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1.06pm
26 March 2012
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Recently I’ve been listening to Paul’s solo/Wings stuff quite a lot (partly thanks to ITSWD’s four-song playlist thread), and I’ve noticed lots of little “magic moments” in various songs. Seeing as some members of this forum are Paul fans just as much as Beatles fans, I thought I’d start a thread for them. Some that I particularly like:
Famous Groupies – during the line “there was the classic story, of a roadie nicknamed Rory,” Paul’s bass suddenly becomes really prominent and he comes in with this wonderful, bouncy, swinging line. I’m not a fan of the song but often listen to it just for that moment.
Too Much Rain – at about 2:56, just before the final chorus: those four heavily-played descending piano notes.
How Kind of You – about 3:29, after all that ambient piano atmosphere those menacing Radiohead-esque drums come crashing back in again.
Oo You – 1:02, that random percussive BONG always tickles me, it’s like he’s just knocked someone out in the studio.
Too Many People – “too many HUNGRY people, LOSING WEIGHT!”
There are tons of others but these are the ones I initially thought of. Would anybody else care to nominate some moments they particularly like in Paul’s post-Beatles work?
The following people thank Ben Ramon for this post:
Into the Sky with DiamondsSHUT UP - Paulie's talkin'
3.59pm
8 November 2012
Offline I know I’ll think of others, but in That Would Be Something , when he does those throaty mmm-mmm’s. And when he sort of beatboxes. 
parlance
4.51pm
26 March 2012
Offline The isolated boogie-woogie piano break in Flaming Pie . I could listen to that bit on loop and be happy.
SHUT UP - Paulie's talkin'
9.15pm
1 November 2012
Offline I know he does this on a few songs, but I can only think of one right now. No other singer to my knowledge does this particular type of scat-like sound. I’m referring to that kind of childlike “choo choo choo” he does in Another Day —
It’s just another day — choo-choo-choo-choo-choo, choo — it’s just another day
— choo-choo-choo-choo-choo, choo — it’s just another day…
As I say, I recall him doing this on at least a couple other songs, but I can’t place them now. Have to think about it.
Anyway, it’s a neat alternative to the usual “la la la” or “da da da” or “wo wo wo” most singers do.
Faded flowers, wait in a jar, till the evening is complete... complete... complete... complete...
11.01pm
26 March 2012
Offline The string of crashing guitar chords that connect Lazy Dynamite and Hands of Love in the Red Rose Speedway medley. I don’t love the medley either but it’s an unusual, striking and inventive way to segue into the next part.
SHUT UP - Paulie's talkin'
11.04pm
10 August 2011
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The fade out of Good Times Coming/Feel the Sun with a guitar (or other instrument?) playing a counter melody in the background. As Ben Ramon says, I could play that bit on a loop and be happy for a very long time (thanks for the shout out).
http://www.tubechop.com/watch/1086690
Gonna have to check out some of those song fragments listed above… (but I agree with the choo-choo-choo. Has a homey feel).
"Into the Sky with Diamonds" (the Beatles and the Race to the Moon – a history)
2.11am
1 November 2012
Offline There are so many — I’ll list a few:
1. His vocal mimicry of hi-hat on “That Would Be Something “
2. His vocal scat extrapolation on “Junk” that is such a flash of genius, it sounds almost like a Mozart melody
3. His transition from the hi-hat to the ride cymbal for approprirately different parts in “Every Night “
4. The truly inspired guitar solo at the end of “Too Many People ” — and especially its chord changes completely different from the rest of the song
5. His vocal scat in “Uncle Albert ” mimicking a phone ring (and also his impression of a stuffy high class English accent)
6. His vocal scat in synch with his acoustic guitar picking on “Heart Of The Country “
7. His unhinged screaming near the very end of “Back Seat of My Car”
8. In the song “When the Night” — his lyric “Well the night was marvelous and yellow” — an inspired choice to describe a night.
9. The slightly out of tune acoustic & electric guitars in “Only One More Kiss” — which unlike any other song I’ve ever heard where the one or more instrument sounds out of tune, it actually works here (almost making me wonder if Paul did that on purpose).
10. At the end of “Helen Wheels”, his shouting out of what sounds like counting down of numbers — “One!” “Two!” “Three!” etc. where he sounds like he’s doing it out of numerical sequence; and also I like the vocal style he’s doing it in, and the energy of it.
The following people thank Funny Paper for this post:
WeepingAtlasCedarsFaded flowers, wait in a jar, till the evening is complete... complete... complete... complete...
2.14am
1 November 2012
Offline I’ll add another while I’m thinking of it:
11. The “wall of sound” effect he achieves with all the backup voices (probably him, Linda and Denny Laine recorded, then duplicated several times over to make it sound like 30 people are singing) — in parts of “Jet ” and “Helen Wheels”.
Faded flowers, wait in a jar, till the evening is complete... complete... complete... complete...
10.40am
26 March 2012
Offline The string section in the middle of Put It There, really understated and moving.
At the end of Listen To What The Man Said, the soaring instrumental section with horns and strings that leads into Treat Her Gently. Always makes me imagine an aerial shot moving over some huge city.
SHUT UP - Paulie's talkin'
8.31pm
10 February 2013
Offline Paul was the king of frantic, crazed outro vocal ad-libs: Monkberry Moon Delight and Nineteen Hundred And Eighty Five , for example.
