Imagine sitting 3 feet away from your friend and he plays this to you. They must have constantly looked at each other in utter amazement, respect and pride.
i would guess that happened only a few times in the 60s...artists are competitive and insecure so its rare for the stars to all align in agreement haha
With Ringo,Paul and John is Big Mal Evans,a great friend of the Beatles. He also joined John in LA during His Lost Weekend Time away from Yoko. Mal was shot to death by a LA cop,who thought he had a gun.🇬🇧🎸📻😢
Hearing this in early 1967 you knew the Fab 4/Beatlemania was gone forever. Got your first warning when news came out in early September 1966 that John cut his hair, this clinched it. Still stuns me this was 3 years after I Want to Hold Your Hand hit the American Top 40. Beatles were from another reality.
Those brief harmonies made my ears perk up. Those sound like they would have worked very well. Of course I could be starving for another unheard harmony sequence from these guys. It's been a while.
I am OBSESSED with this. I only don't like the slightly out of tune sounding note after "tree" but everything else is completely stunning. There's never nothing to listen to with the beatles, even their isolated tracks, rare songs, takes are so addicting and skilfully made
Exactly right on the bent C note leading down to the A minor. It gives it a weird drowsy feel so unique that I can’t play this song without that smear.
To think of how many different - COMPLETELY different - iterations of SFF they tried before they cut, pasted, and sped up/slowed down all the takes to make the masterpiece we all know. Any one of these alternate takes was a very good song in and of it's own right. And all along the way, somehow they knew they could do better! Amazing!!!
I never would have suspected this take was actually a whole-step (actually 1/2 and a 1/4 of a step) lower than it was as released on Anthology (without backing vocals) and the 50th Anniversary Sgt. Pepper reissue, if you catch my drift. But in this key, it sounds extraordinarily natural!
It was recorded with the 4-track tape machine running slow, so when played back at normal speed (as on Anthology and the 50th Anniversary box) it’s pitched higher. I agree that it sounds natural, more relaxed here.
Correct Personnel Drums (1964 Ludwig Super Classic Black Oyster Pearl): Ringo Starr Slide Guitar Mellotron (Mellotron MK II): George Harrison Mellotron Flute or Brass (Mellotron MK II): Paul Mccartney Rhythmic Guitar (Epiphone Casino): John Lennon Bass Guitar (Rickenbacker 4001) Paul McCartney Backing Vocals: John Paul and George Lead Vocal: John Lennon
On the final version of this song, the first one minute, in my book, is the greatest one minute ever recorded in Rock history, because it's all them, no strings, no horns, just The Beatles. Truly Rock Art in its greatest form.
Four lads that shook the world!!!!🌎 Always were and always will be a band that will never ever be surpassed!!! BEST band on the planet🌎 Long Live The Beatles⭐🌟⭐ Peace and Love✌️♥️
@@BlompBlompson-wh5vl I can try...This is how I hear him, depending on the song, you can hear what he is feeling by the tone he has in that particular song. Example, Listen to him sing " I'll Cry Instead" or "I Call Your Name" and you can hear a bit of anger with attitude that he has in his voice, then listen to him sing "Julia" or "A Day In A Life" and his voice makes you think your floating on a cloud. It's very hard to describe my friend.🍏🎤🎶🎵
They usually made the base and the composer added the final details; in this case the decision of keeping certain things, or not, was John's and is worth mentioning that was never happy with the end result
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
Amo esta canción, no hay momento que no sea propicia para deleitarme con cualquier versión de SFF. Sin duda los mejores de todos. Extraordinarios TB. Gracias por subir esta perlita.
For me it’s a whole new song. I think they had it right on this one. Gentler & more in keeping with the subject matter. JL as usual liked both versions! It’s a corporate crime that Strawberry & Penny were not on the Pepper album, as possibly then it would truly be the Beatles finest hour - Till then , Revolver for me -
It wasn’t a crime - they released it as a single with Penny Lane. The Beatles never put their singles on albums anyway. It was released as a single before anyone ever even heard of Sgt Peppers. Paul didn’t even have the concept yet when they finished this song.
Agreed. George Martin said releasing Strawberry & Penny as singles and not putting them on Sgt Pepper was the worst mistake he ever made. With those two classics included, Sgt. Pepper would have been the absolutely undisputed greatest rock album of all time. That would be nice. As for which version is best... they're both great. Include them both on Sgt Pepper. It would have been another little Beatles curiosity to talk about for years.
@@augustdaye2746 You're mistaken. George never said this, in fact quite the opposite. SFF and Penny Lane were written and recorded then put out as singles before Sgt. Pepper was even a concept. No one had ever even heard of it, so there was no reason to think the songs would be on the album. Since they were released as a single it would have been silly to put them on the album - they were already in everyone's record collections when Sgt Pepper was released.
i think that if they continued working with take 1, instead of trashing it, strawberry fields forever would become even better than what it is now. i fkn love take 1
@@turnmeondeadman4221 they just mean throwing out the take and starting from scratch, hence “trashing” this version. They’re not saying they made the final version trash. It’s Strawberry fucking Fields
It happens so often that when we get to hear the progression of what the artist started out with we often go back and love the simplicity of the original. But hey, I love the finished one too probably because I’m a drummer. But I hear ya!
