Named after the debut single by Teenage Fanclub.
This blog is all about being a music lover in Glasgow; reviews, interviews, memories, old faves, new discoveries (past and present), playlists and more. Thanks for visiting - I hope you discover something amazing you have never heard before, or that you rediscover an old favourite.
Regular features/playlists; Never Ending Mixtape / Cover Version of the Month/ Trust Me.
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Calico Skies is a gorgeous mid-period Paul McCartney song from 1997's Flaming Pie album. It's one that I always come back to and regularly discuss with my good friend Dougie.
Dougie and his lovely wife Fiona played Calico Skies to their newly born daughter Ailsa when they were en route home from the hospital. When you hear the chorus you might suddenly find something making your eyes water. A perfect choice.
In case, like me, you wondered what a calico sky actually is, here is what google returned - it is a meteorological term for a sky covered in patchy, high-altitude clouds, typically cirrocumulus or altocumulus. These clouds break up into small, distinct and puffy white or grey sections separated by blue sky, closely resembling the patchy, multi-coloured coat of a calico cat.
So there you go!
As for the song, McCartney is at his melodic and romantic best. The acoustic guitar riff is playful, McCartney's voice is tender and sincere. There is no doubt who McCartney is singing to - Linda - the love of his life.
It was written that I would love you
From the moment I opened my eyes
And the morning when I first saw you
Gave me life under calico skies
Then we have the gorgeous chorus, McCartney pouring his heart out. Pure love and pure care. Beautiful. This melts my heart every single time I hear it!
I will hold you, for as long as you like
I'll hold you, for the rest of my life
McCartney then ups the romance! What a guy. What a songwriter. The second verse is heartfelt, a complete outpouring of love, beautiful to hear and to read. Imagine having someone write poetry like this for you. Macca was head over heels for Linda.
Always looking for ways to love you
Never failing to fight at your side
While the angels of love protect us
From the innermost secrets we hide
Then back into the chorus, that sounds even better second time in.
McCartney has described Calico Skies as "a gentle love song that becomes a gentle protest song", as you can tell from the third verse. The last line really nails Paul's colours to the mast.
Long live all of us crazy soldiers
Who were born under calico skies
May we never be called to handle
All the weapons of war we despise
Then we're into a double chorus which includes a subtle but clever single word change second time round, with Paul changing hold to love.
I will hold you, for as long as you like
I'll hold you, for the rest of my life
I'll hold you, for as long as you like
I'll love you, for the rest of my
For the rest of my life
McCartney turned 84 in June, shortly after releasing his latest album The Boys Of Dungeon Lane. His rich catalogue of music from The Beatles, Wings, as The Fireman, his classical work and his 20 solo album is truly exceptional.
Since Love Me Do b/w P.S. I Love You, Paul has written/co-written and released hundreds of songs into the world. For its warmth, heart, charm and melody, Calico Skies is a real favourite of mine.
Calico Skies is added to my Trust Me playlist; search for Everything Flows - Trust Me on Spotify or CLICK HERE. Check below for all previous blogs in my Trust Me series.
105-107. Wigan Casino - Three Before Eight - Time Will Pass You By by Tobi Legend, Long After Tonight Is All Over by Jimmy Radcliffe, I'm On My Way by Dean Parrish
Marianne Faithfull covers Lennon, McCartney and Harrison
I took a bit of a dive into Marianne Faithfull's back catalogue following her death at the end of January and discovered some wonderful songs I had never heard before, including LOADS of brilliant cover versions.
Marianne's version of Dylan's It's All Over Now Baby Blueis really cool, but this blog is going to focus on 3 covers of songs written by John Lennon, Paul McCartney and George Harrison.
But before I start, I'd never seen the photograph above before! I discovered it while looking for an image to head this blog. What a super cool, utterly gorgeous woman Marianne Faithfull was! Effortless! Her hair, eyes, style, face ... stunning!
I'm A Loser
Written in the whirlwind of Beatlemania but dripping with self-doubt and introspection,I’m a Loser was one of the first hints that The Beatles were evolving beyond simple love songs. Lennon, clearly inspired by Dylan, delivers a folk-tinged lament on failure and regret, wrapped in the kind of catchy melody that The Beatles had long since perfected. Were the lyrics about his marriage/relationship with Cynthia?
