Showing posts with label strawberry fields forever. Show all posts
Showing posts with label strawberry fields forever. Show all posts

Friday, 17 February 2017

I hated Strawberry Fields Forever

by Allan Tong


It was the age of vinyl and I had worn out the grooves of the 1973 Apple/Capitol double-compilation 1962-66 ("red" album) and had eagerly taken him home the companion 1967-70 "blue" album from Sam the Record Man on Yonge Street in Toronto. I threw the disc on my father's turntable, cranked it up and dropped the needle on side 1 of the album. I heard this funereal dirge (Paul's mellotron) then this ghostly voice intoning, "Let me take you down..."

What the fuck?

It sounded like shit. It sounded too slow. It sounded ugly. It was Strawberry Fields Forever, released 50 years ago today in the UK.

Like a lover you grow to understand her idiosyncrasies, it took me a long time to first understand just what the hell John Lennon was saying when he sang, "I think I know of me, ah yes, but it's all wrong" and more time to appreciate just how good the song was.

I wasn't alone.

On March 11, 1967, Dick Clark played the video of SFF and Penny Lane to an audience of American teenagers. Most of them had heard I Want To Hold Your Hand, Help! and Yellow Submarine, the band's last number one, and the clever ones would have clued into Tomorrow Never Knows,but this song blew them away...or confounded them. The reactions after seeing the "film" what we call "video" now) included:

"I thought it was great."

"I don't like their hair."

"They looked older and it ruins their image."

"It was funny."

"Their mustaches are weird!"

"Looked good."

Pete Townshend was one of the first to hear the single before release. He noted that Lennon looked gaunt and nearly unrecognizable, and the music that emanated from the turntable was strange:

Brian Epstein had summoned me, with Eric Clapton, to be the first two artist-peers to hear "Strawberry Fields Forever" and "Penny Lane", The Beatles' new recordings, on an eight-track tape recorder. John was nervous, I remember. He was with Cynthia, his first wife, and she seemed more relaxed than he was. After we had heard the tracks, I was speechless.


The New Musical Express' Derek Johnson wrote: "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."

The Beatles, like contemporaries Bob Dylan, The Rolling Stones, Brian Wilson and soon Jimi Hendrix and, in jazz, Miles Davis, strove to push the boundaries into new sounds, but they risked leaving their audience behind. Just ask The Beach Boys, whose Smile confused a lot of their fans in the late-60s. With its backwards tapes, slowed-down vocals, audio loops and avant-garde sounds inspired by Stockhausen, Strawberry Fields Forever invaded the pop charts. In the week it was released, the U.S. top 10 looked like this:

1 KIND OF A DRAG - The Buckinghams
2 I’M A BELIEVER – The Monkees
3 RUBY TUESDAY – The Rolling Stones
4 GEORGY GIRL – The Seekers
5 (We Ain’t Got) NOTHIN’ YET – The Blues Magoos
6 LOVE IS HERE AND NOW YOU’RE GONE – The Supremes
7 98.6 – Keith
8 TELL IT LIKE IT IS – Aaron Neville
9 THE BEAT GOES ON Sonny and Cher
10 GIMME SOME LOVIN’ - The Spencer Davis Group

Some fine songs by great bands here, including The Supremes and Spencer Davis, but the closest song approaching SFF in inventiveness was Ruby Tuesday by their alleged rivals, The Stones. SFF and Penny Lane sounded like something from outer space.


It's a crime that SFF reached only number 8 on the U.S. charts and with Penny Lane only 2 in the U.K. Now it's universally lauded as the greatest Beatles--or rock--song next to A Day in the Life.

What happened?

Once in a while a piece of art will reach its audience that's ahead of its time and the audience must catch up. Stanley Kubrick's 2001: A Space Odyssey is a good example. The Beatles began as a teenybopper band and SFF/Penny Lane announced them to be artistes. This single has endured as a masterpiece and its influence is incalculable.

Me, I hated Strawberry Fields Forever, and now it's my favourite song of all time. Period. It speaks to me like no other. It doesn't just entertain me, but moves me. It means something. A book, a movie, a painting, a song, whatever. You are what you love, and I love Strawberry Fields Forever. It will play at my funeral and birthdays.  It is true and beautiful. It will always be a part of me, and we all need a piece of music like that.

Friday, 5 August 2016

The Beatles masterpiece: Revolver or Sgt. Pepper?


