Or is it a song that happens to be a short story? Either way, there’s no room for improvement.
Hearing John Lennon’s “No Reply” in the autumn of 1964, music publisher Dick James remarked to the songwriter that he—and the Beatles—were making progress. Asked what James meant, the publisher responded by saying that “No Reply” told a complete story. It had an arc, and ended with a resolution.
Often it goes no further than that. We enjoy a song we can hum, sing, whistle. I’d suggest that we also like a story we can hum, sing, whistle, which is how language works, as well as a story well told. Read the end of James Joyce’s “The Dead” or one of F. Scott Fitzgerald’s best short stories, and the language carries you, the same way a melody does. You’re not doing the work. You’re riding a wave.
Competition works that way. If you’re competing with someone who is awesome at what both of you are undertaking, this isn’t a relaxing situation. They might be your best buddy, but you will have nerves, and the only way to undue that bundle of nerves is to throw yourself into the competitive task at hand.
From the first, I knew this was not like any other Beatles song. “Eleanor Rigby” was unlike any song I had heard. Beatles songs centered on me, you, us, but not “Eleanor Rigby.” No personal, “reach out-and-connect”-style pronouns. All third person. That got little Colin. I thought, “What the hell, man?” I was scared. I understood metaphor was at work, but there was also a sort of elbow into your sides that suggested she might as well as had a bucket of faces that she slipped on and off. We all do. I remember looking extra hard at my parents in the front seat, as though their visages would slip into faces I didn’t recognize as we drove home in the fading autumn sun of a Sunday afternoon.
George Martin utilized a double string quartet, which has a staccato push and urgency to it, an ever-so-slight scabrous strain, that we don’t normally get with string quartets. It’s akin to a more tuneful variant on Bernard Hermann’sscore. I barely notice that backing, because I am locked in on the narrative, the same as when you read a book that you cannot proverbially put down. The car alarm is going off outside, but that car alarm is dead to you, so to speak.
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