1967年9月25日，乐队推出第二张专辑Strange Days，借着第一张专辑的气势，这张专辑在2周后就上升Billboard榜的第4位，在以后几周内，The Doors的两张专辑都在排行榜的前10位。这张专辑中仍延续了第一张专辑的风格。充满幻想意味的Moonlight Drive以阴沉介绍式的低呤开头，节奏明快的Love Me Two Times，都是The Doors的名曲，最后一首又是长达11分钟的歌曲When the Music´s Over 。Jim Morrison幽暗地唱到，当音乐结束时，一切都已结束。不再有宏大的舞台，不再有欢呼的人群。不再有诗歌，不再有迈阿密姑娘。不再有凯鲁亚克和金斯伯格，不再有兰波和魏伯伦。不再吸毒，不再酗酒，不再乱交。因为我已进入死亡之门。通过这首歌曲就可以看出对于Jim Morrison来说摇滚代表的就是诗歌，而诗歌却与生命相连。

1966年，《A Quick One》在英国热销。但在美国他们没有受到同等的待遇，直到《A Quick One》以《Happy Jack》（快乐杰克）的名称发行后才有起色，标题曲在1967年打进了排行榜前40名。而那时The Who已经有了超越《A Quick One》的新作品《The Who Sell Out》，这是一张以电台演出为基础翻制的概念专辑，其中的单曲“I Can See For Miles”使乐队登上美国排行榜前10 名。同年，The Who参加了“蒙特利流行音乐节”。

这是“地下丝绒”的第一张专辑，也是摇滚乐历史上的一张划时代的经典之作。从专辑的名称上面可以清 楚地看到，这张专辑的诞生与西方现代艺术史上的伟大人物安迪·沃霍尔是密切相关的。这张“地下丝绒”的处女专辑就是由安迪·沃霍尔担任制作人的，而且专辑的名称也署上了他的大名。 在这张专辑里面，主唱卢·里德以他那干涩、沙哑的犹如破碎的玻璃一样的嗓音将1960年代美国青年对于现实的迷茫、反叛的态度表达得淋漓尽致，同时也对当时的社会现实作出了深刻的揭露。如在《我正在等待那个男人》这首歌里面，讲述的就是一个关于进行非法的海洛因交易的故事，把吸毒作为歌曲的主题，这在他们之前的乐队里面是非常罕见的，因此可以看出他们在音乐表达题材上面的大胆。而《星期天的早晨》这首歌则讲述了一个偏执狂在理想与现实之中挣扎的现实，他就像那个可怜的西西弗斯一样奔波在希望与绝望之间，这可以说是当时青年内心生活的真实写照。在《穿裘皮的维纳斯》这首歌里面，则表达了一个更为离经叛道的主题，那就是“性倒错”，他们以超越道德观的态度表达了自己对于“同性恋”这个当时还是一个禁忌的话题的看法。可见，他们在自己的音乐里面充分的体现了“自由”的精神，而这正是摇滚最为重要的精神财富。 在专辑之中担任了两首歌曲的主唱的女歌手尼柯，曾经主演过安迪·沃霍尔制作的几部电影，由于他的介绍，才成为了“地下丝绒”的一员。尼柯那种冷漠、飘忽，充满着厌世的没落气息的声音深刻地影响了后来无数的女歌手。

