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A 1932 Ford parked by 1950's gas pump, as if frozen in time, at the Cooper-Garrod Estate Vineyards & Garrod Farms in the hills above Saratoga, California.

Mathews' Bristol Street Directory 1871


Coach and Horses Passage, Broadmead


Coalpit Lane, Stapleton Road


Coburg Place, Montpelier


Richard Darke

Mrs William Merryman

Sarah Johnes

Thomas Hunt

John Price, Coburg cottage

?. Raynard, Crofton villa

Mary Agnes Wallace, Hillside villa

George Phelps, Hill view villa

Robert Bruce, Prospect house

James Green, Fairview villa, lodging house

S. Gath, Magdala villa

Robert Burroughs, Leicester villa

George Wilkins, Fern cottage

George Boyden, Stamford house

William Pike, Albert villas

Frederick Hoare, Richmond cottage

Alfred Brewer, Rose cottage

John Fred. Cross, Windsor villa

Henry A. Medway, Belmont cottage

Ebenezer Breillat, Murdock villa

James W. Barton, Gadara cottage

E. Morcom Harwood, Langport house

Joseph Turner, Coburg house

Alfred Belgin Edwards, Coburg villas

Alfred Thomas


(Winsley Villas)


Jacob Napoleon Smart, barge owner

Rev. Charles Witherby, Ashley lodge

Harry Gilbert James, Ashley hill cottage


Coburg Road, Upper Cheltenham Place to Ashley Hill


Cock and Bottle Lane, Castle Green to Castle Street


Harvey Amphlett, vict, Cock and Bottle (pub)


Cock and Bottle, Cock & Bottle Lane, Castle Green


1752 John Bennett / 1792 - 1806 William Smith / 1816 James Banford / 1820 - 23 Timothy Maggs / 1826 James Morgan 1828 Charles Fenton / 1829 to 1835 Henry Scrase / 1836 Hannah Scrase / 1837 to 1840 Edward Skinner 1841 to 1858 Richard Edgeworth / 1859 to 1870 Henry Hall / 1871 to 1876 Harvey Amphlett the 1841 census lists Richard Edgeworth’s occupation as bottle maker.


Thomas Pomphrey, vict, Star (pub)


STAR Cock & Bottle Lane


1752 William Harford / 1775 James Baker / 1792 Bridget Burton / 1794 Richard Mapowder / 1806 - 26 William Davies 1828 - 30 Elizabeth Davies / 1831 - 44 Joseph Olive / 1847 - 60 William Vickery / 1863 Leonard Jarvis 1864 to 1870 William James Pester / 1871 to 1876 Thomas Pomphrey / 1877 to 1885 Harvey Amphlett / 1886 to 1896 William Scott 1897 Albinus Scott / 1899 Alfred Grindell / 1901 - 14 Sarah Ann Fudge / 1917 Roderick Macleod / 1921 - 25 Henry Hayward 1925 to 1937 William G. Arthur / 1938 George Cook / 1940. Ellen Amelia Collins the rent paid by Ellen Collins in 1940 was £50 per annum and the landlords were The Bristol Brewery Georges & Co. Limited. The Star was destroyed by bombs on the 24th November 1940, Ellen Collins moved to the Bunch of Grapes, King Street.


Cock Passage, Redcliff Street


Cock Pit, Back Street, St. Nicholas


Codrington Place, Richmond Park, Clifton


Philip John Worsley

Miss Anna Maria Monckton

John Mercer

Miss Sophia Hoare


Cohen’s Buildings, Millpond Street, Baptist Mills


Cold Bath Court, Jacob’s Wells


Cold Harbour Lane, Redland Road


College Crescent, Lower College Street


College Green, St. Augustine’s Parade to Park Street


Church St. Augustine's The Less - Vicar, Rev. Thomas C. Price, M.A.

College Green Hotel - manager, W. Swanson

John Burleigh Dixon, solicitor

Owen and Hathaway, dress makers

Samuel Carter, barrister-at-law

Baths - Mrs Jenkins

The Cathedral

Chapter Office - George A. Bessell, chapter clerk

Isaac Trott, sub-sacrist .

Joseph Bell, artist on glass

Thomas W. Vessey & Son, pawnbrokers

Ann Fisher, lodging house

Samuel Ocock, lodging house

Augustus Whittard, tobacconist

Harriet Thresher, dressmaker

Thomas Bromfield, sexton of St. Augustine’s church

Jemima Harrill, bookseller

W. B. Westaway

Mrs Sophia Nicholls, lodging house

Mrs Giraud, boarding house

R. H. Shrapnell and Son, grocers

William H. Midwinter, artist & photo

Robert Cade Cuff, chemist

Ann Redman, fur manufacturer

James and Short, silk mercers and drapers

Olivia Parnell, ladies outfitter

St. Mark's the Mayors Chapel

John J. Peters & Co. gold and silversmiths

Daniel Peters, tailor and draper

Spark and Tait, silk mercers, etc

J. F. Taylor, silk mercer, etc

Abraham Dimoline, music warehouse

Samuel H. Latrobe, watchmaker

Richard Castle, outfitter and hosier

Edwin Gillard Camp, hair dressing saloons and baths

The Misses Holesgrove, milliners

Walter Hughes & Son, house and estate agents

W. H. Hawtin, architect

C. and W. Trapnell. cabinet makers

John M. Stevens, tailor and draper

Henry Lambert, jeweller, etc


Jolly & Son, Ladies Fashion, Drapers


Founded about 1860.. The large shop windows always featured a tasteful display of fashions and fabrics and household linens. In 1940 the premises were destroyed in the blitz, the company moving to 62/64 Whiteladies Road.


A Thomas Thatcher, bookseller

Edwin Cr. Allen, trunk maker

Mrs E. A. Coulsting, toy warehouse

William Madden, grocer


College Place, College Green to St. Georges Road


Caroline Phillips, bonnet maker

T. W. Shepstone, printer

William Hemmings, linen draper

James Lewis, grocer


James Lucas, vict, Prince Regent (pub) No longer a pub by the first world war, this building on the corner with Frog Lane was pulled down in 1936.


William Frederick Langdon, oil & color man


John Leakey, vict, Odd Fellows' Arms (pub) 1868 J. Wallbridge / 1871 - 72 John Leakey / 1874 - 75 E. M. Coles / 1876 - 79 William Marshall / 1881 John Rocket 1882 - 83 Edward Phelan / 1885 John Rockett / 1886 H. Lambert / 1887 George Osborne / 1888 Thomas Bebbington.


Francis Honey, greengrocer


Frederick Wookey, vict, Boars' Head (pub)


Boars' Head, Limekiln Lane / College Place


1752 - 55 Abraham Parfitt / 1762 - 64 Mary Parfitt / 1775 - 92 Robert Andrews / 1794 William Mullis / 1794 - 1800 John Whitcomb 1806 William Newsom / 1816 Richard Parsons / 1820 - 22 John Griffiths / 1823 Mary Crook / 1826 - 34 James Rouse / 1837 William Price 1839 - 40 Thomas Jones / 1842 - 49 Thomas Clarke / 1851 - 52 Mary Clarke / 1854 - 57 John Thayer / 1858 to 1860 Henry Hill 1861 to 1867 David Griffiths / 1868 to 1890 Frederick Wookey / 1891 - 94 David Avery / 1896 George Green 1899 - 1906 Thomas Dark / 1909 Ernest Palmer.


William Jenkins, coach smith

James Creswell Wall

Charles Bartholomew, Turkish baths

William Rogers & Co. carriage makers

Fuller and Son, coach makers

George Wood, marble works

John Andrew, tailor and draper


Charles Harry Jones, vict, Star Tavern (pub) The Star was removed with many other buildings and streets in 1935 to make way for the new Council House.


College Place East, Pembroke Rd to College Rd. South


John Comly Olive, Heatherfield

William Merrett Webb, Failand lodge

Rev. Robert Burton Poole, Olden lodge

Zoological Gardens

Clifton College

Emmanuel Church


College Road South, Clifton Park to Durdham Down


William Harrington Bush, Kelston villa

Mrs Stonehouse Vigor, Gordon house

Mrs Amy Edlin, Wentworth house

Major Alexander Maclean, Gertmore house

Richard Henry Lambert, Guyder villa

Samuel Alexander, Avondale lodge

William Spark, Redclif house

Thomas Baker, Martley house

Edward Harris, College house

Harry G. Dakins

Thomas Brown

Clifton College, Rev. J. Percival, head master


College Road West, Canynge’s Rd to College Rd, South


Rev. Bedford Hartnell, Rodborough house

?. Glenfarg villa


College Square, or Lower College Green, nr. Cathedral


College Street, College Green


Edward Barr and Son, saddlers

John Griffiths, tailor

Mrs Henry Lucas, baker & corn merchant

Samuel Simms

John William Belsten, baker

William Weston, lodging house

James Miller

George Dunsford

Thomas Crossman

Wallace Arter, jeweller

Henry T. Harris

William Harvey

A. S. Carpenter, dress maker

Edward Staples

William Elliott

John Davis

George Phillomore

O. Owens, grocer

Robert Cole

Joseph Battle, paperhanger etc

J. Perrott, coach builder

John Allpass, china dealer


William Howes, vict, Falcon (pub)


Falcon, Bishop’s Park, College Street


1826 - 30 Thomas Alsop / 1831 - 1833 Henry Jones / 1834 Joseph Hadley / 1839 Charles Williams / 1840 to 1858 John Tippett 1859 William Jones / 1860 to 1886 William Howes / 1887 - 92 Maria Howes / 1894 Samuel Phipps / 1896 Mrs. Shill / 1897 Frank Shill 1901 - 06 Jeffery Alcock / 1909 Kathleen Maud Rice / 1914 William Thrush.


