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Orchestra[redigér | redigér wikikode]

The song's orchestral segments reflect the influence of avant-garde composers such as Karlheinz Stockhausen (left, at an awards ceremony in Amsterdam in October 1969).

The orchestral portions of "A Day in the Life" reflect Lennon and McCartney's interest in the work of avant-garde composers such as Karlheinz Stockhausen, Luciano Berio and John Cage.[1][nb 1] To fill the empty 24-bar middle section, Lennon's request to George Martin was that the orchestra should provide "a tremendous build-up, from nothing up to something absolutely like the end of the world".[4] McCartney suggested having the musicians improvise over the segment.[5] To allay concerns that classically trained musicians would be unable to do this, Martin wrote a loose score for the section.[6] Using the rhythm implied by Lennon's staggered intonation on the words "turn you on",[7] the score was an extended, atonal crescendo that encouraged the musicians to improvise within the defined framework.[5] The orchestral part was recorded on 10 February 1967 in Studio One at EMI Studios,[8] with Martin and McCartney conducting a 40-piece orchestra.[9] The recording session was completed at a total cost of £367 (equivalent to £Udtryksfejl: Uventet tegnsætning-tegn: "[" in Skabelon:Inflation-year)[10] for the players, an extravagance at the time.[11] Martin later described explaining his score to the puzzled orchestra:

De orkestrale dele af "A Day in the Life" afspejler Lennon og McCartneys interesse for avantgardekomponister som Karlheinz Stockhausen, Luciano Berio og John Cage.[1][nb 2] For at fylde den tomme 24-takters midtersektion, var Lennons anmodning til George Martin, at orkestret skulle lave "en enorm opbygning, fra intet op til noget, der lignede verdens ende".[4] McCartney foreslog, at musikerne improviserede over segmentet.[5] For at dæmpe bekymring for, at klassisk uddannede musikere ikke ville være i stand til at gøre dette, skrev Martin en løs partitur for sektionen.[6] Ved hjælp af den rytme, der blev antydet af Lennons forskudte intonation af ordene "turn you on",[7] var partituret en udvidet, atonal crescendo, der opmuntrede musikerne til at improvisere inden for de definerede rammer.[5] Orkesterdelen blev indspillet den 10. februar 1967 i Studio One i EMI Studios[8] med Martin og McCartney dirigeret af et 40-mands orkester.[9] Optagelsessessionen blev afsluttet til en samlet pris på £ 367 (svarende til £6,710 i 2019) for spillerne, en ekstravagance på det tidspunkt.[11] Martin beskrev senere at forklare sin score til det forvirrede orkester:

What I did there was to write ... the lowest possible node 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.[12]

Hvad jeg gjorde der var at skrive ... den lavest mulige tone for hvert instrument i orkesteret. I slutningen af ​​de fireogtyve søjler skrev jeg den højeste tone ... nær en akkord af E-dur. Derefter satte jeg en snoet linje lige gennem de fireogtyve søjler med referencepunkter for at fortælle dem omtrent, hvilken node de skulle have nået under hver søjle ... Selvfølgelig så de alle på mig som om jeg var helt slør..[12]}}

McCartney had originally wanted a 90-piece orchestra, but this proved impossible. Instead, the semi-improvised segment was recorded multiple times, filling a separate four-track tape machine,[13] and the four different recordings were overdubbed into a single massive crescendo.[5] The results were successful; in the final edit of the song, the orchestral bridge is reprised after the final verse.

McCartney havde oprindeligt ønsket et 90 mands stort orkester, men dette viste sig umuligt. I stedet blev det semi-improviserede segment indspillet flere gange, idet det fyldte en separat firesporet båndmaskine,[13] og de fire forskellige optagelser blev overdubbet til en enkelt massiv crescendo.[5] Resultaterne var vellykkede; I den endelige redigering af sangen gentages orkesterovergangen efter sidste vers.

Skabelon:Listen

The Beatles hosted the orchestral session as a 1960s-style happening,[14][15] with guests including Mick Jagger, Marianne Faithfull, Keith Richards, Brian Jones, Donovan, Pattie Boyd, Michael Nesmith, and members of the psychedelic design collective The Fool.[9] Overseen by Tony Bramwell of NEMS Enterprises, the event was filmed for use in a projected television special that never materialised.[9][nb 3] Reflecting the Beatles' taste for experimentation and the avant garde, the orchestra players were asked to wear formal dress and then given a costume piece as a contrast with this attire.[19] 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.[11]

The Beatles var vært for den orkestrale session som en happening fra 1960'erne,[14][15] med gæster, herunder Mick Jagger, Marianne Faithfull, Keith Richards, Brian Jones, Donovan, Pattie Boyd, Michael Nesmith, og medlemmer af den psykedeliske design kollektiv The Fool. Overvåget af Tony Bramwell fra NEMS Enterprises, og begivenheden blev filmet til brug i en projiceret tv-special, der aldrig blev realiseret.[9][nb 4] Orkesterets medlemmer blev bedt om af reflektere over Beatles' trang til eksperimentering og avantgarde og blev bedt om at have en formel påklædning og fik derefter et kostumestykke i kontrast til denne påklædning. Dette resulterede i, at forskellige medlemmer havde alt fra falske næser til falske bryster, der blev klæbet fast. Martin huskede, at førsteviolinisten optrådte iført en gorillapote, mens en fagottespiller fik placeret en ballon på enden af hans instrument.[11]

