#I also think ram is the best beatles solo album so there’s that

[passerine2019]

something I like to talk to beatles moots about

if we’re talking about how deep of a cut the insults go, How Do You Sleep? wins. nearly immediately

If we’re talking about song replay-ability and just the quality of it, Too Many People wins. (I have NOT listened to 3 legs don’t kill me)

I can’t in good faith say that there’s a winner between the Paul and John “distracks” because they’re both good in their own special way (but if I had to choose it would be too many people)

[idontwanttospoiltheparty]

omg since you’re taking off todya from studying can we hear some of your beatle hottakes?

ughhhhhhh sorry, these are so hard to come up with these days

meta take: I sort of wish we could have a genuine conversation about the blurry line between wishful thinking/headcanon and more objective (or, aspiring to be objective) historical analysis – I get the headcanons, I really do! but just in the past year, there's been several instances of people in good faith asking about sources or questioning "fan favourite" anecdotes and being shouted down for "ruining people's fun". If you want to engage with this stuff in a more lighthearted way, that's fine! but accept that that's what you're doing. Being rude to people trying to get to the truth is not a good look. Your imagination can withstand it, I promise.

more people need to jump on the Day Tripper tinhatting train. shit's crazy up here

the more I listen to Double Fantasy the more I'm offended that a certain brand of John fan basically only names songs from 1970/71 as his best. ditto with Walls and Bridges…

Again And Again And Again: best Denny solo-written Wings song ( it's hard to gauge how much is him and how much is Paul for their collabs. Anyways, No Words my beloved)

Sexy Sadie is kind of perfect… The lyrics, the chords, the distorted doo-wop it all embodies that DISAPPOINTMENT so well. The guitar solo is great, the high-pitched oooooooooohs. No notes, underrated song for sure.

the Mind Games album cover is soooooo deranged but so fucking good. That and Ram might be the best post-Beatles album covers.

this isn't exactly a take but the SADDEST part of Hey Jude is when John harmonizes with Paul. I can't not hear all the unspoken pain.

I kind of hope we get versions of Free As A Bird and Real Love with cleaned up John vocals like Now And Then. I don't want to erase those originals because the audio quality tells a story of its own, but Real Love especially suffers so much from it. I listened to it earlier today and nearly got teary. "No need to be alone" kind of gives me goosebumps. There's something so raw and emotional about all three of these songs…

This is almost the opposite of a hottake, but it kind of Doesn't Matter To Me who Now And Then is about. It could be about Paul, it could pretty easily be about Yoko too, and a few people I've seen say they think it's about May, which could be too! It perhaps not being directed at Paul doesn't take away from the song for me, because the song feels bigger than just its direct inspiration.

On that note, I sort of think that sometimes people could stand to.... Die on fewer hills? Like, the notion that Now And Then could be about Yoko doesn't negate John and Paul's relationship or most things people theorize they may have gotten up to. Now And Then Release Week bonus round, cause it's been long enough to talk about it a bit:

Paul (and Ringo and George! they also have a writing credit, guys!) making editorial choices about John's unfinished song with the blessing of his widow is literally fine. "But John might not have approved–" yes, this is how death works. John also might have found the song embarrassing and not wanted it released at all. It wasn't on Double Fantasy after all! Or maybe he would have specifically wanted to remove the same bit! (which I maintain is musically strange and unfitting at worst and at best a still really rough idea that would probably require a lot of work in of itself – echoing the chord progression in the instrumental bit is the best compromise I could imagine)

I actually really get the George girls who were a bit bummed out by the rollout of the song. He DID get the short end in this situation! but… what would have been better? I saw some people say Paul isn't nearly as good a slide guitarist at George. Okay well then… So Paul should've hired a session musician? How does that makes sense? Paul should've asked Dhani to find some random guitar bit George recorded 25 years ago and frankensteined it onto this song? I'm asking this honestly: what should have been done instead? Because… I sort of got the feeling from some of the criticism that the only acceptable solution was to not release this song at all. And TBH I don't think George "getting the short end" is worse than not allowing Paul and Ringo the closure of completing this song. This wasn't perfect but again: yes, this is how death works.

[jacke-12]

Uncle Albert/Admiral Halsey (1971) - Paul and Linda McCartney

Genre: progressive pop, psychedelic pop

Peak position on US Billboard Hot 100: 1

After The Beatles broke up Paul McCartney released two widely dismissed albums, McCartney and Ram. He made music that was too lightweight, too inconsequential - he needed John Lennon to add some edge to their music. Of course, these critiques have been swapped for praise in recent years, and it is McCartney's playfulness and charm that makes his best solo work so great. This song is perhaps the best on Ram and a perfect example of why he deserves just as much respect as George and John did for their solo work.

It certainly doesn't lack in ambition; so much happens in five minutes. It is another song in the same vein as "A Day In The Life" and "Baby, You're A Rich Man", in that it is composed of unfinished songs spliced together to form a complete one. The first of the medley, "Uncle Albert", is a gentle song, with a sweet melody, but with that psychedelic strangeness hanging over it with the sound effects of the thunder and rain, and the disorienting, swirling backing vocals towards the end of the section. It gradually builds before it transitions into "Admiral Halsey", the livelier of the two tracks. This song will at points randomly speed up and slow down as Paul McCartney sings in an exaggerated British accent in between goofy horn sections and, surprisingly, the soaring, magnificent "hands across the water" chorus.

People made fun of Linda McCartney's singing but I love what her voice adds to this album, and when they sing together like on this chorus it is so fun and lovable (I always think its sweet when couples make music together like this). They combine to similar excellent effect on "Long Haired Lady" later in the album, which also features a repeated chant as on this song.

I have no idea what "Hands across the water / hands across the sky" means, or what the lyrics mean at any point in the song, but that's part of the fun. And the song is always fun, and never takes itself seriously. Sure, it is incredibly aware of how silly and charming it is but when it succeeds at being silly and charming then I don't think that matters. And I admire Paul a lot for choosing to make music that's less serious, even if it makes it easy to overlook him in favour of his ex-bandmates' much grander artistic statements. Paul's work and this song are quietly ambitious and just as artistic; they contain many interesting and unique ideas, but still always try to be cute and likeable as well.

[piratewithvigor]

My first thought in regard to every band that gets played on my radio station

ACDC: Every dad’s favourite band

Adams, Bryan: Every mom’s favourite singer until Michael Buble came along

Aerosmith: haha they thought Vince Neil was a lady

Alice Cooper: he’s a Game Of Thrones fanboy and I have proof

Alice In Chains: my sister doesn’t like them because she decided AC were Alice Cooper’s initials ONLY

Allman Brothers Band: good music for dropping acid to

Allman, Gregg: That’s too many Gs for one name

Animals: House Of The Rising Sun, or who even cares

Argent: Sometimes Hold Your Head Up is really catchy

Asia: Tuesdays

Autograph: one of the members went on to be a pharmacist

Bachman-Turner Overdrive: There are just so many pop culture jokes about Taking Care Of Business that whatever I say won’t be as funny

Bad Company: with their song; Bad Company, off their album; Bad Company

Benatar, Pat: Always getting her confused with Patti Smith

Black Crowes: I like them for Lickin, but it doesn’t seem to exist outside of one shoddy video on youtube and my old CD

Blackfoot: this band name feels kind of racy

Black Sabbath: Dio was not better or worse than Ozzy; just different

Blondie: I like Call Me, but Blondie confuses me stylistically

Blue Oyster Cult: MORE COWBELL

Bon Jovi: Hello, childhood trauma, I missed you

Boston: ONE GUY. ONE GUY DID IT ALL AND NO ONE KNOWS

Bowie, David: Don’t let your children watch The Man Who Fell To Earth, or David Bowie’s will end up being the third penis they see in life

Browne, Jackson: Another musician ruined by Supernatural

Buffalo Springfield: Jack Nicholson was at the riot they sing about

Burdon, Eric: no ideas, brain empty

Bush: ditto

Candlebox: ditto once more. Who are these people?

Cars: This band feels so gay and so straight at the same time, I can only assume they’re the poster children of bisexual panic

Cheap Trick: I played Dream Police on Guitar Hero so fucking much because it was the only song anyone who played with me could keep up with

Chicago: Chicago 30 exists, but they do not have 30 albums. Fucking riddle me that

Clapton, Eric: 6 discs in one Greatest Hits is too many. That’s called “re releasing your discography”

Cochrane, Tom: For some reason, everyone thinks Rascal Flats did it better

Cocker, Joe: Belushi did it right

Collective Soul: who?

