Sgt. Pepper's Lonely Hearts Club Band 65450 226027785 2008-07-16T14:34:57Z Ian Rose 502570 Rv non-std style edit {{refimprove|date=April 2008}} {{otheruses}} {{Infobox Album <!-- See Wikipedia:WikiProject_Albums --> | Name = Sgt. Pepper's Lonely Hearts Club Band | Type = studio | Artist = [[The Beatles]] | Cover = Pepper's.jpg | Released = [[1 June]] [[1967]] | Recorded = [[6 December]] [[1966]] – [[21 April]] [[1967]] at [[Abbey Road Studios]] | Genre = [[Psychedelic rock]] | Length = 39:42 | Label = [[Parlophone]]<br />[[Capitol Records|Capitol]] | Producer = [[George Martin]] | Reviews = *[[Allmusic]] {{rating-5|5}} [http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:8tkzu3e5an8k link] *''[[Crawdaddy]]'' (Favorable) [http://crawdaddy.wolfgangsvault.com/Static.aspx?id=1022 Issue 1.11 October, 1967] *''[[Rolling Stone]]'' (Favorable) [http://www.rollingstone.com/artists/thebeatles/albums/album/220919/review/5945102/sgt_peppers_lonely_hearts_club_band 27/08/87] *''[[Mojo (magazine)|Mojo]]'' {{rating-5|5}} *[[Piero Scaruffi]] (7/10) [http://www.scaruffi.com/vol1/beatles.html link] *[[Q Magazine]] (Favorable) [http://www.rocksbackpages.com/article.html?ArticleID=9383 link] *[[Robert Christgau]] (A) [http://www.robertchristgau.com/get_artist.php?id=1382&name=The+Beatles link] | Chronology = [[The Beatles]] UK | Last album = ''[[Revolver (album)|Revolver]]''<br />(1966) | This album = '''''Sgt. Pepper's Lonely Hearts Club Band'''''<br />(1967) | Next album = ''[[The Beatles (album)|The Beatles]]''<br />(1968) | Misc = {{Extra chronology 2 | Artist = [[The Beatles]] U.S. | Type = studio | Last album = ''[[Revolver (album)|Revolver]]''<br />(1966) | This album = '''''Sgt. Pepper's Lonely Hearts Club Band'''''<br />(1967) | Next album = ''[[Magical Mystery Tour (album)|Magical Mystery Tour]]''<br />(1967) }} {{Extra album cover 2 | Upper caption = Back cover | Type = album | Cover = Sgtpepperback.jpg | Lower caption = The back cover of the original 1967 UK LP. This release featured (for the first time on a Beatles album) complete lyrics. Also, the photo of Paul McCartney, standing with his back to camera, helped fuel "clues" during the infamous [[Paul is dead]] hoax. }} }}'''''Sgt. Pepper's Lonely Hearts Club Band''''' is the eighth studio album by the [[United Kingdom|British]] [[rock music|rock]] band [[The Beatles]]. Recorded over a 129-day period beginning on [[6 December]] [[1966]],<ref name="Lewisohn">{{cite book | author = [[Mark Lewisohn|Lewisohn, Mark]] | year = 1988 | title = The Complete Beatles Recording Sessions: The Official Story of the Abbey Road Years | location = London | publisher = Hamlyn | isbn = 0-600-55784-7}}</ref> the album was released on [[1 June]] [[1967]] in the [[United Kingdom]] and the following day in the [[United States]]. ''Sgt. Pepper's'' is often described as The Beatles' [[magnum opus]],<ref name="Arlington">{{cite web|url=http://www.arlingtonva.us/departments/Libraries/sites/LibrariesSitesBeatles.aspx|title=Beatles Anniversary Spotlight|language=English|accessdate=2008-04-21}}</ref><ref name="JFK">{{cite web|url=http://www.irememberjfk.com/mt/2007/10/sgt_peppers_lonely_hearts_club.php|title=Sgt. Pepper's Lonely Hearts Club Band|last=Enderland|first=Ron|date=16 October 2007|accessdate=2008-04-21}}</ref> and one of the most influential albums of all time by prominent critics and publications. It was ranked [[The 500 Greatest Albums of All Time|the greatest album of all time]] by ''[[Rolling Stone]]'' in 2003.<ref name="RS1234">{{cite web | url=http://www.rollingstone.com/news/story/6595610/1_sgt_peppers_lonely_hearts_club_band |title=The 500 Greatest Albums of All Time|accessdate=2007-11-19 |publisher=[[Rolling Stone]]}}</ref> ==Background== When ''Sgt. Pepper's Lonely Hearts Club Band'' was being recorded, "[[Beatlemania]]" was waning. The Beatles had grown tired of touring and had quit the road in August 1966. After one particular concert, while being driven away in the back of a small van, the four of them—even [[Paul McCartney]], who was perhaps the most in favour of continuing to tour—decided that enough was enough.<ref name="RS1234" /> From that point on the Beatles became an entirely studio-based band. For the first time in their careers, the band had more than ample time with which to prepare their next record. As [[EMI]]'s premier act and Britain's most successful pop group they had almost unlimited access to the state of the art technology of [[Abbey Road Studios]]. All four band members had already developed a preference for long late night sessions, although they were still extremely efficient and highly disciplined in their studio habits. George Harrison, the lead guitarist of the Beatles, went on a trip to India to learn to play the [[sitar]], an Indian instrument, with [[Ravi Shankar]], a renowned sitarist. Harrison brought back with him Indian culture and music.<ref name="Harrison India">{{cite web|url=http://query.nytimes.com/gst/fullpage.html?res=9C01EED9163CF93AA35751C1A9679C8B63|title=George Harrison, World-Music Catalyst and Great-Souled Man|last=Glass|first=Philip|date=9 December 2001|publisher=New York Times|accessdate=2008-06-24}}</ref> Two songs dropped from ''Sgt. Pepper'', "[[Strawberry Fields Forever]]" and "[[Penny Lane]]", were both recorded in late 1966 and early 1967. Brian Epstein decided that a new single was needed;<ref name="ManyYears">{{cite book|last=Miles|first=Barry|title=Paul McCartney: Many Years from Now|publisher=MacMillan|date=1998|isbn=0805052496}}</ref> the two songs were issued as a double-A-sided single in February 1967.<ref name="Diary">{{cite book|last=Miles|first=Barry|coauthors=Chris Charlesworth|title=The Beatles: A Diary|publisher=Omnibus Press|location=London|date=1998|pages=231|isbn=0711963150}}</ref> In keeping with the group's usual practice, the single tracks were not included on the LP (a decision Martin maintains he regrets to this day).<ref name="ManyYears" /> They were released only as a single in the UK at the time, but were included as part of the American LP version of ''Magical Mystery Tour'' (which was issued as a 6-track [[Extended play|EP]] in Britain). The Harrison composition "[[Only a Northern Song]]" was also recorded during the ''Pepper'' sessions but did not see release until January 1969 when the soundtrack album for the animated feature ''[[Yellow Submarine (film)|Yellow Submarine]]'' was issued. ==Concept== With ''Sgt. Pepper'', the Beatles wanted to create a record that could, in effect, tour for them — an idea they had already explored with the promotional film-clips made over the previous years, intended to promote them in the United States when they were not touring there. McCartney decided that they should create fictitious characters for each band member and record an album that would be a performance by that fictitious band. This "alter-ego group" gave the Beatles the freedom to experiment with songs.