Week 52: Paul McCartney- III

What can you say about this man? An ex-member of one the greatest bands of all time who has inspired a generation of musicians and bands to break through from Cast to Oasis and even bands to date. Paul is a self-taught musician on pretty much any instrument he picks up. It started as a child when he wanted to play the piano, which his grandad was very fond of, but Paul’s father refused to teach him, saying he would benefit more from learning to teach himself. From there, the rest is history, and Paul, since learning to play by ear, has gone on to be one of the most decorated musicians and songwriters the world has ever seen. He can write a song as if rain was falling from the sky in his native Liverpool (Like any place in England, you will understand what I mean by this.) and is called a genius by his peers even though he openly admits he despises the tag and modesty says “I’m not a genius, I’m just a bloke who writes music.”. 

Here is my track-by-track review of his latest album:

Long Tailed Winter Bird:

This is more like one of those throwaway tracks or a track that was added just as filler. There are no lyrics to this song, and the instrumental started as a track for a film upon which Paul made longer and opted to use for the current album. According to Paul, the name was taken from a book he owns about birds.

Find My Way:

Composed initially while listening to the radio in the car, Paul then took his idea into the studio. He still decided to keep the piano but changed the verses to something that worked better.

Pretty Boys:

The story is about male models whom the paparazzi harass, and Paul said upon walking in New York that he saw a line of hire bicycles and came up with the concept that the models were for hire.

Women and Wives:

This blues number on the piano was born after Paul read a book on Lead Belly. He then sat down by the piano with a few simple chords that would fit around blues vocals. From there, he flew back to England to head to the studio and record it.

Lavatory Lil:

This song is about someone you don’t like, probably even hate, and creates a sphere where you exaggerate what they are like based upon your perceptions of them. I imagine Paul did have people in mind but opted for a nameless character to avoid being caught up in a legal battle.

Deep Deep Falling:

It was the longest track on the record at over eight minutes. The track was originally going to be trimmed, but Paul liked the track that started as a jam session, which later the lyrics and vocals were added to so much, he wanted to keep it that long.

Slidin:

Again, this is another track that started life as a jam. This time, during a soundcheck while on the European leg of a tour in Germany. Originally, it was to be used for his 2018 album “Egypt Station” as he liked the riff, but it didn’t work and was therefore half-baked. He returned to it for this record’s studio sessions and added lyrics while chopping and changing several other things but keeping the guitar riff. The title is from Paul watching the Winter Olympics and the commentator saying the term “Sliding” when the sports in question were done on the piste.

the Kiss of Venus:

A psychedelic song inspired by a book Paul was given about Earth, Mars, Venus, and the moon, where the phrase, which later became the title of the song, kept jumping out at him.

Seize the Day:

Another track was created on the piano, and Paul improvised. He built the rest of the song upon some lyrics about Eskimos and ice. From there, he added about the cold days in the chorus and then turned this extremely eccentric song into about enjoying today rather than letting the cold days drag us down.

Deep Down:

Another track evolved from a jam session, and from there, he built around it by improvisation. There needed to be a solid concept in place to write a song from it.

Winter Bird/When Winter Comes:

This track surprises you because it sounds like a continuation of the opening track but then evolves into something else with vocals, drums, bass, and guitar.

Song recommendations: “Deep Deep Falling”, “Slidin”, “Seize the Day”.

7/10

Week Seven: Green Day- Father of All Motherfuckers

maxresdefault

Yes, I don’t care that I am using the full title, and if that offends you, I couldn’t care less. Get used to it. I am fed up with all the fucking bullshit in society that offends people. So, I have been a regular listener (I even watch their shows via YouTube or television. Haven’t been to see them yet.) since 1995. They came up in a conversation while I was in America, and I remember hearing them and feeling blown away by their energy. Later, I would discover bands like the Sex Pistols and draw on the two comparisons. Indeed, Green Day frontman Billie Joe Armstrong said they inspired the band. So, Green Day started as Sweet Children in 1987 when they all met at school. (I believe Bassist Mike Dirnt was living with Billie Joe’s family or vice versa. I recently saw a documentary on the band and forgot the order.) Why Sweet Children? Well, a band in the East Bay of California was already called Sweet Baby.

The band then changed their name to Green Day after their affection for cannabis. The band would start to gain traction after performing numerous gigs at the DIY 924 Gillman Street club, known as the Gillman. After being spotted by Larry Livermore of Lookout! Records, they would sign with the independent label until 1993. When they joined Reprise Records in 1994, they faced some backlash from the regulars at the Gillman for ‘selling out’, but “Dookie” would go on to be their major breakthrough after scoring number one in three countries. Even in America, it only just failed to reach the summit. The band would get even more popular from there with a slight dip in “Nimrod”.

In the early 2000s, they had to change direction, so they entered the political arena with catchy three-chord songs like “Basket Base”, “When I Come Around”, et cetera and their lyrics laced with sarcasm. Not literally, but their songs attacked the presidential reign of George Bush Jr and his government. Now, we were seeing Green Day going full-on Sex Pistols. Turning from just Punk musicians to activists and “American Idiot”, the album was very politically-charged. After Bush’s two terms had finished, the first black president Barack Obama was elected, and everyone felt hopeful about the future. Indeed even the band’s lyrics and songs were more about hope and losing anger. Was it because the band members were getting towards middle age? Who knows. After Obama served his two terms, Green Day was not happy about the appointment of Entrepreneur Donald Trump, and many fans expected an album more prominent than all had gone before after 2016. Still, despite their opposition to the current president, it didn’t come.

Unfortunately, the title suggests that this is the moment that this is the record that does it. On the contrary, I didn’t notice much politics in this at all. I found it more upbeat, Kind of like “Who Built the Moon?” by Noel Gallagher’s High Flying Birds. It’s nothing like it sonically, but the music is upbeat. I was expecting a political album from Green Day, but they may feel we need more uplifting things to listen to during the current climate. The biggest shock for me on their thirteenth studio record was the length of it. Even with the bonus track featured on the Japanese version, it barely touches thirty minutes. On the version everywhere else, it is only twenty-six minutes and sixteen seconds. Their shortest record since “39/Smooth”, their debut back in 1990. Billie Joe said during an interview that he didn’t feel creative enough when writing songs involving politics. Instead, we have more of a jam session album, and Billie Joe felt nostalgic by drawing inspiration from his record collection. It is an album that is more focused on instrumental than lyrical content.

More bad news for avid fans is that the band have got very experimental on these ten/eleven tracks. Of course, for someone like me who enjoys it when artists/bands dabble with different sounds and genres, this record is very intriguing, and I appreciate this concept adopted by the band. Indeed, Billie Joe has said this record is more Soul, Motown, Glam rock and traditional Pop punk. However, there is modern garage rock with tracks like “Meet Me on the Roof” and the Weezer-inspired “I Was a Teenage Teenager”. The delivery by Billie Joe is very different, too and goes in line with the record; instead of his usual aggressive vocals, he sings with a comedic falsetto.

Well, if you were expecting a record that attacks the current world leaders, this album is not it. I’m sure Green Day will no doubt release one sometime in the future, but for now, they have decided to go with something more uplifting and make you forget entirely about all the bullshit going on for half an hour at least. This record is more like one big party and reminds us all to have fun now and again. As I said, they have gone with Noel Gallagher’s High Flying Birds approach. Let’s face it; it isn’t wrong to throw up the middle finger to the world and feel at one through the power of music. Now, I was torn as to what mark to give this record. On the one hand, you have an enjoyable and uplifting record, but on the other, you have a very un-Green Day record.

7/10