WI no John Lennon murder?

[Johnrankins]

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Many, many, many, many teens and twenty somethings knew John Lennon. I'm sorry, but you need to understand this time period better and Lennon better, because your lack of understanding is making me 'gah!'.

And John Lennon was an influential counterculture guy and protester. People may not care about what entertainers think, but Lennon will still protest, and still bring attention to things. Getting them to not vote Tory isn't the point. Showing a Tory policy screwing over the working man is. Protesting the Tory policy screwing over the working man is.

The vast majority did not. He was from a group long gone. By 1980 The Beetles were yesterday's news. Everyone heard of them but the teens and the twenty somethings for the most part didn't know their names outside of Paul McCartney. Why would they? It isn't like they were making new albums or in the news or given much attention at all. By 1980 the Bettles were what their PARENTS listened to. His era was long over by 1980. They weren't going out buying Beetles albums but albums from new groups.

So he would have his little protests that wouldn't change a thing except maybe one or two minor policies. He would have gotten attention but no real results. He would be just another has been radical singer doing protests. By 1980 his niche group was middle aged and had other things to worry about other than what some aging hippy thought.

 

[Emperor Norton I]

Ya ever see "Ferris Bueller's Day Off" Johnny? Watch it. And there is a crack in the pop culture wall you can take a crowbar to to pop open.

I shall inform you here, however, that you are wrong.

 

[Simon Darkshade]

As to the first highlighted bit, I think that's a very difficult thing to measure for any artist,whether at the peak of their popularity or not. Maybe I'm just too ignorant to notice trends. But I always have trouble arguing for direct influence. If any of his albums had any kind of long lasting influence as themselves, my guess is that it would be Plastic Ono Band, since that album seems to presage later autobiographical songwriting, but again I can't exactly draw the kind of straight line I would need to prove that. On the other hand, I can't exactly do that for any of the Beatles' works either.

I'm a bit confused by the second highlighted bit. The first half indicates that Lennon fell into mediocrity after the release of Imagine in 1971, and the second highlighter bit indicates that Lennon fell into mediocrity 7-8 years before 1975 and the math means you'd be arguing that Lennon became mediocre between 1967-1968, or in other words before the Beatles had even broken up, which is an odd argument to make, because personally aside from the consequences of Lennon's heroin addiction I don't see any steep decline in quality in 1969. But then again, I'm a fan, and of course I wouldn't notice such a decline.

If we ignore the question of influence, a lot of critics have argued that Lennon's albums declined in quality since at least Imagine, and possibly since Plastic Ono Band itself. In terms of popularity, Lennon did reach the top of the charts with Walls and Bridges, but again that doesn't mean that that was a great album. I happen to enjoy it, but again, I'm a fan. It's also arguably, aside from his work with Yoko Ono, Lennon's most collaborative work as a solo artist. He cowrites a song with Harry Nilson, and has Elton John perform on Whatever Get's You Through the Night. So you could make the argument that the album became popular on the strength of those collaborations, particularly the later one.

1.) It is difficult, which is the point needs to be made when superlatives and vague mentions of greatness and influence are thrown about.

2.) The first part observes that his post-Imagine works weren't of comparable quality to it and certainly declined, as part of the notion that they would not have rated mention without the Lennon name and previous historical baggage.

The second part does go further, as you suggest, and suggests that the last time Lennon truly influenced the evolution of popular music as a whole was in 67/68; the highwater mark, to use an image.

The combination of these factors was aimed to refute the assertion that he was a major influence and major player in popular music at the time of his death and would continue onwards to broad sunlit uplands.

3.) I quite agree with this point - fans will appreciate certain albums to a greater extent than those without a prior attachment. If we viewed those works on their merits, they aren't earthshaking. Topping the charts is an indication of popularity at the time, rather than actual quality.


Emperor Norton:

Firstly, Johnny Cash's work in the 80s, 90s and 00s would not really of batted too many eyelids without the basis of his 50s and 60s popularity and role. His influence was in the past, as was Lennon's. It doesn't demean them to observe that; rather, it appreciates them as men of their time. I can't think of too many artists who were inspired by Lennon's appearence at the Lew Grade concert, or by Watching the Wheels - many have said they were inspired by his 60s and early 70s output.

Your second point is extraordinarily vague and is not at this time supported by evidence. Lennon had changed since 1969-1972 and was not simply going to return to protest songs without a reversal of a number of different factors which are conspicuous by their absence.

