Paul McCartney U.S. tour 2005!

Do your guitar chops ever get in the way of your songwriting? You know, your gut says you should do something dumb but evocative, and your guitar ego is telling you, “No, you need to blaze here”?
Anderson: Well, I don’t play guitar as fast as Yngwie Malmsteen, but I have enough chops to do whatever I want, one way or another. This comes back to limitations creating a style. For example, I once saw a songwriter struggling to play quarter notes on the guitar, but she wrote a beautiful song around how “off” those quarter notes were. That was an eye opener. Technique can get in the way, but the whole trip is clearing your mind and renewing your inspiration.

How would you describe your relationship to the guitar?
Anderson: I think the guitar is the best instrument ever. It’s very expressive, and it got me right away. My dad bought me my first guitar and amp when I was eight—a Kent. It was cheap, but I’ll never forget that experience of playing—of hitting an open G, and going, “Wow!” I’ve gone through so many head spaces with the guitar: virtuouso things, punk-rock things, and getting stoned and playing things. I don’t think about it that much anymore. I just play guitar.
Ray: I was not a guy who ever sat around learning other guy’s solos. My approach is pretty visceral. It was more about touch and choices. I’d absorb their tone and style. It’s taste. It’s more about asking myself, “What would Keith Richards do? What would Jeff Beck do?” I didn’t want to sound like anybody else. I wasn’t completing with anybody else. I would say my style is about personality, humor, and deliberate choices of notes. It’s about tone, taste, and restraint.

You didn’t go the loop route to construct the rhythm tracks for your solo album, did you?
Anderson: I’m not into machines. I like the sound coming into a room and being picked up by a microphone. I like the sound of fingers on strings. The thing I’ve always liked about bands is that there’s a team aspect. Contrary to popular belief, you can’t do it in an ego state. Good music can only be played when there’s respect for each other’s performance. You can’t do it in an ego vacuum. I’m all about real musicians playing instruments.

Is there anything else you’d like to discuss?
Anderson: I just love playing music, man. I love playing with Paul. Playing gigs with him is like nothing else—it’s such a buzz. And I like playing gigs with my band, making records, writing songs, producing, and playing on other people’s records. I’m so thankful to be playing music for a living. You can only control stuff so much. We all have aspirations and goals, but, at some point, you have to let life take you where it wants to.
Ray: Just that I made a decision to hold the release of my record until after Paul’s tour, because it’s important for me to honor Paul and to give him 150 percent right now. I didn’t want to be distracted, and be thinking about me and my record while I’m here to play with Paul. Because, quite simply, if it wasn’t for Paul, I wouldn’t have my record. He was the inspiration for it, and he was the reason I was able to do it.

Friday, November 4, 2005
McCartney mixes old and new to wow crowd
http://seattlepi.nwsource.com/pop/247145_paul04q.html

<-- Paul McCartney at the KeyArena, Seattle 3 November, 2005

Paul McCartney draws a crowd at the Rose Garden (inc. videos)
http://www.katu.com/stories/80902.html

The two San Jose shows were videotaped in high-definition for a future broadcast and DVD. There were more than the usual cameramen and more cameras mounted around the arena. Because the shows were being showcased, 'poseurs' were brought in to fill-in the first three rows. These young, blonde, model-type women were there to 'act out' their concert experience for the cameras. That included jumping, screaming, giggling and dancing while being videotaped. They were escorted by security and had "US" passes. Unfortunately, the 'real' fans who paid over a thousand dollars for Fan Asylum tickets, were out of luck. The seats they should have had were not made available for these shows. Instead they were given to the 'fake fans' to enhance the concert visuals for the home theater audience.

Paul McCartney San Jose Review and Setlist

With so many great songs from which to choose, it’s pretty hard for Paul McCartney to stray off the great stuff in his long and winding road.

But too much of the former Beatle’s 2.5 hour set Monday at San Jose’s HP Pavilion, sputtered and wheezed around the curves, smoldering without catching fire.

With a few simple changes to the setlist, he could save it and make it as good as 2002’s excellent “Driving Rain” tour, although the list has been identical on this leg of his “US” tour, which began Sept. 16 in Miami and ends Nov. 30 in Los Angeles. (The San Jose show was apparently being filmed, by a distracting camera that flew over the arena on a wire.)

