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Man on the Run: Paul McCartney in the 1970s par [Doyle, Tom]
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Format Kindle, 17 juin 2014
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Longueur : 288 pages Word Wise: Activé Composition améliorée: Activé
Page Flip: Activé Langue : Anglais

Descriptions du produit

Extrait

1

On the Run

Your first solo album, McCartney. You recorded that at home, in secret, in the midst of all of your wrangles with the Beatles.

Yeah. It was really . . . kind of . . . therapy through hell. It was one of the worst times of my life.

He knew he was in trouble the morning he couldn’t lift his head off the pillow. He awoke facedown, his skull feeling like a useless dead weight. A dark thought flashed through his mind: if he couldn’t make the effort to pull himself up, he’d suffocate right there and then.

Somehow, as if it was the hardest thing he’d ever done, he summoned the energy to move. He flipped over onto his back and thought, Jesus . . . that was a bit near.

Day by day, week by week, his condition had been steadily worsening. His often sleepless nights were spent shaking with anxiety, while his days, which he was finding harder and harder to make it through, were characterized by heavy drinking and self-sedation with marijuana. He found himself chain-smoking his unfiltered, lung-blackening Senior Service cigarettes one after another after another.

Later, he would look back on this period and tell everyone that he’d almost had a nervous breakdown. From the outside, there appeared to be no “almost” about it.

For the first time in his life, he felt utterly worthless. Everything he had been since the age of fifteen had been wrapped up in the band. Now, even though he couldn’t tell the world, that period of his life was almost certainly over.

It was as if he’d suddenly and unexpectedly lost his job, been made entirely redundant. He was twenty-seven and of no use to anyone anymore. Even the money he’d earned up to this point was no comfort, made no real difference. This was an identity crisis in extremis: who exactly was he if he wasn’t Beatle Paul McCartney?

On the mornings when he forced himself to rise, he’d sit on the edge of his bed for a while before defeatedly crawling back under the covers. When he did get out of bed he’d reach straight for the whiskey, his drinking creeping earlier and earlier into the day. By three in the afternoon, he was usually out of it.

“I hit the bottle,” he admits. “I hit the substances.”

He was eaten up with anger—at himself, at the outside world. He could describe it only as a barreling, empty feeling rolling across his soul.

Out of work and with nothing to distract him, he was tormented by ghosts from his past; they would rise up, whispering in his head, telling him that, in spite of everything he’d achieved, they knew he’d never really amount to anything. That he should have found a proper job in the first place, just as they’d always said.

He realized that up until this point he’d been a “cocky sod.” And now there was this: the first serious blow to his confidence he’d ever experienced. Even when he was fourteen and the complications from a mastectomy had suddenly taken his mother’s life, he had understood that this horrific event had been beyond his control. Somehow, now, in the depths of his muddied thinking, he was starting to believe that everything that was happening was nobody’s fault but his own.

His wife of less than a year later said she had felt the situation was “frightening beyond belief.” Within a matter of months, her new partner had gone from being a sparky, driven, world-famous rock star to a broken man who didn’t want to set foot out of their bedroom. But even if Linda was scared, she knew she couldn’t give up on Paul. She recognized that her husband was sinking into emotional quicksand, and she knew that it was down to her alone to pull him out before he went under for good.

“Linda saved me,” he says. “And it was all done in a sort of domestic setting.”

It had been two years since they’d first met, at the Bag O’ Nails nightclub in Soho, four days later being seen deep in conversation at the press launch for Sgt. Pepper. It was only a year since they’d managed to float unnoticed together through the streets of New York (where, in Chinatown, he had comically tried to pull her into a temple offering Buddhist weddings) before flying from coast to coast, landing in Los Angeles and disappearing for days into a bungalow at the Beverly Hills Hotel. It was still only six months since they’d giggled their way through their wedding ceremony at Marylebone registry office in London, amid a fog of seething female jealousy that seemed to spread across the world.