For years, Sgt. Pepper's Lonely Hearts Club Band was considered rock's greatest album. In the U.S., Rolling Stone magazine has long ranked it at #1 while Pepper sits in the prestigious Library of Congress' National Recording Registry for posterity. Critics on both sides of the Atlantic first in 1978 then 1987 awarded Pepper the top spot.

Then, Revolver stole the crown. It topped the 2000 Q magazine list of the 50 Greatest British Albums Ever; VH1's greatest albums in history list (2001); the Virgin All-Time Top 1,000 Albums list; and 2013's Entertainment Weekly's greatest albums in history.
1966 ad for the U.S. Revolver

So, what happened?

Probably the tide turned when the 1987 CD issue of the UK version of Revolver finally reached American fans. Since the album's stateside release 50 years on August 8, 1966, American listeners were stuck with an inferior version that omitted I'm Only Sleeping, And Your Bird Can Sing and Dr. Robert. Since 1987, generations have grown up on the complete 14-track album which restores the absence of John's missing songs and rectifies the balance of Revolver.

1967 ad for the U.K. Sgt. Pepper
Further, those GenX'ers and Millennials didn't live through the Summer of Love, which Pepper shaped. Instead, the younger generations grew up with a critical distance and simply listened to the music.

That said, Pepper remains the favourite of many rock and Beatles' fans, but so does Revolver. Below, we (the Doc exhalting Revolver and the Guv championing Sgt. Pepper) debate the merits and weaknesses of both albums.

(Read more about Sgt. Pepper: A Splendid Alternative)

Doc: Sgt. Pepper had the greatest impact of any Beatles -- or rock -- album, but in terms of songwriting, performance, innovation and vision, Revolver is superior. Revolver captures Lennon, McCartney, Harrison and Starr hitting their creative peaks at precisely the same time. They were abetted by an experienced, yet adventurous producer in George Martin, and a hungry, innovative engineer in Geoff Emerick.


Guv: Revolver is the latter part of the Beatles' transition to studio band, but it's still not fully realised. It's patchy. The studio band is still finding its wings. Pepper, on the other hand, stands as a whole. I clearly remember the first time I heard the album as a teen. It blew my mind. As an album, it was greater than its parts and evokes an atmosphere -- a place, a time, a psychedelic, swinging 60s Liverpool.


Poetry & fantasy



Doc: Pepper is an achievement of the highest order, too, but it's an excursion into fantasy and whimsy and not terribly personal or profound, except for A Day In The Life.

Guv: Pepper as an album is more complete, more realized. It's a painting, a watercolour. Revolver is a collage that is best viewed in segments.

Doc: The songs on Pepper are as varied in style and subject matter as those on Revolver, but because the former is packaged as "Sgt. Pepper's band" there's an illusion of unity. It's a collection of songs, that's all, and those songs simply aren't as memorable as Revolver's.

Guv: It wasn't really a concept album, but that's what it is. And it's not just the packaging. The flow of the album is a listening experience. I can dip in and out of Revolver. Pepper is an album I listen to in total.



Doc: The overall flavour of Pepper is self-conscious fantasy, a la Mr. Kite and Lucy and the title track itself. Mind you, the fantasy is dazzling...

Guv: While I agree it's very much fantastical, I don't for a moment believe it's self conscious. Lucy and Kite both have brilliant and creative origins: a child's drawing and an Elizabethan poster - both ideal candidates for songs, and neither is self-conscious. And the instrumentation on those two tracks is highly inventive. Original, stunningly beautiful soundscapes to listen to.

Doc: I find the lyrics on Revolver are more personal and therefore resonant. Pepper is fun, but Revolver touches me.

Guv: Exactly! Pepper is fun. It's not wildly introspective, which is what acid [LSD] did for them, but full of humour and wit. The backing vocal lines in With A Little Help From My Friends. The humour of Lovely Rita ("What do you see when you turn out the lights? I can't tell you, but I know it's mine", "took her home, I nearly made it," & "sitting on a sofa with a sister or two") Nudge-Nudge, wink-wink.

Doc: That's my point: Pepper is indeed fun, more fun that Revolver, but Revolver is grittier. The songwriters began writing introspectively with Rubber Soul, then went full bloom with Revolver, but the acid-Carnaby Street scene pushed John and Paul into whimsy and fantasy.

Guv: Oh, come on! Once again you're picking on Rita and Friends? Just how introspective and reflective do you find Yellow Submarine? And Taxman is just George complaining about how much he had to pay the government. As far as protest songs go, it's hardly Dylan! And what's wrong with Whimsy and Fantasy?

