James McCartney is a man of few words, preferring as it were to let his music do the talking.
So McCartney, the only son of Paul and Linda McCartney, doesn’t turn up with a lot of hype. Nor does he do anything to contribute to any buzz that would be generated by talking about his life and family, playing Paul’s songs or, in an opposite strategy, coming out against his dad’s kind of music.
Rather, the 39-year-old simply plays his own songs — he’s released a pair of EPs and two albums since 2010 — and flies quietly under the pop culture radar.
After spending his first two and a half years on the road with Paul McCartney and Wings, James grew up in the county of East Sussex in southeast England, attended the local state secondary school, and in 1998, graduated from Bexhill College, near his East Sussex home, having studied art and sculpture.
A guitarist since he was 9, when his father gave him a Fender Stratocaster once owned by Carl Perkins, McCartney played on a pair of Paul McCartney and Wings albums, taking a guitar solo on 1997’s “Flaming Pie” and contributing guitar and percussion to 2001’s “Driving Rain.”
By: L. K details
Rock ’n’ roll staples don’t come much bigger than “Twist and Shout.”
More than half a century since it was first penned by Bronx-born songwriter Bert Berns (and his occasional partner Phil Medley), it can be heard everywhere from cable reruns of “Ferris Bueller’s Day Off” to encores at Bruce Springsteen concerts. It’s even been adopted as the unofficial fan anthem of Coventry City FC — a once-elite English soccer team.
But, as explored in the new documentary “Bang! The Bert Berns Story” (out now), it was a song that went through some changes.
Here’s how the classic came about.
The Top Notes (1961)
Berns (also known as Bert Russell) wrote “Twist and Shout” with a slight Afro-Cuban swing to it. Atlantic Records honcho Jerry Wexler heard it and presented it to a struggling R&B duo called the Top Notes. A young Phil Spector produced this version, adding rewrites and a changed tempo — much to Berns’ fury. It flopped.
By: Hardeep Phull
Source: The New York Post
PHOTOGRAPHER Mike McGear McCartney’s passion in photography has led to an out-of-the-box thinking that fuels his thirst to discover, develop and see the common surroundings in a fresh perspective.
Composing an image is simple but with a little thought plus a creative angle, Mike, gives a freshness and progression to the common perspective.
He encourages young people to be observant of their surroundings and see things with a fresh angle.
Mike, who is the younger brother of Paul McCartney from the famous English group Beatles, said teenagers who have a higher-than-average exposure to arts, be it photography, music or drama tend to take their imagination a step further that allows them to create something from abstract ideas.
It was Paul who gave Mike a Rollei camera in 1962, which made him pursue photography.
“Photography, music and drama allows a person to explore their own creativity,” he said.
Mike said he was grateful to his late father, Jim McCartney, a cotton salesman and part-time pianist, who encouraged him to pursue music by giving him and his brothers a guitar and banjo, and later a drum kit.
“It was my dad who gave us the gift of music.details
One of the saddest facts of John Lennon’s senseless murder in December 1980—and there are many, to be sure—is that his killer robbed him of the opportunity to grow old, to rethink his relationships and perspectives as we all inevitably do with the passage of time.
Yesterday marks the 41st anniversary of John and Paul’s last day together—the last day, at least, for which we have convincing historical evidence in the post-Beatles biographical record.
It was Saturday, April 24, 1976, when Paul and Linda McCartney were visiting John Lennon and Yoko Ono at the Dakota apartment building in New York City. It was a far cry from July 7, 1957—just shy of 19 years earlier—when John and Paul first met in a Liverpool churchyard.
As it turned out, that fateful evening in April 1976 was not the first time that Lennon and McCartney had crossed paths since the Beatles’ disbandment. The songwriting duo had previously reunited on March 29, 1974, during Lennon’s infamous Lost Weekend in Los Angeles. The last known photo of John and Paul was taken that day by May Pang at Lennon’s rented house in Santa Monica.
During the previous evening, the former bandmates details
A modern take on meals with a classic rockstar.
Ringo Starr is offering two lucky fans the chance to dine with music royalty as a part of his charity campaign with Omaze.
The Beatles alumni will play host to one charitable fan (and their plus-one) at his 77th birthday brunch on the July 7 in LA. All you have to do is donate a minimum of $10 to Ringo’s Omaze campaign.
All the money goes to benefit the David Lynch Foundation, a non-profit organisation that reduces trauma and toxic stress among at-risk populations, reports Rolling Stone.
Winners will be flown to the event, where they’ll become part of Starr’s inner-circle to dine in style with other VIP guests in front of the world-renowned Capitol Records building.
As is tradition, Starr is encouraging the world to take midday (local time) on July 7 to spread a little “peace and love”. He says, “Wherever you are: on the bus, in the factory, having dinner, having lunch. No matter what part of the world you’re in.”
