{"id":10859,"date":"2022-07-19T08:33:33","date_gmt":"2022-07-19T07:33:33","guid":{"rendered":"https:\/\/aata.dev\/?p=10859"},"modified":"2022-07-19T08:33:35","modified_gmt":"2022-07-19T07:33:35","slug":"no-such-thing-as-silly-love-songs","status":"publish","type":"post","link":"https:\/\/aata.dev\/index.php\/2022\/07\/19\/no-such-thing-as-silly-love-songs\/","title":{"rendered":"NO SUCH THING AS SILLY LOVE SONGS"},"content":{"rendered":"\n

NO SUCH THING AS SILLY LOVE SONGS<\/strong><\/p>\n\n\n\n

as Norman Warwick learns from American Songwriter.<\/strong><\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

I wasn\u00b4t sure what to make of Macca at Glasto (left). Granted I only saw his performance on the television, but despite the cleverness of the technology behind the Beatles footage being played on giant screens around the arena and the breaking of all Glastonbury records in the size of the crowd, the gig looked a bit laboured.<\/p>\n\n\n\n

The fans looked a middle to old-age sort of crowd, rather than any 18-30 holiday gathering, but Paul seemed to be having to rely on his famous, nudge, nudge, wink, wink, thumbs up means of communication to hold their attention between songs. He was gracious in his acknowledgement of the late John Lennon and George Harrison, two colleagues of course in his Beatle days. although I don\u00b4t recall Ringo (Starr) being name-checked at all. Paul McCartney had chosen an eclectic set-list, although it did contain many crowd-pleasers, and the band surrounding him tonight were all fine musicians, with especially excellent electric guitar and percussion, heavily disguised, and nearly concealed, the toll all this took on his voice. The energy of Get Back, the protracted nahna nah nanana naahs were backed by the crowd too, and so, too, were Yesterday, Silly Love Songs and a couple of others that reminded us how long, and well, Macca has endured since,\u2026..Christ, it has been more thasn fifty years.<\/p>\n\n\n\n

So, it must have been bitter-sweet to be able to play some of all those Lennon and McCartney, (or was it McCartney and Lennon ?) songs that have aged so well in that half a century. That he could zoom, in film, to George and Ringo, and that he could even, through the modern wonders of technology, create a duet vocal performance with John must have been incredibly moving for him.<\/p>\n\n\n\n

There was a nod from the former mop-top. who has recently become an octogenarian. to new kids on the block, as he invited two younger guest stars to the stage to play alongside him<\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

Dave Grohl a founder member of The Foo Fighters is only 53 but was clearly proud and thrilled to be there and he and Bruce Springsteen (right, with McCartney) drove along this segment of the show. I\u00b4ve got to be honest and say I like the sound of this kid,\u2026. I think he could be the future of rock and roll,\u2026 he is, after all, only 73.<\/p>\n\n\n\n

Macca\u00b4s show was as good as anything else delivered at Glastonbury 2022, and better than most. It was well received, too, and his band had lent their vast talents and energy to the live performance but the tv cameras, and even the mobile phones, didn\u00b4t miss the tears of nostalgia in his eyes and his sheer pride and joy of recalling when he Saw Her Standing There. We and he were reminded by more recent footage of Wings, clearly illustrating that his post-Beatles life and career has been pretty Stella too.<\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

On stage here, though, even with his current great line up of backing musicians. he must have also been aware that he was looking back at what Tom Paxton might have called \u00b4when the wine was better than ever again\u00b4 and what The Boss would perhaps have dubbed as the Glory Days.<\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

Post-Beatles, McCartney\u2019s solo, and Wings catalogue started filling up with more loving hits like \u201cMaybe I\u2019m Amazed\u201d and Red Rose Speedway<\/em> single \u201cMy Love.\u201d Eventually, Macca started to get some criticism for his soppier song-writing. \u201cOver the years people have said, \u2018Aw, he sings love songs,\u2019\u201d said Paul McCartney<\/a>. \u201c\u2018He writes love songs. He\u2019s so soppy at times\u2026 Well, I know what they mean, but, people have been doing love songs forever. I like \u2019em. Other people like \u2019em, and there\u2019s a lot of people I love. I\u2019m lucky enough to have that in my life. So the idea was that \u2018you\u2019 may call them silly, but what\u2019s wrong with that?\u201d<\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

