Sgt. Pepper's Lonely Hearts Club Band - Beatles (The) > Reviews > A Day In The Minds Of The Beatles.

Author's product rating:   

Originality	Groundbreaking
Lyrics	Thought-provoking
Quality and consistency of tracks	Flawless
How does it compare to the artist's other releases	Outstanding
Value for Money	Excellent

Advantages:	The epitome of an era and a generation .
Disadvantages:	Probably won't be as greatly regarded by future generations .  .  .  .

Recommend to potential buyers:

yes

Full review

There is probably little left that could be said about the Beatles that hasn't already been told. Billions of words have been written about them. Over one billion of their records have been sold world wide and that number still to this day, continues to grow. They have been honoured with the titles of 'honouree founder members of the rock and roll hall of fame (1960's) and will forever be donned with the title 'world most successful group.'

The word 'group' has a very definitive meaning within this particular album. Only their eighth album but yet in the 'group' category, it was certainly to be their last. In 1968, they released the controversial 'White Album'. Some praised it as their masterpiece, whilst most said it was the most embarrassing album they could ever record due to its misshapen, un collaborated feel. It was an album that consisted of competitiveness and head bashing against irritated walls. The White Album lacked the enthusiasm of and excitement of a band playing and working together. That is why, this album, Sgt.Pepper, was to me, their last album as a 'group.'.

1967 was a year not just when the most diverse album was released but also the 'Summer of Love.' I doubt there are many readers out there reading this who remember it first hand, but as a general guide, it was a year that suddenly bloomed with colour. Because of the years after the War were under a blanket of monochrome, so much that even rock and roll had failed to lift it entirely, The Beatles, had come along and thrown a universal rainbow across the world. It was the year of experiment, surrealism and everything that people had not dared to think about. Suddenly dreams could come true, people found their voices and spoke about things in their minds when they couldn't before. Then of course, there was drugs, which, yes, people did take, but it was because of drugs that they gave people the wings to fly and the imaginations to play with.

Sgt. Pepper was accused by the media and the stiff previous generations of middle classes for inciting young people to experiment with hallucigenic substances. The media hurled themselves down upon the band, tossing insults at their creative lyrics and play on words within their songs.

For four ordinary lads from Liverpool, who had never really wanted world fame, they had come up with the revolutionary idea of creating a different persona for the group. Tired, strained and exhausted from media attention on themselves, they devised a concept album where they could create an album in the same way as an author creates a novel. One produces the characters, they are given names, characteristics and personalities, and they become real. McCartney thought that this idea would alleviate the pressure from the whole 'Beatles' persona. In only a few short years, the expectations of the young men had become massive, and The Beatles were now starting to feel the pressure of having to do something always better than the last. This had been enough to tip them over the edge, so the concept of imagining a fictional band was greatly received. In actual fact, the idea was that if the album was to be a flop, they, cheekily, could not blame it on themselves….

On the first of June 1967, Sgt. Pepper's Lonely Hearts Club Band was released onto the world and unsuspecting ears. It was only another few days, and they would be celebrating their fifth anniversary since their first recording session with EMI. The Beatles had always been the fore runners of changing music since 1962, and here they were, again, but , this time, changing music on a global scale, they were to become enormous influences on bands from then on.

The cover was put together with such work that the cover in itself was said to be more expensive to create than most other entire albums of the same era. Made up of famous and infamous faces from past and present it also gives us a little insight to the personal acquaintances who had stepped through the Beatles own lives. Notably, number thirty five, (the inside page gives the outlines of the same collage of faces from the front and numbers each head and notes their names to the correct numbers) is the face of Stu Sutcliffe, once, very best friend of John when attending Art college. The 'fifth' Beatle, an accomplished artist 'played' bass. He couldn't play a note, but he looked good and he was a friend so he was in. he chose to stay in Hamburg after a tour of the clubs on meeting a German girl.. He died of a brain haemorrhage in early 1962.

