In the 80s, Chelyabinsk musicians invented unusual guitar which Paul McCartney called " tool XXI century”, and later became its co-author. However, let's go in order.
Once Chelyabinsk musician Anatoly Olshansky, for fun, decided to build a twelve-string guitar, where each nylon was followed by metal string. When Anatoly showed his creation to his friends on one of the "kvartirniks", everyone was stunned. Impressed by the sound quality.
As a result, Olshansky and his South Ural friend Vladimir Ustinov, having given the guitar the name “gran”, began to “promote” the instrument to the masses. WITH " clean slate“It turned out to be not easy. And they decided to take a chance: having learned that soon their longtime idol Paul McCartney had a concert scheduled in Los Angeles, they went to the USA to show him their invention. Further, everything developed in the best traditions of the genre: Chelyabinsk residents, who, of course, had no money at all, ate whatever they could, slept in parks, and a pitiful American bought them a concert ticket.
When they tried to get backstage, of course, they were detained by security, but the cunning Chelyabinsk men managed to convince the security guard that McCartney himself had called them. Paul left the dressing room
reluctantly, but hearing the unusual sound of the gran guitar, he was impressed and asked to make him exactly the same - only under left hand.
Chelyabinsk residents returned to their homeland and for about a year, together with the best craftsmen, "created" a guitar for the legendary musician. In parallel, Olshansky corresponded with the ex-Beatle, discussing how the instrument could be improved. When everything was ready, McCartney sent a private jet for the guitar.
And in the next letter, he called her "an instrument of the 21st century" and at the same time was very lamented that he did not yet have the right to perform with her on stage, since he had a long-term contract with one of the firms. In the meantime, he can only play the gran guitar during house parties. By the way, some time later the Chelyabinsk instrument received an official international patent. As inventors, the names appear there: Ustinov, Olshansky and ... McCartney.
Gran guitars are still made only by hand and by special orders. The tool has been widely accepted by the best guitarists planet and is popular all over the world. IN this moment, special GRAND centers are located in Moscow, Prague and Vienna.
Additional interesting things: 1) “Grand” is translated as “Russian, acoustic, new guitar” 2) When the issue of issuing a patent for an invention was decided, it turned out that the well-known violin maker Antonio Stradivari at one time suggested that familiar guitar makers experiment and combine strings from different materials, but was politely sent with the wording: "it's none of your business, violinist" 3) The creator of the grand guitar Anatoly Olshansky married the daughter of an Indian maharaja. They met when she came to study at the GRAND center. 4) Vladimir Ustinov died in 2002 from a heart attack.
"Interesting" about Southern Urals published in the community
It is known that Paul McCartney started with the Beatles as a guitarist, switching to bass after Stu Sutcliffe left the band. Since then, he has periodically returned to the guitar to record certain parts on the albums of the Beatles, and then in his solo works. An interview given by him to Guitar Player magazine in 1990 reveals precisely the guitar side of his multifaceted talent. Paul talks about his guitar habits and passions, and his guitar tech talks about McCartney's guitars. Also, Paul does not bypass his main instrument - bass.
This whole view is sustained in the context of McCartney's then-new albums "Flowers in the Dirt" and "Back in the U.S.S.R." (the latter was released specifically for our country at the height of "perestroika"), as well as the musician's first world tour since 1976 with his new group, which included McCartney himself (bass, vocals, guitar, piano), his wife Linda (keyboards and backing vocals), Chris Witten (drums), Hamish Stewart (guitar, bass, piano, backing vocals), Robbie McIntosh ( guitar, vocals) and Paul Wickens (keyboards).
While it's obvious that you didn't forget the guitar while playing with the Beatles, did you ever feel like you were hopelessly obsessed with being the bass player?
It's even funny. I'm getting in trouble for a book written about us because the author obviously doesn't like me. It's okay, but he made up a whole story about me wanting to play bass so much that he did the whole thing with Stu Sutcliffe, our first bassist. It's like I planned this whole story to be the bass player for the Beatles. I remember when this book came out, I called George and asked him: "Do you remember that I really tried to push Stu out of the band and become a bassist at all costs?" And he said, "No, they just put it on you. No one else wanted to do it." I said, "I remember that too." And it's true: we all wanted to be guitarists.
What are your favorite guitar parts that you played in the Beatles?
I like "Taxman" for the way it turned out. I was very impressed with Hendrix. And that was my first experience with feedback. I had a friend in London, none other than John Mayel of the Bluesbreakers, who played me a bunch of records in the evenings. Yes, he was something like a DJ. You came to his house, he sat you down, poured you a drink and said: "Come on, listen to this." He would walk to his deck and then play B.B. King, Eric Clapton records for hours. In this way, he kind of showed me where Clapton's style came from. It was like an evening lecture. After that, I fell in love and bought myself an Epiphone. Now I could run it through my Vox amplifier and get great feedback - even a little bit. earlier how interested George was. I don't think he was too into it. George was generally more restrained in his guitar style. He wasn't into strong feedback.
And even Hendrix and those John Mayel records didn't make you quit bass and take up guitar again?
By by and large No. I always felt that I was in the right place on bass, because we needed a bass player. At first, I really thought: "Well, that's it, the end of my plans as a guitarist." But then I got into the bass as a solo instrument. I think by the time of Sgt. Pepper and things from it like "With a Little Help from my Friends", "Lucy in the Sky with Diamonds" - a lot of decent bass lines have already been played. Like the Motown production, or the Brian Wilson part of the Beach Boys. On Taxman, I just picked up a guitar in the studio and started experimenting with feedback, and then I said to George, "Maybe you could play something like this?" I don't remember exactly how it came about that I had to play, but maybe it was one of those times when someone said: "Why don't you play yourself?"
Instead of wasting time showing someone else how to play it?
Instead of wasting time getting the idea across to someone else. And I don't think it hurt George in any way. But when they say to him: "Cool solo in Taxman!" I don't think he likes to say: "Well, it was actually Paul who played it." Although I don't often do this - just a couple of times. I also love my acoustic part on "Blackbird", it's one of my favorites.
What was your reaction to the emergence towards the end of the 60s of a new generation of "lead" bass players, such as Jack Bruce, John Entwistle?
It was very interesting. It depends for me who you're talking about and what record, but often I found their playing too fancy. Often I thought it was not a bass, but a lead guitar, and I don't think the bass has the right sound for a solo. It's like speed traders. I never was. I remember one time I read about some bass player who was called the fastest in the world. And I thought, "So what?" You know, we had a guy in Britain - I think he still is - named Bert Weedon, who was on children's TV shows. There he would say, "Now I'm going to play 1,000 notes a minute," and then he'd start playing one string of "taratatararara," up and down, really fast. It was funny. It's one thing to play fast, but that won't last long. I prefer to be melodic. I'd rather have content than speed.
What modern bassists or maybe guitarists do you like?
Stanley Clark, for example. We only really saw each other once and had a great time in Montserrat. He played on several tracks. I confessed to him: "Listen, I'm stealing your phrases!" And he said, "Well, you have your own." So we laughed a little. I decided not to steal phrases from him anymore. He's right: he has his style, I have mine. He's a great guy. I like Eddie Van Halen as a performer. He often hits the mark. I like a lot of heavy metal guitarists because they turn me on. What I usually like about heavy metal bands is the guitarists. But when they start playing tons of scales, I lose interest. I also like David Gilmour. I think Clapton is very good, especially today. But I still think Hendrix is the best.
Have you ever doubted your game?