Collins, Phil: If his biggest hits were done by MCR, they would be emo anthems, but because he’s 5′6″ and from the 80s, they’re not

Cream: *Vietnam flashbacks on the hippie side*

CCR: *Vietnam flashbacks on the war side*

CSNY: David Crosby; meh

Deep Purple: THEY’RE SO MUCH MORE THAN SMOKE ON THE WATER

Def Leppard: the only music for when you’re a heartbroken bitch but also a sexy one

Derek And The Dominos: Clapton and ‘Layla’ broke up

Derringer, Rick: Tom Petty if he was from the midwest

Dio: You thought it was an anime reference, but it was me, Dio

Dire Straits: You can tell how bigoted a radio station is based on how much of Money For Nothing they censor

Doobie Brothers: I have yet to smoke weed, but I listen to the Doobies, and I think that’s pretty close

Dylan, Bob: I take back everything I said about him in my youth

Eagles: Hotel California isn’t their best song, but the memes that come from it are second to none

Edgar Winter Group: @the--blackdahlia

Electric Light Orchestra: Actually an orchestra and sound a fuckton like George Harrison

ELO: I really hesitate to ask what happens with the 7 virgins and a mule

Essex, David: no prominent memories of him

Fabulous Thunderbirds: cannot spell

Faces: Who on earth thought that was a good album name?

Faith No More: I got nothing

Fixx: One Thing Leads To Another is a damn bop

Fleetwood Mac: I ain’t straight, but I’m simply not enough of a witch to enjoy them to full potential

Fogerty, John: He got sued cause he sounded like himself

Foghat: Slow Ride slowly becoming less coherent feels like a drug trip

Foo Fighters: He was just excited to buy a grill

Ford, Lita: deserved better

Foreigner: dramatically overplayed

Frampton, Peter: a masterful user of the talk box

Free: dramatically underplayed

Gabriel, Peter: leaving Genesis changed him a lot

Genesis: if someone likes Genesis, clarify the era, because yes, it does matter

Georgia Satellites: sing like you have a cactus in your ass

Golden Earring: Twilight Zone slaps, but it doesn’t slap as hard as this station thinks it does

Grand Funk Railroad: Funk

Grateful Dead: I like their aesthetic more than their music

Great White: there are so many fucking shark jokes

Greenbaum, Norman: makes me think of Subway for some reason

Green Day: the first of the emo revolution

Greg Kihn Band: RocKihnRoll is literally the most clever album name I’ve ever seen

Guns N Roses: They have more than three good songs, but radio stations never recognize that

Hagar, Sammy: I’m still trying to figure out where he lived to take 16 hours to get to LA driving 55 and how fucking fast was he driving beforehand?

Harrison, George: He went from religious to rock, and if he had continued rocking, he would have gotten too cool 

Head East: I respect people who use breakfast foods as album names

Heart: Magic Man and Barracuda are played at least once every goddamn day. They’re not even the best songs!

Hendrix, Jimi: I have both a cousin and a sibling named after Hendrix references

Henley, Don: Dirty Laundry gives me too much inspiration

Hollies: Somehow sound like they’re both from the 60s and the 80s at the same time

Idol, Billy: he’s doing well for himself

INXS: Terminator vibes

Iris, Donnie: knockoff Roy Orbison

James Gang: too many funks

Jane’s Addiction: if TMNT had a grunge band representative

Jefferson Airplane: *assorted cheers*

Jefferson Starship: *assorted boos*

Jethro Tull: The only band to make you feel not cool enough to play the flute

Jett, Joan: icon

J. Geils Band: I requested them on the radio once and it got played

Joel, Billy: he really did just air everybody’s business like that

John Cafferty And The Beaver Brown Band: literally wtf is that name

John, Elton: yarn Elton sits in my basement, unstaring. Please someone take him from me

Joplin, Janis: Queen

Journey: Stop overplaying Don’t Stop Believing. It takes away from the rest of the repetoire

Judas Priest: literally started the gay leather aesthetic

Kansas: another fucking band Supernatural stole

Kenny Wayne Shepherd: the man confuses me to the point where he isn’t in the right place alphabetically

Kiss: Mick Mars and I will simply have to disagree on the subject

Kravitz, Lenny: runaway vibes

Led Zeppelin: Fucking fight me if you don’t think they’re the most talented band (maybe not the most talented individually, but collectively, no one comes close)

Lennon, John: My least favourite Beatle for reasons

Live: I got nothin

Living Colour: slap a decent amount

Loverboy: do you not get TURNT the fuck up to the big Loverboy hits? Who hurt you??

Lynyrd Skynyrd: Sweet Home Alabama is a Neil Young diss track

Marshall Tucker Band: no opinion

Manfred Mann’s Earth Band: VERY STRONG OPINIONS THAT THEY AREN’T GOOD

McCartney, Paul/Wings: Power couple

Meatloaf: I have nothing but respect for a man who willingly named himself Meatloaf

Mellencamp, John: voted cutest lesbian of 1987

Metallica: I liked their appearance on Jimmy Fallon

Midnight Oil: I get them confused for Talking Heads a lot

Modern English: who?

Molly Hatchet: Hollies vibes, but also Georgia Satellites vibes

Money, Eddie: DAN AVIDAN, IF YOU SEE THIS, COVER TAKE ME HOME TONIGHT

Motley Crue: Stan Mick Mars and John Corabi. They’re the only ones who deserve it

Mott The Hoople: no one loves them except for David Bowie

Mountain: props for naming an album ‘Climbing’

Nazareth: I want to make a John Mulaney joke here, but I can never come up with one

Nicks, Stevie: witch queen

Night Ranger: I get them confused with Urge Overkill

Nirvana: Kurt Cobain was the ally grunge needed

Nova, Aldo: he’s Canadian, at least

Nugent, Ted: *serves a ghost as jerky*

Offspring: nothing here

Osbourne, Ozzy: this bitch crazy

Outfield: Your Love is kind of a sketchy song, but it slaps hard

Palmer, Robert: low quality Eddie Money

Pearl Jam: *grunts in Eddie Vedder*

Petty, Tom: I have so many feelings about Tom Petty and they are all good

Pink Floyd: which one is Pink?

Plant, Robert: solo career is a crapshoot, but his voice is unparalleled

Poison: I want them to write a song called ‘Alice Cooper’

Pretenders: I want to say good things, but I have nothing to say

Queen: A doctor of astrophysics, a screaming girl, a disco queen and a diva walk into a bar. It’s Queen; they’re there to play a gig

Queensryche: neutral opinion

Quiet Riot: they got big because of a song they hated. I love that

Rafferty, Gerry: the second-sexiest sax opening in all of music

Rainbow: Ritchie Blackmore created something very magnificent

Ram Jam: one good song and they didn’t even write it

Ratt: I’m sure they have more than Round And Round, but I don’t know it

RHCP: funky, but if you have paid money to hear them, you’re going to The Bad Place (I don’t make the rules)

Red Rider: basically Golden Earring

Reed, Lou: Walk On The Wild Side would be such a cool song if it wasn’t so dull

REM: American Tragically Hip

REO Speedwagon: Props for having a dad joke as an album title

Rolling Stones: Never in my life could I imagine the drummer being named anything but Charlie

Rush: How to make being uncool the coolest fucking shit

Santana: The world needs more Santana

Scandal: There’s something really funny about The Warrior being my brother’s “song” with his girlfriend

Scorpions: Was Wind Of Change written by the CIA? Only the spotify podcast I got an ad for once could say

Seger, Bob: A different variety of Eric Clapton (frankly a better variety, but that’s just me)

Simple Minds: we ALL forgot about you

Skid Row: Sebastian Bach is prettier than all of us

Soundgarden: music that makes you feel like you dunked your head underwater

Springsteen, Bruce: my arch-nemesis. Maybe someday, he’ll find out about it

Squeeze: according to my friends, the stupidest band name ever, but they’re theatre kids, so you know

Squier, Billy: If he can make it through 1984 alive, you can make it through whatever bad day you’re having

Stealers Wheel: Yet another band who I always mistake for George Harrison

Steely Dan: my house’s nickname for the Robber in Settlers Of Catan

Steppenwolf: Either makes me think of Jay & Silent Bob, Jack Nicholson, or that time I had to cut 6lbs of onions

Steve Miller Band: when you’re in the right mood, they slap hard

Stewart, Rod: my soundtrack to summer 2015

Stills, Stephen: Love The One You’re With Is Catchy, but the lyrics are questionable

Stone Temple Pilots: the only band to write a song about goo you smear on yourself

Stray Cats: an obscene amount of merch is available for them

Styx: Supernatural would have ruined them for me too if I hadn’t been into them previously. 

