Welcome all to ‘The Classic Record Review'. As always I am your most gracious host Rob Samuels – The self proclaimed Dream Weaver. I hope people have been enjoying my articles thus far, I didn't receive as much feedback from last weeks review, which suggests either my article was really shit, or The Sex Pistols are less popular than the Zep, I prefer the latter theory.
If you read last weeks article (and if you didn't you should be ashamed) you'll remember that I didn't leave a teaser. I apologize for my laziness - I was just starting a new job. But that is no excuse. Anyway I'm gonna make up for it all by leaving a moderately witty teaser now. Here it goes: Today's album was released in 1967, was voted the best album of all time by Rolling Stone magazine in 2003, and the drummer was called Richard Starkey.
Any Guesses?
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(Drum roll)…
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You got it yet?
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C'mon…
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Fine… I'll get on with it.
The Beatles: Sergeant Pepper's Lonely Hearts Club Band
Ah yes – that album. I decided ten minutes ago that this would be a great record to review, some would say that makes me half-arsed or slap-dash, to these people I say shut up. Sergeant Peppers Lonely Hearts Club Band is undoubtedly deserving of the title ‘Classic Record', and so I will do my best to do this album justice.
The background
It hadn't taken long for Beatlemania to sweep the globe – In fact by 1966; the band had become disenchanted and sick of touring. They were tired of the unrelenting schedules, the various fiascos in the States (See ‘bigger than Jesus') and the lack of privacy that they were getting. Which had led to the band members adopting pseudonyms when booking flights, and even going out wearing disguises to avoid recognition. The band felt this had to stop and officially finished playing live events for good.
This is where the inspiration came from for ‘Sergeant Peppers'. A satirical look at themselves, the band decided to create a completely fictitious band name and line-up, and started to go about creating songs that were a simulation of a live sound. They recorded a few but abounded the idea. Giving the fact that they had so much time available the band decided they could really find a new sound, and experiment with different styles and genres. They set aside several months to create the ultimate concept album. When it was complete they sandwiched (mmm… sandwich) these new songs in between the previously recorded numbers
The album sways from early Beatles ‘Help!' style catchy pop numbers, to more experimental songs that convey the bands growing interest in alternative styles. (Particularly Indian instruments). In fact George Harrison has become a pupil of legendary Sitar player Ravi Shankar.
The great thing about this album is the ambience it provides, it's really a credit to George Martins fantastic production skills – that you can close your eyes and feel like you a right there in the moment. To get the most out of this album you sort of have to suspend belief and imagine you are there – and experiencing a band you have never heard before.
Anyway lets get on with it…
The music
SIDE 1
We start on the beach, there are some kids playing around, and I think I can see a donkey – it must be Blackpool. There's a band about to play, and they launch into a song. They introduce themselves as ‘Sergeant Peppers Lonely Hearts Club band' and give us a sense of what's going to happen for the next 39 minutes.
The song ends with screams from the audience, and the band immediately begin their next number – ‘With a little help from my friends' – a catchy harmony driven pop number, with very subtle drug references, as the song seems to be about social interaction. This is a tool the Beatles would use a lot throughout their career (re: next song!)
The record moves into its second phase, as suddenly we're not watching a live band anymore. The album has moved into the more immaculately produced ‘Lucy in the Sky with Diamonds' – A Lennon masterpiece, this Phsycodelic song contains much more blatant drug references. Most obvious of which is the title: ‘Lucy in the Sky with Diamonds'.
We then get the snappy ska style intro to ‘Getting Better' – a song that has McCazza's (Sorry Sir Paul's) fingerprints all over it, with the smooth gliding octave driven bass line and hooky pop chorus. But the upbeat style of the song hides the sinister lyrics that speak of a man with anger management problems, who is slowly gaining control. If you ask me he needs to lay off the Stella Artois.
We move into the trippy carousel style intro of ‘Fixing a Hole'. Another Pshycodelic number with more obvious Rock n Roll influences to it than ‘Lucy in the Sky…' George Harrison's heavily distorted Fuzz-box style guitar is a driving force in the chorus. The song gently fades out into the floating string driven ‘She's Leaving Home', a song that feels like a more airy, major key version of Eleanor Rigby. This gentle acoustic number breaks the album up well.
