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A unique quality of Paul's vocals
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2 January 2013
11.57pm
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Egroeg Evoli
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Ben Ramon said

 

When I first heard You Never Give Me Your Money I thought the middle section ("out of college, money spent...") was Ringo.

Me too!

 

And also sort of backwards, I thought Good Night was sung by Paul.

:)

 

Geometry, wisdom, tangerines... "The time is gone, the song is over, thought I'd something more to say..."

Also known as Egg-Rock, Egg-Roll, E-George, Eggy, Ravioli, Eggroll Eggrolli...

Purple stuff... ellipses...

5 January 2013
5.11pm
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bikelock28
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I've never really liked the way he sings Here, There And Everywhere. It always seems to me like he's singing from his mouth and not his diaphragm, so the song sounds weak and half-hearted. Its a beautiful song and I wouldn't say that Paul's vocal ruins it- I'd just prefer it if he'd sung it in the same way he sings on Yesterday and And I Love Her.

"I don't think we were actually swimming, as it were, with shirts on, 'cos we always wear overcoats when we're swimming,"-

George Harrison, Australia, June 1964

7 January 2013
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Funny Paper
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Faded flowers, wait in a jar, till the evening is complete... complete... complete... complete...
7 January 2013
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Funny Paper
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10 January 2013
9.41am
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Gerard
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The only instant that I remember Paul trying to imitate John's voice was in Free As A Bird.

10 January 2013
9.10pm
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Funny Paper
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GeorgeTSimpson said

Ben Ramon said

Gerell said
Is it me or does Paul sound a bit like John in the first part of "Little Lamb Dragonfly" ?

I think it's because Denny Laine's singing with him. Love that song.

 

I've always though that awesome voice in the first part in this song sounded like john lennon. I've never thought about who sung it but after listening to the intro again, I agree that it might be paul and denny. This song is one of my favourites. I think it was recorded in the ram sessions and I have no idea why it wasn't released on ram

Remember, in the Ram days there were no CDs, and vinyl only had so much space, and Ram was chock-full of good stuff and couldn't really hold another song (no sense in making it a double album; then he'd have to fill up a whole second record).

On a related note, while I love "Little Lamb Dragonfly", I think one of the most underrated songs Paul ever did comes right before it, on the LP:  "Only One More Kiss" -- his voice in that song is yet another example of a unique tonality that nowhere else he quite does and it fits perfectly; and the instrumentation of the guitar (as well as the chord changes) in that song is truly remarkable, in a subtle way.

 

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27 December 2013
8.55pm
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acmac
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Funny Paper said
Though I'm a McCartney fan, I'm not irrational about it, and I can recognize deficiencies in him.  The main (and perhaps only) deficiency in Paul is that he doesn't have any soul.  Although to me, the singing in "Oh Darling" is impeccable stylstically, I don't for a second actually feel like he feels any pain or is evoking any pain that would be felt by someone if they really meant those lyrics about a woman.  John, like Dylan, on the other hand is quite good at touching and evoking that painful part of his soul and translating that into his singing.  Paul's sort of like a great stage actor who can emulate Laurence Olivier perfectly, but doesn't actually transmit any of the depth of the tragedy.  Or maybe a better analogy would be that Paul's singing is like DeNiro's acting, who is technically excellent, whereas John is more like Pacino, who actually bares his soul through his acting.

I understand your point and your preference, but I disagree that Paul's singing is less evocative than John's (or any other soulful singer). To me it is evocative in a different way -- in a more mature and realistic way, in fact, and I prefer it, myself. I find John's unrelentingly bare-ass naked style a bit... wearing, actually (though indisputably sincere). Just like I would find a film of Pacino in constant screaming despair wearing, however well-delivered. I'd lose sympathy for the character, actually; I'd think, "Why are you such a child? Do you ever think about ANYTHING but yourself?"

Paul's approach is more like real life: most of the time you try to keep a brave face; you hide your heartache; you try to rationalize it away -- and even in those moments when you do communicate your true feelings to somebody, you struggle against totally breaking down; you throw in little humorous asides; you worry about burdening someone else with your pain. The glimpses of true raw feelings, breaking through the surface, are all the more poignant for being rare and fleeting. It's a tension and a struggle that affects me far more, emotionally, than how John always feels free to let go. He's achieving his catharsis -- what does he need me for?

 

28 December 2013
6.22am
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Ahhh Girl
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I've been introducing my mom to the Beatles over the past few months. Several times she has mentioned the versatility of Paul's voice.

