Tag Archives: Paul McCartney and Wings

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McCartney

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Scott Fitzgerald? Dylan? Richard Ford? These loom large. But, for me, the most significant cultural figure is Paul McCartney. I was reminded of this again last Sunday as I sat in a packed Prospect cinema watching the post-Beatles documentary, Man on the Run. It asks, what happens after you leave the most important band in the world?

When I was a boy, the Beatles were a blissful part of my life. Mum played music in our home. She had the ‘Love Me Do’ single, which she bought in 1962. I loved the cartoon series and especially the opening credits, when they tried to outrun mobs of screaming girls. During this ‘Can’t Buy Me Love’ played and it was the most exciting thing in my world. I understood little of their lyrics, but as I sat on the orange carpet in front of our boxy Pye television, their charismatic melodies sent something electric through me.

Paul is my favourite Beatle. It’s largely his endless optimism and sunny nature. Even at eighty-three, his hopefulness is his defining, irresistible trait.

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Following Paul through the 1970’s the film focusses upon his new band, Wings. Even without the Beatles, if he’d simply arrived in 1971, his catalogue would still be magnificent. Among my favourite ever musical moments is the soprano saxophone on ‘Listen to What the Man Said.’

Regardless of context or mood, I’m always uplifted by it. The saxophonist was Tom Scott and his very first take ended up on the song. With Claire’s consent, we included it on our wedding playlist. It’s golden light falling across a tropical beach.

Any time, any day
You can hear the people say
That love is blind
Well, I don’t know, but I say love is kind

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It agitated many that Linda was in her husband’s group. A common view was that she couldn’t sing, play keyboards, or contribute much, at all. The film naturally slants towards McCartney’s opinion. Another reason that I hold him in such boundless affection is his reflections on this and love. He speaks glowingly of her talents and her skills as a wife, mother and artist. In the cinema dark I thought of Claire and shed a tear when he stated that from his wife, beyond all her other gifts, he ‘learnt so much.’

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Lennon and McCartney were like brothers. Both lost their mothers young. They wrote bridges for each other. They argued ferociously. Reflecting upon their long partnership the surviving Beatle remarked how when things got out of hand, Lennon would sometimes take off his glasses, lay them on the table, smile across at him, and say, ‘Paul. It’s me, John.’

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I’ve long believed that one of the very best ways to spend half an hour is by listening to a Beatles record. Another fine investment is to immerse yourself in the boyish wonder and brightness of Paul McCartney’s subsequent music. Fifty years later, sitting in my cinema seat, that optimism still feels like the most exciting thing in the world.

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Sausage Roll Review: Live N Let Pie

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Sitting outside this small bakery in the brisk and dazzling afternoon, I take in the view across to the Goolwa Shopping Centre. A key tenant is an especially attractive Foodland. Over-sized and ridiculous vehicles — ‘trucks’ in the US of A — crawl in and out of the car park.

I study my sausage roll. Mum used to make sausage rolls — with help from my sister, Jill and me — and the best job was to make indentations on the pastry with a fork. I was always amazed how these little rows of bumps were still there when they’d come out of the oven. It’s virtuous to preserve a sense of wonder, even when beholding freshly baked, meat-encased foodstuffs.

Glancing at the commercial real estate to the south, I note it boasts a Smoke Mart. I consider swinging by but then decide against buying Dad a novelty glass bong for Father’s Day (this Sunday).

My roll is enormous and I’m immediately suspicious. Munch. Look up again at the Smoke Mart. Munch again. Tasty and surprising. Look at sausage roll gizzards.

Capsicum. Oregano. Pepper. The new holy trinity of additives.

The bakery’s name is a pun on the theme song of Live and Let Die, the 1973 film and eighth in the Bond franchise, starring Roger Moore. Written and performed by Paul McCartney and Wings, there’s been five decades of controversy around this grammatical howler-

But in this ever-changing world in which we live in
Makes you give in and cry

Yes, (at least) one too many inclusions of in. Redundancy city. Maddening. Did this bloke write ‘Hey Jude?’ Covering the song, other artists have repaired the lyric. Macca himself is unsure. This, during an interview-

He starts to sing to himself: “In this ever changing world. . . . ‘ It’s funny. There’s too many ‘ins.’ I’m not sure. I’d have to have actually look. I don’t think about the lyric when I sing it. I think it’s ‘in which we’re living.’ Or it could be ‘in which we live in.’ And that’s kind of, sort of, wronger but cuter. That’s kind of interesting. ‘In which we live in.’ I think it’s ‘In which we’re living.’

As I continued my lunch, I thought about this a bit more. The shopping centre was still there. I wondered how many glass bongs had been sold in Smoke Mart since I sat down with my engorged sausage roll.

There’s a dog bowl out the front of the bakery. I like this. Should you feed a sausage roll to a sausage dog?

Mancunian types, Oasis, have reformed and are touring. I think the Gallaghers are funny in a scowling way. Clearly influenced by the Beatles, one finally met Paul McCartney and asked what he thought of this, he replied, ‘It were fookin’ great. How amazing to meet your idol! I mean, Wings are my favourite fookin’ band.’

My sausage roll was highly satisfactory, and I considered if the Gallaghers eat them. Macca’s a vegetarian so probably not. Did Bond ever throw one at a villain and fell him? Unsure, I drove off past the shopping centre thinking of grammar, dogs, and post-Beatles careers.

I needed to clear my head. Father’s Day would be here soon.