<ref name="RS1234" /> The Beatles' fame motivated them to grow moustaches and beards and even longer hair, and was an inspiration for the disguise of their flamboyant Sgt. Pepper costumes. McCartney was well known for going out in public in disguise and all four had used aliases for travel bookings and hotel reservations. Thus, the album starts with the title song, which introduces Sgt. Pepper's band itself; this song [[segue]]s seamlessly into a sung introduction for bandleader "Billy Shears" (Starr), who performs "[[With a Little Help from My Friends]]". A [[reprise]] version of the title song was also recorded, and appears on side 2 of the original album (just prior to the climactic "A Day in the Life"), creating a "bookending" effect. However, the Beatles effectively abandoned the concept after recording the first two songs and the reprise. Lennon was unequivocal in stating that the songs he wrote for the album had nothing to do with the ''Sgt. Pepper'' concept. Since the other songs on the album are actually unrelated, one might be tempted to conclude that the album does not express an overarching theme. However, the cohesive structure and careful sequencing of and transitioning between songs on the album, as well as the use of the Sgt. Pepper framing device, have led the album to be widely acknowledged as an early and ground-breaking example of the [[concept album]]. Before beginning work on Sgt. Pepper, the Beatles had begun to work on a series of songs that were to form an album thematically linked to childhood and everyday life.<ref name="RevolverAnthology99">Everett (1999), p.99</ref> The first fruits of this exercise - "[[Penny Lane]]" and "[[Strawberry Fields Forever]]" were released as a double-A single after EMI and Epstein pressured George Martin for a released single.<ref name="RevolverAnthology87">Everett (1999), p.87</ref> Once the singles were released the concept was abandoned in favour of 'Pepper'.<ref name="RevolverAnthology99" /> However, traces of this initial idea survive in the lyrics to several songs on the album ("Day in the Life", "Lovely Rita", "Good Morning, Good Morning", "She's Leaving Home", "Getting Better", and "When I'm Sixty-Four") and it could be argued provide more of a unifying theme for the album than that of the Pepper concept itself. ==Recording== Since the introduction of [[Magnetic storage|magnetic recording]] tape in 1949, [[multitrack recording]] had been developed. By 1967 all of the ''Sgt. Pepper'' tracks could be recorded at Abbey Road using mono, stereo and 4-track recorders. Although 8-track tape recorders were already available in the U.S., the first 8-tracks were not operational in commercial studios in London until late 1967, shortly after ''Sgt. Pepper'' was released. Like its predecessors, the recording made extensive use of the technique known as bouncing down (also called ''multing''), in which a number of tracks were recorded across the four tracks of one recorder, which were then mixed and [[dubbing (music)|dubbed]] down onto one track of the master 4-track machine. This enabled the Abbey Road engineers to give the Beatles a virtual multi-track studio. [[Magnetic tape]] had also led to innovative use of instruments and production effects, notably the [[Tape replay keyboard|tape-based keyboard sampler]], the [[Mellotron]], effects like [[flanging]] (an effect used as early as 1959 on [[Toni Fisher]]'s "The Big Hurt") and [[phasing]], as well as a greatly improved system for creating echo and reverberation. The Beatles also used new modular effects units like the [[wah-wah pedal]] and [[fuzzbox]], which they augmented with their own experimental ideas, such as running voices and instruments through a [[Leslie speaker]]. Another important sonic innovation was McCartney's discovery of the [[DI unit|direct input]] (DI) technique, in which he could record his bass by plugging it directly into an amplifying circuit in the recording console. While the still often-used technique of recording through an amplifier with a microphone sounds more natural, this setup provided a radically different presence in [[bass guitar]] sound versus the old method. But the most frequently used method was to record the bass last, after all the other recording was done, by placing the amplifier in the centre of the studio and placing the microphone six feet from the source. Several then-new production effects feature extensively on the recordings. One of the most important was [[automatic double tracking]] (ADT), a system that used [[tape recorder]]s to create an instant and simultaneous doubling of a sound. Although it had long been recognised that using multitrack tape to record 'doubled' lead vocals produced a greatly enhanced sound (especially with weaker singers), it had always been necessary to record such vocal tracks twice, a task which was both tedious and exacting. ADT was invented specially for the Beatles by EMI engineer [[Ken Townsend]] in 1966, mainly at the behest of Lennon, who hated tracking sessions and regularly expressed a desire for a technical solution to the problem. ADT quickly became a near-universal recording practice in popular music. Also important was [[Pitch shift|varispeeding]], the technique of recording various tracks on a multi-track tape at slightly different tape speeds. The Beatles use this effect extensively on their vocals in this period. The speeding up of vocals (also known as 'tweaking') also became a widespread technique in pop production. The Beatles also used the effect on portions of their backing tracks (as on "[[Lucy in the Sky with Diamonds]]") to give them a 'thicker' and more diffuse sound. In another innovation, non-US pressings of the album (in its original LP form that was later released on CD) end in an unusual way, beginning with a 15-kilohertz [[Radio frequency|high-frequency]] tone (put on the album at Lennon's suggestion and said to be "especially intended to annoy your dog"), followed by an endless loop of laughter and gibberish made by the runout groove looping back into itself. The loop (but not the tone) made its U.S. debut on the 1980 ''Rarities'' compilation, titled "Sgt. Pepper Inner Groove". However, it is only featured as a 2-second fragment at the end of side 2 rather than an actual loop in the runout groove. The CD version of ''Sgt. Pepper's Inner Groove'' is actually a bit shorter than that one found on the original UK vinyl pressing. The sound in the loop is also the subject of much controversy, being widely interpreted as some kind of secret message. McCartney later told his biographer [[Barry Miles]] that in the summer of 1967 a group of kids came up to him complaining about a lewd message hidden in it when played backwards. He told them, "You're wrong, it's actually just ''It really couldn't be any other''." He took them to his house to play the record backwards to them, and it turned out that the passage sounded very much like ''"We'll fuck you like superman"''. McCartney recounted to Miles that his immediate reaction had been, ''"Oh my god!"''