First CD reissue of the album. Sgt. Pepper's Lonely Hearts Club Band (often referred to simply as Sgt. Pepper) is the eighth studio album by the English rock band the Beatles. Released on 26 May 1967, Sgt. Pepper is regarded by musicologists as an early concept album that advanced the roles of sound composition, extended form, psychedelic imagery, record sleeves, and the producer in popular music. The album had an immediate cross-generational impact and was associated with numerous touchstones of the era's youth culture, such as fashion, drugs, mysticism, and a sense of optimism and empowerment. Critics lauded the album for its innovations in songwriting, production and graphic design, for bridging a cultural divide between popular music and high art, and for reflecting the interests of contemporary youth and the counterculture. «Before Sgt. Pepper, no one seriously thought of rock music as actual art. That all changed in 1967, though, when John, Paul, George and Ringo (with "A Little Help" from their friend, producer George Martin) created an undeniable work of art which remains, after 30-plus years, one of the most influential albums of all time. From Lennon's evocative word/sound pictures (the trippy "Lucy in the Sky With Diamonds," the carnival-like "Being for the Benefit of Mr. Kite") and McCartney's music hall-styled "When I'm 64," to Harrison's Eastern-leaning "Within You Without You," and the avant-garde mini-suite, "A Day in the Life," Sgt. Pepper was a milestone for both '60s music and popular culture. --Billy Altman» Credits: Phonographic Copyright ℗ – EMI Records Ltd. Copyright © – EMI Records Ltd. Artwork [Cover Staged By] – Jann Haworth, Peter Blake (4) Artwork [Cover] – M C Productions, The Apple Artwork [Wax Figures] – Madame Tussauds Design – Paul Wilkinson (3) Design Concept [Cd Packaging Design Idea] – Kathryn Varley Engineer [Recording] – Geoff Emerick Engineer [Second] – Richard Lush (tracks: 1 to 8, 10 to 13) Liner Notes – Peter Blake (4) Liner Notes [Quote] – George Martin Liner Notes [Words] – Mark Lewisohn Photography By [Cover] – Michael Cooper (8) Producer – George Martin Written-By – Lennon/McCartney* (tracks: 1 to 7, 9 to 13) ℗ 1967 Original Sound Recordings made by EMI Records Ltd. © 1967 EMI Records Ltd. © 1987 EMI Records Ltd. Made in the U.K. (on back cover). Made in Italy (on CD). Comes in a jewel case enclosed in a cardboard box with a 28 page booklet including Sgt. Pepper's cut-outs. Track 1 recording started in studio 2 at Abbey Road on February 1, 1967. Album version mixed from take 10. Track 2 recording started in studio 2 at Abbey Road on March 29, 1967. Album version mixed from take 11. Track 3 recording started in studio 2 at Abbey Road on March 1, 1967. Album version mixed from take 8. Track 4 recording started in studio 2 at abbey Road on March 9, 1967. Album version mixed from take 15. Track 5 recording started at Regent Sound Studio, Tottemham Court Road, London on February 21, 1967 and later completed at Abbey Road. Album version mixed from take 3. Track 6 recording started in studio 2 at Abbey Road on March 17, 1967. Album version mixed from take 9. Track 7 recording started in studio 2 at Abbey Road on February 17, 1967. Album version mixed from take 9. Track 8 recording started in studio 2 at Abbey Road on March 22, 1967. Album version mixed from take 2. Track 9 recording started in studio 2 at Abbey Road on December 6, 1966. Album version mixed from take 4. Track 10 recording started in studio 2 at Abbey road on February 23, 1967. Album version mixed from take 11. Track 11 recording started in studio 2 at Abbey Road on February 8, 1967. Album version mixed from take 11. Track 12 recording started in studio 1 at Abbey Road on April 1, 1967. Album version mixed from take 9. Track 13 recording started in studio 2 at Abbey Road on January 19, 1967. Album version mixed from takes 6 & 7. Black and white photograph courtesy of the Michael Cooper Collection. The rear of the booklet states all tracks except 8 are by Lennon/McCartney, but the liner notes are more specific.

专辑介绍： 1967年Pink Floyd签约EMI公司，一路畅行，首张单曲和首张专辑轻松上榜。首张专辑《The Piper at the Gates Of Dawn》(黎明之门前的风笛手)可与The Beatles的《Sgt．Pepper'S》(帕波军士)一争高下。要评出英国迷幻专辑之最佳，《The Piper at the Gates of Dawn》当仁不让，一定要与《Sgt．Pepper’s》比肩同行。这张专辑既是首张也是Pink Floyd 最后一张类似的专辑。 这张专辑在滚石杂志选出的500张历代最强专辑中排名第347位。