40th anniversary of The Beatles album release of...

[MonarC]

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Yes it was 40 years ago today that The Beatles released the "Sgt. Pepper's Lonely Hearts Club band" album. I was listening to this album today. It is so awesome and timeless. When you listen to this album you can feel the magic. Here's to The Beatles. :cheers:

[ABlairican Pie]

MSNBC.com


40 years ago, Sgt. Pepper taught a band to play
After all these years the Beatles seminal album is the Babe Ruth of rock

COMMENTARY
By Michael Ventre

Updated: 12:09 p.m. PT May 30, 2007

Occasionally I’ll hear an argument that Babe Ruth was overrated. Detractors contend that, measured today, he’d be just a flabby carouser whose lust for hot dogs, whiskey, females and late hours would keep him trapped in the low minor leagues, if he got even that far.

That position is misguided, because the only realistic measure of the man is to evaluate him in the context of his times. And history is clear on that: During Ruth’s era, he dominated, he changed the game, he was larger than life.

The same approach applies to countless other topics. Sometimes I will recommend an old film to a friend, like “Double Indemnity.” He or she will watch and then proceed to dismiss the heavy-handed direction, hard-boiled dialogue or the stylized acting, which will cause me to point out that, in the context of its times, that picture was groundbreaking and audacious.

All of this comes to mind because the Beatles’ “Sgt. Pepper’s Lonely Hearts Club Band,” considered one of the greatest albums of all time, soon will celebrate its 40th anniversary (it was released in the UK on June 1, 1967, and a day later in the U.S.). In the context of its time, “Sgt. Pepper” was a head-turning marvel. It trod new sonic territory with its experimental use of multi-track recording, with its unconventional orchestrations, with its lyrical impact both playful and profound, with its dazzling cover art and with the very sequence of the songs.

But here’s how it differs from Ruth, “Double Indemnity” and scads of other cultural landmarks: It hasn’t lost a step, it hasn’t fallen from favor. It does not need to be viewed in the context of its times in order to be appreciated. “Sgt. Pepper” is just as artistically and technically significant today as it was upon its initial release 40 years ago.

Of course, failing to view it in the context of its times would be to miss out on a lot of fun, for aficionados of popular music in general and Beatles freaks in particular.

At a turning point
In 1966, the Beatles were done with screaming girls. They had been a hugely successful touring band, but they grew weary of the road. It wasn’t just the crowds in hotel lobbies and outside their windows, or the airport schleps, or the international customs hassles. They just couldn’t hear themselves anymore. The din of young hysterical females proved to be more formidable than their nightly performances of “Can’t Buy Me Love” and “Eight Days a Week.”

So they decided to stop touring and channel all their creative efforts into studio work.

About that time, Paul McCartney got an idea. It came to him on a flight. Amused by the sudden proliferation of bands with wacky names — Jefferson Airplane, Quicksilver Messenger Service, Canned Heat — he imagined a concept album involving a fictitious band named “Sgt. Pepper’s Lonely Hearts Club Band” that was made up of the Beatles’ alter-egos.

What eventually became “Sgt. Pepper” the album isn’t his exact idea come to life, but it grew from that seed. And the notion of a fake group with different names — Ringo Starr was Billy Shears, for instance — appealed to the lads’ desire to escape the burden of being themselves.

Beatles fans may argue amongst themselves — everybody has a favorite, after all — but the critical consensus seems to be that “Sgt. Pepper” represented the band’s high-water mark. It came out almost a year after “Revolver,” and well after executives at Capitol Records had begun pestering George Martin for a new Beatles release.

More importantly, the recording occurred at a time when there was relative peace in the band. John Lennon wouldn’t begin his relationship with Yoko Ono until 1968. Brian Epstein, the Beatles’ manager who was their mortar, would die two months after the release of “Sgt. Pepper,” of an accidental drug overdose, an event that fragmented the group and accelerated its demise.


Not only were the Beatles still in a music-making frame of mind as a group, but eschewing live performances worldwide and instead confining themselves to the four walls of a studio (and/or their respective residences, which often doubled as makeshift studios) had a liberating effect. They were still held together by their immense fame and their well-earned status as pop music’s No. 1 band, yet they were antsy and eager to explore new sounds.


A place for creative freedom
“Sgt. Pepper” was conceived and recorded around the time of two other seminal releases, The Beach Boys’ “Pet Sounds” and Frank Zappa’s “Freak Out,” believed to be one of the very first concept albums. The Beatles also were influenced by classical music, especially German composer Karlheinz Stockhausen, whose image is among the many on the album cover.

Taken as a whole, “Sgt. Pepper” — a collection of 13 songs that took over 700 hours to record, a rarity for its time — is acclaimed for its overall excellence and innovation, but clearly some songs have stood out. The track most often marveled over is the climactic “A Day In The Life,” which represented the start of eight-track recordings in Britain; two four-track recorders were used together, synched up. The song is an exquisite amalgam of dreamy lyricism and musical majesty. It just sounds like an important song, even though it has a simple and ethereal feel.

