“Lucy In The Sky With Diamonds” – Recording commenced in studio two at Abbey Road on March 1, 1967. “Lovely Rita” – Recording commenced in studio two at Abbey Road on February 23, 1967. Recording Engineer: Adrian Ibbetson (Regent Sound), Geoff Emerick (Abbey Road). “Fixing a Hole” – Recording commenced in Regent Sound Studio, Tottemham Court Road, London, on February 21, 1967, and later completed at Abbey Road. Kite” – Recording commenced in studio two at Abbey Road on February 17, 1967. “Good Morning, Good Morning” – Recording commenced in studio two at Abbey Road on February 8, 1967. Pepper’s Lonely Hearts Club Band” – Recording commenced in studio two at Abbey Road on February 1, 1967. Second Engineers: Richard Lush, Phil McDonald. Working title “In The Life Of…” Album version mixed from takes six and seven. “A Day In The Life” – Recording commenced in studio two at Abbey Road on January 19, 1967. “When I’m Sixty-Four” – Recording commenced in studio two at Abbey Road on December 6, 1966. Here, in the order in which the recording were tackled, is a guide to the way the album was made. Pepper’s Lonely Hearts Club Band spanned 129 days, perhaps the most creative 129 days in the history of rock music. Pepper’s Lonely Hearts Club Band must be nothing less than the most important and revealing compact disc release there can ever be. Then, as the coup de grace, there is a few seconds of nonsense Beatle chatter, taped, cut into several pieces and stuck back together at random so that, as George Martin says, purchasers of the vinyl album who did not have an auto return on their record player would say “What the hell’s that?” and find the curious noise going on and on ad infinitum in the concentric run-out groove. After the last droplets of the crashing piano chord of ‘A Day In The Life’ have evaporated, come a few second of 15 kilocycle tone, put there – especially to annoy your dog – at the request of John Lennon. The very end of the album typifies the advanced studio trickery applied throughout Sgt. We used giant primitive oscillators to vary the speed of instruments and vocals and we had tapes chopped to pieces and stuck together upside down and the wrong way round.” We plastered vast amounts of echo onto vocals, and sent them through the circuitry of the revolving Leslie speaker inside a Hammond organ. We had microphones right down the bells of the brass instruments and headphones turned into microphones attached to violins. Pepper had to be different,” say Emerick, “so everything was either distorted, limited, heavily compressed or treated with excessive equalization. “The Beatles insisted that everything on Sgt. Please Please Me, the Beatles’ first album, was recorded in 585 minutes. Geoff Emerick, the recording engineer who with George Martin formed the imaginative team which translated the Beatles’ requirements onto tape, once totted up the number of hours put into the making of Sgt. The Beatles’ musical ideas progressed in a most tangible way with each album they recorded. Cerainly this album was entirely different to anything which had gone before, and although it has been much imitated since, it remains today a unique, epochal record one which revolutionized the entire recording industry and caused such vast repercussions that its influence will very probably be felt for as long as music is written and performed. “The Beatles definitely had an eternal curiosity for doing something different,” says George Martin, producer of Sgt. For me, it was the most innovative, imaginative and trend-setting record of its time. I remember it warmly, as both a tremendous challenge and a higly rewarding experience. Pepper’s Lonely Hearts Club band didn’t start out life as a “concept album” but it very soon developed a life of its own. © 1967 Original Sound Recording Made By EMI Records, Ltd. Pepper’s Lonely Hearts Club BandĪll songs composed by Lennon/McCartney except where indicated.
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