View allAll Photos Tagged cooper-garrod
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
Mrs William Merryman
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
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
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
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. bristolslostpubs.eu/page271.html
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. bristolslostpubs.eu/page64.html
College Place East, Pembroke Rd to College Rd. South
John Comly Olive, Heatherfield
William Merrett Webb, Failand lodge
Rev. Robert Burton Poole, Olden lodge
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
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
John William Belsten, baker
William Weston, lodging house
Wallace Arter, jeweller
Henry T. Harris
A. S. Carpenter, dress maker
O. Owens, grocer
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.
Miss Price, British Workman dining hall & reading rooms
James Flower, mason and builder
James Hallett, plumber and painter
Charles A. Arnold, carpenter
Miss M. Canning, dressmaker
George Hurn, fly proprietor
Thomas Ball Powe
William Parfitt, boot maker
Francis T. Gough
William Sullivan, joiner
Edward C. Keyes, carpenter
Francis Cousins, bootmaker
John Gillingham, Waiter
Robert Mead, (police)
William Beake, greengrocer
C. Hazard, paperhanger
Elizabeth Bromage, lodging house
Fuller & Co. coach builders
John H. Fielder
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
William Reed, tailor
Mrs Reed, midwife
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
Harriet Tozer, grocer
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
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
Joseph Smith, house & sign painter
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.
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
Commercial Place, Horfield Road, Kingsdown
Commercial Place, Temple Backs
Commercial Road, Pipe Lane, Temple
Commercial Road, Bedminster Bridge to Bathurst Basin
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. bristolslostpubs.eu/page311.html
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
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
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
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 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
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
Cornish Mount Passage, Broad Quay
Cornwallis Crescent, or Lower Crescent, Granby Hill Clifton Vale
Mrs Willdsor Richards
Gen. John R. Keily
Mrs Eliza Woodburn
Mrs Louisa Anson
Robert Gay Barrow
Joseph Lancaster, M.D.
Mrs Mary Wood
Rev. Robert Brodie
Mrs H. Packenham
Major R. M. Poulden
Mrs Elizabeth Leche
Admiral Thomas Fisher
Capt James Shipton, R.N.
Mrs Henry Winkworth
Mrs Emma Rodbard
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
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.
Joseph Whippey, master of Counterslip school
James Vivian Tippett, lithographic artist
Miss Caroline Merchant
The Misses Mary Ann and Jane Headford
Wintour Evans Baker, chemist
?. Wren, carpenter
William Ogborne, news agent
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
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.
Charles Frost, coach builder
Thomas C. Phillips
Robert Beake, general haulier, Wellington cottage
Susan Clark, timber and slate merchant
Walter Hext, accountant
John Tomkins, relieving oﬂicer
Ruffell Lakin Caswell
Capt. John Roals, R.N.
Thomas Clark, jun.
David R. Raggatt, accountant
Capt. Charles Frederick Purcell
John Watts .
John G. Moar, Tortworth villa
Richard Bryant, Tamworth villa
William Reece, Bedford house
Sarah Ann Pritchard, Dresden house
Joseph Dyer Harrison
Capt. Henry Able
George E. Maggs
Charles S. Sampson J
Thomas McDonald Darling
Mrs Isabella W. Thomas
Sarah M. Devey
James Callaway Pratt
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
Charles Baker, Bermuda lodge
Thomas M. Freestone
Harriet E. Gardiner
Daunton & Vowles, millers
John Hatcher Heanes
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
William Swan, com-trav
George Kennedy, com-trav
Mrs John Worth
John Barrett, music master
Mrs Sarah Humphries
Edward Caines Withey, accountant
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
Mary Ann Baker
William John Stowell, vict, Packet Tavern (pub) near the corner with Greenway Bush Lane the Avon Packet is still trading. bristolslostpubs.eu/page107a.html
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
Thomas Spear, engineer
Joseph D. Hill
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
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
Charles M. Bendall
Mrs Mary C. Burn, Craven villa
?. Houghton villa
Joseph Wilson, Llanfoist cottage
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
Louisa Mary Lingford
Henry John White Newton
Cotham Grove, Cotham Park to Lover’s Walk
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
Frederick A. Jenkins
John Rowe, com-traveller
William Richards Baxter
Rev. William Woolhouse Robinson, M.A. Cambridge villa
Edward Harwood Tanner, Montrose villa
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
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
Henry Humphries, Compton villa
Mark Whitwill, Devonshire villa
John Dix, Burling house
James Painter, Elm Grove lodge
John Purrier Wasbrough, Walton villa
Miss Eleanor English, Fern villa
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
Thomas Francis Chris. May, Park house
James D. Brodribb
William Pratten, jun.
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
Michael Beaven Warry
Miss A. S. Pike
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
Cotham Road South, Cotham Park to Kington Place
Henry Derham, Wrington villa
Mrs E. Powell, Cheddar villa
James Hartland, Sandford villa
William W. Stancomb
William B. Hannaford
Oliver Ransford jun.
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
Frederick D. Lemon
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
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
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
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
County Place, Wells Road, Totterdown
County Street, Wells Road to Bath Road, Totterdown
Charles Anthony Millard
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
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
Producer George Martin
Robert Christgau (A) link
Crawdaddy! Issue 1.11 1967
Pitchfork Media (10.0/10.0) 2009
Rolling Stone 
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.
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.
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, the two songs were issued as a double-A-sided single in February 1967. 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).
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.
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.
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.
Once the singles were released the concept was abandoned in favour of Pepper.
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.
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!" It has also been interpreted as "Will Paul come back as Superman?", another clue for the Paul is dead urban legend.
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.
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.
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. 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. ”
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.
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.
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.
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.
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.
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".
