажег сигарету,

And somebody spoke and I went into a dream

Поговорил с кем-то — и уснул.

I read the news today oh boy

. Сегодня я читал в газете,

Four thousand holes in Blackburn, Lancashire

And though the holes were rather small

Четыре тысячи ям и выбоин, и хотя они весьма малы,

They had to count them all

Пришлось посчитать их все.

Now they know how many holes it takes to fill the Albert Hall

Столько ям, что ими можно было бы доверху заполнить Альберт-Холл*.

I’d love to turn you on

Я бы хотел разбудить тебя.

Видео

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The Beatles A Day In The Life.mp3

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05:05 6.69 MB 829.7K

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05:08 6.76 MB 504.7K

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04:55 6.47 MB 226.2K

First Time Hearing The Beatles A Day In The Life First Reaction Asia And BJ.mp3

10:55 14.37 MB 153.3K

A Day In The Life Take 1.mp3

04:42 6.19 MB 100.5K

The Beatles Strawberry Fields Forever.mp3

04:24 5.79 MB 71.1M

The Beatles A Day In The Life Remastered Promo Outtakes.mp3

04:46 6.27 MB 11K

A Day In The Life Take 1 With Hums.mp3

04:52 6.40 MB 240.2K

A Day In The Life The Beatles Audio Original Subtitulada Al Español.mp3

04:54 6.45 MB 54.7K

A Day In The Life Remix.mp3

05:31 7.26 MB 1.1M

A Day In The Life The Beatles Subtitulada Al Español Lyrics Cover.mp3

04:36 6.05 MB 758K

A Day In The Life The Beatles Full Instrumental Recreation 4K.mp3

05:06 6.71 MB 88.2K

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05:03 6.65 MB 547.3K

Paul McCartney Talks How The Beatles Wrote A Day In The Life.mp3

04:29 5.90 MB 157K

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05:16 6.93 MB 73.2K

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10:44 14.13 MB 307.2K

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PAUL MCCARTNEY TALKS A DAY IN THE LIFE Shorts Thebeatles Paulmccartney Johnlennon Music Rock.mp3

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04:33 5.99 MB 131K

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14:43 19.37 MB 24.4K

Beatles Part 1 How To Play A Day In The Life.mp3

10:20 13.60 MB 279.9K

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04:22 5.75 MB 254.5K

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05:02 6.62 MB 56.9K

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06:17 8.27 MB 29.3K

Бесплатно скачать The Beatles A Day In The Life в mp3. Мы нашли 36 песен для скачивания, рекомендуем загрузить первый файл The Beatles A Day In The Life.mp3 размером 6.87 MB

Почта для жалоб и предложений: [email protected]

The Beatles A Day In The Life

05:13 6.87 MB 139M

A Day In The Life

05:24 7.11 MB 4.3M

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The Beatles A Day In The Life Lyrics Original Audio

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The beatles a day in the life

«A Day in the Life»
Song by the Beatles from the album Sgt. Pepper’s Lonely Hearts Club Band
Released	1 June 1967
Recorded	19 and 20 January and 3 and 10 February 1967, EMI Studios, London
Genre	Psychedelic rock, progressive rock, baroque pop
Length	5:03
Label	Parlophone, Capitol
Writer	Lennon-McCartney
Producer	George Martin
Sgt. Pepper’s Lonely Hearts Club Band track listing

“A DAY IN THE LIFE”

(John Lennon – Paul McCartney)

In late 1966, The Beatles were heading down a path that was quickly abandoned. After a few month break, they re-entered EMI Studios refreshed and ready to record their next album, knowing full well that, with their creative juices flowing and no concert tours in the foreseeable future, they were about to embark on a remarkable project.

First on the agenda was an incredible creation from John entitled “Strawberry Fields Forever,” the lyrical content of which delved into childhood nostalgia. This resulted in Paul being inspired to continue the pattern by writing “Penny Lane,” also using picturesque images of his formative years in the lyrics. Much time was spent in the studio perfecting both of these tracks which set a proposed pattern for the next album: “Youth, golden summers and fields of strawberry,” as Paul called it. They were creating a wide-eyed surreal look at their past, heightened, no doubt, by their recent infatuations with drugs. A thrown in nostalgia piece like “When I’m Sixty-Four,” which was recorded in this same time frame, only added to the reminiscent direction the album was headed as 1966 drew to a close.

However, this direction was about to shift whether they liked it or not. Contract demands required a new single be released immediately and producer George Martin volunteered “Strawberry Fields Forever” and “Penny Lane” to be released as a double a-sided single. Since common practice in Britain was to not include singles on albums, The Beatles were then left to practically start their new album all over again. To accommodate the direction they’d gone down so far, the picture sleeve of this single included childhood photos of the group.

With a clean slate, the next composition they brought to the studio was what Ian MacDonald, in his book “Revolution In The Head,” describes as “their finest single achievement.” Under the working title of “In The Life Of…,” The Beatles started recording their ultimate masterpiece “A Day In The Life” on January 19th, 1967 and thereby set an amazing new tone for what would eventually be titled the “Sgt. Pepper’s Lonely Hearts Club Band” album. As they say, all things happen for a reason!

Songwriting History

Volumes have been written by scores of authors and reviewers on the songwriting history of “A Day In The Life,” much of the content being the opinion of the writers themselves. The best way to get the most accurate history is, I feel, to hear what the composers themselves, and those closest to them, have said through the years. In this case, they had an awful lot to say, painting a very vivid picture.

John Lennon, 1967: “I was writing the song with the ‘Daily Mail’ propped up in front of me on the piano. I had it open at their ‘News In Brief,’ or ‘Far And Near,’ whatever they call it. There was a paragraph about 4000 holes in Blackburn, Lancashire, being discovered.”

John Lennon, November 1968: “It was a good piece of work between Paul and me. I had the ‘I read the news today’ bit, and it turned Paul on. Now and then, we really turn each other on with a bit of song, and he just said, ‘Yeah,’ bang, bang, like that. It just sort of happened beautifully, and we arranged it and rehearsed it, which we don’t often do, the afternoon before, so, we all knew what we were playing…I needed a middle-eight for it, but that would have been forcing it. All the rest had come out smooth, flowing, no trouble, and to write a middle-eight would have been to write a middle-eight, but instead Paul already had one there. It’s a bit of “2001,” you know.”

George Martin: “This was a song written by the two of them quite separately. John had the idea originally. For the first bit, he said to me, ‘I don’t know where to go from here.’ So, Paul said, ‘Well, I’ve got this other song I’ve been working on. What do you think of it?’ This ended up being the middle bit and so they joined the two bits together to make one song.”

Paul McCartney: “It was about me remembering what it was like to run up the road to catch the bus to school, having a smoke and going into school. We decided, ‘Bugger this. We’re going to write a turn-on song.’ It was a recollection of my school days. I would have a Woodbine then, and somebody would speak and I would go into a dream. That was the only song on the album written as a deliberate provocation.”

George Martin: “Definitely a reference to marijuana. I thought, ‘Found my way upstairs and had a smoke,’ was a drug reference…they always used to disappear and have a little puff. They never did it in front of me. They always went downstairs to the canteen and Mal Evans used to guard it.”

John Lennon, 1980: “Just as it sounds. I was reading the paper one day and I noticed two stories. One was the Guinness heir who killed himself in a car. That was the main headline story. He died in London in a car crash. On the next page was a story about 4000 holes in Blackburn, Lancashine. In the streets, that is. They were going to fill them all. Paul’s contribution was the beautiful little lick in the song, ‘I’d love to turn you on.’”

The “Guinness heir” John mentions above was a friend of John and Paul’s named Tara Browne. He was “a well-known socialite who met his death in a car accident on December 18th, 1966,” according to Steve Turner’s book “A Hard Day’s Write.” “Tara Browne, great grandson of the brewer Edward Cecil Guinness and son of Lord Oranmore and Browne, was part of the new young aristocracy who loved to mingle with pop stars. Although only 21 at the time of his death, he would have inherited a 1,000,000 pound fortune at the age of 25 and was described on his death certificate as a man ‘of independent means’ with a London home in Eaton Row, Belgravia…Browne was driving down Redcliffe Gardens in Earls Court during the early hours, when a Volkswagen pulled out of a side street into his path. In swerving to avoid it, his Lotus Elan ploughed into a stationary van and he was pronounced dead on arrival at a local hospital. The autopsy revealed that his death was the result of ‘brain lacerations due to fractures of the skull.’”

Paul McCartney: “The verse about the politician blowing his mind out in a car we wrote together. It has been attributed to Tara Browne, the Guinness heir, which I don’t believe is the case, certainly as we were writing it, I was not attributing it to Tara in my head. In John’s head it might have been. In my head I was imagining a politician bombed out on drugs who’d stopped at some traffic lights and he didn’t notice that the lights had changed. The ‘blew his mind’ was purely a drug reference, nothing to do with a car crash. In actual fact I think I spent more time with Tara than John did. I’d taken Tara up to Liverpool. I was with Tara when I had the accident when I split my lip. We were really quite good friends and I introduced him to John. Anyway, if John said he was thinking of Tara, then he was, but in my mind it wasn’t to do with that.”

John Lennon, 1967: “I didn’t copy the accident. Tara didn’t blow his mind out. But it was in my mind when I was writing that verse.”

Paul McCartney: “It was a song that John brought over to me at Cavendish Avenue. It was his original idea. He’d been reading the ‘Daily Mail’ and brought the newspaper with him to my house. We went upstairs to the music room and started to work on it. He had the first verse, he had the war, and a little bit of the second verse. I knew this was like a big song from the minute John brought it in and we started working on it.”

Hunter Davies (biographer): “The film mentioned in the song wasn’t in the newspaper, but was a reference to his own film, which he’d just finished acting in, ‘How I Won The War.’ The film is about the English Army winning the war. It was originally a book.”

Paul McCartney: “We looked through the newspaper and both wrote the verse ‘how many holes in Blackburn, Lancashire.’ I like the way he said ‘Lan-ca-sheer,’ which is the way you pronounce it up north. Then I had this sequence that fitted, ‘Woke up, fell out of bed…’ and we had to link them. This was the time of Tim Leary’s ‘Turn on, tune in, drop out’ and we wrote, ‘I’d love to turn you on.’ John and I gave each other a knowing look: ‘Uh-huh, it’s a drug song. You know that, don’t you?’ ‘Yes, but at the same time, our stuff is always very ambiguous and “turn you on” can be sexual so…c’mon!’”

John Lennon, 1970: “Paul and I were definitely working together…The way we wrote a lot of the time: you’d write the good bit, the part that was easy, like ‘I read the news today’ or whatever it was. Then when you got stuck or whenever it got hard, instead of carrying on, you just drop it. Then we would meet each other, and I would sing half and he would be inspired to write the next bit, and vice versa. He was a bit shy about it, because I think he thought it was already a good song. Sometimes we wouldn’t let each other interfere with a song either, because you tend to be a bit lax with someone else’s stuff; you experiment a bit.”

Paul McCartney: “John and I sat down, and he had the opening verse and the tune. He got the idea of how it would continue from the ‘Daily Mail,’ where there was the mad article about the holes in Blackburn. Then the next article would be that some So-and-so had played the Albert Hall. So they all got mixed together in a little poetic jumble that sounded nice. Then I threw in a little bit I played on the piano: ‘Woke up, fell out of bed, dragged a comb across my head…’ which was a little party piece of mine, although I didn’t have any more written.”

John Lennon, 1967: “There was still one word missing in that verse when we came to record. I knew the line had to go ‘Now they know how many holes it takes to – something, the Albert Hall.’ For some reason I couldn’t think of the verb. What did the holes do to the Albert Hall? It was Terry (Doran) who said ‘fill’ the Albert Hall. And that was it. Perhaps I was looking for that word all the time, but couldn’t put my tongue on it. Other people don’t necessarily give you a word or a line, they just throw in the word you’re looking for anyway.”

So we can see that John began writing the song at his Kenwood home while inspired by articles in the recent ‘Daily Mail,’ this being the January 17th, 1967 issue. No doubt starting on this day, he wrote a good portion of the melody and the beginnings of the first and second verse on the piano with the newspaper propped up in front of him. When he got stuck, he took the paper over to Paul’s house at St. John’s Wood to make the song a collaborative effort. Two days later, on January 19th, they began recording it at EMI Studios where friend Terry Doran supplied the last needed word “fill” to complete the song.

Recording History

Session One: Two days after that issue of the “Daily Mail” came out, The Beatles entered EMI Studio Two around 7:30 pm to begin the song that was titled, for this day only, “In The Life Of…”

Engineer Geoff Emerick, in his book “Here, There And Everywhere,” explains in intricate detail the humble beginnings of this monumental song: “One mid-January evening, the four Beatles rolled up, a little bit stoned, as had become usual, but with a tinge of excitement. They had a new song they’d been working on…and they were anxious to play it for George Martin and me. They had gotten in the habit of meeting at Paul’s house in nearby St. John’s Wood before sessions, where they’d have a cup of tea, perhaps a puff of a joint, and John and Paul would finish up any songs that were still in progress. Once a song was complete, the four of them would start routining it right there and then, working out parts, learning the chords and time changes, all before they got to the studio. They would then get in their respective cars and be driven over to Abbey Road – although it was walking distance, they couldn’t take a stroll because of all the fans – which explained why they always showed up together despite living considerable distances from one another.”

“The song…was in a similar vein to “Strawberry Fields Forever” – light and dreamy – but it was somehow even more compelling. I was in awe; I distinctly remember thinking, ‘Christ, John’s topped himself!’ As Lennon sang softly, strumming his acoustic guitar, Paul accompanied him on piano. A lot of thought must have gone into the piano part, because it was providing a perfect counterpoint to John’s vocal and guitar playing. Ringo joined on bongos, while George Harrison, who seemed to have been given nothing specific to do, idly shook a pair of maracas.”

“The song, as played during that first run-through, consisted simply of a short introduction, three verses, and two perfunctory choruses. The only lyric in the chorus was a rather daring ‘I’d love to turn you on’ – six provocative words that would result in the song being banned by the BBC. Obviously more was needed to flesh it out…There was a great deal of discussion about what to do, but no real resolution. Paul thought he might have something that would fit, but for the moment everyone was keen to start recording, so it was decided simply to leave twenty-four empty bars in the middle as a kind of placeholder. This in itself was unique in Beatles recording: the song was clearly unfinished, but it was so good nonetheless that it was decided to plow ahead and get it down on tape and then finish it later. In essence, the composition was going to be structured during the recording stage. Without any conscious forethought, we were in the process of creating not just a song, but a musical work of art.”

Concerning the recording process used for recording the song at this point, Mark Lewisohn’s book “The Beatles Recording Sessions” notes: “Take one of ‘A Day In The Life’ used just two of the four available tracks: a basic rhythm (bongos, maracas, piano and guitar) on track one and a heavily echoed Lennon vocal on track four.”

With John on acoustic guitar and Paul on piano, a change needed to be made regarding the other percussion instruments. “After the first run-through with Harrison on maracas,” remembers Geoff Emerick, “George Martin turned to me in the control room and said, ‘He’s not very steady, is he? I think I’ll have him switch with Ringo,’ and I concurred. Ringo was a much better timekeeper, and George Harrison’s concentration used to wander too much to keep a steady tempo for three or four minutes straight. I mixed the little bit of noodling Harrison ended up doing on the bongos so far in the background that it was nearly inaudible.”

Regarding the empty twenty-four bars separating the distinct sections of the song, George Martin, in his book “All You Need Is Ears,” recalls: “When we recorded the original track it was just Paul banging away on the same piano note, bar after bar, for twenty-four bars. We agreed that it was a question of ‘This space to be filled later.’ In order to keep time, we got Mal Evans to count each bar, and on the record you can still hear his voice as he stood by the piano counting: ‘One – two – three – four…’ For a joke, Mal set an alarm clock to go off at the end of twenty-four bars, and you can hear that too. We left it in because we couldn’t get it off!”

Geoff Emerick explains further: “Mal Evans was dispatched to stand by the piano and count off the twenty-four bars in the middle so that each Beatle could focus on his playing and not have to think about it. Though Mal’s voice was fed into the headphones, it was not meant to be recorded, but he got more and more excited as the count progressed, raising his voice louder and louder. As a result, it began feeding through on to the other mics, so some of it even survived onto the final mix. There also happened to be a windup alarm clock set on top of the piano – Lennon had brought it in as a gag one day, saying that it would come in handy for waking up Ringo when he was needed for an overdub. In a fit of silliness, Mal decided to set it off at the start of the 24th bar; that, too, made it onto the finished recording…for no reason other than that I couldn’t get rid of it.» And, as the book «The Beatles Recording Sessions» explains, «To enter into the true spirit of the Beatles’ recordings 1967-style, this labored counting was plastered with tape echo, increasing with the numbers until by ’24’ it sounded like he was in a cave.”

