John Lennon: a look into the creative process through the demos

Listening to John Lennon’s songs, I was always fascinated with his songwriting's creativity and sheer genius. I often wonder how he approached composing such music—did he envision the final version from the start, or did the ideas evolve until he found something he liked? Was it a meticulous process, or did the inspiration come naturally? Through the many demo recordings and studio outtakes, we can gain insight into his writing process, hear how the songs sounded in their early stages, and how they gradually transformed into the iconic tracks we know today.

Let’s explore some of his most famous demos, and I’ll also include links to more of his demo recordings.

1. “Strawberry Fields Forever”

One of Lennon’s most famous demos is the one for Strawberry Fields Forever. The song, which became a psychedelic anthem for The Beatles, started as a delicate, haunting acoustic ballad. Lennon recorded the demo in Almería, Spain, while filming How I Won the War in 1966. In its earliest form, the song was simpler, more reflective, and focused on themes of longing and memory.

One of John Lennon’s most famous demos is "Strawberry Fields Forever", a song that later became a psychedelic anthem for The Beatles. Originally it began as a gentle, haunting acoustic ballad that Lennon recorded in Almería, Spain while filming How I Won the War in 1966. In this early version, the song was much simpler, with a reflective focus on themes of longing and memory.

The Beatles began working on "Strawberry Fields Forever" in November 1966, marking their first session since completing Revolver. Lennon initially played the acoustic version for the band but later switched to his Epiphone Casino electric guitar for the recording sessions. Paul McCartney contributed by playing the Mellotron and composing the melody for its introduction. Early takes of the song, like Take 7, feature the Mellotron more as a background instrument compared to its prominence in the final version.

On December 8 and 9, Lennon sought a different approach, recording a faster, rhythm-heavy version with George Martin's orchestral arrangement, including cello and brass, known as Take 26.

The final version of the song was a technical achievement, as George Martin and Geoff Emerick successfully merged Take 7 and Take 26 into the masterpiece we know today.

Here’s a YouTube playlist with all Strawberry Fields Forever demos and takes.

2. “Mother”

Lennon’s 1970 demo of Mother is another fascinating example of the evolution of his songwriting. The demo is sparse, featuring only Lennon’s voice and piano. This minimalist style is retained in the final recording of his debut solo album, John Lennon/Plastic Ono Band, but the emotional intensity is magnified. The demo is raw, but as Lennon worked through the song, he developed its cathartic wail, which became the defining feature of the final track.

The transition from demo to song was more about emotional refinement than musical complexity. The final version showcases the primal scream therapy Lennon was undergoing at the time, where he processed deep-seated pain about the loss of his parents. The stripped-back nature of the demo mirrors the starkness of the album’s production, but the final vocal delivery is where the song’s true power lies.

3. “Real Love”

Real Love is an example of a Lennon demo that was resurrected long after his death. Originally recorded as a home demo in 1979, it went through multiple stages of development, and some versions featured different lyrics and slightly altered melodies. After Lennon’s assassination in 1980, the demo was shelved until the mid-1990s, when the surviving Beatles took the recording and built upon it as part of their Anthology project.

The process of transitioning Real Love into a finished song involved Paul McCartney, George Harrison, and Ringo Starr adding harmonies, instrumentation, and arrangements to Lennon’s demo. The final product retained much of Lennon’s original structure, but the addition of the other Beatles’ contributions made it feel like a genuine Beatles track, bringing Lennon’s demo into a new light.

4. “Jealous Guy” (“Child Of Nature”)

Lennon’s demo for Jealous Guy, recorded under the working title Child of Nature, shows an early incarnation of what would become one of his most beloved solo songs. The original demo was written during The Beatles’ time in India in 1968, and while Child of Nature dealt with themes of environmental awareness and spirituality, the melody remained largely the same when Lennon rewrote it for his 1971 album, Imagine.

The transformation from the demo to the final song came when Lennon shifted the focus from nature to personal reflection and emotional vulnerability. Jealous Guy emerged as a confessional song about insecurity and possessiveness in relationships. The lyrics’ evolution from an abstract connection with nature to a deeply personal statement is one of the most striking aspects of its development.

