The Paul McCartney Project

Strawberry Fields Forever

Written by Lennon - McCartney

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Song facts

From Wikipedia:

Strawberry Fields Forever” is a song by the English rock band the Beatles. The song was written by John Lennon and credited to the Lennon–McCartney songwriting partnership. It was inspired by Lennon’s memories of playing in the garden of Strawberry Field, a Salvation Army children’s home near where he grew up in Liverpool.

The song was the first track recorded during the sessions for the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band (1967), and was intended for inclusion on the album. Instead, with the group under record-company pressure to release a single, it was issued in February 1967 as a double A-side with “Penny Lane“. The combination reached number two in the United Kingdom, breaking the band’s four-year run of chart-topping singles there, while “Strawberry Fields Forever” peaked at number eight on the Billboard Hot 100 in America.

Lennon considered the song his greatest accomplishment. The track incorporates reverse-recorded instrumentation and tape loops, and was created from the editing together of two separate versions of the song – each one entirely different in tempo, mood and musical key. The song was later included on the US Magical Mystery Tour LP (although not on the British double EP package of the same name).

Strawberry Fields Forever” is one of the defining works of the psychedelic rock genre and has been covered by many artists. The Beatles made a promotional film clip for the song that is similarly recognised for its influence in the medium of music video. The Strawberry Fields memorial in New York’s Central Park is named after the song.

Background and writing

Strawberry Field was the name of a Salvation Army children’s home just around the corner from Lennon’s childhood home in Woolton, a suburb of Liverpool. Lennon and his childhood friends Pete Shotton, Nigel Walley, and Ivan Vaughan used to play in the wooded garden behind the home. One of Lennon’s childhood treats was the garden party held each summer in Calderstones Park, near the home, where a Salvation Army band played. Lennon’s aunt Mimi Smith recalled: “As soon as we could hear the Salvation Army band starting, John would jump up and down shouting, ‘Mimi, come on. We’re going to be late.’

Lennon’s “Strawberry Fields Forever” and McCartney’s “Penny Lane” shared the theme of nostalgia for their early years in Liverpool. Although both referred to actual locations, the two songs also had strong surrealistic and psychedelic overtones. Producer George Martin said that when he first heard “Strawberry Fields Forever“, he thought it conjured up a “hazy, impressionistic dreamworld“.

The Beatles had just retired from touring after one of the most difficult periods of their career, including the “more popular than Jesus” controversy and the band’s unintentional snubbing of Philippines First Lady Imelda Marcos. Lennon talked about the song in 1980: “I was different all my life. The second verse goes, ‘No one I think is in my tree.’ Well, I was too shy and self-doubting. Nobody seems to be as hip as me is what I was saying. Therefore, I must be crazy or a genius – ‘I mean it must be high or low’ “, and explaining that the song was “psycho-analysis set to music“.

Lennon began writing the song in Almería, Spain, during the filming of Richard Lester’s How I Won the War in September–October 1966. The earliest demo of the song, recorded in Almería, had no refrain and only one verse: “There’s no one on my wavelength / I mean, it’s either too high or too low / That is you can’t you know tune in but it’s all right / I mean it’s not too bad“. He revised the words to this verse to make them more obscure, then wrote the melody and part of the lyrics to the refrain (which then functioned as a bridge and did not yet include a reference to Strawberry Fields). He then added another verse and the mention of Strawberry Fields. The first verse on the released version was the last to be written, close to the time of the song’s recording. For the refrain, Lennon was again inspired by his childhood memories: the words “nothing to get hung about” were inspired by Aunt Mimi’s strict order not to play in the grounds of Strawberry Field, to which Lennon replied, “They can’t hang you for it.” The first verse Lennon wrote became the second in the released version, and the second verse Lennon wrote became the last in the release.

Musical structure

The song was originally written on acoustic guitar in the key of C major. The recorded version is approximately in B-flat major; owing to manipulation of the recording speed, the finished version is not in standard pitch (some, for instance consider that the tonic is A). The introduction was played by McCartney on a Mellotron, and involves a I–ii–I– ♭VII–IV progression. The vocals enter with the chorus instead of a verse. In fact we are not “taken down” to the tonic key, but to “non-diatonic chords and secondary dominants” combining with “chromatic melodic tension intensified through outrageous harmonisation and root movement“. The phrase “to Strawberry” for example begins with a somewhat dissonant G melody note against a prevailing F minor key, then uses the semi-tone dissonance B♭ and B notes (the natural and sharpened 11th degrees against the Fm chord) until the consonant F note is reached on “Fields“. The same series of mostly dissonant melody notes cover the phrase “nothing is real” against the prevailing F#7 chord (in A key).

