Fantasy Football - Footballguys Forums
This is a sample guest message. Register a free account today to become a member! Once signed in, you'll be able to participate on this site by adding your own topics and posts, as well as connect with other members through your own private inbox!
In this thread I rank my favorite post-Beatles Beatles songs: 291-1. (2 Viewers)
- Thread starter krista4
- Start date
krista4
Footballguy
---INTERLUDE – Cloud Nine (1987)---
Cloud Nine was George’s first studio album in five years and his last solo studio album released before his death in 2001. (We’ll discuss his posthumous studio album, Brainwashed, in a bit.) The single ahead of the album release, a cover of James Ray’s mostly forgotten “Got My Mind Set On You,” reached #1 in the US (George’s first #1 since “Give Me Love” in 1973). The album, which also featured another top 10 hit in “When We Was Fab,” followed with great success as well, reaching #8 on the charts and going platinum. Critical reception to the album was mostly outstanding, with even George’s nemesis, Rolling Stone magazine, calling it “expertly crafted, endless infectious” and deemed it George’s best record since All Things Must Pass.
As we’ve touched on, George had been struggling with the different musical climate he’d found in the late 70s and 80s. He couldn’t relate to punk music, which he decried as lacking in finesse, “just a lot of noise and nothing,” and he deplored glam rock or anything theatrical, saying he thought David Bowie “looked dopey.” The final nail in the coffin was the commercial and critical failure of Gone Troppo in 1982, after which George abandoned recording entirely in favor of pursuing his interests in film production and auto racing. But by 1986, the atmosphere had changed such that he decided to dip his toe into recording again.
The success of George’s return to studio album-making is attributable to many factors. For one thing, the musical landscape had changed in a way that was more open to a 40something Beatle. The impact of punk, a style George couldn’t contemplate, had receded. The advent of CDs was giving new life to some back catalogues. Sgt. Pepper’s itself celebrated a 20th anniversary that had many pouring back into the nostalgia of the Beatles.
But the greatest change was in George himself. Around this time, he declared that everything was easier because “I’m less worried about stuff.” The difference in George’s attitude was evident to everyone around him, from the photographer for the album cover, who said the whole photo shoot vibe was very “up,” to Elton John (who contributed to several songs including the one I’m about to post), who called the recording sessions “magical.” George even engaged in significant promotion for this album, something he had refused in the past.
He also opened himself up for the first time to celebrating his Beatle-dom instead of railing against it. Perhaps it was because the relationships among the three surviving Beatles were better than ever before (though they would take a downtown a year later when Paul refused to attend the R&R Hall of Fame induction) – he, Ringo, and Paul were getting together socially and seemed finally at ease with each other. Whatever the reason, on this album he embraced the past with songs such as “When We Was Fab” and the Beatle-y sounding “Fish On The Sand” and “This Is Love.” Ringo also played drums on this album, so we might have a RINGO SHOWCASE.
What accounts for the differences in George? Certainly the change in his personal circumstances had a huge impact, as he was happily married and relatively clean of drugs and alcohol. The time away from music had also clearly reduced the tension and the stress. A huge influence on the positivity of this album, however, was undoubtedly producer Jeff Lynne.
George had met Lynne in 1986 via Dave Edmunds, and they immediately became fast friends, with George inviting Lynne to accompany him to the Grand Prix in Australia. “Fast friends” and “Grand Prix” – see what I did there? Anyway, the two hit it off right away, as George appreciated that Lynne was just a dude – unpretentious, unaffected, and upbeat, but with a dry wit that matched George’s own.
While at the Grand Prix, the two started banging out the first song for the album, “When We Was Fab,” on a piano they found in a hotel – notably Lynne was the one who convinced George to embrace rather than shun his Beatle past. Lynne ended up persuading George to adopt this style of recording that he has not employed in his solo career, which was to adapt and improvise rather than to come into the studio with fully realized songs. Lynne’s camaraderie with George led to his becoming George’s first trusted musical partner since his Beatle days – George himself said that he felt he was “back in a group,” sharing thoughts and ideas. Lynne also convinced George to put his guitar work front and center again, which is why you hear so much great slide and other guitar work on this record.
Working with Lynne, George realized he could again focus on writing simple rock-and-roll songs, that he could again use his music to express himself with his solid base in classic rock music, but still adapt to fit the times. The result was this album of clean but energetic, upbeat but tasteful, contemporary but not dated, songs. The overall feel of this album, unlike those preceding it, is positive rather than full of struggle. While there are some big-name stars contributing here, most of the music is from just George and Lynne themselves, having a blast.
The impact of Lynne was not limited to this album. On the producer side, not only did he continue to work with George, but he was the producer of the Beatles Anthology project, plus what might be the best Ringo album (wait, what?) and my favorite Paul solo work, Flaming Pie. More importantly, of course, Lynne’s work with George directly led to the creation of the Traveling Wilburys. I’ll be talking about them again tomorrow! Lynne’s signature production sound, with minimal instrumentation and a spare ambience, compressed acoustic guitar and a heavily gated snare, with bass drums and bass high in the mix and delay and reverb added to the guitar, became a signature sound of the 80s and 90s. And I have to admit that I summarized that from something I read and didn’t figure it out myself.
Cover art! George reclaimed from Klaus Voormann (who’d had it for 20+ years) the original Gretsch guitar he’d bought in Liverpool in 1961, got it refurbished, and took this fab photo. Mirrored sunglasses are killing me. I do feel for him on the hair. I’ve battled that look all my life.
Cloud Nine was George’s first studio album in five years and his last solo studio album released before his death in 2001. (We’ll discuss his posthumous studio album, Brainwashed, in a bit.) The single ahead of the album release, a cover of James Ray’s mostly forgotten “Got My Mind Set On You,” reached #1 in the US (George’s first #1 since “Give Me Love” in 1973). The album, which also featured another top 10 hit in “When We Was Fab,” followed with great success as well, reaching #8 on the charts and going platinum. Critical reception to the album was mostly outstanding, with even George’s nemesis, Rolling Stone magazine, calling it “expertly crafted, endless infectious” and deemed it George’s best record since All Things Must Pass.
As we’ve touched on, George had been struggling with the different musical climate he’d found in the late 70s and 80s. He couldn’t relate to punk music, which he decried as lacking in finesse, “just a lot of noise and nothing,” and he deplored glam rock or anything theatrical, saying he thought David Bowie “looked dopey.” The final nail in the coffin was the commercial and critical failure of Gone Troppo in 1982, after which George abandoned recording entirely in favor of pursuing his interests in film production and auto racing. But by 1986, the atmosphere had changed such that he decided to dip his toe into recording again.
The success of George’s return to studio album-making is attributable to many factors. For one thing, the musical landscape had changed in a way that was more open to a 40something Beatle. The impact of punk, a style George couldn’t contemplate, had receded. The advent of CDs was giving new life to some back catalogues. Sgt. Pepper’s itself celebrated a 20th anniversary that had many pouring back into the nostalgia of the Beatles.
