The BEATLES

Sgt. Pepper's Lonely Hearts Club Band
MINI-DOCUMENTARY (Insert into Computer to View)

(1967 / 2009)

1. Sgt. Pepper's Lonely Hearts Club Band 2'02
(George Harrison)
Recorded: February 1, 1967 at ABBEY ROAD, London, England
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2. With A Little Help From My Friends 2'45
(John Lennon / Paul McCartney)
Recorded: March 29, 1967 at ABBEY ROAD, London, England with Overdubs added March 30, 1967
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3. Lucy In The Sky With Diamonds 3'28
(John Lennon / Paul McCartney)
Recorded: March 1, 1967 at ABBEY ROAD, London, England with Overdubs added March 2, 1967
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4. Gettlng Better 2'48
(John Lennon / Paul McCartney)
Recorded: March 9, 1967 at ABBEY ROAD, London, England with Overdubbing March 10, March 21 and March 23, 1967
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5. Fixing A Hole 2'37
(John Lennon / Paul McCartney)
Recorded: February 9, 1967 at REGENT SOUND STUDIO, London, England with Overdubbing February 21, 1967 at Abbey Road, London, England
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6. She's Leaving Home 3'35
(John Lennon / Paul McCartney)
Recorded: March 17, 1967 at ABBEY ROAD, London, England with Vocals Overdubbed March 20, 1967
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7. Being For The Benefit Of Mr. Kite! 2'38
(John Lennon / Paul McCartney)
Recorded: February 17, 1967 at ABBEY ROAD, London, England with Overdubbing February 20, March 28-29 and March 31, 1967
SONY / ATV MUSIC PUBLISHING LLC,
8. Within You, Without You * 5'04
(GeorgeHarrison)
Recorded: March 15, 1967 at ABBEY ROAD, London, England with Overdubbing March 22, 1967 and April 3, 1967
SONY / ATV MUSIC PUBLISHING LLC,
9. When I'm Sixty-Four 2'38
(John Lennon / Paul McCartney)
Recorded: December 6, 1966 at ABBEY ROAD, London, England with Overdubs added December 8 and December 20-21, 1966
SONY / ATV MUSIC PUBLISHING LLC,
10. Lovely Rita 2'42
(John Lennon / Paul McCartney)
Recorded: February 23, 1967 at ABBEY ROAD, London, England with Overdubs added February 24, March 7 and March 21, 1967
SONY / ATV MUSIC PUBLISHING LLC,
11. Good Morning, Good Morning 2'41
(John Lennon / Paul McCartney)
Recorded: February 8, 1967 at ABBEY ROAD, London, England with Overdubs added February 16, March 13 and March 28-29, 1967
SONY / ATV MUSIC PUBLISHING LLC,
12. Sgt. Peppers Lonely Hearts Club Band (reprise) 1'19
(George Harrison)
Recorded: April 1, 1967 at ABBEY ROAD, London, England
SONY / ATV MUSIC PUBLISHING LLC,
13. A Day In The Life 5'39
(John Lennon / Paul McCartney)
Recorded: January 19, 1967 (basic track) and February 10, 1967 (orchestral track) at ABBEY ROAD, London, England with the final-chord ending Overdubbed February 22, 1967
SONY / ATV MUSIC PUBLISHING LLC,

Total Time: 39:56

  • John Lennon - Lead Guitar (1, 3, 4, 9, 12), Acoustic Guitar (10, 13), Hammond Organ (main melody) (7), Piano (final chord) (13), Comb and Paper (10), Maracas (5, 12), Lead Vocal (1, 3, 7, 11, 12) Lead Vocal (First, Second and Last Verses) (13), Background Vocal (2, 4-6, 8, 10, 11)
  • Paul McCartney - Bass Guitar (1-5, 7, 9-13), Lead Guitar (5, 7, 11), Piano (2, 9, 10, 13), Piano (final chord) (13), Hammond Organ (3), Harpsichord (5), Handclaps (4), Comb and Paper (10), Lead Vocal (1, 4-6, 9, 10, 12), Lead Vocal (Middle Section) (13), Harmony Vocal (3), Background Vocal (2, 4-6, 10, 11)
  • George Harrison - Lead Guitar (1, 2, 4, 11, 12), Double-Tracked Lead Guitar Solo (5), Acoustic Guitar (10), Sitar (3), Harmonica (7), Bongos (13), Tambourine (2), Tamboura (4, 8), Handclaps (4), Comb and Paper (10), Lead Vocal (8, 12), Harmony Vocal (1, 3), Background Vocal (4, 5, 9, 10)
  • Ringo Starr - Drums (1-5, 7, 9-13), Piano (final chord) (13), Bongos (4), Maracas (13), Harmonica (7), Handclaps and Tubular Bells, Lead Vocal (2)

