After a long break, I’ve returned to some Beatle-themed reading with The McCartney Legacy Vol 1 by Alan Kozinn, a former Classical reviewer for the New York Times and co-presenter on a Beatles Podcast Things We Said Today, and Adrian Sinclair.
Focusing on Paul’s solo years, in what is planned to be a three volume series, Vol 1 covers the years 1969 to 1973, just after the release of Band on the Run. It deals primarily with Paul’s music and recording sessions but also includes the goings on in his legal cases against the other Beatles, which was in any case relevant to his music, plus some day to day personal details. Throughout the chapters it separately itemises each recording session and what was recorded, overdubbed, mixed etc.
The first volume highlights how haphazard and disorganised Paul was in his early post Beatle recordings. He tended to book time in a studio, hire session musicians (or use his newly formed Wings) and just record things he had lying around. When he wanted to release an album he’d look at what he had and patch something together. His work ethic wasn’t always to the level he’d gained a reputation for with the Beatles. Glyn Johns worked on the Red Rose Speedway sessions and eventually quit as he thought Paul and the band wanted to get stoned rather than knuckle down. Johns was also less than impressed with the early Wings as a band. Paul’s erratic work style continued until Band on the Run when he seemed to plan out the album a bit more. He aggravated EMI as he’d send all the bills for studio time and session musician hire to them.
The book gives interesting insights into Paul’s personality at this time. He initially got some players offside by auditioning them for what were essentially studio roles. David Spinoza, a NY session guitarist, in particular was a bit condescending given he considered the session players well above Paul’s standard as an instrumentalist and able to play anything he wanted. Paul was also demanding, wanting the players to be at his beck and call when he often suspended work for several days or scheduled sessions at the last minute. As players like Spinoza, guitarist Hugh McCracken and drummer Denny Sewell were in-demand session players, they couldn’t afford to let other gigs go begging, even to work with a Beatle. When Paul decided he wanted to form Wings, only Denny Sewell was willing to make the move to the UK to give it a go. McCracken considered it but turned Paul down and said Paul never spoke to him again. Nevertheless, all the players who worked with Paul came to admire his talents. Spinoza, in the end, enjoyed working with Paul but had too many scheduling clashes to continue.
Paul’s parsimonious ways with the early Wings members is already well known. They were all on a 70 pound a week salary, although were promised shares of recording and touring income at a later date. Whenever they jacked up at this, Paul would wheel out Lee Eastman to explain that Paul’s money was tied up with Apple and the court cases and so there would be no extra money until everything was resolved. They accepted this but did notice when Paul bought a new Lamborghini.
Linda was a divisive figure. Some found her high handed; a consequence of her patrician upbringing and now partnership with one of the world’s most famous men. Others found her down-to-earth and a pleasure to be around. Her (lack of) musical skills did irritate Henry McCullough, the first Wings guitarist, and Denny Sewell, who felt she was holding Wings back early on and imagined what they could achieve with, say, a Billy Preston on keys. When confronted with this, usually by a drunk Henry, Paul would agree but shrug and leave it at that. It calls to mind John drafting Stuart into the Beatles despite his lack of musical experience and keeping him in despite Paul’s objections. Most agreed though that Linda’s distinctive backing vocals were an important part of the Wings sound.
The first volume isn’t exactly complimentary to Denny Laine. He’s presented as talented but a bit of a slacker. It seems he was the perfect fit for Paul who really wanted a pliable sidekick more than a true collaborator.
As the book ends the first version of Wings has fallen apart and Paul has recorded and released Band on the Run with just himself, Linda and Denny Laine. Paul’s request to Henry and Denny Sewell to go to Nairobi for the recording was too much of an ask on their minimal income. Henry in particular had had enough of Paul’s autocratic ways in the studio. Even after his tour de force solo on My Love, for which he had to practically beg Paul to be allowed to attempt, Paul showed no sign of loosening the reins and allowing genuine input to the songs. At one stage shouting at Henry that “you’ll just f***ing play this” when Henry was arguing for a different guitar line. After Band on the Run, Paul seems have come to the realisation he would never have a band like the Beatles again, in which all members had a genuine say and chance to contribute, and that the next incarnation of Wings would need to be developed with the clear understanding of who the boss was, without the pretence of being an all for one and one for all band.
