by Dan Williams
Paul McCartney: “I’ve got to admit it’s getting better. A little better all the time”
John Lennon: “It can’t get more worse”
-“Getting Better” – Sgt. Pepper’s Lonely Hearts Club Band, 1967
Paul McCartney: “I’ve Loved Her Oh So Long.”
Elvis Costello: “So Why Don’t You Come Right Out And Say It, Stupid?”
-“You Want Her Too” – Flowers In The Dirt, 1989
Paul McCartney had a problem.
His latest album, 1986’s Press To Play had failed to chart very high. It was a real kick in the ego. After all, this was half of what was arguably the greatest songwriting team of the 20th Century with a global fan base. His gift for melody is second to none … tunes virtually drip from his pores. In fact, “Yesterday” came to him in a dream and has since been covered by more than 2,200 artists! He is a multi-instrumentalist with a knack for finding new sounds through an intense curiosity and indefatigable work ethic. His is one of the most recognizable voices in all of music with the ability to change from sweet balladeer to snarly rocker. When The Beatles broke up, he simply started Wings and piled up 14 more Top Ten singles.
Many fans believe the problem lies in his lyrics. You see, Mr. McCartney is an incurable optimist. After all, this is the guy who brought us “Silly Love Songs”. He benefits from collaboration, but only if the collaborator has the ability to stand up to him. This was first proven with his historic partnership with John Lennon. A true “opposites attract” story.
In childhood, Paul learned old Tin Pan Alley piano standards in the parlor as played on the piano by his Dad. His family life was, for the most part, one of innocence, family and encouragement. He was a polite boy who did well in school and even had the respect of his teachers. He was already adept at guitar and piano by the time he met Lennon. When the Beatles’ original bass player left, he picked it up and became what many people feel is the most influential bass player in rock. Since then, he has mastered many other instruments and still spits out melodies on command.
John, on the other hand, was raised by his Aunt Mimi in a deal made with his Mother. It was agreed that Julia, Mimi’s sister and John’s mother, was not prepared to raise the boy. And he was a handful. He had little respect for authority and made every effort to skate by on his wit and sense of humor rather than work ethic. He spent many hours locked away in his bedroom reading. He was particularly fascinated by such Lewis Carol works as Jabberwocky and Alice In Wonderland because of their unconventional wordplay.
As early writing partners, Paul and John would sit together working on lyrics. The common theme of the day for most pop songs was love. That fit Paul just fine. Fortunately for us, just as his lyrics would begin to get too cute, John would force a twist, oftentimes an off-color slang term or inside joke that would take the song to a different level. The bridge in “Penny Lane” comes to mind: “Penny Lane is in my ears and in my eyes / A four of fish and finger pies / In summer meanwhile back.” They were surprised that song made it past the BBC censors.
Throughout their fourteen year partnership, whenever Lennon thought McCartney’s lyrics or song concepts were too pedestrian, trite or sugary, he made it clear to him in no uncertain terms and cared not about sparing feelings.
Fast forward to 1989, nine years after Lennon’s death, and Paul McCartney is in a funk.
Enter Declan MacManus aka Elvis Costello.
McCartney tapped the New Wave / Punk Rock star with the caustic wit and ballsy style to help put an edge to his compositions. It was a match many fans had hoped for. Although Costello was twelve years McCartney’s junior, he had earned his stripes as a star with a huge following of his own. They were both Englishmen of Irish descent and in him, he hoped he had found someone who would not be star struck, someone who would speak his mind as a true collaborator. Perhaps a new writing partner.
Paul McCartney: “She Makes Me Go So Wrong”
Elvis Costello: “Yeah You Kept Me Awake You Know You Did”
-“You Want Her Too” – Flowers In The Dirt, 1989
McCartney had spent the last nineteen years trying to separate himself musically from The Beatles. When he toured with Wings, he deliberately limited his set lists to just a few Beatles songs, preferring instead to focus on new material and at times, even covers of other artists. He even put his iconic Hofner violin bass in the closet so he could avoid being an oldies act.
One of the first things Elvis Costello did was to convince McCartney to bring out the old bass and to embrace his “Beatleness.” After working on a few of each of their unfinished songs to cut the ice, they set about writing new songs for Paul’s new album Flowers in the Dirt.
“My Brave Face” the lead cut, is the most Beatle-like of the collection. When McCartney was asked about the collaboration, he said that if a part sounds like Beatles, it was probably written by Elvis, and if it sounds like Elvis, it was likely written by Paul. The song is infectious, memorable with a driving classic McCartney bass line, familiar guitar hooks and very recognizable harmonies. Even the last note is an early Beatles “Ooooo”. It is musically buoyant and happy, but just as the lyrics become classic “Happy and in love Paul,” one can spot Elvis’ darker side as in the bridge: “Now that I’m alone again / I can’t stop breaking down again / The simplest things set me off again / Take me to that place / Where I can’t find my brave face.” The song peaked in the US at #25 and was McCartney’s last Top 40 hit until his latest and least expected collaboration. He recently co-wrote and played on the latest Kanye West single “Only One”. His first Top 40 song since “My Brave Face.”
So what did Elvis Costello get out of all this? The team co-wrote Costello’s hit song “Veronica” from his Spike album. That song peaked in the US at #19 and was Costello’s highest charting single on the US charts before or since.
The duo went on to write about nine songs together, four of which appeared on Flowers in the Dirt. Two more appear on McCartney’s follow up album Off The Ground and another two on Costello’s Spike.
Paul McCartney: My intentions are quite sincere
Elvis Costello: (That’s not what you said the other night)
Paul McCartney: And all you can do is sneer
Elvis Costello: (So go ahead and kid yourself you’re right)
-“You Want Her Too” – Flowers In The Dirt, 1989
