SGT PEPPER MAS 2653 CAPITOL EMI 33RPM NM VINYL BEATLES
$
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Sgt. Pepper's Lonely Heart's Club Band". This album by the Beatles is a rare Mono issue on the Capitol color band label, MAS-2653. The album was released in 1967 when most U.S. record companies had stopped issuing Mono albums in favor of the increasingly popular Stereo recordings.
DETAILS ON VINYL
NM
LABLES
NM
COVER WELL, IT HAS IT'S ISSUES
MY ADDRESS LABEL
REMOVED
BOTTOM RIGHT BACK OF COVER
NO RING ON THE COVER
LIKE I SEE SOMETIMES
I AM NO EXPERT
STAPLES USED TO FIX THE BOTTOM
WHY I DID THE THINGS I DID
WHO KNOWS JUST GOT BY WITH WHAT
I HAD BACK THEN
FRONT OF COVER VG
NO STAINS
PLEASE SEE IMAGES
FOR YOUR APPROVAL
OR EMAIL ME
ANY TIME
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HELLO~ I SURE THANK YOU FOR TAKING TIME TO VIEW MY OTHER GREAT FINDS FROM THE PAST...... ALWAYS HAVING SUCH A DIFFERENT GROUP OF ITEMS TO FALL IN LOVE WITH FOR YOU..... I KNOW YOU WILL SOON FIND OUT THAT GRANNY'S ESTATE SALES ONALASKA TX. WILL FIND YOUR UNIQUE ITEMS IN COLLECTIBLES AND ANTIQUES..... OUT OF THE PAGES OF HISTORY REMARKABLE ITEMS JUST FOR YOU AND THE NEXT GENERATION OF YOU
* I AM NOT AFRAID OF SPIDERS AND SNAKES....
On Jun-16-09 at 16:26:29 PDT, seller added the following information: THIS IS THE ONE TO GET IT IS THE
MAS
MONO
RARE AS IN NOT STEREO~~~
On Jun-16-09 at 22:00:46 PDT, seller added the following information:
FYI
SGT PEPPER'S LONELY HEARTS CLUB BAND
basic recording- 1 Feb 1967
additional recording- 1,2 Feb, 3,6 Mar 1967
master tape- 4 track 2d generation
* [a] mono 6 Mar 1967. crossfaded 6 Apr 1967.
UK: Parlophone PMC 7026 Sgt Pepper 1967.
US: Capitol MAS 2653 Sgt Pepper 1967.
* [b] stereo 6 Mar 1967. crossfaded 7 Apr 1967.
UK: Parlophone PCS 7026 Sgt Pepper 1967, Apple PCSP 718 The Beatles 1967-1970 1973.
US: Capitol SMAS 2653 Sgt Pepper 1967, Apple SKBO-3404 The Beatles 1967-1970 1973.
CD: EMI CDP 7 46442 2 Sgt Pepper 1987, EMI CDP 7 97039 2 The Beatles 1967-1970 1993.
The crossfade joins this song to With a Little Help From My Friends.
The lead guitar starting around "I don't really want to stop the show" is louder in mono [a], barely there in [b]. The crowd noise differs between the two and the crossfade is less well hidden in mono [a].
A DAY IN THE LIFE
basic recording- 19 Jan 1967
additional recording- 19,20 Jan, 3,10,22 Feb 1967
master tape- 4 track 2d generation + 4 track (2 tapes)
* [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.
LOVELY RITA
basic recording- 23 Feb 1967
additional recording- 23,24 Feb, 7,21 Mar 1967
master tape- 4 track 2d generation
* [a] mono 21 Mar 1967.
UK: Parlophone PMC 7026 Sgt Pepper 1967.
US: Capitol MAS 2653 Sgt Pepper 1967.
* [b] stereo 17 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.
Talk just before the end is audible, the last syllables "leave it" (or "believe it"?) being quite distinct in mono [a].
BEING FOR THE BENEFIT OF MR KITE!
basic recording- 17 Feb 1967
additional recording- 17,20 Feb, 28,29,31 Mar 1967
master tape- 4 track 3d generation
* [a] mono 31 Mar 1967.
UK: Parlophone PMC 7026 Sgt Pepper 1967.
US: Capitol MAS 2653 Sgt Pepper 1967.
* [b] stereo 7 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.
* [c] stereo 1995. edited.
CD: Apple CDP 8 34448 2 Anthology 2 1996.
Mono [a] has more of the organ tape loops in the break after
"Henry the horse dances the waltz", perhaps a track not faded up in the mix of [b]?
