On June 18, 1967, the New York Times ran a negative review of the Beatles' Sgt. Pepper album by music critic Richard Goldstein. Here are excerpts from that review:the cover. The sound is a pastiche of dissonance and lushness. The mood is mellow, even nostalgic. But, like the cover, the over-all effect is busy, hip, and cluttered.
The finished product reached the record racks last week; the Beatles had supervised even the album cover -- a mind-blowing collage of famous and obscure people, plants and artifact. The 12 new compositions in the album are as elaborately conceived as
Like an over-attended child, "Sgt. Pepper" is spoiled. It reeks of horns and harps, harmonica quartets, assorted animal noises and a 41-piece orchestra. On at least one cut, the Beatles are not heard at all instrumentally. Sometimes this elaboratemusical propwork succeeds in projecting mood. The "Sgt. Pepper" theme is brassy and vaudevillian. "She's Leaving Home," a melodramatic domestic saga, flows on a cloud of heavenly strings. And, in what is becoming a Beatles tradition, George Harrison
[Snip of lengthy critical commentary on George's contribution.]caprice in "Being For the Benefit of Mr. Kite." Paul McCartney's soaring Pop magnificats have become merely politely profound. "She's Leaving Home" preserves all the orchestral grandeur of "Eleanor Rigby," but its framework is emaciated. The tale of a
The obsession with production, coupled with a surprising shoddiness in composition, permeates the whole album. There is nothing beautiful on "Sgt. Pepper." Nothing is real and there is nothing to get hung about. The Lennon raunchiness has become mere
[Snip of critique of "Lucy in the Sky."]vibrations, and a generous pat of gymnastics from the Who.
For the first time, the Beatles have given us an album of special effects, dazzling but ultimately fraudulent. And for the first time, it is not exploration we sense, but consolidation. There is a touch of the Jefferson Airplane, a dab of Beach Boys
[End of excerpts.]
Robert Christgau later gave a much more favorable review of the album, but noted that Goldstein had almost been "lynched" for his comments. Christgau devoted some space to a defense of Goldstein's integrity.
On Monday, June 14, 2021 at 7:02:02 AM UTC-4, Norbert K wrote:the cover. The sound is a pastiche of dissonance and lushness. The mood is mellow, even nostalgic. But, like the cover, the over-all effect is busy, hip, and cluttered.
On June 18, 1967, the New York Times ran a negative review of the Beatles' Sgt. Pepper album by music critic Richard Goldstein. Here are excerpts from that review:
The finished product reached the record racks last week; the Beatles had supervised even the album cover -- a mind-blowing collage of famous and obscure people, plants and artifact. The 12 new compositions in the album are as elaborately conceived as
musical propwork succeeds in projecting mood. The "Sgt. Pepper" theme is brassy and vaudevillian. "She's Leaving Home," a melodramatic domestic saga, flows on a cloud of heavenly strings. And, in what is becoming a Beatles tradition, George HarrisonLike an over-attended child, "Sgt. Pepper" is spoiled. It reeks of horns and harps, harmonica quartets, assorted animal noises and a 41-piece orchestra. On at least one cut, the Beatles are not heard at all instrumentally. Sometimes this elaborate
caprice in "Being For the Benefit of Mr. Kite." Paul McCartney's soaring Pop magnificats have become merely politely profound. "She's Leaving Home" preserves all the orchestral grandeur of "Eleanor Rigby," but its framework is emaciated. The tale of a[Snip of lengthy critical commentary on George's contribution.]
The obsession with production, coupled with a surprising shoddiness in composition, permeates the whole album. There is nothing beautiful on "Sgt. Pepper." Nothing is real and there is nothing to get hung about. The Lennon raunchiness has become mere
vibrations, and a generous pat of gymnastics from the Who.[Snip of critique of "Lucy in the Sky."]
For the first time, the Beatles have given us an album of special effects, dazzling but ultimately fraudulent. And for the first time, it is not exploration we sense, but consolidation. There is a touch of the Jefferson Airplane, a dab of Beach Boys
[End of excerpts.]
Robert Christgau later gave a much more favorable review of the album, but noted that Goldstein had almost been "lynched" for his comments. Christgau devoted some space to a defense of Goldstein's integrity.Pepper isn't my favorite Beatles album, and I can where the critic is coming from with some of his comments. Where did he Who-like gymnastics, though? I don't hear that at all.
