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CAPITOL RECORDS PLOTS CELEBRATION OF 50th ANNIVERSARY OF THE BEATLES’ “SGT.PEPPER´S ALBUM IN L.A.

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It was 50 year ago this coming Thursday, June 1, that The Beatles’ trailblazing album Sgt. Pepper’s Lonely Hearts Club Band was officially released in the U.K., one day before it hit stores in the U.S. To mark the milestone, a special celebration will take place at the Capitol Records tower in Los Angeles.

The commemorative event, dubbed “Pepper Day,” will begin at 9:09 a.m. PT on Thursday with the raising of a specially designed Sgt. Pepper’s flag on top of the tower. Doing the honors will be the Sgt. Pepper character from Cirque du Soleil’s Beatles-themed Las Vegas production LOVE. In addition, the building will be adorned with variety of themed decorations, including special signs and an inflatable Sgt. Pepper’s drum above the tower’s Vine Street entrance.

Adding to the festivities, starting at sunset on Thursday, the roof of the Capitol Records building will be illuminated with lights corresponding to the four colors of the suits that The Beatles wore on the Sgt. Pepper’s album cover.

LENNON: THE NEW YORK YEARS IS OUT NOW

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IDW Publishing explores Lennon: The New York Years today Wednesday.

 In 1975 the most famous rock star in the world moved to New York City to raise his young family, in the process setting career, adoring fans, and creative contemporaries aside. During this reflective time he met with a psychoanalyst, worked to spread peace around the globe, celebrated his wife, and went about the daily business of being John Lennon. Then just five years later he was killed.

Lennon adapts David Foenkinos’ legendary novel to graphic album form, with striking black-and-white illustrations by French artist Horne. Relive the defining moments and experiences that shaped pop music’s–and popular culture’s–most influential voice, as captured in this unique and moving graphic novel.

Lennon: The New York Years is out on May 31st…  PRE-ORDER: H E R E . 

BEATLES EXPERT SAYS HIS NEW “SGT.PEPPER” BOOK LOOKS AT FANS’ EXPERIENCES WITH THE INFLUENTIAL ALBUM

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With the 50th anniversary of the official U.K. release of Sgt. Pepper’s Lonely Hearts Club Band taking place this Thursday, Beatles historian and author Bruce Spizer has just published a fascinating new book focusing on the landmark album. The Beatles and Sgt. Pepper: A Fans’ Perspective delves into how the album was experienced and embraced by the group’s faithful followers, while also offering an in-depth look at the history and cultural impact of the record.
Spizer tells ABC Radio that the catalyst for his book was an essay he wrote celebrating Sgt. Pepper‘s 50th anniversary, which he decided to augment with a series of fan recollections gathered from a variety of sources. These remembrances wound up being at the core of the project.
“The real key to it was…fans really related to this album and I just felt that people would have their own Sgt. Pepper stories,” he explains. Spizer also says he noticed that many of these recollections actually mirrored his own Sgt. Pepper experiences, which he discussed in his essay.

“What it showed me was that my Sgt. Pepper experience wasn’t unique after all,” he maintains, “and there also were people talking about how they made friends through The Beatles and through Sgt. Pepper, and things of that nature.”

Among the fans who shared their Sgt. Pepper memories were some noteworthy music artists, including Billy Joel, The MonkeesPeter Tork, The SmithereensPat DiNizio, ex-Wings drummer Denny Seiwell and The Royal Guardsmen’s Barry Winslow. The book is enhanced by a variety of rare photos and images.
Other sections of the book focus on information about each track on Sgt. Pepper, the album’s chart history, details about its famous cover art and innovative packaging, and much more.
Hardcover- May 25, 2017 PRE-ORDER HERE (FREE Shipping!!): H E R E .

HOW A CORN FLAKES AD INSPIRED ‘GOOD MORNING GOOD MORNING’