He had been the last single Beatle, the one seen about town, haunting the clubs and hanging with the artsy crowd. She was the American single-mother divorcée who had earned some renown as a rock photographer and who had apparently had flings with Mick Jagger and Jim Morrison. To Paul, Linda appeared deeper than the frothy, starry-eyed girls who tended to flock around him, less buttoned-up than his then paramour, the actress Jane Asher.

Linda would take Paul out on long drives, saying, “Let’s get lost” in her drawly, spacey way, showing him a new kind of freedom. She had surprised him by telling him, “I could make you a nice home.”

Now it was the autumn of 1969, and the McCartneys were in Scotland, “hiding away in the mists,” as Paul puts it. They had escaped here, far from London and the heavy weather of intra-Beatle feuding that refused to lift.

But High Park Farm was no rock-star country pile. Paul had bought the run-down farmhouse, set on a hill overlooking Skeroblin Loch amid 183 acres of rough Scottish landscape, back in June 1966, the year he became a millionaire. His accountant had suggested that McCartney invest in property to wrestle some of his earnings away from the clutches of Harold Wilson and his Labour government’s painful 95 percent taxing of high earners.

The ever frugal Paul, of course, leaped at such an opportunity, picking High Park Farm out of the reams of property documents his accountant sent him. The asking price was a not insubstantial £35,000, more than ten times the cost of the average family home in the mid-1960s. It was, says Paul, “wee,” consisting of only three rooms: a bedroom at either end separated by a combined kitchen and living area. The hole in the roof of the farmhouse was included in the deal.

But it was another eighteen months after the purchase, in December 1967, before Paul, with Jane Asher in tow, made the trip north to check out his new investment. High Park was set more than a mile up a bumpy dirt path and visitors unprepared for the terrain would moan that the drive would virtually wreck their offroad-unworthy vehicles.

The sorely neglected property was in a wild and windswept location, fourteen miles from the southern tip of the remote Kintyre Peninsula, in Argyll. Three miles west of the hill lay the six-mile sweep of beach at Machrihanish Bay. A five-mile drive southeast down the A83 sat the small fishing port of Campbeltown and the closest amenities.

At the tail-end of 1967—equally the Beatles’ annus mirabilis and their annus horribilis (the marvel of Sgt. Pepper, the paralyzing shock of Brian Epstein’s death, the trials of Magical Mystery Tour, and the sense that nothing would ever be the same again)—McCartney tried to make High Park habitable on a characteristically thrifty level.

He dispatched Beatles gofer Alistair Taylor into Campbeltown; Taylor returned with a secondhand Formica table and chairs, an electric stove, and a couple of beds. The pair fashioned a sofa out of a pile of Sharpe’s Express wooden potato boxes, with an old mattress found in the barn folded over the makeshift frame.

After his split from Asher, Paul first went back there with Linda in November 1968. The eldest daughter of the moneyed New York Eastman family had immediately fallen in love with the place and the idea of roughing it in this remoteness—no hot water, mice and rats in the walls and all—but had suggested to Paul that they do the place up a bit. It was a notion that hadn’t even occurred to the airy McCartney.

She encouraged him to pour a cement floor in the kitchen, an improvement over the wooden planks laid over the bare earth. He began making a table to replace the flimsy Formica one. He scaled a ladder and climbed onto the roof to fix its hole, Linda soundtracking his handiwork by spinning the newly released Tighten Up reggae compilation LPs.

If you had walked through the door of the farmhouse in the latter months of 1969, according to Paul, you’d have seen “nappies, bottles, musical instruments, me and Lin, like a couple of hippies. . . . It wasn’t sort of dirty, but it wasn’t clean.”

High Park wasn’t entirely cut off from civilization, though it certainly had that feel. Linda in particular romanticized this notion, imagining that the McCartneys were living in another era, as if they were pioneers in this isolated place. She loved the fact that they were, as she fancifully saw it, “at the end of nowhere.”