Ahh man. Could you ever think of what he was thinking when he was writing this did he even know how it would change not only the lives of people listening to it in their own private lives but how it changed the whole world and their idea of music in 1966
Hey buddy! I am loving your Beatles edit... They are my favorite. If you could do the live version of something by Paul McCartney, Eric Clapton from concert for George... It would be really great🤩🤩 Thanks anyways for previous edits
I always thought they worked and reworked the song within an inch of its life. Kind of like what happened to While My Guitar Gently Weeps. The original demo of George on guitar and Paul on harmonium was beautiful. th-cam.com/video/3rs-cFctj6k/w-d-xo.html
This was recorded at 29 november From 1966, a dark night and só very cold, my uncle was there working as cleaner studio, I miss Antonio Brancaleone!!!😢😢 Mister Lennon was so educated he gave for my uncle one little of hot coffee and biscuits!!
@@DLD2Music Does he still have it? I've tried to search and find out but haven't been successful using google. A few years ago on one of the music videos for his album New (Quennie Eye I think) you could see a bunch of his guitars on a guitar rack like his Rickenbacker 12 string and many others but it only appears for a short bit and it's not very close up.
I'm so confused... take 1 on the deluxe album sounds higher pitched... so what does "pitch corrected" mean in this instance? This is that other version, but bumped down a few semi tones? Or the other one is bumped up? or neither?
The center pitch in this video is close to Bb, which puts John's vocal closer to what it might have sounded like live. However, the instruments were not playing in Bb at the session for Take 1 -- they were in the key of C, like John's demo was. In this take, one can hear the guitars seemingly going down to low Eb - but this is not even available on a standard-tuned instrument. Also, as George Martin has stated, John had asked for a change on his recorded voice so they increased the tape recorder's frequency a little to achieve this on playback. Excellent explanation of this here: th-cam.com/video/QgtzOafdoOQ/w-d-xo.html
Guitars can be tuned down. There are plenty of Beatles songs where they did use alternate guitar tunings: Rain (even before it was pitch shifted it had a funky tuning), Yesterday (whole step down) Dear Prudence (drop D), I Want You (She’s So Heavy) (drop D), Fixing a Hole (drop D), one of the guitars on the title Sgt. Pepper track is drop D.
Great picture - Paul with a right handed Fender Telecaster upside down. You'll never find another pic of Paul with a Tele, let alone a right handed guitar turned upside down for left handed play.
Also, there are tons of photos of Paul playing righty guitars upside down. During The Beatle years, he never owned a left-handed guitar, his Epiphone Texan and Casino, and original Martin D-28 are all right-handed models with the strings reversed. He plays both Epiphones live and in the studio to this day. All his guitars pre-fame were right-handed. There’s photos of him playing John and George’s guitars upside down backstage or in the studio.
I would have liked to have had a version that combined the best ideas from take one and 7 and not bothered with the orchestral stuff from the later takes. I like the sparseness of take one and the harmonies that were dropped from later takes, I'm not crazy about the slide guitar the leads into the chorus and I miss a bit the Indian instruments and the crazy percussion dub from Take 7.
I always thought John used the J-160E on this take. But seeing as how one photograph shows him walking to the studio with his Casino, that probably makes it the only guitar he had on hand.
This altered version might indeed sound more "natural", but the released, "official" version is the one The Beatles chose to keep as "THE version", at least until John decided to redo it four days later. If they, at this session, believed that the vocals were "too speeded-up", they would have done another take right then and there to correct it.
The genius of Sir George Martin, the fifth Beatle. Mellotron flute sounds, an Indian swarmandai, tape loops and fade-out/fade in coda as well as a cello and brass arrangement all by producer George Martin. He WAS The Beatles sound. People always come back at me and say...No he wasn't, what are you talking about. YES he was. He was never promoted publicly as such but he was the Fifth Beatle. That is one of the reasons he is SIR George Martin. He played an instrument on an average of one fifth of all Beatles songs...he also wrote and conducted a tremendous amount of the music.
