1/12/2023 0 Comments Young paul mccartneySir James Paul McCartney CH MBE (born 18 June 1942) is an English singer, songwriter and musician who gained worldwide fame with the Beatles, for whom he played bass guitar and shared primary songwriting and lead vocal duties with John Lennon. Young’s rightfully loud guitar.From the BBC programme Front Row, 26 December 2012 Young onstage for “Why Don’t We Do It in the Road?”: bluesy, rowdy and just the song for some of Mr. McCartney’s musical intricacies it segued into John Lennon’s “Give Peace a Chance,” which is credited to Lennon and McCartney. Young onstage to join him for what turned into three songs. And he added a verse to his embittered “Rockin’ in the Free World” to address energy: “In the endless search for a drop of oil,” he sang, “people’s lives get shattered while we suck it from the soil.” He also took time for a 22-minute jam on “Down by the River,” with Lukas Nelson’s lead guitar as a dueling partner. Young, unsmiling, worked through telling older material like “Words (Between the Lines of Age”) and disgruntled new songs from his coming album like “Show Me,” which invokes sacred land and calls for equal treatment of women. He started on his own, with solo versions of older nature-loving songs like “After the Gold Rush” and “Oh Mother Earth.” Then he was joined by his current band, Promise of the Real, which includes two of Willie Nelson’s sons and can split the difference between the electric assault of Crazy Horse and the rootsy 1970s rock of albums like “Harvest.” Mr. Young was flanked onstage by teepees, a wooden Indian and a totem pole, with a burlap-looking backdrop suggesting a bag of “Seeds of Life.” His T-shirt, and one of the teepees, read “Water Is Life.” He’s worried about despoiling the planet with pollution, corporate agriculture and other exploitation, and his set was a long crescendo of fears and warnings - tumultuous and hardheaded. Maybe it was an elaborate put-down of contemporary pop. McCartney made an odd choice his set was preceded by a man with a laptop playing about a half-hour of what seemed intended as dance-music remixes of McCartney songs, chopped up with muddy rhythm tracks. And he had enough showstoppers for peak after peak, following the bombast, flashpots and fireworks of “Live and Let Die” with the grand singalong of “Hey Jude” and the ingenuity and ultimate benevolence of the finale of “Abbey Road.” But for someone who’s so adept at pleasing audiences, Mr. McCartney still makes his most sophisticated melodies sound natural, and his falsetto stayed pure. That was no problem for “Blackbird,” which, he explained as usual, was written in sympathy with the 1960s civil-rights movement he played it alone on acoustic guitar and held the festival audience rapt.Īlthough his voice showed strain at times, quavering at the top of his tenor range, Mr. Onstage at Desert Trip, he observed a few times that people might have heard a story before, then told it anyway. McCartney tours frequently, his observant fans have often pointed out that he doesn’t change the arrangements and stage patter for many of his staples. McCartney also has stadium-scale video that moves fast and cleverly “Eleanor Rigby,” with its string arrangement now replicable via electronic keyboard, got a backdrop of animated violins. Taking off his (collarless) jacket would be his only wardrobe change, he announced, and most of his stage moves simply involved switching instruments: bass, acoustic and electric guitars, grand and upright pianos, even a ukulele (taking on the chromatic challenge of George Harrison’s “Something”). McCartney’s own showmanship is in his air of casualness and transparency. Perhaps the only way for him to address the fact that he has written and co-written generational anthems and indelible love songs - ”Hey Jude,” “Let It Be,” “Maybe I’m Amazed,” “We Can Work It Out” - is to treat those songs matter-of-factly and without undue gravity, like a craftsman calmly displaying his know-how. McCartney is still winsome, tossing off dozens of memorable, brilliantly constructed, tidily performed songs with a grin, a shrug and a wave to the crowd.
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