Mrs Battell

Miss Price, British Workman dining hall & reading rooms

James Flower, mason and builder

James Hallett, plumber and painter

Elizabeth Vowles

Charles A. Arnold, carpenter

Miss M. Canning, dressmaker

George Hurn, fly proprietor

Thomas Ball Powe

William Parfitt, boot maker

Henry King

Francis T. Gough

James Evans

Robert Gough

W. Pole

D. Courtenay

William Sullivan, joiner

Edward C. Keyes, carpenter

Francis Cousins, bootmaker

William Hail

James Wootton

John Perry

Harriet Gibbs

John Gillingham, Waiter

Robert Mead, (police)

William Beake, greengrocer

?. Phillips

James Norman

Henry Arnold

C. Hazard, paperhanger

George White

Henry Steele

Elizabeth Bromage, lodging house

Fuller & Co. coach builders

John H. Fielder

Sarah Tucker

Horse Repository, John H. Fielder

John Chidgey, boot maker

Daniel Brady, bookseller & stationer

?. Hawkins, greengrocer

George Wood, marble works


College Street (Lower), College Street to St. Georges Road


Robert Yeandel, marine store dealer

David William Brake

Robert Stone

George Jones

John Rawlings

John Sealey

Mark Buffery

William Reed, tailor

Mrs Reed, midwife

Mrs Williams

George King, stevedore

John Brookman, ship & house smith


Christopher J. King vict, Ship on Launch (pub)


Ship on Launch, Lower College Street (Partition Street)


1847 William Beedell / 1853 Richard Francis / 1863 - 71 Christopher King / 1872 George King / 1874 Alfred Leach 1875 - 79 Charles Flook / 1881 - 82 Joseph Fiddes / 1883 to 1886 Daniel Organ / 1887 Catherine Organ / 1888 - 89 Henry Britton 1891 - 1901 Lewis McCarthay / 1904 - 14 Mary Ann Brewer / 1917 - 35 Frederick Gibbings / 1937 Phyllis Jarman.


John Williams, carpenter and timber dealer

Alfred Brake, plasterer

George King, stevedore


John Brookman, vict, Chequers (pub)


Chequers, Limekiln Lane / Lower College Street


1800 Thomas Edwards / 1816 - 30 Thomas Merriman / 1847 - 55 Benjamin Vowles / 1856 - 63 Thomas Morgan 1865 - 82 John Brookman / 1885 Charles Grimster / 1886 A. Clarke / 1887 Albert Adams / 1888 - 97 Jeffrey Alcock 1899 - 1901 Alfred Clarke / 1904 Jonas Hancock / 1906 John Burrow / 1909 - 31 Edward Mayo. On the 24th June 1884 the Chequers was taken on a 7 year lease at a rent of £36 per annum by James Lockley, brewer of Lewin’s Mead. The lease was one of 22 sold by James Lockley to the Bristol United Breweries Limited on the 25th March 1892 for the total sum of £11,000.


William Goldsmith, shopkeeper

William Lawley

Harriet Tozer, grocer

Edwin Post

Thomas Sherborne, coach trimmer

William Amos, boot maker


College Terrace, College Road, Clifton


James Watson Russell, College lodge


Collin’s Court, Kingsland Road, St. Philips


Colonnade, Hotwells, near Zigzag


William Miller

George Davis

Robert Fenton


Colston’s Court, Colston Street, Bedminster


Colston’s Parade, Pennywell Road


Colston's Parade, Redcliif Hill to Cathay


Jesse Vickery, sexton Redcliff church

William Nation, washing powder manufact

Matthew Perkins

Joseph Smith, house & sign painter

Charles Whatley



Colston's Parade Lower, Redcliif


Mrs H. S. Allen, vict, Three Cups and Salmon (pub)


Three Cups and Salmon. Redcliff Street / Lower Colston’s Parade


1752. Nerias Decias / 1794. William Jellott / 1800 - 06. John Phillips / 1816. Thomas Griffiths / 1820 - 22. Mary Griffiths 1826 - 42. James Fuller / 1849. ? Winstone / 1851. Henry Quick / 1853 - 54. William Bushell / 1855. ? Cook / 1857 - 60. G. Watkins 1863. Frederick Giblett / 1865. Matilda Davies / 1866. Ann Hill / 1871. Mrs. H. Allen / 1874 - 76. William Tuck / 1877. Thomas Perry.


William Sambourne

James Harding

Patrick Byrne

E. A. & W. Greenslade, timber yard


Colston's Parade, Stapleton Road


Colston's Place, Milk Street


Colston's Place, Petticoat Lane, Temple


Colston's Place, Pennywell Road


Colston's Place, Lower Easton


Colston's Cottages, Colston Street, Cathay


Colston Street, Cathay, Redcliff


Henry Joseph Woodcock, beer seller

Mary A. Price, beer seller

Mrs Elizabeth Crossman, beer seller

Sarah Gover, shopkeeper

Thomas Tanner, shopkeeper

James Chamberlain, shopkeeper

Elizabeth Parfit, shopkeeper

Michael W. Davis, shopkeeper

James D. Llewellin, oil & soap stores


William Little, vict, Red Horse (pub) 1842. Robert Watson / 1847 - 53 Lydia Watson / 1855 - 57. Charles Smith / 1858. John Stevens / 1860 - 61. George Bird 1863. James Bailey / 1865. James Barter / 1866. Ann Barter / 1867 to 1868. John Allen / 1869 to 1875. William Little 1876 to 1891. John Prewett / 1892 - 99. Robert Giles / 1901. Amy Giles / 1906. Rose Bennett / 1909 - 21. Tom Bond 1925 - 31. Daniel Sixsmith.


Colston Terrace, Horfield Road, Kingsdown


Colston Terrace, Pennywell Road


Colston Terrace, Milk Street


Samuel Stowe

John Tucker

Susan Doubting

James Holly

Henry Jones


Commercial Place, Horfield Road, Kingsdown


Commercial Place, Temple Backs


Commercial Road, Pipe Lane, Temple


Commercial Road, Bedminster Bridge to Bathurst Basin


Redcliff Almshouses

Henry Sweet, Vine cottage

William C. Nelson, Ivy cottage

Lankford and Co. cement works

William Bevan, shopkeeper

William Cook, shopkeeper


Edward Jacobs, vict, Velindra Hotel (pub) Originally known as the Prince of Wales, the Velindra is named after the Cardiff Steam Navigation Company’s steamer, thVelindra, which was berthed around the corner at Bathurst Basin.


Richard Long, house and ship smith, etc. French yard


Joseph Parry, vict, Taliesin (pub) 1860. Elizabeth Rich / 1861 to 1865. George Parry / 1866 to 1871. Joseph Parry / 1872 to 1875. Robert Chubb 1876 to 1877. Jane Larkham / 1878. Francis Quartly / 1879 to 1881. George Fryer / 1882. J. Harding / 1883. R. B. Baker.


William Vincent, Wapping coal wharf


Commercial Row, Hotwell Road


Compasses Court, Sloper’s Lane, St. Philips


Conduit Place, Jubilee Place to Lower Ashley Road


Conduit Road, Lower Ashley Road, St. Paul's


George Haynes

John Burgess

William Baxby

Henry Smith


Constance Court, Bridewell Street


Constitution Hill, Police Stn. Brandon Hill to Clifton Wood


Cook’s Gardens, Cook’s Road, Dings


Cook’s Lane, Killboar Street


Cook’s Road, Dings


Corn Street, Wine Street to Clare Street


1854 The once celebrated coaching-house, the Bush Hotel, Corn Street, was ordered to be demolished in May, to make way for the new West of England Bank. Whilst the workmen were removing the flooring of one of the large rooms, they discovered a canvassing card of Henry Cruger, printed daring the contest of 1781, in which that gentleman appealed for support as “a zealous Promoter of Trade, Peace, and Harmony between Great Britain and America”.


J. Hayward, bookseller & news agent

North British Insurance Company

J. H. Clifton, solicitor

Norwich Union Insurance - G.Bunyon

Exchange Buildings

Old Post Office Chambers

Lancashshire Insurance Office - J. Scott, resident secretary

G. B. and H. Murly, solicitors

G. Corner & Co, tea dealers

Cunnnins and Marten, African merchants, etc.

London & Lancashshire Insurance Buildings

London & Lancashshire branch - H. C. Anderson, resident secretary

Robert Linton, solicitor


(Shannon Court)


London and Lancashire Insurance office

Robert Linton, solicitor

Henry Beddoc, attorney

Daniel J. Peters, solicitor

Daniel and Cox, solicitors

Hutchinson & Dodds, law stationers, auctioneers

Stephen Cossham, accountant

Charles Taddy, attorney & proctor

Isaac Cooke and Sons, attorneys

Denning, Smith & Co., public accountants, auctioneers

Fry and Otter, attorneys

Edward Calder, attorney

W. H. Jefferis, surveyor

John Watling, accountant

William Whereat, bookseller

Bank - Miles, Miles, Savile, Harford, and Miles

Impererial Insurance Buildings

Fedden, Bevan, and Hobbs, Impererial Fire Office

J. Hobbs, agent to Railway Passengers’ Assurance office

William Smith & Co., produce brokers and corn agents

J. Marmont, land agent. & surveyor

Training Ship Association Office, Mr. H. Fedden, secretary

Robert C. W. Ross

William Thomas, Briton Office

?. Beeks, artist


(Liverpool Chambers)


Liverpool and London and Globe Insurance Office - J. N. Lane, resident secretary

Sturmey, Howells,& Co. wine merchants

Fussell, Prichard, and Swann, attorneys

Bristol Cemetery Company, J.F. Fussell, clerk and registrar

J. Taplin, druggist

Arthur Pranglcy, analytical chemist

Edward R. Batchelor, Wine merchants

Stuckleys' Banking Company

Godwin & Chilcott, woollen drapers

W. H. Piggott & Son, tailors

O’Donoghue & Rickards, solicitors

West of England Insurance Company - H. L. Riseley, sec.

