Although the photograph was originally intended for the then-planned Get Back album, it was not used when that project saw eventual release in as Let It Be. Instead, the photograph, along with an unused photograph from the photo shoot, was used in for the Beatles' Bad To Me - The Beatles - The Recording Sessions Vol. 1 (CD) albums — and — Another unused photograph from the photo shoot was used for The Beatles No. As consistent with all early s albums made in the UK, the rear of the album sleeve has sleeve notes.
The Beatles' press officer Tony Barrow wrote extensive sleeve notes, which included a brief mention of their early s rivals The Shadows. Please Please Me hit the top of the UK album charts in May and remained there for 30 weeks before being replaced by With the Beatles. This was surprising because the UK album charts at the time tended to be dominated by film soundtracks and easy listening vocalists.
According to Stephen Thomas Erlewine of AllMusic"Decades after its release, the album still sounds fresh", the covers are "impressive" and the originals "astonishing". Inthe album's 50th anniversary was celebrated by modern artists re-recording the album in just one day, as the Beatles recorded it 50 years earlier.
All tracks are written by Lennon—McCartneyexcept where noted . According to Mark Lewisohn : . BPI certification awarded only for sales since From Wikipedia, the free encyclopedia.
This article is about the album. For the song, see Please Please Me song. For the French film, see Fais-moi plaisir! Merseybeat  rock and roll  rock  pop . This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed.
March Learn how and when to remove this template message. Archived from the original on 28 July Retrieved 19 September Paul McCartney: A Life. ISBN Rolling Stone. Archived from the original on 4 September Archived from the original on 16 February Retrieved 5 January Official Charts Company.
Archived from the original on 12 July With Ken Scott serving as his engineer,  he recorded a live take of "Something", featuring electric guitar and vocal. In MarchHarrison gave "Something" to Joe Cocker to record,  having decided that it was more likely to become a hit with Cocker than with Lomax.
I think he was totally confident about the songs. The insecurity may have been, if the Beatles kept going, "How many songs am I going to be able to get on each album? Assisted by Harrison, Cocker recorded a demo of the song at Apple. George's "Something" was out of left field.
It was about Pattie, and it appealed to me because it has a very beautiful melody and is a really structured song I think George thought my bass-playing was a little bit busy.
Again, from my side, I was trying to contribute the best I could, but maybe it was his turn to tell me I was too busy. The Beatles undertook the recording of Abbey Road with a sense of discipline and cooperation that had largely been absent while making the White Album and Let It Be.
It was a tremendous work — and so simple. The group recorded "Something" on 16 April before Harrison decided to redo the song, a new basic track for which was then completed at Abbey Road on 2 May.
After taking a break from recording,   the band returned to "Something" on 11 July, when Harrison overdubbed what would turn out to be a temporary vocal. The piano can be heard only in the middle eight, specifically during the descending run that follows each pair of "I don't know" vocal lines.
Following another reduction mix, at which point the remainder of the coda was excised from the track, Martin-arranged string orchestration was overdubbed on 15 August, as Harrison, working in the adjacent studio at Abbey Road, re-recorded his lead guitar part live. They blessed me with a couple of B-sides in the past, but this is the first time I've had an A-side.
Big deal, eh? The release marked the first time that a Harrison composition had been afforded A-side treatment on a Beatles single,  as well as the only time during their career that a single was issued in the UK featuring tracks already available on an album. Which he did. The promotional film for "Something" was shot in late Octobernot long after Lennon privately announced that he was leaving the band.
By this time, the band members had grown apart. As a result, the film consisted of separate clips, edited together, featuring the Beatles walking around the grounds of their homes with their respective wives. Winn also comments on the attractiveness of all the wives in contrast to the unkempt appearance of McCartney, especially, who had sunk into depression at the realisation that the Beatles were over.
Aspinall's idyllic film avoided showing was that the Beatles were at that point barely on speaking terms. In the film, no two Beatles are seen together. Each Beatle looks like he's found what he was looking for — but they're heading for four separate futures.
Time magazine declared "Something" to be the best track on Abbey Road while John Mendelsohn wrote in Rolling Stone : "George's vocal, containing less adenoids and more grainy Paul tunefulness than ever before, is one of many highlights on his 'Something,' some of the others being more excellent drum work, a dead catchy guitar line, perfectly subdued strings, and an unusually nice melody.
