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The Beatles - It's Not Too Bad

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Scan submitted/created by [(unknown)]
HQ Scans:
Publisher: Pegboy
Reference :PEGBOY-1008
Date :1997
Made In :USA
Quality :
Booklet & packaging :CD comes with deluxe 28 page booklet in glossy slipcase.
Total duration: 59:51

Comments
Booklet Notes:

"I have an original tape of it around somewhere. Of how it sounded before it became the sort of psychedelic-sounding song it became on record." -John Lennon, September 1980

Here it is! John's complete composing work tape, offering the listener an unique insight into the genesis of "Strawberry Fields Forever," arguable the pivotal point in the Beatles career. Coupling these home recordings with a demonstrative sampling of the EMI session tapes, this collection offers an unparalleled perspective of the evolution of "Strawberry Fields Forever" - from conception to release. It is an outlook unavailable for any other song in the Beatles canon! One can actually hear the composition taking form, and aurally witness John's modus operandi in action! Many have theorized on the importance and effect of this composition on the Beatles career, not to mention popular music as a whole. Supposals range from the accurate to the absurd, but they all have one thing in common- they aren't much fun to read! As Mr. Lennon himself once said, "Writing about music is like talking about fucking." So rather than wax prophetic about the "drooping appoggiatura" or the "sinister distortions of the instrumental sonorities", I'd like to present some more of a technical history of the recordings and the events with surrounded them. Listeners who are interested in the inspiration behind the composition should forsake the essays, and search out the transcripts of John's marathon interview with David Sheff for Playboy magazine. The inspiration goes deeper than the image of the gothic orphanage, once visible from the now-famous gates.

THE SANTA ISABEL DEMOS


The story begins while John was on location in Spain, filming 'How I Won The War' with producer/director Richard Lester. It was during these early weeks of Autumn, 1966, while temporarily residing in the tiny valley village of Santa Isabel, that John's new composition began to take shape. (Although some have erroneously attributed its impetus from a few notes played by John on a Hohner mouth organ during the Beatles stay at New York City s Plaza hotel in February of 1964!)

The first section of the tape finds John alone with his nylon-stringed classical guitar, which has been drastically de-tuned to accommodate his vocal range. The ambiance and said instrumentation are also reminiscent of his earlier demos for 'She Said She Said.' After a few moments of warming up with a decidedly 'Paperback Writer-esque' lick, John switches off the portable rape recorder, then returns with the first of six attempts at "It's Not Too Bad".

At this stage, only the second verse exists, and in a lyrically incomplete stage at that. Two takes are recorded initially, both consisting of the sole verse sung repeatedly. After a seemingly brief pause, John returns with the verse complete and continues to polish the meter with each of the two performances that follow. In the fourth and final of these
close-miked passes, a skeletal version of the chorus is introduced.

After some off-mic composing has taken place, John resumes recording, this time taking advantage of the acoustical properties found in the bath. The two "distant" takes show considerable progress, with part of the third verse and a nearly completed chorus having been added. The acoustic demos concluded with a brief snatch recorded at another sitting, of John polishing a portion of the second verse. There is a possibility that this snippet is the remnant of a previous sessions that was spooled back and recorded over.


THE KENWOOD DEMOS


The next batch of home demos was recorded in the two week interim between John's return from Spain on November 7th and the Beatles return to the studio on November 24th. Once John was ensconced in his home studio, tucked away in the upstairs loft at Kenwood, he was able to experiment with a wider range of instrumentation and production techniques.

Appearing on this tape is the first evidence of John's primitive "sound on sound" recording technique. To achieve these "overdubs", John would play back a previously recorded performance through an amplified speaker, and record the ambient song along with a new live performance (the overdub) onto a second tape machine. He utilized this technique as late as the Double Fantasy pre-production recordings some fourteen years later. While effective at capturing multiple Lennons, the technique was horrific from a technical standpoint, exponentially degrading the original performance with each "overdub"!

The reel presented in this segment consists of John's overdubs onto another series of home demos: one instrumental, one with vocal, both replete with false starts. Since John was not utilizing true "multi-track" technology, these undubbed performances existed on a separate reel and are not included here. In addition, one must realize that these recordings are work tapes. They are the rough notes used to realize the final objective the accurate demo recording. The fragmentary nature of these recordings is akin to the writer's overflowing waste bin of discarded and half-finished ideas.