<ref>Miles, Barry (1997), ''Paul McCartney: Many Years From Now'', Secker & Warburg, London</ref> However, it seems that in reality it is nothing more than a few random samples and tape edits played backwards. The loop is re-created on the CD version which plays for a few seconds, then fades out. Although most of the content of the runout groove is impossible to decipher, it is possible to distinguish a sped-up voice (possibly McCartney's) actually reciting the phrase "never could be any other way". Played backwards, the last element of the original LP loop that is ''Sgt. Pepper's Inner Groove'' appears to be George Harrison saying "Epstein" (obviously missing from the CD version). One of the few moments of discord came during the recording of "[[She's Leaving Home]]", when an impatient McCartney, frustrated by Martin's unavailability, hired freelance arranger [[Mike Leander]] to arrange the string section — the first of only two occasions during the group's entire career that he worked with another arranger (the other was in connection with some backing orchestration used in the ''[[Magical Mystery Tour (film)|Magical Mystery Tour]]'' film (12 October 1967 session; see Lewisohn), which were also arranged by Leander. The Beatles were present during the mixing of the album in [[Monaural|mono]] and the [[vinyl record|LP]] was originally released as such alongside a [[stereophonic sound|stereo]] mix prepared by [[Abbey Road Studios|Abbey Road]] [[sound engineer|engineers]] led by [[Geoff Emerick]]; the Beatles themselves did not attend the mixing of the stereo version. (The mono version is now out of print on vinyl and was not officially released on CD.) The two mixes are fundamentally different. For example, the stereo mix of "She's Leaving Home" was mixed at a slower speed than the original recording and therefore plays at a slower tempo and at a lower pitch than the original recording. Conversely, the mono version of "Lucy in the Sky with Diamonds" is considerably slower than the stereo version and features much heavier gating and reverb effects. McCartney's yelling voice in the [[coda (music)|coda]] section of "Sgt. Pepper (Reprise)" (just before the [[segue]] into "[[A Day in the Life]]") can plainly be heard in the mono version, but is nearly inaudible in the stereo version. The mono version of the song also features drums that open with much more presence and force, as they are turned well up in the mix. Also in the stereo mix, the famous [[segue]] at the end of "[[Good Morning Good Morning]]" (the chicken-clucking sound which becomes a guitar noise) is timed differently and a crowd noise tape comes in later during the intro to "Sgt. Pepper (Reprise)". Other variations between the two mixes include louder laughter at the end of the mono mix of "Within You Without You" and a colder, echoless ending on the mono version of "Being for the Benefit of Mr. Kite!" ==Music== ''Sgt. Pepper'' features elaborate arrangements — for example, the [[clarinet]] ensemble on "[[When I'm Sixty-Four]]" — and extensive use of studio effects including echo, reverberation and [[reverse tape effects]]. Many of these effects were devised in collaboration with producer [[George Martin]] and his team of engineers. By the time the Beatles recorded the album their musical interests had grown from their simple [[Rhythm and blues|R&B]], [[Popular music|pop]], and [[rock and roll]] beginnings to incorporate a variety of new influences. They had become familiar with a wide range of instruments such as the [[Hammond organ]] and [[electric piano]]; their instrumentation now covered a wider range including [[String instrument|strings]], [[Brass instrument|brass]], [[Woodwind instrument|woodwind]], [[Percussion instrument|percussion]], and even some exotic instruments such as the [[sitar]]. McCartney, although unable to read music, had scored a recent British film ''[[The Family Way]]'' (see [[The Family Way (soundtrack)|The Family Way soundtrack]]) with the assistance of producer/arranger [[George Martin]], which earned him a prestigious [[Ivor Novello award]]. McCartney came to be greatly influenced by the avant garde composer [[Karlheinz Stockhausen]], whom he wanted to include on the cover. Another example of the album's unusual production is [[John Lennon]]'s song "[[Being for the Benefit of Mr. Kite!]]", which closes side 1 of the album. The lyrics were adapted almost word for word from an old circus poster which Lennon had bought at an antique shop in Kent the day the Beatles had been filming the promotional clip for ''Strawberry Fields Forever'' there. The flowing [[sound collage]] that gives the song its distinctive character was created by Martin and his engineers, who collected recordings of calliopes and fairground organs, which were then cut into strips of various lengths, thrown into a box, mixed up and edited together in random order, creating a long loop which was mixed in during final production. The opening track of side two, "[[Within You Without You]]", is unusually long for a 'pop' recording of the day, and features only [[George Harrison]], on vocals, [[sitar]] and [[acoustic guitar]], with all other instruments being played by a group of [[London]]-based Indian musicians. These deviations from the traditional [[rock and roll]] band formula were facilitated by the Beatles' decision not to tour, by their ability to hire top-rate session musicians, and by Harrison's burgeoning interest in [[India]] and [[Indian music]], which led him to take lessons from sitar maestro [[Ravi Shankar (musician)|Ravi Shankar]]. Harrison's fascination with Indian music is further evidenced by the use of a [[tamboura]] on several tracks, including "Lucy in the Sky with Diamonds" as well as "Getting Better". This album also makes heavy use of [[keyboard instruments]]. [[Grand piano]] is used on tracks such as "A Day in the Life," along with Lowrey organ on "Lucy in the Sky with Diamonds." A [[harpsichord]] can be heard on "Fixing a Hole," and a [[harmonium]] was played by George Martin on "Being for the Benefit of Mr. Kite". Electric piano, upright piano, Hammond organ, glockenspiel and Mellotron are all heard on the record. ===Possible drug references=== There is much speculation as to the use of drugs in the creation of ''Sgt. Pepper's Lonely Hearts Club Band'' and the Beatles' other music. The album features many effects and themes that appear to be [[psychedelic]]. At points there seem to be many explicit references to [[Recreational drug use|drugs]]. The album's closing track, "A Day in the Life", which is one of the last major [[Lennon-McCartney]] collaborations, includes the phrase "I'd love to turn you on". "Turning on" was a common drug culture [[colloquialism]] at the time for taking [[Lysergic acid diethylamide|LSD]], referring to the mantra coined by drug advocate [[Timothy Leary]] "[[turn on, tune in, drop out]]", though this interpretation was later denied by Lennon and McCartney. They supposedly meant that they'd love to turn you on to the truth.<ref name="Nasty">{{cite web|url=http://beatles.ncf.ca/a_day_in_the_life.html|title=Beatles' Song Nasty|publisher=Associated Press|date=8 June 1967|accessdate=2008-04-14}}</ref> According to [[Peter Brown (music industry)|Peter Brown]] in his biography of the Beatles, ''The Love You Make: An Insider's Story of The Beatles'', when McCartney sings, "Found my way upstairs and had a smoke. Somebody spoke and I went into a dream", was quite obviously about marijuana. However, in the same song, "four thousand holes in [[Blackburn]], Lancashire" had nothing to do with the needle tracks in a junkie's arm. The line refers to a newspaper article Lennon read concerning the repair of potholes in the roads of Blackburn. Likewise, the hole McCartney was fixing in "Fixing a Hole" was not in the arm of a heroin addict, nor was "Henry the Horse" in "Being for the Benefit of Mr. Kite" a code for heroin. Lennon took the title from a Victorian circus poster he purchased in an antique shop. Also when Starr sings "With a Little Help From My Friends", he repeatedly declares that he gets high with a little help from his friends. Phrases such as "Take some tea" (a slang term for [[Cannabis (drug)|cannabis]]) in "Lovely Rita" and "digging the weeds" in "When I'm Sixty-Four" have also been cited as possible drug references, although in both of these instances the lines are almost certainly meant to be taken literally. In fact, it is almost certain that the one in "When I'm Sixty-Four" was meant to be literal, because Paul wrote the song in the 1950s when he was 16. <!