Paul McCartney - McCartney (1970) Part Nine

Album 1 - Paul McCartney - McCartney (1970)

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1. The Lovely Linda

2. That Would Be Something

3. Valentine Day

4. Every Night

5. Hot As Sun / Glasses

6. Junk

7. Man We Was Lonely

8. Oo You

9. Momma Miss America

10. Teddy Boy

11. Singalong Junk

12. Maybe I'm Amazed

13. Kreen-Akrore

Now we come to a song which, in my opinion, should have been Paul McCartney's debut single.  Instead he waited for over a year to release Another Day as his opening solo release (don't get me wrong, not that Another Day wasn't worthy of being a single release).  In some ways it was a bad decision to stay with the old Beatles regime of not releasing album tracks, which is the main reason for not issuing this as a single I suppose.  Actually if the people at Apple were bothered at the time then they may have suggested it, but they weren't really thinking straight at this time obviously.

It took until the Wings live album for the song to be released as a single, albeit a live version of the song to promote Wings Over America.

Cover versions of the song have been recorded, with the ones that mainly come to mind being the rocking version by The Faces, and the soulful Carleen Anderson version that includes the musical backing of Paul Weller, Mick Talbot, and Steve White (The Style Council basically).

Written around the time of The Beatles recording Abbey Road, it is a love song to Linda, who at that time had only recently become his wife, so it has him talking about the new situation of being married, and his difficulty at comprehending it.  He is amazed at the emotions, the close friendship, and how she was helping him through the Beatles' troubles.

I think that he must have purposely kept this away from the others and was stockpiling songs for himself.  Lennon, Harrison, and Starr would surely have picked this in preference to Maxwell's Silver Hammer!  I know, that song gets a lot of stick, what can I say but that it's true that Maybe I'm Amazed is a far superior song.  I would argue that this song is better than virtually anything of McCartney's on Abbey Road and would definitely have been a Beatles' number one single.

Intro -      A     |D/F#  Dm/F|Em7   A||

The intro is basically a section at the end of the chorus, apart from the A that starts it replacing a G chord.  It is actually the perfect opening sequence, because it prepares the singer for what is coming.  I'll go into this sequence in more detail later.  Musically it is brought in by a solitary piano, with all of the instrumentation recorded in studio no. 2 at Abbey Road studios.

Verse -    Bb    |F/A    |C     |G/C    |Bb    |F/A    |C     |NC
               Bb    |F/A    |C     |G/C    |Bb    |F/A    |Ab   |Eb/G   |C

So immediately upon starting the verse he has gone up a semitone from A to Bb.  It's difficult in some ways to think how much of a surprise this would be for a first time listener, mainly because I have heard this song so many times (and the key change thing is done to death nowadays).  Back then though it wasn't a trick that was used so frequently as it seems to be now.

From that he is ascending in fifths again with the Bb, F, C, and G.  As mentioned previously, this is where the fifth note of each chord becomes the dominant of the following chord.  Although for the last line going from the F/A to Ab isn't the same.  The Ab to Eb is, but then you have a C chord leading to the chorus.  The verse I think is very much in the key of C major with some notes outside of the key - no change there then.

Chorus -   D    |A/D    |Am/D   |Am/D  D/F#|G     |G     |D     |D7(#9)
                D    |A/D    |Am/D   |Am/D  D/F#|G     |G     |D/F#  Dm/F|Em7   A|A    ||

The chorus comes in exactly a tone above the last chord of the verse, where he then uses another trick utilised by The Beatles main writers.  He goes from the main root chord of this section (D) to it's fifth chord (A), and then the minor fifth chord (Am), all that time using another Beatles trick of holding down the D bass note underneath until the D chord itself shows up again, but with an F# bass underneath it, and then the G chord ascending to it's fifth chord  of D (as I said, the root of the key of this section of the song), which leads to D7 (#9).  Then he repeats the pattern except that from the G it is in the key of G for that last little bit with G leading to it's fifth chord of D, then the minor fifth trick again (Dm), and then Em7 followed by A (major second chord rather than the natural minor for this key), to lead to the verse based solo.

After this there is a repeat of the chorus section, then the second verse has the same music as the first verse, then an instrumental chorus, followed by a second solo over verse music, and finally an instrumental chorus section followed by faded out verse music.

