Sobra do Álbum Branco, “Can You Take Me?” entrou só como uma vinheta no final de “Cry Baby Cry” – ou uma introdução a “Revolution 9”. Sua versão integral chegou a ser gravada num take alternativo de “I Will” e circula há tempos em discos piratas. E poderia entrar tranquilamente no primeiro disco do Paul, dizaê.

Outra música linda:

“Junk” foi composta em 1968, quando os Beatles fizeram seu retiro na Índia, e iria entrar no Álbum Branco com o título de “Jubilee”.

“Originally written in India at Maharishi’s camp and completed bit by bit in London. Recorded vocal, two acoustic guitars and bass at home and later added to (bass drum,snare with brushes,and small xylophone and harmony) at Morgan.” -McCartney 1970

“The chorus (“Man We Was Lonely”) was written in bed at home shortly before we finished recording the album. The middle (“I used to ride…”) was done one lunchtime in a great hurry as we were due to record the song that afternoon. Linda sings harmony on this song which is our first duet together. The steel guitar sound is my Telecaster played with a drum peg.” -McCartney 1970
1 guitar
2 voices (two tracks)
3 bass drum
4 bass
5 steel guitar

É a primeira do lado B:

“The first three tracks were recorded at home as an instrumental that might someday become a song. This, like Man We Was Lonely, was given lyrics one day after lunch just before we left for Morgan Studios, where it was finished that afternoon. Vocals, electric guitar, tambourine, cow bell and aerosol spray were added at Morgan and it was mixed there. On the mix, tape echo was used to move feedback from guitar from one side to another.” -McCartney 1970

Eis a entrevista que acompanhava o lançamento do primeiro disco solo de Paul.

Q: Why did you decide to make a solo album?
A: Because I got a Studer four-track recording machine at home – practiced on it (playing all instruments) – liked the results, and decided to make it into an album.

Q: Were you influenced by John’s adventures with the Plastic Ono Band, and Ringo’s solo LP?
A: Sort of, but not really.

Q: Are all songs by Paul McCartney alone?
A: Yes sir.

Q: Will they be so credited: McCartney?
A: It’s a bit daft for them to be Lennon/McCartney credited, so “McCartney” it is.

Q: Did you enjoy working as a solo?
A: Very much. I only had me to ask for a decision, and I agreed with me. Remember Linda’s on it too, so it’s really a double act.

Q: What is Linda’s contribution?
A: Strictly speaking she harmonizes, but of course it’s more than that because she’s a shoulder to lean on, a second opinion, and a photographer of renown. More than all this, she believes in me – constantly.

Q: Where was the album recorded?
A: At home, at EMI (no. 2 studio) and at Morgan Studios (Willesden!)

Q: What is your home equipment (in some detail)?
A: Studer four-track machine. I only had, however, one mike, and as Mr Pender, Mr Sweatenham and others only managed to take six months or so (slight delay) I worked without VU meters or a mixer, which meant that everything had to be listened to first (for distortion etc…) then recorded. So the answer – Studer, one mike, and nerve.

Q: Why did you choose to work in the studios you chose?
A: They were available. EMI is technically very good and Morgan is cozy.

Q: The album was not known about until it was nearly completed. Was this deliberate?
A: Yes, because normally an album is old before it even comes out. (aside) Witness GET BACK.

Q: Why?
A: I’ve always wanted to buy a Beatles album like people do and be as surprised as they must be. So this was the next best thing. Linda and I are the only two who will be sick of it by the release date. We love it really.

Q: Are you able to describe the texture or the feel of the album in a few words?
A: Home, family, love.

Q: How long did it take to complete?
A: From just before (I think) Xmas, until now. THE LOVELY LINDA was the first thing I recorded at home, and was originally to test the equipment. That was around Xmas.

Q: Assuming all the songs are new to the public, how new are they to you? Are they recent
A: One was from 1959 (HOT AS SUN). Two are from India – JUNK and TEDDY BOY, and the rest are pretty recent. VALENTINE DAY, MOMMA MISS AMERICA and OO YOU were ad-libbed on the spot.

Q: Which instruments have you played on the album?
A: Bass, drums, acoustic guitar, lead guitar, piano and organ-mellotron, toy xylophone, bow and arrow.