Next we get another fairground style song with the plodding, psychedelic musings of ‘Being for the benefit of Mr Kite!' A great number with fantastically evil sounding funfair noises dipping in and out of the song, all of this is neatly held together by the ever-underrated Ringo's steady beat.
SIDE 2
This section of the album ends with a George Harrison number. ‘Within You Without You' is an Indian inspired song which opens with the hum of a tamboura, and what sounds to me like a bowed Sitar. (Correct me if I'm wrong) A calming song, you could probably meditate to (If you weren't chugging that beer down whilst listening to it) The song breaks down into a deeply layered instrumental section – with various ethnic instruments which I'm not sure I can name. (If any one wants me to try naming them email me – give me a challenge! Go on I dares you.)
The record then rolls into its third phase, as we get the much more laid back ‘When I'm sixty-four', a light-hearted ditty with a Paddington Bear feel. (If you haven't seen good ‘ol Paddington Bear think 60's Children's TV show.) The novel lyrics suit the music to a tee, and even the surprisingly dramatic chorus feels like a great reprise from the intense track it follows.
We move into ‘Lovely Rita' that blends John and Paul's styles very well, in fact it sums the album up – very poppy moments with a surreal, floating Psychedelic edge. Wow now I think about it, that intro sounds a lot more like a Scissor Sisters song than I remember. I knew they robbed it from somewhere!
Anyway, the Jazzy ‘Good Morning' follows, which contains a very memorable typical Beatles style hook line, and a brilliantly out-of-place solo. The song also features far too many farmyard animals than should ever be allowed in a pop song. (I draw the line at 3, and there are at least 5 here.)
And finally we have come full circle as we're back on that Blackpool Beach listening to an unknown local band, and they're finishing – damn we missed the whole set! They're saying goodbye with their second version of ‘Sergeant Peppers Lonely Hearts Club Band', which sandwiches the album and rounds it off perfectly. Or does it…
The clapping fades out, as we get the acoustic strummings of ‘A Day in the Life', a song which feels like a medley as it floats through various sections that should not blend together. Yet somehow it works perfectly to create the albums most sombre and reflective number - A brilliantly unpredictable way to end an upbeat album.
Those who leave a Record running are rewarded as we get a surreal A'cappella loop that has seemingly been reversed, and provides an eerie ending to the record.
The 411
This album has claimed its place in history as one of the most inspirational, and revolutionary records of all time. It was also the last point of true cohesion for The Beatles. Unfortunately their manager Brian Epstein passed away after the albums release and the band would slowly drift apart over the last few years of their career. This was the last point where The Beatles would maintain similar appearances (although this may be attributed to the end of their live performances)
As a piece of music this album is phenomenal – flowing from one track to another, the album seems to have three sections, as the record moves back and forth between styles seamlessly. Add to this the impact, and revolutionary nature of the album, and this to me is the complete record.
It's pretty much moot but I give this album:
5 Hoffner basses (out of 5 – I wish I could go higher)
Anyway, Thank you for reading, I hope you have found this informative, I could have yammered on longer about the history of The Beatles but its late, I've got a driving lesson tomorrow morning, and there is a LOT to talk about. Anyway that's not really relevant. If you enjoyed this article my name is Rob Samuels, if you didn't its Mitch Michaels!
Before I hit the old dusty trail, I shall leave you with this absolutely genuine piece of pointless info; in the late 50's my grandfather owned a Caf? in Liverpool called ‘The Punch and Judy'. According to his book Paul McCartney waited there to meet Brian Epstein who was travelling back from London to tell him that the Beatles had been signed. 50 years later I met Paul McCartney and forgot to tell him that.
As always, if you have any feedback, album suggestions for me to review, or even wish to befriend me (bless your heart) drop me an email or visit myspace.com/robsamuels.
Regards,
Rob Samuels (Dream weaver)