At the end of the night, the four Beatles and some of their guests overdubbed an extended humming sound to close the song[21] – an idea that they later discarded.[22] According to Beatles historian Mark Lewisohn, the tapes from this 10 February orchestral session reveal the guests breaking into loud applause following the second orchestral passage.[21] Among the EMI staff attending the event, one recalled how Ron Richards, the Hollies' producer, was stunned by the music he had heard; in Lewisohn's description, Richards "[sat] with his head in his hands, saying 'I just can't believe it ... I give up.'"[9] Martin later offered his own opinion of the orchestral session: "part of me said 'We're being a bit self-indulgent here.' The other part of me said 'It's bloody marvellous!'"[21]

I slutningen af natten overdubbed de fire Beatles og nogle af deres gæster en udvidet brummende lyd for at slutte sangen[21] - en idé, som de senere kasserede.[21] Ifølge Beatles-historikeren Mark Lewisohn afslører båndene fra denne orkestersession den 10. februar gæsterne, der bryder i høj bifald efter den anden orkestrale passage.[21] Blandt EMI-personale, der deltog i begivenheden, huskede man, hvordan Ron Richards, The Hollies' producent, blev lamslået af musikken, han havde hørt; i Lewisohns beskrivelse, Richards "[sad] med hovedet i hænderne og sagde 'Jeg kan bare ikke tro det   ... Jeg giver op.'"[9] Martin tilbød senere sin egen mening om orkestersessionen:" En del af mig sagde' Vi er lidt selvudgivende her. ' Den anden del af mig sagde 'Det er blodigt vidunderligt !' "[21]

Final chord[redigér | redigér wikikode]

Studio Two, Abbey Road Studios
A grand piano in EMI's Studio Two, where the closing piano chord was recorded on 22 February 1967

Following the final orchestral crescendo, the song ends with one of the most famous final chords in music history.[11][23] Overdubbed in place of the vocal experiment from 10 February, this chord was added during a session at EMI's Studio Two on 22 February.[24] Lennon, McCartney, Starr and Evans shared three different pianos, with Martin on a harmonium, and all played an E-major chord simultaneously. The 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.[25] In author Jonathan Gould's commentary on "A Day in the Life", he describes the final chord as "a forty-second meditation on finality that leaves each member of the audience listening with a new kind of attention and awareness to the sound of nothing at all".[26]

Efter det endelige orkestrale crescendo slutter sangen med et af de mest berømte endelige akkorder i musikhistorien. Overvældet i stedet for vokaleksperimentet fra 10. februar blev denne akkord tilføjet under en session i EMI's Studio Two den 22. februar. Lennon, McCartney, Starr og Evans delte tre forskellige klaverer med Martin på et harmonium, og alle spillede en E-major-akkord samtidig. Akkorden blev bragt til at ringe ud i over fyrre sekunder ved at øge lydniveauet for optagelsen, efterhånden som vibrationen udtonede. Mot slutningen af akkorden var indspilningsniveauet så højt, at lyttere kan høre lydene fra studiet, inklusive raslende papirer og en knirkende stol. I forfatter Jonathan Goulds kommentar til "En dag i livet" beskriver han den endelige akkord som "en fyrre-sekunders meditation om finalitet, der lader hvert medlem af publikum lytte med en ny slags opmærksomhed og opmærksomhed mod lyden overhovedet af intet ".


One of the first outsiders to hear the completed recording was the Byrds' David Crosby[27] when he visited the Beatles during their 24 February overdubbing session for "Lovely Rita".[28] He recalled his reaction to the song: "Man, I was a dish-rag. I was floored. It took me several minutes to be able to talk after that."[27] Due to the multiple takes required to perfect the orchestral cacophony and the final chord, the total time spent recording "A Day in the Life" was 34 hours.[29] By contrast, the Beatles' debut album, Please Please Me, had been recorded in its entirety in only 10 hours, 45 minutes.[30]Skabelon:Sps

En af de første outsidere, der hørte den afsluttede indspilning, var Byrds ' David Crosby da han besøgte Beatles i løbet af deres 24. februar overdubbing-session for " Lovely Rita ". Han huskede sin reaktion på sangen: ”Mand, jeg var en opvask . Jeg var floppet. Det tog mig flere minutter at være i stand til at tale efter det. " På grund af de mange krævede behov for at perfektionere orkestralkakofonien og den endelige akkord, var den samlede brugte tid på optagelsen" En dag i livet "34   timer. Derimod var Beatles 'debutalbum, Please Please Me, blevet optaget i sin helhed i kun 10   timer, 45   minutter.   ]


High-pitched tone and run-out groove[redigér | redigér wikikode]