As the months passed, Paul and Linda grew into their rural personas. At Christmas, he bought her twelve pheasants; she bought him a tractor, which he used to plow a vegetable patch, where they grew parsnips, turnips, potatoes, green beans, runner beans, and spinach.

Their acreage was home to 150 to 200 sheep, which Paul learned to clip using hand shears, after which they sold the fleeces to the Wool Marketing Board. Already leaning toward vegetarianism, they balked at the notion of killing their lambs, although they were forced to send some off to market when the numbers grew too high. They tried to separate the ewes from the rams, but sometimes one of the male sheep would enthusiastically spring over the fence. In time, they had six horses, including the retired racer Drake’s Drum, bought for Paul’s father, Jim, and a former winner at Aintree, alongside Honor (Paul’s), Cinnamon (Linda’s), and three ponies, Sugarfoot, Cookie, and Coconut.

Revving up a generator, Paul put together an ad hoc four-track recording facility in High Park’s rickety lean-to, which he named Rude Studio. It was in here, gently encouraged by Linda, that his songwriting slowly began to return to him, as he effectively used music as therapy to alleviate his depression. “She eased me out of it,” he remembers, “and just said, ‘Hey, y’know, you don’t want to get too crazy.’ ”

Paul shied away from admitting that there was a strong autobiographical element to some of these new compositions, but his protestations rang hollow. The lyrics of “Man We Was Lonely” speak of how his and Linda’s self-imposed exile was not as idyllic as it outwardly seemed, that their spirits had been low, but, under the comfort blanket of domesticity, their positivity was returning.

“Every Night,” a song he’d first begun messing around with during the Let It Be sessions, was more confessional still—its singer painting a grim picture of a routine involving getting wasted and struggling to drag himself out of bed. The chorus, as was increasingly becoming a McCartney trait, pledged his devotion to Linda. As a song, it was a deceptively breezy affair. While elsewhere Lennon was screaming his pain, it was typical of McCartney to mask his with melody. Only if you listened closely would you really be able to detect the songwriter’s anguish.

As Paul seemed to stabilize, the McCartneys settled into a daily routine, riding their horses across the land or taking sheepdog Martha for long walks. They drove into Campbeltown in their Land Rover, which they’d nicknamed Helen Wheels, the Beatle becoming a regular sight wandering around in his Wellies and sheepskin-lined brown leather jacket. In the evening, he would light the fire while Linda cooked, and then Paul would step into Rude to work on songs. At night, they would cuddle up, get stoned, and watch TV. “We were not cut off from the world,” said Linda. “We were never hermits.”

In addition, to playfully distract Paul from his troubles, there were the children to look after: the newborn Mary and Linda’s child from her first marriage, shy Heather, only six. For the kids, High Park was a cross between a playground and a junkyard. As soon as she began to walk, Mary was free to toddle outside, through its abandoned gypsy encampment–like clutter of scrap wood, sheets of corrugated iron, and teetering log piles (noting incredulously as an adult that she’d effectively been brought up in a “lumber yard”).

It was a messy scene but, for McCartney, one filled with increasingly frequent spells of happiness. Nevertheless, in a corner of his mind, knowing that there was a Beatles-shaped storm brewing back down in London, Paul was still plagued with unease.

It didn’t help that everyone was arguing about whether or not he was dead.

The rumor had first circulated among the bloodshot-eyed student populace of Drake University in Iowa, around the time McCartney had first holed up in Scotland. The signs were all there if you cared to dig “deep” enough, to stop just rolling joints on the covers of Beatles albums and decipher the hidden messages in the artwork and between the grooves. The students listened to Lennon’s daft murmur of “cranberry sauce” in the fade-out of “Strawberry Fields Forever” and imagined it to be “I buried Paul.” They would spin The White Album backward with an index finger and convince themselves that a voice could be heard saying, “Turn me on, dead man.”