That is incorrect. The Beatles were responsible for how they wanted the record to sound and it was Martin’s job to be in tune with what they wanted. He wasn’t a Svengali type producer who was given freedom to put whatever he wanted on a Beatles record. He was there to facilitate The Beatles ideas and to offer suggestions when needed but The Beatles were in charge. George Martin didn’t decide to put tape loops and backwards cymbals and use a melotron on Strawberry Fields, that was of course The Beatles. Indian instruments also, were of course The Beatles doing. George Harrison was getting heavily into Indian music at this point. It wasn’t George Martin’s decision to completely scrap the first two slower versions and go with a more strident version. That was of course John Lennon. It wasn’t George Martin who decided to start with the slower version and finish with the faster version. That was also John Lennon, as it would be because it was his song. The one thing that Lennon couldn’t do was actually vary-speed the two versions and splice the tape, that was Martin’s job, but the whole Psychedelic sound of Strawberry Fields was obviously The Beatles doing. Martin of course gave suggestions. We don’t know for sure but he may have been the one who suggested adding brass to the faster version and it was up to Lennon to say let’s give it a go or to not accept it. Lennon, generally, gave Martin more leeway and was more abstract in his instructions but McCartney would sit down with Martin and work out the score for strings together on piano. Martin would say, “the lower notes will be cellos, higher ones violins” and they worked it out together”. On “Yesterday” for example, it was McCartney’s idea to have the long sustained violin on the final verse (“Love was such an easy game to play”) and it’s the most moving part of the song. On Penny Lane, McCartney specifically asked for the piccolo trumpet, whistled the melody he wanted and Martin transcribed it and wrote it down for the musician to play. It was the same with the French Horn in “For No One” Martin had a whole stable of stars including “Gerry and The Pacemakers” but none of their records had any sort of innovative backing or unusual sounds, although they often had orchestral scores. The Beatles scores had a more singular sound because of The Beatles influence. They requested that the strings on say, “Eleanor Rigby” be recorded very dry with no vibrato. There are two things George Martin said that explains his relationship with The Beatles. One is when he said: “The genius was theirs. I was merely the facilitator” He also said: “At the beginning I was the master and they were the pupils. By the end they were the masters and I was the pupil”
@@johnp515 John, I was there in those days. George Martin not only helped compose the music. Everyone who was not in the know said, "My, my, those Beatles are learning so quickly and their improvements are extraordinary. It is true that they were absolutely brilliant, they were great students. Even McCartney has said that George Martin was constantly introducing them to new instruments and harmonies. Martin also played instruments on many, many Beatles records. If you do not know that then you know nothing. These are no longer secrets, but they are also matters which are not shouted about. None of the Beatles could read or write music, so who do you think wrote the scores for the people George Martin brought into the studio to create the final production? The Beatles themselves said they stopped touring because they could not reproduce their sound in front of a live audience...they SAID that....publicly. You've got a lot to learn about how the industry works.
@@johnp515 Also Brian Wilson of The Beach Boys begged Martin to record them. He was in very high demand because he WAS a Svengali type producer...a genius. He rewrote several Beatles songs/tunes...he has been filmed saying so, but the reason it was all so quiet was that his job was to do it, and shut up about it. The promo machine's job was to make John, Paul, Ringo and George look as good as possible...and to turn them into a money making machine.
@@erepsekahs It is categorically untrue that George Martin “rewrote Beatles songs” and he never said it, on film or otherwise. And I never denied that Martin played on Beatles records. That was not what I was addressing. You didn’t address any of the points I made. For example, The Beatles being responsible for the mellotron, the Indian instruments and the tape loops. You said it was George Martin. It wasn’t. It was The Beatles. Those are facts. You didn’t address what I said about McCartney and Martin working out the scores together. You implied that all of that was always decided by Martin. It wasn’t. You didn’t address the point I made that The Beatles were in charge therefore it was not Martin who decided to scrap the slower version of Strawberry Fields and start again. It was not Martin who decided to splice the fast version with the slow version together. Paul McCartney has never said that George Martin “constantly” introduced them to new harmonies. In fact, The Beatles often ignored his advice on such matters like when Martin said he thought the very last harmony they chose on “She Loves You” was old fashioned and not Rock and Roll but they went with their instincts and of course, it was their strange chord and harmony choices that was part of what made them who they were. Martin was a great producer for The Beatles and it is not surprising was that people wanted to work with him but people misunderstand what he did. Some people assume that any time there is orchestration or orchestral instruments on Beatles records that Martin was responsible for composing them and that is simply not true. The key point is that The Beatles were the directors. Whoever wrote the song was in charge of how it would be arranged. I don’t mean to be rude but if you know what Svengali means then you’d know it is clear that Martin was not like with The Beatles, otherwise it would have been Martin calling the shots and deciding every music choice in the studio. But that’s not true is it? He wasn’t in charge. He was at the very beginning, but after The Beatles refused to record a cover song as their second single and their own song went to number one, it was clear that The Beatles were in charge of their destiny. Finally, you didn’t address the key quote from Martin: “The genius was theirs, I was merely the facilitator” That gives you an idea what his role was. There is another quote, this time from John Lennon as a reaction to those people who assumed that Martin was responsible for The Beatles genius: “Of course George Martin was a great help in translating our ideas when we needed it but when the cameraman takes credit from the director, it’s a bit much” Now, those are two quotes from the men who were there and did it. Unlike us, who only read about it the books and magazines.