Doc: Nothing, but Pepper is 90% whimsy and fantasy. It needed a personal, poetic song like Strawberry Fields Forever to balance it out.

Guv: Again I come back to listening experience. Put on Pepper and I'm transported. A fantastical world. I can close my eyes and be lost for 43 minutes.

Robert Freeman's dazzling cover for Revolver that was rejected. Freeman photographed the covers of With The Beatles, Beatles for Sale and Rubber Soul. 

The George factor

Doc: One area where Revolver triumphs over Pepper is the diversity of voices. Revolver boasts three George songs and the rest are split between Paul and John. Pepper is overwhelming Paul. You barely hear George. John shines with Lucy and A Day In The Life, but his presence is weaker than usual. I love the contrast of voices on Revolver and miss that interplay on Pepper.

Guv: George shone on Revolver, no doubt. But an album is not about democracy. It's about the best songs at the time. It was a mistake to leave SFF and Penny Lane off Pepper, for sure. I know Paul can be twee (i.e. the verses of Getting Better) but John was there to balance that with, "It can't get much worse." Paul countered this by softening Lennon's seriousness, for example, with his interlude in the middle of A Day In The Life.


Doc: Look at side 1 of Revolver: George's Taxman (an angry song with a funky bassline and a blistering guitar solo), the sad eloquence of Eleanor Rigby with a restrained, but effective classical backing, taking Yesterday a step further), then dipping into psychedelia with John's dreamy ode to daydreaming in I'm Only Sleeping with the backwards guitar. Then, we turn 180-degrees into India with Love You To, which rocks as hard as any Beatles song, only it's done with a tabla and not a Rickenbacker.

Guv: But it's disjointed. It doesn't flow as well. And this is where tone comes in. Revolver works well enough, but as I suggested, by accident.

Doc: My point about Revolver isn't about democracy, but diversity. You have three voices -- and personalities and world viewpoints -- contrasting each other. In Pepper, those viewpoints are glossed over by fantastical songwriting and elaborate musical arrangements. What may be a jumble of songs to you, is to me like reading an anthology of the greatest short stories of all time from cover to cover.

An early version of Klaus Voorman's cover for Revolver before the photo montage.
Guv: Even an anthology of short stories needs a unified theme and flow.

Doc: Revolver flows. The unity lies in the consistent level of musical invention and economical writing of every song. There's no fat on this album and each song is reaching for a new sound and expression. For example, the long, "elliptical" fade-in of I Want To Tell You is seductive and smart.

Guv: Of course there is fat on Revolver. Yellow Submarine belongs there? It's a throwaway, charming kiddie song. Love You To is good, but hardly vital.

Doc: Oh, please,

The Revolver sessions, spring 1966 at EMI Studios on Abbey Road. (photo: Robert Freeman)

Words & music

Doc: The lyrics in Revolver are more personal and the songwriting is economical. Lyrics get to the point and they are sharper. Take any line out of Eleanor Rigby, which is one of Paul's finest lyrics ever ("and was buried along with her name"); or the sardonic Taxman ("If you take a walk, I'll tax your feet"); or the sadly nostalgic She Said She Said ("When I was a boy, everything was right'); or the enigmatic Tomorrow Never Knows ("Lay down all thought surrender to the void"). 

Guv: Those are fine examples, but you can counter those lines with a bunch from Pepper. "And the time will come when you see we're all one and life flows on within you and without you".
  
Doc: Pepper has its moments, lyrically, but they are fewer and far between. "I used to be angry young man, me hiding me head in the sand" in Getting Better is honest and powerful. "See the people standing there who disagree and never win and wonder why they don't get in my door" is a rare instance of Paul talking to himself (a la John). Then, of course, you have A Day In The Life.


Guv: I won't deny Revolver pushed envelopes both instrumentally and in arrangement. It was a huge leap from Beatlemania's boy-meets-girl. But Pepper took it a step further and the studio became another instrument like never before. I would argue that has never been surpassed. Elaborate, textured, layered, but not self-conscious.

Doc: On Revolver, some songs just didn't need elaborate arrangements, like Here There and Everywhere, She Said She Said and Good Day Sunshine. They could have been performed in concert. Pepper songs were all intended for a full production. I can't imagine Lucy in acoustic.


