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4.41pm
3 August 2012
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Silly Girl said
Elaborating on the above: one thing I notice is that even if he starts out in a more controlled kind of Little Richard style, he tends to veer toward the caterpauling in the outro. And of course, small caterpauls are inserted into various songs for emphasis.And here’s my definitions of the various styles I name above:
- Little Richard Shout: high, but not too high, controlled, deliberate, very powerful. Comes across as a little bit macho (think ‘We’re all alone and there’s nobody else/ You still moan ‘keep your hands to yourself’, I’m Down !’)
- Oh! Darling Roar: A bit higher than the Little Richard shout, generally, more vulnerable, and wilder– less controlled. Like he just gets out there and gives it everything he’s got.
- Caterpauling: This is more of a half-falsetto thing, generally reserved for emphasis, e.g. before a guitar solo (think Can’t Buy Me Love ). He tends to veer this way toward the ends of songs (Tomorrow being a textbook example).
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So, does Oh Woman Oh Why (best song ever) count as caterpauling?
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5.19pm
27 March 2015
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pepperland said
This has been mentioned before but, obviously John would never be able to reach the notes (especially the last “I’ll never DOOO YOU no harm”)
Plus, John’s style of screaming was quite different from Paul’s. I don’t think he could have done that low-register roaring thing, nor the highest notes mentioned ^^.
Don’t get me wrong, I love John’s voice, and I think he was a very versatile vocalist. I’m still deeply impressed by the warmth of his voice on songs such as To Know Her Is To Love Her – not a trace of the famous sharpness his voice usually had there.
Anyway, I’m convinced he could not have done a better job than Paul on Oh! Darling . And On the same note, Paul could not have outperformed John on I Want You (She’s So Heavy), because it doesn’t suit his voice.
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Are there many examples of Paul’s screaming from the mid-80’s onwards? I can’t think of many.
As for ‘Oh! Darling ‘ John would have sung it differently, giving a different feel to the recording. The version on ‘Anthology 3 ‘ is better if you ask me but I know many would disagree. I just love the vocals.
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2.24am
27 March 2015
Offline Ah, bloody hell…
I just typed a list of (recent) songs which include screams…. even figured out the pitch… and then my internet conenction failed, and the list is gone 
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6.40am
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20 August 2013
Offline I’ve had that happen. Now when I write a big post I copy and paste it into my “notes” app several times throughout.
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6.51am
27 March 2015
Offline Yeah, I should do that next time. But for now, let me recap by saying there are some great screams and roars on Memory Almost full, and NEW. I don’t know in which category Paul’s high-pitched squeals fit, but he does belt out a G#5 (if I’m not mistaken) in Queenie Eye and holds it for about five seconds. IMO, that easily competes with the kind of screams he did in the early sixties. 
I’ll try to make a new list of noteworthy screams, roars, squeals, et cetera.
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20 August 2013
Offline Yes, please do, JPM-Fangirl. It would be a great addition to the thread.
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10.48am
27 March 2015
Offline Alright then, I shall 
Or try, in any case!
Can we start with Nod Your Head? That one has Helter Skelter -esque vocals throughout. Oh, and Beautiful Night (Flaming Pie ) is quite impressive too. Anyway, I’ll give that list my best shot
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12.04pm
27 March 2015
Offline Alright, I’ve finished my analysis of NEW. There’s a lot going on on that one! I only listed what stood out; there are a few minor ones I didn’t include in this list.
NEW 2013
Save Us – Two distinct screams – a low-register one before the final chorus, and a higher one at the end of the song.
Alligator – No screaming, but a few sustained 5th octave notes
Queenie Eye – Very high, sustained scream/squeal (F#5 or A5), held for about 5 seconds.
Early Days – No screams, but a few sustained 5th octave notes
New – Again, no screams, but the top note in the chorus is quite high. The same applies to Appreciate.
Everybody Out There – Some good, powerful roars in the last part of the song.
Road – Some powerful vocals, bordering on screaming, but not quite getting to that point, IMO
Turned Out – A good roar near the end, and a signature Macca ‘woooooo’ at the end
Struggle – The spoken bit borders on screaming at some points, though I’m not sure they count as screams. The ‘everybody PRAAAAYYYY’ bit definitely counts as one, though.
Hell To Pay – Very powerful vocals, and some impressive roars (There will be HELL to PAAAAYYYYYYY)
Demon’s Dance – A sustained, high-pitched (upper 5th octave) howl in the second half of the song, and a funny yelp near the end, also 5th octave.
Next up: Memory Almost Full (since ‘Kisses’ won’t have much screaming going on, if any).
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12.42pm
27 March 2015
Offline Memory Almost Full 2007
Only Mama Knows – Gritty vocals throughout, touching on roars at some points, and some high notes in the choruses, with a particularly high one (upper 5th octave) near the end.
Mr. Bellamy – No screams, but some pretty high (and low) notes. I also noticed Paul’s voice sounds very young at some points. I’ve noticed this on a few other songs on this album as well. It’s always just a moment, but it’s definitely there.