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 babble. The tone is the same pitch as a dog whistle, at the upper limit of human hearing, but within the range that dogs and cats can hear.[31] This addition was part of the Beatles' humour and was suggested by Lennon.[32][nb 5] The studio babble, titled in the session notes "Edit for LP End" and recorded on 21 April 1967, two months after the mono and stereo masters for "A Day in the Life" had been finalised, was added to the run-out groove of the initial British pressing.[33] The two or three seconds of gibberish looped back into itself endlessly on any record player not equipped with an automatic phonograph arm return.[32][34] Some listeners discerned words among the vocal gibberish,[33] including Lennon saying "Been so high", followed by McCartney's response: "Never could be any other way."[34] US copies of the album lacked the high-pitched tone and the studio babble.[33]

Hyle tone og udløbsrille

Efter sidste nummeret på Sgt. Pepper, "A Day in the Life", (albummet blev første gang udgivet på LP i England og år senere på verdensplan på CD) er en højfrekvent 15 kilohertz tone og nogle tilfældigt splejsede Beatles studio babble (udbrud). Tonen er den samme tonehøjde som en hundefløjte og ligger i den øverste grænse for menneskelig hørelse, men inden for det område, som hunde og katte kan høre.[31] Denne tilføjelse var en del af Beatles' humor og blev foreslået af Lennon.[32][nb 6] Studiobabbelen, titlet i sessionnotaterne "Edit for LP End" og blev indspillet den 21. april 1967, to måneder efter mono- og stereomesterne til "A Day in the Life" var afsluttet, blev det føjet til udløbsrillen til den første britiske presning.[33] De to eller tre sekunder med sludder gentaget uendeligt på enhver pladeafspiller, der ikke er udstyret med en automatisk pickuparm retur.[32][34] Nogle lyttere bemærkede ord blandt de talte sludder, inklusive Lennon, der sagde "Been so high", efterfulgt af McCartneys svar: "Never could be any other way."[34] Amerikanske kopier af albummet manglede den høje tone og studio-udbrud.[33]

Variations[redigér | redigér wikikode]

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 compilation LP, the crossfade is cut off, and the track begins abruptly after the start of the original recording, but on the soundtrack album Imagine: John Lennon and the CD versions of 1967–1970, the song starts cleanly, with no applause effects.[35][36][37]

På Sgt. Pepper- album, starten på "En dag i livet" krydsfalderes med bifalden i slutningen af det forrige spor, " Sgt. Peppers Lonely Hearts Club Band (Reprise) ". På Beatles ' 1967–1970- kompilering LP er crossfade afskåret, og sporet begynder pludseligt efter starten af den originale indspilning, men på lydsporealbumet Imagine: John Lennon og CD-versionerne fra 1967–1970 starter sangen rent uden applaus-effekter.

The Anthology 2 album, released in 1996, featured a composite remix of "A Day in the Life", including elements from the first two takes, representing the song at its early, pre-orchestral stage,[38] while Anthology 3 included 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).[39] The version on the 2006 soundtrack remix album Love has the song starting with Lennon's intro of "sugar plum fairy", with the strings being more prominent during the crescendos.[40] In 2017, a handful of outtakes from the recording sessions, including the first take, were included on the two-disc and six-disc versions of the 50th-anniversary edition of Sgt. Pepper.[38] The six-disc version of that edition also included, on a disc of mono mixes, a previously unreleased early demo mix of the song in its pre-orchestral stage, as of 30 January.[41]

BBC radio ban[redigér | redigér wikikode]

BBC-radioforbud

The song became controversial for its supposed references to drugs. On 20 May 1967, during the BBC Light Programme's preview of the Sgt. Pepper album, disc jockey Kenny Everett was prevented from playing "A Day in the Life".[42] The BBC announced that it would not broadcast the song due to the line "I'd love to turn you on", which, according to the corporation, advocated drug use.[43][44] 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."[45][nb 7]

Sangen blev kontroversiel pga. sine formodede referencer til stoffer. Den 20. maj 1967 under BBC Light-programmets forhåndsvisning af Sgt. Pepperalbum, blev diskjockey Kenny Everett forhindret i at spille "A Day in the Life". BBC meddelte, at den ikke ville udsende sangen på grund af linjen "I'd love to turn you on", som ifølge virksomheden foreslog narkotikamisbrug.[43][44] Andre tekster, der angiveligt henviser til stoffer, inkluderer "found my way upstairs and had a smoke / somebody spoke and I went into a dream". En talsmand for BBC sagde: "Vi har lyttet til denne sang igen og igen. Og vi har besluttet, at det ser ud til at gå lidt for langt og kunne tilskynde til en permissiv holdning til narkotikabrug."[45][nb 8]

