I'll Follow The Sun

Robert Bunter: Although Paul wrote this sad folk-y song back in the fifties, it didn't see the light of day until Beatles For Sale in late '64. I would say it was heavily influenced by Dylan's "Don't Think Twice (It's Alright)," but it preceded it. Young Paul is reluctantly preparing to say goodbye to a young lady who just didn't appreciate him enough. She's still asleep, lightly snoring in her soiled briefs and looking shoddy in the pale grey morning light oozing into the window of the grim English "flat." Young, strong Paul is seated at the foot of the bed in his clean undershorts, gently smoking a French Gauloises as he ponders his future maneuvers. Sorry, bird. It's not in my nature to commit myself to you. Tomorrow may rain, so I'm going to just gather up my trousers and try to sneak out the door before you wake up and notice I've gone. I'm off to meet my mates, three fellows who you might know them as the Beatles, or the greatest men who ever lived, as I call them. Please lose my phone number. By the way, I'm sorry that I got you pregnant, Dot Rhone.

Richard Furnstein: Absolutely beautiful Chad and Jeremy-esque song. Paul tells us that (and more) under a cool two minutes. In that scant amount of time, we learn about a dying love, tough relationship decisions (they are still in love or at least "friends"), anticipation of regrets and sadness ("someday you'll know I was the one"), and a guitar solo that evokes an autumnal sun along calm waters. All in the span of four television commercials. I just watched four commercials and they provide nearly as much character development or emotional drama. I only saw that disturbing gout commercial, a preview of tonight's episode of TMZ, an ad for frozen pizza bagels, and that insurance commercial with the doll faced redhead that raises my premiums. Titillating stuff, but I'll take the Beatles any day of the week, thank you.

Robert Bunter: Paul comes up with a clever chord progression here. When you hear the first chord of the verse ("One day"), you assume you're hearing the tonic. Then the next chord comes, and you're like, huh? What relationship could this possibly have to the one that came before? It's a whole step down, plus it's a seventh. What is this, jazz? Then you get to the next chord and realize, Hey! That first chord wasn't the tonic at all, it was the dominant, and we're in a different key than I thought. That's kind of like what it was like for Dot Rhone when she finally woke up on that lonely, lightly soiled morning.

Richard Furnstein: What a beautiful story and song. I'm going to play "I'll Follow The Sun" on repeat with the television on mute. I'm hoping to catch that Progressive commercial again.