Gratitude – A few quite high notes, and a few roars. I get the impression the entire song is supposed to have Oh! Darling -esque vocals, but IMO he doesn’t really achieve that. There’s a great screaming/roaring bit in there, though.
Vintage Clothes – A REALLY high note near the end, I’ll check, but I’m pretty sure it’s a 6th octave note. Some strong vocals, bordering on screams but IMO not really getting there.
That Was Me – Another powerful one. Some serious roaring/screaming in the latter half of the song. Love the bass line on this one, by the way. Alright, back on topic…
Feet In The Clouds – No screaming, but some interesting stuff going on in the very very very very hard bit. They add d some effects to the vocals, but there’s some pretty high-pitched singing going on there.
House Of Wax – Sung in a high key, but the vocals are still quite strong. Some good roars, as well as quite a few high notes. Just as the solo begins, Paul belts out a note which sounds like it’s in the 6th octave.
Nod Your Head – A screamer from beginning to end. Vocals are reminiscent of Helter Skelter , and pretty powerful.
I think that’ll be all for today, as its 8 PM over here and I’m getting tired. I’ll continue jotting down the various screams and stuff, though. It’s a rotten job, listening to all those McCartney LP’s, but somebody’s got to do it, so I’ll sacrifice myself for the good cause 
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3.11pm
11 June 2015
Offline Thanks @Mademoiselle Kitty >^..^< , this is cool 
. I’m not too familiar with these songs, so as soon as I’m done enjoying Extra Texture I’m gonna have a proper listen while reading your notes
.
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3.23pm
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15 February 2015
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3.32pm
3 November 2015
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In regards to John’s comment, he didn’t specify that he could actually hit the notes. The song is in more of his style, with a lot of meter, dissonance, and that harsher rock sound. But I must obviously agree that there’s no way he could hit the notes. However, there’s always a matter of putting it in a lower key (although the highness is what makes the song good). Him being a musician, that could be what he intended to mean.
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3.41pm
3 August 2012
Offline KaleidoscopeMusic said
In regards to John’s comment, he didn’t specify that he could actually hit the notes. The song is in more of his style, with a lot of meter, dissonance, and that harsher rock sound. But I must obviously agree that there’s no way he could hit the notes. However, there’s always a matter of putting it in a lower key (although the highness is what makes the song good). Him being a musician, that could be what he intended to mean.
I agree because honestly, I only like the song because it shows off Paul’s incredible screaming talents
It would be interesting to hear a version sung by John though.
Times I find it hard to say / With useless words getting in my way
3.45pm
27 March 2015
Offline sigh butterfly said
Thanks @Mademoiselle Kitty >^..^< , this is cool
Oh dear… No pressure at all 
It’s actually quite fun to do, although I’m about to venture into the Heather-era now. I love Paul’s music, but I really don’t care that much for the songs that are so obviously for/about her. Is it me, or are those songs generally not quite the best he’s ever written? 
Anyway, 
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I just hope my ‘analysis’ makes sense. What I consider to be screaming, doesn’t have to sound that way to other people.
P.S. I am 100% sure I edited my previous post to clarify that those high notes I mentioned on “Vintage Clothes’ and ‘House of Wax’ are an F5 and an F#5 respectively, but it appears to have disappeared. A forum hiccup, or just my internet connection being wonky again?
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11 June 2015
Offline Hi @Mademoiselle Kitty >^..^< , having a lot of fun with this. Still enjoying NEW and quite happy to hear Paul is still rocking out . I forgot after a few songs that I was supposed to be focusing on the high-end of his vocal range, so need to start again. Also I could only find live versions for a couple of the songs, so there may be a little more emoting than in the studio versions. Anyway I have printed your notes and placed them in front of me to try and help me concentrate 
. So…Here I go again!!
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2.02pm
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15 February 2015
Offline sigh butterfly said
So…Here I go again!!
IIIIIIIIIIIIIIIIII looooooooooooooooooooooove yoooooooooooooooooooooooooouuuuuuuuuu…………
Sorry, we can get back on topic. 
Um, um, yes, another song with unclassifyable screams in it is Nineteen Hundred And Eighty Five , which doesn’t sound like any other ‘Paul’ter ego I’ve ever heard. 
It’s quite a different thing altogether.
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2.07pm
27 March 2015
Offline I’ll continue my analysis soon, but for now, I can say Run Devil Run (the album) has loads and loads of excellent screams. Shake A Hand is basically all screaming/roaring, as are some of the other tunes. I know they’re nearly all covers, but the originals are really intense as well. And that’s 1999, so definitely the timeframe @meanmistermustard was asking about.
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1 May 2011
Offline Thanks @Mademoiselle Kitty >^..^<, interesting to know. I haven’t listened to ‘Run Devil Run ‘ in ages as I have always found it another Paul album where he’s trying too hard to generate excitement and energy. I cannot stand ‘Memory Almost Full ‘.
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4.36pm
27 March 2015
Offline Ahh, but you didn’t specify they had to be albums you liked; you asked if there were (many) examples of Paul screaming after the mid-eighties. And there are
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