ADRIAN THRILLS: A reflective, romantic ballad, it opens in melancholy fashion, dominated by minor chords, before the mood is lifted by an upbeat chorus.
A sequence of five plangent piano chords, the gentle strum of an acoustic guitar, the crystal-clear voice of John Lennon and the most eagerly anticipated record of the year is upon us. Now And Then, made with the help of artificial intelligence , is being billed as ‘the last Beatles song’ – the final dispatch from John, Paul, George and Ringo, the four mop-haired lads from Liverpool who shook the world.
The bar for a ‘new’ Beatles number is impossibly high. If we’re going to judge Now And Then by the standards of Hey Jude, Strawberry Fields Forever or Harrison’s Something – a ballad from 1969’s Abbey Road that Frank Sinatra called the greatest love song in 50 years – it’s going to be found wanting. But it’s a track that’s going to steadily worm its way into the nation’s affections over the coming weeks.
But Now And Then feels like an authentic Beatles track. Lennon, who was murdered in 1980, and Harrison, who died in 2001, are fundamental to what is an emotional, human record, albeit one where the sound quality has been enhanced by state-of-the-art technology. John's widow Yoko Ono handed over a series of demos that John had been working on prior to his death, some of which the remaining Beatles released at the time
The other two tracks, Free As A Bird and Real Love, were worked on and released as singles in the 1990s, but Now And Then was deemed unusable. The audio quality was dismal, dogged by background hiss and the buzz of the electrical circuits in Lennon’s apartment. Paul, George and Ringo added new parts with producer Jeff Lynne, but the technological limitations of the 1990s meant that John’s vocals couldn’t be ‘isolated’ and then produced to a sufficiently high standard.
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