The original vinyl copy had been a craft in itself. The very first copies sold, were bought with free cardboard cut outs. Like a simple children's toy, this was probably an album that was going to appeal to the very young, yet at the same time, discussions were forming between university professors of music and arts across the country.. Huddled around the gramophone, they delighted themselves in analysing and applauding the very genius of this unreal album. The simple fact was, it was a collection of songs that were born from even simpler every day things around them. John, had always seen the world in a surreal light. Being a avid fan of The Goon Show, he humoured on life and the way people reacted to everyday scenarios. Even Spike Milligan was invited on several occasions to sit in on recording. Being a close friend of John and the producer George Martin (now knighted), John had felt that there was someone around who was on the same wavelength as him. Milligan had once said that as soon as John met Yoko Ono, every changed. Even the contact between himself and John had been dropped. Apparently, practically overnight.

To analyse the truth behind the concept of the world's most extraordinary album has been a task that I have had an urge to complete. However, this task was always going to be a difficult one as there is so much that one could easily miss out. The album, through my thoughts as well as some facts read here and there is probably the best way to display this account.

The introduction to this compelling album is also the ending of it. The first track we here on this CD version is simply titled 'Sgt. Pepper's Lonely Hearts Club Band.'

Strangely, it would seem, that apart from tracks one and twelve, the Sgt. Pepper name is not mentioned at all in the other tracks. There is only one mention of a band member named Billy Shears who is introduced at the beginning of the second track, 'A Little Help From My Friends.' Billy, who is 'played by' Ringo Starr, the voice of the lead vocal.

The idea of the introductory track was to primarily create a feeling of something that was typically English. One can imagine cucumber sandwiches at the Pavilion after a game of county cricket. Being that 'the band' was predominately a brass band, this concept works rather well. The idea of these strange, colourfully dressed types trumpeting away on a band stand around the turn of the last century, gives the impression of something that is very much the epitome of traditional English country life. The backing track of rhythm guitars and percussion allows the 'sound' of the sixties to gently make its way through so as not to create something that sounds too stiff and too old fashioned. This intro dominates the album in such a way that any listener could appreciate the quality of the music; from old age pensioners to the wondrous hippie flower children of that time. We are led straight away into a show, a little 'open air' concert. They come on, pick up their instruments, we hear the audience settle into their seats and even the band warm up briefly. They invite us into sitting back and enjoying the show. Recorded in stereo, the idea , then, was to have the vocals coming out of one speaker and the music coming out of the other. If the listener only had one speaker, it was rather like listening to a karaoke version of the entire album. They warm our hearts immediately with saying how they would love to take us home with them. With incidental hand clapping and our favourite, canned laughter, it gives the strong impression of the listener having front seat tickets. This album wastes no time and launches straight into track two where 'Billy Shears' is introduced in the bridge from one track to the next as at a concert of sorts, one would expect this. It is touches like these that perfects this album. Time had been taken to polish this album immaculately into the concept that it was created for.

'A Little Help From My Friends', to many Beatle fans, will tutt and presume that this is the statutory one Ringo track that on every album, he has been allowed to do. This track had already got into a record book before it was even recorded. A reporter was invited to sit in and witness the great Lennon and McCartney at work on a song. This had never been attended before and it was on this track that they were working on, both sitting at the piano. Originally titled 'Bad Finger Boogie' it was written especially for the drummer. It was always meant to be a jolly song, the type that would attract child's ear. This again, another touch added to adapt the album to appeal to all ears of all ages. Its simple and unassuming lyrics were guaranteed not to offend anyone. Each line starts with a question, then the second is the answer. No one could have fronted these songs any better, with addition to this, Ringo didn't have the worlds greatest voice, he couldn't have been given a song of a serious nature, he never did, we only have to think of Yellow Submarine…..

