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Credit: Far Out \/ Alamy<\/p>\n
Wed 29 April 2026 21:15, UK <\/p>\n
The entire magic of John Lennon<\/a> and Paul McCartney was always because they never quite fit together. <\/p>\n They were always two completely different songwriters whenever they wrote theory tunes, but it took Lennon\u2019s snideness to help balance out all of the chipper tunes that McCartney wrote every single time he got on his \u2018granny music\u2019 streak. Each of them was able to keep the other in check every time they performed, but there were a few tunes that Lennon said were well beyond anything<\/a> that he could ever write.<\/p>\n First of all, it\u2019s not like Lennon was the same kind of musician that his friend was every single time they played. He was never looking to be the greatest musician in the world, and sometimes his limitations were his greatest strength. He didn\u2019t know the first thing about studio production, but that naivete is what made him believe that a tune like \u2018Strawberry Fields Forever\u2019 could manage to sound so weird when they laid it down with George Martin.<\/p>\n The band were already looking to go off in different directions after they left the road, but the Sgt Pepper period is either one of their greatest records or an album that the band doesn\u2019t want to talk about. The idea was unprecedented for the time, but compared to McCartney\u2019s vision for the project, both Lennon and George Harrison had some trepidation before they got into the mindset of some imaginary band.<\/p>\n This kind of performative playing wasn\u2019t what Lennon signed up for when he first made his tunes, and since \u2018Strawberry Fields Forever\u2019 was a lot more personal<\/a>, he didn\u2019t want to suddenly make characters in his tunes. Then again, Macca was already ahead of all his bandmates when it came time to make the idea of a fictionalised group with Billy Shears as the frontman and different characters.<\/p>\n McCartney\u2019s tunes could be little short stories depending on which song you were listening to, and while he had been woodshedding tunes like \u2018When I\u2019m 64\u2019 ever since performing in the band\u2019s days at the Cavern Club, Lennon felt that there was no way that he could have ever come up with a tune like that if he had tried, saying<\/a>, \u201cPaul\u2019s, completely. I would never dream of writing a song like that. There\u2019s some things I never think about, and that\u2019s one of them.\u201d<\/p>\n That might sound like a diss, but it\u2019s more about the way that Lennon approached his songs half the time. He had a separate musical persona that wrote those puppy love songs during their moptop phase, but whenever you listened to one of the band\u2019s records post-1966, you were usually getting something more introspective from Lennon, whether it was talking about his love for Yoko Ono or unpacking his own personal baggage on tunes like \u2018Julia\u2019 or \u2018I Want You (She\u2019s So Heavy)\u2019.<\/p>\n Turning himself into another entertainer wasn\u2019t what he was looking for in 1967, but maybe Lennon just needed to catch up to what his bandmate was doing. Sgt Pepper had the makings of a concept record, but even if the concept fell apart, Lennon seemed to take the imaginary band idea to the nth degree later in life, eventually working on the Plastic Ono Band while the Fab Four were still technically together.<\/p>\n He didn\u2019t mind the idea of working on other projects like that, but they needed to have a lot more passion behind it than what he was hearing out of McCartney. His writing partner could turn his tunes into little short stories, but whereas McCartney could have been a musical novelist, Lennon was more about structuring his tunes like a subtle journey into his own mind whenever he sang. <\/p>\n<\/p>\n
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