Considered the greatest album of all time

it's just pop

I like abbey road the most

>considered the greatest album of all time
>changed music forever
>production is GOAT
>universally acclaimed
>it was probably the first album that was a gigantic success both critical and commercial
>it's their best selling album
>first rock album that won a fucking grammy
>Brian Wilson, the guy who inspired this album, said it was better than his masterpiece SMiLE
>when it came out, nearly every rock musician surrendered in keep trying to surpass the Beatles, since they were at dangerously levels of based and GOAT songwriting
>Scaruffi gave it their highest score
>the singles it spawned were Godtier
>it has fucking A Day in the Life
>keeps filtering plebs till this day

>Yep, i think it's their be-
>I'VE GOT A BIKE YOU CAN RIDE IT IF YOU LIKE

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Then came Hendrix who fucked their shit, then came The Doors killed them and then Zeppelin to bury the fucking bugs.

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i mean, i like fixing a hole but desu i got more enjoyment out of magical mystery tour

Sgt Peppers is the most overrated album in history. A Day in the Life can not carry the whole record

even as someone who loves Paul's grannyshit, when I'm 64 is just a song that I have to be in a rare mood for

I'd still prefer the Rubber Soul album anyway.

The music of this album aged like shit, and you only think it's best just for the impact instead of the actual music. What a fucking retard

It’s the only shitty song on the album. The rest are 10

Being For The Benefit of Mr. Kite! is one of their best songs, prove me wrong.

Explain the hate on When I'm 64

They’re contrarians and/or Beach Boys fans.

It’s granny shit.

We need a board wide purge of beatles threads

i always think this is the Macabre album when i click on threads with it. disappoint

Bump

That zappa parody cover was pretty cringe tho, imagine seething this hard lmao

even if it isn't my favorite, i still think in terms of objective speaking it is the GOAT

cringe zappafags and their inflated sense of importance

I second this

Really? I think for his granny shit it’s probably his strongest
Fixing a hole on the other hand

OH BOY ANOTHER FUCKING BEATLES ALBUM IM SURE THIS WILL BE BETTER THAN THE 60 OTHER WE'VE HAD TODAY

It's possibly the granniest song Paul ever wrote

I agree with a lot of what you said except for
>it was probably the first album that was a gigantic success both critical and commercial
Not even the first Beatles album to do this, although I understand what you mean
>Brian Wilson, the guy who inspired this album, said it was better than his masterpiece SMiLE
You may be misquoting. I could be wrong. I know he said something very similar though. Also, SMiLE isn't GOAT tier by any means. If anything would be compared, it would be Pet Sounds.

The Clash did it better

Love this album but Grammys are irrelevant.

Wrong. Sgt Peppers and the Smile Sessions are my 2 favourite albums of all time. I like them both

It was a work of art. I remember listening to it as a kid and being blown away. It still blows me away years later and always will. It’s just the perfect combination that most people will enjoy. Idc how popular it is it’ll still stay at the top of my lists for personal reasons. Also Magical Mystery Tour still amazes me aswell.

BASED AND SCHIZOPILLED

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Not everyone can be like you.

The popularity of an album should never dictate how you feel about it.

How old are you?

Based and Sgt. Pepper's pilled.

*beats your gf up*

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>Brian Wilson, the guy who inspired this album, said it was better than his masterpiece SMiLE

Fun fact, Paul McCartney said Sgt. Peppers was The Beatles' attempt at a Frank Zappa album, so if anything Freak Out! is better.

>Freak Out! is better.
But it isn't

>considered the greatest album of all time
that's not TVU&N user

Mono version is superior, although I haven't heard the Giles version yet.

You're right.

>mfw that calliope

Oh come on. Stop being contrarian, mate.

No. Abbey road straight play through on mono vinyl. You talk about GOAT? This is spiritual. Bryan Wilson's take on his own work is irrelevant, no artist is left to gauge themselves in this regard, for better or worse. Artists create and others judge.

Abbey Road is the better album, fight me

revolver has too many second rate filler songs to be better than pepper

>contrarian
I'm literally not being, tho

Correct and undeniable. Pretentious fools insist on this, the most pretentious insist on the White Album.

Abbey Road is the only correct choice.

abbey road is the most pretentious beatles album you fucking tramp

You know what? Fair enough.

This quasi-concept album was released while the Monterey Festival was consecrating the sanctifiable, the big names of the times. Unlike most of the revolutionary records of those days, often recorded in haste and with a low budget, Sgt. Pepper cost a fortune and took four months to put together. The Beatles soar in the ethereal refrain of Lucy In The Sky With Diamonds, utilizing the sitar, distorted keyboard sounds and Indian inspired vocals; they indulge in Vaudevillian tunes such as Lovely Rita and When I'm Sixty Four (a vintage ragtime worthy of the Bonzo Band), and they showcase their odd melodic sense in With A Little Help From My Friends. They scatter studio effects here and there, pretending to be avantgarde musicians, in Fixing A Hole and Being For The Benefit Of Mr Kite, but in reality these are tunes inspired by the music halls, the circuses and small town bands. A Day In The Life is the culmination of the relationship between technique and philosophy. It represents the happy marriage between Martin's sense of harmony, employing a 40-piece orchestra in which everybody plays every note, and Lennon's hippie existentialism, that dissects the alienation of the bourgeoisie.

Everything was running smoothly in the name of quality music, now entrusted to high fidelity arrangements and adventurous variations of style, from folk ballads to sidewalk Vaudeville, from soul to marching bands, from the Orient to swing, from chamber music to psychedelia, from tap dance to little bands in the park. Everything had been fused into a steady flow of variety show skits.