As the tape began rolling for the first take, as Geoff Emerick announces «‘In The Life Of. ‘ ‘take one‘» (as the song was then called) and the players fiddled about on their instruments, we then hear John instructing the engineers by saying: “Cu t the mike on the piano quite low, just, just keep it in my maracas, you know. You know those old pianos! ” “Normally it was Paul who did the count-in at the start of a song,” Emerick states, “even if it were a Lennon or Harrison composition, simply because he had the best sense of what would be the optimum tempo. Occasionally, however, John would count in his own songs. Whenever he did, he would substitute nonsense words: the standard ‘one, two, three, four’ just wasn’t good enough for him. On this particular cold January evening – close enough to the holidays that the Christmas trees in most homes were still up – he opted to use the phrase ‘sugarplum fairy, sugarplum fairy’ instead, which gave us all a chuckle up in the control room.” Some sources say this phrase referred to drug suppliers of that time, but this has not been verified with any certainty.

Paul’s middle section to the song (“woke up, fell out of bed…”) was already in place from the first take on this day. However, as Mark Lewisohn points out, “there was no Paul McCartney vocal yet, merely instruments at the point where his contribution would later be placed, but then John’s vocal returned, leading into another Mal Evans one-to twenty-four count and then a single piano – building, building, building, building, stop. Breathtaking stuff indeed.”

George Martin explains in the film “The Making Of Sgt. Pepper” about the initial vocal John put down on ‘take one’: “John was singing while he was playing his acoustic guitar. Even in this early take, he has a voice which sends shivers down the spine.» «Once he started singing, we were all stunned into silence,» Emerick continues, «the raw emotion in his voice made the hairs on the back of my neck stand up.» ‘Take two,’ which also saw the song to completion, had an even more spine-chilling vocal from John, him counting it down simple as «one, two, three four» this time. One noticeable difference this time was that Mal Evans mistakenly began counting off his 24 measures one measur too early the first time around, which possibly may have been the only reason this ‘take’ didn’t make the cut. Both ‘take one’ and ‘take two’ can be heard unaltered in various editions of the «Sgt. Pepper» 50th Anniversary releases.

Geoff Emerick continues: «Once the sparse backing track was deemed satisfactory (take four), Lennon did take after take of the lead vocal, each heavily laden with tape echo, each more amazing than the one before. His vocal performance that night was an absolute tour de force, and it was all George Martin, Phil (McDonald) and I could talk about long after the sessions ended.»

Regarding these vocal overdubs, Mark Lewisohn notes: “With ‘take four’ John began a series of vocal overdubs onto the two vacant tracks, so that by the evening’s end the four-track tape included three separate Lennon vocals, all with heavy echo.” Engineer Geoff Emerick interjects: “There was so much echo on ‘A Day In The Life.’ We’d send a feed from John’s vocal mike into a mono tape machine and then tape the output – because they had separate record and replay heads – and then feed that back in again. Then we’d turn up the record level until it started to feed back on itself and give a twittery sort of vocal sound. John was hearing that echo in his cans (headphones) as he was singing. It wasn’t put on after. He used his own echo as a rhythmic feel for many of the songs he sang, phrasing his voice around the echo in his cans.”

The session ended at 2:30 am the following morning and, although all four tracks of the master tape were filled, it was obvious that much more work would be required to get it to a finished state. What wasn’t obvious, however, was what actually would be required to get it to that state.

Session Two: The Beatles filed into EMI Studio Two once again later that evening, January 20th, for more work on the song. “The next night’s session began with an intensive review of what had been laid down on tape,” Emerick states. “Our job was to decide which of John’s lead vocals was the ‘keeper.’ We didn’t have to necessarily use the entire performance, though. Because we had the luxury of working in four-track, I could copy over (“bounce”) the best lines from each take into one track – a process known as ‘comping.’ This is a recording technique that is still very much in use today…All we were really listening for when we were comping John’s vocal was phrasing and inflection; he never had trouble hitting the notes spot on. Lennon sat behind the mixing console with George Martin and me, picking out the bits he liked. Paul was up in the control room, too, expressing his opinions, but George Harrison and Ringo stayed down in the studio; they just weren’t involved to that extent.”

Three attempts at tape reductions were made, numbered 5 through 7, although “take six” was the one decided to be the best. Being brought over to a new four-track tape, this opened up tracks for more overdubs, two of which were Paul’s bass guitar and Ringo’s drums, both recorded on this day. A relatively standard recording technique was used on the drums at this stage, while Ringo put in an inventive performance with emphasis on putting in extensive drum fills focused around the snare drum. Paul also put in an interesting bass guitar overdub, a unique feature being a mimic of John’s warbly vocal performance for the words “turn…you…on” as the bass proceeds into the 24 bar count-downs of the song. And then, a very psychedelic “freak-out” bass part at the end which he undoubtedly figured would be faded out. Also overdubbed on this day was a bit more piano from Paul on the introduction, just before John began singing, to add a little swell of volume before the vocals came in.

Interestingly, George Harrison took to adding an electric rhythm guitar part to the song as an overdub on this day which, when listening to the existing tape, is especially discernible as the first verse concludes, but apparently didn’t make it to the released version. John also overdubbed himself double-tracking his vocals in two strategic places: the phrases “I’d love to turn you on” as well as the quick falsetto words that precede these passages. One other overdub that occurred on this day concerned the middle section of the song. Paul took to recording a guide vocal here for the first time, although it wasn’t meant to be the finished version; just a guide to show how it would work with the song. Emerick states: “In what could only be described as pure serendipity, it happened to begin with the lyric ‘woke up, fell out of bed…’ which, incredibly, perfectly fit the alarm clock ringing. If ever there was an omen that this was to be a very special song in the Beatles canon, this was it.”

This vocal was perfected two weeks later, Paul’s new vocal wiping out this guide vocal in the process. This preliminary version, however, was still preserved on tape and has been made available on the 1996 release “Anthology 2,” even with the expletive “oh, sh*t” at the end after he mistakenly sang “everybody spoke and I went into a dream.”

As for this second session for the song, it ended at 12:10 am the following morning. The Beatles then took a ten day break from recording, during which they filmed promotional clips for their soon-to-be-released “Strawberry Fields Forever / Penny Lane” single.

For demo purposes only, the first mono mix of the song as it stood so far was made on January 30th, 1967 in the control room of EMI Studio Three by George Martin, Geoff Emerick and Richard Lush. The Beatles were not in attendance, nor did they need to be. While this mix is an interesting listen, it was only created to allow the group to hear what was done and to help them decide what was further needed to complete the song.

Session Three: Work resumed on “A Day In the Life” on February 3rd, 1967 in EMI Studio Two, the session indicated to have begun at 7 pm. The first overdub to be tackled on this day appears to have been replacing Paul’s guide vocal with the real thing, complete with heavy breathing from John after the words «I noticed I was late.» “He and I had a long discussion about that,” Geoff Emerick explains, “which led to another sonic innovation. He explained that he wanted his voice to sound all muzzy, as if he had just woken up from a deep sleep and hadn’t yet gotten his bearings, because that was what the lyric was trying to convey. My way of achieving that was to deliberately remove a lot of the treble from his voice and heavily compress it to make him sound muffled. When the song goes into the next section, the dreamy section that John sings, the full fidelity is restored.”

Editing in this vocal was quite tricky for Richard Lush, who had only just recently been recruited to work on Beatles sessions. Emerick continues: “Paul’s vocal…was being dropped into the same track that contained John’s lead vocal, and there was a very tight drop-out point between the two – between Paul’s singing ‘…and I went into a dream’ and John’s ‘ahhh’ that starts the next section. Richard was quite paranoid about it – with good reason – and I remember him asking me to get on the talkback mic to explain the situation to Paul and ask him not to deviate from the phrasing that he had used on the guide vocal.”

“I was really impressed when Richard did that – I thought it showed great maturity to be proactive that way. John’s vocal, after all, had such great emotion, and it also had tape echo on it. The thought of having to do it again and re-create the atmosphere was daunting…not to mention what John’s reaction would have been! Someone’s head would have been bitten off, and it most likely would have been mine. But Paul, ever professional, did heed the warning, and he made certain to end the last word distinctly in order to give Richard sufficient time to drop out before John’s vocal came back in. Listening carefully, you can actually hear Paul slightly rush the vocal; he even adds a little ‘ah’ to the end of the word ‘dream,’ giving it a very clipped ending.”

The above quote from Geoff Emerick, who was an eye-witness to the events on this day, clarifies that it was indeed John who sang the dreamy «aaah» vocal passage on the song. This should be enough to satisfy readers who insist that Paul sang this passage, their insistance being due to a passing comment from engineer Sam Okell during an interview five decades later that appears to indicate McCartney as singing this passage. Although Geoff Emerick had aged considerably by the time he wrote his book, credence should be given to his recollection since he was present at the time. Also, upon hearing the isolated vocal track that has been made available in various places, you can also hear other quieter voices appearing on the same track, including Paul’s commonly used «oooooh» as heard throughout his career (such as on «Get Back,» «Maybe I’m Amazed» and «The Back Seat Of My Car,» to name just a few). The above quote also indicates that John’s dreamy “aaah” vocal on the song must also have been recorded on this day, but prior to Paul’s lead vocal section. This can confidently be said since the last day they worked on the song was on January 20th, this resulting in the “take six” mono mix of January 30th, which did not contain John’s vocals in that section.

Speaking of the mono mix of January 20th, listening to it obviously persuaded the group that both the bass and drums could be improved upon. Paul re-recorded his entire bass part on this day, dropping the warbly playing and the “freak-out” section at the end as his first bass attempt had. As for the drums, in his book “Many Years From Now,” Paul recounts: “We persuaded Ringo to play tom-toms. It’s sensational. He normally didn’t like to play lead drums, as it were, but we coached him through it. We said, ‘Come on, you’re fantastic, this will be really beautiful,’ and indeed it was.” Phil Collins remarks, “The drum fills on ‘Day In The Life’ are very, very complex things. You know, you could take a great drummer from today and say, ‘I want it like that,’ and they really wouldn’t know what to do.”

Geoff Emerick gives an interesting account of this drum overdub: “Paul suggested that Ringo not just do his normal turn but really cut loose on the track, and I could see that the drummer was quite reticent. ‘Come on, Paul, you know how much I hate flashy drumming,’ he complained, but with John and Paul coaching and egging him on, he did an overdub that was nothing short of spectacular, featuring a whole series of quirky tom-tom fills.”

«B ecause John and Paul felt so strongly that the drums be featured in this song. I decided to experiment sonically as well. We were looking for a thicker, more tonal quality, so I suggested that Ringo tune his toms really low, making the skins really slack, and I also added a lot of low end at the mixing console. That made them sound almost like timpani, but I still felt there was more I could do to make his playing stand out. During the making of ‘Revolver,’ I had removed the front skin from Ringo’s bass drum and everyone was pleased with the resultant sound, so I decided to extend that principle and take off the bottom heads from the tom-toms as well, miking them from underneath. We had no boom stands that could extend underneath the floor tom, so I simply wrapped the mic in a towel and placed it in a glass jug on the floor. For the icing on the cake, I decided to overly limit the drum premix, which made the cymbals sound huge. It took a lot of work and effort, but that’s one drum sound I was extremely proud of, and Ringo, who was always meticulous about his sounds, loved it, too.”

It was on this day, no doubt after the overdubs were complete, that a monumental decision was being made. George Martin explains: “The question was, how were we going to fill those twenty-four bars of emptiness? After all, it was pretty boring! So I asked John for his ideas. As always, it was a matter of my trying to get inside his mind, discover what pictures he wanted to paint, and then try to realize them for him…John said, ‘I want it to be like a musical orgasm…What I’d like to hear is a tremendous build-up, from nothing up to something absolutely like the end of the world. I’d like it to be from extreme quietness to extreme loudness, not only in volume, but also for the sound to expand as well. I’d like to use a symphony orchestra for it. Tell you what, George, you book a symphony orchestra, and we’ll get them in a studio and tell them what to do.’”

Paul goes on record to say that he had a big part in the “musical orgasm” idea: “I sat John down and suggested it to him and he liked it a lot. I said, ‘Look, all these composers are doing really weird avant-garde things and what I’d like to do here is give the orchestra some really strange instructions. We could tell them to sit there and be quiet, but that’s been done, or we could have our own ideas based on this school of thought. This is what’s going on now, this is what the movement’s about.’ So this is what we did.”

George Martin continues: “’Come on, John,’ I said, ‘there’s no way you can get a symphony orchestra sitting around and say to them, “Look fellers, this is what you’re going to do.” Because you won’t get them to do what you want them to do. You’ve got to write something down for them.’ ‘Why?,’ asked John, with his typically wide-eyed approach to such matters. ‘Because they’re all playing different instruments, and unless you’ve got time to go round each of them individually and see exactly what they do, it just won’t work.’”

Geoff Emerick adds to the story: “George Martin liked the idea, but, mindful of the cost, was adamant that there was no way he could justify charging EMI for a full ninety-piece orchestra just to play twenty-four bars of music. It was Ringo, of all people, who came up with the solution. ‘Well, then,’ he joked, ‘let’s just hire half an orchestra and have them play it twice.’ Everyone did a double take, stunned by the simplicity – or was it simple-mindedness? – of the suggestion. ‘You know, Ring, that’s not a bad idea,’ Paul said. ‘But still, boys, think of the cost…’ George Martin stammered. Lennon put an end to the discussion, ‘Right, Henry,’ he said, his voice carrying the tone of an emperor issuing a decree. ‘Enough chitchat, let’s do it.’”

With the ball thrown into George Martin’s court, the recording session was complete for the day at 1:15 am the following morning. With the weekend off, George Martin undoubtedly began his plan to carry out John’s wishes.

Session Four: A week went by since the decision to use an orchestra was finalized. While George Martin was busy with recording sessions for two new Beatles songs during the week, namely “Good Morning Good Morning” and “Fixing A Hole,” he was also working out all of the details in preparation for the orchestra session, which was arranged for February 10th, 1967. The cavernous EMI Studio One was booked this time, since it was almost always used for classical recordings and could accommodate symphony orchestras.

Although it was John’s request to have them improvise, George Martin knew that wouldn’t fly with session musicians of this caliber. Therefore, he knew he had to put something together for them, which he did sometime within the previous week. “He did explain what he wanted sufficiently for me to be able to write a score,” George Martin explains. “For the ‘…turn you onnnnnnn…’ bit, I used cellos and violas. I had them playing those two notes that echo John’s voice. However, instead of fingering their instruments, which would produce crisp notes, I got them to slide their fingers up and down the frets, building in intensity until the start of the orchestral climax.”

«That climax was something else again. What I did there was to write, at the beginning of the twenty-four bars, the lowest possible note for each of the instruments in the orchestra. At the end of the twenty-four bars, I wrote the highest note each instrument could reach that was near a chord of E major. Then I put a squiggly line right through the twenty-four bars, with reference points to tell them roughly what note they should have reached during each bar…I marked the music ‘pianissimo’ at the beginning and ‘fortissimo’ at the end. Everyone was to start as quietly as possible, almost inaudibly, and end in a (metaphorically) lung-bursting tumult.»

There was one more section that needed a score written out for, Paul apparently having had a part in this. He explains: “We wrote out the music for the part where the orchestra had proper chords to do: after ‘ somebody spoke and I went into a dream… ’ big pure chords come in.”

Additional preparation was needed and arranged for proceeding with the day’s session. “We all felt a sense of occasion, since it was the largest orchestra we ever used on a Beatles recording,” George Martin continues. “So I wasn’t all that surprised when Paul rang up and said, ‘Look, do you mind coming in evening dress?’ ‘Why? What’s the idea?’ ‘We thought we’d have fun. We’ve never had a big orchestra before, so we thought we’d have fun on the night. So will you come in evening dress? And I’d like all the orchestra to come in evening dress, too.’ ‘Well, that may cost a bit extra, but we’ll do it,’ I said. ‘What are you going to wear?’ ‘Oh, our usual freak-outs’ – by which he meant their gaudy hippie clothes, floral coats and all.”

Barry Miles, friend and co-author of Paul’s “Many Years From Now” book, describes the scene in the studio that day, February 10th, 1967, starting at 8 pm. “The studio was filled with balloons, and flower children in tattered lace and faded velvet tripped around the room blowing rainbow bubbles. Three Rolling Stones – Brian Jones, Keith Richards and Mick Jagger – accompanied by Marianne Faithfull paraded in King’s Road psychedelic finery, with flowing scarves, crushed velvet and satin trousers and multicolored boots.

Donovan, the cosmic troubadour, Graham Nash, the only psychedelic member of The Hollies, the Monkee Mike Nesmith, Patti Harrison (George’s wife) and dozens of other friends milled around the edge of the room. The four Dutch designers known as The Fool arrived dressed as characters from the Tarot, carrying tambourines and bells, while the mighty Abbey Road air conditioners worked hard to control the rich fragrance of joss sticks and marijuana.” Interestingly, the tambourine playing of Marijke Koger of The Fool was caught on tape during this session and actually appears on the released recording.

During the recording sessions of the previous week, discussions ensued between John, Paul and the engineering staff as to what would transpire on this orchestral session. During these discussions, John came up with an idea intended to get the orchestra musicians to cooperate. Geoff Emerick relates the details about one of these conversations: “John seemed lost in thought for a moment, and then brightened up. ‘Well, if we put them in silly party hats and rubber noses, maybe then they’ll understand what it is we want. That will loosen up those tight-asses!’ I thought it was a brilliant idea. The idea was to get them into the spirit of things, to create a party atmosphere, a sense of camaraderie. John was not seeking to necessarily embarrass them or make them look silly – he was actually trying to tear down the barrier that had existed between classical and pop musicians for years…To gales of laughter from the others, Lennon began reeling off a list of what he wanted Mal to purchase at the novelty store: silly hats, rubber noses, clown wigs, bald head pates, gorilla paws…and lots of clip-on nipples.”