Supertramp: I hunted for Breakfast In America for two years and it was worth every hunt

Sweet: I will never understand my two-month obsession with Ballroom Blitz when I was 15, but it was legit all I listened to

Talking Heads: you may find yourself in a pizza hut. And you may find yourself in a taco bell. And you may find yourself at the combination pizza hut and taco bell. And you may ask yourself; ‘how did I get here?’

Temple Of The Dog: I keep confusing them for Nazareth

Ten Years After: somehow still relevant

Tesla: not the car or the dude

The Beatles: Evokes a lot of opinions from people. Mine is that I love them

The Clash: I showed my sister the ‘Lock The Taskbar’ vine ONCE and it still kills her

The Doors: evokes teenage terror from deep within my soul

The Guess Who: Canada’s answer to confusing question-themed band names

The Kinks: kinky

The Police: wrote the theme of 2020 and everyone somehow forgot it was about a teacher resisting becoming a pedophile

The Ramones: playing all of their songs in a row wouldn’t take more than 2 hours

The Romantics: you don’t think you know them, but if you’ve seen Shrek 2, you have

The Who: If someone can explain Tommy to me, I’d be glad to hear it

The Zombies: I think they happened because of the 60s

Thin Lizzy: Could the boys maybe leave town?

Thorogood, George: blues, but make it modern

Toto: the most memed song behind All Star

Townshend, Pete: just makes me think of the end of Mr. Deeds

T-Rex: Mark Bolan is an icon

Triumph: The no-name brand of Rush

Tubes: like the yogurt

Twisted Sister: they did a christmas album and my mom does NOT hate it

U2: U2 Movers; we move in mysterious ways

Van Halen: RIP Eddie

Van Morrison: honestly, who’s named Van?

Vaughn, Stevie Ray: Steamy Ray Vaughn

Walsh, Joe: The Smoker You Drink The Player You Get

War: Foghat, but even groovier

Whitesnake: the most successful band to be named after a penis

Wright, Gary: the 90s thanks him for writing the song every movie used for the “guy sees cute girl and it’s love at first sight” scene

Yes: To Be Continued

Young, Neil: The best part of CSNY

Zevon, Warren: the album cover of Excitable Boy makes me deeply uncomfortable for reasons I don’t understand

ZZ Top: has been the same three guys since 1969. Lineup unchanged. 

3 Doors Down: They feel a little modern to be on a classic rock station, but whatever

38 Special: Why 38?

[binderclipdocs]

Hello! I’m wondering what your take is on Dear Friend (and especially “I’m in love with a friend of mine”?) I find the song a little confusing, and I’ve read a lot of different interpretations. I really love your films and I know you’ve done a lot of research, would love to know what you think. Thanks!

Thanks for your appreciation, anon!  I love Dear Friend and am happy to share my thoughts on this haunting, mournful, mysterious song!

I’ll be the first to admit the lyrics are confusing (like so many McCartney songs!), mostly by virtue of the fact that Paul uses “friend” twice in a row.  Are there two friends, or only one?  By using the word “friend” on top of each other as he does, it suggests either a single friend (the titular “Dear Friend”) in two situations OR two friends, in separate/competing situations.

Dear Friend, throw the wine 

I’m in love with a friend of mine 

Really, truly, young and newlywed

Of course, everyone is entitled to their own opinion, interpretation, fantasy, etc.  and no one but McCartney himself can definitively declare precisely what he meant with this song.  But it’s my opinion that Paul was saying the latter; that he is in love with his friend and new wife, Linda.  This is my conclusion after having deeply researched this period extensively for TWO documentary series (McCartney (2020) and Understanding Lennon/McCartney), an opinion that obviously no one is required to entertain and anyone is free to discard.  But for those who are interested, I’ll share my reasoning below.

Firstly, this is NOT an attempt to disprove that Paul was ever in love with John or vice verse.  They both used this term publicly and therefore probably/possibly did privately with each other as well.  But Paul’s statements in April, 1970 pretty clearly spell out the situation:

“Personally, I don’t think John could do the Beatles thing now. I don’t think it would be good for him.

John’s in love with Yoko, and he’s no longer in love with the other three of us. And let’s face it, we were in love with the Beatles as much as anyone.”

So John and Paul were “in love” (with each other as people, or the Beatles as a concept, or Lennon/McCartney as a team, etc) for a long time.  But by 1970, they both have new spouses and new lives and are following different paths.  Here’s a brief recap of the events that led to this statement:

In a now-famous meeting in September 1969, John told Paul that he was leaving the Beatles and wanted a divorce.  Whether this was an idle threat designed to scare/hurt Paul, or a real desire on John’s part is open to interpretation, but Paul, for his part, took it seriously.  

Allen Klein asked John not to go public with his decision to leave the group and John happily and uncharacteristically agreed to sit on this “news” indefinitely.  Paul subsequently disappeared for 6-8 weeks, mourned the loss of the band privately in Scotland, and then began working on his first solo album. Communication between John and Paul fell apart at that point, and John began a campaign of maneuvers - possibly engineered or facilitated by Klein - to bring Paul back into the Beatles’ fold and force him to submit to Klein’s management and John’s leadership. Backed into a proverbial corner by John, George, Ringo, Yoko and Klein, Paul played the last card he had: he quit.

In April 1970, Paul made the split official (deliberately or accidentally? YMMV) with the release of his first solo LP, and attempted to finalize the divorce with an uncooperative John for the remainder of the year. As is pretty well-documented, Paul tried for a quick and amicable split, requesting a release from the Beatles’ contract. But after John was unresponsive and Allen Klein advised him to set duplicitous legal traps that would prevent Paul from separating from the Beatles, Paul (as advised by his lawyers) decided to sue for divorce by the end of 1970.

By 2020, even the most casual Beatles fans know two basic truisms: 1) that Paul loved John always and 2) that Paul didn’t want the band to break up. Of course there’s more to the story than just that. We have also been told repeatedly that John “left Paul,” but this is not the whole truth either.

Essentially what John did was yell “I’m breaking up with you!” and then block the door every time Paul tried to leave.

As late as September, 1971 John is still saying publicly that he hopes Paul will return.  

Int.: Let's talk a bit about Paul's aversion to Klein. From what we've read it seemed as if this wasn't there in the beginning, even though Paul wanted the Eastmans to run things. But it came on later as things progressed. And yet despite this, we gather that Klein was still hoping that Paul would return to the group.

John: Oh, he'd love it if Paul would come back. I think he was hoping he would for years and years. He thought that if he did something, to show Paul that he could do it, Paul would come around. But no chance. I mean, I want him to come out of it, too, you know. He will one day. I give him five years, I've said that. In five years he'll wake up.

[Narrator voice: Paul did not came back.]

Yes, Paul loved John.  No, Paul didn’t want the Beatles to break up.  

But when John said he wanted out, Paul took him seriously, respected his decision, never made a single attempt to woo John back and showed up 6 months later with a moving van and divorce papers.

When you hear Dear Friend out of context -knowing only that Paul loved John and was sad after the breakup- it’s not wholly unreasonable to think maybe Paul was declaring his eternal love for John here:

I’m in love with a friend of mine really, truly, young and newlywed

But when you experience Dear Friend in the proper context, that interpretation sounds less and less likely.  Here’s Paul:

April 21, 1970

“I’m not blaming her. I’m blaming me. You can’t blame John for falling in love with Yoko any more than you can blame me for falling in love with Linda.

We tried writing together a few more times, but I think we both decided it would be easier to work separately.  I told John on the phone the other day that at the beginning of last year I was annoyed with him. I was jealous because of Yoko, and afraid about the break-up of a great musical partnership. It’s taken me a year to realise that they were in love. Just like Linda and me."

