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“I'm thinking, 'Yeah, I like this,' but then you check yourself, you go, 'Is this too Beatle-y? Do I need to kind of stop and get radical here somewhere?' The chorus, the descending bassline-it's very Beatle-y, but you know what? Once you're done that little question and said, 'Should I be doing this?' the answer is, yes, you should.
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His Beatles songs And I Love Her (1964), Yesterday (1965), Eleanor Rigby (1966), and Blackbird (1968) rank among the most covered songs in history. “Lavatory Lil” can’t help but feel like a sonic and spiritual cousin to “Polythene Pam”, while “Seize the Day” channels his pre-Wings band in a way that McCartney himself was initially alarmed by. Pepper’s Lonely Hearts Club Band, he gradually became the Beatles’ de facto leader, providing the creative impetus for most of their music and film projects. And he embraces his formidable past, which helps III earn its legacy. “Slidin’” is as heavy and sludgy as “Find My Way” is playful and “The Kiss of Venus” is fragile. “So it kind of saved me, I must say, for about three or four months it took to make it.”īookended by acoustic songs about birds-certainly in the man’s wheelhouse-much of the album feels appropriately homespun, unadorned and immediate, taking pride in its lack of fuss as it slides from style to style.
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“It was really good to be able to play music, and make up music, and put your thoughts and your fears and your hopes and your love into the music,” McCartney tells Apple Music. McCartney followed The Beatles’ sudden and bitter breakup in 1970, McCartney II came at the end of Wings’ decade-long run in 1980, and the 2020 edition, performed and recorded by himself at his studio near his home in Sussex, England, of course, results from the breakdown in normal everyday life and society. (It’s his 18th.) What binds this with its two eponymous forebears, beyond any particular stylistic thread, is its reaction to some sort of major dissolution. McCartney III is obviously not Paul McCartney’s third solo album.