Strawberry Fields Forever

From Wikipedia:

“Strawberry Fields Forever” is a song by the English rock band the Beatles, written by John Lennon and credited to Lennon–McCartney. It was released on 13 February 1967 as a double A-side single with “Penny Lane“. It represented a departure from the group’s previous singles and a novel listening experience for the contemporary pop audience. While the song initially divided and confused music critics and the group’s fans, it proved highly influential on the emerging psychedelic genre. Its accompanying promotional film is similarly recognised as a pioneering work in the medium of music video.

Lennon based the song on his childhood memories of playing in the garden of Strawberry Field, a Salvation Army children’s home in Liverpool. Starting in November 1966, the band spent 45 hours in the studio, spread over five weeks, creating three versions of the track. The final recording combined two of those versions, which were entirely different in tempo, mood and musical key. It features reverse-recorded instrumentation, Mellotron flute sounds, an Indian swarmandal, tape loops and a fade-out/fade-in coda, as well as a cello and brass arrangement by producer George Martin. For the promotional film, the band used experimental techniques such as reverse effects, jump-cuts and superimposition.

The song was the first track the Beatles recorded after completing Revolver and was intended for inclusion on their forthcoming Sgt. Pepper’s Lonely Hearts Club Band. Instead, with pressure from their record company and management for new product, the group were forced to issue the single, and then adhered to their philosophy of omitting previously released singles from their albums. The double A-side peaked at number 2 on the Record Retailer chart, thereby breaking the band’s four-year run of chart-topping singles in the UK. In the United States, “Strawberry Fields Forever” peaked at number 8 on the Billboard Hot 100. To the band’s displeasure, the song was later included on the US Magical Mystery Tour LP.

Lennon viewed “Strawberry Fields Forever” as his finest work with the Beatles. After Lennon’s murder in New York City, a section of Central Park was named after the song. In 1996, the discarded first version of the song was issued on the outtakes compilation Anthology 2; in 2006, a new version was created for the remix album Love. Artists who have covered the song include Richie Havens, Todd Rundgren, Peter Gabriel, Ben Harper, and Los Fabulosos Cadillacs featuring Debbie Harry. In 1990, a version by the Madchester group Candy Flip became a top-ten hit in the UK and Ireland.

Background and writing

Strawberry Field was the name of a Salvation Army children’s home close to John Lennon’s childhood home in Woolton, a suburb of Liverpool. Lennon and his 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 brass band played. Lennon’s aunt Mimi Smith recalled: “There was something about the place that always fascinated John. He could see it from his window … He used to hear the Salvation Army band [playing at the garden party], and he would pull me along, saying, ‘Hurry up, Mimi – we’re going to be late.'”

Lennon began writing “Strawberry Fields Forever” in Almería, Spain, during the filming of Richard Lester’s How I Won the War in September–October 1966. The Beatles had just retired from touring after one of their most difficult periods, which included the “more popular than Jesus” controversy and being the target of mob violence in reaction to their unintentional snubbing of Philippines First Lady Imelda Marcos. Working on Lester’s film without his bandmates left Lennon feeling vulnerable; according to his wife Cynthia, he was also distraught to learn in late October that Alma Cogan, the English singer whom “he’d earmarked to replace Aunt Mimi in his affections”, had died in London at the age of 34. In the first versions that Lennon committed to tape, in September, there was no reference to Strawberry Field. Author Steve Turner says that at this stage, Lennon most likely drew inspiration from Nikos Kazantzakis’s autobiographical novel Report to Greco, which he was reading in Almería and “tells of a writer searching for spiritual meaning”.

Like “Penny Lane“, which Paul McCartney wrote in late 1966 in response to Lennon’s new song, “Strawberry Fields Forever” conveys nostalgia for the Beatles’ early years in Liverpool. While both songs refer to actual locations, McCartney said that the two pieces also had strong surrealistic and psychedelic overtones. George Martin, the Beatles’ producer, recalled that when he first heard “Strawberry Fields Forever”, he thought it conjured up a “hazy, impressionistic dreamworld”.

As with his Revolver compositions “Tomorrow Never Knows” and “She Said She Said“, “Strawberry Fields Forever” was informed by Lennon’s experiences with the hallucinogenic drug LSD, which caused him to question his identity and seek to dissolve his ego. In Turner’s description, the song’s opening line, “Let me take you down”, establishes Lennon as a “spiritual leader” in keeping with his statements in “The Word“, “Rain” and “Tomorrow Never Knows”, while Lennon’s contention that in Strawberry Field “Nothing is real” reflects the concept of maya (or “illusion”) as conveyed in the Hindu teachings that Lennon was also reading during his weeks on the film set. Lennon said the song reflected how he had felt “different all my life”; he called it “psychoanalysis set to music” and one of his most honest songs. In McCartney’s view, the lyrics reflect Lennon’s admiration of the nineteenth-century English writer Lewis Carroll, particularly his poem “Jabberwocky”.