I like the “take me down, Jimmy” in Junior’s Farm and I love his entire vocal on “Old Siam Sir” (Back To The Egg is an underrated album, imo).
1.23am
19 September 2012
Offline This is probably off-topic, but I just realised that the starting riff for Flaming Pie is really similar to the intro of Heroes by David Bowie (Or maybe its just me)
7.10pm
16 June 2013
Offline “Reception” (Back To The Egg ) intro.
Q: “What did you do when you were made deputy sheriff?”
PAUL,as a matter of fact and completely detached: “Well, we were after a man who’d apparently been doing somenthing desperate”.
LINDA: ” AH HI HAHAHA”
My bro and I would go wild over this shit. Pure genius stupidity. I love it, I love it, I love it!!!
10.50pm
1 November 2012
Offline Yeah, that’s a great intro — but I don’t think that’s Linda; it sounds like a soprano opera singer (Linda was a good singer, imo, but not of that caliber).
Faded flowers, wait in a jar, till the evening is complete... complete... complete... complete...
1.59am
17 January 2013
Offline Funny Paper said
4. The truly inspired guitar solo at the end of “Too Many People ” — and especially its chord changes completely different from the rest of the song
I agree that is a great solo… but it’s actually Hugh McCracken playing it (Rest in Peace). 
Oh man there are so many…
- Near the end of “When The Night” when his voice get’s all scratchy when he sings “Night!”…. then that whole ending..
- The second half of “Momma Miss America”, which is almost like a separate song. I love the guitar, it’s so random, so Paul.
That whole album is just effing amazing. - The part on “Here Today ” when he sings “and I am holding back the tears no more..” Just the way he sings it. The song is so haunting and beautiful.
- In “Nineteen Hundred And Eighty Five “, the way his voice is raspy when he sings “Well I just can’t enough of that sweet stuff..”
- That baseline in “Silly Love Songs”! So groovy!
That whole album is just effing amazing.
I am sure I will think of more later. 
"Please don't bring your banjo back, I know where it's been.. I wasn't hardly gone a day, when it became the scene.. Banjos! Banjos! All the time, I can't forget that tune.. and if I ever see another banjo, I'm going out and buy a big balloon!"
2.13am
Reviewers
17 December 2012
Offline I just love Here Today . It’s difficult to think of a more honestly emotional vocal from Paul, the cracks in his voice – as if just managing to hold it together, and the beautiful orchestration from George Martin. Paul did John proud with that one.
The following people thank Ron Nasty for this post:
WeepingAtlasCedars, Ahhh Girl"I only said we were bigger than Rod... and now there's all this!" Ron Nasty
To @ Ron Nasty it's @ mja6758
The Beatles Bible 2020 non-Canon Poll Part One: 1958-1963 and Part Two: 1964-August 1966
2.24am
17 January 2013
Offline mja6758 said
I just love Here Today . It’s difficult to think of a more honestly emotional vocal from Paul, the cracks in his voice – as if just managing to hold it together, and the beautiful orchestration from George Martin. Paul did John proud with that one.
He definitely did him proud. It upsets me when people try to take that whole “It’s a drag” thing and blow it out of proportion, trying to say he didn’t care about John. Not true, at all. 
"Please don't bring your banjo back, I know where it's been.. I wasn't hardly gone a day, when it became the scene.. Banjos! Banjos! All the time, I can't forget that tune.. and if I ever see another banjo, I'm going out and buy a big balloon!"
2.37am
Reviewers
17 December 2012
Offline Just been off listening to it (followed by Scrambled Eggs), LHL. I agree about the whole “It’s a drag” thing. I’d hate the whole bit of having to mourn in public, microphone shoved in face – especially when the death is so ugly, unexpected and pointless. At least with Linda and George, however hard those losses were, he had time to prepare. None of us were ready for what happened to John.
The following people thank Ron Nasty for this post:
WeepingAtlasCedars"I only said we were bigger than Rod... and now there's all this!" Ron Nasty
To @ Ron Nasty it's @ mja6758
The Beatles Bible 2020 non-Canon Poll Part One: 1958-1963 and Part Two: 1964-August 1966
3.13am
17 January 2013
Offline Exactly. You can tell he is very hurt in the video, and just wants to be left alone. Nosey reporters, just looking for a story.
"Please don't bring your banjo back, I know where it's been.. I wasn't hardly gone a day, when it became the scene.. Banjos! Banjos! All the time, I can't forget that tune.. and if I ever see another banjo, I'm going out and buy a big balloon!"
8.12am
1 November 2012
Offline Thanks LHL — I never knew it was Hugh McCracken doing that solo. I think that’s one of the most underrated guitar solos of many. But I also wonder — how much of it was meticulously scripted by Paul (we know how obsessive he can be musically — which is a GOOD thing…).
Faded flowers, wait in a jar, till the evening is complete... complete... complete... complete...
8.27am
17 January 2013
Offline I agree, it is a great solo! I would not at all be surprised if Paul had structured it. It is kind of his flavour, isn’t it? 
"Please don't bring your banjo back, I know where it's been.. I wasn't hardly gone a day, when it became the scene.. Banjos! Banjos! All the time, I can't forget that tune.. and if I ever see another banjo, I'm going out and buy a big balloon!"
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