Listen to the isolated tape loops that appear in Tomorrow Never Knows

Guv: Revolver was a band still in transition, from teenyboppers to studio masters. Their minds and imaginations were opened by acid, and they needed to replicate that experience on vinyl. They had time to experiment in the studio, and were fortunate to have willing accomplices in Martin and Emerick. And they did it so well. Revolver is, indeed a masterpiece. But by the time they got to Pepper they had more control, more time (they'd stopped touring) and were able to practise and develop their parts. Paul's playing is more melodic than every before. Revolver took them to the final camp, but with Pepper they reach the top of the mountain.

Doc: The fantasy of Pepper is imaginative and beautiful, but there is a shallowness to it as well. Revolver's songs are more personal and direct, so they touch the listener. Also, there is a diversity of voices on Revolver that is lacking on Pepper. (The Beatles could have rectified this by including Strawberry Fields Forever.)

Guv: That's where Pepper works. It's Psychedelic Music Hall.

Doc: Revolver is a collection of sounds, many new to listeners in 1966, yet still fresh 50 years later. 
There's Indian raga, Memphis soul, Beach Boys harmonies, a children's song, an acid trip and classical strings on an album that has no weak moments.

Read more of our special coverage celebrating the 50th anniversary release of Revolver:

Cos I'm The Staxman: What if the Beatles recorded Revolver in Memphis?

Paperback Writer/Rain: The Beatles' most overlooked single

As relevant as the Vietnam War: the Beatles' butcher cover 50 years later

Beatles 50th anniversary in Toronto exhibition short-changes fans






Wednesday, 24 June 2015

A Splendid Alternative?

There's no doubt Sgt. Pepper is a landmark album. The music, the writing, the instrumentation, the cover, the concept, the studio trickery - all these elements combined to usher in a new era of album as more than just a collection of songs. And while Sgt. Pepper is still rightly considered to be a brilliantly conceived and constructed piece of art, some have questioned what could have been.

Many of us are familiar with the artwork created for this album by The Fool which was ultimately rejected in favour of Peter Blake's iconic masterpiece. And, of course, there are alternative shots from Blake's photo session featuring the lads in varying poses. Some of these photos still include extra characters such as Mahatma Gandhi in the background, who were later airbrushed out at EMI's insistence. But what about potential variations of Sgt. Pepper that includes different tracks and running orders?

During the past 30 years I've seen a number of alternative tracklists, either actual possibilities that may have been considered by The Beatles and George Martin at some point, or fanciful suggestions from fans. The first time I became aware of any of these was probably in the liner notes to the 1987 CD release, where it was suggested George Martin had, at some point, considered the following:

Side 1:
Sgt. Pepper's Lonely Hearts Club Band
With A Little Help From My Friends
Being For the Benefit of Mr. Kite
Fixing A Hole
Lucy In The Sky With Diamonds
Getting Better
She's Leaving Home
Side 2:
Within You Without You
When I'm 64
Lovely Rita
Good Morning Good Morning
Sgt. Pepper's Lonely Hearts Club Band (reprise)
A Day In The Life

I can see how this might work, although I particularly like With A Little Help From My Friends leading straight into the psychedelic opening of Lucy In The Sky With Diamonds. Separating Getting Better and Fixing A Hole, both McCartney songs, makes some sense, since they have more rhythmic and tonal similarities than contrast. Having re-created this disc for my own listening pleasure, I find it doesn't flow as well as the actual release. This, however, could simply be my own prejudices from being so familiar with the original song order after all these years.

George Martin gave Strawberry Fields Forever and Penny Lane to EMI for single release, something he has since stated he regrets doing. The first two tracks recorded for the Sgt. Pepper sessions, they were deemed ineligible for inclusion as they had previously been released. There are quotes from George Martin and the band suggesting they felt it was unfair to fans to sell them the same product twice. Apparently they had forgotten Love Me Do, Please Please Me and other songs which had earlier appeared on both singles and albums. And Sir Paul most definitely ignored this sentiment in the 90s when he released multiple versions of the same single from Off The Ground, each with different bonus tracks. The only other track recorded during these sessions to be considered for Sgt. Pepper was Harrison's Only A Northern Song which the rest of the band felt was sub-standard, despite the amount of effort they put into its creation. (There were further tracks recorded during this time period, such as Carnival of Light, but they were always intended for other specific purposes.)