The earliest demo of the song was recorded in Almería, and Lennon subsequently developed the melody and lyrics in England throughout November. Demos taped at his home, Kenwood, demonstrate his progress with the song and include parts played on a Mellotron, a tape-replay keyboard instrument he had purchased in August 1965. On the first Almería recording, the song had no refrain and only one verse, beginning: “There’s no one on my wavelength / I mean, it’s either too high or too low”. Lennon revised these words to make them more obscure, then wrote the melody and part of the lyrics to the chorus (which functioned as a bridge and did not yet include a reference to Strawberry Fields). After returning to England in early November, he 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 chorus, 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 one in the released version of the song, and the second verse he wrote became the last.

Composition

“Strawberry Fields Forever” was originally written on acoustic guitar in the key of C major. The recorded version is not in standard pitch, due to manipulation of the tape speed, and the key is approximately B♭ major. Among musicologists, Walter Everett describes it as “midway between” A and B♭ over the opening minute and subsequently “closer to B♭”, while Dominic Pedler says that some consider it to be closer to A major.

The song begins with a flute-like introduction played on Mellotron, and involves a I–ii–I–♭VII–IV progression (in Roman numeral analysis). The vocals enter with the chorus instead of a verse. In Pedler’s description, it has “non-diatonic chords and secondary dominants” combining with “chromatic melodic tension intensified through outrageous harmonisation and root movement”. The phrase “to Strawberry” begins with a slightly dissonant G melody note against a prevailing F minor key, then uses the semitone 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 covers the phrase “nothing is real” against the prevailing G7 chord (F♯7 in the key of A).

A half-bar complicates the metre of the choruses, as does the fact that the vocals begin in the middle of the first bar. The first verse follows the chorus and is eight bars long. The verse starts with an F major chord, which progresses to G minor, the submediant, serving as a deceptive cadence. According to musicologist Alan Pollack, the deceptive cadence is encountered in the verse, as the leading-tone never resolves into a I chord directly as expected. Instead, the leading note, harmonised as part of the dominant chord, resolves to the prevailing tonic (B♭) at the end of the verse, after tonicising the subdominant (IV) E♭ chord, on “disagree“. On the released recording, the second and third verses are introduced by a descending, raga-esque melody played on an Indian board-mounted zither, known as a swarmandal.

In the middle of the second chorus, brass is introduced, emphasising an ominous quality in the lyrics. After three verses and four choruses, the line “Strawberry Fields Forever” is repeated three times, and the song fades out, with interplay between electric guitar, cello and swarmandal. The song fades back in after a few seconds for what Everett terms a “free-form coda”. This avant-garde-style section features the Mellotron playing in a haunting tone – one achieved by recording the instrument’s “Swinging Flutes” setting in reverse – scattered drumming, discordant brass, and murmuring, after which the song fades for a second time.

Recording – Overview

The Beatles began recording “Strawberry Fields Forever” on 24 November 1966. It was the band’s first recording session since completing Revolver, in June, and marked the start of recording for what became the 1967 album Sgt. Pepper’s Lonely Hearts Club Band. It was also the Beatles’ first group activity since the end of their final US tour, on 29 August. Recording took place in Studio 2 at EMI Studios (now Abbey Road Studios) in London, using a four-track machine.

Before the session, in October, Brian Epstein, the Beatles’ manager, had informed EMI that the band would not be releasing any new music for the Christmas market. On 10 November, newspapers reported that there would be no further concert tours by the Beatles. The band’s lack of activity and their highly publicised individual pursuits since September were interpreted by the press as a sign that the band were on the verge of splitting up. Their return to the recording studio was given front-page coverage in some newspapers.

George Harrison, who had been travelling in India during the Beatles’ lay-off, recalled there being a “more profound ambience” in the band when they reunited to record “Strawberry Fields Forever”. Lennon said that, having failed to connect with anyone on Lester’s film set, “I was never so glad to see the others. Seeing them made me feel normal again.” The song’s working title was “It’s Not Too Bad”. The song took 45 hours to record, spread over five weeks. It was the most complex recording the Beatles had attempted up to this point, and involved three distinct versions of the song; each one was different in structure, key and tempo, yet the released recording was created through a combination of the final two versions.

Together with “Penny Lane” and “When I’m Sixty-Four“, “Strawberry Fields Forever” established the theme for the early part of the Sgt. Pepper project – namely, a nostalgic look back at the band members’ childhoods in northern England. McCartney has said that this was never planned or formalised as an album-wide concept, but acknowledged that it served as a “device” or underlying theme throughout the project.

