The story, as I remember it, is that McCartney is in a hotel lounge, and the pianist is playing standards. The pianist takes a break and McCartney goes over to look at the guy’s piano. The pianist has been playing from a standard “fake book,” (maybe this one), and McCartney, amused, flips it open to see what songs are in it. When he comes to “Yesterday,” he is chagrined to find it credited solely to John Lennon.

This ruins his day.

He calls up the publisher of the fake book and learns that, due to space restrictions, they only credit the first songwriter listed on any given song. It’s nothing personal, they do it I guess with Lieber and Stoller, Gershwin and Gershwin, Holland, Dozier and Holland too.

This throws McCartney into a terror. Not being listed as the co-composer of “Yesterday” in this hotel-pianist’s fake book shakes McCartney to his core. It doesn’t matter to him that he’s listed as the co-composer of “Yesterday” every time it appears on a Beatles or McCartney record, or in any of the other of hundreds of incidents when someone has published a recording of it, it doesn’t matter that anyone with a passing interest in popular music knows that “Yesterday” is McCartney’s song, that the Beatles didn’t even play on it, it doesn’t matter that no song could be more obviously a McCartney song than “Yesterday,” it doesn’t matter that McCartney’s gigantic royalties don’t observe what is printed in a hotel-lounge-pianist’s fake book — this thing lists it as a Lennon song and that freaks the ever-loving shit out of McCartney.

Feeling the harsh wind of posterity breathing down his neck, McCartney launches a massive offense to claim his share of the Beatles story. Lennon’s murder in 1980, he feels, has given Lennon an unfair advantage in the “genius” sweepstakes — people, McCartney feels, are under the impression that the Beatles were “John Lennon’s band” and that Paul was somehow just puttering around in the background, playing bass or something. Maybe he feels that people equate him with John Paul Jones or John Entwhistle or — gasp — Bill Wyman.

(There are some legitimate causes for this paranoia — in McCartney’s mind, anyway. John Lennon was inducted into the Rock n Roll Hall of Fame many years before McCartney and McCartney, I’m told, was appalled when Andrew Lloyd Webber got a knighthood before he did.)

How serious is this problem? Here’s how serious. McCartney enlists the help of pal-from-the-old-days Barry Miles to write Many Years From Now, which goes through the Beatles’ career, incident by incident, album by album, song by song, line by line, for 720 pages. If this was a passing problem, I would guess that McCartney might devote an afternoon or two to making some inquiries and then rest assured that his place in music history was secure. But to go on for 720 pages about who thought up the haircuts and who thought up the collarless suits and who’s idea it was to grow mustaches and who thought of putting the orchestral climax into “A Day in the Life” and who came up with the melody for “In My Life” and who introduced who to Yoko Ono and who was out doing research while someone else was lying around his suburban mansion getting high, my God. Don’t get me wrong, I love hearing these stories and what’s more, I trust McCartney’s memory — I think he’s telling the truth. What’s more, I think the book serves a valuable purpose, delineating how these cornerstones of popular culture were designed and built. But when page 1 has McCartney saying “I loved John, I would never try to take anything away from his reputation,” and the ensuing 719 pages proceed to do just that, it gets a little creepy.

(I sense that McCartney is telling the truth about these things not necessarily because he says so, but because the things he says fit with the evidence — Sgt Pepper has the structural underpinnings of many subsequent McCartney albums, “In My Life” sounds like a McCartney melody, not a Lennon melody, so forth. Someday, I’ll do a post on the Shakespeare Authorship question.)

His campaign doesn’t stop there.  He calls his new album Flaming Pie, the title of which refers to a John Lennon quote regarding the origin of the name “Beatles” —  “I had a vision that a man came unto us on a flaming pie, and he said, ‘You are Beatles with an A.’ And so we were” — except Paul here claims that he, in fact, is the “man on the flaming pie.”  Nice. 

He releases Paul is Live, a concert recording from one of his 90s tours. The cover of the CD is a (extremely poorly) Photoshopped version of the Abbey Road cover — with all the other Beatles removed and replaced by a sheepdog. Not only is this bad, bad album cover art (oh God, like Abbey Road hasn’t been parodied enough times), it negates the other individuals who worked on Abbey Road (oh, remember that album Abbey Road? Yeah, that was mine, did you know that?) and it also, for those in the know, reminds everyone that the Martha of “Martha My Dear” was McCartney’s sheepdog. Because maybe there are people out there who think that Martha was Lennon’s sheepdog, I guess.

