I mean I was barely alive when this was happening, so I do not remember what the aftermath was like really. Paul was in New York waiting on a plane when the attacks occured. I don't know what it was like to be that close to what was happening, and even people alive then don't all have the experience of being in NYC. However Paul processed it he ended up making that song. Paul says that wasn't how he intended the song, whether that's how everyone else interpreted it is its own beast, but in terms of how he looks back on that time, it seems to be with regret.
Already preordered! It would be nice if they also reissue the mono edition that was out in 2012 with the archive collection.
Sweeeeeet!!! Thanks for the peak! As I noted before, the only sane/reasonable explanation I could possibly imagine for him leaving things like this unused (both for this release & various other of a similar nature) is that they are being held back as part of a larger box set (or box sets, hopefully). One can only hope, as that is a lot of great material, just languishing there, from the "Ram" sessions alone- although this was a truly rich & fertile period too.
I recently did an interview with orchestrator Tim Simonec who is a close collaborator of Michael Giacchino. Tim said that he wasn't part of the sessions and hasn't heard any of the score, but he did get to meet Paul and he was as lovely as one could expect. He said Paul had been very excited and involved in the score and that Michael loved working with him.
My thoughts exactly. This is my right A right given by God ... I will fight for the right To live in freedom Anyone tries to take it away They'll have to answer, 'cause this is my right ... I will fight for the right To live in freedom Fighting for rights, given by God, immediately evokes not just militarism, but also implies some kind of crusade or jihad. I love Paul's music but this song was a misstep in so many ways...
They did and it sold out through Paul's website. RAM - Limited Edition - Yellow LP – Paul McCartney Official Store Oh, but the indie version is marketed as "translucent limited edition"
I wouldn't say "we all did", from my personal experience, but I hear you generally. I saw Paul live in April 2002, and if I recall correctly, somewhere at the end of the show, he came gleefully bounding onto the stage waving a giant American flag. I won't get tripped up here criticizing that, I assume he meant well, but deafening chants of USA USA USA began to thunder ceaselessly through the concert venue, and maybe I'm reading into it, but I think even Paul was a bit taken aback by that, because he did try to meekly change the tone a little immediately, saying something like "well....don't forget...we're all in this together you know..." which didn't calm any drunken patriots down at all.
So... I own the half speed masters of the recent vinyl box from The Police. They're pretty good I guess. Not sure I'm convinced that they are any better than my OG copies, but I do like them. What's the general concensus on McCartney half speeds from all you SHF folks? Are these half speed McCartney remasters worth picking up?
The answer lies with the unreleased single for "Great Cock And Seagull Race": they were tracks not ready for release because Paul didn't feel they were finished yet to him. Note that it's not until Venus And Mars that we get tracks on a set that were not earmarked ready for release. Ram chose the best completed songs for the set – even if a 1971 version of "Little Woman Love" sounded more logical than the 1972 version. It's MPL… they keep you guessing. "Junior's Farm" is the track that took until the Archive. I was basing it on MPL's original UK listing. If you're talking the US, "Mull Of Kintyre" didn't get released officially again until Wingspan, and the same for "Hi Hi Hi" – as the 1993 remasters in the UK were not available domestically. That still goes back to the hunt scenario with McCartney music, as he's got pieces here and there that need to be collected eventually into a set.
I know a good majority of people take lyrics literally. - But as a songwriter, I try not to. And Paul is often a great example of why, for me. - I know what the word "fight" means and what a statement like "fight for our right to live in freedom" really should "mean". But I NEVER actually thought about it until this thread... To me the word "fight" meant "stand up". Basically, the gist of the statement was saying to me, "stand tall, show those who chose violence for their beliefs that we are not totally defeated, our eyes are open and you're not going to get the best of us." That's not what the lyrics say word for word. But that is the feeling it evoked for me personally. - And yes, I do think Paul was/is naïve enough to have not thought through how this would be taken or looked at. Post 9/11 was a very emotional time for everyone in the country. Very reactionary, which can bring out feelings in people that they would not normally think/feel. Sort of defying your own logic at times. I'm not defending the song, but I am pointing a perspective that although is not seemingly logical, is valid.
Just got done comparing. The Cherries digital transfer archive lp has a nice open and lively sound with crisp texture throughout. However, it does sound ever so slightly strident. Not bright. Just not as smooth. (This is something I've noticed with digital sources - especially at higher volume). Still, amazingly close to the original lp. The 50th half-speed digital transfer is very nice. More of a rounded smooth sound and very warm. But it lacks a touch of the energy of the Archive transfer. The 1970 original fully analog album on Apple has the best of BOTH. It isn't quite as warm as the 50th, but still very warm and it has all the good bite and texture of the Archive transfer without being strident in the slightest. This is the problem I encounter with technology that includes a digital stage in the transfer. It may have come from the analog master tape, but I suspect there is a digital stage in here somewhere. Edit: It appears it was "cut from a hi-rez digital transfer." They come out with this stuff and reviewers "gush" over it. But I feel that if you did a blind test and played these digital to analog remasters FIRST, and then put on an original, people would freak out over how good the "new original" sounds and pick the 50 year album over the rest, thinking it must be the new transfer. For me, the tech is going backwards. The good news is that both the archive and this half-speed actually sound much closer to the original than A LOT of other digital remasters. I'm pretty darn impressed. If I had to pick between an Archive lp and the half-speed, it would be a tough choice because they each offer something different. But again with the original, I get both! The 50th is very quiet vinyl. But so was my archive and my 50 year old Apple lp. I still think it is a cool limited edition collectable. But my "old timer" lp will continue to get prime-time rotation. But the bonus archive lps are irreplaceable. I don't expect a different result with the Ram release. (Just my take on all of this. Your mileage may vary). Trust you own ears, - they never lie. - (even when the "experts" try to tell you otherwise). But the "good news" is my 50th Cherries album came with one more "difference" from my originals. Here is a pic of one of the sides, freshly opened today- Hadn't even hit the turntable yet: All scuffed up and that scratch extends along another part of the album not pictured. ... and people wonder why I prefer not to open my records. Sealed - Mint. Opened - Trash condition. (It didn't used to be like this folks).
Well I can relate to this. As a Canadian teenager at the time, it didn't really resonate with me as any sort of call to action. Like you, I think I always just thought it meant "stand up" and live your life normally to show the terrorists you're not in perpetual fear. It had as much (or little) emotional power over me as Dance Tonight. But it was indeed unfortunate that he chose two of the most triggering words at the time, "fight" and "rights." As a seasoned songwriter, you'd think he could be more careful with word choice despite how catchy the words would be!
When The Wind Is Blowing - love that one! It is such a shame that it was used and thus buried in the Kanye collaboration. It certainly deserved better.... ( and I don't mind the collaboration as such)
Oh, I certainly wouldn't call it a "pro-war" anthem or song or anything. What does pro-war even mean. Defensive, aggressive, "preventive" war? There's a lot of nuances here. He certainly mustn't have agreed with the actions taken by Bush afterwards, hence his comment. What exactly he meant though, it's open to interpretation.
Despite it being tipped Mc111 did not receive a nomination today for album of the year at the Brit Awards. It is now 38 years since he won an genuine Brit Award.[uk equivelent of Grammy's] Personally I couldn't care less but it does highlight the difference in perception of McCartneys work on different sides of the pond. The uk fall at the kness for the likes of Queen,Elton ,Bowie even Lennon...buy macca is rarely celebrated for anything post beatles.
It is very sad. Even worse is that I expect after he passes away [hopefully not for a very long time] they will be fawning all over how great he was and treating him as a "national treasure"...