Recording – Take 1

After Lennon played the song for the other Beatles on his acoustic guitar, on 24 November, he changed to his Epiphone Casino electric guitar for the recordings. McCartney played Mellotron, which, following Lennon’s lead, the other three Beatles had acquired their own examples of, through Moody Blues keyboardist Mike Pinder. Harrison also played electric guitar, emphasising a bass line beside Lennon’s rhythm, and Ringo Starr played drums. McCartney wrote the melody for the Mellotron introduction, although on the first take the instrument appears more in the role of backing accompaniment, relative to its prominence on the officially released recording.

Take 1 opened with a verse, starting “Living is easy with eyes closed”, instead of the chorus, 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”. Onto this take 1, Harrison also overdubbed slide guitar parts over the choruses, played on the Mellotron’s guitar setting and using the instrument’s pitch control to achieve the slide effect. This version was soon abandoned; it went unreleased until a new mix was included on the Anthology 2 outtakes compilation in 1996, although the harmony vocals were cut from the track.

Recording – Take 7

On 28 November, the band reassembled to try a different arrangement. The second version of the song featured McCartney’s Mellotron introduction followed by the chorus. The instrumentation on the basic track was similar to that for take 1, but with the inclusion of maracas. Take 4 was considered sufficient for mix down and overdubs, which included a lead vocal by Lennon, McCartney’s bass guitar, and Harrison again playing the slide parts, including what author John Winn terms “Morse code blips”, on Mellotron.

Having taken acetates home overnight, the band decided to redo the song again on 29 November, using the same arrangement. The second take that day was chosen as best and subjected to overdubs, such as vocal and bass guitar. In his lead guitar part, Harrison plays arpeggio chord patterns, after Lennon had struggled to master the picking technique. Lennon’s 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.

During the subsequent mix-down process, creating what became take 7, Lennon added a second vocal over the choruses. The other final overdubs were piano and further bass. This version would be used only for the first minute of the released recording.

Recording – Take 26

After recording the second version of the song, Lennon wanted to do something different with it. Martin recalled: “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) …” For this purpose, another basic track was recorded on 8 and 9 December, with the group attempting the song at a faster tempo than before. At the start of the first session, recording was overseen by Dave Harries, an EMI technical engineer, in the temporary absence of Martin and Geoff Emerick, the Beatles’ usual recording engineer. The band focused on achieving a percussion-heavy rhythm track, which included Starr’s drums, and backwards-recorded hi-hat and cymbals. The latter process involved writing down the parts before Starr played them, as Harrison had done for his backwards guitar solo on “I’m Only Sleeping“. Described by Winn as a “cacophony of noise”, the 8 December tape also included timpani and bongos, played by McCartney and Harrison, and other percussion, which, in Harries’ account, was provided by Beatles associates Mal Evans, Neil Aspinall and Terry Doran.

At the start of the 9 December session, parts of two of the fifteen new takes were edited together into one performance, which was then mixed down to a single track on the four-track master. The second of those takes (numbered take 24) consisted of the heavy drum break and accompanying percussion used over the song’s coda, and included Lennon’s spoken comments “Calm down, Ringo” and “Cranberry sauce”. In Lewisohn’s description, further percussion, including a pounding drum part by Starr, and Harrison’s swarmandal were recorded onto one of the available tracks at this time. Other overdubs, which appear towards the end of the track, included lead guitar (played by McCartney), piano and the coda’s reversed Mellotron flutes. Based on the evidence of bootlegs available by 2009, Winn dates the addition of swarmandal to after Martin’s orchestral overdubs. With regard to the main piano part, he describes it as the Mellotron’s “‘piano riff’ tape”, rather than a genuine instrumental contribution.

The session for Martin’s brass and cello arrangement took place on 15 December. The parts were performed in the key of C major but taped so that on playback they sounded in B major. Another mix down was then carried out, reducing all the contributions to two tape tracks. Author Ian MacDonald comments that Martin’s contribution heightens the song’s Indian qualities, as represented first by the swarmandal, through his scoring of the cellos to “[weave] exotically” around McCartney’s “sitar-like” guitar figures before the coda. Further overdubs, on what was now named take 26, were two vocal parts by Lennon, the second one doubling the main vocal over the choruses. Lennon re-recorded one of his vocals on 21 December, singing a harmony over the final chorus. Some piano was also added at this time, along with a snare drum part.

Recording – Final edit

After reviewing the acetates of the new remake and the previous version, Lennon told Martin that he liked both the “original, lighter” take 7 and “the intense, scored version”, and wanted to combine the two. Martin had to tell Lennon that the orchestral score was at a faster tempo and in a higher key than the earlier recording. Lennon assured him: “You can fix it, George.”

On 22 December, Martin and Emerick carried out the difficult task of joining takes 7 and 26 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, starting the orchestral score in the middle of the second chorus. Since take 7 did not include a chorus after the first verse, he also spliced in the first seven words of the second chorus from that take. The pitch-shifting in joining the versions gave Lennon’s lead vocal an otherworldly, “swimming” quality.