It seems some are projecting forth what they would have liked Lennon to do or be involved with as compared to what he was likely to do or get involved with. This is quite well illustrated by references to Thatcherism and the seeming hope that Lennon would oppose it. His disengagement from British politics in particular and Britain in general preceeded his disengagement from American politics by several years and there were not any real drivers to change this.

It doesn't do justice to the man to enter the territory of Fenton Bresler and such ilk and engage in projection of a return of the radical Lennon leading popular resistance to the evil Reagan and Thatcher. He'd moved on from that, and was focused on his family and particularly giving his second son the childhood Lennon himself had been deprived of. This is not to politically emasculate him or claim him for the Right, as some columnists in the Americas are want to do, but rather to acknowledge his own words, actions and general trajectory.

There is a difference between the Lennon some wish for and the Lennon who was and may have continued.

 

[Johnrankins]

Ya ever see "Ferris Bueller's Day Off" Johnny? Watch it. And there is a crack in the pop culture wall you can take a crowbar to to pop open.

I shall inform you here, however, that you are wrong.

So a reference in one movie changes things? Ferris Bueller was a popular movie but hardly a blockbuster akin to Star Wars or Raiders of the Lost Ark. By 1980 Lennon was truly a bit player. He didn't do anything for 5 years and wasn't a megastar since shortly after the Beetles broke up.

 

[Glass Onion]

1.) It is difficult, which is the point needs to be made when superlatives and vague mentions of greatness and influence are thrown about.

2.) The first part observes that his post-Imagine works weren't of comparable quality to it and certainly declined, as part of the notion that they would not have rated mention without the Lennon name and previous historical baggage.

The second part does go further, as you suggest, and suggests that the last time Lennon truly influenced the evolution of popular music as a whole was in 67/68; the highwater mark, to use an image.

The combination of these factors was aimed to refute the assertion that he was a major influence and major player in popular music at the time of his death and would continue onwards to broad sunlit uplands.

3.) I quite agree with this point - fans will appreciate certain albums to a greater extent than those without a prior attachment. If we viewed those works on their merits, they aren't earthshaking. Topping the charts is an indication of popularity at the time, rather than actual quality.

I still think there's an argument to be made for POB's influence. If I remember what I've read correctly, starting in the seventies critics at least tended to value a more direct, autobiographical and arguably self-indulgent style of songwriting that POB epitomized and presaged. Yes, I can't make a direct connection to another particular work, but like I said, I can't do that for any of the Beatles' albums either. Coincidentally, if the initial reviews for Double Fantasy are anything to go on, Lennon was closer to the musical zeitgeist in 1979-1980 in 1970 than when he actually made an album in 1980, which is kind of amusing.

For me, I tend to think that Lennon's musical career might resemble the pattern established by most of his musical generation in the Eighties and beyond. There's at least a reasonable possibility that he would have some hits in the years since he died historically, but like you say his musical legacy had been more or less established between 1962 and 1971 and few not already fond of his earlier work would actively seek out his newer material.

Which isn't to say that Lennon would suddenly become a totally obscure figure, he's still John Lennon, he's still one half of Lennon/McCartney, he's still the guy who wrote Give Peace a Chance and Imagine.

 

[Simon Darkshade]

I still think there's an argument to be made for POB's influence. If I remember what I've read correctly, starting in the seventies critics at least tended to value a more direct, autobiographical and arguably self-indulgent style of songwriting that POB epitomized and presaged. Yes, I can't make a direct connection to another particular work, but like I said, I can't do that for any of the Beatles' albums either. Coincidentally, if the initial reviews for Double Fantasy are anything to go on, Lennon was closer to the musical zeitgeist in 1979-1980 in 1970 than when he actually made an album in 1980, which is kind of amusing.

For me, I tend to think that Lennon's musical career might resemble the pattern established by most of his musical generation in the Eighties and beyond. There's at least a reasonable possibility that he would have some hits in the years since he died historically, but like you say his musical legacy had been more or less established between 1962 and 1971 and few not already fond of his earlier work would actively seek out his newer material.

Which isn't to say that Lennon would suddenly become a totally obscure figure, he's still John Lennon, he's still one half of Lennon/McCartney, he's still the guy who wrote Give Peace a Chance and Imagine.