At the time, Lennon and McCartney denied that there were drug references in "A Day in the Life" and publicly complained about the ban at a dinner party at the home of their manager, Brian Epstein, celebrating their album's release. Lennon said that the song was simply about "a crash and its victim", and called the line in question "the most innocent of phrases".[45] 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."[47] The Beatles nevertheless aligned themselves with the drug culture in Britain by paying for (at McCartney's instigation) a full-page advertisement in The Times, in which, along with 60 other signatories, they and Epstein denounced the law against marijuana as "immoral in principle and unworkable in practice".[48] In addition, on 19 June, McCartney confirmed to an ITN reporter, further to his statement in a recent Life magazine interview, that he had taken LSD.[49] Described by MacDonald as a "careless admission", it led to condemnation of McCartney in the British press, recalling the outcry caused by the publication of Lennon's "More popular than Jesus" remark in the US in 1966.[50][51] The BBC ban on the song was eventually lifted on 13 March 1972.[52][nb 9]

På det tidspunkt benægtede Lennon og McCartney, at der var narkotikareferencer i "A Day in the Life" og klagede offentligt over forbuddet ved en middagsselskab hjemme hos deres manager, Brian Epstein, hvor de fejrede deres album udgivelse. Lennon sagde, at sangen simpelthen handlede om "et styrt og et offer", og kaldte den pågældende linje "den mest uskyldige sætning"..[45] McCartney sagde senere: "Dette var den eneste nummer på albummet, der blev skrevet som en bevidst provokation. En stick-that-in-your-pipe   ... Men det, vi ønsker, er at vende dig mod sandheden snarere end pot."[54] Beatles tilpassede sig alligevel med narkotikakulturen i Storbritannien ved at betale for (på McCartneys anmodning) en fuld-side reklame i The Times, hvor, sammen med 60 andre underskrivere, de og Epstein fordømte lov mod hash som "umoralsk i princippet og uigennemførlig i praksis".[48] Hertil kommer, den 19. juni, McCartney bekræftet til en ITN reporter, videre til sin redegørelse i en nylig Life-magasininterview, at han havde taget LSD.[49] Beskrevet af MacDonald som en "skødesløs optagelse" førte det til fordømmelse af McCartney i den britiske presse og mindede om skriget forårsaget af offentliggørelsen af Lennons "Mere populært end Jesus" bemærkning i USA i 1966.[50][51] BBC-forbuddet mod sangen blev til sidst ophævet den 13. marts 1972.[52][nb 10]

Recognition and reception[redigér | redigér wikikode]

Anerkendelse og modtagelse Recalling the release of Sgt. Pepper in his 1977 book The Beatles Forever, Nicholas Schaffner wrote that "Nothing quite like 'A Day In The Life' had been attempted before in so-called popular music" in terms of the song's "use of dynamics and tricks of rhythm, and of space and stereo effect, and its deft intermingling of scenes from dream, reality, and shades in between". Schaffner said that in the context of 1967, the track "was so visually evocative it seemed more like a film than a mere song. Except that the pictures were all in our heads."[56] Having been given a tape of "A Day in the Life" by Harrison before leaving London, David Crosby proselytised strongly about Sgt. Pepper to his circle in Los Angeles,[57] sharing the recording with his Byrds bandmates and Graham Nash.[58] Crosby later expressed surprise that by 1970 the album's powerful sentiments had not been enough to stop the Vietnam War.[59]

Som minder om frigivelsen af Sgt. Pepper skrev i sin bog fra 1977 The Beatles Forever, at Nicholas Schaffner skrev, at "Intet helt ligesom 'A Day In The Life' var blevet forsøgt før i såkaldt populærmusik" i form af sangens "brug af dynamik og rytmetricks, og af plads og stereoeffekt og dens dybtgående indblanding af scener fra drøm, virkelighed og skygger derimellem ". Schaffner sagde, at sporet "i sammenhæng med 1967" var så visuelt stemningsfuldt, at det virkede mere som en film end en ren sang. Bortset fra at billederne alle var i vores hoveder. " Efter at have fået et bånd af "En dag i livet" af Harrison før han forlod London, proklamerede David Crosby kraftigt om Sgt. Pepper til sin cirkel i Los Angeles, delte optagelsen med sine Byrds-bandkammerater og Graham Nash . Crosby udtrykte senere overraskelse over, at albummet i 1970 ikke havde været nok til at stoppe Vietnamkrigen i 1970.

Richard Goldstein of The New York Times called the song "a deadly earnest excursion in emotive music with a chilling lyric" and said that it "stands as one of the most important Lennon-McCartney compositions … [and] an historic Pop event".[60][61] In his praise for the track, he drew comparisons between its lyrics and the work of T.S. Eliot and likened its music to Wagner.[62] In a contemporary music critics' poll published by Jazz & Pop magazine, "A Day in the Life" won in the categories of Best Pop Song and Best Pop Arrangement.[63]

Richard Goldstein fra The New York Times kaldte sangen "en dødbringende alvorlig udflugt i følelsesladet musik med en kølig lyrik" og sagde, at den "står som en af de vigtigste Lennon-McCartney-kompositioner   ... [og] en historisk popbegivenhed ". I sin ros for sporet gjorde han sammenligninger mellem dets tekster og værket af TS Eliot og sammenlignede dets musik med Wagner . I en moderne musikkritikere 'meningsmåling udgivet af magasinet Jazz & Pop ,' En dag i livet 'vandt i kategorierne Bedste popsang og bedste poparrangement.