Certainly. Often. Maybe every time I do bass line. I have personal doubts because I think, "Oh my god. I've made so many records. How do I make it sound fresh?" But, if you're lucky, you'll find some small thing, like in "Rain" - these notes are at the top. And you say: "Oh, I found it!" And the rest of the party goes smoothly because you already have something special. "Paperback Writer" - there's some in there too, or for example passages I found for "With a Little Help from My Friends."
Do you usually play the guitar with your fingers or with a pick?
Usually mediator. John learned proper folk fingering from Donovan or one of his friends - 1st string, 3rd string, etc. I have managed to play in my own way, for example in "Blackbird" I seem to be constantly pulling two strings. In general, it is more like a finger style. I tried to play like folk guitarists. John was the only one who truly mastered this style of play. If you listen to "Julia" he plays it in the right finger way. I've always been proud of that for him. I think he had a friend who showed him how to play, and "Julia" made a great part. I wouldn't be able to study like that. That is, I learn easily, but on my own. I never took lessons - not guitar, not bass, not composition, not horse riding or even drawing, which I sometimes do. I always take the bull by the horns, and by the time of the first lesson I already know him. I've always honestly tried to take music lessons for someone to teach me musical notation but I still don't know her.
Well, you're doing so well.
Well, you have to think (laughs). I tried to master it as a child, but it didn’t seem fun to me, more like hard work. When I was 16, I tried piano lessons. Imagine how tormented I was with these exercises for each hand - and I had already written "When I\"m 64", well, at least the melody for it. Well, I only learned to take small chords and play a modest bass line, and then And so with everything - whether it's a finger style or something else.
Now you seem to pay much more attention to the guitar, take at least the album you made exclusively for the USSR. Do you feel like you can go out and play a rock and roll program freely?
The wonderful thing is that today you can see children playing imaginary guitars. I look at them and think, "Oh, I know what you're doing!" That's the beauty of the guitar - even without having one, kids can play it and have fun. And, if children play fictional guitars, then I think I can be like them, playing a real one, not worrying about my playing, but just playing. That is my attitude. I know what I want to hear. I try to keep it simple because I'm not the world's fastest guitarist or anything like that. Like I said, I've never played scales in my life, so I can't portray these passages in a heavy metal way. I think these guys just practiced a lot and learned how to play scales. Listening to the game of some of them is simply boring - scales without end. I guess I just like the sound of the guitar in heavy metal because it turns me on.
You started using bass fuzz early. Was it like an alternative to playing the guitar?
I like fuzz with bass. Yes, it helps you to be more lyrical, because it gives the notes sustain, makes them stretch. It changed a lot.
And with the Rickenbecker bass you don't seem to use fuzz?
The fact is that modern fuses are not as good as the old ones. Technology has changed. With the Beatles, we used a lot of primitive things - prehistoric apparatuses. One of my thoughts about today's sound is that the old machines were "fucking". Not sure if this word is in the dictionary. But they were easier to damage. It was even possible to overload the console, and today they are made such that no matter what idiot sits down for them, they will not be overloaded. Most of the equipment we used could surprise you in some way. We did a great trick with acoustic guitars, like on "Ob La Di, Ob La Da." There I played acoustic an octave above the bass line. It produced a great sound - like when two voices sing in an octave - and it boosted the bass line. We recorded acoustic guitars at the "red" level. The sound engineer said: "It will be terrible!" And we answered: "Well, let's try." We heard this sound being made by mistake and we said, "Sounds great! What's going on?" We were told: "It's because the record is at the red level." And we specially recorded in red. And these old tables overloaded just as much as needed, and gave compression. So, instead of (mimics the "Ob La Di" staccato riff) ta…tu-tu-tu, everything was floating. So modern fuzz doesn't sound as crazy as the old ones. It reproduces everything cleaner, and I'm not a fan of this. I really love blues records, where there is not a single clean moment.
With Hamish on bass, I was able to get back to guitar, back to my lifelong dream. And Linda really likes the way I play the guitar, while I have doubts about my playing. I think there are real guitarists and there are people like me who love to play, but haven't played in twenty years. But what's good about it is that since I haven't played in 20 years, I haven't run out of ideas. Moreover, I didn't even realize half of my guitar ideas. And this tour gives me such an opportunity to open up, thanks to Hamish. I even play a few solos and I'm getting more and more used to the electric guitar - because I love playing it. I think I really feel it well, but I don't have the experience of playing 20 years in a row.
Your guitar sounds good...
Yes, it's possible. And I suddenly remember: "My God, I started out as a guitarist!" I've been playing for longer than many others, and I should be able to do it. And the great thing is that for a few songs I can get rid of the bassist mentality.
Why did you choose for this tour Les Paul and not, say, a Stratocaster?
I have and Strat, in fact, I have big collection guitars. I've tried a couple of others. But since this is the first time I long years playing guitar on stage, I wanted a great and at the same time reliable instrument. And the Les Paul is just such a guitar. I know that you can get a lot of sound options on others, but I didn't need it. All I need is "chick, chick, chick" - three timbres. And even of these, I used only two - playing only on the rear or only on the front sensor. I used the front one less, including distortion with it, and then I got a cool sound like the Isley Brothers. I think the front pickup gives more sustain and I really like that.
Does it happen that you are fiddling with an amplifier at home, trying to make some kind of sound?
I do it mostly in the studio, which is almost like home to me. Sometimes I'm just fooling around, sometimes I can work on the guitar sound. I can easily set up a good clean guitar sound. I like experimenting with overdriven sound. I have one of those old Vox AC30s that Jeff Beck once called "old Beatle bullshit". Yes, once I asked him if he uses them, and he said: "What? That old Beatle stuff?" Then he realized what he said (laughs). But I like their sound. I like the punchy, slightly overdriven sound. I am generally not a supporter of pure rock and roll, and in terms of sound too. It's kind of funny because I think I have a reputation for being a pretty clean rock 'n' roll guy.
If you want a clean sound, you can always switch to acoustic...
Or (in a whisper), you can turn the volume down. Most The best way get clear sound. But it's not cool. So yes, I sometimes experiment with nothing to do, including with lotions.
Are you sometimes in a fever to buy some equipment?
Happens. So I bought my first Epiphone when, after listening to B.B. King, Eric Clapton, Jimi Hendrix, I wanted a guitar that would wind up. I went to the store and they told me: "This Epiphone will do, because it is semi-acoustic." And they were right. It starts up easily and that's the only reason I don't use it on stage. It's great for the studio. Gotta stand in right place so it doesn't wind up - that's what we always did in the studio. Today's guitars are not like that.
Is this guitar for right-handers?
Yes, but I play the other way - they changed the threshold on it.
Are you constantly touching the switches with your hand?
Yes, but what can you do. It wasn't until much later in my career that I could afford the luxury of having the guitars tune to me. So, I'm already used to playing backwards.
How did you collect your current group?
It all started while working on Flowers in the Dirt. I wanted to play live, and the easiest way to do that was to have a jam once a week. Just invite people and see who will come. At first it was assumed that everyone who wanted to come came. But it was very disorganized - one time there might not be anyone, and the next week fifty people came. Therefore, we began to invite musicians to Friday night, and each new composition. Usually, when I'm jamming, I'm just going through the old rock and roll numbers that I know - like "Lucille," "Matchbox," "Lawdy Miss Clawdy," "Bring it on Home" and similar standards. Of the drummers on these jams, Chris stood out - he was not too fixated on any one style.
And then what?