But the greatest change was in George himself. Around this time, he declared that everything was easier because “I’m less worried about stuff.” The difference in George’s attitude was evident to everyone around him, from the photographer for the album cover, who said the whole photo shoot vibe was very “up,” to Elton John (who contributed to several songs including the one I’m about to post), who called the recording sessions “magical.” George even engaged in significant promotion for this album, something he had refused in the past.
He also opened himself up for the first time to celebrating his Beatle-dom instead of railing against it. Perhaps it was because the relationships among the three surviving Beatles were better than ever before (though they would take a downtown a year later when Paul refused to attend the R&R Hall of Fame induction) – he, Ringo, and Paul were getting together socially and seemed finally at ease with each other. Whatever the reason, on this album he embraced the past with songs such as “When We Was Fab” and the Beatle-y sounding “Fish On The Sand” and “This Is Love.” Ringo also played drums on this album, so we might have a RINGO SHOWCASE.
What accounts for the differences in George? Certainly the change in his personal circumstances had a huge impact, as he was happily married and relatively clean of drugs and alcohol. The time away from music had also clearly reduced the tension and the stress. A huge influence on the positivity of this album, however, was undoubtedly producer Jeff Lynne.
George had met Lynne in 1986 via Dave Edmunds, and they immediately became fast friends, with George inviting Lynne to accompany him to the Grand Prix in Australia. “Fast friends” and “Grand Prix” – see what I did there? Anyway, the two hit it off right away, as George appreciated that Lynne was just a dude – unpretentious, unaffected, and upbeat, but with a dry wit that matched George’s own.
While at the Grand Prix, the two started banging out the first song for the album, “When We Was Fab,” on a piano they found in a hotel – notably Lynne was the one who convinced George to embrace rather than shun his Beatle past. Lynne ended up persuading George to adopt this style of recording that he has not employed in his solo career, which was to adapt and improvise rather than to come into the studio with fully realized songs. Lynne’s camaraderie with George led to his becoming George’s first trusted musical partner since his Beatle days – George himself said that he felt he was “back in a group,” sharing thoughts and ideas. Lynne also convinced George to put his guitar work front and center again, which is why you hear so much great slide and other guitar work on this record.
Working with Lynne, George realized he could again focus on writing simple rock-and-roll songs, that he could again use his music to express himself with his solid base in classic rock music, but still adapt to fit the times. The result was this album of clean but energetic, upbeat but tasteful, contemporary but not dated, songs. The overall feel of this album, unlike those preceding it, is positive rather than full of struggle. While there are some big-name stars contributing here, most of the music is from just George and Lynne themselves, having a blast.
The impact of Lynne was not limited to this album. On the producer side, not only did he continue to work with George, but he was the producer of the Beatles Anthology project, plus what might be the best Ringo album (wait, what?) and my favorite Paul solo work, Flaming Pie. More importantly, of course, Lynne’s work with George directly led to the creation of the Traveling Wilburys. I’ll be talking about them again tomorrow! Lynne’s signature production sound, with minimal instrumentation and a spare ambience, compressed acoustic guitar and a heavily gated snare, with bass drums and bass high in the mix and delay and reverb added to the guitar, became a signature sound of the 80s and 90s. And I have to admit that I summarized that from something I read and didn’t figure it out myself.
Cover art! George reclaimed from Klaus Voormann (who’d had it for 20+ years) the original Gretsch guitar he’d bought in Liverpool in 1961, got it refurbished, and took this fab photo. Mirrored sunglasses are killing me. I do feel for him on the hair. I’ve battled that look all my life.
Binky The Doormat
Footballguy
jwb
Footballguy
The last ELO show I saw (two years ago I think) Dhani Harrison opened for them, and later came out to join Jeff for Handle with Care.
I've seen the recent ELO twice, and they were both the most joyful concert crowds I have ever been part of. People love those songs.
krista4
Footballguy
241. Wreck Of The Hesperus (Cloud Nine, 1987) Spotify YouTube
(George #64)
Rock song! George sounds so great in vocal on this. You can hear the enthusiasm and optimism in his voice; he sounds positively sunny. Makes me so happy. Well, other that this song is not that positive in its lyrics. It was based on the Longfellow poem of the same name, except it isn’t about that at all. Instead, in the face of getting older, George is declaring his power, that he’s NOT this wreck but is more like the Great Wall of China or the Rock of Gibraltar. Then he turns in the second verse to an attack on the press. But he sounds good in doing it! And look, guitar! Love the vocal and the hard-driving guitar.
In addition to George and Lynne, this song features Eric Clapton, Elton John, Jim Keltner, and Jim Horn (on sax). Rockin’.
(George #64)
Rock song! George sounds so great in vocal on this. You can hear the enthusiasm and optimism in his voice; he sounds positively sunny. Makes me so happy. Well, other that this song is not that positive in its lyrics. It was based on the Longfellow poem of the same name, except it isn’t about that at all. Instead, in the face of getting older, George is declaring his power, that he’s NOT this wreck but is more like the Great Wall of China or the Rock of Gibraltar. Then he turns in the second verse to an attack on the press. But he sounds good in doing it! And look, guitar! Love the vocal and the hard-driving guitar.
In addition to George and Lynne, this song features Eric Clapton, Elton John, Jim Keltner, and Jim Horn (on sax). Rockin’.
Morton Muffley
Footballguy
First, and most importantly, happy birthday Krista!
I admittedly don't know much about George, so these write-ups are very helpful to me (an avowed Beatles fan). What I do know about George comes from the Scorcese documentary and clips I've seen/read over the years. These sources have combined to leave me with the feeling that George is...."complex" - which is my polite way of saying that I find him: self-serious and witty, open-minded and overly-opinionated, hypocritical and beloved. But he financed Life of Brian personally because he "wanted to see the movie" and for that he will always rate highly!
On the first bolded, and at risk of continuing my frequent role of Paul-apologist, I'll merely add that if you want to claim the high ground in being upset that your former band mate declines to attend the induction of the band into the RnR Hall of Fame: maybe don't sue him days before the event (and 20 years after the fact) for songwriting credits on the Lennon/McCartney catalog while simultaneously keeping all the Northern songs credit to yourself.
And on the latter bolded: phew! I was ALREADY feeling out of my league with you and @Pip's Invitation and this nearly sent me over the edge! No, it DID send me over the edge...until you grabbed me by the collar and pulled me back with that closing acknowledgment. Next time, try a preface rather than a postscript dammit!
krista4
Footballguy
This is a good summary!
Thanks for the birthday wishes.
