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10.00pm
1 May 2011
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She's My Baby is a fabulous song when played immediately before Beware My Love (which has a great Macca vocal). For some reason those two work amazingly well together and arent as good when on their own.
Always willing to repeat that Wings At The Speed Of Sound is a superb album, one of the best Paul albums when played the whole way thru. Tho as individual songs it does lose some of its greatness.
3.38am
10 August 2011
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Speaking of "San Ferry Anne"
I always wondered whether this was a play on the French "ça ne fait rien" ("it doesn't matter").
4.46pm
3 March 2012
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Lately I seem to be playing "Friends to Go" a lot. Something about it really gets me.
10.15pm
1 May 2011
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Winedark Open Sea is an another unappreciated Paul song. A track that you can lie back, listen to, and be taken to another place.
One day the world will sit down, forget their preconceived ideas of Paul, and sit open mouthed at just how darn good he was whilst shaking their heads in sadness for having missed it for so many years. Theyve still got to get around to George.
(shakes head and sighs)
2.19am
3 March 2012
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meanmistermustard said
Winedark Open Sea is an another unappreciated Paul song. A track that you can lie back, listen to, and be taken to another place.
One day the world will sit down, forget their preconceived ideas of Paul, and sit open mouthed at just how darn good he was whilst shaking their heads in sadness for having missed it for so many years. Theyve still got to get around to George.
(shakes head and sighs)
Nothing to add but I felt it deserved saying twice.
3.07am
10 August 2011
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meanmistermustard said
Winedark Open Sea is an another unappreciated Paul song. A track that you can lie back, listen to, and be taken to another place.One day the world will sit down, forget their preconceived ideas of Paul, and sit open mouthed at just how darn good he was whilst shaking their heads in sadness for having missed it for so many years. Theyve still got to get around to George.
Thanks for getting me to listen to Winedark again. But the only place this song takes me to is the "next" button on my iPod. Neither melody, lyrics or production move me particularly.
Having said that, I'll gladly move up 2 spots on the album and listen to "The Lovers That Never Were" with the inventive melody and killer Elvis Costello lyrics.
Also totally agree with the second paragraph.
5.50am
23 January 2011
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I'll third the love for Winedark Open Sea, and second the love for The Lovers that Never Were. Ever heard the demo version?
That's apparently the version that blew Elvis Costello off his feet.
I find that there is some really underrate songs on Driving Rain. Most people overlook it because it comes right before the smashing Chaos and Creation. I love She's Given Up Talking, Magic, About You, Tiny Bubble, Spinning on an Axis, Lonely Road, From a Lover to a Friend, Riding to Jaipur, and Your Way. It does feature the dismal Driving Rain and the much maligned Freedom, though.
Also, from around this time is the unreleased India:
God, I love Paul!
10.35am
1 May 2011
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The Lovers That Never Were is by far the highlight of Off The The Ground and possibly Pauls best song in the last 20 years.
2.13am
10 August 2011
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Nice duet with E Costello.
Wonder why he was vocally left off all the McCartney-McManus compositions (except "You Want her too" or whatever it's called).
4.39am
28 March 2012
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When I first heard Ram, I thought it was quite "meh." But for reasons I cannot pinpoint, the more I've heard it the more it has grown on me. I think George and John both put out terrific post-Beatles work, and I don't think their work ought to be viewed as a competitive sport. That being said, I think Ram is simply stunningly good in its diversity, its free-spiritedness and its inventiveness. It's right up there as one of the best post-Beatles albums, and I'd say it's as good as several Beatles albums. It may be lacking a straight-forward flat-out masterpiece, but I venture to say it may be the best album ever made without a masterpiece song. If I were forced to nominate a masterpiece from Ram, I'd choose "Back Seat of My Car." Again, the same story. The first time I heard it struck me as meandering and tough to follow and plagued with odd chord segues. But now I think it's simply gorgeous, for simple beauty among the best stuff in rock.
Here's a question. What's so terrible about Silly Love Songs? The lyrics are no better than average, admittedly, but he has three catchy melodies, and he joins them quite creatively. Now there's no doubt I like Paul (and the other Beatles as well) far more than the average rock fan, but I don't give any of them, including Paul, an absolute free ride. I personally think Wonderful Christmas Time ranks among the worst pop pieces ever written. Indeed, Paul's written perhaps a half-dozen post-Beatles songs that are beyond cringe-worthy. (I even quite dislike "Dear Friend," which is quite inconceivable for some.) But given the hundreds of songs he's written, that's not so surprising. But back to my question, can someone explain what makes Silly Love Songs subject a giant target of derision? Is it simply the subject matter? The lyrics? Surely it's not the music.