Q: Have you played all these instruments on earlier recordings?
A: Yes, drums being the one that I normally wouldn’t do.

Q: Why did you do all the instruments yourself?
A: I think I’m pretty good.

Q: Will Linda be heard on all future records?
A: Could be. We love singing together and have plenty of opportunity for practice.

Q: Will Paul and Linda become a John and Yoko?
A: No, they will become Paul and Linda.

Q: What has recording alone taught you?
A: That to make your own decisions about what you do is easy, and playing with yourself is very difficult, but satisfying.

Q: Who has done the artwork?
A: Linda has taken all the photos, and she and I designed the package.

Q: Is it true that neither Allen Klein nor ABKCO have been nor will be in any way involved with the production, manufacturing, distribution or promotion of this new album?
A: Not if I can help it.

Q: Did you miss the other Beatles and George Martin? Was there a moment when you thought, ‘I wish Ringo were here for this break?’
A: No.

Q: Assuming this is a very big hit album, will you do another?
A: Even if it isn’t, I will continue to do what I want, when I want to.

Q: Are you planning a new album or single with the Beatles?
A: No.

Q: Is this album a rest away from the Beatles or the start of a solo career?
A: Time will tell. Being a solo album means it’s “the start of a solo career…” and not being done with the Beatles means it’s just a rest. So it’s both.

Q: Is your break with the Beatles temporary or permanent, due to personal differences or musical ones?
A: Personal differences, business differences, musical differences, but most of all because I have a better time with my family. Temporary or permanent? I don’t really know.

Q: Do you foresee a time when Lennon-McCartney becomes an active songwriting partnership again?
A: No.

Q: What do you feel about John’s peace effort? The Plastic Ono Band? Giving back the MBE? Yoko’s influence? Yoko?
A: I love John, and respect what he does – it doesn’t really give me any pleasure.

Q: Were any of the songs on the album originally written with the Beatles in mind?
A: The older ones were. JUNK was intended for ABBEY ROAD, but something happened. TEDDY BOY was for GET BACK, but something happened.

Q: Were you pleased with ABBEY ROAD? Was it musically restricting?
A: It was a good album. (No. 1 for a long time.)

Q: What is your relationship with Klein?
A: It isn’t. I am not in contact with him, and he does not represent me in ANY way.

Q: What is your relationship with Apple?
A: It is the office of a company which I part own with the other three Beatles. I don’t go there because I don’t like offices or business, especially when I am on holiday.

Q: Have you any plans to set up an independent production company?
A: McCartney Productions.

Q: What sort of music has influenced you on this album?
A: Light and loose.

Q: Are you writing more prolifically now? Or less so?
A: About the same. I have a queue waiting to be recorded.

Q: What are your plans now? A holiday? A musical? A movie? Retirement?
A: My only plan is to grow up!

“Junk” de novo, agora só instrumental:

“This was take 1 for the vocal version which was take 2 and a shorter version. Guitars and piano and bass were put on at home and the rest added at Morgan Studios. The strings are Mellotron and they were done at the same time as the electric guitar, bass drum and sizzle cymbal.” -McCartney 1970

A música também reapareceu no Acústico da MTV:

Que música. Às vezes acho que é a melhor música do Paul e eu tenho certeza de que é uma das músicas mais bonitas do mundo:

“Written in London at the piano with the second verse added slightly later, as if you cared. Recorded at EMI, in No.2 Studio
1 piano
2 vocal
3 drums
4 bass
5 and vocal backing
6 and vocal backing
7 solo guitar
8 backing guitars
Linda and I are the vocal backing group. Mixed at EMI. A movie was made using Linda’s slides and edited to this track.” -McCartney 1970

De novo? Vamos ao vivo, em 1973:

A mesma música, em 74, no estúdio:

Agora em 76, em Seattle:

Ah, eu poderia ficar assim pra sempre…

“There was a film on tv about the Kreen Akrore Indians living in the Brazilian jungle, their lives and how the white man is trying to change their way of life to his, so the next day after lunch I did some drumming. The idea behind it was to get the feeling of their hunt. So later piano, guitar and organ were added to the first section. The second had a few tracks of voices (Linda and I) and the end had overdubbed breathing, going into organ and two lead guitars in harmony. Done at Morgan. Engineer, Robin Black. The end of the first section has Linda and I doing animal noises (speeded up) and an arrow sound (done live with bow and arrow – the bow broke), then animals stampeding across a guitar case. There are two drum tracks. We built a fire in the studio but didn’t use it (but used the sound of the twigs breaking).” -McCartney 1970

Os índios Kreen-Akrore são mais conhecidos no Brasil como índios Paraná.