@@johnp515I am just not going to be bothered with you any more. There are none so blind as those who will not see, so be blind and do no research. It is your loss when you refuse to engage in deep research and you seem to simply believe what the public have been told because that is what the publicity agents want you to know. The Beatles were genius, there is no doubt about that, but you have not researched how much George Martin was a part of it. Yes the meletron was something McCartney says he brought attention to. George Martin doubled the tempo of Please please Me and added the harmonica riffs. He played piano on several songs etc. etc. etc. George Martin's contributions to their music are well known. But he also played an instrument on approx. 20% of their recorded songs, and wrote the arrangements for many of their greatest. You can read a song by song description in The New York Times, March 16, 2016. Also, if you can bring yourself to learn something you can Google: A Song By Song Look At What Made George Martin The Fifth Beatle. Now go away, and don't bother me again unless you are writing to say you are sorry...but you are the type of person who would never apologize for any mistake you have ever made, which is why you know so little. Remember: It is only when one realizes that one knows absolutely nothing, that one becomes open to learning something.
This is one Beatles tune that got overdone in it's final release. It's one of John's most personal compositions and this simple arrangement provides the listener an intimate experience.
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John’s voice gives me chills
I think he has one of the best voices. The Beatles were great at harmonizing.
Imagine sitting 3 feet away from your friend and he plays this to you. They must have constantly looked at each other in utter amazement, respect and pride.
When you practice as much as they have it doesn’t come as a surprise .. or even talent, it’s just seamless and expected.
Yes, sitting next to your best mate singing about a place you both grew up at as kids!
i would guess that happened only a few times in the 60s...artists are competitive and insecure so its rare for the stars to all align in agreement haha
💯…geniuses
With Ringo,Paul and John is Big Mal Evans,a great friend of the Beatles. He also joined John in LA during His Lost Weekend Time away from Yoko. Mal was shot to death by a LA cop,who thought he had a gun.🇬🇧🎸📻😢
2:38 My God that's the most enchantingly beautiful thing ever
Yesss amazing, sounds like Their satanic majesties but 1 year before
Hearing this in early 1967 you knew the Fab 4/Beatlemania was gone forever. Got your first warning when news came out in early September 1966 that John cut his hair, this clinched it. Still stuns me this was 3 years after I Want to Hold Your Hand hit the American Top 40. Beatles were from another reality.
That is so well said!
Even this take is hypnotizing. Lennon's voice. Damn!
Those brief harmonies made my ears perk up. Those sound like they would have worked very well. Of course I could be starving for another unheard harmony sequence from these guys. It's been a while.
I am OBSESSED with this. I only don't like the slightly out of tune sounding note after "tree" but everything else is completely stunning. There's never nothing to listen to with the beatles, even their isolated tracks, rare songs, takes are so addicting and skilfully made
yep!
It's actually a bent note, intentional
1967..
A blues scale note not to be hung onto only passed through to get to magic.
Exactly right on the bent C note leading down to the A minor. It gives it a weird drowsy feel so unique that I can’t play this song without that smear.
To think of how many different - COMPLETELY different - iterations of SFF they tried before they cut, pasted, and sped up/slowed down all the takes to make the masterpiece we all know.
Any one of these alternate takes was a very good song in and of it's own right. And all along the way, somehow they knew they could do better! Amazing!!!
it kinda reminds me of "Across the Universe" in that aspect
I cry every time i hear John sing, in sad, in joy
From 1:15 to 1:35 "Strawberry" sounded like an "Abbey Road" medley-track.
It’s the background harmonies
sounds like sun king or because
Yes but better!
I never would have suspected this take was actually a whole-step (actually 1/2 and a 1/4 of a step) lower than it was as released on Anthology (without backing vocals) and the 50th Anniversary Sgt. Pepper reissue, if you catch my drift. But in this key, it sounds extraordinarily natural!
It was recorded with the 4-track tape machine running slow, so when played back at normal speed (as on Anthology and the 50th Anniversary box) it’s pitched higher. I agree that it sounds natural, more relaxed here.
Yeah this is better and more natural. I agree
The background vocals that come in at 1:15 are wonderful!
There were some vocals that come in at ~1:06 too
It is awesome.
Also the ending from 2:22 onwards is haunting but beautiful, I wish they would've kept it.
@@Hellyeahray21 Yes.
So many possibilities for such a marvelous song, no wonder they couldn't resist fooling around with it.
Bloody amazing ! Like most of the Beatles output. The soundtrack to our lives forever after! Rock on lads!
Creation is such a fine thing! They were brilliant!