On Saturday, June 26, 2021 at 6:26:15 AM UTC-7, RJKe...@yahoo.com wrote:as the cover. The sound is a pastiche of dissonance and lushness. The mood is mellow, even nostalgic. But, like the cover, the over-all effect is busy, hip, and cluttered.
On Monday, June 14, 2021 at 7:02:02 AM UTC-4, Norbert K wrote:
On June 18, 1967, the New York Times ran a negative review of the Beatles' Sgt. Pepper album by music critic Richard Goldstein. Here are excerpts from that review:
The finished product reached the record racks last week; the Beatles had supervised even the album cover -- a mind-blowing collage of famous and obscure people, plants and artifact. The 12 new compositions in the album are as elaborately conceived
musical propwork succeeds in projecting mood. The "Sgt. Pepper" theme is brassy and vaudevillian. "She's Leaving Home," a melodramatic domestic saga, flows on a cloud of heavenly strings. And, in what is becoming a Beatles tradition, George Harrison
Like an over-attended child, "Sgt. Pepper" is spoiled. It reeks of horns and harps, harmonica quartets, assorted animal noises and a 41-piece orchestra. On at least one cut, the Beatles are not heard at all instrumentally. Sometimes this elaborate
mere caprice in "Being For the Benefit of Mr. Kite." Paul McCartney's soaring Pop magnificats have become merely politely profound. "She's Leaving Home" preserves all the orchestral grandeur of "Eleanor Rigby," but its framework is emaciated. The tale of
[Snip of lengthy critical commentary on George's contribution.]
The obsession with production, coupled with a surprising shoddiness in composition, permeates the whole album. There is nothing beautiful on "Sgt. Pepper." Nothing is real and there is nothing to get hung about. The Lennon raunchiness has become
vibrations, and a generous pat of gymnastics from the Who.
[Snip of critique of "Lucy in the Sky."]
For the first time, the Beatles have given us an album of special effects, dazzling but ultimately fraudulent. And for the first time, it is not exploration we sense, but consolidation. There is a touch of the Jefferson Airplane, a dab of Beach Boys
Pepper isn't my favorite Beatles album, and I can where the critic is coming from with some of his comments. Where did he Who-like gymnastics, though? I don't hear that at all.
[End of excerpts.]
Robert Christgau later gave a much more favorable review of the album, but noted that Goldstein had almost been "lynched" for his comments. Christgau devoted some space to a defense of Goldstein's integrity.
So, how long was Goldstein enrolled in the Citizen's Protection Program?
On Sat, 26 Jun 2021 21:28:39 -0700 (PDT), cuppajoe2goas the cover. The sound is a pastiche of dissonance and lushness. The mood is mellow, even nostalgic. But, like the cover, the over-all effect is busy, hip, and cluttered.
<swjen...@gmail.com> wrote:
On Saturday, June 26, 2021 at 6:26:15 AM UTC-7, RJKe...@yahoo.com wrote:
On Monday, June 14, 2021 at 7:02:02 AM UTC-4, Norbert K wrote:
On June 18, 1967, the New York Times ran a negative review of the Beatles' Sgt. Pepper album by music critic Richard Goldstein. Here are excerpts from that review:
The finished product reached the record racks last week; the Beatles had supervised even the album cover -- a mind-blowing collage of famous and obscure people, plants and artifact. The 12 new compositions in the album are as elaborately conceived
musical propwork succeeds in projecting mood. The "Sgt. Pepper" theme is brassy and vaudevillian. "She's Leaving Home," a melodramatic domestic saga, flows on a cloud of heavenly strings. And, in what is becoming a Beatles tradition, George Harrison
Like an over-attended child, "Sgt. Pepper" is spoiled. It reeks of horns and harps, harmonica quartets, assorted animal noises and a 41-piece orchestra. On at least one cut, the Beatles are not heard at all instrumentally. Sometimes this elaborate
mere caprice in "Being For the Benefit of Mr. Kite." Paul McCartney's soaring Pop magnificats have become merely politely profound. "She's Leaving Home" preserves all the orchestral grandeur of "Eleanor Rigby," but its framework is emaciated. The tale of
[Snip of lengthy critical commentary on George's contribution.]