Summer 1970

Paul writes John a 12-page letter requesting that they “let each other out of the trap.” John’s response was a picture of himself and Yoko with a balloon drawn above his head saying “How and Why?”

Paul responded: “How? By singing a paper that says we hereby dissolve our partnership. Why? Because there is no partnership.”

April 16, 1971

PAUL:  “We used to get asked at press conferences, 'What are you going to do when the bubble bursts?' When I talked to John just the other day, he said something about, 'Well, the bubble's going to burst.' And I said, 'It has burst. That's the point. That's why I've had to do this, why l had to apply to the court. You don't think I really enjoy doing that kind of stuff. I had to do it because the bubble has burst-- everywhere but on paper.' That's the only place we're tied now.”

Nov 11, 1971

MM: But John said to me that what you’d done in bringing the [court] trials up and everything was what they all wanted, that you’d just done it a lot earlier than they would have done.

PAUL: Well if that’s true, well… well, come on! That’s – see, I’ve told you… The joke is, though, that we don’t have to do trials. It’s not necessary. If the four Beatles signed a bit of paper, or even ripped the old contract up and said, “This contract is no longer valid, we all hereby said it, we all legally direct the shareholders…” the whole thing, to wind it all up, we could do it. And if that’s really what he wants, he could do it this minute. [snaps fingers]

Furthermore, Paul was deeply in love with Linda during this period, as reflected by: the songs on both McCartney and RAM, the testimony of those around them at the time and by Paul’s own recollections.  The first few years of Paul and Linda’s marriage was their honeymoon period, their era as newlyweds.  It was certainly an awful time for Paul in many respects:  the business battles of the Beatles were excruciating and extremely stressful and the loss of his three best friends was heartbreaking. Furthermore, the rock press had largely turned against him (sometimes viciously so), and John & Yoko (and Allen Klein) were painting him as a traitor to the counterculture and a villain for destroying the Beatles with his granny music, giant ego and overbearing personality.  Paul and Linda were extremely isolated, partially by choice and partially by force.  

But even though this was a terrible time for Paul in many respects, he was extremely happy with his new family.  He later described this period with Linda as one of the happiest periods of their life. Paul has said numerous times Linda (along with nature and horse-riding) brought him out of depression after the Beatles ended and gave him the strength to push forward with his solo career, at a time when many were rooting against him (and a literal cult was forming that claimed he was DEAD and had been replaced by an inferior imposter- let that sink in for a moment!).  He has been consistent about it over the years, and reiterated it as recently as 2020:

UNCUT: Tell me about the guy in the photo n the McCartney sleeve.  He looks happy. 

PAUL:  I was really happy, yeah.  The Beatles had become such a business machine, and with the arrival of Allen Klein the whole thing, every day was very unpleasant. 

UNCUT: So there you were on the farm, finding solace in a new family... 

PAUL: Yes. I had a little place in Scotland.  So we just went out there. “It’s so remote, no one can be bothered trekking all the way up here for a meeting.” It was a good period. We grabbed our freedom- you know what, we seized the day! Also, I had a new baby; I’d not been a father before, so I was very happy.

In December of 1970, John gave his infamous Lennon Remembers interview to Rolling Stone.  According to the liner notes of the Wildlife reissue from 2018 (and confirmed by the timing of the demo), Paul composed Dear Friend in reaction to John’s comments in that interview (not How Do You Sleep, as is commonly believed).  But he sat on the song for awhile and didn’t record it until late 1971 (for inclusion on Wildlife).  Judging from the tone of Too Many People and other songs on RAM, Paul’s initial sadness, confusion and disappointment gradually morphed into (or perhaps swung back and forth between) anger and defiance, accompanied by a taunting and/or gloating tone.  Having gotten Dear Friend out of his system, it seems it simply didn’t fit thematically on RAM. Perhaps after the release of HDYS, Paul was deflated and despondent enough to return to Dear Friend?  Perhaps Jealous Guy tempered or calmed Paul’s anger?   

Or maybe it was just a genuine attempt to turn the heat down.  We know that immediately following its release, John and Paul agreed (seemingly at Paul’s insistence) to quit bickering in public.

In any case, Dear Friend is a complex songs with a spectrum of emotions. Unlike Jealous Guy it is not apologetic; it’s mournful but also incredulous and slightly accusatory.  Paul appears to be calling John’s bluff:  Do you really believe all the bullshit you’re spewing?

Are you a fool, or is it true?

The John Lennon of Lennon Remembers is without hope or faith, denouncing everything he ever believed in and everyone he ever trusted -with the notable exceptions of Allen Klein, Phil Spector and Yoko.  Paul clearly loves John and hopes to salvage their relationship, but Dear Friend was written at a time when John was being manipulated and exploited by people he later admitted were misplaced “daddy figures.” While Klein and Spector turned out to not be the most reliable friends to John, Paul certainly seems to know and understand John’s vulnerabilities and motivations better than most.  As he sings in the demo:

Are you afraid?  Or are you blue?

So why does Paul mention that he’s newlywed and in love with Linda? Firstly, because he is, and he wants to celebrate with his best friend. We know Paul’s desire was for the two couples to make peace and be friends.  Pour the Wine.  Clink glasses and celebrate their new marriages together.

PAUL: Dear Friend was to do with John, a bit of longing about John. Let’s have a glass of wine and forget about it. A making up song. (July 2001).

This is precisely what the two couples did in December of 1971, immediately following the release of Wildlife.  

JOHN: We were both nervous, the four of us were nervous. I hadn’t seen him for a long time. I’d spoken on the phone [with him]. Uh, it was alright, you know. It was alright.

This is precisely what happened again throughout 1974 (with John & May Pang this time around), which John affectionately called their “Beaujolais evenings.”   

Admittedly, It may seem odd for Paul to mention that he is happily married (and in love with another “friend”) in a make up song to John.  Until you think about the romantic tension between John and Paul and Paul’s bold public recognition of it with this statement:  “It’s taken me a year to realise that they were in love. Just like Linda and me.” Paul acknowledges here that John is in love with Yoko and wants John to acknowledge his love for Linda as well.  

In Dear Friend he’s communicating that there is nothing to fear; they are secure in their respective marriages, there is no need to be hurt or angry or jealous anymore.  We’re no longer partners, but we can still be friends.  “Let’s have a glass of wine and forget about it.”  A softer, gentler version of: Wake up, John. It’s over. Sign the fucking papers already.

So I think of Dear Friend as an olive branch, but not the groveling type some apparently do.  And I most definitely do not think it was a signal to John that Paul was still in love with him, despite being newlywed to Linda. 

I suppose it might seem a bit brutal for Paul to be singing about loving someone else in a song to John (although he’s done it before and I think John has done the same).  But I honestly think it is something Paul believes John needs to hear and accept at this point; that he is “really, truly” in love with Linda and that he’s not about to divorce her or run after the first “blonde with big tits” as Allen Klein so charmingly suggested. 

By September 1971, John still hasn’t seemed to accept Linda, or Paul’s relationship with her:

John: Paul always wanted the home life, you see. [... long, rambling story about being terrified when Paul got a job in 1961 and for a second looked as if he might abandon John and the group] 

 All the other girls were just groupies mainly. And with Linda not only did he have a ready-made family, but she knows what he wants, obviously, and has given it to him. The complete family life. He's in Scotland. He told me he doesn't like English cities anymore. So that's how it is.

Int.: So you think with Linda he's found what he wanted? 

John: I guess so. I guess so. I just don't understand . . . I never knew what he wanted in a woman because I never knew what I wanted.

With comments like this John seems (IMO) to be twisting himself into knots trying to rationalize Paul’s choice of Linda, practically wondering aloud what could she give him that I couldn’t?  He still seems unwilling to face or accept what Paul begrudgingly accepted and admitted years before: that his partner fell in love with someone else.

Here’s 76 year old Paul reminiscing about this tender, bittersweet time in his life, happy and in love with his wife and young family and simultaneously in deep pain over losing his dearly beloved best friend:

I remember when I heard the song recently, listening to the roughs  in the car. And I thought, ‘Oh God’. That lyric: ‘Really truly, young and newly wed’. Listening to that was like, ‘Oh my God, it’s true!’ I’m trying to say to John, ‘Look, you know, it’s all cool. Have a glass of wine. Let’s be cool.’