This is all irritating enough (and there is more where this came from), but then it gets ugly. McCartney, I’m told, can’t get past this incident in the hotel lounge. It eats away at him, he can’t stand it. Why, if this goes unchecked, hotel-lounge pianists the world over might introduce “Yesterday” as a John Lennon song until the end of time. He knows it’s a little late to call do-over on a decision he made with his friend forty years ago to make the credits read “Lennon/McCartney,” but the “Yesterday” thing just bugs the shit out of him, so he calls up Yoko Ono and asks, politely, if it would be okay with her if the credit were reversed for just this one song. John didn’t help him with any of the words, nor with any of the melody, and all this is well-documented, and it is Paul alone on the recording, and everyone knows that, and he’s not asking to have John’s name taken off the song, Yoko wouldn’t be losing a penny of royalties, Paul wants only to have the credit reversed, so that, in the future, no inebriated hotel-bar patron might mistakenly hear that “Yesterday” was written by John Lennon.

Yoko politely declines Paul’s request.

Now it’s war — it’s the battle of the cold-blooded, iron-willed bastards. Paul may be a brilliant, canny businessman and an absolute tyrant in the studio or boardroom, but he’s up against Yoko Ono, who never liked him and who is no slouch in the boardroom herself (for all her starry-eyed, peace-n-love posturing). And besides, she holds all the cards. It seems like such a small thing, but when Yoko has the opportunity to irritate Paul, there is apparently no such thing as a slight too small (let’s not forget, the rumor is that it was Yoko that tipped the Japanese police to McCartney carrying pot into Japan in 1980 — on top of everything, she’s a narc!).

McCartney puts out another crappy record and goes on another tour. The next live album, Back in the US (Paul seemingly giving up on selling himself as a solo artist any more, now he’s just “ex-Beatle Paul”) has a number of Beatles songs on it, and McCartney pointedly lists himself first as the composer of every one of them. Just to irritate Yoko, to goad her into trying to sue him or something. In his mind, there will be a public outcry from Yoko and that will push the issue into the public realm and then McCartney can act all innocent and everyone will say how McCartney has been cheated out of his rightful credit on all these wonderful songs that he wrote and John Lennon really didn’t, you know. I’m not making this up, he actually talks about this in the media, that this was his plan. It’s all so petty and bizarre and paranoid that it makes me recoil in disgust.

I know that Paul McCartney is a pillar of 20th-century culture. I know he was a large part of why the Beatles were so great, especially in the latter, greater half of their trajectory. Everyone knows that. My wife knows that, my children know that. Anyone with the ability to both read and listen to music knows that. I think everyone in the world knows it except Paul McCartney.

Anyway, he seems to be better now. I don’t know if it was the knighthood or the second marriage or the death of George Harrison or the billion dollars or so that he has to comfort him, but somewhere in there he gave up his pursuit of Beatle-history-dominance, decided that maybe being Paul McCartney was a good enough gig after all. Personally, I think he’s taking it easy to reduce his stress; he’s bound and determined to outlive Ringo — and then there will be no one to question him.

And let me begin by saying this is all terribly unfair. It is axiomatic that all the Beatles did their best work within their group, that the Beatles were a miracle-making music machine substantially greater than the sum of its parts, that there was a chemistry within that band that seems something close to magic. Even McCartney himself seems stunned these days to realize that he was part of this unique musical and cultural force, almost as if it happened to someone else.

And yet, the Beatles standard is both the thing that keeps attracting me to McCartney’s work and appalling me with the results. It’s the single most vital aspect of his development and a kind of sword of Damocles hanging over his head. Every time I put on a McCartney record, I think “this is the guy who wrote ‘Hey Jude,'” and, well, there is nothing that can live up to that standard. No wonder I hated him so hard for so many years.