Correct Personnel
Drums (1964 Ludwig Super Classic Black Oyster Pearl): Ringo Starr
Slide Guitar Mellotron (Mellotron MK II): George Harrison
Mellotron Flute or Brass (Mellotron MK II): Paul Mccartney
Rhythmic Guitar (Epiphone Casino): John Lennon Bass Guitar (Rickenbacker 4001) Paul McCartney
Backing Vocals: John Paul and George
Lead Vocal: John Lennon
George never didn't play the Mellotron
Paul’s part on Take 1 isn’t the flute setting, it’s the brass setting.
@@franciscoarteagasanchez5197 According to the Sgt. Pepper box set, George played the Mellotron’s slide guitar setting on Strawberry Fields.
@@thomaspappalardo7589 there is no slide guitar setting on the mellotron
@@kurwabobrze633 But there is a guitar setting that could sound like slide with the pitch control knob.
On the final version of this song, the first one minute, in my book, is the greatest one minute ever recorded in Rock history, because it's all them, no strings, no horns, just The Beatles. Truly Rock Art in its greatest form.
Four lads that shook the world!!!!🌎 Always were and always will be a band that will never ever be surpassed!!! BEST band on the planet🌎 Long Live The Beatles⭐🌟⭐ Peace and Love✌️♥️
The simplicity but yet profound magic realism on its lyrics and music are spellbounding.Lennons voice sends chills up the spine.
Wow. This literally gives me goosebumps. Unbelievable.
Not figuratively?
The ending of this is absolutely beautiful.
The greatest voice in the world....
Yes, I do agree: the greatest voice in the pop music world!
@@BlompBlompson-wh5vl I can try...This is how I hear him, depending on the song, you can hear what he is feeling by the tone he has in that particular song. Example, Listen to him sing " I'll Cry Instead" or "I Call Your Name" and you can hear a bit of anger with attitude that he has in his voice, then listen to him sing "Julia" or "A Day In A Life" and his voice makes you think your floating on a cloud. It's very hard to describe my friend.🍏🎤🎶🎵
@@mr.kite0535makes me feel like I'm in a 3rd dimension
I actually really like this stripped down version!!!
1:15 Oh, it’s beautiful
They should've kept the harmony vocals at 1:15.
They usually made the base and the composer added the final details; in this case the decision of keeping certain things, or not, was John's and is worth mentioning that was never happy with the end result
@@DJmisterpeluca He was happy with the result, he only was unhappy years later when he was bitter.
The harmony vocals sounds a bit like Because
They sort of did keep them: they’re mimicked exactly in the score Martin wrote for the horns.
@@bimbolo82Then they're not vocal harmonies.
Absolutamente dioses de la música increíble toma, doy gracias por tener vida para escuchar esta maravilla
Amazing man. He should still be here with us!!!!
Oh those backing vocals are spectacular! Wish they had done those instead of the backing strings in the released version.
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
We know the lyrics
Thanks for sharing can you get an Isolated piano track of Paul McCartneys Beautiful Night.
Amo esta canción, no hay momento que no sea propicia para deleitarme con cualquier versión de SFF. Sin duda los mejores de todos. Extraordinarios TB. Gracias por subir esta perlita.
Best version ♥️☮️ wow…Such a great writer john was superbbb 😍
haaa, Que padre canción me deleitó escucharla así, no cabe duda los Beatles son genios musicales.
For me it’s a whole new song. I think they had it right on this one. Gentler & more in keeping with the subject matter. JL as usual liked both versions!
It’s a corporate crime that Strawberry & Penny were not on the Pepper album, as possibly then it would truly be the Beatles finest hour -
Till then , Revolver for me -
It's MMT for me!
It wasn’t a crime - they released it as a single with Penny Lane. The Beatles never put their singles on albums anyway. It was released as a single before anyone ever even heard of Sgt Peppers. Paul didn’t even have the concept yet when they finished this song.
Agreed. George Martin said releasing Strawberry & Penny as singles and not putting them on Sgt Pepper was the worst mistake he ever made. With those two classics included, Sgt. Pepper would have been the absolutely undisputed greatest rock album of all time. That would be nice. As for which version is best... they're both great. Include them both on Sgt Pepper. It would have been another little Beatles curiosity to talk about for years.
They were taking heavy-duty drugs, all their work was going downhill.
@@augustdaye2746 You're mistaken. George never said this, in fact quite the opposite. SFF and Penny Lane were written and recorded then put out as singles before Sgt. Pepper was even a concept. No one had ever even heard of it, so there was no reason to think the songs would be on the album. Since they were released as a single it would have been silly to put them on the album - they were already in everyone's record collections when Sgt Pepper was released.
Absolutely superb job as always
i think that if they continued working with take 1, instead of trashing it, strawberry fields forever would become even better than what it is now. i fkn love take 1
“Trashing it” man fuck you ,just fuck you lol
@@turnmeondeadman4221 they just mean throwing out the take and starting from scratch, hence “trashing” this version. They’re not saying they made the final version trash. It’s Strawberry fucking Fields
@@SharpiMP3 ❤
It happens so often that when we get to hear the progression of what the artist started out with we often go back and love the simplicity of the original. But hey, I love the finished one too probably because I’m a drummer.