The harmonies are tight, there is a country tinge and twinge to the song and groove that you can imagine Ringo in particular being fond of. In fact, I would say that upon revisiting this song, it is probably more suited to Ringo. However, perhaps it was just too personal for John to give away.
George picks a neat guitar solo and Lennon plays harmonica to help the groove. Lennon, it could be said, sounds perhaps a little too jovial whilst singing this song.
I'm a loser
And I lost someone who's near to me
I'm a loser
And I'm not what I appear to be
Originally released on Beatles for Sale in 1964, I’m a Loserwould swiftly be followed by a more stark confession from Lennon with the single and title track of the next album - Help! This time, Lennon leaves the listener in no doubt that he means it.
A year on from The Beatles version, in 1965, Marianne Faithfull took I’m a Loser and turned it into something completely different. Faithfull's voice is firm, yet delicate and melancholic, full of heartbreak. There is more of a zip to the song, indeed this cover shaves 15-seconds off the already short (2.5 minutes) original.
Faithfull was only 18 at the time of recording her version, but already her voice carried a wisdom beyond her years. Her cover hints at the kind of raw emotion she would later become known for.
Reading back through her tough life in the aftermath of her break up with Jagger, when she was living on the streets of London and addicted to heroin, the lyrics become a little haunting. Yet, as with everything Marianne Faithfull seemed to touch, there is beauty. You feel every word.
Yesterday
So much has been written about Paul McCartney's Yesterday that I'm really not sure if I can add anything helpful in this blog. But I'll give it a go!
Quite simply, it's a masterpiece! Paul singing over an acoustic and a string arrangement seemingly played on heart strings. McCartney is heartbroken, pining for his love and yesterday when, love was such an easy game to play.
Marianne Faithfull takes Paul's poetry and portrays the heartbreak and heartache perfectly. Released on her 1967 album Love In A Mist, Faithfull's voice is angelic, backed by gentle piano and a choir who sound heaven sent. Quite simply, this is as good as it gets. Sublime. 2-minutes 15 seconds of perfection.
Beware of Darkness - George Harrison
Written by George Harrison and released on his stunning 1970 album All Things Must Pass, Beware of Darkness beautifully captures Harrison's spiritual energy and empathy, the lyrics are both deeply personal and universally resonant.
George's delivery is gentle but urgent, his voice full of quiet authority. You believe him. The song, like much of All Things Must Pass, is awash in Phil Spector’s signature production—big, spacious, reverb-heavy—but at its core, it remains an intimate, almost prayer-like composition.Beware of Darkness has a really beautiful and pure feeling to it.
Where Harrison’s version warns you about darkness, Marianne Faithfull sounds like she’s already deep inside it. Faithfull recorded the song back in 1971 for an album Masques, but this sat unreleased until 1985 when it was released as part of compilation album called Rich Kid Blues.
Faithfull strips away the warmth of Harrison’s original and replaces it with something raw and fragile. Spector's rich production is replaced by something sparse, stark, almost ghostly. The lead guitar is exquisite.
I get a little chill listening to Faithfull's cover. Marianne's voice, weathered and worn by experience, carries a depth that makes every word feel lived-in. She doesn’t just sing the warning—she has lived through it. Faithfull was only 25 when she recorded the song, but was struggling with addictions. Following her break up with Jagger, Marianne lost custody of her son, attempted suicide and was living on the streets of London. Masques was recorded to try and help her, the record label rejected it.
Faithfull's cover versions and The Beatles and George Harrison originalsare added to my Everything Flows Cool Cover Versions playlist on Spotify which also features all of the songs listed below. Search for the title or CLICK HERE
Now and Then, the 'last' Beatles song, was released earlier today.
The song, like Free As A Bird and Real Love from the Anthology Series in 1995, stems from a John Lennon demo. Back in 1995, the technology didn't exist to isolate John's vocal from the piano.
That was then, this is now. John, Paul, George and Ringo are united once again, to complete the song, continue The Beatles story and help with yet more Beatles remasters and reissues (of the Red and Blue compilation albums).
