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Full text of "Sgt Peppers Lonely Hearts Club Band (1967--Original Year)"

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Manor Studios, Flood Street, London. 


The location: Chels: 
March 30, 1967. The crowd assembled... 


The date: Thursday, 


1 Sri Yukteswar Giri (guru) 
2 Aleister Crowley (dabbler in sex, drugs and magic) 


3 Mae West (actress) 4 Lenny Bruce (comic) 
§ Karlheinz Stockhausen ‘composer 

6 W.C. (William Claude) Fields (comic) 

7 Carl Gustav Jung (psychologist) 

8 Edgar Allen Poe (writer) 9 Fred Astaire (actor) 
10 Richard Merkin (artist 
11 The Varga Girl (by artist Alberto Vargas) 
\2 Leo Gorcey (actor) 
(3 Huntz Hall (actor, with Leo Gorcey, one of the Bowery Boys) 
\ 4 Simon Rodia (creator of Watts Towers) 

15 Bob Dylan (musician) 

16 Aubrey Beardsley (illustrator) 

17 Sir Robert Peel 


18 Aldous Huxley (writer) 19 Dylan Thomas (poet) 


9 Terry Southern (writer) 21 Dion (di Mucci) (singer) 


- > Tony Curtis (actor) 
Wallace Beeman (actor) 
+ Tommy Handley (comic) 25 Marilyn Monroe (actress) 
>. Vulliam Burroughs (writer) 
oj Mahavatara Babaji (gura) 
ran Laurel (comic) 29 Richard Lindner (artist) 
50 Oliver Hardy (comic) 
>. Karl Marx (philosopher/ socialist) 
2) H.G. (Herbert George) Wells (writer) 
» <>) Paramahansa Yagananda (guru) 
> \nonymous (wax hairdressers’ dummy) 
> uart Succliffe (artist/former Beatle) 
> nymous (wax hairdressers’ dummy) 
3) \\ax Miller (comic) 
3. - Petty Girl (by artist George Petty) 
3 \\orlon Brando (actor) 40 Tom Mix (actor) 
@! Occar Wilde (writer) 
42 | one Power (actor) 
a2 | cry Bell (artist) 
4 —_ David Livingstone (missionary/explorer) 
45 ny Weismuller (swimmer / actor) 
- ben Crane (writer) 
Vonn (comic) 
ze Bernard Shaw (writer) 
| forace Clifford) Westermann (sculptor) 


50 Aibert Stubbins (soccer player 

51 Sri Lahiri Mahasaya (guru 

52 Lewis Carroll (writer 

53 T.E. (Thomas Edward) Lawrence (soldier, 
a/k/a 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 (child actress) 

59 Wax model of Ringo Starr 

60 Wax model of 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) 

67 Marlene Dietrich (actress) 

#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 by Jann Haworth 

73 Cloth figure of Shirley Temple (child actress) by Jann Haworth 
74 Mexican candlestick 

75 Television set 

76 Stone figure of girl 

77 Stone figure 

§78 Statue from John Lennon's house 
79 Trophy 
80 Four-armed Indian dol! 

81 Drum-skin, designed by Joe Ephgrave 
82 Hookah (water tobacco-pipe) 

83 Velvet snake 

84 Japanese stone figure 

85 Stone figure of Snow White 

86 Garden gnome 

87 Tuba 


* Painted out because he requested a fee 
# Painted out at the request of EMI 
§ Also used by Peter Blake as the basis for the cut-out of Sgt. Pepper 


Sgt. 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. I remember it warmly, 
as both a tremendous challenge and a highly 
rewarding experience. For me, it was the most 
innovative, imaginative and trend-setting record 


of its time. a 


— George Martin 


“The Beatles definitely had an eternal curiosity 
for doing something different,’ says George 
Martin, producer of Sgt. Pepper’s Lonely Hearts 
Club Band. Certainly 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’ musical ideas progressed in a most 
tangible way with each album they recorded. 
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. Pepper and came up with 700. 
Please Please Me, the Beatles’ first album, was 
recorded in 585 minutes. 


“The Beatles insisted that everything on Sgt. 
Pepper had to be different,” says Emerick, “‘so 
eveything was either distorted, limited, heavily 
compressed or treated with excessive equalisation. 
We had microphones right down in the bells of the 
brass instruments and headphones turned into 
microphones attached to violins. We plastered vas 
amounts of echo onto vocals, and sent them 
through the circuitry of the revolving Leslie 
speaker inside a Hammond organ. 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 around.” 