-- Commented out because image was deleted: [[Image:Lucyinthesky.JPG|thumb|right|The picture by Lennon's son Julian that is said to have inspired the song "Lucy in the Sky with Diamonds".]] -->The song "[[Lucy in the Sky with Diamonds]]" became the subject of much speculation regarding its meaning. John Lennon maintained that the song describes a surreal dreamscape inspired by a picture drawn by his son [[Julian Lennon|Julian]]. (One of Julian's classmates at this time was a girl named Lucy.) However, the song became controversial as many believed that the words of the chorus were code for [[Lysergic acid diethylamide|LSD]], a claim Lennon consistently denied. The [[BBC]] used this as their basis for banning the song from British radio. Julian, McCartney, Harrison and Starr backed up Lennon's story (Starr even said he saw the picture at the time), and the picture itself has appeared in the media. However, during a newspaper interview in 2004, McCartney was quoted as saying, "''Lucy In The Sky'', that's pretty obvious. ...but the writing was too important for us to mess it up by getting off our heads all the time."<ref>{{cite news | url = http://www.msnbc.msn.com/id/5121163 | title = Paul McCartney got no thrill from heroin | publisher = MSNBC | author = [[The Associated Press]] | date = [[2004-06-02]] | accessdate = 2007-03-15 }}</ref> Debate continues among critics and fans about the meaning, extent, and depth of the drug references. Some interpretations of the album have focused on the use of drugs as central to the meaning of the entire album. Some critics, such as Sheila Whiteley, have claimed that the experience of LSD use is fundamental and infused into the album. Most critics acknowledge some drug references, but believe that the album cannot be simply reduced to these references. [[George Melly]], for example, points out that many songs, such as "A Day in the Life", can easily be interpreted as rejections of [[drug culture]], and that the culture is portrayed in a "desperate light." While the Beatles admitted to the occasional drug reference in their songs, these instances are surprisingly rare and usually they had other explanations for their lyrics. For instance, McCartney's "somebody spoke and I went into a dream" section of "[[A Day in the Life]]" was inspired by McCartney's taking the bus during his school years and sometimes falling asleep on the way there, while the "had a smoke" line refers to a [[Woodbine (Cigarette brand)|Woodbine]] cigarette, rather than marijuana as is often assumed. ==Album cover== :''See also: [[List of images on the cover of Sgt. Pepper's Lonely Hearts Club Band]]'' The [[Grammy Award]]-winning album packaging was created by [[art director]] [[Robert Fraser]], mostly in collaboration with McCartney, designed by [[Peter Blake (artist)|Peter Blake]], his wife Jann Haworth, and photographed by [[Michael Cooper (photographer)|Michael Cooper]]. It featured a colourful collage of life-sized cardboard models of famous people on the front of the album cover and lyrics printed on the back cover, the first time this had been done on an English pop LP.<ref name="NPR">{{cite web|url=http://www.npr.org/templates/story/story.php?storyId=10634329|title='Sgt. Pepper', an Album that Shaped an Era|last=Ingles|first=Paul|language=English|date=1 June 2007|accessdate=2008-04-14}}</ref> The Beatles themselves, in the guise of the Sgt. Pepper band, were dressed in eye-catching custom-made military-style outfits made of satin dyed in [[day-glo]] colours. The suits were designed by [[Manuel Cuevas]].<ref>{{cite web | url = http://transcripts.cnn.com/TRANSCRIPTS/0605/08/gb.01.html | publisher = CNN | title = Transcript: Glenn Beck | accessdate = 2007-03-15 | date = [[2006-05-08]] }}</ref> Among the insignia on their uniforms are: *[[Member of the Order of the British Empire|MBE]] medals on McCartney's and Harrison's jackets. MBEs had been awarded to all four Beatles. *The [[Royal Coat of Arms of the United Kingdom]], on Lennon's right sleeve *[[Ontario Provincial Police]] flash on McCartney's sleeve Art director [[Robert Fraser]] was a prominent London art dealer who ran the [[Indica Gallery]]. He had become a close friend of McCartney's and it was at his strong urging that the group abandoned their original cover design, a [http://www.norwegianwood.org/beatles/english/albumcovers9.html psychedelic painting] by [[The Fool (design collective)|The Fool]]. The Fool's design for the inner sleeve ''was'', however, used for the first few pressings.<!-- wavy lines like plumes of smoke, a bit like the sleeve of gitanes cigarettes or the 'shades' sleeve of JJ Cale. --> Fraser was one of the leading champions of modern art in Britain in the 1960s and after. He argued strongly that the Fool artwork was not well-executed and that the design would soon be dated. He convinced McCartney to abandon it, and offered to art-direct the cover; it was Fraser's suggestion to use an established fine artist and he introduced the band to a client, noted British 'pop' artist Peter Blake, who, in collaboration with his wife, created the famous cover collage, known as "People We Like". According to Blake, the original concept was to create a scene that showed the Sgt. Pepper band performing in a park; this gradually evolved into its final form, which shows the Beatles, as the Sgt. Pepper band, surrounded by a large group of their heroes, rendered as lifesized cut-out figures. Also included were wax-work figures of the Beatles as they appeared in the early '60s, borrowed from [[Madame Tussauds]]. The wax figures appear to be looking down on the word "Beatles" spelled out in flowers as if it were a grave, and it has been speculated that this symbolises that the innocent mop-tops of yesteryear were now dead and gone.<ref name="Dread">{{cite web|url=http://www.dread.net/~finder/beatles/splhcb.html|title=Sgt. Pepper's Lonely Hearts Club Band|language=English|accessdate=2008-04-14}}</ref><ref name="Icons"/>At their feet were several affectations from the Beatles' homes including small statues belonging to Lennon and Harrison, a small portable TV set and a trophy. A young delivery boy who provided the flowers for the photo session was allowed to contribute a guitar made of yellow [[hyacinth (plant)|hyacinth]]s. Although it has long been rumoured that some of the plants in the arrangement were cannabis plants, this is untrue. Also included is a [[Shirley Temple]] doll wearing a sweater in homage to the Rolling Stones (who would return the tribute by having the Beatles hidden in the cover of their own ''[[Their Satanic Majesties Request]]'' LP later that year). The collage depicted more than 70 famous people, including writers, musicians, film stars and (at Harrison's request) a number of Indian [[guru]]s. Starr reportedly made no contribution to the design. The final grouping included [[Marlene Dietrich]], [[W.C. Fields]], [[Diana Dors]], [[Bob Dylan]], [[Marilyn Monroe]], [[Karlheinz Stockhausen]], [[Sigmund Freud]], [[Aleister Crowley]], [[Edgar Allan Poe]], [[Karl Marx]], [[Oscar Wilde]], [[William S. Burroughs]], [[Marlon Brando]], [[Stan Laurel]] and [[Oliver Hardy]], and controversial comedian [[Lenny Bruce]]. Also included was the image of the original Beatles bass player, the late [[Stuart Sutcliffe]]. [[Pete Best]] said in a later [[National Public Radio|NPR]] interview that Lennon borrowed family medals from his mother [[Mona Best|Mona]] for the shoot, on condition he not lose them. [[Adolf Hitler]] was requested by Lennon, but ultimately he was left out. It can, however, be seen in place as well as leaning against the wall in several photographs taken on the set. [[Image:Sgtpeppergatefold.jpg|thumb|left|300px|The gatefold]] A photo also exists of a rejected cardboard printout with a cloth draped over its head; its identity is unknown, but may possibly be [[Elvis Presley]]. Even now, co-creator Jann Haworth regrets that so few women were included.