A half-measure complicates the meter of the verses, as well as the fact that the vocals begin in the middle of the first measure. The first verse comes after the refrain, and is eight measures long. The verse (for example “Always, no sometimes …“) starts with an F major chord in the key of B♭ (or E chord in the key of A) (V), which progresses to G minor, the submediant, a deceptive cadence. According to Alan Pollack, the “approach-avoidance tactic” (i.e., the deceptive cadence) is encountered in the verse, as the leading-tone, A, appearing on the words “Always know“, “I know when“, “I think I know of thee“, and “I think I disagree“, never resolves into a I chord (A in A key) directly as expected. Instead, at the end of the verse, the leading note, harmonized as part of the dominant chord, resolves to the prevailing tonic (B♭) at the end of the verse, after tonicizing the subdominant (IV) E♭ chord, on “disagree“.

In the middle of the second chorus, the “funereal brass” is introduced, stressing the ominous lyrics. After three verses and four choruses, the line “Strawberry Fields Forever” is repeated three times, and the song fades out with guitar, cello, and swarmandal instrumentation. The song fades back in after a few seconds into the “nightmarish” ending, with the Mellotron playing in a haunting tone – one achieved by recording the Mellotron “Swinging Flutes” setting in reverse – scattered drumming, and Lennon murmuring, after which the song completes.

Recording

The working title was “It’s Not Too Bad“, and Geoff Emerick, the sound engineer, remembered it being “just a great, great song, that was apparent from the first time John sang it for all of us, playing an acoustic guitar.” Recording began on 24 November 1966, in Abbey Road’s Studio Two on a 4-track machine. It took 45 hours to record, spread over five weeks. The song was meant to be on the band’s 1967 album Sgt. Pepper’s Lonely Hearts Club Band, but was released as a single instead.

The band recorded three distinct versions of the song. After Lennon played the song for the other Beatles on his acoustic guitar, the band recorded the first take. Lennon played an Epiphone Casino; McCartney played a Mellotron, a new home instrument purchased by Lennon on 12 August 1965 (with another model hired in after encouragement from Mike Pinder of The Moody Blues); George Harrison played electric guitar, and Ringo Starr played drums. The first recorded take began with the verse, “Living is easy …“, instead of the chorus, “Let me take you down“, which starts the released version. The first verse also led directly to the second, with no chorus between. Lennon’s vocals were automatically double-tracked from the words “Strawberry Fields Forever” through the end of the last verse. The last verse, beginning “Always, no sometimes“, has three-part harmonies, with McCartney and Harrison singing “dreamy background vocals“. This version was soon abandoned and went unreleased until the Anthology 2 compilation in 1996.

Four days later the band reassembled to try a different arrangement. The second version of the song featured McCartney’s Mellotron introduction followed by the refrain. They recorded five takes of the basic tracks for this arrangement (two of which were false starts) with the last being chosen as best and subjected to further overdubs. Lennon’s final vocal was recorded with the tape running fast so that when played back at normal speed the tonality would be altered, giving his voice a slurred sound. This version was used for the first minute of the released recording.

After recording the second version of the song, Lennon wanted to do something different with it, as Martin remembered: “He’d wanted it as a gentle dreaming song, but he said it had come out too raucous. He asked me if I could write him a new line-up with the strings. So I wrote a new score (with four trumpets and three cellos) and we recorded that, but he didn’t like it.” Meanwhile, on 8 and 9 December, another basic track was recorded, using a Mellotron, electric guitar, piano, backwards-recorded cymbals, and the swarmandel (or swordmandel), an Indian version of the zither. After reviewing the tapes of Martin’s version and the original, Lennon told Martin that he liked both versions, although Martin had to tell Lennon that the orchestral score was at a faster tempo and in a higher key (B major) than the first version (A major). Lennon said, “You can fix it, George“, giving Martin and Emerick the difficult task of joining the two takes together. With only a pair of editing scissors, two tape machines, and a vari-speed control, Emerick compensated for the differences in key and speed by increasing the speed of the first version and decreasing the speed of the second. He then spliced the versions together, starting the orchestral score in the middle of the second chorus. (Since the first version did not include a chorus after the first verse, he also spliced in the first seven words of the chorus from elsewhere in the first version.) The pitch-shifting in joining the versions gave Lennon’s lead vocal a slightly other-worldly “swimming” quality.

