![]() Great breakdown! I never thought of it that way, I think you’re completely right, except that the idea of his “outer mobility” melodies (like “Jealous Guy” or “Across The Universe” or even the bridge of this song) can be as expressive as anything I’ve heard. Unfortunately, with the way the break-up went, and esp bc that competition only grew all the more after the band broke-up. So there was def an understanding and a love throughout – they just were both a little too immature and insecure with how the other would react to be that honest. love the story where they were in the middle of a big fight, and John just stopped, lowered his granny glasses and said “hey, it’s only me”. Still, you can see this great fondness they had for each other was always there by moments like the one mentioned above, or the way John always seemed to make Paul crack up(“Las Paranoias!”). Maybe it would have happened, but after Yoko came into the picture, Paul in particular felt as if he had been replaced in John’s heart by someone else. As Paul himself said, they were both in their 20’s with big egos, and neither was sensitive enough or mature enough to just say “hey I love you man” – “you know what, I love you too”, which is all it would have taken. Then things became very competitive, maybe less so in a friendly-way than before. I think it’s obvious they both kind of intimidated each other – Paul never lost that desire, there from the moment he played “Twenty Flight Rock” to John in the hopes he would let him in the band, to this day(impossible though t may be), was to simply get John’s unequivocal approval. And Paul imagines John as the king of the universe – not hard to read the psychology there. ![]() ![]() Meanwhile, the famous acid-trip they shared(was it the only time they ever did), where Paul says he did it because he “wanted to be with his friend” after taking him home from the studio. So suddenly, esp after Epstein died, I’m sure John felt threatened, then overwhelmed as Paul started to take over. Then Paul really started developing, both in craft, starting with of course “Yesterday” and all the praise that was heaped on him, and in ego. This dynamic stayed unquestioned for many years, with obvs things like it being “Long John and The Silver Beetles” to John taking the lead singing the intended first single, “How Do You Do It”, followed by how he pretty much dominated the songwriting through Help!, John was the unquestioned leader of the band. Remember, from the beginning, it was John who let Paul join “his band”. The mostly instrumental take two was later released on Anthology 3, along with some dialogue between Lennon and Paul McCartney, who was observing the recording from the studio control room. Lennon recorded three takes of the song at EMI Studios on 13 October 1968, double tracking his vocals and acoustic guitar to the last of these. ‘Julia’ was the last song to be started for the White Album. Although very similar to the studio version, it appears to contain vocal contributions from other members of the group, and ends in ad-libbed whistling. The Beatles had recorded a demo of ‘Julia’ at George Harrison’s Esher bungalow in May 1968. Lennon’s guitar is overlaid with the sounds of children playing, the orchestra from ‘A Day In The Life’ and effects from ‘Revolution 9’. On the Love album, ‘Julia’ is used as an instrumental transitional track, between ‘Eleanor Rigby’ and ‘I Am The Walrus’. The song implies that he has, in Yoko Ono, finally found a love to equal his mother’s, and was thereafter free to lay his soul bare to his new muse. Other imagery, including ‘seashell eyes’, was also taken from Gibran.Īs an exorcism of years of hurt and regret at losing her, ‘Julia’ marked the point at which Lennon laid bare his soul after years of writing allusions to mother/lover figures. ![]() Lennon also adapted the lines “When I cannot sing my heart, I can only speak my mind” from Gibran’s “When life does not find a singer to sing her heart she produces a philosopher to speak her mind”. The opening words of ‘Julia’ were taken from Gibran’s lines, “Half of what I say is meaningless but I say it so that the other half may reach you.” Sections of the song were adapted from the poem ‘Sand And Foam’ by the then-fashionable Lebanese poet Kahlil Gibran. John Lennon All We Are Saying, David Sheff
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