Reportedly , Bran Wilson\u00b4s track God Only Knows, left) written for The Beach Boys remains McCartney\u00b4s first offering, whenever asked, if his favourite love song.<\/p>\n\n\n\n

As a rebuttal to all the love song \u201chaters\u201d\u2014even John Lennon\u2014McCartney wrote \u201cSilly Love Songs\u201d and released it as the lead single off Wings\u2019 fifth album\u00a0Wings at the Speed of Sound<\/em>.<\/p>\n\n\n\n

You\u2019d think that people would have had enough of silly love songs
But I look around me
And I see it isn\u2019t so
Some people want to fill the world
With silly love songs
And what\u2019s wrong with that?
I\u2019d like to know
Cos here I go again<\/em><\/p>\n\n\n\n

Lennon was very outspoken about McCartney\u2019s music, and when he dismissed Paul for writing mostly \u201csilly love songs<\/a>,\u201d McCartney responded by writing more of them.<\/p>\n\n\n\n

\u201cThe fact is, deep down, people are very sentimental,\u201d added McCartney. \u201cIf they watch a sentimental movie at home, they cry, but in public, they won\u2019t. We don\u2019t like to show our emotions; we tend to sneer at that. And in the same way, people may not admit to liking love songs, but that\u2019s what they seem to crave.\u201d<\/p>\n\n\n\n

The Brian Wilson-penned 1966 Beach Boys\u2019 hit \u201cGod Only Knows\u201d is McCartney\u2019s favorite song, and \u201cSilly Love Songs\u201d has subtle references to it, sonically, with the multi-vocal parts and a horn section.<\/p>\n\n\n\n

Like many of McCartney\u2019s more love-filled tracks, \u201cSilly Love Songs\u201d had a deeper meaning and the lyrics ultimately reveal a love song from Paul to his wife Linda, who also appears in the video.<\/p>\n\n\n\n

\u201cI\u2019m looking at love not from the perspective of \u2018boring old love,\u2019\u201d said McCartney, elaborating on the meaning behind his love songs. \u201cI\u2019m looking at it like when you get married and have a baby. That\u2019s pretty strong: it\u2019s something deeper. For me, that\u2019s what always makes me write the next love song\u2013 that I love it. I don\u2019t mind being sentimental, I love the old movies. I\u2019ve never been too ashamed of all that stuff.\u201d <\/p>\n\n\n\n

Ah, I can\u2019t explain<\/em>
<\/em>The feeling\u2019s plain to me<\/em>
<\/em>Now can\u2019t you see?<\/em>
Ah, she gave me more
She gave it all to me
Now can\u2019t you see?
What\u2019s wrong with that?
I need to know
Cos here I go again<\/em><\/p>\n\n\n\n

 \u201cSilly Love Songs\u201d marked McCartney\u2019s 27th number one as a songwriter, a record for the most No. 1 hits by a songwriter. The song peaked at the No. 1 on the Hot 100, where it remained for five weeks, and also made McCartney the first artist with year-end No. 1 hits with two separate acts\u2014The Beatles and Wings.<\/p>\n\n\n\n

Wings recorded \u201cSilly Love Songs\u201d live for their triple live album, Wings Over America<\/em>, and in 1984 Paul McCartney re-recorded \u201cSilly Love Songs\u201d for the soundtrack to the Peter Webb-directed British drama Give My Regards to Broad Street,<\/em> also starring the McCartney\u2019s and Ringo Starr. Despite the popularity of the song, McCartney has never played it live since Wings ended in 1981.<\/p>\n\n\n\n

Love doesn\u2019t come in a minute
Sometimes it doesn\u2019t come at all
I only know that when I\u2019m in it,
It isn\u2019t silly, no, it isn\u2019t silly,<\/em><\/p>\n\n\n\n

Love isn\u2019t silly at all<\/em><\/p>\n\n\n\n

 \u201cThe song was, in a way, to answer people who just accuse me of being soppy,\u201d said McCartney. \u201cThe nice payoff now is that a lot of the people I meet who are at the age where they\u2019ve just got a couple of kids and have grown up a bit, settling down, they\u2019ll say to me, \u2018I thought you were really soppy for years, but I get it now. I see what you were doing.\u2019\u201d<\/p>\n\n\n\n

