Skip to main content

Somedays I Don't...


I’ve been looking forward to the latest installment of ‘Take it Away: The Complete Paul McCartney Podcast’, which became available today, as it covers the album 'Flaming Pie' - an album I have great affection for that kicked off a bit of a late-career resurgence for Paul - and while I’m only halfway through Part One and am intrigued by the polarized feelings it's evoking, one comment really stuck in my throat, when one of the hosts said, “It sounds depressed and tired to me”; well yes: his wife was dying.

I know it wasn’t intended callously; it goes without saying that they have a lot of love for the man - they wouldn’t devote so much time to discussing his music if they didn't - but it still surprised me, perhaps partly because it’s so different to my perception of it.

I’m not saying the album’s perfect; there are definitely a few low points on it, but there are also some gems, and if there's a tiredness lurking beneath the surface, this could stem from the battle Paul and Linda were facing at the time, fighting a cancer with no happy ending, and the fact so much joy can also be heard in the tracks is testament to McCartney's spirit; part-buoyed by the Beatles Anthology and tested by the loss that loomed on the horizon.

Maybe I’m being too sensitive; after all, it’s just an opinion and we’re all entitled to opposing views, but while I can grasp the intended meaning it still seemed wide of the mark. He said he didn’t like 'The World Tonight' much too, which is a cracker, to paraphrase Frank Carson unnecessarily.

Popular posts from this blog

'...I'm Gonna Look at You 'til My Eyes Go Blind."

Over the past week or two, I’ve been on a bit of a Sheryl Crow kick, largely thanks to rediscovering her cover of one of my most-liked Bob Dylan songs. She has one of my favourite female voices, yet despite this, I only own one CD and that’s just a single (her '97 release ‘Hard to Make a Stand’); on that basis, you can only imagine how much of her back catalogue I’d own if I hated her (it would fall into minus-figures). Dylan, conversely, takes up more of my collection than anyone else, save The Beatles and Paul McCartney’s solo work. He’s one of those artists who, when you get him, you really get him - and once I’d tuned into his style as a student, I'd time and again be blown away by his lyrics; he’ll have more jaw-dropping imagery in one track than other people fit in a whole career. These days, I mostly listen to music in the morning when getting ready, and more often than not, this will consist of a suggested YouTube playlist when I’m in the bath, r...

Shakerpuppetmaker.

Have Parker from Thunderbirds and Noel Gallagher ever been seen in the same room? The resemblance is uncanny. So much so, I think something’s afoot. If my suspicions are correct, I've stumbled across a secret that will blow the music and puppet industry wide apart. In the mid-60s / mid-90s at least. It doesn’t take long to see the signposts. There’s the similarity between the name of Oasis’ first single, Supersonic, and Supermarianation, Gerry Anderson’s puppetry technique. The Gallagher brothers would often wear Parkas . Live Forever was clearly a reference to Captain Scarlet and Standing on the Shoulder of Giants to the size difference between Noel and his bandmates. The more you think about it, the more brazen it gets. It’s fishier than Area 51, Paul is Dead and JFK's assassination put together. The only glitch to the theory is scale . According to Wikipedia, Anderson’s marionettes were 1’10” and Gallagher is 5’8”. How does he maintain an illusion of avera...

Not The Bayeux One.

The Carole King album Tapestry has been my 'getting-ready-in-the-morning' soundtrack for the past few weeks.  It's been a favourite album ever since I was a student, which makes for a pleasantly gentle way to usher in the start of a day. I've always been a fan of a well-crafted song, which is something of a Carole King hallmark, ever since she started writing with her first husband in the early Sixties. Tapestry may be an unimaginative choice for a favourite LP, as it suggests I haven't delved that far into her career, but it's still an undoubted classic; anything with '(You Make Me Feel Like A) Natural Woman', 'Will You Still Love Me Tomorrow?' and 'You've Got A Friend' on it can't really fail; if nothing else, it proves she likes writing songs with long titles.  Next month, she's set to perform the album live in its entirety for the first time at a gig in Hyde Park, which I would have loved to have gone to, if it weren...