He’d found her after placing an ad in The Times, drawing more than 100 responses. Whether so much choice makes us happier in the long run, though, is unclear.
‘There’s a suggestion it actually leads to a sense of dissatisfaction; we have so much choice there’s always a bit of us that feels we could do better,’ Beauman muses.
Recorded: 6 December 1966 - 21 April 1967 Producer: George Martin Engineers: Geoff Emerick, Adrian Ibbetson, Malcolm Addey, Ken Townsend, Peter Vince Released: 1 June 1967 (UK), 2 June 1967 (US) John Lennon: vocals, electric guitar, acoustic guitar, piano, Hammond organ, cowbell Paul Mc Cartney: vocals, electric guitar, bass, piano, Lowery organ George Harrison: vocals, electric guitar, acoustic guitar, harmonica, tambura, sitar, maracas Ringo Starr: vocals, drums, harmonica, tambourine, maracas, congas, bongos, chimes George Martin: Hammond organ, Lowery organ, piano, pianette, harpsichord, harmonium, glockenspiel Mal Evans: harmonica, Hammond organ, piano, alarm clock Neil Aspinall: harmonica, tambura Erich Gruenberg, Derek Jacobs, Trevor Williams, José Luis Garcia, Alan Loveday, Julien Gaillard, Paul Scherman, Ralph Elman, David Wolfsthal, Jack Rothstein, Jack Greene, Granville Jones, Bill Monro, Jurgen Hess, Hans Geiger, D Bradley, Lionel Bentley, David Mc Callum, Donald Weekes, Henry Datyner, Sidney Sax, Ernest Scott: violin John Underwood, Stephen Shingles, Gwynne Edwards, Bernard Davis, John Meek: viola Dennis Vigay, Alan Dalziel, Reginald Kilbey, Allen Ford, Peter Beavan, Francisco Gabarro, Alex Nifosi: cello Cyril Mac Arthur, Gordon Pearce: double bass Sheila Bromberg, John Marston: harp Robert Burns, Henry Mac Kenzie, Frank Reidy, Basil Tschaikov, Jack Brymer: clarinet Roger Lord: oboe N Fawcett, Alfred Waters: bassoon Clifford Seville, David Sanderman: flute Barrie Cameron, David Glyde, Alan Holmes: saxophone David Mason, Monty Montgomery, Harold Jackson: trumpet Raymond Brown, Raymond Premru, T Moore, John Lee: trombone Alan Civil, Neil Sanders, James W Buck, Tony Randall, John Burden, Tom (surname unknown): French horn Michael Barnes: tuba Tristan Fry: timpani, percussion Marijke Koger: tambourine Unknown musicians: dilruba, svarmandal, tabla, tambura Tracklisting: Sgt Pepper's Lonely Hearts Club Band With A Little Help From My Friends Lucy In The Sky With Diamonds Getting Better Fixing A Hole She's Leaving Home Being For The Benefit Of Mr Kite!
Within You Without You When I'm Sixty-Four Lovely Rita Good Morning Good Morning Sgt Pepper's Lonely Hearts Club Band (Reprise) A Day In The Life The Beatles' eighth UK album caused a seismic shift in popular music.
She says: ‘As with anything unconventional, there’s always going to be a sense of shame, which is why it’s so difficult to track down couples who met in this way because their story doesn’t get passed down through the generations.’ This whiff of shame has followed personal ads from their inception to the present day. However, the advent of photography meant by the end of the 19th century, appearance was king.
Jess Price, a student from Stockport, admits when she started online dating she was ‘embarrassed as much as excited’ but now says: ‘I know a couple of people who are addicted to dating – I was too, for a while.’ Turning the clock back again to the end of the 17th century, British cities were expanding rapidly, and each new influx of workers was breaking down the traditional boy-next-door system of matchmaking. ‘Lots of the early ads say: “I’m new to the big city, I work long hours, I don’t have time to meet people, that’s why I’m looking for a husband or a wife.”’ Previously, a common joke among many spoof ads mocking sad singletons was that only the ugly would need to resort to such methods to find a partner – as in one example from 1740 which sought a lady ‘of a comfortable fortune’ for ‘a tolerably handsome young Fellow of great Parts… Where once people had requested a mate with ‘no bodily deformity’, ‘a pleasing figure’ or, like one advertiser in the Shoreditch Observer, ‘a young woman who has but one leg’, now you could inspect and discard potential mates at leisure.
It was a wild time, and it feels to me like a time warp - there we were in a magical wizard-land with velvet patchwork clothes and burning joss sticks, and here we are now soberly dressed.
The idea wasn't to do anything to cater for that mood - we happened to be in that mood anyway.
And it wasn't just the general mood of the time that influenced us; I was searching for references that were more on the fringe of things.
The actual mood of the time was more likely to be The Move, or Status Quo or whatever - whereas outside all of that there was this avant-garde mode, which I think was coming into Pepper. All I am saying is: we weren't really trying to cater for that movement - we were just being part of it, as we always had been.
I maintain The Beatles weren't the leaders of the generation, but the spokesmen.