    Additional Musicians:

  • George Martin – Organ (1), piano (7), Piano Strings (4), Wurlitzer Organ (countermelody),(7), Honky-Tonk Piano (10), Harmonium (13)
  • Neil Aspinall – Harmonica (7), Tamboura (8)
  • Mal Evans – Harmonica (7), Piano (final chord) (13), Alarm Clock (13)
  • Matthew Deyell – Tambourine

    Session Musicians: four French Horns on "Sgt. Pepper's Lonely Hearts Club Band", (Neill Sanders, James W. Buck, John Burden, Tony Randall),
    Arranged and Conducted by Martin and McCartney
    String Section and Harp on "She's Leaving Home", Arranged by Mike Leander and Conducted by Martin
    Harmonium, Tabla, Sitar, Dilruba, eight Violins and four Cellos on "Within You, Without You", Arranged and Conducted by Harrison and Martin
    Clarinet Trio on "When I'm Sixty Four", as Arranged and Conducted by Martin and McCartney; saxophone sextet on "Good Morning, Good Morning", arranged and conducted by Martin and Lennon; and forty-piece orchestra (strings, brass, woodwinds and percussion) on "A Day In The Life", Arranged by Martin, Lennon and McCartney and conducted by Martin and McCartney

    Indian Session Musicians - Dilruba, Tamboura, Tabla, Swordmandel (8)

    SOUNDS INCORPORATED - Three Saxophones, Two Trombones, French Horn (11)

    Produced by George Martin
    Orchestrations by George Martin
    Principal Engineer: Geoff Emerick
    This Remastered Album has been created from the original stereo analogue Master Tapes.
    Remastered by Guy Massey and Steve Rooke
    Project Co-ordinator: Allan Rouse
    Album Redesign; Drew Lorimer
    Historical Notes: Kevin Howlett and Mike Heatley
    Recording Notes: Allan Rouse and Kevin Howlett
    Project Management for     EMI RECORDS Ltd: Wendy Day and Guy Hayden
    Photo Retouching: Gavin O'Neill
    Photo Editing and Research: Aaron Bremner and Dorcas Lynn

    Thanks To Simon Gibson

    All Songs Composed by Lennon / McCartney, except * Harrison

    All Songs Published by SONY / ATV MUSIC PUBLISHING LLC
    ©All Lyrics Copyright 1967 for the world by NORTHERN SONGS Ltd., England

    Digital Remaster ©2009
    Artwork ©2009 APPLE Corps Ltd.
    All Photographs ©APPLE Corps Ltd.
    All Photographs taken at CHELSEA MANOR STUDIOS. London, March 1967, except where otherwise stated.

    Remaster ©2009 by EMI RECORDS Ltd.
    ©2009 EMl RECORDS Ltd.

    APPLE and PARLOPHONE
    "BEATLES", "APPLE" and the APPLE Logos are Trademarks of APPLE Corps Ltd.

    "The first thing I remember was flying back from America with our road manager Mai Evans. Over our meal we were talking about salt and pepper which was misheard as Sgt. Pepper. I then had the idea for the song 'Sgt. Pepper's Lonely Hearts Club Band' and thought it would be interesting for us to pretend, during the making of the album, that we were members of this band rather than The BEATLES, in order to give us a fresh slant. With mis in mind, I suggested to the guys that we each create an alter ego for ourselves and have uniforms made by a costumier. To help this process, we would all make a list of the people that our newly created characters might have admired. Everyone seemed to like the idea and with this in mind, we made the album. Our attitude now was that of a completely different set of individuals and not the attitude that we would normally have had as The BEATLES. The making of the record became a wild, colourful fairground ride where all things were possible. I remember clearly a music critic surmising that because no one had heard from us for a while, The BEATLES had dried up! We worked on happily in the knowledge that this one gentleman was about to be proved well and truly wrong! I could go on and on about that period and the fun we had but I think it's better for now to say no more and simply let the album speak for itself."
    Paul McCARTNEY 06.03.08