(Laughs) Well, if your magazine is talking about drummers, then I will say that sometimes there are those who are absolutely obsessed with their style, and they even say: "I can't play this way." So you need a more versatile drummer. And Chris is still young enough not to be obsessed, and a good enough drummer to be able to keep a clear pace. Young guys usually have problems with shuffle - they are not from those times. With Ringo, for example, the shuffle is brought to automatism, this is part of his style. And since I also play drums a bit, I know how hard it is to play a shuffle to be very loose. Of course, Chris was terribly nervous, and it was the worst day of his life. But he still played great, and we called him again, and so he became a regular. I decided to record some of those jams because they worked well and we kind of built a repertoire. The result was an album released exclusively for Russia.
Was that your original plan to release an album at this stage?
At first it was supposed to be just jams. The next step was, "Listen, sounds good, should be recorded." So, we gathered at my studio for two days, and on the first day we made eighteen (!) songs. It was simply unheard of, I'm sure that hardly anyone else would dare to do this. But it was fun. We recorded a lot of material, and some of it sounded very decent - we were surprised by ourselves. So we worked both days. On the second day there was a different line-up, and again we spent only five minutes on each song. As a result, we had quite a decent set of rock and roll. And I said, "Look, I still wouldn't want to release this as my next album."
He would not show you from all sides, you are a composer ...
Well, for me it wasn't even that. Everything looked unfinished, just some jams, home recordings from nothing to do. But then people started saying, "Listen, it sounds fresh and spontaneous." We wanted to make it look like the Russians had bootlegged in London - bootleg these records and say, "Look! Here's a Russian bootleg of McCartney's unknown records!" But then the record label and my manager said, "You can't do that with your position," and all that. Then I said to them (with fake contempt): "I hate you, the townsfolk! You are so predictable!" I was really very upset by this. I thought it was a brilliant idea, and a bold one! What I liked about it was the element of risk, the electrification!
But then my manager, who was also upset, said something had to be done about it. So we decided to release it exclusively in Russia, and not in any other place. This has never happened before - it's all "glasnost" (pronounced). And it was the first disc that became gold in Russia. Then it was actually time to continue working on my studio album, Flowers in the Dirt, and I needed a singing guitarist. Somehow we knew that Hamish was relatively free and that he could be persuaded to work with us.
And how difficult was it to convince him?
Well, we had to hit him on the knee (laughs). He came and we sat in the studio for a day, recorded one track, just to see how he works in a spontaneous environment, instead of listening to him. I think it's pretty ridiculous to have an audition if we are talking about a fully formed musician with a lot of experience behind him. You can't "listen" to him, it's humiliating. So we made a song, and I really liked how Hamish sang along with me everywhere. He really listened to my part, and our voices blended well. He also played the guitar decently, and I noticed that he can play bass pretty well too. If I was going to play guitar on this tour, then I needed someone to take over the bass, so Hamish was accepted. He, Chris and I formed the backbone of the band on the album.
Then Linda was added to sing along. Her voice, mine and Hamish's sounded good together. In the past, I have heard a lot of attacks like: "She didn't study anywhere, how can she be in a group?" To which I replied: "Listen, name me any decent team, and hardly any of them are educated." I prefer this approach. A couple of times I tried to get "serious" session vocalists, but they were so professional that I didn't like it. Everything seemed to be correct, but, how should I say it, I did not like the noise that they made.
Then we started looking for a main guitarist. And I'm very picky about guitarists - I've heard too many to be easily convinced. I saw Jimi Hendrix when he performed in London and was a huge fan. He is still my favorite guitarist to this day, simply because of his playing and approach to the guitar. I mean, I like it when there is an approach, but it's useless if you don't know how to play. In fact, some aspects of his approach, such as playing with his teeth, Jimi did not want to do at all. It was just a show, and he quickly got fed up with it, because he was a real serious guitarist. He was great with sound. He was the first to really wind up the guitar and get a lot of feedback. I got to see him for the first time in London and then followed him all over London as a fan. It's a very small area, they called me and said: "Jimi is playing there," and that evening I was there.
One of my fondest memories is that "Sergeant Pepper" came out on a Friday night and on Sunday night Jimi performed at the Savile Theater run by Brian Epstein. There was never any show on a Sunday night and Brian started inviting people like Chuck Berry and Fats Domino and we could go to a little special box where no one bothered us and watch all these great performers. Jimi took the stage that night and started by singing Sgt. Pepper\"s, which only came out the Friday before. It was an unforgettable moment. Since then, I've seen other guys like Clapton, who I admire, and David Gilmour. And they have what I call a "real guitarist ". They hold the instrument right and play it right. They have the right attitude to the guitar and each of them has something individual that they bring to their playing. In the process of jamming, I think I was a little disappointed, because I didn't hear a guitarist who would blow me away, although there were some very decent ones among them.Johnny Mar appeared, and we played well, but I was looking for someone in the spirit of Hendrix, while Mar was more of a rhythm guitarist, than solo, though they were all great.
Eventually Robbie came to one of the sessions to record the overdubs, and Chrissie Hind, who he had worked with before in The Pretenders, told Linda, "Robbie is what you guys need. He's a Beatles freak." Robbie really knows all our repertoire, I even think better than me. He is one of those who knows all the solos by heart. He learned them when he was a teenager - he is so much younger than me. Robbie impressed me, and we decided to leave him.
And finally, we were joined by Wicks (Paul Wickens), a session musician and producer, as well as a keyboard specialist, a friend of Robbie's. We decided we needed a sample expert if we weren't going to tour with brass or string group. So Wicks joined us more as a computer/keyboard specialist and Linda was happy to take a place on second keyboards. She likes more simple music. For example, she is not a fan of jazz, and also solo, because there are a million notes in it. Although, she, like me, is a big fan of Hendrix. She listens to the sound. She wants to sound good, and I'm doing my best for her. I think it's right. You can play nothing at all and still sound amazing.
Did you rehearse the material with your band before recording it?
No, it was like a regular studio album with guest musicians. We hardly played it live in the studio, except for the rhythm section parts. But back then we didn't have full group- it was just me, Hamish and Chris. Then we overdubbed Linda's vocals, and then Robbie and Wicks joined in with their overdubs of rhythm and solo parts. So, we did not make the album as a single group. So I'm waiting for us to start recording the next one. studio album with this band so that we could compose the material and then rehearse it like at sound checks.
This is your first permanent group after Wings disbanded in 1976...
In terms of composition, yes. somehow Brian May said that "you only get to be in a great band once in your life." I understand what he meant, but I was really lucky - the '76 line-up with Jimmy McCulloch was fantastic. And I really like today's composition musical possibilities. With him, we can go anywhere, and that's interesting and even a little puzzling, because if you can go anywhere, where would you go? It's like going on vacation: if you can afford to go anywhere, it's hard to choose. But that doesn't bother me too much, since I have a pretty good idea of the direction of our next album, so I'll give it a try and see what happens.
Are you happy that you have a musician in your band who can pick up bass if you want to play guitar?
Certainly. In this one of attractive features Hamish. He is fond of the bass guitar - and not as a side instrument, but quite seriously. I started on acoustic guitar, then played guitar during our Hamburg period. But after I switched to bass, I rarely returned to it - only for a rare solo, as in the songs "Taxman", "Tomorrow Never Knows", "Paperback Writer," in which I play the riff. Well, also the acoustic numbers "Yesterday" and "Blackbird."
On the song "Get It" from the Tug of War album you play with Carl Perkins. How did it happen?
