<\/b><\/p>\n
\n(<\/span>This article by Pete Clemons <\/b>was originally written for the Coventry Telegraph but as the association seems to have finished,we publish it here along with Pete’s many other articles.I should point out though that this article is about coventry music as is evident from the title<\/span>.<\/span><\/i>)<\/span><\/div>\n
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\nToward
\nthe end of 1966 The Beatles desperately wanted to get away from the
\nold image of just being a beat band. They had recently announced that
\nthey were finished with touring and, effectively, they were going to
\ndraw a line under past.<\/span><\/div>\n
\nthe end of 1966 The Beatles desperately wanted to get away from the
\nold image of just being a beat band. They had recently announced that
\nthey were finished with touring and, effectively, they were going to
\ndraw a line under past.<\/span><\/div>\n
\nLocked
\nin a recording studio for several months they recorded what would
\nbecome known as \u2018Sgt Pepper\u2019s Lonely Hearts Club Band<\/i>\u2019 a record
\nthat was arguably the first even concept album. <\/span><\/div>\n
\nin a recording studio for several months they recorded what would
\nbecome known as \u2018Sgt Pepper\u2019s Lonely Hearts Club Band<\/i>\u2019 a record
\nthat was arguably the first even concept album. <\/span><\/div>\n
\n
<\/span><\/div>\n
<\/span><\/div>\n
\nThe theme of the
\nalbum represented a touring brass band in the mind of the listener.
\nThe laughter you hear on certain tracks represents the sound of the
\nvirtual audience.<\/span><\/div>\n
\nalbum represented a touring brass band in the mind of the listener.
\nThe laughter you hear on certain tracks represents the sound of the
\nvirtual audience.<\/span><\/div>\n
\n
<\/span><\/div>\n
<\/span><\/div>\n
\nRecordings
\nbegan at Abbey Road during November 1966. And unlike previous Beatles
\nalbums each of the band members could be seen entering Abbey Road
\nstudios with reams of A4 paper brimming full of notes and ideas. <\/span>\n<\/div>\n
\nbegan at Abbey Road during November 1966. And unlike previous Beatles
\nalbums each of the band members could be seen entering Abbey Road
\nstudios with reams of A4 paper brimming full of notes and ideas. <\/span>\n<\/div>\n
\n
<\/span><\/div>\n
<\/span><\/div>\n
\nThe
\ntechnology at hand during that time was pushed to the limit. Every
\nconceivable sound that you could get out of a guitar, for example,
\nwas touched upon. <\/span><\/div>\n
\ntechnology at hand during that time was pushed to the limit. Every
\nconceivable sound that you could get out of a guitar, for example,
\nwas touched upon. <\/span><\/div>\n
\n
<\/span><\/div>\n
<\/span><\/div>\n
\nIt was as though the band were attempting to split
\nthe atom<\/span><\/div>\n
\nthe atom<\/span><\/div>\n
\nProducer
\nGeorge Martin allowed and encouraged every musical whim to surface
\nduring the sessions. He allowed complete artistic freedom.<\/span><\/div>\n
\nGeorge Martin allowed and encouraged every musical whim to surface
\nduring the sessions. He allowed complete artistic freedom.<\/span><\/div>\n
\n
<\/span><\/div>\n
<\/span><\/div>\n
\nEven
\nthe final tracks destined for the album, recorded during April 1967,
\nfound room for innovation. The final run off groove for example
\nplayed back on itself thereby, I guess, representing that the album
\nwas an infinite piece of music. <\/span>\n<\/div>\n
\nthe final tracks destined for the album, recorded during April 1967,
\nfound room for innovation. The final run off groove for example
\nplayed back on itself thereby, I guess, representing that the album
\nwas an infinite piece of music. <\/span>\n<\/div>\n
\nDespite
\nthe recording of the \u2018Sgt Peppers\u2019 title track not appearing till
\nmid-way through the sessions, the idea to create an album about this
\nfictitious band, apparently formed quite early on. The whole album