Personally, I'll never tire of reading about The Beatles, or listening to their brilliant music that wowed (and changed) the world, or hearing their musings and philosophies on life. Give Peace A Chance, All You Need Is Love, We All Shine On .... important then, more so now.
The Beatles story is wonderful and this is another chapter of the most incredible book that takes in; friendship, music, death, love, travel, children, creative souls, mind-blowing success, mind-bending drugs, break-ups, make-ups, reflection ... and four characters that developed through the years, four people we all fell for. It's been quite the journey ... a long and winding road.
Now, with Paul and Ringo in their 80's, this really is likely to be the last time The Beatles create and release a new song. Their legacy will last forever and I'm sure that someone somewhere is working up an ABBA experience style series of shows ... but lets focus on the new song.
The piano is haunting, and Lennon's voice hits hard, it gripped me immediately. Paul comes in, subtly at first, then your hear his voice coming in stronger, then Ringo's drums seem harder and Paul's bass is there, the strings are sublime and everything builds quite beautifully.
Paul sounds older, his voice still gelling with Lennon in the 70's. George's slide guitar from the 90's is there, the strings swirl and after the second chorus there is a gorgeous dreamy instrumental with classic Beatle aaahhh's and oooohhh's.
I know it's true
It's all because of you
And if I make it through
It's all because
Of you
There was a surge of optimism in mid-90's Britain when The Beatles last released new music. Britpop was at its 1995 peak and Labour were riding towards government. The Tories were on their way out and the nation was ready to party - things could only get better.
We could sure use a surge of optimism and change right now!
Oh yeah, George has left The Beatles, leaving John, Paul, Ringo and Yoko to kind of break down in the studio, letting out their own frustrations in experimental noise.
On Sunday, The Beatles all head out to see George to try and persuade him to come back. It doesn't go well. They then hear through the grapevine that Harrison is in Liverpool, so that leaves them with a few days of hanging around.
At one stage, early in Part 2, Paul McCartney has tears glistening in his eyes as the remaining Beatles sit around contemplating that this might be the end. It's a very emotional and moving scene. We are also able to listen to Paul and John talking off camera, thanks to a microphone hidden in the Twickenham Studio canteen.
But...
George returns! The band move out of the cavernous Twickenham Studios (which really didn't help in any way at all) and into a kind of DIY Apple studio in Saville Row. It's just a small rehearsal room and Glyn Johns, seemingly single handedly, constructs a control room and studio.
All of a sudden, John Lennon seems like a different person. Acting up for the camera, bantering with McCartney, changing into fresh clothes, finding energy and enthusiasm for the project.
George is back, but he is off camera for large chunks of part 2. Was that part of the deal for him coming back? He's sitting in the corner behind John and Yoko and due to the reduced size of the room, the cameras can't get to him easily.
For a while it's just all Paul and John, laughing with each other, bouncing off each other, in the zone. It's so beautiful to watch.
And then Billy Preston comes in and the band are all over him. Smiling, laughing, talking of the Hamburg days. Preston sits in with them, looking super stylish and cool, but also like the cat who got the cream ... or The Beatles!
Preston jams with ease and the mood is lifted again. The decision to banish any thoughts of travelling to record a finale to the film/documentary also helps with the relaxed atmosphere. And McCartney changes the performance date decisively, pushing it back to allow more time to play. McCartney also takes charge and the others let him - saying that they need purpose for and outcomes from every day.
And then George is smiling! The scowls from episode 1 seem like a distant memory / nightmare. All of a sudden George is suggesting they release Get Back as a single - next week. For the first time, the band are a real band - singing from the same sheet (with help from Mal Evans writing down the lyrics) in the rehearsal room and also in the control room. Everyone is on the same page - even Michael Lindsay-Hogg who had previously been trying to badger the band into travelling and scenes ... he is just enjoying the mood, the music and the opportunity to watch the band at work - just like us.
The beauty of the documentary really shines in part 2. The Beatles at work and play - together. Lennon wisecracking, McCartney in the zone, Starr loving it and George is even allowed to make suggestions without being shot down!
I particularly love the footage of the band playing George's For You Blue with Lennon improvising on the slide guitar that has just been brought in. We get to see the take that was used on the original Let It Be album, with Harrison highlighting that he wants something raw, recorded in a maximum of 4 takes.