“Let’s be cool.”  Not “Please take me back,” not “Ignore my just-for-show marriage, I’m still in love with YOU.” To me, Paul is saying “I’m really, truly in love with my friend and new wife, can we please just be happy for each other? It’s all cool.” And for the record, I don’t find this sentiment any less loving on Paul’s part because I don’t think Paul being in love with his own wife (which he was), detracts from his love for John in any way. Again, I agree that the lyrics are slightly ambiguous, and perhaps this is meaningful too.  It could be that the lack of hard boundary between the two friends (John and Linda) reflects how much Paul loves them both; they certainly aren’t positioned as opposites (i.e. I love her but I hate you). Instead they’re both part of the imagined celebration; Paul wants them all to share the wine together- and he wants them to tolerate (love) each other. 

I think the traditional narrative doesn’t account for all of this because the traditional narrative does not acknowledge that John has any feelings for Paul in the first place. How in the world could Paul be asking John to “be cool” and accept the new situation when John didn’t even care about Paul in the first place and had been trying to get rid of him for years?  This perception - of John gleefully blasting Paul with HDYS and Paul replying that he’s in love with John - has taken hold in many minds and has picked up a lot of steam in recent years with so-called “jean jackets” because they fundamentally believe that Paul’s love for John was one-sided. They cannot comprehend that Paul would ever tell John to “cool it” or back off in any way (even in 70-71) because they take the surface story at face value:  John dumped Paul for Yoko and heartbroken Paul spent the rest of his life desperately trying to win John back. This is the narrative depicted in virtually every book I’ve read. My analysis is based on my own research, not this narrative.

I would invite readers of this post to watch (or re-watch) ULM (particularly volume 3 ) for a more comprehensive study of John and Paul’s relationship.  

Lastly, after doing my own independent research for McCartney (2020), I found that the Paul McCartney described by the musicians and collaborators in Paul’s life was dramatically different from the person depicted in books like Man on the Run. My films are free from narration and commentary; I rely on first-hand interviews and information from the people involved, and in my opinion there is a great deal to be learned about Paul from the way he relates to others, especially through music. And although the McCartney series is about his solo career as opposed to his Beatle career, I would definitely recommend it to anyone who is interested in Lennon/McCartney for the insights they could gain. 

Thank you very much for this ask- hopefully there aren’t too many typos!

[stewy]

This is soo random but you're one of the few that has really described the feelings that you feel when you listen to John and Pauls music(yours and mine taste are very similar) so I wanted to ask you which songs you find underrated

honestly, most solo songs are underrated because rarely do people bother to listen beyond the Beatles catalogue. these are some of favorites:

John’s

Look At Me is one of my favorites from POB and although it’s obviously a leftover from India it fits so much better with the desolation of John’s first solo than on the White Album

Cold Turkey is SO underrated!! it’s a fact the Beatles wouldn’t have ended if they’d recorded it but I’m glad they didn’t bc it was just John & his vibes now. the moaning is hot too idc

How? is unbelievably underrated as I can’t think of more fucked up lyrics from John than “how can I give love, when love is something I ain’t never had?”

I Know (I Know) is gay gay gay homosexual gay. today i love you more than yesterday???? what?? i’m not a fan of the production on the album but these are probably the best lyrics on it

Old Dirt Road and Mucho Mungo with Harry Nilsson are so damn sweet and soft with proto dream pop vibes, i love it

Steel and Glass (and HDYS?) is sexy as fuck and fuck his son for removing the saxophone in the 2020 remix (actually the entire WAB album deserves the praise Imagine has but we won’t have this conversation right now)

his cover of Do You Want To Dance is so much better and the reggae vibe is delicious, I love it. Bony Moronie is also HOT sexy hot god i wish i was *** **** sooo bad idc

(Forgive Me) My Little Flower Princess is possibly his most underrated officially released song? maybe? it’s so nice and makes me feel good idk i love it

these are just his officially released ones, he has some pretty fucking good demos out, ask me about them later

Paul’s

THE POUND IS SINKING does not get the praise it deserves. structurally flawless and gorgeous, wish the rest of his songs were more like it

Tomorrow is one of the BEST Wings songs and it doesn’t get enough love (except from me since it was my most listened song last year 😗). the cover of Love Is Strange is also much better than the original and the decision to make it reggae was genius

Darkroom is awesome and quite similar to Temporary Secretary. I wish Paul had an editor to help him put only good songs in an album but :)

Flaming Pie (the song) is fucking amazing and I think he had John in mind while writing (Heaven on a Sunday is also the best song from the album and underrated imo)

A Love For You is SUCH a good track and it deserved to be on Ram or at least Wild Life to make it better lol

However Absurd GAYEST homosexualest paul song of all-time but it’s in his worst album so i get why it’s underrated (the lyrics to Footprints are fucking insane, he was on fire, but the song itself sucks so)

The Lovers That Never Were is only popular among the mclennonies but everywhere else is underrated (especially the 1988 demo which is the superior version)

Hell to Pay and Road from his 2013 album are underrated i think since i never heard anyone talking about them

the entirety of Chaos & Creation seems to be pretty underrated to me but particularly Friends To Go and Riding To Vanity Fair and ANYWAY which is my favorite song from it :)

[amoralto]

Playgirl: Paul! (June, 1982)

(Note: I’ve been wondering if I should include more full articles/interviews on the blog, i.e. pieces that are not already available and/or hosted online. This is one of them - more of an overview/feature piece, but worth a read nonetheless. For Paul and Linda’s 1985 interview w/ Playgirl, I typed it up a while ago here. Previous quote posts from both articles: here, here.) 

-

by Mark Rowland

He turns 40 this month, and if he is anything like the rest of us, the last 20 must feel as close as yesterday. Was it really so long ago that four working-class chums from a dingy English port town sang and laughed and shook their mop-tops to signal a crumbling of the old order and a hailing of the new? You look for the signs of age in recent photographs, but the changes are so subtle—a slight hollowing of those cherubic cheeks, perhaps a hint of wariness in eyes that used to sparkle with playful coquetry. Yes, time has been a gentle thief.

The lad who stole girls’ hearts all ’round the world is a husband of 13 years standing, and the father of four. The inveterate rock ’n’ roller divides his time between home and studio, now surfacing to promote a new album (Tug of War, Columbia), soon disappearing back into the mists of his Scotland farm. Which is just as it should be. Paul McCartney, handsome and rich and brimming with easy charm—and still the mirror in which we seek the reflection of our own youthful dreams.

“I like Walt Disney cartoons—they sort of live forever.” Paul McCartney

In fact, the last decade has not treated Paul all that kindly. When it becan he was, quite simply, a hero. By its close he’d become the subject of casual ridicule, a turnabout engineered in part by the mocking comments of his former best friend and musical compatriot, John Lennon. Any critical appraisal of his band, Wings, was bound to include unflattering comparisons to the Beatles and/or snide references to the credentials of its keyboard player, who just happened to be Paul’s wife.

And then there was Wings’ disastrous final episode, a triumphant tour of Japan that abruptly terminated when customs officials unearthed a hefty cache of marijuana in Paul’s luggage. Instead of Budokan’s concert stage, McCartney commenced a 10-day engagement “live” in the local jail, regaling his fellow inmates with renditions of “Yesterday” and “Mull of Kintyre”. Then he was deported.

“He certainly received quite a shock,” recalls Michael McCartney, Paul’s brother and the author of an affectionate family history entitled The Macs (Delilah Communications, Ltd.). “But even worse was the way the media deliberately distorted his situation. When I said I was angry at what was happening, for instance, they made it sound like I was angry at Paul. So just at the crucial moment, when the court is weighing judgment, they read the papers and think, ‘My God, even his own family thinks he’s a fool.’ It could have gone to his detriment, you know. He could have been locked up for years.”

Paul’s problem, of course, is that he has always appeared just a tad too sexy, too suave, too eager to please. His equipoise looms like a red flag to critics ready to knock him down a peg, and no matter that his temperament is genuinely affable. “I don’t think I’ve ever seen him in a bad mood,” contends rockabilly great Carl Perkins, a friend of nearly 20 years standing. “I’ve worked with a lot of greats, from Elvis to Dylan, and they could all get pretty moody at times. But Paul’s not like that. I’m sure he has a time and place, but it doesn’t interfere with his outward personality.” Though McCartney is far from invulnerable, it has never been his style to exorcise personal demons in public, a la John Lennon. Instead, he turns inward, to his family and his music. When the Beatles broke apart, Paul did both—he formed a new band with his wife.

