Album Notes and Credits
Notes & Personnel Info
|Includes a 28-page booklet with rare photos, notes on the recording sessions and lyrics.|
|The Beatles: George Harrison (vocals, acoustic & electric guitars, sitar, tamboura, harmonica, tambourine, comb & paper); John Lennon (vocals, acoustic & electric guitars, piano, Hammond organ, maracas, comb & paper); Paul McCartney (vocals, acoustic & electric guitars, piano, harpsichord, Hammond organ, bass, comb & paper); Ringo Starr (vocals, harmonica, piano, drums, bongos).|
|Additional personnel includes: Neil Aspinall (tamboura, harmonica); Mal|
|Evans (harmonica, alarm clock); George Martin (piano, harmonium,|
|Wurlitzer organ, organ); Sounds Incorporated (saxophone, French|
|Engineers include: Geoff Emerick, Malcolm Addey, Ken Townsend.|
|Recorded at Abbey Road Studios and Regent Sound Studio, London, England between December 6, 1966 and April 21, 1967.|
|Includes liner notes by George Martin, Mark Lewisohn and Peter Blake.|
|This reissue of SGT. PEPPER'S LONELY HEARTS CLUB BAND has been digitally re-mastered. It comes packaged with replicated original U.K. album art, an expanded booklet containing original and newly written liner notes, and rare photos. Limited quantities of the CD are embedded with a brief documentary film about the album.|
|Audio Remasterers: Sam Okell; Sean Magee; Steve Rooke; Guy Massey; Paul Hicks.|
|Liner Note Authors: Mike Heatley; Mark Lewisohn; Kevin Howlett.|
|Recording information: 12/06/1966-04/21/1967.|
|Photographer: Michael Cooper.|
|One of the most famous and influential albums ever recorded, SGT. PEPPER'S LONELY HEARTS CLUB BAND had a huge impact on the music world, signaling the beginning of a new era of sophistication and maturity in rock. The musical experimentation was dynamic and fresh, several tracks were edited to create seamless transitions, and even the visual design was more elaborate than anything previously attempted.|
|Producer George Martin and The Beatles searched for new sounds and studio effects. They added crowd sounds and animal cries from sound-effects recordings, sped up Paul McCartney's vocals in "When I'm Sixty-Four" (to make him sound younger), and sustained a single piano chord for 40 seconds to end "A Day In The Life." The orchestrations, scored by Martin, were hailed by critics as bridging the gap between pop and classical music, and many people who had never bought a rock record bought SGT. PEPPER'S.|
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|Best Of George Harrison|
|In The Beginning|
Associated Artists and Works
|Release Date : 09/09/2009|
|Original Release Date : 1967|
|Catalog ID : 3824192|
|Label : Apple Corps|
|Number of Discs : 1|
|Studio/Live : Studio|
|Mono/Stereo : Stereo|
|SPAR Code : n/a|
|UPC : 00094638241928|
- Ranked #1 in Rolling Stone's "500 Greatest Albums Of All Time" - "...The most important rock & roll album ever made, an unsurpassed adventure in concept, sound, songwriting, cover art and studio technology..."
- Ranked #13 in Q's "100 Greatest British Albums" - "...It deserves playing, and playing again....[including] one of the Top Five finest vocal performances in all rock: Ringo's 'With A Little Help From My Friends'....do yourself a favor."
- Ranked #14 in Mojo's "The 50 Most Out There Albums Of All Time" - "The Beatles build a new universe with every song..."
- Ranked #33 in NME's list of the 'Greatest Albums Of All Time.'
- "As a pioneering work of studio wizardry, this loose concept album is amazing..."
"I have never seen anything like it. Nor heard any noise to approximate the ceaseless, frantic, hysterical scream which met the Beatles when they took the stage after what seemed a hundred years of earlier acts. All very good, all marking time, because no one had come for anything other than the Beatles...
Then the theatre went wild. First aid men and police -- men in the stalls, women mainly in the balcony -- taut and anxious, patrolled the aisles, one to every three rows.
Many girls fainted. Thirty were gently carried out, protesting in their hysteria, forlorn and wretched in an unrequited love for four lads who might have lived next door.
The stalls were like a nightmare March Fair. No one could remain seated. Clutching each other, hurling jelly babies at the stage, beating their brows, the youth of Britain's second city surrendered themselves totally."
- Derek Taylor (From his book Fifty Years Adrift)