Paul McCartney U.S. tour 2005!

2Nicky de Gree:

>Mull of Kintyre (without pipe band then with pipe band)
>Friends To Go

2Corvin:

>2Nicky de Gree:
>>Mull of Kintyre (without pipe band then with
>pipe band)
>>Friends To Go

Ну Mull Of Kintyre репетировалась аккурат перед концертом в Торонто, где и была исполнена. А Friends To Go — на каждом саундчеке играет. При том, судя по всему с группой. Очч хоцца послушать, ага.

;)

2 Nicky de Gree

Да, действительно, это другая запись, 22-го. Я думал та же и не грузил. Спасибо за подсказку. Эта лучше качеством и с девчонками на сцене at "The End":

Дорогой Cloud9!
Очень занятно было прочесть о твоих впечатлениях о концерте Маккартни в Нью-Йорке. Неизбежно, как это бывает в современном мире, это смесь коммерческих элементов (всякий там мерчандайзинг, прочие способы рекламы и вышибания денег из ленивой упитанной публики) и человеческого присутствия: Маккартни со всеми его гениальными достоинствами и вполне человеческими недостатками. Мы все упрекаем его, что он не гений, но мы, наверное, неправы, не нам судить гений ли он, был ли гением Леннон, слишком мало времени прошло, чтобы подвести конечную черту.
Безусловно он очень хороший музыкант и очень совестливый профессионал: его концерты доказывают, что он пытается дать максимум "за вложенные публикой деньги".
Конечно же, впечатление у людей рознится в зависимости от ожиданий: те, кто пришли просто "погреться" у лучей этого "угасающего" светила, впечатление должно быть самое благоприятное. Для тех же, кто как ты, Клауд, есть еще ожидания, что это светило должно дать взрыв и породить "сверхновую" - очевидно, ощущение легкого разочарования.
Сам Маккартни уже не может вернуться в эпоху, когда рождалась хорошая музыка, он всего лишь отсвет той эпохи и лучше других может "зеркалить" то, что было тогда...но время необратимо прошло.
Я отношусь к тем людям, которые склонны ценить Пола за это его качество и перестал ждать от него чудес. Я также не склонен романтизировать Джона Леннона (последние его интервью меня откроненно раздражают своим отсутствием культуры, если не сказать хуже). Ну и конечно же, я люблю, как и ты, и как многие другие члены нашего клуба, почти все, что Джон написал, как музыкант.
Если бы Маккартни приехал в Милан (или в Италию/Швейцарию) я бы поехал на его концерт, но ехать на его шоу в США у меня не было ни малейшего искушения: мы это уже, в общем видели, плюс минус.
Кстати, спасибо за привет JLKYN при упоминании о Риме: это мой любимый город, а Маккартни, при всех прочих соображениях - мой любимый Битл. Дай ему Бог здоровья и желания выступать дальше!

2> JLKYN - Let It Be///

October 10 - Toronto, Canada - Air Canada Center

SET LIST
1) Magical Mystery Tour (Hofner)
2) Flaming Pie (Hofner)
3) Jet (Hofner)
4) I'll Get You (Hofner)
5) Drive My Car (Hofner)
6) Till There Was You (Hofner)
7) Let Me Roll It /Foxy Lady (Les Paul)
8) Got To Get You Into My Life (Hofner)
9) Fine Line (Grand Piano)
10) Maybe I'm Amazed (Grand Piano)
11) The Long And Winding Road (Grand Piano)
Acoustic Set
12) In Spite Of All The Danger (acoustic solo)
13) I Will (acoustic solo)
14) Jenny Wren (acoustic - Wix)
15) For No One (Grand Piano)
16) Fixing A Hole (Grand Piano)
17) English Tea (Grand Piano)
18) I'll Follow The Sun (acoustic) with reprise twice (band)
19) Follow Me (acoustic) band
20) Blackbird (acoustic solo)
21) Eleanor Rigby (acoustic)
22) Too Many People (Hofner) band
23) She Came In Through The Bathroom Window (Hofner)
24) Good Day Sunshine (Hofner)
25) Band On The Run (Hofner)
26) Penny Lane (Hofner)
27) I've Got A Feeling (Les Paul)
28) Back In The USSR (Hofner)
29) Hey Jude (Grand Piano)
30) Live And Let Die (Grand Piano)
Encore
31) Yesterday (acoustic - solo)
32) Get Back (Hofner)
33) Helter Skelter (Hofner)
Encore
34) Please Please Me (Hofner)
35) Mull of Kintrye (acoustic) Peel Regional Police Pipe Band
35) Let It Be (Psychedelic upright piano)
36) Sgt. Pepper Reprise/The End (Les Paul)