<ref>[http://www.highbeam.com/doc/1G1-126338075.html?refid=hbw_jz Arts: Sgt Pepper: take two; In 1967, Jann Haworth co-designed the iconic cover for Sgt Pepper's Lonely Hearts Club Band with her then husband, Peter Blake. Now she has revisited the idea - and this time women get a proper look-in]</ref> The entire list of people on the cover can be found at [[List of images on the cover of Sgt. Pepper's Lonely Hearts Club Band]]. The package was a '[[gatefold]]' album cover, that is, the album could be opened like a book to reveal a large picture of the Fab Four in costume against a yellow background. The reason for the gatefold was that the Beatles originally planned to fill two LPs for the release. The designs had already been approved and sent to be printed when they realized they would only have enough material for one LP. Originally the group wanted the album to include a package with pins, pencils and other small Sgt. Pepper goodies but this proved far too cost-prohibitive. Instead, the album came with a page of cut-outs, with a description in the top left corner: :SGT. PEPPER<br />CUT-OUTS # Moustache # Picture card of Sgt. Pepper # Stripes # Badges # Stand-up of the band The special inner sleeve, included in the early pressings of the LP, featured a multi-coloured psychedelic pattern designed by the Fool. [[Image:Sgtpepperinnerbag.jpg|thumb|left|The inner sleeve]] The collage created legal worries for [[EMI]]'s legal department, which had to contact the people who were still living to obtain their permission. [[Mae West]] initially refused — famously asking "What would I be doing in a lonely hearts club?" — but she relented after the Beatles sent her a personal letter. Actor [[Leo Gorcey]] requested payment for inclusion on the cover, so his image was removed. An image of [[Mohandas Gandhi]] was also removed at the request of EMI (it was actually just obscured by a palm tree), who had a branch in India and were fearful that it might cause offence there. Lennon had, perhaps facetiously, asked to include images of [[Jesus Christ]] and Adolf Hitler, but these were rejected because they would almost certainly have generated enormous controversy. Most of the suggestions for names to be included came from McCartney, Lennon and Harrison, with additional suggestions from Blake and Fraser (Starr demurred and let the others choose). Beatles manager [[Brian Epstein]] had serious misgivings, stemming from the scandalous U.S. [[Yesterday...and Today#The "Butcher cover"|Butcher Cover]] controversy the previous year, going so far as to give a note reading “Brown paper bags for Sgt. Pepper” to Nat Weiss as his last wish. The collage was assembled by Blake and his wife during the last two weeks of March 1967 at the London studio of photographer Michael Cooper, who took the cover shots on [[March 30]], [[1967]] in a three-hour evening session. The final bill for the cover was £2,868 5s/3d, a staggering sum for the time — it has been estimated that this was 100 times the average cost for an album cover in those days.<ref name="Icons">{{cite web|url=http://www.icons.org.uk/theicons/collection/sgt-pepper/features/the-cover|title=Creating the Cover|language=English|accessdate=2008-04-14}}</ref> There were also variations of the cover for different countries. On the [[Soviet Union]] cover, the writing on the bass drum was translated into [[cyrillic]], [[Karl Marx]] was replaced by [[Rasputin]] and a photo of the director of the record company was added in the back row between Edgar Allan Poe and Fred Astaire. Some countries had coloured vinyl such as a yellow LP in the [[Netherlands]] and a red one in [[Japan]]. ==Release and reception== Upon release, ''Sgt. Pepper'' received both popular and critical acclaim. Various reviews appearing in the mainstream press and trade publications throughout June 1967, immediately after the album's release, were generally positive. In ''[[The Times]]'' prominent critic [[Kenneth Tynan]] described ''Sgt. Pepper'' as "a decisive moment in the [[History of western civilization|history of Western civilization]]." Others including [[Richard Poirier]], and Geoffrey Stokes were similarly expansive in their praise, Stokes noting, "listening to the ''Sgt. Pepper'' album one thinks not simply of the history of popular music but the history of this century." One notable critic who did not like the album was Richard Goldstein, a critic for ''[[The New York Times]]'', who wrote, "Like an over-attended child, "Sergeant Pepper" is spoiled. It reeks of horns and harps, harmonica quartets, assorted animal noises, and a 41-piece orchestra," and added that it was an "album of special effects, dazzling but ultimately fraudulent" <ref>Goldstein, Richard, "We Still Need the Beatles, but..." in The New York Times, 1967-06-18. </ref>. On the other hand, Goldstein called "A Day in the Life" "a deadly earnest excursion in emotive music with a chilling lyric," and that "it stands as one of the most important Lennon-McCartney compositions, and it is a historic Pop event."<ref>ibid.</ref> One rock musician who apparently did not like the album was [[Frank Zappa]], who accused the Beatles of co-opting the [[flower power]] aesthetic for monetary gain, saying in a ''[[Rolling Stone]]'' article that he felt "they were only in it for the money." That criticism later became the title of the Mothers of Invention album (''[[We're Only in It for the Money]]''), which mocked ''Sgt. Pepper'' with a similar album cover. (The original cover, featuring Zappa and his bandmates in drag against a yellow background, was a spoof of the inside cover of Sgt. Pepper's; the original outer cover of the album, featuring Zappa and his band standing before a Sgt. Pepper-like collage and fronted by a flowerbed lettered "MOTHERS", was withdrawn by MGM Records used as the inside gatefold. The original LP issue nevertheless included a "cut-outs" card featuring facsimiles of Zappa's trademark moustache and of a button with a nipple on it.) Ironically, when recording of ''Sgt. Pepper'' was completed, McCartney said, "This is going to be our ''[[Freak Out!]]''", referring to Zappa's 1966 debut album, which is considered by many as the first rock [[concept album]].