In his appraisal of the song, musicologist Walter Everett states that, as on the band's Revolver album, "the most monumental piece on Sgt. Pepper's Lonely Hearts Club Band was Lennon's". He identifies the track's most striking feature as "its mysterious and poetic approach to serious topics that come together in a larger, direct message to its listeners, an embodiment of the central ideal for which the Beatles stood: that a truly meaningful life can be had only when one is aware of one's self and one's surroundings and overcomes the status quo."[64] Beatles biographer Philip Norman describes "A Day in the Life" as a "masterpiece" and cites it as an example of how Sgt. Pepper "certainly was John's Freak Out!", referring to the 1966 album by the Mothers of Invention.[65] As the closing track on Sgt. Pepper, the song was the object of intense scrutiny and commentary. In Ian MacDonald's description, it has been interpreted "as a sober return to the real world after the drunken fantasy of 'Pepperland'; as a conceptual statement about the structure of the pop album (or the artifice of the studio, or the falsity of recorded performance); as an evocation of a bad [LSD] trip; as a 'pop Waste Land'; even as a morbid celebration of death".[66][nb 11]

I sin bedømmelse af sangen siger musikolog Walter Everett, at som på bandets Revolver- album, "det mest monumentale stykke på Sgt. Peppers Lonely Hearts Club Band var Lennon". Han identificerer sporets mest markante træk som "dets mystiske og poetiske tilgang til seriøse emner, der samles i en større, direkte besked til dens lyttere, en legemliggørelse af det centrale ideal, som Beatles stod for: at et virkelig meningsfuldt liv kunne have haft kun når man er opmærksom på sig selv og sine omgivelser og overvinder status quo. " Beatles-biograf Philip Norman beskriver "En dag i livet" som et "mesterværk" og nævner det som et eksempel på, hvordan Sgt. Pepper "var bestemt John's Freak Out! ", Der henviser til albummet fra 1966 af Mothers of Invention . Som afsluttende spor på Sgt. Pepper, sangen var genstand for intens kontrol og kommentarer. I Ian MacDonalds beskrivelse er det blevet fortolket "som en sober tilbagevenden til den virkelige verden efter den berusede fantasi om 'Pepperland'; som en konceptuel udsagn om strukturen af popalbummet (eller studiets kunstværk eller falskheden af indspillet præstation); som en tilkaldelse af en dårlig [LSD] tur; som et "pop Waste Land ' ; selv som en sykelig dødsfeiring ".

"A Day in the Life" became one of the Beatles' most influential songs, and is now considered by many to be the band's greatest work. Paul Grushkin, in his book Rockin' Down the Highway: The Cars and People That Made Rock Roll, called the track "one of the most ambitious, influential, and groundbreaking works in pop music history".[67] According to musicologist John Covach, "'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."[68] In his review of the 50th anniversary edition of Sgt. Pepper for Rolling Stone, Mikal Gilmore says that "A Day in the Life" and Harrison's "Within You Without You" are the only songs on the album that transcend its legacy as "a gestalt: a whole that was greater than the sum of its parts".[69] In a 2017 article for Newsweek, Tim de Lisle cited Chris Smith's recollection of he and fellow art student Freddie Mercury "writ[ing] little bits of songs which we linked together, like 'A Day in the Life'", as evidence to show that "No Pepper, no 'Bohemian Rhapsody'."[70]

"A Day in the Life" blev en af Beatles mest indflydelsesrige sange, og betragtes nu af mange for at være bandets største værk. Paul Grushkin i sin bog Rockin 'Down the Highway: The Cars and People That Made Rock Roll, kaldte sporet "et af de mest ambitiøse, indflydelsesrige og banebrydende værker i popmusikhistorien". Ifølge musikolog John Covach er En dag i livet 'måske et af de vigtigste singelspor i rockmusikens historie; det er bestemt kun fire minutter og femogfyrre sekunder, det må helt sikkert være blandt de korteste episke stykker i rock. " I sin anmeldelse af 50-års jubilæumsudgaven af Sgt. Pepper for Rolling Stone, Mikal Gilmore siger, at "A Day in the Life" og Harrisons " Within You Without You " er de eneste sange på albummet, der overskrider dens arv som "en gestalt: en helhed, der var større end summen af dens dele". I en artikel for Newsweek i 2017 citerede Tim de Lisle Chris Smiths erindring af han og medkunststuderende Freddie Mercury "skrev [små] små sange, som vi forbandt sammen, som" En dag i livet ", som bevis for at vise at "Ingen peber, ingen ' bohemsk rhapsody ."