S. N. Solomon, solicitor

National Provincial Bank - Robert Fergusson, manager

J. P. Sturge 8: Sons, land agents

Thomas Harris, agent to County Fire office

George Frederick Fox, solicitor

Old Bank - Cave, Baillie, Edwards, Baillie, and Cave

William Essery

George Gibbs, gun manufacturer

Royal Insurance Buildings

V. J. and H. Fedden, colonial brokers, etc.

Stanley & Wasbrough, attorneys

Charles John Simmons, attorney

Channel Dock Company - George Drummond, secretary

Port Rail & Pier Company - Hew Dalrymple, secretary

Kruger, Beale, & Co. merchants

J. W. Nightingale, produce brokers

Gloucester & Bristol Church Association

James & Hy. Grace, accountants and estate agents

Edward & Thomas Bird, linen & carpet warehouse

Bristol Commercial Rooms - J. M. Hale, master

St. Werburgh's Church - Rev. Canon Hall, B.D.

John and Samuel Wedmore, grocers

Thomas Henry Weston, bookseller

Thomas Wedmore, merchant

John Bush, solicitor

William Bruce Gingell, architect

A. M. Barr, engraver

Barber and Co., tea importers

West of England Bank - J. P. Gilbert, manager

Council House


Cornish Mount Passage, Broad Quay


Cornwallis Crescent, or Lower Crescent, Granby Hill Clifton Vale


Mrs Fowle

Mrs Willdsor Richards

Misses Granger

Gen. John R. Keily

Mrs Eliza Woodburn

Mrs Louisa Anson

Robert Gay Barrow

Joseph Lancaster, M.D.

Mrs Mary Wood

Rev. Robert Brodie

Frederick Laverton

Mrs Hutton

Mrs H. Packenham

Major R. M. Poulden

James Wright

Mrs Elizabeth Leche

James Dowland

Admiral Thomas Fisher

Capt James Shipton, R.N.

Michael Mogg

Matthew Hughes

Mrs Henry Winkworth

Henry Riddle

Misses Riddle

Mrs Emma Rodbard

Misses Goldney

William Rees

Col. W. D. Grant

Augustus Fielding Woodward

John S. Hare

Rev. Thomas White Boyce

Rev. George St. John


Cornwallis Grove, Clifton Road, to Cornwallis Place


B. Castle, Grove house

Edgar Musgrove

Gorge Rock Woodward


Comwallis Place, Baptist Mills to Stapleton Road


Mrs William Youlton, vict, Artisan Tavern (pub) 1865 - 69. Edwin Naish / 1871 - 72. John Wilkey / 1874 - 87. John Wilcox / 1888. Thomas Clohesy / 1889. Henry Byford 1891 - 92. Francis Tripp / 1896. David Turner / 1899. Frederick Hicks / 1901 - 28. John Davis / 1931 - 38. William Ewart Smith 1940. Doreen Lilian Bralant / 1941 to 1951. Rose Sarah Hawkings / 1951 to 1953. Samuel Dufty / 1953. Henry John Lapham.


Anne Price

Joseph Whippey, master of Counterslip school

Henry Brothers

Alfred Saunders

James Vivian Tippett, lithographic artist

Miss Caroline Merchant

John Dangerfield

The Misses Mary Ann and Jane Headford

Wintour Evans Baker, chemist

?. Wren, carpenter

William Ogborne, news agent

William Blackler

Mrs Tripp

Mary Ann Fothergill

William Bird, butcher

John Carey, grocer and tea dealer

Thomas Mitchell, gasfitter and bell-hanger


Coronation Buildings, Coronation Road


Coronation Cottages, Coronation Street, Bedminster


Coronation Court, Coronation Street, Bedminster


Coronation Place, Back Street


Coronation Road, Bedminster bridge to Ashton turnpike


Zion Chapel


(Trafalgar Place)


John Jones, carpenter

William Burgess, carpenter


Ann Leakey, vict, Grosvenor Arms (pub) 1871 - 77. Ann Leakey / 1878 - 79. Charles Hill / 1883 - 85. Clara Wadley / 1887 - 1901. Henry Heale / 1904. George Charley 1906 - 09. William Landsdown / 1914. Annie Taylor / 1917 - 21. William Thrush / 1925 - 38. Albert Roberts / 1944 - 53. Arthur Baylis 1960. E. Hodge / 1975. S. E. Hall.


(Wellington Terrace)


Charles Frost, coach builder

Jane Deeble

James Swanton

Thomas C. Phillips

Hannah Davis

Enos Gay

George Hatherly

George Gotley

Robert Beake, general haulier, Wellington cottage

Susan Clark, timber and slate merchant


(Richmond Place)


Joseph Venn

Walter Hext, accountant

William Creese

Thomas Cleverdon

Robert Westlake

John Tomkins, relieving oflicer

George Webster

Ruffell Lakin Caswell

George Dugdale

Captain Trezise

Capt. John Roals, R.N.

Thomas Clark, jun.

David R. Raggatt, accountant

John Warry

Capt. Charles Frederick Purcell

John Watts .

William Robins

John G. Moar, Tortworth villa

Richard Bryant, Tamworth villa

William Reece, Bedford house

Sarah Ann Pritchard, Dresden house


(Clarence Place)


Joseph Dyer Harrison

Capt. Henry Able

Elizabeth White

Edward Blandford

George E. Maggs

John Hopkins

Jabez Bryant

Charles S. Sampson J

Thomas McDonald Darling

Mrs Isabella W. Thomas

W. Hatsell

Sarah M. Devey

John Garrod

James Callaway Pratt

Joseph Yeates

Thomas Bickle

William Orchard

Thomas Hill Rossiter, Clevedon house

Joseph Adams, Llanover villa

William Warcup, C. E. Lyndhurst villa

St. Paul's Church


Mary Mapstone, Melbourne villa

Loulsa Brooking, Brougham villa

Neville lodge

Charles Baker, Bermuda lodge


(Nelson Terrace)


Dr. Keall

Samuel Lane

Thomas M. Freestone

Harriet E. Gardiner

Daunton & Vowles, millers

John Hatcher Heanes

Mrs Harris

Jane Martin

John Tomlinson

Henry Rider

Henry Kinsman, Fairfield villa

William Henry Fowler, Fairfield house

Albert Bass, 1, Oriel villa

Thomas William Tilly, 2, Oriel villa

Henry Hall Bishop, Nelson lodge


(Ashton Terrace)


William Turner

William Swan, com-trav

Benjamin Parker

George Kennedy, com-trav

John Fairbairn

Mrs John Worth

William White

John Barrett, music master

Thomas Gevers

Mrs Sarah Humphries

James Antrobus

Francis Parker

Edward Caines Withey, accountant

William Vincent


(Coronation Villas)


Charles Sherwood

William Henry Cooper

S. Billett, tailor

John Payne, junr.


(Lower Ashton Terrace)


Capt. George Ray, 1, Avon cottages

Henry Bartlett, 2, Avon cottages

William John Cooke

Samuel Gainey

Thomas Jones

George Elms

Isaiah Cartwright

John Hicks

William Shore

Mary Ann Baker


William John Stowell, vict, Packet Tavern (pub) near the corner with Greenway Bush Lane the Avon Packet is still trading.


(Dowry Place)


Charles John Turner, greengrocer

William Jarvis, butcher

Marianne Cole, greengrocer

John Kingdon, Leigh view villa

Wm. John Matthews, Duncan villa

Geo. H.A11crum, 1 Greenbank villas

Daniel Le Vesconte, 2 ditto


(Greenbank Terrace)


Thomas Spear, engineer

Lucy Bagwell

James Stacy

Joseph D. Hill

Edward Eckersley

William Jenkins

Charles Silverthorne

Sarah Palmer, Victoria cottage

James T. Criddle, Clifft cottage

Stephen F. Cox, Clift house

Cox Brothers, tanners, Clift house yard

John Payne, engineer, Vauxhall Iron Works

Vauxhall Ferry


Coronation Street, Mill Lane, Bedminster


Coronation Villas, near Ashton Terrace, Coronation Rd


Corse Lane, Jacob’s Wells


Cotham Brow, Cotham Side to Cheltenham Road


William Henry Short, South view

Miss Fanny Holden, Dunkeld villa

John Pottow, Edingworth villa

Samuel Brewer Wearing, Windsor villa

The Misses Price, Glenthorn villa

Samuel Penny, Hope villa

Mrs Crocker, Manilla villa

John Hellier, Lynmouth villa

William Harry Sleeman, Bridgeford villa

Henry Matthews, Rowallan villa

Mrs Richard Hughes, Charlton villa

Samuel Capper, Cotham brow villa

Frederick Cordeux, Strasbourg villa

Charles Wills, Lavant villa

John G. Linthorne, Whiteleigh villa

George Jackson, Forth villa

Simon B. Simmons, Mounts Bay villa

John Harford Jones, Arundel villa

Mrs Ann Lewis, Stinchcombe villa

Alfred Townshend, Greenbank villa

Rev. James Clapham, Springfield villa

Mrs S. Dyer, Mobile villa

William Knowles, Lucerne villa

Rev. E. G. Gange, Kelso villa

Richard Pim, Stratford villa

The Misses Pink, Delotte villa

Frederick S. A. Tratman, Holyrood villa

Mark Allen, Kenilworth villa

Miss Howell, Dennis villa

Alfred Lyddon, Haverstock villa

Joseph Perry, Pillton villa


(Stafford Villas)


Mrs Shortman

William Lawson


(Northcote Villas)


Frank Eddis

Theodore Burrow

Charles M. Bendall

Mrs Mary C. Burn, Craven villa

?. Houghton villa


(Prospect Place)


Joseph Wilson, Llanfoist cottage

Alfred Bartley

John S. Langdon

?. Stretton, Nelson villa

James Bessell, Streatham villa

?. Chandos villa

Mary Ann Iles, Claremont villa

Alfred H. Blizzard, Fairfield villa

James Collins, Sandford villa

Edward Bishop, Panworth villa.