“As everyone began tuning up, Mal started circulating among the musicians, handing out pary favors. ‘Here you go, mate, have one of these,’ he would say amiably in his working-class Liverpool accent, rubber nose or fake boob in hand…Most of them ended up donning hats, gorilla paws, and the like, though I suspect they probably would have been a little more resistant if it wasn’t for the fact that Mal was six foot four and weighed well over two hundred pounds.”

George Martin remembers: “After one of the rehearsals I went into the control room to consult Geoff Emerick. When I went back into the studio the sight was unbelievable. The orchestra leader, David McCallum, who used to be the leader of the Royal Philharmonic, was sitting there in a bright red false nose. He looked up at me through paper glasses. Erich Gruenberg, now a soloist and once leader of the BBC Symphony Orchestra, was playing happily away, his left hand perfectly normal on the strings of his violin, but his bow held in a giant gorilla’s paw. Every member of the orchestra had a funny hat on above the evening dress, and the total effect was completely weird.”

Personal attention needed to be made to each musician, something Paul personally helped George Martin to do. “So we had to go round and talk to them all,” Paul explained, “seeing them all separate: ‘Wot’s all this, Paul? What exactly d’you…’ ‘In your own speed…’ ‘What do you mean, any way I want?’ ‘Yeah.’ The trumpets got the idea rather easily. ‘You can do it all in one spurt if you like. But you can’t go back. You’ve got to end at your top note, or have done your top note.’…All the strings went together like sheep, all looked at each other to see who was going up…Trumpets had no such reservations whatsoever, trumpets are notoriously the guys who go to the pub because you need to wet your whistle, you need plenty of spittle. So they were very free.”

“The musicians also had instructions to slide as gracefully as possible between one note and the next,” remembers George Martin. “In the case of the stringed instruments, that was a matter of sliding their fingers up the strings. With keyed instruments, like clarinet and oboe, they obviously had to move their fingers from key to key as they went up, but they were asked to ‘lip’ the changes as much as possible too… And in addition to this extraordinary piece of musical gymnastics, I told them that they were to disobey the most fundamental rule of the orchestra. They were not to listen to their neighbors. A well-schooled orchestra plays, ideally, like one man, following the leader. I emphasized that this was exactly what they must not do. I told them, ‘I want everyone to be individual. It’s every man for himself. Don’t listen to the fellow next to you. If he’s a third away from you, and you think he’s going to fast, let him go. Just do your own slide up, your own way.’ Needless to say, they were amazed. They had certainly never been told that before.”

George Martin began to get quite frustrated explaining what was needed from the musicians.“’Do what?? What the bloody hell…?’” was heard by Geoff Emerick as he eavesdropped on a conversation between Martin and Erich Gruenberg, which resulted in the reassurance “’Just trust me. Please. Just Trust Me’” as balloons kept popping in the background.

Actually recording the performance was a big challenge as well. “Three of the four tracks of the multitrack master were already filled with overdubs, and I knew we’d be having the orchestra play at least twice all the way through, so the one remaining track clearly wouldn’t be sufficient. One option was doing a mono premix, but that meant taking the recording down another generation, and we’d already done several reductions, so I really didn’t want to do that. Another option was to utilize a second four-track machine for recording the orchestra, using the original tape for playback only. That would give us four additional tracks to record on, but the problem there was synchronization; we needed to find a way to lock the two machines together so that they ran at exactly the same speed – something that had never been done before, at least not at EMI.”

In the book “The Beatles Recording Sessions,” engineer Ken Townsend relates: “George Martin came up to me that morning and said to me, ‘Oh Ken, I’ve got a poser for you. I want to run two four-track tape machines together this evening. I know it’s never been done before, can you do it?’ So I went away and came up with a method whereby we fed a 50 cycle tone from the track of one machine then raised its voltage to drive the capstan motor of the second, thus running the two in sync. Like all these things, the ideas either work first time or not at all. This one worked first time. At the session we ran the Beatles’ rhythm track on one machine, put an orchestral track on the second machine, ran it back did it again, and again, and again until we had four orchestra recordings.”

Friend Pete Shotton, who was also in attendance on the day, recounts another element of the session: “The twist was added during the taping of the cosmic crescendo on ‘A Day In The Life,’ for which Paul has assumed, with obvious relish, the role of conductor.” Paul remembers: “I felt initially embarrassed facing that sea of sessioners. So, I decided to treat them like human beings and not professional musicians. I tried to give myself to them.”

Geoff Emerick gives some more detail: “As the evening wore on, Paul decided to have a go at conducting, too, and despite his inexperience he did quite a good job. They took slightly different approaches: George imparted a little more instruction than Paul did, giving the musicians little signposts along the way, while Paul urged them to play more free-form. The combination and contrast between the two different styles made for an interesting sonic experience when we finally listened back to the tracks – well after the musicians had packed up and left for the night.”

As for the activities of the other Beatles, Geoff adds: “Through all the hubbub, a mellowed-out John was just wandering around in a daze. He, Paul, and George Martin popped into the control room to hear the first playback or two; other than that, they spent the entire evening in the studio along with George Harrison, Ringo, and their guests.”

And finally, the orchestral overdub was complete. “As George Martin put down his baton and said, ‘Thank you, gentlemen, that’s a wrap,’ everyone in the entire studio – orchestra members, Beatles, and Beatles friends alike – broke into spontaneous applause. It was a hell of a moment, and the perfect ending to a remarkable session.» This isolated orchestra overdub can be heard, along with The Beatles recording thus far playing quietly through the studio monitors, on the «Super Deluxe Edition» box set of the 50th Anniversary release of the «Sgt. Pepper» album.

At this point, however, the song ended with the orchestra reaching the high E major chord. Paul had another idea brewing in his head on this day. “Paul asked the other Beatles and their guests to stick around,” Geoff remembers, “and try out an idea he had just gotten for an ending, something he wanted to overdub on after the final orchestral climax. Everyone was weary – the studio was starting to smell suspiciously of pot, and there was lots of wine floating around – but they were keen to have a go. Paul’s concept was to have everyone hum the same note in unison; it was the kind of avant-garde thinking he was doing a lot of in those days. It was absurd, really – the biggest gathering of pop stars in the world, gathered around a microphone, humming, with Paul conducting the choir…It was a fun way to cap off a fine party.”

Mark Lewisohn got a listen to these humming takes in the making of his book “The Beatles Recording Sessions.” He writes: “The Beatles and various friends (at least one female voice is evident) gathered around the studio microphone and attempted to record the song’s coda…which at this stage was going to be a long ‘hummmmmmm.’ ‘Eight beats, remember’ says Paul, leading them into the first take of this edit piece. This and two others (numbered eight to ten) dissolved, understandably, into laughter. But take 11 was good so onto this the ensemble recorded three overdubs, filling the four-track tape. It was undoubtedly a fine idea, and it was to remain the best solution to ending the song until the famous piano chord was recorded.”

In a sequence that was cut from the “Anthology” documentary, George Martin explains the “hum” overdub a little differently: “We still needed a finisher, though, and it had to be something that wasn’t orchestral – we had already done that. And this was one of those bright ideas that just didn’t work. We thought of all the ideas of Buddhist monks chanting. We thought it’d be a great idea to have everybody messed in the studio doing “Ommmm,” hanging onto it, and multiply it many times. And the result was – pathetic!” These ‘takes’ of the hummed last chord can be heard on various editions of the 50th Anniversary releases of the «Sgt. Pepper» album. Upon hearing them, we can’t help but notice the similarity between this and what The Moody Blues performed the following year in their song “Om” from the album “In Search Of The Lost Chord.”

As the time neared 1 am the following morning, everyone present was understandably curious as to how the day’s recording came out. Geoff relates: “Everyone crowded into the tiny control room for one last playback, the overflow of guests spilling out into the corridor, listening through the open door. Everyone, without exception, was totally and utterly blown away by what they were hearing; Ron Richards kept shaking his head, telling anyone who would listen, ‘That’s it, I think I’ll give up and retire now.’”

After the weekend off, the group reassembled in EMI Studio Two the following Monday, February 13th, 1967, to start work on what was to be George Harrison’s contribution to the “Sgt. Pepper” album, namely “Only A Northern Song” (which, of course, didn’t make the cut). Before this began, however, they couldn’t help but try their hand at creating a mono mix for “A Day In The Life,” no doubt with the “hummmmmm” ending. Four attempts were made (indicated as remixes 2 through 5) by the engineering staff of Martin, Emerick and Lush with input from The Beatles undoubtedly, although these mono mixes have never seen the light of day.

Session Five: By February 22nd, 1967, it was decided that the “hummmmmm” ending wasn’t quite good enough to end the song, thereby ending the album. “The inspiration for what was finally used once again came from Paul,” Geoff relates, «with eager assent from John: a huge piano chord that would last ‘forever’…or at least as long as I could figure out how to get the sound to sustain…tape hiss and vinyl surface noise would obliterate any low-level signal all too soon. It seemed clear to me that the solution lay in keeping the sound at maximum volume for as long as possible, and I had two weapons that could accomplish this: a compressor, cranked up full, and the very faders themselves on the mixing console. Logically, if I set the gain of each input to maximum but started with the fader at its lowest point, I could then slowly raise the faders as the sound died away, thus compensating for the loss in volume: in effect, I could counteract the chord getting softer, at least to some degree.»

As explained in his 2021 Hulu documentary series «McCartney 3,2,1,» Paul explains: «I’d noticed that with a piano, if you hold down a pedal on the piano, how long the chord lasts. I’d just do it like a party piece with friends. I’d say, ‘listen to this.’ I brought the idea in. ‘Hey man, it goes on forever. We should do this at the end of a song and just have it go on.’ And of course, George Martin, our very clever producer, magnified the idea and he took the raw thing that I showed him. But it goes on forever. You start to hear little harmonics and things. There’s the magic again!»

Before the group arrived, they arranged for as many pianos as possible to be moved from within the different EMI studios to Studio Two, this session due to begin at the usual 7 pm. “Two Steinway grand pianos, another Steinway upright that was purposely kept a bit out of tune for a ‘honky-tonk’ effect, and a blond-wood spinet” were used on the session according to Geoff Emerick, as well as a harmonium which was “screened off in the back of the studio because of the acoustic noise its bellows generated.” George Harrison was not present for this overdub, so Mal Evans was recruited to fill in for him as they all would work at hitting an E major chord on their respective pianos simultaneously.

“To get as strong an attack as possible, everyone decided to play standing up instead of sitting down,” Geoff continues. “John, Mal, and George Martin each stood behind a different piano, while Ringo and Paul shared the out-of-tune Steinway upright; I presume they did double duty because Paul had to coach his drummer on which notes to play. Because there were four hands slamming out the chord instead of two, that ended up being the dominant instrument on the recording. John was really out of it that night, so Paul repeatedly counted everyone in.”

Mark Lewisohn relates what he heard on the session tape just before ‘take one’ of this edit piece: “Paul: ‘Have you got your loud pedal down, Mal?’ Mal: ‘Which one’s that?’ Paul: ‘ The right hand one, far right. It keeps the echo going. ’ John: ‘Keep it down the whole time.’ Paul: ‘Right. On four then. One, two, three…’” Lewisohn then states: “It took nine takes to perfect because the four players were rarely able to hit the keys at precisely the same time. Take seven was a good attempt, lasting longer than any other at 59 seconds. But it was take nine which was considered «best» so it was overdubbed three more times, with George Martin compounding the sound further on a harmonium, until all four tracks of the tape were full. The resultant wall of sound, which lasted for 53 1/2 seconds (it was faded a little early on the record), was the perfect ending.”

George Martin: “By the end the attenuation was enormous. You could have heard a pin drop.” Maybe not a pin, but Geoff relates something else being heard. “On one of the overdubs, Ringo shifted position very slightly at the very end, causing his shoe to squeak…A cross Paul shot him a sideways glance, and from the look on his face I could tell that Ringo was mortified. If you listen quite closely to the song just as the sound is fading away, you can hear it clearly, especially on the CD version, where there is no surface noise to mask it.” Regarding the CD, something else is revealed as brought out by Geoff: “Actually the sound could have gone on a bit longer but in those days the speakers weren’t able to reproduce it. So we thought there wasn’t any more sound but there was – the compact disc proves it.» All of these ‘takes’ can be heard on the above mentioned «Super Deluxe Edition» of the «Sgt. Pepper» album.

With George Harrison finally showing up (resulting in John’s sarcastic remark, “Nice of you to turn up, George. You only missed the most important overdub we’ve ever done!”), everyone put their heads together to create the actual mono mix of “A Day In The Life.” The usual engineering staff of Martin, Emerick and Lush were used, as well as chief of maintenance Ken Townsend to work at syncing up the two four-track machines for the orchestral overdub.

Syncing up the machines was problematic, however. “With all four Beatles present and looking over our shoulders, it wasn’t working a lot of the time,” Geoff Emerick recalls. “Often, by the time we got to the orchestral bit, they would drift noticeably out of time with one another. Eveyone dealt with the problem in good humor, though – even the normally impatient John, so stoned was he that night. In the end, we were all actually laying down bets as to whether the machines were going to stay in sync or not; we’d be thrilled on the few occasions when it worked perfectly.”

“I had to take things to the extreme during the mix, riding the faders so as to build the sound to an incredible climax. To enhance things further still, I lowered the volume level of the orchestra at the very beginning of the passage, thus making the mix much more dynamic than the original performance was. No one sitting in that control room with us could believe how much bigger I was able to make everything sound by doing that, and everyone was extremely happy with the result.”

Four attempts were made at creating the mono mix, these numbered 6 through 9 with the last try being deemed the best. Onto this they edited in the final piano chord they had just created and then the mono mix was complete and ready for the mono version of the album. After this, they tried their hand at creating the stereo mix as well, nine attempts being made. They apparently decided to leave this for another day because the technical aspects of the stereo mix needed to be just right. Instead, they took to recording a 22 minute drum track (entitled “Anything”) which comprised drums, congas and tambourine. Nobody knows what this was for and it was never used for anything. By 3:45 the following morning, the session was finally over.

Later that day, February 23rd, 1967, they all filed into the control room of EMI Studio Two again to take another shot at creating the stereo mix of “A Day In The Life.” The same engineering staff, with The Beatles no doubt over their shoulders once again, began around 7 pm and tried three more times to get it right, these attempts numbered 10 through 12. Take 12 was the «keeper» and onto this was edited the final piano chord from the following day. With this complete and ready for the stereo version of the album, the group began recording yet another album track, “Lovely Rita.”

With the spirit of experimentation running very high, the audio landscape on the stereo mix is quite adventurous. At the beginning, the original rhythm track is mostly in the left channel while the overdubbed bass and drums are in the right channel. John’s lead vocals start out predominantly in the right channel and are gradually panned to the left channel in time for the first “I’d love to turn you on” segment. Both orchestra swells are heard in both channels, but with different takes panned to each side throughout. Paul’s lead vocal part is heard entirely in the left channel as is the beginning of John’s “ahhh” vocal part that follows, this moving to the left channel and then back to the right before it’s over. Then, for the final verse, the rhythm track is panned to the right channel as John’s vocals are panned to the left. The final piano chord has different tracks panned to each channel, the left channel containing George Martin’s harmonium and the right channel featuring Ringo’s squeaky shoe. All in all, this is quite the listen with headphones!

Session Six: Surprisingly, a week later, on March 1st, 1967, Paul wanted to add one final element to the song. “Paul decided that he wanted a different color on the ending,” Geoff explains, “and overdubbed yet another piano, although it was ultimately deemed extraneous and was never used…The song had already been mixed to everyone’s satisfaction…but that didn’t mean that one of us couldn’t still come up with an idea to try to improve it.” This was the first thing recorded on this day, quickly followed by the first takes of yet another new song “Lucy In The Sky With Diamonds.” By 2:15 am the following morning, this session was complete.

There were two occasions on the album where two songs needed to be crossfaded, meaning that the ending of one song needed to overlap the beginning of the next. The crowd noise at the end of “Sgt. Pepper (Reprise)” needed to be heard on top of the opening acoustic guitar chords of “A Day In The Life,” so on April 6th, 1967, this was done by using three tape machines. The same engineering team constructed the mono version of this crossfade in the control room of EMI Studio Two on this day. The next day, April 7th, 1967, the stereo version of this crossfade was made, also by the same engineering team in the control room of EMI Studio Two. Both versions were then ready for release.