“If you want the Beatles, go see Wings.” George Harrison

“I think I’m good. I like me, I’m good. I can dig me. Can you?” Paul McCartney

“He sounds like Englebert Humperdinck.” John Lennon

Wings took flight in 1971, when Paul and Linda joined forces with old pal Denny Laine (from the Moody Blues) and drummer Danny Seiwell. It endured, in various incarnations, for eight more years and eight more albums. Paul first conceived the band as a vehicle for playing small clubs and halls, a return to his rock roots and an emergence from the isolation that, in Paul’s view, had ultimately destroyed the Beatles. As a traveling show, Wings was a hit from the start—who wouldn’t want to hear Paul play the local pub?—but a succession of pop hits soon propelled him back to superstar-sized arenas and concert halls.

Critical acclaim was not so readily forthcoming. Without the Beatles’ special alchemy Paul’s romanticism tended to drift toward pap, lacking the spark of originality that characterized the best McCartney-Lennon collaborations. His most acrid critic, to Paul’s everlasting chagrin, turned out to be Lennon. For years they squabbled like ex’s unable to leave behind a stormy marriage, but when it came to sarcastic repartee John was in a class by himself. Japes like the one about Humperdinck, or the picture of John hoisting a pig by its ears (a wicked sendup of Paul holding up a sheep on the cover of his Ram album) wounded Paul deeply. He still has not entirely recovered; in a recent interview he claimed to draw fresh solace from his conversations with Yoko Ono. “She tells me something very important,” he revealed, “that John still loved me, after all.”

“Of course my brother and John loved each other,” declares Michael McCartney, “same as my brother and I do. Brothers have their feuds—you love ’em and you hate ’em. Oh, it’s easy enough to put all the negative parts under a microscope. I could have written a book called Paulie Dearest, slagged him to death and made millions. But it wouldn’t have been the truth. With Paul and John, though, all the dirty linen was brought out in public.”

Despite, or perhaps because of, such controversy, Paul continued to pour his energy into the music, and by 1976, his faith had been rewarded. Wings toured America that year like conquering heroes. McCartney was hailed on the cover of Time, and the band’s crack performances drew wildly ecstatic crowds and rave reviews. Amidst all the hoopla, however, Paul and Linda remained serene and jocular, causing one associate to marvel that McCartney was the only touring rock star around who knew how to keep a grip on his sanity.

”Groupies, chicks. It was fabulous. I loved it. There was no stopping me after a (Beatles) show. I was the biggest raver out. But I got to thinking, ‘What am I doing with my life? Who am I getting to know? What one chick do I know as a pal?’ And there weren’t any… Mainly, I’d sown enough wild oats. Making love does become a sort of commitment—I love the idea of vows and stuff. To tell the truth, it keeps me kind of straight.” Paul McCartney, 1974

“I’m not sophisticated, a good conversationalist, looking good all the time. I don’t think of myself like Jacqueline Kennedy or Patricia Nixon.” Linda McCartney, 1974

Paul was always the most desirable of the Beatle bachelors, and by the end of the sixties, he was the only one left. Any whiff of serious romance merited close scrutiny by the press. Thus, Linda “no relation to Kodak” Eastman was in for some rough sport, when, after a relatively swift courtship, she and Paul tied the knot in 1969. A rock photographer at the Fillmore East who’d enjoyed acquaintanceships with various rock figures previous to meeting Paul, she was dubbed the “Park Avenue groupie”—a sobriquet that says more about rock’s inbred sexism than Linda’s character. (Years later, Rolling Stone slurred Joni Mitchell in much the same fashion.)

Nonetheless, Paul and Linda took to the life of domestic bliss with remarkable dispatch, a condition rather smugly documented on their first two records together, Ram and Wild Life. Since then, however, they’ve managed to sustain the ideal of traditional marriage and family—no mean feat in this era of celebrity swapstakes. Though rumors of discord surface from time to time, from all indications, their marriage remains solid. Indeed, one of the highlights of the Wings Over America tour was Paul’s impassioned rendition of “My Love”, crooning the hook “my love does it gooood” while a smiling Linda posed before the multitudes, hands on hips, letting no one miss the implications of that particular song.

“Paul would be sort of a Republican.” John Eastman, Paul’s brother-in-law and business manager

According to the Guinness Book of World Records, Paul McCartney is “the most honored man in music.” One is naturally inclined to trust Guinness in these matters, and Paul’s statistics do tell an amazing story—over 100 million album sales, 100 million singles sales and, separately, 43 million-selling songs. Since 1970, all 10 of Paul’s records (solo and with Wings) have been certified gold by the Record Industry Association of America. The last five releases have also gone platinum (over a million units sold), and his newest, Tug of War, which features Ringo, Stevie Wonder, Michael Jackson and Carl Perkins, is certain to do the same.

During the sixties, however, only a small part of the Beatles’ fabulous success translated into personal wealth. For many years the band relied on a loose network of acquaintances to handle their financial matters—most proved either honest or competent, but rarely both. But under the guidance of John Eastman, Paul has since realized a vast financial empire, with an estimated annual income, mostly from record and publishing royalties, of about $40 million. His publishing house, MPL, originally established for tax purposes, is the largest independent song publisher in the world, holding the rights to scores from Grease, Annie, Hello Dolly, A Chorus Line, Bye Bye Birdie and Mame; standards from “On, Wisconsin” to “Stormy Weather” and “Autumn Leaves”; the entire catalog of Buddy Holly songs, rags by Scott Joplin, songs by Ira Gershwin, even the theme to the Dinah Shore TV show. And in a recent twist of fate, Paul and Yoko are currently negotiating with British mogul Sir Lew Grade to buy back Northern Songs, the catalog of early Beatles hits (including “Yesterday”) that was sold during the sixties. The whimsical Beatle has turned out to be one savvy entrepreneur.

Less publicized, however, are McCartney’s frequent gestures of charity. He’s performed various benefits for UNESCO, and, in 1979,, following a plea from then-Secretary General of the United Nations Kurt Waldheim, he personally organized a giant pop concert to raise the emergency relief aid for Kampuchea. The event and subsequent album, Concerts for the People of Kampuchea (featuring the Who, Queen, the Pretenders and Elvis Costello, among others), has netted UNICEF over $600,000 to date, according to organization officials. A concert movie will also be released around the United States and Europe this summer.

McCartney’s generosity crops up in smaller, more personal encounters. “When I first decided to become a writer, I sent a bunch of stuff to Paul,” recalls Laura Gross, now a radio interviewer at KRLA, the “Beatles station” of Los Angeles. “Then, when he came to L.A., I knocked on the door of his hotel, and he said ‘Oh yes, I’ve read your stuff, you ought to send us what you’re doing. Linda and I are very interested.’ Here I was, a stranger and a nobody, and he took the time to be kind. He gave me encouragement at a time when that was very important to me.”

“He was my boss,” observes Wings guitarist Laurence Juber, “but he was also my teacher. At one point he gave me a fairly substantial budget just so I could develop my own ideas. He’s an extremely benevolent sort of person, but he doesn’t shout about it. He’s aware of his responsibility to other talents, otherwise he wouldn’t be a nice person, and he is a nice person. Of course, he’s always got that element of cockiness about him, because he’s come such a long way. Don’t forget, he was just a kid off the street in Liverpool. That’s all any of them were.”

“Phony Beatlemania has bitten the dust.” The Clash

“I love Paul, he’s my favourite—brown, white, red, blue or green! He is the Beatles.” Little Richard, interviewed by KRLA’s Laura Gross

In 1974, Mark Lapidos decided to put together a kind of giant swap meet and communal gathering for Beatles fans. He called it Beatlefest, rented a hall, and ended up admitting 7,000 people and turning away thousands more. This year, Beatlefest will span 11 days in four different U.S. cities, as interest continues to mount in a group that called it quits more than a decade ago. “We’re not living in the past,” Lapidos insists. “You take surveys now and ask young people their favourite group and what do they say? The Beatles! Their music will not die. It is the cultural phenomenon of the century.”

