new McCartney interview in Rolling Stone

delete this if it's already been posted but he just tweeted it an hour or so ago.

http://www.rollingstone.com/music/news/paul-mccartney-the-long-and-winding-q-a-20140717

 

He made a great point about revisionist history. Wish Paul would make his own Beatles discography book.

 

Interesting Q&A. It's cool to see Paul make a Phish reference.

 

Wasn't Strawberry Fields Forever - Penny Lane actually a double a-side single? McCartney mentions it as an example of a serious b-side.

 

Couldn't read it all, strange pop up.

 

Here is my comment about the article from the Out There tour thread:

''The Rolling Stone interview is actually very interesting. Paul says that he has a lot of songs left unreleased that he will record at some point in the next few months, and he has also been using the computer program that he composes his classical work on (Cubase), to record experimental dance music, with an African sound. He just made it up as he went a long on the program, and he even compared it to the process that he used whilst making McCartney 2, saying that he has been looking for time to do something similar to that album. He obviously liked the music, because he took it on holiday to Ibiza and had a sound system installed so that he could listen to them, and he said how happy he was with them.

I really hope that this means he is considering a McCartney 3 album.

So it seems that we should be getting another solo album in the next year or so, a potential release of the dance music (hopefully) at some point and the new Fireman album that he mentioned last year will also surely see release at some point.

So, even if he isn't experimenting and changing things up in his live shows very much, he does seem to be doing so when it comes to writing and recording.''

 

Strange he's using Cubase that's the dance/soul program computer preference.A better choice is Mozart ' computer software its more for classical people, scores .. sountracks.

 

To get back to my original point, that's the kind of thing that happens in films, but these books that are written about the meaning of songs, like Revolution in the Head – I read through that. It's a kind of toilet book, a good book to just dip into. And I'll come across, "McCartney wrote that in answer to Lennon's acerbic this," and I go, "Well, that's not true." But it's going down as history. That is already known as a very highly respected tome, and I say, "Yeah, well, okay." This is a fact of my life. These facts are going down as some sort of musical history about the Beatles. There are millions of them, and I know for a fact that a lot of them are incorrect.

Read more: http://www.rollingstone.com/music/n...e-long-and-winding-q-a-20140717#ixzz37xdVCq2V
Follow us: @rollingstone on Twitter | RollingStone on Facebook

 

I nearly commented on that myself the other day.

That became actually the big Beatle policy. It was always to put a really serious B side on there – so you got "Strawberry Fields" with "Penny Lane," and people now talk about that. That was a factor of the Beatles' success, I think. It was always a killer B side, which people often thought was as good or better than the A side.​

When I first read it, I thought he was referring to SFF as the "b-side", but after reading it over, it's not certain which tune he seems to think is the "b"...

 

I think you guys are just getting stuck on semantics. I think his point is that The Beatles gave value on BOTH sides of the 45 (whether you call it A/B or Double A).

 

Now, THAT'S what I like to hear! Was this a pre or post 'illness' interview?

 

post. Just click on the link.

 

You are correct, it was.

 

Exactly. See: Rain, Revolution, Don't Let Me Down, Old Brown Shoe, She's a Woman, etc

 

You don't get much more serious for a B-side than to be a double-A, do you?

 

Sadly, everytime I click on a link from Rolling Stone, it stays on for like 10 seconds, then disappears!

 

Hmm. When discussing revisionist history Paul again brings up the point of John getting credit for stuff he did. And he says he has learned to forget it but yet he still brings it up.

 

it's not uncommon for musicians to use their preferred programming/performance software for notational purposes when composing. for example, two well-known crossover jazz musician-composers (I can call them WM and CC, so this won't show in google) both work on their classical scores in logic, which is similar to cubase. these are then later engraved by editors at their publisher.

also, sibelius, finale, and score (still DOS-only!) are the most commonly used professional music engraving software suites by far. I'd actually never heard of this Mozart app before I went to their website just now. there are dozens of similar small, often open-source programs out there, like lilypad.

 

I don't think he'll ever REALLY be letting that one go. And as touching as "Here Today" is, if John were here today, might he ask "What do you MEAN I never understood a bloody word?"

 

Oh! I didn't have any problem...but the interview, supposedly with McCartney calling RS, is after a recent concert. Paul talks about being able to take a vacation during the unexpected down time and also about working on a couple of electronic (?) songs.

And then a lot of time talking about how reality/historical facts are turning revisionist. In fact, in one story he describes meeting a young American girl who told him she'd taken a class, at school, on The Beatles. Paul says he told her a cute little "inside" story...and she responded by telling him that wasn't true! She had been taught differently.

I thought it was quite interesting.

 

Would you?

 

I think the whole idea of a 'double a' is patt of his point. Until them, no one would consider putting a single out where both songs were strong enough to be 'a'. They would have saved the second song for the next single.Or am I wrong? Did anyone before the Beatles but out a 'double a'?

 

Well, the interviewer asked about Early Days and it is a song about revisionism, so it was gonna come up. It's a general reference, not specific or detailed.

I think it is true he has pretty much let it go and part of that process is channeling those feelings into his music, which he did with Early Days. It's very authentic and real. He is saying the revisionism is out there and he can't do much about it but no one can take his story, his experience away from him. He lived it. That will never change. It's a good song.

 

Elvis maybe with "Don't Be Cruel"/"Hound Dog" and many other singles he had with double sided hits. Not sure if the intent was to be Double A or not. Not even sure what that means until after the fact when both sides become huge hits.

 

Well, that's certainly a double A if I ever heard of one. But you're right, that probably wasn't the intention then.