After a few attempts at rehearsing and adding some fumbling guitar flourishes to the instrumental demo, John moves on. He double tracks his lead vocal onto the other pre-recorded take, which still lacks the first verse. After a handful of technical interruptions, John abandons these recordings and starts anew on his Epiphone Casino. It is in this composing sequence that the melody and lyric finally gel.

During these performances, an unknown individual is present, most likely a musical associate judging from the comments to which John passes. By this time the composition has shifted to the key of C in comparison to the takes of 'It s Not Too Bad' which were recorded and performed somewhere near the key of A. The first attempt breaks down a few lines into the performance, and after some tuning, pickup and recordings level adjustments, he resumes. The second, third, and fourth endeavors break down even sooner than the initial take, as John wrestles with the dynamics. Growing impatient, John alters the rhythm for the next two passes, although he quickly abandons this idea.

The next two takes are keepers. Even though the first verse is still absent, all other elements, save for the introduction, are present. An edited, resequenced and sonically squashed version of the sixth and seventh takes appear on "Anthology 2". This "demo sequence" consists of a complete take 6, John's comments which followed take four, and a heavily edited take seven. In addition, for reasons that are unclear, the seuqnce has been sped up one half step (to C#).

The final stage in the home demo process was to flesh out his simple arrangement by adding vocal and mellotron overdubs. As the unidentified assistant cued up the final composing sequence on the Brennell tape machine, John warmed up his new Mellotron Mark II. As the incomplete passes played, John experimented with numerous "samples" ad spastic impressions, before adding "wine glasses," "pipe organ" and a double tracked vocal to the last demo take.

It was time to go to the studio.

THE EMI SESSIONS


On November 24th, The Beatles entered EMI for their first sessions since completing the 'Revolver' LP over five months earlier. This evening, starting at 7pm in Studio Two, they dedicated the entire 7 1/2 hour session to recording Take 1 of John's new composition. This take also appears on 'Anthology 2' in an unedited form, although the backing vocals have been mixed out for no apparent reason. This collection presents the take as originally performed, with the backing track in the key of B-natural.

It should be noted that the versions appearing on this release are undocumented stereo remixes, balanced from the original multi-track tapes. Although some analogue artifacts are still apparent, this collections offers the highest fidelity source of this material ever to surface.

The following evening was spent recording their 1966 Christmas single, 'Pantomime: Everywhere It's Christmas'. Then, after breaking for the weekend, the Beatles returned to Studio Two on Monday, the 28th of November. It was during this evening that Takes 2-4 were recorded and three rough mono mixes of take 4 (RM1-RM3) were prepared.

The next evening saw recording of what would become the basic track for the first section of 'Strawberry Fields Forever'. Once again working in Studio Two, but this time starting in the afternoon, Takes 5 and 6 were committed to tape. Take 6 was determined as the "best", and was treated to a tape reduction, Take 7. The Beatles then added more vocals, piano and bass guitar. Once the overdubvs were completed, three mono remixes of Take 7, incorrectly numbered RM-1 - RM-3, were completed.

RM3, of Take 7 with overdubs appears here taken from a contemporary acetate. Although this version is not stellar from a sonic standpoint, it does feature the complete ending in comparison to the 'Anthology 2' version. This commercially released version differs as a result of being crossfaded with an excerpt of Take 25 as prepared on December 9th, 1966. Takes2 through 7 were all performed in the key of A major, which is how they are presented here. Overdubs were recorded at various speeds lending a unique quality upon playback.

At this point, John expressed his dissatisfaction in the Beatles' recording to George Martin and requested that the producer prepare a score. On Thursday, December 8th, the Beatles recorded an additional 15 attempts at the backing track during an 8 hour plus session in Studio Two. Of takes 9-24 (there was no Take 8 or take 19), eleven were complete according to the studio documentation. It was determined that a composite consisting of the first 3/4 of take 15, and the final 1/4 of take 25 would provide the most suitable backing. An attempt to prepare this edit was abandoned until the next day.

The next afternoon in Studio Two, a tape to tape reduction was prepared of the previously described edit, which now occupied track 1 of Take 25. The Beatles then overdubbed swordmandel, additional percussion, and George's guitar solo onto track 2.