Yes, I would concur that POB did have some influence; it just paled in comparison to what Lennon had enjoyed earlier, and was more refined and fleeting.

I agree wholeheartedly with your second and third point - he would still be John Lennon, would still sell records, would still have a public profile, but wouldn't quite reach the dizzying heights he once occupied. Such was the lot of Dylan, McCartney and the Strolling Bones, so he wouldn't lack for company.

 

[Johnrankins]

Yes, I would concur that POB did have some influence; it just paled in comparison to what Lennon had enjoyed earlier, and was more refined and fleeting.

I agree wholeheartedly with your second and third point - he would still be John Lennon, would still sell records, would still have a public profile, but wouldn't quite reach the dizzying heights he once occupied. Such was the lot of Dylan, McCartney and the Strolling Bones, so he wouldn't lack for company.

Agreed, which is what I am trying to get across. He would still be known and have some following but it would be a shadow of what it was and mostly built on nostalgia. Most of his following would have been middle agers trying to recapture their youth not young people.

 

[Glass Onion]

You're also trying to argue that because Lennon wasn't as popular as he was a Beatle, that he would obviously want to reunite with his former group, which is very debatable. Lennon at least made a big show in 1980 of not caring how popular he was, and arguably that's at least partially what Watching the Wheels is about. And if Lennon doesn't care that he's not what he was as Beatle, then he doesn't have the incentive to reunite you mention.

A reunion is certainly possible, but if it happens it would have more to do with Lennon McCartney Harrison and Starkey wanting to work together, rather than a desire to turn the clock back to 1969. As Lennon himself noted, even a reunion wouldn't exactly mean the return of the Beatles as they existed historically. In the eleven years that past between Lennon's departure from the group and his death, all four of the former Beatles had changed and grown older. This isn't to say that their reunion would be ignored, or that a hypothetical reunion album wouldn't sell. It would, but it probably couldn't really be categorized along with their output between 1962-1970. Then again, I'm talking about an album that doesn't exist, so there's a limit to what I can say.

I think any reunion or quasi reunion would probably sound more like a collaborative effort rather than a product of a unified band. That is, it would sound more like the solo artists John Lennon, Paul McCartney, George Harrison, and Ringo Starr making an album together rather than a "Beatles album." Maybe I'm just pessimistic.

 

[SavoyTruffle]

You're also trying to argue that because Lennon wasn't as popular as he was a Beatle, that he would obviously want to reunite with his former group, which is very debatable. Lennon at least made a big show in 1980 of not caring how popular he was, and arguably that's at least partially what Watching the Wheels is about. And if Lennon doesn't care that he's not what he was as Beatle, then he doesn't have the incentive to reunite you mention.

A reunion is certainly possible, but if it happens it would have more to do with Lennon McCartney Harrison and Starkey wanting to work together, rather than a desire to turn the clock back to 1969. As Lennon himself noted, even a reunion wouldn't exactly mean the return of the Beatles as they existed historically. In the eleven years that past between Lennon's departure from the group and his death, all four of the former Beatles had changed and grown older. This isn't to say that their reunion would be ignored, or that a hypothetical reunion album wouldn't sell. It would, but it probably couldn't really be categorized along with their output between 1962-1970. Then again, I'm talking about an album that doesn't exist, so there's a limit to what I can say.

I think any reunion or quasi reunion would probably sound more like a collaborative effort rather than a product of a unified band. That is, it would sound more like the solo artists John Lennon, Paul McCartney, George Harrison, and Ringo Starr making an album together rather than a "Beatles album." Maybe I'm just pessimistic.

That's what I think, too. The Fab Four could be considered a supergroup in reverse, if you think about it - instead of a few musicians known for their work in their own right coming together, you instead end up with four lads who changed rock and roll forever and became musicians in their own right after the fact.

 

[Wendell]

And when did I say it would effect geopolitics? I said it would effect music. That's what we're talking about.

It was implied here:

I could see a Christopher Hitchens type antagonism between him and the right wing talkers. If you go back and look at the media talkers of the time, the Neocons really were so shallow. And he'd call them on BS. I refer to a Chris Hitchens/Wladyslaw Placzynski thing on TV where Placznski just kneejerk says Hitchens loves Castro just to smear him. Lennon read books all the time, and was constantly informing himself and learning. Whereas it seems like the Neocons of the 80s I've seen don't inform themselves beyond talking points and things they'd like to be true, and assume that their rightness is solid and will make up for any lack of understanding and knowing.