«George Martin was very interesting,» Paul related on his documentary «McCartney 3,2,1.» «He would talk to us about, sort of, quazi-scientific things. So he had a little board, an oscillator, and he could generate various pitches. So he’d start (high pitch), then he’d say, ‘Do you hear that?’ We’d go, ‘Yeah,’ (higher pitch), ‘Do you hear that?’ ‘Yeah, (higher pitch), ‘Yeah,’ (higher pitch). He said, ‘Now here, where I’m going, now where none of us can hear it, but dogs can hear this!’ We were doing the ‘Sgt. Pepper’ album at the time so we said, ‘Ok, we’ve got to have that pitch on the thing, ’cause we want it to come in and a dog will come into the room and go, ‘What’s that?’. That’s why dogs love ‘Sgt. Pepper’!» Mark Lewisohn’s book «The Beatles Recording Sessions» identifies the pitch as at 15 kilocycles and says that it was Lennon who specifically suggested that it be inserted into the spiral run-out groove of side two just after the final chord of «A Day In The Life» fades away. «This was relatively simple for (disc cutter) Harry Moss to do,» Lewisohn writes, «indeed the tone was not added until the disc cutting stage,» which was on April 28th, 1967 for the mono disc and May 1st, 1967 for the stereo disc. Harry Moss relates, «It was done at the same pitch as the police dog whistles. My dog hears it now when I play the record. The dog will suddenly sit up and look around and I’d think, ‘Oh yeah, that’s the one with the 15 KC on the end!»

Although it is not actually considered an element of the song «A Day In The Life,» it is fitting to detail here what has been refered to as «Sgt Pepper Inner Groove,» which occurs shortly after the song concludes on the original UK release of the album. The book «The Beatles Recording Sessions» explains The Beatles attitude concerning what was to be their final brush-stroke on their new ground-breaking album. «Why not put something in the concentric run-out groove? People with automatic players would hear a quick burst of it before their pick-up arm returned to base, people without such luxurious equipment would find the noise in the concentric playing on and on ad infinitum, or at least until the arm was manually lifted off.»

As to those who insist they hear naughty phrases, such as «I want to f*ck you like Superman» in this run-out groove when played backwards, Geoff Emerick insists, «There was no hidden meanings.» What can be disciphered is John saying «been so high» and Paul stating «never could be any other way.» Interestingly, the original US pressings of the album did not include either the dog whistle or «inner groove,» these being finally included with the compact disc in 1987 and on subsequent LP and cassette releases.

Sometime in 1995, George Martin and Geoff Emerick constructed an entirely new mix of the song for inclusion on the “Anthology 2” album mentioned above. They put together studio chat from «take 1” with the actual “take two” of the rhythm track, interrupted by the overdubbed “take six” with the guide vocal from Paul and unheard bass and drums. All of this was presented in mono until they added the orchestra “orgasm” at the end, which was a new mix into stereo. At the end, they added another bit of chatting from Paul caught on tape during the orchestral overdub on February 10th, 1967.

Also constructed during the same time-frame, George Martin and Geoff Emerick created what they felt was a suitable ending to the Anthology series; namely, the final piano chord of “A Day In The Life” played backward joined by it being played forward. This was tacked onto the end of “The End,” which was the final song used on the compilation album “Anthology 3.”

Sometime between 2004 and 2006, George Martin and his son Giles Martin reassembled in Abbey Road Studios (formerly EMI) to create an entirely new version of “A Day In The Life” specifically for the Cirque du Soleil production of “Love.” Wanting to leave this masterpiece as it was, they restrained themselves from adding elements of other Beatles songs as they had done for most of the other songs prepared for this project, only adding John’s “sugarplum fairy” count-in from ‘take one.’ Otherwise, this new stereo mix is a definite improvement on the original 1967 mix, with more vibrant vocals and instrumentation from beginning to end. They also took pains to take out Paul’s “one” as accidentally left in during the alarm clock sound. Also during these sessions, they thought to include one of the orchestra swells of “A Day In The Life” at both the beginning and ending of the newly created mix of “Get Back,” which is featured on the resulting “Love” album.

Then, in 2015, Giles and engineer Sam Okell were commissioned to create yet another stereo mix of «A Day In The Life» to be used with the Beatles film of the song in the DVD and Blu-ray box set entitled «Beatles 1+.» Created in Abbey Road Studios, this new mix is arguably the best yet, Martin and Okell working with the best technological advancements of the time, creating a vibrant display of all elements in the recording. This newly created stereo mix, patterned after the original mono mix, has also been included on all of the 2017 editions of the 50th Anniversary releases of the «Sgt. Pepper» album. Also included in various editions of this release are newly created mixes of «take one,» «take two,» the «orchestra overdub,» the various takes of the «hummed last chord» and «the last chord» on piano.

One further recording of the song was made between July 17th and 21st, 2009, this being a live rendition of the song as a medley with “Give Peace A Chance” by Paul and his band at Citi Field in New York City. This recording appeared on Paul’s album “Good Evening New York City.”

A Day in the Life

Длительность

05:33

Лейбл

Parlophone

Автор песни

Леннон — Маккартни

Продюсер

Джордж Мартин

A Day in the Life — песня The Beatles с альбома Sgt. Pepper’s Lonely Hearts Club Band. Последняя композиция на альбоме. Авторы песни — Джон Леннон и Пол Маккартни.

Содержание

[править] История создания

Текст песни был написан 17 января 1967 года. Появился он после того, как Джон Леннон узнал в газетной статье о гибели в автокатастрофе миллионера Тары Брауна, с которым «битлы» находились в дружеских отношениях. В той же газете Леннон прочитал статью о состоянии дорог в Блэкберне, которая также повлияла на написание A Day in the Life. Вот что сам Леннон сказал о создании песни:

Все так, как там говорится: однажды я читал газету [Daily Mail] и обратил внимание на две истории. В одной рассказывалось о наследнике Гиннесса, который разбился на автомобиле. Это была главная статья на передовице. Он погиб в автокатастрофе в Лондоне. На следующей странице была заметка о том, что на улицах Блэкберна в Ланкашире нужно было залатать четыре тысячи выбоин на дорогах. Вкладом Пола стал прекрасный небольшой отрывок из песни «I’d love to turn you on», который давно без толку крутился у него в голове. Думаю, это была чертовски хорошая работа.

Между тем, Леннон и Маккартни не стремились в точности передать события, описываемые в песне. Джон Леннон:

Я не копировал тот несчастный случай. Тара специально не вышибал себе мозги. Но когда я писал тот куплет, это вертелось у меня в голове.

Мнение Пола о создании песни несколько отличается от слов Леннона:

Куплет о политике, вышибающем мозги в автомобиле, мы написали вместе. В нем имеется в виду Тара Браун, наследник Guinness, но, думаю, дело не в нем. Определенно, когда мы ее писали, в моей голове она не соотносилась с Тарой. Хотя, возможно, в голове Джона именно так и было. Я же представлял себе какого-то накачавшегося наркотой политика, который не заметил, что не светофоре сменился цвет огней. Фраза «blow one’s mind» относилась исключительно к наркотикам и не имела ничего общего с автокатастрофой.

Строчку “woke up, fell out of bed” Маккартни написал для другой песни, но она так и не была закончена, поэтому Пол добавил её в A Day in the Life. Вот что сказал об этом Маккартни:

Это была совсем другая песня, но так случилось, что она [строчка] подошла сюда. В ней я просто вспоминаю, как мне приходилось бегать по дороге, чтобы успеть на школьный автобус, а затем покурить и зайти в класс. Это было воспоминание о школьных днях. Я курил Woodbine, кто-то начинал говорить, и я погружался в сон.

Также в песне имеются намёки на употребление марихуаны. Авторы песни первоначально это отрицали, но позже Маккартни признал, что связь с наркотиками в песне имеется:

Это было время в духе лозунга Тима Лири «turn on, tune in, drop out» [«заведись, настройся, отпади»], и мы написали: «I’d love to turn you on». Тогда мы с Джоном понимающе переглянулись: «Ого, да это песня о наркотиках. Ты же это понимаешь?»

[править] Запись

Группа несколько раз собиралась в студии для записи A Day in the Life. Первая сессия состоялась 19-20 января 1967 года. Группа возвращалась к записи композиции 3, 10 и 22 февраля. Закончена песня была 21 апреля. Кроме того, 10 февраля к записи был привлечён симфонический оркестр, которым дирижировал Пол Маккартни.

A Day in the Life

«We could go anywhere with this song; it was definitely going to go to big places.»

-Paul McCartney, The Beatles Anthology

A Day in the Life

Song Details

Artist

Recorded

Genre

Length

5:07 (without ending)

Writer

Producer

Chronology information

About/Info [ ]

«A Day in the Life» is the thirteenth and final track of the 1967 Beatles’ eighth studio album, Sgt. Pepper’s Lonely Hearts Club Band. Credited to Lennon–McCartney, the verses were mainly written by John Lennon, with Paul McCartney primarily contributing the song’s middle section. It is widely regarded as one of the finest and most important works in popular music history. Lennon’s lyrics were mainly inspired by contemporary newspaper articles, including a report on the death of Guinness heir Tara Browne. The recording includes two passages of orchestral glissandos that were partly improvised in the avant-garde style. In the song’s middle segment, McCartney recalls his younger years, which included riding the bus, smoking, and going to class. Following the second crescendo, the song ends with a sustained chord, played on several keyboards, that sustains for over forty seconds. A reputed drug reference in the line «I’d love to turn you on» resulted in the song initially being banned from broadcast by the BBC. The ending chord is one of the most famous in music history. The song inspired the creation of the Deep Note, the audio trademark for the THX film company. Jeff Beck, Barry Gibb, the Fall and Phish are among the artists who have covered the song. John Lennon wrote the melody and most of the lyrics to the verses of «A Day in the Life» in mid-January 1967. Soon afterwards, he presented the song to Paul McCartney, who contributed a middle-eight section. In a 1970 interview, Lennon discussed their collaboration on the song:

Paul and I were definitely working together, especially on «A Day in the Life». The way we wrote a lot of the time: you’d write the good bit, the part that was easy, like «I read the news today» or whatever it was, then when you got stuck or whenever it got hard, instead of carrying on, you just drop it; then we would meet each other, and I would sing half, and he would be inspired to write the next bit and vice versa. He was a bit shy about it because I think he thought it’s already a good song. So we were doing it in his room with the piano. He said «Should we do this?» «Yeah, let’s do that.»

According to author Ian MacDonald, «A Day in the Life» was strongly informed by Lennon’s LSD-inspired revelations, in that the song «concerned ‘reality’ only to the extent that this had been revealed by LSD to be largely in the eye of the beholder». Having long resisted Lennon and George Harrison’s insistence that he join them and Ringo Starr in trying LSD, McCartney took it for the first time in late 1966. This experience contributed to the Beatles’ willingness to experiment on Sgt. Pepper and to Lennon and McCartney returning to a level of collaboration that had been absent for several years.

A Day in the Life sheet music paper

A Day in the Life 1967 video poster

In his lyrics, Lennon mentions the Royal Albert Hall, a symbol of Victorian-era London and a concert venue usually associated with classical music performances.

Recording [ ]

A Day in the Life: The Day-By-Diary

January 19, 1967, 7:30 pm–2:30 am — The first four takes of the song were recorded. John sang and played guitar and Paul played piano. Take 1 used only two of the four available tracks. At this time, they knew that something would go in the centre of the song, but they did not yet know what. The echoing voice of Mal Evans counted out the bars, from 1 to 24, accompanied by a tinkling piano with notes ascending in pitch in tandem with the numbers. An alarm clock sounded at the end, and this was ultimately kept in because, according to George Martin, they couldn’t remove it! Take 4 consisted of John’s vocal overdubs onto two tracks. By the end of the night, three of the four tracks available were replete with John’s heavily echoed vocal.

January 20, 1967, 7:00 pm–1:10 am — Reduction mixdowns, vacating tracks for more overdubbing. Take 6 was marked «best» and was augmented with another John lead vocal, Paul’s bass, and Ringo’s drums. This day also marked the first appearance of Paul’s vocal in the middle section. (It was a happy coincidence that the section began right after the alarm went off.) Paul would re-record his vocal on February 3 because this day’s work was only a rough guide, and he cursed at the end as he flubbed his line.

February 3, 1967, 7:00 pm–1:15 am — More overdubs onto Take 6. Paul re-recorded his middle vocal and also his bass part. Ringo decided to wipe his original drum track in favour of a new and distinctive tom-tom sound. George Martin commented, «That was entirely his own idea. Ringo has a tremendous feel for a song and he always helped us hit the right tempo first time. He was rock solid and this made the recording of all the Beatles’ songs so much easier.»*

February 10, 1967 — This was one of the most auspicious days in Beatle history, the day the orchestra was brought in to play the instrumental build-up to fill the 24-bar gap between the John and Paul sections of the songs. Forty musicians (the Fabs originally wanted ninety) were instructed to play from a preselected low note to the highest note their instrument could reach. George Martin sketched out a chart with a squiggly line to suggest the ascent to the high note, and he was paid 18 pounds for his arrangement. The musicians were given somewhat unusual instructions: Start quietly and end loud; start low in pitch and end high; make your way up the scale independent of the other musicians around you. The orchestra cost EMI 367 pounds, 10 shillings. Martin and Paul took turns conducting, leaving Geoff Emerick in the control room to monitor the controls and capture the crescendo. The segment was recorded manipulating the acoustics of the room using «ambiophony,» a rudimentary precursor of surround sound.

The recording session, which ran from 8:00 pm to 1:00 am, was an event. The musicians all wore formal evening attire, but they also donned novelty items such as clown noses, fake nipples, and gorilla-paw gloves. Recording was filmed with seven handheld cameras and edited, along with stock (non-Beatles) footage, into an early music video, but it was never broadcast. (It can be seen on the Anthology DVD.) Also on hand were Patti Boyd, Mick Jagger, Marianne Faithfull, Keith Richards and Mike Nesmith. Everyone in the studio broke into spontaneous applause after the last orchestral crescendo. When the orchestra left, the Beatles and friends stayed to record the final chord, a long «hummm,» which would remain the song’s ending until February 22.

February 13, 1967 — Four new mono mixes were prepared.

February 22, 1967 — The Beatles decided that the choir of humming voices was not powerful enough to end the song. John, Paul, Ringo and Mal Evans, sharing three pianos, simulaneously stuck an E major chord to replace the choir. The recording went nine takes before they all hit the chord at the right time. Take 9 was overdubbed thrice, and then George Martin added a Harmonium until all four tracks were filled. The concluding wall of sound lasted 53 seconds, although it faded about 10 seconds earlier on the record, because the speakers of the time could not handle the last super-soft sound. (The ending of the 1987 Sgt. Pepper CD also concludes in 43 seconds.)

February 23, 1967 — Geoff Emerick prepared a stereo master.

March 1, 1967 — A new piano track was added to Take 6. This overdub was never used.

A grand piano in EMI’s Studio Two, where the closing piano chord was recorded on 22 February 1967

April 21, 1967 — Recording of the The Inner Groove chatter. The Fabs recorded gibberish and funny noises, chopped up the tape, put it back together and threw it onto the track. (After the album was released, people of course played the chatter backward, and claims surfaced that it says something naughty. This is not true, according to Geoff Emerick, who swears there is no hidden meaning in the words.) They also recorded the high-frequency sound that only dogs can hear.

Lyrics [ ]

Bolded lyrics were removed in later edits

I read the news today, oh boy

About a lucky man who made the grade

And though the news was rather sad

Well, I just had to laugh

I saw the photograph

He blew his mind out in a car

He didn’t notice that the lights had changed

A crowd of people stood and stared

They’d seen his face before

Nobody was really sure if he was from the House of Lords

I saw a film today, oh boy

The English Army had just won the war

A crowd of people turned away

But I just had to look

Having read the book

I’d love to tur-ur-urn you on

Woke up fell out of bed

Dragged a comb across my head

Found my way downstairs and drank a cup

And looking up, I noticed I was late (huff-huff-huff)

Found my coat and grabbed my hat

Made the bus in seconds flat

Found my way upstairs and had a smoke

And somebody spoke and I went into a dream

I read the news today, oh boy

Four thousand holes in Blackburn, Lancashire

And though the holes were rather small

They had to count them all

Now they know many holes it takes to fill the Albert Hall

I’d love to tur-ur-urn you on

I never could see any other way (buns on!)

Meaning [ ]

Tara Browne [ ]

Music critic Tim Riley says that in «A Day in the Life», Lennon uses the same lyrical device introduced in «Strawberry Fields Forever», whereby free-form lyrics allow a greater freedom of expression and create a «supernatural calm». According to Lennon, the inspiration for the first two verses was the death of Tara Browne, the 21-year-old heir to the Guinness fortune who had crashed his car on 18 December 1966. Browne was a friend of Lennon and McCartney, and had instigated McCartney’s first experience with LSD. Lennon adapted the song’s verse lyrics from a story in the 17 January 1967 edition of the Daily Mail, which reported the ruling on a custody action over Browne’s two young children.

During a writing session at McCartney’s house in north London, Lennon and McCartney fine-tuned the lyrics, using an approach that author Howard Sounes likens to the cut-up technique popularised by William S. Burroughs. «I didn’t copy the accident,» Lennon said. «Tara didn’t blow his mind out, but it was in my mind when I was writing that verse. The details of the accident in the song – not noticing traffic lights and a crowd forming at the scene – were similarly part of the fiction.» McCartney expounded on the subject: «The verse about the politician blowing his mind out in a car we wrote together. It has been attributed to Tara Browne, the Guinness heir, which I don’t believe is the case, certainly as we were writing it, I was not attributing it to Tara in my head. In John’s head it might have been. In my head I was imagining a politician bombed out on drugs who’d stopped at some traffic lights and didn’t notice that the lights had changed. The ‘blew his mind’ was purely a drugs reference, nothing to do with a car crash.»