Since I'm signing off at 2 pm today for bday fun, I'm unfortunately going to have to cram in this next interlude and two Paul songs in a short period of time. Sorry!
krista4
Footballguy
---INTERLUDE – Paul's Statement Songs---
I mentioned very early in this thread that I wasn’t entirely sure what Paul stood for, what his dedicated “causes” were. He’s certainly contributed to numerous charities with his time and money, but unlike John pushing peace or George pushing Krishna or Ringo pushing boogaloo, Paul’s songs haven’t coalesced around any particular themes. That’s not a criticism – in fact, I might prefer his approach – but my observation. The next two songs I post will be what I see as Paul’s best “statement” songs, where he is attempting to support a cause or push an agenda of some sort, albeit still a big vaguely.
Before we get to those, I wanted to cover a few “statement” songs from Paul that I found less compelling and didn’t make my list, along with some comments from former-crowd-favorite OH.
Meat-Free Monday – Well, I give him huge credit for sparking a movement in this regard, despite this song. (This is my thought, not OH’s.)
Freedom – Paul was inspired to write this while sitting on the tarmac at JFK during the events of September 11. While still on the plane, Paul pledged the proceeds of his next single to a NYC firemen’s fund. He debuted this song at The Concert for New York City, which he also helped arrange in response to this tragedy. The song was added at the last minute to the album Driving Rain, as an uncredited bonus track. It also was performed by Paul at the Super Bowl XXXVI pregame show. Neither OH nor I dislikes this song and find it pretty good in the pantheon of jingoism. I do feel the need to tell Paul you can’t have the lyric, “I will fight for the right…” without my screaming “to paaaaaaarty” at him. OH comments: “Yeah, it was fine. It was certainly better than most of the horse#### music that came out at that time and less…[krista: jingoistic?] yeah, though the word “freedom” is. I appreciate his trying to come up with something positive, though maybe the people in NY wouldn’t have felt that. He wasn’t trying to heighten the fear. I wondered whose propaganda interests the fear were trying to serve. I remember being actually frightened, like what should I do. Like these several months of COVID but in one afternoon.”
Pipes of Peace – Although musically I love parts of the chorus, this one is much less successful in both OH’s and my minds, which was exacerbated for me when @rockaction alerted me in another thread to the existence of this ridiculous video for it. Seriously, you must watch. OH: “I don’t like it. It’s earnest. So earnest but so facile. If we could just teach children to play the pipes of peace instead of burn baby burn. What the hell are you talking about? It’s totally meaningless. And there were children singing.”
I mentioned very early in this thread that I wasn’t entirely sure what Paul stood for, what his dedicated “causes” were. He’s certainly contributed to numerous charities with his time and money, but unlike John pushing peace or George pushing Krishna or Ringo pushing boogaloo, Paul’s songs haven’t coalesced around any particular themes. That’s not a criticism – in fact, I might prefer his approach – but my observation. The next two songs I post will be what I see as Paul’s best “statement” songs, where he is attempting to support a cause or push an agenda of some sort, albeit still a big vaguely.
Before we get to those, I wanted to cover a few “statement” songs from Paul that I found less compelling and didn’t make my list, along with some comments from former-crowd-favorite OH.
Meat-Free Monday – Well, I give him huge credit for sparking a movement in this regard, despite this song. (This is my thought, not OH’s.)
Freedom – Paul was inspired to write this while sitting on the tarmac at JFK during the events of September 11. While still on the plane, Paul pledged the proceeds of his next single to a NYC firemen’s fund. He debuted this song at The Concert for New York City, which he also helped arrange in response to this tragedy. The song was added at the last minute to the album Driving Rain, as an uncredited bonus track. It also was performed by Paul at the Super Bowl XXXVI pregame show. Neither OH nor I dislikes this song and find it pretty good in the pantheon of jingoism. I do feel the need to tell Paul you can’t have the lyric, “I will fight for the right…” without my screaming “to paaaaaaarty” at him. OH comments: “Yeah, it was fine. It was certainly better than most of the horse#### music that came out at that time and less…[krista: jingoistic?] yeah, though the word “freedom” is. I appreciate his trying to come up with something positive, though maybe the people in NY wouldn’t have felt that. He wasn’t trying to heighten the fear. I wondered whose propaganda interests the fear were trying to serve. I remember being actually frightened, like what should I do. Like these several months of COVID but in one afternoon.”
Pipes of Peace – Although musically I love parts of the chorus, this one is much less successful in both OH’s and my minds, which was exacerbated for me when @rockaction alerted me in another thread to the existence of this ridiculous video for it. Seriously, you must watch. OH: “I don’t like it. It’s earnest. So earnest but so facile. If we could just teach children to play the pipes of peace instead of burn baby burn. What the hell are you talking about? It’s totally meaningless. And there were children singing.”
Last edited by a moderator:
Morton Muffley
Footballguy
Must we keep returning to this very sad period in my life and in the career of Paul? Can't we just pretend this didn't happen? If it isn't clear, I agree with you and OH on all the listed songs most especially this one. I find it absolutely unlistenable and am perplexed at how it managed to reach #1 in the UK - a place which, Mull of Kintyre notwithstanding, had been much more discriminating than the US market when assessing Paul's solo stuff. Indeed, the only defense I will mount is that the video is based on a true event (Christmas truce between British and German troops in 1914).
rockaction
Footballguy
That's what our teacher told us and why I think I liked the video. It does call into play a whole host of questions about war and agency, though. But enough about that, it's simply and jollily Paul, isn't it? "Oh war, you silly old skamp, you. You're preventing us from what's really importnat. Letters from our teenage girlfriends!"
krista4
Footballguy
---NSFW---
240. Big Boys Bickering (single, 1993) YouTube (not available on Spotify)
(Paul #113)
###NSFW###
Recorded during the Off The Ground sessions but not included on the album, this song became the b-side to the single “Hope and Deliverance.” It didn’t receive airplay because of a tiny issue of language, about which Paul was feisty: “I think it was my first protest song since 'Give Ireland Back To The Irish.' I’ve avoided them... I think there’s a bit of John Lennon inspiration in this one. It’s Lennon-esque to my mind anyway. John wouldn’t have thought twice about saying ‘####’ in a song. If I’m talking about the ozone layer and the big hole in it – 50 miles wide hole – I don’t think 'well, that’s a flippin’ hole,' I think that’s a ####### big hole. I’m proud of it. I’m not a teenybopper. I’m an artist. I’ve written serious stuff before and I’m writing it now. You don’t like it, don’t buy it.”
More from Paul about the “f” word - stay tuned for 50 years from now! Wait, 23 years from now at this point: “I think I’m allowed to use it once in every 50 years, don’t you? Once in every 50 years I’ll use that word – stick around for the next time.”
As for me, I’m a big fan of the accordion and the guitar in this song. And he’s right – they’re ####### it up for everyone.