So, there we have it then.  In a nutshell that is the basis for a classic McCartney song, albeit one that doesn't feature a middle eight.  It's deceptive in that way, because the guitar solo's make up for that in a way.  Looking at it though, a middle eight may actually have hindered in this case by making the song over long.  It could also have broken the song up nicely with reference to live performance.  What I mean by that is because whenever it is performed live by McCartney, it does tend to go on for longer which would be helped by a middle eight, but that's probably just being picky.  It is also supposition, because it doesn't feature one.  If it did though, he could have placed it between the first chorus and the second verse rather than the first solo, but therein lies another fact.

The song only actually features two verses, but those verses say so much.  Essentially he is just saying what needs to be said and nothing more.  He is actually showing restraint, rather than going off into la la land with a flowery narrative and such.  This is in direct contrast to a song such as Hey Jude which, although a classic, does feature a hell of a lot of lyrics.  This latter point actually is shown by an audible spoken comment on that song's recording by Lennon where he uses the F word (audible on Hey Jude, not this song.  I'm sorry, I was just going off into Beatles trivia territory there).

The next title on the set is Kreen Akrore, so we'll discuss that in the next post.  It is the last song on McCartney's first album after The Beatles.


Links -
1. My version of Maybe I'm Amazed
2. Paul performing the song live in December 2010 - I like the audible giggling :-)
3. A great live performance by Wings
4. Cover version by The Faces
5. Cover version by Carleen Anderson
6. Cover version by Dave Grohl
7. Paul McCartney Chord songbook at Amazon UK

Paul McCartney - McCartney (1970) Part Eight

Album 1 - Paul McCartney - McCartney (1970)

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1. The Lovely Linda
2. That Would Be Something
3. Valentine Day
4. Every Night
5. Hot As Sun / Glasses
6. Junk
7. Man We Was Lonely
8. Oo You
9. Momma Miss America
10. Teddy Boy
11. Singalong Junk
12. Maybe I'm Amazed
13. Kreen-Akrore


 The next song on Macca's debut is yet another song written during The Beatles' retreat to Rishikesh in the Summer of 1968, as was previously mentioned when I was talking about the song Junk.  Teddy Boy itself though was attempted on a few occasions during Beatles sessions, rather than Junk which I think was just recorded as a demo back in 1968.  I'm sure some of my more knowledgeable friends will let me know if it is otherwise.

In some ways Teddy Boy and Junk are sort of similar in that they both go all over the place musically and, once again, he uses the major to minor chord change all three main songwriters in The Beatles used.  In fact he used it earlier on the album to great effect with Man We Was Lonely, where the chorus ends on A major, and then the verse starts with an A minor variant (Am7).  They were all playing around with the major to minor change, and they continued to throughout their subsequent solo careers.

 It's a strange thing to admit, but when I was a kid first hearing this song, I sort of tired of it, much as I did the whole album really.   I say that because now listening with older ears I don't mind this song at all.  Paul's story songs can grate at times where he has all of these characters, which I have read used to irritate Lennon like crazy.  It does however show that McCartney had (and still has) a very creative imagination and was willing to write about all kinds of subject.

Lyrically the song sort of naively is about a young man who is really close to his mother, who is a single parent until she meets a new man, which scares the young son (Teddy).  When the relationship starts between his mother and the new man of her affections, Teddy runs away, which makes me wonder how old he is because he could be under age, but I'll leave that be.  What we do have admittedly is a sweet story with a very nice and understated melody.

The music itself sort of moves around D major, F# major and A major, using some very clever chord changes to keep the movement between keys flowing.  After all, he is moving up two whole tones technically.  The verse has an almost Latino feel to it, especially with the A major to D major play leading up to the verse vocal.

