Tyler Cowen: evaluation

Transcript context

…Yes, you’re right. Any time there’s some weird, really avant-garde thing to do, we should be thinking about Paul. Not always the case, of course, because there are tracks like “Tomorrow Never Knows,” where John really goes full blast, but even then, it’s — That’s a Paul song in my view, in a funny way. John did the composition and the vocal, but I think Paul did the arranging, the orchestration, worked with George Martin to do the production. Yes. It’s an interesting example of where the composition starts and where the production starts because you might say it’s a John composition and vision and Paul executes it incredibly. I think what John wanted from the song was to create a psychedelic experience so that the song was not just about the void. It wasn’t just about a psychedelic experience. It was a psychedelic experience. He wanted to it embody it, and I think he successfully communicated that vision to Paul and the others. Of course, then Paul is incredibly well placed to deliver on that because he’s been thinking and he’s been immersed in that world of avant-garde noise production, so he knows exactly where to take it. Yes, I see what you mean. It’s almost a Paul song, but I do think it’s John’s vision. It wouldn’t have happened without John.…

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