James A. Moorer has said that both "A Day in the Life" and a fugue in B minor by Bach were his sources of inspiration for Deep Note, the audio trademark he created for the THX film company.[71] The song's final chord inspired Apple sound designer Jim Reekes in creating the start-up chime of the Apple Macintosh featured on Macintosh Quadra computers. Reekes said he used "a C Major chord, played with both hands stretched out as wide as possible", played on a Korg Wavestation EX.[72]

James A. Moorer har sagt, at både "En dag i livet" og en fuga i B-moll af Bach var hans inspirationskilder for Deep Note, det lydmærke, han oprettede for THX -filmselskabet. Sangens sidste akkord inspirerede Apple-lyddesigner Jim Reekes til at skabe startklokken til Apple Macintosh, der findes på Macintosh Quadra- computere. Reekes sagde, at han brugte "en C Major-akkord, spillet med begge hænder strakt ud så bredt som muligt", spillet på en Korg Wavestation EX .

"A Day in the Life" 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".[73] It placed first in Q magazine's list of the 50 greatest British songs of all time, and was at the top of Mojo's 101 Greatest Beatles' Songs, as decided by a panel of musicians and journalists.[74][75][76] "A Day in the Life" was also nominated for a Grammy in 1967 for Best Arrangement Accompanying Vocalist or Instrumentalist.[77] In 2004, Rolling Stone ranked it at number 26 on the magazine's list of "The 500 Greatest Songs of All Time"[78] and number 28 on a revised list in 2011,[79] and in 2010, deemed it to be the Beatles' greatest song.[80] It is listed at number 5 in Pitchfork's "The 200 Greatest Songs of the 1960s".[81] According to Acclaimed Music, it is the third most celebrated song in popular music history.[78]

"En dag i livet" vises på mange toplister. Det placerede tolvte på CBC 's 50 Tracks, den næsthøjeste Beatles-sang på listen efter " In My Life ". Det placeres først i Q- magasinets liste over de 50 største britiske sange af hele tiden, og var i toppen af Mojo ' 101 Greatest Beatles' sange, som besluttet af et panel af musikere og journalister. "En dag i livet" blev også nomineret til en Grammy i 1967 til Bedste arrangement, der ledsager vokalist eller instrumentalist . I 2004 rangerede Rolling Stone det på nummer 26 på magasinets liste over " De 500 største sange af alle tidspunkter " og nummer 28 på en revideret liste i 2011, og i 2010 betragtes det som Beatles 'største sang. Det er anført på nummer 5 i Pitchfork ' s "De 200 største sange i 1960'erne". Ifølge Acclaimed Music er det den tredje mest berømte sang i populærmusikhistorien.

Legacy[redigér | redigér wikikode]

Eftermæle On 27 August 1992 Lennon's handwritten lyrics were sold by the estate of Mal Evans in an auction at Sotheby's London for $100,000 (£56,600).[82] The lyrics were put up for sale again in March 2006 by Bonhams in New York. Sealed bids were opened on 7 March 2006 and offers started at about $2 million.[83][84] The lyric sheet was auctioned again by Sotheby's in June 2010. It was purchased by an anonymous American buyer who paid $1,200,000 (£810,000).[85]

Den 27. august 1992 blev Lennons håndskrevne sangtekster solgt af boet Mal Evans på en auktion i Sotheby's London for $ 100.000 (56.600 £ ). Teksterne blev sat til salg igen i marts 2006 af Bonhams i New York. Forseglede bud blev åbnet den 7. marts 2006 og tilbud startede på ca. $ 2 millioner. Det lyriske ark blev auktioneret igen af Sotheby's i juni 2010. Det blev købt af en anonym amerikansk køber, der betalte $ 1.200.000 (£ 810.000).

McCartney has performed the song in most of his live shows since his 2008 tour. It is played in a medley with "Give Peace a Chance".[86]

McCartney har udført sangen i de fleste af sine live shows siden hans turné i 2008. Det spilles i en medley med " Giv fred en chance ".

Cover versions[redigér | redigér wikikode]

Cover versioner The song has been recorded by many other artists, notably by Jeff Beck on the 1998 George Martin album In My Life, which was used in the film Across the Universe, and on Beck's 2008 album Performing This Week: Live at Ronnie Scott's Jazz Club,[87] which won Beck the 2010 Grammy Award for Best Rock Instrumental Performance.[88]

Sangen er indspillet af mange andre kunstnere, især af Jeff Beck på albummet George Martin i 1998 i My Life, der blev brugt i filmen Across the Universe, og på Beck's album fra 2008 Performing This Week: Live på Ronnie Scott's Jazz Club, der vandt Beck 2010 Grammy Award for bedste rockinstrumental performance .


Jazz guitarist Wes Montgomery released a smooth jazz version of the song, in his recognisable octave style with stringed accompaniment, on his 1967 album A Day in the Life.[89] The album also included the guitarist's version of the Beatles' "Eleanor Rigby". The recording is one of Montgomery's popular song adaptations, made after his shift from the hardbop and postbop Riverside Records sound to smooth jazz, A&M period records that were targeted at popular audiences.[90] The album reached number 13, Montgomery's highest showing on the Billboard 200 album chart.[91]

Jazzgitarist Wes Montgomery udgav en glat jazzversion af sangen, i hans genkendelige oktavstil med strenget akkompagnement, på hans album fra 1967 A Day in the Life . Albummet inkluderede også guitaristens version af Beatles '" Eleanor Rigby ". Optagelsen er en af Montgomery populære sang tilpasninger, lavet efter hans skift fra den hardbop og postbop Riverside Records lyd til at udjævne jazz, A & M periode poster, der blev rettet mod populære publikum. Albummet nåede nummer 13, Montgomery's højeste viser på Billboard 200 albumskemaet.