Other favorite post-Beatles McCartney songs:
That Would Be Something
Maybe I'm Amazed
Most everything on Ram
My Love (brings back good memories of hearing it on am radio as a kid)
Hi Hi Hi (pure fun)
Band on the Run
1985
Let me roll it
Jet
You Gave Me the Answer (very underrated song)
Baby's Request (Okay, so I have a weakness for his Dance Hall music, the music that John derided.)
Coming Up
Wanderlust (one of the prettiest melodies he wrote)
Okay…so I'll end here and return to finish on another post.
5.07am
23 January 2011
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Michael B said
When I first heard Ram, I thought it was quite "meh." But for reasons I cannot pinpoint, the more I've heard it the more it has grown on me. I think George and John both put out terrific post-Beatles work, and I don't think their work ought to be viewed as a competitive sport. That being said, I think Ram is simply stunningly good in its diversity, its free-spiritedness and its inventiveness. It's right up there as one of the best post-Beatles albums, and I'd say it's as good as several Beatles albums. It may be lacking a straight-forward flat-out masterpiece, but I venture to say it may be the best album ever made without a masterpiece song. If I were forced to nominate a masterpiece from Ram, I'd choose "Back Seat of My Car." Again, the same story. The first time I heard it struck me as meandering and tough to follow and plagued with odd chord segues. But now I think it's simply gorgeous, for simple beauty among the best stuff in rock.Here's a question. What's so terrible about Silly Love Songs? The lyrics are no better than average, admittedly, but he has three catchy melodies, and he joins them quite creatively. Now there's no doubt I like Paul (and the other Beatles as well) far more than the average rock fan, but I don't give any of them, including Paul, an absolute free ride. I personally think Wonderful Christmas Time ranks among the worst pop pieces ever written. Indeed, Paul's written perhaps a half-dozen post-Beatles songs that are beyond cringe-worthy. (I even quite dislike "Dear Friend," which is quite inconceivable for some.) But given the hundreds of songs he's written, that's not so surprising. But back to my question, can someone explain what makes Silly Love Songs subject a giant target of derision? Is it simply the subject matter? The lyrics? Surely it's not the music.
Other favorite post-Beatles McCartney songs:
That Would Be Something
Maybe I'm Amazed
Most everything on Ram
My Love (brings back good memories of hearing it on am radio as a kid)
Hi Hi Hi (pure fun)
Band on the Run
1985
Let me roll it
Jet
You Gave Me the Answer (very underrated song)
Baby's Request (Okay, so I have a weakness for his Dance Hall music, the music that John derided.)
Coming Up
Wanderlust (one of the prettiest melodies he wrote)
Okay…so I'll end here and return to finish on another post.
That question about Silly Love Songs is a good one, indeed. Because I wasn't born until 1989, I can't really answer why critics initially disliked it. I think it's great, and people can still remember it all these years later. (That's one thing that is special about all of Paul's pop singles. They are memorable. My Sunday school teacher was cleaning windows at church during our clean up day on Saturday, and someone knocked on the window. She started singing, "Someone's knockin' at the door…" Had no idea it was Paul McCartney until I loudly let her know, but she remembered the song.)
I think there is an irony to Silly Love Songs because it basically says, "Fuck off. I'll sing what I want. And add a brilliant bass line and melody on top of it." Rock n' roll is partially about rebelling, right? Paul, however, rebelled against the rock "establishment." I don't think they liked that very much, if they even took the time to think about the implications of the song. Most likely, it wasn't "serious" enough for them. After the "rock revolution," music became basically irrelevant to rock critics unless it had a deep meaning about war, drugs, sex, politics, blah, blah, blah. I can appreciate those songs, too, but what's wrong with a flat out good pop song about love? Rock and roll wouldn't exist without songs that have no deeper meaning. A lot of the early rock songs are just rollicking good fun. And there is NOTHING wrong with that.
It's funny how a music genre that embraced rebellion couldn't handle it when one of their own drifted around a little. That's one thing I appreciate about Paul. He never settles in one place. Even if the project turns out to be complete shit (like Give My Regards to Broadstreet), at least he tried and got it out of his system. It didn't work…let's move on. I guess some people just can't accept that.
On another note, I've recently really gotten into The White Stripes. Guess who Jack White's favorite Beatle is? Paul! That surprised me a little, but it turns out he doesn't like political songs. Out of all of his songs, there are only two songs with overt political messages. Anyway, just thought that was an interesting little tidbit.