Q: Are you able to describe the texture or feel of the album…?
A: Home, family, love.

Por falar nisso, você conhece o primeiro disco do Paul? Batizado apenas com seu sobrenome, o disco de 1970 é o motivo dos Beatles terem acabado na data que acabaram, pois Paul queria aproveitar o auê em torno do fim da banda para promover seu primeiro disco gravado por conta própria – algo que ele levou ao pé da letra. McCartney é gravado apenas por ele e por Linda e é um disco tão autoral quanto pessoal, cru, melancólico e familiar em diferentes níveis. Tanto que Paul o lançou o disco acompanhado por uma auto-entrevista – e a descrição de cada uma das faixas.

Precursor do lo-fi (a maior parte do disco foi registrado num estúdio portátil de quatro canais), o disco funciona como uma resposta de Paul ao trabalho de sua musa definitiva, Linda – fotógrafa -e faz com que o beatle registre o dia-a-dia musicado do casal da forma mais naturalista possível, sem efeitos especiais nem a sensação de pertencer à maior banda de rock do mundo.

Durante esta manhã de segunda até o início da tarde, visito este disco com vídeos e algumas aspas do próprio Paul sobre as músicas, retiradas do release que veio junto com o disco. E como eu tou na mesma vibe descrita pelo Paul na tal auto-entrevista (ela vem a seguir), resolvi compartilhá-la aqui.

Composta no piano de sua casa quando ele tinha apenas 14 anos, “Suicide” nunca foi lançada oficialmente, embora aparecesse em menos de dez segundos no final de “Glasses” e tenha sido oferecida a ninguém menos que Frank Sinatra (que respondeu na lata: “Esse cara tá me tirando?”). É uma das canções em que o beatle mais exercita seu flerte com a música norte-americana e os musicais da Broadway (a lista é enorme: “Maxwell’s Silver Hammer”, “Honey Pie”, “Your Mother Should Know”, “When I’m 64″…) e dá para ver como ele se diverte fazendo o sotaque americano. Embora não tenha lançado-a, Paul já registrou “Suicide” algumas vezes: no vídeo acima ela foi gravada em 1969, ainda nos Beatles; no de baixo, temos seu registro em 1975 para o documentário sobre os Wings que nunca foi lançado, chamado One Hand Clapping, e no vídeo do final, ele a apresenta no programa Michael Parkinson Show,em 2001.

C Em
Girls it’s been my pleasure
G Dm7 C
To know quite a lot of you
Dm7
And in the main
C
You’re pretty sane, it’s true
Dm7
But there are a few who do
C
The duty to do too beautiful a job
Dm7 C
It isn’t quite what they planned
Dm7 C
The man gets the upper hand
Dm7 C
He’s takin’ her for a ride
Dm7 C
I call it… S uicide

C Dm7 Em
If when she tries to run away
G C
And he calls her back, she comes
C Dm7 Em
If there’s a next time, he’s ok
G C
Cause she’s under both his thumbs
Em Dm7
She limps along to his side
G
Singing a song of ruined life

C Dm7
Daddy says nothin’ doin’
Dm7 C
Ah—
G C
I call it… S uicide

C Dm7 Em
She loves to ride in big parades
G C
But he wouldn’t so she won’t
C Dm7 Em
She needs at least a dozen lays
G C
But if he says no she don’t
Em Dm7
He wishes she knew his sign
G
Soon there’ll be trouble brewin’ ah—

C Dm7
Daddy says nothin’ doin’
Dm7 C
Ah—
G C
I call it… S uicide

C Em Dm7 G
Sui cide, she’s com mitin’ it
C Em Dm7 G
Sui cide, he’s not gettin’ it
C Em Dm7 G C
Sui cide, it’s a quittin’ a day

Em Dm7
She limps along to his side
G
Singing a song of ruined life