INTRO - D    A|D    A|D    A|D    A||
VERSE - D     |A     |Am   |Em    |G    A|D    |D    |A    |Am   |Em   |G   A|B7  C#7|F#

 This is clearly a song where some time was spent on it, because the choice of chords is just too much to have been arrived at by chance. In saying though it does use chords that McCartney will have been used to by this time, as well as a structure that was by now regular fare for a Beatle.  He is using a pattern where the chords are ascending in fifths, where the fifth of each chord becomes the dominant of the following - D leading to it's fifth A, which leads to E.  He's also using going from the natural fifth (A) to the minor fifth (Am), which is 'Ticket 44' on my friend Matt Blick's list.  The pattern ends there for the rest of the verse, but it's still there as a start.  The B7, C#7 and F# leading nicely to what is called the pre-chorus in the book -

PRE-CHORUS - F#    |F#    |C#    |C#M   |B6  B7|C#7

This has pretty much the same feel as the verse, but with a very different chord structure.  Again he uses the major to minor change (C# to C#m - link mentioned earlier for my friend Matt's blog), with the section sticking mainly to F# major territory, with occasional flattened notes.

CHORUS - F#7   |B7    |E    |A    |F#7   |B    |E    |A    |D   A|D   A|

The chorus is then in A major, and here he starts using a pattern where each chord's dominant becomes the fifth note in the following chord, pretty much descending in fifths as opposed to the verse's ascending in fifths.  F# is the fifth of B, which is the fifth of E, which in turn is the fifth of A, then repeat, and finish with the intro run.  For something similar, my friend Matt Blick suggested looking at The Beatles' song Little Child, and I suggest checking out Matt's 'Ticket 43' (it's called Table of fourths on there) on this link for more details.

All of this I think proves that time was spent on this song,  and it works well without the chord interplay seeming overly convoluted like Maxwell's Silver Hammer (link 1 / link 2).

Basically this is all repeated again for dual verse music, pre-chorus, but then two choruses, and finally a repeat of the first verse, then finishing the song on the F# (the aeolian cadence mentioned in Matt's 'Ticket 10') after the G A B7 C#7 run.

Wow, what a journey that took.  Arrangement wise the shape of the song is pretty simple with, like I said, intro, dual verse, pre-chorus, chorus, then repeat all of that, and finally an outro.  Instrumentally it is much more interesting that it seems at first.  Double tracked acoustic guitar, single lead vocal (doubled in places), drums, bass, harmonies (Paul & Linda), and I think knee slaps later in the song.

A nice song all in all, which is followed by the instrumental Singalong Junk that I sort of mentioned in a previous post - an instrumental version of Junk.

Next we will look at the wonderful and, in my opinion, wasted song Maybe I'm Amazed.


Links -
1. My version of Teddy Boy
2. My version of Singalong Junk
3. Paul performing Singalong Junk on MTV Unplugged
4. Paul McCartney Chord songbook at Amazon UK
5. A fascinating page about the Get Back/Let It Be sessions since Teddy Boy was originally sequenced on the aborted Glyn Johns mixed Get Back album - click here.

Paul McCartney - McCartney (1970) Part Seven

ALBUM 1 - Paul McCartney - McCartney (1970)

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1. The Lovely Linda
2. That Would Be Something
3. Valentine Day
4. Every Night
5. Hot As Sun / Glasses
6. Junk
7. Man We Was Lonely
8. Oo You
9. Momma Miss America
10. Teddy Boy
11. Singalong Junk
12. Maybe I'm Amazed
13. Kreen-Akrore

Momma Miss America is really a case of two completely different instrumental pieces slammed together.  As Paul himself said in 1970, "I made it up as I went along.  First there was a sequence of chords, and then a melody on top.  Piano, acoustic guitar, electric guitar and bass.  Originally it was two pieces, but they ran into each other by accident and became one."

The first part of it seems to be a piece originally titled Rock n' Roll Springtime (a working title obviously, as most songwriters do), if the person shouting at the beginning is anything to go by.  I guess the guy is the engineer recording the session.  It is a basic three chord trick around A minor, D minor and E minor, with some passing chords (Bm to Am, Em to Dm, and F#m to Em).

I am hoping that I have worked out the song properly, as it isn't included in the McCartney songbook that I own, and finding music for it online is tricky.  I ended up just learning it by ear in the end.

The second section of the song is a fairly standard jam style piece in G major, incredibly close structurally to Rock n' Roll Springtime in fact, though in a different key of course (it still works around the root, fourth and fifth chords mainly, though with some differences, which we'll chat about in a short while).

