Paul McCartney/Wings-song by song thread

More about Strawberries Oceans Ships Forest...

The vinyl was a limited edition on clear vinyl.

Disc 2:





Back:



Transcrystaline (8:42 minutes)

 

More about Strawberries Oceans Ships Forest...

There is a numbered clear / white sleeve limited edition vinyl:







Pure Trance (8:42 minutes)

 

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Arizona Light (8:39 minutes)

This song was released as a complement of the GER 12" Transpiritual Stomp single with a different name: Arizona Light Mix

 

Tried to get into this album the other day but I'm not into electronic music and I still had a hard time with the album. It seems or I'm assuming you admire the sounds but don't necessarily enjoy it. I'm just not diverse enough myself as a listener to enjoy it on any level. Same with his classical stuff - I can't get into it.

 

More about Strawberries Oceans Ships Forest...

The CD version is basically red...







Celtic Stomp (8:35 minutes)

 

I'm so glad Paul put this out! It's interesting on it's own, but it's greatest accomplishment is creating a path for Paul and Youth to travel on that would lead them to the sublime Rushes album then onward to the very different but equally sublime Electric Arguments. Hopefully we get a new release soon from this hyper creative duo.

 

More about Strawberries Oceans Ships Forest...

From Strawberries Oceans Ships Forest (June 30, 1994)

"Strawberries Oceans Ships Foresthas no lyrics (aside from the occasional sampled word), and the differences between the tracks are slight on a first listen. But as a dance record, its strengths are undeniable. The droning wail of guitars and keyboards gives the music an exotic tinge, conjuring up images of a late night stroll through the casbah. The innumerable samples (radio transmissions, random shouts, sitars, a line of classical music) also enliven the mix. A raver on the dance floor isn’t going to care who created music, which is entirely the point. This isn’t meant to be a chart contender; it’s more an opportunity for McCartney to indulge in some musical experimentation."

Strawberries Oceans Ships Forest (8:10 minutes)

 

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A postcard:





4 4 4 (7:37 minutes)

 

More about Strawberries Oceans Ships Forest...

The final track:

Sunrise Mix (8:19 minutes)

 

First time hearing this and I dig it.
I'm big into that late 80's early 90's acid house/rave stuff though.

 

Raver's gonna rave...Caver's gonna cave to the fun experimentalism that is The Fireman!

 

I know what you mean.
I don't mind hearing it but can' t get into it on the same level as his ' regular ' stuff.

 

To me, McCartney II is the best of his electronic experimentation. None of the early Fireman stuff matches up to the weirdness of Temporary Secretary or catchiness of Frozen Jap.

 

The inside of the booklet is green.

 

I enjoy the Fireman stuff. Electric Arguments of course since it contains actual songs but the other two albums are good to-ecspecially Rushes
With that said I wiew them not as proper McCartney albums but interesting side-projects.

 

Yep, even EA to a lesser degree than the other two.

 

Agreed. If You Wanna is okay, but it feels like filler to me. But we're about to get to a series of tunes that are absolute home runs.

 

Paul's Fireman stuff has just never interested me. I find it cool that he ventures into unfamiliar/unexpected territory, but it's not music I ever feel much desire to listen to.

 

I always get a laugh reading alphabetized album and song titles on these threads. BOTR, TOW, CACITB , WATSOS...
Why ? Because sometimes it takes me a moment or two to figure out what is.
And because it always reminds me of this scene in ' The Odd Couple ' :
" He left me a note saying : ' We're out of cornflakes. F.U. ' It took me fifteen minutes to realize .F..U. stood for Felix Unger."

 

I think every song to come is great. We've had 3 great/good tracks so far and none of them would make my top 5 for this album. That's how great this material is.

 

NEXT ONE
Somedays
Music don t get better than this. Sublime melody, haunting lyrics, jaw-dropping vocals and George Martin arrengement
Stunning and beatiful

At first, one session was all it took to commit ‘Somedays’ on to tape, but Paul felt that it could be enhanced by an arrangement. At this time he was occasionally meeting with George Martin at Abbey Road, sifting through unissued archive Beatles recordings for the Anthology albums (and still nervous, 30 years on, that he would not be the cause of any musical breakdowns…), and Paul asked George if he would listen to ‘Somedays’ and consider scoring it for an orchestra. “I see you haven’t lost your touch!” was the considered response; a 14-piece ensemble overdubbed their contribution on 10 June, 1996.