During the editing process, the portion towards the end of take 26, before the arrival of the reversed Mellotron flutes and siren-like trumpet blasts, was faded out temporarily, creating a false ending. On the completed take from 15 December, however, the swarmandal and other sounds were interrupted by the abrupt entrance of the coda’s heavy drum and percussion piece. Martin said that the premature fadeout was his idea, to hide some errors in the busy percussion track. Among the faintly audible comments over the coda, “Cranberry sauce” was taken to be Lennon intoning “I buried Paul” by proponents of the “Paul is Dead” hoax, a theory that contended that McCartney had died in November 1966 and been replaced in the Beatles by a lookalike.

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. Martin remained proud of the track; he described it as “a complete tone poem – like a modern Debussy”.

Promotional film

By January 1967, Epstein was under pressure from the Beatles’ record company to release a new single by the group. Martin told him that they had recorded “Strawberry Fields Forever” and “Penny Lane”, which, in his opinion, were “two all-time great songs”. The decision was made to issue them as a double A-side single, a format the Beatles had used for their previous single, “Eleanor Rigby” / “Yellow Submarine“, in August 1966. The Beatles produced a film clip for “Strawberry Fields Forever”, in a continuation of their policy since 1965 of avoiding the need to promote a single with numerous personal appearances on television. It was filmed on 30 and 31 January 1967 at Knole Park in Sevenoaks, Kent. The following week, the band shot part of the promotional film for “Penny Lane” at the same location.

The clip was directed by Peter Goldmann, a Swedish television director who had drawn inspiration in his work from Lester’s style in the Beatles’ 1964 film A Hard Day’s Night. Goldmann was 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 in 2007, music critic John Harris remarked that Bramwell’s set design reflected the “collision of serenity and almost gothic eeriness” evident in the finished song.

The clip presented the Beatles’ new group image, since all four now sported moustaches, following Harrison’s lead when he left for India in September 1966. In addition to a horseshoe moustache, Lennon wore his round “granny” glasses for the first time as a member of the Beatles, in keeping with his look as Private Gripweed in How I Won the War, for which he had also shorn off his long hair. Combined with their psychedelic clothing, the band’s appearance contrasted sharply with the youthful “moptop” image of their touring years; this former image and identity had instead been adopted by the Monkees, an American television and recording act based on the Beatles as they had appeared in A Hard Day’s Night and Help! In author Kevin Courrier’s description, Lennon now resembled a character from an Arthur Conan Doyle mystery, while Harrison looked equally austere, with his beard and heavy balaclava.

Instead of a performance of the song, the clip relies on abstract imagery and features reverse film effects, long dissolves, jump-cuts including from day- to night-time, superimposition and extreme close-up shots. The Beatles are shown playing and later pouring paint over the upright piano; at one point, McCartney appears to leap from the ground onto a branch of the tree. In his commentary on the promo clip, music critic Chris Ingham writes:

Beautifully and spookily lit … much attention is given to close-ups of The Beatles’ faces and facial hair, as if the viewer is invited to contemplate the significance of the newly furry Fabs. There’s an appropriately surreal air about the film … which, when experienced simultaneously with The Beatles’ extraordinary new music, is deliciously disorientating. The final scene of The Beatles pouring pots of coloured paint onto the “piano” is oddly shocking, but brilliantly memorable as a statement of iconoclastic artistic intent.

Release

“The reaction when you played “Strawberry Fields [Forever]” to people was weird … “Penny Lane” was a bit Beatley; “Strawberry Fields” really wasn’t.” – Beatles associate Tony Bramwell

The double A-side single was issued by Capitol Records in the US on 13 February 1967 (as Capitol 5810), and by EMI’s Parlophone label in the United Kingdom on 17 February (as Parlophone R 5570). Aside from the compilation album A Collection of Beatles Oldies, issued in the UK but not the US, it was the first release by the Beatles since Revolver and their August 1966 single. It was also the first Beatles single in the UK to be presented in a picture sleeve. The front of the sleeve contained a studio photo that again demonstrated the band’s adoption of facial hair; on the back cover were individual pictures of the four Beatles as infants, which heightened the connection to a Liverpool childhood. Recalling the reaction to the new single and the expectations it created for Sgt. Pepper, music critic Greil Marcus later wrote: “If this extraordinary music was merely a taste of what The Beatles were up to, what would the album be like?” Comparing the two sides in his book Electric Shock, Peter Doggett likens “Penny Lane” to pop art in its evoking “multifaceted substance out of the everyday”, and describes “Strawberry Fields Forever” as art pop, “self-consciously excluding the mass audience”.