The very end of the album typifies the advanced 
studio trickery applied throughout Sgz. Pepper. 
After the last droplets of the crashing piano chord 
of ‘A Day in the Life’ have evaporated, come a fev 
seconds of 15 kilocycle tone, put there — especiall 
to annoy your dog —at the request of John 
Lennon. Then, as the coup de grace, there is afew 
seconds of nonsense Beatle chatter, taped, cut int« 
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. 
Sgt. Pepper’s Lonely Hearts Club Band must be 
nothing less than the most important and 
revealing compact disc release there can ever be. 


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, in the 
order in which the recordings were tackled, is a 
guide to the way the album was made. 


‘When I’m Sixty-Four’. 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. Recording engineer: Geoff Emerick. 
Second engineer: Phil McDonald. 


‘A Day in the Life’. Recording commenced in 
studio two at Abbey Road on January 19, 1967. 
Working title ‘In The Life Of..’. Album version 
mixed from takes six and seven. Writers: John 
with Paul. Lead vocal: John, with Paul. Producer: 
George Martin. Recording engineer: Geoff 
Emerick. Second engineers: Richard Lush, Phil 
McDonald. 


‘Sgt. Pepper’s Lonely Hearts Club Band’. 
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. 


‘Good Morning Good Morning’. Recording 
commenced in studio two at Abbey Road on 
February 8, 1967. Album version mixed from take 
eleven. Writer: John. Lead vocal: John. 


Producer: George Martin. Recording engineer: 
Geoff Emerick. Second engineer: Richard Lush. 


‘Being for the Benefit of Mr. Kite!’. 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. Recording engineer: 
Geoff Emerick. Second engineer: Richard Lush. 


‘Fixing a Hole’. Recording commenced at Regent 
Sound Studio, Tottemham Court Road, London, 
on February 21, 1967, and later completed at 
Abbey Road. Album version mixed from take 
three. Writer: Paul. Lead vocal: Paul. Producer: 
George Martin. Recording engineers: Adrian 
Ibbetson (Regent Sound), Geoff Emerick (Abbey 
Road). Second engineer: Richard Lush. 


‘Lovely Rita’. Recording commenced in studio 
two at Abbey Road on February 23, 1967. Album 
version mixed from take eleven. Writer: Paul. 
Lead vocal: Paul. Producer: George Martin. 
Recording engineer: Geoff Emerick. Second 
engineer: Richard Lush. 


‘Lucy in the Sky with Diamonds’. 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’. Recording commenced in 
studio two at Abbey Road on March 9, 1967. 
Album version mixed from take fifteen. Writer: 
Paul. Lead vocal: Paul. Producer: George Martin. 
Recording engineers: Malcolm Addey, Ken 
Townsend, Geoff Emerick, Peter Vince. Second 
engineers: Graham Kirkby, Richard Lush, Keith 
Slaughter. 


‘She’s Leaving Home’. 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. Score: Mike Leander. Recording 
engineer: Geoff Emerick. Second engineers: 
Richard Lush, Keith Slaughter. 


‘Within You Without You’. 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. Recording engineer: 
Geoff Emerick. Second engineer: Richard Lush. 


‘With a Little Help From My Friends’. 
Recording commenced in studio two at Abbey 
Road on March 29, 1967. Working title ‘Bad 
Finger Boogie’. Album version mixed from take 
eleven. Writers: John and Paul. Lead vocal: Ringo. 
Producer: George Martin. Recording engineer: 
Geoff Emerick. Second engineer: Richard Lush. 


‘Sgt. Pepper’s Lonely Hearts Club Band 
(Reprise)’. 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. Recording engineer: Geoff 
Emerick. Second engineer: Richard Lush. 


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. ‘Pen 
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 on 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’. 

By suitably programming your compact disc 
hardware you’ll be able to hear the album as it wa 
originally intended. 


Extracted from The Beatles at Abbey Road, to be publishe 
late-1987. 


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 ina park. I then 
thought that we could have a crowd standing 
behind them, and this developed into the collage 
idea. 

Lasked them to make lists of people they’d most 
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 US furor 
about his ‘Jesus’ statement, so they were left out. 
George’s list was all gurus. Ringo said, “Whatever 
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 all 
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 that 
they might be looking at 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 centre-fold and back cover. I’m 
not sure how much it all cost. One reads 
exaggerated figures. I think Robert Fraser was 
paid £1500 by EMI, and I got about £200. 

