A lot of people still remember what they were doing on the night of December 8, 1980. A night that marked modern history, when John Lennon was shot dead outside of the infamous Dakota building. The life and career of the greatest rock ‘n’ roll band’s founder, and spokesman of the sixties, had been shut down forever. And with him, the dreams of a whole generation. 

     But the name and the legend grew, also. And the dream John Lennon and the Beatles set out to conquer, acquired mythical proportions that were closer to the truth than the myth. Their achievements were real and have stayed with us through their music that has withstood the test of time; only becoming stronger. 

     I was in fourth grade when my friend Ramón came to get me for school. His face had a somber expression when he told me, “John Lennon was killed.” I had been introduced to John’s music not too long before, by the radio’s endless playing of “(Just Like) Starting Over”. And two or three days after his death, I got to hear “Woman”. 

     From what I heard on the following days, John Lennon was a big deal. And his death produced worldwide shock. But, was the man and the artist as good as his myth had him to be? Or, was he just an overrated has-been, living off his Beatles past? Well, in order to answer those questions, I guess we need to know first who he was as a Beatle,.  

     As a band, the Beatles’ music had all the right ingredients, in the right places: rhythm, harmony, and melody. Elements that they combined —all the four contributing to that— with such a natural grace. That gave their sound a feeling of warm and ingenious simplicity, and it had John and Paul as the masterminds. And, with their penchant for experimentation, the Beatles took their music to a higher plane of innovation and inventiveness. 

     One thing worth mentioning, is the fact that the Beatles were passionate music listeners before they were music makers. And they were really proud of that. Just the same way that Jorge Luis Borges took pride in the fact that he had read so many books; he considered himself a reader, first and foremost. The Beatles grew up in the world of short wave radio, which provided them with a universe of choices that came from all different places across the Atlantic; choices that started brewing in their psyches as musical influences. And one day it all had to come out. All the influences they were exposed to prompted them to make something of their own and take it to it’s last consequences. 

     According to Paul, it was him who introduced John to a more sophisticated and complex kind of music. But it was John who made a style out of it. While Paul was busy putting out his catchy tunes, John was exploring a more esoteric and experimental aspect of recording and composing. At least that’s the impression we get on every record after Rubber Soul. And it was John also who contributed with most of the work that was paramount to the Beatles’ avant-garde trademark, in pieces like “Tomorrow Never Knows,” “A Day in the life,” “I’m the Walrus,” and “Revolution #9”, to name a few. 

     With his special touch, John always took things a step further to what most of his contemporaries were doing. It’s really pathetic to hear Lou Reed on that interview about the Beatles. They asked him if he thought there was some merit to the Beatles, and he scoffed, adding: “No, I never liked the Beatles. I thought they were garbage. I don’t think Lennon did anything, ’til he went solo. When he went solo… But then, too, he was trying to play catch up.”  

     John Lennon and the Beatles were rock/pop. And within the confines of rock/pop they were great. A distinctive feature of rock and pop, is a clever simplicity, infused with a poetic sensibility that reaches out to the common person. Contrary to what they were trying to project —with their outrageousness and all—, Velvet Underground were more artsy fartsy; just plain, snotty “underground”. And, don’t get me wrong, I dig VU, big time. But their outlook on life and the bleak spirit they promote with their music can be too much to bear, sometimes. But Lou Reed liked “Mother”; and he, famously, covered “Jealous Guy”.   

     After the Beatles split, John appeared to be the most promising of the four. He had already released three —very well-made— songs: the anthem “Give Peace a Chance”, “Cold Turkey” and “Instant Karma”. With these tunes John showed —besides his prodigious versatility— that he could do very well without Paul’s help. Three songs so different from each other that displayed an energetic candor and had the special touch that made John Lennon who he was. And, gracefully, all three songs made their the way in the charts. At the time John was more active than the other three, not only with his own projects, but also jamming around with all kinds of players in the rock scene. 

     Unfortunately, his first solo album, John Lennon/Plastic Ono Band (a masterpiece of minimalist rock and one of his best works as a soloist), wasn’t the commercial success he expected. Mainly due to its autobiographical and socially-conscious contents, which was the kind of material masses aren’t rushing to consume. And there it only resides part of the answer; the other reason is its rawness (which is, ironically, its best quality) and in-your-face approach. John’s approach is a projection of the Primal Therapy that he took under Arthur Janov’s personal guidance. 

     With Imagine John had a better idea of what he wanted, as far as making good music and selling records in the process. Both, the personal and ideological contents of the record, were well-balanced and in tune with a more melodic approach to the music; John’s tender side was also more pronounced. And another anthem came out of it; the song that gave the album its title.

     But the number-ones weren’t here yet. At this point it was obvious that John Lennon’s political and ideological stances were affecting record sales and also the concept that a lot of people had of him. Especially the American people, who didn’t see it right for a foreigner to attack their institutions, even in the person of a greatly corrupt president like Tricky Dick. When we listen to tunes like “Jealous Guy”, “How,” and “Imagine” we can’t help but wonder why three songs that are so moving, well crafted, and appealing to common taste didn’t reach number one. I mean, even Ringo had a number-one hit before John.