No, but I mean really hated him. Partly because he was not the Beatles, partly because he was not John and partly because he had betrayed his talent with such abandon and scorn. I hated the album London Town withsuch an intensity that I literally burned the faces off the cover and displayed it in my college dorm that way (keep in mind it was 1978 — I was listening to This Year’s Model and More Songs About Buildings and Food; the pleasant, noodling melodies of London Town weren’t just irrelevant, they were abominations). I was a strong proponent of John at that point, proudly defended Some Time in New York City (who’s an abomination now, punk?) and saw McCartney as not just a sellout but as a pariah, a calculating monster, bringing his immense commercial weight to cloying, irritating ditties like “Coming Up” and “Say Say Say.”

Anyway, so I have this obsession with the guy, and a fascination. I find it impossible to reconcile the pop genius who wrote staggering masterworks like “You Won’t See Me” and “Hello Goodbye” and “Back in the USSR” with the man responsible for “Ebony and Ivory.” So I am compelled to keep probing, investigating further, questioning assumptions, trying to discover what exactly happened to his talent, are things as bad as they seem, has time been kind to his work, is it he who was right all this time and I who was wrong? Does his solo work match the mathematical equation of my last entry? And that sort of thing.

At some point I’ll probably have to sort out what I think of all these albums on an individual basis, but for now here’s a broad overview, taking the terms of McCartney’s Beatles work and applying them to his solo work.

JOY: The first thing one hears when one is introduced to the Beatles and their most arresting quality, Joy is only sporadically present in McCartney’s solo work, although there is often Joy’s little sister Delight, her cousin Charm and their great grand-uncle Pleasure. The calculation and professionalism that bugged me so much as a younger man doesn’t bother me so much any more. Records that seemed cold, passionless and remote now seem to be the work of a man for whom music is a gift, something that comes effortlessly to him. (Effortlessness, however, is a serious problem in a great deal of McCartney’s work, but more on that later.)

URGENCY and IMMEDIACY: Almost nonexistent in McCartney’s post-Beatles work. This seemed like a capital crime when I was a teenager, but of course it’s just part of artistic development. Who could keep up the intensity of the Beatles experience, twelve albums of faultless masterpieces in eight years? Who would demand it? And yet, the man is a supremely talented composer, arranger and melodist and too often he brings his massive talents to bear on sentimental trifles, goofy doodles and flat-footed profundities. I wrote earlier that the Beatles sounded like they had never been in a recording studio before and didn’t know if they ever would be again, but the McCartney of, say, Red Rose Speedway sounds like he lives in a recording studio and has all the time in the world. I can find nothing in the McCartney catalogue that quickens the pulse like “All My Loving” or “Drive My Car” or even “Birthday,” and much that makes my blood run cold, like “Wonderful Christmastime” or At the Speed of Sound.

(If you seek any of the above qualities in McCartney’s solo work, I direct you to Choba B CCCP, Unplugged and Run Devil Run, three albums of mostly covers that are filled to brimming with joy, urgency and immediacy. The last, especially, I recommend highly — its vital, searing presentation of rock-n-roll standards is positively crushing, and finally makes a legitimate bid to connect the McCartney of today with the young man who sang “Long Tall Sally” all those years ago.)

DRAMA: In much greater abundance than joy, urgency and immediacy, although still lacking. I see great dramatic sense brought to songs like “Another Day,” “Live and Let Die” and “Uncle Albert/Admiral Halsey,” albums like Band on the Run and Back to the Egg. In each of these, it is the same dramatic sense brought to Sgt Pepper, The White Album and Abbey Road — that is, the drama is brought about through juxtaposition and arrangement, not through the quality of the original material. But these are dramatic peaks — too much of McCartney’s solo work is dramatically inert albums like Pipes of Peace and Press to Play.

COMPLEXITY and EXPERIMENTALISM: These qualities have not abandoned McCartney, nor he them, and he rarely gets credit for them, so I’m going to give some so here. McCartney has the reputation for calculation and commercialism, and yet as I look over his long post-Beatle career I find a restless, creative spirit, consistently burrowing into his talent, challenging himself in interesting and questioning ways, unhappy with straitjackets and only occasionally overtly trying for a big commercial hit. If people want to buy an inoffensive, undemanding bit of silliness like “Coming Up,” is that McCartney’s fault? I see no calculation in it, I see no effort in it at all — it sounds like something he knocked off in a day. But then, the same could be said for the album Please Please Me.