Four-thousand holes [ ]

Lennon wrote the song’s final verse inspired by a Far & Near news brief, in the same 17 January edition of the Daily Mail that had inspired the first two verses. Under the headline «The holes in our roads», the brief stated: «There are 4,000 holes in the road in Blackburn, Lancashire, or one twenty-sixth of a hole per person, according to a council survey. If Blackburn is typical, there are two million holes in Britain’s roads and 300,000 in London.» The story had been sold to the Daily Mail in Manchester by Ron Kennedy of the Star News agency in Blackburn. Kennedy had noticed a Lancashire Evening Telegraph story about road excavations and in a telephone call to the Borough Engineer’s department had checked the annual number of holes in the road. Lennon had a problem with the words of the final verse, however, not being able to think of how to connect «Now they know how many holes it takes to» and «the Albert Hall». His friend Terry Doran suggested that the holes would «fill» the Albert Hall, and the lyric was eventually used.

Drug culture [ ]

McCartney said about the line «I’d love to turn you on», which concludes both verse sections: «This was the time of Tim Leary’s ‘Turn on, tune in, drop out’ and we wrote, ‘I’d love to turn you on.’ John and I gave each other a knowing look: ‘Uh-huh, it’s a drug song. You know that, don’t you?'» George Martin, the Beatles’ producer, commented that he had always suspected that the line «found my way upstairs and had a smoke» was a drug reference, recalling how the Beatles would «disappear and have a little puff», presumably of marijuana, but not in front of him. «When [Martin] was doing his TV programme on Pepper», McCartney recalled later, «he asked me, ‘Do you know what caused Pepper?’ I said, ‘In one word, George, drugs. Pot.’ And George said, ‘No, no. But you weren’t on it all the time.’ ‘Yes, we were.’ Sgt. Pepper was a drug album.»

The English Army [ ]

Author Neil Sinyard attributed the third-verse line «The English Army had just won the war» to Lennon’s role in the film How I Won the War, which he had filmed during September and October 1966. Sinyard said: «It’s hard to think of [the verse] without automatically associating it with Richard Lester’s film.»

Creation [ ]

Though many believe the first verse was referring to the death of Tara Browne, a young London socialite who was also from a noble Irish family and heir to the Guinness beer fortune, whose recent death in a car crash had been reported in the newspaper, George Martin has said that this was a drug reference. The line «I’d love to turn you on» is often believed to be a drug reference with no relation to the rest of the song. In interviews John Lennon has said that the car crash was the primary inspiration for this song. [citation needed] The last verse about potholes was originally about a newspaper article talking about how the road to the Albert Hall was full of potholes. However, he couldn’t figure out how to connect «Now they know how many holes» and «Albert Hall», so Lennon’s friend Terry Doran suggested the word «fill». [citation needed] The middle section about an uneventful morning was contributed by McCartney. The line «I’d love to turn you on» was also contributed by McCartney. In an interview, Lennon said that that one line that was the supposed drug reference was just a random line that McCartney contributed that had nothing to do with the rest of the song. [citation needed]

Reception/Legacy [ ]

A Day in the Life is famous through the Beatles community for being the best song they ever made, and is one of their most popular songs of all time. A Day in the Life was immediately praised after Sgt. Pepper’s Lonely Hearts Club Band was released, millions of fans saying that A Day in the Life was the perfect culmination between John Lennon’s and Paul McCartney’s singing, and the Beatles’ vision, ambition, and execution flawlessly come together in five and a half minutes, and the song being the perfect ending to Sgt. Pepper’s.

Beatles. A Day In The Life. День из жизни

Перевод песни «A Day In The Life» группы The Beatles с альбома «Sgt. Pepper’s Lonely Hearts Club Band» (1967).

Сегодня новость я прочёл,
О том счастливце, кто поймал успех.
Хоть новость та скорей грустна,
Но мне потрафила
Там фотография.

Ему в авто снесло башку,
Не глядя, нёсся он на красный свет.
Толпе зевак на мостовой
Его портрет знаком,
Но не помнят точно, может из Палаты Лордов он?

Сегодня новость я прочёл,
Пять тысяч ям в Блэкберне, Ланкашир.
Пусть их размер скорее мал,
Но кто-то все считал,
Сколько ям, поведав нам, заполнят Королевский Зал.
Хочу, чтоб ты вторчал…

I read the news today oh boy
About a lucky man who made the grade
And though the news was rather sad
Well I just had to laugh
I saw the photograph

He blew his mind out in a car
He didn’t notice that the lights had changed
A crowd of people stood and stared
They’d seen his face before
Nobody was really sure if he was from the House of Lords

I saw a film today oh boy
The English Army had just won the war
A crowd of people turned away
But I just had to look
Having read the book
I’d love to turn you on

Текст песни The Beatles — A Day in the Life перевод на русский язык

Представлен текст песни The Beatles — A Day in the Life с переводом на русский язык.

I saw the film today, oh boy.
The English Army had just won the war.
A crowd of people turned away, but I just had to look
Having read the book.
I’d love to turn you on.

Woke up, fell out of bed, dragged a comb across my head,
Found my way downstairs and drank a cup,
And looking up I noticed I was late.

Found my coat and grabbed my hat,
Made the bus in seconds flat.
Found my way upstairs and had a smoke,
And somebody spoke, and I went into a dream.

I read the news today, oh boy,
Four thousand holes in Blackburn, Lancashire.
And though the holes were rather small,
They had to count them all.
Now they know how many holes it takes to fill the Albert Hall.
I’d love to turn you on.

Газету я читал, мой друг
Об одном счастливчике, который разбогател
И хоть эта новость была неважной
Я просто рассмеялся, увидев фотографию, на которой
Ему вышибло мозги в его же машине
Он не заметил, что светофор сменил цвет
Толпы людей стояли и смотрели
Они видели его лицо и раньше
Никто не был уверен до конца, что он из Палаты Лордов.

Я смотрел сегодня фильм, мой друг
В котором английская армия победила в войне
Толпы людей отворачивались, но я смотрел
Ведь я читал эту книгу
Я так хотел бы завести тебя.

Проснулся, упал с кровати, провел расческой по волосам
Спустился вниз и выпил чаю
И вдруг заметил, что опаздываю.

Нашел пальто, схватил на ходу шляпу
Быстро вышел и сел на автобус
Поднялся по лестнице, покурил
Кто-то заговорил, и я впал в сон.

Газету я читал, мой друг
Тысячи ям в Блэкберне, в Ланкашире
И хоть они не такие большие
Они их всех посчитали
И теперь знают, сколько нужно норок, чтобы уместился Альберт-Холл
Я так хотел бы завести тебя.

Beatles: A Day In The Life Meaning

Song Released: 1967

Get «A Day In The Life» on MP3:

A Day In The Life Lyrics

I read the news today oh, boy
About a lucky man who made the grade
And though the news was rather sad
Well I just had to laugh
I saw the photograph

He blew his mind out in a car
He didn’t notice that the lights had changed
A crowd of.

1 TOP RATED

Some of the interpretations of this song are way off base. This song is actually comprised of two songs that John and Paul put together. John constantly read newspapers about world events and was often fascinated by them. When he says, «I read the news today, oh boy,» he means it quite literally.

The first verse is about the newspaper story about the guiness heir’s (lucky man who made the grade) fatal car accident. He ran an intersection and was killed. At the scene, the passersby thought they recognized him as someone famous.

The second verse is literally about a movie that John had saw. The movie was a flop, but John found it interesting because he had read the book. The last line in the second verse is a throwaway line, and true to john’s love to put sexual innuendo in his songs, it is simple and suggestive.

Originally, the song had 24 bars of dead time that John didn’t know what to do with. It started with an alarm clock that had went off in the studio (by accident) and was left on the four track tapes. Paul was working on a simple song about a typical hectic day in a working joe’s life. He sings the third verse about this uneventful morning.

The final verse was about another newspaper story John had read. The english government had spent a fortune counting potholes in the streets of blackburn lancashire. He thought it was absurd to spend the money that way instead of fixing the streets.

It really is that simple. The crescendo’s of the orchestra were paul’s idea to give the song drama. The final notes were made by bringing a bunch of grand pianos in the studio and having all of the beatles, george martin and geoff emerick pound the chord and then turn the recording volume up gradually to make the chord last as long as possible.

2 TOP RATED

Death and time lay men and nations low, but life, though short, can have brief meaning, through drugs and intense human relationships, including of a sexual nature. Such is this writer’s subjective interpretation of “A Day In the Life,” based on the following line-by-line analysis.

»I read the news today, oh, boy.» An anonymous narrator seeks information about the world outside his own life. He reads a newspaper, a chronicle of the undifferentiated, relentless march of human events. “Oh, boy” is a euphemism for “Oh, God” — an exclamation of surprise, fear, powerlessness in the face of reality. In the vein of the bromide that declares that mediocre minds discuss people, average minds discuss events, and great minds discuss ideas, the narrator is seeking information through the media beyond that which is available in the course of ordinary, narcissistic personal experience.

»About a lucky man who made the grade.» Our narrator overlays irony over this line. The individual has been blessed by fortune, in the sense that he has “made the grade” — achieved material or worldly success. On a deeper level, one who dies because of inattention in a traffic accident is the opposite of “lucky.” He is in fact cursed, doomed — a victim of the fate that claims us all in the end. This sarcasm expresses uneasiness about the transitory nature of temporal human ambitions.

»And though the news was rather sad, well I just had to laugh; I saw the photograph. He blew his mind out in a car; he didn’t notice that the lights had changed.» The narrator, while acknowledging the tragedy of the accident, reflexively, automatically (“had to”) employs sarcasm as a defense mechanism against the awful reality: death is a fate that spares no-one. “Blow your brains out”: to commit suicide with a firearm. “Blew his mind out” substitutes “mind” for “brain,” indicating fatal head injury in an accident that is suicidal in the sense that the driver caused his own demise, if not with intent then certainly with the same outcome. “Blow your mind”: to be amazed, to be stunned by new awareness or insight by information coming from outside the boundaries of familiar experience. And death is certainly the ultimate alien experience — the one true “alienation” experienced universally. All of which is suggestive of the fact that we live in utter ignorance of the nature of death, the ultimate truth which defines our lives by virtue of being the opposite of life. Not noticing that the traffic signal had changed describes one running a stoplight and dying in a collision: a mundane, relatively meaningless demise suffered by many. Meaningless, because death results from so small an action as being distracted for a moment while behind the wheel.

»A crowd of people stood and stared; they’d seen his face before. Nobody was really sure if he was from the House of Lords.» The anonymous crowd is gripped by impolite, morbid curiosity; the vicarious thrill derived from viewing death first-hand — from the knowledge that someone has died, but not me: I am still alive. Of course, death is the most important fact, and ultimately the defining reality, of human experience. However, the nature of that experience cannot be accessed second-hand. The anonymous, gaping street crowd degrades the significance of this event, reducing what should be a moment of solemnity to an opportunity to access cheap thrills. This member of the House of Lords — a British political institution of long tradition — has political power and inherited wealth. Such an individual might be known to average people through glimpses in the media, but these people would have no occasion to be personally acquainted with him: to the mass of people on the street, he is no more recognizable than a face on a television screen or in a newspaper photograph — an abstraction, representing a distant, governing elite. This individual is separated — alienated — from the rest of us by his power and privilege. However, the commonness of his death proves that his privileged status is an illusion.

»I saw a film today, Oh, boy. The English Army had just won the war. A crowd of people turned away. But I just had to look, having read the book.» The anonymous narrator, continuing to seek information about the wider world, is again struck by his insignificance, as signified by his invocation of the euphemism for the religious exclamation “Oh, God.” Again discarding the oblique mechanisms of symbolic allusion, the narrator references a historical event in which the armed forces of a named country — the United Kingdom — is victorious in an unnamed war. The unspecified triumph of British arms in war symbolizes Britain’s temporal greatness or significance. But in the same way that individual achievement fades into the past, the greatness of the English nation has become a matter of history — whether fictional or documentarized, we are not told, and it does not matter: this is merely a “film.” The point being made is that this unspecified British victory is an irrelevancy from which the anonymous audience of moviegoers literally turns away. Standing in contrast (more likely, sitting) is our protagonist, whose desire to acquire knowledge finds special expression in the act of viewing a film regarding a subject in which he is interested enough to have not only read a book about it, but to have then sought additional information on this specific topic. However, the majority does not share the narrator’s interest. By implication, the meaningless death of one man in a car accident today is more interesting to society than a monumental achievement of the storied, historic English army. What this describes is a society severed from any connection to its past.

»I’d love to turn you on.» “To turn on” is of course a double entendre, meaning either “to excite sexually” or “to provide access to drugs or to a drug experience.” In the face of these events, the narrator is declaring that access to a deeper, more-meaningful level of existence — or even mere diversion from these melancholic facts — is available by means of intense, shared interpersonal experiences, including sexual relationships, mind-altering drugs, or both.

»Woke up, fell out of bed, dragged a comb across my head.»
Waking up is the first action any individual must make in a given day — an action that is in a sense involuntary and paradoxical, in that the act of waking up is automatic, requiring no free will. The need to rise from sleep is inevitable, a rigid fact of existence, like the cycles of nature, and therefore inescapable. In a way, it is its own negation of free will — or birth by another name. Falling out of bed evokes the experience of falling, of being an object of gravity, a prisoner of the natural laws and forces that govern all existence. It is one of the first things we learn after being born: you can fall down. Combing one’s hair symbolizes all that is cosmetic in the putting on of our public face, in choosing how to present ourselves to society. Thus is a kind of pilgrim’s progress described: We are born. We learn how the world works. We decide what we want others to know about us.

»Found my way downstairs and drank a cup. And looking up, I noticed I was late.» Moving through life, we “find our way” by trial and error; we acquire sad knowledge of the baser requisites to be fulfilled in the construction of our foundation. We grow sadder and wiser — a process which that seems to satisfy a human need no less elemental than that of thirst slaked by the raising of a drink to the lips. The universality of such an experience drives a further sense of inevitability, of being captive to the larger forces of gravity, the need for food and water, the inexorability of time.

»Found my coat and grabbed my hat, made the bus in seconds flat.» We further refine our public posture in our choice of defensive garments. And we do so in haste, with the sense of urgency derived from our knowledge that we are running against time.

»Made my way upstairs and had a smoke. And somebody spoke and I went into a dream.» We have arrived at a destination. Though our trip on the bus is over, we’re still on a trip, in the sense that we’re not at home. And though anywhere other than home is at least to some degree, and by definition, alien — alienated — at least we are familiar with the terrain: we can go upstairs. And though we may still be isolated, we are at least no longer alone. We know this, because we hear the voice of an anonymous party. Thus is the possibility for the transcendence of isolation made available, by means of communication with another human being. However, we decline this opportunity in favor of the ultimate introverted act: retreat into the internal, dreamlike, surreal, irrational, non-linear mental state made created by drugs. Thus, although we have opted out of an opportunity for interpersonal contact, we have shifted our consciousness away from the strictures of reality and toward the freedom of a dreamlike, drug-induced state.

»I read the news today, oh, boy. Four thousand holes in Blackburn, Lancashire. And though the holes were rather small, they had to count them all. Now they know how many holes it takes to fill the Albert Hall. I’d love to turn you on.» The theme of individual powerlessness and insignificance against the backdrop of the relentlessly and endlessly unfolding human drama is repeated. Initially, the relevance of the quantity of holes is unkown to us, because the context is known only to the protagonist. But if you can’t know what the holes are, you can know that they were counted in a specific place whose importance the narrator signals by naming the city and county. The holes could be anything: a symbolic stand-in for the march of ephemeral concerns that constitute the bulk of human existence in every locality. More likely, their meaning is literal, for holes are indeed empty, devoid of meaning. The identity of the unnamed “they” whose duty it was to count the holes is a matter of speculation. Call them census-takers, tax collectors, assessors. Whatever the moniker, their role is the same — that of faceless, anonymous “experts.” Anointed by the Establishment, these experts enumerate those facets of reality deemed by that same Establishment to be relevant to the society. Only after this act of counting — literally, of determining “what counts” — can come the dictation of the societal priorities flowing therefrom. The anonymity of those doing the counting symbolizes the essentially alien nature of the means by which government rules. This reinforces our narrator’s concern with the theme of alienation — the alienation of the successful politician from the fundamental truth of his mortality; the alienation of the street crowd from the governing elite; the alienation of the moviegoers from their nation’s history; and the alienation of so-called experts from the daily concerns of laypeople. The experts announce an absurd finding: 4,000 holes will fit in the Albert Hall. This result underscores the distinction between meaningless information, which is everywhere but of no use to anybody, and meaningful knowledge, which is elusive. The reference to the Albert Hall is an English place-name familiar to very few outside England. The idea here is that if you recognize the reference to the Albert Hall, you will experience the minor thrill of recognition — and the fleeting satisfaction that comes from feeling that you can construct meaning within the context of random and terrifying events by means of language: the power to superimpose order onto chaos simply by giving things a name. Even if you don’t recognize the reference to the Albert Hall, you still recognize the absurdity of counting the holes in Blackburn. Significantly, the Albert Hall is a place where famous performers ply their craft. An allusion, we may conclude, to the meaninglessness of fame — the emptiness in the soul modern celebrity. It was a void the Beatles themselves spoke of after they had reached their peak. And the narrator sends, for the second time, the dually desirous proposition to provide the anonymous “you” with an opportunity to replace mental alienation and emotional emptiness — to fill these twin voids at the center of the modern soul — with the twin towers of a mind-altering drug experience and an interpersonal relationship, the latter being sexual in its intensity if not in its expression.