Lapidos may be right. The past year has evidenced yet another spate of books and articles about the Beatles, along with discoveries of long-dormant radio recordings and master tapes by the Fab Foursome. And if anything, the hideous murder of John Lennon in December 1980 seems to have inspired fans to rekindle the flame of memory. “We simply couldn’t let that act destroy such an important part of our lives,” explains Lapidos. “Actually, we became more like family, pulling closer together after we’d lost our brother.”

The man who knew John Lennon best was devastated by his murder. Paul’s friend, Paddy Moloney of the Chieftains, remembers seeing McCartney looking “stunned. He said it was useless and tragic, (but) I don’t think it had penetrated that John was gone forever. I’m sure it took a few days for that to sink in.” When it did, Paul turned, as he always did in times of crisis, to his closest ally—music. At the suggestion of friend and producer George Martin, he shifted base from London to Martin’s studio on the Caribbean island of Montserrat, away from the obtrusive glare of the media. Once settled in with Linda and the kids, he called up Ringo, Wingsmate Denny Laine, Carl Perkins, Stevie Wonder, and embarked on the most ambitious and painstaking project of his musical career.

“I have never met a more dedicated musician than Paul McCartney. He’ll work all night on a little guitar lick until he gets it just the way he wants it. He’s a perfectionist.” Carl Perkins

The intensity of his commitment on Montserrat became its own kind of therapy. Between sessions the musicians would swim, sun on the beach, or take Jeep rides along the scenic island trails. But after two months, McCartney and Martin returned to London, where they continued to refine the material for another year. The sessions had produced two albums worth of music; the second set was still in its final stages of completion when I phoned Martin’s studio in March. A spokesperson remarked that McCartney was anxiously awaiting its public reception. “I think Paul wants to have a truly ‘musical’ success this time, not just a popular one,” she declared. “He really wants to be recognized for achieving something.”

In the past decade, McCartney’s most trying periods have often fostered his best work—McCartney and Ram, following the Beatles split; Band on the Run in 1973, when Wings was coming apart at the seams, and to a lesser extent, Back to the Egg in 1979, amidst persistent rumors that Paul and Linda’s marriage was on the rocks. But all of those efforts pale, I think, beside Tug of War. Here Paul has finally cast off the aureole of calculated cuteness that marred so much of his seventies music, and penned lyrics that are evocative, unsentimental and deeply personal. At the same time, the album’s sheer range and spunky, let’s-try-it-on spirit recalls the Beatles at their most ambitious, from the daring juxtaposition of rock ’n’ roll rhythm and big band texture that propels “Ballroom Dancing” to the graceful, quirky country swing duet with Perkins, to the hothouse funk of “What’s That”, a six-minute corker with Stevie Wonder that bears favorable comparison to Wonder’s own “Superstition”. Yet the record’s most eloquent moment is its most elemental—a quiet, heartfelt paean to McCartney’s fallen brother, entitled “Here Today.”

And if I said I really knew you well, What would your answer be? Well, knowing you, You’d probably laugh, And say that we were worlds apart If you were here today… here today.

Every era has its myths—from Jesus to Camelot to the Beatles—and every myth exists to fill the special needs of its culture. As Beatle Paul, he will always play the courtly knight, the crooning Lancelot in shining Nehru jacket. But the real Paul McCartney is no more or less than a talented musician with wife and kids, nearing middle age and trying, along with the rest of us, to sort out the various slings and arows of life’s fortune. It is no put-down to say that nothing he ever does, no matter how accomplished, can again approach the majesty of the legend he once helped create, precisely because it is a legend.

“Why should the Beatles give more?” John Lennon once asked, with characteristic bluntness. “Didn’t they give everything on God’s earth for 10 years? Didn’t they give themselves?”

So now Lennon is gone, though his restless, vibrant spirit survives among the living. And now Paul McCartney, unarguably one of the premier artists of his generation, continues with his own life’s work, which is simply to make music for the world to hear and enjoy; perhaps even be touched by.

[bugband]

beatles asks: 17, 23, 37, 39

(all just personal unsophisticated opinions ! and are likely to change and evolve over time so they’re more at the moment.)

17. rank the albums 

power 

~hell tier~

13. yellow submarine 

(george martin’s compositions ain’t my jam but the original songs by the beatles themselves are great)

~hell tier over~

12. with the beatles

(i don’t think the beatles were at their strongest here. i think this was where they were thinking about the next step from their debut therefore it’s a strange period. they certainly are getting into the grooves of their sound (specific to post-hamburg) as well as bringing out more original works to the public more so than the previous album. i wouldn’t necessarily say this album is extraordinary - it’s a very simple album down to the beatles’ playing and songs. this album does contain several fillers that in my opinion don’t have much substance like little child,,,but this album contains great early beatles charm in a way that’s difficult for me to explain. 

11. magical mystery tour 

this certainly is not their strongest album and i’d consider it amongst the weaker bunch,,,but there are songs on this album which i love dearly (strawberry fields forever, i am the walrus for example,,,yes primarily john’s songwriting particularly shined bright this particular year). their talent wasn’t represented in it’s full potential. 

10. beatles for sale

this does sound very harsh but imma say it, beatles for sale for the most part (disregarding the first 3 songs) is a very noticeable product of the beatles’ weariness of this time. i see this album as an effort to churn out another album to satisfy the masses and when an album is made with that intention in mind it never makes for a fantastic album. i wouldn’t say this album is a step backwards from their advances or a step beyond, i’d say it stays right in place if you understand what i mean. idk, the songs here are kinda weak. 

9. let it be 

to be honest...there’s not much i have to say about let it be. i don’t necessarily have an opinion on it nor is there much i could really say about it?? i can’t quite put my finger on it. but if we’re ranking,,,this just hasn’t always been my favorite of the bunch i suppose lol

it’s pretty okay !

8. please please me 

good good, p solid man & an impressive debut !

7. a hard day’s night

a step beyond the formulaic-ly structured songs, especially for my boy john, but with the same sound of please please me and with the beatles. i generally see this album as a little step further into what would become their music in the next year. 

6. help! 

we’re getting there,,,one step at a time 

one fantastic advance and one misstep at a time

5. rubber soul

a nice big step beyond,,,,

4. the white album/the beatles

this album imo has it’s flaws, at times it relies on filler pieces (but i’m not complaining, they aint really bad) but it was simultaneously at a creative high for my boy george, slowly bringing himself out of the shadows. overall, i love this experimental period for them and despite the troubles going on around this time, some of their best work was brought out here. 

now for my top 3

3. abbey road 

2. revolver

1. sgt. pepper

all just, fantastic. no words. 

23. which beatle are you most like?

in terms of personality...i dunno ! i see elements of myself in all of them. i don’t necessarily have a personality twin but i can see individual bits of my personality in all of them equally lmao

37. if you have beatles playlists, what are they called?

i have 2 main beatles playlists (separated from solo beatles) ! forever (a general beatles playlist primarily of my favorites) + sweat & cigarettes (a 1958-1962 playlist). i didn’t notice that the latter rhymed until later so teehee

my solo beatles playlists are: 

#9 dream (john) which also includes my favorite john songs from the beatles. it’s meant to be basically a john playlist.

cloud 9 (george)

ram on (paul)

and i don’t quite have a ringo playlist at the moment lmao

39. what are the 5 songs you could live without?

:)

don’t pass me by, why don’t we do it in the road, wild honey pie, you like me too much, maxwell’s silver hammer goodBYE

send me beatles related asks !

[wearecounterfeit]

Noisiv caught up with Counterfeit. at Hurricane Festival.

Jamie: Hello I'm Jamie. Tristan: Hey I'm Tristan. Roland: Hi I'm Roland. Sam: Er, I'm Sam. Jimmy: I'm Jimmy. Jamie: We're Counterfeit. And you're watching us on noisiv.

Favourite song to play live, from "Together We Are Stronger?" Jamie: As Yet Untitled. Roland: You Can't Rely. Tristan: You Can't Rely. Sam: You Can't Rely. Jamie: The whole set. Jimmy: You forgot about Hold Fire. Jamie: Hold Fire? Hold Fire. Sam, Roland & Tristan: It's not on the album.