It is, in fact, McCartney’s silliness that often confuses the issue; his sense of British nonsense is both one of his greatest strengths and one of his most damning flaws. When he’s on, nonsense like “Uncle Albert/Admiral Halsey” or “Band On the Run” or “Jet” takes on a grandeur and depth that is startling and magical. Even un-grand, low-key albums like McCartney, Ram, Wild Life and Red Rose Speedway positively burst with charm and playfulness (but lack drama or any sense of importance — positive, refreshing attributes in the case of the first two). When he’s not on, the playfulness feels forced and fake — “Morse Moose and the Grey Goose” comes to mind.

With Lennon’s work, experimentalism often took the forefront — records were often experimental at the expense of coherence, professionalism or effectiveness. A Beatle could claim the right to release an album like Two Virgins, but no one could listen to it all the way through. With McCartney, experimentalism often takes the form of half-finished ideas and excessive noodling. As the years pass, I welcome McCartney’s noodling and recoil in horror from Lennon’s indulgent, punishing excesses. But let’s not make this about John versus Paul — that’s a post for another day.

(I’m told McCartney has several albums of ambient music and sound collages released under pseudonyms. I’m curious, but not that curious.)

AND THE REST? McCartney’s melodic sense has never left him, ever. There are oceans of melody on all his records, from the shiny, metallic80s crap of Press to Play to the unassuming, home-made charm of McCartney. What’s different is the sense of importance that permeates even lesser Beatles albums like Magical Mystery Tour or Beatles for Sale. Also omnipresent is his talents for arrangement. No two McCartney songs, even the unmemorable dreck, sound alike. He still pursues sonic landscapes and insists on bringing distinct personalities to each of his recordings. Whether all of them were worth the effort is another question.

DOES HE BEAT THE SPREAD? I’m going to say, hesitantly, yes. Given that the lack of intensity to his post-Beatles work is a natural development and not necessarily a crime, there is still enough in a good deal of McCartney work that is worth listening to. And the equation I came up with (McCartney equals one-third of the Beatles, therefore his solo work can reasonably be expected to be one-third as good) I think holds true. Easily one-third of McCartney’s solo work is very good indeed, even if there’s nothing that can compare to Revolver or Rubber Soul.

However, it’s also true that McCartney’s contemporaries and peers, specifically Bob Dylan and the Rolling Stones, are doing work right now that does actually compare favorably to their high-water marks. Is it wrong to expect the same of McCartney? His new album is perfectly listenable, catchy as ever, full of something like joy and devoid of sap. It snaps and swings and even occasionally thunders. That said, there is nothing there that can compare to “From Me To You.”

Let’s take a closer look at the Beatles’ recordings. They are all masterpieces. I can say this because the best definition I’ve ever heard of “masterpiece” is that a masterpiece is an artwork that we can return to again and again throughout a lifetime and always get something new from it. I’ve been listening to the Beatles recordings probably since before I could write words, and I haven’t gotten close to getting to the bottom of their mysteries and surprises.

What do they do? How do they work? What are the hallmarks of “Beatles recordings,” that make them stand out from all other recordings? To stick with the theme of this blog, what do the Beatles’ recordings want?

I am not a musicologist. One could write a book on why the Beatles’ recordings work musically, and more than one person has. I am, however, a dramatist, and I find that my primary response to the Beatles recordings is dramatic. They have an overwhelming sense of drama, each song a perfectly realized little world, each recording existing by its own rules, often with an arrangement utterly unique: even if it’s just guitars, bass and drums, somehow each time a new sonic aspect of those instruments are teased out.

It’s almost as though every time the Beatles entered the recording studio, they acted as though they had never entered a recording studio before, and didn’t know if they would ever get the chance again. There’s an incredible make-or-break sensibility to each recording, in the same way there’s a make-or-break sensibility to Raging Bull. Every corner of every song is packed with melody, invention and what I like to call “entertainment value.”  There’s never a wasted moment or dull stretch in a Beatles song, even “Revolution 9.”