Edward T. Thornley, Tudor villa

Edward Edwards, Skiffington villa

James H. T. Bowsher, Cambridge villa

?. Cotham Brow villa


(Fremantle Villas)


Maria Vines

John Heaven

Louisa Mary Lingford

William Reed

Henry John White Newton

Thomas Southerdon

Henry Lloyd


Cotham Grove, Cotham Park to Lover’s Walk


Edward Oldfield

Samuel N. Price

William H. Littleton, Devon villa

Mrs John Cook, Rosemont house

Edward Robinson, Kingsbury house

?. Horsefall house

Rev. Matthew Dickie, Lindon villa

Miss Mary A. Hall, Glenthorpe

Alfred Pearce, Fincham villa

Mrs Henrietta J. Reed, Elm grove villa

William B. Biggs, Elm grove house

Rev Albert Popham (Independent) Airdrie house

Thomas Stock, Belgrave house


(Belgrave Villas)


Frederick A. Jenkins

Charles Peabody

William Young

William Pierce

Mrs Jones

John Rowe, com-traveller

Miss Aplin

William Richards Baxter

Rev. William Woolhouse Robinson, M.A. Cambridge villa

Edward Harwood Tanner, Montrose villa

Alfred Dunn

Samuel Thomas


Cotham Hill, St. Michaels Hill to Whiteladies Road


Samuel Budgett, Cotham house

St. Joseph's Home, conducted by the Little Sisters of the Poor

Joseph Davis, The Elms

Philip Owen, lime burner


Cotham New Road, St. Michaels Hill to Cotham Road


John Thompson Exley, school

John F. Green, Springfield house

William Saml. Capper, Auburn villa

John Bartlett, Belmont villa

Walter Sturge

Thomas Thompson, Kingshill villa

Frederick Henry Ball, churchill villa

Francis Fry, Tower house

Richard Fry, Cotham lawn

Sarah Atkinson, Rose hill

Samuel Wyatt Smith, Kingsholm villa

Miss Jane Reynolds

Charles J. Trusted, Acton lodge

Joseph Wethered, Orwell villa

John Linton

Henry Humphries, Compton villa

Mark Whitwill, Devonshire villa

John Dix, Burling house

Edward Ash

James Painter, Elm Grove lodge

John Purrier Wasbrough, Walton villa

Miss Eleanor English, Fern villa

R. Say

William James French, Derwent villa

George A. Bessell, Woodford villa

Walter Perry, surgeon & dentist

Mrs Leader, Nelson villa

?. Trafalgar villa

William Killby, Cleeve villa

John Thirnbeek Grace, Portland villa

Benjamin Webb, Tyndale villa

John Bell, Fordton villa

Henry Randall James, Sidbury villa

Miss Burleigh, Chatham villa

Robert Maitland Savill, Brighton villa

Charles H. Hewitt, Osborne house

Mrs Eliz. Redfern, Sherwood villa

John Cousins, Somerset villa

Miss Augusta King, Handsworth villa

James Shoard, Kinder Garten school, Milton villa

Mrs Green, Hampden villa

Ralph Henry Cole, Melbourne villa

William Lucy, surgeon, Dunmarklyn lodge

George F. Prldeaux, Glanmire lodige

Edmund Lane, Alpha villa

Henry Ridler, Highbury villa

Highbury Schools and Chapel


Cotham Park, Cotham Rd and Cotham New Road, Lover’s Walk


Mrs. Keddell, Wharncliffe villa

Miss Elizabeth Brewin

William Priestly Sibree, Brunswick house

Miss Lucilla Betts, Elm villa

John Leaker Morris, Leamington villa

John Charles Whitty, Cotham lodge

Mrs Marget Marriott, Woodburn house

Miss Thomas

Thomas Francis Chris. May, Park house

James D. Brodribb

William Pratten, jun.

George Gay

F. Cordeux

Miss Thomas, Cotham Park school for young gentlemen, Ebenezer house

E. J . Kelly, Ebenezer house

Mrs Woodhill, ladies’ boarding and day school, Thornhill house

John William Langdon, Glenside house

Alfred Hardcastle Burder, Upton lodge

Edward Gustavus Clarke, Woodside lodge

Charles Townsend, Avenue house

James Smith, Herbert lodge

Charles Boorne, Kendrick house


Cotham Place, Hampton Road


Cotham Road, Whiteladies Road to Cheltenham Road


(Linton Villas)


Michael Beaven Warry

George Grimes

Miss A. S. Pike

Mrs Grant


James T. Player, Bassein villa

Edward Phillips, Hyde park villa

Frederick Lucas, Minerva villa

Thomas Henry Yabbicom, Ross villa

Frederick Amory, Stanmore villa

Thomas Gibson, Clydesdale villa

John Stone, 3, Marburgh villas

?. 1, Marburgh villas

Miss Westcott, Llanberris villa

Charles Edward Merry, Mardon lodge

Edward Morgan, Wanstead villa

Robert Mercer, Oriel villa

William Insall, Cotham park villa




Henry John Parnell

James Newton


Cotham Road South, Cotham Park to Kington Place


Henry Derham, Wrington villa

Mrs E. Powell, Cheddar villa

James Hartland, Sandford villa


(Camden Terrace)


William W. Stancomb

Miss Hassell

William B. Hannaford

Oliver Ransford jun.

Mrs Russell

John Frederick Williams

W. H. L. Dunsford

Richard Creeper, Cambrian house

Samuel Wedmore, Llambridge lodge

Mrs Tremlett, Gowdall villa

A. B. Butler, chemist, etc.

St. Matthew's Schools

William Marriott, Stoford house

Mrs Heath, Walton house

J. Thomas, Sidney mews

William Roach, 1, Sidney cottages

William Payne, 2, Sidney cottages

John CardelI, Allanson villa

Thomas Willitts, York villa


(Kington Buildings)


James Roper

Thomas Furlong

John Stark

Hemy Alexander

Thomas Harvey

John Dennis


(Kington Villas)


Edwin Hale

Frederick D. Lemon


(Kington Place)


Samuel Simons, vict, Cotham Porter House (pub)


Cotham Porter House, Kington Place, Cotham Road South


1852 to 1856 George King / 1857 - 58 Henry Davis / 1860 - 63 Richard L. Bodley / 1865 Stephen Bewley / 1866 to 1874 Samuel Simons 1875 E. M. Gortzacoff / 1876 to 1878 John S. Gwynne / 1879 - 83 Sarah Biggs / 1885 - 86 Edward Bowden 1887 to 1893 Mary Jane Biddle / 1894 to 1896 William Slaymaker / 1897 - 99 John Tanton / 1901 - 21 Marion Woolcock 1925 - 35 Marion Enoch / 1937 - 38 Jessie Elsie Hearn / 1944 - 53 Janet May Oaten. In the 1851 census George King is shown in Kington Place trading as a draper. Henry Davis was a cooper, Richard Bodley was an ironmonger and Samuel Simons a brewer. Although listed as the Cotham Porter ‘Stores’ in 1857, the suffix ‘House’ was in use until the early 1930’s.