Some fans have suggested the possibility of a double album, although this would never have been seriously considered at this stage of their career. EMI was quite concerned at the mounting expense. No other album in history had ever consumed five months of studio time, and they were actively pushing for the band to release anything. Soon. If they had continued recording for many more months to create four sides, tracks such as All You Need Is Love, Hello Goodbye, Baby You're A Rich Man, and The Fool On The Hill would surely have forced their way in. Although they commenced recording some of these only weeks after the Sgt. Pepper sessions ended, none were on tape in time for the 1st June, 1967 release date. While it's tempting to imagine a double album, I fear the result would have been a sprawling mess.

Everyone has their least favourite tracks on Sgt. Pepper. And I've seen suggestions which drop various combinations of She's Leaving Home, Getting Better, Within You Without You, Lovely Rita and When I'm 64 to fit all or some of these other songs. Altering Sgt. Pepper is a delicate operation, calling for precise planning and thought. The record could have lost more than it gained by losing any of these tracks, all of which added light and shade to the album's flow.

In an article published in 2007, on the eve of the album's 40th anniversary, one reporter claims to have received the inside story on Martin's preferred lineup. Getting Better would have been dropped for Penny Lane, while Within You Without You, which Martin has publicly stated is too long, would have been shortened to make room for Strawberry Fields Forever. Now this is an interesting tracklisting. (Of course we don't know whether Martin would have changed the running order.)

Side 1:
Sgt. Pepper's Lonely Hearts Club Band
With A Little Help From My Friends
Lucy In The Sky With Diamonds
Penny Lane
Fixing A Hole
She's Leaving Home
Being For The Benefit Of Mr. Kite
Side 2:
Within You Without You (edited)
Strawberry Fields Forever
When I'm 64
Lovely Rita
Good Morning Good Morning
Sgt. Pepper's Lonely Hearts Club Band (reprise)
A Day In The Life

One of the major problems with this suggested order is that suddenly side one becomes very Paul heavy. The Doc, one half of the team here at The Rowboat Syndicate, has created his own tracklist to counter this. He most certainly believes that omitting Strawberry Fields Forever and Penny Lane was a huge mistake. Alongside A Day In The Life, they are the best compositions from the 1966-67 Sgt. Pepper era in terms of lyrics, arrangements and performances. They all push the envelope in recorded music, and they still amaze almost fifty years later. A shortened Within You Without You and the removal of Lovely Rita permits room for their inclusion. While he would be happy for Lovely Rita to have remained, in his opinion it feels like a throwaway compared to weightier songs.

The Doc would retain side one as it is. Within You Without You (removing the instrumental break) would open side two, and be followed by a surreal visit to Liverpool's past and The Beatles' childhood through Strawberry Fields Forever. Harrison's song is philosophical, but also reflective and looks inward. Lennon's is just as reflective though in a far more personal way. The outro of George's song fades and Strawberry Fields Forever immediately cuts in, making these two songs feel seamless. Penny Lane, being more upbeat and faster in tempo, continues the build from the slower, introspective pieces. And the two tracks belong together. They're two sides of the coin. Maintaining the Liverpool flashback, When I'm 64, their homage to English music hall, dovetails beautifully behind Strawberry Fields Forever and Penny Lane. It works. It's organic.  The contrast in feeling is perfect. 

With the final notes of When I'm 64 fading, The Doc suggests a return to the official sequence of the album. The transition to Good Morning, Good Morning again feels seamless, and it's good to bounce back to a John song after enjoying back-to-back Paul songs. The Reprise leading into A Day In The Life is as close to a perfect conclusion as we could have.

Sgt. Pepper in its released form is more lopsided than other Beatles' albums like Rubber Soul and Revolver. Including the Liverpool songs adds far more muscle to a weaker side two and balances the album. It also elevates a very good album into a true masterpiece. One more subtle, but essential improvement: Sgt. Pepper is no longer dominated by Paul's voice but more equally weighted with John's. The Doc prefers Revolver, Rubber Soul and The White Album, simply because of that balance between John and Paul, and that is something he misses with Sgt. Pepper.

Doc's tracklisting:

Side 1: 
Sgt. Pepper's Lonely Hearts Club Band
With A Little Help From My Friends
Lucy In The Sky With Diamonds
Getting Better
Fixing A Hole
She's Leaving Home
Being For The Benefit Of Mr. Kite
Side 2:
Within You Without You (edited)
Strawberry Fields Forever
Penny Lane
When I'm 64
Good Morning Good Morning
Sgt. Pepper's Lonely Hearts Club Band (reprise)
A Day In The Life

Besides the above hypothetical exercises, there were legitimate variations of Sgt. Pepper released. The nature of 8-track cartridges meant each of the four programs (similar to vinyl sides) were most effective when they were of approximately the same length. For this reason the song order for the 8-track version underwent some shuffling. A Day In The Life no longer closes the album. That honour goes to Sgt. Pepper's (reprise), which has also been edited to artificially extend it by ten seconds.