Over the next week, George Martin finalized his score for three cellos and four trumpets, and on December 15th, these overdubs were layered onto tracks 3 and 4 of the multi-track tape. It appears as though the score was prepared in the key of C and recorded at roughly 53cps in order to sound as though it were in the key of B-natural upon playback. This explains why George Martin's count-in sounds so unnatural. The reason? Quite possibly, it was the ease of notation and performance. Even though these were highly-trained classical musicians, it is easier to deal with no incidentals as opposed to five. The mix of Take 25 appearing on this collection consists of tracks 1, 3 and 4, with a slight amount of bleed-through from track 2.

The studio musician's efforts were permanently committed to the master tape upon a tape reduction of take 25 into tracks 1 and 2 of take 26. John then recorded two new lead vocals onto tracks 3 and 4 of the multi-track, with the speed adjusted to sound in the key of B-natural upon playback. Upon completion of these overdubs, 5 mono mixes (RM5-9) were prepared. It has been thoroughly documented that John's infamous "cranberry sauce" statement (undoubtedly inspired by some Thanksgiving leftovers) was added after the tape reduction into take 26th. However, it is apparent in listening to the mix of Take 25 that this statement was indeed part of Take 24's backing track.

Nearly a week later, on December 21st, during a late night session in Studio Two, a piano overdub and more Lennon vocals were added, thus completing the actual recording process. A mix of Take 26, with these overdubs in place, appears here adjusted to play in the key of B-Natural.

The next day, Martin and company were faced with the task of remixing and editing, not to mention John's innocent request to join the two completed version. Fresh remixes of Take 7 (RM10) and Take 26 (RM11) were prepared with speed adjustments, then edited together as Mono Remix 12. It is this remix which appears on the currently-available CD single.

A week later, on December 29th, a tape copy was made of RM12 (ingeniously labeled RM13) and dispatched for US consumption. It was on this day as well, in a session lasting just under an hour, that the production team worked in the Studio Three control room to mix 'Strawberry Fields Forever' into stereo for the first time. A single remix of take 7 (RS1) and two remixes of Take 26 (RS2 & RS4) were completed. RS1 and RS2 were then edited together as RS3, while a second attempt, joining RS1 and RS4 as RS5, proved to be most successful. It is this final mix which closes this collection.

RS5 first appeared on the stereo 'Magical Mystery Tour' EP/LP, depending on your country of origin. It differs from the "German" stereo mix prepared on Oct. 26, 1971, which is currently the standard mix utilized by EMI for all official releases. An additional stereo remix was prepared by George Martin in 1988 for inclusion in the "Imagine: John Lennon" documentary where it appears heavily edited. The accompanying soundtrack CD contains the standard EMI mix.

Well, that about wraps it up. I hope you ve enjoyed this romp through Strawberry Fields. I know I have. Until next we meet, remember "tuoba gnuh teg ot gnihton dna, lear si gnihton"!

This transcription thanks to David Goodwin and is taken from Harald Gernhardt's site.

Core collection    Track identified    Version validated    Lyrics available    Version details available    Audio excerpt available    Participants list available   
1.
It's Not Too Bad(Lennon/McCartney)
00:29
Song
Demo
1966
The Beatles
It's Not Too Bad - Santa Isabel Demos
2.
It's Not Too Bad(Lennon/McCartney)
00:49
Song
Demo
Take 1
1966
The Beatles
It's Not Too Bad - Santa Isabel Demos

Demo Take 1
3.
It's Not Too Bad(Lennon/McCartney)
01:20
Song
Demo
Take 2
1966
The Beatles
It's Not Too Bad - Santa Isabel Demos

Demo take 2
4.
It's Not Too Bad(Lennon/McCartney)
01:31
Song
Demo
Take 3
1966
The Beatles
It's Not Too Bad - Santa Isabel Demos

Demo take 3
5.
It's Not Too Bad(Lennon/McCartney)
01:48
Song
Demo
Take 4
1966
The Beatles
It's Not Too Bad - Santa Isabel Demos

Demo take 4
 
It's Not Too Bad(Lennon/McCartney)
Song
Demo
Take 5
1966
The Beatles
It's Not Too Bad - Santa Isabel Demos

Demo take 5
 
It's Not Too Bad(Lennon/McCartney)
Song
Demo
Take 6
1966
The Beatles
It's Not Too Bad - Santa Isabel Demos

Demo take 6
7.
It's Not Too Bad(Lennon/McCartney)
00:14
Song
Demo
Rehearsal
1966
The Beatles
It's Not Too Bad - Santa Isabel Demos