     The rest is history. John kept making music, mainly going through the motions, because he seemed to have lost focus as he went along trying to prove himself he had what it took. And another incidental factor was added to the equation: his separation from Yoko. Which led to the emotional and artistic turmoil that was behind the erratic production —in collaboration with none other than Phil Spector— of some disjointed music that would later became Rock ‘n’ Roll and Menlove Ave. albums.

     Another thing that contributed to a bad rating of John’s solo work, was that he started overproducing his music, stripping it of its natural candor. Two of his records of that period —the infamous “lost weekend”—, Walls and Bridges and Mind Games had John’s essence hidden behind the extra polish that he added to such tracks as “One Day at a Time”, “Bless You”, and “Scared”. Tunes that would have been great pieces of music, otherwise. If you listen to the John Lennon Anthology, which contains some of the in-the-raw tunes recorded during band rehearsals and first takes, you’ll know what I’m talking about.  

     Paradoxically, it was “Whatever Gets You Thru the Night”, out of Walls and Bridges, that would give him his first number-one hit. Even after this, John Lennon affected the 70’s only partially, because in 1975 he went into seclusion. A five year hiatus, to raise his newborn son, Sean, and break away from the frenzy of a rock ‘n’ roll lifestyle. 

     In 1980, Mr. Lennon made his big comeback with two albums: Double Fantasy, with which he kissed the 70’s goodbye; and Milk and Honey, the one he greeted the 80’s —the most indicated for that— with.  While the former still bears the candidness of the 70’s, in gems like “Watching the Wheels” and “Woman” —with their beautiful instrumental embellishments—, the latter (which came out posthumously, three years after his death) has a more simple approach, characterized by the fast tempos of choppy guitars in songs like “Nobody Told Me” and “I’m Stepping Out”; a sound that was representative of those years. 

     Most critics dismissed Double Fantasy as dull and lacking of substance. At least, regarding John’s songs, because Yoko’s were better received. English music journalist, Charles Shaar Murray, wrote on New Musical Express (NME) magazine: “The album celebrates their mutual devotion to each other and their son Sean to the almost complete exclusion of all other concerns. Everything’s peachy for the Lennons and nothing else matters, so everything’s peachy QED. How wonderful, man. One is thrilled to hear of so much happiness.” And Murray wishes “that Lennon had kept his big happy trap shut until he has something to say that was even vaguely relevant to those of us not married to Yoko Ono.”

     There has been the great debate over the years, as to who is a better composer and songsmith: John or Paul. A lot of people sympathizes with Paul (even Donald Trump). There’s a man that has a channel on Youtube, where he reviews albums and specializes on the Beatles. This is what he said about Paul’s work on Abbey Road: “On Abbey Road, it was slightly reluctant contributions from John. Although his contributions are brilliant on Abbey Road, he was a little bit overshadowed by Paul’s stuff.” To which I would say that it was mainly John’s and George’s contributions to Abbey Road that put the album up there with the greats. 

     “Come Together”, “I Want You”, “Sun King”, and “Because” are very unique pieces of music. And outside of the medley, Paul’s contributions don’t add nothing new to the Beatles repertoire. Is “Oh! Darling” a great song? Or “Maxwell’s Silver Hammer”? Of course, not. I mean, they are good songs, like most Beatles songs. But they don’t have anything new to offer. Whereas John is bringing something fresh and simple —with a strong touch of unusualness and an alternative feeling— with his contributions. That sets Abbey Road apart and gives it a special place in music.   

     Paul McCartney was the one with the cryptic songs, the hidden meanings. The musically sophisticated one; the one with a penchant for Tin Pan Alley and British music hall tunes. But John was the great composer in the raw; the one that delivered the songs that took the Beatles music to a higher plane of innovation, which gave them that exceptional place in rock music. Just listen to what Paul just recently did to “Now and Then”. He crippled it; he took the soul out of it. 

     We have another good example with “Penny Lane” and “Strawberry Fields Forever” that were released together as a single. Both of them are great songs. “Penny Lane”, a nostalgia trip that produces natural feelings of fondness, with its sweet, tender melody. But it is “Strawberry Fields” the one with a real sense of novelty and strangeness to it. Even on the solo work, I think no Paul’s record is as good (in depth and musical inventiveness) as John Lennon/Plastic Ono Band and Imagine. As good as Band on the Run is (which is probably Paul’s finest), is not in John’s league.

     John and George were the soulful ones, whose songs are heartfelt beyond their beauty or catchiness. Yes, Paul was the craftsman, the songsmith par excellence. Paul wrote some of the most beautiful modern standards (because that’s what they are now), with such an exquisite craft. But John was the one that put the Beatles on the rock music’s map, as such. His solo catalog is a lot more impressive, from the beginning (“Give Peace a Chance”) to the end (“Nobody Told Me”). 

     Toward the end of 1980, John Lennon was ready to start over as an artist. And he did so in a big way, as his last works prove, even though they weren’t his best. Sadly, the chances of giving any more input to his times were cut short by death. But John Lennon’s musical and human legacy lives on. Just consider the different songs that I mention on this article; their varied styles and their place in modern music history. 

     So, after all, I think is safe to say that the man and the artist were as big as the name. And one last thing that I want to mention, is the fact that in these days you’re going to hear one of the most beautiful modern Christmas songs; by none other than John Lennon.

By Rodolfo Elías.