Henry William Smith

John Robertson

Elizabeth Hill


Cotham Side, Cotham Brow to St. Matthew’s Church


John Harvey, Mythe villa

J. G. Hatchard, Addison villa

Mrs Hallam, Clinton villa

John Henry Griffin

John Hands, Ashfield villa

Daniel John Peters

Alexander Grace

Miss Harriet Hodder, boys’ school, Selma villa

George F. Atchley, surgeon, Eldon villa

Mrs William Hicks Townsend, Strontian house

George Kemp-Welch, Strontian lodge

Samuel Cashmere, Sandwell villa

Joseph Foster, St. Matthew’s villa


Cotham Terrace St. Michaels Hill, nr. Highbury Chapel


Cotham Vale, Hampton Road


Miss Harriet Farrow, dress maker

John William Wells

Mrs Birtell

John Twining, customs

Mrs Elizabeth Welch

Samuel Barnes Miles

Edwin Charles Stopford, com-trav


Cottage Court, Jacob’s Wells


Cottage Place, Alfred Hill


Cottage Place, Montague Hill


Cottage Place, Sion Road, Easton Road


Cottage Place, Union’ Road, Dings


Cottage Place, Waterloo Lane, Cook’s Road


Cottage Place (Lower), Marlborough Hill


Coulsting’s Place, Bread Street, St. Philips


Counterslip, bottom of Bath Street


C. William Finzel & Co. sugar refiners

Counterslip Baptist Chapel

John Wyatt

William Gordon


County Place, Wells Road, Totterdown


County Street, Wells Road to Bath Road, Totterdown


Benjamin Suller

John Bryant

William Price

Charles Anthony Millard

Henrietta Gomm

Job. Wood


Cow Street, College Green to Park Street


Cox Buildings, Hillgrove Hill to Bush Street


James Hartnell, gardener

James Dowling, Yard cottage

John Scott, Cox’s cottage


Cox’s Buildings, Union Road, Dings


Cox’s Place, Union Road, Dings


CR - CU - Bristol Street Directory 1871


Sgt. Pepper's Lonely Hearts Club Band


From Wikipedia, the free encyclopedia


Studio album by The Beatles

Released 1 June 1967

Recorded 6 December 1966 – 21 April 1967, Abbey Road and Regent Sound studios, London, England, United Kingdom

Genre Rock

Length 39:42

Label Parlophone

Producer George Martin

Professional reviews

Allmusic link

Blender link

Robert Christgau (A) link

Crawdaddy! Issue 1.11 1967

Pitchfork Media (10.0/10.0) 2009

Q link

Rolling Stone [1]


The Beatles chronology


(1966) Sgt. Pepper's Lonely Hearts Club Band

(1967) Magical Mystery Tour



Sgt. Pepper's Lonely Hearts Club Band is the eighth studio album by the English rock group The Beatles, released in June 1967.


Recorded over a 129-day period beginning in December 1966, Sgt. Pepper sees the band exploring further the experimentation of their previous album, Revolver (1966).


Making use of orchestras, hired musicians and innovative production techniques, the album incorporates elements of genres such as music hall, jazz, rock and roll, western classical and traditional Indian music; its lyrics deal particularly with themes of childhood and everyday life.


Sgt. Pepper is a loose concept album that sees The Beatles performing as the fictitious band of the album's title.


The cover art, depicting the band posing in front of a collage of famous individuals, has itself been widely acclaimed and imitated.


Sgt. Pepper's Lonely Hearts Club Band was a commercial success, spending a total of 27 weeks at the top of the UK Album Chart and 15 weeks at number one on the American Billboard 200.


A defining album in the emerging psychedelic rock style, Sgt. Pepper was critically acclaimed upon release and won four Grammy awards in 1968.


Often recognised by prominent critics and publications as one of the most influential albums in the history of popular music, Sgt. Pepper frequently ranks at or near the top of published lists of the greatest albums of all time. In 2003, the album was placed at number 1 in the Rolling Stone magazine's list of the 500 greatest albums of all time.




When Sgt. Pepper's Lonely Hearts Club Band was being recorded, "Beatlemania" was waning.


The Beatles had grown tired of touring and had stopped touring in August 1966.


After one particular concert, while being driven away in the back of a small van, the four of them—including Paul McCartney, who was perhaps the most in favour of continuing to tour—decided that it was enough.[1]


From that point on, the Beatles became an entirely studio-based band.


For the first time in their careers, the band had more than ample time with which to prepare their next record.


As EMI's premier act and Britain's most successful pop group they had almost unlimited access to Abbey Road Studios.


All four band members had already developed a preference for long, late night sessions, although they were still extremely efficient and highly disciplined in their studio habits.


George Harrison, the lead guitarist of the Beatles, traveled to India to continue to develop his sitar playing at the invitation of Ravi Shankar. Harrison brought back with him Indian culture and music.[2]


Recording for the album began in late 1966 and early 1967 with two songs that were ultimately dropped from Sgt. Pepper, "Strawberry Fields Forever" and "Penny Lane".


When Beatles manager Brian Epstein decided that a new single was needed,[3] the two songs were issued as a double-A-sided single in February 1967.[4] In keeping with the group's usual practice, the single tracks were not included on the LP (a decision George Martin states he now regrets).[3]


They were released only as a single in the UK at the time, but were included as part of the American LP version of Magical Mystery Tour (which was issued as a six-track double EP in Britain).


The Harrison composition "Only a Northern Song" was also recorded during the Pepper sessions but did not see release until January 1969 when the soundtrack album for the animated feature Yellow Submarine was issued.




With Sgt. Pepper, the Beatles wanted to create a record that could, in effect, tour for them — an idea they had already explored with the promotional film-clips made over the previous years, intended to promote them in the United States when they were not touring there.


McCartney decided that he should create fictitious characters for each band member and record an album that would be a performance by that fictitious band.


This "alter-ego group" gave the Beatles the freedom to experiment with songs.[1]


The Beatles' fame motivated them to grow moustaches and beards and even longer hair, and was an inspiration for the disguise of their flamboyant Sgt. Pepper costumes.


McCartney was well known for going out in public in disguise and all four had used aliases for travel bookings and hotel reservations.


The album starts with the title song, which introduces Sgt. Pepper's band itself; this song segues into a sung introduction for bandleader "Billy Shears" (Starr), who performs "With a Little Help from My Friends".


A reprise version of the title song was also recorded, and appears on side two of the original album (just prior to the climactic "A Day in the Life"), creating a "book-ending" effect.


However, the Beatles effectively abandoned the concept after recording the first two songs and the reprise.


Lennon was unequivocal in stating that the songs he wrote for the album had nothing to do with the Sgt. Pepper concept.


Since the other songs on the album are actually unrelated, one might be tempted to conclude that the album does not express an overarching theme.


However, the cohesive structure and careful sequencing of and transitioning between songs on the album, as well as the use of the Sgt. Pepper framing device, have led the album to be widely acknowledged as an early and ground-breaking example of the concept album.


Before beginning work on Sgt. Pepper, the Beatles began work on a series of songs that were to form an album thematically linked to childhood and everyday life.[5]


The first fruits of this exercise, "Penny Lane" and "Strawberry Fields Forever", were released as a double-A single after EMI and Epstein pressured George Martin for a released single.[6]


Once the singles were released the concept was abandoned in favour of Pepper.[5]


However, traces of this initial idea survive in the lyrics to several songs on the album ("A Day in the Life", "Lovely Rita", "Good Morning, Good Morning", "She's Leaving Home", "Getting Better", and "When I'm Sixty-Four"), and, it could be argued, provide more of a unifying theme for the album than that of the Pepper concept itself.




Since the introduction of magnetic recording tape in 1949, multitrack recording had been developed.


By 1967 all of the Sgt. Pepper tracks could be recorded at Abbey Road using mono, stereo and four-track recorders.


Although eight-track tape recorders were already available in the US, the first eight-tracks were not operational in commercial studios in London until late 1967, shortly after Sgt. Pepper was released.


Like its predecessors, the recording made extensive use of the technique known as bouncing down (also called reduction mixes), in which a number of tracks were recorded across the four tracks of one recorder, which were then mixed and dubbed down onto one track of the master four-track machine.


This enabled the Abbey Road engineers to give the Beatles a virtual multi-track studio.


Magnetic tape had also led to innovative use of instruments and production effects, notably the tape-based keyboard sampler, the Mellotron, effects like flanging and phasing, as well as a greatly improved system for creating echo and reverberation.


The Beatles also used new modular effects units like the wah-wah pedal and fuzzbox, which they augmented with their own experimental ideas, such as running voices and instruments through a Leslie speaker.


Another important sonic innovation was the direct input (DI) technique, in which guitars could be recorded by plugging them directly into an amplifying circuit in the recording console.


While the still often-used technique of recording through an amplifier with a microphone sounds more natural, this setup provided a radically different presence in bass guitar sound versus the old method.


But the most frequently used method was to record the bass last, after all the other recording was done, by placing the amplifier in the centre of the studio and placing the microphone two or three feet from the source.


Several then-new production effects feature extensively on the recordings.


One of the most important was automatic double tracking (ADT), a system that used tape recorders to create an instant and simultaneous doubling of a sound.


Although it had long been recognised that using multitrack tape to record "doubled" lead vocals produced a greatly enhanced sound (especially with weaker singers), it had always been necessary to record such vocal tracks twice, a task which was both tedious and exacting.


ADT was invented specially for the Beatles by EMI engineer Ken Townsend in 1966, mainly at the behest of Lennon, who hated tracking sessions and regularly expressed a desire for a technical solution to the problem.


ADT quickly became a near-universal recording practice in popular music.


Producer George Martin, having a bit of fun at John Lennon's expense, described the new technique to an inquisitive Lennon as a "double-bifurcated sploshing flange".


The anecdote explains one variation of how the term "flanging" came to be for this recording effect.[7]


Also important was varispeeding, the technique of recording various tracks on a multi-track tape at slightly different tape speeds.


The Beatles use this effect extensively on their vocals in this period.


The speeding up of vocals became a widespread technique in pop production.


The Beatles also used the effect on portions of their backing tracks (as on "Lucy in the Sky with Diamonds") to give them a "thicker" and more diffuse sound.


In another innovation, British pressings of the album (in its original LP form that was later released on CD) end in an unusual way, beginning with a 15-kilohertz high-frequency tone (put on the album at Lennon's suggestion and said to be "especially intended to annoy your dog"), followed by an endless loop of laughter and gibberish made by the runout groove looping back into itself.


The loop (but not the tone) made its U.S. debut on the 1980 Rarities compilation, titled "Sgt. Pepper Inner Groove". However, it is only featured as a 2-second fragment at the end of side 2 rather than an actual loop in the run out groove. The CD version of Sgt. Pepper's Inner Groove is actually a bit shorter than that one found on the original UK vinyl pressing.


