SGT. PEPPER'S LONELY HEARTS CLUB BAND

For me, "Sgt. Pepper" is the peak of The Beatles' psychedelic and overall sound. "Revolver" was still undeveloped, and not as gripping or consistent, and on the other side, their self-titled white album was too overloaded and varied, making it quite a strenuous listen. "Abbey Road" obviously is another great Beatles work, but lacks purpose, meaning, and emotion compared to this album. The pop songs on here are very much what I like and look for in psychedelic pop, and outstanding creations that clearly display the band's genius on a plate for you, but still allows you to discover new things after a few listens and finally to just be absolutely lost in the music. The album is packed with colourful variations and employs various progressive techniques, like the odd time signatures on "Good Morning Good Morning", concepts, reprises, or the sententious, fully blown orchestra on "A Day In The Life". Overall, one of the greatest records of the 1960s, and without a doubt gets 5 stars.

The title track opens the album, introducing the theme of Sgt. Pepper's band playing at The Royal Albert Hall and tuning up. The lyrics set this scene well, and the clumsy dominant 7th chords and brass band gives it a unique and undeniably quirky, British tone. Not the most amazing track, but has a pretty catchy melody and greets you to the concert brilliantly, giving you an idea of what's to come. "With A Little Help From My Friends" follows, containing more developed, progressive chord progressions and sneaky little tritones that keep you hooked (hidden in the E and D major chords that are repeatedly heard). Definitely my favourite Ringo song, although credited to Lennon/McCartney, and has that classic on-beat plodding rhythm (hard to keep interesting) laden with beautiful harmonies and melodies, thus creating a strong feel of camaraderie and an irresistible sound to an immortal pop song.

"Lucy In The Sky With Diamonds" holds the bar up high, with its hypnotic guitar sounds and vocalisation from John. A little outdated nowadays and more difficult to connect with, but nonetheless incredible and still timeless. A solid structure which is practically compulsory to hold such an ethereal song together, but the one thing that took me a while to accept was the transition from verse to chorus. A couple of drum hits is a little unimaginative, and kind of ruins the mood for me. "Getting Better" is another pounding track, nice to come out of the previous one, and has a heavier rock vibe. The song has no real meaning or significance in the lyrics, which in this case I love. It's just so unnecessary when you think about it but makes me feel great, just like prog. There's a great deal of power here, and displays how they could have just as easily been a 60s British blues band, but decided to take a risk and go somewhere between that and their mainstream hits.

"Fixing A Hole": lovely harpsichord intro, with that lavish harpsichord summoning an augmented chord very early to the song, but of course giving that dreamy quality which is sung through Paul's lyrics. Thankfully they don't make the mistake of hovering around that sort of overly dreamy chord sequence, but just a more static subconscious 2 chord verse, with the occasional guitar line brought in. Once again, more jolly harmonies emanating from John in the background, and yet another 5-star song. "She's Leaving Home" then enters - my favourite song on the album. Well sequenced and structured once again, but just dripping with emotion and such pure, heartfelt vocal deliveries from the band. The strings are also a fantastic addition to the soothing, almost weeping, quality that they're trying to get across to you. Works on just about every level, plus the lyrics are outstanding and describe such a vivid story, without drawing you away from the instrumentation.

"Being For The Benefit Of Mr. Kite" is a brilliant idea for a circus rock song, before the likes of Procol Harum's "Twas Teatime At The Circus" and King Crimson's "Cirkus". This beats both of those in what it sets out to do, and contains an astonishing chord progression with some more storytelling, hallucinatory lyrics from John. Some great middle sections in here, as Henry the Horse dances the waltz in a sudden 3/4 (great idea), but the only thing letting it down, as with most of the album, is the stereo sound system. It sounds too distant for me, and doesn't really blend together. Anyway, beginning side 2 is "Within You Without You", George's time to show off. His marvellous songwriting abilities and knowledge of the raga/arabic influences is brought across on this Beatles track more so than any other. You're immediately put in a trance, and the lyrics is just so profound and gorgeously indulgent, as with the sitars and tablas. Furthermore, some unbelievable solos, so different to anything around at that time, and really opens up your ears to a lot of new sounds. Fans of this record that enjoy the early Beatles usually skip this piece, because of its length, inaccessibility and limited sonic range, but I really think they're missing out. This is just otherworldly, and I wouldn't care if the whole album was like it.

"When I'm Sixty-Four" is much more light-hearted coming out of this. Some very sagacious, shrewd lyrics for the young "hope I die before I get old" generation, etc. etc. For them to think beyond the age of say 40 was just unimaginable, and I love the band's bravery for entering head on into this unchartered territory and singing these sort of patronising lyrics. Very basic chords are used, which helps you focus in more on the scene they're setting and also make it appear like you'll almost become more simple-minded and easily influenced in your old age. "Lovely Rita" next - just an adorable little rock ballad with some great musical devices. The chord sequence is so powerful, and John's little glissandos, backing noises, and psychedelic groaning towards the end are just blissful. Thinking about it now, there's nothing bad about this song and I love those lyrics - a classic and definitely overlooked Beatles song. "Good Morning Good Morning" is a similar mood to "Lovely Rita", containing yet more adventurous songwriting techniques (the pet sounds, time signatures, and English brass backing). Again, another highlight of the album and keeping the consistency so astronomically high. The lyrics are great and simple, but the melodies are just phenomenal regarding how they fit in, and how catchy they are. Again, nothing bad about this track (plus, I love that drum hit from Ringo - a great touch, and much better than "Lucy In The Sky").

A reprise of the opening track is a great appearance and shows how much the band can do with one basic song. Nothing unbelievable, but essential to the album's structure and doesn't lose you like its (eventual) successor "Abbey Road". A very clever inclusion, as it reminds you that you're sitting in that concert hall, applauding for that encore over a melodic guitar solo. From this climax of emotional outburst, it segues into "A Day In The Life". For most people, this is the greatest song on the album and possibly in the whole Beatles career, but in my opinion it lacks structure when compared to the tight schedule of the Lonely Hearts Club Band's set list. Nevertheless, the talent from each band member is displayed on here, and the track morphs from an intensely emotional minor piano song, into a more trippy section of Paul "slipping into a dream", with John singing a melody over the classic "Hey Joe" chord progression. The symphonic build-up that leads into this is just such a wonderfully pretentious, vast abuse of ultimately how much money was meant to go into a record in those days, but also key to the song. It soon returns to the opening structure (where it starts to fall apart for me) before falling into a gargantuan, overpowering E major chord played by half a dozen pianos simultaneously. A terrific sound leading into the infinite backmasked loop, or for CDs, a fading psychedelic passage acting as a sort of anti-climax to such a grandiose potential ending, almost making it even more ostentatious and devious.

A+: The only real timeless masterpiece from the Fab Four. The most inspirational work to all progressive artists and probably the world of music that emerged from psychedelia.

Sgt. Pepper's Lonely Hearts Club Band: ***** With A Little Help From My Friends: ***** Lucy In The Sky With Diamonds: ***** Getting Better: ***** Fixing A Hole: ***** She's Leaving Home: ***** Being For The Benefit Of Mr Kite: ***** Within You Without You: ***** When I'm Sixty-Four: ***** Lovely Rita: ***** Good Morning Good Morning: ***** Sgt. Pepper's Lonely Hearts Club Band (Reprise): **** A Day In The Life: *****