Paul Mccartney - Liverpool Sound Collage
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CD Details
Artist: Paul MccartneyEdition: Music CD
Audio: English (Original Language)
CD Release Date: 2000-09-26
Music Label: Capitol
Soundtracks:
- Plastic Beetle
- Peter Blake 2000
- Real Gone Dub Made In Manifest In The Vortex Of The Eternal Now
- Made Up
- Free Now
Music reviews of Liverpool Sound Collage
Music Review: For Macca fans and ambient aficionados only
Rating: 2 Stars
Within the context of the Tate Liverpool's "About Collage" exhibit, these selections undoubtedly provided a fine aural background to Peter Blake's works and those of the other artists he included from the Tate Collection. Judged on its own merits, I doubt anyone save Paul McCartney could have gotten Capitol/EMI to release this. Not being especially durable, it's the kind of release Beatle/McCartney completists often buy, listen to a few times, then shelve (think George's "Electronic Sounds," or John and Yoko's "Wedding Album").
Of the five collages, only "Plastic Beetle" bears repeated listening, highlighted by Beatles music samples, notably "Mr. Moonlight" and "Getting Better," the result having a distinctly "Pepperish" feel. Hardcore fans (who own CDs issued by naughty people) will recognize the studio talk as originating from the 8 November 1965 session for "Think For Yourself," recorded by George Martin for possible use on the group's annual Christmas disc. While some have compared "Plastic Beetle" to "Revolution 9," I would liken it more to The Residents' (far superior) "Beyond the Valley of a Day In The Life." McCartney mars the proceedings with an "Oobu-Joobu-esque" bit of spoken-word nonsense at the end ("All right, cut all this tomfoolery out"), as if he were embarassed by it.
"Free Now," the only structured song on the disc, sounds more like a rough demo for something he should've developed a bit more - with precious few lyrics besides the title/chorus, this gets tedious quickly. Of note is the cover art, the collage Paul submitted for the Blake exhibit. Underneath a black and white photo of Jerry Lewis, is a drawing captioned "the thing she was meant to be" - a portrait of how Linda might've looked as an old woman?
McCartney completists, particularly those predisposed to his Fireman collaborations with Youth will likely be the most receptive to "Liverpool Sound Collage," others may wish to give this one a pass.
Description of Liverpool Sound Collage
Paul McCartney's music has long been tainted by fallacious revisionism. Supposedly the Beatles' safe sentimentalist soft-pop underbelly, he's usually been portrayed as the antiseptic flip-side to John Lennon's avant-garde bad boy. It's good to remember that Paul penned "Helter Skelter," John "Julia," and that it was McCartney who was exploring the London avant-garde scene (and composing a "Revolution 9"-like sound collage for a theater project in '67) long before Lennon had even heard of Yoko Ono. Long dormant, that sensibility resurfaced in the '90s as McCartney's ambient alter-ego, the Fireman, and again in this soundtrack to artist/Sgt. Pepper cover designer Peter Blake's On Collage exhibition at Liverpool's Tate Gallery. Utilizing a theme of local Liverpool voices, Paul mixes the familiar (snatches of Beatles' spoken-word and musical outtakes) with the obscure (including field recordings of Liverpool art students and his favorite local chips lady), adds a dash of Liverpool Oratorio and some recent Cavern Club sound checks, and (with the help of Super Furry Animals keyboardist Cian Ciaran and producer/Fireman collaborator Youth) concocts five leisurely, dense aural landscapes. Though hardly the usual fodder of pop criticism, the tracks here often rise above good-natured studio wankery, especially the spare dub mix "Free Now." It's also a track that underscores the ghetto mentality of much modern pop. Once upon a time, McCartney and others felt free to infuse the mainstream with their experimentalism rather than constrain it to side projects. Whatever, this is hardly "safe" stuff. --Jerry McCulleyClassic Rock CDs
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