Demo rehearsal
8.
Strawberry Fields Forever(Lennon/McCartney)
01:05
Song
Demo
Kenwood
1966
The Beatles
Strawberry Fields Forever - Kenwood Demos

Electric guitar overdub rehearsal
9.
Strawberry Fields Forever(Lennon/McCartney)
02:11
Song
Instrumental Demo
Kenwood
1966
The Beatles
Strawberry Fields Forever - Kenwood Demos

Electric Guitar Overdubs Onto Instrumental Demo
10.
Strawberry Fields Forever(Lennon/McCartney)
00:18
Studio chat
Demo
Kenwood
1966
The Beatles
Strawberry Fields Forever - Kenwood Demos

Demo playback/chat
11.
Strawberry Fields Forever(Lennon/McCartney)
02:16
Song
Demo
Kenwood
1966
The Beatles
Strawberry Fields Forever - Kenwood Demos

Vocal Overdub (Double-tracking lead vocal) onto demo
12.
Strawberry Fields Forever(Lennon/McCartney)
00:33
Song
Demo
Kenwood
1966
The Beatles
Strawberry Fields Forever - Kenwood Demos

Demo playback
13.
Strawberry Fields Forever(Lennon/McCartney)
00:39
Song
Demo
Kenwood
1966
The Beatles
Strawberry Fields Forever - Kenwood Demos

electric guitar demo take 1
14.
Strawberry Fields Forever(Lennon/McCartney)
04:05
Song
Demo
Kenwood
1966
The Beatles
Strawberry Fields Forever - Kenwood Demos

electric guitar composing sequence take 2-7
15.
Strawberry Fields Forever(Lennon/McCartney)
01:57
Song
Demo
Kenwood
1966
The Beatles
Strawberry Fields Forever - Kenwood Demos

electric guitar demo take 8
16.
Strawberry Fields Forever(Lennon/McCartney)
04:08
Song
Demo
Kenwood
1966
The Beatles
Strawberry Fields Forever - Kenwood Demos

Mellotron/vocal overdub onto composing sequence
17.
Strawberry Fields Forever(Lennon/McCartney)
02:47
Song
Version validated
Version details available
Take 01
24 Nov 1966
SS.MMT.08.01
The Beatles
The wonderful take 1 ...
Strawberry Fields Forever - The EMI Sessions
18.
Strawberry Fields Forever(Lennon/McCartney)
02:48
Song
Version validated
Take 02
Instrumental
28 Nov 1966
The Beatles
Strawberry Fields Forever - The EMI Sessions
 
Strawberry Fields Forever(Lennon/McCartney)
0:12
Song
Take 3
False Start
28 Nov 1966
The Beatles
The EMI Sessions
 
Strawberry Fields Forever(Lennon/McCartney)
3:09
Song
Version validated
Take 03
False Start
28 Nov 1966
The Beatles
The EMI Sessions
 
Strawberry Fields Forever(Lennon/McCartney)
Song
Version validated
Take 05
False Start
29 Nov 1966
The Beatles
 
Strawberry Fields Forever(Lennon/McCartney)
3:55
Song
Core collection
Identified
Version validated
Take 06
29 Nov 1966
SS.MMT.08.06
The Beatles
21.
Strawberry Fields Forever(Lennon/McCartney)
03:14
Song
Core collection
Identified
Version validated
Version details available
Take 07
29 Nov 1966
SS.MMT.08.07
The Beatles
Reduction from take 6.
Strawberry Fields Forever - The EMI Sessions

Take 7 (tape reduction take 6)
22.
Strawberry Fields Forever(Lennon/McCartney)
03:07
Song
Version validated
Take 07
RM3
29 Nov 1966
The Beatles
Strawberry Fields Forever - The EMI Sessions

Take 7 (RM3)
23.
Strawberry Fields Forever(Lennon/McCartney)
03:50
Song
Version validated
Version details available
Take 25
Instrumental
9 Dec 1966
SS.MMT.08.25
The Beatles
Reduction of take 15 & 24.
Strawberry Fields Forever - The EMI Sessions

Take 25 w/ SI consists of tracks 1,3,and 4, with a slight amount of "bleed-through" from track 2
24.
Strawberry Fields Forever(Lennon/McCartney)
03:28
Song
Identified
Version validated
Version details available
Take 26
15 Dec 1966
SS.MMT.08.26
The Beatles
Reduction from take 25.
Strawberry Fields Forever - The EMI Sessions