But I hear ya!
Nah take 1's arrangement sounds too much like "In My Life." I think the Beatles wanted to keep moving forward, not backward.
The ending is so blissful.
Sounds a lot like an ocarina song from Ocarina of Time. In case you're familiar with that game...
@@Vingul I'm not no, but I love the sound it gives off.
The Beatles --- the Greatest - The Best Ever.
This gave me the Strawberry feels
Ahh man. Could you ever think of what he was thinking when he was writing this did he even know how it would change not only the lives of people listening to it in their own private lives but how it changed the whole world and their idea of music in 1966
Hey buddy! I am loving your Beatles edit... They are my favorite.
If you could do the live version of something by Paul McCartney, Eric Clapton from concert for George... It would be really great🤩🤩
Thanks anyways for previous edits
Yes i miss john too and he had auch an amazing voice.
This is fantastic.
Would love to hear Take 26 pitch corrected like this too
01:15 coros celestiales.
The greatest take 1 🎶
Beatiful song
Magical Mystery Tour is so underappreciated even by Beatle fans.
Love it! But........waiting on The White LP!
I think this is my favorite version
His voice is so much better here, without all finished special effects…
My number one favorite Beatles, Beatle John composition! 😄
so magic. We miss you John.
GENIO. TOTAL. INIGUALABLE
I always thought they worked and reworked the song within an inch of its life. Kind of like what happened to While My Guitar Gently Weeps. The original demo of George on guitar and Paul on harmonium was beautiful. th-cam.com/video/3rs-cFctj6k/w-d-xo.html
A rare time Paul used the bridge backup on the 4001 Rickenbacker base.
Absolutely amazing . Better than original one
Grounded version of this song. love it
This was recorded at 29 november From 1966, a dark night and só very cold, my uncle was there working as cleaner studio, I miss Antonio Brancaleone!!!😢😢 Mister Lennon was so educated he gave for my uncle one little of hot coffee and biscuits!!
♪♫ Branca Branca Branca!!! Leon´ leon´ leon´!!! ♪♫
Beautiful story man
John sounds like he was partying with Syd Barrett.
Sounds like the greatest party you could have, I’d love to see them trip with maybe Brian Wilson as well.
@@Zoologic21 Brian W for sure!
Esta rebuenisimo bro bendiciones!
1:15 sounds like a choir of angels
Una joya, gracias 🎼🎤🥁🎸🧓👦👨👱♂️
Is that Paul's Fender Esquire in the picture? I believe he used on several tracks on Sgt Pepper.
yes
yep
@@DLD2Music Does he still have it? I've tried to search and find out but haven't been successful using google. A few years ago on one of the music videos for his album New (Quennie Eye I think) you could see a bunch of his guitars on a guitar rack like his Rickenbacker 12 string and many others but it only appears for a short bit and it's not very close up.
la squiere es reciente... no existia
@@delfinastral You're thinking of a Squire. Fender Esquire is similar to a Telecaster en.wikipedia.org/wiki/Fender_Esquire
Luv dis, reminds me of my teen days
I like the studio version more than the real version of this song.
I'm so confused... take 1 on the deluxe album sounds higher pitched... so what does "pitch corrected" mean in this instance? This is that other version, but bumped down a few semi tones? Or the other one is bumped up? or neither?
I think this one is how it was originally recorded while the other one was pitched up
yes
The Anthology version has the tape sped up. This is the pitch it would have sounded live
@@cresar3072 2 years late but thanks! haha
the harmonies at 1:20 sound like Elliott Smith!
I love the outro in the end
The center pitch in this video is close to Bb, which puts John's vocal closer to what it might have sounded like live. However, the instruments were not playing in Bb at the session for Take 1 -- they were in the key of C, like John's demo was. In this take, one can hear the guitars seemingly going down to low Eb - but this is not even available on a standard-tuned instrument. Also, as George Martin has stated, John had asked for a change on his recorded voice so they increased the tape recorder's frequency a little to achieve this on playback. Excellent explanation of this here: th-cam.com/video/QgtzOafdoOQ/w-d-xo.html
They can downtune
Guitars can be tuned down. There are plenty of Beatles songs where they did use alternate guitar tunings: Rain (even before it was pitch shifted it had a funky tuning), Yesterday (whole step down) Dear Prudence (drop D), I Want You (She’s So Heavy) (drop D), Fixing a Hole (drop D), one of the guitars on the title Sgt. Pepper track is drop D.
Long Live the Beatles!
Sad the extra playing of the mellotron is here before the actual performance
Why
@@kurwabobrze633 Because the twiddling was part of the main tape for this take, & I rarely see that part included
Luv this version...almost better than the final product (tuné)
Great picture - Paul with a right handed Fender Telecaster upside down. You'll never find another pic of Paul with a Tele, let alone a right handed guitar turned upside down for left handed play.