Both his and Joe Cocker's version will suffice nicely until Ray Charles gets around to it. According to Beatles biographer Nicholas Schaffner"Something" showed Harrison following McCartney's populist approach and some "long-haired music critics" were repelled by the song's use of lush MOR -style orchestration.
In his review of the single, Derek Johnson of the NME lauded the track as "a real quality hunk of pop" with a "strident lead guitar which exudes a mean and moody quality". Johnson stated his regret that Harrison "isn't featured more regularly as a singer", and concluded of "Something": "It's a song that grows on you, and mark my words, it will — in a big way! Along with "Here Comes the Sun", "Something" was included on the Beatles' compilation album — thereby giving Harrison two of the four tracks representing Abbey Road.
Harrison and Apple publicist Derek Taylor had a standing joke. Whenever either of them had an idea, they would quip "This could be the big one. MacDonald highlighted the song's "key-structure of classical grace and panoramic effect", and cited the lyrics to verse two as "its author's finest lines — at once deeper and more elegant than almost anything his colleagues ever wrote".
Like Lennon, both McCartney and Starr held the song in high regard. It's better than 'Yesterday,' much better It's like the song I've been chasing for the last thirty-five years. According to the BBC, the song "shows more clearly than any other song in The Beatles' canon that there were three great songwriters in the band rather than just two".
Among the song's many cover versions, Welsh singer Shirley Bassey recorded a successful version of "Something". Bassey said she had been unaware of the song's origins when recording "Something". Frank Sinatra was particularly impressed with "Something", calling it "the greatest love song of the past 50 years",   despite having long disapproved of the Beatles.
During his live performances, Sinatra was known to mistakenly introduce "Something" as a Lennon—McCartney composition. Harrison's composition began accumulating cover versions almost immediately after the release of Abbey Roadstarting with Joe Cocker's recording. Referring to the song's adoption by easy-listening artists, Harrison later said: "When even Liberace covered it [in ], you know that it's one of them that ends up in an elevator Du Noyer partly refutes this explanation, saying that it was equally a vehicle for "the most advanced vocalists" such as Peggy Leealong with Sinatra and Bassey.
But I'm very pleased now, whoever's done it. I realise that the sign of a good song is when it has lots of cover versions. Byover artists had recorded "Something". I have it on my jukebox at home. It's absolutely brilliant. Bruce Springsteen opened his first show after Harrison's death on 29 November by playing "Something", followed by a rendition of Harrison's solo hit " My Sweet Lord ". In honour of Harrison's fondness for the instrument, Paul McCartney played a ukulele rendition of "Something" throughout his —03 world tour  and included the track on his Back in the U.
Bob Dylan also played the song live during his November concerts, as a tribute to Harrison. Harrison included "Something" in all of his subsequent, and rare, full-length concert appearances.
A version from Harrison's December tour of Japan with Clapton — Harrison's only other tour as a solo artist  — appears on the Live in Japan double album According to Walter Everett  and Bruce Spizer : .
From Wikipedia, the free encyclopedia. Main article: Abbey Road. Steckler said: "Klein believed in George's talent and wanted to enhance his reputation as a songwriter. I thought it was a Lennon—McCartney. Archived from the original on 21 February To guide the later overdub by George HarrisonLennon thumped the beat on his acoustic guitar body, which can be heard in the final stereo mix. Lead and backing vocals were recorded twice onto take 9, along with a tambourine.
A reduction mix was applied to the two vocal tracks, taking three attempts takes 10 to 12freeing up a track for the lead guitar overdub. The vocals were re-recorded for the film during a session on 24 May at CTS Studios, a facility specializing in post-synchronisation. Mixes for record releases were prepared on 18 June. For the mono version, Martin decided to use a mix of the opening chorus of take 12 edited to the remainder of the CTS film mix.
This film version of the song was only heard on the original VHS releases of the movie, later replaced by the stereo mixes. A true release was never issued. New mixes were created for releases of the Help! CDthe Love albumand the Help! DVD The song appears on the Help! LP, the US Help! The mono version with different vocals and no tambourine was included on the Beatles' Rarities LP and in The Beatles in Mono collection.
The American soundtrack album included a James Bond-type introduction to the song, followed by a caesura just before the opening lyric. No such introduction appeared on the British soundtrack album, nor was it included in the released single in either country. Although Lennon was proud of "Help!
Paul's echoing harmonies, Ringo's jaunty drums, the boom of George's guitar speak to the heart of Lennon's passion, and though they cannot cure the wound, at least they add a note of reassurance that he's not alone with his pain. The Beatles filmed the title performance for the movie Help! The same footage without the darts and credits seen in the film sequence was used as a clip to promote the release of the single.
