Paul McCartney: “not there versions poor. are singing my music and I love!”
The Home of the Fantastic in the internet just released excerpts of the unpublished interview Paul McCartney, not aired on Sunday (29/01). Check it out!
.And if you have not watched the interview officer, appears in Fantastic, watch now:
Paul McCartney: "I still can not believe I was of Beatles"
Paul McCartney said he still finds it hard to believe that was part of the Beatles.
In an interview with the newspaper Metro, McCartney - who just released their new studio album 'Kisses On The Bottom "- said he likes the fact that the feeling of being in FabFour has not passed him. "I'm lucky to have always kept this wonder," he said. "Recently, I was looking at the book that accompanies George Harrison" Living In The Material World 'by Martin Scorsese, and open a photo that George had taken from me and other guys on a plane. It pounded on me. I thought, 'I really was there, the Beatles? Damn! 'Of course it's a stupid idea, but I'm glad I did not used to it yet. "
In an interview with the newspaper Metro, McCartney - who just released their new studio album 'Kisses On The Bottom "- said he likes the fact that the feeling of being in FabFour has not passed him. "I'm lucky to have always kept this wonder," he said. "Recently, I was looking at the book that accompanies George Harrison" Living In The Material World 'by Martin Scorsese, and open a photo that George had taken from me and other guys on a plane. It pounded on me. I thought, 'I really was there, the Beatles? Damn! 'Of course it's a stupid idea, but I'm glad I did not used to it yet. " "Kisses On The Bottom 'is composed of songs that McCartney heard as a child, and two new,' My Valentine 'and' Only Our Hearts'. It was recorded with producer Tommy LiPuma, Diana Krall and her band and also has appearances by Eric Clapton and Stevie Wonder. Earlier this month, McCartney revealed that his love of mischief led him to label the disk "Kisses On The Bottom 'and that he believed that a little controversy' is good for the soul. ' He said: "I like it! Is good for the soul, is always a good idea - but only because people think it's a bad idea. "
Poignant interview with Paul McCartney on George Harrison
Opening the meeting on specific matters for the anniversary of George Harrison - The British magazine MOJO last year published a special edition about 10 years without George Harrison. In it, journalist Michael Simmons spoke with Paul McCartney on the history and musical life of the two. While some parts of the conversation make up part of the huge profile of George magazine, which follows below is a translation of a compilation made by the publisher.
MOJO: Louise Harrison [George's sister] told me that her parents taught them to trust people, and that when George was young, he relied too much on others. She hinted that this made him vulnerable. Is that accurate?
PAUL MCCARTNEY: I would say he was more loyal. Confident? Mmm, I do not know. The older sister would see him differently than his fellow street at the time. So it depends on what you are talking about. If it were about scammers and he certainly did not recognize and trust the guy. But he was a very loyal guy, any person from whom he had liked his loyalty. [laughs] But there were many things in which he distrusted. He was very slight. He had a keen eye for falsehood.
MOJO: Years ago, it was said that John [Lennon] was referring to George as 'the boy' began when the Beatles and John treated as such. How long it lasted?
PAUL: It lasted probably a few years. Only because of his age in a group of men who grew up together, particularly during adolescence - the age account. In the case of John, who was three years older than George - that meant a lot. John was somewhat embarrassed by having a bit of a 'kid' around, just because it happens in a group of guys. Short-lived. He was particularly noticeable when George was deported from Hamburg [November 1960] to be minor. Moreover, when he joined the group, he was a boy-faced child. I remember introducing you to John and think, Wow, there is an age difference. There had been much on my part because I was in the middle. But as we grow, stopped to make a difference. And that kind of difference wear off.
MOJO: I am curious about the process of George in the studio. Do you remember a most memorable moment when George has collaborated with something or have made a song to take off?
PAUL: Oh yeah, absolutely. Many. I think once in a song of mine 'And I Love Her', which I took to the studio almost finished. But George put the do-do-do-do [sings riff characteristic] that is a big part of music. You know, the opening riff. That, to me, made a striking difference in music and be there when I touch it now, I remember the moment that George did. The song would not be the same without him. I think a lot of land it had a lot of personality and gave face to the disks. He did not sound like any other guitarist. At the very beginning, we were very young and did not think a professional manner. We were just kids being taken through this wonderful land of the music business. We did not understand how rolling - something that makes me happy because I think it would mean that we were pretending something. So we ended up doing things that people then we imitate rather than pretending something because we were told to do so.
At first, everything was very vibrant. I remember going to test the [label] Decca and every one of us have done very well, you know. We were in a pub after taking something and kind of slowing down and out of that euphoria, but we were still pretty excited about that. And I remember sitting at the bar with George and it ended up being something funny to us years later. I said [in an impressed tone of voice] 'When you sang' Take Good Care of My Baby '[of Goffin & King] was amazing man!' I'm not sure if we say 'man' or even 'amazing 'then, but ... it was a special moment and became something between me and him: [voice struck again]' When you sang 'Take Good Care of My Baby ...'
MOJO: George played a classical guitar with nylon strings in 'And I Love Her'. I remember George had really enjoyed the work of Andres Segovia for a while. You remember that?
PAUL: I think 'for a while' is the stage of progress. We fell in love with the guitar and we had no difference in kind. It could be a Spanish guitar, a classical guitar. It could be a Gretsch, a Fender, a Gibson. We kind of loved them all. It was like a dream, it was like walking through the plant from Santa Claus. There was a strong idea of wonder for us. I remember very well sitting at the bar of the mother of Pete Best - the Casbah in West Derby in Liverpool - and George came and opened the long rectangular box. We would not have imagined that there was a guitar there because then you do not see these long, rectangular boxes that are now perfectly normal. We had seen holsters-shaped guitar. And he opened that box and there was a long ... not sure if it was a Fender. I think it was a replica, a cheap copy. But man, was beautiful. He looked so glorious. Moments like that were very special. We were in love with the guitar, whatever it was that type.
George and I did that bid, which bid is the JS Bach. I think it's called Escape or something [he sings 'Bourrée' Bach in E minor]. We do not know the whole, but we learned the very beginning. We invented the end. What we liked was that it was more difficult than the things we were playing, was part of our development, because two lines were working against each other. You have the melody [sings] and then you have kind of a [humming] low working against. I tell audiences that was what gave me the introduction of 'Blackbird'. There are the same notes, but I got the style of the melody and the melody acute low on the same stretch of guitar and did the song 'Blackbird' that. I clearly remember George and I sit doing our own version of the work of Bach. It was kind of a thing spree: it was something to show that we were not only [does a pompous voice] one-dimensional. It was in a bid to showcase. What I mean is that yes, we always we turn to classical guitarists. I was a big fan of Juliam Bream - who was a classical musician Breton - and I think it was George also.
We used something in which we could put his hands behind his ideas. Another influential song was one of Chet Atkins tried to learn so-called 'Trambone'. This is kind of country. And the same thing - have two flights going. You have a line of low / low and treble; None of us really mastered it except by a guy named Colin [Mantley] the Remo Four [contemporary Merseybeat band]. For us it was the highlight of the show when Colin played this instrument. But what I say is that all the lovely things were very exciting and we assimilate in our music. So we certainly were not snobs.
in interview, the Beatles discovered as were called in Portuguese
On July 16, 1964, the Beatles participated in the program 'Top Gear', broadcast on BBC radio with the presentation of Brian Matthew and production of Bernie Andrews.
The audio below is an excerpt of relaxed conversation that just talking about the Beatles as they were called in Portuguese (The Beatles).
Without doubt, a beautiful historical record.
