Strawberry fields forever

Может быть и уверенно, но то, что на записи во вступлении - это Джон. Возможно, придумал и Пол, здесь не спорю - не знаю.

Line- up
JOHN Gibson J160E, Mellotron Mark II, Bongos VOCAL
PAUL Rickenbacker 4001s, Mellotron Mark II, Timpani
GEORGE Sonic Blue Fender Stratocaster, Swarmandal, Maracas
RINGO Ludwig kit, Timpani, Percussion
OTHERS Mal Evans: Tambourine, Neil Aspinall: Guiro

«Мне кажется, нет людей, принадлежащих к моему древу» (No one I think is in my tree). Я был очень застенчивым и неуверенным в себе.

http://ru.wikipedia.org/wiki/Strawberry_Fields_Forever


Песня какого-то дятла. Он живет в дупле, весьма застенчив. В соседних дуплах никого нет. Вот он скучает и каждый раз поет про себя напевает эквиритмический видимо перевод "нет людей, принадлежащих к моему древу, ла-ла"

2Expert:

>Так это у него прикол такой был или по-серьезному?

Никакой не прикол. Леннон, сидя дома, и посещая Японию (передовую страну по новому в музыкальном оборудовании), обращал живое внимание на все новинки на муз. рынке. Ты же слышал сам его драм-машинки в Real Love, Free as a Bird и т.д.
А вот синтезатор он просмотрел. А Пол - нет

2Expert:

>Еще много перлов...

Да чего далеко ходить? "Песня дала название мемориалу «Земляничные поля» в Центральном парке Нью-Йорка недалеко от места, где Леннон жил в период с 1963 по 1970 г. — здания «Дакота»."

The Beatles, Knole Park, 1967

Jane Bown has been taking photographs for the Observer newspaper for over 50 years. This is one of the Beatles taken in 1967 and is produced by The Observer as a worldwide limited edition of only 250 signed and numbered by Jane. Can be viewed in central London - further details via 'Contact Seller'.
http://www.artbank.com/artforsale/displayart.aspx?id=374&userID=159&artistID=271

Кстати той же Джейн Боун принадлежит данный ленниннский портрет 63 года.

John Lennon, 9 November 1963

Jane photographed The Beatles backstage at the Granada, East Ham, London. 'Despite his stillness here, he was really quite hyperactive. Someone told me to leave but one of the band, I can't remember which, said I should stay. I was amusing them I think.'

Уэннер: Как ты оцениваешь Джорджа?
Джон: Он очень хорош. Ха-ха. Но я предпочитаю себя. Надо быть честным. С одной стороны, моя игра меня смущает, потому что я плохо играю, но я могу заставить гитару говорить. Есть такой гитарист — по-моему, Ричи Вэленс... нет, Ричи Хэвенс, вот кто играет действительно клево. Это тот парень-негр, который был на острове Уайт и пел, кажется, «Strawberry Fields».
Уэннер: Да, это Ричи Хэвенс.
Джон: Он играет так, как будто все время тянет один и тот же аккорд. Очень клево, и в то же время кажется, что он вообще не может играть — в техническом смысле. Со мной тоже так. Йоко заставила меня поверить в свою гитару, я даже стал самоуверен. Знаешь, одна часть во мне говорит: «Да, конечно, я умею играть, потому что могу делать заводной рок». Но другая часть моего «я» говорит: «Если бы я умел играть так, как Би-Би Кинг!» Потому что, если меня поставить рядом с Би-Би, я буду бледно выглядеть. Но я музыкант: дайте мне тубу, и я что-нибудь да извлеку вам из нее.

«Джон Леннон: вот моя история, смиренная и правдивая»

Richie Havens - Strawberry Fields Forever Woodstock 69

Честно говоря, чем эта РичиХэвенсовская более уродской версии не слышал.

Сеанс суггестивного воздействия от Джона Леннона

Как композитор Александр Зацепин мастерил самодельный меллотрон, сам записывая звуки для библиотеки:

- Впоследствии у меня появился мини-муг, а затем я сконструировал некий аналог меллотрона. Сам все чертил и разрабатывал. Там было 24 дорожки на дюймовую ленту. Были многодорожечные головки записи, воспроизведения, и даже стирающая головка тоже была многодорожечная! Там были две кольцевые лентопротяжки вертикальной конструкций, и специальный сделали резак, потому что под углом разрезать и соединять очень трудно. К тому же, нужно было сделать огромное количество предусилителей - сорок восемь! Все это тянулось годами, но когда сделали, все звучало хорошо,, минимально по шумам. Потом Таня Анциферова мне записала голос - каждую ноту, и эти ноты воспроизводил меллотрон. Точнее, ее голос я записал просто на магнитофон, а с него уже переписал в инструмент и делал кольца. Также и мужской голос был записан. Точно также и струнные я записывал - скрипачи тянули каждую ноту секунд по пятнадцать... Старались так сыграть, чтобы смена смычка была незаметной. Таким путем записали всю гамму, на несколько октав. - Сейчас такое и представить трудно - самодельный меллопгрон! Ведь это чудовищной сложности задача для одного человека, просто героическая!

