Tuesday, October 15, 2013

Good Times Coming / Feel the Sun

I loved this song from the second I heard it; from the 1986 McCartney "Press to Play" album, which I bought as an actual album when it first came out. (Where is that album, physically, now? I think in a crate at my mom's house.) Every single other song on the album is not so good (!), which I just rediscovered on iTunes; but this one has such a good, happy, hopeful vibe that I've remembered for the past 27 years... Glad to officially add to my repertoire of musical "likes" upon downloading it to my iPod just now.

I especially like the second part, "Feel the Sun," which is segued into at 3:27.

"All the beauty, all the pain
Will it ever be the same again..."

p.s. Though this came out in '86, six years after John Lennon's death, hearing this beautiful song (and, also recently, the whole 1978 "London Town" album) pisses me off when I think of John's ongoing derogatory comments about Paul in the late '70s and in 1980, as in: Paul was busy pumping out kids and pumping out music, that kind of thing. Insinuating that he himself was somehow "deeper" because he'd withdrawn. When in fact, Lennon was having a hard time conceiving either a child or much music, and he was having problems with his marriage. He was dried up. He could have admitted that and didn't have to be a bitch toward the much more naturally fecund Paul about it.

I say that as someone who worshipped Lennon as a teenager -- I discovered the Beatles at 15 in 1980, in the summer before Lennon was shot. After hearing "Rubber Soul" and "Revolver" and "Sgt. Pepper" and the White Album, Lennon was definitely my favorite Beatle because of his musical soulfulness and honesty; and I typed up the words to his solo songs like "Working Class Hero" and "God" and hung them on my high school walls. In my teenaged angst, Paul was dismissively "pleasant"; John was somehow "TRUE"...

Solo, the true measure of each man came out. John's "Plastic Ono Band" in 1970 and "Imagine" in 1971 were intense, as was his 1974 "Walls and Bridges." But they were all about his own neuroses and psychological problems. Initially brave psychologically to sing about said neuroses, but by the time 1980's "Double Fantasy" came out after a 5-year absence, Lennon was clearly tapped out creatively. Apparently, all his intellectual/creative energy had gone into stabilizing his marriage. A huge effort that he blatantly tried to sell to the rock press as being some sort of "artistic dream union." When in fact, I think he was just trying to re-create, re-live his art-college buddy Stu Sutcliffe's leaving the Beatles to be with his artist-girlfriend Astrid in Germany in the early 1960s while the band was in Hamburg. What Sutcliffe did to Lennon (unintentionally), Lennon tried (intentionally) to do to Paul.

Only... the artistic bond between John/Yoko wasn't as organic as the bond between Stu/Astrid. John and Yoko's work never meshed, though he continued to, annoyingly, try to pretend that it did until the very end.

And Paul wasn't nearly as weak psychologically upon being left as Lennon had been in the early '60s. McCartney was, on the surface, more fluid and willing to bend. But he wasn't any less talented or egotistical. And he was much more musically, creatively driven, with a deep, true unpretentiously creative core that I don't think Lennon, too reliant on the image rather than reality of Yoko as his muse, had.

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