Program 1
Sgt. Pepper's Lonely Hearts Club Band
A Little Help From My Friends (sic)
Fixing A Hole
Being For The Benefit of Mr. Kite
Program 2
Lucy In The Sky With Diamonds
Getting Better
She's Leaving Home
Program 3
Within You Without You
A Day In The Life
Program 4
When I'm Sixty-Four
Lovely Rita
Good Morning Good Morning
Sgt. Pepper's Lonely Hearts Club Band (reprise)

There are two legitimate Sgt. Pepper oddities that require mentioning. Both were Asian releases.

Malaysia and Hong Kong, like the BBC, banned three songs for supposed drug references. And so the Far Eastern version of this record was unique, and obviously created several months after the album's initial release. I've never heard an actual copy of this, so I have no idea on whether the tracks have different edits. I suspect not. For my own enjoyment I re-created this record on CD, taking the time to crossfade Sgt. Pepper into The Fool On The Hill, and the Pepper (reprise) into I Am The Walrus. And while I would never replace my regular copy of the album with this version, it is one that I find charming and listen to from time to time. (If anyone can supply me with a needledrop of this record, please contact me.) The rear cover of the album was altered to reflect the unusual tracklist.

Side 1:
Sgt. Pepper's Lonely Hearts Club Band
The Fool On The Hill
Baby You're A Rich Man
Getting Better
Fixing A Hole
She's Leaving Home
Being For The Benefit Of Mr. Kite
Side 2:
Within You Without You
When I'm 64
Lovely Rita
Good Morning Good Morning
Sgt. Pepper's Lonely Hearts Club Band (reprise)
I'm The Walrus (sic)

In 1977 South Korea issued a version of Sgt. Pepper which completely removed Lucy In The Sky With Diamonds and A Day In The Life. Neither track was replaced, which must make for a very short and incomplete listening experience. The artwork on both the front and rear were drastically altered as well. As McCartney sang, very strange.

Side 1:
Sgt. Pepper's Lonely Hearts Club Band
With A Little Help From My Friends
Getting Better
Fixing A Hole
She's Leaving Home
Being For The Benefit Of Mr. Kite
Side 2:
Within You Without You
When I'm 64
Lovely Rita
Good Morning Good Morning
Sgt. Pepper's Lonely Hearts Club Band (reprise)

But let's return to the possible inclusion of Only A Northern Song on the album.

I have yet to see any alternative listing with this track that I find satisfying. I thought I saw one suggested by Mark Lewisohn many years ago. Now, however, I can't find it, and can't recall from where he may have sourced that information. Of course my mind may be playing tricks, it might not exist and it's possible I imagined the whole thing.

I really quite like Only A Northern Song, Harrison's first full-on attempt at psychedelia. (Mind you, I also have a soft spot for It's All Too Much.) My gut feeling is it would never really fit properly. It's big, brassy and loud, and would need to be placed exactly so, should it be included. The Doc agrees. While he also likes Only A Northern Song and has sequenced It's All Too Much into his Sgt. Pepper mix a few times, neither fits. The former is too weak a song and the latter takes the album on a tangent with its freakout feedback, which he actually likes. Both tracks, however, disrupt the flow, whereas Strawberry Fields Forever and Penny Lane meld into the overall mix organically. Think of it this way: each song on Sgt. Pepper is like a sequence in a film. Each song must occur at the right place for the whole album to flow, for songs to contrast each other in feeling and idea and complement each other when needed.

As we know, Only A Northern Song was not included on Sgt. Pepper. In fact it was rejected from the album so early that on April 20, 1967 Martin played it for the producers of the Yellow Submarine cartoon, informing them it was the first song for their forthcoming movie soundtrack. This was prior to the song's final mixes and while the Sgt. Pepper sessions were still underway. Obviously there was never any real intent to include Only A Northern Song on the album. At least the filmmakers made sure it received a stunning animation sequence.

Are there any other ideas out there? Any variations I've missed? I'd certainly be thrilled if anyone could source further alternative tracklistings. Your personal suggestions are also most welcome in the comments.

Remember, Sgt. Pepper was originally released in the days of vinyl and neither side would have extended much beyond 22 minutes or so.

For further information on Sgt. Pepper, I recommend this page at The Beatles Internet Album.