The London Symphony Orchestra released an orchestral cover of the song in 1978 on Classic Rock: The Second Movement.[92] It was also covered by the Bee Gees for the 1978 film Sgt. Pepper's Lonely Hearts Club Band and was included on the soundtrack of the same name, produced by Martin.[93] Credited to Barry Gibb, this version was released as a single, backed by "Nowhere Man", which he also recorded for the film.

London Symphony Orchestra frigav et orkestralt dækning af sangen i 1978 på Classic Rock: The Second Movement . Det blev også dækket af Bee Gees for 1978-filmen Sgt. Peppers Lonely Hearts Club Band og var inkluderet i lydsporet med samme navn, produceret af Martin. Krediteret til Barry Gibb blev denne version frigivet som en singel, bakket op af " Nowhere Man ", som han også indspillede til filmen.

David Bowie used the lyric "I heard the news today oh boy!" in his 1975 song "Young Americans". Lennon appeared twice on Bowie's album Young Americans, providing guitar and backing vocals.[94] Bob Dylan included the same line in his tribute song to Lennon, "Roll on John", on the 2012 album Tempest.[95]

David Bowie brugte lyrikken "Jeg hørte nyhederne i dag åh dreng!" i hans sang fra 1975 " Young Americans ". Lennon optrådte to gange på Bowies album Young Americans og leverede guitar og backing vokal. Bob Dylan inkluderede den samme linje i sin hyldestesang til Lennon, "Roll on John", på albummet Tempest i 2012.

Phish has covered the song more than 65 times since debuting it on 10 June 1995, often as an encore selection. Page McConnell and Trey Anastasio have split vocal duties for the Lennon/McCartney sections respectively.[kilde mangler]

Phish har dækket sangen mere end 65 gange siden debuteringen den 10. juni 1995, ofte som et valg af encore. Page McConnell og Trey Anastasio har delt vokalopgaver for henholdsvis Lennon / McCartney-sektionerne.  

A live version by Sting can be found on the EP Demolition Man.[96]

En live version af Sting kan findes på EP Demolition Man .

Personale

Beatles

John Lennon - hovedvokal (vers), akustisk guitar, klaver (afsluttende akkord) Paul McCartney - hovedvokal (mellem otte), klaver (gennem og sidste akkord), basgitaar George Harrison - maracas Ringo Starr - trommer, congas, klaver (endelig akkord)

Yderligere musikere

Mal Evans - vækkeur, tælling, klaver (endelig akkord) George Martin - orkesterarrangement, harmonium (endelig akkord) Erich Gruenberg, Granville Jones, Bill Monro, Jurgen Hess, Hans Geiger, D. Bradley, Lionel Bentley, David McCallum, Donald Weekes, Henry Datyner, Sidney Sax, Ernest Scott, Carlos Villa - violin

John Underwood, Gwynne Edwards, Bernard Davis, John Meek - viola Francisco Gabarro, Dennis Vigay, Alan Delziel, Alex Nifosi - cello Cyril Mac Arther, Gordon Pearce - kontrabass John Marson - harpe Roger Lord - obo Basil Tschaikov, Jack Brymer - klarinet N. Fawcett, Alfred Waters - fagot Clifford Sevilla, David Sandeman - fløjte Alan Civil, Neil Sanders - Fransk horn David Mason, Monty Montgomery, Harold Jackson - trompet Raymond Brown, Raymond Premru, T. Moore - trombone Michael Barnes - tuba Tristan Fry - timpani Marijke Koger - tamburin

Noter[redigér | redigér wikikode]

