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 Sgt. Pepper's Lonely Hearts Club Band
First released: 1967, June 2 Buy
 Sheet music, guitar tabs, song books at Sheetmusicplus.com |
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Producer: George Martin Engineers: Geoff Emerick, Malcolm Addey, Adrian Ibbetson, Peter Vince, Ken Townsend Second engineers: Graham Kirkby, Richard Lush, Phil McDonald, Keith Slaughter Photography: Michael Cooper Score: Mike Leander Design: Peter Blake, Jann Haworth, MC Productions & The Apple Art Direction, Liner Notes: Peter Blake George Harrison: Vocals, Guitar, Harmonica, Sitar, Tamboura, Tambourine John Lennon: Percussion, Vocals, Guitar, Hammond Organ, Marimbas, Rhythm Guitar Paul McCartney: Conductor, Vocals, Bass Guitar, Guitar, Hammond Organ, Harpsichord, Piano Ringo Starr: Drums, Vocals, Bongos, Harmonica George Martin: Hammond Organ, Horn, Organ, Piano, Arranger, Producer Neil Aspinall: Harmonica, Tamboura Mal Evans: Harmonica, Piano, Tambourine Michael Barnes: Tuba Sheila Bromberg: Harp Tristan Fry: Percussion Roger Lord: Oboe Marijke: Tambourine Flutes: David Sandeman, Clifford Seville Violins: Trevor Williams, Donald Weekes, Ernest Scott, Sidney Sax, Lionel Bently, Dean Bradley, Henry Datyner, Jose Garcia, Hans Geiger, Erich Gruenberg, Jurgen Hess, Derek Jacobs, Granville Jones, David McCallum, Bill Monroe Violas: John Underwood, Stephen Shingles, John Meeks, Bernard Davis, Gwen Edwards Horns: Neil Sanders, Tony Randall, James W. Buck, John Burden, Alan Civil Clarinets: Basil Tschaikov, Frank Reidy, Henry MacKenzie, Jack Brymer, Robert Burns Cellos: Dennis Vigay, Alex Nifosi, Francisco Gabarro, Alan Dalziel Trumpet: Monty Montgomery, Harold Jackson, David Mason, Dave Mason Saxophones: Alan Holmes, David Glyde, Barrie Cameron Trombones: T. Moore, Raymond Premru, John Lee, Ray Brown Bassoon: Alfred Waters, N. Fawcett Double Bass: Gordon Pearce, Cyril Macarthur |
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| 1967, June 2 | Capitol SMAS-2653 (US) |
| Reviews & comments |
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R. Quint (2013, April 19)  I was ten years when Sgt. Peppers came out in the US. Growing up in Southern California, The Beach boys were king of the hill. When this album came out it changed the R & R landscape forever. Sgt. Peppers is in no doubt, the best Rock album produced, in what I call the golden era, ( 1957-1973). It influenced countless bands after its' release, Even the half assed attempt by the rolling stones. Their Satanic Majesties Request was such a poorly conceived attempt to outdo Sgt.Peppers It couldn't even fool a Ten year old. If you don't think this is one of THE best albums of the late 20th century,then you don't like the Beatles. |
Bruce Reid (2013, March 12) I know some people argue weather Sgt. Pepper is a masterpiece. The album is a true landmark in the respect of the influence this album had on the industry. IT CHANGED EVERYTHING! Recording techniques to packaging. Something I did was to burn a new version of Pepper according to where George Martin said he was going to place, "Penny Lane" and "Strawberry Fields" in the album. In the "Making of Sgt. Pepper", Sir George said he was originally going to place "Penny Lane at the end of side one, and was going to place "Fields" between "Within You, Without You" and "When I'm 64". He said they did not place them on the album because both songs were pulled as a single before the album. Too bad, both of those songs on the album would have strengthen Sgt. Pepper all the more. This is my favorite album of the Beatles. Even if you don't agree, one must not forget the importance of Pepper. By the way check out the website, elvisbeatlesmovie.com |
All Music Guide (2002, April 28) With Revolver, the Beatles made the Great Leap Forward, reaching a previously unheard-of level of sophistication and fearless experimentation. Sgt. Pepper, in many ways, refines that breakthrough, as the Beatles consciously synthesized such disparate influences as psychedelia, art-song, classical music, rock & roll, and music hall, often in the course of one song. Not once does the diversity seem forced — the genius of the record is how the vaudevillian "When I'm 64" seems like a logical extension of "Within You Without You" and how it provides a gateway to the chiming guitars of "Lovely Rita." There's no discounting the individual contributions of each member or their producer George Martin, but the preponderance of whimsy and self-conscious art gives the impression that Paul McCartney is the leader of the Lonely Hearts Club Band. He dominates the album in terms of compositions, setting the tone for the album with his unabashed melodicism and deviously clever arrangements. In comparison, Lennon's contributions seem fewer, and a couple of them are a little slight but his major statements are stunning. "With a Little Help from My Friends" is the ideal Ringo tune, a rolling, friendly pop song that hides genuine Lennon anguish, ala "Help!;" "Lucy in the Sky with Diamonds" remains one of the touchstones of British psychedelia; and he's the mastermind behind the bulk of "A Day in the Life," a haunting number that skillfuly blends Lennon's verse and chorus with McCartney's bridge. It's possibly to argue that there are better Beatles albums, yet no album is as historically important as this. After Sgt. Pepper, there were no rules to follow — rock and pop bands could try anything, for better or worse. Ironically, few tried to achieve the sweeping, all-encompassing embrace of music as the Beatles did here. — Stephen Thomas Erlewine |