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styled song. I would almost say its New York style because of the compression on the
horns.
The last two songs are similar to the first two. There is a reprise of the first track
that seamlessly flows into the last song. The reprise is a sort of hint that the end of the
album is near just like they might hint before the last song in a live show.
The last song has some really cool mixing in it. Starting with the audience
applause to link to the previous song. The vocals start with heavy compression. Theres
reverb and its weighted toward the right. This is happening as the singer is looking back
on the past making it seem almost dreamy. Then toward the middle theres instrumental
chaos eventually interrupted by an alarm clock. Then the vocals dont have the
compression or the reverb giving them a much more authentic sound. It also sounds like
there may be some of a low-pass filter on. The vocalist then says he goes into a dream
bringing back the highly compressed vocals and reverb.
The album as a whole features a few consistent edits. The vocals often have a
reverb and are usually panned unevenly in favor of one side. Similarly the instruments
tend to favor one side or the other as well.
Emotionally this album goes from a fun concert vibe to dreamy to sad a couple of
times. This can be credited to how it was mixed. The strong reverb presence and the
authenticity of the instrumentals are two of the greatest factors.
According to my sources, this was one of the first albums to focus on sound
design. It takes many styles of music with many influences, different dynamics and EQs
and puts them all together. It is also one of the first albums to be regarded as a whole
piece of work instead of a collection of songs thanks to the faux concert in beginning.
This album was an ignition to a new way of recording.
.
Julien, Olivier. "Sgt. Pepper and the Beatles: It Was Forty Years Ago Today." Perfect
Beat: 79-80. Pro Quest. Web. 3 Feb. 2015.
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