Take 26 w/SI
25.
(Medley)(unknown)
04:53
Medley title
RS5
29 Dec 1966
Strawberry Fields Forever - The EMI Sessions

RS5
 
Strawberry Fields Forever(Lennon/McCartney)
4:05
Song
Version validated
Take 26
RS5
29 Dec 1966
The Beatles
Strawberry Fields Forever - The EMI Sessions

RS5
 
Backwards Speech(unknown)
0:37
Other type of track
(unidentified)
(date unknown)
The Beatles
John Recording backward speech
Core collection    Track identified    Version validated    Lyrics available    Version details available    Audio excerpt available    Participants list available   


Song Song Studio chat Studio chat
TV/Radio chat/jingle TV/Radio chat/jingle Interview Interview
Cover by another artist Cover by another artist Film Music/Orchestral Film music/orchestral
Concert intro/announcement Concert intro/announcement Advertising Advertising
Song by another artist Song by another artist Medley title Medley title
Book chapter Book chapter
Other type of track Other


Reviews

Review by: Franšois Vander Linden, beatleg@infonie.beOn 14 Jun 1999
Probably one of the best Beatles bootlegs available and certainly a definitive classic !
The quality of the demos is not always the top but these are historical documents: the recording of one of the most famous, the most original, the most psychedelic song by The Beatles.
Fascinating ! Of course, you won't listen to it every day but this song is history.
Personnally, my favourite version has always been Take 1 because it's very simple, very pure, without any arrangement. But, with this bootleg, I discovered many acoustic demos which are great too !

This bootleg is definitely a must-have !
Review by: Jim Coburn, JCGOLG44@aol.comOn 23 Jan 2000
I agree with the above review. Just skip the demos and go right to take 1 by the beatles and keep going. Heaven!
Review by: Gary, gbeegle@frontiernet.netOn 27 Aug 2000
Any Beatles collection without this CD is no Beatles collection at all.Strawberry Fields is probably the most famous,most original song that John Lennon & The Beatles ever made.Any psychedelic song that came after was in some way inspired by this song,and even today many modern groups are still drawing inspiration not only from this song,but all the songs from the "Pepper" period.Strawberry Fields however was the masterpiece of this whole era.What John & George Martin created in the studio still stands to this day as one of the greatest rock songs ever,and to think it was produced without the aid of all the modern studio trickery now available to anyone who sets foot in the studio.That is what makes this,and all the Beatles songs from this era so amazing.The demos are wonderful,because you can follow along as John "builds" the song,take after take,into what it finally became.I listen to this disc often,as I discover new things with every listen.It doesn't get boring listening !to the same song over and over,because as you listen you can hear the song coming together,and that is what makes this CD such a great listening experince.It is a wonderful disc,and Pegboy did a great job with the packaging.I give it a 10 rating.Get a copy today if you can,because upon your first listen,it will become one of the core CD's in your collection.
Review by: Phil Coupland, lennon_4_ever@stoned.comOn 31 Jan 2001
Whoa, when you listen to this it just sends chills down your spine, I always though that John was at his best in the demos, probably because he hated his voice and usually got them to at echo and stuff to it. This cd sounds very personal and it's like John is there sitting with you, this is a must have!!!!!!!!
Review by: VÝctor Pereyra, victorpesa@yahoo.comOn 13 Mar 2001
The Best.
El mejor de todos los bootlegs de los beatles. Es maravilloso escuchar la evoluciˇn de la mas grande canciˇn de los beatles. Asombroso. Para quedarse escuchando por horas y horas este CD
Review by: Luke A.W., lukeaw67@hotmail.comOn 24 Jul 2001
I rated this album 10 out of 10 for 3 things -
1. Content
2. Sound Quality
3. Presentation
This album is probably the only place we'll ever have all the Demos and outtakes of SFF. It's good to hear all (or most of) John's demos but the outtakes are the best part of this collection.
I never heard the complete, unedited Take 1 with the backing vocals (because of the Anthology). Also I never heard Takes 2-7, unedited because like me, other people only had the Anthology so we didn't get to hear alot. Even though Takes 1-7 and Takes 25-26 are on this album, it would have been great if John Barrett or anyone else found the unreleased Takes 8-24 because those Takes are the missing pieces of the SFF puzzle.
Listening to John's demos can be hard at times because of the sound quality but the sound of the outtakes is the best I've ever heard, plus the tracks have all been slowed down to their original speed.
The presentation of this package is great. The CD comes packaged in a nice, snazzy slip cover and the booklet has excellent liner notes and rare photos.
This definitely is one of the best Beatle bootlegs ever made and is a must have for every fan. Pegboy, you've done an excellent job.
Review by: BonoMau, mferrusca@yahoo.comOn 22 Nov 2001
Amazing... I thought an album like this of a song like this would never exist...I am so glad I was wrong.
do not hesitate, GET IT!
Review by: Kurt Max, kurtmax@mediaone.netOn 07 Dec 2001
This is not a CD I would play very often but...it is one you would have to pry from my dead fingers before I would let go of it (it's that important). I love the charm of all the phases of the song SFF. IMO Don't skip the home demo section (as suggested earlier)! Excellent sound (like it was taken from the masters). Get it, just get it.
Review by: MayfieldOn 09 Jan 2002 at 06:13 CEST
amazing, a top class production from all sides, doesn't get much better than this. if you see it, buy it.
Review by: ChappoOn 31 Mar 2003 at 23:40 CEST
Have to agree with everyone here...this is just a brilliant disc. Like Phil said earlier, listening to the early demos sends shivers down your spine. You are just awestruck (again!) by Johns talents as a songwriter and the way he crafts such a masterpiece out of what started as an acoustic demo. The effect of this disc is like looking at a picture out of focus and then the image getting sharper and sharper until all the details are revealed. HUNT THIS ONE DOWN!!! It's well worth it.
Review by: Sneaky PeteOn 13 Jun 2003 at 06:53 CEST
Yet another Gold-encrusted must have Beatleg! The historial & artistic importance of the tapes digitized here are underlined by the way John endlessly works & works to perfect one half of the greatest 45RPM ever.