NME published perhaps the most positive review I saw of McCartney\u00b4s Glastonbury gig, saying<\/p>\n\n\n\n

Pyro! Fireworks! Dave Grohl<\/a>! Bruce Springsteen<\/a>! A virtual duet with John Lennon<\/a>! Sir Paul McCartney<\/a> takes no chances with his second-ever Pyramid Stage headline slot, one week after he marked his 80th trip around the sun. People talk about \u2018Glastonbury moments\u2019: Macca\u2019s joy bonanza of a set is packed with at least \u2013 at least<\/em> \u2013 half a dozen of them, including the audience spontaneously singing him \u2018Happy Birthday\u2019 and later taking over the universal \u2018Hey Jude\u2019 refrain. \u201cI love that sound,\u201d Paul beams. After all those years, you\u2019re left with little doubt that he really does.<\/p>\n\n\n\n

Last night (June 24), 20-year-old Billie Eilish<\/a> kicked down the door for Gen Z<\/a>, opening the festival up to a whole new generation of performers capable of topping the bill. Tonight, McCartney, a man six decades her senior \u2013 the artist who invented modern pop; whose work in The Beatles<\/a>, she told NME<\/em> in our latest cover story<\/a>, \u201craised\u201d her \u2013 brings things full-circle. It\u2019s the last night of his Got Back tour \u2013 its title a nod to Get Back<\/em>, the 2021 Peter Jackson documentary that reconfirmed his genius \u2013 and Macca squeezes magic from every single moment, shouting out the \u201cmagnetic ley lines of Glastonbury\u201d.<\/p>\n\n\n\n

After opening with \u2018Can\u2019t Buy Me Love,\u2019 he promises \u201csome old songs, some new songs, some in-betweeners\u201d, then spends the front portion of the show teasing with Wings<\/a> tunes \u2013 including the Liquorice Pizza-<\/em>rejuvenated \u2018Let Me Roll It\u2019 \u2013 and offering a potted history of the Beatles through song. This starts with the Quarrymen\u2019s \u2018In Spite Of All The Danger\u2019 and winds up at \u2018Here Today\u2019, the song he wrote in the wake of John Lennon\u2019s death. \u201cThis is in the form of a letter I never got to write to him,\u201d Paul explains. \u201cIf you wanna tell someone you love them\u2026 don\u2019t wait.\u201d<\/p>\n\n\n\n

He\u2019s fond of story time, is Paul: he spends the first 40 minute of the set punctuating the songs with endearingly aimless-seeming anecdotes that he drifts in and out of; you worry that the tale of his friendship with Jimi Hendrix<\/a> could outlast the festival. You can\u2019t argue with the tunes, though: \u2018Blackbird\u2019, \u2018Lady Madonna\u2019 and under-appreciated randy banger \u2018Fuh You\u2019. The helter-skelter-style sense of a steady climb that\u2019s about to lead to a dizzying rush is halted only when a dubious music video of Johnny Depp accompanies \u2018My Valentine\u2019 \u2013 a song Paul wrote for his wife Nancy, released in 2011 \u2013 and cools the atmosphere somewhat. Yet this is soon followed by solo classic \u2018Maybe I\u2019m Amazed\u2019; as effective a recovery as you could imagine.<\/p>\n\n\n\n

From then on it\u2019s an absolutely bonkers race through \u2018She Came In Through The Bathroom Window\u2019, a slip of George Harrison<\/a>\u2019s \u2018Something\u2019 \u2013 played on a ukulele gifted to him by George, no less \u2013 and Paul\u2019s promise that \u201cI\u2019ve got a little surprise here for you\u201d. This leads him to introduce \u201cMy friend; your hero \u2013 from the West Coast of America\u2026 Dave Grohl!\u201d And so you find yourself watching Dave Grohl grinning through \u2018I Saw Her Standing There\u2019, in the place where John Lennon once stood, just months after he lost his own musical soulmate, Foo Fighters<\/a>\u2019 Taylor Hawkins<\/a>. When Grohl tells Macca that he \u201cwould never miss being right here with you\u201d and The Beatle replies, \u201cLove you\u201d, it\u2019s a real heart-in-throat moment.<\/p>\n\n\n\n