The promotional film for “Strawberry Fields Forever” was the more experimental of Goldmann’s clips and underlined the Beatles’ ties to the avant-garde scene. The band’s new look was the focus of much scrutiny, as promotion for the single and its musical content left many listeners unable to recognise the act as the Beatles. The films were first broadcast in America on The Ed Sullivan Show and in Britain on Top of the Pops, a day before the respective release dates in those two countries. On 25 February, they aired on The Hollywood Palace, a traditional US variety program hosted by actor Van Johnson. Amid screams from female members of the studio audience, Johnson bemusedly introduced “Strawberry Fields Forever” with the comment: “It’s a musical romp through an open field with psychedelic overtones and a feeling of expanded consciousness … If you know what that means, let me know …” The films attracted a similar level of confusion on the more youth-focused American Bandstand, on 11 March, where Dick Clark invited comments from his studio audience. In the description of author Doyle Greene, the varied opinions towards the “rebranded ‘counterculture Beatles'” and their new music demonstrated a “gendering” of popular culture: male reaction was marginally more favourable than female, and women variously focused on the “weird”, “ugly” or “grandfather”-like appearance of the band members. Courrier says the hostility towards “Strawberry Fields Forever” was reflective of how pop fans felt abandoned by the Beatles, with one teenager commenting that the group had turned “deliberately weird” and “ought to stop being so clever and give us tunes we can enjoy”.

In Britain, “Strawberry Fields Forever” / “Penny Lane” was the first Beatles single since “Please Please Me” in 1963 to fail to reach number 1 on Record Retailer‘s chart (later the UK Singles Chart). The single was held at number 2 behind Engelbert Humperdinck’s “Release Me”, even though the Beatles record sold considerably more. This was due to chart protocol whereby only the sales of the best-selling side of a double A-side were eligible, and the record’s overall sales were effectively halved. Following the speculation that the Beatles were due to disband, their failure to secure the number 1 spot was trumpeted in the UK press as a sign that the group’s popularity was declining. At the time, McCartney said he was not upset because Humperdinck’s song was a “completely different type of thing”, while Harrison acknowledged that “Strawberry Fields Forever”, like all of the Beatles’ latest music, was bound to alienate much of their audience but would also win them new fans. On the national chart compiled by Melody Maker magazine, however, the combination topped the singles list for three weeks.

In the US, “Penny Lane” topped the Billboard Hot 100 for one week, while “Strawberry Fields Forever” peaked at number 8. As in Britain’s Record Retailer, “Penny Lane” was the side favoured by chart compilers in Australia, where the single was number 1 for five weeks. The single was also number 1 in Canada and Norway, and peaked at number 4 in France.

Critical reception

Among contemporary reviews of the single, Melody Maker said that the combination of musical instruments, studio techniques and vocal effect on “Strawberry Fields Forever” created a “swooping, deep, mystic kaleidoscope of sound”, and concluded, “The whole concept shows the Beatles in a new, far-out light.” The NME‘s Derek Johnson confessed to being both fascinated and confused by the track, 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.” According to Beatles biographer Robert Rodriguez, Johnson’s comments typified the “bewilderment” and “mood of disquiet” that the song initially aroused in the music press. The Daily Mail‘s entertainment reporter wrote: “What’s happening to the Beatles? They have become contemplative, secretive, exclusive and excluded – four mystics with moustaches.”

In the United States, the single’s experimental qualities initiated an upsurge in the ongoing critical discourse on the aesthetics and artistry of pop music, as, centring on the Beatles’ work, writers sought to elevate pop in the cultural landscape for the first time. Among these laudatory appraisals, Time magazine hailed the song as “the latest sample of the Beatles’ astonishing inventiveness”. The writer said that, since 1963:

[The] Beatles have developed into the single most creative force in pop music. Wherever they go, the pack follows. And where they have gone in recent months, not even their most ardent supporters would ever have dreamed of. They have bridged the heretofore impassable gap between rock and classical, mixing elements of Bach, Oriental and electronic music with vintage twang to achieve the most compellingly original sounds ever heard in pop music.

Time concluded by saying that the multitude of “dissonances and eerie space-age sounds” on the track were partly the product of altered tape speed and direction, and commented: “This is nothing new to electronic composers, but employing such methods in a pop song is electrifying.” In his review of Sgt. Pepper in June 1967, William Mann of The Times recognised the Beatles as the originators of the vogue for “electronically-manipulated clusters of sound”, and he added: “In some records, it’s just a generalised effect. But in ‘Strawberry Fields’, it was poetically and precisely applied.”

Richie Unterberger of AllMusic describes “Strawberry Fields Forever” as “one of The Beatles’ peak achievements and one of the finest Lennon-McCartney songs”. Ian MacDonald wrote in his book 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.” According to music critic Tim Riley, the song “transformed Lennon’s creative arc” by “expand[ing] the hallucinogenic drone of ‘Rain’ into layered colours that shifted when lit by his vocal inflections” and by inaugurating his use of free-form verse as a lyrical device. Riley adds that while it represented Lennon’s “first glimpse of life” outside the Beatles, “part of the recording’s ironic pull lies in how the Beatles drape a group sensibility around Lennon’s abstract psyche, something only the most intimate of musical friends could do.” In his commentary on the track in The Beatles’ Diary, Peter Doggett describes the song as “the greatest pop record ever made” and “a record that never dates, because it lives outside time”. He rues the single’s failure to top the now-official UK chart as “arguably the most disgraceful statistic in chart history”.