In many ways, the Beatles had brought this upon themselves. In their touring absence and with their increasingly cryptic music, they had laid playful clues and red herrings: with the opening lines of “Rain” played backward at the end of the song; with the garbled, wonked-out voices locked in the play-out groove of side 2 of Sgt. Pepper; with Lennon’s head-game assertion in “Glass Onion” that the walrus was Paul.

“We’d done them for fun, just for something to do,” says Paul, in admitting the Beatles’ surprise that their penchant for japery was taken so seriously. “Then everyone analyzed them and we thought, Ah. We were completely oblivious to all those other ‘hidden’ messages.”

That was until the clueheads began to air their tangential theories. September 16, 1969, saw the first piece, in the Drake University student paper, under the tantalizing headline “Is Paul McCartney Dead?” A week later, the Northern Star, the campus rag of Northern Illinois University, went one better: “Clues Hint at Possible Beatle Death.”

A student identifying himself only as Tom called Detroit DJ Russ Gibb to inform him of the rumors. Listening in, a college writer named Fred LaBour decided to turn prankster, taking it upon himself to “kill” McCartney, adding arm upon leg to the growing myth. Two days later, the Michigan Daily printed his fabricated revelations under a more contentious banner: “McCartney Dead: New Evidence Brought to Light.” The rumor spread countrywide when Roby Yonge, on his networked show from WABC in New York, discussed the theories on the air in the small hours, when the stoned were at their most receptive.

Revue de presse

“Tom Doyle’s detailed chronicle, which includes rare interviews with McCartney and former Wings members, portrays a band that was far more contentious than eager-to-please hits like 1976’s ‘Let ’Em In’ had us believe, fronted by a legend who wanted to be both boss and buddy. The book is larded with tales of Seventies rock-star excess, Paul and Linda’s love of weed, docked paychecks, and grousing musicians.”Rolling Stone
 
“Well-researched but still breezy and engaging, the book offers a comprehensive tour of the shaggy, bleary-eyed decade when the hardest-working ex-Beatle reached the zenith of his creative and commercial success. . . . Man on the Run makes an excellent contribution to the burgeoning literature devoted to McCartney’s post-Beatles career.”The Boston Globe
 
“In the 1970s, a depressed, heavy-drinking Paul McCartney walked away from The Beatles and reinvented himself as the leader of another hitmaking rock ’n’ roll band. A new book by longtime Q magazine contributing editor Tom Doyle about that turbulent period in the legendary rock star’s life, Man on the Run, catches him in mid-flight.”Billboard
 
Man on the Run is a must for any rock fan. Doyle strips away the larger-than-life figure and examines the real McCartney: the musician, the father, the husband, fighting off a nervous breakdown, trying to navigate his way through a tumultuous decade.”The Boston Herald
 
“Doyle has added a valuable entry into the Beatles Bookshelf.”Houston Press
 
“Doyle digs deeply into Mr. McCartney’s life and career, doing fans a great service as he unearths details even the most obsessive among them likely did not know.”The East Hampton Star
 
“A compelling read for both casual and well-versed fans.”The Morton Report
 
“[An] engaging, accessible, and well-written telling of rock and roll's ultimate comeback tale.”Library Journal
 
“Compulsively readable . . . Accomplished rock journalist Doyle presents a solid, detailed, and, above all, honest reappraisal of McCartney’s work.”Publishers Weekly

“Tom Doyle’s Man on the Run is a riveting dispatch from the seventies. Paul McCartney’s story is told with clever pacing, unflinching honesty, and a gripping narrative drive that benefits from his intimate participation via interviews and support. This is simply one of the best rock biographies anyone has written.”—Stephen Davis, bestselling author of Hammer of the Gods and Watch You Bleed
 
