Sgt. Pepper's Lonely Hearts Club Band | The Beatles Sgt. Pepper's Lonely Hearts Club Band album A Day In The Life Released on 1st June, 1967, Sgt. Pepper's Lonely Hearts Club Band, the band's eighth album became the soundtrack to the "summer of love" but its appeal is timeless. Work had begun on the recording in late 1966 and at one stage it was thought that both Penny Lane and Strawberry Fields Forever would also be included but when these were released as a single in February, that idea was abandoned. Revolver had only just been completed in time prior to the band flying off on yet another tour. Now that touring was behind them more time could be spent writing and recording. Between November 1966 and April, 1967, they spent over 400 hours in the studio - a far cry from the Please Please Me days. Of course the music was more complex and now that touring was over, there was no need to consider what could be reproduced in front of a live audience.

In the studio The Beatles encouraged George Martin to achieve "the impossible" and in turn, George and the engineers would find innovative ways of realising this despite still using only four-track equipment. For the fourth time in the UK, no single was lifted from the album and this also held true in the US. The album was also not banded, encouraging the listener to play it all the way through, pausing only to turn the disc over. Not only was the music different, exciting and colourful so too was the way it was delivered. The glossy double wallet featured the guys in their Pepper uniforms surrounded by images of people they either admired or were interested in whilst on the back of the sleeve there were the lyrics to all the songs. Inside each side of the wallet were other surprises, a card featuring various cut-outs and in the initial pressings at least, the paper inner sleeve bore a psychedelic design. In the Britain the album hit number #1 and between June, 1967 and February, 1968 spent a total of 27 weeks at the top during an initial chart run of 148 weeks. All of this, in spite of a BBC ban on "A Day In The Life".

In the US, the album was released in exactly same way as in Britain... well almost. The high-pitched tone and the garbled speech embedded in the UK run-out groove did not appear on the American release. The album enjoyed a fifteen week stay at the top of the US Top 200 albums during its initial chart run of 88 weeks. NME April 1st, 1967 The Beatles' next LP, which has already taken over seven months to record is at last nearing completion. Titled 'Sergeant Pepper's Lonely Hearts Club Band' it will be finished during the second week of April. Among tracks now completed are 'A Day In The Life', a John Lennon solo on which he is backed by a 41-piece orchestra. 'When I'm 64' a novelty number in early phonographic style featuring Paul McCartney. 'Good Morning, Good Morning, Good Morning' a John and Paul duet augmented by Sounds Inc, 'She's Leaving Home' arranged by Mike Leander and employing added strings and 'Sergeant Pepper's Blues'. NME May 20, 1967 Trust the Beatles to come up with something different!

Their latest LP, 'Sergeant Pepper's Lonely Hearts Club Band' is a sort of concert. It starts with that number and ends with it, except for a finale piece called 'A Day In The Life'. The Beatles - A Day In The Life A Day In The Life "I made a suggestion. I said, 'We need to get away from ourselves - how about if we just become sort of an alter ego band?' " PAUL "In the morning we'd drive into Abbey Road in John's blacked out Rolls Royce, fall out of the back of the car into the studio." GEORGE "Pepper started because of their being fed up with touring and they wanted to spend more time in the recording studio." GEORGE MARTIN "There were starting to be other possibilities, you know. For instance, Indian music - which George was very keen on.

And he'd met Ravi Shankar and was very keen on the whole philosophy." PAUL "We were really spending a long time in the studio and we were still doing the basic tracks like we always did and then it would take weeks for the overdubs." RINGO "64, Paul wrote in the Cavern we just stuck a few more words on it, like granny on yer knee and Vera Chuck and Dave, this was just one that was quite a hit with us. I think we used to do it when the amps broke down you know just sing it on the piano." JOHN "People just have this dream about Pepper, and it was good for them you know." JOHN "It wasn't recorded like a band you know where you learn the songs, it was starting to become bitty." GEORGE "Sgt Pepper for me it's a fine album, it's a fine album but I did learn to play chess on it." RINGO "I maintain that the Beatles weren't the leaders of the generation but the spokesmen." PAUL Sgt. Pepper's Lonely Hearts Club Band CD Sgt. Pepper's Lonely Hearts Club Band CD Sgt. Pepper's Lonely Hearts Club Band CD Sgt.

Pepper's Lonely Hearts Club Band CD Signing up... Please check your email to confirm your subscription Error – please try again later Community Ashley Schilla 23 Jul 2016 is there a special sleeve in the stereo box set for this album? I heard that there was. Ashley Schilla 23 Jul 2016 is there a special sleeve in the stereo box set for this album? I heard that there was. fab4bob 28 Jun 2016 When I bought the Sgt.Pepper LP record in the early 70s (I was 12) I was first intrigued by the packaging. The lyrics written out on the back cover..wow this was different..and it opened up to a huge colorful photo of my idols in cool Sgt.Pepper Uniforms!. Then listening, It sounded different than the other Beatles albums I had been experiancing for the first time. In retrospect, with Strawberry Fields and Penny Lane (recorded at the start of the Pepper sessions and issued as a single) it would have truly been their best album. Without those two HUGE tracks its a bit overated, with the exception of A Day in the Life, the best Lennon/McCartney collaboration.

Even George Martin admitted leaving Strawberry Fields and Penny Lane off the album was a mistake. Capitol in the end issued them both (in the U.S.) on the B-side of the Magical Mystery Tour LP then EMI worldwide on the first CD in the 80s. They belong on Pepper. Maybe for the 50th Anniversary edition next year?? fab4bob 28 Jun 2016 When I bought the Sgt.Pepper LP record in the early 70s (I was 12) I was first intrigued by the packaging. The lyrics written out on the back cover..wow this was different..and it opened up to a huge colorful photo of my idols in cool Sgt.Pepper Uniforms!. Then listening, It sounded different than the other Beatles albums I had been experiancing for the first time. In retrospect, with Strawberry Fields and Penny Lane (recorded at the start of the Pepper sessions and issued as a single) it would have truly been their best album. Without those two HUGE tracks its a bit overated, with the exception of A Day in the Life, the best Lennon/McCartney collaboration. Even George Martin admitted leaving Strawberry Fields and Penny Lane off the album was a mistake.