 

[Mean Mr Mustard]

John Lennon 80's Output

Lets say that John Lennon released a true solo album in 1980 with the tracks from Double Fantasy and Milk and Honey and didnt get shot. One more complete acoustic Double album follows with songs demoed mostly during the Dakota years. Plus a "Ballad Of John and Yoko" Stage Play/Film with a soundtrack album including Four original Recordings also released as an EP. The rest of the 80's are filled with live releases, extended reissues, best ofs and box sets unril the Beatles ACTUALLY reform for the Anthology series in the 90's.

Double Fantasy - 1980

1. (Just Like) Starting Over
2. Cleanup Time
3. I'm Losing You
4. Beautiful Boy (Darling Boy)
5. Watching the Wheels
6. Woman
7. Dear Yoko
8. I'm Stepping Out
9. I Don't Wanna Face It
10. Nobody Told Me
11. Borrowed Time
12. (Forgive Me) My Little Flower Princess
13. Every Man Has a Woman Who Loves Him (John Lennon Version)


Free As A Bird - 1981

1. Help Me to Help Myself
2. Grow Old with Me
3. Free As A Bird
4. Now and Then
5. India, India
6. Gone From This place
7. Across The River
8. Illusions
9. Life Begins At Forty
10. You Saved My Soul
11. Sally and Billy
12. She runs them round in circles
13. One Of The Boys
14. Serve Yourself
15. Its Real
16. Mucho Mungo
17. Mt Hyde's Gone
18. The Happy Rishikesh Song
19. My Life
20. Dear John
21. Goodnight Vienna
22. Cooking in the kitchen of love

Ballad Of John and Yoko - E.P. - 1983

1. Whatever Happened To
2. She's A Friend Of Dorothy's
3. Mirror Mirror
4. Real Love

 

[MatthewFirth]

Intresting?.....

To be honest with you, my suggestion would be that knowing Paul and John were on good terms before the murder, had John not died, the Beatles would have reunited.

The only problem with the reunion would be that most of the songs released during this period were poor, and the only songs that would make it to No.1 would be Pipes of Peace, Ebony and Ivory (John performs Stevie Wonder's part, would be slighty worse though) and Got My Mind Set On You/

 

[BillyShears]

From the interwebz:
In 1979, as part of an Apple Corps lawsuit against “Beatlemania,” Lennon testified in a written statement that The Beatles still had an ongoing interest in their trademark, and might reunite to record some new music for a film autobiography.

This is probably from the original idea for 'The Long and Winding Road' which became the Beatles Anthology as George didn't want it be named after a Paul song.

In the event of John not being shot, there are few things to remember, 'Double Fantasy' wasn't all that well received before he'd died, critically and commercially. In the UK album charts, the album had peaked at #14 then slipped to #46 whilst in the US, the album had slowly risen to #11.

This also has some other ramifications for other music, Nobody Told Me and Life Begins at 40 were written for Ringo as was George Harrison's All Those Years Ago, they'd likely end up as Ringo songs.

Wings were probably finished anyway after the pot-bust in Japan, but John said that he liked 'Coming Up'. Tug of War - widely seen as Paul's tribute to John wouldn't have had 'Here Today' that's a certain, perhaps the melody would've turned up as a different song, in fact, the whole album would probably be very different. Paul was working on the Rupert album to pitch to a film producer and animator as well but that was put completely on hold and they went to do Tug of War.

If we're being speculative, Paul continues doing the Rupert stuff and what we would call 'Tug of War' is put on hold. John meanwhile is planning his supposed tour and the follow up to 'Double Fantasy' which in this world has been a bit mediocre. Paul finishes Rupert and pitches it to some film company, let's just say it completely kids made as they get in before the rights were bought by somebody else which killed it.

