I remember that one time [Romanian dictator Nicolae Ceaușescu] visited an apple orchard. The president of the co-operative declared that he had the biggest production of apples in the orchard’s history and when Ceausescu decided to control it, he asked his employees to tie apples in the trees, so the first 3 rows of trees would have lots of apples. And this was not a one-of-a-kind situation. The farms did the same as cows, pigs, sheeps were moved from a place to another depending on Ceausescu’s controls.
Like I said, I think some of the best Beatles songs bear the strong imprimatur of one of the primary songwriters—but then benefits and really blooms from a bridge or turn featuring a lively and contrasting “But, on the other hand…” rebuttal by one of the other Beatles.
To me, that balance and tension—and lack of ultimate resolution or easy reading—was a big part of what made the MacLen songs so grand and so timeless.
"I took it to John to finish it off, and we wrote the middle together. Which is nice: ‘Life is very short. There’s no time for fussing and fighting, my friend.’ Then it was George Harrison’s idea to put the middle into waltz time, like a German waltz. That came on the session, it was one of the cases of the arrangement being done on the session."