The sound in the loop is also the subject of much controversy, being widely interpreted as some kind of secret message.


McCartney later told his biographer Barry Miles that in the summer of 1967 a group of kids came up to him complaining about a lewd message hidden in it when played backwards.


He took them to his house to play the record backwards to them, and it turned out that the passage sounded very much like ...........................


McCartney recounted to Miles that his immediate reaction had been, "Oh my God!"[3] It has also been interpreted as "Will Paul come back as Superman?", another clue for the Paul is dead urban legend.[8]


However, it seems that in reality it is nothing more than a few random samples and tape edits played backwards.


The loop is re-created on the CD version which plays for a few seconds, then fades out. Although most of the content of the runout groove is impossible to decipher, it is possible to distinguish a sped-up voice (possibly McCartney's) actually reciting the phrase "never could see any other way".


Played backwards, the last element of the original LP loop that is Sgt. Pepper's Inner Groove appears to be George Harrison saying "Epstein" (obviously missing from the CD version).


Some tension and discord took place during the recording sessions. One instance involved "She's Leaving Home", when an impatient McCartney, frustrated by Martin's unavailability, hired freelance arranger Mike Leander to arrange the string section — the first of only two occasions during the group's entire career that he worked with another arranger (the other was in connection with some backing orchestration used in the Magical Mystery Tour film (12 October 1967 session; see Lewisohn), which were also arranged by Leander).


Harrison also became alienated by McCartney's growing dominance in the studio, particularly when McCartney re-recorded the guitar solos for the album's title track.


The Beatles were present during the mixing of the album in mono and the LP was originally released as such alongside a stereo mix prepared by Abbey Road engineers led by Geoff Emerick; the Beatles themselves did not attend the mixing of the stereo version.


(The mono version is now out of print on vinyl, but was re-released on CD as part of the Beatles in Mono box set on 9 September 2009 worldwide)


The two mixes are fundamentally different.


For example, the stereo mix of "She's Leaving Home" was mixed at a slower speed than the original recording and therefore plays at a slower tempo and at a lower pitch than the original recording. Conversely, the mono version of "Lucy in the Sky with Diamonds" is slightly slower than the stereo version and features much heavier flanging and reverb effects.


McCartney's yelling voice in the coda section of "Sgt. Pepper (Reprise)" (just before the segue into "A Day in the Life") can plainly be heard in the mono version, but is nearly inaudible in the stereo version. The mono version of the song also features drums that open with much more presence and force, as they are turned well up in the mix. Also in the stereo mix, the famous segue at the end of "Good Morning Good Morning" (the chicken-clucking sound which becomes a guitar noise) is timed differently and a crowd noise tape comes in later during the intro to "Sgt. Pepper (Reprise)".


Other variations between the two mixes include louder laughter at the end of the mono mix of "Within You Without You," a gush of laughter during the intro of the reprise version of the title track and a colder, echo-less ending on the mono version of "Being for the Benefit of Mr. Kite!".



Sgt. Pepper features elaborate arrangements — for example, the clarinet ensemble on "When I'm Sixty-Four" — and extensive use of studio effects including echo, reverberation and reverse tape effects. Many of these effects were devised in collaboration with producer George Martin and his team of engineers.


By the time the Beatles recorded the album their musical interests had grown from their simple R&B, pop, and rock and roll beginnings to incorporate a variety of new influences. They had become familiar with a wide range of instruments such as the Hammond organ and electric piano; their instrumentation now covered a wider range including strings, brass, woodwind, percussion, and even some exotic instruments such as the sitar. McCartney, although unable to read music, had scored a recent British film The Family Way (see The Family Way soundtrack) with the assistance of producer/arranger George Martin, which earned him a prestigious Ivor Novello award. McCartney came to be greatly influenced by the avant garde composer Karlheinz Stockhausen, whom he wanted to include on the cover.


Another example of the album's unusual production is John Lennon's song "Being for the Benefit of Mr. Kite!", which closes side 1 of the album.


The lyrics were adapted almost word for word from an old circus poster which Lennon had bought at an antique shop in Kent the day the Beatles had been filming the promotional clip for Strawberry Fields Forever there.


The flowing sound collage that gives the song its distinctive character was created by Martin and his engineers, who collected recordings of calliopes and fairground organs, which were then cut into strips of various lengths, thrown into a box, mixed up and edited together in random order, creating a long loop which was mixed in during final production.


The opening track of side two, "Within You Without You", is unusually long for a 'pop' recording of the day, and features only George Harrison, on vocals, sitar and acoustic guitar, with all other instruments being played by a group of London-based Indian musicians.


These deviations from the traditional rock and roll band formula were facilitated by the Beatles' decision not to tour, by their ability to hire top-rate session musicians, and by Harrison's burgeoning interest in India and Indian music, which led him to take lessons from sitar master Ravi Shankar.


Harrison's fascination with Indian music is further evidenced by the use of a tambura on several tracks, including "Lucy in the Sky with Diamonds" as well as "Getting Better".


This album also makes heavy use of keyboard instruments. Grand piano is used on tracks such as "A Day in the Life", along with Lowrey organ on "Lucy in the Sky with Diamonds".


A harpsichord can be heard on "Fixing a Hole", and a harmonium was played by George Martin on "Being for the Benefit of Mr. Kite". Electric piano, upright piano, Hammond organ, glockenspiel and Mellotron are all heard on the record.


The thunderous piano chord that dramatically concludes "A Day in the Life", and the album, was produced by assembling three grand pianos in the studio and playing an E chord on each simultaneously.


Together on cue Lennon, Starr, McCartney and assistant Mal Evans hammered the keys on the assembled pianos and held the chord.


The sound from the pianos was then mixed up with compression and increasing gain on the volume to draw out the sound to maximum sustain.[9]


Possible drug references


Concerns that lyrics in Sgt. Pepper referred to recreational drug use led to several songs from the album being banned by the BBC and criticised in other quarters.


The album's closing track, "A Day in the Life", includes the phrase "I'd love to turn you on".


The BBC banned the song from airplay on the basis of this line, claiming it could "encourage a permissive attitude toward drug-taking".


Both Lennon and McCartney denied any drug-related interpretation of the song.[10]


The song "Lucy in the Sky with Diamonds" also became the subject of speculation regarding its meaning, as many believed that the words of the chorus were code for LSD. The BBC used this as their basis for banning the song from British radio. Again, John Lennon consistently denied this interpretation of the song, maintaining that the song describes a surreal dream scape inspired by a picture drawn by his son Julian.[11] However, during a newspaper interview in 2004, McCartney was quoted as saying:


“ "Lucy in the Sky", that's pretty obvious.


There's others that make subtle hints about drugs, but, you know, it's easy to overestimate the influence of drugs on the Beatles' music.


Just about everyone was doing drugs in one form or another and we were no different, but the writing was too important for us to mess it up by getting off our heads all the time.[12] ”


Album cover


Main article: List of images on the cover of Sgt. Pepper's Lonely Hearts Club Band

The Grammy Award-winning album packaging was art-directed by Robert Fraser, designed by Peter Blake and his wife Jann Haworth, and photographed by Michael Cooper.


It featured a colourful collage of life-sized cardboard models of famous people on the front of the album cover and lyrics printed on the back cover, the first time this had been done on an English pop LP.[13]


The Beatles themselves, in the guise of the Sgt. Pepper band, were dressed in custom-made military-style outfits made of satin dyed in day-glo colours.


The suits were designed by Manuel Cuevas.[14]


Among the insignia on their uniforms are:


MBE medals on McCartney's and Harrison's jackets.


MBEs had been awarded to all four Beatles.


The Royal Coat of Arms of the United Kingdom, on Lennon's right sleeve


Ontario Provincial Police flash on McCartney's sleeve


Art director Robert Fraser was a prominent London art dealer who ran his own gallery and sponsored exhibitions at the Indica Gallery, through which he had become a close friend of McCartney, and it was at his strong urging that the group abandoned their original cover design, a psychedelic painting by The Fool.


The Fool's design for the inner sleeve was, however, used for the first few pressings.


Fraser was one of the leading champions of modern art in Britain in the 1960s and after.


He argued strongly that the Fool artwork was not well-executed and that the design would soon be dated.


He convinced McCartney to abandon it, and offered to art-direct the cover; it was Fraser's suggestion to use an established fine artist and he introduced the band to a client, noted British "pop" artist Peter Blake, who, in collaboration with his wife, created the famous cover collage, known as "People We Like".


According to Blake, the original concept was to create a scene that showed the Sgt. Pepper band performing in a park; this gradually evolved into its final form, which shows the Beatles, as the Sgt. Pepper band, surrounded by a large group of their heroes, rendered as lifesized cut-out figures.


Also included were wax-work figures of the Beatles as they appeared in the early '60s, borrowed from Madame Tussauds.


In keeping with the park concept, the foreground of the scene is a floral display incorporating the word "Beatles" spelt out in flowers.


Also present are several affectations from the Beatles' homes including small statues belonging to Lennon and Harrison, a small portable TV set and a trophy.


A young delivery boy who provided the flowers for the photo session was allowed to contribute a guitar made of yellow hyacinths.


Although it has long been rumoured that some of the plants in the arrangement were cannabis plants, this is untrue.


At the edge of the scene is a Shirley Temple doll wearing a sweater in homage to the Rolling Stones (who would return the tribute by having the Beatles hidden in the cover of their own Their Satanic Majesties Request LP later that year).


The collage depicted more than 70 famous people, including writers, musicians, film stars and (at Harrison's request) a number of Indian gurus.