Some vocalising by Lennon is faintly audible at the end of the song, picked up as leakage onto one of the drum microphones (close listening shows Lennon making other comments to Ringo). In the “Paul is Dead” hoax these were taken to be Lennon saying “I buried Paul.” In 1974, McCartney said, “That wasn’t ‘I buried Paul’ at all – that was John saying ‘cranberry sauce’ … That’s John’s humour … If you don’t realise that John’s apt to say cranberry sauce when he feels like it, then you start to hear a funny little word there, and you think, ‘Aha!’” Shortly before his death in 1980, Lennon expressed dissatisfaction with the final version of the song, saying it was “badly recorded” and accusing McCartney of subconsciously sabotaging the recording.

Release

When manager Brian Epstein pressed Martin for a new Beatles’ single, Martin told Epstein that the group had recorded “Strawberry Fields Forever” and “Penny Lane“, which in Martin’s opinion were their two finest songs to date. Epstein said they would issue the songs as a double A-side single, as they had done with their previous single, “Yellow Submarine“/”Eleanor Rigby“. The single was released in the US on 13 February 1967, and in the United Kingdom on 17 February 1967. Following the Beatles’ usual philosophy that songs released on a single should not appear on new albums, which wasn’t always the case, both songs were ultimately left off Sgt. Pepper’s Lonely Hearts Club Band. Martin later stated that this was a “dreadful mistake“, even though both were given a belated album appearance on side two of the LP of “Magical Mystery Tour“. It was released as a double EP in the UK, but in the USA the LP had the whole soundtrack on side one with the 1967 singles released on side two; however, the US LP version is now the CD version.

For the first time since “Love Me Do” in 1962, a single by the Beatles failed to reach number one in the UK charts. It was held at number two by Engelbert Humperdinck’s “Release Me“. In a radio interview at the time, McCartney said he was not upset because Humperdinck’s song was a “completely different type of thing“. Starr said later that it was “a relief” because “it took the pressure off“. “Penny Lane” reached number one in the US, while “Strawberry Fields Forever” peaked at number eight. In the US, both songs were included on the Magical Mystery Tour LP, which was released as a six-track double-EP in the UK.

The song was the opening track of the compilation album 1967–1970, released in 1973, and also appears on the Imagine soundtrack issued in 1988. In 1996, three previously unreleased versions of the song were included on the Anthology 2 album: Lennon’s original home demo, an altered version of the first studio take, and the complete take seven, of which only the first minute was heard in the master version. In 2006, a newly mixed version of the song was included on the album Love. This version builds from an acoustic demo (which was run at the actual recorded speed) and incorporates elements of “Hello, Goodbye“, “In My Life“, “Sgt. Pepper’s Lonely Hearts Club Band“, “Penny Lane” and “Piggies“.

Promotional film

The Beatles produced a promotional film clip for “Strawberry Fields Forever“, which served as an early example of what became known as a music video. It was filmed on 30 and 31 January 1967 at Knole Park in Sevenoaks, Kent. The clip was directed by Peter Goldmann, a Swedish television director who had been recommended to the Beatles by their mutual friend Klaus Voormann.

One of the band’s assistants, Tony Bramwell, served as producer. Bramwell recalls that, inspired by Voormann’s comment on hearing “Strawberry Fields Forever” – that “the whole thing sounded like it was played on a strange instrument” – he spent two days dressing up a large tree in the park to resemble “a piano and harp combined, with strings“. Writing for Mojo magazine in 2007, John Harris remarked that Bramwell’s set design reflected the “collision of serenity and almost gothic eeriness” behind the finished song.

The film features reverse film effects, stop motion animation, jump-cuts from daytime to night-time, and the Beatles playing and later pouring paint over the upright piano. During the same visit to Knole Park, the band shot part of the promotional film for “Penny Lane“.

In 2015, the promo film was included in the three-disc versions (titled 1+) of the Beatles’ compilation 1.