It’s an Esquire - there are other photos from the Pepper sessions of him facing the other way, so you can see it’s an Esquire
Also, there are tons of photos of Paul playing righty guitars upside down. During The Beatle years, he never owned a left-handed guitar, his Epiphone Texan and Casino, and original Martin D-28 are all right-handed models with the strings reversed. He plays both Epiphones live and in the studio to this day. All his guitars pre-fame were right-handed. There’s photos of him playing John and George’s guitars upside down backstage or in the studio.
I would have liked to have had a version that combined the best ideas from take one and 7 and not bothered with the orchestral stuff from the later takes. I like the sparseness of take one and the harmonies that were dropped from later takes, I'm not crazy about the slide guitar the leads into the chorus and I miss a bit the Indian instruments and the crazy percussion dub from Take 7.
The version from the Love show fits some of what you describe.
The best tuning of the song, no doubt. This had to be the original version
i love this
I always thought John used the J-160E on this take. But seeing as how one photograph shows him walking to the studio with his Casino, that probably makes it the only guitar he had on hand.
This altered version might indeed sound more "natural", but the released, "official" version is the one The Beatles chose to keep as "THE version", at least until John decided to redo it four days later. If they, at this session, believed that the vocals were "too speeded-up", they would have done another take right then and there to correct it.
I wanna live in this song
the vocals are great in this
The Beatles forever ✌️✌️✌️
Actually prefer this take one to the album version
Pretty haunting.....
Believe that Strawberry Fields and Penny Lane were released side A and B. Amazing block of musical genius. The Beatles were and still are IT
Nope, it was a "double-A sided" single
@@Peter-pb8jg Whatever....get a life lol
The genius of Sir George Martin, the fifth Beatle. Mellotron flute sounds, an Indian swarmandai, tape loops and fade-out/fade in coda as well as a cello and brass arrangement all by producer George Martin. He WAS The Beatles sound. People always come back at me and say...No he wasn't, what are you talking about. YES he was. He was never promoted publicly as such but he was the Fifth Beatle. That is one of the reasons he is SIR George Martin. He played an instrument on an average of one fifth of all Beatles songs...he also wrote and conducted a tremendous amount of the music.
That is incorrect. The Beatles were responsible for how they wanted the record to sound and it was Martin’s job to be in tune with what they wanted. He wasn’t a Svengali type producer who was given freedom to put whatever he wanted on a Beatles record. He was there to facilitate The Beatles ideas and to offer suggestions when needed but The Beatles were in charge. George Martin didn’t decide to put tape loops and backwards cymbals and use a melotron on Strawberry Fields, that was of course The Beatles. Indian instruments also, were of course The Beatles doing. George Harrison was getting heavily into Indian music at this point. It wasn’t George Martin’s decision to completely scrap the first two slower versions and go with a more strident version. That was of course John Lennon. It wasn’t George Martin who decided to start with the slower version and finish with the faster version. That was also John Lennon, as it would be because it was his song. The one thing that Lennon couldn’t do was actually vary-speed the two versions and splice the tape, that was Martin’s job, but the whole Psychedelic sound of Strawberry Fields was obviously The Beatles doing. Martin of course gave suggestions. We don’t know for sure but he may have been the one who suggested adding brass to the faster version and it was up to Lennon to say let’s give it a go or to not accept it.
Lennon, generally, gave Martin more leeway and was more abstract in his instructions but McCartney would sit down with Martin and work out the score for strings together on piano. Martin would say, “the lower notes will be cellos, higher ones violins” and they worked it out together”. On “Yesterday” for example, it was McCartney’s idea to have the long sustained violin on the final verse (“Love was such an easy game to play”) and it’s the most moving part of the song. On Penny Lane, McCartney specifically asked for the piccolo trumpet, whistled the melody he wanted and Martin transcribed it and wrote it down for the musician to play. It was the same with the French Horn in “For No One”
Martin had a whole stable of stars including “Gerry and The Pacemakers” but none of their records had any sort of innovative backing or unusual sounds, although they often had orchestral scores. The Beatles scores had a more singular sound because of The Beatles influence. They requested that the strings on say, “Eleanor Rigby” be recorded very dry with no vibrato.
There are two things George Martin said that explains his relationship with The Beatles. One is when he said: “The genius was theirs. I was merely the facilitator”
He also said: “At the beginning I was the master and they were the pupils. By the end they were the masters and I was the pupil”
@@johnp515 John, I was there in those days. George Martin not only helped compose the music. Everyone who was not in the know said, "My, my, those Beatles are learning so quickly and their improvements are extraordinary. It is true that they were absolutely brilliant, they were great students. Even McCartney has said that George Martin was constantly introducing them to new instruments and harmonies. Martin also played instruments on many, many Beatles records. If you do not know that then you know nothing. These are no longer secrets, but they are also matters which are not shouted about. None of the Beatles could read or write music, so who do you think wrote the scores for the people George Martin brought into the studio to create the final production? The Beatles themselves said they stopped touring because they could not reproduce their sound in front of a live audience...they SAID that....publicly. You've got a lot to learn about how the industry works.