John initially goes to produce 'Nobody Told Me' and 'Life Begins at 40' in January 1981 (Ringo and Paul had recorded 'Attention' and 'Private Property' earlier in the year) as intended and works a bit harder on the follow up and hopefully abandons the plans to do another one with Yoko and goes on a big tour to promote DF, DF climbs up the charts with a bit more publicity etc

George by early 1981 was redoing bits of Somewhere in England and was pretty irked by his record label whilst John was irritated with George's apparent snub of John in 'I, Me, Mine' - I imagine it would take a bit for them to patch up

So as of 1981, we've got reasonable relations between:
McCartney, Harrison and Starr
McCartney, Harrison and Martin (Martin apparently did orchestrations of OTL All Those Years Ago and Paul was working with him)
McCartney and Lennon (healing)
Starr and Lennon

Early 1981, McCartney would've been carrying on with Tug of War with Wings as they'd started, perhaps because of this:

"Just days before his brutal death, John was making plans to go to England for a triumphant Beatles reunion. His greatest dream was to recreate the musical magic of the early years with Paul, George and Ringo...(he) felt that they had travelled different paths for long enough. He felt they had grown up and were mature enough to try writing and recording new songs."

They come to a break mid-1981 for talks on this, Neil Aspinall's film would still probably not get released and they'd problem begin ideas for 'Anthology' a decade earlier. The ideas - a filmed concert in England, a documentary series and perhaps even a new album. Paul tells them how he's got a good few songs in the works with none other than George Martin, George notes how he's got some songs rejected, Ringo and John have been working on Nobody Told Me, and he's of course got some demos at the ready.

They all set aside some time, to make a good album again, Tug of War is put indefinitely on hold.

The rest is history, but do the sessions go well or not?

 

[Mad Bad Rabbit]

I once had a bizarre dream: "Late Night with David Letterman" (which I had fallen asleep watching) had become "Late Night With John Lennon" (intro music: 'Whatever Gets You Through the Night').

It's not entirely ASB: John and Yoko once guest-hosted the Mike Douglas show.

 

[MatthewFirth]

From the interwebz:
In 1979, as part of an Apple Corps lawsuit against “Beatlemania,” Lennon testified in a written statement that The Beatles still had an ongoing interest in their trademark, and might reunite to record some new music for a film autobiography.

This is probably from the original idea for 'The Long and Winding Road' which became the Beatles Anthology as George didn't want it be named after a Paul song.

In the event of John not being shot, there are few things to remember, 'Double Fantasy' wasn't all that well received before he'd died, critically and commercially. In the UK album charts, the album had peaked at #14 then slipped to #46 whilst in the US, the album had slowly risen to #11.

This also has some other ramifications for other music, Nobody Told Me and Life Begins at 40 were written for Ringo as was George Harrison's All Those Years Ago, they'd likely end up as Ringo songs.

Wings were probably finished anyway after the pot-bust in Japan, but John said that he liked 'Coming Up'. Tug of War - widely seen as Paul's tribute to John wouldn't have had 'Here Today' that's a certain, perhaps the melody would've turned up as a different song, in fact, the whole album would probably be very different. Paul was working on the Rupert album to pitch to a film producer and animator as well but that was put completely on hold and they went to do Tug of War.

If we're being speculative, Paul continues doing the Rupert stuff and what we would call 'Tug of War' is put on hold. John meanwhile is planning his supposed tour and the follow up to 'Double Fantasy' which in this world has been a bit mediocre. Paul finishes Rupert and pitches it to some film company, let's just say it completely kids made as they get in before the rights were bought by somebody else which killed it.

John initially goes to produce 'Nobody Told Me' and 'Life Begins at 40' in January 1981 (Ringo and Paul had recorded 'Attention' and 'Private Property' earlier in the year) as intended and works a bit harder on the follow up and hopefully abandons the plans to do another one with Yoko and goes on a big tour to promote DF, DF climbs up the charts with a bit more publicity etc

George by early 1981 was redoing bits of Somewhere in England and was pretty irked by his record label whilst John was irritated with George's apparent snub of John in 'I, Me, Mine' - I imagine it would take a bit for them to patch up

So as of 1981, we've got reasonable relations between:
McCartney, Harrison and Starr
McCartney, Harrison and Martin (Martin apparently did orchestrations of OTL All Those Years Ago and Paul was working with him)
McCartney and Lennon (healing)
Starr and Lennon

Early 1981, McCartney would've been carrying on with Tug of War with Wings as they'd started, perhaps because of this:

"Just days before his brutal death, John was making plans to go to England for a triumphant Beatles reunion. His greatest dream was to recreate the musical magic of the early years with Paul, George and Ringo...(he) felt that they had travelled different paths for long enough. He felt they had grown up and were mature enough to try writing and recording new songs."

