During the Beatles’ time away from touring, John worked on a Richard Lester film, How I Won the War. Meanwhile, Paul was at home writing “Penny Lane.” This was another song for which Paul was “reaching back into childhood for inspiration” (188). Leslie likens “Penny Lane” to “Strawberry Fields Forever,” analyzing the two songs. They were later released on the same single. Despite its success, John was becoming increasingly detached. His relationship with Cynthia was strained, he barely contributed to their son Julian’s life, and he took LSD almost constantly. Leslie guesses that Paul wrote “Penny Lane” to remind John that he wasn’t alone.

In 1967, John and Paul spent more time together again. (Jane was working in Boston then.) They focused on their “A Day in the Life” project, which they devoted more time to than anything they’d produced thus far. They never overtly discussed their innovations as they were working, which Leslie attributes to their more intuitive way of collaborating. He quotes an interview John gave to Rolling Stone about the project by way of example.

In 1967, John, Paul, and George were recording one night when John accidentally took an LSD tab instead of an upper. Paul escorted him home, where he agreed to take LSD with John for the first time. Afterward, the friends said they just stared into each other’s eyes during the drug-induced trip. Leslie describes other such moments in their relationship; they would maintain long eye contact while playing or working. This is particularly evident in recordings from Get Back.

Between 1967 and 1968, John began to change. Taking LSD and smoking weed helped him reduce his alcohol consumption. He became quieter, gentler, and more openly affectionate. Leslie holds that his drug use made John disoriented and disengaged but that Paul never gave up on him. Leslie argues that “Getting Better” is an ode to their relationship at the time.

Leslie traces the inception and emergence of Sgt. Pepper’s Lonely Hearts Club Band. He analyzes the album’s unique approach to digesting history and culture. He describes the significance of songs including “All You Need Is Love” and “Lucy in the Sky with Diamonds,” identifying them as key shifts in John and Paul’s songwriting.

Around this time, John embarked on a plan to buy an island where the Beatles’ could live and work together. They pursued an opportunity in Greece but it fell through. Leslie argues that Paul was only entertaining John and didn’t actually like the idea. He also asserts that John was afraid of being apart from the band (and particularly Paul) and wanted a way for them to stay connected.

While the band was in Bangor, Wales for a show, they received word that Epstein had died suddenly. Distraught, John knew the incident would change the Beatles. When they returned to London, Paul assumed a pseudo parental role in the group. Then Alf resurfaced in John’s life, inciting personal and familial turmoil for John. Soon after, he wrote “I Am the Walrus,” which Leslie claims is John’s outpouring over Epstein’s death, his paternal complications, and his search for himself.

In 1968, the Beatles traveled to India together, inspired by George’s interest in Indian culture and the Maharishi. The trip marked a shift in the group’s dynamics because it inspired conflict. Meanwhile, John and Paul’s songs were changing. Leslie identifies “Lady Madonna” as an example.

Leslie references recorded conversations between the Beatles from the Get Back era. In one conversation, they discuss what happened in India. Paul teases John about putting too much stake in the trip, and George acts offended that Paul didn’t take it seriously. Leslie explains that a rumor about the Maharishi’s unsolicited advances toward another woman upset some in the group. John was particularly upset by this because he saw the Maharishi as a spiritual leader. Leslie argues that this ordeal might seem insignificant but imagines what it might have meant to John (who’d been disillusioned by leaders throughout his life). After the retreat, he became unpredictable and self-sabotaging but couldn’t quantify why. Leslie avers that John’s mental unrest foreshadowed the Beatles’ later split.

Leslie describes what John was working on after returning from India. He was upset and tired but more productive than usual. Despite John’s notable distress, Paul seemed unfazed. Leslie references friends’ comments on their relationship then, all of which identify Paul as a source of John’s pain. Leslie muses on their dynamic and its romantic undertones. While John at times alluded to his interest in men, he was predominantly interested in women. At the same time, his affection for Paul was as deep (if not deeper) than his sexual relationships. Leslie again cites the friends’ habit of gazing into each other’s eyes—what they called their eyeball-to-eyeball thing. Leslie believes that John particularly needed Paul to understand himself and became afraid when they drifted apart.

Amid John and Paul’s rift, Paul wrote “Hey Jude.” He was always close with Julian and got the idea for a song during a visit with John’s son. While it began as a song for Julian, Leslie claims that it was also for John. He references John’s positive responses to it when Paul first played it for him.

Around this time, John met Yoko Ono. Eventually, they started seeing one another, marking an end to John and Cynthia’s relationship. Yoko began attending all the Beatles’ recording sessions (which frustrated the group, though they were polite toward her). Leslie holds that John was replacing Paul with Yoko, insisting that she stay by his side at all times. Realizing John and Yoko’s attachment, Paul threw himself into a new relationship with Linda Eastman. (Jane broke up with him when she learned about it.)

“Hey Jude” marks a shift in John and Paul’s dynamic since both were in new relationships. It also gave the friends a way to end their recent conflict. Leslie analyzes the song closely, identifying each of its musical influences and describing its emotional resonance.