Capitol in the end issued them both (in the U.S.) on the B-side of the Magical Mystery Tour LP then EMI worldwide on the first CD in the 80s. They belong on Pepper. Maybe for the 50th Anniversary edition next year?? phab4-55 21 Jun 2016 Greatest album EVER. Have BOTH stero and mono mixes,and yes, I rather like the mono mix. It has a different sound, the phasing on Lucy in the Sky is very pronounced, on the reprise there is more talking in background. If you don't have the mono mix, you need it. Great listening. For the benefit of mr kite, there will be a show tonight!! BlondGuy 11 Jun 2016 You can still hear the brilliance and innovation on 'Sgt. Pepper', and the songs on it are mostly excellent (I never particularly cared for George's more Hindu-influenced, sitar dominated Beatles songs, and "When I'm Sixty-Four" seems a little cutesy). 'Sgt.

Pepper' is indeed a grand work of art -- I just feel that most of the songs, while top-notch, do not convey the same depth of feeling as the ones on 'Rubber Soul', 'Revolver' and the 'White Album'. The grand exception, naturally, is "A Day In the Life", one of their best ever and still perhaps the single most haunting Beatles track. I also kind of miss John on this album -- while he's certainly there, the amount of his contributions are less than on previous Beatles albums. He sort of hits 50/50 on this album with some great songs ("Lucy In the Sky with Diamonds" and "A Day In the Life") and a couple of mediocre ones ("Being for the Benefit of Mr. Kite !" and "Good Morning Good Morning"). For the most part, 'Sgt. Pepper' is Paul's baby from start-to-finish. It is a masterpiece, just a lesser one in comparison to the Beatles' other masterpieces (again, just my take on it).

Two more big plusses: Ringo gives us his all-time best Beatles vocal performance on "With a Little Help from My Friends", and that final, smashing E piano chord will still send shivers up your spine. Erik Steevens 28 Dec 2015 i just bought the remastered versions of Sgt. Pepper and The White album vinyl albums today, and yesterday i purchased the remastered Rubbersoul album, yep this man is dealing with some Beatlemania !!! The Beatles' Sgt. Pepper's Photo Shoot: Faces in the Crowd Lydia Hutchinson | June 1, 2016 | 16 Comments As the definitive snapshot of ‘60s pop culture (taken on March 30, 1967 by Michael Cooper at Chelsea manor Photo Studios), artist Peter Blake’s Sgt. Pepper cover was unlike anything the world had ever seen. The result was a collage bursting with color, texture, intellectual diversity, comedy, tragedy and time compressed. Even today, shrunk down to jewel case dimensions, the iconic design captures the eye and the imagination. And it came with a free cardboard mustache.

“In my mind I was making a piece of art rather than an album cover,” Blake said. “It was almost a piece of theater design.” It was Blake’s concept to assemble what he called “a magical crowd” around the band. “I offered the idea that if they had just played a concert in the park, the cover could be a photograph of them with the group who had watched the concert,” he said. “If we did this by using cardboard cut-outs, it could be whomever they wanted.” Fred Astaire was pleased. Mae West was aghast that she would be a member of a lonely hearts club. Shirley Temple asked to hear the finished album before she agreed. Despite Paul McCartney’s assurance to Blake and EMI that the cover stars of Sgt. Pepper would “love it and do anything to please us,” permissions had to be obtained for the most famous class photo of all time. It was a headache for manager Brian Epstein’s office, but their PR efforts paid off; the only holdout, Bowery Boy Leo Gorcey, insisted on a $400 fee and was promptly airbrushed out of history.

Each Beatle—excepting the go-along-to-get-along Ringo Starr—offered suggestions on who should be pictured in the crowd behind them. Some of the inclusions are whimsical or tongue-in-cheek, and a few actually came from art director Robert Fraser and Blake. However, several of the “Club” members were very important to the Beatles’ lives and art. LEWIS CARROLL Carroll’s surreal wordplay is echoed in the Beatles’ stream-of-consciousness verse during the Sgt. Pepper period, particularly that of John Lennon. His “I Am the Walrus” was a direct reference to Carroll’s poem “The Walrus and the Carpenter.” SRI PARAMAHANSA YOGANANDA George Harrison’s cover subject choices were mostly Indian holy men, including this yogi and guru who was instrumental in bringing meditation and yoga to the West. Friend and sitar teacher Ravi Shankar had given Harrison a copy of Yogananda’s book Autobiography of a Yogi in 1966, and its influence on the spiritually searching Beatle was profound.

BOB DYLAN Although his debut album had been released only five years previous, Dylan was already a giant figure in the minds of his fans—including the Beatles. Everything they had written since the Rubber Soul era carried a touch of Dylan’s influence, if only in the way he opened up the possibilities of rock lyrics to subjects other than boy-meets-girl. STUART SUTCLIFFE The original “fifth Beatle,” Sutcliffe was a talented painter who played bass for the group before leaving to pursue a promising career as a visual artist—one that came to a premature end when he died from a brain hemorrhage in 1962 at age 21. Lennon, his closest friend in the band, asked to include him on the Sgt. Pepper’s cover. Yoko Ono has said that hardly a day went by when her husband did not mention Sutcliffe’s name.

KARLHEINZ STOCKHAUSEN The 20th-century German modern composer’s pioneering electronic work led McCartney (who chose him for the cover) to begin conducting his own experiments, which produced innovative sounds like the eerie looped effects on 1966’s “Tomorrow Never Knows.” MARLON BRANDO The legendary actor’s turn as a rebellious biker in 1953’s The Wild One was a touchstone for ‘50s teenagers like the Beatles, perhaps even more than they consciously knew. The group named itself in honor of Buddy Holly’s Crickets—but in the Beatles Anthology documentary, McCartney recounts seeing The Wild One again several years ago and noticing for the first time that one of the movie’s motorcycle gangs is called “The Beetles.” —By Bill DeMain Sgt. Pepper's Lonely Hearts Club Band - The Beatles | Songs, Reviews, Credits | AllMusic Sgt. Pepper's Lonely Hearts Club Band AllMusic Rating google+ AllMusic Review by Stephen Thomas Erlewine With Revolver , the Beatles made the Great Leap Forward, reaching a previously unheard-of level of sophistication and fearless experimentation. Sgt.

