George harrison

Don Bradman, the greatest cricketer of all time, was once asked if he reckoned he could have maintained his batting average of 99.94 against the fearsome West Indian bowling attack of the time. Oh no, he said. Not a chance. He’d probably be hitting in the 50s, like the very best batsmen of the time. But then again, he added, he was in his late 60s so it was unrealistic to expect better. Seeing the Stones is the only thing that compares to the human-jukebox effect of McCartney live That’s the position Paul McCartney occupies in the world of pop. No, at 82 years old he is not going to make a new Revolver or Abbey Road. And no, he can’t do the Little Richard scream like he used to 60 years ago. But he is still, as they say in sport, the Goat. The undisputed champion of the world.

‘At the record company meeting/ On their hands – at last! – a dead star!’ Back when Morrissey was more concerned with writing a decent lyric than sour internet tirades, ‘Paint a Vulgar Picture’ by the Smiths summed it all up rather neatly: a living pop star is all well and good, but a dead one is far less troublesome – and considerably more profitable. Some artists only really get going once they’re dead. Commercially speaking, Eva Cassidy’s entire career has been posthumous; the Van Gogh of the lustreless Radio 2 ballad. The motive feels pure: a family’s wish to keep their sibling alive through her art Death has been a boon to the pop industry since the year dot.

In the Sixties, the rivalry between the Beatles and the Rolling Stones  — even if it was more of a hype battle dreamt up by their respective publicity departments — meant that whenever one band released an album or single, the other was never too far behind. Sometimes, they even explicitly referenced their competitor’s work; the Stones’s 1967 album Their Satanic Majesties Request was “inspired” by the Beatles’s LP Sgt. Pepper’s Lonely Hearts Club Band, released earlier that year. Yet after the Beatles split up in 1970, the rivalry seemed to be at an end, and the deaths of John Lennon in 1980 and George Harrison in 2001 apparently put paid to any possibility of the Liverpudlian band continuing in any form. Oh, how wrong we were.

All I got to do is to, to love youAll I got to be is, be happyAll it’s got to take is some warmth to make it blow away That’s the chorus of George Harrison’s bubbly 1979 single “Blow Away,” an update of sorts to his Beatles hit “Here Comes the Sun.” At the close of the 1970s, the respite from the “long, cold, lonely winter” had become less assured. There is a pleading tone in Harrison’s voice as he sings “be happy” that infuses “Blow Away” with pathos. That, plus his cavernous stare in the otherwise goofy video, indicates that summiting Mount Everest might have been easier than the chorus’s stated goal.

My late friend Alexander Nekrassov loathed the Beatles, which I used to think was a wantonly contrary position akin to hating kittens or blue skies or Christmas carols. What could there possibly be not to like, love and admire about the band that gave us ‘Eleanor Rigby’, ‘A Day In the Life’ and ‘Strawberry Fields Forever’? Since then I’ve encountered so many Beatles sceptics that it has given me pause for thought.

If you’re a diehard Beatles fan, it’s been a pricy year. And it’s going to get much worse. Within the last 12 months, those of us unable to resist new or repackaged product from John, Paul, George and Ringo have wrestled with sense and reason over whether to splash out on one of the numerous limited-edition, pre-release colored vinyl copies of McCartney III, the mega-box set reissue of Lennon’s Plastic Ono Band from 1970 or even, dear old Ringo’s recent EP, ‘Zoom In’. And there’s more to come; expect a cascade of marketing hoopla around August’s Get Back, the Lord Of The Rings director Peter Jackson’s reworking of the band’s 1969 misery-memoir movie Let It Be, as well as a lavish tome of McCartney lyrics and memoirs in November.

The White Album is one the greatest works of 20th century art, executed by the greatest exponents of the 20th century’s greatest popular and unpopular art: pop music. Which is why connoisseurs of this work of high magik know that there is nothing new to say about The Beatles, which, as everyone also knows, was The White Album’s official title. The minutiae of The Fabs’ mind-boggling State Of The Universe address from 1968 have been dissected and analyzed so completely that armies of middle-aged divorced male White Album necrophiliacs now roam the pub and bars of the West, clashing over the rallying cry, ‘But should it have been a single album?