The obsession with production, coupled with a surprising shoddiness in composition, permeates the whole album. There is nothing beautiful on "Sgt. Pepper." Nothing is real and there is nothing to get hung about. The Lennon raunchiness has become
Boys vibrations, and a generous pat of gymnastics from the Who.
[Snip of critique of "Lucy in the Sky."]
For the first time, the Beatles have given us an album of special effects, dazzling but ultimately fraudulent. And for the first time, it is not exploration we sense, but consolidation. There is a touch of the Jefferson Airplane, a dab of Beach
Pepper isn't my favorite Beatles album, and I can where the critic is coming from with some of his comments. Where did he Who-like gymnastics, though? I don't hear that at all.
[End of excerpts.]
Robert Christgau later gave a much more favorable review of the album, but noted that Goldstein had almost been "lynched" for his comments. Christgau devoted some space to a defense of Goldstein's integrity.
So, how long was Goldstein enrolled in the Citizen's Protection Program? Note that none of The Beatles are Jewish.
Goldstein is Jewish, and jealousy and grudge are rampant. 'Tis a form
of passive-aggressiveness. He had to write "something" to get
noticed.
Look around. You can see it elsewhere.
On Sunday, June 27, 2021 at 11:29:09 AM UTC-4, Mack A. Damia wrote:conceived as the cover. The sound is a pastiche of dissonance and lushness. The mood is mellow, even nostalgic. But, like the cover, the over-all effect is busy, hip, and cluttered.
On Sat, 26 Jun 2021 21:28:39 -0700 (PDT), cuppajoe2go
<swjen...@gmail.com> wrote:
On Saturday, June 26, 2021 at 6:26:15 AM UTC-7, RJKe...@yahoo.com wrote:
On Monday, June 14, 2021 at 7:02:02 AM UTC-4, Norbert K wrote:
On June 18, 1967, the New York Times ran a negative review of the Beatles' Sgt. Pepper album by music critic Richard Goldstein. Here are excerpts from that review:
The finished product reached the record racks last week; the Beatles had supervised even the album cover -- a mind-blowing collage of famous and obscure people, plants and artifact. The 12 new compositions in the album are as elaborately
elaborate musical propwork succeeds in projecting mood. The "Sgt. Pepper" theme is brassy and vaudevillian. "She's Leaving Home," a melodramatic domestic saga, flows on a cloud of heavenly strings. And, in what is becoming a Beatles tradition, George
Like an over-attended child, "Sgt. Pepper" is spoiled. It reeks of horns and harps, harmonica quartets, assorted animal noises and a 41-piece orchestra. On at least one cut, the Beatles are not heard at all instrumentally. Sometimes this
mere caprice in "Being For the Benefit of Mr. Kite." Paul McCartney's soaring Pop magnificats have become merely politely profound. "She's Leaving Home" preserves all the orchestral grandeur of "Eleanor Rigby," but its framework is emaciated. The tale of
[Snip of lengthy critical commentary on George's contribution.]
The obsession with production, coupled with a surprising shoddiness in composition, permeates the whole album. There is nothing beautiful on "Sgt. Pepper." Nothing is real and there is nothing to get hung about. The Lennon raunchiness has become
Boys vibrations, and a generous pat of gymnastics from the Who.
[Snip of critique of "Lucy in the Sky."]
For the first time, the Beatles have given us an album of special effects, dazzling but ultimately fraudulent. And for the first time, it is not exploration we sense, but consolidation. There is a touch of the Jefferson Airplane, a dab of Beach
Revolver were stronger records. I'll buy that.Note that none of The Beatles are Jewish.Pepper isn't my favorite Beatles album, and I can where the critic is coming from with some of his comments. Where did he Who-like gymnastics, though? I don't hear that at all.
[End of excerpts.]
Robert Christgau later gave a much more favorable review of the album, but noted that Goldstein had almost been "lynched" for his comments. Christgau devoted some space to a defense of Goldstein's integrity.
So, how long was Goldstein enrolled in the Citizen's Protection Program?
Goldstein is Jewish, and jealousy and grudge are rampant. 'Tis a form
of passive-aggressiveness. He had to write "something" to get
noticed.
Look around. You can see it elsewhere.
I think that Goldstein was stating honest criticisms of the album. In response to the upset that greeted his review, he said that, his negative review notwithstanding, "Pepper" was still better than 80% of the music around; and that Rubber Soul and
His positive review of Revolver was published in an NY paper; I'll see if I can find it.
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