Well, I called him, he was playing clubs in the States at that time. We met him in early period The Beatles, and he's been a friend of ours ever since, kind of like a guy. I am in awe of Karl, he is just great. I'll tell you a story about him, I think he wouldn't mind. We were recording on the island of Montserrat, and a musician friend of ours was just passing by, circumnavigating the world on his yacht - probably dodging taxes (laughs), and came into the harbor to see us. He invited Karl and me to his magnificent yacht. Carl was so excited about the reception - the buffet, champagne and the like - that he came up to me and said, "Paul, where I come from, it's called 'shit in the cotton bush'. It's one of my favorite expressions. Then we recorded "Get It" At the end of the song you can hear us laughing at this very joke, the joke had to be cut because otherwise the song wouldn't get on the radio.
Do you both play guitars on this song?
Yes, I played a little and Carl played the rhythm part. The most fun was in free minutes. We sat on the floor of the studio and chatted with the microphone on. I told him about how we loved his songs like "Lend me Your Comb" and "Your True Love" and even played the second one. Then we sang with him. When we stopped, he would say things like, “You know, Paul, I played this…” and show me different finger-style tricks.
In the early days of the Beatles, you played "Matchbox" and other Perkins stuff. Did you feel proud to meet someone who was a legend for you?
Undoubtedly. All those who were legends for us in the period of our formation have remained so. I didn't grow out of it. Carl to me is still the one who wrote "Blue Suede Shoes" and he can't do anything wrong. Although Elvis surpassed the original Carl with his version, Carl wrote this thing. This is real magic. We really loved these early records - so simple and primitive, but with so much soul. Carl spoke very touching stories about a certain black gentleman (John Westbrook) who taught him how to play and spoke of him with great respect. It was very pleasant to listen to. He said, "You know, Paul, I used to work in a cotton picker, and during breaks we sat down with this old gentleman, and he showed me different phrases." I was very moved by his stories. After all, we grew up in cities, and did not know anything about this. Karl is still my idol.
My other idol was Little Richard. And again, the magic did not disappear after we met him. It's always fun with him. Whenever he does an interview, he always looks at the camera and says: "You know, Paul, it was you who learned this woo from me!" And indeed it is! He talks like I don't want to admit it. But I'm happy to admit it! Moreover, my first performance took place at school at the end school year when on the very last day everyone comes off. I remember the teachers were busy doing their own thing and I climbed onto the desk in the class of our history teacher Mr. Edge, whom we loved because he wasn't as strict as the others. And so I stood on the table - it looked like a scene from some old rock and roll movie - and sang, clapping to the beat, "Tutti Frutti", imitating Little Richard, and my classmates stood around me and sang along.
I still owe a lot to Little Richard and all those guys just because they set us on fire. This is impossible to forget. And it especially sinks into the soul when you are young. Things like "That\"ll Be the Day", "Heartbreak Hotel", "What\"d I Say?" and others are already a part of me.
And you can't part with them?
And I never would. I'm very proud of the fact that the stigma of rock and roll has been put on my soul.
Jon Hummel talks about Paul's guitars
John Hammel has been working with Paul for the past 15 years and is now taking us backstage to see Paul's instruments.
"Paul's main live guitar is a 1960 Cherry Sunburst Gibson Les Paul previously owned by Cheap Trick's Rick Nielsen. Paul loves it. The great thing about it is that it has a type of neck that was discontinued when Les was released. SG type floors.It feels great in the hands.As a spare electric guitar, Paul has a \"57 Les Paul GoldTop for lefties. This is a rare specimen. We took it from a special store for left-handed guitarists.
"Basic acoustic guitar Paula is a black Alvarez that Carl Perkins found for him. She has a neck for the right hand, and the points on it are on the opposite side. Someone from Alvarez found out that Paul was playing their guitar and they made him two more for this tour, with dots on the right side. One of them is tuned down a tone for "Yesterday". It does not have a sound hole, but only a pickup built into the bridge. There are tone controls - high, medium and low frequencies, as well as master volume. It can be turned out to the full, and there will be no feedback. So, for the concert work, my prayers were answered.
"Paul doesn't like playing thick strings.
On a Les Paul, he has Ernie Ball strings in .009 - .042 gauge.
Alvarez wears bronze Ernie Ball Earthwood .010 - 054.
"Other guitars we carry with us are Paul's old D-28 Martin as a spare, and the 1964 Epiphone Casino that Paul recorded "Taxman" on. It's right-handed, with a Bigsby typewriter. Of course, it's been remade for the left hand We also had to redo the bridge to get the intonation right.
"For the guitars, we use two Mesa/Boogie Studio preamps connected to a Mesa/Boogie Strategy 295 amp and then into two 4x12 cabinets. Side A is for electric guitar, side B is for acoustic. Pete Cornish is used to turn the preamps and distortion on/off. Paul has one panel with his pedals and I have the other behind the stage.My switch has a mute button, so when Paul comes on stage or changes guitars, I mute the signal.Then there is a switch between bass and guitar, and also for the Mesa/Boogie preamp.There is also a T.C. Electronic 1210 Spatial Expander/Stereo Chorus that we only use with electric guitars."
For 1989's Flowers in the Dirt, McCartney used a range of instruments, including his old friend the Hofner violin bass, as well as a new five-string Wal.
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It's not unfamiliar that Paul McCartney started out as a guitarist with the Beatles, switching to bass after Stu Sutcliffe left the band. Since then, he has periodically returned to the guitar to record certain parts on the albums of the Beatles, and then in his solo works. An interview given by him to Guitar Player magazine in 1990 reveals precisely the guitar side of his multifaceted talent. Paul talks about his guitar habits and passions, and his guitar tech talks about McCartney's guitars. Also, Paul does not bypass his main instrument - bass.
This whole view is sustained in the context of McCartney's then-new albums "Flowers in the Dirt" and "Back in the U.S.S.R." (the latter was released specifically for our country at the height of "perestroika"), as well as the musician's first world tour since 1976 with his new group, which included McCartney himself (bass, vocals, guitar, piano), his wife Linda (keyboards and backing vocals), Chris Witten (drums), Hamish Stewart (guitar, bass, piano, backing vocals), Robbie McIntosh (guitar, vocals) and Paul Wickens (keyboards).
Question: While it's obvious that you didn't forget the guitar while playing with the Beatles, did you ever feel like you were hopelessly obsessed with being the bass player?
Paul McCartney: It's even funny. I'm getting in trouble for a book written about us because the author obviously doesn't like me. It's okay, but he made up a whole story about me wanting to play bass so much that he did the whole thing with Stu Sutcliffe, our first bassist. It's like I planned this whole story to be the bass player for the Beatles. I remember when this book came out, I called George and asked him: "Do you remember that I really tried to push Stu out of the band and become a bassist at all costs?" And he said, "No, they just put it on you. No one else wanted to do it." I said, "I remember that too." And it's true: we all wanted to be guitarists.
Question: What are your favorite guitar parts that you played with the Beatles?
Paul McCartney: I like "Taxman" for the way it turned out. I was under strong impression from Hendrix. And that was my first experience with feedback. I had a friend in London, none other than John Mayel of the Bluesbreakers, who played me a bunch of records in the evenings. Yes, he was something like a DJ. You came to his house, he sat you down, poured you a drink and said: "Come on, listen to this." He would walk to his deck and then play B.B. King, Eric Clapton records for hours. In this way, he kind of showed me where Clapton's style came from. It was like an evening lecture. After that, I fell in love and bought myself an Epiphone. Now I could run it through my Vox amplifier and get great feedback - even a little before George was interested in it. I don't think he was too into it. George was generally more restrained in his guitar style. He wasn't into strong feedback.
Question: And even Hendrix and those John Mayel records didn't make you quit bass and take up guitar again?