  1. ^ According to Gene Sculatti, writing in Jazz & Pop in 1968, the influence of the Beach Boys' "Good Vibrations", as the "ultimate in-studio production trip", was apparent in songs such as "A Day in the Life".[2] Beatles biographer Jonathon Gould says that "of the many ambitious pop singles released during the fall of 1966, none had a stronger influence on the Beatles than the Beach Boys' 'Good Vibrations'".[3]
  2. ^ According to Gene Sculatti, writing in Jazz & Pop in 1968, the influence of the Beach Boys' "Good Vibrations", as the "ultimate in-studio production trip", was apparent in songs such as "A Day in the Life".[2] Beatles biographer Jonathon Gould says that "of the many ambitious pop singles released during the fall of 1966, none had a stronger influence on the Beatles than the Beach Boys' 'Good Vibrations'".[3]
  3. ^ Although the special did not take place, portions of the film appear on the Beatles Anthology DVD[16] and in the "A Day in the Life" clip included in the three-disc versions of the Beatles' 2015 video compilation 1.[17][18]
  4. ^ Although the special did not take place, portions of the film appear on the Beatles Anthology DVD[16] and in the A Day in the Life clip included in the three-disc versions of the Beatles' 2015 video compilation 1.[17][20]
  5. ^ McCartney would recall how the Beatles thought: "Imagine there are people sitting around and they think the album's finished and then suddenly the dog starts barking and no one will know what the heck's happened."[31]
  6. ^ McCartney would recall how the Beatles thought: "Imagine there are people sitting around and they think the album's finished and then suddenly the dog starts barking and no one will know what the heck's happened."[31]
  7. ^ According to Tony Bramwell, the BBC ban also led to the film from the orchestral session never being completed.[9] The party aspect of that session was soon reprised by the Beatles when they filmed their performance of "All You Need Is Love" for the Our World satellite broadcast.[9][46]
  8. ^ According to Tony Bramwell, the BBC ban also led to the film from the orchestral session never being completed.[9] The party aspect of that session was soon reprised by the Beatles when they filmed their performance of "All You Need Is Love" for the Our World satellite broadcast.[9][46]
  9. ^ When EMI issued Sgt. Pepper's Lonely Hearts Club Band in Southeast Asia, "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.[53]
  10. ^ When EMI issued Sgt. Pepper's Lonely Hearts Club Band in Southeast Asia, "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.[55]
  11. ^ According to MacDonald, such interpretations are "nonsense", since they fail to take into account that, contrary to its sequencing at the end of side two, the song was recorded before most of the rest of the album.[66]

Referencer[redigér | redigér wikikode]

  1. ^ a b Sounes 2010, s. 165.
  2. ^ a b Sculatti, Gene (September 1968). "Villains and Heroes: In Defense of the Beach Boys". Jazz & Pop. Arkiveret fra originalen 14 July 2014. Hentet 10 July 2014. 
  3. ^ a b Gould 2007, s. 35.
  4. ^ a b Everett 1999, s. 118.
  5. ^ a b c d e f Fodnotefejl: Ugyldigt <ref>-tag; ingen tekst er angivet for referencer med navnet Apple Corp 2
  6. ^ a b Gilliland, John (1969). "Show 45 – Sergeant Pepper at the Summit: The very best of a very good year. [Part 1] : UNT Digital Library" (audio). Pop Chronicles. Digital.library.unt.edu. Hentet 28 May 2011. 
  7. ^ a b Everett 1999, s. 119.
  8. ^ a b Winn 2009, s. 86–87.
  9. ^ a b c d e f g h i j k Lewisohn 2005, s. 96.
  10. ^ UK CPI inflation numbers based on data available from Gregory Clark (2016), "The Annual RPI and Average Earnings for Britain, 1209 to Present (New Series)" MeasuringWorth.
  11. ^ a b c d e Bona, Anda Mitchell-Dala. "Recording 'A Day in the Life':A Remarkable Session". Arkiveret fra originalen 4 January 2009. Hentet 5 April 2008. 
  12. ^ a b Martin, George (1994). All You Need is Ears: The Inside Personal Story of the Genius Who Created The Beatles. New York: St. Martin's Griffin Press. ISBN 978-0-312-11482-4. 
  13. ^ a b Everett 1999, s. 121.
  14. ^ a b Sounes 2010, s. 166.
  15. ^ a b Harris 2007, s. 76, 82.
  16. ^ a b Harris 2007, s. 82.
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  19. ^ Gould 2007, s. 387–88.
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  22. ^ Riley 2011, s. 343.
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  28. ^ Lavezzoli 2006, s. 153–54.
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  31. ^ a b c d Howlett 2017, s. 83.
  32. ^ a b c d Lewisohn 2005, s. 109.
  33. ^ a b c d e Winn 2009, s. 103.
  34. ^ a b c d Everett 1999, s. 122.
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  37. ^ Winn 2009, s. 91.
  38. ^ a b Howlett 2017, s. 81.
  39. ^ Calkin, Graham. "Anthology". Arkiveret fra originalen 19 April 2008. Hentet 8 April 2008. 
  40. ^ Winn 2009, s. 84.
  41. ^ (2017) Albumnoter for Sgt. Pepper's Lonely Hearts Club Band Super Deluxe Edition. Apple Records.
  42. ^ Miles 2001, s. 265.
  43. ^ a b Fodnotefejl: Ugyldigt <ref>-tag; ingen tekst er angivet for referencer med navnet radio2
  44. ^ a b Ezard, John (29 December 1967). "BBC and Film Board give order to play down on drug scenes". The Guardian. s. 3. 
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  46. ^ a b Gould 2007, s. 427.
  47. ^ "Paul McCartney's Guide to the Beatles' Songbook" Los Angeles Times 14 January 1968: B19.
  48. ^ a b Miles 2001, s. 269, 273.
  49. ^ a b Miles 2001, s. 270.
  50. ^ a b McDonald 2005, s. 22.
  51. ^ a b Norman 2016, s. 280–81.
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