Think of the urgency of the Beatles songs. They did not come here to waste your time, and they will not let you change the station. A casual glance through my Beatles CDs tells me that many Beatles songs begin with the chorus, or sometimes don’t even have a proper chorus, or rather are all chorus, with bridges in between choruses. Many of the songs in question not only begin with the chorus, they don’t even have introductions, they just begin. I counted twenty-eight (out of roughly 200 Lennon/McCartney Beatle tracks) that begin with the vocalist plunging into the chorus without any introduction at all. Think of a sonic avalanche like “She Loves You,” a song both insistent and distant, joyful and pejorative, delivering someone else’s good news in a way that makes you assume that she couldn’t really love anyone but the singer. If McCartney is this happy about telling you that she loves you, just think of how happy he would be if she loved him.

Check out these examples of the finest dramatic writing in pop music. These are all the first lines of Beatles songs, sung without any introduction whatsoever, often a capella.

“As I write this letter, send my love to you –“
“Close your eyes and I’ll kiss you, tomorrow I’ll miss you — “
“If I fell in love with you, would you promise to be true — ?”
“Try and see it my way, maybe time will tell if I am right or I am wrong — “
“You tell lies thinkin’ I can’t see, you can’t cry ‘cos you’re laughing at me, I’m down.”
“Ahh, look at all the lonely people — “
“To lead a better life — “
“In the town where I was born, lived a man who sailed to sea — “
“Hey Jude, don’t make it bad — “
“The long and winding road that leads to your door — “
“She came in through the bathroom window — “

And my personal favorite, which begins in the middle of the phrase —

“For I have got another girl — “

Think of that! McCartney begins the song in the middle of a phrase!

For the purpose of comparison, here are the opening lines of some Shakespeare plays, pulled off my shelf entirely at random:

“Who’s there?”
“When shall we three meet again?”
“Tush! Never tell me!”
“I thought the king had more affected the Duke of Albany than Cornwall.”

This is masterly drama, beginning the song, the “argument” as it were, in the middle, forcing the audient to “catch up” with the singer. Each one of these opening lines is immediately arresting, plunging us into a drama already in progress — who could fast-forward past a song that begins, a cappella, “For I have got — ” for he has got what? Oh, another girl, I see — and why does he have another girl?  What was wrong with the first girl?  Why would a Beatle need another girl? And when are we going to get back around to the first part of that phrase? “I ain’t no fool and I don’t take what I don’t want, for I have got another girl,” ah yes, there it is.

You could say that these are simple pop songs, but they are not simple pop songs. Even the Beatles’ earliest recordings have a complexity and experimentalism that remains striking today. Just the other day I was driving with my 4-year-old daughter Kit and 1962’s “There’s a Place” came on, a song I don’t think I’ve ever sat down and listened to. Kit responded to it immediately and demanded to listen to it nineteen times in a row, allowing me a chance to get to know what was, to me, essentially a “new” Lennon-McCartney song. After I got used to the perfectly bizarre harmonics of Lennon and McCartney’s twin vocals, I started working out the lyrics in my head. “There’s a place,” they sing, “where I can go,when I feel low, when I feel blue, and it’s my mind, and there’s no time, when I’m alone.” The next verse starts “I think of you, and things you do,” which makes me think that “when I’m alone” attaches grammatically to the second verse, but it also works as the last line of the first. There’s a place where the singer can go when he’s depressed, and it’s his mind, but there’s no time when he’s alone. Meaning either that the singer could be happy in his mind if he had time to be alone, or else he must retreat into his mind because he’s never alone. Either way he’s completely miserable, and either reading is surprising in what sounds like a chirpy pop song on first listen. And this is before Beatlemania made John Lennon officially miserable, two years before “I’m a Loser” and three years before “Help!” (incidentally, both those songs also begin with a cappella choruses too).

They manage to do all of this while sounding like the most joyful people on earth. Paul McCartney sings “I Saw Her Standing There” like a dying cancer patient who’s suddenly been given a clean bill of health. All the vistas of life have suddenly opened for him. (“Well she was just seventeen, you know what I mean” also happens to be one of the great couplets in songwriting history and a perfect example of Lennon-McCartney teamwork — as McCartney tells the story, the opening couplet was originally “Well she was just seventeen, she never was a beauty queen,” but Lennon either substituted the existing line or pressured McCartney into changing it, turning it from a comment on the subject to thrusting the subject into the mind of the listener.) There is an incredible immediacy to the Beatles recordings, a sense that something is happening, right now, as the tape is rolling.  This in spite of their mature recordings sometimes taking days or even weeks to  painstakingly record and edit.

