“We Can Work It Out”:The songwriting styles of Paul McCartney and John Lennon
...he content of Paul’s more elaborately optimistic songs. Yet together, they were able to merge each other’s musical offerings into a sound that served to create some of the most profound compositions of our time. John Lennon’s “Strawberry Fields Forever” (SFF) was not only a milestone breakthrough for the intuitive composer, but also one of the most risky artistic progressions in the entire history of The Beatles music. His method of studio exploitation at the time was an undertaking not primarily associated with rock music. SFF was a song typical of nothing except for John’s eagerness to abandon any formalities in the creation of a song. He saw it as a prime opportunity to somehow out-do Paul and subsequently guide the Beatles into a new musical direction. In the early conception of the song in October of 1966, it was clear John was starting to become very ambitious. Notably, SFF presented an extension of insight into new groundbreaking studio techniques including: limiting, playing tapes backwards, tape speed variations, up close miking, and the addition of innovative instruments such as the Mellotron, which is similar to today’s DJ sampler. Although John’s inclusion of experimental dynamic had only been hinted at in previous works, he was now venturing in completely new territory. Behind the strength of John’s obsessive work ethic, there became a rise in the complexity and intensity of his lyrical content in the song. The essence of SFF was the story of a place where John grew up as a child. It deals with the subject of a Salvation Army home for kids he used to live next door to in Liverpool. He wanted people to relate to the spirit of youth, golden summers and fields of strawberry. Something also unprecedented was the lyrical leap into surrealism. “Always, no sometimes, think it’s me, but you know I know when it’s a dream. I think I know I mean a ’yes’ but it’s all wrong, that is I think I disagree.” The accompaniment of such diverse instrumentation with an atypical structuring of words is something very Lennonesque. This also mainly what characterizes the fact that much of John’s songs were released as B-sides opposite most of Paul’s traditionally conservative tunes. There was certainly no way of performing SFF live so it’s commercial success was strictly reliant upon whether or not it was accepted on public turntables. Indifferent to the potential hearsay of the song, John knew he had accomplished his finest work yet. Interestingly, in the style and form of Paul McCartney, experimentation of diverse genres of music usually in my opinion meant that you’d be hearing a kind of takeoff of that genre that you either loved or hated. “Penny Lane” (PL) was a song I loved. It demonstrated what was so special about Paul’s unique talent for blurring a crossover of various styles into something fresh and synergistic. He was certainly the first Beatle that really made big gestures in this department. In terms of PL, he was able to delve into classical influence yet still remain in the boundaries of the traditional “Beatles sound”. The rhythm of the song is emphasized in a sound almost march-like and impulsively drills you into a rigid ‘1-2’, ‘1-2’ foot tap. In full McCartney fashion, the melody flows purely in a way that is optimistic and whimsical. Subtly being pulled into the song you begin to become captivated by the 3rd person, observational account of someone being led through a particular setting in time. Lyrical phrasing such as the “fireman with his hourglass” and “pretty nurses selling poppies from a tray” are all characteristic of Paul’s, along with John’s, newfound interest in surreal imagery. Although PL maybe more realistic in language and description, the song itself and SFF most definitely share an impressionistic feel. Thinking musically though, PL is subject to Paul’s broader blend of stylized sounds accompanied by evocative instruments like the fanciful trumpet used throughout the song. He left in gr...