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Strong As You

Music Review: James McCartney – Me

Me James McCartneyMe

It’s not often that a musician releases his first full album at the age of 35, but that’s the case with James McCartney. James is not related to the pop rocker Jesse McCartney, but his father once wrote a catchy tune called “When I’m Sixty-Four.” It’s said that the senior McCartney also wrote a few other songs that have been played on the radio.

Me is an album about a person facing adversity in his life. He’s not sure about his love life, his career, his familial relationships, but he tries to display a stiff upper lip: “We’re on our own and we’ve got to go on….”; “I am strong enough to make it through / I am strong enough as strong as you….”; “You think I’m going to lose / But I will win in the end….” Still, he has his doubts, “…we’ve got to go but we can’t go on forever.”

Here’s a look at the lyrics and songs on McCartney’s Me:

“Strong As You” – “It’s hard for me to say how happy I am / Happy man….” On this single from the album, James sounds like Julian Lennon and the lead guitar part that he plays will remind some of George Harrison. Badfinger also comes to mind.

“Butterfly” – “Little bird you don’t quite understand / Everything is lying in the sand….” Here James sounds more like John Lennon, especially in the phrasing, than Julian. It’s a song that might have fit on the Imagine album and there’s a trace of Dave Mason’s “Sad and Deep As You” in the melody.

“You And Me Individually” – “You and me are different / You and me were different individually….” It’s acoustic guitar opening is reminiscent of “Blackbird” from The Beatles White Album and reflects the fact that James and his father reacted in different ways to the death of Linda McCartney. The lighter than air quality of the song shows that James may have listened to Harry Nilsson’s sui generis compositions.

“Snap Out of It” – “You know that I’m not here / The candle’s burning at both ends… And I know that I can make it / And I think that I can take it / I’m not going to fake it anymore….” This is a song that’s very much in the style of George Harrison, who often mixed fear and self-doubt with grit in his compositions.

“Bluebell” – “Something pulls me close to you / Like a moth to a flame like a music box / Unwinding rewinding / I’m on my own / I’ve got to go on but I can’t go on forever….” This melodic piece sounds like a cross between two of John Lennon’s songs, “Across the Universe” and “Beautiful Boy.” It’s nicely done although the slow pace of the music to this point begins to feel plodding. A change is on its way.

“Life’s A Pill” – “…now I’m bleeding still / I know the pain will leave / When troubles disappear… Life’s a pill give it to me now.” Now the rocking begins. “Pill” sounds like a merger of “Things We Said Today,” “Running On Empty,” and “Peaceful Easy Feeling” and it’s just a warm-up for the next track.

“Home” – “I kind of heard it on the radio / Oh my god what am I to do….” James and his musicians kick out the jams on a song that’s a melding of Wings’ “Helen Wheels,” “Magneto and Titanium Man,” and Styx’s “Mr. Roboto.” The drummer kicks, punches and violently pounds on the drum kit until it’s destroyed. Yes, some serious behind is kicked!

“Thinking About Rock & Roll” – “Walking around Disneyland / It’s so pretty me and Mickey the Mouse / And he turns and says / It’s so fine and it’s going to be mine / Life’s so fine and it’s already mine.” This is the “Silly Love Songs”-style track on the album. It’s a song about celebrating life and living and appreciating what one already has (rather than what one wants and desires). A bit silly, but fun.

“Wisteria” – “Baby if you know what love is for / Let me know what it means to you….” This one’s like a track from Matthew Sweet’s Girlfriend album. It’s pure energy. Wisteria is apparently a woman’s name, although it might refer to Wisteria Lane.

“Mexico” – “Moving down to Mexico where the women treat you right / Moving down to Mexico where no one gives a shite….” A celebration of the joys of living in Mexico; it’s no threat to James Taylor’s song of the same name and theme.

“Snow” – “Nighttime falls on Manhattan city / New York like white snow / I’m on the fence for you / I’m in the zone glancing at you / Dancing with you for the very first time / Dance for the first time….” James channels John Lennon in a stunningly beautiful piano-based composition about love and winter in New York City. It’s like a lost love song written for Yoko Ono.

“Virginia” – “…my baby’s gone and left me… She left me at the station / And I don’t give a toss….” This is a non-essential bonus track that displays the McCartneys’ wry sense of humor. It would have fit well on the Wings Wild Life album.

Me is definitely a good album, but the question is where does James McCartney go from here? He is so clearly fascinated with the Lennon sound that it might make sense for him to join with 50-year-old Julian Lennon to jointly write and record a collection of songs together.