People say to me, “You must have made a lot of 
money on it” but I didn’t because Robert signed 
away the copyright. But it has never mattered too 
much because it was such a wonderful thing to 


have done. 
Peter REukZ 


— Peter Blake 


Pa 4 Above: Final adjustments. 

} Py ae Ss oe Ringo checks his buttons while Paul 
} : — r.° and John chat with Robert Fraser. 
/ t . 

ie a : Left: Peter Blake’s original rough outline 

.. : of the cover 
peter Bloke 
1967- 


SGT. PEPPER'S LONELY HEARTS CLUB BAND 
It was twenty years ago today, 
Sgt. Pepper taught the band to play 
They’ve been going in and out of style 
But they’re guaranteed to raise a smile. 
So may I introduce to you 
The act you’ve known for all these years, 
Sgt. Pepper’s Lonely Hearts Club Band 
We're Sgt. Pepper’s Lonely Hearts Club Band, 
We hope you will enjoy the show, 
We’re Sgt. Pepper’s Lonely Hearts Club Band, 
Sit back and let the evening go. 
Sgt. Pepper’s lonely, Sgt. Pepper’s lonely, 
Sgt. Pepper’s Lonely Hearts Club Band. 
It’s wonderful to be here, It’s certainly a thrill. 
You’re such a lovely audience, 
We’d like to take you home with us, 
We'd love to take you home. 
I don’t really want to stop the show, 
But I thought that you might like to know, 
That the singer’s going to sing a song, 
And he wants you all to sing along. 
So let me introduce to you 
The one and only Billy Shears 
i And Sgt. Pepper’s Lonely Hearts Club Band 


ALITTLE HELP FROM MY FRIENDS 

A little help from my friends 

What would you think if I sang out of tune, 

Would you stand up and walk out on me. 

Lend me your ears and Ill sing you a song, 

And I’ll try not to sing out of key. 

I get by with a little help from my friends, 

I get high with a little help from my friends. 

Going to try with a little help from my friends. 

What do I do when my love is away. 

(Does it worry you to be alone) 

How do I feel by the end of the day 

(Are you sad because you’re on your own) 

No I get by with a little help from my friends, 

Do you need anybody, 

I need somebody to love. 

Could it be anybody 

I want somebody to love. 

Would you believe in a love at first sight, 

Yes I’m certain that it happens all the time. 

What do you see when you turn out the light, 

I can’t tell you, but I know it’s mine. 

Oh I get by with a little help from my friends, 

Do you need anybody, 

I just need somebody to love, 

Could it be anybody, 

‘_ I want somebody to love. 
_ I get by with a little help from my friends, 

- Yes I get by with a little help from my friends, 
With a little help from my friends. 
ey 


LUCY IN THE SKY WITH DIAMONDS Picture yourself on a train in a station, 
Picture yourself in a boat on a river, With plasticine porters with looking glass ties, 
With tangerine trees and marmalade skies Suddenly someone is there at the turnstile, 
Somebody calls you, you answer quite slowly, The girl with kaleidoscope eyes. 

A girl with kaleidoscope eyes. 

Cellophane flowers of yellow and green, 

Towering over your head. 

Look for the girl with the sun in her eyes 

And she’s gone. 

Lucy in the sky with diamonds, 

Follow her down to a bridge by a fountain 

Where rocking horse people eat marshmallow pies, 

Everyone smiles as you drift past the flowers, 

That grow so incredibly high. 

Newspaper taxis appear on the shore, 

Waiting to take you away. 

Climb in the back with your head in the clouds, 

And you’re gone. 

Lucy in the sky with diamonds, 


FIXING A HOLE 

I’m fixing a hole where the rain gets in 

And stops my mind from wandering 
Where it will go 

I’m filling the cracks that ran through the door 
And kept my mind from wandering 

Where it will go 

And it really doesn’t matter if I’m wrong 
I'm right 

Where I belong I’m right 

Where I belong. 

See the people standing there who disagree and 
never win 

And wonder why they don’t get in my door. 
I’m painting my room in the colourful way 
And when my mind is wandering 

There I will go. 

And it really doesn’t matter if 

I’m wrong I’m right 

Where I belong I’m right 

Where I belong. 

Silly people run around they worry me 
And never ask me why they don’t get past 
my door. 

I’m taking the time for a number of things 
That weren’t important yesterday 

And I still go. 

I’m fixing a hole where the rain gets in 

And stops my mind from wandering 
Where it will go. 