    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.
    George Martin

    "The BEATLES definitely had an eternal curiosity for doing something different," remarks the group's producer George Martin. Certainly this album was entirely different to anything that had gone before, and although it has been much imitated since, it remains a giant recording, one that revolutionised the music industry and caused such repercussions that its influence will be felt for all time. The BEATLES' music progressed in a most tangible way with each record they made. Even so, when it came to the time invested in the making of Sgt. Pepper - all the way from November, 1966 to April, 1967 - it seemed a ridiculously long period in which to make an album. "What on earth are they up to?", people wondered. But not a session was wasted. "The BEATLES insisted that everything on Sgt. Pepper had to be different", says Geoff Emerick - the recording engineer who, with George Martin, formed the imaginative team that translated The BEATLES' Pepper requirements onto tape. "Sounds were 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 vast amounts of echo onto vocals, and sent them through the circuitry of the revolving Leslie speaker. We used giant primitive oscillators to vary the speed of instruments and vocals, and we had tapes running backward as well as forward." But the sounds are only one aspect of Sgt. Pepper. The songs hold the key and they are bold, imaginative, confident, vivid, witty. Here is a band at ease with itself, unshackled by schedules - they had just given up live concerts, a band oblivious to the words "no" and "can't", a band stretching out but exercising still an unerring sense of what would work and what would not. Paul's very idea of a "concept" band, populated by such characters as Billy Shears, was in itself untried by anyone before. It could have backfired, been misunderstood, gone unappreciated, but, of course, it was not. Sgt. Pepper worked from every conceivable angle.
    The end of the album typifies the inventiveness and assuredness that runs through Sgt. Pepper. After the last droplets of the crashing piano chord of 'A Day In The Life' have evaporated there are a few seconds of 15 kilocycle tone, inaudible to the human ear but put there - especially to amuse your dog - at the request of The BEATLES. Then, as the coup de grace, the album concludes with a few seconds of nonsense Beatles chatter - the tape of which was cut into several pieces and stuck back together at random. In this way the words became unintelligible but, with the sound laced into the vinyl disc's concentric run-out groove, purchasers without an auto-return on their record player inevitably wondered "What the hell's that?" as the curious noise went on and on ad infinitum. Sgt. Pepper's Lonely Hearts Club Band was issued on June Ã', 1967. Nothing was ever the same again.
    Mark Lewisohn

    The recording of SgL 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. Orchestrations by George Martin (except where noted). fWHen Vm Sixty-Four\ Recording commenced in studio two at Abbey Road on December 6 !966. Album version mixed from take four. Writer: Paul. Lead vocal: Paul. Producer: George Martin. Recording engineer: Geoff Emerick. Second engineer: Phillip McDonald. 'A Day m 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, Phillip McDonald. *$gt. Pepper's Lonely Hearts Ciith 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 11. 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, Tottenham Court Road, London, on February 9 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 11. Writer: Paul. Lead vocal: Paul. Producer: George Martin. Recording engineer: Geoff Emerick. Second engineer: Richard Lush. 'Lucy in the Sky ivith Diamonds'. Recording commenced in studio two at Abbey Road on March I 1967. Album version mixed from take eight. Writer: John. Ix'ad vocal: John. Producer: (ieorge 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 15. Writer; Paul. Lead vocal: Paul. Producer: George Martin. Recording engineers: Malcolm Addey, Ken Townsend, Geoff Hmeriek, Peter Vince. Second engineers: Graham Kirkby, Richard Lush, Ken Scott. 'She's Leavitig 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. Orchestration: Mike Leander. Recording •ngineer: Geoff Hmeriek. Second engineers: Richard Lush, Ken Scott. "Within Vbu, 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 Hmeriek. 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 11. Writers: John and Paul, Lead vocal: Ringo. Producer: George Martin. Recording engineer: Geoff Hmeriek. Second engineer: Richard Lush. *$gt. 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: 'Strawberry Fields Forever', 'Penny Lane' and "It's Only a Northern Song'. The first two were taken for release as a single, the third didn't surface until the Yclh'd' Submarine iilm soundtrack album. 'Strawberry Fields Forever*, Recording commenced in studio two at Abbey Road on November 24 1966. 'Penny 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 of side one, as first conceived, was different to how it finally cvolved, 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 die 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 was originally intended.
    Mark Lewisohn