Best live act? Sam: Saw Alice Cooper. Had four outfit changes, thought that was pretty mental. Jamie: Michael Jackson. Tristan: Ooooh. Michael Jackson yeah, saw him with you. He was pretty good. Erm, I'd probably say Slipknot at Download.

Festival vs solo gig: 

Jamie: They're both different. Festivals are wicked. Er, solo gigs are also dope as well. Festivals you get to see a lot of your favourite bands play as well.

Tristan: Yeah it's kind of like a free ticket to festivals. Jamie: It is. We're just stoked to watch our favourite bands.

Arsenal vs Chelsea: 

Sam: Arsenal. Roland: Chelsea. Tristan: Arsenal. Jimmy: Chelsea. Jamie: Portsmouth!

Karaoke Favourite: 

Jimmy: Shaggy - It Wasn't Me. Sam: Avril Lavigne - Sk8er boi Jamie: Bon Jovi - It's My Life

Pizza vs Burger: 

Jamie: Pizza. Jimmy: Both. Sam: Pizza burgers yeah.

Ever fucked up on stage? Roland: Every show. Jamie: Always. Sam: I'll pass to the mic to Roland. Roland: Every show yeah. Tristan: Roland's fucked up my show. Roland: It's just constantly carnage around me. Sam: Roland fell off the stage in soundcheck once. Roland: Before we'd even played. Yeah I have a habit of unplugging everyone around me, including myself. Jamie: You'll see Roland playing from the side of stage from now on. Roland: Very confined to a little space. Jamie: In a box, in a pen.

Greatest band ever? Jamie: Oh we were talking about this yesterday. It's a tough one y'know for greatest band ever. We're listening to The Beatles, we're listening to the Remixed Sargent Peppers that's just come out. Y'know, what a stellar band but also I love The Doors, for me.

Last thing looked up on wikipedia? Jamie: Tristan Marmont, I've been changing his wikipedia page for like years now. Sam: Trying to figure out who he is. Jamie: Yeah.

Favourite 80s song? Jimmy: Hot For Teacher by Van Halen. Jamie: Is that 80's? Jimmy: I think it is. Jamie: Is that early 80's? Jimmy: I think it is. Jamie: There you go. Hot For Teacher. Sam: Cheryl Lynn - Got To Be Real. But I'm not sure if it was 80's, I'm trying to think, it might have been a bit earlier, might have been a bit later. Roland: I wasn't alive in the 80's. Sam: Yep. Tristan: Shame.

Favourite gig? Jamie: It's tough. Roland: There's so many. Tristan: Aerodrome for me. Sam: We played yesterday and people decided to, it was pretty sick, everyone just decided to sit down and start rowing in the middle of our songs. In the middle of a circle pit. Like it started off with 2 guys, they all just sat down and did that. Started off with a couple of guys but by the end of the song there was like - Roland: 10 rows. Sam: 10 people wide - Roland: 20 people. Sam: And then going all the way back. It was mad. It cracked me up. Jamie: Yeah, Southside was great. Roland: Aerodrome. Jamie: Aerodrome in Prague was amazing. We played with Linkin Park and Enter Shikari and stuff, like that was fucking dope. That was dope. Roland: Our hometown shows. Jamie: Yeah SlamDunk as well. Roland: Home town shows, slamdunk, electric ballroom. Jamie: Ballroom was good, Underworld back home. Roland: Cologne. Last show of tour. Jimmy: Yeah that was a really good one at the first Cologne show, what was that called? Roland: Luxor. Jimmy: Luxor. I love it there yeah.

Fidget Spinners: 

Jamie: I don't. Jimmy: I've never had a go at one. Sam: I had a go on a really like low end one and it was kinda depressing. I didn't get the full experience. I didn't really fully understand it at the time. Maybe I'll learn. I don't know but. I'm open. I'm open to it. I don't fully understand it. Roland: There's a lot to learn. Jamie: It just seems like a bunch of fucking abec nines all like rammed into something that's like a wheel. Sam: It's a big wheel. Jamie: Yeah why don't you just buy a skate wheel. I don't understand why you don't just buy a skateboarding wheel and like rep some skate brands.

Favourite joke? Jamie: Jimmy, don't look at me. We can't. Sam: What did Captain Hook say before he got on the ship? ....Arghh let's get on the ship.

Favourite album? Jamie: As an album I have to go back to Sargent Peppers again because as an album that is like beginning to end it takes you on such a fucking ride. Like, it's such a journey. Y'know we were talking about it again, obviously everyone has got their favourite tracks from that album. Mine's probably "A Day In The Life" which is just like, that's a real story song. But that album back to front is mindblowing. Jimmy: "The Dark Side Of The Moon" (Pink Floyd) is a good one. Jamie: Oh yeah. Sam: Slipknot, "Iowa". Jamie: I picked up a vinyl, the first vinyl I bought was vinyl by a band called Chicago Transit Authority. And it's I think, they later became Chicago, and it was way more like progressive and kind of like Jimmy Hendrix esque in its delivery. So that album obviously like has a very like special place in my heart.

Favourite venue? Jamie: Oh, Wiesbaden, Schlachthof. Roland: Schlachthof. Sam: Schlachthof, Wiesbaden. Tristan: Oh yeah, that was pretty sick. Roland: Big up Germany.

Sam: We've been Counterfeit. I hope you've enjoyed our ramblings. Jamie: Yeah we're hitting up some festivals this Summer. Taubertal, open flair and some others, we'll catch you out on the road. Thanks very much.

[officialpda]

all of them pussy

Which Beatle do you think would be your best friend? … why? Not john or any of them except for ringo hes a good boy

Which Beatle do you think would want to date you? … why? none of them im Ugly im not sure but uh hey 1964 paul date me

What year of The Beatles did George look most attractive? all of the years bc hes always beautiful but have u seen 1966 george.....

What year of The Beatles did Ringo look most attractive? 1969 hands down

What year of The Beatles did John look most attractive? like....ok u kno how i won the war? when he had that short hair? yeah 1966 john was Good

What year of The Beatles did Paul look most attractive? all of them except for sgt peppers dont talk to me about his nasty ass mustache 

Favorite album + favorite section or song from it (i.e. The White Album from Sexy Sadie to Cry Baby Cry) um ! i cant pick a favorite album hold on

all of sgt peppers

octopus’s garden - her mastery - abbey road

back in the ussr - i will - white album

help! - ticket to ride - help!

all of magical mystery tour

i have...too many favorites

Do you have good play on words for anything Beatles, like the classic, John Lemon? i accidentally said outloud “jog lemon” and also rigno and my phone autocorrects rimglri to ringo

Is there any Beatles meme that you like? hmm im not sure

Out of all of their solo career’s which Beatle’s solo stuff do you like the most? pauls........have u heard ram u h dont talk to me abt wings

Have you seen all of Beatles movies? (I am not counting the BeeGees thing because, cmon man!) y e s i love magical mystery tour so much and also help but u h let it be lol whos that

How would you wish to meet John? (I’m letting you use time-travel on these ones) i would like to meet him in a bar fight and punch him in the nose no uh im not sure ? i’d love to know him during like....help era or smth though and be like...a photographer where i can ask questions and take pics n stuff idk !

How would you wish to meet Paul? i want it to be 1967 and im an interviewer and hes high kinda and wearing that hideous magical mystery tour sweater vest and hes all over the place with his answers and hes happy an d

How would you wish to meet George? idk but let it be era would be yes but also like ! george in like...the 80s-90s ish...he was like a litl old grandpa and i love him

How would you wish to meet Ringo? i wanna meet old man ringo and Hug Him bc hes a good boy

Smut fics? (yes or no) nah

starrison, lennison, mmcharrison, or mclennon? (+ any other ships I couldn’t figure what the names would be) me and paul, paul and the mmt sweater vest, 1961-1966 john and glasses, brian esptein and happiness 

Last time your cried about anything relating to the Beatles? uh i cry every time i listen to across the universe which i listened to like...five hours ago

Do your parents/guardians buy a shit load of Beatles stuff? i have three posters, a tee shirt, johns books, and five records sweats

If the Beatles were teenagers right now and had to fit a teen stereotype what would it be? pauls still the cute one, johns the rebel, ringos the sweetheart, and george is the quiet mysterious one

Is there anything about the Beatle’s history that you do no know much about and would like to? i want to know more about the break up, hamburg, and their relationships with all of the beatle girls (esp jane)