<ref name="Icon Biography">{{cite web | last = | first = | url = http://www.icons.org.uk/theicons/collection/sgt-pepper/biography/its-influence | title = Sgt. Pepper's Lonely Hearts Club Band'': The first concept album? | format = | work = | publisher =Its Influence | accessdate = 2007-11-19}}</ref> Within days of its release, [[Jimi Hendrix]] was performing the title track in concert, first for an audience that included Harrison and McCartney, who were greatly impressed by his unique version of their song and his ability to learn it so quickly. Also, Australian band [[the Twilights]] — who had obtained an advance copy of the LP in London — wowed audiences in Australia with note-perfect live renditions of the entire album, weeks before it was even released there. The chart performance of the album was even stronger than critical reception. In the UK it debuted at #8 before the album was even released (on [[June 1]], [[1967]]) and the next week peaked at #1 where it stayed for 23 consecutive weeks. Then it was knocked off the top for ''[[The Sound of Music]]'' on the week ending [[November 18]], [[1967]]. Eventually it spent more weeks at the top, including the competitive Christmas week. When the CD edition was released on [[June 1]], [[1987]], it made #3. In June 1992, the CD was re-promoted to commemorate its 25th Anniversary, and charted at #6. In 2007, commemorating 40 years of its release, ''Sgt. Pepper'' again re-entered the charts at #47 in the UK. In all, the album spent a total of 201 weeks on the UK charts. The album won the [[Grammy Award]] for [[Grammy Award for Album of the Year|Album of the Year]], the first rock album to do so, and [[Grammy Award for Best Pop Vocal Album|Best Contemporary Album]] in 1968. U.S. sales for the album totalled 11 million units, with 30 million worldwide. ===Aftermath=== ''Sgt. Pepper'' is often considered to be the last Beatles album where the band were consistently working together as a group rather than as separate members, and without any fear of conflict or ego domination. Much of this was due to [[Brian Epstein]] and his ability to resolve any petty differences between them. When he died a couple of months after the album was released, the band began the slow path towards breaking up, having no one to guide them and give them something to do. It is notably the last time where the band are unified in their look, all having long hair, moustaches and day-glo suits. After this, their individual appearances varied widely. McCartney appeared to take up the leadership role, something which the other Beatles saw as controlling. Their follow up, ''[[Magical Mystery Tour (album)|Magical Mystery Tour]]'', contained songs that were stylistically similar to those of ''Sgt. Pepper''. After a three month break, the Beatles returned to more conventional musical expression in February 1968 with the [[Fats Domino]]-influenced, piano-based "[[Lady Madonna]]". ==Legacy== It has been on many lists of the best rock albums,<ref>{{cite web | url=http://acclaimedmusic.net/Current/A92.htm|title=List of Sgt. Peppers Accolades|accessdate=2007-11-19|publisher=Acclaimed Music}}</ref> including ''Rolling Stone'', Bill Shapiro, ''Alternative Melbourne'', Rod Underhill and VH1. In 1987 [[Rolling Stone]] named ''Sgt. Pepper'' the greatest album of the last twenty years (1967-1987).<ref>{{cite web|url=http://www.rollingstone.com/artists/thebeatles/albums/album/220919/review/5945102/sgt_peppers_lonely_hearts_club_band|title=Sgt. Pepper's Lonely Hearts Club Band}}</ref> the In 1997 ''Sgt. Pepper'' was named the number 1 greatest album of all time in a 'Music of the Millennium' poll conducted by [[HMV]], [[Channel 4]], ''[[The Guardian]]'' and [[Classic FM (UK)|Classic FM]]. In 1998 [[Q (magazine)|''Q'' magazine]] readers placed it at number 7, while in 2003 the [[TV network]] [[VH1]] placed it at number 10;<ref>{{cite web | last = | first = | url = http://www.timepieces.nl/Top100's/2001VH1MusicRadio.html | title = 2001 VH1 Cable Music Channel All Time Album Top 100 | format = | work = | publisher =[[VH1]] | accessdate = 2007-11-19}}</ref> {{RS500|1}}<ref name="RS1234">{{cite web | url=http://www.rollingstone.com/news/story/6595610/1_sgt_peppers_lonely_hearts_club_band |title=The 500 Greatest Albums of All Time|accessdate=2007-11-19 |publisher=[[Rolling Stone]]}}</ref> In 2006, the album was chosen by [[Time (magazine)|Time Magazine]] as one of the 100 best albums of all time.<ref>{{cite web | last = | first = | url = http://www.time.com/time/2006/100albums/index.html | title = The All-Time 100 Albums | format = | work = | publisher =[[Time (magazine)|Time]] | accessdate = 2007-11-20}}</ref> In 2002, [[Q (magazine)|''Q'' magazine]] placed it at number 13 in its list of the 100 Greatest British Albums Ever.<ref>{{cite web | last = | first = | url = http://www.rocklistmusic.co.uk/qlists.html#100%20Greatest%20British%20Albums | title = The 100 Greatest British Albums Ever | format = | work = | publisher =[[Q (magazine)|Q]] | accessdate = 2007-11-20}}</ref> In 2003, it was one of 50 recordings chosen by the [[Library of Congress]] to be added to the [[National Recording Registry]].<ref name="congress2003">{{cite web | last = | first = | url = http://www.loc.gov/rr/record/nrpb/nrpb-2003reg.html | title = The National Recording Registry 2003 | format = | work = | publisher =[[Library of Congress]] | accessdate = 2007-11-19}}</ref> ==Planned TV movie== On [[10 February]] [[1967]], during the orchestral recording sessions for "A Day in the Life", six cameramen filmed the chaotic events with the purpose of using the footage for a planned but unfinished ''Sgt. Pepper'' television special. The TV special was to have been written by Ian Dallas and directed by Keith Green. If the project had proceeded, it would have been the first full-length video album (that claim would later go to [[Blondie (band)|Blondie's]] ''[[Eat to the Beat]]'' in [[1979]]). The shooting schedule included all the songs from the album set to music video style scenes: for example; "Within You Without You" scenes would have been set throughout offices, factories and elevators. There were even production numbers planned involving "meter maids" and "[[rockers]]". Although production was cancelled, the "A Day in the Life" footage was edited down with stock footage into a finished clip. <ref>Mark Lewisohn - EMI's The Complete Beatles Chronicle. Pyramid Books (1992)</ref> This clip was not released to the public until the John Lennon documentary ''[http://www.imdb.com/title/tt0095360/ Imagine: John Lennon]'' was released in 1988. A more complete version was later aired on ''[[The Beatles Anthology]]'' series. ==Track listing== ''Sgt. Pepper's Lonely Hearts Club Band'' was the first Beatles album to be released with identical track listings in the United Kingdom and the United States (although the American release did not contain the side two runout groove and inner groove sound effects). All songs written by [[Lennon-McCartney]], except where noted. ===Side one=== # "[[Sgt. Pepper's Lonely Hearts Club Band (song)|Sgt. Pepper's Lonely Hearts Club Band]]" – 2:04 # "[[With a Little Help from My Friends]]" – 2:46 # "[[Lucy in the Sky with Diamonds]]" – 3:30 # "[[Getting Better]]" – 2:49 # "[[Fixing a Hole]]" – 2:38 # "[[She's Leaving Home]]" – 3:37 # "[[Being for the Benefit of Mr. Kite!]]" – 2:37 ===Side two=== # "[[Within You Without You]]" ([[George Harrison]]) – 5:07 # "[[When I'm Sixty-Four]]" – 2:37 # "[[Lovely Rita]]" – 2:44 # "[[Good Morning Good Morning]]" – 2:43 # "[[Sgt. Pepper's Lonely Hearts Club Band (song)#Reprise|Sgt. Pepper's Lonely Hearts Club Band (reprise)]]" – 1:20 # "[[A Day in the Life]]" – 5:33 ==Inner groove== Following the last track on the album is