But “Sgt. Pepper” is also the place where “Lucy in the Sky with Diamonds” was given a home, as well as “Getting Better,” “Fixing a Hole” and “She’s Leaving Home.” It was the record that provided George Harrison with the encouragement and freedom to create “Within You Without You,” which featured layers of Indian instrument lines from the sitar, tambura and dilruba. It provided Ringo with his finest showcase as a vocalist, on “With A Little Help From My Friends.” It even was the album that bumped two now indelible Beatles tunes — “Strawberry Fields Forever” and “Penny Lane” — off its song list and onto another release.

There were also enough cryptic words or phrases that could easily be interpreted by conspiracy theorists to be drug references — and some may have been, conscious or otherwise — that the album was a perfect companion piece to the Summer of Love of 1967 and the entire psychedelic movement.

“Sgt. Pepper’s Lonely Hearts Club Band” stands today as the masterpiece from arguably the greatest band ever. Rather than lose stature, it continues to gain, when listened to in the context of any times

© 2007 MSNBC Interactive

[ABlairican Pie]

MSNBC.com


One man’s Beatles’ Top 5 list
‘Rubber Soul,’ not ‘Sgt. Pepper’ Fab Four’s best album of all time

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COMMENTARY
By James Sullivan

MSNBC contributor
Updated: 10:27 p.m. PT Nov 13, 2003

“Sgt. Pepper’s Lonely Hearts Club Band” remains the official soundtrack to the ’60s. The album undoubtedly drew a new blueprint for the rock ‘n’ roll LP: No longer simply a slapdash collection of hit singles, the record album would forever more have the potential for true artistry. The conceptual feel of “Sgt. Pepper,” those wonderfully wide-ranging arrangements, the mind-blowing album cover and the fact that the band saw fit to print the lyrics on the sleeve all attested to the fact of the album’s impact.

THERE’S JUST ONE catch: As a collection of songs, “Sgt. Pepper” is a bit of a dud.

Relatively speaking, of course. Granted, the spirited title tack and its reprise are exuberant stuff, and “A Day in the Life” is an undisputed masterpiece. But — and we’re well aware of the sacrilege involved in making such a statement — the album also contains more than its share of filler, from Paul McCartney’s dreary “She’s Leaving Home” to the cornball carnival of John Lennon’s “Being for the Benefit of Mr. Kite.”

So it won’t make this list. The records that do:

1. “Rubber Soul” (1965): Along with “Revolver,” the bridge between the boyish vigor of the group’s early years and the creative exploration of its later ones. Stuffed with tours de force, from “Norwegian Wood,” “Michelle” and “Girl” to Lennon’s timeless “In My Life.”

2. “Magical Mystery Tour” (1967): The U.S. release of the soundtrack to an ill-fated British TV special featured “The Fool on the Hill” and “I Am the Walrus” and added several astounding singles, including “Penny Lane,” “Strawberry Fields Forever” and “All You Need Is Love.” The fruition of “Sgt. Pepper”’s vast ambition.

3. “Abbey Road” (1969): Actually the Beatles’ last album, recorded after the “Let It Be” sessions. Graced with “Come Together,” two of George Harrison’s finest moments (“Something,” “Here Comes the Sun”) and the ingenious song cycle of side 2 (remember vinyl?).

4. “The Beatles (The White Album)” (1968): The band was clearly headed in four seprate directions on this double album, but what directions they are, from Paul’s “Back in the USSR” to John’s “Yer Blues” and George’s “While My Guitar Gently Weeps.” Even Ringo’s “Don’t Pass Me By” is irresistible.

5. “A Hard Day’s Night” soundtrack (1964): Seven songs (including “Can’t Buy Me Love”) from the wonderful, madcap movie augmented with “padding” such as “You Can’t Do That.” Sheer atomic energy.




James Sullivan covers pop culture for the San Francisco Chronicle.

© 2007 MSNBC Interactive

[ABlairican Pie]

Which Is the Best Beatles Album?

The Beatles
By Denise Hazlick


Capitol
1. "Revolver" (1966)
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This is the gateway to Sgt. Pepper, the band’s first attempt at psychedelic music, and it works, mate. Paul McCartney’s offerings, of course, have a strong pop sensibility, but they also have much more dimension than his early songs. “Eleanor Rigby” haunts you and “Here There And Everywhere” has a complexity that bolsters its sweet lyrics. And who doesn’t love “Good Day Sunshine?” This album also marks the real emergence of George Harrison as a songwriter. “Taxman” is a kick-ass song with a message that hasn’t faded over the decades, and “Love You To” signals his full-on interest in Indian music and philosophy. But it’s John Lennon who truly soars on this album. And his best offering is the psychedelic and just plain funky “Tomorrow Never Knows.” John is making the turn in this song, and this album, toward his true introspective experimental self. He makes his declaration of independence in “And Your Bird Can Sing.” “You tell me that you’ve got everything you want/And your bird can sing/But you don’t get me, no you don’t get me.” Sing it, John.