Critical reception

Among initial reviews of the single, the NME’s Derek Johnson confessed to being both fascinated and confused by “Strawberry Fields Forever“, writing: “Certainly the most unusual and way-out single The Beatles have yet produced – both in lyrical content and scoring. Quite honestly, I don’t really know what to make of it.” Time magazine hailed the song as “the latest sample of the Beatles’ astonishing inventiveness“.

Strawberry Fields Forever” has continued to receive acclaim from music critics. Richie Unterberger of AllMusic describes the song as “one of The Beatles’ peak achievements and one of the finest Lennon-McCartney songs“. Ian MacDonald wrote in Revolution in the Head that it “shows expression of a high order … few if any [contemporary composers] are capable of displaying feeling and fantasy so direct, spontaneous, and original.” In 2004, this song was ranked number 76 on Rolling Stone’s list of “The 500 Greatest Songs of All Time“.

In 2010, Rolling Stone placed it at number three on the 100 Greatest Beatles Songs. “Strawberry Fields Forever” was ranked as the second-best Beatles song by Mojo, after “A Day in the Life“. The song is ranked as the 8th greatest of all time by Acclaimed Music. XFM radio placed the song 73rd in their list of the 100 Best British Songs and 176th in their Top 1000 Songs of All Time list. […]

From The Usenet Guide to Beatles Recording Variations:

  • [a] mono 22 Dec 1966. edited.
    UK: Parlophone R5570 single 1967.
    US: Capitol 5810 single 1967, Capitol MAL 2835 Magical Mystery Tour 1967.
    CD: EMI single 1989.
  • [b] stereo 29 Dec 1966. edited.
    US: Capitol SMAL 2835 Magical Mystery Tour 1967, Apple SKBO-3404 The Beatles 1967-1970 1973.
    UK: Apple PCSP 718 1967-1970 1973.
  • [c] stereo 26 Oct 1971 at AIR. edited.
    Germany: Hor Zu SHZE 327 (later Odeon and Apple 1C 062-04 449) Magical Mystery Tour 1971.
    CD: EMI CDP 7 48062 2 Magical Mystery Tour 1987, EMI CDP 7 97039 2 The Beatles 1967-1970 1993.
  • [d] mono 29 Nov 1966 and 1995. edited.
    CD: Apple CDP 8 34448 2 Anthology 2 1996.

This song is made out of two recordings mixed separately and edited together.

The first portion is from take 7 of 29 Nov, a 2d generation 4-track tape containing a reduction from take 6 plus overdubs. For the standard versions [a][b][c], an edit at the silence at 0:55 jumps from the end of verse 1 to a later portion of take 7 containing the line “Let me take you down, ’cause I’m”. Then, right in mid-phrase at 1:00, it edits into take 26 of 15 Dec for “going to, Strawberry Fields” and on to the end of the song. The Anthology [d] uses an original mono mix of take 7 without the edits and continuing to near the end, where it was crossfaded in 1995 into sound from takes 15 and 24 of 8 Dec. (Take 7 is available in stereo and complete on bootlegs.)

The second portion of the standard versions [a][b][c] is from take 26, basically a 2d generation 4-track tape containing a reduction of take 25 plus overdubs, although it also contains drum and percussion tracks recorded as takes 15 and 24. Take 26 was recorded at a faster tempo than in the final mix, and was slowed down during preparation of the combined recording. There may be a slight slide in tape speed right around the join, too. For the Anthology [d], takes 25 and 26 are not used but some of the same percussion from takes 15 and 24 is heard by itself.

The infamous spoken “cranberry sauce”, actually said twice, is in the percussion track dating from take 24, and both are easily heard in the new mix [d] made for Anthology. The second one is almost cut off at the end of the fade in mono [a], but on the German single (Odeon O 23 436) just a syllable of it can be heard that is missing from known US and UK pressings. Stereo mix [c] had been the only place to hear the second one in full, since [b] cuts off just before it.

