Of the 15 takes of the backing tracks to "Strawberry Fields Forever" recorded on 8 December 1966, parts of takes 15 and 24 were edited together and labeled take 25. Seven days later, on 15 December 1966, four trumpets and three cellos recorded overdubs on to that 25th take. Lennon overdubbed vocals, and then double-tracked them, with the product being labelled take 26. This take is a far cry from the Spain recordings and early Abbey Road takes - it is much faster, and much heavier and more aggressive in character. Lyrically, Verse 1 has been omitted. Tonally, too, the song is now back in C major - a major second higher pitched than the previous takes.
With these changes, overdubs, and edits, the song was (once again) deemed complete on 21 December 1966.
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Formal structure of [68] "We Can Work it Out"
Verse 1 0:00-0:19* Verse 2 0:19-0:37 Middle 8 0:37-1:04 Verse 3 1:04-1:21 Middle 8 1:21-1:48 Verse 4 1:48-2:05 Coda 2:05-2:15 Comments: No introduction - just launches right in to first verse (like [15] "All My Loving", [19] "Not a Second Time", [29b] "Long Tall Sally", [42] "No Reply", [46b] "Everybody's Trying to Be My Baby", and [58] "I'm Down" and [61] "Wait"). Both Middle 8s feature two sections, nearly identical except for lyrics and that the latter both times inserts a D7 chord to transition back to the verses (which is absent from the former). Verses 1, 3 and 4 share identical lyrics. With the completion of take 7, "Strawberry Fields Forever" was deemed complete. John Lennon, however, decided otherwise. "Before the very first recording of 'Strawberry Fields Forever' John stood opposite me in the studio and played me the song on his acoustic guitar," said George Martin. "It was absolutely lovely. Then when we actually taped it with the usual instruments it began to get heavy. John didn't say anything but I knew it wasn't what he had originally wanted. So I wasn't totally surprised when he came back to me a week or so later and suggested we have another go at recording it" (Lewissohn, page 89). This quote has always puzzled me a little bit because if Lennon thought take 7 was too heavy, why did they subsequently create an even heavier version? Wouldn't it make more sense to do a lighter version? Regardless, Martin agreed to write a score for four trumpets and three cellos, but before those could be recorded the band had to create a new backing track on to which the orchestral instruments could be overdubbed. On 8 December 1966, 15 additional takes were recorded (numbers 9 through 24 - takes 8 and 19 do not exist). But those backing tracks weren't the only thing recorded that day. Producer George Martin and engineer Geoff Emerick had prior commitments that particular evening and thus could not attend the recording session until rather late. "When Geoff and I strolled in at about eleven, Studio No. 2 was in the grip of a controlled riot. The boys had decided it would be fun to lay down an 'unusual' rhythm track for 'Strawberry Fields Forever' on their own, with anyone and everyone available simply banging away on whatever came to hand. The racket as we walked in was like something from a very bad Tarzan movie. ... Above it all, Ringo was struggling manfully to keep the cacophony together with his regular drum-kit. The Beatles were at play, and here was I coming in to party-poop! ... Towards the end of this rogue track ... everyone was whooping or yelling, and John can clearly be heard chanting very slowly, and in time to the rough-and-ready beat: 'Cranberry sauce, cranberry sauce . . .' Why cranberry sauce? Why not? It was coming up to Christmas! Some of that wild and whacky recording survived through to the release of the record, and you can still hear John chanting these words, if you listen closely. This gave rise to one of those absurd Beatle myths: that Paul was dead. Instead of 'Cranberry sauce', people heard 'I buried Paul' " (Martin, page 19-20). Indeed, at the very end of the released version of "Strawberry Fields Forever" you can hear John slowly drawling "cranberry sauce" (about 4 minutes in to this video): Those notorious words may also be heard - and more clearly - on The Beatles Anthology 2, CD 2, Track 3, from 3:57-4:07: (I should point out, however, that in typical The Beatles Anthology fashion this track appears to have been inappropriately edited: The body of the song on this track - from the beginning through 2:56 - was taken from take 7, which was recorded on 29 November 1966; but the coda - from 2:56 through the end - was from the "Tarzan scene" George Martin described, which was recorded on 8 December 1966. On the Anthology, though, they are presented as a whole, as if they were recorded all at the same time.)
CITATIONS Lewissohn, Mark. The Beatles Recording Sessions. Harmony Books, New York, NY, 1988. Martin, George with William Pearson. With a Little Help From My Friends: The Making of Sgt. Pepper. Little, Brown and Company, New York, NY, 1994. Formal structure of "In My Life"
Intro (trans.) 0:00-0:09* Verse 1 0:09-0:28 Middle 8 0:28-0:46 Trans. 0:46-0:51* Verse 2 0:51-1:10 Middle 8 1:10-1:28 Solo 1:28-1:47* Middle 8 1:47-2:05 Trans. 2:05-2:10 Coda (m8, trans.) 2:10-2:25 Comments: Transition is intro halved. Solo replaces a verse. "In My Life" is the second Beatles recording to date to use transitional musical material in the introduction and coda - the first being [65] "Day Tripper". Both of these songs use this transitional lick (in "Day Tripper" it's the famous opening guitar riff, in "In My Life" it's the opening piano motive) cohesively, gluing together the sections of the song. Two additional backing track takes of "Strawberry Fields Forever" were recorded on 29 November 1966 (numbers 5 and 6), the first of which was a false start, the second second of which was complete. Several overdubs (including Lennon's vocals) were added to that sixth take, and the product was labeled take seven. This seventh take does not reveal any change from take 4 in terms of lyrics, chords, or formal structure. It does, however, show a more finished product - Lennon's vocals are double tracked and thus fuller, more present.