@@johnp515 Also Brian Wilson of The Beach Boys begged Martin to record them. He was in very high demand because he WAS a Svengali type producer...a genius. He rewrote several Beatles songs/tunes...he has been filmed saying so, but the reason it was all so quiet was that his job was to do it, and shut up about it. The promo machine's job was to make John, Paul, Ringo and George look as good as possible...and to turn them into a money making machine.
@@erepsekahs It is categorically untrue that George Martin “rewrote Beatles songs” and he never said it, on film or otherwise. And I never denied that Martin played on Beatles records. That was not what I was addressing. You didn’t address any of the points I made. For example, The Beatles being responsible for the mellotron, the Indian instruments and the tape loops. You said it was George Martin. It wasn’t. It was The Beatles. Those are facts. You didn’t address what I said about McCartney and Martin working out the scores together. You implied that all of that was always decided by Martin. It wasn’t. You didn’t address the point I made that The Beatles were in charge therefore it was not Martin who decided to scrap the slower version of Strawberry Fields and start again. It was not Martin who decided to splice the fast version with the slow version together.
Paul McCartney has never said that George Martin “constantly” introduced them to new harmonies. In fact, The Beatles often ignored his advice on such matters like when Martin said he thought the very last harmony they chose on “She Loves You” was old fashioned and not Rock and Roll but they went with their instincts and of course, it was their strange chord and harmony choices that was part of what made them who they were. Martin was a great producer for The Beatles and it is not surprising was that people wanted to work with him but people misunderstand what he did. Some people assume that any time there is orchestration or orchestral instruments on Beatles records that Martin was responsible for composing them and that is simply not true. The key point is that The Beatles were the directors. Whoever wrote the song was in charge of how it would be arranged. I don’t mean to be rude but if you know what Svengali means then you’d know it is clear that Martin was not like with The Beatles, otherwise it would have been Martin calling the shots and deciding every music choice in the studio. But that’s not true is it? He wasn’t in charge. He was at the very beginning, but after The Beatles refused to record a cover song as their second single and their own song went to number one, it was clear that The Beatles were in charge of their destiny.
Finally, you didn’t address the key quote from Martin: “The genius was theirs, I was merely the facilitator” That gives you an idea what his role was. There is another quote, this time from John Lennon as a reaction to those people who assumed that Martin was responsible for The Beatles genius:
“Of course George Martin was a great help in translating our ideas when we needed it but when the cameraman takes credit from the director, it’s a bit much”
Now, those are two quotes from the men who were there and did it. Unlike us, who only read about it the books and magazines.
@@johnp515I am just not going to be bothered with you any more. There are none so blind as those who will not see, so be blind and do no research. It is your loss when you refuse to engage in deep research and you seem to simply believe what the public have been told because that is what the publicity agents want you to know. The Beatles were genius, there is no doubt about that, but you have not researched how much George Martin was a part of it. Yes the meletron was something McCartney says he brought attention to. George Martin doubled the tempo of Please please Me and added the harmonica riffs. He played piano on several songs etc. etc. etc. George Martin's contributions to their music are well known. But he also played an instrument on approx. 20% of their recorded songs, and wrote the arrangements for many of their greatest. You can read a song by song description in The New York Times, March 16, 2016. Also, if you can bring yourself to learn something you can Google: A Song By Song Look At What Made George Martin The Fifth Beatle. Now go away, and don't bother me again unless you are writing to say you are sorry...but you are the type of person who would never apologize for any mistake you have ever made, which is why you know so little. Remember: It is only when one realizes that one knows absolutely nothing, that one becomes open to learning something.
A Beatles song is not complete without Ringo's drums.
He is playing drums, but just playing a very basic part.
You think Blackbird needed drums? Lols.
Loved johns voice
Take 26 pitch corrected please? The result may shock us all
This is why John's the best
Gotta admit, the final cut that hit vinyl was the greatest thing ever. John Lennon was undoubtedly a genius.
Thanks to George Martin too.
Thank God for George Martin.
This is one Beatles tune that got overdone in it's final release. It's one of John's most personal compositions and this simple arrangement provides the listener an intimate experience.
John is the rhythm guitar and Paul did the guitar solo
Paul played the mellotron on Take 1.
For some reason this reminds of Syd Barrett.
cool
They were all dressed up for picture day-even Neil and Mal!
Awesome! 👍
The seedlings of The Beatles' Magnum Opus.
I am often asked what my favorite BEatles song is....I usually say this one