Recently, Paul McCartney and Ringo Starr were found to be in the studio together. Starr shared a photo of the two Beatles legends together and wrote: “Thanks for coming details
Looking at it in retrospect, Cloud Nine, released thirty years ago by George Harrison, seems like just another in the long line of triumphant albums released by members of The Beatles during their solo years. Yet at the time, no one seemed like a longer shot to create a hit record than Harrison, whose reputation as a recluse who wanted nothing to do with making records peaked in the middle of the ’80s.
What made the album even more surprising was how it represented a willingness by Harrison, who always seemed to view his Beatles years with caustic suspicion, to embrace the sounds of his past. The chart-topping “Got My Mind Set On You,” for example, effortlessly captured a simplistic Merseybeat feeling. Even more striking, “When We Was Fab” so eerily recreates a Beatlesque mélange of sounds that you’d be forgiven upon hearing it for the first time for thinking it was a Magical Mystery Tour outtake.
When Harrison decided upon pursuing the track, it helped that he had a kindred spirit in the producer’s chair in Jeff Lynne. “I just had the thought, ‘I’d like to write a song that’s reminiscent of that period of &rsq details
In this day of anti-immigration, anti-science, ‘America First,’ and less-than-subtle racism, I found a welcome arrival recently with Ron Howard’s film The Beatles: Eight Days a Week — The Touring Years. Like many people my age, I grew up with the Beatles, and their music, values and image are deeply ingrained in my view of how the world works. I remember the day in early 1964 when they flew into New York’s Idlewild (now JFK) airport. I was home from school with the flu, but listening to their progress on a transistor radio, and hearing the song, “I Want to Hold Your Hand”, so many times that I could play each Beatles’ part. But more than hearing the pieces, I remember the sheer rush of emotion that washed over me whenever I heard the song begin and the deep sense of wellbeing I felt as the song ended. Their music was an emotional experience for a ten-year-old school boy in Brooklyn. As they evolved through the 1960s, we grew up along with them.
Growing up in Brooklyn I knew many people from other countries and I knew we weren’t alone in the world, but I suppose I saw Europe and Asia as places where people were from, not as a place we were going. Europe was where they details
As the future Beatles members grew up in Liverpool, they keenly listened to songs of the day, learning them for their local gigs. While imitating these popular artists, they were also honing their own songwriting and musicianship skills. During the summer of 1957 — still in their pre-Beatles group, the Quarrymen — John Lennon, and Paul McCartney began experimenting with writing songs.
Just a year later, George Harrison, Lennon and McCartney found themselves in a crude recording studio, singing into one microphone, laying down two tracks: a cover of Buddy Holly’s “That’ll be the Day” and a Harrison-McCartney composition (yes, you read that correctly) entitled “In Spite of All the Danger.” A blend of doo-wop, rockabilly, and rock and roll, the song is first time that Harrison, Lennon, and McCartney would appear on a recording.
“In Spite of All the Danger” represents one of McCartney’s earliest compositions. In Barry Miles’ Many Years from Now, McCartney described how the two would ditch school to write songs together during summer 1957. Once McCartney’s father left the house for work, the two friends would settle in for a three-hour comp details
PAUL McCARTNEY HELPS MOJO celebrate 50 years of the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band with an exclusive interview in the magazine that hits UK shops on Tuesday, April 25. He recalls the circumstances surrounding the group’s most groundbreaking album and gives his verdict on the new stereo mix designed to add legs to one of popular music’s key benchmarks.
But as McCartney reminds MOJO, before Sgt. Pepper became an icon, there was a period of critical bemusement. How dare Beatles band go all weird?
“We were always being told, ‘You’re gonna lose all your fans with this one.’” McCartney tells MOJO. “And we’d say, ‘Well, we’ll lose some but we’ll gain some.’ We’ve gotta advance.”
In 1967 The Beatles ran the gauntlet of a media gripped in a moral panic over the younger generation’s embrace of drugs, and others who regarded Pepper’s stylistic smorgasbord and hints of thematic coherence as evincing ideas above the group’s station. The Lovable Moptops stereotype died hard.
“Sgt. Pepper did actually get a terrible review in the New York Times,” recalls McCartney. details
Part of what established The Beatles as the greatest rock ‘n’ roll band of all time was the prolific nature of their early work.
When “Beatles for Sale” released on Dec. 4, 1964, it became the Fab Four’s fourth album in less than two years’ time. And it came out only 21 weeks after the band’s third album, “A Hard Day’s Night.”
Some might view “Beatles For Sale” as a placeholder between “A Hard Day’s Night” and “Help!,” both of which were attached to eponymous films. And while “A Hard Day’s Night” featured all original Lennon/McCartney compositions, only eight of the 14 tracks on “Beatles For Sale” were written by the band — a track listing similar to their first two albums, “Please Please Me” and “With The Beatles.”
Like other early Beatles albums, “Beatles For Sale” did not appear in the United States as an album until 1987 when the band’s catalogue was standardized for CD release. However, eight of its tracks appeared on the U.S. album “Beatles 65” and others were later released on “Beatles VI.”< details