Monday, 2 August 2021


Revolver explored by our crack team of
Fabs fans, including Paul McCartney, Brian Wilson, Steve Cropper, Wayne Coyne and many more.

(Pages: 68 - 81)
















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Sunday, 1 August 2021














Paul McCartney wrote the song during a six-week stay in Wilson County, Tennessee in 1974. He and his family rented a 133-acre farm just outside of Lebanon from songwriting great Curly Putman ("Green, Green Grass of Home").

Along for the ride was his band, Wings, who rehearsed in Putman's garage for an upcoming tour. And since this is Paul McCartney we're talking about, his surroundings inevitably inspired a future hit song: "Junior's Farm," released later that year.
Eventually, Putman — born Claude Putman Jr. — came to realize that he was "Junior."

The Nashville Songwriters Hall of Fame member passed away in 2016, but in the interview he gave for "Story Behind the Song" in 2013, Putman talks to NSAI Executive Director Bart Herbison about the true tale behind "Junior's Farm."

Bart Herbison: We did "Green Green Grass of Home," that you wrote. But this is a song written about you. So your publisher Buddy Killen says somebody wants to stay in your farm one summer down in Lebanon, Tennessee.
Curly Putman: Paul McCartney and Wings were coming over here to do a tour. And Paul's wife Linda, her father was Tree Publishing Company's lawyer. (Paul) told him to find them some place to stay where they could rehearse for their tour. So we went out and Buddy looks all over the country for 'em.

You know, a place suitable with horses and things that they might like. We couldn't find anything, so Buddy was sweet talking me and said, "Curly, why don't you let them stay at your place?"
BH: Like the Godfather, I think they made an offer you couldn't refuse (laughs).

CP: That's kind of what it was. He said "We'll have a good contract on it and pay you good for staying the six weeks." I said, "Well, what am I gonna do?" Anyhow, I relented, let them rent my place for six weeks for a pretty good little chunk of money. I won't say much, because I can't remember, but it helped pay for my farm. And my son, Troy. He was he was about 14, 15, and my wife and I decided we'd go to Hawaii and let Paul McCartney pay for it...
We had two houses. One the band, Wings stayed in...they stayed in the little small house down the road and they had a gate there then had to keep somebody at the gate to keep people from coming in. I live up on a hill.

Troy had a road bike, a nice one. I said, 'You better put this up some place where they can't find it, because some of these guys they'll run it all over the world and then tear it up. But Paul found it and loved it. He rode all over Wilson County and Lebanon, up and down the highway. People would see him and they wouldn't even know who he was. 

BH: The story behind the song this week, though, was when he went back, Wings released a little song called "Junior's Farm." Who was Junior?

CP: Well, Junior was me. I didn't know at first, that he did this for me, but Claude Putman Jr. is my real name.

I was in an obscure record store in London, England last year. I found a British copy of "Junior's Farm." farm that I thought you might want...It says, "Recorded on a farm in Lebanon, Tennessee." Did they do it at your house, or another recording studio?
They did it at Sound Shop, which Buddy owned. I didn't have a recording studio, but I had a double car garage. That's where they set their band up and rehearsed. We got back from Hawaii, and I was anxious to get back home, of course. We were walking up the driveway and they saw us coming, and Paul and the band started playing "Green, Green Grass of Home" (laughs). It was an experience. 



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Saturday, 31 July 2021





















In this classic interview from 1994, McCartney looks back on the transition to Wings, its effect on his bass playing, and how he became an entertainer again
In 1994, Paul McCartney discussed his bass playing in Wings with the writer Tony Bacon. The conversation found McCartney reflecting on Wings' success – somehow it was never enough at the time, but looking back, they did all right.

This was a pivotal moment for the former Beatle. Things were changing. But as he explains, there was never going to be a move from the bass guitar, even if he had switched up his brand of choice....

You were always seen on stage with a Hofner bass with The Beatles, and yet you virtually always used a Rickenbacker while on stage with Wings. Why was that?

