Paul was a natural communicator John couldn’t articulate his ideas well. In contrast, John seemed to live in chaos: he was constantly searching for scraps of paper that he’d hurriedly scribbled ideas on. Paul was meticulous and organized: he always carried a notebook around with him, in which he methodically wrote down lyrics and chord changes in his neat handwriting. “Even from the earliest days,” he wrote in his memoir, Here, There and Everywhere, “I always felt that the artist was John Lennon and Paul McCartney, not the Beatles.”
Pepper’s Lonely Hearts Club Band, some of The White Album, and Abbey Road-recognized from the outset that the two formed a single creative being. Geoff Emerick-who served as the principal engineer for EMI on Revolver, Sgt. If that seems far-fetched, it’s because our cultural obsession with the individual has obscured the power of the creative pair. The essence of their achievements, it turns out, was relational. and Ralph Abernathy all managed to do such creative work. Only when we explore this terrain can we grasp how such pairs as Steve Jobs and Steve Wozniak, William and Dorothy Wordsworth, and Martin Luther King Jr.
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The lone-genius myth prevents us from grappling with a series of paradoxes about creative pairs: that distance doesn’t impede intimacy, and is often a crucial ingredient of it that competition and collaboration are often entwined. The attempts to pick apart the Lennon-McCartney partnership reveal just how misleading that myth can be, because John and Paul were so obviously more creative as a pair than as individuals, even if at times they appeared to work in opposition to each other. For a few lines in the song “Julia,” Dowlding gave 0.05 credits to the Lebanese poet Kahlil Gibran.)įor centuries, the myth of the lone genius has towered over us, its shadow obscuring the way creative work really gets done. (His tally also included 22.15 credits for George Harrison, 2.7 for Ringo Starr, and 0.45 for Yoko Ono. Dowlding actually tried to quantify their distinct contributions, giving 84.55 credits to John-“the winner,” he declared-and 73.65 to Paul. Dowlding-a high-water mark of absurdity in the analysis of Lennon-McCartney. Kot made that observation in a review of Beatlesongs, by William J. John and Paul “shared songwriting credits but little else,” he wrote in 1990, “and their ‘partnership’ was more of a competition than a collaboration.” Even the superb rock critic Greg Kot once succumbed to this folly. “Although most of the songs on any given Beatles album are usually credited to the Lennon-McCartney songwriting team,” Wikipedia declares, “that description is often misleading.” Entries on the site about individual Beatles songs take care to assert their “true” author. The notion that the two need to be understood as individual creators, in fact, has become the contemporary “smart” take on them. But in this vignette, as in so many from the Beatles years, it’s easy to get distracted by the idea of John and Paul composing independently. Paul, of course, was stressing the collaborative nature of his partnership with John (he went on to note that their competition made them “better and better all the time”). “I’d go away and write ‘Penny Lane’ … to compete with each other. “He’d write ‘Strawberry Fields,’ ” Paul explained. He and John, Paul said later, had a habit of “answering” each other’s songs. This sort of call-and-response was no anomaly. On December 29, Paul McCartney brought in a song that took listeners back to another icon of Liverpool: Penny Lane, a traffic roundabout and popular meeting spot near his home. After four weeks and scores of session hours, the band had a final cut of “Strawberry Fields Forever.” That was December 22. In late November, the Beatles began work on the song at EMI Studios, on Abbey Road in London.
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He was in rural Spain at the time, on the set of a movie called How I Won the War, but the lyrics cast back to an icon of his boyhood in Liverpool: the Strawberry Field children’s home, whose sprawling grounds he’d often explored with his gang and visited with his Aunt Mimi. I n the fall of 1966, during a stretch of nine weeks away from the Beatles, John Lennon wrote a song.
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