Pepper , in many ways, refines that breakthrough, as the Beatles consciously synthesized such disparate influences as psychedelia, art-song, classical music, rock & roll, and music hall, often in the course of one song. Not once does the diversity seem forced -- the genius of the record is how the vaudevillian "When I'm 64" seems like a logical extension of "Within You Without You" and how it provides a gateway to the chiming guitars of "Lovely Rita." There's no discounting the individual contributions of each member or their producer, George Martin , but the preponderance of whimsy and self-conscious art gives the impression that Paul McCartney is the leader of the Lonely Hearts Club Band. He dominates the album in terms of compositions, setting the tone for the album with his unabashed melodicism and deviously clever arrangements. In comparison, Lennon 's contributions seem fewer, and a couple of them are a little slight but his major statements are stunning.

"With a Little Help From My Friends" is the ideal Ringo tune, a rolling, friendly pop song that hides genuine Lennon anguish, à la "Help!"; "Lucy in the Sky With Diamonds" remains one of the touchstones of British psychedelia; and he's the mastermind behind the bulk of "A Day in the Life," a haunting number that skillfully blends Lennon 's verse and chorus with McCartney 's bridge. It's possible to argue that there are better Beatles albums, yet no album is as historically important as this. After Sgt. Pepper , there were no rules to follow -- rock and pop bands could try anything, for better or worse. Ironically, few tried to achieve the sweeping, all-encompassing embrace of music as the Beatles did here. Track Listing Who Are Those People and Images on the Cover of Sgt. Pepper? - Music History 44. Dr. David Livingstone (Missionary & Explorer) 45. Johnny Weismuller (Swimmer and Actor) 46. Stephen Crane (Writer) 48. George Bernhard Shaw (Writer) 49. H.C.(Horace Clifford) Westermann (Sculptor) 50.

Albert Stubbins (Soccer Player) 51. Sri Lahiri Mahasaya (Guru) 52. Lewis Carroll (Writer) 53. T.E. (Thomas Edward) Lawrence (Soldier, Lawrence of Arabia) 54. Sonny Liston (Boxer) 55. The Petty Girl (by Artist George Petty) 56. Wax Model of George Harrison 57. Wax Model of John Lennon 58. Shirley Temple (Kinder Actress) 59. Wax Model von Ringo Starr 60. Wax Model von Paul McCartney 61. Albert Einstein (Physicist) 62. John Lennon (Holding a French Horn) 63. Ringo Starr (Holding a Trumpet) 64. Paul McCartney (Holding a cor anglais) 65. George Harrison (Holding a Flute) 66. Bobby Breen (Singer) 68. ** Mohandas Karamchand Ghandi (Indian Leader) 69. Legionnaire from the Order of the Buffalos 70.

Diana Dors (Actress) 71. Shirley Temple (Child Actress) 72. Cloth Grandmother Figure of Jann Haworth 73. Cloth Figure of Shirley Temple (Child Actress) by Jann Haworth 74. Mexican Candlestick 76. Stone Figure of Girl 77. Stone Figure 78. Statue from John Lennon's House 79. Trophy 81. Drum-Skin, Designed by Joe Ephgrave) 82. Hookah (Water tobacco pipe 83. Velvet Snake 85. Stone Figure of Snow White 86. Garden Gnome 87. Tuba * Leo Gorcey was painted out because he requested a fee to use his image. ** Ghandi was painted out by request of EMI as they feared it would offend record buyers in India. The album cover herein and location drawings are for the sole use of reference for the readers of this article. All other uses are in violation of international copyright laws. This use for educational reference, falls under the "fair use" sections of U.S. copyright law. The same such reference applies to images/photos of album covers used herein.

Album cover by M C Productions, staged by Peter Blake and Jann Haworth. Photographed by Michael Cooper. Wax figures by Madame Tussauds.ï¿½ 1967 EMI Records Ltd. All information contained in this article, except names, titles, and photos, ï¿½ Copyright 2011-2012 by John T. Marck, Edited by John T. Marck. Sgt. Peppers Lonely Hearts Club Band Who are they? Recording Information: Liner notes from Limited Woodbox Ed. - written by Mark Lewisohn. Mark Lewisohn is also the author of The Beatles Live! and The Beatles: 25 Years In The Life. The recording of Sgt Pepper's Lonely Hearts Club Band spanned 129 days, perhaps the most creative 129 days in the history of rock music. Here is a guide to the way the album was made.

Sgt Pepper's Lonely Hearts Club Band The title track of this epochal album, 'Sgt Pepper's Lonely Hearts Club Band' was a fine Paul McCartney song utilizing - in addition to the usual Beatles instrumental line-up - four French horn players (overdubbed on 3 March 1967), various sound effects including those of a band warming-up and audience applause and laughter from the Beyond The Fringe stage recording, and a terrific McCartney lead vocal. The song inspired the concept of the album, not the other way, around, so until this recording commenced on I February 1967 the two previously taped album songs had not shared any deliberate, connecting thread. Recording commenced in studio two at Abbey Road on February 1 1967. Album version mixed from take ten. Writer: Paul. Lead vocal: Paul. Producer: George Martin. Recording engineer: Geoff Emerick. Second engineer: Richard Lush. With A Little Help From My Friends Written by John and Paul expressly for Ringo, this song was one of the final Sgt Pepper's Lonely Hearts Club Band recordings,commenced on 29 March 1967 with the briefly adopted working title 'Bad Finger Boogie'.

The song is segued to its LP predecessor by more sound effects, including screaming Beatles fans from the group's Hollywood Bowl concert recordings! The song was completed the next day in a late night session after the Beatles had spent the evening shooting the photographs for the sleeve of the album.'With A Little Help From My Friends' has twice been taken to number one on the British singles chart: by Joe Cocker in 1968 and by Wet ,Wet, Wet in 1988. Clearly then, a special song. Recording commenced in studio two at Abbey Road on March 29 1967. Album version mixed from take 11. Writers: John and Paul. Lead vocal: Ringo. Producer: George Martin. Recording engineer: Geoff Emerick. Second engineer: Richard Lush. Lucy In The Sky With Diamonds Inspired by a painting by his almost four-year-old son Julian, who gave his work of art the same title, 'Lucy In The Sky With Diamonds' swiftly evolved into a kind of Lennon musical vision of Alice In Wonderland. The basic track, overdubs and mixing were all effected at different speeds giving the song an ethereal quality in keeping with the imaginative lyrics.