With take 7, "Strawberry Fields Forever" was deemed complete. At least for the moment. Formal Structure of [66] "If I Needed Someone":
Intro (verse) 0:00-0:08* Verse 1 0:08-0:22 Verse 2 0:22-0:37 Middle 8 0:37-0:52 Verse 3 0:52-1:07 Break/Solo 1:07-1:22 Verse 4 1:22-1:38 Middle 8 1:38-1:53 Verse 5 1:53-2:08 Coda (verse) 2:08-2:22 Comments: Two-part intro (along with [6b] "A Taste Of Honey", [11] "Thank You Girl", [17] "Little Child", [14b] "Roll Over Beethoven", [24] "You Can't Do That", and [31b] "Matchbox", [37] "Baby's in Black", [38b] "Mr. Moonlight", [45] "I Feel Fine", [46e] "Honey Don't", [47] "Ticket to Ride", [62] "Run For Your Life", [63] "Norwegian Wood (This Bird Has Flown)", and [65] "Day Tripper"). Verses 4 and 5 share identical lyrics. The Beatles recorded three additional takes (numbers 2-4) of "Strawberry Fields Forever" on 28 November 1966, all of which were backing tracks (i.e. no vocals). The last of these takes was deemed the best, and Lennon's vocals were overdubbed. A transcription of this fourth take is below. (Click the picture to enlarge.) Note: In many instances, the rhythms have been simplified for the sake of visual simplicity. This fourth take differs significantly from the first take recorded at Abbey Road:
1. It's back in A major. Why is once again uncertain. 2. Harrison's slide guitar has been omitted. It was found in take 1, and used in later takes, but take 4 does not use it. 3. Paul's mellotron playing is now the intro instead of the outro. 4. That same mellotron progression now underscores the verses, too, replacing the guitar accompaniment found in previous takes. 5. This is the first instance of the chorus preceding the first verse. This provides a much more effective beginning because the lines "Let me take you down, 'Cause I'm going to Strawberry Fields" compel a listener to join Lennon on a journey, as opposed to opening with the philosophical lyrics "Living is easy with eyes closed..." 6. The coda has been completely revised. In addition to Paul's mellotron being put at the beginning instead of at the end, this take is clearly meant to fade out, whereas the ending of take 1 did not necessarily need such a fade. Formal structure of [65] "Day Tripper":
Intro (trans.) 0:00-0:18* Verse 1 0:18-0:46 Trans. 0:46-0:53 Verse 2 0:53-1:21 Trans./Break/Solo 1:21-1:42* Trans. 1:42-1:49 Verse 3 1:49-2:17 Trans. 2:17-2:31 Coda (trans.) 2:31-2:46 Comments: Many Beatles recordings to date used two-part intros in which a single instrument starts, then after a few seconds the rest of the band joins in ([6b] "A Taste Of Honey", [11] "Thank You Girl", [17] "Little Child", [14b] "Roll Over Beethoven", [24] "You Can't Do That", and [31b] "Matchbox", [37] "Baby's in Black", [38b] "Mr. Moonlight", [45] "I Feel Fine", [46e] "Honey Don't", [47] "Ticket to Ride", and [62] "Run For Your Life"). "Day Tripper" is similar, but doubles the intro into four parts: first we hear a lone guitar, then it's joined by the bass, followed shortly by the tambourine, and then finally the drum set. "Day Tripper" is the first Beatles recording to use and introduction based on transitional material, and also the first to use a coda likewise based on transitional material. In this case, that means the famous opening guitar lick, which functions as "musical glue" connecting the various formal components. The Trans./Break/Solo employs elements of all three, so exactly what to call it is uncertain - it really is a mix of all three. The verses employ a modified 12 bar blues structure. For more detailed analysis on that aspect, read my 14 January 2013 blog. On 24 November 1966, the Beatles entered the recording studio for the first time in the last 155 days (since 21 June ) - the longest such stretch of the Beatles' career. The entire seven-and-a-half-hour session was dedicated solely to rehearsing and recording take 1 of "Strawberry Fields Forever". A transcription of this first take is below. (Click the picture to enlarge.) Note: In many instances, the rhythms have been simplified for the sake of visual simplicity. Once again, this version shows significant changes from the previous version (Lennon's Kenwood Demo, blogged about on 2013.03.23):
There is yet another key change. It is now in B major instead of C major. The reason for this change is uncertain. Also, a new verse has been added - not at the end, but at the beginning ("Living is easy with eyes closed..."). This brings the total number of verses to three, all of which would be retained (albeit slightly modified) through the song's release. The biggest changes, however, are in instrumentation, because now for the first time the song is played by the band instead of just Lennon by himself. In addition to Lennon's guitar and lead vocals, Paul plays the mellotron (a predecessor to the modern-day synthesizer), George played around with his slide guitar, and Ringo adds percussion. Additionally, backing vocals are added to the third verse ("Always, no, sometimes..."). (Note that on The Beatles Anthology these harmonies are inexplicably removed. The version found on the album It's Not Too Bad retains those backing vocals, and that is the version above.) Lastly, the coda has been greatly expanded - an instrument closing featuring Paul's mellotron playing that will ultimately be used as the intro instead of the outro. Formal structure of "Drive My Car"
Intro (ind) 0:00-0:05* Verse 1 0:05-0:21 Chorus 0:21-0:36 Verse 2 0:36-0:52 Chorus 0:52-1:08 Solo 1:08-1:23* Chorus 1:23-1:39 Verse 3 1:39-1:55 Chorus 1:55-2:10 Coda (chorus) 2:10-2:28 Comments: The a-metric introduction is entirely musically independent of the rest of the song. The solo essentially functions as another verse, just with the lyrics replaced with a guitar solo. |
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