Paul McCartney: By and large, no. I always felt that I was in the right place on bass, because we needed a bass player. At first, I really thought: "Well, that's it, the end of my plans as a guitarist." But then I got into the bass as a solo instrument. I think by the time of Sgt. Pepper and stuff like "With a Little Help from my Friends", "Lucy in the Sky with Diamonds" - a lot of decent bass lines have already been played. Like the Motown production, or the Brian Wilson part of the Beach Boys. On Taxman, I just picked up a guitar in the studio and started experimenting with feedback, and then I said to George, "Maybe you could play something like this?" I don't remember exactly how it came about that I had to play, but maybe it was one of those times when someone said: "Why don't you play yourself?"
Question: Instead of wasting time showing someone else how to play it?
Paul McCartney: Instead of wasting time getting the idea across to someone else. And I don't think it hurt George in any way. But when they say to him: "Cool solo in Taxman!" I don't think he likes to say: "Well, it was actually Paul who played it." Although I don't often do this - just a couple of times. I also love my acoustic part on "Blackbird", it's one of my favorites.
Question: What was your reaction to the emergence towards the end of the 60s of a new generation of "lead" bass players, such as Jack Bruce, John Entwistle?
Paul McCartney: It was very interesting. It depends for me who you're talking about and what record, but often I found their playing too fancy. Often I thought it was not a bass, but a lead guitar, and I don't think the bass has the right sound for a solo. It's like speed traders. I never was. I remember one time I read about some bass player who was called the fastest in the world. And I thought, "So what?" You know, we had a guy in Britain - I think he still is - named Bert Weedon, who was on children's TV shows. There he would say, "Now I'm going to play 1,000 notes a minute," and then he'd start playing one string of "taratatararara," up and down, really fast. It was funny. It's one thing to play fast, but that won't last long. I prefer to be melodic. I'd rather have content than speed.
Question: What modern bassists or maybe guitarists do you like?
Paul McCartney: Stanley Clark, for example. We only really saw each other once and had a great time in Montserrat. He played on several tracks. I confessed to him: "Listen, I'm stealing your phrases!" And he said, "Well, you have your own." So we laughed a little. I decided not to steal phrases from him anymore. He's right: he has his style, I have mine. He's a great guy. I like Eddie Van Halen as a performer. He often hits the mark. I like a lot of heavy metal guitarists because they turn me on. What I usually like about heavy metal bands is the guitarists. But when they start playing tons of scales, I lose interest. I also like David Gilmour. I think Clapton is very good, especially today. But I still think Hendrix is the best.
Question: Have you ever doubted your game?
Paul McCartney: Certainly. Often. Maybe every time I do a bass line. I have personal doubts because I think, "Oh my god. I've made so many records. How do I make it sound fresh?" But, if you're lucky, you'll find some small thing, like in "Rain" - these notes are at the top. And you say: "Oh, I found it!" And the rest of the party goes smoothly because you already have something special. "Paperback Writer" - there's some in there too, or for example passages I found for "With a Little Help from My Friends."
Question: Do you usually play the guitar with your fingers or with a pick?
Paul McCartney: Usually mediator. John learned proper folk fingering from Donovan or one of his friends - 1st string, 3rd string, etc. I have managed to play in my own way, for example in "Blackbird" I seem to be constantly pulling two strings. In general, it is more like a finger style. I tried to play like folk guitarists. John was the only one who truly mastered this style of play. If you listen to "Julia" he plays it in the right finger way. I've always been proud of that for him. I think he had a friend who showed him how to play, and "Julia" made a great part. I wouldn't be able to study like that. That is, I learn easily, but on my own. I never took lessons - not guitar, not bass, not composition, not horse riding or even drawing, which I sometimes do. I always take the bull by the horns, and by the time of the first lesson I already know him. I always honestly tried to take music lessons so that someone could teach me how to read music, but I still don't know it.
Question: Well, you're doing so well.
Paul McCartney: Well, you have to think (laughs). I tried to master it as a child, but it didn’t seem fun to me, more like hard work. When I was 16, I tried piano lessons. Imagine how tormented I was by these exercises for each hand - and then I already wrote "When I" m 64 ", well, at least the melody for it. Well, I only learned to take small chords and play a modest bass part, and then not And so with everything - whether it's a finger style or something else.
Question: Now you seem to pay much more attention to the guitar, take at least the album you made exclusively for the USSR. Do you feel like you can go out and play a rock and roll program freely?
Paul McCartney:
The wonderful thing is that today you can see children playing imaginary guitars. I look at them and think, "Oh, I know what you're doing!" That's the beauty of the guitar - even without having one, kids can play it and have fun. And, if children play fictional guitars, then I think I can be like them, playing a real one, not worrying about my playing, but just playing. That is my attitude. I know what I want to hear. I try to keep it simple because I'm not the world's fastest guitarist or anything like that. Like I said, I've never played scales in my life, so I can't portray these passages in a heavy metal way. I think these guys just practiced a lot and learned how to play scales. Listening to the game of some of them is simply boring - scales without end. I guess I just like the sound of the guitar in heavy metal because it turns me on.
Question: You started using bass fuzz early. Was it like an alternative to playing the guitar?
Paul McCartney: I like fuzz with bass. Yes, it helps you to be more lyrical, because it gives the notes sustain, makes them stretch. It changed a lot.
Question: And with the Rickenbecker bass you don't seem to use fuzz?
Paul McCartney:
The fact is that modern fuses are not as good as the old ones. Technology has changed. With the Beatles, we used a lot of primitive things - prehistoric apparatuses. One of my thoughts about modern sound is that the old devices were "fucked". Not sure if this word is in the dictionary. But they were easier to damage. It was even possible to overload the console, and today they are made such that no matter what idiot sits down for them, they will not be overloaded. Most of the equipment we used could surprise you in some way. We did a great trick with acoustic guitars, like on "Ob La Di, Ob La Da." There I played acoustic an octave above the bass line. It produced a great sound - like when two voices sing in an octave - and it boosted the bass line. We recorded acoustic guitars at the "red" level. The sound engineer said: "It will be terrible!" And we answered: "Well, let's try." We heard this sound being made by mistake and we said, "Sounds great! What's going on?" We were told: "It's because the record is at the red level." And we specially recorded in red. And these old tables overloaded just as much as needed, and gave compression. So, instead of (mimics the "Ob La Di" staccato riff) ta…tu-tu-tu, everything was floating. So modern fuzz doesn't sound as crazy as the old ones. It reproduces everything cleaner, and I'm not a fan of this. I really love blues records, where there is not a single clean moment.
With Hamish on bass, I was able to get back to guitar, back to my lifelong dream. And Linda really likes the way I play the guitar, while I have doubts about my playing. I think there are real guitarists and there are people like me who love to play, but haven't played in twenty years. But what's good about it is that since I haven't played in 20 years, I haven't run out of ideas. Moreover, I didn't even realize half of my guitar ideas. And this tour gives me such an opportunity to open up, thanks to Hamish. I even play a few solos and I'm getting more and more used to the electric guitar - because I love playing it. I think I really feel it well, but I don't have the experience of playing 20 years in a row.
Question: Your guitar sounds good...
Paul McCartney: Yes, it's possible. And I suddenly remember: "My God, I started out as a guitarist!" I've been playing for longer than many others, and I should be able to do it. And the great thing is that for a few songs I can get rid of the bassist mentality.
Question: Why did you choose a Les Paul for this tour and not, say, a Stratocaster?
Paul McCartney: I have a Strat too, actually I have a big collection of guitars. I've tried a couple of others. But since I was playing guitar on stage for the first time in many years, I wanted a great and at the same time reliable instrument. And the Les Paul is just such a guitar. I know that you can get a lot of sound options on others, but I didn't need it. All I need is "chick, chick, chick" - three timbres. And even of these, I used only two - playing only on the rear or only on the front sensor. I used the front one less, including distortion with it, and then I got a cool sound like the Isley Brothers. I think the front pickup gives more sustain and I really like that.
