Being McCartney

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.

McCartney (1970): “Valentine Day”

“Recorded at home. Made up as I went along – acoustic guitar first, then drums (maybe drums were first). Anyway – electric guitar and bass were added and the track is all instrumental. Mixed at EMI. This one and Momma Miss America were ad-libbed with more concern for testing the machine than anything else.” -McCartney 1970

McCartney (1970): “Momma Miss America”

“Rock’n’roll Springtime – Take one!”

“An instrumental recorded completely at home. Made up as I went along – first a sequence of chords, then a melody on top. Piano, drums, acoustic guitar, electric guitar. Originally it was two pieces but they ran into each other by accident and became one.” -McCartney 1970

McCartney (1970): “Every Night”

“Every Night” é demais.

“This came from the first two lines which I’ve had for a few years. They were added to in 1969 in Greece (Benitses) on holiday. This was recorded at EMI with” -McCartney 1970
1 vocal and
2 acoustic guitar
3 drums
4 bass
5 lead guitar (acoustic)
6 harmony to the lead guitar
7 double tracked vocal in parts
8 ? electric guitar (not used)

McCartney (1970): “Hot as Sun/Glasses”

“A song written in about 1958 or 9 or maybe earlier when it was one of those songs that you play now and then. The middle was added in Morgan Studio where the track was recorded recently.” -McCartney 1970
1 acoustic guitar
2 electric guitar
3 drums
4 rhythm guitar
5 organ
6 maracas
7 bass
8 bongos

A faixa também foi gravada pelos Beatles, em tom jocoso, no meio das sessões do Let it Be.

Instrumental, “Hot as Sun” ainda foi usada nos anos 80 como música-tema do programa The All-New Popeye Hour, safra de desenhos do Popeye feita naquela década. Detalhe: a versão para TV era tocada em 45 RPM – e soava assim:

No finzinho, “Hot as Sun” virava a experimental “Glasses”:

“Wine glasses played at random and overdubbed on top of each other – the end is a section of a song called Suicide – not yet completed.” -McCartney 1970

E, no final, surgia um trecho minúsculo de uma canção que Paul fez aos 14 anos, chamada “Suicide” (já já falo mais dela).

McCartney (1970): “Junk”

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

McCartney (1970): “Man We Was Lonely”

“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

McCartney (1970): “Oo You”

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

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!

McCartney (1970): “Singalong Junk”

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

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