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Pepper’s Lonely Hearts Club Band, originally released 50 years ago on June 1st, 1967, in England, and the following day in the U.S.

Now, the surviving band members and their legatees have authorized the reconsideration of a major canonical work: Sgt. When Love was over, you didn’t want it to be – much like many viewed the Beatles themselves.

With Love, Giles Martin did what nobody had ever done successfully before: He reconfigured the Beatles’ sounds into an alternate soundmap, making it plain these decades old songs still had revelations and delights for contemporary ears. The results proved radical and revelatory and conveyed how resilient and exciting the band’s music remains – and how beautifully and imaginatively George Martin had produced it all in the first place, working with four-track recorders and inventing new sounds and technology. Pepper’s Lonely Hearts Club Band” and borrowed a bit of the orchestral swell from “A Day in the Life,” landing on John Lennon’s “Glass Onion.” “Get Back” opened with George Harrison’s memorable thrum from “A Hard Day’s Night” and Ringo Starr’s drum prologue from “The End,” caught sight of an overpassing jet from “Back in the U.S.S.R.,” pulled in part of the audience’s expectant murmur from “Sgt.

What ears they turned out to be: Giles recombined parts of many of the Beatles’ songs into a mash-up of the band’s audio history, sometimes encapsulating much of it in a single song. The younger Martin had produced classical music, as well as recordings by Kula Shaker, Jeff Beck, Elvis Costello and Kate Bush. Martin, though, had a worry: At age 80 his hearing had turned difficult, and so he brought in a collaborator: his son Giles. In 2006, the Beatles coaxed producer George Martin out of retirement to remix and rearrange several of their iconic songs for Cirque du Soleil’s Las Vegas stage production Love.