>Paul would … sort of subconsciously try and destroy a great song … usually we'd spend hours doing little detailed cleaning-ups of Paul's songs; when it came to mine … somehow this atmosphere of looseness and casualness and experimentation would creep in. Subconscious sabotage.
I'd like to be under the sea In an octopus' garden in the shade He'd let us in, knows where we've been In his octopus' garden in the shade I'd ask my friends to come and see An octopus' garden with me I'd like to be under the sea In an octopus' garden in the shade We would be warm below the storm In our little hideaway beneath the waves Resting our head on the sea bed In an octopus' garden near a cave We would sing and dance around Because we know we can't be found I'd like to be under the sea In an octopus' garden in the shade We would shout and swim about The coral that lies beneath the waves (Lies beneath the ocean waves) Oh what joy for every girl and boy Knowing they're happy and they're safe (Happy and they're safe) We would be so happy you and me No one there to tell us what to do I'd like to be under the sea In an octopus' garden with you
Lennon was a child-abandoning junkie who always blamed other people for his problems. He made two good solo albums and then moved into boring soft rock.
Julian Myers
Yea I'm thinking he's based
Alexander Nelson
Which two?
Grayson Brooks
Paul must have had extremely low test. John was the cutest The third guy looks Albanian
Michael Moore
Probably true in some circumstances, but the opposite was also true. Listen to John's bass playing on the Long and Winding Road: undoubtedly sabotage. They were both passive aggressively undermining each other probably from 66-67 onward
Anthony Butler
>the third guy “It’s *cough George *cough Harrison”
Those are the only two regular albums I have. There's some fun stuff on Acoustic Masterpieces.
Sebastian Collins
Lennon said a lot of shit that wasn’t true cause he was angry at Paul (read his comments on How Do You Sleep). I really hope this is an example, cause it’s fucking idiotic if this is something he really thought. The reason Paul’s songs had an atmosphere of tight perfectionism is because that’s how Paul likes his songs. Throughout his career, he’s done his songs with a very specific idea in mind. The reason Johns songs had an atmosphere of looseness and experimentation was because Paul had no fucking idea how to read Johns mind. Paul, George, and Ringo didn’t know what John wanted. He took charge during his songs, and they have this atmosphere of “looseness and experimentation,” because that’s how John treated all his songs his whole career. It would have been NOTHING for John to just say “well guys, I actually have a specific idea of what this song should sound like. We’re gonna keep doing it until we get it how I want it.” He never did. Tomorrow Never Knows, Strawberry Fields Forever, and A Day In The Life all had John give vague directions the others had to innovate and experiment on. It’s fucking stupid to blame Paul for the way YOU direct YOUR work
Jose Bell
I have an extremely important announcement to make.
*clears throat*
John Lennon beat his wife. That is all
*crab walks away*
Hunter Jones
>John's bass playing on the Long and Winding Road atonal granny shit >>>
Dylan Morales
>atonal Look up what that means
Jaxson Gonzalez
No
Lucas Young
Did you mean that song was "atonal granny shit," or John's bass playing? If you mean the song, that wasn't really an example of the granny shit. the "granny shit" (john's words) was Honey Pie, When I'm Sixty Four, Silver hammer, etc. and while it may have been influenced by music hall and turn of the century schlock, it still showcased Paul's talent as a songwriter and pop musician, and they were still good songs, so I don't think it's really a fair criticism
Robert Phillips
clearly I meant the bass, fuckwit. jfc.
Andrew Anderson
I like the song. one of the best off Let It Be. its overhated.
Owen Young
No you didn't, because John often referred to some of Paul's songs as "granny shit," so it looked like you were referring to that song in the same way
Brody Ortiz
you can stop yelling, he can't hear you
William Anderson
I agree, that album in general doesn't get enough credit
Ethan Perez
He was probably somewhat jealous that Paul could manifest his ideas so clearly, from his being a consummate musician and perfectionist, or merely a narcissist that couldn’t stand how much attention Paul’s songs were getting in the studio compared to his own. That being said I prefer John’s writing.
Jayden Turner
Cringe and kys-pilled
Leo Wood
I’m sorry for the mixup
Jordan Hill
Silver Hammer is a piece of shit
Ryder Sullivan
Mistakes happen. See you in the office 9:00 am sharp on Monday.
Camden Murphy
Yeah it is, I love Honey Pie and When I'm Sixty four though
Hunter Adams
What's wrong sweetie
Ayden Lee
Honey Pie When I'm 64 Your Mother Should Know Penny Lane Let It Be all granny shit. Dubs and Paul will be fine tomorrow
Noah Bennett
I’m pretty sure this quote is from the Lennon Remembers interview, which is basically at least 90% bullshit and shouldn’t be taken as a truthful document.
Daniel Thomas
Penny Lane isn't granny shit, the chord progression and arrangement is too sophisticated; it's something greater. And granny shit isn't bad necessarily
Samuel Thomas
all better songs than you or your favourite artist could ever hope to write
Aiden Green
>my fav artist is george harrison Yea you're wrong
Wyatt Richardson
I have an extremely important announcement to make.
It's a bit simplistic to boil down their conflict to jealousy - their friendship had broken down, they were both in different social circles - Paul was rubbing elbows with Fleet Street and the big company guys, John dove into the hippy shit and Yoko's art fraud crowd. And, there were business conflicts, too - I've always suspected a lot of their conflict was over Northern Songs, which was a huge fuck up on both of their parts. They were passively aggressively sniping at each other until Paul pulled the trigger and sued - John wanted out anyway, but used it to openly hate Paul, and fight with him. If anything, the conflicts in the studio were symptoms of way bigger issues, like nobody liking Yoko, and John doing fucked up shit like having a bed put in the studio at Abbey Road so Yoko could squat like a poisonous toad in it, while they were working, and let her voice her idiotic opinions into band issues. You know that was all a "fuck you" from John, because he was an asshole like that. Once Epstein was gone, nobody could control him - and what you got was the band imploding, because they just didn't like each other anymore.
Parker Wilson
Write something that sells better, then maybe your opinion will matter.
Matthew Taylor
>every Beatle disliked Paul right after the break up >somehow John was the asshole of the band Really makes you think
Ryan Diaz
Gay opinion. I suppose I better direct a movie that sells better than Paul Blart before I dare criticize it, gamma male.
Isaiah Martin
...
Ian Harris
Ringo and George were pissed at John and Paul equally, because they felt they were being treated like hired musicians. John hated Paul for different reasons. Paul got as much shit as he deserved, for suing and breaking the band up, even though it was inevitable at that point. He redeemed himself somewhat by going out and working harder, with Wings, while John retreated to his apartment in NYC and became a junky housedad. And pushed Yoko onto us with her shrieking and farty noises in a bag, onstage. The saddest part of the whole story is the stuff John never did, because of Yoko. I don't hate any of the Beatles, but I have a deep, everlasting loathing for that toad of a woman.
Alexander Gonzalez
>Ringo and George were pissed at John and Paul equally No. George hated Paul at the end of the band, but was fine with John. Hell, George even played on 'How Do You Sleep?'
Levi Bennett
>caring about that shit Lmaoing @ your "life"
Zachary Brown
That was after the breakup. George was pissed at both of them in the Let It Be era.