The incredibly controversial and the most discussed 'Lucy In The Sky With Diamonds,' still lies in the back of our minds even today. The worlds greatest thinkers still haven't got their heads around the nature of the song. Probably one of a handful of laughs that Mr Lennon took to the grave with him. One can't help but believe that the genuine story behind this unusual song is actually the truth that just happened to stumble across the initials of LSD. One of four tracks from this albums that were considered to be about the taking of drugs and the experiences that one is exposed to, the birth of the song came about with little four year old Julian Lennon arrived home one day from play school with a picture he had done that day of his friends Lucy O'Donnell. He would show everything to his father, things he had painted and made at home or at school. He exclaimed, 'I've called it, Lucy in the sky with diamonds!' Like all the best things in the world, it stuck in John's head. Of course, at the time, Julian didn't realise the impression he had made and the young, unknowing Lucy didn't really fathom out until she was thirteen that the idea of the song surrounded her. She had admitted that she only vaguely remembered little Julian at school. Being deep in the mind of John Lennon would have been an exploration of the century. His mind was incredibly gifted. He thought up plays on words, which he loved as well as his fascination for surrealism. He conducted a imaginative world not unlike Alice In Wonderland. This genius was unique. For the first time, The Beatles had devised an album to be listened to, explored for not just its music, but the wondrous creation of the lyrics. Starting with a simple handful of notes across a keyboard, John's voice, somehow different, he had made his voice turn surreal itself and transparent.. Clear and mysterious he allows his voice to swarm around lyrics of 'tangerine tress and marmalade skies.' In all honesty, I really don't think even drugs could have taken you places as fantastic as the ones that Lennon describes. The chorus pleads to be shouted, an interlude of the psychedelic dream state, it shows its power within the repeat of the tracks title.

'Its Getting Better' has a affectionate tale behind it. As a recognition to once, stand in drummer for The Beatles when Ringo was off sick during a tour in 1964, Jimmy Neil would say, when asked how he was doing behind the drum kit during songs on stage, 'its getting better!' He apparently would say very little else on stage, so this always stuck and was mentioned here and thee throughout their careers as an 'in' joke. On a darker side, and this track does have one, John wanted to admit a few things. He had always been a troubled youngster. The lines, 'I used to get mad in my school, the teachers that taught me were uncool.' this was John's way of freeing ghosts in his own life. He used the line 'its getting better' because he wanted to personally change his violent temper. In another verse, the lines are, 'I used to be cruel to my woman, I beat her and kept her apart from the things that she loved..' This perhaps was a mention of his troubled marriage to Cynthia, which, sadly due his meeting with Yoko Ono, was on the rocks and would shortly end. An up beat song, one doesn't suspect until the lyrics are listened to properly. it's a hopeful song, simple and straight forward in its musical theme, we here intermittent clapping and lots of la la's, still keeping in with the complete St.Pepper traditional theme, the album doesn't sway from this once throughout. Each track is very different except for this underlying 'English' tea and cakes anthem.

'Fixing A Hole' is another track supposedly about drugs. The media hype that surrounded this innocuous track tried to dictate that the theme of it was that the fixing of the hole, was one fixing a hole in ones arm due to over usage of needles. Quite ridiculous, I thought. The story actually relates to a derelict property in the remotest part of Scotland that Paul bought. A farm that even the locals couldn't figure out where it was, was a desired getaway house for him and his one time girlfriend, Jane Asher from all the hustle and manic life of London and all that reminded him of the hysteria surrounding the Beatles. The song, was literally about fixing a hole in the roof of the house. Not frightened of a spot of DIY, the decided to tackle the job himself. The song, and if listened to the lyrics carefully, he describes the job in hand very therapeutic, 'I'm fixing a hole where the rain gets in and stops my mind from wondering..' A gentle track, that only McCartney's songs were, soulful and full of thought and pensiveness, the song is accentuated by backings ooo's and arr's giving the feeling of lonesome deep thinking in process whilst fixing the hole.