Recording commenced in studio two at Abbey Road on March 1 1967. Album version mixed from take eight. Writer: John. Lead vocal: John. Producer: George Martin. Recording engineer: Geoff Emerick. Second engineer: Richard Lush. Getting Better A fine Paul McCartney song, with a little lyrical help from John Lennon. Like Lucy In The Sky with Diamonds', the recording includes a tamboura played by George Harrison. Recording commenced in studio two at Abbey Road on March 9 1967. Album version mixed from take 15. Writer: Paul. Lead vocal: Paul. Producer: George Martin. Fixing A Hole The recording of 'Fixing A Hole' took place at two different studios, London Independent Regent Sound and the Beatles' customary EMI venue in Abbey Road. It was the group's first British session for EMI outside of Abbey Road, although this was to prove a more regular practice thereafter. Recording commenced at Regent Sound Studio, Tottenham Court Road, London, on February 21 1967 and later completed at Abbey Road. Album version mixed from take three. Writer: Paul. Lead vocal: Paul.

She's Leaving Home The great ballad on Sgt Pepper's Lonely Hearts Club Band, again written by Paul. There is no Beatles instrumentation on this recording, just ten outside musicians recruited to play violins, violas, cellos, double-bass and a harp, and apart from Paul's lead vocal the only other Beatle present is John, who joins Paul for occasional backing. The musical score was arranged not by George Martin (who did nonetheless conduct the recording) but by Mike Leander, five years before his memorable teaming with Gary Glitter. Recording commenced in studio two at Abbey Road on March 17 1967. Album version mixed from take nine. Writer: Paul with John. Lead vocal: Paul. Producer: George Martin. Being For The Benefit Of Mr Kite! A fine Lennon song which benefits greatly from a superbly atmospheric studio recording and the simple innovation of chopped up and randomly reassembled recording tape. The lyric is derived almost entirely from an antique poster advertising a circus which took place at the Town Meadows, Rochdale, on Tuesday 14 February 1843. Recording commenced in studio two at Abbey Road on February 17 1967. Album version mixed from take nine.

Writer: John. Lead vocal: John. Producer: George Martin. Within You Without You A moving, philosophical song written by George Harrison, his only composition on the album. The second of his two Indian music Beatles recordings, it features session musicians recruited from the Asian Music Circle in north London, more Indian instruments played by George and the Beatles' assistant Neil Aspinall, eight violins, three cellos, a little acoustic guitar and a great Harrison vocal. No other Beatles participated and 'Within You Without You' was the album's last song to be completed. Recording commenced in studio two at Abbey Road on March 22 1967. Album version mixed from take two. Writer: George. Lead vocal: George. Producer: George Martin. When I'm Sixty-Four The first album track to be completed, 'When I'm Sixty Four' was wrapped up ten days before the end of 1966.

The song had been written by Paul some years previously - the Beatles had performed it acoustically in the Cavern Club when their amplifiers broke down; now newly revived and suitably polished, recordings began on 6 December 1966, while 'Strawberry Fields Forever' was on the boil and before 'Penny Lane' was begun. (See Magical Mystery Tour.) Three clarinetists were brought in on 21 December to augment the Beatles' own instrumentation, then - like 'Lucy in The Sky With Diamonds' - the song was speeded up quite considerably during remixing. Recording commenced in studio two at Abbey Road on December 6 1966. Album version mixed from take four. Writer: Paul. Lead vocal: Paul. Producer: George Martin. Lovely Rita Paul's ode to London's female traffic wardens, first recorded on 23 February 1967 and completed with an overdub of honky-tonk piano played by George Martin on 21 March. Considerable tape echo in their headphones encouraged the Beatles to add moans, sighs, screams and the sound of a comb and toilet paper at the end of the song.

Recording commenced in studio two at Abbey Road on February 23 1967. Album version mixed from take 11. Writer: Paul. Lead vocal: Paul. Producer: George Martin. Good Morning Good Morning A John Lennon song initially inspired by a television commercial for cornflakes which then drifts into an everyday story about everyday, complete with a reference to the British TV comedy show Meet The Wife. The song includes a brass overdub by six musicians from Sounds Inc, rock music's very own big band, managed by Brian Epstein, and it ends with a succession of carefully compiled animal sound effects from the EMI collection, added to the song, to Lennon's specification, in an order whereby each successive animal is capable of frightening or devouring its predecessor. Recording commenced in studio two at Abbey Road on February 8 1967. Album version mixed from take 11. Writer: John. Lead vocal: John. Producer: George Martin.

Sgt Pepper's Lonely Hearts Club Band (Reprise) The quickest and technically simplest song on the album, this reprised and abbreviated remake of Paul's album title track was recorded from start to finish in just one session on Sunday I April 1967, with all four Beatles sharing the lead vocal. Two days later, Paul flew out to the USA leaving only the completion of George's 'Within You Without You' and the final mixing to be done. Recording commenced in studio one at Abbey Road on April 1 1967. Album version mixed from take nine. Writer: Paul. Lead vocal: John, Paul and George. Producer: George Martin. A Day In The Life A momentous recording in every way, melding riveting Lennon lyrics and a contrasting yet perfectly applicable verse penned by Paul McCartney to two superb and effective orchestral buildups and a seemingly everlasting coda - the long, long crashing piano and harmonium chord which slowly evaporates into silence and the end of the album. The recording began as 'In The Life Of. . . 'on 19 January, just two days after the appearance of an item in the Daily Mail newspaper which inspired part of John's lyric.

The massive orchestral crescendos were recorded by 40 musicians on 10 February, conducted by Paul McCartney, and they were taped four times over, thus sounding like 160 musicians. The piano/harmonium coda was recorded on 22 February after the Beatles' initial idea of humming the final chord had proved ineffective. Recording commenced in studio two at Abbey Road on January 19 1967. Album version mixed from takes six and seven. Writers: John, with Paul. Lead vocal: John, with Paul. Producer: George Martin. Note: The short burst of unintelligible noise after the end of 'A Day In The Life' - nonsense chatter, recorded, chopped up and reassembled at random - was taped by the Beatles on 21 April 1967, and it originally appeared in the concentric run out groove on 1960s pressings of the vinyl album. Before this, there appears a few seconds of a 15 kilocycle whistle added, at John Lennon's suggestion, especially for any dogs that might be listening. Three other songs were recorded during the sessions.