Directed by Joseph McGraththe black-and-white clip shows the group miming to the song while sitting astride a workbench. Starr holds an umbrella overhead throughout the song, which becomes useful as fake snow falls during the final verse. The Beatles performed "Help! The 15 August performance at Shea Stadium was seen in the documentary The Beatles at Shea Stadiumalthough the audio for the song was re-recorded prior to release. The song reached number one in several other countries in according to charts listed in Billboard's "Hits of the World" feature at the time: Australia, Hong Kong, New Zealand, and Sweden.
It was then included on the re-release of Bananarama's Greatest Hits Collection album. The sketch featured the trio recording music, being interviewed and making a video.
Bananarama said they "saw [the sketch] before it was even on television" and "everyone thought we would be furious It was hilarious". After the sketch, Comic Relief decided to get in touch with French and Saunders to ask if they would do a single with Bananarama, so long as the latter would agree to it, which they did "without hesitation".
The single was then released in February, for the second ever Red Nose Day, with two-thirds of money from the sales of the single going to relief work in Africa and the other third going to fight homelessness and drug and alcohol abuse in the UK and in Ireland.
The inch single featured another collaboration with Lananeeneenoonoo, "Love in a Factory", an outtake-esque improvised conversation. Outside of the UK, in Europe and Japan, on the 7-inch single the sides were swapped with the 'Straight Version' of the song being released as the A-side.
The music video was directed by Andy Morahan  and features the members of Bananarama and Lananeeneenoonoo dressed like in the Bananarama sketch singing and dancing in the snow along with several shirtless men, credited as Bassie, Norman and Paul. Technical . Another obviously fascinating element of the song is the now common, but at the time entirely new, use of an Indian instrument called a sitar.
Thomas released songs featuring a similar sounding instrument. George Harrison himself was enamored with it enough to continue its use on Beatles records for the next two-and-a-half years. Just one more example of The Beatles paving the way for future trends.
Songwriting History. We used to sit down and write like this for three hours usually, until we got very bored and we wanted to go home. So I picked it up at the second verse.
The subject matter evolved quite quickly after that. There has been much speculation as to who specifically this affair was with. Norman explains that she frequently described herself as Norwegian and that their apartment was decorated with wood paneling. Lennon never admitted to either of these women as being the afair in question. Norwegian wood. It was pine really, cheap pine. When she had returned from a trip to Norway, she presented John with a gag gift in the bandroom of the Cavern on August 24th, ; a wooden troll with trousers around his ankles, sitting on a toilet.
Lindy relates that he "looked at it and said, 'What's this, Norwegian wood? As far as the melody and who wrote what, Paul helps us to round out these details as well. But I filled out lyrically and had the idea to set the place on fire, so I take some sort of credit.
And the middle was mine, those middle eights, John never had his middle eights. This would date the completion of the song to around early October of Recording History. Anything was viable. Our whole attitude was changing. After tinkering around with a sitar that was a prop on the set of their movie " Help! It was quite spontaneous: I found the notes that played the lick. Pepper coincided with a period when, with the advent of dedicated rock criticismcommentators sought to recognise artistry in pop music, particularly in the Beatles' work, and identify albums as refined artistic statements.
The vast majority of contemporary reviews of Sgt. Pepper were positive, with the album receiving widespread critical acclaim. Pepper as a "pop music master-class"  and commented that, so considerable were its musical advances, "the only track that would have been conceivable in pop songs five years ago" was "With a Little Help from My Friends". He found "plenty of electronic gimmickry on the record" before concluding: "but that isn't the heart of the thing.
It's the combination of imagination, cheek and skill that make this such a rewarding LP. Newsweek 's Jack Kroll called Sgt. Pepper a "masterpiece" and compared its lyrics with literary works by Edith SitwellHarold Pinter and T. Pepper as a "spoiled" child and "an album of special effects, dazzling but ultimately fraudulent",   and was critical of the Beatles for sacrificing their authenticity to become "cloistered composers".
Among the commentators who responded to Goldstein's critique,  composer Ned Roremwriting in The New York Review of Bookscredited the Beatles with possessing a "magic of genius" akin to Mozart and characterised Sgt. Pepper as a harbinger of a "golden Renaissance of Song". Pepper album one thinks not simply of the history of popular music but the history of this century.