“Having attended the historic Wings over America concert at the Kingdome in Seattle back in 1976, I’ve been a major Paul McCartney fan seemingly forever and a day. And by virtue of that, I figured I had pretty much learned all there was to know about Sir Paul and his colossal career. Oh, how wrong I was! Man on the Run is simply brimming with enough fascinating facts and expertly rendered anecdotes to make even the most ardent McCartney follower do an abrupt about-face. Maybe I’m amazed? You better believe it.”—Kent Hartman, music industry executive and bestselling author of The Wrecking Crew
 
“[Man On The Run] answers the question: What happens when you can do anything you like but nothing will ever be good enough? Doyle makes sense of a stoned shaggy dog story that has none of the narrative neatness of the Beatles’ rise and fall.”The Guardian (U.K.), “Music Books of the Year”
 
“[Doyle] offers a level-headed and admirably nonjudgmental portrait of a turbulent ten years, punctuated by great music, creative misfires and frequent run-ins with the law.”Sunday Express (U.K.)
 
“Starting with the painful disintegration of the Beatles, Doyle examines the next decade in McCartney’s unimaginably odd existence. . . . Most compelling is the book’s portrait of a man in a position that doesn’t come with a guidebook, playing it by ear.”Q Magazine (U.K.)
 
“The go-to guy if you want to coax confessions from a superstar, Doyle writes without agenda.”Mojo (U.K.)

Détails sur le produit

  • Format : Format Kindle
  • Taille du fichier : 7264 KB
  • Nombre de pages de l'édition imprimée : 288 pages
  • Editeur : Ballantine Books (17 juin 2014)
  • Vendu par : Amazon Media EU S.à r.l.
  • Langue : Anglais
  • ASIN: B00HKVHY8I
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Amazon.com: HASH(0x91dee780) étoiles sur 5 184 commentaires
74 internautes sur 79 ont trouvé ce commentaire utile 
HASH(0x91d004bc) étoiles sur 5 Man on the Run 8 septembre 2013
Par S Riaz - Publié sur Amazon.com
Format: Format Kindle
In the same way as, after the breakup of the Beatles, Paul McCartney turned away from performing any songs from that era; after the demise of Wings, he often seemed reluctant to discuss his post-Beatles band until recently. In this book, author Tom Doyle, takes an in-depth look at this period - from the first solo album, through to the Japanese drug bust and the murder of John Lennon, which effectively caused the end of Wings.

The book begins with the messy Beatles breakup, including the public feud with Lennon and Paul's decision to legally file to dissolve the Beatles. The legal ramifications led to financial problems, much soul searching over his decision and, if not a total breakdown, certainly depression and a loss of confidence in his abilities. It also led to the birth of Wings. It had been an idea Paul had touted within the Beatles - to go on the road and play small gigs again. Unable to get his former bandmates to agree (probably sensibly), Paul decided to form a new band and do it himself. Of course, one (if not THE) most contentious issue was Linda joining the band, but one thing that does stand out in this book is that, for all the troubles Paul faced during the decade of the 1970's, his problems were not marital ones. While John and Yoko seperated, and George and Ringo both got divorced, Paul and Linda were solidly a couple throughout their marriage - no rumour of any breakup or possibility of divorce, or even affairs, being mentioned. Linda seemed determined to keep temptation from Paul's door - banning other Wings members from bringing wives and girlfriends along; but Linda was in the band because Paul wanted her and he appreciated her commitment, when he knew she would rather be at home with the kids.

Although there was little that was actually new to me in this book, it is a good retelling and analysis of Paul's career in the 1970's. It take Wings from a fledgling group doing small university gigs, to the first European tour; through several lineups and onto success with the Wings Over America tour. It also highlights the drugs problems - busts, arrests and substance abuse within members of the band, which plagued them during this time. Every album is mentioned and appraised, including some huge hits, other misguided record choices and a few forgettable singles.