In the June 1997 issue of Mojo magazine, Jon Savage included “Strawberry Fields Forever” in his list “Psychedelia: The 100 Greatest Classics” and wrote: “When this first came on radio in early 1967, it sounded like nothing else, with its wracked vocal, out-of-tune brass section and queasy strings.” In 2004, Rolling Stone ranked the track at number 76 on its list of the “500 Greatest Songs of All Time”, a placing the song retained in the magazine’s 2011 list, then was re-ranked at number 7 on its 2021 list. On a similar list compiled by Q in 2006, it appeared at number 31. In 2010, Rolling Stone placed “Strawberry Fields Forever” at number 3 on its list of the “100 Greatest Beatles Songs”. It was ranked as the second-best Beatles song by Mojo in 2006, after “A Day in the Life“. The song was estimated to be the 23rd most celebrated song of all time by Acclaimed Music.

Cultural influence and legacy – Reactions from contemporary musicians

Mark Lindsay of the US band Paul Revere & the Raiders recalled first listening to the single at home with his producer, Terry Melcher. In Lindsay’s recollection: “When the song ended we both just looked at each other. I said, ‘Now what the fuck are we gonna do?’ With that single, the Beatles raised the ante as to what a pop record should be.” Lindsay said he then ensured that the clips for both songs were broadcast on the Raiders’ television show, Where the Action Is. The Who’s Pete Townshend, a regular on London’s psychedelic club scene, described “Strawberry Fields Forever” as “utterly bizarre, creative, strange and different”.

Brian Wilson, who had been struggling to complete the Beach Boys’ Smile album, first heard “Strawberry Fields Forever” on his car radio while under the influence of barbiturates. In the recollection of his passenger at the time, Michael Vosse, “[Wilson] just shook his head and said, ‘They did it already – what I wanted to do with Smile. Maybe it’s too late.'” Vosse recalled that they then exchanged laughter, although “at the moment he said it, he sounded very serious.” According to author Steven Gaines, the “wondrous and different-sounding” quality of the Beatles’ single was one of several factors that accelerated Wilson’s emotional descent and led to him abandoning Smile. In response to a fan’s question on his website in 2014, Wilson denied that hearing the song had “weakened” him and called it a “very weird record” that he enjoyed.

Cultural influence and legacy – Psychedelia, recording and music videos

The song was influential on psychedelic rock and, in Chris Ingham’s description, it established “the standard and style for the entire psychedelic pop movement that would follow”. Ian MacDonald recognises the track as having “extended the range of studio techniques developed on Revolver, opening up possibilities for pop which, given sufficient invention, could result in unprecedented sound images”. He views it as having launched both the “English pop-pastoral mood” typified by bands such as Pink Floyd, Family, Traffic and Fairport Convention, and English psychedelia’s LSD-inspired preoccupation with “nostalgia for the innocent vision of a child”. Among other music historians, Simon Philo describes much of Pink Floyd’s first album, The Piper at the Gates of Dawn (1967), as being in the style of the “patented British psychedelia” introduced by “Strawberry Fields Forever”. David Howard says the production was a “direct touchstone” for Pink Floyd, the Move, the Smoke and other bands in London’s upcoming psychedelic scene.

Although the Mellotron had been a feature of Manfred Mann’s late 1966 hit single “Semi-Detached Suburban Mr James”, its appearance on “Strawberry Fields Forever” remains the most celebrated use of the instrument on a pop or rock recording. Mike Pinder, whose band the Moody Blues went on to make extensive use of Mellotron and swarmandal in their work, said he was “in bliss” when he heard the keyboard’s flute sound on the Beatles’ single. Together with the resonant tone of Starr’s drums, the cello arrangement on “Strawberry Fields Forever”, as with “I Am the Walrus“, was much admired by other musicians and producers, and proved highly influential on 1970s bands such as Electric Light Orchestra and Wizzard.

Walter Everett identifies the song’s ending as an example of the Beatles’ continued pioneering of the “fade-out–fade-in coda”, further to their use of this device on the 1966 B-side “Rain”. He cites “Helter Skelter” as a later example, as well as Led Zeppelin’s 1969 track “Thank You” and, as a direct response to the Beatles’ lead, both sides of the Rolling Stones’ August 1967 single, “We Love You” and “Dandelion”. According to historian David Simonelli, further to “Tomorrow Never Knows” in 1966, “Strawberry Fields Forever” and “Penny Lane” “establish[ed] the Beatles as the most avant-garde [pop] composers of the postwar era”. He also says that the single heralded the group’s brand of Romanticism as a central tenet of psychedelic rock, which ensured that “The Beatles’ vision dominated the entire rock music world.” In his contribution to the book In Their Lives: Great Writers on Great Beatles Songs, Adam Gopnik describes the single as the 1960s’ most important work of art and “the one that articulated the era’s hopes for a crossover of pop art and high intricacy”.

