Now and Then
By Steve Sharp
Everyone, it seems, has a point of view about the latest and last Beatles release.
The Guardian put it this way:
A moody, reflective piano ballad, it’s clearly never going to supplant Strawberry Fields Forever or A Day in the Life in the affections of Beatles fans, but it’s a better song than Free as a Bird or Real Love. And posthumously you want to be moved, the lyrics provide ample space in which do so. It’s doubtful whether Lennon had his fellow Beatles in mind when he wrote the song – although who knows? – but with a new middle eight sung in tandem by Lennon and McCartney, it very much becomes a song about the Beatles, expressing a yearning for their bond: “Now and then I miss you / Now and then I want you to be there for me.”
The technicalities of producing this record are mind-boggling, starting with Lord of the Rings film director Peter Jackson’s separation of John Lennon’s vocals from the piano accompaniment. The musical equivalent of splitting the atom.
Given Paul and Ringo’s voices have aged considerably, backing vocals were peeled word for word off the original versions of Here There and Everywhere, Eleanor Rigby, and Because.
Their voices of today were added, plus Paul on guitar, Ringo on drums, and an orchestra layered on top.
George Harrison’s contribution on guitar was taken from an abandoned session with the song in 1995.
The Guardian again:
In comments given by McCartney a decade ago, he claimed the late George Harrison – always the most unbiddable ex-Beatle – had singlehandedly drawn the sessions to a close by describing Now and Then as “f***ing rubbish”. (“But it’s John!” McCartney had apparently protested, to no avail: “This is f***ing rubbish,” Harrison countered.) Indeed, Harrison seemed unsure about the whole idea of reworking Lennon’s material. “I hope someone does this to all my crap demos after I’m dead – turn them into hit songs,” he subsequently remarked.
The Mail’s summary said Now and Then “strikes a universal chord” and “the emotions it taps into are real... but the chorus is an anticlimactic plod.”
It seems though that the overwhelming view of fans young and old to the recording is positive, but the opinions of Peter Jackson’s video draw more barbed commentary.
The Telegraph put it this way…
Whilst this is a bit harsh, I do find the film spooky and a bit corny, but each to his or her own.
Paul McCartney declared it "a Beatles song.”
Ringo Starr said: “It blows me away. The beat’s still going on, you know”.
But perhaps the last word should go to John’s son, Sean Lennon.
It’s the last song my dad, Paul, George, and Ringo got to make together. It’s like a time capsule, and all feels very meant to be.
Steve