What the devil is this song talking about, I've read the lyrics over and over again, and still cannot figure out what this song is talking about...I heard they were on a LSD trip when this song was written, well, at least John was??




http://www.youtube.com/wa...wg-PdeGVL0

It's the name of the cemetery in Liverpool.

His Aunt Mimi used to tell him not to sit on the wall to the cemetery and he used to say "Why? They can't hang me for it"...Nothing to get hung about or so I heard somewhere

Ok, maybe not

This is from Wikipedia

Lennon began writing the song in late 1966, while in Almería, Spain filming Richard Lester's How I Won the War. Lennon's "Strawberry Fields Forever" and McCartney's "Penny Lane" shared the theme of nostalgia for their childhood in Liverpool, and both referred to actual locations there, but they also had strong surrealistic and psychedelic overtones. Strawberry Field was the name of a Salvation Army orphanage just around the corner from Lennon's boyhood home in Woolton. Lennon and his childhood friends Pete Shotton and Ivan Vaughan used to play in the trees behind the orphanage. One of Lennon's childhood treats was the garden party held each summer on the grounds of Strawberry Field. Lennon's Aunt Mimi recalled: "As soon as we could hear the Salvation Army band starting, John would jump up and down shouting, 'Mimi, come on. We're going to be late.'"[1]

The period of its composition was one of momentous change and dislocation for Lennon. The Beatles had just retired from touring after one of the most difficult periods of their career, including the infamous "more popular than Jesus" controversy and their disastrous tour of the Philippines. Lennon's marriage was failing, and the psychological wounds of his childhood were causing him renewed pain. Perhaps most significant of all, he was using increasing quantities of drugs, especially the powerful hallucinogen LSD. Although there are no obvious references to drugs, the song's style, tone, and oblique, stream of consciousness lyrics often are thought to have been influenced by his LSD experiences.

More perhaps than any other Beatles recording, there exists a rich documentary record of demos and studio takes which reveal the evolution of the song. The earliest demo version of the song has a single verse with no refrain:

No one is on my wavelength,
I mean, it's either too high or too low;
That is you can't you know tune in but it's all right,
I mean it's not too bad.


In later demo versions Lennon altered this verse to make it more obscure and added a second verse substantially identical to the third verse on the released version. The last verse was written fairly close to the time of the song's recording, though it is the first verse on the released version.


[edit] Recording
The song's groundbreaking production by recording engineer Geoff Emerick and complex arrangement gave clear evidence of the band's near-total mastery of the recording studio and their increasingly avant-garde approach to their music. It featured extensive overdubbing, the prominent use of reverse tape effects and tape loops, and extensive audio compression and equalisation. In addition to the standard guitar-bass-drums backing, the arrangement also included piano, Mellotron (played by McCartney), trumpets, cellos and some unusual instruments including the swarmandel, an Indian stringed instrument which provided the sitar-like sound at the end of each chorus.

The released version of the song is an edit of two different performances. The band recorded multiple takes of two quite distinct versions of the song. The first version was reputedly an attempt to emulate the acid rock sound of American bands like Jefferson Airplane, and it featured relatively basic instrumentation comprised of Mellotron, guitars, bass and drums. For the second version, recorded some weeks later, Lennon opted for a much more complex arrangement (scored by George Martin) that included trumpets and cellos, along with the prominent sound of backwards cymbals during the verses.

Lennon decided that he liked the first minute of Take 7 (the "acid rock" version) and the ending of Take 26 (the "orchestral" version). He wanted the finished master to combine these sections from the two versions, so he nonchalantly gave producer Martin the task of joining them together.

Martin's and Emerick's problem was that the two versions were played in different keys and tempos (Take 7 in A major and Take 26 in B major). Fortunately for Martin and Emerick, the faster version was also in the higher key. That the two pieces of the song, when joined, have the same tempo and the same key is the result of slowing down the faster and higher-keyed version and speeding up the slower and lower-keyed version to a speed at which both tempo and key matched. (Decreasing the playback speed of a recording has the effect of lowering its key, while increasing a recording's playback speed has the opposite effect.) That the two takes were able to match when tempered in this way and fit together so seamlessly was, according to George Martin, a happy coincidence; when Lennon had first asked Martin to make this edit, the latter observed the two different takes and insisted it would be impossible. There are two edits in the released version: one just after the first verse, before "Let me take you down" (where a superfluous verse was removed); and the second a few seconds later, a more prominent edit between the words "'cause I'm" and "going to" at exactly one minute into the song (where Take 7 blends into Take 26). The pitch-shifting in joining the versions also gave Lennon's lead vocal a slightly other-worldly "swimming" quality.

