Creative people who put their creativity out before the public have to deal with one thing that the rest of us don’t: reviews of their work. Whether it’s an artist overhearing comments about their paintings at a gallery, or a novelist, playwright, movie director, or musician reading newspaper reviews of their efforts, creative people have to get used to the idea that some people, at least, won’t like what they are doing. And if the creative people can’t get past that issue, they probably aren’t in the right line of work.
Part of developing an artistic thick skin about bad reviews is realizing that the opinions of a critic are just that — one person’s opinion — and that critics are often just wrong. In fact, sometimes a critic is so wrong about a particular piece of work that their opinions, read years later, seem comically and historically misguided.
I thought about this when I read about the New York Times review of the Beatles’ album Abbey Road, published right after it was released in 1969. To his credit, the reviewer, Nik Cohn, found that the nine-song medley on side two was the most impressive music the Beatles had recorded since Rubber Soul — even though he thought the individual songs within the medley were “nothing special” and, for the most part, “pretty average stuff.” In fact, he thought “some of the lyrics are quite painful,” and “most of the lines here are steals.”
Continuing his critique of the lyrics on side two, Cohn wrote:
“The great drawback is the words. There was a time when the Beatles’s lyrics were one of their greatest attractions. Not any more. On “Abbey Road,” you get only marshmallow. * * * On “Abbey Road” the words are limp-wristed, pompous and fake. Clearly, the Beatles have now heard so many tales of their own genius that they’ve come to believe them, and everything here is swamped in Instant Art. ”
And remember that side two of Abbey Road is the side Cohn sort of liked. The rest of the album, he wrote, was an “unmitigated disaster.” Come Together, he concluded, “is intriguing only as a sign of just how low Lennon can sink these days.” Cohn also got it wrong that John Lennon, and not Paul McCartney, sang Oh! Darling. Cohn thought the two songs by George Harrison — those would be Something and Here Comes the Sun — were “mediocrity incarnate.” Cohn opined that “[t]he badness ranges from mere gentle tedium to cringing embarrassment.”
I doubt that the Beatles, firmly atop the rock god firmament at the time, paid much attention to Nik Cohn’s views, and of course his opinions have been disproved by the test of time. Abbey Road is generally regarded as one of the greatest rock albums of all time, and songs like Something, Here Comes the Sun, and Come Together are viewed as all-time classics beloved by millions for more than 50 years.
I guess I would say that Nik Cohn got it wrong. When creative people are putting themselves out there for critics to chew on, it’s something they should keep in mind.