Archive for 2009

“If I ever get out of here, Thought of giving it all away, To a registered charity, All I need is a pint a day,” (Band On The Run)

How different the world seemed to Paul McCartney in the early ‘70s. With The Beatles broken apart, the energy to bring his fractured band together, to get them touring, and to maintain long-term friendships had practically dissipated. Retreating to Scotland to record some of his best  (and most undervalued) solo work, Wings were formed and the band went on to sell the millions of records necessary to pepper pop’s charts. Looking at that lyric, is it possible to imagine Paul McCartney, now the most successful musician of all time, giving his earnings away and leaving himself and his family with just enough to frequent Cambletown’s pubs indefinitely? Unthinkable!

Such was the impact of the breakup (McCartney undoubtedly bore the brunt of The Beatles’ fallout), that this seemingly casual line hewn into one of Paul and Linda’s biggest hits carries with it emotional weight to this day. And yet, after performing the song hundreds of times to anonymous, howling audiences across the globe; is McCartney capable of feeling anything for his old songs any more?

In 1965, exported Merseybeat poured from the tannoy systems of New York’s Shea Stadium. The deafening sound of over 50,000 screaming fans meant the band were unable to hear themselves. As the fab four ploughed through their lively set, the footage from that show showed Harrison and Lennon mocking the audience: mugging for the cameras and battering their instruments. It’s a flamboyant display -- one that captures the joyous spirit of The Beatles’ successful assault on America.

Over 40 years later, and New York City son Billy Joel closes Shea Stadium with the ‘Last Play at Shea’ which, coincidentally, includes a surprise performance by Paul McCartney. One year later and smaller replacement Citi Field Stadium (adjacent to the old Shea site) hosts three sold out Paul McCartney shows. A composite of these shows (double CD and DVD package, ‘Good Evening New York City’) is now available for all 160,000 attendees and adoring McCartney fans across the globe.

When The Divine Comedy’s Neil Hannon asked his Glastonbury audience (2004) “Who saw Paul McCartney last night?” cheers came back through the crowd, and he replied “Yeah, he’s got some good songs.” Over the two-and-a-half hours that comprise ‘Good Evening New York City’, McCartney and his band churn out a mere 33 of the songs from McCartney’s vast catalogue. Captured by 15 HD cameras (along with footage from 75 audience camcorders à la Beastie Boys’ live show ‘Awesome! I shot that!’), the concert is visually appealing even if the overall performances rendered are not entirely arresting. With original Abbey Road engineer Geoffrey Emerick responsible for the audio mix, the CDs benefit from a thick sound where each instrument resounds with a clarity that The Beatles could have never experienced on stage. Strangely, these giant arenas are where McCartney excels -- stadiums have become his natural habitat.

Though the DVD runs as one concert, the footage is derived from three separate performances. The very fact that McCartney is approaching 70 yet still manages to deliver these huge shows in succession is testament to his endurance. But what of the quality? For Beatles and McCartney obsessives, this is an ideal purchase. It’s certainly the best (if not the last) McCartney concert yet committed to DVD, and the inclusion of ‘Mrs Vandebilt’ is a surprising treat. CD1 (the first hour) features tracks from Wings, The Beatles and even McCartney’s ‘experimental’ Fireman project. CD2 is all Beatles with the exception of explosive ‘Live and Let Die’. As McCartney concerts have a tendency to bear great similarities to one another, ‘A Day In The Life’ is the most exclusive track to be found here. ‘I’m Down’ cuts between footage from The Beatles’ visceral vocal performance of 1965 and McCartney’s flat Citi Field Performance; and that only lends kudos to Badly Drawn Boy’s bitter claim that McCartney’s live shows are little more than Karaoke Beatles.

But that’s not the point. McCartney’s performance is akin to comparing his recent promotional appearance on reality chart show, X-Factor, to his livelier appearance on Peter Kay parody ‘Britain’s Got The X-Factor’. McCartney thrives on attention and certainly seems incapable of being alone. His eternal need to be the focus of attention has led him to work with one of Britain’s biggest comedians; to appear on Britain’s biggest TV show; to play the world’s biggest venues and festival; to consent to a videogame to be made about Britain’s biggest band; to score a classical piece; to consent to a circus group to create a piece about The Beatles for Las Vegas etc etc.

McCartney’s talent has boundaries. This he has proved over and over again, and his live shows have merely become opportunity for fans to shriek at each attentive moment McCartney relinquishes -- even when that means removing his jacket to ‘drink in’ the view.

‘Good Evening New York City’ lacks charm, style and humour: all the elements that made The Beatles what they were to become. The Beatles are long gone; the dream and revolution entirely over. Perhaps if McCartney finally agrees to quit touring, he could produce something truly inventive again. But then, he may never break the interminable cycle he has already created for himself.

(3/5)