Capitol
2. "Abbey Road" (1969)
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The second-to-last album released by the band, it was in fact that last album the Beatles recorded together. After the torture that was the “Let It Be” recording session, the boys pulled together one last time and they go out strong in this, their swansong. There isn’t a bad song on the entire album. The Beatles had been individual songwriters for quite awhile, and this album clearly displays that by 1969, they were accomplished songwriters, ready to move on, while at the same time still kickin’ it as a group. The album opens with “Come Together,” another great Lennon anthem before moving to one of Harrison’s most beautiful songs ever, “Something.” The guitars are heavier, but the messages in the songs are somehow lighter and warmer. The side 2 montage (remember when there used to be sides to an album?) is an amazing amalgam of talent and production. The “Sun King” becomes “Mean Mr. Mustard” who becomes “Polythene Pam.” Pure poetry. And its final song, fittingly is, “The End.” “And in the end/the love you take/is equal to the love to make.” Amen.

Capitol
3. "Sgt. Pepper's Lonely Hearts Club Band" (1967)
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I know what you’re saying – it’s sacrilege that this album isn’t No. 1, let alone No. 3 – but remember, this is a subjective list. There is no disputing this album’s greatness. From the opening guitar of the title track to that final chord on “A Day in the Life,” “Sgt. Pepper” is a mix of pure pop (“Fixing a Hole,” “A Little Help From My Friends,” “When I’m Sixty-Four”) to experimental, concept rock (“Lucy in the Sky With Diamonds,” “Being For the Benefit of Mr. Kite,” “Within You Without You”). It sent a clear message that there would be no more “I Wanna Hold Your Hand.” Freed from the rigors of touring, Lennon, McCartney and Harrison had the time to stretch their legs in the studio, working with producer George Martin to use new instruments and new sounds in their songs. Almost 40 years after its release, the “controversy” about drug references and use during the making of the album has faded into history. What is left is an amazing collaboration of time, place and incredible talent.

Capitol
4. "Rubber Soul" (1965)
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This album marks the Beatles shift from lovable mop-tops to serious songwriters. There’s still a lot of the bounce and energy that can be found on their early albums, but the tone and messages in the songs are much darker. Start with “Norwegian Wood” – John Lennon’s sitar-infused tale of a would-be one-night stand that goes very, very wrong. “She Loves You” it ain’t. George Harrison tells screaming fans to “Think for Yourself” and even Paul McCartney, the king of sweet, proclaims “I’m Looking Through You.” Clearly the early years of Beatlemania had taken their toll on the Fab Four, and it shows in these mature songs. But the hallmark of this album is Lennon’s haunting reflection of life, love and regret, “In My Life.” Written by a man in his early 20s, this song shows amazing depth and emotion and will always be the song I think of when I remember John Lennon.

Capitol
5. "A Hard Day's Night" (1964)
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You have to have an early album on this list, and from the opening chord of the title track, this album jumps with the energy and pulse of Beatlemania. The soundtrack to the Beatles’ first, and best, movie, the music captures the exuberance and mania of the band’s great unleashing upon the world. The title track was a throwaway. Director Richard Lester needed a song to play over the opening credits and asked Lennon if he could write something. He and McCartney churned the song out overnight. Yes, they really were that good. “If I Fell” is still one of the sweetest songs I’ve ever heard and I can’t help but dance when I hear “Can’t Buy Me Love.” Love songs reign on this disc: “And I Love Her,” “I’m Happy Just to Dance with You,” “Things We Said Today.” Even in this early incarnation, there is sophistication to the lyrics. No matter what, this album is fun and a must-have for all Beatle fans.

Capitol
THE DUD: "Yellow Submarine" (1969)
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This album is made up primarily of musical interludes from the Beatles’ first Apple (no, not the same company that makes iPods) movie. While the psychedelic cartoon was entertaining, the album is lackluster. The song “Yellow Submarine” was actually on “Revolver,” so even the title track isn’t original. I suppose if you are a true Beatlemaniac you want to have this album just to complete the set, but truthfully, how often would you ever play it?

[AKA]

[B]Capitol
THE DUD: "Yellow Submarine" (1969)
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This album is made up primarily of musical interludes from the Beatles’ first Apple (no, not the same company that makes iPods) movie. While the psychedelic cartoon was entertaining, the album is lackluster. The song “Yellow Submarine” was actually on “Revolver,” so even the title track isn’t original. I suppose if you are a true Beatlemaniac you want to have this album just to complete the set, but truthfully, how often would you ever play it?

Until 1999, Yellow Submarine was an essential release if you wanted the songs "All Together Now," "Hey Bulldog," "It's All Too Much" and "Only A Northern Song." While 1999's amended Yellow Submarine Songtrack includes all those songs, plus every other Beatles song that appeared in the film, the 1969 is still essential if you want the original stereo mixes of the afforementioned four tracks.

[Shine]

I've never understood why so many people consider Revolver to be The Beatles' best album. I will not argue with the fact that it is a great album, but for my taste I like Rubber Soul, Sgt. Pepper, The White Album and Abbey Road better.

[Mikado]

I think all those are excellent choices for best Beatles Album, but, i think for me, its Abbey Road, followed closely by Sgt Peppers :)