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."
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.
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.
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.
(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.)
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.
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, 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).
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; In 2003, the album was ranked number 1 on Rolling Stone magazine's list of the 500 greatest albums of all time.
In 2006, the album was chosen by Time Magazine as one of the 100 best albums of all time. In 2002, Q magazine placed it at number 13 in its list of the 100 Greatest British Albums Ever. In 2003, it was one of 50 recordings chosen by the Library of Congress to be added to the National Recording Registry.
It also has inspired the 1978 feature film, Sgt. Pepper's Lonely Hearts Club Band, as well as a number of tribute albums. 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 1
2009 Finnish Albums Chart 9
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.
 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
 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)
 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.
# 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
# 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 and Alan W. Pollack
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), 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
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
^ 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.
^ recmusicbeatles.com 2009.
^ a b Lewisohn 1988.
^ Associated Press 1967.
^ BBC News 2007.
^ MSNBC 2004.
^ Ingles 2007.
^ CNN 2006.
^ icons.org.uk 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.
^ Norwegiancharts.com 2007.
^ Pollack 2008.
^ Rees 2008.
"List of Sgt. Peppers Accolades". Acclaimed Music. 2007. acclaimedmusic.net/Current/A92.htm. Retrieved 19 November 2007.
"Beatles' Song Nasty". Associated Press. 8 June 1967. beatles.ncf.ca/a_day_in_the_life.html. Retrieved 14 April 2008.
"The wonderful world of Sgt Pepper". BBC News. 1 June 2007. news.bbc.co.uk/1/hi/entertainment/6709649.stm. Retrieved 20 July 2008.
"Transcript: Glenn Beck". CNN. 8 May 2006. transcripts.cnn.com/TRANSCRIPTS/0605/08/gb.01.html. Retrieved 15 March 2007.
"Sgt. Pepper's Lonely Hearts Club Band (album)". CoverTogether. 2009. www.covertogether.com/album/sgt-peppers-lonely-hearts-clu.... 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. query.nytimes.com/gst/fullpage.html?res=9C01EED9163CF93AA.... 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". www.beatletracks.com/btsgtppr.html. Retrieved 26 October 2004.
Ingles, Paul (1 June 2007). ""Sgt. Pepper", an Album that Shaped an Era". www.npr.org/templates/story/story.php?storyId=10634329. Retrieved 14 April 2008.
"Sgt. Pepper's Lonely Hearts Club Band: The first concept album?". Its Influence. 2007. www.icons.org.uk/theicons/collection/sgt-pepper/biography.... 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. www.loc.gov/rr/record/nrpb/nrpb-2003reg.html. 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. www.msnbc.msn.com/id/5121163. Retrieved 15 March 2007.
"The Beatles - Sgt. Pepper's Lonely Hearts Club Band". Norwegiancharts.com. 2007. norwegiancharts.com/showitem.asp?interpret=The+Beatles&am.... Retrieved 10 November 2007.
Pollack, Alan W. (2008). "Notes on... series". www.icce.rug.nl/~soundscapes/DATABASES/AWP/awp-notes_on.s.... Retrieved 10 March 2008.
"The 100 Greatest British Albums Ever". Q. 2007. www.rocklistmusic.co.uk/qlists.html#100 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. www.rollingstone.com/news/story/6595610/1_sgt_peppers_lon.... Retrieved 19 November 2007.
"Sgt. Pepper's Lonely Hearts Club Band". Rolling Stone. www.rollingstone.com/artists/thebeatles/albums/album/2209....
Spitz, Bob (2005). The Beatles. Little Brown. ISBN 0-316-80352-9.
"The All-Time 100 Albums". Time. 2007. www.time.com/time/2006/100albums/index.html. Retrieved 20 November 2007.
"2001 VH1 Cable Music Channel All Time Album Top 100". VH1. 2007. www.timepieces.nl/Top100'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". www.highbeam.com/doc/1G1-126338075.html?refid=hbw_jz.
"Creating the Cover". 2008. www.icons.org.uk/theicons/collection/sgt-pepper/features/.... Retrieved 14 April 2008.
"Paul is dead?!?". 2009. www.recmusicbeatles.com/public/files/faqs/pid.html. Retrieved 20 August 2009.
"Suomen virallinen lista". yle.fi. www.yle.fi/lista/listat/tuote.php?id=9561.
 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
Headquarters by The Monkees Billboard 200 number-one album
1 July – 13 October 1967 Succeeded by
Ode to Billie Joe by Bobbie Gentry
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
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
by The Four Tops
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[show]v • d • eGrammy Award for Album of the Year
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1970s Blood, Sweat & Tears · Bridge Over Troubled Water · Tapestry · The Concert For Bangla Desh · Innervisions · Fulfillingness' First Finale · Still Crazy After All These Years · Songs in the Key of Life · Rumours · Saturday Night Fever
1980s 52nd Street · Christopher Cross · Double Fantasy · Toto IV · Thriller · Can't Slow Down · True Blue · Graceland · The Joshua Tree · Faith
1990s Nick of Time · Back on the Block · Unforgettable... with Love · Unplugged · The Bodyguard · MTV Unplugged: Tony Bennett · Jagged Little Pill · Falling Into You · Time Out of Mind · The Miseducation of Lauryn Hill
2000s Supernatural · Two Against Nature · O Brother, Where Art Thou? · Come Away with Me · Speakerboxxx/The Love Below · Genius Loves Company · How to Dismantle an Atomic Bomb · Taking the Long Way · River: The Joni Letters · Raising Sand
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!
Located at the Cooper-Garrod Vineyard in the Santa Cruz Mountains.
Cooper-Garrod Estate Vineyards
April 12, 2014
© Chia Wen
"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