Pepper as "a consolidation, more intricate than Revolver but not more substantial". He suggested that Goldstein had fallen "victim to overanticipation", identifying his primary error as "allow[ing] all the filters and reverbs and orchestral effects and overdubs to deafen him to the stuff underneath, which was pretty nice". In the wake of Sgt. Pepperthe underground and mainstream press widely publicised the Beatles as leaders of youth culture, as well as "lifestyle revolutionaries". Pepper was the focus of much celebration by the counterculture.
McCartney's LSD admission formalised the link between rock music and drugs, and attracted scorn from American religious leaders and conservatives. As part of an escalating national debate that triggered an investigation Bad To Me - The Beatles - The Recording Sessions Vol.
1 (CD) the US Congress he launched a campaign in  to address the issue of American youth being "brainwashed" into taking drugs through the music of the Beatles and other rock Bad To Me - The Beatles - The Recording Sessions Vol. 1 (CD). It's just in your own head, the realisation.
The Beatles' presentation as Sgt. Pepper's band resonated at a time when many young people in the UK and the US were seeking to redefine their own identity and were drawn to communities that espoused the transformational power of mind-altering drugs. Pepper was viewed as a "code for life", according to music journalist Alan Claysonwith street people such as the Merry Band of Pranksters offering "Beatle readings". Pepper appeared shallow against the emotional backdrop of the political and social upheavals of American life.
Pepper "defined the year" by conveying the optimism and sense of empowerment at the centre of the youth movement. Pepper "remains a central pillar of the mythology and iconography of the late '60s",  while Colin Larkin states in his Encyclopedia of Popular Music : "[it] turned out to be no mere pop album but a cultural icon, embracing the constituent elements of the 60s' youth culture: pop art, garish fashion, drugs, instant mysticism and freedom from parental control.
Pepper achieved "a combination of popular success and critical acclaim unequaled in twentieth-century art Pepper has attained the kind of populist adoration that renowned works often assume regardless of their larger significance — it's the Beatles' ' Mona Lisa '.
Pepperwith particularly effusive approbation coming from Rorem, Bernstein and Tynan, "as if every critic was seeking to outdo the other for the most lavish embrace of the Beatles' new direction". Pepperestablished American publications such as VoguePlayboy and the San Francisco Chronicle started discussing rock as art, in terms usually reserved for jazz criticism.
Pepperyou had to try to write something as good as Sgt. Because, of course, what made that record beautiful was the beautiful response it created in you; if your written response was true to your listening response, the writing would stand on its own as a creation on par with the record. Through its acceptance by "serious" composers, according to Schaffner, Sgt.
Pepper satisfied the ambitions of a staid, middle-age American audience keen to be seen as in tune with young people's tastes, and every major rock LP was subsequently given the same level of critical analysis. Pepper was the only album afforded a dedicated release. Pepper ] people then started thinking that you could spend a year making an album and they began to consider an album as a sound composition and not just a musical composition.
The idea was gradually forming of a record being a performance in its own right and not just a reproduction of a live performance.
Julien describes Sgt. Pepper as a "masterpiece of British psychedelia" and says that it represents the "epitome of the transformation of the recording studio into a compositional tool", marking the moment when "popular music entered the era of phonographic composition".
Pepper as the album that "revolutionized rock and roll",  while music journalists Andy Greene and Scott Plagenhoef credit it with marking the beginning of the album era. Pepper was "the catalyst for an explosion of mass enthusiasm for album-formatted rock that would revolutionize both the aesthetics and the economics of the record business in ways that far out-stripped the earlier pop explosions triggered by the Elvis phenomenon of and the Beatlemania phenomenon of ".
Music critic Greg Kot said that Sgt. Pepper introduced a template not only for creating album-oriented rock but also for consuming it, "with listeners no longer twisting the night away to an assortment of three-minute singles, but losing themselves in a succession of minute album sides, taking a journey led by the artist". PepperUS record companies no longer altered the content of albums by major British acts such as the Bad To Me - The Beatles - The Recording Sessions Vol.
1 (CD) Stones, the Kinks and Donovan, and their LPs were released in the artists' intended configuration. According to Simonelli, Sgt. Pepper established the standard for rock musicians, particularly British acts, to strive towards in their self-identification as artists rather than pop stars, whereby, as in the Romantic tradition, creative vision dominated at the expense of all commercial concerns.
Following the Beatles' example, many acts spent months in the studio creating their albums, focused on an artistic aesthetic and in the hope of winning critical approval. Sorrowall issued the following year.
