- Album Songs recorded during this session officially appear on the Penny Lane / Strawberry Fields Forever 7" Single.
- EMI Studios, Studio Two, Abbey Road
More from year 1966
Some songs from this session appear on:
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From Anthology 2 liner notes, about Take 7 Remix 3:
Just five days after that initial take of Strawberry Fields Forever the song’s arrangement was undergoing dramatic change. The master was a composite of two separate recordings – the first minute came from Take 7 the remainder from Take 26. Presented [on Anthology 2], issued for the first time, is the full Take 7, going beyond those first 60 seconds (indeed, including within that first minute a 23-second verse that was later excised).
The sound is mono because the recording presented here is an original mono mix – labelled RM3 – made, like Take 7, on 29 November 1966.
The conclusion of the original master (embracing Take 26) included sections flown in from a combination of edit piece taped on 9 December featuring backwards cymbals, a “wild drum track” played by Ringo and some extemporal vocalising by John. A much longer section of this edit piece is released here, again for the first time, crossfaded on to the end of RM3. At the conclusion one can hear John twice mutter “cranberry sauce“, a phrase which, less clearly audible right at the end of the master mix, has long puzzled listeners.
Strawberry Fields Forever [Take 7]
Could this be something new (as Take 7- overdubs on Take 6- has been around on bootlegs for many years)?
It runs 3:16, while the booted version of this very same take runs 3:29 (depending on the source of your bootleg, some runs at a slower speed (3:29), some faster (3:24). Don’t count the version of this very same take that appear on Pegboy’s title “It’s Not Too Bad” which is way much slower and incomplete).
This Take 7 from the new Pepper Deluxe Box set has the same introduction as on bootlegs (with someone whistling and George Martin saying “Strawberry Fields Forever Take seven…”), Giles again edited out 8 seconds after the “Remix from four track Take Six” announcement and also did a fade out, but despite having those edits, there is something different:
– On any of the bootleg versions of Take 7 stereo, after the “Remix from four track take six” announcement, there is a slight space of silence, then the tape running again, some mellotron sounds and John making a quick “Donald Duck” impression over those sounds (not available on Take 6), some silence and after that John can be heard with a small hiccup and saying “Ohh” (that comes from Take 6), then the take begins.
– On this “new” version after the “Remix from four track take six” announcement, we can hear only a count-in from Paul “Two, Three, Four” (not present on any of the past takes, especially Take 6), there is no John with hiccup or saying anything. If we compare this version with RM3 (Mono Remix) but the version from the bootleg and not the one included on Anthology CD 2 because that version has the slate edited out; we can hear after George Martin says “Strawberry Fields RM3” a different tape intro and later the same mellotron sounds but without the Donald Duck impression, and Paul’s count in loud and clear, and also no hiccup from John, so the RM3 Mono mix from the bootlegs is very similar to this new “Take 7”, but this is in stereo. An undocumented RS mix or simply Giles edited out the “Donald Duck” sounds, the hiccup, the “Ohh” and added Paul’s count-in? But if he did that, why the original RM3 doesn’t have also neither of that and the count-in has the same volume intensity? Giles took Paul’s count-in from the Mono Mix? (because none of the bootleg sources containing Take 7 have a count-in.)
This Take 7 Stereo Mix is new to me. Let’s wait for what the line notes of the Deluxe Box will say.
Last updated on April 30, 2021
Recording • SI onto take 7
Album Officially released on Sgt. Pepper's Lonely Hearts Club Band (50th anniversary boxset)
The definitive guide for every Beatles recording sessions from 1962 to 1970.
We owe a lot to Mark Lewisohn for the creation of those session pages, but you really have to buy this book to get all the details - the number of takes for each song, who contributed what, a description of the context and how each session went, various photographies... And an introductory interview with Paul McCartney!