'She's Leaving Home' is the sad and sombre element to this album. Based, as usual on fact, it came from a newspaper article about a young girl from an affluent part of London running away from home. Some of the words were changed, not to protect the girl and her family, but simply because they didn't fit. She didn't run away with a man from the motor trade, nor did she leave first thing in the morning. Melanie Coe, was one of thousands of young things running away from their stiff, old fashioned parents due to the electrified psychedelic era. Freedom was beckoning for these young teenagers to drop their educations and become free spirited travellers in search of something deeper and a better life.

The song tells a story of her leaving, 'quietly turning the back door key, stepping outside she is free.' The chorus is a double layer of Jon and Paul's vocals singing lines almost in answer to each other, playing the part of the worried parents on finding their daughter gone. A beautifully pieced track that only enhances the desire for the young girl to leave and yet at the same time, the grief and anxiety that she leaves behind her. Using woeful violins and a harp sweeping across from beginning to end, these instruments engage in a musical accompany to compliment each line. Sung in voices of the Beatles unheard of before by the public, they sound almost operatic. A recognition to the hippie movement that wasn't all colour and love, but sadness and despair from parents who couldn't understand. On a lighter note, Miss Coe, thankfully, not due the song though, returned home eventually, safe and well.

Track Seven, is the very clever titled 'Being For The Benefit Of Mr Kite.' Whilst filming somewhere near Sevenoaks for a film to promote 'Strawberry Fields,' John spotted a framed Victorian poster denoting a travelling circus visiting Rochdale. He promptly walked into the antique shop and bought it. He had been so captured by its beautiful, ornamental design and its pieces, wonderfully wording each act that was to appear, that he decided to write a song based around the poster. It was advertising Fanque's Circus Royal, 1843. He used the over fanatical descriptions of the acts and devised a circus theme musically to enhance the lyrics. This piece uses a multitude of instruments, not used on a pop record before, but now known for their experimental desire, they asked the famed diverse George Martin to put together this exhilarating circus theme. They incorporated circus organs, the ones that were wheeled around on wheels and played by themselves, normally with a monkey dressed as a clown sitting on top clashing cymbals together. The poster wording at the top started out, saying, 'For The Benefit Of Mr Kite' who incidentally was the son of the circus proprietor. A piece in the middle of this track is supposedly to introduce Henry the dancing horse, a swirl of a strange instrument whirls around up and down the scale to depict this peculiar creature dancing a waltz round and round. The whole track is a maze of sounds and image using instruments that I couldn't possibly list. A traditional circus is captured here, no need for anything visual to relate to. This tracks can simply carry the listener away.

'Within You, Without You.' Here is a piece written and performed by George Harrison. Since coming back from a private holiday to the far East, he had been drawn to the religions as well as the wonderful instruments used in these countries. He studied the religions and whilst there, studied the sitar, a traditional Eastern instrument, under the teachings of Ravi Shankar. Totally dedicated to the Eastern music, this piece is a creation and a personal recognition to the Eastern way of life. The lyrics, although hard to here are actually a conversation talking firstly about the Western way of life and the power of individualism within it. A track that only the deepest listeners may be able to understand, for the rest of us, sadly, its way beyond our level of thinking, ahead of its time, no doubt, it is lost within the ears of the average listener, but as a piece of Eastern praise, it is inspired and a personal dedication to the teachings of the Eastern civilisation.

The song, 'When I'm Sixty Four' came as another idea after Paul's father had had a recent birthday during the recording of Sgt. Pepper. In total respect and deep love for his father (the man who encouraged Paul to pick up a guitar to help cope with his mother's death) he wanted to write a song that his father would approve of. Using a style of music that was simple and pleasant and a little of an old jazz band style, it was actually a track that Paul had written as a teenager. A tribute about getting old and retiring and the joys that could come with it with any luck. A song about a man proposing to a young girl if she will stay with him, will she still love him when he is sixty four. 'A 'rooty toot' theme as it was called, it was almost written as a letter about the simple pleasure of getting old and that one wasn't going to charge around, but sit, have a boat perhaps and grandchildren 'on your knee.' A pretty song, catchy and one to bring a smile to the face. A song that we can all relate to. There is a nice backing using a clarinet, again, a traditional instrument, used a lot within this album.