There is also incredible footage of The Beatles 1968 trip to India, beautifully edited to fit in with a conversation that Paul is leading about watching his homemade footage the previous night.
And then conversations change from the band playing on Primrose Hill to playing on the roof of the building they are in. We see the smile on Paul's face as this suggestion is relayed to him and then we see him boosting himself and others on to the roof for a look. This is a brilliant scene, a real pleasure to witness the suggestion and the first look at the rooftop.
I'll go back to watch part 2 of Get Back many times over the months and years ahead. From feeling a little heartbroken watching the tension, frustration, lack of direction and George walking out in part 1 ... to laughs, smiles and the sight of The Beatles playing and having fun - beautiful.
I was introduced to The Beatles Let It Be album as a teenager. i distinctly remember buying the cassette from Impulse Records in Hamilton and playing it on the way back to Carluke in the car with my Mum.
It's not the best Beatles record, it's not my favourite, but I love it. The rawness, the guitar sounds, Lennon singing everybody had a wet dream, a mention for Matt Busby, McCartney pouring his heart out ... and then I'd learn of the rooftop gig. One of my favourite Beatles moments.
And I learned of how the album came about, of how the film that documented recording was essentially a documentary of The Beatles breaking up on screen.
And then came the trailer for Peter Jackson's new version of the documentary that promised the band playing together, joking and looking like a band.
Who is right? The legions of fans who had watched bootleg footage over the years? Or Jackson?
Only one way to find out.
Part 1
At one point in Part 1 of the Get Back documentary George Harrison says that The Beatles have 'been in the doldrums for at least 18-months' and it shows. It's January 1969 and they are sitting around in a cavernous studio with dates circled in the calendar for a rehearsal and a show.
Over cups of tea and toast, a glum faced Ringo, scowling Harrison and spaced out Lennon with Yoko by his side (often knitting) and a couple of George's Hare Krishna mates sitting cross legged in the background, The Beatles look a little lost. Paul McCartney, in contrast, looks like he has had a double espresso, raring to go.
Trusty sidekick Mal Evans is there, a very cool looking Glyn Johns who looks like he should be in a band himself and director Michael Lindsay-Hogg, almost permanently smoking fat cigars, are trying to cajole them into action.
The trouble is, they have very little new material ready to go. There are immediately bug bears - Lindsay-Hogg constantly goes on about filming the performance in far away places that none of them have the desire to go to, while straight away Harrison is moaning about the sound and lack of equipment. Eventually George's own recording machine 'careful with that, that was £10,000' is wheeled in out the back of an Apple branded truck.
Lennon has Don't Let Me Down, McCartney has Two Of Us and that is about it. They play endlessly with Don't Let Me Down, McCartney adding backing vocals and ad libbing endlessly to try and generate some energy.
His friend Lennon produces some outrageous rock n roll vocals, even while sitting down, but the energy isn't there. Lennon and Ono were heavily rumoured to be in a heroin haze around this time.
Harrison plays All Things Must Pass, but in almost the same breath he says he's not sure he wants any of his songs used. Lennon has the bones of Gimme Some Truth that the band jam through.
George speaks in awe of his friend Eric Clapton, the band play I'm So Tired looking bleary eyed / bored / stoned and Lennon nods off.
At one point during this stage McCartney was beginning to annoy me, as well as Lennon and Harrison, as he attempted to find something in Don't Let Me Down. Eventually Glyn Johns steps in to offer his own solution and things thankfully move on.
Paul talks about something being too complicated, needing to be simplified, then complicated, but it's complicated enough ... I'm surprised George didn't down tools and walk off at this point!
'I'm trying to help you, but I always feel as if I am annoying you.' Paul
McCartney is the one that downs his bass, frustrated by the pressure of leading the band after the death of Brian Epstein.
You could cut the air with a knife, the tension is palpable. This is when George says his famous line about playing whatever Paul wants him to play, or he'll not play at all. This is only day 3.
On day 4, in the face of adversity McCartney starts jamming Get Back. Harrison, despite yawning at the start, realises he is on to something. The footage is remarkable, Paul finding the melody, improvising lyrics, George joining in on guitar. And then Paul finds the hook get back, get back, get back to where you once belonged. Ringo sings it with him. Lennon has yet to turn up!
