| In 1966 & 1967 The Beatles had successfully | | | | are so great. Instead I probably need to focus on |
| conquered the world as far as popularity was | | | | the real topic which is why the mono mixes of |
| concerned, but they were not content with that. | | | | these two albums are such "must hear albums" |
| They wanted to push the boundaries of what | | | | for true Beatles fans. |
| popular music could be and that's exactly what | | | | You have to understand the context of 1966 and |
| they did on 1966's Revolver and 1967's Sgt. | | | | 1967. At that time most people listened to music |
| Pepper. | | | | on mono playback systems so it only made |
| Revolver & Sgt. Pepper are considered by | | | | sense that The Beatles would focus on their |
| many music critics to be the pinnacle of The | | | | mono mixes while spending very little time and |
| Beatles career as it was a time when The Beatles | | | | energy working on the stereo mixes (stereo was |
| were not satisfied with just writing catchy songs, | | | | considered something of a "fad" at the time, |
| instead they wanted to create real works of art | | | | believe it or not.) |
| in the popular music format so they came up with | | | | If you don't want to take my word for it then |
| incredible songs like "Tomorrow Never Knows" | | | | consider what The Beatles recording engineer |
| and "A Day in the Life" (which are the album | | | | Geoff Emerick said in his book: "True Beatles fans |
| closers for these two albums.) | | | | would do well to avail themselves of the mono |
| So if you're reading this article you are probably | | | | versions of Sgt. Pepper and Revolver because far |
| already a pretty big Beatles fan and I don't think I | | | | more time and effort went into those mixes than |
| need to explain further why these two albums | | | | into the stereo mixes. |