The first two were taken for release as a single, the third didn't surface until the Yellow Submarine film soundtrack album. 'Strawberry Fields Forever'. Recording commenced in studio two at Abbey Road on November 24 1966. 'Penny Lane'. Recording commenced in studio two at Abbey Road on December 29 1966. 'It's Only a Northern Song'. Recording commenced in studio two at Abbey Road on February 13 1967. The sequence of songs on Pepper is famous in itself, being - on the vinyl version - two continuous sides of music, without pauses between songs, or 'banding', to use recording parlance. But the line-up of side one, as first conceived, was different to how it finally evolved, and was as follows: 'Sgt. Pepper's Lonely Hearts Club Band'; 'With a Little Help From My Friends'; 'Being for the Benefit of Mr Kite!'; 'Fixing a Hole'; 'Lucy in the Sky with Diamonds'; 'Getting Better'; 'She's Leaving Home'.

The Cover (notes by Peter Blake) The Beatles already had a cover designed by a Dutch group called the Fool, but my gallery dealer, Robert Fraser, said to Paul "Why don't you use a 'fine artist', a professional, to do the cover instead?" Paul rather liked the idea and I was asked to do it. The concept of the album had already evolved: it would be as though the Beatles were another band, performing a concert. Paul and John said I should imagine that the band had just finished the concert, perhaps in a park. I then thought that we should have a crowd standing behind them, and this developed into the collage idea. I asked them to make lists of people they would like to have in the audience at this imaginary concert. John's was interesting because it included Jesus and Ghandi and more cynically, Hitler. But this was just a few months after the U.S. furor about his 'Jesus' statement, so they were left out. George's list were all gurus. Ringo said "What ever the others say is fine by me", because he didn't really want to be bothered. Robert Fraser and I also made lists.

We then got all the photographs together and had life-size cut-outs made onto hardboard. EMI realized that because many of the people we were depicting were still alive, we might be sued for not seeking their permission. So the Beatles manager, Brian Epstein, who was very wary of the complications in the first place, had his assistant write to everyone. Mae West replied "No, I won't be on it. What would I be doing in a lonely hearts club?" So the Beatles wrote her a personal letter and she changed her mind. Robert Fraser was a business partner of Michael Cooper, an excellent photographer, so he was commissioned to do the shoot. I worked in his studio for a fortnight constructing the collage, fixing the top row to the back wall and putting the next about six inches in front and so on, so that we got a tiered effect. Then we put in the palm tree and the other little objects. I wanted to have the waxworks of the Beatles because I thought they might be looking a Sgt. Pepper's band too.

The boy who delivered the floral display asked if he could contribute by making a guitar out of hyacinths, and the little girl wearing the "Welcome the Rolling Stones, Good Guys" sweatshirt was a cloth figure of Shirley Temple, the shirt coming from Michael Cooper's young son, Adam. The Beatles arrived during the evening of March 30. We had a drink, they got dressed and we did the session. It took about three hours in all, including the shots for the center-fold and back cover. Who are they Click on image for their names. (A person with lots of time would have made a nice image map here) Would you like to hear a song insired by this album cover? Luke Powers, has released a song about this album cover press release - mp3 version available for download. The Sincerest Form of Flattery The very distinctive Sgt. Pepper's cover has been copied several times. See Beatletracks for a nice treatment of this topic. Sgt. Pepper Cover Search Sgt. Pepper Cover Character Search The Beatles album Sgt.

Pepper's Lonely Hearts Club Band already had a cover designed by a Dutch group called The Fool ( they later painted the psychedelic mural on the facade of the Beatles' Apple Boutique in London's Baker Street ) but gallery dealer, Robert Fraser , suggested to Paul McCartney that they use a fine artist to do the cover instead. McCartney rather liked the idea so noted British "pop" artist Peter Blake was asked to design it. According to Blake, the original concept was to create a scene that showed the Sgt. Pepper band performing in a park; this evolved into its final form, which shows The Beatles, as the Sgt. Pepper band, surrounded by a large group of their heroes, rendered as lifesized cut-out figures. Most of the suggestions for names to be included came from McCartney, Lennon and Harrison, with additional suggestions from Blake and Fraser.

Ringo demurred saying, "Whatever the others say is fine by me." The collage, which depicted more than 70 famous people, including writers, musicians, film stars and (at Harrison's request) a number of Indian gurus, was assembled by Blake and his wife Jann Haworth during the last two weeks of March 1967 at the London studio of photographer Michael Cooper , who took the cover shots on 30 March 1967 in a three-hour evening session. The Beatles, 'Sgt. Pepper's Lonely Hearts Club Band' | 500 Greatest Albums of All Time | Rolling Stone 500 Greatest Albums of All Time 500 Greatest Albums of All Time Rolling Stone's definitive list of the 500 greatest albums of all time. 500 1. The Beatles, 'Sgt. Pepper's Lonely Hearts Club Band' Capitol, 1967 Sgt. Pepper's Lonely Hearts Club Band is the most important rock & roll album ever made, an unsurpassed adventure in concept, sound, songwriting, cover art and studio technology by the greatest rock & roll group of all time.

From the title song's regal blasts of brass and fuzz guitar to the orchestral seizure and long, dying piano chord at the end of "A Day in the Life," the 13 tracks on Sgt. Pepper's Lonely Hearts Club Band are the pinnacle of the Beatles' eight years as recording artists. John Lennon , Paul McCartney , George Harrison and Ringo Starr were never more fearless and unified in their pursuit of magic and transcendence. Issued in Britain on June 1st, 1967, and a day later in America, Sgt. Pepper is also rock's ultimate declaration of change. For the Beatles , it was a decisive goodbye to matching suits, world tours and assembly-line record-making. "We were fed up with being Beatles," McCartney said decades later, in Many Years From Now, Barry Miles' McCartney biography. "We were not boys, we were men... artists rather than performers. At the same time, Sgt. Pepper formally ushered in an unforgettable season of hope, upheaval and achievement: the late 1960s and, in particular, 1967's Summer of Love. In its iridescent instrumentation, lyric fantasias and eye-popping packaging, Sgt.

Pepper defined the opulent revolutionary optimism of psychedelia and instantly spread the gospel of love, acid, Eastern spirituality and electric guitars around the globe. No other pop record of that era, or since, has had such an immediate, titanic impact. This music documents the world's biggest rock band at the very height of its influence and ambition. "It was a peak," Lennon told Rolling Stone in 1970, describing both the album and his collaborative relationship with McCartney. "Paul and I were definitely working together," Lennon said, and Sgt. Pepper is rich with proof: McCartney's burst of hot piano and school-days memoir ("Woke up, fell out of bed...") in Lennon's "A Day in the Life," a reverie on mortality and infinity; Lennon's impish rejoinder to McCartney's chorus in "Getting Better" ("It can't get no worse"). "Sgt. Pepper was our grandest endeavor," Starr said, looking back, in the band's 2000 autobiography, The Beatles Anthology.