Question: Does it happen that you are fiddling with an amplifier at home, trying to make some kind of sound?
Paul McCartney: I do it mostly in the studio, which is almost like home to me. Sometimes I'm just fooling around, sometimes I can work on the guitar sound. I can easily set up a good clean guitar sound. I like experimenting with overdriven sound. I have one of those old Vox AC30s that Jeff Beck once called "old Beatle bullshit". Yes, once I asked him if he uses them, and he said: "What? That old Beatle stuff?" Then he realized what he said (laughs). But I like their sound. I like the punchy, slightly overdriven sound. I am generally not a supporter of pure rock and roll, and in terms of sound too. It's kind of funny because I think I have a reputation for being a pretty clean rock 'n' roll guy.
Question: If you want a clean sound, you can always switch to acoustic...
Paul McCartney: Or (in a whisper), you can turn the volume down. The best way to get clear sound. But it's not cool. So yes, I sometimes experiment with nothing to do, including with lotions.
Question: Are you sometimes in a fever to buy some equipment?
Paul McCartney: Happens. So I bought my first Epiphone when, after listening to B.B. King, Eric Clapton, Jimi Hendrix, I wanted a guitar that would wind up. I went to the store and they told me: "This Epiphone will do, because it is semi-acoustic." And they were right. It starts up easily and that's the only reason I don't use it on stage. It's great for the studio. You have to stand in the right place so that it does not start - we always did this in the studio. Today's guitars are not like that.
Question: Is this guitar for right-handers?
Paul McCartney: Yes, but I play the other way - they changed the threshold on it.
Question: Are you constantly touching the switches with your hand?
Paul McCartney: Yes, but what can you do. It wasn't until much later in my career that I could afford the luxury of having the guitars tune to me. So, I'm already used to playing backwards.
Question: How did you put together your current band?
Paul McCartney: It all started while working on Flowers in the Dirt. I wanted to play live, and the easiest way to do that was to have a jam once a week. Just invite people and see who will come. At first it was assumed that everyone who wanted to come came. But it was very disorganized - one time there might not be anyone, and the next week fifty people came. Therefore, we began to invite musicians to the evening on Friday, and each new line-up. Usually, when I'm jamming, I'm just going through the old rock and roll numbers that I know - like "Lucille," "Matchbox," "Lawdy Miss Clawdy," "Bring it on Home" and similar standards. Of the drummers on these jams, Chris stood out - he was not too fixated on any one style.
Question: And then what?
Paul McCartney: (Laughs) Well, if your magazine is talking about drummers, then I will say that sometimes there are those who are absolutely obsessed with their style, and they even say: "I can't play this way." So you need a more versatile drummer. And Chris is still young enough not to be obsessed, and a good enough drummer to be able to keep a clear pace. Young guys usually have problems with shuffle - they are not from those times. With Ringo, for example, the shuffle is brought to automatism, this is part of his style. And since I also play drums a bit, I know how hard it is to play a shuffle to be very loose. Of course, Chris was terribly nervous, and it was the worst day of his life. But he still played great, and we called him again, and so he became a regular. I decided to record some of those jams because they worked well and we kind of built a repertoire. The result was an album released exclusively for Russia.
Question: Was that your original plan to release an album at this stage?
Paul McCartney: At first it was supposed to be just jams. The next step was, "Listen, sounds good, should be recorded." So, we gathered at my studio for two days, and on the first day we made eighteen (!) songs. It was simply unheard of, I'm sure that hardly anyone else would dare to do this. But it was fun. We recorded a lot of material, and some of it sounded very decent - we were surprised by ourselves. So we worked both days. On the second day there was a different line-up, and again we spent only five minutes on each song. As a result, we had quite a decent set of rock and roll. And I said, "Look, I still wouldn't want to release this as my next album."
Question: He would not show you from all sides, you are a composer ...
Paul McCartney:
Well, for me it wasn't even that. Everything looked unfinished, just some jams, home recordings from nothing to do. But then people started saying, "Listen, it sounds fresh and spontaneous." We wanted to make it look like the Russians had bootlegged in London - bootleg these records and say, "Look! Here's a Russian bootleg of McCartney's unknown records!" But then the record label and my manager said, "You can't do that with your position," and all that. Then I said to them (with fake contempt): "I hate you, the townsfolk! You are so predictable!" I was really very upset by this. I thought it was a brilliant idea, and a bold one! What I liked about it was the element of risk, the electrification!
But then my manager, who was also upset, said something had to be done about it. So we decided to release it exclusively in Russia, and not in any other place. This has never happened before - it's all "glasnost" (pronounced). And it was the first disc that became gold in Russia. Then it was actually time to continue working on my studio album, Flowers in the Dirt, and I needed a singing guitarist. Somehow we knew that Hamish was relatively free and that he could be persuaded to work with us.
Question: And how difficult was it to convince him?
Paul McCartney:
Well, we had to hit him on the knee (laughs). He came and we sat in the studio for a day, recorded one track, just to see how he works in a spontaneous environment, instead of listening to him. I think it's pretty ridiculous to have an audition for a fully formed musician with a lot of experience under his belt. You can't "listen" to him, it's humiliating. So we made a song, and I really liked how Hamish sang along with me everywhere. He really listened to my part, and our voices blended well. He also played the guitar decently, and I noticed that he can play bass pretty well too. If I was going to play guitar on this tour, then I needed someone to take over the bass, so Hamish was accepted. He, Chris and I formed the backbone of the band on the album.
Then Linda was added to sing along. Her voice, mine and Hamish's sounded good together. In the past, I have heard a lot of attacks like: "She didn't study anywhere, how can she be in a group?" To which I replied: "Listen, name me any decent team, and hardly any of them are educated." I prefer this approach. A couple of times I tried to get "serious" session vocalists, but they were so professional that I didn't like it. Everything seemed to be correct, but, how should I say it, I did not like the noise that they made.
Then we started looking for a main guitarist. And I'm very picky about guitarists - I've heard too many to be easily convinced. I saw Jimi Hendrix when he performed in London and was a huge fan. He is still my favorite guitarist to this day, simply because of his playing and approach to the guitar. I mean, I like it when there is an approach, but it's useless if you don't know how to play. In fact, some aspects of his approach, such as playing with his teeth, Jimi did not want to do at all. It was just a show, and he quickly got fed up with it, because he was a real serious guitarist. He was great with sound. He was the first to really wind up the guitar and get a lot of feedback. I got to see him for the first time in London and then followed him all over London as a fan. It's a very small area, they called me and said: "Jimi is playing there," and that evening I was there.
One of my fondest memories is that "Sergeant Pepper" came out on a Friday night and on Sunday night Jimi performed at the Savile Theater run by Brian Epstein. There was never any show on a Sunday night and Brian started inviting people like Chuck Berry and Fats Domino and we could go to a little special box where no one bothered us and watch all these great performers. Jimi took the stage that night and started by singing Sgt. Pepper's, which was released only on Friday the day before. It was an unforgettable moment. Since then, I have seen other guys, such as Clapton, whom I admire, and David Gilmour. And they have what I call a "real guitarist" "They hold the instrument right and play it right. They have the right attitude to the guitar and each of them has something individual that they bring to their playing. During the jamming process, I think I was a little disappointed, so how I didn't hear a guitar player who would blow me away, although there were some pretty decent ones.Johnny Mar appeared and we played well, but I was looking for someone in the spirit of Hendrix, while Mar was more of a rhythm guitarist than solo Although they were all great.