What is the takeaway here? First, that we modern men and women are alienated: from each other, from the Establishment, even from our own history. This latter fact is one of the things that makes us modern. And that which we value most — fame, success, power and money — are but fleeting unrealities trumped by death and the passage of time. Our humor may provide defense against the terror arising from these melancholic facts. But solace can be achieved, if only temporarily, by raising our consciousness to different levels, whether through intense relationships or chemical substances.

A final word about authorial intent: Many of you know that Lennon based the lyrics for this piece on a several newspaper articles, including one about potholes. Many of you will no doubt set me straight by quoting the relevant scholarship. No doubt I will be cautioned against the sins of reading too much into the text. My response is the following: All art gets its start in the mundane, ephemeral facts of human experience. Small-minded insistence upon restricting to the terms of that ephemera any effort to interpret a text, painting or other work is a denial of art’s power to transcend the quotidian realities above which all artistic minds strive to reach.

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Текст песни A Day In the Life

Перевод песни A Day In the Life

A Day In the Life

Intro

G Bm Em Em7 C C

Verse1

G I read the Bm news today oh Em boy Em7

C About a l C/B ucky man who Asus2 made the grade

G And though the Bm news was rather Em sad Em7

C Well I just F had to l Em augh Em7

C I saw the F photogra Em ph C

Verse 2

G He blew his Bm mind out in a Em car Em7

C He didn’t C/B notice that the l Asus2 ights had changed

G A crowd of Bm people stood and Em stared Em7

C They’d seen his F face before

Em Nobody was really sure

If Em7 he was from the House of C Lords

Verse 3

G I saw a Bm film today oh Em boy Em7

C The English C/B Army had just Asus2 won the war

G A crowd of Bm people turned Em away Em7

C But I just F had to look Em

Having Em7 read the C book

I’d love to C. turn you on

Instrumental

Middle

E Woke up, fell out of bed

Dragged a comb across my Dsus2 head

Found my E way downstairs and B7sus4 drank a cup

And E looking up I B7sus4 noticed I was late ( B7 ha ha ha.)

Found my E coat and grabbed my hat

Made the bus in seconds Dsus2 flat

Found my E way upstairs and B7sus4 had a smoke

And E somebody spoke and I went B7sus4 into a dream.

Interlude

C (A G aaaaaaaaa D aa A hhhh E hhhhhhh C hh G hhhh D hh A h) E D C D

Verse 4

G I read the Bm news today oh Em boy Em7

C Four thousand C/B holes in Blackburn, Asus2 Lancashire

G And though the Bm holes were rather Em small Em7

C They had to F count them all

Em Now they know how many holes it Em7 takes to fill the Albert C Hall

I’d love to t C. urn you on.

Instrumental

| C. | C. | C. | C. |E | (hold E chord to fade)

A Day In The Life

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Master release

Related sessions

This song has been recorded during the following studio sessions

Related interviews

Dec 23, 2020 • From Reddit

Dec 19, 2020 • From BBC One

Dec 18, 2020 • From BBC Radio 4

2020 • From paulmccartney.com

Jun 20, 2018 • From DIY

Aug 10, 2016 • From RollingStone

Aug 09, 2010 • From Daytrippin’ Beatles Magazine

Dec 01, 2009 • From The Big Issue

September 2008 • From Let It Rock

May 01, 2003 • From MOJO

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Song facts

“A Day in the Life” is the final song on the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band album. Credited to Lennon–McCartney, the song comprises distinct sections written independently by John Lennon and Paul McCartney, with orchestral additions. While Lennon’s lyrics were inspired by contemporary newspaper articles, McCartney’s lyrics were based on reminiscences about his youth. The decisions to link sections of the song with orchestral glissandos and to end the song with a sustained piano chord were made only after the rest of the song had been recorded.

The supposed drug reference in the line “I’d love to turn you on” resulted in the song initially being banned from broadcast by the BBC. Since its original album release, “A Day in the Life” has been released as a B-side, and also on various compilation albums. It has been covered by other artists, and since 2008, by McCartney in his live performances. It was ranked the 28th greatest song of all time by Rolling Stone magazine. On a different list, the magazine ranked it as the greatest Beatles song.

Lyricism

According to Lennon, the inspiration for the first two verses was the death of Tara Browne, the 21-year-old heir to the Guinness fortune who had crashed his Lotus Elan on 18 December 1966 in Redcliffe Gardens, Earls Court. Browne had been a friend of Lennon and McCartney, and had, earlier in 1966, instigated McCartney’s first experience with LSD. Lennon’s verses were adapted from a story in the 17 January 1967 edition of the Daily Mail, which reported the ruling on a custody action over Browne’s two young children:

Guinness heir Tara Browne’s two children will be brought up by their 56-year-old grandmother, the High Court ruled yesterday. It turned down a plea by their mother, Mrs. Nicky Browne, 24, that she should have them … This, she said, happened after Mr. Browne, 21, from whom she was estranged, had taken them for a holiday in County Wicklow [Ireland] with his mother.

Mrs. Browne began an action for their return in October [1966], naming Mr. Browne and his mother as defendants. The action, held in private, was part way through when Mr. Browne died in a crash in his Lotus Elan car in South Kensington a week before Christmas.

“I didn’t copy the accident“, Lennon said. “Tara didn’t blow his mind out, but it was in my mind when I was writing that verse. The details of the accident in the song—not noticing traffic lights and a crowd forming at the scene—were similarly part of the fiction.” McCartney expounded on the subject: “The verse about the politician blowing his mind out in a car we wrote together. It has been attributed to Tara Browne, the Guinness heir, which I don’t believe is the case, certainly as we were writing it, I was not attributing it to Tara in my head. In John’s head it might have been. In my head I was imagining a politician bombed out on drugs who’d stopped at some traffic lights and didn’t notice that the lights had changed. The ‘blew his mind’ was purely a drugs reference, nothing to do with a car crash.“

Author Neil Sinyard attributed the third verse line “The English Army had just won the war” to Lennon’s role in the film How I Won the War, released on 18 October 1967, but having filmed his part in September 1966: “It’s hard to think of [the verse] … without automatically associating it with Richard Lester’s film.“

In the authorized biography Many Years from Now, McCartney said about the line “I’d love to turn you on“, which concludes both verse sections, “This was the time of Tim Leary’s ‘Turn on, tune in, drop out’ and we wrote, ‘I’d love to turn you on.’ John and I gave each other a knowing look: ‘Uh-huh, it’s a drug song. You know that, don’t you?’” Lennon on composing the song with McCartney:

“Paul and I were definitely working together, especially on ‘A Day in the Life’ that was a real … The way we wrote a lot of the time: you’d write the good bit, the part that was easy, like ‘I read the news today’ or whatever it was, then when you got stuck or whenever it got hard, instead of carrying on, you just drop it; then we would meet each other, and I would sing half, and he would be inspired to write the next bit and vice versa. He was a bit shy about it because I think he thought it’s already a good song. Sometimes we wouldn’t let each other interfere with a song either, because you tend to be a bit lax with someone else’s stuff, you experiment a bit. So we were doing it in his room with the piano. He said ‘Should we do this?’ ‘Yeah, let’s do that.’”

McCartney provided the middle section of the song, a short piano piece he had been working on independently, with lyrics about a commuter whose uneventful morning routine leads him to drift off into a dream. McCartney had written the piece as a wistful recollection of his younger years, which included riding the bus to school, smoking, and going to class. This theme matched with the original concept of the album which was going to be about their youth.

Lennon wrote the song’s final verse inspired by a Far & Near news brief, in the same 17 January edition of the Daily Mail that had inspired the first two verses. Under the headline “The holes in our roads“, the brief stated:

There are 4,000 holes in the road in Blackburn, Lancashire, or one twenty-sixth of a hole per person, according to a council survey. If Blackburn is typical, there are two million holes in Britain’s roads and 300,000 in London.

The story had been sold to the Daily Mail in Manchester by Ron Kennedy of the Star News agency in Blackburn. Ron had noticed a Lancashire Evening Telegraph story about road excavations and in a telephone call to the Borough Engineer’s department had checked the now famous annual number of holes in the road. Lennon had a problem with the words of the final verse, however, not being able to think of how to connect “Now they know how many holes it takes to” and “the Albert Hall“. His friend Terry Doran, managing director of Apple, suggested that they would “fill” the Albert Hall.

Musical structure and development

In a 1968 editorial for Jazz & Pop, writer Gene Sculatti called the Beach Boys 1966 single “Good Vibrations” the “ultimate in-studio production trip“, positing that it was a primary influence for the recording of “A Day in the Life“.

Musical structure and development – Basic track

The Beatles began recording the song, with a working title “In the Life of …“, on 19 January 1967, in the innovative and creative studio atmosphere ushered in by the recording of “Strawberry Fields Forever” and “Penny Lane” over the preceding weeks. The two sections of the song are separated by a 24-bar bridge. The track was refined with remixing and additional parts added at recording sessions on 20 January and 3 February.

Starr elaborated his approach to drumming on the song:

I only have one rule and that is to play with the singer. If the singer’s singing, you don’t really have to do anything, just hold it together. If you listen to my playing, I try to become an instrument; play the mood of the song. For example, ‘Four thousand holes in Blackburn, Lancashire,’ – boom ba bom. I try to show that; the disenchanting mood. The drum fills are part of it.

At first, the Beatles were not sure how to fill its linking section. Thus, at the conclusion of the recording session for the basic tracks, the transition solely consisted of a simple repeated piano chord and the voice of assistant Mal Evans counting the bars. Evans’ guide vocal was treated with gradually increasing amounts of echo. The 24-bar bridge section ended with the sound of an alarm clock triggered by Evans. The original intent was to edit out the ringing alarm clock when the missing section was filled in; however it complemented McCartney’s piece well; the first line of McCartney’s song began “Woke up, fell out of bed“, so the decision was made to keep the sound. Martin later said that editing it out would have been unfeasible in any case.

Musical structure and development – Orchestra

As a solution for the missing 24-bar middle section of the song, McCartney proposed the idea of bringing in a full orchestra to fill the gap. To allay concerns that classically trained musicians would not be able to improvise the section, producer George Martin wrote a loose score for the section. It was an extended, atonal crescendo that encouraged the musicians to improvise within the defined framework. The orchestral part was recorded on 10 February 1967, with McCartney and Martin conducting a 40-piece orchestra. The recording session was completed at a total cost of £367 (equivalent to £6,007 in 2015) for the players, an extravagance at the time. Martin later described explaining his improvised score to the puzzled orchestra:

What I did there was to write … the lowest possible note for each of the instruments in the orchestra. At the end of the twenty-four bars, I wrote the highest note … near a chord of E major. Then I put a squiggly line right through the twenty-four bars, with reference points to tell them roughly what note they should have reached during each bar … Of course, they all looked at me as though I were completely mad.

McCartney noted that the strings were able to keep themselves in the designated time, while the trumpets were “much wilder“. McCartney had originally wanted a 90-piece orchestra, but this proved impossible; the difference was made up, as the semi-improvised segment was recorded multiple times and eventually four different recordings were overdubbed into a single massive crescendo. The results were successful; in the final edit of the song, the orchestral bridge is reprised after the final verse. It was arranged for the orchestral session to be filmed by NEMS Enterprises for use in a planned television special. The film was never released in its entirety, although portions of it can be seen in the “A Day in the Life” promotional film (included in the three-disc versions of the Beatles’ 2015 video compilation 1), which includes shots of studio guests Mick Jagger, Marianne Faithfull, Keith Richards, Brian Jones, Donovan, Pattie Boyd, and Michael Nesmith. Reflecting the Beatles’ taste for experimentation and the avant-garde at this point in their careers, the orchestra players were asked to wear or were given a costume piece on top of their formal dress. This resulted in different players wearing anything from fake noses to fake stick-on nipples. Martin recalled that the lead violinist performed wearing a gorilla paw, while a bassoon player placed a balloon on the end of his instrument.

Due to the multiple takes required to perfect the orchestral cacophony and the final chord, as well as their considerable procrastination in composing the song, the total duration of time spent recording “A Day in the Life” was 34 hours. In contrast, the Beatles’ earliest work, their first album Please Please Me, had been recorded in its entirety in only 10 hours, 45 minutes.

Musical structure and development – Final chord

Following the final orchestral crescendo, the song ends with one of the most famous final chords in music history. Lennon, McCartney, Starr, and Evans shared three different pianos, with Martin on the harmonium, and all played an E-major chord simultaneously. The final chord was made to ring out for over forty seconds by increasing the recording sound level as the vibration faded out. Towards the end of the chord the recording level was so high that listeners can hear the sounds of the studio, including rustling papers and a squeaking chair.

The piano chord was a replacement for a failed vocal experiment. On the evening following the orchestra recording session, the four Beatles had recorded an ending of their voices humming the chord, but after multiple overdubs they wanted something with more impact. This final E chord represents a VI to the song’s tonic G major, although Pedler argues that the preceding chord changes (from F (“them all“) to E (“Now they know“) Em7 (“takes to fill“) C (“love to turn you“) and B (“on“)) followed by the chromatic ascent, shift our sense of the tonic from G to E; creating a different feeling from the usual emotional uplift associated with a VI modulation.

Variations

On the Sgt. Pepper album, the start of “A Day in the Life” is cross-faded with the applause at the end of the previous track “Sgt. Pepper’s Lonely Hearts Club Band (Reprise)“. On The Beatles 1967–1970 LP, “A Day in the Life” fades in through the Sgt. Pepper cross-fade, but on Imagine: John Lennon and the CD version of 1967–1970, the song starts cleanly, without any fade or cross-fade.

Following “A Day in the Life” on the Sgt. Pepper album (as first released on LP in the UK and years later worldwide on CD) is a high-frequency 15-kilohertz tone and some randomly spliced Beatles studio chatter. The frequency is best understood as what we know as a dog whistle as the frequency is picked up by a dog’s ear and was part of their humour. They joked about picturing barking dogs should they be present when the album would finish. Recorded two months after the mono and stereo masters for “A Day in the Life” had been finalised, the studio chatter (titled in the session notes “Edit for LP End“) was added to the run-out groove of the initial British pressing. There are even a few variations of the chatter, though the best known one is them saying during the laughter and chatter “never could see any other way.“

The Anthology 2 album includes an early, pre-orchestral version of the song and Anthology 3 includes a version of “The End” that concludes by having the last note fade into the final chord of “A Day in the Life” (reversed, then played forwards).

The Love version has the song starting with Lennon’s intro of “sugar plum fairy“, with the strings being more prominent during the crescendos.

Supposed drug references

The song became controversial for its supposed references to drugs. The BBC announced that it would not broadcast “A Day in the Life” due to the line “I’d love to turn you on“, which, according to the corporation, advocated drug use. Other lyrics allegedly referring to drugs include “found my way upstairs and had a smoke / somebody spoke and I went into a dream“. A spokesman for the BBC stated, “We have listened to this song over and over again. And we have decided that it appears to go just a little too far, and could encourage a permissive attitude to drug-taking.” The ban was eventually lifted on 13 March 1972.

Lennon and McCartney denied that there were drug references and publicly complained about the ban at a dinner party at the home of their manager, Brian Epstein, celebrating their album. Lennon said that the song was simply about “a crash and its victim“, and called the line in question “the most innocent of phrases.” McCartney later said “This was the only one in the album written as a deliberate provocation. A stick-that-in-your-pipe … But what we want is to turn you on to the truth rather than pot.” However, George Martin later commented that he had always suspected that the line “found my way upstairs and had a smoke” was a drug reference, recalling how the Beatles would “disappear and have a little puff“, presumably of cannabis, but not in front of him. “When [Martin] was doing his TV programme on Pepper“, McCartney recalled later, “he asked me, ‘Do you know what caused Pepper?’ I said, ‘In one word, George, drugs. Pot.’ And George said, ‘No, no. But you weren’t on it all the time.’ ‘Yes, we were.’ Sgt. Pepper was a drug album.“

When Sgt. Pepper’s Lonely Hearts Club Band was released in South Asia, Malaysia and Hong Kong, “A Day in the Life” “With a Little Help from My Friends” and “Lucy in the Sky with Diamonds” were excluded because of supposed drug references.

Recognition and reception

“A Day in the Life” became one of the Beatles’ most influential songs. Paul Grushkin in his book Rockin’ Down the Highway: The Cars and People That Made Rock Roll, called the song “one of the most ambitious, influential, and groundbreaking works in pop music history“. In “From Craft to Art: Formal Structure in the Music of The Beatles“, the song is described thus: “‘A Day in the Life’ is perhaps one of the most important single tracks in the history of rock music; clocking in at only four minutes and forty-five seconds, it must surely be among the shortest epic pieces in rock.” Richard Goldstein of The New York Times called the song “a deadly earnest excursion in emotive music with a chilling lyric … [that] stands as one of the most important Lennon-McCartney compositions … an historic Pop event“.