240. Big Boys Bickering (single, 1993) YouTube (not available on Spotify)
(Paul #113)
###NSFW###
Recorded during the Off The Ground sessions but not included on the album, this song became the b-side to the single “Hope and Deliverance.” It didn’t receive airplay because of a tiny issue of language, about which Paul was feisty: “I think it was my first protest song since 'Give Ireland Back To The Irish.' I’ve avoided them... I think there’s a bit of John Lennon inspiration in this one. It’s Lennon-esque to my mind anyway. John wouldn’t have thought twice about saying ‘####’ in a song. If I’m talking about the ozone layer and the big hole in it – 50 miles wide hole – I don’t think 'well, that’s a flippin’ hole,' I think that’s a ####### big hole. I’m proud of it. I’m not a teenybopper. I’m an artist. I’ve written serious stuff before and I’m writing it now. You don’t like it, don’t buy it.”
More from Paul about the “f” word - stay tuned for 50 years from now! Wait, 23 years from now at this point: “I think I’m allowed to use it once in every 50 years, don’t you? Once in every 50 years I’ll use that word – stick around for the next time.”
As for me, I’m a big fan of the accordion and the guitar in this song. And he’s right – they’re ####### it up for everyone.
Pip's Invitation
Footballguy
I think one of the reasons Lynne and George were such a good match is that Lynne was OBSESSED with the Beatles during his time in ELO. This is most notable on the 1977 double album Out of the Blue, but can be detected in all their work. So it made sense that Lynne would put everything he had into it when he actually got to work with a Beatle.
Cloud Nine is really where Lynne’s production career took off, isn’t it?
I have never listened to Flaming Pie. In 1993 I was all about grunge, Phish and whatever Neil was up to.
krista4
Footballguy
Within a couple of years of Cloud Nine, he was producing Brian Wilson, Roy Orbison's big comeback album, and Tom Petty's first solo album, and then of course the Wilburys, so I'd say you're completely right on that timing.
You'll get a chance to hear a lot of Flaming Pie (1997, btw) in this countdown.
Last edited by a moderator:
Uruk-Hai
Footballguy
This is a brilliant write-up.
May I assume you have more coming about the Wilburys? I don't want to jump off of a short ledge when there's a Grand Canyon coming.
Also, and maybe, inclusive - I have to work through my Jeff Lynne Issues somewhere.
krista4
Footballguy
Tomorrow would be a good day for us all to work through Jeff Lynne issues. I'll be starting with a lengthy Wilburys ---INTERLUDE--- and then two Wilburys songs.
simey
Footballguy
krista4
Footballguy
I'm especially curious to see if this is on Morton's list. My feelings on it are so mixed.
239. Tug Of War (Tug Of War, 1982) Spotify YouTube
(Paul #112)
“Tug Of War” was released as the third single from the album of the same name, but didn’t have the wild success of the first two releases, only reaching #53 on the US charts despite high praise from critics, which included Rolling Stone comparing it to John’s “Imagine.” Its theme is that we are always in conflict, everything is a tug of war, but that positive solutions are possible.
This is a highly produced, intense, and epic piece around which Paul centered the whole album, with the intention of making a serious statement. It begins with 25 seconds of a recording from the actual Tug of War Association championships in Huddersfield, England. There is such a thing! The song then moves into its first musical movement, starting with a wistful-sounding acoustic guitar verse with only light strings in the background, and Paul’s lyrics introducing the notion that conflict subsumes us. Then the first instance of the chorus kicks in with more prominent strings and strong backing vocals (also by Paul) that sound like an angelic chorus. The lyrics on the choruses represent the hopeful portion of the song, imagining a time when we actually have changed the world.
As Paul heads into the second verse, he reverts to the softer acoustic sound, once again matching the lyrics to this sad sound, but this time the strings and bass pick up steam and the vocal seems to have more urgency. Here he also adds the “pushing, pulling” backing vocals to build on the theme of conflict. Instead of going into another chorus, though…BAM, he inserts a major key change and three crashing guitar parts, then rips into a magnificent middle eight that thunderously trumpets a feeling a hope but also one of urgency. Paul’s vocal on this bridge is outstanding, as it is for the whole song. The repeated bridge leads back into a stronger version of the chorus, with Paul singing in a more urgent tone, with the strings also up the mix to emphasize the urgency, then the addition of the trumpet flare and the military snare to punctuate it further. The military snare comes in while Paul is singing “dancing to the beat of a different drum” – brilliant! George Martin and Paul did an incredible job with this section. Following this repeat of the chorus, Paul sings a final verse, still wistful but stronger and seemingly with more hope, followed by an orchestral outro.
This sounds like a fantastic song, right? It is. So why is it not higher? In part it’s just that I love so many Paul songs, but overall I don’t entirely know. It seems built for someone like me, in a way, and there are parts of this song I absolutely love – I get almost giddy every time Paul has that little syncopation on “dancing to the beat” in the verses, and when he uses it to introduce the military snare in the last chorus I wanna die. The use of the trumpet on the “in another world” lyrics of the last refrain reminds me a little of the storytelling by the French horn in “For No One.” I could listen to 20 minutes of just that middle eight+ final chorus and be happy. On the other hand, there are bits I don’t love. I pretty much despise the “pushing pulling” backing vocals, and I feel like the orchestral parts on the last verse start to veer into over-production (sorry, Morton). I could do without the orchestral outro entirely. The lyrics are a little simplistic. Those are fairly minor quibbles, but it just doesn’t completely connect with me in the way where I feel the need to play it over and over.
OH’s thoughts on this song focused on the truly important points: “I get the idea that Paul doesn’t really know what happens in a tug of war. That metaphor was lost on him. 'Pushing and pulling'? Nobody pushes. You would lose. 'Trying to outscore each other'? There’s no scoring. So I don’t know. I wish he’d try to make a metaphor out of a sport he knew about.”
239. Tug Of War (Tug Of War, 1982) Spotify YouTube
(Paul #112)
“Tug Of War” was released as the third single from the album of the same name, but didn’t have the wild success of the first two releases, only reaching #53 on the US charts despite high praise from critics, which included Rolling Stone comparing it to John’s “Imagine.” Its theme is that we are always in conflict, everything is a tug of war, but that positive solutions are possible.
This is a highly produced, intense, and epic piece around which Paul centered the whole album, with the intention of making a serious statement. It begins with 25 seconds of a recording from the actual Tug of War Association championships in Huddersfield, England. There is such a thing! The song then moves into its first musical movement, starting with a wistful-sounding acoustic guitar verse with only light strings in the background, and Paul’s lyrics introducing the notion that conflict subsumes us. Then the first instance of the chorus kicks in with more prominent strings and strong backing vocals (also by Paul) that sound like an angelic chorus. The lyrics on the choruses represent the hopeful portion of the song, imagining a time when we actually have changed the world.