“You know what I mean” reminds me that, like any great songwriters, the Beatles are notable not just for all the musical detail they put into their recordings, but also for what lyrical details they leave out. Their songs often come almost to the point of cohering, only to back off at the last moment, creating not so much a story but a moment, not a drama but a scene, leaving out the beginning and the end, leaving the listener to finish the narrative his- or herself.

Which brings me to my last point, the Beatles talent for collage. Starting with the Sgt Pepper concept (which, despite the album’s greatness, isn’t very well fleshed out), most notably in “A Day in the Life,” but continuing through the jarring juxtapositions of the White Album and, most notably, on Abbey Road, the Beatles in their mature phase (which I think it’s safe to say is when McCartney came into his own, shouldering the lion’s share of the production burden) (and being the biggest asshole) threw out all the “love song” mainstays that had made their reputation and instead turned to crafting sonic landscapes with lyrics that were impressionistic, nonsensical or even completely meaningless. Side Two of Abbey Road only sounds incredible, none of those songs would have made it on their own, it’s only when “Mean Mr. Mustard” bumps into “Polythene Pam,” which then comes crashing into “She Came In Through the Bathroom Window” that the songs gain their sense of excitement. These juxtapositions are related to montage, just as “shot of gun,” “shot of woman screaming,” “shot of man falling down” are uninflected images stitched together to form the dramatic beat of “man getting shot.”. That is to say, again, the primary impact of these recordings is dramatic.

So, if we say that the criteria for a good “Beatles recording” includes a heightened, almost supernatural sense of urgency, immediacy, complexity and experimentalism, a dramatic force and alacrity, performed joyfully, uniquely arranged and containing melodies both absurdly catchy and built to sustain generations of scrutiny, we might then be able to move on to judging McCartney’s work after the Beatles, and how it compares to the work of his bandmates.

In the summer of 1973 my brother and I were in our bedroom in the suburbs of Chicago playing Battleship and listening to Top-40 radio on WLS. Just imagine what kind of songs might have been playing on Top-40 radio in the summer of 1973. I suggest you imagine them because I can’t remember a single one. “Benny and the Jets?” I’m out.

Anyway, in the midst of all this, a song came on. It was a weird, haunting lament with a keening vocal that sounded like nothing else on the radio. The opening was odd enough, but about two minutes into the song this weird thing happened. There was this sound, like a jet engine revving up, but still musical, a big rushing, orgasmic whoosh. It got more and more intense and my brother and I stopped playing Battleship and stared at the radio. What the hell was this sound coming out of it?

Just when it seemed that our little transistor radio could no longer contain the sound coming out of it, the big whooshing sound stopped and suddenly a different song was playing. This song was completely different from the song before the whooshing, sung by a different singer, with a different tempo to it. Then, just as soon as you got used to this new song, it suddenly got weird and colorful again, the orchestra coming back in with a big apocalyptic pronouncement. Then, just when you thought the song was going to freak out again, suddenly that first song was back again, now with a little faster tempo. I had no idea what the guy was singing about but I knew I wanted to know what would happen next.

After one more verse, that whooshing orchestra came back, whooshing and whooshing, surging and climaxing again, until the whole thing ended on a triumphal shout of trumpet. Then, silence, heart-stopping silence. Then, a massive, perfect, world-ending piano chord that went on for about six seconds before the radio announcer came in and started talking about whatever bullshit he had to talk about at that moment, while that monolithic piano chord slowly decayed in the background.

And my brother and I just sat there staring at the radio. I was twelve years old.

My brother and I listened to WLS for days afterward, waiting, hoping, wading through the Jacksons and the Osmonds and Jethro Tull and whoever else was popular at the time, waiting for them to play that weird, heart-stopping thing again. What the hell was it?

Then, finally, days or weeks later, it came on again. My brother heard it first and ran and got me and we sat there on his bed listening, transfixed, again, trying to take it all in, failing to do so.