"The greatest thing about the band was that whoever had the best idea – it didn't matter who – that was the one we'd use." It was Neil Aspinall, the Beatles' longtime assistant, who suggested they reprise the title track, just before the finale of "A Day in the Life," to complete Sgt. Pepper's theatrical conceit: an imaginary concert by a fictional band, played by the Beatles. The first notes went to tape on December 6th, 1966: two takes of McCartney's music-hall confection "When I'm Sixty-Four." (Lennon's lysergic reflection on his Liverpool childhood, "Strawberry Fields Forever," was started two weeks earlier but issued in February 1967 as a stand-alone single.) But Sgt. Pepper's real birthday is August 29th, 1966, when the Beatles played their last live concert, in San Francisco. Until then, they had made history in the studio between punishing tours. Off the road for good, the Beatles were free to be a band away from the hysteria of Beatlemania. McCartney went a step further.

On a plane to London in November '66, as he returned from a vacation in Kenya, he came up with the idea of an album by the Beatles in disguise, an alter-ego group that he subsequently dubbed Sgt. Pepper's Lonely Hearts Club Band. "We'd pretend to be someone else," McCartney explained in Anthology. "It liberated you – you could do anything when you got to the mic or on your guitar, because it wasn't you." Only two songs on the final LP, both McCartney's, had anything to do with the Pepper characters: the title track and Starr's jaunty vocal showcase, "With a Little Help From My Friends," introduced as a number by Sgt. Pepper's star crooner, Billy Shears. "Every other song could have been on any other album," Lennon insisted later. Yet it is hard to imagine a more perfect setting for the Victorian jollity of Lennon's "Being for the Benefit of Mr.

Kite!" (inspired by an 1843 circus poster) or the sumptuous melancholy of McCartney's "Fixing a Hole," with its blend of antique shadows (a harpsichord played by the Beatles' producer, George Martin) and modern sunshine (double-tracked lead guitar executed with ringing precision by Harrison). The Pepper premise was a license to thrill. It also underscored the real-life cohesion of the music and the group that made it. Of the 700 hours the Beatles spent making Sgt. Pepper from the end of 1966 until April 1967, the group needed only three days' worth to complete Lennon's lavish daydream "Lucy in the Sky With Diamonds." "A Day in the Life," the most complex song on the album, was done in just five days.

(The oceanic piano chord was three pianos hit simultaneously by 10 hands belonging to Lennon, McCartney, Starr, Martin and Beatles roadie Mal Evans.) No other Beatles appear with Harrison on his sitar-perfumed sermon on materialism and fidelity, "Within You Without You," but the band wisely placed the track at the halfway point of the original vinyl LP, at the beginning of Side Two: a vital meditation break in the middle of the jubilant indulgence. The Beatles' exploitation of multitracking transformed the very act of studio recording (the orchestral overdubs on "A Day in the Life" marked the debut of eight-track recording in Britain: two four-track machines used in sync). And Sgt. Pepper's visual extravagance officially elevated the album cover to a work of art. Michael Cooper's photo of the Beat­les in satin marching-band outfits, in front of a cardboard-cutout audience of historical figures, created by artist Peter Blake, is the most enduring image of the psychedelic era. Sgt. Pepper was also the first rock album to incorporate complete lyrics to the songs in its design. Yet Sgt.

Pepper is the Number One album of the RS 500 not just because of its firsts – it is simply the best of everything the Beatles ever did as musicians, pioneers and pop stars, all in one place. A 1967 British print ad for the album declared, "Remember, Sgt. Pepper's Lonely Hearts Club Band Is the Beatles." As McCartney put it, the album was "just us doing a good show." The show goes on forever.

Voters: Bill Adler (Biographer, Run-DMC), Lou Adler (Producer), Vince Aletti (Writer), Art Alexakis (Everclear), Pelle Almqvist (The Hives), Billy Altman (Writer), Jeff Ament (Pearl Jam), Roger Ames (Former chairman and CEO, Warner Music Group), Billie Joe Armstrong (Green Day), Nicholaus Arson (The Hives), Dick Asher (Former CEO, Polygram Records), James Austin (Former A&R, Rhino Records), Michael Azerrad (Writer), Irving Azoff (Executive chairman, Live Nation), Martin Bandier (Chairman and CEO, Sony/ATV), Devendra Banhart, Peter Barakan (Radio host), Johnny Barbis (Chairman, Rocket Music), Ken Barnes (Writer), Kevin Barnes (Of Montreal), Frank Barsalona (Former consultant, William Morris Agency), Rostam Batmanglij (Vampire Weekend), David Bauder (Writer), Beck, Jules Belkin (Former president, Belkin Productions),Andy Bell (Erasure), Bill Belmont (Former VP, international operations, Fantasy Records), Bill Bentley (Director, A&R, Vanguard Records), Steve Berkowitz (Senior VP, A&R

, Legacy Recordings), James Bernard (Co-founder, The Source and XXL magazines), Cathy Bernardy Jones (Former editor, Goldmine magazine), Guy Berryman (Coldplay), Jim Bessman (Writer), Les Bider (Former chairman and CEO, Warner/Chappell Music), Scott Billington (VP, A&R, Rounder Records), Mark Binelli (Contributing editor, Rolling Stone), Rodney Bingenheimer (Radio personality), David Bither (Senior VP, Nonesuch Records), Hal Blaine (Drummer), Jerry Blavat (Radio and TV personality), Mary J.

Blige, Nathan Brackett (Deputy managing editor, Rolling Stone), Laurent Brancowitz (Phoenix), Harriett Brand (Former senior VP, Universal Music Group), Jon Bream (Writer), Isaac Brock (Modest Mouse), Harold Bronson (Co-founder, Rhino Records), David Browne (Contributing editor, Rolling Stone), Duncan Browne (COO, Newbury Comics), Jackson Browne, Jonny Buckland (Coldplay), Bebe Buell, Solomon Burke (1940-2010), Cliff Burnstein (Co-founder, Q Prime), James Burton (Guitarist), Geezer Butler (Black Sabbath), Jerry Butler (R&B singer), Joe Butler (The Lovin' Spoonful), Tom Calderone (President, VH1), Mike Carabello (Santana), Jon Caramanica (Pop critic, The New York Times), Patrick Carney (The Black Keys), Rosemary Carroll (Entertainment lawyer), Will Champion (Coldplay), Brian Chase (Yeah Yeah Yeahs), Marshall Chess (Producer), Deborah Chessler (Songwriter), Robert Christgau (Writer), Lauren Christy (Producer), Jarvis Cocker (Pulp), Mitchell Cohen (VP, A&R, Verve Records

), Chris Connelly (Correspondent, ESPN), Tom Constanten (Pianist-composer), Tré Cool (Green Day), Gerard Cosloy (Co-owner, Matador Records), Tommy Couch (Sr.