As Paul heads into the second verse, he reverts to the softer acoustic sound, once again matching the lyrics to this sad sound, but this time the strings and bass pick up steam and the vocal seems to have more urgency. Here he also adds the “pushing, pulling” backing vocals to build on the theme of conflict. Instead of going into another chorus, though…BAM, he inserts a major key change and three crashing guitar parts, then rips into a magnificent middle eight that thunderously trumpets a feeling a hope but also one of urgency. Paul’s vocal on this bridge is outstanding, as it is for the whole song. The repeated bridge leads back into a stronger version of the chorus, with Paul singing in a more urgent tone, with the strings also up the mix to emphasize the urgency, then the addition of the trumpet flare and the military snare to punctuate it further. The military snare comes in while Paul is singing “dancing to the beat of a different drum” – brilliant! George Martin and Paul did an incredible job with this section. Following this repeat of the chorus, Paul sings a final verse, still wistful but stronger and seemingly with more hope, followed by an orchestral outro.
This sounds like a fantastic song, right? It is. So why is it not higher? In part it’s just that I love so many Paul songs, but overall I don’t entirely know. It seems built for someone like me, in a way, and there are parts of this song I absolutely love – I get almost giddy every time Paul has that little syncopation on “dancing to the beat” in the verses, and when he uses it to introduce the military snare in the last chorus I wanna die. The use of the trumpet on the “in another world” lyrics of the last refrain reminds me a little of the storytelling by the French horn in “For No One.” I could listen to 20 minutes of just that middle eight+ final chorus and be happy. On the other hand, there are bits I don’t love. I pretty much despise the “pushing pulling” backing vocals, and I feel like the orchestral parts on the last verse start to veer into over-production (sorry, Morton). I could do without the orchestral outro entirely. The lyrics are a little simplistic. Those are fairly minor quibbles, but it just doesn’t completely connect with me in the way where I feel the need to play it over and over.
OH’s thoughts on this song focused on the truly important points: “I get the idea that Paul doesn’t really know what happens in a tug of war. That metaphor was lost on him. 'Pushing and pulling'? Nobody pushes. You would lose. 'Trying to outscore each other'? There’s no scoring. So I don’t know. I wish he’d try to make a metaphor out of a sport he knew about.”
krista4
Footballguy
Fantastic write up as always but all I can think about is Sir Paul on Battle of the Network Stars with someone having to explain how a tug of war works.
Also, Happy Birthday Krista.
I would have loved that!Thanks for the birthday wishes.
wikkidpissah
Footballguy
it's a candle showcase! HBK4 
Neal Cassady
Footballguy
Happy birthday Krista!
Pip's Invitation
Footballguy
Ah. In 1997 I was all about Phish and whatever Neil was up to. Most grunge bands had broken up, had a key member die or were up their own asses (Pearl Jam).Within a couple of years of Cloud Nine, he was producing Brian Wilson, Roy Orbison's big comeback album, and Tom Petty's first solo album, and then of course the Wilburys, so I'd say you're completely right on that timing.
You'll get a chance to hear a lot of Flaming Pie (1997, btw) in this countdown.
Happy birthday!
Last edited by a moderator:
Binky The Doormat
Footballguy
prosopis
Arizona Chupacabra
prosopis
Arizona Chupacabra
Nice, we are getting to stuff I know well. I have enjoyed hearing new songs for me but I will enjoy some familiarity with the Willburys.
Pip's Invitation
Footballguy
As soon as George starts singing, all the now-familiar Lynne production/arrangement touches show up. This approach was used on, what, 90% of Wilbury songs?
This phase also was where Lynne let everyone know he was a bass player, too. He played bass on much of this, the Wilbury tracks and Tom Petty's Full Moon Fever.
I also like what whoever was playing lead guitar was doing on this one. Oh, hey, it's Eric Clapton!
Last edited by a moderator:
Pip's Invitation
Footballguy
It does seem like Paul doing a John song. I could see John putting out stuff like this if he'd lived into the 90s. It's a good example of putting a political/social message in a song without letting it suffocate the song (though I don't care for the breakdown at the end.)
Pip's Invitation
Footballguy
I don't remember this one at all. Paul's vocal is quite good, up there with his best performances in the late-period Beatles and Wings. But I don't care for any of the backing vocals (not just the pushing, pulling part) and I agree it's overproduced. It sounds like something you'd have expected from the Moody Blues at this point in their careers, not Paul.
Morton Muffley
Footballguy
Wow. All I can say is wow. OK, this really is gonna sound like I don't have my own list and am just making $%@! up to copy you as you post it. I really like this song. No I really WANT to like this song. So much of it is absolutely perfect as you rightly describe. It would be in my top 50 if not for the two things OH noted (pushing?outscoring?). This is the first incident of many we will discuss in which a Paul song will fall precipitously in my rankings due to one or two ridiculous lyrical choices. Indeed, I was looking forward to mocking these two lyrical choices in this otherwise beautiful song. It is #97 on my list. And I don't want to front-run some of the other songs that are lower than they otherwise would be, but I also don't want to be accused of simply riding your and your OH's coat tails. Maybe I'll put them in a spoiler tag if I ever figure out how to do that.
Edited to add: o be clear, I think this song also contains some absolutely brilliant lyrics (the wistful "...won't be soon enough, soon enough for me" "dancing to the beat played on a different drum").
And as I warned before: I don't want to hear "over-produced" when discussing songs from this album. You came awfully close Krista! Don't make me pull my Ringo card to fight fire with fire!
Last edited by a moderator:
Pip's Invitation
Footballguy
Was this the inspiration for Rebecca Black's "Friday"?
I watched The Concert for New York City when it happened and I remember not hating this. I still don't. The backing track on the studio version actually sounds a bit Lynne/Wilburys to me.
When I was Hippling your first countdown thread, I mentioned I came across this song on the radio on a day the station's theme was "songs that hit #1 in the UK but not the US." I hadn't heard it since it was first released as a single, before America decided it wasn't interested. It starts off well enough, with a bounciness that recalls some of his more fun Beatles and Wings material, but starts to lose me when we get to the first "play the pipes of peeeeeeeeeeeeeeeeeeeeeeeace". The drums that kick in are electronically treated in a really annoying way. Then we get an electronic piccolo or some such nonsense. At 3:15 we get granny music, which pretty much stays to the end. Many of Paul's songs get better as they go along. The opposite happens here.
Last edited by a moderator:
krista4
Footballguy
It makes me happy each time we are aligned like this! You are more knowledgeable about Paul than I am, so I appreciate getting that confirmation, in a way. I fear we're going to lose our alignment in the top songs, so I'm glad to take it when I can.
Perfect.
krista4
Footballguy
Ummmm.....it's your birthday. Do you really want to spend it with?!?!
Started drinking at 2:30, so I'm home already and listening to George songs. Getting old is funny.
