A Day in the Life

Is a song by The Beatles in their Sgt. Pepper's Lonely Hearts Club Band album, composed by John Lennon and Paul McCartney SERIOUSLY!!!, John wrote the beginning and the end and Paul wrote the middle part...two different songs that compliment each other after being merge together...It is considered to be one of the most ambitious, influential, and groundbreaking works in pop music history.. Inspired from a friend of Lennon who died in a car crash with a parked lorry!!! when John read the newspaper.. He also read something about filling potholes in Blackburn, Lancashire, but he didn't copy and paste that after taking inspiration he eventually included a little fiction in it...Later it helped fuel the Paul is Dead hoax of the supposed death of Paul... It also took some inspiration from a movie John starred in minor role in called How I Won The War.....The middle section is McCartney's doing...it is about a commuter whose uneventful morning routine leads him to drift off into a reverie, and also contributed the "I'd love to turn you on" part, which is like the chorus of the song. It's working title was "In The Life Of...", and started recording on January 19, 1967. The two sections were separated by 24 bars and because of this there was a huge gap between them, at this time Lennon was stil unsure how to fill it..The basic track consisted of a simple repeating chord and voice of Mal Evans counting the bars, his voice was treated with increasing echo effect an indication of The Beatles desire of having a crescendo in the section. It ende with an alarm sound triggered by Mal Evans accidentally.. but because it went so well with Paul's piece it was left there..Also because Lennon couldn't find a good verb to put in 'Now they know how many holes it takes to ----- Albert Hall, a friend of his "Terry Doran added 'fill' to it completing the lyrics, eventually they decided to add some growing noise in it.. By now the song was refined and remixed and additional parts were added, including the A Day in the Life. However the Beatles still has no solution for their missing section of the song, util McCartney had the idea of having an orchestra "freaking out" for the 24-bar middle section, also George Martin wrote an extended, atonal crescendo score for the musicians to follow because the classically trained musicians couldn't improvise on this. On February 10 it was recorded with a 40-piece orchestra and costed 367 pounds for the players, and at the time was a huge extravegance. Martin later described explaining his improvised score to the puzzled orchestra: "What I did there was to write, at the beginning of the twenty-four bars, the lowest possible note for each of the instruments in the orchestra. At the end of the twenty-four bars, I wrote the highest note each instrument could reach that was 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." For all the chaos of the recording session, the results were a brilliant success; in the final edit of the song the orchestral crescendo is reprised, in even more cacophonous fashion, at the conclusion of the song. NEMS Enterprises filmed the session with studio guests like Mick Jagger, Marianne Faithfull, Keith Richards, Donovan, Pattie Boyd and Michael Nesmith. Because The Beatles like to experiment and avant garde they asked asked to wear a costume piece with their formal attire. Following the final orchestral crescendo, the song ends with one of the most famous final chords in music history. John, Paul, Ringo Starr, George Martin, and Mal Evans playing an E-major chord on three different pianos at the same time. The sound of the final chord was manipulated to ring out for as long as possible (nearly a minute) by increasing the sound level to the tape as the vibration faded out. This song was recorde a startling 34 hours. After the chord there is a few minutes of silence and then a high-pitched sound comes in to annoy your dog and then the phrase "Never could see any other way, Aha" spliced forwards and backwards together that is looped infinitely if you have the record and your player has no 'auto-return', this was put us a prank by The Beatles for annoying the listener's dog and to suprise those who forgot to turn their player's off. The song placed twelfth on CBC's 50 Tracks, the second highest Beatles song on the list, second to "In My Life", and also placed 26th on the Rolling Stone Magazine's list of the 500 best songs of all time. It was placed first in Q Magazine's list of the 50 greatest British songs of all time, and also came top of Mojo Magazine's 101 Greatest Beatles Songs, as decided by a panel of musicians and journalists. To put it simply it is the most ambitious and groundbreaking song by the best band ever in the world in their most creative years in the greatest album of all time!!!