And I remember that HeyTrud posted this in another thread:

HeyTrud said

My 11 year old is really taking an interest in Beatles music right now.  We play CD's in the car and he guesses who is singing lead on each song.  He's getting pretty good, although he thinks Paul is pretty sneaky and can make his voice sound different!! lol  He told me yesterday his favourite Beatle is John :) 

Do soul and emotion have to have a "pain" connotation? There are lots of songs with lots of pure happy emotion showing in Paul's songs.

1. Ballroom Dancing

2. Monkberry Moon Delight (love that ending)

3. I Can Bet

3. English Tea

4. Eat At Home

5. Turned Out

A few other songs I think Paul is showing real emotion on:

1. End of the End

2. Put It There

3. Mrs. Vanderbilt

4. Mistress and Maid

5. Dance 'Til We're High

6. Lifelong Passion

28 December 2013
2.31pm
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ScrambledEggs
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Paul's incredible vocal flexibility has made him a *nearly* flawless singer. When I began listening to the Beatles, it was very difficult for me to determine who sang which song, but in time I came to the realization that it was only Paul McCartney who had an impeccable ability to sound like ten different people (ten very good singers, too). Maybe that is part of the reason I originally thought that the Beatles was a band consisting more than four members, that being incredibly silly of me.  

His wide vocal range speaks of his talent. His color swifts from song to song as needed, and that is something I will always admire. Has anyone heard the Anthology version of Oh! Darling? It sounds so much different than the version that came on Abbey Road, and it is yet another proof of how his voice can change for the necessity of emotion the instruments require. 
I agree that singing Besame Mucho as it was sung was a great accomplishment for Paul.

As for the emotional side, well, we can't expect a singer to feel what he/she sings. It is true that for John it was always easier to actually feel the song he was singing, instead of faking the emotion, as it was for Paul. But that doesn't mean that Paul couldn't sing his feelings out. Yesterday brings out a great emotion, but I don't think Paul felt it as he sung it. Although, there are a few live performances of that song that stand out as exceptions. It is also important to note that Paul never liked showing his feelings in public. What I am trying to say is that even though Paul's singing was/is more 'professional' and always correct, but without real emotion, there is also a lot of recorded proof that he could bear his soul into a song just as easily as he could swift his voice. 

He has never failed to bring me to tears when singing Here Today.

28 December 2013
6.24pm
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Billy Rhythm
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thewordislove94 said
Paul did sing
Oh! Darling very well.

 

Apparently, Paul showed up at the studio early everyday to scream himself hoarse for a week before finally laying down his riveting vocal track for 'Oh! Darling'.  There's no question that Paul was constantly pushing the limits of his vocal performances, which does deservedly give him the title of 'Most Technically Diverse' singer in the group.  However, this compulsion to stretch the limits of his voice did occasionally lead Paul into some embarrassing moments, such as the "I've been waitin' here for youuuuoooo...., wonderin' what you're gonna doooouuuuuoooo...." Middle Eight of 'What You're Doing?' which makes me cringe everytime I hear it, or the "You gave me the answer to love eternalleeeeee" bit as a later example.

 

John shared Paul's zest for varying his vocal tracks, but chose to go about it differently, such as asking George Martin to alter it instead while preferring to still use his "natural" voice.  He would tell George Martin things like "I want it to sound like I'm singing in my sleep" (I'm Only Sleeping) or, "make it sound like I'm a Buddhist Priest singing high from a mountaintop" (Tomorrow Never Knows) whereas Paul chose to develop his vocal skill/range further to make it sound different.  No question that Paul developed his voice much farther along, he wouldn't be able to belt out 'Helter Skelter' at 71 years old in 2013 if he weren't a VERY accomplished vocalist...:-)  

28 December 2013
7.19pm
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acmac
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thewordislove94 said

However, this compulsion to stretch the limits of his voice did occasionally lead Paul into some embarrassing moments, such as the "I've been waitin' here for youuuuoooo...., wonderin' what you're gonna doooouuuuuoooo...." Middle Eight of 'What You're Doing?' which makes me cringe everytime I hear it, or the "You gave me the answer to love eternalleeeeee" bit as a later example.

Aw, I like both of those. On the latter he sounds just like an old-timey singer. :)

I kinda wish he'd gone in a slightly different direction with "Here, There, and Everywhere," though.

 

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