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  1. #2236

    Re: The Music Thread

    You hit the nail on the head Kirk. "Clean" is the best way to describe his sound.
    Oh heaven...I wake with good intentions but the day it always lasts too long... Emeli Sande

  2. #2237

    Re: The Music Thread

    Esquire UK did an interview with Paul McCartney. This may mean more to some of us than others.

    Paul McCartney Is Esquire's August Cover Star
    02 July 2015By Alex Bilmes, Photographs by Tom Craig
    An exclusive interview with our greatest living rock star



    ESQ: Many of your songs are autobiographical. One of the reasons they resonate is people know what they’re about: 'Let it Be', about your mum; 'Maybe I’m Amazed', about Linda. Are you thinking about those people when you play those songs? Isn’t it painful?

    PM: No, not always. I’m really doing them just because they’re songs. I mean, when I do 'Let it Be' I’m not thinking about my mum. If there’s one thing I know it’s that everyone in that audience is thinking something different. And that’s 50,000 different thoughts, depending on the capacity of the hall. Obviously, when I do 'Here Today' as I do, that is very personal. That is me talking to John. But as you sing them you review them. So I go, [sings] “What about the night we cried?” And I’m thinking, “Oh, yeah: Key West”. We were all drunk. We’d delayed Jacksonville because of a hurricane. We got parked in Key West and we stayed up all night and we got drunk – “Let me tell you, man, you’re ****ing great” – so I know that’s what I’m talking about. I know the night. I do think of that.

    (…)

    ESQ: When I’m interviewing actors or writers or whoever, I often ask them to quote a song lyric that means something to them. It can be quite revealing. I’m not sure if you’re the best person to ask or the worst, because you’ve written so many yourself.

    PM: I’ll have a go.

    ESQ: Right then, what’s the Paul McCartney lyric that means the most?

    PM: “Why don’t we do it in the road?”

    ESQ: Nope, I wasn’t expecting that one. For me it’s a soppy one: “And in the end, the love you take is equal to the love you make.” The last words of the last Beatles song. That’s quite a sentiment to bow out with.

    PM: That little one, it surprises me. I don’t remember coming up with it. It just sort of popped out, like a lot of my stuff. People say to me, “How do you feel about The Beatles?” I’m kind of proud of it, because it was generally a good message. Now it wraps up the show, and the interview. Come on, give it up man!

    (…)

    ESQ: Your name and John Lennon’s will forever be linked.
    PM: Hopefully.
    ESQ: But it’s something you chafed against for some time. Did it frustrate you, the constant comparisons between you two?
    PM: Yeah. I always looked at life from a point of view of the public. I think I’ve got a good sense of that. The Beatles split up and we were sort of all equal. George did his record, John did his, I did mine, Ringo did his. It was as we were during the Beatles’ times. We were equal. When John got shot, aside from the pure horror of it, the lingering thing was, OK, well now John’s a martyr. A JFK. So what happened was, I started to get frustrated because people started to say, “Well, he was The Beatles.” And me, George and Ringo would go, “Er, hang on. It’s only a year ago we were all equal-ish.” Yeah, John was the witty one, sure. John did a lot of great work, yeah. And post-Beatles he did more great work, but he also did a lot of not-great work. Now the fact that he’s now martyred has elevated him to a James Dean, and beyond. So whilst I didn’t mind that – I agreed with it – I understood that now there was going to be revisionism. It was going to be: John was the one. That was basically the thing. And when I would talk to mates they’d say, “Don’t worry. People know [the truth]. It’s OK, they know what you did.” But then strange things would happen. Like Yoko would appear in the press, and I’d read it, and it said [comedy Yoko accent], “Paul did nothing! All he did was book the studio...” Like, “**** you, darling! Hang on! All I did was book the ****ing studio?” Well, OK, now people know that’s not true. But that was just part of it. There was a lot of revisionism: John did this, John did that. I mean, if you just pull out all his great stuff and then stack it up against my not-so-great stuff, it’s an easy case to make.

    ESQ: There was some controversy over the fact that the songs are credited to Lennon-McCartney, rather than the other way around.

    PM: What happened, when we were kids we were looking for what to call our songs. We had a meeting with Brian Epstein, John and me. I arrived late. John and Brian had been talking. “We were thinking we ought to call the songs, Lennon and McCartney.” I said, “That’s OK, but what about McCartney and Lennon? If I write it, what about that? It sounds good, too.” They said, “OK, what we’ll do is we’ll alternate it: Lennon and McCartney, McCartney and Lennon.” Well, that didn’t happen. And I didn’t mind. It’s a good logo, like Rogers and Hammerstein. Hammerstein and Rogers doesn’t work. So I thought, “OK”. But what happened was the Anthology came out [in 1996, with Epstein and Lennon now long dead]. And I said, “OK, what they’re now saying is, ‘Song by John Lennon and Paul McCartney.’” I said, if you’re doing that, it’s not Lennon and McCartney, it’s not the logo any more. So, in particular cases like 'Yesterday', which John actually had nothing to do with, none of the other Beatles had anything to do with – I wrote it on my own, sang it on my own, they’re not on the record, nobody is even involved with it, and they didn’t mind that and I didn’t mind, nobody minded, but that’s very much mine – so I said, “Could we have ‘By Paul McCartney and John Lennon’, wouldn’t that be a good idea? And then on ‘Strawberry Fields’ we’ll have, ‘By John Lennon and Paul McCartney’. ‘Nowhere Man’, ‘John Lennon and Paul McCartney’. ‘Penny Lane’, ‘Paul McCartney and John Lennon’. Seeing as we’re breaking it up, can we do that?” And at first Yoko said yeah. And then she rang back a few days later and she had this guy Sam Havadtoy who she was living with – she was co-Havadtoying – and she said she’d decided it wasn’t a good idea and no, no, no, no. And it became a bit of an issue for me. Particularly on that particular song, because the original artwork had 'Yesterday' by John Lennon and Paul McCartney and a photo of John above it. And I went, “Argh! Come on, lads!” Anyway they wouldn’t do it.