an extremely high-pitched tone (15 kHz), too high-pitched for some (especially adults) to hear, but audible to dogs, other animals, and most younger listeners. The high tone was inserted, as was John Lennon’s intention, to irritate the listener’s dog. However, the tone was only inserted on the first 5000 copies of the LP (save for the American [[Capitol Records]] pressing), but is now available on all copies of the CD. Don R. Vaughn, a Ph.D. in Mass Communication at Miss. St. University, recalled playing "A Day in the Life" on his radio show in the late 1970s. "I decided," Vaughn said, "to play 'A Day in the Life' from the album ''1967-1970'' and during the song (I cannot recall at which part), we went off the air! The program director rushed into the control room and told me not to play it anymore because there's something in the song that would knock our transmitter off." The 15 kHz tone is followed by a loop of incomprehensible Beatles studio chatter, spliced together apparently at random sections would play forward (‘Never could be any other way’) and others backward (debatably ‘Will Paul be back as Superman?’). This lasts for two seconds and the final three syllables are on the final groove creating a loop that is repeated ‘endlessly’. This noise was placed in the concentric run-out groove of the vinyl LP. If the listener’s record player had an auto return mechanism, a short burst of noise would be heard before the needle was lifted and moved back into place. Otherwise, the sound would loop infinitely, leading the listener to wonder if something had gone wrong with the record or the record player. Rumours of a ‘hidden message’, audible only when one played the vinyl copy backwards, abounded for many years without substantiation. This was mainly due to the practical difficulties involved with manually spooling the record backwards whilst maintaining a constant speed. All four Beatles denied the obscene backwards message and said it was complete gibberish that they did for laughs. This coda to the ''Sgt. Pepper'' LP was included in British pressings but not originally in American pressings; it was included on the 1980 "[[Rarities (The Beatles American album)|Rarities]]" compilation LP, as "Sgt. Pepper Outgroove". The 1987 CD rerelease—in any country—recreates this effect, although, since an infinite loop cannot be created on compact discs, the Beatle chatter is looped eight or nine times before fading slowly out. On ''[[Anthology 2|Anthology II]]'', in an early, pre-orchestral version of the song, Paul can be heard saying ‘Y’see, the worst thing about doing this, or doing something like this, is that I think at first people sort of, are a bit suspicious. You know, ‘come on, what are you up to?’. But the thing is, it really is just...’ before the song fades out. Canadian progressive rock band [[Rush]] also utilised this technique in their 1975 album [[Fly by Night (album)| Fly By Night]]. At the end of By-Tor and the Snow Dog, there is a series of repeating chimes. [[The Who]] also used this effect in 1967 with their album ''[[The Who Sell Out]]''. The album, an de to pirate radio that included genuine and false advertisements, ended with an infinite loop featuring voices repeating the words ‘Track Records’—the Who’s record label. [[Brand New]] also referenced this noise on their 2003 album ''[[Deja Entendu]]''. After the ending of the final track, “Play Crack the Sky”, you can hear lead singer [[Jesse Lacey]] walk to the back of the room, sing the noise in an upwards crescendo as well as the line ‘Never to see any other way’ and walk out of a door. ==Other recordings of the period== Four other tracks were recorded during the timespan of the ''Sgt. Pepper'' recording sessions but not incorporated on the album: * "[[Strawberry Fields Forever]]": The first song recorded for the album, written by Lennon with the title referring to a Salvation Army orphanage near where he lived during his childhood in Liverpool. * "[[Penny Lane]]": A McCartney song written as a counterpoint to Lennon's "Strawberry Fields" - it was McCartney's own nostalgic take on the Liverpool of his youth. :Though "Strawberry Fields Forever" and "Penny Lane" had originally been intended for the new album, in January 1967 producer George Martin responded to EMI Records' pressure for a new single (the Beatles had not released a single since August 1966) and called the two tracks for issue in February 1967. In common with UK music industry practice at that time, which did not duplicate recent singles on new albums, both tracks were subsequently left off the ''Sgt. Pepper'' album. The tracks were issued on the US ''[[Magical Mystery Tour (album)|Magical Mystery Tour]]'' album in late 1967 and on a UK compilation album in 1973. Martin later described the decision to extract the two songs from the album as the biggest mistake of his career.<ref>DeRogotis, Jim: ''Kill Your Idols''. Barricade Books, 2004</ref> * "[[Only a Northern Song]]": A George Harrison song that offered a sarcastic commentary on his music publishing contract with the Beatles' publishing company "Northern Songs". After completing the song, Harrison decided to record another track for the album, "Within You Without You", and that song about spirituality was deemed a more suitable choice for the album. "Only a Northern Song" was shelved and then given to the makers of the animated feature film ''[[Yellow Submarine (film)|Yellow Submarine]]''. It was used in the 1969 film and then incorporated on the soundtrack album released the following year. * "[[Carnival of Light]]": A McCartney sound collage reportedly lasting ten to fifteen minutes, the piece was commissioned and recorded for use at a psychedelic London event in early 1967 - the "Carnival of Light Rave" - and expanded on the use of [[tape loop]]s that the Beatles had explored on "[[Tomorrow Never Knows]]". <ref name="Lewisohn"/> "Carnival of Light" has not yet appeared on any release, be it official or a bootleg recording. However, a minute-long track claimed to be an excerpt from the song containing backwards, sped up electric guitar noises has appeared on various filesharing networks. ==Charts== ===Album=== {| class="wikitable" ! Year ! Chart ! Position |- | 1967 | [[Billboard 200|US ''Billboard'' 200]] | 1 |- | 1967 | [[UK Albums Chart]] | 1 |- | 1967 | [[ARIA Charts|Australian ARIA Albums Chart]] | 1 |- | 1967 | [[IFPI|Norwegian Album Chart]]<ref>[http://norwegiancharts.com/showitem.asp?interpret=The+Beatles&titel=Sgt%2E+Pepper%27s+Lonely+Hearts+Club+Band&cat=a The Beatles - Sgt. Pepper's Lonely Hearts Club Band] ''Norwegiancharts.com''. Retrieved [[November 10]], [[2007]].