    Notes on the cover by Peter Blake 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 die album had already evolved: it would be as though The BEATLES were anomer band, performing a concert. Paul and John said I should imagine that me band had just finished the concert, perhaps in a park. I then thought that we could have a crowd standing behind them, and this developed into the collage idea.
    They made lists of the people they'd most like to have in the audience at this imaginary concert. John's was interesting because it included Jesus and Gandhi and, more cynically, Hitler. But this was just a few months after the US furore 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 realised 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 Left: Peter Blake's original rough outline of the cover. Far Left: Paul,John, Robert Fraser and Ringo 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, 1967. 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 the back cover. 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 anything other than a plain inner bag too, the first pressing coming in a slightly psychedelic sleeve designed by Simon and Marijke of The Fool. And we also had a card with cut-outs, which I had originally intended to be a small packet with badges and pencils and such like. That was stopped because it would have caused EMI big marketing problems. I'm not sure how much it all cost. One reads exaggerated figures. I think Robert Fraser was paid F1,500 by EMI, and I got about F200. 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 Blake

    HISTORICAL NOTESS

    Sgt. Pepper's Lonely Hearts Club Band was The BEATLES' eighth album in just over four years. The frequency of their releases seems startling now but as the ten months between Revolver and this LP passed by, there was much speculation about the perceived long delay. In fact, the group had abandoned concerts and were dedicating themselves solely to songwriting and prolonged work in the studio. Released on 1st June, 1967, the immediate artistic and commercial success of Sgt Pepper vindicated this new approach adopted by The BEATLES. It was the LP that provided the ubiquitous soundtrack to 'the summer of love' but its appeal is timeless. The previous summer The BEATLES had raced to finish recording Revolver -completing the last song just three days before the start of a tour that visited West Germany, Japan and the Philippines. Some tense encounters in Asia - and also on a summer tour of the USA and Canada -rocked their already shaky commitment to touring. Besides, their concerts were musically out of sync with their recent innovative records - not one song from the current LP Revolver was played onstage during the North American tour. released in February, 1967 on a double A-sided single. The frustration of repeating their old repertoire to screaming fans, who could not hear them anyway, when added to the other pressures on the road in the summer of 1966, led the group to decide that the concert on 29th August at Candlestick Park, San Francisco would be their last. They now7 became a studio group with no concern about how to replicate their records in concert. In their first session for five months, The BEATLES began recording 'Strawberry Fields Forever'. Its evolution showed the musical imagination and technical experimentation of the previous album would be continued. Things were not always complex, of course, because the other new recording at this time was the much more straightforward 'When I'm Sixty-Four'. In the last days of the year, work began on 'Penny Lane'. To stop the long wait since August for new material, 'Penny Lane' and 'Strawberry Fields Forever' were released in February, 1967 on a double A-sided single. The frustration of repeating their old repertoire to screaming fans, who could not hear them anyway, when added to the other pressures on the road in the summer of 1966, led the group to decide that the concert on 29th August at Candlestick Park, San Francisco would be their last. They now7 became a studio group with no concern about how to replicate their records in concert. In their first session for five months, The BEATLES began recording 'Strawberry Fields Forever'. Its evolution showed the musical imagination and technical experimentation of the previous album would be continued. Things were not always complex, of course, because the other new recording at this time was the much more straightforward 'When I'm Sixty-Four'. In the last days of the year, work began on 'Penny Lane'. To stop the long wait since August for new material, 'Penny Lane' and 'Strawberry Fields Forever' were In the UK, Sgt. Pepper's Lonely Hearts Club Band became the fourth Beatles album from which no singles were taken during the 1960s. Remarkably, this was also the case in the USA where - also for the first time - the LP's track listing was exactly the same as in the UK. The only American alteration was the removal of the high pitch tone and garbled speech embedded in the run-out groove. An initial run of 148 weeks in the British album chart included a total of 27 weeks at number one between June, 1967 and February, 1968 (it was interrupted occasionally by The Sound Of Music soundtrack album and lal Doonican Rocks But Gently). In the USA it remained at number one for fifteen of its initial run of 88 w eeks in the Top 200. Even before Sgt. Pepper was released. The BEATLES had started work on the title track of their next project, the TV film Magical Mystery Tour ...