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Today’s installment tells how John Lennon’s TV obsession led to the creation of “Good Morning Good Morning.”
John Lennon indulged in a myriad of mind-altering substances during the recording of the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band, but his drug of choice may have been television. “A couple of weeks of telly-watching is as good as pot,” he professed at the time to biographer Hunter Davies. “I think a lot when I’m watching telly. It’s like looking into the fire and daydreaming. You’re watching it, but your mind’s not on it.” After the band vowed to abandon live performances in the fall of 1966, Lennon relied on TV and drugs to fill the enormous void left by the absence of the Beatles’ extensive concert schedule, which had provided structure to his life since he was barely out of his teens. “I didn’t know what to do,” John remembered shortly before his death in 1980. “What do you do when you don’t tour? There’s no life. What the hell do you do all day?”
His days were spent mostly horizontal at Kenwood, the 27-room luxury estate he shared with his wife Cynthia and three-year-old son Julian in the staid upper-class London suburb of Weybridge. He’d never been happy in the area, consenting to move there in 1964 at his accountant’s suggestion (Kenwood was the third house they viewed). “Weybridge won’t do at all,” he told journalist Maureen Cleave two years later. “I’m just stopping at it, like a bus stop. Bankers and stockbrokers live there; they can add figures and Weybridge is what they live in and they think it’s the end, they really do. I think of it every day – me in my Hansel and Gretel house. I’ll take my time; I’ll get my real house when I know what I want. … You see, there’s something else I’m going to do, something I must do – only I don’t know what it is.”
The constant motion of Beatle business had provided a long-term distraction, and now the downtime forced Lennon to confront the day-to-day realities and responsibilities of being a husband and father. Seemingly overnight, his self-styled existence, steeped in excitement, privilege and fierce individuality (not to mention fan worship on a colossal scale), had been replaced by a stodgy life he barely recognized. For everything he had achieved, for every wild childhood dream that had miraculously come true, Lennon still wound up trapped in the same cozy suburban haze he had often railed against.

Depressed, he dealt with the letdown by escaping into his mind at every opportunity. “If I’m on my own for three days, doing nothing, I almost leave myself completely. I’m just not here,” he told Davies. “I’m up there watching myself, or I’m at the back of my head. I can see my hands and realize they’re moving, but it’s a robot who’s doing it.” This sensation was no doubt aided by the mortar and pestle he kept nearby to mash together a dizzying array of pharmaceuticals onto one unpredictable mega-pill.

Cynthia grew distressed at how distant, apathetic and inert her rock-star husband had become. “When he was at home, he’d spend a lot of time lying in bed with a notepad,” she later said. “When he got up, he’d sit at the piano or he’d go from one room to the other listening to music, gawping at television and reading newspapers. He was basically dropping out from everything that was happening. He was thinking about things.” His estrangement from reality was so total, he often asked incoming phone callers, with genuine interest, what day of the week it was.

The songs Lennon wrote in this period are all meditations on the mundane; a child’s painting (“Lucy in the Sky With Diamonds”), a poster in his living room (“Being for the Benefit of Mr. Kite!”), a newspaper (“A Day in the Life”), all drawn from within the four walls of Kenwood. Another is “Good Morning Good Morning,” which owes its existence to his love of television.

“I often sit at the piano, working at songs, with the telly on low in the background,” he explained to Davies. “If I’m a bit low and not getting much done, then the words on the telly come through. That’s when I heard ‘Good morning, good morning.’ It was a Corn Flakes advertisement.” Kicking off with a pastoral rooster crow, the irrepressibly peppy jingle chirped out from the set: “Good morning, good morning!/The best to you each morning/Sunshine breakfast, Kellogg’s Corn Flakes/Crisp and full of fun!” The tune was at the same time annoyingly chipper and chillingly lobotomized. In other words, it was the perfect soundtrack to his world at Kenwood.

Inspired by his total lack of inspiration – which had previously triggered the Rubber Soul track “Nowhere Man” – he began to write. Words of bland domesticity tumbled out: “how’s your boy been, going to work, heading for home, time for tea.” “John was feeling trapped in suburbia and was going through some problems with Cynthia,” Paul McCartney confirms in his biography, Many Years from Now. “It was about his boring life at the time. There’s a reference in the lyrics to ‘nothing to do’ and ‘meet the wife’; there was an afternoon TV soap called Meet the Wife that John watched, he was that bored, but I think he was also starting to get alarm bells and so, ‘Good morning, good morning.'”

On December 12th, 1966, Meet the Wife aired an episode entitled “This Christmas, Shop Early,” chronicling holiday shoppers frantically making their last-minute gift purchases. The plot may very well have inspired the line that immediately preceded the reference to the show: “People running round, it’s five o’clock, everywhere in town is getting dark.”