They come to a break mid-1981 for talks on this, Neil Aspinall's film would still probably not get released and they'd problem begin ideas for 'Anthology' a decade earlier. The ideas - a filmed concert in England, a documentary series and perhaps even a new album. Paul tells them how he's got a good few songs in the works with none other than George Martin, George notes how he's got some songs rejected, Ringo and John have been working on Nobody Told Me, and he's of course got some demos at the ready.

They all set aside some time, to make a good album again, Tug of War is put indefinitely on hold.

The rest is history, but do the sessions go well or not?

The sessons do go well, because Lennon wants it to. An 1982 album would feature a top 10 smash Nobody Told Me, and the No.1 single Ebony and Ivory. But afterwards, the reunion would go downhill, with Pipes of Peace becoming the only hit of their 1984 album, and then a 1987 album features the Harrison No.1 Got My Mind Set On You. They would recieve rare top 10's during this time though, enough to keep the reunion going until 1990 at least.

 

[CandyDragon]

What if Lennon is shot, but survives to make a decent recovery. (Is shot elsewhere, or moves, etc.)

How would he be viewed in that scenario?

 

[BillyShears]

The sessons do go well, because Lennon wants it to. An 1982 album would feature a top 10 smash Nobody Told Me, and the No.1 single Ebony and Ivory. But afterwards, the reunion would go downhill, with Pipes of Peace becoming the only hit of their 1984 album, and then a 1987 album features the Harrison No.1 Got My Mind Set On You. They would recieve rare top 10's during this time though, enough to keep the reunion going until 1990 at least.

Personally I think this 80s period was one where George latterly was back on form, John I think had some of his would-be great songs half-written, (Now and Then would be fantastic if finished and Real Love, Help Me to Help Myself) Paul had a stock of stuff that was better than the things he put on albums, plus he wouldn't have done that iffy collaboration with Eric Stewart. A Lennon/McCartney version of My Brave Face would be awesome, and you've got Beautiful Night which was written in the 80s, I bet a 40th anniversary of Sgt Pepper would be on the cards, after all Paul had written 'Return to Pepperland' so it must've been on his mind. No Traveling Wilburys, but you'd still have Handle With Care and End of the Line (in my mind the best songs) as they were mainly written by George.

 

[statichaos]

I don't see a Beatles reunion at Live Aid, though if Lennon can get over his distaste for charity concerts, I can see a mini reunion with him and McCartney getting together for a song or two during a set.

I agree that his output would be mixed. He'd probably get more political (people tend to forget just how politically charged the 80s could be), and I can see him lending his name to a few popular causes: Nuclear disarmament, anti-apartheid movements, general human rights issues, protests of U.S. intervention in Latin America. I can also see him teaming up with a few up-and-coming singers during the era.

By the 90s, he'd be largely confined to the classic rock circuit, still selling out arenas but no longer as relevant. I can also see a divorce (or at least another separation) from Yoko taking place as middle age hits in all of its glory.

If there's a Beatles reunion, it likely happens in conjunction with the Sergeant Pepper 40th anniversary, as already stated.

 

[BillyShears]

I don't see a Beatles reunion at Live Aid, though if Lennon can get over his distaste for charity concerts, I can see a mini reunion with him and McCartney getting together for a song or two during a set.

I agree that his output would be mixed. He'd probably get more political (people tend to forget just how politically charged the 80s could be), and I can see him lending his name to a few popular causes: Nuclear disarmament, anti-apartheid movements, general human rights issues, protests of U.S. intervention in Latin America. I can also see him teaming up with a few up-and-coming singers during the era.

By the 90s, he'd be largely confined to the classic rock circuit, still selling out arenas but no longer as relevant. I can also see a divorce (or at least another separation) from Yoko taking place as middle age hits in all of its glory.

If there's a Beatles reunion, it likely happens in conjunction with the Sergeant Pepper 40th anniversary, as already stated.

I meant 20th originally, typo

Although:

2007, Sgt Pepper's 40th Anniversary and George will have turned 64 provided he lives

The setlist would be interesting mind for a tour

 

[statichaos]

I meant 20th originally, typo

Although:

2007, Sgt Pepper's 40th Anniversary and George will have turned 64 provided he lives

The setlist would be interesting mind for a tour

Actually, the 25th would be slightly more likely. We'd be seeing a downward trend in everyone's careers, and a possible desire to grab one last piece of glory.