From the beginning he took a couple of wrong turns. His first song, “Magical Mystery Tour” blazed and got the crowd on its feet. But then he went into the tuneless and uncatchy “Flaming Pie,” off the 1997 album of the same name, which had the entire crowd sitting back down.

Note to Sir Paul: unless you are playing in a nursing home, if a U.S. rock ‘n’ roll crowd is sitting during the second song, you are doing something very wrong.

The Wings 1973 hit “Jet” rocked again, momentarily, before the 1963 B-side of the “She Loves You” single had them back down. Great song, wrong location.

Maybe it’s unfair to compare the often tender McCartney to rockers like the Stones or Bruce Springsteen, but he paled even compare to his last tour, which started with three upbeat Beatles songs out of the first four and included later rockers “Jet” and “Coming Up.” People stood and danced for a lot more of that show.

This time he took a wrong turn even before he came out: his opening act was a DJ named Freelance Hellraiser (Roy Kerr) who for 20 minutes played mashups of McCartney songs. Only, he didn’t have turntables, or anything remotely entertaining. The music was preprogrammed and he stood around and occasionally acted like he might be doing something important.

He drew boos as he left, from an audience that might have appreciated a DJ with some real moves, like Mixmaster Mike, or might have hated that too. (Hey, Paul, if you need an opener, have your two guitarists come out and do stuff from their excellent solo albums.)

Then there was a 10-minute McCartney biography film, which served the purpose of introducing the man that the Guiness Book of World Records has called the top-selling pop artist ever, to those fans who accidentally plunked down $200 for a good seat and wandered in.

The biggest problem was in the pacing. He had the band stop after every song while he or another band member talked. That intimacy works fine during the acoustic set, or during slower songs, but it really killed the momentum for those who remember how to rock and want to sustain the feeling a bit.

There were still plenty of highlights, and most people seemed happy with the show. My favorites included a tasty version of “Fixing a Hole,” off 1967’s Sgt. Pepper’s Lonely Hearts Club Band, on which, on a grand piano, he explored some new jazzy possibilities. The soft and haunting “For No One,” off 1966’s Revolver, was a treat then, and just as beautiful now.

“Helter Skelter” and “Good Day Sunshine” were welcome rockers toward the end, and would have greatly helped the show if they were in the opening set. When they rocked on “Sgt. Pepper’s (reprise) and “The End,” this was the best Beatles cover band in the world.

McCartney and crew played fine, throughout. His voice was as strong as it was 40 years ago. Rusty Anderson and Brian Ray on guitars, Paul “Wix” Wickens on keyboards and assorted instruments, hit great harmonies and caught the right mood in every song. Drummer Abe Laboriel, Jr. was dynamic and his personality and backup vocals cut through to the front of the stage.

McCartney led a singalong on his pre-Beatles song, “In Spite of all the Danger,” a Quarymen song that was a treat for historians and new fans.To his credit, he picked other great songs he didn’t play last time, including “I Will,” “Got to Get You Into My Life,” “I’ll Follow the Sun,” “She Came in Through the Bathroom Window’’ and “Till There Was You.”

They mixed in with perennials, such as “Yesterday,” “Maybe I’m Amazed,” “Back in the USSR,” “Band on the Run” and an exploding pyro and smoke-filled “Live and Let Die.”

There were no silly love songs. If he had just kept the rockers together and got the place on its feet more, there might have been nothing silly about the whole show.
Or maybe McCartney’s fans prefer to sit and listen for most of the night. But then, why play in a hockey arena?

