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The Beatles released Sgt Peppers Lonely Hearts Club Band 47 years ago – 1967 (Read more)

Sgt. Pepper’s Lonely Hearts Club Band (often shortened to Sgt. Pepper) is the eighth studio album by The Beatles, released on 1 June 1967 on the Parlophone label and produced by George Martin. The album is widely regarded as one of the greatest of all time, and has since been recognised as one of the most important albums in the history of popular music, including songs such as “Lucy in the Sky with Diamonds” and “A Day in the Life”. Recorded over a 129-day period beginning in December 1966, Sgt. Pepper saw the band developing the production techniques of their previous album, Revolver. Martin’s innovative and lavish production included the orchestra usage and hired musicians ordered by the band. Genres such as music hall, rock and roll, pop rock, and traditional Indian music are covered. The album cover art, by English pop artist Peter Blake, depicts the band posing in front of a collage of their favourite celebrities, and has been widely acclaimed and imitated.

It was named as one of the 500 most important rock and roll recordings by the Rock & Roll Hall of Fame. In 2005, the song was voted #115 by representatives of the music industry and press in Rolling Stonemagazine’s The 500 Greatest Songs of All Time.

“Still Life” (American Concert 1981) is a live album by The Rolling Stones, released June 1, 1982. Recorded during the band’s American Tour 1981 in the latter portion of that year, it was released in time for their European Tour 1982 continuation the following summer.

The album cover is a painting by Japanese artist Kazuhide Yamazaki, whose work inspired the tour’s stage design.

Pink Floyd started recorded their classic album Dark Side of the Moon June 1, 1972 (the first track to be recorded was “Us and Them”)

The album was recorded at Abbey Road Studios, in two sessions, between May 1972 and January 1973. The band were assigned staff engineer Alan Parsons, who had worked as assistant tape operator on Atom Heart Mother, and who had also gained experience as a recording engineer on The Beatles‘ Abbey Road and Let It Be. The recording sessions made use of some of the most advanced studio techniques of the time; the studio was capable of 16-track mixes, which offered a greater degree of flexibility than the eight- or four-track mixes they had previously used, although the band often used so many tracks that to make more space available second-generation copies were made