Perhaps most distinctive of all was the instrument that produced the flute-like sound in the song's introduction — a Mellotron, purchased by Lennon the previous year and brought in to the Abbey Road studio especially for the song. However, it was McCartney who discovered the potential of this new instrument composing the introductory passage and playing the Mellotron during the recording. This innovative British-made electronic keyboard used eight-second tape segments (or samples) of real instruments such as brass, strings (used on take 1 of the song), and flutes (on takes 2 through 7). The Beatles were one of the first rock bands to acquire a Mellotron, and "Strawberry Fields Forever" is believed to be the first use of the instrument on a pop recording. As a result of the Beatles' patronage, the instrument was rapidly taken up by other groups and used on other famous recordings of the psychedelic era by Traffic, Family and the Rolling Stones.

Contrary to belief of the Paul Is Dead urban legend supporters, Lennon says "cranberry sauce" at the end of the song rather than "I buried Paul", a fact that Lennon himself confirmed in a 1980 Playboy interview. He said that it was a kind of icing on the cake of the weirdness of the song, where anything he might have imagined saying would have been appropriate. On the sessions released in The Beatles Anthology, the words "cranberry sauce" are more clearly heard, especially during the edit piece joined onto the end of take 7.


[edit] Promotion and reception
The song reached number two on the British charts. The number one single at the time was Engelbert Humperdinck's "Release Me". (An interesting note is that until February 1969, there was no single definitive singles chart in the UK. The retroactive determination of "British chart history" flows smoothly from NME's 1950s chart through Record Retailer's expanded chart, which began in 1960, into the one compiled by the British Market Research Bureau that is used today. "Strawberry Fields"/"Penny Lane" was ranked as a number one entry on Melody Maker's weekly singles chart.)[2]

The promotional film for the song is now recognized as one of the first and most successful conceptual music videos, featuring reverse film effects, stop motion animation, disconcerting jump cuts from daytime to night-time and (among other things) the Beatles playing and subsequently pouring paint over and smashing an upright piano. It also featured the use of jarring juxtaposition of setting with props - such as a table in the middle of an open field - often seen in more recent 'eccentric' music videos. It was filmed on January 30, 1967 in Knole Park in Sevenoaks, and directed by Peter Goldmann. Goldmann was a friend of Klaus Voormann who recommended the Swedish TV director to the group.[3] The location of the filming is easy to find, as it is on one of the main roads through the park with a recognisable tree. Though filmed at the same time as the "Penny Lane" video, it is considerably more groundbreaking and adventurous (which probably has to do with the harsher tone of the song). Both videos were selected by New York's MoMA as two of the most influential music videos in the late 1960s; both were originally broadcast in the United States in early 1967 on the variety show Hollywood Palace, with Liberace as host.

The song gave its name to the Strawberry Fields memorial in New York City's Central Park, near the site of Lennon's assassination.

Brian Wilson claimed that 'Strawberry Fields Forever' was partially responsible for the collapse of the Beach Boys' legendary unfinished album 'SMiLE'. Wilson first heard the song on his car radio while driving, and was so affected by it that he had to pull over until the song finished. He then remarked to his companion (either wryly or in despair, according to the version of the story) that the Beatles had "got there first" (i.e., to the sound he was trying to achieve with the new album). SMiLE was shelved shortly afterwards.

Before playing the song on his radio show in January 2006, BBC Radio 2 DJ Mark Radcliffe said it could be described "without fear of contradiction as the greatest double-A side ever".

According to AcclaimedMusic.net (a site which combines hundreds of musicians' and critics' best-of lists from around the world), "Strawberry Fields Forever" is the Beatles' most critically acclaimed song of all time, ranking at #12 on the All Time Top 3000 Songs.

The song did not appeal to all: WLS afternoon disk jockey Dex Card declined after a few weeks to play the song, remarking that "I just can't stomach that."