Dr. Octopus
Footballguy
I battled it for about 33 years, but good news is I then started winning and forced the hair to retreat.
oh wait....
Morton Muffley
Footballguy
You flatter me too much. I MAY have been more knowledgeable about Paul than you WERE. But now that you've listened to EVERY one of his songs FOUR times in an effort to rank all of his and the others' songs that is most definitely no longer the case. I created my Paul 100 simply be reviewing his catalog and organizing them by how I FEEL about each song. I don't even think I listened to more than 30 of his songs in order to create my top 100 list. I just know what I like from years of listening.It makes me happy each time we are aligned like this! You are more knowledgeable about Paul than I am, so I appreciate getting that confirmation, in a way. I fear we're going to lose our alignment in the top songs, so I'm glad to take it when I can.
As for losing alignment when we get to the top songs, I fully expect that to happen. Indeed, I expect it to happen well BEFORE we get to the top songs. In looking at MY top 25 for Paul, I see only 10 songs that would be termed "classic" by the lay-person. There are at LEAST 6 "classics" outside my top 25 and probably a dozen well-known songs scattered all throughout my top 100. My point is, my list in very much MY preference and quite far from "canon." In addition, I will try to make the case for one deep cut song that, in a difference universe, could have switched places with Let It Be. That is, in this alternate universe the unknown song was recorded by the Beatles in 1968 and became both beloved and an anthem at various charity concerts...meanwhile Let It Be was recorded decades later and remains a deep cut on a very good album that is known only to Paul's most die-hard fans and anyone who listens to every one of his songs four times in order to rank-order his top 141 songs.
krista4
Footballguy
---INTERLUDE – The Traveling Wilburys---
As mentioned in the interlude for Cloud Nine, the Traveling Wilburys were born out of the sessions for that record. While recording, George and Jeff Lynne often talked about how they’d love to put together a full band together. George dreamt of adding Bob Dylan, with whom he’d been close for years, drawing even closer after Dylan contributed songs to All Things Must Pass and performed at the Concert for Bangladesh. Lynne named Roy Orbison, for whom he was then producing an album, as his dream participant, and George had known and been a fan of Orbison’s since the Beatles opened for him on tour in 1963. Both Lynne and George were close to Tom Petty, with George having frequent ukulele jam sessions at Petty’s house, and Lynne in the midst of producing Petty’s first solo album. George even mentioned his dream of a band of “me and some of my mates” called the Traveling Wilburys in an interview in February 1988, but the band’s formation ended up happening largely by accident.
With very little notice, Warner Brothers had informed George in April 1988 that he needed a non-album b-side for his “This Is Love” single out of Cloud Nine. While having dinner with Lynne and Orbison, George asked Lynne to help with the recording the next day, and Orbison decided to come along for it. But they needed a place to record on short notice, so George arranged with Dylan to use his garage studio in Malibu. On the way to record, George stopped by Tom Petty’s house to pick up a guitar, and Petty decided to come over for the recording, too.
The five of them gathered with George’s half-finished song. George wrote a little vocal part in it for Orbison, because IF YOU HAVE ROY ORBISON IN YOUR RECORDING STUDIO YOU DAMN WELL WRITE A VOCAL PART FOR HIM. All of the group participated in finishing the song, then recorded it the same night, all of this accomplished in about five hours.
When he brought it to Warner Brothers, they predictably said it was too good to be a mere b-side. In fact, they wondered, could they get a whole album of this? Dylan was due back on his Never-Ending Tour in June, the band gathered in early May and dedicated ten days to putting the album together. They would sit around with their acoustic guitars, each member of the group throwing out musical ideas from which they’d lay down an initial track. Then at dinner, they’d sit at a communal table and pass the lyrics around and work on those during the meal. They’d draw straws to see who would sing the initial version, and then George would generally decide whose vocal fit which parts the best. By the end of ten days, they had all of the songs written, with the basic parts and rough vocals recorded. During the summer, George and Lynne then worked on the refining of the recordings, adding Jim Keltner on drums and Jim Horn on sax, and having Petty and Orbison come over for re-recordings where necessary.
This was a particularly joyous time for George, and indeed for all of the Wilburys. George’s first and most important rule in putting the band together was that he would only admit as members people that he liked to hang out with. By all accounts, the sessions were relaxed and free of ego, and the group laughed as much as recorded and shared a similar sense of humor (and a love for Monty Python). While certain songs came from ideas from one or another Wilbury, the writing was truly collaborative, the vocal parts were equally shared, and each member was participating from a pure love of making music with people whom they respected and considered friends. Preserving those friendships was most important to each of them; they were beyond a point where they needed to prove anything.
Despite this “community of equals,” it was clear that George was the driving force and ultimately in charge, and he set the tone for the sessions. He had put the band together and organized all the sessions, he did by far the most promotion for the album, and he and Lynne co-produced the album together. George is the one who had, two months before that first recording session occurred, mentioned “The Traveling Wilburys,” the name coming from the Cloud Nine sessions during which, upon numerous issues with faulty equipment, George had repeatedly joked to Lynne, “We’ll bury ‘em in the mix.” He and Lynne started using the word “Wilbury” to refer to any mishaps in the recordings. George had then suggested “The Trembling Wilburys” for their dream band, which Lynne adapted to “Traveling Wilburys.”
Traveling Wilburys Vol. 1 was released in October 1988 to huge critical acclaim and commercial success. It went platinum quickly and eventually sold over five million copies, and it won the Grammy for Best Rock Performance by a Duo or Group. In the liner notes, each of the band members adopted a fictitious Wilbury first name, and Michael Palin (under a fake name) put together a whole history of how this group of half-brothers had traveled the land for many years. That part was kinda dumb to me, but hey, they seemed to be enjoying themselves, and this “half-brother” notion had enhanced their camaraderie.
About six weeks after the release, however, tragedy struck when Orbison died suddenly of a heart attack at age 52. All of the Wilburys were shocked, but Lynne remembers being devastated for years. The video for their second single from the album, “End of the Line,” was shot to show the surviving Wilburys singing to a chair holding Orbison’s guitar. Be forewarned if you watch this now: it is not an easy viewing given that three of the Wilburys have now passed.
The other four Wilburys gathered two years later to record a second album, which George the little scamp insisted be called Traveling Wilburys Vol. 3. They had considered adding a new member to the group to fill Orbison’s spot – both Del Shannon and Roger McGuinn had been mentioned – but in the end remained a quartet. This second album features more vocals from Dylan and Petty, with George taking a backseat on vocals but featuring more prominently on lead guitar. The songs for the album were more fully developed rather than being put together in the kitchen sitting around a table. The songs sound good, but to me, this album is missing something. I suspect that it’s not just Orbison’s unmatched vocal, but some of the magic that he naturally brought. While there was mutual respect among all the Wilburys, Orbison was the one they all idolized the most, and I think the glee that they all evidenced in the first record was down a notch in the second one. This album still did well, going platinum, but was not the enormous success of the first.