The song appears on many top songs lists. It placed twelfth on CBC’s 50 Tracks, the second highest Beatles song on the list after “In My Life“. It placed first in Q Magazine’s list of the 50 greatest British songs of all time, and was at the top of Mojo Magazine’s 101 Greatest Beatles’ Songs, as decided by a panel of musicians and journalists. “A Day in the Life” was also nominated for a Grammy in 1967 for Best Arrangement Accompanying Vocalist Or Instrumentalist. In 2004, Rolling Stone ranked “A Day in the Life” at number 28 on the magazine’s list of “The 500 Greatest Songs of All Time“, and in 2010, the magazine deemed it to be the Beatles’ greatest song. It is listed at number 5 in Pitchfork Media’s The 200 Greatest Songs of the 1960s. […]

Live performances

Paul McCartney performed the song live for the first time by any Beatle on 1 June 2008 at Anfield stadium, Liverpool, England. Both Beatles widows, Olivia Harrison and Yoko Ono, attended the concert. Also he performed the songs at some Spring and Summer shows in 2008 (Kiev, Quebec City and Tel Aviv) and 2009 (Indio, Las Vegas) and throughout his subsequent tours: Summer Live ’09, 2009 Good Evening Europe Tour, 2010–2011 Up and Coming Tour and 2011–2012 On the Run Tour. […]

[a] mono 22 Feb 1967. edited. crossfaded 6 Apr 1967.
UK: Parlophone PMC 7026 Sgt Pepper 1967.
US: Capitol MAS 2653 Sgt Pepper 1967.

[b] stereo 23 Feb 1967. edited. crossfaded 20 Apr 1967.
UK: Parlophone PCS 7026 Sgt Pepper 1967.
US: Capitol SMAS 2653 Sgt Pepper 1967.
CD: EMI CDP 7 46442 2 Sgt Pepper 1987.

[b1] stereo with crossfade cut off 1973.
UK: Apple PCSP 718 The Beatles 1967-1970 1973.

[b2] stereo with crossfade cut off 1973 by Capitol.
US: Apple SKBO-3404 The Beatles 1967-1970 1973.

[b3] stereo without crossfade.
CD: EMI CDP 7 90803 2 Imagine/John Lennon 1988, EMI CDP 7 97039 2 The Beatles 1967-1970 1993.

[c] mono 30 Jan 1967, and mono and stereo 1995. edited.
CD: Apple CDP 8 34448 2 Anthology 2 1996.

The orchestra was recorded on 4 tracks of a separate 4-track tape (take 7) and synchronized during mixing with the Beatles tape (take 6).

The edit is for the final note, recorded separately.

The crossfade joins the beginning to the preceding Sgt Pepper (reprise). For the 1967-1970 collection [b1] [b2] and on a 1978 single, the crossfade is just cut off, so the song begins later than its real beginning. The original mix without crossfade [b3] appeared in the documentary film Imagine: John Lennon. The same original mix, also including a countdown that is not heard under the crossfade, appeared in a 1967 promo film.

The Anthology mix [c] is deliberately different and contains some material not used in the standard versions [a][b]. It contains many parts edited together: talk before take 1 (the take used for the standard version); take 2 (not the standard version) from start of song through the 24-bar count; overdubs to take 6 later wiped out for the standard version but preserved in a 30 Jan mono mix; more of take 2 for the last verse; take 2 synchronized with the orchestral overdub of the standard version; and finally talk recorded on Feb 10 and never intended to be used as the conclusion. All of this is mono until the orchestral overdub, which has been remixed to stereo. The Jan 30 overdub mono mix has been available on bootleg since 1987, and shows a different bass part throughout as well as the different Paul vocal highlighted here; but it breaks down after Paul flubs the vocal. The reverb on the 24-bar count was done during recording.

Last updated on May 2, 2021

The book «The Lyrics: 1956 to the Present», published in 2021, covers Paul McCartney’s early Liverpool days, the Beatles, Wings, and solo careers, by pairing the lyrics of 154 of his songs with first-person commentaries of the circumstances in which they were written, the people and places that inspired them, and what he thinks of them now.

«A Day In The Life» is one of the 154 songs covered.

Lyrics

I read the news today oh boy
about a lucky man who made the grade
and though the news was rather sad
well I just had to laugh
I saw the photograph

He blew his mind out in a car
he didn’t notice that the lights had changed
A crowd of people stood and stared
they’d seen his face before
nobody was really sure if he was from the house of lords

I saw a film today oh boy
the English army had just one the war
a crowd of people turned away
but I just had to look, having read the book
I’d love to turn on you

Woke up, got out of bed
dragged a comb across my head
found my way downstairs and drank a cup
and looking up, I noticed I was late

Found my coat and grabbed my hat,
made the bus in seconds flat
found my way upstairs and had a smoke
and somebody spoke and I went in to a dream
Ahh,ahh,ahh

I read the news today oh boy
four thousand holes in Blackburn, Lancashire
And though the holes were rather small
they had to count them all
now they know how many holes it takes to fill the Albert hall
I’d love to turn on you

A Day in the Life

From Wikipedia, the free encyclopedia

«A Day in the Life» is a song by the English rock band the Beatles that was released as the final track of their 1967 album Sgt. Pepper’s Lonely Hearts Club Band. Credited to Lennon–McCartney, the verses were mainly written by John Lennon, with Paul McCartney primarily contributing the song’s middle section. It remains one of the most celebrated songs in music history, appearing on many lists of the greatest songs of all time.

Lennon’s lyrics were mainly inspired by contemporary newspaper articles, including a report on the death of Guinness heir Tara Browne. The recording includes two passages of orchestral glissandos that were partly improvised in the avant-garde style. In the song’s middle segment, McCartney recalls his younger years, which included riding the bus, smoking, and going to class. Following the second crescendo, the song ends with one of the most famous chords in music history, played on several keyboards, that sustains for over forty seconds.

A reputed drug reference in the line «I’d love to turn you on» resulted in the song initially being banned from broadcast by the BBC. Jeff Beck, Barry Gibb, the Fall and Phish are among the artists who have covered the song. The song inspired the creation of the Deep Note, the audio trademark for the THX film company.

Смотрел сегодня фильм, прикинь, в войне как взвод английский побеждал,
Из зала весь народ сбежал, но я финала ждал, я о том читал.
Встряхнуть тебя желал.

Вмиг пальто и шапку снял,
В двухэтажный бус вбежал,
Вверх поднявшись, в небо дым пускал, и с кем-то трепал,
И потом в дремоту впал.

I saw the film today, oh boy.
The English Army had just won the war.
A crowd of people turned away, but I just had to look
Having read the book.
I’d love to turn you on.

Woke up, fell out of bed, dragged a comb across my head,
Found my way downstairs and drank a cup,
And looking up I noticed I was late.

Found my coat and grabbed my hat,
Made the bus in seconds flat.
Found my way upstairs and had a smoke,
And somebody spoke, and I went into a dream.

How the Beatles Wrote ‘A Day in the Life’

Fifty years after its release, the sprawling closing track on Sgt. Pepper’s Lonely Hearts Club Band remains a testament to the group’s ambitious songwriting.

It’s received wisdom that Sgt. Pepper’s Lonely Hearts Club Band, which arrived 50 years ago in the long record-breaking summer heat of 1967, is one of rock’s greatest albums. Inspired by Brian Wilson’s obsessive labor on the Beach Boys’ epic Pet Sounds, the Sgt. Pepper studio sessions were weeks of ideas tried, ideas rejected, and things tried anew. Undeniably, Sgt. Pepper is an experimental classic, a triumph of influence. But I don’t consider it even the best Beatles album; that’s Rubber Soul or Revolver. On the Sgt. Pepper album, however, is “A Day in the Life,” which is my idea of a perfect song. It is the epitome of The Beatles’ master building, of fitting stone upon stone, each section troweled together with such ingenuity and care that upon completion the whole thing feels seamless, a structure not built at all, but a whole that simply was.

“A Day in the Life” isn’t a song to sing, as are “Eleanor Rigby” (ideal for both car and karaoke), “Hey Jude” (written to soothe John Lennon’s young son, no lullaby works better at children’s bedtime), or “In My Life” (a perennial at weddings and funerals and, I can’t help mentioning, rock’s analog to Shakespeare’s Sonnet 116). Nor is “A Day in the Life” guided by melody like so many Beatles creations. It’s an elaborate production, filled with sophisticated George Martin and Geoff Emerick musical trickery (distortion, echo, dubbing, reverb). An orchestra plays, and then one singer’s voice gives way to another’s—John’s worldly reflections transitioning to Paul’s sketch of domestic memoir, and then back again—before orchestral cataclysm and a final resting place.

The song has so much happening that when I casually listen I feel the accumulated effect, but attempting to really figure out what’s going on, I fear may take the fun out of it. Liking songs is risky. They are aural fireflies, and you can get too close and lose them. If “A Day in the Life” is about anything, it speaks to the way the daily unfolding of worldly events touches the private fragilities of ordinary people. It’s Ulysses in a pop song, the typical day made unforgettable.

Песни Битлз, A Day In the Life

A Day In the Life

Альбомы, в которых присутствует песня

ПОЛ 1984: ‘Это было в основном работа Джона, я думаю.
Я помню, что очень осознаю слова ‘я бы хотел включить тебя’ и думаю, что мы, как бы, говорили о чем-то подобном.
Ну, Би-би-си запретило это. Они сказали: ‘Теперь они знают, сколько дыр нужно, чтобы заполнить Альберт Холл’ или что-то в этом роде.
Но я имею в виду, что в этом нет ничего смутно грубого или бунтарского.
‘Я бы с радостью включил тебя’ была самая грубая строчка.
Но это была одна из очень хороших строк Джона.
Я написал…, которая была написана совместно.
Крещендо оркестра, основанное на некоторых идеях, которые я получил от Стокхаузена и подобных ему людей, что более абстрактно.
Поэтому мы сказали членам оркестра просто начать с самой низкой ноты и закончить на самой высокой ноте…
Оркестры боятся делать такое, да и мы сами… Что они делали?

He blew his mind out in a car;
He didn’t notice that the lights had changed
A crowd of people stood and stared
They’d seen his face before
Nobody was really sure if he was from the House of Lords

I saw a film today, oh boy;
The English army had just won the war
A crowd of people turned away
But I just had to look
Having read the book

I’d love to turn you on

Woke up, fell out of bed
Dragged a comb across my head
Found my way downstairs and drank a cup
And looking up, I noticed I was late

Found my coat and grabbed my hat
Made the bus in seconds flat
Found my way upstairs and had a smoke
And somebody spoke and I went into a dream

Ah I read the news today, oh boy
Four thousand holes in Blackburn, Lancashire
And though the holes were rather small
They had to count them all
Now they know how many holes it takes to fill the Albert Hall

http://www.youtube.com/watch?v=pPSR9K7tzPc
http://www.youtube.com/watch?v=P-Q9D4dcYng
http://www.youtube.com/watch?v=nADdLAvMAXI

Александр Булынко
ДЕНЬ ИЗ ЖИЗНИ

Перевод песни «A Day In a Life»
группы The Beatles

Сегодня в новостях прочёл, дружок,
О том счастливце, что «словил» почёт.
Весть невесёлая, скорей наоборот…
Но не сдержал улыбки я,
Взглянув на фотографию.
Снесло ему мозги в авто,
Когда, не глядя, он проезжал на красный свет.
Толпа зевак глазела на него:
Ах, до чего знакомое лицо!
И все гадали – Не депутат ли он, в конце концов?!

Сегодня фильм смотрел, дружок –
В войне британцы одержали верх.
Наивный зритель не стерпел,
А я глядел и вспоминал,
Что книжку я о том читал.
Тебя я «завести» хотел.

Проснулся вдруг и встал с кровати,
Расческой причесался, кстати.
Я вышел к утреннему чаю,
Но краем глаза замечаю, что опоздал.
Пальто схватил и шляпу взял,
В автобус сел и …заскучал,
Куря в салоне сигарету.
А кто-то говорил про это, но я уже дремал.

Сегодня в новостях прочёл, дружок,
Что на дорогах Ланкашира ям тысяч пять или четыре.
Малы те ямы, несерьезны,
Но их считали скрупулёзно.
Ям много. Основной прикол – они заполнят Альберт-Холл*.
И всё же я тебя «завёл»!

16 января 2011
Британский рок.
Цикл «Весь The Beatles». «Sgt. Pepper’s Lonely Hearts Club Band»
=======================================

The Beatles
A DAY IN A LIFE
(John Lennon & Paul McCartney)

I saw a film today oh boy
The English Army had just won the war
A crowd of people turned away
But I just had to look
Having read the book
I’d love to turn you on

A DAY IN A LIFE

Песня состоит из двух частей, одна из которых написана Ленноном, а другая — Маккартни, причём часть Маккартни вставлена в середину той, что сочинена Ленноном. Фрагменты очень сильно различаются между собой стилистически и соединены крещендо симфонического оркестра из сорока одного человека, специально приглашённого для записи песни. Финальный аккорд песни длится 42 секунды, он взят в десять рук на четырёх инструментах (трёх фортепиано и фисгармонии). После завершения собственно песни следует несколько секунд ультразвука, а затем небольшой отрывок записи, в котором члены группы поют что-то нечленораздельное.

Примечания к переводу:
* Альберт-Холл – концертный зал в Лондоне, мемориал в память принца Альберта.
============================================

(исполнитель The Beatles)

На английском

На русском

I read the news today, oh boy,

About a lucky man who made the grade.

And though the news was rather sad,

Well, I just had to laugh,

I saw the photograph,

He blew his mind out in a car,

He didn’t notice that the lights had changed,

A crowd of people stood and stared.

They’d seen his face before,

Nobody was really sure if he was from the

Газету я читал, друг мой,

О том счастливце, что достиг высот

Хоть в общем новости скучны,

Смеялся, бросив взгляд,

в лицо тому, кто снят.

Он выпал насмерть из авто,

Он не заметил, что сменился свет

Столпились люди и глядят,

Лица нельзя забыть,

Никто не вспомнит, может быть,

он из палаты лордов.

I saw the film today, oh boy.

The English Army had just won the war.

A crowd of people turned away,

but I just had to look

Having read the book.

I’d love to turn you on.

Картину я смотрел, друг мой,

Как англичанин выиграл войну

Все люди встали и ушли,

я до конца ждать стал,

Я так хотел развлечь.

Woke up, fell out of bed, dragged a comb across my head,

Found my way downstairs and drank a cup,

And looking up I noticed I was late.

Проснулся, с кровати встал, волосы расчесал,

Вниз спустился и выпил чаю,

Вдруг замечаю, что я опоздал.

Found my coat and grabbed my hat,

Made the bus in seconds flat.

Found my way upstairs and had a smoke,

And somebody spoke, and I went into a dream.

Шляпу взял и плащ надел,

Вышел, на автобус сел,

Вверх поднялся и закурил,

Чуть поговорил и опять ушел в сон.

I read the news today, oh boy,

Four thousand holes in Blackburn, Lancashire.

And though the holes were rather small,

They had to count them all.

Now they know how many holes it takes to fill the Albert Hall.

I’d love to turn you on.

Газету я читал, друг мой,

Тысячи ям в Блэкберне, Ланкашир,

И хоть они невелики,

Кой-кто подсчет провел,

Сколько нужно норок, чтобы уместился Альберт-Холл.

На странице представлены текст и перевод с английского на русский язык песни «A Day In The Life» из альбома «Love» группы The Beatles.

Текст песни

I read the news today oh, boy About a lucky man who made the grade And though the news was rather sad Well, I just had to laugh I saw the photograph He blew his mind out in a car He didn’t notice that the lights had changed A crowd of people stood and stared They’d seen his face before Nobody was really sure if he was from the House of Lords I saw a film today oh, boy The English army had just won the war A crowd of people turned away But I just had to look Having read the book I love to turn you on. Woke up, got out of bed dragged a comb across my head Found my way downstairs and drank a cup and looking up, I noticed I was late Found my coat and grabbed my hat Made the bus in seconds flat Found my way upstairs and had a smoke Somebody spoke and I went into a dream Ah I read the news today oh, boy Four thousand holes in Blackburn, Lancashire And though the holes were rather small They had to count them all Now they know how many holes it takes to fill the Albert Hall I’d love to turn you on

Перевод песни

Recording: A Day In The Life

Studio One, EMI Studios, Abbey Road
Producer: George Martin
Engineer: Geoff Emerick

One of the most significant Beatles recording sessions took place on this day: the orchestral overdubs for ‘A Day In The Life’.

John Lennon had suggested the use of a symphony orchestra to fill the song’s instrumental passages, but was unable to put his ideas into adequate words. Paul McCartney suggested asking the players to build from their instruments’ lowest possible notes to the highest, and George Martin was given the task of turning the vision into reality.

Forty orchestral musicians were hired for the session, at a total cost of £367 and 10 shillings:

I marked the music ‘pianissimo’ at the beginning and ‘fortissimo’ at the end. Everyone was to start as quietly as possible, almost inaudibly, and end in a (metaphorically) lung-bursting tumult. And in addition to this extraordinary of musical gymnastics, I told them that they were to disobey the most fundamental rule of the orchestra. They were not to listen to their neighbours.