[edit] Covers and derivations
Oasis is covering the song as part of their promotion for the Stop the Clocks Best of. Noel Gallagher is on the vocals.
Tomorrow cover the song on their 1968 album, Tomorrow.
Mark Cunningham recorded a faithful version of the song in 1987 as part of a complete re-recording of the Sgt. Pepper album and associated 1967 Beatles songs to celebrate the 20th anniversary of Pepper.
Odetta covered "Strawberry Fields Forever" on Odetta, her 1967 album.
Brazilian singer and songwriter Caetano Veloso evidently pays tribute to The Beatles' collage technique in his own "Sugarcane Fields Forever", on his experimental 1973 album Araçá Azul.
The Jamaican group The Pyramids sing "Let me take you back, cause I'm goin, goin, goin to Ethiopia" on their (late 1960s?) tune "Ethiopia".
Peter Gabriel covered the song for the 1976 transitory musical documentary All This and World War II.
A capella group The Bobs covered the song on Cover the Songs of....
Argentinean band Los Fabulosos Cadillacs covered the song in Spanish during the 1990s (with Debbie Harry).
Candy Flip had a hit single with a suitably psychedelic cover of the song in the early 1990s.
Me First and the Gimme Gimmes recorded a live version of the song on their album Ruin Jonny's Bar Mitzvah.
Ben Harper recorded a cover of the song in 2001 for the soundtrack to the film I Am Sam.
Frank Zappa covered the song in 1988, but with different lyrics, to satirize Jimmy Swaggart's sex scandal. The number is not available on the regular Zappa catalogue, due to legal reasons.
The alternative band Bush makes a reference to strawberry fields in their hit single "Glycerine".
A live cover of the song also appears on the Definitive Collection album by Mother's Finest.
Otomo Yoshihide's New Jazz Quintet recorded an instrumental cover of the song on their 2003 album, Tails Out.
Richie Havens does a cover, on the album Richard P. Havens, 1983, also available on the collections The Classics and Sings Beatles & Dylan (1987).
The Real Group rewrote this chart for five vocalists. It can be found on their 1996 album "Live in Stockholm"
Composer, singer, multi-instrumentalist, and music producer Todd Rundgren covered it on his 1976 album Faithful, reproducing it almost perfectly.
In 2006, a newly mixed version of the song was included in the album Love. This version builds from an acoustic demo and incorporates elements of "Hello, Goodbye", "Baby You're a Rich Man", "In My Life", "Sgt. Pepper's Lonely Hearts Club Band", "Penny Lane", and "Piggies"[4]
The Replacements opened their song "Mr. Whirly" with the opening tune to "Strawberry Fields Forever".
In the summer of 2000 the Progressive Rock supergroup Transatlantic, consisting of Neal Morse, Mike Portnoy, Pete Trewavas and Roine Stolt included the song in a medley surrounding their original song "Mystery Train" along with the Beatles tune "Magical Mystery Tour". The result can be heard on Transatlantic's double live album Live in America (2001).
Plastic Penny recorded a standard cover of the song, which appears on the collection The Best Of & Rarities.

[edit] Pop culture
American baseball player Darryl Strawberry was known as a "good hit, no field" kind of player during his career in the 1980s and 1990s, and was also a troubled man off the field. A wag at Sports Illustrated hypothesized what his version of Purgatory would be like: "Strawberry fields forever!"[citation needed]
After he was arrested for illegal drugs, parody music maker Bob Rivers recorded a parody of "Strawberry Fields Forever" (titled "Strawberry Rehabs Forever") which popped up on radio stations (mostly morning "comedic" radio shows such as John Boy and Billy).
The tune to the song's beginning is played in EarthBound as the character Tessie's theme.
Jack Jones' biography of Mark David Chapman (John Lennon's murderer) is entitled Let Me Take You Down, which is the first line of the song's chorus.
Dominic Monaghan (of Lord of the Rings fame, and who plays Charlie Pace on Lost) has "Living is easy with eyes closed" tattooed on his left arm.
In the movie Head, starring the Monkees, Peter Tork can be heard whistling the chorus.
This is one of the songs played on I Am Sam.
Captain Beefheart's song Beatle Bones and Smokin' Stones makes reference to Strawberry Fields Forever in the opening lines.
The lead female character in the 1978 film "Sgt. Pepper's Lonely Hearts Club Band" is named Strawberry Fields.