Lennon rocks up wearing the same clothes as the day before, Lindsey-Hogg goes back to talking about going away, and the good vibe is lost.
At one point McCartney gets frustrated from the lack of enthusiasm, Harrison says that a lot will come out of it if we get the enthusiasm. McCartney says he wants to do a show but doesn't feel a lot of support. It leads to The Beatles default leader saying this will be the last. We either go home, or we do it.
Maybe we have a divorce, says George. Well I said that at the last meeting, says Paul. Who'll get the children, jokes John.
You think things can't go any lower ... then McCartney introduces the band to Maxwell's Silver Hammer! Mal Evans even bangs a hammer! Lennon's eyes have no spark at all.
On to 8th January Harrison introduces I Me Mine, allegedly about McCartney. If Paul, realises, he hides it well, probably just delighted that George has something to offer. Paul then has a conversation with John to say they are facing a crisis. Lennon offers him the reassurance that he comes up with the goods when he has his back to the wall.
There is a great moment when John and Paul share a microphone, standing up to sing Two Of Us. But then they are back to Maxwell's Silver Hammer!
Then, as The Beatles are all off in different corners of the room, with Lennon discussing a potential amphitheatre show, McCartney is seated at a piano, playing Let It Be, working on the song lyrics and structure. Starr looks on wistfully and comments to someone that he could watch Paul play piano all day long.
Tension is everywhere though and the people involved in filming and recording notice it. Lindsey-Hogg says to John - Paul and you are not getting on as well as you did. The distraction of not knowing where the actual performance will be filmed takes up a lot of time and discussion. Ranging from hiring boats to Africa, to dance halls, to the Tower of London. George is mightily pissed off at this point.
Day 6, Paul shows up with a fresh faced Linda McCartney looking beautiful and cool. As if to show off to Linda, Paul immediately goes to the piano to play Another Day. Mal Evans leans against the piano and Paul begins to play The Long And Winding Road, Mal writing down lyrics and giving his opinion
Mal's face is lovely, just smiling at his friend displaying his immense creative talent. Linda looks on adoringly. What an absolute joy to see this footage - McCartney totally in the zone, he then plays Golden Slumbers as Linda takes pictures. George arrives and Paul then plays Carry That Weight, his idea for a song for Ringo.
George plays For You Blue, Lennon and Yoko arrive with John still wearing what he describes as his continuity clothes, with moss growing under my arms.
Harrison plays a Dylan song, maybe a sign of where he was at, or where he wanted to be. John and Paul re in a jokey mood, George clearly isn't in on the joke.
The footage is remarkable, the four play Let It Be, all of them recognising the beauty in the song. Yoko and Linda chat, laughing and smiling together. For a brief moment, everything seems harmonious.
Day 7 - George does not look happy! Paul and John seem to be interacting well, McCartney is leading on conversation and direction. He is always facing John though, Harrison sits quietly smoking on his amp and is shot down when he attempts to join the conversation.
McCartney talks about some chords being fashionable or unfashionable, and vamping! Harrison's scowl intensifies as Paul bounces Get Back off John for help with the lyrics. The old partnership is still there. Harrison, is sidelined. It's noticeable he remains seated even when Lennon and McCartney are standing to play Two Of Us.
It's ironic the song the band are playing is titled Two Of Us as Harrison gets up for lunch to announce.
I think I'm leaving the band now. Now. get a placemenmt, write into the NME.
Post lunch, the remaining Beatles appear to have a nervous breakdown on film with Yoko howling as the Paul, John and Ringo create heavy metal noise and feedback.
Ahead of the forthcoming release of McCartney III I thought I would take a look back at McCartney from 1970 and now McCartney II from 1980.
If Paul McCartney's eponymous album McCartney had surprised upon release in 1970 in terms of style, substance and the way Paul chose to step away from The Beatles, McCartney II, released in 1980, also caused a stir among his fanbase.
A lot had happened in the 10-years between the albums. You could have bet your house on Paul being the most prolific and busiest of Beatles following the split and it certainly turned out that way; Paul formed Wings, released 8 albums and toured the world a number of times.