President, Malaco Music Group), Wayne Coyne (The Flaming Lips), Bill Crandall (Head of content, Rolling Stone Online), Cameron Crowe (Writer-director), Will Dana (Managing editor, Rolling Stone) Britt Daniel (Spoon), Clive Davis (Chief creative officer, Sony Music Worldwide), Anthony DeCurtis )Contributing editor, Rolling Stone), Ron Delsener (Chairman, Live Nation – New York), John Densmore (The Doors), Don DeVito (Producer (1939-2011)), Rob Dickins (Founder, Instant Karma Records), Bruce Dickinson (Iron Maiden), Dion DiMucci, Dr.

John, Jon Dolan (Contributing editor, Rolling Stone), Antoine "Fats" Domino, Jancee Dunn (Writer), The Edge (U2), Ben Edmonds (Writer), Gavin Edwards (Contributing editor, Rolling Stone), Graham Edwards (Songwriter and producer), Jenny Eliscu (Contributing editor, Rolling Stone), Missy Elliott, Michael Endelman (Former senior editor, Rolling Stone), Thomas Erdelyi (Ramones), Melissa Etheridge, Suzan Evans (Former executive director, Rock and Roll Hall of Fame), Phil Everly (Everly Brothers), Bob Ezrin (Producer), Art Fein (Author, TV talk-show host), Danny Fields (Writer, former Stooges and Ramones manager), Jason Fine (Editor at large, Rolling Stone), Jim Fishel (Producer), Bill Flanagan (Editorial director, VH1), Flea (Red Hot Chili Peppers), Chet Flippo (Editorial director, Country Music Television), Jason Flom (President, Lava Records), Caleb Followill (Kings of Leon), Jared Followill (Kings of Leon), Matthew Followill (Kings of Leon), Nathan Followill (Kings of Leon), Ben Fong-Torres (Writer, broadcaster),

 Richard Foos Founder, (Shout!

Factory), Pete Frame (Rock genealogist), Chris Frantz (Talking Heads), Nicole Frehsée (Former assistant editor, Rolling Stone), David Fricke (Senior writer, Rolling Stone), John Frusciante (Red Hot Chili Peppers), Richie Furay (Buffalo Springfield), Elysa Gardner (Writer), Art Garfunkel, Rob Garza(Thievery Corporation), David Geffen (Co-founder, DreamWorks), Gregg Geller (Producer), Gary Gersh (Founder, Strummer Recordings), Andy Gershon (Executive VP, Epic Records), Billy Gibbons (ZZ Top), Charlie Gillett (Radio broadcaster, BBC (1942- 2010)), Mikal Gilmore (Contributing editor, Rolling Stone), Daniel Glass (Founder, Glassnote Records), Gerry Goffin (Songwriter, producer), Jeff Gold (Owner, recordmecca.com), Michael Goldberg (Editor in chief, neumu.net), Gary Graff (Writer), Andy Greene (Associate editor, Rolling Stone Online), Ellie Greenwich (Songwriter (1940-2009)), Peter Guralnick (Writer), Brett Gurewitz (Founder, Epitaph Records), Kirk Hammett (

Metallica), Albert Hammond Jr.

(The Strokes), Davey Havok (AFI), Jim Henke (VP of exhibitions and curatorial affairs, Rock and Roll Hall of Fame), Will Hermes (Senior critic, Rolling Stone), Raoul Hernandez (Music editor/senior editor, Austin Chronicle), James Hetfield (Metallica), Brian Hiatt (Senior writer, Rolling Stone), Robert Hilburn (Former pop-music critic, Los Angeles Times), Michael Hill (Writer, TV-music consultant), Chris Hillman (The Byrds), David Hinckley (TV critic, New York Daily News), Christian Hoard (Senior editor, Rolling Stone), Susanna Hoffs (The Bangles), Mark Hoppus (Blink-182), Bruce Hornsby, Robert Hull (Former executive producer, Time-Life Music), James Hunter (Writer), Scott Ian (Anthrax), Don Ienner (Former chairman and CEO, Sony Music0 U.S.), Bruce Iglauer (President, Alligator Records), Jim James (My Morning Jacket), Bob Jamieson (Former chairman, RCA Music Group), Chris Jasper (Artist, president, Gold City Music), Nick Jonas (Jonas Brothers), Jeff Jones (CEO, Apple Corps), Craig Kallman (Chairman and

 CEO, Atlantic Records), John David Kalodner (Former A&R executive, Geffen Records), Tony Kanal (No Doubt), Peter Katsis (Manager-partner, Prospect Park), Jorma Kaukonen (Jefferson Airplane), Lenny Kaye (Guitarist), Mark Kemp (Writer), Kid Cudi (Rapper), Carole King, Marc Kirkeby (Music archivist, writer), Howie Klein (Former president, 415 and Reprise Records), Ezra Koenig (Vampire Weekend), Greg Kot (Writer), Howard Kramer (Director of curatorial affairs, Rock and Roll Hall of Fame), Bob Krasnow (Producer), Lenny Kravitz, Damian Kulash (OK Go), Miranda Lambert, Andrew Lauder (Music executive), David Leaf (TV writer, producer), Brenda Lee, David Lefkowitz (Composer), Adam Levine (Maroon 5), Arthur Levy (Writer), Joe Levy (Contributing editor, Rolling Stone), Alan Light (Writer), Lil Wayne, Amy Linden (Writer), Kurt Loder (Writer), Greg Loescher (Former editor and publisher, Goldmine magazine), Roy Lott (Former president, Virgin Records), Leigh Lust (Former VP of