SHE’S LEAVING HOME 

Wednesday morning at five o’clock as the 
day beings 

Silently closing her bedroom door 
Leaving the note that she hoped would 

say more 

She goes downstairs to the kitchen clutching 
her hankerchief 

Quietly turning the backdoor key 
Stepping outside she is free. 

She (We gave her most of our lives) 

is leaving (Sacrificed most of our lives) 
home (We gave her eveything money 
could buy) 

She’s leaving home after living alone 

For so many years. Bye, bye 

Father snores as his wife gets into her 
dressing gown 

Picks up the letter that’s lying there 
Standing alone at the top of the stairs 

She breaks down and cries to her husband 
Daddy our baby’s gone. 

Why would she treat us so thoughtlessly 
How could she do this to me. 

She (We never thought of ourselves) 

is leaving (Never a thought for ourselves) 
home (We struggled hard all our lives to get by) 
She’s leaving home after living alone 

For so many years. Bye, bye 

Friday morning at nine o’clock she is far away 
Waiting to keep the appointment she made 
Meeting a man from the motor trade. 

She What did we do that was wrong 

is having We didn’t know it was wrong fun 
Fun is the one thing that money can’t buy 
Something inside that wal always denied 
For so many years. Bye, bye 

She’s leaving home bye bye 


BEING FOR THE BENEFIT OF MR. KITE! 

For the benefit of Mr. Kite 

There will be a show tonight on trampoline 

The Hendersons will all be there 

Late of Pablo Fanques Fair — what a scene 

Over men and horses hoops and garters 

Lastly through a hogshead of real fire! 

In this way Mr. K. will challenge the world! 

The celebrated Mr. K. 

Performs his feat on Saturday at Bishopsgate 
The Hendersons will dance and sing 

As Mr. Kite flys through the ring don’t be late 
Messrs. K. and H. assure the public 

Their production will be second to none 

And of course Henry The Horse dances the waltz! 
The band begins at ten to six 

When Mr. K. performs his tricks without a sound 
And Mr. H. will demonstrate 

Ten summersets he’ll undertake on solid ground 
Having been some days in preparation 


A splendid time is guaranteed for all 
And tonight Mr. Kite is topping the bill. 
John Lennon & Paul McCartney 


WITHIN YOU WITHOUT YOU 

We were talking — about the space between us all 
And the people — who hide themselves behind a 
wall of illusion 

Never glimpse the truth —then it’s far too late — 
when they pass away. 

We were talking — about the love we all could 
share — when we find it 

To try our best to hold it there — with our love 
With our love — we could save the world —if 
they only knew. 

Try to realise it’s all within yourself no-one else 
can make you change 

And to see you’re really only very small, 

and life flows on within you and without you. 
We were talking — about the love that’s gone so 
cold and the people, 

Who gain the world and lose their soul — 

they don’t know —they can’t see —are you one 
of them? 


When you’ve seen beyond yourself —then you 
may find, peace of mind, is waiting there— 
And the time will come when you see 

we’re all one, and life flows on within you and 
without you. 


George Harrison 


WHEN I’M SIXTY-FOUR 

When I get older losing my hair, 

Many years from now. 

Will you still be sending me a Valentine 
Birthday greetings bottle of wine. 

If I'd been out til quarter to three 
Would you lock the door, 

Will you still need me, will you still feed me, 
When I’m sixty-four. 

You’ll be older too, 

And if you say the word, 

I could stay with you. 

I could be handy, mending a fuse 
When your lights have gone. 

You can knit a sweater by the fireside 
Sunday morning go for a ride, 

Doing the garden, digging the weeds, 
Who could ask for more, 

Will you still need me, will you still feed me, 
When I’m sixty-four. 

Every summer we can rent a cottage, 

In the Isle of Wight, if it’s not too dear 
We shall scrimp and save 
Grandchildren on your knee 

Vera Chuck & Dave 

Send me a postcard, drop me a line, 
Stating point of view 

Indicate precisely what you mean to say 
Yours sincerely, wasting away 

Give me your answer, fill in a form 
Mine for evermore 

Will you still need me, will you still feed me. 
When I’m sixty-four. 


LOVELY RITA 

Lovely Rita meter maid.. 

Lovely Rita meter maid. 

Lovely Rita meter maid. 

Nothing can come between us, 

When it gets dark I tow your heart away. 
Standing by a parking meter, 

When I caught a glimpse of Rita, 

Filling in a ticket in her little white book. 
In a cap she looked much older, 

And the bag across her shoulder 

Made her look a little like a military man. 
Lovely Rita meter maid, 

May I inquire discreetly, 

When are you free, 

To take some tea with me. 

