Paul McCartney/Wings-song by song thread

I've been scoring out of five both here and on the John Lennon thread. FWIW, for me:

1.5/5 or lower = I really don't like it / skippable

2/5 = tolerable

2.5/5 = okay

3/5 = good

3.5/5= very good

4/5 = excellent

4.5 /5 = exceptional

5/5 = an all-time favourite (by anyone)

So, I'm pretty sparing with the 5/5's, House of Wax being the last one (and possibly the only one post-Flaming Pie). There won't be any 5/5's on ES, but I Don't Know is a 4.5/5 and I reckon there'll be another one along soon.

 

Fuh You

The verses are okay, the chorus much less so and the middle eight is nice enough. I like a lot of simple, trite, mindless pop, including most of Paul's, but I generally prefer "cleaner" and less processed sounding arrangements than this. As it's generally the sound of a track (mostly the instruments) that I listen to, and not the lyrics, this isn't really for me.

I would probably like it more if it were either instrumental or performed as a largely acoustic track. As it is. I'm not a fan, but it's only borderline skippable: a low 2/5.

 

Fuh You - is a fun, bright sunny pop song with a classic Macca middle 8 and souring chorus. Could have been a major hit if given away to someone like Taylor Swift. I don't mind it at all 3.5/5

 

Poor Bemagnus. Has no choice but to retreat to his ice palace in the north.

 

Fuh You: 2/5

Only slightly better than "Come On To Me". Paul’s stay-youthful movement just like “Come On To Me” doesn’t translate well into this song. The not so secret play on words is just in poor taste. Instead of being edgy and coy, he’s come off (pun intended) as a dirty old man.

Strip off your plastic mac because Sir Paul wants to fuh you.

Worse, we get the 21st century verbal crime of saying “choo” instead of “you”. Ryan Tedder provides some stupid female chipmunk treatments to Paul’s backing vocals.

The only redeeming quality is the orchestral bridge.

 

Fuh You is a very solid pop song. It's got a good rhythm and a catchy melody. If I am hearing it right, the entire song (but for the bridge) is the same chord progression. I was so knocked out by the fact that Paul could write such different melodies to the same progression that the listener doesn't acknowledge the repetition. (So I tried to do that myself and got a very static sounding song. I'm no McCartney).

The only thing that bugs me about this song is the title. Let Paul do whatever he wants but, as a listener, I'm too old for teenage humor. When I was young I thought the song If You See Kay was funny. Today I find it cheap. Then, a generation later, Britney recycled the exact same joke for If You Seek Amy. That song I can forgive as it was not written for a middle aged guy to listen to (besides, its a great pop song). But McCartney's audience are older people. I'd rather he simply titled it "I just want it for you" and sang it "fuh you". Then it would be a bit of a wink. Either way, its a juvenile joke and beneath him. Otherwise it's a pretty good song.

 

Agreed. There is a Kiss song called "I Just Wanna" with lyrics I just wanna fu.....orget you. I like Kiss, but Paul does not need to stoop to their puerile level.

 

Music of the Spheres

A symphonic and choral suite in eight movements. It's a collaboration with Martin O'Donnell & Michael Salvatori.

A brilliant musical suit. From beginning to end, the music connects everything. It's a beautiful harmonic expression, a communication between movements, where the arrangements create emotional themes from calm to chaos, from fear to hope. The orchestral and Coral work is strong, intense, and heartfelt. It's a journey to the Spheres, to discover their sonic interaction, to feel the keys, the low and high tones, like cycles, where every sound plays an important role. Simply amazing. Bravo!!!



Credits:

Album: The Music of Destiny Volume 1
Martin O'Donnell - Composer/Creative Director
Michael Salvatori - Composer
Paul McCartney - Composer
Mark McKenzie - Orchestrations, Music Supervisor
Gavin Greenaway - Orchestra Conductor
Peter Cobbin - Recording Engineer/Abbey Road
Kirsty Whalley - Music Editor
Sam O'Kell - Second Engineer/Abbey Road
Andrew Row - Sound Recording/Abbey Road
Dennis Sands - Mixing Engineer
Rick Fisher - Mastering Engineer
Jill Streater - Music Preparation & Librarian
Boys Choir - Libera
Robert Prizeman - Director of Libera Boys Choir
Tom Delgado-Little - Boy Soloist
Isaac London - Boy Soloist
Choir - London Voices
Terry Edwards - Choir Director
Ben Parry - Choir Director Orchestra
Thomas Bowes - Orchestra leader
Caroline Dale - Solo Cello Abby Road Studios - Recording Studio Colette Barber - Abby Road Studios Manager
Malcolm Guite - Poetry
Hope for the Future Song Recording
Paul McCartney - Composer/Performer
Giles Martin - Producer
Rusty Anderson - Lead Guitar
Abe Laboriel Jr. - Drums
Brian Ray - Guitar
Paul Wickens - Keyboards
Ben Foster - Conductor and Arranger
Sam O'Kell - Recording Engineer
David Foster - Tech Avatar
Recording Studios - Recording Studio
Label: Bongie
Release Date: June 1, 2018
Length: 48:16 minutes

