Writing in 1971, Robert Christgau of "The Village Voice" called it "one of truest and most forthright love songs" and said that McCartney's romantic side was ill-served by the inclusion of "'I Will', a piece of fluff" on "The Beatles". In their 1975 book "", critics Roy Carr and Tony Tyler wrote that "Hey Jude" "promised great things" for the ill-conceived Apple enterprise and described the song as "the last great Beatles single recorded "specifically" for the 45s market". They commented also that "the epic proportions of the piece" encouraged many imitators, yet these other artists "[failed to capture the gentleness and sympathy of the Beatles' communal feel". Walter Everett admires the melody as a "marvel of construction, contrasting wide leaps with stepwise motions, sustained tones with rapid movement, syllabic with melismatic word-setting, and tension ... with resolution". He cites Van Morrison's "Astral Weeks", Donovan's "Atlantis", the Moody Blues' "Never Comes the Day" and the Allman Brothers' "Revival" among the many songs with "mantralike repeated sections" that followed the release of "Hey Jude". In his entry for the song in his 1993 book "Rock and Roll: The 100 Best Singles", Paul Williams describes it as a "song about breathing". He adds: "'Hey Jude' kicks ass like Van Gogh or Beethoven in their prime. It is, let's say, one of the wonders of this corner of creation ... It opens out like the sky at night or the idea of the existence of God."