5. “Free as a Bird”

Like Real Love, Free as a Bird was another Lennon demo that the surviving Beatles completed during the Anthology project. The original demo was a rough, home-recorded track from the late 1970s. In the demo, Lennon sings softly with minimal accompaniment, creating an ethereal, almost unfinished feel.

When Paul McCartney, George Harrison, and Ringo Starr revisited the demo in 1994, they filled in gaps in both the music and lyrics. The final version incorporates new contributions from the remaining Beatles while preserving the essence of Lennon’s demo. The song is a poignant reminder of Lennon’s absence but also serves as a testament to how his demos could inspire further creativity and collaboration, even posthumously.

6. “Watching the Wheels”

The demo for Watching the Wheels reveals a more relaxed and contemplative Lennon as he crafted one of his most autobiographical songs. Recorded during his 1975–1980 hiatus, the demo is raw and conversational, highlighting Lennon’s contentment with his decision to step out of the limelight and focus on his family.

The transition to the final version, which appeared on his Double Fantasy album in 1980, added a richer production, but the song’s heart remained the same. The demo’s barebones piano accompaniment was expanded with fuller instrumentation, but Lennon’s sense of peace and acceptance shines through both versions, making the demo-to-final process more about refining sound than changing the song’s core message.

7. “I’m Losing You” (“Solitude”)

“Solitude”, as the song was initially titled, was written in Bermuda in June 1980, after several attempts by Lennon to call his wife, Yoko Ono, who remained in New York. The demo of the song was played on acoustic guitar with a drum machine, and Lennon overdubbed additional guitar and vocal parts.

Producer Jack Douglas originally suggested that Lennon use Cheap Trick as the backing band to play on the song. A version was recorded on 12 August 1980 with Cheap Trick's guitarist Rick Nielsen and drummer Bun E. Carlos backing Lennon. They also recorded a version of Yoko Ono's "I'm Moving On", which is a companion piece to "I'm Losing You".

"I'm Losing You" was first recorded with the Double Fantasy session musicians on 18 August 1980, but Lennon was dissatisfied with this performance, and thus a third recording was made on 26 August, which was released on Double Fantasy. A horn arrangement was overdubbed on 5 September, but this was ultimately deleted from the released version of the song. Lennon's vocal was recorded on 22 September.

8. “Now and then”

The demo version of "Now and Then" was recorded by John Lennon in the late 1970s at his home in New York City, during what is often referred to as the Dakota Demos. It was a rough, solo piano recording that featured Lennon's voice over simple chords. The demo, like many others from this period, was unfinished and had poor audio quality, with noticeable background noise and a persistent hum. Despite its rough state, the emotional depth in Lennon's vocals and the themes of longing and reflection in the lyrics made it a candidate for The Beatles' reunion projects in the 1990s, although technical limitations prevented it from being completed at the time.

Originally considered during the 1990s for The Beatles' Anthology project, it was shelved due to technical issues with the demo and George Harrison's lack of enthusiasm for the song. The other two Lennon demos from that period, "Free as a Bird" and "Real Love," were completed and released during that time, leaving "Now and Then" unfinished.

In 2023, thanks to advances in audio separation technology developed by Peter Jackson’s team, Paul McCartney and Ringo Starr were able to revisit and clean up Lennon’s original demo, separating his voice from background noise. McCartney, Starr, and Harrison’s guitar work (from the 1995 sessions) were incorporated to finally complete the song.

Released in November 2023, "Now and Then" is considered the last "new" Beatles song, offering a final collaboration between all four members of the band. Its lyrics reflect themes of love and longing, making it a poignant closing chapter to The Beatles' musical legacy.

Home demo recordings (1963-1969)

Lennon’s demos provide us with a rare opportunity to witness his songwriting process from its inception to its final form. Even though 3 of the songs were later finished by the Beatles I can’t help myself from wondering how they would sound on John’s solo albums. Even after many of the demos were officially released on John Lennon albums I still love hearing the raw initial versions of these songs and seeing how the songs were shaped.

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