McCartney II is largely discussed in terms of Paul experimenting with synths and while tracks like Temporary Secretary, Front Parlour and Frozen Jap live up to that description, other parts of the album are bluesy or stoned jams; Bogey Music, On The Way, while Darkroom somehow sits across the two, sounding like it could easily fit in on a Gorillaz album. Elsewhere McCartney creates songs that sound like they could be leftovers from his Beatles days; Summer's Day Song and One Of These Days.
Coming Up introduces us to McCartney II and it is a very welcoming opening song, upbeat and full of Paul's melodic and catchy charms. The rhythm sounds like a speeded up reggae groove, almost like a raw Chic style guitar.
As with McCartney, Paul plays everything by himself, this time going for a 16-track portable studio rather than the rough n ready 4-track he used on his 1970 album. On Coming Up it sounds like he is having fun, jamming on the groove and injecting real energy into the hooks. Listen on headphones to appreciate everything McCartney is up to, throwing in little riffs, sounds and backing vocals while holding it all together with a big fat bass.
My friends, Stephen, Craig & Mick who were in the band Sonny Marvello - mentioned many times in blogs through the years - introduced me to McCartney II. They were (are) McCartney nuts and knew his solo catalogue back to front.
Personally, I was pretty late to McCartney II and I was really surprised when I heard Temporary Secretary when Mick played it in his old flat back in 2010 before we headed out in glorious sunshine to see McCartney play Hampden Park.
Temporary Secretary is bubbling synths and McCartney setting a frantic, frenetic, pace and groove. NME memorably described it as not so much ahead of its time, but out of it altogether. There is so much going on, but of course this is Paul McCartney, it is ridiculous but brilliant, ridiculously catchy, brilliant leftfield pop.
Things change, On The Way is raw and bluesy in feeling, the bass roots the song as Paul plays some exquisite blues guitar. It sounds a little out of place after the first couple of songs.
Waterfalls could have benefited from being a little rawer and shorter in length, akin to some of the songs on McCartney. Paul's voice sounds more forlorn and mature than on other songs on the album.
And I need love
Yeah I need love
Like a second needs an hour
Like a raindrop needs a shower
McCartney sounds like he's having fun jamming with himself on Nobody Knows, its like his own Let It Be session, he ad libs backing vocals to himself.
Meanwhile Front Parlour was the first song to be recorded for the album, in the front parlour of an old farmhouse. The song was trimmed down for the album with an extended version being available on the deluxe edition when it came out on CD. It's McCartney experimenting in a typically melodic, combining different sounds to create riffs and grooves.
Summer's Day Song is really rather beautiful, sounding like it could have been on Abbey Road. It's dreamy, mellow and melodic. Paul's voice, particularly on the second verse, is at its best.
Someone's sleeping, through a bad dream
Tomorrow it will be over
For the world will soon be waking
To a summer's day
If someone heard Frozen Jap in the Sub Club in Glasgow they could easily mistake it for Hot Chip or LCD Soundsystem. This is utterly brilliant, sounding fresh, melodic and groove based. There is a little Krautrock in there.
McCartney mixes it up with Bogey Music which sees him dive from the future away back to the 50's but with a little bit of extra echo effects. It's a throwaway, in my opinion the album would have been stronger with the full versions of Front Parlour and Frozen Jap, or one of the songs that didn't make the cut until the reissue with bonus tracks - see further on in the blog.
Darkroom is bit of a reggae and dub groove with McCartney playing with voice styles and backing vocals. This song and the bonus track Check My Machine sound like something that Damon Albarn would love for his Gorillaz project.
The album closes with a wistful McCartney singing One Of These Days which sounds remarkably boring compared to some of the stuff he conjures up.
I've mentioned bonus tracks. There is some incredible stuff!
McCartney apparently recorded 20-songs in June and July 1979, many made up on the spot The aforementioned Check My Machine is an sensational stoned experimental groove, the bubbling 10 minute plus Secret Friend (the b-side to Temporary Secretary) is dreamy with samba style bass and percussion while McCartney goes kind of crazy over it. It somehow works!