\nwas infused with sights and sounds of the times.<\/span><\/div>\n
\nthe recording of the \u2018Sgt Peppers\u2019 title track not appearing till
\nmid-way through the sessions, the idea to create an album about this
\nfictitious band, apparently formed quite early on. The whole album
\nwas infused with sights and sounds of the times.<\/span><\/div>\n
\n
<\/span><\/div>\n
<\/span><\/div>\n
\nThe
\nalbum\u2019s title came about; it seems, from inspiration gained from
\nthe bunch of elongated band names that were cropping, up during the
\nmid-1960s, in the San Francisco area of the United States.<\/span><\/span><\/div>\n
\nalbum\u2019s title came about; it seems, from inspiration gained from
\nthe bunch of elongated band names that were cropping, up during the
\nmid-1960s, in the San Francisco area of the United States.<\/span><\/span><\/div>\n
\n
<\/span><\/span><\/div>\n
<\/span><\/span><\/div>\n
\nSgt
\nPepper\u2019s release had been preceded, in February 1967, by the single
\n\u2018Penny Lane \/ Strawberry Fields Forever\u2019 giving the listener
\nclear warning for what was about to come.<\/span><\/div>\n
\nPepper\u2019s release had been preceded, in February 1967, by the single
\n\u2018Penny Lane \/ Strawberry Fields Forever\u2019 giving the listener
\nclear warning for what was about to come.<\/span><\/div>\n
\n
<\/span><\/div>\n
<\/span><\/div>\n
\n<\/div>\n
\n
<\/span><\/div>\n
<\/span><\/div>\n
\n
<\/span><\/div>\n
<\/span><\/div>\n
\nAfter
\na couple of revised release dates the completed record saw day of
\nlight on 1st June 1967. The initial pressings were in two formats. A
\nMono version serial number PMC 7027 and a Stereo version serial
\nnumber PCS 7027.<\/span><\/div>\n
\na couple of revised release dates the completed record saw day of
\nlight on 1st June 1967. The initial pressings were in two formats. A
\nMono version serial number PMC 7027 and a Stereo version serial
\nnumber PCS 7027.<\/span><\/div>\n
\n
<\/span><\/div>\n
<\/span><\/div>\n
\nIn
\nstark contrast to today\u2019s music scene, no singles were released
\nfrom the album. That still didn\u2019t stop the Sgt Pepper\u2019s going
\nstraight to number one in the UK albums charts after it sold in
\nexcess of 250,000 copies during the first 7 days of release.<\/span><\/div>\n
\nstark contrast to today\u2019s music scene, no singles were released
\nfrom the album. That still didn\u2019t stop the Sgt Pepper\u2019s going
\nstraight to number one in the UK albums charts after it sold in
\nexcess of 250,000 copies during the first 7 days of release.<\/span><\/div>\n
\n
<\/span><\/div>\n
<\/span><\/div>\n
\n
<\/span><\/div>\n
<\/span><\/div>\n
\nFrom
\na listener point of view the complete album didn\u2019t really sink in
\nduring the first listen. Or at least it didn\u2019t with me at least. In
\nfact it took several listens to even begin to understand it. Like all
\nconcept albums they are designed to sink in gradually. Each listen
\npeeling back another layer until at some point the full beauty of it
\nis revealed.<\/span><\/div>\n
\na listener point of view the complete album didn\u2019t really sink in
\nduring the first listen. Or at least it didn\u2019t with me at least. In
\nfact it took several listens to even begin to understand it. Like all
\nconcept albums they are designed to sink in gradually. Each listen
\npeeling back another layer until at some point the full beauty of it
\nis revealed.<\/span><\/div>\n
\n
<\/span><\/div>\n
<\/span><\/div>\n
\nSgt
\nPepper\u2019s didn\u2019t escape the ears of the censors either.
\n<\/span><\/span>One song in particular came under extreme scrutiny of
\nthe various monitoring committees and other authorities, that existed
\nback then, who would carefully categorise and, if they deemed
\nnecessary, censored material destined for the airwaves.<\/span><\/div>\n
\nPepper\u2019s didn\u2019t escape the ears of the censors either.