1.27pm
1 May 2011
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6.42pm
28 March 2012
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Kedame: Really like your analysis; it's very insightful. It's kind of amazing how rock critics and the rock establishment decries pop music by (rightly) noting its short-term appeal while being blind to its own weddedness to short-term fads and prevailing currents. It's my sense that Paul kind of does what he wants whenever he wants. Example: Kisses on the Album. Not only in the making of the album itself, which I haven't heard all the way through apart from his own compositions, but also in the dreadful name that he gave it. No one wanted it. Too bad, he did. He wants to do it, so he does it. In his own way, he stays true to himself, something that John advocated but never seemed capable of noting or acknowledging as an actual guiding principle in Paul himself.
I think that writing catchy memorable tunes is an underrated talent. Believe me, if it were easy I would absolutely quit my day job and go out there and make a million bucks doing it. But it's really hard. Maybe writing catchy tunes is semi-easy, but writing a catchy tune that is also memorable over a period of years is much tougher. I think George, John and Paul all had this skill to a near-miraculous degree. It's mind-boggling that these three talents were in the same band. But of these three I think Paul stands unmatched in the modern era in coming up with good melodies. This doesn't make him a better artist than John or George, but it simply puts him in a different league in this one area. Nor is it the sole criterion for a good song, obviously. Your Mother Should Know runs circles around I am the Walurs purely in terms of melody, but I am The Walrus runs circles around Your Mother Should Know in its overall effect--which ultimately is the way to judge a piece of music (at least for me). I think what John and George and Ringo brought to the table with Paul's music is the discipline and competition to do more with his melodies, to think about arrangements, to edit out the dross, and to add other melody lines or fills that complete the melody. Paul's gift of melody has never gone away, in my opinion, though I think his desire to "do it all" by playing all the instruments prevents an inventive spontanaety that working with talented peers could provide.
meanmistermustard: Love the video! Thanks! This version is definitely superior. It makes it far more difficult to place the song in time. It hints at places of a Revolver sound, but it also definitely sounds very Wings-ish. A better arrangement fo sho!
8.40pm
20 September 2011
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I like Silly Love Songs. I think it's quite clever, in that he's sort of making fun of himself for writing so much "mushy" stuff, while saying : "This is the way I feel so I'm writing this, and you can't stop me." It's a very honest sort of song. And it's a beautiful message: love isn't silly at all, because of the person I love.
4.01am
10 August 2011
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Michael B said
If I were forced to nominate a masterpiece from Ram, I'd choose "Back Seat of My Car."
I agree to the extent that it's right up there with Monkberry Moon Delight and Heart of the Country. What amazes me is not just that it's seriously under-rated (to the point that it NEVER comes up in any conversation or debate), but even I under-rated it when Ram came out; so much so that when I saw it on the song list of the Wingspan retrospective years later, I could have sworn I'd never heard or heard of that song.
Having said that, I'm convinced that one day some political / religious / social movement will take it up as an anthem. Can't you hear it? "oooooo, oh, we believe that we CAN'T be wrong, oooooo, oh, we believe that we CAN'T be wrong…."
4.17am
10 August 2011
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Michael B said
Here's a question. What's so terrible about Silly Love Songs?
I've spent the better part of my life "defending" McCartney (like he really needs my defense) against the accusation that when the Beatles broke up he went soft, that he needed Lennon to write a song, that he was just Lennon's junior partner, etc…
So it does seem strange to be taking the anti-McCartney line here; but yes, I'm one of those who gets slightly nauseated every time I hear that song.
a) defending for years my opinion to others that McCartney is NOT just the purveyor of trite melodies, and then to have him come out with a lyric like "i want to fill the world with silly love songs" – that was a real stab in the back. And if you wonder why it took so long for him to make it into the Rock'n'Roll Hall of Fame, you can point directly to that song. And it's not just the high falutin' music critics. It was the rank and file Beatle fans who grew up with Paul and loved him.
Say to any number of people "Maybe I'm Amazed" "Every Night" "Live and Let Die" … and they'll answer: "Silly Love Songs"
b) one of the (many, many) things that has made McCartney great is that his love songs were NOT silly: All My Loving; And I Love Her; Things We Said Today; Here, There, and Everywhere, Maybe I'm Amazed; etc… Even the simplest song had an earnestness and certain depth. So why suddenly say you're going silly?
c) As long as I'm being the lone contrary voice here, I might as well go all the way: I actually like the horns. If this were just an instrumental, it would be an A+ song. In fact, I love the mashup with the Eminem vocals replacing McCartney's.