The newer stereo mix [c] was once known as the German stereo mix and is now the standard CD stereo mix. It has better percussion sound than the older stereo mix [b] and more stereo separation. The older mix [b] has a nice effect at the edit, quickly moving the cello and trumpet track across the image from left to right, where it stays, distracting the listener from the edit itself; in the newer mix [c] this track just starts suddenly on the right. The swordmandel at the start of both verse 2 and 3, which sounds like a harp, moves from left to right in the newer mix [c], while it’s just centered in the older one [b]. John counts down the rest before the start of verse 2 and 3, properly mixed out in the older mix [b] but heard in the newer one [c]. The fadeout-fadein near the end goes to a moment of silence in the newer stereo mix [c], but comes back immediately in the others. The newer stereo mix [c] has a slightly longer final fade so we hear a second “cranberry sauce” in the drum track, left. The differences in the two stereo mixes helps in working out what is on the 4 tracks although there are still some questions.

Last updated on April 28, 2017

Lyrics

Let me take you down
Cause I'm going to Strawberry Fields
Nothing is real
And nothing to get hung about
Strawberry Fields forever

Living is easy with eyes closed
Misunderstanding all you see
It's getting hard to be someone
But it all works out
It doesn't matter much to me

Let me take you down
Cause I'm going to Strawberry Fields
Nothing is real
And nothing to get hung about
Strawberry Fields forever

No one I think is in my tree
I mean it must be high or low
That is you can't, you know, tune in
But it's all right
That is I think it's not too bad

Let me take you down
Cause I'm going to Strawberry Fields
Nothing is real
And nothing to get hung about
Strawberry Fields forever

Always, no sometimes, think it's me
But you know I know when it's a dream
I think I know I mean a yes
But it's all wrong
That is I think I disagree

Let me take you down
Cause I'm going to Strawberry Fields
Nothing is real
And nothing to get hung about
Strawberry Fields forever
Strawberry Fields forever
Strawberry Fields forever

Officially appears on


Magical Mystery Tour (Stereo)

Official album

4:07 • Studio versionB

Paul McCartney:
Bass, Bongos, Electric guitar, Mellotron, Timpani
Ringo Starr:
Drums, Percussion
John Lennon:
Acoustic guitar, Bongos, Mellotron, Piano, Vocals
George Harrison:
Electric guitar, Maracas, Svarmandal, Timpani
George Martin:
Producer
Geoff Emerick:
Engineer
Mal Evans:
Tambourine
Derek Simpson:
Cello
Norman Jones:
Cello
Neil Aspinall:
Guiro
Terry Doran:
Maracas
Tony Fisher:
Trumpet
Greg Bowen:
Trumpet
Derek Watkins:
Trumpet
Stanley Roderick:
Trumpet
John Hall:
Cello

Session Recording:
Nov 29, 1966
Studio:
EMI Studios, Studio Two, Abbey Road

Session Recording:
Dec 08, 1966
Studio:
EMI Studios, Abbey Road

Session Overdubs:
29 Nov 1966 and 8, 9, 15, 21 Dec 1966
Studio:
EMI Studios, Abbey Road

Session Mixing:
Dec 29, 1966
Studio:
EMI Studios, Abbey Road


Magical Mystery Tour (Mono)

Official album • Released in 1967

4:07 • Studio versionA

Paul McCartney:
Bass, Bongos, Electric guitar, Mellotron, Timpani
Ringo Starr:
Drums, Percussion
John Lennon:
Acoustic guitar, Bongos, Mellotron, Piano, Vocals
George Harrison:
Electric guitar, Maracas, Svarmandal, Timpani
George Martin:
Producer
Geoff Emerick:
Engineer
Mal Evans:
Tambourine
Derek Simpson:
Cello
Norman Jones:
Cello
Neil Aspinall:
Guiro
Terry Doran:
Maracas
Tony Fisher:
Trumpet
Greg Bowen:
Trumpet
Derek Watkins:
Trumpet
Stanley Roderick:
Trumpet
John Hall:
Cello

Session Recording:
Nov 29, 1966
Studio:
EMI Studios, Studio Two, Abbey Road

Session Recording:
Dec 08, 1966
Studio:
EMI Studios, Abbey Road

Session Overdubs:
29 Nov 1966 and 8, 9, 15, 21 Dec 1966
Studio:
EMI Studios, Abbey Road

