Is that a different version than on Anthology 3? When that disc came out in 1996, it was pretty clear in the online community then that it was a tremendous pity that The Beatles chose not to continue working on that track for inclusion on a record. It's also important to note that George worked with Paul a lot more in those final years. I've always gotten the impression that the falling out between the two was more about how George saw Paul as someone who could help him develop and then turned away from him. It's a recurring theme in some ways to the rest of the McCartney band configurations that followed: once the recordings run their course, there's little impetus for Paul to return to those musicians to work with again. Which is kind of sad, in some ways, since it would be very interesting to hear what a modern acoustic performance between Paul and Laurence Juber might sound like. Or, just for one track, to bring in that actual Denny Laine harmony to see how it might play out instead of the faux Laine sound that his present session players use.
Don’t know about the anthology 3 version of ATMP, can’t remember as so long ago and my seizure trouble . I always thought Paul helped George right up to the end of Beatles recordings enhancing his songs with bass and even arranged ATMP song that George used on the album. Paul obviously helped George more than John later Beatles. Those same Beatles LIB outtakes, there was a video of George and Paul running through a song, playing and singing and George said didn’t have all his verses worked out but Paul was going through what had worked out with George . ....been so long since saw it. I never put a lot of credence in George’s complaints about Paul in late Beatles era for these reasons and as I kept seeing footage and reading things. I do think as Paul has said, he tends not to repeat himself, like using older folks who he’s split from for different reasons. He used ringo in broad street, so bad song but not John or George on his solo albums...George was more accomplished as a writer by later sixties and I never thought should have needed to lean on any of them but read his writing style was different from others and took less developed songs to studio for others to help him with. From everything I’ve seen and heard though, Paul helped George more than John did and solo George helped John on his albums but John never returned the favor. There’s an outtake of LIB where John and Paul say helped George a day and a half on his guitar part...then that’s where George does his...I’ll play if you want me to play. I must be noted though that George had no co-writer though unlike Lennon McCartney. George seemed to want Paul or someone to hold his hand...don’t know what he or whoever thought it said about turning away, Paul had to assemble other Beatles to get to the studio ..John and ringo said dreaded his calls and on some albums and songs helped with production as well as played bass, harmonies and occasionally drums like ballad of J&Y. Once different wings members left for completely individual reasons, I don’t think he used them again as was their choices to leave except for the last iteration of wings whose members did play on some early eighties tracks but read Martin didn’t want to deal with them as a group. Denny left because wanted to tour I learned. I think because Denny and or his wife sold a sleeze story to tabloids about Paul and linda he’ll obviously never use Denny again obviously though was civil when met him later. Later Juber and Holley went on with different work in music. Paul has a regular back up band of sessions musicians that have changed along throughout the years...don’t know about now as no tours due to pandemic and MaccaIII being a solo album more or less. Juber was probably his more skilled and obviously most musically trained guitarist but I loved Jimmy’s guitar hero lead style and Robbie was very accomplished. Anthology put prior and later releases and touring on hold a few years then Linda was dying and anthology caused him not to retain his old sessions musicians from 93 tour. This is what I know...but is more complex than a generalized explanation I found out from later reading and online actual footage. No question, Denny harmonies were great but he/wife shut out possibles of working with Paul again with the tabloid stuff. I saw wings in concert, saw Denny then, ...However, on your George and Paul late Beatles and wings points...you’re painting with too broad of a brush.