Of much interest to fans, of course, is Paul's relationship with John Lennon. The decade began with John's star in the ascendent - huge albums, such as "Plastic Ono Band" and "Imagine" and vicious verbal attacks on his former bandmate. Interestingly, though, is the way John essentially blew hot and cold throughout this decade - using intermediaries to send letters to Paul, both praising and damning him in interviews and, in later years, causing Paul to cut contact for a while after some admittedly 'frightening' phone calls. It was obvious that the press used one against the other and, also obvious, that John had some jealousy of Paul's success - both musically and financially. By the time the pair met up again in 1974, Lennon was living in La La Land with Ringo, Harry Nilsson and Keith Moon (not a great combination for a healthy lifestyle). Having split for a time with Yoko, John was living with May Pang. He was threatened with expulsion from the States, suffering lawsuits and financial problems, his marriage and his career in freefall. Although it looked at the beginning of the decade that Paul had been left behind by his bandmate's solo music, now he had "Band on the Run", "Live and Let Die", a new band and a successful tour behind him. He was successful in his own right and, frankly, shocked when he visited Lennon and Nilsson at the "Pussycats" sessions. For anyone who has heard the jam recorded that day, "A toot and a snore in '74", it is obvious that musically nothing worth listening to came out of John and Paul playing together again. However, as Lennon said later, the others playing were more interested in watching, "me and Paul." To his credit, despite the arguments, Paul had spoken to Yoko and helped reunite John and Yoko; a fact which Yoko has also spoken about in interviews.

Overall, then, this book looks at a little documented era of Paul's life. A time when he reinvented himself; forging a new musical career from the shadow of the Beatles. Although all the former Beatles tired of reunion rumours and questions about each other, they only really came to terms with their legacy,it seems, after the death of John Lennon and the realisation that their Beatles past could never be put behind them. Many people forget that McCartney had a huge solo career - that he had massive World tours without playing more than one or two Beatles songs and that his Wings career would be enough to be proud of, if that was all he had done. Filled with interviews, revealing insights and unbiased analysis of the man and his music, this is a great addition to any fan's bookshelf.
14 internautes sur 15 ont trouvé ce commentaire utile 
HASH(0x91d00510) étoiles sur 5 An interesting read on a decade in Sir Paul's life that most may not know much about 19 juin 2014
Par T. Scarillo - Publié sur Amazon.com
Format: Relié Commentaire d‘un membre du Club des Testeurs ( De quoi s'agit-il? )
“Man on the Run” sheds some light on a portion of Paul McCartney’s life that, while I’ve heard much of the music from, I really didn’t actually know much about (at least, not to the extent of what I know about the Beatles years). Wings grew to become quite successful from about 1972 to 1976, but surprisingly to me, this was an extremely up and down, tumultuous time in McCartney’s life – I had no idea just how depressed he was after the breakup of the Beatles, and his desire to reinvent himself early-on by playing lots of impromptu, low-key gigs all over the UK. It seems inconceivable today (what with his megabucks tours) that he was having liquidity troubles due to the freezing of Beatles accounts until their management issues could be worked out, and that someone as upbeat as he seems to be was capable of an occasional outburst. One thing I would’ve appreciated a bit more was delving into the actual recording of some of these early solo/Wings albums (they kinda just ‘appear’ in the narrative, and then the band is out on the road; there was some good info on the recording of “Band on the Run” in Lagos, Nigeria, though but that has already been well-told elsewhere). Wings is probably overdue for a critical reassessment as several of their albums were pilloried in the critical rock press at the time of release and in intervening years, but in retrospect, there is some solid work there (especially the “Band on the Run” and “Venus and Mars” albums), and some very capable players passed thru the band/McCartney’s circle (Denny’s Laine & Seiwell, Jimmy McCulloch and Henry McCullough, etc), and added to the music. I was unaware of the circumstances of Jimmy McCulloch’s falling out with Paul (and his premature death in 1979). You might also find it surprising how much contact Paul had with John Lennon during this period - I had assumed it was minimal. For sure, it was a decade that was decidedly up and down.
11 internautes sur 12 ont trouvé ce commentaire utile 
HASH(0x91d00408) étoiles sur 5 Junior McCartney fan 9 juin 2014
Par Carrie Waterston - Publié sur Amazon.com
Format: Relié Commentaire d‘un membre du Club des Testeurs ( De quoi s'agit-il? )
Like many here, I've loved the Beatles my whole life - however, I'm younger than many, having been born actually after the Beatles broke up. Consequently I must rely more on published/written accounts of things that happened, rather than relying on my own memory or contemporaneous discussions with friends and family members.