That would have done, to be honest. But just in case there was a sense that McCartney hasn\u2019t quite risen to the occasion, he promises \u201canother surprise for ya \u2013 from the East<\/em> Coast of America; New Jersey\u201d and Bruce Springsteen casually strolls onstage to roll through his own \u2018Glory Days\u2019 and The Beatles\u2019 \u2018I Wanna Be Your Man\u2019. Springsteen meanders back offstage and Macca shrugs, \u201cThere ya go \u2013 a couple of little surprises for ya,\u201d before settling down at the piano for \u2018Let It Be\u2019, an all-in fireworks and flames display for \u2018Live and Let Die\u2019 and the \u2018Hey Jude\u2019 that literally everyone in this field has been waiting for since at least Thursday.<\/p>\n\n\n\n

\u2018Hey Jude\u2019 continues to ring out from the audience after he\u2019s left the stage, before Paul returns for one last Glastonbury moment: a tech-enabled duet with rooftop-era John<\/a>, who appears in the form of Get Back<\/em> clips on the screens either side of the stage and \u2013 thanks to strings pulled by Peter Jackson \u2013 helps to deliver a heart-bursting rendition of \u2018I\u2019ve Got A Feeling\u2019 via the magic of isolated vocals. Maybe there\u2019s something in those Glastonbury ley lines after all.<\/p>\n\n\n\n

\u201cThat is so special for me, man,\u201d Paul says of the duet. \u201cI know it\u2019s virtual, but come on \u2013 it\u2019s John. We\u2019re back together.\u201d Bowing out after a Grohl and Springsteen-assisted \u2018Abbey Road\u2019 medley, the 80-year-old goes over his billed time by a good 30 mins, having thrown absolutely everything he has \u2013 which is saying something for an actual Beatle \u2013 at Glastonbury 2022, sounding like a man who, frankly, knows he might not do this again. Macca was preceded on the line-up by Noel Gallagher<\/a>, who famously told the audience at Oasis<\/a>\u2019 seminal Knebworth Park show in 1996: \u201cThis is history.\u201d So was this.<\/p>\n\n\n\n