Harrison was asked to come in for a Tug Of War session in the wake of Paul's appearance on "All Those Years Ago." That it didn't happen may have come down to George not wanting to be put back in the position where he's a session man for Paul rather than an equal. Later, it was due to the revelations about Paul's renewal with EMI: McCartney negotiated a higher Beatles royalty for himself and didn't tell the others, which left a very sour for George who felt betrayed by that. There's also a later quote from John where he comments how McCartney expected them to work hours on his own songs, but gave little care to Lennon's — and Lennon blames McCartney for the way "Across The Universe" came out. Almost. Wings did a session on 4 December 1980 ahead of sessions, but those recordings were not used for the final product. Martin felt Wings were not skilled enough for recording sessions — the same complaint he levelled at Pete Best back in 1961: good enough for stage but not for him. And Paul played along because he wanted better production. He may have even thought that he could have brought Wings in later should he want to return to tour. JoJo left Denny soon after, and the divorce was bitter — especially when JoJo realized the money wasn't what she thought it was. She needed money, so she sold stories to the tabloids. All of her stories relate to how callous and miserly the McCartneys were because she felt they didn't treat them well enough money and lifestyle-wise. Paul's response was that he paid Denny £1 million over the years, as if the total would show him to be a generous man (as compared to other musicians towards their sidemen). It would not be until after that it was revealed that the Laines had blown it all in drugs and the lifestyle, but by that time the damage was done. Denny could not handle the criticism from Martin and the lack of touring revenue from McCartney, and quit Wings to focus on the divorce. In the end, he was near bankrupt and stuck on the sidelines, though still able to have a friendly conversation backstage from time to time. But I think Denny Laine's situation is different than the others in that he was the only one who did not seem to leave on good terms. As for the session players — he doesn't have regular session players. The majority of recordings post-Driving Rain don't actually use the touring band. I think McCartney III really demonstrates what we have now, which is Paul alone in the studio doing as much of it on his own as possible and then bringing in musicians to assist with the assistance of his producer. If the band happens to have developed a track on the road, or he really feels he needs them, he brings them in then. Otherwise, it's Wix's job to help coordinate the new stuff into the band lineup. Jimmy's death was a huge loss. He was a powerful guitarist. Again, it's interesting that Robbie, Hamish, Hugh, Denny S, Geoff Britton, Laurence, Steve or other session musicians have never been asked back. The only ones who have done multiple sessions with him over the years of any note are Ringo, John Paul Jones, David Gilmour — and, when it comes to touring, Paul Wickens.
You have lots wrong here...lots of ...rumors...First all, there’s a whole thread on...The higher Beatles shares....It was paul record company who negotiated the highest shares for Paul and the extra shares came out of general shares not the Beatles shares to get as part of his new label Columbia deal and Beatles by then were split, all separated entities so Paul was under absolutely no obligation to tell the others as shares came out of and were paid for by shares of his label and did not come out of their shares...If they each wanted more shares, as group separated they had to and could each negotiate with their label for more shares. There’s threads and internet sourcing on Denny’s pay and if he was unhappy could have walked any time but he’s done nothing significant since and was sleeping in back of his manager’s store before wings. I have read online and on this forum in today’s wages Denny’s income breakers down in today’s dollars to a million a year as well as another million for mull cuz because his lifestyle so lavish got broke...wife wrecked a Porsche. I can’t imagine why you write on the shares but haven’t bothered to even read the SHF thread in this where is explained in detail. Much of what Lennon and George said in the seventies about Paul songs vs their songs are wild exaggerations as all actual Beatles tape mixes demonstrate and prove ...and the multi tapes in archives of them prove for George at least far more takes done for a song he finally didn’t even want to use. You have actual takes of 39 in a Paul song vs 104 takes of a George song he still wasn’t satisfied with. Lennon, I would assume because of his distractions and drugged state in late sixties threw tapes at Paul and Martin, was too impatient to see through their final production and to comment then on how he wanted them as a final product done in the studio...then whined much later in the seventies in paranoid fashion about Paul sabotaging them and enhancing their studio production or not completing them which Lennon himself should have done ..on songs like across the universe and strawberry fields. It was however not really Paul’s place to “perfect” the songs of the others but he did so as a favor to them...and still he didn’t please them. They didn’t need Paul to babysit their stuff anyway if they were so superior to him, lol. Either you or I have his post wings solo sessions musician backup band members all mixed up...because...I remember there was the 89-90 bunch, the 93 bunch....some overlap and today’s bunch...the drummer left...Wix stayed longest. Backup sessions musicians are simply only that...Paul with his subsequent projects is under no obligation to call them back, to reuse them as he isn’t capable wing’s members..All these folks were competent enough to find subsequent work and not t coattail someone like Paul. The absolute best thing for you to do...rather than write your long SHF posts about what Paul “should have done” how he should have done his records, etc., or what you suppose he..did do wrong with other Beatles by their contradictory whining or with wings or sets...is simply for you to spend your time writing your own definitive biography of...Paul, get all Beatles actual studio records, interview all living wings members and other folks who played with him. Just put your researched notions into the mix and...don’t forget to interview..Paul himself. This way you can be a real expert, write a well researched excellent book and be the definitive authority. I for one look forward to reading your book, but it must be well researched and not just recycled stories. It’s simple...just ask Paul and all involved others and do so well sourced real research about what you speculate on...However, your book will have to do better than your broad brush recycled tropes. Still, I’m more than happy for well researched expert books to correct my misinformation of Beatles and solo Paul, though I’ve followed his solo career over 52 years. Be a real expert and well all welcome your thoughtful additions and insights into his life and actions. Don’t just waste time here recycling exaggerated other Beatles gripes or noting how Paul should have done his albums or your perceptions of mistakes in his career, but spend time more usefully.