Took her out and tried to win her, 

Had a laugh and over dinner, 


Told her I would really like to see her again, 
Got the bill and Rita paid it, 

Took her home I nearly made it, 

Sitting on the sofa with a sister or two. 

Oh, lovely Rita meter maid, 

where would I be without you, 

Give us a wink and make me think of you. 


SGT. PEPPER’S LONELY HEARTS CLUB BAND 
(Reprise) 

We’re Sergeant Pepper’s Lonely Hearts 
Club Band 

We hope you have enjoyed the show 
Sergeant Pepper’s Lonely Hearts Club Band 
We’re sorry but it’s time to go. 

Sergeant Pepper’s lonely. 

Sergeant Pepper’s lonely. 

Sergeant Pepper’s lonely. 

Sergeant Pepper’s lonely. 

Sergeant Pepper’s Lonely Hearts Club Band 
We'd like to thank you once again 

Sergeant Pepper’s one and only Lonely Hearts 
Club Band 

It’s getting very near the end 

Sergeant Pepper’s lonely 

Sergeant Pepper’s lonely 

Sergeant Pepper’s Lonely Hearts Club Band. 


The album sleeve was the first to feature printed 
lyrics, and it was one of the first to have a 
gatefold sleeve. It was also the first to have 
Ve anything other than a plain inner bag too, the 
SGT. PE PPE R first pressing coming in a slightly psychedelic 
GUT-OUTS sleeve designed by Simon and Marijke of the 
M res Fool. And we also had a card with the cut-outs, 
ear | which I had originally intended to be a small 
424 1 ture ar packet with badges and pencils and such like. 
; Stripes That was stopped because it would have caused 
: Badges EMI big marketing problems. 


5. Stand Up peeks ep 
See back of outer box 
for Sgt. Pepper cut-outs 


Peter Blak 


compact | The Compact Disc Digital Audio System offers, on a 
(ISG small, convenient sound-carrier, state-of-the-art sound 


| 

| | reproduction. The Compact Disc’s superior perfor- 
| DIGITAL AUDIO | mance is the result of laser-optical scanning combined 
with digital playback, and is independent of the technology used in mak- 
ing the original recording. 

For best results, apply the same care in storing and handling Compact 
Discs as you would with conventional records. No cleaning will be nec- 
essary if the Compact Disc is always held by the edges and is replaced in 
its case immediately after playing. Should the Compact Disc become 
soiled with fingerprints, dust or dirt, it can be wiped (always ina straight 
line, from center to edge) witha clean, soft, dry, lint-free cloth. No solvent or 
abrasive cleaner should ever be used. If you follow these suggestions, your 
Compact Discs will provide a lifetime of pure listening enjoyment. 


Recording produced by George Martin. 
Cover by M C Productions 

and The Apple 

staged by Peter Blake and Jann Haworth 
photographed by Michael Cooper 

wax figures by Madame Tussauds 

This is a stereo recording. 

A splendid time is guaranteed for all 


Gompa«: isc packaging from an original idea by 
Kathry: \ arley 

Wordst Viark Lewisohn 

Designs ¥ Paul Wilkinson 

Blackan \/hite Photograph courtesy of the 
Michael © oper Collection. 


Sgt. Pepper's eT 
Lonely Hearts Club Band a 
[i] SGT. PEPPER’S LONELY HEARTS CLUB BAND 
[2] WITH A LITTLE HELP FROM MY FRIENDS 
[3] LUCY IN THE SKY WITH DIAMONDS 
[a] GETTING BETTER 
(5) FIXING A HOLE 
6] SHE’S LEAVING HOME 
[7] BEING FOR THE BENEFIT OF MR. KITE! 
[8] WITHIN YOU WITHOUT YOU* 
[>] WHEN PM SIXTY-FOUR 
10) LOVELY RITA 


[i] GOOD MORNING GOOD MORNING 


12] SGT. PEPPER’S LONELY HEARTS CLUB BAND (Reprise) 


[i3] A DAY IN THE LIFE 


All songs composed by Lennon/McCartney except *Harrison 
Producer: George Martin 
Engineer: Geoff Emerick 


P) 1967 ORIGINAL SOUND RECORDINGS MADE BY EMI RECORDS LTD. 
© 1967 EMI RECORDS LTD. 
© 1987 EMI RECORDS LTD.