George over the course of the rest of his life would occasionally talk about recording another album, or going on tour as the Wilburys. Lynne remembers that George would say, “We’re going to get an aircraft carrier and follow the sunshine” for their Wilbury tour. Of course, it never happened, but it shows just how much pleasure this endeavor continued to give George, as he stated that from this time on he always considered himself “a Wilbury.”
As mentioned in the interlude for Cloud Nine, the Traveling Wilburys were born out of the sessions for that record. While recording, George and Jeff Lynne often talked about how they’d love to put together a full band together. George dreamt of adding Bob Dylan, with whom he’d been close for years, drawing even closer after Dylan contributed songs to All Things Must Pass and performed at the Concert for Bangladesh. Lynne named Roy Orbison, for whom he was then producing an album, as his dream participant, and George had known and been a fan of Orbison’s since the Beatles opened for him on tour in 1963. Both Lynne and George were close to Tom Petty, with George having frequent ukulele jam sessions at Petty’s house, and Lynne in the midst of producing Petty’s first solo album. George even mentioned his dream of a band of “me and some of my mates” called the Traveling Wilburys in an interview in February 1988, but the band’s formation ended up happening largely by accident.
With very little notice, Warner Brothers had informed George in April 1988 that he needed a non-album b-side for his “This Is Love” single out of Cloud Nine. While having dinner with Lynne and Orbison, George asked Lynne to help with the recording the next day, and Orbison decided to come along for it. But they needed a place to record on short notice, so George arranged with Dylan to use his garage studio in Malibu. On the way to record, George stopped by Tom Petty’s house to pick up a guitar, and Petty decided to come over for the recording, too.
The five of them gathered with George’s half-finished song. George wrote a little vocal part in it for Orbison, because IF YOU HAVE ROY ORBISON IN YOUR RECORDING STUDIO YOU DAMN WELL WRITE A VOCAL PART FOR HIM. All of the group participated in finishing the song, then recorded it the same night, all of this accomplished in about five hours.
When he brought it to Warner Brothers, they predictably said it was too good to be a mere b-side. In fact, they wondered, could they get a whole album of this? Dylan was due back on his Never-Ending Tour in June, the band gathered in early May and dedicated ten days to putting the album together. They would sit around with their acoustic guitars, each member of the group throwing out musical ideas from which they’d lay down an initial track. Then at dinner, they’d sit at a communal table and pass the lyrics around and work on those during the meal. They’d draw straws to see who would sing the initial version, and then George would generally decide whose vocal fit which parts the best. By the end of ten days, they had all of the songs written, with the basic parts and rough vocals recorded. During the summer, George and Lynne then worked on the refining of the recordings, adding Jim Keltner on drums and Jim Horn on sax, and having Petty and Orbison come over for re-recordings where necessary.
This was a particularly joyous time for George, and indeed for all of the Wilburys. George’s first and most important rule in putting the band together was that he would only admit as members people that he liked to hang out with. By all accounts, the sessions were relaxed and free of ego, and the group laughed as much as recorded and shared a similar sense of humor (and a love for Monty Python). While certain songs came from ideas from one or another Wilbury, the writing was truly collaborative, the vocal parts were equally shared, and each member was participating from a pure love of making music with people whom they respected and considered friends. Preserving those friendships was most important to each of them; they were beyond a point where they needed to prove anything.
Despite this “community of equals,” it was clear that George was the driving force and ultimately in charge, and he set the tone for the sessions. He had put the band together and organized all the sessions, he did by far the most promotion for the album, and he and Lynne co-produced the album together. George is the one who had, two months before that first recording session occurred, mentioned “The Traveling Wilburys,” the name coming from the Cloud Nine sessions during which, upon numerous issues with faulty equipment, George had repeatedly joked to Lynne, “We’ll bury ‘em in the mix.” He and Lynne started using the word “Wilbury” to refer to any mishaps in the recordings. George had then suggested “The Trembling Wilburys” for their dream band, which Lynne adapted to “Traveling Wilburys.”
Traveling Wilburys Vol. 1 was released in October 1988 to huge critical acclaim and commercial success. It went platinum quickly and eventually sold over five million copies, and it won the Grammy for Best Rock Performance by a Duo or Group. In the liner notes, each of the band members adopted a fictitious Wilbury first name, and Michael Palin (under a fake name) put together a whole history of how this group of half-brothers had traveled the land for many years. That part was kinda dumb to me, but hey, they seemed to be enjoying themselves, and this “half-brother” notion had enhanced their camaraderie.
About six weeks after the release, however, tragedy struck when Orbison died suddenly of a heart attack at age 52. All of the Wilburys were shocked, but Lynne remembers being devastated for years. The video for their second single from the album, “End of the Line,” was shot to show the surviving Wilburys singing to a chair holding Orbison’s guitar. Be forewarned if you watch this now: it is not an easy viewing given that three of the Wilburys have now passed.
The other four Wilburys gathered two years later to record a second album, which George the little scamp insisted be called Traveling Wilburys Vol. 3. They had considered adding a new member to the group to fill Orbison’s spot – both Del Shannon and Roger McGuinn had been mentioned – but in the end remained a quartet. This second album features more vocals from Dylan and Petty, with George taking a backseat on vocals but featuring more prominently on lead guitar. The songs for the album were more fully developed rather than being put together in the kitchen sitting around a table. The songs sound good, but to me, this album is missing something. I suspect that it’s not just Orbison’s unmatched vocal, but some of the magic that he naturally brought. While there was mutual respect among all the Wilburys, Orbison was the one they all idolized the most, and I think the glee that they all evidenced in the first record was down a notch in the second one. This album still did well, going platinum, but was not the enormous success of the first.
George over the course of the rest of his life would occasionally talk about recording another album, or going on tour as the Wilburys. Lynne remembers that George would say, “We’re going to get an aircraft carrier and follow the sunshine” for their Wilbury tour. Of course, it never happened, but it shows just how much pleasure this endeavor continued to give George, as he stated that from this time on he always considered himself “a Wilbury.”
Last edited by a moderator:
krista4
Footballguy
Yes, since these are just my preferences, too, I'm well outside the canon, including five of my top 10 Paul. It's hard to imagine we'll be outside that in the same ways. I am extremely interested in what the "Let It Be" substitute would be. Dammit, I don't want to wait!As for losing alignment when we get to the top songs, I fully expect that to happen. Indeed, I expect it to happen well BEFORE we get to the top songs. In looking at MY top 25 for Paul, I see only 10 songs that would be termed "classic" by the lay-person. There are at LEAST 6 "classics" outside my top 25 and probably a dozen well-known songs scattered all throughout my top 100. My point is, my list in very much MY preference and quite far from "canon." In addition, I will try to make the case for one deep cut song that, in a difference universe, could have switched places with Let It Be. That is, in this alternate universe the unknown song was recorded by the Beatles in 1968 and became both beloved and an anthem at various charity concerts...meanwhile Let It Be was recorded decades later and remains a deep cut on a very good album that is known only to Paul's most die-hard fans and anyone who listens to every one of his songs four times in order to rank-order his top 141 songs.