The final grouping included Marlene Dietrich, Carl Gustav Jung, W.C. Fields, Diana Dors, Bob Dylan, Marilyn Monroe, Aldous Huxley, Karlheinz Stockhausen, Sigmund Freud, Aleister Crowley, Edgar Allan Poe, Karl Marx, Oscar Wilde, William S. Burroughs, Marlon Brando, Stan Laurel and Oliver Hardy, and controversial comedian Lenny Bruce.


Also included was the image of the original Beatles bass player, the late Stuart Sutcliffe.


Pete Best said in a later NPR interview that Lennon borrowed family medals from his mother Mona for the shoot, on condition that he did not lose them.


Adolf Hitler, Mahatma Gandhi, and Jesus Christ were requested by Lennon, but ultimately they were left out, even though a cutout of Hitler was in fact made.[4]


The gatefoldA photo also exists of a rejected cardboard printout with a cloth draped over its head; its identity is unknown.


Even now, co-creator Jann Haworth regrets that so few women were included.[15]


The entire list of people on the cover can be found at List of images on the cover of Sgt. Pepper's Lonely Hearts Club Band.


The collage created legal worries for EMI's legal department, which had to contact the people who were still living to obtain their permission.


Mae West initially refused — famously asking "What would I be doing in a lonely hearts club?" — but she relented after the Beatles sent her a personal letter.


Actor Leo Gorcey requested payment for inclusion on the cover, so his image was removed. An image of Mohandas Gandhi was also removed at the request of EMI (it was airbrushed out), who had a branch in India and were fearful that it might cause offence there.


Lennon had asked to include images of Jesus Christ and Adolf Hitler, though neither was included through fear of causing offence.


Nonetheless a cutout was made of Hitler and can be clearly seen leaning against the wall in pictures of the photographic session.


Most of the suggestions for names to be included came from McCartney, Lennon and Harrison, with additional suggestions from Blake and Fraser (Starr demurred and let the others choose).


Beatles manager Brian Epstein had serious misgivings, stemming from the scandalous U.S. Butcher Cover controversy the previous year, going so far as to give a note reading "Brown paper bags for Sgt. Pepper" to Nat Weiss as his last wish.


The collage was assembled by Blake and his wife during the last two weeks of March 1967 at the London studio of photographer Michael Cooper, who took the cover shots on 30 March 1967 in a three-hour evening session.


The package was a "gatefold" album cover, that is, the album could be opened like a book to reveal a large picture of the Fab Four in costume against a yellow background.


The reason for the gate fold was that the Beatles originally planned to fill two LPs for the release.


The designs had already been approved and sent to be printed when they realized they would only have enough material for one LP.


Originally, the group had wanted the album to include a package with badges, pencils and other small Sgt. Pepper goodies but this proved far too costly to realise. Instead, the album came with a page of cardboard cut-outs carrying the description:


The final bill for the cover was £2,868 5s 3d (equivalent to £37,531 today), a staggering sum for the time. It has been estimated that this was 100 times the average cost for an album cover in those days.[16]


Release and reception


Upon release, Sgt. Pepper received both popular and critical acclaim.


Various reviews appearing in the mainstream press and trade publications throughout June 1967, immediately after the album's release, were generally positive


. In The Times prominent critic Kenneth Tynan described Sgt. Pepper as "a decisive moment in the history of Western civilization".


Others including Richard Poirier, and Geoffrey Stokes were similarly expansive in their praise, Stokes noting, "listening to the Sgt. Pepper album one thinks not simply of the history of popular music but the history of this century."


One notable critic who did not like the album was Richard Goldstein, a critic for The New York Times, who wrote, "Like an over-attended child, "Sergeant Pepper" is spoiled.


It reeks of horns and harps, harmonica quartets, assorted animal noises, and a 41-piece orchestra", and added that it was an "album of special effects, dazzling but ultimately fraudulent"[17].


On the other hand, Goldstein called "A Day in the Life" "a deadly earnest excursion in emotive music with a chilling lyric", and that "it stands as one of the most important Lennon-McCartney compositions, and it is a historic Pop event."[17]


Frank Zappa accused the Beatles of co-opting the flower power aesthetic for monetary gain, saying in a Rolling Stone article that he felt "they were only in it for the money".


That criticism later became the title of the Mothers of Invention album (We're Only in It for the Money), which mocked Sgt. Pepper with a similar album cover.


Ironically, Paul McCartney has said Sgt. Pepper was influenced by Zappa's 1966 debut album Freak Out!", considered by some as the first rock concept album.[18]


Within days of its release, Jimi Hendrix was performing the title track in concert, first for an audience that included Harrison and McCartney, who were greatly impressed by his unique version of their song and his ability to learn it so quickly[19].


Also, Australian band The Twilights — who had obtained a copy of the LP from London by air — wowed audiences in Australia with note-perfect live renditions of the entire album, weeks before it was even released there[citation needed].


(Release of the album in Australia was delayed by the Six Day War between Israel and Egypt.


The ship carrying the gatefold covers, printed in Britain by Garrod & Lofthouse, had to take a longer route when the war temporarily closed the Suez Canal.)[citation needed]


The chart performance of the album was even stronger than critical reception. In the UK it debuted at #8 before the album was even released (on 1 June 1967) and the next week peaked at #1 where it stayed for 23 consecutive weeks.


Then it was knocked off the top for The Sound of Music on the week ending 18 November 1967. Eventually it spent more weeks at the top, including the competitive Christmas week. When the CD edition was released on 1 June 1987, it made #3. In June 1992, the CD was re-promoted to commemorate its 25th Anniversary, and charted at #6. In 2007, commemorating 40 years of its release, Sgt. Pepper again re-entered the charts at #47 in the UK. In all, the album spent a total of 201 weeks on the UK charts.


The album won the Grammy Award for Album of the Year, the first rock album to do so, and Best Contemporary Album in 1968. U.S. sales for the album totalled 11 million units, with 30 million worldwide.


The album won Best British Album at the first Brit Awards in 1977.


Planned TV movie


On 10 February 1967, during the orchestral recording sessions for "A Day in the Life", six cameramen filmed the chaotic events with the purpose of using the footage for a planned but unfinished Sgt. Pepper television special.


The TV special was to have been written by Ian Dallas and directed by Keith Green.


The shooting schedule included all the songs from the album set to music video style scenes: for example; "Within You Without You" scenes would have been set throughout offices, factories and elevators.


There were even production numbers planned involving "meter maids" and "rockers". Although production was cancelled, the "A Day in the Life" footage was edited down with stock footage into a finished clip.[20]


This clip was not released to the public until the John Lennon documentary Imagine: John Lennon was released in 1988.


A more complete version was later aired on The Beatles Anthology series.




It has been on many lists of the best rock albums,[21] including Rolling Stone, Bill Shapiro, Alternative Melbourne, Rod Underhill and VH1. In 1987 Rolling Stone named Sgt. Pepper the greatest album of the last twenty years (1967–1987).[22]


In 1997 Sgt. Pepper was named the number 1 greatest album of all time in a 'Music of the Millennium' poll conducted by HMV, Channel 4, The Guardian and Classic FM.


In 1998 Q magazine readers placed it at number 7, while in 2003 the TV network VH1 placed it at number 10;[23] In 2003, the album was ranked number 1 on Rolling Stone magazine's list of the 500 greatest albums of all time.[1]


In 2006, the album was chosen by Time Magazine as one of the 100 best albums of all time.[24] In 2002, Q magazine placed it at number 13 in its list of the 100 Greatest British Albums Ever.[25] In 2003, it was one of 50 recordings chosen by the Library of Congress to be added to the National Recording Registry.[26]


It also has inspired the 1978 feature film, Sgt. Pepper's Lonely Hearts Club Band, as well as a number of tribute albums.[27] The American rock band Cheap Trick performed the entire Sgt. Pepper album live in New York and released the live recording in both CD and DVD formats in September 2009, with all proceeds benefiting prostate cancer research.


This recording was engineered by Geoff Emerick, the original engineer for the Sgt. Pepper album. In November 2009, the entire album was made available to download for The Beatles: Rock Band on the Xbox 360, PlayStation 3 and Wii.


The game disc already had the album's title track, "With a Little Help from My Friends", "Lucy in The Sky with Diamonds", "Getting Better", and "Good Morning Good Morning" - the download provides the remaining tracks from the album.



Year Chart Position

1967 US Billboard 200 1

1967 UK Albums Chart 1

1967 Australian ARIA Albums Chart 1

1967 Norwegian Album Chart[28] 1

2009 Finnish Albums Chart 9[29]


The album entered the UK Albums Chart on 3 June 1967 and has remained there for a total of 201 weeks as of 1 July 2007. In the USA the album stayed in the Billboard 200 chart for 175 weeks.


[edit] Awards

[edit] Grammy Awards

Nominated for seven Grammy Awards in 1968, it would win four, including Album of the Year, the first rock/pop album to receive the honor.


Year Winner Award

1968 Sgt. Pepper's Lonely Hearts Club Band Album of the Year

1968 Sgt. Pepper's Lonely Hearts Club Band Best Album Cover, Graphic Arts

1968 Sgt. Pepper's Lonely Hearts Club Band Best Engineered Recording, Non-Classical

1968 Sgt. Pepper's Lonely Hearts Club Band Contemporary Album


[edit] Grammy Award nominations

Year Nominee Award

1968 "Sgt. Pepper's Lonely Hearts Club Band" Group Vocal Performance

1968 "Sgt. Pepper's Lonely Hearts Club Band" Contemporary Vocal Group

1968 "A Day in the Life" Best Instrumental Arrangement Accompanying Vocalist(s)


[edit] Track listing

Sgt. Pepper's Lonely Hearts Club Band was the first Beatles album to be released with identical track listings in the United Kingdom and the United States. The American release did not originally contain the side two runout groove and inner groove sound effects that were restored for the worldwide CD issue, released 1 June 1987.