Session Mixing:
Dec 22, 1966
Studio:
EMI Studios, Studio Two, Abbey Road


Penny Lane / Strawberry Fields Forever

7" Single • Released in 1967

4:11 • Studio versionA

Paul McCartney:
Bass, Bongos, Electric guitar, Mellotron, Timpani
Ringo Starr:
Drums, Percussion
John Lennon:
Acoustic guitar, Bongos, Mellotron, Piano, Vocals
George Harrison:
Electric guitar, Maracas, Svarmandal, Timpani
George Martin:
Producer
Geoff Emerick:
Engineer
Mal Evans:
Tambourine
Derek Simpson:
Cello
Norman Jones:
Cello
Neil Aspinall:
Guiro
Terry Doran:
Maracas
Tony Fisher:
Trumpet
Greg Bowen:
Trumpet
Derek Watkins:
Trumpet
Stanley Roderick:
Trumpet
John Hall:
Cello

Session Recording:
Nov 29, 1966
Studio:
EMI Studios, Studio Two, Abbey Road

Session Recording:
Dec 08, 1966
Studio:
EMI Studios, Abbey Road

Session Overdubs:
29 Nov 1966 and 8, 9, 15, 21 Dec 1966
Studio:
EMI Studios, Abbey Road

Session Mixing:
Dec 22, 1966
Studio:
EMI Studios, Studio Two, Abbey Road


All My Trials

CD Single • Released in 1990

6:46 • Live

Paul McCartney:
Producer
Peter Henderson:
Mixing

Concert From the concert in Liverpool, United Kingdom on Jun 28, 1990


Anthology 2

Official album • Released in 1996

2:35 • Outtake • Take 1. [...] the final master was not completed almost a month after this initial session. As it took shape on 24 November, with an alternative lyric order and arrangement, this recording was considerably different from that master.

George Martin:
Producer
Geoff Emerick:
Engineer

Session Recording:
Nov 24, 1966
Studio:
EMI Studios, Studio Two, Abbey Road


Anthology 2

Official album • Released in 1996

4:14 • Outtake • Take 7 and edit piece. 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 here, 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.

George Martin:
Producer
Geoff Emerick:
Engineer

Session Recording:
Nov 29, 1966
Studio:
EMI Studios, Studio Two, Abbey Road

Session Recording:
Dec 09, 1966
Studio:
EMI Studios, Studio Two, Abbey Road


Love

Official album • Released in 2006

4:31 • Studio version • A review of the album noted that this version builds from an acoustic demo. It includes the orchestral section from "Sgt. Pepper's Lonely Hearts Club Band", the piano solo from "In My Life", the brass included in "Penny Lane", the cello and harpsichord arrangement from "Piggies" and the coda of "Hello, Goodbye".

George Martin:
Producer
Giles Martin:
Producer
Paul Hicks:
Remix engineer
Sam Okell:
Remix engineer assistant
Chris Bolster:
Remix engineer assistant
Mirek Stiles:
Remix engineer assistant

Session Mixing:
Circa 2004-2006
Studio:
EMI Studios, Abbey Road


Sgt. Pepper's Lonely Hearts Club Band (2017)

Official album • Released in 2017

Studio version • Take 1. Too much criticism to George Martin because on Anthology CDs Vol. 2 he "erased" Paul and George’s backing vocals, when in reality, he gave us the actual TAKE 1 without any overdubs as Mark Lewisohn documented, a version that wasn’t bootlegged before that. The very same day of this recording, November 24th, 1966, John recorded a second vocal (double tracked vocal) and Paul and George added backing harmonies, all over that first take and that’s the version that was bootlegged before and it’s the same version appearing now. Now, on this Deluxe edition: Giles edited out some mellotron warm up sounds after the "Take One" announcement, missing 22 seconds that are available on bootleg, and also he faded out 8 seconds of post-take studio sounds.


Sgt. Pepper's Lonely Hearts Club Band (2017)

Official album • Released in 2017

Studio version • Take 4. The bootlegs have it complete, while now Giles faded out five seconds of music (the actual end). Everything else is the same, including the slate announcement.


Sgt. Pepper's Lonely Hearts Club Band (2017)

Official album • Released in 2017

Studio version • Take 7


Bootlegs



Take It Off!

Unofficial album

3:30 • Outtake • Take 7


Take It Off!

Unofficial album

3:21 • Outtake • RM3


Take It Off!

Unofficial album

3:47 • Outtake • Take 25


Take It Off!

Unofficial album

3:37 • Outtake • Take 26


Live performances

“Strawberry Fields Forever” has been played in 13 concerts.

Latest concerts where “Strawberry Fields Forever” has been played








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