Dr. Octopus
Footballguy
Obviously false advertising.
Great write-up. I kind of knew most of it but probably forgot more than I remembered so learned a lot.
Morton Muffley
Footballguy
Krista dropping knowledge all over the place with that write-up. Another great write-up. And I had no idea that George was the driving force behind the Wilbury's. I figured it was Jeff Lynne, due to his ex producing skills, that brought them together. But the biggest shock to me was reading that Orbison was 52! I am 52 now and if you asked me now, then or anytime in between "how old was Orbison when he died in '88?" I'd have said 68 or 70. 52? WTF!
And yeah, totally weird to think that 60% of the Wilbury's are dead and yet Keith Richards lives on. Crazy world.
krista4
Footballguy
I had exactly the same reaction when I looked that up. I would have thought he was 70.
krista4
Footballguy
238. The Traveling Wilburys - She’s My Baby (The Traveling Wilburys Vol. 3, 1990) Spotify YouTube
(George #63)
237. The Traveling Wilburys - New Blue Moon (The Traveling Wilburys Vol. 3, 1990) Spotify YouTube
(George #62)
Both of these songs are from the second album, Traveling Wilburys Vol. 3. Like my #282 and #283 above, these don’t feature enough George to rank any higher than this. So why are these so far above those other two? Because I like them better, duh.
“She’s My Baby” was the first single off this album and did reasonably well. It’s a much harder rocking piece than most of the Wilburys’ output, featuring Gary Moore of Skid Row/Thin Lizzy on smoking lead guitar. Moore was not an official Wilbury but was given a temporary Wilbury name, like Jim Keltner was given a pseudonym but not an official Wilbury name. The rules of Wilbury-ism can be quite confusing. Anyway, George’s lead vocal is limited to the bridge on this one, but he sounds great and seems to really mean it when he sings “She’s got a body for business.”
“New Blue Moon” was the b-side to “She’s My Baby” and also later the b-side to “Wilbury Twist.” It’s more up my usual alley and also more typical of the Wilburys sound, with all four Wilburys on acoustic guitars and non-Wilbury Keltner on drums and maracas. It has mostly shared vocals, with nice harmonies by George and with Dylan taking an oddball lead on the bridges that kinda cracks me up. George said this one sounded like “the male Shirelles,” if there were such a thing.
(George #63)
237. The Traveling Wilburys - New Blue Moon (The Traveling Wilburys Vol. 3, 1990) Spotify YouTube
(George #62)
Both of these songs are from the second album, Traveling Wilburys Vol. 3. Like my #282 and #283 above, these don’t feature enough George to rank any higher than this. So why are these so far above those other two? Because I like them better, duh.
“She’s My Baby” was the first single off this album and did reasonably well. It’s a much harder rocking piece than most of the Wilburys’ output, featuring Gary Moore of Skid Row/Thin Lizzy on smoking lead guitar. Moore was not an official Wilbury but was given a temporary Wilbury name, like Jim Keltner was given a pseudonym but not an official Wilbury name. The rules of Wilbury-ism can be quite confusing. Anyway, George’s lead vocal is limited to the bridge on this one, but he sounds great and seems to really mean it when he sings “She’s got a body for business.”
“New Blue Moon” was the b-side to “She’s My Baby” and also later the b-side to “Wilbury Twist.” It’s more up my usual alley and also more typical of the Wilburys sound, with all four Wilburys on acoustic guitars and non-Wilbury Keltner on drums and maracas. It has mostly shared vocals, with nice harmonies by George and with Dylan taking an oddball lead on the bridges that kinda cracks me up. George said this one sounded like “the male Shirelles,” if there were such a thing.
krista4
Footballguy
Paul wants you to have a blast this holiday weekend!
236. Wings – My Carnival (single, 1985) YouTube (not available on Spotify)
(Paul #111)
This song had wandered into my Paul top 100 until I looked the other day to see if anything stood out that shouldn’t be there, and BAM. It’s a rollicking good time, but can’t quite be in that rarified air.
“My Carnival” was the b-side to the Spies Like Us theme song but was recorded by Wings ten years earlier while in New Orleans for the Venus and Mars sessions. Paul improvised this initially as a variation on Professor Longhair’s song, “New Orleans,” having been inspired by meeting him and other New Orleans musical luminaries while in town, as well as attending various Mardi Gras festivities. In the studio, in addition to a New Orleans brass band, both Leo Nocentelli and George Porter of The Meters joined the jam session for the recording, and Paul was reportedly thrilled and honored by their participation. The Meters later played on the Queen Mary at the record release party for Venus and Mars.
OH described this one well: “Find the 1 and the 3 in this song. It’s there, but he’s never hitting the snare on it. You know he’s playing it like it’s nothing. It was great. It sounded like a Meters song, with Paul McCartney saying something about his carnival. That was straight up New Orleans Afro-Caribbean stew. It’s awesome, ####### awesome. I generally hate jam music, but music like that creates such a strong groove that I could listen to them play it forever. It’s interlocking, the beginning is the end, you can play it a million different ways once you get the groove going. There’s something primal about it.”
236. Wings – My Carnival (single, 1985) YouTube (not available on Spotify)
(Paul #111)
This song had wandered into my Paul top 100 until I looked the other day to see if anything stood out that shouldn’t be there, and BAM. It’s a rollicking good time, but can’t quite be in that rarified air.
“My Carnival” was the b-side to the Spies Like Us theme song but was recorded by Wings ten years earlier while in New Orleans for the Venus and Mars sessions. Paul improvised this initially as a variation on Professor Longhair’s song, “New Orleans,” having been inspired by meeting him and other New Orleans musical luminaries while in town, as well as attending various Mardi Gras festivities. In the studio, in addition to a New Orleans brass band, both Leo Nocentelli and George Porter of The Meters joined the jam session for the recording, and Paul was reportedly thrilled and honored by their participation. The Meters later played on the Queen Mary at the record release party for Venus and Mars.
OH described this one well: “Find the 1 and the 3 in this song. It’s there, but he’s never hitting the snare on it. You know he’s playing it like it’s nothing. It was great. It sounded like a Meters song, with Paul McCartney saying something about his carnival. That was straight up New Orleans Afro-Caribbean stew. It’s awesome, ####### awesome. I generally hate jam music, but music like that creates such a strong groove that I could listen to them play it forever. It’s interlocking, the beginning is the end, you can play it a million different ways once you get the groove going. There’s something primal about it.”
Last edited by a moderator:
