BEATLES-SGT PEPPERS-PICTURE DISC-SEALED-Capitol-SEAX-11840-MINT-Psychedelic
$
30
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Description
ORIGINAL FACTORY SEALED!!!
*NO CUTS
*NO HOLES
*NO RING WEAR
*NO FOLDS
*NO BENDS
*NO WRITING
*NO STAINS
*NO DISCOLORING
*NO WARP
*ONLY THE TINIEST BUMP TO ONE CORNER
*AND A TINY BIT OF THE STICKER LIFTING UP
TRULY THE BEST COPY YOU WILL EVER SEE!!!!!!
A MESSAGE FROM DEREK TAYLOR:
"Many of the songs for Sgt. Pepper were written on the run, during sessions at Paul's house very close to the studios, or out at Weybridge and Esher. John sat at his piano painted by The Fool, taking his ideas from the day-to-day items around him: the famous circus poster of Mr Kite, the Daily Mail column of small news items which talked of four thousand holes being found in the road in Blackburn, Lancashire. Ringo's great and famous vocal on 'With a Little Help from My Friends' was put together by John and Paul, on guitar and piano respectively, at Paul's house. 'A Day in the Life', famously, is the combination of two songs, one by John and one by Paul. 'Good Morning' was later dismissed by its composer, John, but stands, with George Martin's sound effects, as a very smart little item on the completed album. Neil Aspinall's recollection of them working throughout that winter without any anxiety that they might run out of material is revealing. The group was obviously hot to trot. There was nothing they couldn't do or get in that last great year of unity, harmony and collective happiness.
Paul's leadership stance on the album went unchallenged. Each of the other three had plenty to do, instrumentally or vocally. Ringo's 'voice' as drummer is notably good, and his vocal on 'With a Little Help from My Friends' has a presence and charm quite as fetching and musical as anything else on the album. George Martin has said there had to be some corner of each album that was forever Ringo. In Sgt. Pepper he was wonderfully provided for with 'A Little Help', the last song to be written and recorded. In keeping with the album's stance of being by someone other than the Beatles, their correct instinct was to have 'Sgt. Pepper' announce the appearance of a friendly little chap, Billy Shears, whom everyone had known for years. It was a made-up name, apt, apposite and absolutely right for Ringo. It was also a very Liverpool name. The city had a lot of Billys in popular lore, in soccer, in humour or whatever, and Billy was a cosy name to suit a cosy man. The song, often sung and recorded by the others, has never been rendered with greater openness, charm and wit than by Ringo.
Sgt. Pepper was first-rate stage for each individual to strut his stuff. Be it merely modesty and diligence, overt musical-hall rhythm, Indian-based nouveau rock or lyrical fantasy, Pepper would accommodate it. They could all sit comfortably side by side in this concert/concept. The programming was adroit and unmatched even by the Abbey Road album, which had some marvelous segues.
There was a wonderful absence of disputes in the making of Pepper. Paul was left comfortably to organise, John to explode into lyrical bliss with his tangerine trees and marmalade skies, George to respond to what he describes as the 'All You Need Is Love Consciousness' after the LSD period, and Ringo to change rock drumming for ever. It's been said there isn't a 'love-song' on the album, but that there is love in every groove is undeniable. Its unity is a reminder that the group effort need not be dissected and credit apportioned exactly. As if that were possible anyway! That everyone was into their own thing for the common good rings out from the first tuning sounds at the album's opening to the final crashing chord and its fade away at the end of the record.
PETER BLAKE: A cover for Sgt. Pepper designed by The Fool already existed and wasvery psychedelic -- swirly orange and green and purple -- there were a lot of others like it. Robertthought it would be interesting to have the first cover done by a fine artist as opposed to a record-coverdesigner. A certain amount had already been established: the concept of their being a band within aband, for instance. They'd had their uniforms made already. I think my contribution was to talk agreat deal to them about the concept and try to add something visual to it. Paul explained that itwas like a band you might see in a park. So the cover shot could be a photograph of them asthough they were a town band finishing a concert in a park, playing on a bandstand with a municipalflowerbed next to it, with a crowd of people around them. I think my main contribution was to decidethat if we made the crowd a certain way the people in it could be anybody. I think that was the thingI would claim actually changed the direction of it: making a life-size collage incorporating real people, waxworks, photographs and artwork. I kind of directed it and asked the Beatles and Robert(and maybe other people, but I think it was mainly the six of us) to make a list of characters theywould like in a kind of magical ideal film, and what came out of this exercise was six different setsof people. Robert Frazer chose artists, and I chose Johnny Weissmuller, people like Bobby Breen whowas a child star, and Shirley Temple. And then we went to Madame Tussaud's where I heard SonnyListon would probably be melted down soon. He was no longer world champion, and so I got him andI still have him."
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Insured and professionally packed in a cardboard record mailer with cardboard backing on both sides
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