Paul arrived in a five car motorcade of black Lexus SUV's with a police escort. The police blasted their sirens as they approached the Air Canada Center around 5:05 pm. More than 100 fans were waiting along a driveway that led to the underground ramp. Paul was in the first car that zoomed by. It didn't slow down. He rolled down the window and waved. The three cars that followed did not have open windows. In the last Lexus was film director Mark Haefeli who leaned out the window with his video camera. Apparently a DVD of this tour is being shot.

Видео http://i5.nyu.edu/~am26/beatles/Paul_October_10_Toronto.mov

Right after "Please Please Me," Paul said, "One of the great things about going to Cana-der is we get to do this next song." He began "Mull of Kintyre"on acoustic and was joined onstage by the 30-member Peel Regional Police Pipe Band in full dress. The crowd went wild.

The song went well until the end when Paul lost his place and made the only flaw of the show. He sang "Mull of Kintyre, Oh mist rolling in from... instead of "La la la la, Mull of Kintrye..." Paul made a face like "Uh Oh! I screwed up!" He laughed and continued with the correct lyrics and did his famous shout at the end.

"We had to do that one!" said Paul. The audience cheered. "We want to thank everyone in the band for coming along and doing that. It's a big thrill for us. The sound of those pipes is something isn't it?"

Предпоследнее фото - см.смайлик.

Теперь уже пред-предпоследнее ;)

October 14 - Detroit, Michigan - The Palace of Auburn Hills

October 15 - Detroit, Michigan - The Palace of Auburn Hills

1st song - Magical Mystery Tour

'Til There Was You with the Hofner bass

Отчет о концерте в Торонто 10/10/2005: https://www.beatles.ru/books/articles.asp?article_id=747

Отчет славный :)))

Только что за чушь Пол на концерте болтал про рыспыление водки?.. Убого... :/

2 Nicky de Gree
А вот и выяснилось, как Пол отметил день рождения Джона.
На концерте в Вашингтноне он спел а-капелла (но при поддержке аудитории) песенку… “Happy Birthday”! А камера выхватила из зала и вознесла на экран кого-то из зрителей, стоявшего с плакатиком “Happy Birthday, John!”

А вот и звуковое подтверждение этому:
Paul McCartney - Happy Birthday (Washington 2005-10-08) (1.1MB)
https://www.beatles.ru/down.asp?id=622
Получается, что совсем не а-капелла! :-)

2Andrey:
Спасибы! Это пять! ;)

Кстати, двд Майами накрнец-то досматриваю... Некоторые визуальные решения в этом туре — обалденные! Сама сцена, кстати, необычная. Отчасти, видимо, SuperBowl повлиял. Сзади на возвышении не только Эйб, но и Викс. Симметрично. Спереди перед ними Брайан и Расти. Пол, понятно, посередине. Рояль выезжает снизу на середину сцены (получается Макка в центре квадрата). Да, и вся сцена светится (не только задник, но и «пол»).

;)

Sir Paul McCartney comes to Denver, November 1, 2005
http://cfapp.rockymountainnews.com/slideshow/slideshow.cfm...e=DEFAULT&ID=110105paul&NUM=1

Exclusive Interview Outtakes from Paul McCartney and his Crew!
By Michael Molenda | November 2005

We couldn’t fit everything Paul and his gang said in the November 2005 issue of Guitar Player, so we selected some of the best bits and uploaded them here. To see the complete interviews, please go to your local newsstand and pick up the November issue. You can’t miss it. There’s a Beatle on the cover. But hurry—this issue goes off sale on December 13. — Michael Molenda



Outtakes from the interview with Paul McCartney.
It must have been a bit daunting for your tour guitarists Rusty Anderson and Brian Ray when they auditioned for you. What do you look for in a collaborator?
McCartney: Just someone I admire, really. I had worked with Rusty in the studio before, on the Driving Rain record, and he seemed to be able to turn his hand to pretty much anything. And such hands! The guy has got big hands, so he sort of dwarfs anything he does, and he’s such a great player. I just ask him if he can do something, and he finds a way to play it. Nothing defeats him. He’s a really fine player—he plays in tune, he does all the right things, and he gets a great sound. He’s also a great spirit to have in the band—all the guys are, which I think is very important. They’re all great players, but they’re great people, as well, so we get on as a group.