Here we see four bars of G, 2 bars of C, 2 bars of G, and then 2 each of D and G.  This is then repeated before the piano almost becomes the main instrument in the third run where it becomes four bars of G, and then a run of D, C, Bm, Am, and back to G, and then a run of D, C, and G.  The rest of the piece is pretty much akin to these sections really.  It is a jam through and through, and obviously laid down relatively quickly, with the electric lead guitar obviously improvised over the top after everything else.

This second section has a much more raw feel to it than Rock n' Roll Springtime.  Because of the raw edge to it, it is just the right side of rawness to be easy to listen to, and fun sometimes.

In all honesty I think that both instrumental pieces work to a degree, but as McCartney's cut and paste approach goes, these probably should have remained as separate pieces, or been linked some way or another to make them flow better than just having the first piece stop, and then after a moment the second one starting.

Sometimes his cut and paste style can work really well on material such as Band On The Run and Uncle Albert/Admiral Halsey (in fact, Live & Let Die as well considering it's a rock ballad with a reggae middle eight), where time was spent on them.  Here though it is a case of "well they're on the same tape and both are sort of bluesy-ish, so let's keep them together as one piece."  As I said I think that they both work separately really well, but as one piece not so.  Fun to play though.

The next song we will be looking at will be the almost childlike Teddy Boy.

Links-

My version of Momma Miss America

An interesting use of the track (don't take note of the chat at the beginning, that's just chat which has been sampled at the front to make it seem like their talking between themselves)

Paul McCartney Chord songbook at Amazon UK

Paul McCartney - McCartney (1970) - Part Six

ALBUM 1 - Paul McCartney - McCartney (1970)

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1. The Lovely Linda
2. That Would Be Something
3. Valentine Day
4. Every Night
5. Hot As Sun / Glasses
6. Junk
7. Man We Was Lonely
8. Oo You
9. Momma Miss America
10. Teddy Boy
11. Singalong Junk
12. Maybe I'm Amazed
13. Kreen-Akrore

Now here is a song that could easily not have been.  Oo You started out as an instrumental, much like a lot of material that is on here.  It was called 'Don't Cry Baby', but by the time he went in to Abbey Road studios to record some overdubs, he had written some lyrics for the song, allegedly the night before the session.  So, on top of recording a second guitar and some tambourine, he also put a vocal down.

The lyrics are very bluesy in style, with a directness that is almost matter of fact like.  They are incredibly simple lyrics, but the song has a strange power to it that makes it more interesting than it could have been.  If it had remained an instrumental, then perhaps it would have been one of those songs that are frequently skipped.

His vocal on the song is the rocker McCartney to the max, especially the "eat like a hunger" line with the incredible edge to it.  When Macca does rock out it is an astonishing and amazing thing.  It's an underrated talent, but he is one of very few people who have a different types of voice, much like someone such as Lenny Kravitz today.  He can sing an all-out rock song with grit and steel, and then be sweet and angelic for a ballad, but also have a couple of other voices as well.  Reggae songs are also a different voice for him as well, but that's veering away from this song.

Much like a lot of the material on this album, it's a very basic and raw production, with rough edges to it.  Some of the parts aren't absolutely perfect, but in a lot of ways that adds to the overall feel of the song.  Here he has captured a song for the general emotion of the piece rather than the note perfect, which could have actually been less interesting essentially.  This is a case where literally less is best.

Musically it is a sort of Southern blues style, albeit with the twist that he's working around the root, flattened third, and the fourth chords.  In this case that means G, Bb, and C.  He also uses some very blues/jazz style notes a lot in the choruses beautifully under the G chords, leading up to the change to the C chords.

The actual riff that leads it all of is just the perfect riff, showing McCartney's innate ability to come up with classic and unforgettable hooks.  Proof of this can also be seen in The Beatles' 'Day Tripper' and Wings' 'Let Me Roll It', to name just a couple.

It's certainly not a song that was sweated over in the writing of it musically, because it tends to stick to the main axis of the G, Bb and C chords, with other chords only being used as passing chords essentially.  The choice of passing chords (and passing notes in the lead runs) is also fascinating, using a mix of natural notes, off key "blue" notes, and chromatic runs (pretty much a staple now of all funk based rock bands, hip hop, and the like).

The song works really well, when it probably shouldn't.  It is also incredible fun to play.