\n<\/span><\/span>One song in particular came under extreme scrutiny of
\nthe various monitoring committees and other authorities, that existed
\nback then, who would carefully categorise and, if they deemed
\nnecessary, censored material destined for the airwaves.<\/span><\/div>\n
\n
<\/span><\/div>\n
<\/span><\/div>\n
\n<\/div>\n
\n
<\/span><\/div>\n
<\/span><\/div>\n
\nAnd
\nthat song was \u2018A Day in the Life\u2019. The lyric to the song was as
\nif the band were singing \u2018of life\u2019 as being the polar opposite to
\n\u2018actual life\u2019 back then. And one particular line on \u2018A Day in
\nthe Life\u2019- \u2018I\u2019d love to turn you on\u2019 – found itself under
\nintense scrutiny. The song was eventually banned by the BBC
\nauthorities who deemed it \u2018a step to far\u2019. That ban was
\neventually lifted during 1972.<\/span><\/div>\n
\nthat song was \u2018A Day in the Life\u2019. The lyric to the song was as
\nif the band were singing \u2018of life\u2019 as being the polar opposite to
\n\u2018actual life\u2019 back then. And one particular line on \u2018A Day in
\nthe Life\u2019- \u2018I\u2019d love to turn you on\u2019 – found itself under
\nintense scrutiny. The song was eventually banned by the BBC
\nauthorities who deemed it \u2018a step to far\u2019. That ban was
\neventually lifted during 1972.<\/span><\/div>\n
\n\u2018A
\nDay in the Life\u2019 ends with an orchestra seemingly going mad as it
\nplays itself out with a cacophony of sound that ends with the
\ninfinite groove.<\/span><\/div>\n
\nDay in the Life\u2019 ends with an orchestra seemingly going mad as it
\nplays itself out with a cacophony of sound that ends with the
\ninfinite groove.<\/span><\/div>\n
\n
<\/span><\/div>\n
<\/span><\/div>\n
\nThe
\ncensors however did appear to miss or overlook other songs, on the
\nalbum, that did have dubious references. But it certainly didn\u2019t
\ntake long for listeners to point out that track 3 on side one \u2018Lucy
\nin the Sky with Diamonds\u2019, when abbreviated, could well be
\nreferring to the mood changing LSD or acid. However John Lennon soon
\nscotched the rumours as he explained that the lyric came about when
\nhis son Julian had one day come home from school with a letter from
\nclassmate Lucy.<\/span><\/div>\n
\ncensors however did appear to miss or overlook other songs, on the
\nalbum, that did have dubious references. But it certainly didn\u2019t
\ntake long for listeners to point out that track 3 on side one \u2018Lucy
\nin the Sky with Diamonds\u2019, when abbreviated, could well be
\nreferring to the mood changing LSD or acid. However John Lennon soon
\nscotched the rumours as he explained that the lyric came about when
\nhis son Julian had one day come home from school with a letter from
\nclassmate Lucy.<\/span><\/div>\n
\n
<\/span><\/div>\n
<\/span><\/div>\n
\n<\/div>\n
\n
<\/span><\/div>\n
<\/span><\/div>\n
\nThe
\ncontinuous thread that binds the album together didn\u2019t just apply
\nto the twelve inch vinyl record. It also continued with the album
\nsleeve itself. Designed by Peter Blake and Jann Haworth the gatefold
\nsleeve of the L.P. opens out to reveal The Beatles in the robes that
\nrepresented their alter egos. The front cover was a collage of famous
\nand influential people from that time all posing behind the band.
\nEarly copies of the record also came with a host of freebies and
\ncut-outs.<\/span><\/div>\n
\ncontinuous thread that binds the album together didn\u2019t just apply
\nto the twelve inch vinyl record. It also continued with the album
\nsleeve itself. Designed by Peter Blake and Jann Haworth the gatefold
\nsleeve of the L.P. opens out to reveal The Beatles in the robes that
\nrepresented their alter egos. The front cover was a collage of famous
\nand influential people from that time all posing behind the band.
\nEarly copies of the record also came with a host of freebies and
\ncut-outs.<\/span><\/div>\n
\n
<\/span><\/div>\n
<\/span><\/div>\n
<\/p>\n
\nSgt
\nPeppers was also the springboard, and acted as a catalyst, to the
\nproduction of some future fine music. It acted as an innovator. But
\nit clearly didn\u2019t sit well with some as the record was also
\nlampooned. And I am thinking The Mothers of Invention and their album
\n\u2018Were Only in it For the Money\u2019 album. <\/span>\n<\/div>\n
\nPeppers was also the springboard, and acted as a catalyst, to the
\nproduction of some future fine music. It acted as an innovator. But
\nit clearly didn\u2019t sit well with some as the record was also
\nlampooned. And I am thinking The Mothers of Invention and their album
\n\u2018Were Only in it For the Money\u2019 album. <\/span>\n<\/div>\n
\n
<\/span><\/div>\n
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\n<\/div>\n
\n
<\/span><\/div>\n","protected":false},"excerpt":{"rendered":"
<\/span><\/div>\n","protected":false},"excerpt":{"rendered":"
Sgt. Pepper’s Lonely Hearts Club Band by Pete Clemons (This article by Pete Clemons was originally written for the Coventry Telegraph but as the association seems to have finished,we publish it here along with Pete’s many other articles.I should point … Continue reading