http://alzacepin.narod.ru/inter1/zvukreg.htm

A haunted house, visits from Ringo and a trademark Rolls-Royce:


the mystery of Lennon’s Strawberry Fields Forever trip to southern Spain

After the Olive Press reported that a statue of John Lennon (below) has been moved due to vandalism, Matthew Pritchard explains why it was there and recounts the trip the Beatle made in 1966
DAUBED in red and yellow spray paint and with his trademark Gandhi-style glasses ripped off unceremoniously, the statue of John Lennon sits in the corner of a council warehouse sad and forlorn.
Moved due to an orchestrated act of vandalism – including the tuning pegs and eventually the neck of his guitar being smashed off with a crowbar - it is currently awaiting to be re-sited, “probably near to a bank or building society”, admits a town hall spokesman.
It is an ignominious fall for arguably Britain’s most talented musician, sadly unknown, even less respected, to many of the youth of modern day Spain.
The statue by Spanish artist Carmen Mudarra had been unveiled in 2006 to mark the 40th anniversary of the Beatles extended trip to the region.
Adding to a street also recently named after the Beatles, it was hoped that the statue would become a proud memento for the city, where few know that Lennon wrote one of the bands biggest hits Strawberry Fields Forever, often termed his magnus opus.
Lennon had arrived in Almeria in the spring of 1966 to play the part of Private Gripweed in Richard Lester black comedy How I Won the War, filmed for the most part in the province’s Tabernas desert.
He stayed for a total of six weeks and after living briefly in a beach front apartment he rented Santa Isabel, a magnificent 13-bedroom property on the outskirts of the city.
Accompanied by his first wife, Cynthia, he was visited by fellow band member drummer Ringo Starr, and even had his famous black Rolls Royce shipped in from the UK.
But incredibly until just a few years ago almost nothing was known, or written, about his famous sojourn to the region, best known abroad for its Spaghetti Westerns and more recently plasticulture and protests against illegal housing.
The fact that any of his stay – let alone enough to warrant a commemorative street and statue - is largely due to the efforts of one man: journalist and Beatles fan, Adolfo Iglesias.
Iglesias, who works for the La Voz de Almeria, had got interested in the story after reading an old interview in which Lennon mentioned the lovely villa called ‘Santa Isabel’ he had stayed at in Almeria.
“I was surprised that the city was ignoring what seemed to me to be an important part of its cultural heritage,” says Iglesias. In particular he was puzzled by one of Lennon’s references to Strawberry Fields Forever when the singer said: “It was written in this big Spanish house, part of it, and then finished on the beach. It was really romantic.”
Iglesias soon discovered other mentions of the villa in a series of old books on the band, one in particular in Cynthia Lennon’s autobiography called A Twist of Lennon, in which she described it as being haunted.
He discovered that the Lennons had begun to fall in love with their huge new lodgings with its big stretch of lush greenery - an oasis in the desert landscape around Almeria.
“It’ll take days just to explore this place,” John apparently said as they moved in. Ringo was even more enthusiastic about the villa, from what he wrote in his autobiography: “You expect all kinds of heroes with swords to come swinging round the corner on a chandelier! What a great place for parties. I was convinced beyond all doubt the villa housed many beautiful spirits.”
Writing of a candle-lit party held during a power cut he recalled that it was “an incredibly magical experience” in the villa as the Lennons, actors and crew from the film “sang to the ghosts” they believed haunted the mansion.
Iglesias’ search for the house was complicated by the fact that it was a long way out of the city centre and had laterly become known as la Casa Romero.In fact, it was only thanks to the chance discovery of a name plaque hidden by weeds atop a gatepost that he was able to confirm his discovery.
When he managed to track down the then-owner of the property she confirmed that Lennon - as well as several movie directors – had once stayed there.
It turned out that the owner wasn’t impressed with Lennon and his entourage, regarding them as unkempt hippies, even though Lennon’s hair had been cut for his film role.
Iglesias began to research exactly what the star had got up to while there.
His investigations revealed a number of fascinating anecdotes that offer insights into the character of both Lennon and the people of Almeria at the time.
Lennon had his black Rolls Royce shipped out to Almeria complete with hifi and fridge, prompting old women to cross themselves thinking it was a hearse as he roared down the dusty streets to the film set.
But within days it had broken down (or was it sabotaged?) leaving him reliant on taxis to get to and from the film set.