As a little extra I have recorded two versions of this song.  I have recorded a band-type version, but have also done a version just using my voice and body to perform without any instruments.  What can I say except that I just felt like it, but also think that it sounds cool.

The next song on the album is the instrumental Momma Miss America.  I'll be looking at that next then.

Links -
My version of Oo You
My vocalised version of Oo You
A video of someone playing along very well - thanks to him

Paul McCartney Chord songbook at Amazon UK 

Paul McCartney - McCartney (1970) - Part Five

ALBUM 1 - Paul McCartney - McCartney (1970)

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1. The Lovely Linda
2. That Would Be Something
3. Valentine Day
4. Every Night
5. Hot As Sun / Glasses
6. Junk
7. Man We Was Lonely
8. Oo You
9. Momma Miss America
10. Teddy Boy
11. Singalong Junk
12. Maybe I'm Amazed
13. Kreen-Akrore

The next song on the album is the country tinged Man We Was Lonely, another song which speaks of the troubles that Paul McCartney was going through at the time.  Actually in truth it’s about the McCartney’s a family.

Paul in particular was used to the bubble that surrounded The Beatles, as were the other members.  Now though the bubble had burst.  They were all affected by it to some point, but Paul even more so.  He had recorded as a sessionist and producer for other artists (Steve Miller, Bonzo Dog Doo Dah Band, Donovan, etc), but he was for all intents and purpose, not sure what to do because he only knew The Beatles and had taken charge almost.  Lennon had even given him the snide nickname of “Beatle Head” as evidenced in the Imagine film when John & George are chatting at John’s dinner table.

All three of the others had also already released their own solo material, which Paul hadn’t.  The other three were still very much in touch, and even worked on Lennon’s material.  Paul and Linda were very much left to themselves by everyone, including Apple Records (The Beatles’ own record company).

As per usual, he has come up with a veiled lyric which speaks of someone who lived on the “fast city line”, which he did, and of singing songs he thought were his alone.  Perhaps I’m going somewhere unintended, but maybe that is to do with the fact that almost all of Lennon and McCartney’s songs were now the property of somebody else after the publishing company who owned them was sold to Lew Grade of ATV, and then, in a cruel twist, were bought by Michael Jackson in 1984.  I do actually feel for them with because I would hate it if I were in their shoes.  It’s rather like you making a child and then someone coming to say “thank you, but we’ll take that now.”  I know, but it’s the only example I could think

The chorus is not veiled though, because it admits that they were “hard pressed to find a smile”.  It wasn’t a downbeat chorus though, because the upshot was that now they were “fine all the while.”  They had got through it all and, Macca admitted, that it was the last song recorded for the album.  Perhaps working on the album was like catharsis and sorted him out?

The lyrics are perhaps a little lazy considering that he has effective written a single verse, but all in all the song does work and I enjoyed recording my own version of it.

It is in the key of A major technically, although again the chords he uses are very clever with their out of key notes.  By now that has become de rigueur.

The opening of the song is basically only there, with a variation of the same for the ending.  Otherwise this part is nowhere else in the song – we can call that the “Special Introduction”.  Again as mentioned before, it is a trick that he uses time and again.  Rather than just starting the song immediately, he is giving the listener an experience.  Here it is an opening phrase of A13, D/A, Dmadd9/A, and A, then repeated except for the fourth chord being the A6 for the song’s chorus.  The intro alone features a Dm9 which has an F (flattened 6th in A major).

The chorus then is straight A major fare with A6 and E, plus the note run of E, F# and G#, with the surprises being in the verse music.  That starts with Am7, which is obviously A minor and not major, then B which features a D# note (sharpened 4th in A major scale), then E, then Am7, D, Em (which features a G note that is the flattened 7th in A major scale), and finally Am7, D, Em, Am7, B7, and a version of E played at the ninth fret (bar strings 2, 3 and 4 at 9th, string one at the 12th fret, and just play those four strings), and then the run.

To end the song he does a variation of the opening, but this time with A13, D/A, Dmadd9, A7 (the seventh being a G – flattened seventh note), and then A13, D/A, Dmadd9, and A.  To get the right feel for intro and ending you could use two guitars – one plays the chord letting it ring out while the other plays an arpeggio of the chords basically.