</ref> | 1 |} The album entered the [[UK Albums Chart]] on [[3 June]] [[1967]] and has remained there for a total of 201 weeks as at [[1 July]] [[2007]]. In the USA the album stayed in the [[Billboard 200|''Billboard'' 200]] chart for 175 weeks. ==Awards== ===Grammy awards=== {| class="wikitable" ! Year ! Winner ! Award |- | 1967 | ''Sgt. Pepper's Lonely Hearts Club Band'' | [[Grammy Award for Album of the Year|Album of the Year]] |- | 1967 | ''Sgt. Pepper's Lonely Hearts Club Band'' | [[Grammy Award for Best Album Cover, Graphic Arts|Best Album Cover, Graphic Arts]] |- | 1967 | ''Sgt. Pepper's Lonely Hearts Club Band'' | [[Grammy Award for Best Engineered Album, Non-Classical|Best Engineered Recording, Non-Classical]] |- | 1967 | ''Sgt. Pepper's Lonely Hearts Club Band'' | [[Grammy Award for Best Pop Vocal Album|Contemporary Album]] |} ===Grammy Award nominations=== {| class="wikitable" ! Year ! Nominee ! Award |- | 1967 | ''Sgt. Pepper's Lonely Hearts Club Band'' | [[Grammy Award for Best Performance by a Vocal Group|Group Vocal Performance]] |- | 1967 | ''Sgt. Pepper's Lonely Hearts Club Band'' | [[Grammy Award for Best Pop Performance by a Duo or Group with Vocal|Contemporary Vocal Group]] |- | 1967 | "A Day in the Life" | [[Grammy Award for Best Instrumental Arrangement Accompanying Vocalist(s)|Best Instrumental Arrangement Accompanying Vocalist(s)]] |} ==Personnel== According to Mark Lewisohn<ref name="Lewisohn"/> and Allan W. Pollack<ref>{{cite web |url=http://www.icce.rug.nl/~soundscapes/DATABASES/AWP/awp-notes_on.shtml |title=Notes on... series |accessdate= 2008-03-10}}</ref> *[[John Lennon]]: lead, harmony and background vocals; lead, rhythm and acoustic guitars; [[Hammond organ]] and [[piano]]; [[Bass guitar|bass]]; [[handclaps]], [[harmonica]], [[tape loops]], [[sound effects]] and [[kazoo]]; [[tambourine]] and [[maracas]]. *[[Paul McCartney]]: lead, harmony and background vocals; lead electric and acoustic guitars; [[Bass guitar|bass]]; piano and Hammond organ; handclaps, vocalizations, tape loops, sound effects and kazoo *[[George Harrison]]: lead, rhythm, acoustic and bass guitars; lead, harmony and background vocals; [[tamboura]]; [[harmonica]] and kazoo; handclaps *[[Ringo Starr]]: [[drums]], [[congas]], tambourine, maracas, handclaps and [[tubular bells]]; lead vocals; harmonica and kazoo; final piano E chord With: *[[George Martin]]: [[Record producer|producer]] and [[Audio mixing|mixer]]; tape loops and sound effects; [[harpsichord]], Hammond organ and piano strings; final harmonium chord. *[[Geoff Emerick]]: [[recording]] and [[Audio mixing|mixing]] [[Audio engineering|engineer]]; tape loops and sound effects. *[[Neil Aspinall]]: tamboura and harmonica. *[[Mal Evans]]: counting, alarm clock and final piano E chord. Session musicians: *4 french horns on "Sgt. Pepper's Lonely Hearts Club Band", arranged and conducted by Martin and McCartney. *String section and harp on "She's leaving home", arranged by Mike Leander and conducted by Martin. *Harmonium, tabla, sitar, dilruba, 8 violins and 4 cellos on "Within You, Without You", arranged and conducted by Harrison and Martin. *Clarinet trio on "When I'm Sixty Four", as arranged and conducted by Martin and McCartney. *Saxophone sextet on "Good Morning, Good Morning", arranged and conducted by Martin and Lennon. *40 piece orchestra (strings, brass, woodwinds and percussion) on "A Day in the Life", arranged by Martin, Lennon and McCartney and conducted by Martin and McCartney. == See also== * [[List of The Beatles songs]] ==Notes== {{reflist}} ==References== *[[Lars Ro|Rosenblum Sorgenfrei, Lars]]. ''Inkblot Magazine''. [http://www.inkblotmagazine.com/rev-archive/Beatles_Sgt_Pepper.htm]. Retrieved October 26, 2004. *''Rolling Stone'' magazine. RS 507 - 27 August 1987. [http://www.rollingstone.com/reviews/album/_/id/220919/thebeatles?pageid=rs.ArtistDiscography&pageregion=triple1&rnd=1098891214819&has-player=true] Retrieved October 26, 2004. *Haber, David. ''The Sgt. Pepper's Album''. [http://www.beatletracks.com/btsgtppr.html] Retrieved October 26, 2004. *{{cite book | author=Spitz, Bob | title=The Beatles | publisher=Little Brown | year=2005 | id=ISBN 0-316-80352-9}} *Lewisohn, Mark ''The Complete Beatles Recording Sessions''. Hamlyn. ISBN 0-681-03189-1 *{{cite book|last=Everett|first=Walter|title=The Beatles as Musicians: Revolver Through the Anthology|publisher=Oxford University Press US|location=New York|date=1999|isbn=0195129415}} ==External links== * [http://musicsojourn.com/Playlists/Specialty/Producers/Paul_Ingles/Topics/b/PIFM_Beatles_SgtPepper_2Sides.htm The Two Sides of Sgt. Pepper: An Honest Appraisal] - Two-Hour Public Radio Program Produced by Paul Ingles * [http://www.parade.com/features/070421-touchstones-beatles-sgt-peppers.html/ It Was 40 Years Ago Today...] The Beatles completed the greatest rock album in history * [http://kitoba.com/pedia/Reconstructivist%20Art.html Reconstructivist Art]: "Sgt Pepper's Lonely Hearts Club Band" * [http://www.usatoday.com/life/music/news/2003-11-16-rolling-stone-list_x.htm The greatest album of all time] according to ''[[Rolling Stone]]'' magazine * [http://www.geocities.com/~beatleboy1/dba08sgt.html Beatles comments on each song] * [http://www.norwegianwood.org/beatles/disko/uklp/pepper.htm Recording data and notes on mono/stereo mixes and remixes] * [http://www.sgtpeppers.co.uk Song by song account of Sgt Peppers from the book 'Beatles for Sale'] * [http://www.theage.com.au/news/in-depth/sergeant-peppers-wild-trip/2007/06/01/1180205508929.html 40th Anniversary retrospective] * [http://www.coverville.com/archives/2007/06/coverville_328.html The Coverville podcast's all-cover track-by-track version of "Sgt. Pepper's Lonely Hearts Club Band"] * [http://www.isulongseophil.com/2007/06/05/sgt-peppers-lonely-hearts-club-band-40th-anniversary/ Sgt. Pepper’s Lonely Hearts Club Band 40th Anniversary] {{s-start}} {{succession box | before = ''[[Headquarters (album)|Headquarters]]'' by [[The Monkees]] | title = [[Billboard 200|''Billboard'' 200]] [[Number-one albums of 1967 (USA)|number-one album]] | years = [[July 1]] - [[October 13]] [[1967]] | after = ''[[Ode to Billie Joe (album)|Ode to Billie Joe]]'' by [[Bobbie Gentry]]}} {{succession box | before = ''[[The Sound of Music (film)|The Sound of Music]]'' (soundtrack) | title = ''[[UK Albums Chart]]'' [[List of number-one albums from the 1960s (UK)|number-one album]] | years = [[June 10]] [[1967]] - [[November 11]] [[1967]] | after = ''The Sound of Music'' (soundtrack) }} {{succession box | before = ''The Sound of Music'' (soundtrack) | title = ''[[UK Albums Chart]]'' [[List of number-one albums from the 1960s (UK)|number-one album]] | years = [[November 25]] [[1967]] | after = ''The Sound of Music'' (soundtrack) }} {{succession box | before = ''The Sound of Music'' (soundtrack) | title = ''[[UK Albums Chart]]'' [[List of number-one albums from the 1960s (UK)|number-one album]] | years = [[February 3]] [[1968]] | after = ''The Four Tops Greatest Hits'' by [[The Four Tops]] }} {{end}} {{The Beatles}} {{Grammy Award Album of the Year 1959-1970}} {{DEFAULTSORT:Sgt. Pepper's Lonely Hearts Club Band}} [[Category:The Beatles albums]] [[Category:1967 albums]] [[Category:Concept albums]] [[Category:Parlophone albums]] [[Category:Psychedelic rock albums]] [[Category:United States National Recording Registry recordings]] [[Category:Albums produced by George Martin]] [[Category:Grammy Award for Album of the Year]] [[Category:EMI Records albums]] {{Link FA|ru}} [[ca:Sgt. Pepper's Lonely Hearts Club Band]] [[cs:Sgt. Pepper's Lonely Hearts Club Band]] [[cy:Sgt. Pepper's Lonely Hearts Club Band]] [[da:Sgt. Pepper's Lonely Hearts Club Band]] [[de:Sgt. Pepper’s Lonely Hearts Club Band]] [[et:Sgt. Pepper's Lonely Hearts Club Band]] [[es:Sgt. Pepper's Lonely Hearts Club Band]] [[eo:Sgt. Pepper's Lonely Hearts Club Band]] [[eu:Sgt. Pepper's Lonely Hearts Club Band]] [[fr:Sgt. Pepper's Lonely Hearts Club Band (album)]] [[ga:Sgt. Pepper's Lonely Hearts Club Band]] [[gd:Sgt. Pepper's Lonely Hearts Club Band]] [[gl:Sgt. Pepper's Lonely Hearts Club Band]] [[hr:Sgt. 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