 A&R, Atlantic Records), Stan Lynch (Tom Petty and the Heartbreakers), Melissa Maerz (Former senior editor, Rolling Stone), Stephen Malkmus, Shirley Manson (Garbage), Ray Manzarek (The Doors), Thomas Mars (Phoenix), Chris Martin (Coldplay), Mac McCaughan (Co-founder, Merge Records), Joe McEwen (VP, A&R, Concord Music Group), Paul McGuinness (Manager, U2), Christine McVie (Fleetwood Mac), Brad Mehldau (Jazz pianist), Colin Meloy (The Decemberists), Peter Mensch (Co-owner, Q Prime), M.I.A., Milo Miles (Critic, NPR commentator), Kirk Miller (Former associate editor, Rolling Stone), David Mills (TV writer, The Wire(1952-2010)), Martin Mills (Founder, Beggars Banquet Records), Willie Mitchell (Musician-producer (1928-2010)), Moby, Joseph Modeliste (The Meters), Tom Moon (Writer), Tom Morello (The Nightwatchman), Fabrizio Moretti (The Strokes), Bruce Morrow (Radio personality), Steve Morse (Writer), Alan Moulder (Producer

-engineer), Jason Mraz, Dave Navarro (Jane’s Addiction), Tom Nawrocki (Former assistant managing editor, Rolling Stone), Ed Needham (Former managing editor, Rolling Stone), Ashley Newton (Executive VP, A&R, RCA Records), Claude Nobs (Founder-director, the Montreaux Jazz Festival), Yoko Ono, Mo Ostin (Chairman emeritus, Warner Brothers Records), Andy Paley (Musician-producer), John Parrish (Musician-producer), George Pelecanos (Writer), Michael Penn, Claudia Perry (Writer), Michelle Phillips (The Mamas and the Papas), Tony Pipitone (President, Warner Special Projects), Steve Pond (Writer), George Porter Jr.

(The Meters), Robert Pruter (R&B editor, Goldmine magazine), Parke Puterbaugh (Writer), Questlove (The Roots), Steve Ralbovsky (Senior VP, A&R, RCA Records), Johnny Ramone (Ramones (1948-2004)), Marky Ramone (Ramones), Sylvia Rhone (Former chairman and CEO, Elektra Records), Jonathan Ringen (Assistant managing editor, Rolling Stone), Cory Robbins (President, Robbins Entertainment), Ira Robbins (Editorial director, MJI Programming, Premiere Radio Network), Robbie Robertson (The Band), Chris Robinson (The Black Crowes), Cynthia Robinson (Sly and the Family Stone), Bob Rock (Producer), Jody Rosen (Senior critic, Rolling Stone), Rick Rubin (Producer, co-founder, Def Jam), Paul Samwell-Smith (Producer; the Yardbirds), Bob Santelli (Executive director, the Grammy Museum), Austin Scaggs (Contributing editor, Rolling Stone), Timothy B.

Schmit (Eagles), Fred Schneider (The B-52's), Jordan Schur (President, Suretone Records), Andy Schwartz (Writer), Bud Scoppa (Writer), Gene Sculatti (Writer), John Sebastian (The Lovin' Spoonful), Pete Seeger, Joel Selvin (Music critic, San Francisco Chronicle), Matt Serletic (Producer), Evan Serpick (Former associate editor, Rolling Stone), Paul Shaffer (Musical director, Late Show With David Letterman), Ron Shapiro (Co-founder, Plan A Media), Rob Sheffield (Contributing editor, Rolling Stone), Mike Shinoda (Linkin Park), Tom Silverman (Founder and CEO, Tommy Boy Records), Barbara Skydel (Senior VP, William Morris Agency (1940-2010)), Larry Sloven (Co-owner, executive producer, HighTone Records), Joe Smith (Chairman, Unison Productions), Britney Spears, Scott Spencer (Novelist), Scott Spock (Producer), Freddie Stewart (Sly and the Family Stone), Gary Stewart (Singer-songwriter (1945-2003)), Brian Stoltz (Funky Meters, the Neville Brothers, Bob Dylan), Neil Strauss (Contributing editor,

 Rolling Stone), Keith Strickland (The B-52's), Patrick Stump (Fall Out Boy), John Sykes (President, Clear Channel Entertainment Enterprises), Jeff Tamarkin (Writer), Corey Taylor (Slipknot), Al Teller (Former head, CBS, Columbia and RCA Records), Bruce Thomas (Elvis Costello and the Attractions), Touré (Contributing editor, Rolling Stone), Allen Toussaint (Producer-songwriter), Roy Trakin (Senior editor, Hits magazine), Jeff Tweedy (Wilco), Lars Ulrich (Metallica), Nick Valensi (The Strokes), Hilton Valentine (The Animals), Andrew VanWyngarden (MGMT), Steven Van Zandt, Tom Vickers (A&R consultant), Butch Vig (Garbage, producer), Phil Walden (Former president, Velocette Records (1940-2006)), Wale (Rapper), Barry Walters (Writer), Bill Ward (Black Sabbath), Gerard Way (My Chemical Romance), Harry Weinger (VP, A&R, Universal Music Enterprises), Eric Weisbard (Writer), Barry Weiss (CEO, Universal Republic, Island Def Jam Records), Hy Weiss (Founder, Old Town Records (1923-

2007)), Steve Weitzman (President, SW Productions), Jann S.

Wenner (Editor and publisher, Rolling Stone), Pete Wentz (Fall Out Boy), Tina Weymouth (Talking Heads), Joel Whitbur (President, Record Research), David Whitehead (Owner, Maine Road Management), David Wild (Contributing editor, Rolling Stone), Will.i.am, Lucinda Williams, Hal Willner (Music producer), Muff Winwood (Former president, Sony U.K.

A&R), Douglas Wolk (Writer), Richard Wright (Pink Floyd (1943-2008)), Robert Wright, Howard Wuelfing (Howlin’ Wuelf Media), Adam Yauch (Beastie Boys) Contributors: Pat Blashill, Nathan Brackett, David Browne, Anthony DeCurtis, Matt Diehl, Chuck Eddy, Ben Edmonds, Gavin Edwards, Jenny Eliscu, David Fricke, Elysa Gardner, Holly George-Warren, Andy Greene, Will Hermes, Mark Kemp, Greg Kot, Joe Levy, David McGee, Chris Molaphy, Tom Moon, Rob O'Connor, Parke Puterbaugh, Jody Rosen, Austin Scaggs, Karen Schoemer, Bud Scoppa, Rob Sheffield, David Thigpen, Simon Vozick-Levinson, Barry Walters, Jonah Weiner

Question: On the Beatles Sergeant Pepper album cover who is the sergeant
Answer: Ringo Starr