Mr H Atom/I'll Get You Baby starts with a voice (Paul's) saying Shangri-Las versus The Village People! Linda helps on vocals over a synth bass, there is some kind of spoken word and then the insanely catchy Mr H Atom, live in a flat on, the male sound of town chanted female vocals over a groove. I love it! The closing 3-minutes of the song have a bass synth and beat with Paul shooting laser synths and making up a vocal chant over it all.
So yeah!
McCartney II is an alright album. Revisiting it, I couldn't help think about how far out and wonderful it could have been. So I've had fun creating McCartney II . 5 which you can search for on Spotify or CLICK HERE Here is my alternative tracklisting.
Ahead of Paul McCartney releasing McCartney III in December I thought I'd revisit McCartney from 1970 and McCartney II in 1980.
McCartney, Paul's debut solo album that officially announced The Beatles had split, is lovingly raw, playful, soulful and warm, perfect for the darker nights. I've been playing it a lot over the last week or so.
On reflection, I think Paul was both brave and clever to release this collection of songs as his debut album. Brave, well because he bares himself musically and emotionally, in a different way that he did with The Beatles. Where he once sang And I Love Her, with Maybe I'm Amazed he's now singing I really f**king love her and need her, she feels the same and I'm so lucky. And Paul being Paul, he shows off, playing some brilliant guitar and drums ... just because he can.
Clever, because it draws a clean line post Beatles; this is Paul McCartney doing what he does, doing what he loves, doing it because he really needs music in his life.
Dig out your copy, or find it online, sit back and press play.
Here is what I wrote down when revisiting the album.
My favourite Linda McCartney photograph
Paul keeps baby Mary warm in his jacket
When The Beatles Anthology series was broadcast and then released on CD in the mid-90's, Beatles obsessives poured over demos, out-takes and hidden gems. But then that is what they were expecting.
I very much doubt that Beatles fans were expecting home-made recordings, one-man jams and instrumentals from the first Paul McCartney solo album. And it really was a solo album; written, performed and produced by Paul, although Linda features a (blink and you'll miss it) little.
McCartney is an album I became aware of as a 15-year old after watching Paul play one of the first MTV Unplugged shows. I knew all The Beatles songs and even a few of the covers that Paul played, but it was exciting to hear him play the first ever song he wrote, I Lost My Little Girl, and he also played 3 songs from his debut album; Every Night, That Would Be Something and the simply gorgeous Singalong Junk.
Back in 1991 you couldn't log on to google and type in the name of the songs or search Paul McCartney discography to find out where you could get these songs. You had to do some digging.
The MTV Unplugged performance was released as an album (I got it on cassette!) so it was later on when McCartney's back catalogue was reissued on CD that I eventually got to hear his debut solo album in the way he intended.
McCartney was released in April 1970 and it really did draw a line between Paul and The Beatles. The pre-album press release that accompanied promo copies was issued in the form of an interview with Paul, with the questions written in conjunction with Derek Taylor, long term Beatles press officer.
McCartney stated that the break with The Beatles was due to business, personal and creative differences, but most of all because I have a better time with my family and that he hadn't missed his (former) band mates when recording.
Paul might have not missed them while recording, but he missed them, he really missed The Beatles. The break up of his beloved band (who he really led with his project ideas after the death of Brian Epstein; Sgt Peppers, Magical Mystery Tour, Let It Be and Abbey Road were all driven by McCartney) had sent McCartney off to his Campbeltown farm in Scotland with Linda, her daughter Heather and new baby Mary. Living a reclusive lifestyle and drinking heavily, Paul would later reflect that he experienced a breakdown.
Asked to describe the texture of the album in a few words, Paul answers; "Home, Family, Love."
When asked if he'll do another album, Paul answers quite defiantly; "I will continue to do what I want, when I want to."
Paul & Mary, photograph by Linda McCartney
With McCartney, he certainly does what he wants. Describing his recording set up Paul has said it was "a Studer 4-track recording machine, one mic and nerve"
With one song Hot As Sun dating back to the 1950's, two songs (Teddy Boy and Junk) from The Beatles trip to India in 1968 through to songs written in Scotland, through to improvised jams (Valentine Day, Momma Miss America and Oo You) McCartney is a beautiful organic record, largely recorded at his home in St John's Wood in London.