This time, as the final piano chord decayed, the DJ came on and said, and I remember so clearly, “W…L…S. A Day in the Life. The Beatles!” then went on to describe some contest they were having that weekend.

“A Day in the Life.” The Beatles. At that moment I knew what I wanted for my birthday. I had no idea who the Beatles were, really, where they came from or what they stood for, but I knew that I had to own that recording.

And so, for my thirteenth birthday, my brother got me The Beatles 1967-1970. It was the first album I ever owned and I still have that copy. I unwrapped it, took it to the stereo, sought out “A Day in the Life,” and dropped the needle. And there it was again. Now I owned it. This weird, inexplicable slice of heart-stopping, life-giving psychedelia was now mine to keep, an experience that I could relive any time I pleased.

After listening to “A Day in the Life” a few more times, I decided to take a chance on hearing what else was on the record. I picked up the needle and started at the beginning. Here are the songs that came on, one right after the other: “Strawberry Fields Forever,” “Penny Lane,” “Sgt. Pepper’s Lonely Hearts Club Band,” “With a Little Help From My Friends,” “Lucy in the Sky With Diamonds,” “A Day in the Life” and “All You Need is Love.”

Now then. I was not a hermit, I was a thirteen-year-old boy growing up in the Midwest, driving in cars and shopping in stores. Of course I had heard all those songs a million times on the radio. But get this: I had no idea they were all recorded by the same people. I wasn’t even sure at that point what music was, who created it or why it existed, it was just something that came out of the radio, I had no idea how it got there.  And yet here were all these great songs, each one of those recordings is its own 3-minute world of sounds and sensations and references. And that was just one side of a two-record set! It took me weeks to get through that album, listening to sides over and over again, trying to soak it all up, all the melody, all the weirdness, all the joy, all the deep messages, (well, deep for a 13-year-old Midwestern boy) all the invention and wit and innovation. It didn’t seem possible — four men in their twenties made all this music?

Like everyone who encounters the Beatles, I soon chose one as my favorite. And my favorite was immediately Paul. I knew that it was John who sang most of “A Day in the Life,” but the John parts of “A Day in the Life” weren’t what sold me on the song, it was that the song changed in the middle into a different song, this one sung by Paul, and the resulting drama, and the bookending orchestral flourishes, were what made the song such and experience.

(And you could say “Well, but it’s still John’s song, he could have had all those ideas,” and yet when we look at the work of both men in the ensuing years, who is the one who, time after time, found ways to take little bits of nonsense and fluff and weld them together in startling and dramatic ways, resulting in pop suites where the whole was immeasurably more than the sum of their parts?)

And I loved “I Am the Walrus” and “Revolution” and “Come Together,” but none of them could hold a candle to “Hey Jude.” Here was a song that somehow struck at one’s heart before the first piano chord had finished playing. How did McCartney do that? He sings “Hey” a cappella, and as the answering piano chord comes in under him singing “Jude,” you’re already hooked, you’ll listen to that song for seven minutes, three and a half of it repeated coda, and wish it went on longer. How did he do that? His songs were always these volcanic outpourings of generosity. Even a trifle like “Hello Goodbye” builds with an amazing sense of drama, then resolves, then tosses in a joyous coda. The sound of the piano on “Lady Madonna,” the fat sound of the brass on that recording, the propulsive beat, the speaking-directly-to-the-vain, misunderstood-13-year-old-boy “Fool on the Hill,” the hilarious “Back in the USSR,” a Chuck Berry/Beach Boys parody that managed to blow both of them out of the water, The Beatles 1967-1970 was a watershed in my life, a lodestar, a portal to a world I could live in and never tire of.

Over the next five years I slowly acquired all the Beatles albums (my family didn’t have much money at the time) and listened to nothing else. In 1978 my mother died after a long illness and I bought my first Rolling Stones album — I was ready to see what other music there might be out there.

In due time I became an authentic disenfranchised angry young man. I repudiated Paul and his uncanny sense of craft and polish and became a die-hard John fan. Still later, I would come to admire McCartney’s sense of craft and become skeptical of John’s reliance on shock and experimentation for its own sake. Now I don’t know what the hell to think. John was bound to lose this contest, since he’s been incapable of creating music for the past twenty-seven years, but that’s a subject for another day.