“I’m not sure. Maybe it was a combination of things. I knew I was known for the violin shape. It’s like Charlie Chaplin, you know? The little walking cane, the moustache, and a bowler hat, and he’s Charlie. If he comes on with a bandanna and he’s shaved and he’s on a bike, it’s like, ‘Who’s that?’ So I think there may have been an element of that was what I looked like, kind of a trademark.
“Also it was very light and I’d always played it live, so I might have been playing safe a bit, just using the instrument I’d always used. Later I became more used to the Ricky, and with Wings I started to play with that on stage.“

I thought it seemed like it was a conscious thing as far as live work was concerned: Beatles is all about Hofner, Wings is all about Rickenbacker.
“Well yes, changing bands gives you a freedom, obviously.“

In Wings you had the choice to hire who you liked, but you chose to stay as the bass player.
“I always approach a tour by thinking as if I’m not there. Well, this geezer McCartney’s going on tour, what would I like to see him do? Well, I’d like to see him play bass – he’s good on that old bass. So I’d think, I must play bass. The man in the audience, the girl in the audience, would expect me to play bass. I’d probably want him to do Yesterday, so we’ll sling that in somewhere.

“Early Wings I didn’t, I’d had enough of that, but now I would do it because I think it goes down well. I’m an entertainer, guys, and if it goes down well, that’s it. I’m the opposite of Bob Dylan. I know G.E. Smith, who played with him, and he told me they’d say, ‘Oh, Bob, Tambourine Man went down great tonight, fantastic’. And that meant [Dylan] wouldn’t do it. He’d knock it out the next night.

“A perverse thing, I don’t know. To me I’m... less complex than that. If it went down well, I leave it in. But with Wings, yeah, I’d feel that I didn’t have to play the Hofner any more, because that was The Beatles and it sort of ended with that period. I don’t know if I was thinking that deeply in Wings.“
“Yeah, they are, completely, yeah. Number one, The Beatles was the best band in the world. It’s difficult to follow that. It’s like following God. Very difficult, unless you’re Buddha. Anything Wings did had to be viewed in the light of The Beatles. And the comparisons were always very harsh. Denny Laine wasn’t John Lennon. Henry McCullough wasn’t George Harrison. That was inevitable. The interesting thing is that, looking back on some of the work, some of the stuff, it’s better than you think it was, but because it got such harsh criticism... from me.

“The critics gave us a hard run, but I was particularly hard on us. I remember looking at a book, there was an album we did, I think it was Back to the Egg, which didn’t do well, and I remember thinking, ‘God, complete disaster.’ Years later, I remember looking at it with Bowie in this old book – one of these ‘who-did-what’ Hit Parade books, looking it up – and it was like number eight in America. And I thought, most people would give their right bloody arms to be number eight.

“But eight, and I wasn’t satisfied. The Beatles had been number one. This is all right, keeps you going. But yes, a lot of the stuff is underrated, because of that. The truth of the matter is that I had The Beatles and then had another bite of the cherry through Wings, and a lot of what we did, because the industry was growing, we would eventually outsell The Beatles in a number of cases...

“So, you know, there’s a lot to be said for the period after The Beatles, really, and it was a longer time – which was strange when I realized that Wings had been going as long as The Beatles had.“

How do you view that Wings period for you as a bass player?

“I think it was okay, but I think I never quite had the interest that I had during that sort of dream period around Sgt. Pepper and Rubber Soul, when I was doing something... See, with Wings, I was now the band leader, the business manager, the this, the that. We didn’t have Apple, we didn’t have Epstein, we didn’t have anything. It was me doing it all. That was the biggest headache – that’s difficult.

“In The Beatles, I’d been free of all of that. We had a manager, we had three other great guys... I think there was like a prize period when I was playing my best bass, and I think after that I had so much to do that I wasn’t free to just do the bass. I could concentrate everything on writing the song, singing harmony with John, or playing the bass, pretty much my role, or maybe playing a bit of piano or guitar or something.

“Other than that I really didn’t have much to do, so you could put all your energy into that. And I think after that I sidelined the role of bass, a bit, in favor of the role of frontman. It was not really my favorite thing to do, but there was really nothing else to do. The only alternative was to give up music, that I saw.“



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