THE BEATLES-SGT. PEPPERS LONELY HEARTS-1ST PRESS STEREO COMPLETE-RARE SLEEVE
£
26
$
34
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Description
THE BEATLES-SGT. PEPPERS LONELY HEARTS CLUB BAND TYPE SINGLE LP-STEREO LABEL/PRESSING INFO
PARLOPHONE -YELLOW & BLACK 1ST PRESS
CATALOGUE NUMBER PCS 7027 YEAR OF RELEASE 1967 COUNTRY OF RELEASE U.K. SLEEVE TYPE GATEFOLD-GARROD & LOFTHOUSE Patents pending LAMINATED INTERNAL FLIPBACKS-Bit of a mispress,the board was cut wrong,probably the end of a sheet,and the top edges of the inner boards have about an 1/8" of the outer colour bands,red and blue,the consequence of which is that the whole sleeve has moved slightly with bigger flipbacks,right side almost touches Pauls hair,and the rear top text has only just made it onto the back of sleeve at all.Not as significant as the 4th proof or even the misaligned Apple logo on Abbey Road,but you can go through 1000's of these sleeves before you will see another one. INSERTS/EXTRAS RED & WHITE "fools inner" AND SHEET OF CARD CUTOUTS GRADING/CONDITION DISC(s)EXCELLENT+(REALLY NICE clean copy with MINIMAL playwear and the usual surface marking that you can get from a record that has been in and out of the sleeve many times,and the only marks are a couple of VERY LIGHT surface marks which are completely inaudible anyway.Infact when you hold the record angled under a light you get that lovely clear field of vinyl and even has a reddish sheen to it not unlike the later PYE transluscent red presses,(I checked,it isnt an unheard of PYE contract pressing) and the whole album plays brilliantly with a clear uncluttered reproduction in glorious MID 60'S STEREO
LABELSEXCELLENT+(CLEAN LABELS with NO writing stickers,rips or tears,and LIGHT spindleusage)
SLEEVEFront board and Inner Gatefold EX+
FRONT board is clean and unmarked with no rips tears writing stickers or removal marks and just a bit of light laminate rubbing and a few small thumbnail type creases.INNER GATEFOLD is clean and unmarked with very shiny and bright colours and just very light wear.
Rear board EX+ REAR board is much as the front clean with just overall wear Flipbacks EX+ CLEAN and unmarked and unworn with VERY LIGHT wear Spine VG QUITE worn with laminate loss along a lot of it but not worn through Edges EX+ TOP and bottom edges have very light wear with no laminate loss Opening EX+ BOTH openings have LIGHT wear and LIGHT usage Corners EX The corners have some wear and a bit of rounding,heavier at the bottom of the openings. INNER /EXTRASINNER SLEEVE: EXCELLENT (COMPLETE with no rips tears writing,has a small neat tape repair to ONE edge only)
CUTOUTS: EXCELLENT+ (COMPLETE and with just VERY LIGHT overal storage and handling wear)
DETAILSWith 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.
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