Lennon quickly established a routine of using the same taxi driver and on the final day of filming he offered to pose for a photo with the man.
“But the taxi driver had other ideas,” said Iglesias.
“He looked Lennon square in the face, pointed at an actor dressed as a clown and said he’d rather have one taken with him.” The photo remained one of the taxi driver’s most treasured possessions right up until his death.
Perhaps because of this lack of attention, Lennon looks happy and relaxed in the numerous personal snapshots of the star Adolfo has managed to collect. One of them even contains Lennon’s address in London which he wrote down for a member of the Spanish film crew, telling the man to look him up if he was ever in England.
Adolfo is also convinced the visit marked a crucial turning point in the music legend’s life. Lennon’s stay forms a neat hiatus between the two eras of the Beatles: the 1962-66 period, which saw them tour constantly; and that of 1967 -70, when they decided to concentrate solely on studio work.
As the longest period he ever spent away from the Beatles, it seems Almeria gave Lennon time to ponder his future: in interviews later on Lennon admitted that it was there he first considered leaving the band.
His stay in Almeria also marked a change in his physical appearance, adopting the famous wire rimmed Gandhi-style glasses he was to wear for the rest of his life.
“Lennon normally wore contact lenses but in the film they wanted him to use glasses,” said Iglesias. “However, because he wasn’t used to wearing them, he kept leaving them lying around between takes and losing them. In the end he just decided to keep them on permanently.”
It seems a group of local children also unwittingly contributed to Lennon’s decision by repeatedly stealing his glasses from his Rolls Royce.
“They probably thought they were having a bit of fun at a foreigner’s expense,” Iglesias chuckles. “In fact, they were helping to create one of the most iconic images of 20th century music.”
The semi-derelict Santa Isabel property – which was also rented by actor, Peter O’Toole, and Bridge on the River Kwai producer, Sam Spiegel - is currently being renovated and transformed by Almeria council into a museum of cinema.
It will fittingly include an exhibit dedicated to Lennon’s stay there, with memorabilia of the musician and a section dedicated to the song Strawberry Fields Forever.But while the public waits for the museum to open, one of the main questions about Lennon’s stay in Almeria has never been answered. That of why he named his most famous single Strawberry Fields Forever and what had prompted him to write the song that could be said to mark the changeover for the Beatles from pop band to serious musicians?
Iglesias has an intriguing theory. He notes that the original wrought iron gates of Santa Isabel (now in council storage) bear an uncanny resemblance to the gates of the orphanage of Strawberry Field in Liverpool (Lennon added the “S”) where the musician used to play as a boy.
At the same time the huge expanse of lush vegetation could resemble the orphanage’s vast grounds, which the young Lennon loved to explore.
“Hopefully one day we will know for sure,” he explains.

http://www.theolivepress.es/2009/04/20/a-haunted-house-visits-from-ringo-and-a-trademar...

Вот такой агрегат

John Lennon and Paul McCartney with their limo and chauffeur in Knole Park in Sevenoaks during the filming of the promo video for "Strawberry Fields Forever" January 1967

А эта сама фотограф Джейн Боун. И Леннон.
Jane Bown with the Beatles

Галерея:
http://www.guardian.co.uk/music/gallery/2009/sep/06/thebeatles-johnlennon...ture=352550811

Народ а кто у кого украл Strawberry Fields Forever????
..читал сегодня статью про редкие психоделические группы тех же 67-ого - 68-ого годов.
Там упоминалась известная композиция Vibrations - The Ventures (1967)
из альбома "Super Psychedelics".
Я нашёл альбом, открываю его - а там Strawberry Fields Forever!!...
Думаю, дай скачаю - похоже на битловскую или нет.
Скачал, послушал - ТОЧНО БИТЛОВСКАЯ!!!

ну да, и калинка малинка тоже, несомненно, битловская. и гимн эфиопии.

2поклонник Леннона:

>Народ а кто у кого украл Strawberry Fields Forever????
>..читал сегодня статью про редкие психоделические
>группы тех же 67-ого - 68-ого годов.
>Там упоминалась известная композиция Vibrations
>- The Ventures (1967)
>из альбома "Super Psychedelics".
>Я нашёл альбом, открываю его - а там Strawberry
>Fields Forever!!...
>Думаю, дай скачаю - похоже на битловскую или нет.
>Скачал, послушал - ТОЧНО БИТЛОВСКАЯ!!!

Да, точно - битловская)
Не знаю, на эту песню мне еще ни один кавер удачный не попадался...
Вот и этот, от The Vetnures, тоже не особо понравился.

Позволь мне взять тебя, так как я иду
В Поля Земляники
Всё не реально
И не о чем переживать
Поля Земляники вечны

А жить легко, закрыв глаза
Непониманье видишь ты
Труднее стало кем-то быть,
Но в общем всё равно
Это не важно для меня

Кажется в дереве нет никого
Наверное, не тот размер
Ты знаешь, это не понять,
Но ничего
По-мойму это не кошмар

Всегда, нет, почти что, знай - это я
Ведь, знаешь, помню, когда сплю
По-мойму...знаю...в смысле...нет,
Но это всё не то
Пожалуй, здесь не соглашусь

No one I think is in my tree, I mean it must be high or low.
That is you can't you know tune in but it's all right, that is I think it's not too bad.
самый сложный куплет для перевода. Всё упирается в "дерево" - что это такое? Тем более, "моё"
расхожая, кажется, версия - это "земляничное дерево" (есть такое)
но битлы ведь как всегда играют словами!!!
и далее - про tune in: в принципе, понятно, "подходить, соответствовать - "быть включенным в мелодию"
out of tune - антоним - "быть расстроенным (о гитаре, например, не соответствовать (мелодии) и пр."