Eventually Robbie came to one of the sessions to record the overdubs, and Chrissie Hind, who he had worked with before in The Pretenders, told Linda, "Robbie is what you guys need. He's a Beatles freak." Robbie really knows all our repertoire, I even think better than me. He is one of those who knows all the solos by heart. He learned them when he was a teenager - he is so much younger than me. Robbie impressed me, and we decided to leave him.
And finally, we were joined by Wicks (Paul Wickens), a session musician and producer, as well as a keyboard specialist, a friend of Robbie's. We decided that we needed a sampling expert if we weren't going to take a horn or string band on tour. So Wicks joined us more as a computer/keyboard specialist and Linda was happy to take a place on second keyboards. She likes simpler music. For example, she is not a fan of jazz, and also solo, because there are a million notes in it. Although, she, like me, is a big fan of Hendrix. She listens to the sound. She wants to sound good, and I'm doing my best for her. I think it's right. You can play nothing at all and still sound amazing.
Question: Did you rehearse the material with your band before recording it?
Paul McCartney: No, it was like a regular studio album with guest musicians. We hardly played it live in the studio, except for the rhythm section parts. But back then we didn't have a full band - it was just me, Hamish and Chris. Then we overdubbed Linda's vocals, and then Robbie and Wicks joined in with their overdubs of rhythm and solo parts. So, we did not make the album as a single group. So I'm looking forward to when we start recording the next studio album with this band so that we can compose material and then rehearse it like at sound checks.
Question: This is your first permanent band since Wings broke up in 1976...
Paul McCartney: In terms of composition, yes. Brian May once said that "you only get to be in a great band once in your life." I understand what he meant, but I was really lucky - the '76 line-up with Jimmy McCulloch was fantastic. And I really like today's line-up for its musical capabilities. With him, we can go anywhere, and that's interesting and even a little puzzling, because if you can go anywhere, where would you go? It's like going on vacation: if you can afford to go anywhere, it's hard to choose. But that doesn't bother me too much, since I have a pretty good idea of the direction of our next album, so I'll give it a try and see what happens.
Question: Are you happy that you have a musician in your band who can pick up bass if you want to play guitar?
Paul McCartney: Certainly. This is one of the attractive features of Hamish. He is fond of the bass guitar - and not as a side instrument, but quite seriously. I started on acoustic guitar, then played guitar during our Hamburg period. But after I switched to bass, I rarely returned to it - only for a rare solo, as in the songs "Taxman", "Tomorrow Never Knows", "Paperback Writer," in which I play the riff. Well, also the acoustic numbers "Yesterday" and "Blackbird."
Question: On the song "Get It" from the Tug of War album you play with Carl Perkins. How did it happen?
Paul McCartney: Well, I called him, he was playing clubs in the States at that time. We met him in the early days of the Beatles and he's been a friend of ours ever since, kind of like a guy. I am in awe of Karl, he is just great. I'll tell you a story about him, I think he wouldn't mind. We were recording on the island of Montserrat, and a musician friend of ours was just passing by, circumnavigating the world on his yacht - probably dodging taxes (laughs), and came into the harbor to see us. He invited Karl and me to his magnificent yacht. Carl was so excited about the reception - the buffet, champagne and the like - that he came up to me and said, "Paul, where I come from, it's called 'shit in the cotton bush'. It's one of my favorite expressions. Then we recorded "Get It" At the end of the song you can hear us laughing at this very joke, the joke had to be cut because otherwise the song wouldn't get on the radio.
Question: Do you both play guitars on this song?
Paul McCartney: Yes, I played a little and Carl played the rhythm part. The most fun was in free minutes. We sat on the floor of the studio and chatted with the microphone on. I told him about how we loved his songs like "Lend me Your Comb" and "Your True Love" and even played the second one. Then we sang with him. When we stopped, he would say things like, “You know, Paul, I played this…” and show me different finger-style tricks.
Question: In the early days of the Beatles, you played "Matchbox" and other Perkins stuff. Did you feel proud to meet someone who was a legend for you?
Paul McCartney:
Undoubtedly. All those who were legends for us in the period of our formation have remained so. I didn't grow out of it. Carl to me is still the one who wrote "Blue Suede Shoes" and he can't do anything wrong. Although Elvis surpassed the original Carl with his version, Carl wrote this thing. This is real magic. We really loved these early records - so simple and primitive, but with so much soul. Carl told very touching stories about a black gentleman (John Westbrook) who taught him how to play and spoke of him with great respect. It was very pleasant to listen to. He said, "You know, Paul, I used to work in a cotton picker, and during breaks we sat down with this old gentleman, and he showed me different phrases." I was very moved by his stories. After all, we grew up in cities, and did not know anything about this. Karl is still my idol.
My other idol was Little Richard. And again, the magic did not disappear after we met him. It's always fun with him. Whenever he does an interview, he always looks at the camera and says: "You know, Paul, it was you who learned this woo from me!" And indeed it is! He talks like I don't want to admit it. But I'm happy to admit it! Moreover, my first performance took place at school at the end of the school year, when on the very last day everyone comes off. I remember the teachers were busy doing their own thing and I climbed onto the desk in the class of our history teacher Mr. Edge, whom we loved because he wasn't as strict as the others. And so I stood on the table - it looked like a scene from some old rock and roll movie - and sang, clapping to the beat, "Tutti Frutti", imitating Little Richard, and my classmates stood around me and sang along.
I still owe a lot to Little Richard and all those guys just because they set us on fire. This is impossible to forget. And it especially sinks into the soul when you are young. Things like "That"ll Be the Day", "Heartbreak Hotel", "What"d I Say?" and others are already a part of me.
Question: And you can't part with them?
Paul McCartney: And I never would. I'm very proud of the fact that the stigma of rock and roll has been put on my soul.
Jon Hummel talks about Paul's guitars
John Hammel has been working with Paul for the past 15 years and is now taking us backstage to see Paul's instruments.
"Paul's main live guitar is a 1960 Cherry Sunburst Gibson Les Paul previously owned by Cheap Trick's Rick Nielsen. Paul loves it. The great thing about it is that it has a type of neck that was discontinued when Les was released. SG type floors.It feels great in the hands.As a spare electric guitar, Paul has a left-handed Les Paul "57" goldtop. This is a rare specimen. We took it from a special store for left-handed guitarists.
"Paul's main acoustic guitar is a black Alvarez that Carl Perkins found for him. It has a neck for right hand, and dots on it on the opposite side. Someone from Alvarez found out that Paul was playing their guitar and they made him two more for this tour, with dots on the right side. One of them is tuned down a tone for "Yesterday". It does not have a sound hole, but only a pickup built into the bridge. There are tone controls - high, medium and low frequencies, as well as master volume. It can be turned out to the full, and there will be no feedback. So, for the concert work, my prayers were answered.
"Paul doesn't like to play thick strings. On the Les Paul, he has Ernie Ball strings in .009 - .042 gauge. On Alvarez, he has bronze Ernie Ball Earthwood .010 - .054.
"Other guitars we carry with us are Paul's old D-28 Martin as a spare, and the 1964 Epiphone Casino that Paul recorded "Taxman" on. It's right-handed, with a Bigsby typewriter. Of course, it's been remade for the left hand We also had to redo the bridge to get the intonation right.
