7.03pm
15 May 2015
Thanks Martha,
“And regarding the reversed 4/4 beat: you’re right, that’s so fascinating, I never noticed it before! Thanks for pointing it out! I think the change takes place between the lines
Get your feet up Off The Ground,
Life a little, get around.”
Yes that sounds right. If Paul had done this interlude “normally” he would have waited one quarter beat after “Get your feet up Off The Ground ” before singing the next line “live a little, get around” — but instead he goes straight into it after one breathless 8th beat.
On woodwinds in Paul’s songs — also the extended use of recorders (two of them, played by Paul and Linda) in “I Am Your Singer”, and the extended fast clarinet solo in the background of the long ending to “Nineteen Hundred and Eighty-Five” — fast, old-timey jazz type clarinet, reminds me of a Woody Allen movie. Both clarinet stints on the Band On The Run album (“Nineteen Hundred and Eighty-Five” and “Picasso’s Last Words” were played by Denny Laine — he’s an amazing clarinettist!)
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9.56pm
15 May 2015
Listening more closely to “Take It Away” I realized he does something he did not do some 20 years earlier when he and John were singing “I Wanna Hold Your Hand”.
In “Take It Away” after Paul sings “with a paper in his hand” — there are voices (perhaps all Paul, multi-tracked?) singing:
“in his hand, in his ha-a-a-and”
— only it’s not quite as I transcribed it. It’s actually:
“in his hand, in his ha… ha-a-and”
I.e., Paul sounds like he’s deliberately adding (or repeating) the aspirated H sound, which makes it easier to execute vocally.
What I had noted previously (5 years ago, as my former nickname “Funny Paper”, see this link) about “I Wanna Hold Your Hand” is that when they do a similar thing with the same word “hand” — even more so:
“I wanna hold your ha-a-a-a-a-a-and”
— they never add an aspirated H sound which would have made it easier to go rock-skipping-on-the-surface-of-the-water with that extension of “hand”; and they did it flawlessly and effortlessly it seems.
And yet Paul doing the same thing (with fewer syllables) 20 years later, chose not to do it, but to go the easy route.
More proof that the later Paul is not the real Paul?
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8.44am
9 December 2017
Two McCartney fragments are grabbing me just now….
1 – Coming up: I have always been impressed by the fantastic subtle ascending chordal progression in the chorus….wonderful…
2 – (and this one’s a bit more obscure): The broadcast on the Back To The Egg album. The music is just so lovely and it’s such a shame that the somewhat dodgy spoken lyrics do it such a disservice…
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4.44pm
9 December 2017
Oops…here comes another one..!!
Love that Spanish style guitar on goodnight tonight, especially when the half slappy style bass comes in over it half way through the song. Wonderful bass rift throughout….vintage McCartney….
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12.46pm
26 January 2017
I’ve been into Ballroom Dancing lately. I love the part when he goes up the octave to belt the chorus.
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-Bob Dylan, Subterranean Homesick Blues
"We could ride and surf together while our love would grow"
-Brian Wilson, Surfer Girl
6.52pm
11 April 2016
Paul’s adorable giggles at the end of The Lovely Linda are one of the sweetest sounds in the world.
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2016 & 2017:
2020:
7.31am
Reviewers
Moderators
1 May 2011
The song may be more sugary than is medically recommended for any human to consume in a year but by golly, the guitar parts in ‘Thank You Darling’ are sumptuous, as delightful as a warm hug from your most favourite person ever. And there is a damn kazoo in there (well I think it is a kazoo)!!!
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2.24pm
Moderators
Members
Reviewers
20 August 2013
The way he sounds so vulnerable and hopeful when he sings “If you believe it you can stay all night” in Hosanna. And I melt during that song when he sings “It Won’t Be Long before I hold you in my arms.” You can tell how much he means it. *sigh*
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2.28pm
Moderators
15 February 2015
Which reminds me, I do need to listen to New again. It’s been ages.
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6.28pm
28 March 2014
6.59am
7 November 2022
That squinchy sound of a reel-to-reel tape machine being turned on suddenly, followed immediately by a torrent of acoustic piano arpeggios, settling in a limpid pond of Fender Rhodes electric piano chords
— the beginning of “Ram On “.
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