Paul McCartney played:<\/strong><\/p>\n\n\n\n

\u2018Can\u2019t Buy Me Love\u2019             <\/p>\n\n\n\n

\u2018Junior\u2019s Farm\u2019<\/p>\n\n\n\n

\u2018Letting Go\u2019<\/p>\n\n\n\n

\u2018Got to Get You Into My Life\u2019<\/p>\n\n\n\n

\u2018Let Me Roll It\u2019<\/p>\n\n\n\n

\u2018Getting Better\u2019<\/p>\n\n\n\n

\u2018Let \u2018Em In\u2019<\/p>\n\n\n\n

\u2018My Valentine\u2019<\/p>\n\n\n\n

\u2018Nineteen Hundred and Eighty-Five\u2019<\/p>\n\n\n\n

\u2018Maybe I\u2019m Amazed\u2019<\/p>\n\n\n\n

\u2018I\u2019ve Just Seen a Face\u2019<\/p>\n\n\n\n

\u2018In Spite of All the Danger\u2019<\/p>\n\n\n\n

Love Me Do<\/p>\n\n\n\n

\u2018Dance Tonight\u2019<\/p>\n\n\n\n

\u2018Blackbird\u2019<\/p>\n\n\n\n

\u2018Here Today\u2019<\/p>\n\n\n\n

\u2018Lady Madonna\u2019<\/p>\n\n\n\n

\u2018Fuh You\u2019<\/p>\n\n\n\n

\u2018Being for the Benefit of Mr. Kite!\u2019<\/p>\n\n\n\n

\u2018Something\u2019<\/p>\n\n\n\n

\u2018Ob-La-Di, Ob-La-Da\u2019<\/p>\n\n\n\n

\u2018You Never Give Me Your Money\u2019<\/p>\n\n\n\n

\u2018She Came in Through the Bathroom Window\u2019<\/p>\n\n\n\n

\u2018I Saw Her Standing There\u2019<\/p>\n\n\n\n

\u2018Band on the Run\u2019<\/p>\n\n\n\n

\u2018Glory Days\u2019<\/p>\n\n\n\n

\u2018I Wanna Be Your Man\u2019<\/p>\n\n\n\n

\u2018Let It Be\u2019<\/p>\n\n\n\n

\u2018Live and Let Die\u2019<\/p>\n\n\n\n

\u2018Hey Jude\u2019<\/p>\n\n\n\n

\u2018I\u2019ve Got a Feeling\u2019<\/p>\n\n\n\n

\u2018Helter Skelter\u2019<\/p>\n\n\n\n

\u2018Golden Slumbers\u2019<\/p>\n\n\n\n

\u2018Carry That Weight\u2019<\/p>\n\n\n\n

\u2018The End\u2019<\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

please note logo <\/em><\/strong>The prime source for this article was a review published in the NME,<\/em><\/strong><\/p>\n\n\n\n

In our occasional re-postings Sidetracks And Detours are confident that we are not only sharing with our readers excellent articles written by experts but that we are also pointing to informed and informative sites readers will re-visit time and again. Of course, we feel sure our readers will also return to our daily not-for-profit blog knowing that we seek to provide core original material whilst sometimes spotlighting the best pieces from elsewhere, as we engage with new genres and practitioners along all the sidetracks & detours we take.<\/em><\/strong><\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

photo npw <\/em><\/strong>This article was collated by Norman Warwick, a weekly columnist with Lanzarote Information and owner and editor of this daily blog at Sidetracks And Detours.<\/em><\/strong><\/p>\n\n\n\n

Norman (right) has also been a long serving broadcaster, co-presenting the weekly all across the arts programme on Crescent Community Radio for many years with Steve Bewick, and his own show on Sherwood Community Radio. He has been a regular guest on BBC Radio Manchester, BBC Radio Lancashire, BBC Radio Merseyside and BBC Radio Four.<\/em><\/strong><\/p>\n\n\n\n

As a published author and poet Norman was a founder member of Lendanear Music, with Colin Lever and Just Poets with Pam McKee, Touchstones Creative Writing Group (for which he was creative writing facilitator for a number of years) with Val Chadwick and all across the arts with Robin Parker.<\/em><\/strong><\/p>\n\n\n\n

From Monday to Friday,<\/em><\/strong> you will find a daily post here at Sidetracks And Detours and, should you be looking for good reading, over the weekend you can visit our massive but easy to navigate archives of over 500 articles.<\/em><\/strong><\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

e mail logo The purpose of this daily not-for-profit blog is to deliver news, previews, interviews and reviews from all across the arts to die-hard fans and non- traditional audiences around the world. We are therefore always delighted to receive your own articles here at Sidetracks And Detours. So if you have a favourite artist, event, or venue that you would like to tell us more about just drop a Word document attachment to me at <\/em><\/strong>normanwarwick55@gmail.com<\/em><\/strong><\/a> with a couple of appropriate photographs in a zip folder if you wish. Being a not-for-profit organisation we unfortunately cannot pay you but we will always fully attribute any pieces we publish. You therefore might also. like to include a brief autobiography and photograph of yourself<\/em><\/strong> in your submission.<\/em><\/strong><\/p>\n\n\n\n

We look forward to hearing from you.<\/em><\/strong><\/p>\n\n\n\n

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songfacts\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 en.wikipedia.org\/wiki\/SongFacts<\/p>\n","protected":false},"excerpt":{"rendered":"

The Brian Wilson-penned 1966 Beach Boys\u2019 hit \u201cGod Only Knows\u201d is McCartney\u2019s favorite song, and \u201cSilly Love Songs\u201d has subtle references to it, sonically, with the multi-vocal parts and a horn section.<\/p>\n","protected":false},"author":2,"featured_media":10868,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[45],"tags":[],"class_list":["post-10859","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music"],"_links":{"self":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/10859","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/comments?post=10859"}],"version-history":[{"count":1,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/10859\/revisions"}],"predecessor-version":[{"id":10869,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/10859\/revisions\/10869"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media\/10868"}],"wp:attachment":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media?parent=10859"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/categories?post=10859"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/tags?post=10859"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}