A well-schooled orchestra plays, ideally, like one man, following the leader. I emphasised that this was exactly what they must not do. I told them ‘I want everyone to be individual. It’s every man for himself. Don’t listen to the fellow next to you. If he’s a third away from you, and you think he’s going too fast, let him go. Just do your own slide up, your own way.’ Needless to say, they were amazed. They had certainly never been told that before.

The session was recorded onto a separate reel of tape running in parallel with The Beatles’ previously-recorded instruments and vocals. This required EMI’s staff to create a technical solution to allow two four-track machines to run together.

Having a separate tape reel running allowed for the orchestra to be recorded four times. It was then taped a fifth time, onto track four of the first reel, giving the equivalent of 200 session musicians. Paul McCartney conducted the proceedings in EMI’s enormous Studio One.

At the end of one of the performances – likely to have been the first – the musicians broke out into spontaneous applause.

Фактчек: 10 самых популярных легенд о «Битлз»

Леннон соперничал с Иисусом? Йоко Оно развалила группу? «Битлз» тайно приезжали в СССР? Полу Маккартни — 80 лет: по этому случаю музыкальный журналист Лев Ганкин рассказывает всю правду о нем и о «Битлз» в новом выпуске рубрики

The Beatles — одна из самых популярных групп в истории музыки, и именно с них во многом началась эра поп-селебрити, то есть не только талантливых певцов и инструменталистов, но и людей, чья частная жизнь и мнения по разным вопросам живо интересуют широкую общественность. Битломания первой половины 1960-х была помешательством настолько массовым, что ее объекты помимо их воли в одночасье стали не просто музыкантами, а ролевыми моделями, — отсюда то пристальное внимание, которое Джону Леннону, Полу Маккартни, Джорджу Харрисону и Ринго Старру уделяли не только поклонники, но и журналисты, политики, коллеги-артисты, прочие деятели искусства и даже религиозные лидеры. Отсюда гигантское количество слухов, которые стали моментально возникать вокруг The Beatles, — некоторые из них культивировали сами битлы, быстро осознавшие ценность мифотворчества в поп-культуре, а другие появились независимо от них. Ниже — десять особенно живучих легенд: с подтверждениями или опровержениями.

Легенда 1. Никто в The Beatles не владел нотной грамотой

Вердикт: это правда.

Участники группы The Beatles со своим продюсером Джорджем Мартином на записи в студии. Около 1964 года © Capitol Records

Важно понимать, что утверждение «The Beatles не владели нотной грамотой» не равно утверждению «The Beatles ничего не понимали в устройстве музыки». На заре карьеры они увлеченно запоминали гитарные аккорды, а Леннон даже как-то сказал, что юного Джорджа Харрисона приняли в группу потому, что он знал больше разных аккордов, чем Джон и Пол. Битлы имели представление о мажоре и миноре, интуитивно чувствовали, как работают модуляции из одной тональности в другую, и так же, по наитию, осваивали разные музыкальные размеры — правда, не использовали при этом общепринятую терминологию (например, про один из пассажей в песне «We Can Work It Out» участники группы говорили, что он «в ритме вальса», а не в трехдольном размере). Как и многие другие поп-музыканты, они просто не нуждались в том, чтобы нотировать свои сочинения, а в тех случаях, когда это все же было необходимо (например, для струнных в «Yesterday» или «Eleanor Rigby»), на помощь всегда готов был прийти продюсер Джордж Мартин.

Легенда 2. Первая звукозаписывающая компания, в которую пришли The Beatles, отказалась с ними работать, решив, что «участникам группы не хватает таланта»

Вердикт: это отчасти правда.

Джон Леннон, Пол Маккартни, Пит Бест и Джордж Харрисон. Фотография Майкла Маккартни. Начало 1960-х годов © Michael McCartney / MutualArt

Речь, очевидно, про прослушивание битлов в студии фирмы Decca — одного из двух британских мейджор-лейблов тех времен — 1 января 1962 года. О сессии договорился Брайан Эпстайн, новоиспеченный менеджер ансамбля (к тому моменту он работал с The Beatles меньше месяца), а группа выступала перед сотрудниками Decca в составе Джон Леннон, Пол Маккартни, Джордж Харрисон и Пит Бест (первый битловский барабанщик; вскоре его сменит Ринго Старр).

По разным причинам студийная сессия сразу не задалась. Битлам не разрешили использовать их проверенное многочисленными концертами оборудование, попросив воткнуть инструменты в студийную аппаратуру, на которой неопытные музыканты не могли с ходу выстроить требуемый звук. Сама ситуация экзамена заставляла их нервничать — единственным студийным опытом группы до той поры была запись с Тони Шериданом в Германии, где они выступали как аккомпанирующий состав. В сет-листе, который составлялся при активном участии Эпстайна, оказалось всего три оригинальных композиции, остальное — кавер-версии стандартов: от рок-н-ролла до мюзик-холла и «Bésame Mucho». Пять песен с пленки, записанной в тот день, спустя много лет вошли в битловскую «Антологию» — и, честно говоря, контуры великой группы в этих сыро сыгранных композициях почти не угадываются; задним числом отказ лейбла от сотрудничества с The Beatles можно понять.

Формулировка отказа по-прежнему остается объектом споров. Дик Роу, главный в Decca по артистам и репертуару, отрицал, что когда-либо произносил приписываемую ему фразу «Гитарные группы выходят из моды, мистер Эпстайн» (позже, уже на волне успеха The Beatles, Роу подпишет на Decca их главных конкурентов, The Rolling Stones). Доподлинно неизвестно и то, говорил ли кто-либо напрямую о том, что битлам, дескать, не хватает таланта. Некоторые исследователи полагают, что против группы просто-напросто сыграла их ливерпульская прописка: лондонской компании было сподручнее иметь дела с ансамблем из местного района Дагенхэм, Brian Poole and The Tremeloes, который успешно прошел прослушивание в тот же январский день.

Легенда 3. Творческого тандема Леннон — Маккартни, которым подписано большинство песен The Beatles, не существовало: музыканты писали песни по отдельности

Вердикт: это скорее неправда.

Джон Леннон и Пол Маккартни. Фотография Линды Маккартни. 1968 год © Linda McCartney / National Portrait Gallery, London

В начале 1960-х было решено, что битловские композиции будут публиковаться с двойной подписью «Леннон — Маккартни» (на первых порах порядок иногда был обратный: «Маккартни — Леннон»). Исключения — разумеется, песни, которые сочиняли Джордж Харрисон и Ринго Старр (у последнего их было две за всю историю The Beatles), а также несколько треков с коллективным авторством: например, инструментал «Flying». У Джона и Пола же действительно формально нет ни одной «сольной» композиции в битловских альбомах — более того, когда у Леннона в 1969 году стартовала внебитловская карьера, первый сингл «Give Peace a Chance» все равно по инерции был подписан обеими фамилиями.

Легенда 4. На самом деле Пол Маккартни погиб еще в 1966 году; вместо него выступал его двойник

Вердикт: это неправда.

Пол Маккартни в Чизик-хаусе во время съемок промовидео к синглу «Paperback Writer / Rain». 1966 год © Bob Whitaker / Beatles Archive

«Пол мертв» — одна из самых ярких поп-культурных конспирологических теорий. Слух о том, что Маккартни якобы погиб в автокатастрофе, впервые прошел в Англии в начале 1967 года — однажды музыканту даже пришлось опровергать эту информацию на пресс-конференции. Согласно книге Иэна Макдональда «Revolution in the Head: The Beatles’ Records and the Sixties», источник слуха — авария, произошедшая 9 ноября 1966 года: Пол вместе с юным британским бонвиваном Тарой Брауном ехали на мопеде, предварительно покурив марихуаны, и не справились с управлением. В итоге Маккартни разбил губу, а чтобы скрыть рану, отрастил усы; по горькой иронии судьбы, спустя месяц Тара Браун погибнет в другой автокатастрофе — The Beatles споют об этом в песне «A Day in the Life».

Легенда 5: Леннон хвастался, что The Beatles популярнее Иисуса

Вердикт: это правда.

Сожжение дисков The Beatles, организованное радиостанцией WAYX в Уэйкроссе, штат Джорджия. 1966 год © United Press International

В Великобритании интервью не произвело особенно яркого впечатления, тем более что, по статистике, уровень воцерковленности в стране действительно стабильно снижался еще с конца Первой мировой войны. Но когда в августе того же года, накануне очередного (последнего, как позже выяснилось) заокеанского тура, цитату перепечатало американское издание для подростков Datebook, случился грандиозный скандал. Радиостанции штатов так называемого Библейского пояса на юге США Библейский пояс — регион США, в котором распространен «евангельский протестантизм». заявили о бойкоте музыки The Beatles (впрочем, многие из них фокусировались на стиле кантри, поэтому их песни и так не давали в эфир). Были организованы антибитловские демонстрации, на которых сжигали их пластинки и мерч. В Южной Каролине ку-клукс-клановцы «распяли» один из альбомов The Beatles, прибив его к деревянному кресту.

Легенда 6. The Beatles перестали давать концерты, потому что их фанатки слишком громко визжали и музыку было не слышно

Вердикт: это отчасти правда.

На усталость битлов от этой рутины наложился и неприятный гастрольный опыт 1966-го: сначала история на Филиппинах, где музыканты отказались принимать участие в торжественных церемониях с политическим руководством страны, чем нанесли местным властям смертельную обиду, — Брайану Эпстайну пришлось давать взятки, чтобы группу вообще выпустили с островов. А затем и противоречивые события вокруг тура в США (см. предыдущий пункт).

Кроме того, студийные записи ансамбля становились все более рафинированными — но условия, в которых проходили их концерты, категорически не позволяли воспроизводить живьем хитросплетенные аранжировки новых песен. Симптоматично, что в последнем туре The Beatles не играли ни одной композиции с альбома «Revolver», хотя тот вышел в свет за неделю до начала гастролей. Не менее симптоматично и то, что пластинка заканчивалась экспериментальной композицией «Tomorrow Never Knows», а концерты — включая самый последний, в Сан-Франциско 29 августа — стандартом «Long Tall Sally», который битлы играли на своих выступлениях с 1957 года, еще под названием The Quarrymen.

Легенда 7. The Beatles тайно приезжали в СССР и давали здесь концерт

Вердикт: это неправда.

Основанием для этого живучего мифа, видимо, стала песня «Back in the USSR», открывавшая «Белый альбом» битлов. Впрочем, принять ее за чистую монету может разве что очень наивный человек: это типичная для Пола Маккартни легкомысленная фантазия, в которой он высказывается как будто бы от лица советского шпиона, вернувшегося домой с задания (и попутно пародирует патриотический пафос композиции «Back in the USA» Чака Берри). Внутри — весь набор штампов о Советском Союзе (от балалаек до обращения к девушке «Come and keep your comrade warm» «Приди и согрей своего товарища». ), а также каламбур «Georgia on my mind»; так назывался знаменитый хит Рэя Чарльза, только если тот пел о штате Джорджия, то у Маккартни, разумеется, имеется в виду омонимичная ей в английском языке Грузия.

В действительности битлы никогда не были в СССР, а вот песня «Back in the USSR» все-таки прозвучала живьем в Москве и Ленинграде в 1979 году в исполнении Элтона Джона — первой британской поп-звезды, приехавшей сюда с концертами. Этим номером он заканчивал каждое из восьми своих выступлений.

Есть и еще одна версия, откуда взялась легенда о выступлении The Beatles в Советском Союзе. В январе 1965 года в свой первый мировой тур отправилась другая видная британская бит-группа, The Kinks. Доподлинно известно, что самолет, на котором летели музыканты, останавливался для дозаправки топливом в Москве — теоретически The Kinks могли спеть несколько песен в акустике, находясь в зале ожидания аэропорта, а молва потом разнесла информацию об этом в искаженном виде.

Легенда 8. Музыканты The Beatles купили греческий остров и хотели создать там свою утопию

Вердикт: это неправда.

Этот миф восходит к реальному круизу по Эгейскому морю, в который битлы отправились летом 1967 года. Это было время психоделической музыки, легких наркотиков и хиппи-коммун, поэтому в процессе музыканты загорелись идеей выкупить один или несколько островов и организовать там собственный ретрит. Выяснилось, однако, что сделка требует обмена большого количества валюты, и к тому времени, как этот обмен был произведен, битлы и думать забыли о греческих островах. Пришлось менять деньги обратно, а поскольку курс фунта стерлингов за это время вырос, музыканты, как с иронией подметил Харрисон, в итоге даже заработали пару десятков шиллингов.

Легенда 9. Йоко Оно развалила The Beatles

Вердикт: это неправда.

Во всей истории популярной музыки, кажется, нет человека, к которому массовая публика относилась бы с большей неприязнью, чем к Йоко Оно. Тезис о том, что Йоко развалила The Beatles, впервые прозвучал по горячим следам после распада группы и с тех пор упорно воспроизводится не только в досужих фанатских разговорах, но и во вполне респектабельных источниках — например, в книге Боба Спитца «The Beatles: The Biography» 2005 года. У этой застарелой нелюбви к Оно — множество причин, среди которых и подозрительное отношение к авангардному искусству, представительницей которого она была (обвинения Йоко в том, что она не умеет петь, — эхо обвинений современных художников, начиная как минимум с абстракционизма, в том, что они не умеют рисовать), и, по крайней мере на первых порах, вполне стандартный бытовой шовинизм: в 1960-е, когда они с Ленноном появлялись на публике, ее обзывали «китаезой» и всячески давали понять, что она ведьма, охмурившая «нашего мальчика» и отбившая его у «хорошей девочки» Синтии, первой жены артиста. Иными словами, Йоко стала жертвой в том числе и ксенофобии, в буквальном значении этого слова — как боязни чужого (в данном случае не только этнически, но и эстетически).

При этом глупо отрицать, что появление Йоко существенно изменило динамику отношений внутри группы. Она действительно не отходила от Леннона ни на шаг, став (преимущественно немой) свидетельницей почти всех битловских репетиций. Когда во время беременности Йоко прописали строгий постельный режим, Джон даже установил в студии большую кровать для того, чтобы Оно могла постоянно быть с ним. Особая дружеская связь с Ленноном, которую чувствовали Маккартни и Харрисон, теперь как будто оборвалась: все свободное время тот посвящал своей новой любви.

Тем не менее, как убедительно показывает фильм «The Beatles: Get Back», никакой вражды между Йоко и остальными битлами, по крайней мере во время записи материала альбома «Let It Be», не было. Пол воспринимает увлечение Джона и Йоко друг другом довольно великодушно «Their point is that they’re trying to like, be as near together as they can. They want to stay together, those two. So it’s alright, let the young lovers stay together. It’s not that bad» («Штука в том, что они пытаются быть настолько близко друг к другу, насколько это возможно. Они хотят быть вместе, эти двое. Это нормально, пусть эти двое молодых влюбленных будут рядом. В этом нет ничего страшного»). и даже принимает участие в битловском «джеме» с характерными вокализами Оно, от души выбивая пыль из ударной установки. Когда Харрисон решает записать сольный альбом, он сообщает об этом именно Леннону и Оно, и те одобряют идею. В конце концов, The Beatles записали три, мягко говоря, не самых дурных альбома («Белый», «Let It Be» и «Abbey Road») в присутствии Йоко — и наверняка могли бы продолжать в том же духе, если бы не вмешались иные обстоятельства: в первую очередь конфликт вокруг того, кто будет заведовать финансами группы и ее компании Apple Records (см. следующую главу этого материала).

Легенда 10. Музыканты The Beatles после распада группы ненавидели друг друга и не разговаривали до смерти Леннона

Вердикт: это неправда.

Обложка альбома «A Toot and a Snore in ’ 74», в записи которого приняли совместное участие Джон Леннон и Пол Маккартни. 1992 год © Mistral Music

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A Day In The Life

Источники:

The beatles a day in the life

Перевод песни A day in the life (Beatles, the)

A day in the life

День из жизни

A Day In The Life

A Day In The Life

The Beatles перевод A Day In The Life

A Day In The Life

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А Day In The Life

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CHRONICLES OF TAO THE SECRET LIFE OF A TAOIST MASTER

The Beatles — A Day in The Life

A Day in The Life

День из жизни

День из жизни

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Текст песни A Day In the Life

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A Day in the Life

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A Day in the Life

A Day in the Life

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Contents

About/Info [ ]

Recording [ ]

Lyrics [ ]

Meaning [ ]

Tara Browne [ ]

Four-thousand holes [ ]

Drug culture [ ]

The English Army [ ]

Creation [ ]

Reception/Legacy [ ]

Beatles. A Day In The Life. День из жизни

Текст песни The Beatles — A Day in the Life перевод на русский язык

Beatles: A Day In The Life Meaning

Song Released: 1967

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A Day In The Life Lyrics

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Текст песни A Day In the Life

Перевод песни A Day In the Life

Intro

Verse1

Verse 2

Verse 3

Instrumental

Легенда 2. Первая звукозаписывающая компания, в которую пришли The Beatles, отказалась с ними работать, решив, что «участникам группы не хватает таланта»

Легенда 6. The Beatles перестали давать концерты, потому что их фанатки слишком громко визжали и музыку было не слышно

Легенда 10. Музыканты The Beatles после распада группы ненавидели друг друга и не разговаривали до смерти Леннона