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In the latest effort in a line of works presenting his side of his own history (which include Many Years From Now, Wingspan, the McCartney 3 2 1 docuseries as well as Anthology), Paul McCartney published The Lyrics: 1956 to the Present in 2021. It was in collaboration with Irish poet Paul Muldoon, an as-told-to project where he got deep into his recollections about a selection of his works, pre, during and post-Beatles. But the book is deeper than that: his observations detailing his entire life from boyhood in Liverpool onward were sparked by the 25 hours of conversations he and Muldoon had.
My guest is Terry Zobeck: a first-generation Beatles fan and collector who reviewed the book for Doug Sulpy’s 910 newsletter. The most recent issues also feature the first two parts of his three-part critique of The Beatles Get Back docuseries. All of Doug’s writings, including the indispensable Drugs, Divorce and a Slipping Image (revised edition) can be found at www.dougsulpy.com
Great conversation. McCartney’s song lyrics were never his strength. He’s acknowledged this many times through the years. To find some logic and alternative reasoning his weak lyrics is also dismissive of McCartney’s own acknowledged weakness.
Great conversation. McCartney’s song lyrics were never his strength. He’s acknowledged this many times through the years. To find some logic and alternative reasoning his weak lyrics is also dismissive of McCartney’s own acknowledged weakness.
Paul McCartney’s Press to Play LP was the first purchase I made as a teenager in 1986. I was 16 years old at the time and was exited about the MTV promotion behind the release. Needless to say, the LP was terribly over produced with a few exceptions, very few. “Only Love Remains” is the only strong track. “Angry”could have been a wonderful piece but remained underdeveloped. The rest, “Talk more Talk”, Stranglehold””Press” and everything else had the same trendy 1980s synth pop used in Bob Dylan’s “Empire Burlesque”. Don’t get me wrong, synth pop worked for those who used it wisely; New Order, Lisa Lisa & The Cult Jam, The Alarm, The Fixx, Thompson Twins, Genesis, Madonna, Jorge Ben, Steve Wonder and Michael Jackson but McCartney and Dylan ruined their songs by believing they needed to fit by force. It would be nice to hear the Press to Play demos though.
Lastly, we also have to remember, bad sounding music can eventually grow on us. Age will do that but it doesn’t mean the music is any better despite our finding some rational. It’s just like getting used to that pebble in a shoe.
Paul McCartney’s Press to Play LP was the first purchase I made as a teenager in 1986. I was 16 years old at the time and was exited about the MTV promotion behind the release. Needless to say, the LP was terribly over produced with a few exceptions, very few. “Only Love Remains” is the only strong track. “Angry”could have been a wonderful piece but remained underdeveloped. The rest, “Talk more Talk”, Stranglehold””Press” and everything else had the same trendy 1980s synth pop used in Bob Dylan’s “Empire Burlesque”. Don’t get me wrong, synth pop worked for those who used it wisely; New Order, Lisa Lisa & The Cult Jam, The Alarm, The Fixx, Thompson Twins, Genesis, Madonna, Jorge Ben, Steve Wonder and Michael Jackson but McCartney and Dylan ruined their songs by believing they needed to fit by force. It would be nice to hear the Press to Play demos though.
Lastly, we also have to remember, bad sounding music can eventually grow on us. Age will do that but it doesn’t mean the music is any better despite our finding some rational. It’s just like getting used to that pebble in a shoe.
I often thought Paul should have done The Songs instead of The Lyrics. His genius melodies made so many of his solo and Beatle songs what they were. A brilliant Lennon lyric sometimes would not have been an incredible song without a McCartney melody.
The full package is the genius.
I often thought Paul should have done The Songs instead of The Lyrics. His genius melodies made so many of his solo and Beatle songs what they were. A brilliant Lennon lyric sometimes would not have been an incredible song without a McCartney melody.
The full package is the genius.
Thank you Terry and Robert! Great interview – another awesome episode! … Shocking news about the group hug after George leaves in Get Back (that scene made me weep, now I learn it was them being jerks-offs, goofing meanly on poor L-H).
As for lyrics, maybe Paul’s genius gets so music-focused he can write a lyric that’s deep & important, then dismiss it by judging it too literally (especially if the critics do the same). The song, “Let em in” for example has always seemed to me clearly about accepting others, family, friends, our fellow human being, agape, opening your heart — there’s even a reference to Martin Luther (hard not to think of MLK’s vision– plus “Marin Luther” maybe doing double-duty as Paul’s sarcastic name for Saint John Lennon, a reminder to himself to forgive and let him in too). Think you could make a case that “Let Em’ in” is a deeper, more subtle version of “Imagine” free of preaching and self-reference. Rolling Stones axe-grinders mocked the lyrics as pathetic, taking it literally, and now Paul dismisses the song himself. … I hope he re-interprets this classic one day like he maybe did with “Blackbird”. (I don’t think that would be cheating/revisionism since the creator of a song is too busy and sometimes just a conduit and the last person to grasp the mysterious inspirations they fall spell to).
Sure, maybe Paul has lightened the impact of some of his songs by not fretting over lyrics and just being playful and silly, but, Lord, we need that… plus, the man has had the sense to never damage a song by injecting religion into it, grumbling about his tax bracket or going full toxic bile like in “How Do You Sleep” (really was like your parents fighting and divorcing). Always appreciate how Paul’s words are sunny, like his spirit brother Brian Wilson’s, both singing about having fun and love, never needing to slit their wrists to express it. I think that lightness is so admirable and deeper than all the gravitas. (Though of course there’s always a need once in a while for a howl of pain and freedom like “Mother”).
Just Feel lucky to have lived in the Beatles age. “The Four Evangelists of Joy” each in their own way! Thanks for lighting the way for us with this show and all your work!
Thank you Terry and Robert! Great interview – another awesome episode! … Shocking news about the group hug after George leaves in Get Back (that scene made me weep, now I learn it was them being jerks-offs, goofing meanly on poor L-H).
As for lyrics, maybe Paul’s genius gets so music-focused he can write a lyric that’s deep & important, then dismiss it by judging it too literally (especially if the critics do the same). The song, “Let em in” for example has always seemed to me clearly about accepting others, family, friends, our fellow human being, agape, opening your heart — there’s even a reference to Martin Luther (hard not to think of MLK’s vision– plus “Marin Luther” maybe doing double-duty as Paul’s sarcastic name for Saint John Lennon, a reminder to himself to forgive and let him in too). Think you could make a case that “Let Em’ in” is a deeper, more subtle version of “Imagine” free of preaching and self-reference. Rolling Stones axe-grinders mocked the lyrics as pathetic, taking it literally, and now Paul dismisses the song himself. … I hope he re-interprets this classic one day like he maybe did with “Blackbird”. (I don’t think that would be cheating/revisionism since the creator of a song is too busy and sometimes just a conduit and the last person to grasp the mysterious inspirations they fall spell to).
Sure, maybe Paul has lightened the impact of some of his songs by not fretting over lyrics and just being playful and silly, but, Lord, we need that… plus, the man has had the sense to never damage a song by injecting religion into it, grumbling about his tax bracket or going full toxic bile like in “How Do You Sleep” (really was like your parents fighting and divorcing). Always appreciate how Paul’s words are sunny, like his spirit brother Brian Wilson’s, both singing about having fun and love, never needing to slit their wrists to express it. I think that lightness is so admirable and deeper than all the gravitas. (Though of course there’s always a need once in a while for a howl of pain and freedom like “Mother”).
Just Feel lucky to have lived in the Beatles age. “The Four Evangelists of Joy” each in their own way! Thanks for lighting the way for us with this show and all your work!