    (…)

    ESQ: 'Yesterday', 'Hey Jude', 'Let it Be'. It is impossible to conceive of your writing anything with that impact again. Perhaps no one could now.
    PM: I think that’s true. When you sit down to write a song it does cross your mind. You go, “This isn’t going to be like ‘Eleanor Rigby’.” Bob Dylan was asked why didn’t he write another 'Tambourine Man' and he goes, “Because I’m not that guy any more.” I think that’s the truth. Some of it is also to do with the circumstances. Those songs were launched by The Beatles, the biggest band ever. If I had 'Let it Be' now, it just might not get as much attention. You might not be able to make a record as Beatle-y or as harmonious as the record we made. But it doesn’t stop me trying.
    ESQ: Not to diminish your achievements, but The Beatles’ success came at a very specific moment. Clearly, the world was ready for it. Could a band ever have that kind of impact again or has the culture changed too much?
    PM: We don’t live in that culture any more, that’s true. We came out of a very rich period. But let’s not forgot, those four boys were ****ing good. It wasn’t just to do with the period. You name me another group of four chaps, or chapesses, who had what The Beatles had. Lennon’s skill, intelligence, acerbic wit, McCartney’s melody, whatever he’s got, Harrison’s spirituality, Ringo’s spirit of fun, great drumming. We all played, which is pretty hard. You don’t get a lot of that these days. The noise we made was just those four people playing. We came at the right time. We wrote some pretty good stuff, our own material. We didn’t have writers. Could that happen again? I don’t know. I wish people well but I have a feeling it couldn’t.

    http://www.esquire.co.uk/culture/mus...ney-interview/
    Oh heaven...I wake with good intentions but the day it always lasts too long... Emeli Sande

  3. #2238
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    Re: The Music Thread

    Saw/heard this for the first time today. Like the song, LOVE the video (you have been warned). It makes me want ... a hot dog.

    Countdown of great Sue Sylvester quotes from Glee
    #6:
    "Get ready for the ride of your life Will Schuester. You're about to board the Sue Sylvester Express. Destination horror! "

  4. #2239
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    Re: The Music Thread

    Quote Originally Posted by Ti-Amie View Post
    Esquire UK did an interview with Paul McCartney. This may mean more to some of us than others.

    Paul McCartney Is Esquire's August Cover Star
    02 July 2015By Alex Bilmes, Photographs by Tom Craig
    An exclusive interview with our greatest living rock star


    ....
    http://www.esquire.co.uk/culture/mus...ney-interview/

    Thanks for posting that, Ti. He's pretty earnest about the aftermath of Lennon's death, it's interesting, he doesn't try to put any platitudes in that answer. (And also his dislike of Yoko Ono).


  5. #2240

    Re: The Music Thread

    I understand more about why he dislikes her after that anecdote. That was wrong of her.
    Oh heaven...I wake with good intentions but the day it always lasts too long... Emeli Sande

  6. #2241
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    Re: The Music Thread

    Quote Originally Posted by Ti-Amie View Post
    I understand more about why he dislikes her after that anecdote. That was wrong of her.
    I think the whole thing owning the rights and making decisions is wrong of her. They were divorced. She should have passed on the rights to their son and went on with her "co-Havadtoying"

    Maybe I'm not a fan of Yoko Ono myself.


  7. #2242

    Re: The Music Thread

    Quote Originally Posted by mmmm8 View Post
    I think the whole thing owning the rights and making decisions is wrong of her. They were divorced. She should have passed on the rights to their son and went on with her "co-Havadtoying"

    Maybe I'm not a fan of Yoko Ono myself.
    So he did leave her for May Pang(?) I thought May was just a fling not that he'd divorced her. I did know she lived with someone for quite some time after John's death but that was kept "vewy vewy quiet".
    Oh heaven...I wake with good intentions but the day it always lasts too long... Emeli Sande

  8. #2243
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    Re: The Music Thread

    Quote Originally Posted by Ti-Amie View Post
    So he did leave her for May Pang(?) I thought May was just a fling not that he'd divorced her. I did know she lived with someone for quite some time after John's death but that was kept "vewy vewy quiet".
    Oh, no, you're right! I've believed the wrong situation for years, I guess. For some reason, I thought they had separated again and divorced after Sean Lennon was born, but it's not true. I also didn't realize she witnessed the murder.

    Oooops. Sorry, Yoko. Thanks, Ti!

    They are/were both kind of horrible people, anyway, though.


  9. #2244

    Re: The Music Thread

    Yoko gave up her daughter and alienated her family when she got together with Lennon who they did not approve of (musicians are seen as pond scum in many cultures). We know Lennon left Cynthia and Julian. There are many stories of Lennon's (may he rest in peace) rather prickly personality while Paul is always pictured as a relative saint. Somewhere between those characterizations is the truth.
    Oh heaven...I wake with good intentions but the day it always lasts too long... Emeli Sande

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