The Anthology mix [c] is deliberately different. First it shows
take 7 without the organ and calliope effects, including some John
scat vocal during the instrumental break that was mixed out of [a]
[b], and then it crossfades into the organ and calliope overdub
tracks to a fadeout.
FIXING A HOLE
basic recording- 9 Feb 1967 at Regent Sound
additional recording- 9 Feb at Regent Sound, 21 Feb 1967
master tape- 4 track 2d generation
* [a] mono 21 Feb 1967. edited.
UK: Parlophone PMC 7026 Sgt Pepper 1967.
US: Capitol MAS 2653 Sgt Pepper 1967.
* [b] stereo 7 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.
The mono is two mixes edited together.
The mono is a few seconds longer, long fade.
GOOD MORNING GOOD MORNING
basic recording- 8 Feb 1967
additional recording- 16 Feb, 13,29 Mar 1967
master tape- 4 track 2d generation
* [a] mono 19 Apr 1967. edited.
UK: Parlophone PMC 7026 Sgt Pepper 1967.
US: Capitol MAS 2653 Sgt Pepper 1967.
* [b] stereo 6 Apr 1967. edited.
UK: Parlophone PCS 7026 Sgt Pepper 1967.
US: Capitol SMAS 2653 Sgt Pepper 1967.
CD: EMI CDP 7 46442 2 Sgt Pepper 1987.
* [c] stereo 1995.
CD: Apple CDP 8 34448 2 Anthology 2 1996.
An Apr 6 mono mix was replaced by an Apr 19 mix [a]
containing an improved blend of the hen cluck at the
end into the first note of the next song, Sgt Pepper
(reprise). Lewisohn does not say when or if the Apr
6 stereo mix was redone, and perhaps it was not.
Checking the ending shows that the sound effects
match in mono [a] and stereo [b] until the foxhunt,
where the mono fades earlier, so that the hunt lasts
about 6 seconds longer in stereo and continues past
the somewhat later fadeout of the music. This may be the
end of the main tape. Because of the early fade in mono [a],
"Good morning good morning good" is heard only 9 times as
against 10 times in stereo [b]. Both mixes then crossfade
to the chicken squawk on what appears to be a separate tape,
since unlike the other sound effects it does not overlap any
music. The squawk is slightly longer in stereo, and blends
better into the Sgt Pepper (reprise)-- the retry on the mono
mix may have been to make it more like the stereo?
The lead guitar is mixed down after the break in mono [a]
but on [b] it continues loud over "People running round...".
After "tea and 'Meet the Wife'" the guitar phrase is treated
to a little extra ADT in mono.
The Anthology mix [c] is deliberately different and appears
to show the state as of Feb 16, after the vocal and bass
overdub, but without the horns and the sound effecs at the end.
SGT PEPPER'S LONELY HEARTS CLUB BAND
basic recording- 1 Feb 1967
additional recording- 1,2 Feb, 3,6 Mar 1967
master tape- 4 track 2d generation
* [a] mono 6 Mar 1967. crossfaded 6 Apr 1967.
UK: Parlophone PMC 7026 Sgt Pepper 1967.
US: Capitol MAS 2653 Sgt Pepper 1967.
* [b] stereo 6 Mar 1967. crossfaded 7 Apr 1967.
UK: Parlophone PCS 7026 Sgt Pepper 1967,
Apple PCSP 718 The Beatles 1967-1970 1973.
US: Capitol SMAS 2653 Sgt Pepper 1967,
Apple SKBO-3404 The Beatles 1967-1970 1973.
CD: EMI CDP 7 46442 2 Sgt Pepper 1987,
EMI CDP 7 97039 2 The Beatles 1967-1970 1993.
The crossfade joins this song to With a Little
Help From My Friends.
The lead guitar starting around "I don't really want
to stop the show" is louder in mono [a], barely there
in [b]. The crowd noise differs between the two and the
crossfade is less well hidden in mono [a].
[ dog cut ]
basic recording- none
additional recording- none
master tape- none
* [a] cut into first mono master disk 28 Apr 1967.
UK: Parlophone PMC 7026 Sgt Pepper 1967.
* [b] cut into first stereo master disk 1 May 1967.
UK: Parlophone PCS 7026 Sgt Pepper 1967.
* [c] generated 1987.
CD: EMI CDP 7 46442 2 Sgt Pepper 1987.
On LP this 15 KHz tone is not a recording at all, but
was cut mechanically into the master disk after A Day
in the Life. The dates shown [a] and [b] are of the first
disk cutting for Parlophone in the UK; it was recreated
at unknown dates for other master disks, but was never
cut into disks by Capitol for US release. For CD it was
created electronically in 1987 and put into the master
digital tape used for CD production.
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