The guitar sounds on Chaos and Creation in the Backyard [Capitol] are pretty raw and organic.
McCartney: Yeah, well, I always work like that. And Nigel [Godrich, album producer] works that way, as well.

How was the creative relationship between you and Nigel?
McCartney: I brought in the songs, and I would make some suggestions about how things should sound. But he said to me when we first met—and it’s one of the things I liked about Nigel—“Look, one thing about me is I know what I like and I know what I don’t like.” And it was like, okay. It’s like having a band member who is going to say that he hates something. At least you know that the other person thinks you should try something else!

Is it weird interpreting your old Beatles songs with a new band for a contemporary live audience?
McCartney: We, we do get to be the first band ever to do some of those songs live with the real vocalist! But, no, I really like reinterpreting the Beatles—and so does the band. There’s some license to switch things around, but we stay faithful to the signature things. You don’t want to reinterpret too much. My view is that if I go to a concert, and I hear, say, the Rolling Stones do “(I Can’t Get No) Satisfaction,” I want it to sound like the record. I don’t want to suddenly hear a trumpet doing the fuzz guitar opening. So that’s what we do. We do what we think is the best thing for the audience. This means doing the songs pretty faithfully. But it also means we can put a slightly edgier vibe on things just because it’s live. It’s really nice revisiting some of the Beatles songs that I’ve never done live. We have a lot of fun playing together.

As you played many of the parts on the new album yourself, did you start the recording process with a click track or a drum machine?
McCartney: Sometimes, sure, but if I feel like I’ve got a good enough tempo on the piano part or something, I’ll just lay it down straight. Often I’ll think, “Look, there are a few breaks here, and I’m bound to slow down.” But if it feels best to have a little “breathing” to the tempo, I won’t mind. On some of the more complicated songs—like the piano part of “Promise To You Girl”—I definitely used a click track. But I don’t use anything too complicated. It might just be a hi-hat so I know where I am.

So you would lay down an instrument first, and then play the drums?
McCartney: Yeah. It might be like piano, guitar, bass, drums—that kind of order. But I varied every time, really. It came down to whatever we fancied.


Outtakes from the interview with Paul McCartney’s personal assistant and tech John Hammel.
Does Paul have a particular preference for strings?
Hammel: On acoustic guitar he uses medium-lights, with a .054 bottom E. On his electrics, it’s a .042 on the bottom E, and a .009 on the top.

John, do you have any observations about the making of the record that you’d like to share with our readers?
Hammel: I actually filmed a lot of the process, so it was nice to watch the way Paul and Nigel built the album up—the way they chatted about it and worked it out. If they didn’t like something, they’d change it. There was really a lot of concentration on getting it to sound the way they wanted. It was amazing what they did. It was totally organic—the most organic thing Paul has done for years. Paul would rewrite the songs on the spot, if necessary.

Did they work regular hours?
Hammel: We’re a bit more civilized these days. We’d work from noon until 6 pm or 7 pm. They used both Pro Tools and tape. Pro Tools was used more for light editing and doing comps on things. The tracks were laid to tape first though. I hope the tape companies wake up. There aren’t many people making 2-inch tape anymore. Abbey Road used to be a great studio, and now they’ve revamped it with very high-tech stuff and you can’t even find any screens these days. If, say, you wanted to make a drum booth, you couldn’t do that these days. It’s bullshit, absolute rubbish. They’ve gone too far the other way. I really believe that some of this going forward is actually going backward. One step forward, two steps back. Not on everything, but on a lot of things. It takes so much longer now that it’s all done by computer.

It’s amazing that although he could get his hands on any piece of gear in the world, he went to these instruments he has had forever.
Hammel: But they’re the real things! When you get into a groove with a guitar, it knows you and you know it. It’s like a car. You get to know every noise associated with it. I’ve handled Paul’s guitars for 30 years now, so I know these instruments, too. He has definitely tried other things, but these guitars make the sounds that 50,000 people can recognize and love with just one hit.

Outtakes from the interviews with Paul McCartney’s guitarists Rusty Anderson and Brian Ray.
So, what’s Paul really like?
Ray: Paul is exactly how we’d all hope Paul is. He’s such a blast at rehearsals. If things get too serious, you know he’s going to look for an opportunity to break us up.