While Lennon was taking primal scream therapy and pouring out long held grief into the Plastic Ono Band album that would come out later in 1970, McCartney was dealing with it all on his own with the help of Linda, who, in the press release, McCartney says is "a shoulder to lean on .... and someone who believes in me constantly."
So it is apt that McCartney opens his eponymous album with Lovely Linda, as short (44 seconds), classically melodic number that ends with Paul giggling. You can almost imagine Paul hitting record and then playing it to Linda, with that little (stoned?) giggle at the end.
That Would Be Something has a real bluesy feel to it, McCartney picks out a riff and groove and at times he hums along to it. The rawness suggests that it might have been just one take for everything, satisfying McCartney's creative urge and allowing him to move on to the next song.
Valentine Day is a jam with himself, a rough and ready rhythm, McCartney improvising on lead guitar and drums. Carefree fun.
The melodic but starkly confessional Every Night is perhaps McCartney's own Help! He just wants a blow out, to lie in bed, then realises he is quite happy just to stay in and be with his love.
Every night I just wanna go out, get out of my head
Every day I don't wanna get up, get out of my bed
Every night I wanna play out, and every day I wanna oooh oooh
But tonight I just wanna stay in and be with you
And be with you
It's a beautiful song, I love McCartney's voice and delivery, the gorgeous acoustic rhythm guitar and how Paul just hums a middle eight
Hot As Sun is a glorious instrumental, the guitar riff is sublime, typically catchy and there is a great drum roll at the minute mark. The closing 40 seconds Glasses, is McCartney making sound effects on wine glasses.
Back in his Beatles days, Paul had a melody he woke up humming that he was convinced was by someone else. He would improvise lyrics to the melody, calling it Scrambled Eggs, it would eventually become Yesterday.
Junk is an absolutely beautiful melody over a gentle acoustic. McCartney's voice is at its dreamiest and the reason I brought up Scrambled Eggs, is because I get the sense that Paul is improvising lyrics to fit the melody - he does so brilliantly. I could listen to this melodic gem all day.
Man We Was Lonely is classically upbeat McCartney, reflecting on being lonely and hard pressed to find a smile, but then realising that he wants to lie with his love for a while at home. Again coming back to the Home, Family and Love theme that runs through the album.
More guitar, McCartney whispers to himself as Oo You kicks in with a swampy bluesy guitar riff and he just jams along with himself, letting out a classic Macca yelp every now and again, sounding like he's having fun.
McCartney creates a great feel with Momma Miss America, probably the most polished instrumental on the album, the addition of piano and organ help create a band feel to it. It has a cracking groove, with the bass underpinning it all.
I'd be lying if I said I was a fan of Teddy Boy. That said, there is a typical flowing McCartney melody throughout.
Singalong Junk is McCartney at his best, the music is so dreamy, melodic and romantic, just beautiful. I do prefer this instrumental version.
McCartney has always sung of love, but never so personally as he does on the exquisite Maybe I'm Amazed, which is quite simply a classic. For me, this is one of McCartney's very best songs.
Maybe I'm amazed at the way you love me all the time
Maybe I'm afraid of the way I love you
Paul's voice is clear and soulful, reflective as to where he is in life, how deeply in love he is and how appreciative he is of the love they have for each other.
Maybe I'm a man, maybe I'm a lonely man
Who's in the middle of something
That he really doesn't understand
The guitar solo sets for stun, McCartney singing-a-long in the background, it is a gem of a song. I love how true to the original McCartney has stayed through the years, he was on to something, playing the lot! What a show off! :-)
The trippy abstract Kreen-Akrore closes the album; drum solos, chants, loud electric guitar.
And that's it; a fascinating, kind of lovingly ramshackle insight to McCartney at work and play, ranging from jams, little snippets of melodies, riffs and ideas that could have been developed, through to the sublime Maybe I'm Amazed.
It certainly documents a time, Paul's feelings and realisation of his love and need of Linda, the way he can easily conjure melodies and ideas, the fun he has with music and his talents.
McCartney went on to release Ram by Paul and Linda McCartney in 1971, also forming Wings and releasing their debut album Wild Life in the same year.
I'll blog on McCartney II in November and then review McCartney III in December upon release.