The sound is rough but okay on the first 16 tracks to superb on the remainder. These latter tracks sound 'new & improved' compared to the versions on my old copy of 'Unsurpassed Masters Vol.3'. Also it was a good idea to add an alt mix of the final version as a tag. The mix highlights parts buried in the final 7" mix. Fabulous!

And where on earth did that gibberish at the end come from??

A fantastic set! I cannot recommend this enough.
Review by: mojofilterOn 13 Jun 2003 at 11:57 CEST
couldnt agree with sneaky pete enough!!!!!! i love the alt mix of the final master at the end...kind of puts the whole disc in perspective to hear the way it ended up!!!! if u can find it, its worth the price
Review by: asruedaOn 11 Oct 2003 at 05:17 CEST
Except for one alternate mix from John Barret tapes(Turn me on dead man CD)and Take 1 anthology mix, you can find any other alternate mix, outtake, demo, etc. in this great CD.( This CD was released before Anthology and "Turn me on dead man").
A must for every Beatle fan.
Review by: beat6219On 18 Oct 2003 at 16:12 CEST
this is one of the best underground collections to see the light of day. how many times do we get to hear a beatles song from demo form all the way to the studio sessions! if you are a true beatles collector, then you must have this one in your collection.this cd is one of the most complete documents we have in the study of the most important tracks the beatles ever recorded. now with that said, it is missing a few important pieces, such as the orchestral fast version that has a rough john vocal, single tracked,its not here, and thats a shame. it is on the john barrett set of cds. other than that it is complete and the sound quality is just fantastic. this is another reason why the anthology series of cds are a waste of time for collectors. EMI could have done a better job, but dont we all just expect EMI to do a lousy job representing the most famous band in the land? get this cd in your collection, that is if you can find it,its hard to find these days.
Review by: GarygOn 12 Jan 2004 at 22:03 CEST
Wow! Just got this is a trade and it arrived today. A few weeks ago I read George Martin's book "With a little help from my friends". The first chapter of the book describes the evolution of Strawberry Fields. Today listening to this CD I felt like I "was there". You've got to read that chapter and listen to this CD.
Review by: mike harrisonOn 20 Jan 2004 at 04:45 CEST
Could not believe my ears ! I'm a musician myself and it was quite an ear opener to listen to how Lennon was demoing his songs ! The demos are just incredible and you can hear that it didn't necessarily took them fifteen minutes to write a tune. I think it shows that Lennon knew what a great song he had by carefully choosing his words and by arranging it in different versions to see the results. It's a bit sad to think that only a few months later he wouldn't bother to try again, apart from "I Am The Walrus" and "A Day In The Life" (finished with McCartney)in 67, he didn't come up with any "artistic" pieces like that because of the drugs, pity...
But get that record, it is well worth the hunt ! The sound is just incredible (apart from the demos of course). I had the studio takes on the "Document" series, but it didn't have the breathing feeling you have listening to Ringo's drums and the Beatles' voices.
A classic I tell you !
Review by: RedOn 12 Apr 2004 at 22:30 CEST
Wow, this is gonna be hard. There's not much I can say that hasn't been said already. I'll give it a shot though!