Did working with Paul influence your songwriting for your solo album Undressing Underwater [Surfdog]?
Anderson: Subconsciously, being “legend adjacent” probably informed my writing. But I was on my path a long time ago—although the Beatles were the reason I started playing music when I was five years old. My older sister was into them, and I just immediately latched onto them. They were the original influence. It’s an interesting full-circle thing, and playing with Paul now is really a trip. It’s funny how things happen.

There’s a lot of history in that guy...
Anderson: The funny thing is that I don’t think Paul always remembers which parts he played. The thing I’ve realized more than anything, after talking to Paul so much, is that the Beatles were always under deadlines trying to get stuff done. They were moving at the speed of light. Everyone else can try to pull apart the meaning of things—and what gear they used and who played what and whatever—but they were just trying to meet deadlines. They were trying to get songs done.
Ray: You have to remember that the Beatles did a record every six months. Paul told us they’d get a call from George Martin, who would say, “Okay boys, we’re going into the studio on the 27th, so you’ve got a week off from touring to write the record. See you there!” And Paul and John would go, “Yippee, a week off!” Yeah—to write the record! So they’d meet at one of their homes, and they would write in a very disciplined manner every day. And every day they’d write a song. What’s even more fascinating is that Paul said they never wrote down or recorded any of the songs they wrote. They’d just come back the next day and remember everything. They figured if the song was any good they’d remember every aspect of it.

Did Paul ever relate his Beatles songwriting techniques to you?
Ray: I asked Paul if he wrote to a title, or a little melody, or a riff or something, and he said, “No. It was always lyrics, music, melody, and guitars all at once.” I think that’s another reason why those Beatles songs stick—because they’re songs. They’re not licks or a contrived chorus. They were just songs coming out of their guts and hearts in their entirety. Paul said that in the more than 300 songs he and John wrote, he could only remember one time where they got stuck, and that was when they were writing “Drive My Car.” They thought the title wasn’t working, but they liked the song. So they took a break, had some tea, and changed it. I won’t tell you the lyric they tossed, because that’s Paul’s right to do that. I don’t want to be the guy who tells everybody what “Drive My Car” was originally written as. And, you know, even with the rewrite they still finished the song at the end of the day!

So how do you approach songwriting?
Anderson: This was my first record, so I’ve had whatever songs I’ve written in different time periods to draw from. Some have gone through a metamorphosis, and some, like “Sentimental Chaos” were finished just before the mastering. I sort of got into a vibe where I’d just write lyrics—sort of a Bernie Taupin approach where it’s more about the words. I wasn’t thinking about the songs so much. I mean, when you’re writing lyrics, you have to think about meter and all that kind of stuff, but I wasn’t necessarily thinking about the music. Having said that, for “Coming Out of the Earth” the chorus music and lyric were written simultaneously. I’ve written a number of ways. I’ve let the lyric dictate the music, or sometimes I have all these cassettes with musical ideas—“Oh, this is a cool idea. I really want to make this into something.”—and then I’ll go get some lyrics, and see how the lyrics and music work together. You know, I haven’t yet found anything better than cassettes for recording and storing song ideas. I’ve recorded on MiniDiscs and Palm Pilots, and I don’t even know where those songs are right now. They’re all lost. Cassettes are a pain in the ass, but that’s what I end up using.

Brian, how did you approach the writing for your solo album, Mondo Magneto [Whooray]?
Ray: I started writing the songs with a Les Paul Jr. or a Les Paul in my living room—usually at night, writing alone with a little Vox Pathfinder amp to get a distorted sound at a low level, an old cassette recorder, and a pad of paper. I wanted to be able to perform the song top to bottom, but with a cool rock sound. So I knew I wanted that simple guitar part to live on its own, and that was the beginning of the sound. Then, I’d write a part for a second guitar part, because I saw this album as a “two-guitar band.” You just shape it and layer it as you go along, but it all starts with lead vocal, lyric, melody, and main guitar. I can usually see all of the parts of a song as I’m writing, and every part is like an actor in a play. If those actors aren’t helping the story, then they shouldn’t be there. I always leave room for surprises, though.
Lyrically, there must be some weight. The lyrics must draw you in, and have some meaning. Then again, I’ve always been a sucker for a good pop song, so I try meld modern songwriting, lyrics that matter, and more modern melodic and harmonic content, but informed by classic rock elements. A lot of the time, I hear the record in my head as I’m finishing a song. Going into the studio and getting the record done is really just chipping away at the granite to reveal the image that’s been waiting in the granite. To a great degree, I know what the song will sound like before I walk into the studio.