It’s a rare active moment in a song packed with boredom that borders on nihilism. The word “nothing” appears eight times in the two-minute, 41-second track, and each verse ends with the assertion that the narrator has nothing to say, “but it’s OK.” For someone who strenuously avoided writing “fiction” songs in the vein of McCartney’s “Eleanor Rigby,” “Lovely Rita” or “When I’m Sixty-Four” (“He makes ’em up like a novelist!” Lennon once marveled), “Good Morning Good Morning” can be read as a revealing confession of complete and utter apathy. “Nothing to do to save his life,” the opening words, ring out like the final gasp of a man surrendering to daily claustrophobia.

But one brief line may offer a glimmer of hope. Author Steve Turner observes that the lyric “You go to a show, you hope she goes,” may be a reference to a woman Lennon had recently met that November at an art exhibition: Yoko Ono. Though it’s pure speculation (and likely that she hadn’t captured his imagination just yet), Lennon’s involvement with Ono meant that his days adrift in a sea of domesticity at Kenwood were numbered.

“SGT. PEPPER’s LONELY HEARTS CLUB BAND:THE ALBUM,THE BEATLES AND THE WORLD IN 1967” GOES BEHIND THE SCENES 50 YEARS AFTER ALBUM’s RELEASE

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It was 50 years ago this week, the Beatles released “Sgt. Pepper’s Lonely Hearts Club Band” and, according to George Harrison, “saved the world from boredom.”
To commemorate one of the most innovative albums of all time, former rock and roll journalist and music executive Brian Southall penned“Sgt. Pepper’s Lonely Hearts Club Band: The Album, the Beatles and the World in 1967.”
The key to the whole thing occurred before they even entered the studio.
“They stopped touring in 1966 — there was no one to make them continue on,” Southall told the Daily News. “That meant they could see themselves as more than a pop band — they had freedom to go in … record, uninterrupted, for three straight months.”
In those few months, the Beatles — attempting to dethrone “Pet Sounds,” by the Beach Boys — wrote “With A Little Help From My Friends,” “Lucy In The Sky With Diamonds” and “A Day in the Life.”
The book, like the record, is two-sided — the first half devoted to the band, and the second to the year.
Southall dives into the life of each bandmate: Harrison, John Lennon, Paul McCartney and Ringo Starr. Honorary “fifth Beatle,” manager Brian Epstein, and producer George Martin get their own sections, too.
“Paul came up with this idea: ‘We don’t have to be the Beatles, we can be this other band,’” said Southall, whose book is available Thursday. And from that thought grew “Sgt. Pepper’s,” with its groundbreaking and immensely influential sound.
 “At one point there was eight machines in different control rooms throughout the building all linked up with people holding the tape tension by a pencil,” Southall writes. “John was always intrigued by the sounds you could create artificially.”
The 13 songs that comprise “Sgt. Pepper’s” are individually dissected in the book, including the tale that “Lucy In The Sky With Diamonds” originated with a drawing by Lennon’s son Julian.
The album’s iconic cover art is covered in Southall’s pages as well. It was designed by former husband-and-wife artist team, Jann Haworth and Peter Blake.
“The idea was presented to us as a collage but I saw it as a life-size set,” Haworth told The News.
The icons surrounding the Beatles were conjured by the band after Haworth asked them to list their heroes. She made those icons into 2-D cutouts and arranged them around the Beatles just so. “The Beatles didn’t choose any women, I actually added the women in. Like Mae West — she was not considered conventionally beautiful but she was whip smart,” Haworth said.
“I created the two dolls off to the right side. They wanted Shirley Temple but we couldn’t have a child on the cover of an album about drugs, so I made a doll that looked like my grandmother and a Shirley doll and had her sit on my grandmother’s lap.”
Whoever was in charge of ordering the flowers didn’t buy enough to cover the ground as initially planned, so Haworth turned what she had into the red floral “Beatles” below the band.
The florist created a guitar out of some of the remaining flowers (that’s the yellow shape on the right side below the band’s blossoming name).
McCartney, in an interview marking the 50th anniversary, last week cleared up one fact. Southall writes that one of the rumors about how the Beatles chose the name “Sgt. Pepper” was that the bassist came up with the name after seeing a small salt and pepper sachet aboard a plane.
McCartney revealed that was half-right: “I was coming back from a trip abroad with our roadie, Mal Evans. We were eating and he asked me to pass the salt and pepper. I thought he said, ‘Sergeant Pepper.’ “I went, ‘Oh! Wait a minute, that’s a great idea!’ I started thinking about Sergeant Pepper as a character. I thought it would be a very interesting idea for us to assume alter egos … I said, ‘It will mean, when I approach the mic, it’s not Paul McCartney.’”