All songs written and composed by Lennon/McCartney except where noted.


Side one


# Title Lead vocals Length


1. "Sgt. Pepper's Lonely Hearts Club Band" McCartney 2:02


2. "With a Little Help from My Friends" Starr 2:44


3. "Lucy in the Sky with Diamonds" Lennon 3:28


4. "Getting Better" McCartney 2:47


5. "Fixing a Hole" McCartney 2:36


6. "She's Leaving Home" McCartney with Lennon 3:35


7. "Being for the Benefit of Mr. Kite!" Lennon 2:37


Side two


# Title Lead vocals Length


1. "Within You Without You" (George Harrison) Harrison 5:05


2. "When I'm Sixty-Four" McCartney 2:37


3. "Lovely Rita" McCartney 2:42


4. "Good Morning Good Morning" Lennon 2:41


5. "Sgt. Pepper's Lonely Hearts Club Band (Reprise)" McCartney, with Harrison and Lennon 1:18


6. "A Day in the Life" Lennon with McCartney 5:33




According to Mark Lewisohn[9] and Alan W. Pollack[30]


The Beatles


John Lennon – lead, harmony and background vocals; lead, rhythm and acoustic guitars; Hammond organ and piano; bass guitar; handclaps, harmonica, tape loops, sound effects and kazoo; tambourine and maracas


Paul McCartney – lead, harmony and background vocals; lead electric and acoustic guitars; bass guitar; piano and Hammond organ; handclaps, vocalizations, tape loops, sound effects and kazoo


George Harrison – lead, rhythm, acoustic and bass guitars; sitar; lead, harmony and background vocals; tamboura; harmonica and kazoo; handclaps; maracas


Ringo Starr – drums, congas, tambourine, maracas, handclaps and tubular bells; lead vocals; harmonica and kazoo; final piano E chord


Additional musicians and production


Neil Aspinall – tamboura and harmonica


Geoff Emerick – recording and mixing engineer; tape loops and sound effects


Mal Evans – counting, alarm clock and final piano E chord


Matthew Deyell – tambourine


George Martin – producer and mixer; tape loops and sound effects; harpsichord (on "Fixing a Hole"), harmonium, Lowry organ and glockenspiel (on "Being for the Benefit of Mr. Kite!"), Hammond organ (on "With a Little Help from My Friends"), and piano (on "Getting Better" and the solo in "Lovely Rita"); final harmonium chord.


Session musicians – four French horns on "Sgt. Pepper's Lonely Hearts Club Band", (Neill Sanders, James W. Buck, John Burden, Tony Randall),[31] 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


See also

List of best-selling albums worldwide

List of best-selling albums in the United States

Top best-selling albums by UK Chart

List of Beatles songs

[edit] Notes

^ a b c Rolling Stone 2007.

^ Glass 2001.

^ a b c Miles 1997.

^ a b Miles 1998, pp. 231.

^ a b Everett 1999, p. 99.

^ Everett 1999, p. 87.

^ Martin & Hornsby 1994.

^ 2009.

^ a b Lewisohn 1988.

^ Associated Press 1967.

^ BBC News 2007.

^ MSNBC 2004.

^ Ingles 2007.

^ CNN 2006.


^ 2008.

^ a b Goldstein 1967.

^ Its Influence 2007.

^ The Beatles Anthology: Episode 6

^ Lewisohn 1996.

^ Acclaimed Music 2007.

^ Rolling Stone.

^ VH1 2007.

^ Time 2007.

^ Q 2007.

^ Library of Congress 2007.

^ CoverTogether 2009.

^ 2007.


^ Pollack 2008.

^ Rees 2008.

[edit] References

"List of Sgt. Peppers Accolades". Acclaimed Music. 2007. Retrieved 19 November 2007.

"Beatles' Song Nasty". Associated Press. 8 June 1967. Retrieved 14 April 2008.

"The wonderful world of Sgt Pepper". BBC News. 1 June 2007. Retrieved 20 July 2008.

"Transcript: Glenn Beck". CNN. 8 May 2006. Retrieved 15 March 2007.

"Sgt. Pepper's Lonely Hearts Club Band (album)". CoverTogether. 2009. Retrieved 15 October 2009.

Everett, Walter (1999). The Beatles as Musicians: Revolver Through the Anthology. New York: Oxford University Press US. ISBN 0195129415.

Glass, Philip (9 December 2001). "George Harrison, World-Music Catalyst and Great-Souled Man". The New York Times. New York Times. Retrieved 24 June 2008.

Goldstein, Richard (18 June 1967). "We Still Need the Beatles, but...". The New York Times.

Haber, David (2004). "The Sgt. Pepper's Album". Retrieved 26 October 2004.

Ingles, Paul (1 June 2007). ""Sgt. Pepper", an Album that Shaped an Era". Retrieved 14 April 2008.

"Sgt. Pepper's Lonely Hearts Club Band: The first concept album?". Its Influence. 2007. Retrieved 19 November 2007.

Lewisohn, Mark (1988). The Beatles Recording Sessions. New York: Harmony Books. ISBN 0-517-57066-1.

Lewisohn, Mark (1996). The Complete Beatles Chronicle. Chancellor Press. ISBN 0-7607-0327-2.

"The National Recording Registry 2003". Library of Congress. 2007. Retrieved 19 November 2007.

Martin, George; Hornsby, Jeremy (1994). All You Need Is Ears. New York: St. Martin's Press. ISBN 0-312-11482-6.

Miles, Barry (1997). Paul McCartney: Many Years from Now. MacMillan. ISBN 0805052496.

Miles, Barry; Charlesworth, Chris (1998). The Beatles: A Diary. London: Omnibus Press. ISBN 0711963150.

"Paul McCartney got no thrill from heroin". MSNBC (The Associated Press). 2 June 2004. Retrieved 15 March 2007.

"The Beatles - Sgt. Pepper's Lonely Hearts Club Band". 2007. Retrieved 10 November 2007.

Pollack, Alan W. (2008). "Notes on... series". Retrieved 10 March 2008.

"The 100 Greatest British Albums Ever". Q. 2007. Greatest British Albums. Retrieved 20 November 2007.

Rees, Jasper (2008). A Devil To Play. Harper Collins. ISBN 9780061626616.

"The 500 Greatest Albums of All Time". Rolling Stone. 2007. Retrieved 19 November 2007.

"Sgt. Pepper's Lonely Hearts Club Band". Rolling Stone.

Spitz, Bob (2005). The Beatles. Little Brown. ISBN 0-316-80352-9.

"The All-Time 100 Albums". Time. 2007. Retrieved 20 November 2007.

"2001 VH1 Cable Music Channel All Time Album Top 100". VH1. 2007.'s/2001VH1MusicRadio.html. Retrieved 19 November 2007.

"Arts: Sgt Pepper: take two; In 1967, Jann Haworth co-designed the iconic cover for Sgt Pepper's Lonely Hearts Club Band with her then husband, Peter Blake. Now she has revisited the idea - and this time women get a proper look-in".

"Creating the Cover". 2008. Retrieved 14 April 2008.

"Paul is dead?!?". 2009. Retrieved 20 August 2009.

"Suomen virallinen lista".

[edit] External links

It Was 40 Years Ago Today..., an April 2007 Parade magazine article

Recording data and notes on mono/stereo mixes and remixes from the English version of the Beatles Fanclub of Norway

40th Anniversary retrospective from The Age

Preceded by

Headquarters by The Monkees Billboard 200 number-one album

1 July – 13 October 1967 Succeeded by

Ode to Billie Joe by Bobbie Gentry

Preceded by

Going Places by Herb Alpert & the Tijuana Brass Australian Kent Music Report number-one album

5 August 1967 – 1 March 1968 Succeeded by

Their Satanic Majesties Request by The Rolling Stones

Preceded by

The Sound of Music (soundtrack) UK Albums Chart number-one album

10 June – 17 November 1967

25 November – 1 December 1967

3–9 February 1968 Succeeded by

The Four Tops Greatest Hits

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After exiting the OSP, you end up on the grounds of Cooper-Garrod.

Of all the places I traveled to that week only one at Cooper Garrod Vineyardhad a single grape vine that had already started growing leaves.


In Saratoga, CA.

Mount Eden Cooper Garrod Vineyards, Saratoga, Ca. 2009. Cooper Garrod is a small wine maker of that area.

Located at the Cooper-Garrod Vineyard in the Santa Cruz Mountains.

Murphy, the Quarter horse I rode during the "Sips & Saddles" package at Garrod Stables, in conjunction with the Toll House Hotel in Los Gatos, California

The winery cat at Cooper Garrod loved the warm hood of my truck on this cold December day!

Cabernet Vines overlooking the Silicon Valley

Located at the Cooper-Garrod Vineyard in the Santa Cruz Mountains.

Good stuff inside.

Kay McManus at Cooper-Garrod Estate Vineyards 9/12/2009

"Hey, can I have a swig of that?" Cory Bosworth, whose great-uncle founded Cooper-Garrod Estate Vineyards in California's Santa Cruz Mountains, explains that the family farm offers both wine tasting and horseback riding. Of course, the rider (and the horse) should only take to the trails when they're sober. Copyright Amy Laughinghouse

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