Pepper trap of trying to put out a 'progressive,' 'significant' and 'different' album, as revolutionary as the Beatles. But it couldn't be done, because only the Beatles can put out an album by the Beatles. The Guardian viewed the album's effect on Carla Bley as one of the "50 key events in the history of dance music ". Pepper  — the avant-jazz triple album Escalator Over the Hill  — which combined rock, Indo-jazz fusion and chamber jazz.
More than any other record it gave me and my generation permission to branch out and do whatever we wanted. Over subsequent decades, musical acts referred to their major artistic work as "our Sgt. Pepper ". Pepper was Bad To Me - The Beatles - The Recording Sessions Vol. 1 (CD) influential on bands in the US acid rock or psychedelic rock scene. Pepper is commonly recognised as having originated progressive rockdue to the album's self-conscious lyrics, its studio experimentation, and its efforts to expand the barriers of conventional three-minute tracks.
MacFarlane writes that, despite concerns regarding its thematic unity, Sgt. Pepper "is widely regarded as the first true concept album in popular music". Pepper that familiarised critics and listeners with the notion of a "concept and unified structure underlying a pop album", thus originating the term "concept album". Peppermusicians increasingly explored literary and sociological themes in their concept albums and adopted its anti-establishment sentiments.
Pepper as the beginning of art rock. Inglis states that almost every account of the significance of Sgt. Pepper emphasises the cover's "unprecedented correspondence between music and art, time and space". Pepper — would have seemed like "fanciful conceit". Pepper ] cover has been regarded as groundbreaking in its visual and aesthetic properties, congratulated for its innovative and imaginative design, credited with providing an early impetus for the expansion of the graphic design industry into popular music, and perceived as largely responsible for the connections between art and pop to be made explicit.
Pepper contributed to the popular trend for military-style fashions as adopted by London's boutique shops. Pepper cover in its list of British masterpieces of twentieth-century art and design, placing it ahead of the red telephone boxMary Quant 's miniskirtand the Mini motorcar. Although few critics initially agreed with Richard Goldstein's criticism of the album, many came to appreciate his sentiments by the early s.
Pepper as "playful but contrived" and "a Day-Glo tombstone for its time". Rock and roll is not an 'art form'; rock and roll is a raw wail from the bottom of the guts. Pepper appeared "bound to a moment" amid the year's culturally important music that had "dated in the sense that it speaks with unusually specific eloquence of a single point in history".
Christgau said of the album's "dozen good songs and true", "Perhaps they're too precisely performed, but I'm not going to complain. Pepper as "the last great pop album, the last LP ambitious to amuse everyone ".
It was inevitable that some of the critical assessment of subsequent generations would grumble. Some have griped about the archness of the band-within-a-band concept, the elaborate studio artifice, the dominance of McCartney's songs routinely but unfairly considered as lightweight and bourgeoisthe virtual freezing out of George Harrison … and the only episodic interest of a perpetually tripping Lennon.
Once the Beatles' catalogue became available on CD ina critical consensus formed around Revolver ' s standing as the band's best work; the White Album also surpassed Sgt. Pepper in many critics' estimation.
Pepper ' s 40th anniversary, for MojoJohn Harris said that, such was its "seismic and universal" impact and subsequent identification witha "fashion for trashing" the album had become commonplace. Though by no means universally degraded Pepper had taken a protracted beating from which it has perhaps yet to fully recover.
Regularly challenged and overtaken in the Best Beatle Album stakes Pepper as "a revelation of how far artists could go in a recording studio with only four tracks, plenty of imagination, and a drug or two", but also "a masterwork of sonics, not songwriting". Pepper will continue to cast its considerable spell.
Looking back from a point when its sonic innovations have been integrated into the mainstream, it remains a wonky, colourful and wildly improbable pop classic, although a little slighter and less cohesive than it may have seemed at the time.
Pepper has long been subsumed under "an avalanche of hyperbole", the album retains an enduring quality "because its sum is greater than its whole These guys weren't just recording songs; they were inventing the stuff with which to make this record as they went along. He concludes: "After Sgt. Pepperthere were no rules to follow — rock and pop bands could try anything, for better or worse. Pepper sustained its immense popularity into the 21st century while breaking numerous sales records.