Further to the band’s pioneering use of promotional films since 1965, the clip for the song served as an early example of what became known as a music video. In 1985, the “Strawberry Fields Forever” and “Penny Lane” clips were the oldest selections included in the New York Museum of Modern Art (MoMA)’s exhibition of the most influential music videos. The two films occupied a similar place in MoMA’s 2003 “Golden Oldies of Music Video” exhibition, where they were presented by avant-garde artist Laurie Anderson. The “Strawberry Fields Forever” clip also provided the inspiration for the start of the fan vidding phenomenon in 1975. Kandy Fong, influenced by the Beatles not attempting to perform the music, set images from the Star Trek TV series to an apparently unrelated musical soundtrack.

Cultural influence and legacy – Strawberry Field, accolades and cultural depictions

Strawberry Field became a popular visiting place for fans of Lennon and the Beatles as a result of the song. In 1975, the Liverpool Public Relations Office published a tourism media package titled Nothing to Get Hung About, which contained Beatles-related postcards and history, and a map of Liverpool. By 2011, the level of graffiti left by visitors at Strawberry Field had forced the Salvation Army to have the entrance gates removed and later relocated to the Beatles Experience centre in Liverpool.

In July 2017, the Salvation Army began raising funds – through the sale of T-shirts and mugs emblazoned with “Nothing is real” and other lines from Lennon’s lyrics – to help finance the construction of a new building at Strawberry Field. The purpose of the building is to help provide job opportunities for young adults with learning difficulties, and to commemorate Lennon, in both an indoor exhibition and a “garden of spiritual reflection”.

“Strawberry Fields Forever” is one of the Rock and Roll Hall of Fame’s “500 Songs That Shaped Rock and Roll” and in 1999 was inducted into the National Academy of Recording Arts and Sciences’ Grammy Hall of Fame. The Strawberry Fields memorial in New York’s Central Park is named after the song. The memorial and the Strawberry Fields area of the park, spanning 3.5 acres, was officially dedicated by Yoko Ono in Lennon’s memory in October 1985. In addition to referencing “Strawberry Fields Forever” in its title, the 2013 Spanish film Living Is Easy with Eyes Closed is a fictional account based on real-life events when a 41-year-old teacher from Cartagena visited Lennon in Almería when he was writing the song.

Subsequent releases and remixes

In keeping with the Beatles’ usual philosophy that tracks released on a single should not appear on new albums, both “Strawberry Fields Forever” and “Penny Lane” were left off Sgt. Pepper’s Lonely Hearts Club Band. Martin later stated that this was an approach that he had encouraged, and it was a “dreadful mistake”. The Beatles were displeased that Capitol then included the two songs, along with the band’s other non-album singles tracks from 1967, on the Magical Mystery Tour LP, which the company released as a full-length album, in contrast to the six-track double EP released in the UK and many other countries.

The stereo version of the Magical Mystery Tour LP contained a 29 December 1966 mix of “Strawberry Fields Forever”, in which the trumpets and cellos pan abruptly from left to right at the point where takes 7 and 26 are joined. By the time the album was released on CD, this mix had been superseded by a stereo remix, originally prepared for a 1971 West German issue of Magical Mystery Tour, which omitted the panning effect at the join point, but added a right-to-left panning to the swarmandal scale introducing the second and third verses.

“Strawberry Fields Forever” was sequenced as the opening track of the 1973 compilation album The Beatles 1967–1970, and the single charted again in Britain, peaking at number 32, when EMI reissued all 22 of the Beatles’ UK singles in March 1976. In 1996, three previously unreleased versions of the song appeared on Anthology 2: one of Lennon’s home demos from November 1966; an altered version of the first studio take; and the complete take 7, in mono, edited with an extension of the coda’s drums and percussion track from 9 December. In 2006, a newly mixed version of the song was included on the album Love. This mash-up takes sections from an acoustic demo, take 1 and then take 26, and the ending incorporates elements from “Sgt. Pepper’s Lonely Hearts Club Band“, “In My Life“, “I’m Only Sleeping”, “Penny Lane”, “Piggies” and “Hello, Goodbye”. In 2015, the promo film was included in the three-disc versions (titled 1+) of the Beatles’ 1 compilation. A new stereo mix was created by Giles Martin to accompany the clip. This version appeared on CD in 2017 on the two-disc and six-disc 50th-anniversary editions of Sgt. Pepper, together with a selection of outtakes from the “Strawberry Fields Forever” sessions, including a complete take 26. […]

Strawberry Fields was a place near us that happened to be a Salvation Army home. But Strawberry Fields — I mean, I have visions of Strawberry Fields. And there was Penny Lane, and the Cast Iron Shore, which I’ve just got in some song now, and they were just good names — just groovy names. Just good sounding. Because Strawberry Fields is anywhere you want to go.

