![]() Some etchings were surreal (“This is rather nice, isn’t it?” and “Mange l’escargot… Mmm!” on the A and B sides of the Pretenders’ Brass in Pocket) some were critical (“You’ll Never Work Again” on the Fall’s 1980 album Totale’s Turns). When he finished a job, he’d “sign” his nickname into the deadwax between the music and the label – either Pecko, Pecko Duck, Porky, or his most famous inscription, “A Porky Prime Cut” – and add dryly humorous phrases. George “Porky” Peckham cut records for the Beatles, Genesis and Led Zeppelin before setting up his own business in London’s West End, attracting punk and indie bands with cash-price deals. 1970s: a humble record-cutter popularises the “run-off groove” message Aficionados include Pink Floyd (a never-ending dripping tap on 1970’s Atom Heart Mother) Brian Eno (chirping crickets on 1976’s Taking Tiger Mountain – By Strategy) Heaven 17 (the line “for a very long time”, from the song We’re Going To Live for a Very Long Time, on 1981’s Penthouse and Pavement, going on for… a very long time) and Abba (incessant applause concluding 1980’s Super Trouper). The 70s and 80s, however, were the boom years. The Beatles kicked things off in 1967, adding a whistle and a sped-up Paul McCartney to the end of Sgt Pepper’s Lonely Hearts Club Band, while six months later, the Who’s The Who Sell Out ended with heavily distorted vocals chanting “Track Records” (the name of their label). Music can be recorded into this space though, and experimental musicians have recorded passages to be repeated continuously. If a turntable’s tonearm doesn’t have an automatic return function, the stylus will run around a record’s inner groove, silently, for ever. 1970s and 80s: inner grooves, endless loops ![]() ![]() “I remember the band looking at each other, then at me… and then going, ‘yeah!’” It makes him laugh how the track is over-analysed now. The final master was aired the next afternoon and the band had just started discussing the medley when Her Majesty kicked in and made them jump. “He couldn’t just come and find me and ask,” says Kurlander, “so he just went and cut the acetate.” But Davies, who had recently relocated to the Beatles’ Savile Row Apple studio, didn’t understand the note. He added a note for mastering engineer, Malcolm Davies, saying why he had done this. Studio rules meant any edited material had to be left at the end of the mix, so Kurlander left nearly 20 seconds before Her Majesty, and put the tape in Abbey Road’s tin of masters – crucially, not the basic cardboard box that they used for rough cuts. said, ‘That’s all great, but take Her Majesty out now it doesn’t work.’” “I played it back to him at 2, 3am – very late, anyway. The fourth song of this series, originally, was Paul McCartney’s Her Majesty. At 18, he was charged with putting together rough mixes of the Beatles’ Abbey Road medley (the 16-minute run of short songs from You Never Give Me Your Money to The End).
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