    1. 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
      And Sgt. Pepper's Lonely Hearts Club Band.

    2. With A Little 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 I'll 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.

    3. Lucy In The Sky With Diamonds

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

    4. Getting Better



      It's getting better all the time
      I used to get mad at my school
      The teachers who taught me weren't cool
      You're holding me down, turning me round
      Filling me up with your rules.
      I've got to admit it's getting better
      A little better all the time
      I have to admit it's getting better
      It's getting better since you've been mine.
      Me used to be a angry young man
      Me hiding me head in the sand
      You gave me the word
      I finally heard
      I'm doing the best that I can.
      I've got to admit it's getting better
      I used to be cruel to my woman
      I beat her and kept her apart from the things that she loved
      Man I was mean but I'm changing my scene
      And I'm doing the best that I can.
      I admit it's getting better
      A little better all the time
      Yes I admit it's getting better
      It's getting better since you've been mine

    5. Fixing A Hole

      I'm fixing a hole where the rain gets in
      And stops my mind from wandering
      Where will it go
      I'm filling the cracks that ran through the door
      And kept my mind from wandering
      Where will it 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.

    6. She's Leaving Home

      Wednesday morning at five o'clock as the day begings
      Silently closing her bedroom door
      Leaving the note that she hoped would say more
      She goes downstairs to the kitchen clutching her hankerchief
      Quietly turing the backdoor key
      Stepping outside she is free.
      She (We gave her most of our lives)
      is leaving (Sacraficed most of our lives)
      home (We gave her everything 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 though 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 was always denied
      For so many years. Bye, Bye
      She's leaving home bye bye

    7. 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.

    8. 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 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.

    9. 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 till 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 it 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 mornings 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.

    10. 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.

    11. Good Morning., Good Morning

      Nothing to do to save his life call his wife in
      Nothing to say but what a day how's your boy been
      Nothing to do it's up to you
      I've got nothing to say but it's O.K.
      Good morning, good morning...
      Going to work don't want to go feeling low down
      Heading for home you start to roam then you're in town
      Everybody knows there's nothing doing
      Everything is closed it's like a ruin
      Everyone you see is half asleep.
      And you're on your own you're in the street
      Good morning, good morning...
      After a while you start to smile now you feel cool.
      Then you decide to take a walk by the old school.
      Nothing has changed it's still the same
      I've got nothing to say but it's O.K.
      Good morning, good morning...
      People running round it's five o'clock.
      Everywhere in town is getting dark.
      Everyone you see is full of life.
      It's time for tea and meet the wife.
      Somebody needs to know the time, glad that I'm here.
      Watching the skirts you start to flirt now you're in gear.
      Go to a show you hope she goes.
      I've got nothing to say but it's O.K.
      Good morning, good morning...

    12. 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.

    13. A Day In The Life

      I read the news today oh boy
      About a lucky man who made the grade
      And though the news was rather sad
      Well I just had to laugh
      I saw the photograph.
      He blew his mind out in a car
      He didn't notice that the lights had changed
      A crowd of people stood and stared
      They'd seen his face before
      Nobody was really sure
      If he was from the House of Lords.
      I saw a film today oh boy
      The English Army had just won the war
      A crowd of people turned away
      but I just had to look
      Having read the book.
      I'd love to turn you on
      Woke up, fell out of bed,
      Dragged a comb across my head
      Found my way downstairs and drank a cup,
      And looking up I noticed I was late.
      Found my coat and grabbed my hat
      Made the bus in seconds flat
      Found my way upstairs and had a smoke,
      Somebody spoke and I went into a dream
      I read the news today oh boy
      Four thousand holes in Blackburn, Lancashire
      And though the holes were rather small
      They had to count them all
      Now they know how many holes it takes to fill the Albert Hall.
      I'd love to turn you on