Rather than an album of psychedelic music (compared to which it actually sounds retro), Sgt. Pepper was the Beatles' answer to the sophistication of Pet Sounds, the masterpiece by their rivals, the Beach Boys, released a year and three months before. The Beatles had always been obsessed by the Beach Boys. They had copied their multi-part harmonies, their melodic style and their carefree attitude. Throughout their entire career, from 1963 to 1968, the Beatles actually followed the Beach Boys within a year or two, including the formation of Apple Records, which came almost exactly one year after the birth of Brother Records. Pet Sounds had caused an uproar because it delivered the simple melodies of surf music through the artistic sophistication of the studio. So, following the example of Pet Sounds, the Beatles recorded, from February to May 1967, Sgt. Pepper, disregarding two important factors: first that Pet Sounds had been arranged, mixed and produced by Brian Wilson and not by an external producer like George Martin, and second that, as always, they were late. They began assembling Sgt. Pepper a year after Pet Sounds had hit the charts, and after dozens of records had already been influenced by it.

Legend has it that it took 700 hours of studio recording to finish the album. One can only imagine what many other less fortunate bands could have accomplished in a recording studio with 700 hours at their disposal. Although Sgt. Pepper was assembled with the intent to create a revolutionary work of art, if one dares take away the hundreds of hours spent refining the product, not much remains that cannot be heard on Revolver: Oriental touches here and there, some psychedelic extravaganzas, a couple of arrangements in classical style. Were one to skim off a few layers of studio production, only pop melodies would remain, melodies not much different from those that had climbed the charts ten years before. Yet it was the first Beatles album to be released in long playing version all over the world. None of its songs were released as singles.

The truth is that although it was declared an "experimental" work, even Sgt. Pepper managed to remain a pop album. The Beatles of 1967 were still producing three-minute ditties, while Red Crayolas and Pink Floyd, to name two psychedelic bands of the era, were playing long free form suites - at times cacophonous, often strictly instrumental - that bordered on avantgarde. In 1967, the band that had never recorded a song that had not been built around a refrain began to feel outdated. They tried to keep up, but they never pushed themselves beyond the jingles, most likely because they could not, just as Marilyn Monroe could not have recited Shakespeare.

Sgt. Pepper is the album of a band that sensed change in the making, and was adapting its style to the taste of the hippies. It came in last (in June), after Velvet Underground & Nico (January), The Doors (also January), the Byrds' Younger Than Yesterday (february), and the Jefferson Airplane's Surrealistic Pillow (February) to signal the end of an era, after others had forever changed the history of rock music. (Several technical "innovations" on Sgt Pepper were copied from Younger Than Yesterday, whose tapes the Beatles had heard from David Crosby at the end of 1966). The uproar generated by Sgt. Pepper transferred those innovations from the US underground to the living rooms and the supermarkets of half the world.

With Sgt. Pepper, the sociology course in melodic rock and roll that Lennon and McCartney had introduced in 1963 came to an end. The music of the Beatles was an antidote to the uneasiness of those times, to the troubling events that scared and perplexed people. The course had the virtue of deflecting the impact of those events, the causes of political upheaval and moral revolution. The Beatles reassured the middle class at a time when almost nothing could reassure the middle class.

Every arrangement of that period - the harpsichords and the flutes, the prerecorded tracks and the electronic effects - was the result of George Martin's careful production. Martin was a lay musician, a former member of a marching band that occasionally had played in St. James Park. He knew that avantgarde musicians made music by manipulating tracks, that instruments with unusual timbre existed, that rock bands were dissecting classical harmonies. His background, not to mention his intellectual ability, was of the circus, the carnival, the operetta, the marching band, London's second-rate theaters. He took all he could from that folkloristic patrimony, every unorthodox technique. The results might not have been particularly impressive - after all he was neither Beethoven nor Von Karajan - but they were most certainly interesting. He was the true genius behind the music of the Beatles. Martin transformed their snobbish disposition, their childish insolence, their fleeting enthusiasm, into musical ideas. He converted their second hand melodies into monumental arrangements. He even played some of the instruments that helped those songs make history. From Rubber Soul on, Martin's involvement got progressively more evident. Especially with Sgt. Pepper, Martin demonstrated his knowledge and his intuition. The idea to connect all the songs in a continuous flow, however, is McCartney's. It is the operetta syndrome, the everlasting obsession of British musicians of the music halls. The Beatles filled newspapers and magazines with their declarations about drugs and Indian mysticism, and how they converted those elements into music, but it was Martin who was doing the conversion, who was transforming their fanciful artistic ambitions into music.

Around the time of Sgt. Pepper's release, Brian Epstein died. (His death was attributed to drugs and alcohol.) He was the man who had given fame to the Beatles, the fundamental presence in their development, the man who had invented their myth. The Beatles were four immature kids who for years had played the involuntary leading roles in an immensely successful soap opera, a part that paid them with imprisonment. For years they did not dare step outside their hotel rooms or their limousines. As Epstein's control began to lessen they began to look around, to take notice of the drugs, the social disorder, the ideals of peace, the student protests, the Oriental philosophies. It was a world completely unknown to them, full of issues they had never mentioned in their songs. The revelation was traumatic. Epstein's absence generated chaos, exposing problems with revenue, representation and public relations that eventually caused the demise of the group, but it also gave them the chance to grow up.

Sgt Pepper represents a breaking point in their career on several levels. It is a very autobiographical conceptual take on self-awareness. It is a concept album about the discovery of being able to put together a concept album

Based