This is one of the best bootleg discs ever produced: the sound quality is amazing (save for the demos, of course), you're given an insight into the development of a wonderful composition, and there's some jaw-dropping suprises in there too. One of the Kenwood demos features John overdubbing Mellotron and vocals, and he uses the wine glasses sound on the verses and pipe organ sound on the verse (no drums or bass either). It's alot more "ethereal" and ghostly than the later incarnations.

However, the studio takes are definately the centerpiece. They show you the development of the song from a peaceful, relaxing soundscape (early versions had no "tripped-out" atmospheres to them) to a psychedelic freak out (drum tracks run backwards, Mellotron "brass" in lieu of flutes, orchestra, etc). In the end you get to see how they edited two of the takes together, one mix of which was taken from a very scratched acetate (sigh).

Overall, this is a MUST AQUIRE bootleg. I wish I still had it, and I'm definately going to get a new copy. Core material.
Review by: kurtmaxOn 13 Apr 2004 at 02:09 CEST
If you enjoy experiencing the creative process this is a must have!!!!!!!! You are 'transported' completely by this CD.
Review by: pimentonOn 09 Nov 2004 at 15:48 CEST
one word. FANTASTIC. Long John in the best creative process of his career. Only for musicians and very beatle fans. Not for begginers.
Review by: fillapillowgOn 10 Nov 2004 at 15:03 CEST
I have to put my 2 cents in as well. One of thee best boots in terms of complete show-and-tell presentations. If only each Beatles song was treated with its own full disc, we would be up to our ears with cds!

Following step by step the making of... and experimenting with... makes me want to record my own songs. Thank God I'm in a band myself, or I'd be climbing the walls!

Review by: Orange_RoverOn 10 Nov 2004 at 21:58 CEST
The Best of the Best
Review by: TenniruOn 29 May 2005 at 01:15 CEST
Wonderful for someone who is curious about the song. It's not for the casual fan, but for someone interested in the technical evolution of the song than this is just great.

Worthy of mention is the "Take 26" track, which is much faster, higher-paced, and adrenaline-rushing than the finished version. It's still psychedelic, but in a diffirent way.

Also, Take 7 RM3 (at EMI) has what is either the sounds of falling rain overdubbed onto it or serious hiss problems. Also, John sounds like he's miles away; not quiet, just... distant.
If one imagines that that really is rain, and the miles-away voice effect is purposeful, it really sets a beautiful atmosphere for the song. Very... dreamy.
Review by: polarworsksstudioOn 26 May 2009 at 23:13 CEST
De verdad que bien el volver a escribir en este sitio el cual ya es parte de la histria de los Beatles y en este caso lo realizo en habla hispana, ahora con lo que es este magnifico bootlegs la verdad que mas se puede agregar si el tema es de John solo con eso ya es un 10, ademas el ver como un tema toma forma es algo sorprendente y este es un sonoro ejemplo de ello de verdad si pueden bajenlo si no puden pedirlo en www.polarworksdemar.tk susbscribiendoce en el grupo de los coleccionustas de latinoamerica saludos

Delbert
Review by: panda0809On 30 Mar 2011 at 18:43 CEST
Oh my lord!!! I just got this today.. when i heard this i went nuts man.. simply amazing from start to finish.. ive had some of these here and there on other boots but now all in one place.. just amazing.. the early demos left me speechless. sound quality is amazing!! everyone should own a copy. get it now!! one of the best boots out there.
Review by: axelbeatleOn 31 Mar 2011 at 18:26 CEST


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Filename: pb1008
Originally filled by: Ben Popovich, sooknax3@aol.com
Date of creation: 06 Oct 2001 23:59:59
Last filled by: Aidanymous
Last Revision Date : 11 Feb 2012 21:07:56
Online on : 16 Dec 2001
Type of media: Bootleg CD


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