My interest in McCartney in particular began in earnest after seeing him play live a few times in the recent past, and buying very nearly all of his solo albums, a job in itself. Which piqued my curiosity - exactly how *does* a man get into the Guinness Book of Records for being among the most beloved recording artists of all time? So I began reading what I could get my hands on in actual interviews with the man, as opposed to descriptions of his career penned by others.

I always felt Sir Paul got a bad rap for his reaction to the Lennon murder and it's actually painful to read about this in detail - the world lost so much on that day in 1980. As much fun as the rest of the book was to read - drug busts, details about early Wings tours, Paul's relationship with Linda, etc - I confess that I'm left wanting more more more - how exactly did Michael Jackson gain possession of the Beatles' publishing rights? This is a narrative, not an autobiography, but failing that ever being published this is very nearly as good as it gets.

Of course, most of the book is and was intended to be told from the perspective of the Gilded One - it's interesting to hear his reasoning behind the multiple lawsuits that ended the most beloved band of all time. Yoko didn't break up the Beatles, Alan Klein did, and I feel this part of the story often gets short shrift in the popular consciousness.

The writing is absolutely spot on as well - Doyle is a terrific writer fond of the sly turn of phrase, which is incredibly difficult to do without taking the focus from the subject of the work. Later I'll probably search out some of his books on other topics.

Loved the book but I'm afraid this is just going to feed my addiction. ;) Your mileage may vary.
4 internautes sur 4 ont trouvé ce commentaire utile 
HASH(0x972952e8) étoiles sur 5 Life After the Beatles 11 juillet 2014
Par beatlefan - Publié sur Amazon.com
Format: Format Kindle Achat vérifié
I am a big fan of McCartney known as Macca by all Paul fans. It discusses his highs and lows with Wings, his marriage to Linda, his perfectionism in fine tuning Wings into another Beatles phenomenon. He also describes a little bit his jail time in Japan- life in a jail cell singing Yesterday to the other inmates. What is always thought about in the book is the what if factor between John and Paul reunion that should have been but didn't happen.He is also criticized by reporters for downplaying John's death in saying what a drag it was. If you love the Beatles as much as I do, this is a good book to read.
6 internautes sur 7 ont trouvé ce commentaire utile 
HASH(0x97295258) étoiles sur 5 Excellent, Well-Research Macca Addition 19 juin 2014
Par Todd and In Charge - Publié sur Amazon.com
Format: Relié Commentaire d‘un membre du Club des Testeurs ( De quoi s'agit-il? )
I've been a hardcore Beatle and solo fan/collector since forever and was actively following every solo move from each ex-Beatle through the 70s, picking up rare releases, singles, bootlegs etc. So my knowledge base coming to a book like this is substantial.

Yet I found many new nuggets of information, as well as really enjoyed the way Doyle composed a compelling narrative using old and new interviews, youtube clips, and good old fashioned research. I'm a huge fan of the masterpiece Ram, much of Red Rose, Venus and Mars, and I like many of the "throwaways" often derided that I find charming, such as cuts from Wild Life, the first McCartney album, "Seaside Woman," etc.

I got to relive much of this in this fun history, along with learning more about the difficulties in Paul's post-Beatle career, such as fights with Wings band members, pot arrests, and the like.

A must-read for any Macca fan!
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