“I went into it bearing in mind that a lot of the younger fans may just know the stereo version. “Obviously, I have to respect that decision, however wrong they might be,” Martin says with a hint of his typical self-deprecation. Pepper getting the Martin-ized Atmos treatment next-or, hey, why not both?)Īnd now, Martin (in studio repose above, via a photo by Alex Lake) has turned his expert ear to doing an Atmos mix of the aforementioned Pet Sounds at the behest of The Beach Boys braintrust-specifically, Brian Wilson himself, along with longtime Beach Boys remixer/remasterer Mark Linett and reps of the band’s record label, Capitol. When are you going to do the next one?’” (Me, I’m all in for either Rubber Soul or Sgt. “But then people hear it and they go, ‘Actually, we quite like it. “When I first started doing those Atmos mixes, I knew the idea of me touching anything on Revolver was suspect,” Martin allows. Last year, producer Giles Martin brought Revolver into the 21st century with a truly mesmerizing Atmos mix-one that was controversial with the more traditional Beatles fans out there, but also one that really captured the potential of the burgeoning 360-degrees format for those of us willing to give it a full headspin. Discerning audiophiles and appreciatively attentive listeners alike are the ultimate winners in said rivalry, since these and other seminal ’60s releases from both artists are still considered to be benchmark rock-era recordings to this day. When The Beatles heard Pet Sounds, they answered with August 1966’s Revolver-and so on, and so on. When Beach Boys visionary Brian Wilson heard December 1965’s Rubber Soul, he countered with May 1966’s Pet Sounds. In the mid-1960s, The Beatles and The Beach Boys had what could be described as a “friendly” creative rivalry.
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