John Lennon, 1968

We did a few versions of [Strawberry Fields Forever]. John wasn’t totally happy with the first couple of takes that we did, so we remade the whole track, and in the end John and George Martin stitched two different versions together. We could hardly hear the join, but it’s one of those edits where the pace changes slightly: it goes a bit more manic for the second half of the song.

‘Penny Lane’ was a little more surreal, too, although in a cleaner way. I remember saying to George Martin, ‘I want a very clean recording.’ I was into clean sounds – maybe a Beach Boy influence at that point.

The ‘fireman with his hourglass’ and all that imagery was us trying to get into a bit of art. The lyrics were all based on real things. There was a barber called something like Bioletti (I think he’s actually still there in Penny Lane) who, like all barbers, had pictures of the haircuts you could choose. But instead of saying, ‘The barber with pictures of haircuts in his windows,’ it was changed round to: ‘Every head he’s had the pleasure to have known.’ A barber showing photographs – like an exhibition.

It was twisting it to a slightly more artsy angle, more like a play. Like the nurse who’s selling poppies from a tray (which some Americans thought was ‘selling puppies from a tray’) for Remembrance Day. Then ‘she feels as if she’s in a play’ – which ‘she is anyway’. These were all the trippy little ideas that we were trying to get in. They’re both songs about Liverpool as well. It was always a good thing for us, because we were a group that had been together for a long time, that we could do that: ‘Strawberry Fields’ and ‘Penny Lane’ – wow! A lot of our formative years were spent walking around those places. Penny Lane was the depot 1 had to change buses at to get from my house to John’s and to a lot of my friends. It was a big bus terminal which we all knew very well. I sang in the choir at St Barnabas Church opposite.

Those two songs were the lead singles. They were the first things we tried in the batch of new recordings

Paul McCartney – From “The Beatles Anthology” book, 2000

That wasn’t ‘I buried Paul’ at all — that was John saying ‘Cranberry sauce.’ It was the end of Strawberry Fields. That’s John’s humor. John would say something totally out of sync, like cranberry sauce. If you don’t realize 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!’

Paul McCartney, 1974

So another question we quite often see is, in hindsight, do you wish ‘Penny Lane’ and ‘Strawberry Fields’ had been included on the album? And if so, where would you have placed them?

No, I was happy. So we won’t even get into placing them! I was happy that it was the precursor to ‘Sgt. Pepper’. And the thing was, you know, we always liked to release things fresh. We had just made those tracks, so the thought of waiting until we had completed the whole album would not have appealed to us. You know, we liked that as soon as it’s made, at the nearest point to the actual making of the song and the record, we would like to put it out. So I was glad how we did it and it was like a fanfare, that single. Another thing we liked about it was it was simple value for money. You really got two A-sides. But it kind of heralded what was to come.

Paul McCartney – From paulmccartney.com, May 25, 2017

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.

Lyrics

Variations

• A Mono version • From "Strawberry Fields Forever / Penny Lane"
• A2009 2009 mono remaster • From "The Beatles in Mono (2009)"
• A2014 2014 remaster • From "The Beatles In Mono (Vinyl boxset - 2014)"
• A2019 2019 remaster • From "The Singles Collection"
• B Stereo version • From "Magical Mystery Tour"
• B2009 2009 remaster • From "The Beatles • The Original Studio Recordings (2009)"
• C Stereo version • From German release "Magical Mystery Tour Plus Other Songs"
• D Take 1 • From "Anthology 2"
• D2016 Take 1. 2016 remaster • From "Anthology 2 (2016)"
• E Take 7 and edit piece • From "Anthology 2"
• E2016 Take 7 and edit piece. 2016 remaster • From "Anthology 2 (2016)"
• F 2006 "The Beatles Love" mix • From "Love"
• G Take 4 • From "Sgt. Pepper's Lonely Hearts Club Band (50th anniversary boxset)"
• H Take 26 • From "Sgt. Pepper's Lonely Hearts Club Band (50th anniversary boxset)"
• I 2015 mix • From "Sgt. Pepper's Lonely Hearts Club Band (50th anniversary boxset)"
• J Take 7 • From "Sgt. Pepper's Lonely Hearts Club Band (50th anniversary boxset)"
• K Take 1 with overdubs • From "Sgt. Pepper's Lonely Hearts Club Band (50th anniversary boxset)"
• L1 Live version • "Let It Be Liverpool" • Jun 28, 1990

Officially appears on

Bootlegs

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Live performances

“Strawberry Fields Forever” has been played in 14 concerts and 1 soundchecks.

Latest concerts where “Strawberry Fields Forever” has been played

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