Track List:
1. The Path - 6:20 (O'Donnell / Salvatori / McCartney)
2. The Union - 4:28 (O'Donnell / Salvatori)
3. The Ruin - 5:20 (O'Donnell / Salvatori)
4. The Tribulation - 5:52 (O'Donnell / Salvatori / McCartney)
5. The Rose - 5:25 (O'Donnell / Salvatori / McCartney)
6. The Ecstacy - 6:39 (O'Donnell / Salvatori)
7. The Prison - 6:28 (O'Donnell / Salvatori / McCartney)
8. The Hope - 7:47 (O'Donnell / Salvatori / McCartney)

 

More about Music of the Spheres...

Bungie's Marty O'Donnell and Mike Salvatori show off their new compositions for Destiny and how their work process involves Sir Paul McCartney.

 

More about Music of the Spheres...

Finally,

Destiny composer Marty O'Donnell tells the story of how he got to work with Beatles legend Paul McCartney on Bungie's space opera - and the voicemail that McCartney left him.

 

​

 

I wouldn't mind trading Fuh You for Nothing For Free, as I like that one a lot better. But... whatever.

Fuh You seems like a harmless catchy little confection... Nothing really of consequence, but nothing to get hung about.

 

And which ones are they?

 

THE POWER OF MACCA COMPELS YOU
THE POWER OF MACCA COMPELS YOU
THE POWER OF MACCA COMPELS YOU

 

I didn't get what all the fuss was about 'Fuh You ' .
A harmless , catchy piece of pop . Nothing more , nothing less.

 

Do you see this as a pyramid with some kind of beacon on top emitting some sort of waves? Or do you see it as train tracks going into a tunnel?



Or do zee zome zort of zexual imagery? Like my Zigar?

 

You forgot Waterspout.

 

Fuh You (8/10)
A highly catchy and pseudo-controversial song – just say the F word Paul. He just said ‘who cares’ and now he can’t even curse properly. It’ll be the second time he ever said the f word on a song. But my goodness, his confidence is way higher than it was on “I Don’t Know” and “Come On To Me”. Here he’s in control of the relationship and comes and goes when he pleases and when he wants to f her he will f her. This reminds me of the tougher relationship lyrics we first started hearing on the last few songs of New.

Ryan Tedder whatever you want to say about him this guy knows how to write a hook and many think it’s his cause it sounds like his other work and doesn't quite have that typical Paul hook. Then again, McCartney isn’t a slouch either in that department - possibly the greatest, but this is the catchiest song on the album. I don’t care if it’s a corny melody, or it’s silly to say ‘fuh you’ or whatever people don’t like about this – if it’s got a great melody and a great hook, I’ll like it and I sing this to myself when no one’s around - yeah I wouldn't use it for real. The countermelody sung with a heavy filter of electronics that is the modern touch for the song that keeps it in line with the contemporary of 2018.

I don’t like the line ‘you make me wanna go out and steal’ – that’s not the best line to show desperation for love, but it gives Paul the excuse to say ‘I just want IT fuh you’ – the ‘it’ is the thing he stole so he couldn’t be saying 'I just want it, f you.’ But it was all for show anyway, purposely executed like the McCartney self-interview. But considering the entire lyric, it didn't have to take on the connotations it took on.

 

Oops I meant . . .

You forgot Waterspout

 

Yes, Ryan Turder just didn't need to be a part of this project.

Having said that Nothing For Free is fantastic. But it still wouldn't fit too well on the album.

One of the great things about NEW with the multiple producers is it all still seemed to gel naturally. There's no gellin' like Magellan here.

 

Either way, you're a dirty old man! Ew!

 

Fun You
I never thought Paul could come up with a song I dislike more than "Bip Bop", but with "Fuh You" he has done it. This song would be embarrassing infantile crap even from some 20 something teeny bopper, but from Sir Paul it is beyond embarrassing. It smacks of pure desperation at trying to sound "hip", "cool", and "trendy". I heard this before I got EGYPT STATION and hated it. When I got the CD I tried to make the effort to listen to it and give it a chance, but I couldn't quite make it all the way through.
(0/5)

 

When I first heard Fuh You I despised it. I thought it was crass, juvenile and a shameless attempt to mimic the sort of pop that cracks the current Top 40. Over time I've come to enjoy it as a sort of guilty pleasure, and there's no getting around the fact that it's catchy as hell. I wouldn't want a whole album like this, but as a final bit of silliness before we get to the true heart of the album, it's okay.

 

There are seven levels...