What would they call such an album? That’s easy, Lennon & McCartney.

Well recommended.

Joseph Arellano

A review CD was provided by ECR Music Group.

This article originally appeared on the Blogcritics website:

http://blogcritics.org/music-review-james-mccartney-me/

This review was also used by the Seattle Post-Intelligencer newspaper:

http://www.seattlepi.com/lifestyle/blogcritics/article/Music-Review-James-McCartney-Me-4637098.php

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Maybe I’m Amazed

Fab: An Intimate Life of Paul McCartney by Howard Sounes (Da Capo, $20.00, 624 pages)

In Fab, biographer Howard Sounes achieved his self-stated goal of creating “a better balanced, more detailed and more comprehensive life of Paul McCartney than has previously been achieved.”   It surpasses the earlier-recommended Paul McCartney: A Life by Peter Ames Carlin, and provides details that are not found in any of the band bios of The Beatles.   For example, want to know why Paul began wearing a moustache in the 1970s?   (Something the other members of the band quickly copied.)   The answer is found within the pages of Fab.   Want to know why George Martin admitted that he “made the biggest mistake of my professional career” when it came to compiling the songs for the Sgt. Pepper album?

A highly illustrative example of Sounes’s thoroughness is when he explains the many surprising similarities between Linda Eastman McCartney and Yoko Ono.   The “two strong women” both grew up as girls in Scarsdale, New York; and each of them had a very successful, domineering father.   Both attended and withdrew from Sarah Lawrence College.   Both became involved, as young women, in the New York City art scene and both had an initial unsuccessful marriage that produced a daughter.   Linda and Yoko were to each make “a beeline for the The Beatles,” and they each achieved their goal of marrying one of the best known men on the planet.   Sounes even throws in the fact that when John Lennon had a tiff with Yoko in 1973, and left her in Manhattan for a fling in Los Angeles with their assistant May Pang, he was seeing a childhood friend of Linda’s!

Most every other writer who touches the story of the Beatles will tell you that Linda and Yoko were very different women.   Kudos to Sounes for arguing that the exact opposite is true…  Another strength of this account is that Sounes does not give short shrift to McCartney’s time with Wings.   Fab devotes just as many pages covering Paul’s time with Wings, and their tours, as he does to McCartney’s time as a member of the Fab Four.   This is quite fitting as Sounes notes that during the years 1989 through 1991, Paul and Wings played live before 2.8 million people – including this reviewer and Sounes.

Sounes’s weakness is when it comes to Paul’s music.   He makes some huge mistakes, as when he critiques the song Let Me Roll It for sounding too much like John Lennon.   Wrong, it was Paul’s intent to show how “easy” it was for him to write and perform a song that sounded like John and the often-ragged Plastic Ono Band.   And he criticizes Magneto and Titanium Man from Venus and Mars as being “virtually unlistenable” – it’s still a very fresh sounding track – while ignoring the brooding classic Letting Go, where Paul compared Linda to wine and cocaine.

“There is one thing you’ve got to remember about Paul: he’s a very, very private guy.   He doesn’t like to be talking about his family, or anything to do with anything other than music, if he can possibly help it…  He doesn’t like to share things.   He takes them on his own shoulders.”

Speaking of shoulders, Sounes includes several interesting tales about Paul’s songwriting experiences, including one about how when Paul was finishing the song Hey, Jude he was determined to excise the line that reads, “The movement you need is on your shoulders.”   It was John Lennon who convinced him to leave the  line in, and John who realized that the throw-away line was brilliant (many heard it as Paul’s way of encouraging John’s son Julian to use his brain as a means of taking a hard life – a sad song – and making it better).

The Sir Paul McCartney portrayed within the pages of Fab has not led a perfect life, but then no human being does.   He is shown to be a sentimental creature (“Obviously one of my feelings is how proud my mum and dad would have been…  But I won’t go into that because I’ll start crying.”), sometimes harsh, but often generous with those in need.   His career, without a doubt, has been a fine gift to the world of music and the world in general.

This intimate biography is a model for future rock biographers.   Highly recommended.

Joseph Arellano

A review copy was provided by the publisher.   “Fab delivers all you need to know.”   Rolling Stone magazine   “A McCartney bio that intrigues all the way through.”   The Times of London/U.K.

Howard Sounes also wrote Down the Highway: The Life of Bob Dylan.

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