The theory behind the writing of 'Lovely Rita' was a simple one. A friend of Paul's came to visit from the States and noted that we had meter maids after spotting a rather stern looking woman dressed in a traffic wardens uniform. Apparently, Paul went away and then thought up the name Rita only because it rhymed. There is a very clever usage of a complicated line. 'Made her look a little like a military man.' is a lyric than had to be squashed to the point of being unpronounceable These lines crop up from time to time in this track. A steady, plodding back track, it appears with a jazzy piano interlude. Sounds from John like a chuffing train can also be picked up in the background. The Beatles were not shy of using alternative instruments, even themselves! This track is a very good example of this, and brings into the song, an element of humour.

'Good Morning Good Morning' was a mickey take from John. He was nagged at by others through recording that he wasn't doing anything. This had turned out to be an album where John had not had as much writing input as in previous albums. He had had enough of the others moaning so he wrote this track about doing nothing. Ridiculed for only writing about things close to the arm chair; TV programmes and newspaper articles, he wrote this track in a view that he thought the others were seeing him. A silly song containing a selection of animal sounds and horns blowing. A guitar riff that will certainly have the listener reaching for the volume knob half way through. After such an amusing track, I would have thought that the other members would have stopped moaning.

We come into the final section of the album. Mentioned on the album sleeve as the reprise of the first track, it takes a different slant musically. This is a very different track from the rest of the album. The backing reminds us of backings that bands have been using in recent times to their tracks. The Beatles were the front runners in many respects. Musically, they were ahead of their time, particularly with this album, they had invented certain backings involving tambourines and a steady, yet not hard, drum beat. Artists years later took this sound and produced it on drum machines. 'Groovy Train' by The Farm springs to mind. I am sure you could think of some other examples of early Beatle influences on today's bands. This track is simple and says a farewell to the crowd and a thank you for listening. Including a round of applause it very quickly flows into a piano piece, a an inspired 'two song' track. 'A Day In The Life,' is the result of two very different songs written by John and Paul, separately and unfinished. Put together by a whirl of an orchestra all playing something different from the next person, it is added onto Paul's song, and in all honesty, I hadn't got a clue about this until finding out now. John sings a couple of sombre lines in the first of factual newspaper articles he had read. The line about a car crash, '…he blew his mind out in a car, he didn't notice that the lights had changed…' was actually about a friend, Tara Browne, a young Irish man. A slow, drifting track with a soft guitar tune in the back ground and shaking maracas, that throws itself into a crescendo of mass musical hysteria. 'Woke up, got outa bed…' is where Paul's song starts off. John's song continues again towards the end and to finish. A record that was banned in certain countries because of its lyrics. The words 'smoke' and 'I want to turn you on' were seen as too suggestive….how times have changed! This piece was the most talked about track in music history. Noted for its diversity, musical orgasmic tumble of four two instruments all screaming at the same time, it was to become the epitome of the album and of the generation.

The most talked about album in the history of recording albums for its suggestive lyrics, the double meanings perhaps relating to drug taking but I have this thought in the back of my mind that I don't think that the Beatles, if wanting to compose an album about drugs would have been that obvious. The album, in conclusion should be not just heard but listened to and respected as a moment in human history when someone had created sounds and words that no one had ever heard before. Yes, now, perhaps amusing to the younger generation who thought that the Beatles had 'lost it' or were 'spaced out' when they wrote this, but I feel that this album was revolutionary, simply because what they did, hadn't been done before was on one was ever to do again.

John Lennon would have rolled over laughing if he had thought that anything the Beatles had done was being taken seriously. It was all a big joke as far as he was concerned, well in that case, the laugh was certainly on the Beatles……this album has still, almost forty years later, got us talking about it…..

Bought duty free in Paris, around twelve years ago, paid at least twenty quid! Any high street shop will stock this album at around the ten pound mark I would have thought.

©sam1942 2006
Also published on Dooyoo 28/2/06