Magical Mystery Tour (from The Beatles Magical Mystery Tour, 1967)
Flaming Pie (from Flaming Pie, 1997)
Jet (from Wings Band on the Run, 1973)
I'll Get You (b-side to She Loves You, 1963)
Drive My Car (from Rubber Soul, 1967)
Till There Was You (from With The Beatles, 1963)
Let Me Roll It (from Wings Band on the Run, 1973)
Got To Get You Into My Life (from Revolver, 1966)
Fine Line (from Chaos and Creation in the Backyard, 2005)
Maybe I'm Amazed (from McCartney, 1970)
The Long and Winding Road (from The Beatles, Let It Be, 1970)
In Spite of all the Danger (The Quarrymen, 1958)
I Will (from The Beatles, 1968)
Jenny Wren (from Chaos and Creation in the Backyard, 2005)
For No One (from Revolver, 1966)
Fixing A Hole (from The Beatles, Sgt Pepper, 1967)
English Tea (from Chaos and Creation in the Backyard, 2005)
I'll Follow The Sun (from Beatles for Sale, 1964)
Blackbird (from The White Album, 1968)
Eleanor Rigby (from Revolver, 1966)
Too Many People (from Ram, 1971)
She Came In Through the Bathroom Window (from Abbey Road, 1969)
Good Day Sunshine (from Revolver, 1966)
Band On The Run (from Wings Band on the Run, 1973)
Penny Lane (single, 1967)
I've Got A Feeling (from The Beatles, Let It Be, 1970)
Back In The USSR (from The White Album, 1968)
Hey Jude (single, 1968)
Live and Let Die (single, 1973)
Yesterday (from Help, 1965)
Get Back (from The Beatles, Let It Be, 1970)
Helter Skelter (from The White Album, 1968)
Let It Be (from The Beatles, Let It Be, 1970)
Please Please Me (from The Beatles Please Please Me, 1963)
Sgt Pepper/The End (from The Beatles Sgt Pepper, 1967/Abbey Road, 1969)

Wednesday, November 09, 2005
http://www.paulmccartney.name/Paul_McCartney_San_Jose_Review_and_Setlist/391.htm

Как вы, дорогие друзья, думаете-будет ли Маккартни выпускать CD или DVD с US туром?

2sweet_lord:

>Как вы, дорогие друзья, думаете-будет ли Маккартни
>выпускать CD или DVD с US туром?

Будет!

2sweet_lord:

>Как вы, дорогие друзья, думаете-будет ли Маккартни
>выпускать CD или DVD с US туром?

Выше в сообщении говорилось, что два концерта в Сан-Хосе снимались для DVD. Было больше камер, чем обычно, а в первые три ряда заполнили статистками - молодыми белокурыми красавицами, которым полагалось всячески изображать восторг.

Я тоже так думаю. Хороший получится диск!

Хотелось бы чтобы это была полная версия концерта, которая не прерывалась бы чем нибудь другим. А все бонусы- в конце, IHMO

Лучше бы в первые ряды поставили Битломаньку и наших девочек - они бы устроили шоу!

А чуть подальше - ВСЕХ НАС!

А всю эту хрень со статистами это, интересно, Пол придумал или манагер его? Как-то это ИМХО слишком...
Как будто свои родные не справились бы...

2Primal Scream:

>Лучше бы в первые ряды поставили Битломаньку
>и наших девочек - они бы устроили шоу!

2sweet_lord:

>А чуть подальше - ВСЕХ НАС!

%)))))))))))))) Ой! :))))) Я бы с удовольствиеем! ;) Главное - это было бы искренне! От всего сердца, а не за денежку :)) Думаю, нас, хороших девчьенок битлзрушных, набралась бы куча :)) А сзади, и правда, хорошо весь битлз.ру посадить :)))

Не посадить, а поставить!:))

Сначала вас посадили бы на сидячие места, потому как они сидячие, а уж потом-то можно сходить с ума как угодно ;)))

ну вот, сегодня-завтра последние концерты тура, да еще и в Эл-Эй...
с какими чувствами сегодня Пол даст эти концерты? вспомнит ли он?.. что он споет для Джорджа?.. очень хочется перенестись в Эл-Эй, чтобы почувствовать атмосферу в нем сегодня...

О Джордже Пол не вспомнить не может :))

Последний концерт тура - это гут! ;))))
Пора бы уже Полу задуматься о европейском турне... ;))))

VIPы по окончании концертов получали в числе прочего 2CD в белой суперобложке. Первый -номерной "Chaos...", второй - сборник с логотипом "Lexus" "Motor Of Love"...

Разворот "Motor Of Love"