I just listened "Chaos & Creation In The Backyard", including the bonus tracks /b-sides after the album is finished. (She Is So Beautiful, This Loving Game, Summer Of 59, Comfort Of Love, Growing Up Falling Down, I Want You To Fly - yep, in this particular order) and went directly to "McCartney III" afterwards. I was very amazed, how well it flowed, actually. I'd never understood the comparisons between "Chaos & Creation" and "McCartney III", however, I can see (hear) the similarities now. Though on Macca III, Pauls voice is definitely older and there isn't a string orchestra like - let's say on "Anyway", but the mellow, dark mood and the tone are very similar. I guess, the bonus tracks I mentoined helped tying both albums together. This could almost be a double album, IMO. It was a pretty cool experience, actually.
Columbia had nothing to do with it. The deal was with EMI in 1975, when George went to WB, Ringo to RCA and John went into time off. Prior to that, they were on a royalty agreement arranged through Beatles Inc. Paul sued to dissolve Beatles Inc on 31 December 1970 — not Apple. Whether EMI chose to pay an additional royalty to MPL or increase the royalty for Beatles records to Paul and not the others as they had their own agencies to negotiate and handle the payments, the result is the same: by 1977, Paul is earning more than the others for those records. He was under no obligation to tell the others because they were no longer connected, but George felt he should have still told them, hence the sense of betrayal. Lennon's comments about "Across the Universe" were the main reason that Let it Be… Naked chose to do a different mix than Glynn Johns or Phil Spector, which is the only reason I brought it up. Quite frankly, listening to the material from 1966-1975, it's evident that John's expressed expectations and the results we have on tape don't always match up the way he thought they did. The 93 band was the 90 band with a change in drummers, as Chris Whitten left for Dire Straits. The present band used Wix because the original keyboardist (who, ironically, Wix replaced in the Flowers in the Dirt sessions) didn't want to stay with Paul. Whether they are have an obligation is not what I am noting — McCartney learns in 1981 to hire session musicians according to producer choice and stays with that onwards. Press to Play uses musical friends because Eric Stewart only has the same type of connections. Choba B CCCP was done with musicians he had heard were decent for a session. Off the Ground is the only exception, as he tries on purpose to replicate what he had… and both the events that followed coupled with a desire to move on (and possibly the weak response to the tour) ended the 93 band. I'm not saying he has to go back to them. I'm saying he's never looked back, and that makes his solo career interesting because he's never reconnected with any of them beyond the odd comment.
Funny, today I was again looking at The Daily Beatle. Since posts have become less frequent, I no longer visit on a daily basis. There's a nice writeup of Let It Be Naked! Let It Be…Naked – a Beatles album for the “1” generation – The Daily Beatle I am not sure about the assessment "Let It Be for the 1 generation", as I never saw much sense in 1 and I only bought it once the remix and DVD/BR package came along. But I keep on reading that 1 was an introduction for many, so ... I clearly was far away from the target group. But I rushed out to get Let It Be ... Naked and as mentioned do like it more than Let It Be. So ... sitting comfortably between all target groups?
As far as I remember these sessions were actually an audition for the tour band that he wanted to turn less formal and boring. I don't remember at all, where I heard or read that, though.
I had been properly schooled on here myself regarding Paul and George recording together. Paul Linda and Denny were invited to Friar Park to provide backing vocals to All Those Years Ago. The intention or plan (at least Paul's plan) was to reciprocate by having George provide guitar for Wanderlust I think it was. After All Those Years Ago they 'ran out of time' according to Paul and the guitar solo didn't happen. I am not sure if George ever commented on this day. Personally I always felt like this was a cop out explanation. If they really wanted to do more together, they would have. Thanks @Marry a Carrot for the lesson all those years ago!