[edit] Trivia
There is a town in New Freedom, Pennsylvania named "Strawberry Fields" after the Beatles song "Strawberry Fields Forever". Some of the street names within the neighbourhood are named for each of the Beatles, while others are named after other Beatles works, such as Abbey Road, and the song Penny Lane.
John Lennon's Mellotron - which is featured so prominently in the intro of the song - is now owned by Interscope Records CEO Jimmy Iovine and was featured in the "Closer" video for Nine Inch Nails. Trent Reznor is seen playing the Mellotron in the video while floating in space.

here's what John himself had to say about it:

""Strawberry Fields is a real place. After I stopped living at Penny Lane, I moved in with my auntie who lived in the suburbs... not the poor slummy kind of image that was projected in all the Beatles stories. Near that home was Strawberry Fields, a house near a boys' reformatory where I used to go to garden parties as a kid with my friends Nigel and Pete. We always had fun at Strawberry Fields. So that's where I got the name. But I used it as an image. Strawberry Fields Forever. 'Living is easy with eyes closed. Misunderstanding all you see.' It still goes, doesn't it? Aren't I saying exactly the same thing now? The awareness apparently trying to be expressed is-- let's say in one way I was always hip. I was hip in kindergarten. I was different from the others. I was different all my life. The second verse goes, 'No one I think is in my tree.' Well, I was too shy and self-doubting. Nobody seems to be as hip as me is what I was saying. Therefore, I must be crazy or a genius-- 'I mean it must be high or low,' the next line. There was something wrong with me, I thought, because I seemed to see things other people didn't see. I thought I was crazy or an egomaniac for claiming to see things other people didn't see. I always was so psychic or intuitive or poetic or whatever you want to call it, that I was always seeing things in a hallucinatory way. Surrealism had a great effect on me, because then I realized that the imagery in my mind wasn't insanity; that if it was insane, I belong in an exclusive club that sees the world in those terms. Surrealism to me is reality. Psychic vision to me is reality. Even as a child. When I looked at myself in the mirror or when I was 12, 13, I used to literally trance out into alpha. I didn't know what it was called then. I found out years later there is a name for those conditions. But I would find myself seeing hallucinatory images of my face changing and becoming cosmic and complete. It caused me to always be a rebel. This thing gave me a chip on the shoulder; but, on the other hand, I wanted to be loved and accepted. Part of me would like to be accepted by all facets of society and not be this loudmouthed lunatic musician. But I cannot be what I am not."

I always heard it as a trip through John's changing brain.

Strawberry Fields Forever refers to his memories, in the form of childhood surroundings, images that shape you and tend to stay with you throughout life.

"nothing is real" refers to the revelations you might experience on acid. Society, customs, fame, religion, politics, and all the routine things we take for granted are creations of humans and not necessary to the open psychedelic mind.

"Nothing to get hung about" simply means that you shouldn't trip on the fact that nothing is real , or perhaps that we shouldn't get hung up on te aforementioned things.

"Living is easy with eyes closed" refers to the awakening that he felt he had been undergoing, and how most people live life without asking big questions, but simply work, fuck eat & die. Not true, but it seems that way sometimes!

"No one, I think, is in my tree" is simply about the isolation he felt all of his life, and the isolation pretty much all of us feel.

Perhaps the reference to Strawberry Fields (an orphanage) means that John himself felt more or less like an orphan, something he'd touch upon in Mother. Dad was gone, mother was dead. Or perhaps he felt like he was reborn spiritually and, therefore, without parents?
[Edited 6/15/07 17:36pm]

NDRU said:

That lifestyle sounds vaguely familiar.
Well, not the "die" part in a literal sense.


tA

Tribal Disorder

http://www.soundclick.com...dID=182431

theAudience said:

#2 & #3 aren't so bad, at least!

I've always thought it was about wanting to get lost.

I find the song a bit upsetting.

BinaryJustin said:

It's definintely not a particularly happy song. It's melancholy at best, and I used to find the end of it pretty scary. "Cranberry Sauce!"