“I’d driven Linda to a photo session for one of her cookery assignments. Knowing she’d be about two hours, I set myself a deadline to write a song in that time – so that when she’d finished and would say ‘Did you get bored? What did you do?’, I could say ‘Oh, I wrote this song. Wanna hear it?”

Paul McCartney, in Club Sandwich n°82, Summer 1997:
This was written the day Linda was doing one of her cookery assignments. I went along too, taking an acoustic guitar, and asked the lady in the house we were using if she had a little room where I could go and sit quietly. She offered me her son’s room and I went in there. In these situations I tend to make up a little fantasy, thinking: well, they’re going to be two or three hours, and when it’s all done they’ll say to me, “What did you do?” And I’ll be able to reply, “Oh, I wrote a song!” So I just started writing, with my guitar, and came up with ‘Somedays’ -“Somedays I look, I look at you with eyes that shine, somedays I look into your soul” The first verse came quite well, then the second and the middle, and whereas, at another time, I might have thought, “I leave the words there and finish them next week”, I finished them there and then. John and I used to do this too, occasionally: I don’t think we ever really took more than three or four hours on a song. I’d go to visit him, he’d come to visit me, and we’d sit down and write.

I’m not a great reader into moods: I don’t naturally say that if I wrote a sad song then I was sad that day, or if I wrote a happy song I was happy. I wrote ‘Ob-La-Di, Ob-La-Da’ but that doesn’t necessarily mean that I know a Desmond or a Molly. I compose songs like playwrights write a play. They don’t have to know everyone in the play, they don’t have to know anyone in the play, it’s just a product of their imagination. I remember George Harrison saying to me once, “I always have to write from something that’s happened to me, something in my experience.” Well, that’s certainly a good way to write but I’m more fluid, more flexible than that. Sometimes.

Mark Lewisohn, in Club Sandwich n°82, Summer 1997:

No matter how many songs a composer may have created, whether 5 or 500, mental mind-games are often employed to light the fuse. Paul McCartney, whose cache of hits extends much closer to the latter figure, still likes to impose arbitrary deadlines upon himself, and ‘Somedays’ was written under one such stricture. The date was 18 March 1994 when Paul drove Linda to a house in a village nearby their own, “where she would be photographed for a cookery assignment. While his wife was being snapped Paul retired to a bedroom, normally used by the house-owner’s son, and – possessing an acoustic guitar, pen and paper – conceived his newest song. Knowing that he had only 90 minutes, and realising the question “What did you do?” would be asked of him when the photo session was over, was all the prompting Paul needed to create, the melody and lyric arriving wholly intact. The house-owner’s son made his mark on the song, too, his soccer ephemera on the wall unconsciously prompting Paul to make footballing analogies in the lyric. Writing with John Lennon was often the same: the pair rarely spent more than three hours on a new song and were much influenced by everyday events and objects around them.

 

From Working classical

 

It depends on of the work. There are some interesting songs that I really enjoy, for example, Deliverance remixes or A Leaf, a classical work, and others that I don't.

The Fireman music has some interesting sounds but it is not for pleasure (sometimes yes). It's about the level of experimentation, the creation process, the unexpected McCartney work.

 

Somedays 10/10

Wonderfully realized song on all levels.

 

A Leaf

A masterpiece. This is a beautiful classical composition work with great melody and tempo. The performance is an expression of emotions without words, a perfect piano playing by Anya Alexeyev. Bravo!!!

Credits:

Produced by John Fraser
Written by Paul McCartney
Piano by Anya Alexeyev
Engineered by John Kurlander
Tape editor: Matthew Cocker
Label: EMI Classics
Release Date: April 21, 1995
Recorded live at "An Evening With Paul McCartney & Friends - Royal College Of Music Benefit" in London, United Kingdom on March 23, 1995
Length: 9:56 minutes

The single:





The Classical piece:

The piece is split into 7 parts:

1. Andante Semplice – 1:12
2. Poco Piu Mosso – 1:19
3. Allegro Ritmico – 1:51
4. Andante – 2:04
5. Allegro Ma Non Tanto – 1:15
6. Moderato – 1:18
7. Adante Semplice (II) – 0:54