Geoff Emerick (Beatles recording engineer) When John started shouting "Barcelona" repeatedly in one of his Goon-like voices, Phil and I were doubled over in laughter. Looking back, I guess that everyone was tripping his brains out that night, but we didn't know it then. Whenever The Beatles tried something really outrageous, George Martin would roll his eyes and mutter a clipped "Oh my God" under his breath. It was a bit of nonsense, really, but everyone had fun doing it. The piece later become known as "Carnival of Light" after its existence became more publicly known with the publishing of Mark Lewisohn's The Complete Beatles Recording Sessions book in 1988. It was given no official title, listed as "Untitled" on EMI’s recording logs. There was only one take of the experiential piece, which was recorded with overdubs on 4-track tape. It's very free." - Sir Paul McCartney, 2008. "We were set up in the studio and would just go in every day and record, I said to the guys, this is a bit indulgent, but would you mind giving me 10 minutes? All I want you to do is just wander round all the stuff and bang it, shout, play it. George Martin was the Producer of the sessions and Geoff Emerick, the recording engineer. After recording vocal takes for "Penny Lane", the band began work on "Carnival of Light". Pepper's Lonely Hearts Club Band on 5th January 1967 at Studio Two, EMI Studios. The recording session took place during the sessions of The Beatles' eighth studio album, Sgt. The event was organized, in part, by Vaughan himself and would feature work by Unit Delta Plus (an offshoot of the BBC's Radiophonic workshop) and Binder, Edwards & Vaughan.
Typically, these events would feature experimental audio, light shows, projections and live music.
Much to Vaughn's delight, McCartney agreed, and the track was recorded the very next month. McCartney, at this time, was becoming involved in the London underground art scene through his friend Barry Miles, who owned the Indica Gallery and helped start the independent scene newspaper International Times.
Designer David Vaughan, from pioneering pop art collective Binder, Edwards & Vaughan, asked McCartney if he would be willing to submit a track for the upcoming A Million Volt Light and Sound Rave art festival at the Roadhouse in London on 28th January and 4th February 1967. The song's origins can be traced back to December 1966.
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