As I said I enjoyed performing this song and it has a nice feel good factor to it.  Maybe it could have done with a proper second verse, but that’s being picky.  It is a decent album track.

The next song on the album is the bluesy number Oo You. 

Links -
My version of 'Man We Was Lonely'Paul McCartney Chord songbook at Amazon UK

Paul McCartney - McCartney (1970) - Part Four

ALBUM 1 - Paul McCartney - McCartney (1970)

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US Amazon -
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1. The Lovely Linda
2. That Would Be Something
3. Valentine Day
4. Every Night
5. Hot As Sun / Glasses
6. Junk
7. Man We Was Lonely
8. Oo You
9. Momma Miss America
10. Teddy Boy
11. Singalong Junk
12. Maybe I'm Amazed
13. Kreen-Akrore

Now we come to a song that is an absolute quandary to me.  The question I have is how the heck was it not included on any of the last three Beatles albums?

Junk was written in 1968 while The Beatles were on a break in Rishikesh, which initially was written using an alternate tuning on the guitar.  A demo of this was recorded at George Harrison's house, along with other songs that were put forward for what became the album The Beatles ("The White Album"), and is featured on the Beatles Anthology series of CD's.

Macca changed the music drastically for the version featured on the album which uses standard tuning, but with some very inventive chord changes.  So much so that a few choice words came from my mouth while I was trying to perfect the song.

I did "hmm" and "ah" over whether to cover this version or the original demo version, but ended up picking this version because, quite frankly, I wasn't about to let it get the better of me!  There are also some bloody great chords that I could pilfer.

So much thought went into this song, with the chords working around the melody so beautifully.  It works so well in fact that he repeats the song later on the album with an instrumental version entitled Singalong Junk, which was apparently take 1 of the song.  I still don't personally understand why that was on there, but in a way you get used to it.

The album version is played in the key of A major, although there are chords thrown in such as in the verses there are a C#7/E#, which features an E# note (a sharpened fifth in the scale of A major) and also a Em7/A, which features a G note (flattened seventh in the key of A major).  In the chorus you have the D7sus4 according to the book, but the Dsus4 works.  The 7 in the D is a C note, which is a flattened third in A major scale, and then the D minor chord features an F note, which is a flattened sixth in the A major scale.

In summary then you have the verse of F#m, C#7/E#, F#m/E, Dmaj7 (which is held onto), and then the Em7/A to the A chord.  To someone who doesn't play that sounds like gibberish, but to a guitarist it is a structure which, when perfected, makes you metaphorically pat yourself on the back.

The chorus then is D7sus4 to Dm to A, which is held until the run of E, F#m7, E7/G#, A, E7/B and A/C#.  The second part of the chorus is basically the same, except that it misses the E7/B and the A/C#.  Even Harrison must have been impressed when he heard the finished piece with regard to the chord work, because I am sure that they were all keeping an eye on each other's careers.

As you can see from the chorus chords, there is a fantastic use of the bass notes in them, where it is an ascending line for the run (E F# G# A B C#).  It is a beautiful touch where essentially the guitar is playing everything for the song - melody, harmony, bass line, everything.

Musically it is far more inventive than anything that Lennon would do for the rest of his career, and lyrically it is clever in the same way as Lennon's Mr Kite, but this is completely original whereas Lennon was reading from a poster he bought in a second hand store.  I'm not putting down Mr Kite there by the way, because I really love that song.

Lyrically he is being sentimental and dreamy about the subject at hand.  He's giving a list of items on the junk yard, and then explaining that there's a sign up advertising items for sale and at what price, as well as wondering "why why" some of the items are even there at all - why would someone get rid of them?

To be honest though, you don't really need the lyrics, because the music and melody itself are timelessly so beautiful.  I will say though that it is one of a few songs on here that are great songs, whereas some could have done with more work, or even left out altogether.  But, the fact that there are all sorts on the album does show a lot of facets of Paul McCartney.  This song itself is McCartney at his best.

The next song we will be looking at it the country tinged Man We Was Lonely.

Links -
Paul performing Singalong Junk live on MTV Unplugged
Cover version of 'Junk' with vocals by Dean Leivers and guitars by myself.
Paul McCartney Chord songbook at Amazon UK