Excellent post here and, yes, Mary a carrot writes accurate historical info as well. Your summary of George and Paul agrees with my reading as well. Most true...had George and Paul wanted to record together more, would have and George provided no explanation about Wanderlust and Paul a cop out one.....same as any of the solo Beatles in the seventies, had really wanted to record anymore together, would have regardless of excuses or lack thereof made.
I confess I gave Chaos a listen or two and never went back. It didn't grab me like New, Egypt, or M3. Not even slightly. But your post sure makes me determined to actually give this album a fair shot - as we seem to enjoy similar albums of his. I'll have to hunt down the bonus tracks too. What cd offering has them? Thanks in advance!
Summer of 59 is vinyl 45 only officially. She Is So Beautiful is Japanese version of the album only. The rest are CD single material. I will toss out upon memory only that the live version of Jenny Wren was digital only if I recall correctly. The DVD that came with special editions of the album had a couple instrumental versions of the album tracks. I hear that on a couple compilation albums some of the live tracks from the Chaos and Creation At Abbey Road event can be acquired on CD. And there was an AOL sessions (or some kind of live session, again recalling from memory only) release which is sadly digital only.
Thank you my friend! Not up to hunting all of this down, but I can get at least some of it. Meanwhile, I'll give the album a grip of listens and see how it holds up with just the standard tracks. Obviously there is more here than I'm missing - as many people seem to really enjoy this album. Nothing wrong with not liking something, but I need to invest more spins. Some of my favorite albums took some listens before I fell in love with them. I found these are often ones with the most staying power.
Summer of '59 was also officially issued digitally on the Jenny Wren digital single. Unfortunately, it's a 192k protected .wma file. I bought it from 7digital in 2005, but I doubt they're still selling it since protected digital downloads are out of vogue.
Hmm... somewhere in my archives I have a CDR with the live Jenny Wren on it. I have little to no memory of how I got it burned onto that disc... I'll have to dig it up and see if it still plays...
It was still up in early 2007. Being a teen with no credit card, I had the genius plan to buy a prepaid card. Well, it wasn't so genius when it turned out I had gotten a card from a "bad batch" that was completely unusable. My old man had to go to the drug store I bought it at and get a refund. But remember, I am a genius! So, I just bought another card. I think at that point I was hit with geo-restriction or something. At least the card was usable (and I'm sure I spent it on a solo Beatle CD).
The McCartney/Rubin six-part doco is being officially teased on McCartney's Insta feed. Coming on July 16 to Hulu:
I also bought Jenny Wren (Live from Abbey Road) from 7digital, as well as Twin Freaks and a few other songs. All were protected .wma files. Several years ago, I was able to convert all of them, including Summer of '59, to .mp3 somehow, but I don't remember exactly how. I know I didn't buy any special conversion program to do it.
As long as he won't be boring Rick with how he wrote Yesterday, Hey Jude, Let It Be for the thousandth time then I'm in
Chaos is one of my favorite Macca albums. I explained "why" in the Macca Appreciation Thread (see quote at the end of the post).We really seem to agree always on McCartneys Music, it's almost spooky, LOL. So this may be just a "statistical outlier". On the other hand, it took me exactly 20 years of listening to Pauls music to appreciate "McCartney II". Until last year, I couldn't stand that album. Now I really enjoy it. So there is always a chance
After years of reflection and arguing with myself, Chaos has taken over the top spot on my list of best and favorite Paul albums. I finally had to accept that I think it's better than BOTR. And the b-sides are also a great batch indeed. Love this story. Thank you for telling it. The things we do to get Paul music.
Translation: not in Canada. Hulu is banned under the way the streaming deals were structured with the telecoms (HBO Max as well). A few years ago, someone compiled an ultimate edition of Chaos And Creation that all the b-sides and rarities on it. The joys of the Internet. It might still be findable for a listen… though I always encourage buying the actual tracks. As for WMA to another format, I'm on a Mac and use xACT to convert WMAs and FLACs into formats that iTunes can handle better. It's free.
Yes, it takes some effort to view Hulu content here. You basically need to buy a US giftcard using your Canadian credit card, then pay for the Hulu subscription with that giftcard, and then use a VPN to view it.
