I read that Paul felt he somehow got a little help from his late friend George. He said he felt Georges attendance very strong when he was writing Waiting For Your Friends To Go, that he hasn't got the feeling he wrote the song himself. 'I got the feeling George wrote the song, with nothing to add from my side. The song wrote itself, it went so easy that I thought it was in fact George writing one of his songs. Not me.'
I read that Paul felt he somehow got a little help from his late friend George. He said he felt Georges attendance very strong when he was writing Waiting For Your Friends To Go, that he hasn't got the feeling he wrote the song himself. 'I got the feeling George wrote the song, with nothing to add from my side. The song wrote itself, it went so easy that I thought it was in fact George writing one of his songs. Not me.'
What a cringe-making, mealy-mouthed piece of nonsense that is. Paul McCartney spends years telling us how much he contributed to John's songs, and how little John contributed to his. Then up pops this piece of idiocy - where Paul says George (George!) actually wrote a song for Paul to record.
Two things immediately occur to me: (1) The song is dreadful, and Paul can say "Well, I didn't write it!" (2) Paul thinks a phantom other-Beatle presence will help sales.
I really don't think he spent years saying what you said he said. And I don't think he down played John as much as you like to say. I do however believe he had a reaaction to the whole John as martyr and John is God and John was the genius and Paul was the fluff and so on. Maybe that's why he had to say, hey look, I was there too. He's mellowed out about it now and I think he gets it. Don't tell me that if your contributions came into question you wouldn't react. It's a natural human emotion. If he overreacted, well, than that's normal too. He's gotten past it though. Which I think needs to be acknowleged.
Oh, and I think it's from his heart when he talks about George. This is the same man who believes Linda gave him to okay to marry Heather when he heard an owl hoot. So he's spiritual. Are we going to fault him for that too? Why is everything he does taken as a ploy or as insincere? Maybe he just has those beliefs.
What a cringe-making, mealy-mouthed piece of nonsense that is. Paul McCartney spends years telling us how much he contributed to John's songs, and how little John contributed to his. Then up pops this piece of idiocy - where Paul says George (George!) actually wrote a song for Paul to record.
Two things immediately occur to me: (1) The song is dreadful, and Paul can say "Well, I didn't write it!" (2) Paul thinks a phantom other-Beatle presence will help sales.
I'd sooner listen to what Paul says than someone who knows absolutely nothing about the development of the song and It's possible that John would claim his due to the partnership if he could.
And two things immediately occur to me: (1) Maybe we should all keep an open mind on a song we haven't heard, perhaps? (2) Only one person I can think of would think of something like that, and it ain't Paul.
I'd sooner listen to what Paul says than someone who knows absolutely nothing about the development of the song and It's possible that John would claim his due to the partnership if he could.
And two things immediately occur to me: (1) Maybe we should all keep an open mind on a song we haven't heard, perhaps? (2) Only one person I can think of would think of something like that, and it ain't Paul.
I'M not saying the song is poor. I'm saying (as a reason why Paul is invoking George) that if it IS bad, or people think it is, Macca can say that it was really George!
As to your point 2 - you are joking, man! Paul is EXACTLY the one to think like that. He's always got an eye to anything that promotes him and his work ...
Info and track listing on the new Paul McCartney CD, “ChAOS AND CREATION IN THE BACKYARD”:
Produced by Paul McCartney and Nigel Godrich Recorded at Ocean Way/LA, Abbey Road/London and The Mill/Sussex. Orchestrations by Nigel Godrich Release date: September 13th, 2005 Track listing:
1 - “Fine Line” (3:02) - The first single. Great uptempo piano-based track. Lyrics include ‘C’mon brother...all is forgiven..’
2 - “How Kind Of You” (4:46) - Slow, dreamy track with pretty chords and instrumental passes. Ending is a bit Radiohead-like.
3 - “Jenny Wren” (3:46) - Classic Macca acoustic guitar and vocal track. Interesting sound in solo - perhaps a japanese-style guitar.
4 - “At The Mercy” (2:37) - Nice track with strings and some very nice diminished chords. Almost a 10cc-ish chord progression in spots. Some lyrics include ‘at the mercy of a busy day, we can think of nothing more to say.’
5 - “Friends To Go” (2:43) - Song starts off sparse and builds throughout. Great Macca piano work. Lyrics include ‘I’ll be waiting on the other side for your friends to go.’
6 - “English Tea” (2:11) - Awesome track that would not sound out of place on ‘Revolver.’ A string quartet starts the song off. Lyrics include ‘miles and miles of english garden’, ‘lines of hollyhocks and roses’ and, ‘every Sunday morning.’
7 - “Too Much Rain” (3:24) - Another standout track. Lots of acoustic guitar and piano. Nice accent on the title phrase, and nice 7th chords on title.
8 - “A Certain Sadness” (2:45) - Interesting song, sort of a musical departure for Paul. Almost latin/cha-cha in beat. Pretty piano and guitar licks.
9 - “Riding to Vanity Fair” (5:06) - This is a song directly and angrily pointed at Heather, written after her not so Paul-friendly interview in VANITY FAIR. Direct and to the point. Lyrics like ‘you put me down’ and ‘now that you don’t need my help, I’ll take the time to think about myself’. Ouch!
10- “Follow Me” (2:31) - Great track that was premiered at the Glastonbury Festival in 2004. Solo version is arranged much like live band version, maybe a wee bit slower.
11- “Promise To You Girl” (3:09) - Brilliant track, very much in the ‘Flaming Pie’ vein, right down to the piano. Again, some 10cc-sounding harmonies.
12- “This Never Happened Before” (3:24) - Textbook McCartney ballad, with a soft drum machine backing and gorgeous melody. This may appear in a movie in the not too distant future. Some lyrics include ‘I’m very sure this never happened before.’
13- “Anyway” (3:49) - Beautiful melody with sweeping harmonies. After the track ends, there is about :30 silence, then...the hidden track appears...
HIDDEN TRACK - “I’ve Only Got Two Hands” (3:00) - A fascinating instrumental that really highlights Paul’s fine piano work. The song completely changes tempo and melody about 1:00 in, then changes again towards the end to some backwards ‘Strawberry Fields”-like sounds.
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I plan on getting it the day it comes out. I hope that it's just as good as the Driving Rain album. 