Pepper is the third-best-selling album in UK chart history and the best-selling studio album there. Pepper was among the top 20 best-selling albums of all time worldwide. Pepper has topped many "best album" lists. InSgt. Pepper was inducted into the Grammy Hall of Fame and ten years later it was one of 50 recordings chosen by the Library of Congress to be added to the National Recording Registryhonouring the work as "culturally, historically, or aesthetically significant". Pepper was "the most important rock 'n' roll album ever made",  a point to which June Skinner Sawyers adds, in her collection of essays Read the Beatles : "It has been called the most famous album in the history of popular music.
It is certainly among the most written about. It is still being written about. Pepper appears at number Pepper was chosen by Time as one of the best albums of all time. Pepper as "kaleidoscopic" and an "orchestral baroque pop masterpiece the likes of which has rarely been matched since".
The Sgt. Pepper mythology was reimagined for the plot of Yellow Submarine. In the animated film, the Beatles travel to Pepperland and rescue Sgt. Pepper's band from evildoers, the Blue Meanies. Pepper uniforms to pay tribute to the Beatles' album during the opening ceremony of the London Olympics. Pepper has been the subject of many tribute albums,  including a multi-artist CD available with the March issue of Mojo and a live album, Sgt.
Pepper Liveby Cheap Trick. Pepper's 40th Anniversary in June Pepperwhich included interviews with the three surviving Beatles. On 26 MaySgt. Pepper's Lonely Hearts Club Band was reissued for the album's 50th anniversary as a six-disc box set. Pepper's Musical Revolution to commemorate the anniversary,  which was also celebrated with posters, billboards and other decorations in cities around the world.
Pepper and "Penny Lane", arranged by Ethan Iversonplus six original compositions by Iverson,  and a dawn-to-dusk celebration of Indian music was held in recognition of Harrison's absorption in the genre. Pepper topped the UK Albums Chart. From Wikipedia, the free encyclopedia. This article is about the album. For other uses, see Sgt. Pepper's Lonely Hearts Club Band disambiguation. Rock pop psychedelia art rock. The beginning of the first verse of "Sgt. Pepper's Lonely Hearts Club Band". In its opening line, "It was twenty years ago today", the song introduces a historical perspective on pop music,  delivered in what music journalist Chris Ingham terms McCartney's "best Little Richard holler".
The beginning of "Lucy in the Sky with Diamonds". The recording's blend of tambura and Lowrey organ creates what Hannan views as one of the album's "most unusual sound combination[s]". Hannan writes: "The rich timbres of the clarinets give the mix a fuller, fatter sound than many of the other tracks on the album.
The "dream sequence" from "A Day in the Life". Womack describes the "sarcastic brass retort" that ends the sequence as the "most decisive moment" on Sgt.
Further information: List of images on the cover of Sgt. Wiener, the album's intended release date of 1 June has been "traditionally observed" over the ensuing decades, yet the true release date was 26 May. Pepper marks the emergence of McCartney as the Beatles' de facto producer, as Martin was increasingly absent near the end of late-night sessions that often lasted until dawn. When they learned that Lennon was alone on the rail-less rooftop, Harrison and McCartney rushed up to retrieve him and prevent a possible accident.
Pepper TV special. Pepper" reprise was crossfaded into "A Day in the Life". Pepper closes with nonsensical vocals just as Freak Out! Pepper as being "in other places, grown-up to an unprecedented, indeed perilous, degree". He concludes of this combination: "Its superabundance reflected a conscious wish on the Beatles' part to make amends to their fans for their abandonment of touring.
Clamped between headphones in a recording studio, they managed to put on a live show more exciting, more intimatethan any since they'd left the Cavern. McCartney's original idea, according to Blake, was for the Beatles to pose in an Edwardian-era drawing room in front of a wall filled with portraits of their heroes. Pepper cover as "a microcosm of the Underground world". Pepper cover piqued a frenzy of analysis. He notes several elements of the cover that were interpreted as evidence of McCartney's death, including: the Beatles are supposedly standing about a grave, the hand above McCartney's head is regarded as a "symbol of death", and on the back cover, he is turned away from the camera.
Kantner later said: "Something enveloped the whole world at that time and it just exploded into a renaissance. He remembers the record as "the soundtrack to that summer, and that winter You just could not get away from it. I put Bad To Me - The Beatles - The Recording Sessions Vol. 1 (CD) down as one of the great honours of my career. He adds that some negative letters were sent to Melody Maker that he speculates were written by jazz enthusiasts.
He also said that, underneath the production when "the compositions are stripped to their musical and lyrical essentials", the LP was shown to be "an elaboration without improvement" on the group's music. Pepper to relate his psychedelic experiences and journey towards higher consciousness.
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