8.41pm
4 April 2010
I was searching through some bootlegs today and I came across a song (Demo, really) called Suicide. It’s a McCartney song, and it’s particularly Sinatra-ish. Has anyone else heard of it? And if so, why isn’t there a page of it (on this site I mean)
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10.21pm
13 November 2009
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4 April 2010
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13 November 2009
11.55pm
4 April 2010
skye said:
He didn't consider it his best work then. It could have worked for Sinatra. I wouldn't mind hearing a polished version.
He never did consider it his best. He said it was very good for copying sinatra though. Here's Paul playing it live if anyone cares (circa Late 90's early 00's): feature=related
"The best band? The Beatles. The most overrated band? The Beatles."
3.55am
4 April 2010
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8 August 2010
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17 June 2010
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1 May 2010
2.30am
4 April 2010
3.04am
1 May 2010
MrBig said:
There should be a page for this song in the “Songs” section.
Perhaps you could do some research and make it, Joe?
Doubtful. I'm having a break after the Lennon stuff is finished, then tackling the missing Beatles history years (1966-70). After that it'll be 10 years since George died and I'm considering writing about his songs and albums.
There are simply too many releases by Paul to make it an option at the moment. I've thought about doing a few selected ones (McCartney, Band On The Run ) but my heart's not really in it right now.
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7.59pm
Reviewers
14 April 2010
Joe said:
Doubtful. I'm having a break after the Lennon stuff is finished, then tackling the missing Beatles history years (1966-70). After that it'll be 10 years since George died and I'm considering writing about his songs and albums.
Slacker!
But, seriously folks – I can't wait to see the stuff on George!
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3.46am
1 May 2010
3.05am
27 April 2010
MrBig said:
I was searching through some bootlegs today and I came across a song (Demo, really) called Suicide. It’s a McCartney song, and it’s particularly Sinatra-ish. Has anyone else heard of it? And if so, why isn’t there a page of it (on this site I mean)
A piece of this was on the McCartney album. It was also done by all the Beatles in the Let It Be sessions.
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12.16pm
19 September 2010
2.57pm
27 February 2017
This is a really cute and clever little Paul song. Not only is Paul’s vocal performance charming as it can be. I also really like how the diminished chord is used that prominently. Because I’ve always had the feeling that a diminished chord played as an arpeggio drives the listener crazy after a while, one always expects the chord to head somewhere, to reach a final destination. But it never does, one small third comes after the other, that’s just maddening! The thing is that, if I understood it correctly, the lyrics express exactly the same. I mean
If when she tries to run away
And he calls her back, she comes
That sounds really frustrating and like a situation in which one can’t help getting mad after a while because there’s nothing one can do. So Paul managed to express this madness in a very effective way because he doesn’t only sing about it, he actually makes the listener experience this madness by playing the diminished chord all over (and by inserting quiet but obtrusive (at least to the subconsciousness) notes in the background). A really clever idea, if you ask me.
Not once does the diversity seem forced -- the genius of the record is how the vaudevillian "When I'm 64" seems like a logical extension of "Within You Without You" and how it provides a gateway to the chiming guitars of "Lovely Rita. - Stephen T. Erlewine on Sgt Pepper's
2.41pm
15 May 2015
In this video of Paul doing it in some studio (looks like circa 1980s), he mentions Tony Bennett doing it, not Sinatra. Tony Bennett would be more appropriate. But I’m thinking even Dean Martin would have been cool. Or Mel Tormé, since he had the highest register of those “lounge lizard” crooners, and “Suicide” goes up way high at times.
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2.46pm
15 May 2015
Martha said
This is a really cute and clever little Paul song. Not only is Paul’s vocal performance charming as it can be. I also really like how the diminished chord is used that prominently. Because I’ve always had the feeling that a diminished chord played as an arpeggio drives the listener crazy after a while, one always expects the chord to head somewhere, to reach a final destination. But it never does, one small third comes after the other, that’s just maddening! The thing is that, if I understood it correctly, the lyrics express exactly the same. I meanIf when she tries to run away
And he calls her back, she comesThat sounds really frustrating and like a situation in which one can’t help getting mad after a while because there’s nothing one can do. So Paul managed to express this madness in a very effective way because he doesn’t only sing about it, he actually makes the listener experience this madness by playing the diminished chord all over (and by inserting quiet but obtrusive (at least to the subconsciousness) notes in the background). A really clever idea, if you ask me.
I listened to a couple of Paul’s versions, but I didn’t hear what Martha is describing. I did hear a short line of diminished arpeggio, but it didn’t seem to go on as long as Martha says. Maybe Paul did another version where he does that?
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