4.19am
10 August 2011
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Michael B said
Here's a question. What's so terrible about Silly Love Songs?
I've spent the better part of my life "defending" McCartney (like he really needs my defense) against the accusation that when the Beatles broke up he went soft, that he needed Lennon to write a song, that he was just Lennon's junior partner, etc…
So it does seem strange to be taking the anti-McCartney line here; but yes, I'm one of those who gets slightly nauseated every time I hear that song.
a) defending for years my opinion to others that McCartney is NOT just the purveyor of trite melodies, and then to have him come out with a lyric like "i want to fill the world with silly love songs" – that was a real stab in the back. And if you wonder why it took so long for him to make it into the Rock'n'Roll Hall of Fame, you can point directly to that song. And it's not just the high falutin' music critics. It was the rank and file Beatle fans who grew up with Paul and loved him.
Say to any number of people "Maybe I'm Amazed" "Every Night" "Live and Let Die" … and they'll answer: "Silly Love Songs"
b) one of the (many, many) things that has made McCartney great is that his love songs were NOT silly: All My Loving; And I Love Her; Things We Said Today; Here, There, and Everywhere, Maybe I'm Amazed; etc… Even the simplest song had an earnestness and certain depth. So why suddenly say you're going silly?
c) As long as I'm being the lone contrary voice here, I might as well go all the way: I actually like the horns. If this were just an instrumental, it would be an A+ song. In fact, I love the mashup with the Eminem vocals replacing McCartney's.
4.33am
29 March 2012
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I'm new to the list and have enjoyed the posts. I'd like to put in a big plug for "Maybe I'm Amazed," which is on a number of the posted lists, but which stands head and shoulders above the rest IMO. The lyrics seem blunt and heartfelt--sort of Lennon-like. And the soaring melody and in the bridge is just incomparable. It sends chills down my spine. And a great arrangement and performance too.
Beyond MIA I'll take:
Junk
Bluebird
Tiny Bubble
Back Seat of My Car
Heart of the Country
Oh Woman Oh Why
with honorable mention to:
Another Day
Here Today
Every Night
Teddy Boy
Cheers!
5.57pm
23 January 2011
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b) one of the (many, many) things that has made McCartney great is that his love songs were NOT silly: All My Loving; And I Love Her; Things We Said Today; Here, There, and Everywhere, Maybe I'm Amazed; etc… Even the simplest song had an earnestness and certain depth. So why suddenly say you're going silly?
I see your point…however, isn't that the whole point of the song? People (critics and John) had been telling Paul for years that all he wrote were "silly love songs," so he wrote a REAL Silly Love Songs. I don't know…I just see it as a sort of write off of his critics, but I do sympathize with your McCartney defense problem. No matter how many masterpiece songs he wrote (and continues to write), most people continue to point out the dredge, as if that were all he wrote. They don't do that with John or George, or anyone else not related to The Beatles, at least not to the extent they do it to Paul. Ahhh, well. I've just learned to grit my teeth and move on.
6.47pm
12 March 2010
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kedame said
Also, from around this time is the unreleased India:
God, I love Paul!
Uh, I LOVE "India"!!
That's his "experimental" side that get's mentioned not enough at all, although with the "Firemen" more people got notice of it.
But long before that he used to put these little gimmick songs on almost every album:
McCartney has several "experimental" while not THAT groundbreaking instrumentals, same with McCartney II
Then there's 1985, which counts as an instrumental for me.
Venus and Mars has several instrumental tracks at the end.
London Town has "Mr Morse Moose…".
Press to play has "Pretty little head"
Flowers in the dirt has "Ou est le soleil"
Driving rain has "Rince the raindrops"
Chaos… has that "hidden" track.
Many people always see Paul's "soft" and "sweet" side.
But HE did "Nothing too much just out of side" when he already hit the 60!!
Since you all discuss "Silly love song":
This is one of the most adorable songs of all time.
Sincere, personal lyrics ANYONE can (or could, if they would) rely to, groovy arrangement (BASS!, BRASS!), fantastic melodies and vocal arrangement (not two but THREE countermelodies with the unbeatable Paul-Linda-Denny trio) – what's not to like?!
Hate Paul just because he didn't write a song that goes "I know many of my songs are silly, I'm so sorry, I'm so sorry that I'm on the positive and optimistic side of live, sorry that I don'T hate myself enough to give in to the publice demand of being cool and writing wailing songs about how bad I feeeeeeeeeel"??
Go ahead, if that pleases you.
I won't, cause I love Paul for what he does, and WHY he does it, and HOW he does it.
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