"For the guitars, we use two Mesa/Boogie Studio preamps connected to a Mesa/Boogie Strategy 295 amp and then into two 4x12 cabinets. Side A is for electric guitar, side B is for acoustic. Pete Cornish is used to turn the preamps and distortion on/off. Paul has one panel with his pedals and I have the other behind the stage.My switch has a mute button, so when Paul comes on stage or changes guitars, I mute the signal.Then there is a switch between bass and guitar, and also for the Mesa/Boogie preamp.There is also a T.C. Electronic 1210 Spatial Expander/Stereo Chorus that we only use with electric guitars."
For 1989's Flowers in the Dirt, McCartney used a range of instruments, including his old friend the Hofner violin bass, as well as a new five-string Wal.
PAUL McCARTNEYIt is known that Paul McCartney started with the Beatles as a guitarist, switching to bass after Stu Sutcliffe left the band. Since then, he has periodically returned to the guitar to record certain parts on the albums of the Beatles, and then in his solo works. An interview given by him to Guitar Player magazine in 1990 reveals precisely the guitar side of his multifaceted talent. Paul talks about his guitar habits and passions, and his guitar tech talks about McCartney's guitars. Also, Paul does not bypass his main instrument - bass.
This whole view is sustained in the context of McCartney's then-new albums "Flowers in the Dirt" and "Back in the U.S.S.R." (the latter was released specifically for our country at the height of "perestroika"), as well as the musician's first world tour since 1976 with his new group, which included McCartney himself (bass, vocals, guitar, piano), his wife Linda (keyboards and backing vocals), Chris Witten (drums), Hamish Stewart (guitar, bass, piano, backing vocals), Robbie McIntosh (guitar, vocals) and Paul Wickens (keyboards).
While it's obvious that you didn't forget the guitar while playing with the Beatles, did you ever feel like you were hopelessly obsessed with being the bass player?
It's even funny. I'm getting in trouble for a book written about us because the author obviously doesn't like me. It's okay, but he made up a whole story about me wanting to play bass so much that he did the whole thing with Stu Sutcliffe, our first bassist. It's like I planned this whole story to be the bass player for the Beatles. I remember when this book came out, I called George and asked him: "Do you remember that I really tried to push Stu out of the band and become a bassist at all costs?" And he said, "No, they just put it on you. No one else wanted to do it." I said, "I remember that too." And it's true: we all wanted to be guitarists.
What are your favorite guitar parts that you played with the Beatles?
I like "Taxman" for the way it turned out. I was very impressed with Hendrix. And that was my first experience with feedback. I had a friend in London, none other than John Mayel of the Bluesbreakers, who played me a bunch of records in the evenings. Yes, he was something like a DJ. You came to his house, he sat you down, poured you a drink and said: "Come on, listen to this." He would walk to his deck and then play B.B. King, Eric Clapton records for hours. In this way, he kind of showed me where Clapton's style came from. It was like an evening lecture. After that, I fell in love and bought myself an Epiphone. Now I could run it through my Vox amplifier and get great feedback - even a little before George was interested in it. I don't think he was too into it. George was generally more restrained in his guitar style. He wasn't into strong feedback.
And even Hendrix and those John Mayel records didn't make you quit bass and take up guitar again?
By and large, no. I always felt that I was in the right place on bass, because we needed a bass player. At first, I really thought: "Well, that's it, the end of my plans as a guitarist." But then I got into the bass as a solo instrument. I think by the time of Sgt. Pepper and things from it like "With a Little Help from my Friends", "Lucy in the Sky with Diamonds" - a lot of decent bass lines have already been played. Like the Motown production, or the Brian Wilson part of the Beach Boys. On Taxman, I just picked up a guitar in the studio and started experimenting with feedback, and then I said to George, "Maybe you could play something like this?" I don't remember exactly how it came about that I had to play, but maybe it was one of those times when someone said: "Why don't you play yourself?"
Instead of wasting time showing someone else how to play it?
Instead of wasting time getting the idea across to someone else. And I don't think it hurt George in any way. But when they say to him: "Cool solo in Taxman!" I don't think he likes to say: "Well, it was actually Paul who played it." Although I don't often do this - just a couple of times. I also love my acoustic part on "Blackbird", it's one of my favorites.
What was your reaction to the emergence towards the end of the 60s of a new generation of "lead" bass players, such as Jack Bruce, John Entwistle?
It was very interesting. It depends for me who you're talking about and what record, but often I found their playing too fancy. Often I thought it was not a bass, but a lead guitar, and I don't think the bass has the right sound for a solo. It's like speed traders. I never was. I remember one time I read about some bass player who was called the fastest in the world. And I thought, "So what?" You know, we had a guy in Britain - I think he still is - named Bert Weedon, who was on children's TV shows. There he would say, "Now I'm going to play 1,000 notes a minute," and then he'd start playing one string of "taratatararara," up and down, really fast. It was funny. It's one thing to play fast, but that won't last long. I prefer to be melodic. I'd rather have content than speed.
What modern bassists or maybe guitarists do you like?
Stanley Clark, for example. We only really saw each other once and had a great time in Montserrat. He played on several tracks. I confessed to him: "Listen, I'm stealing your phrases!" And he said, "Well, you have your own." So we laughed a little. I decided not to steal phrases from him anymore. He's right: he has his style, I have mine. He's a great guy. I like Eddie Van Halen as a performer. He often hits the mark. I like a lot of heavy metal guitarists because they turn me on. What I usually like about heavy metal bands is the guitarists. But when they start playing tons of scales, I lose interest. I also like David Gilmour. I think Clapton is very good, especially today. But I still think Hendrix is the best.
Have you ever doubted your game?
Certainly. Often. Maybe every time I do a bass line. I have personal doubts because I think, "Oh my god. I've made so many records. How do I make it sound fresh?" But, if you're lucky, you'll find some small thing, like in "Rain" - these notes are at the top. And you say: "Oh, I found it!" And the rest of the party goes smoothly because you already have something special. "Paperback Writer" - there's some in there too, or for example passages I found for "With a Little Help from My Friends."
Do you usually play the guitar with your fingers or with a pick?
Usually mediator. John learned proper folk fingering from Donovan or one of his friends - 1st string, 3rd string, etc. I have managed to play in my own way, for example in "Blackbird" I seem to be constantly pulling two strings. In general, it is more like a finger style. I tried to play like folk guitarists. John was the only one who truly mastered this style of play. If you listen to "Julia" he plays it in the right finger way. I've always been proud of that for him. I think he had a friend who showed him how to play, and "Julia" made a great part. I wouldn't be able to study like that. That is, I learn easily, but on my own. I never took lessons - not guitar, not bass, not composition, not horse riding or even drawing, which I sometimes do. I always take the bull by the horns, and by the time of the first lesson I already know him. I always honestly tried to take music lessons so that someone could teach me how to read music, but I still don't know it.
Well, you're doing so well.
Well, you have to think (laughs). I tried to master it as a child, but it didn’t seem fun to me, more like hard work. When I was 16, I tried piano lessons. Imagine how tormented I was by these exercises for each hand - and then I already wrote "When I" m 64 ", well, at least the melody for it. Well, I only learned to take small chords and play a modest bass part, and then not And so with everything - whether it's a finger style or something else.
Now you seem to pay much more attention to the guitar, take at least the album you made exclusively for the USSR. Do you feel like you can go out and play a rock and roll program freely?
The wonderful thing is that today you can see children playing imaginary guitars. I look at them and think, "Oh, I know what you're doing!" That's the beauty of the guitar - even without having one, kids can play it and have fun. And, if children play fictional guitars, then I think I can be like them, playing a real one, not worrying about my playing, but just playing. That is my attitude. I know what I want to hear. I try to keep it simple because I'm not the world's fastest guitarist or anything like that. Like I said, I've never played scales in my life, so I can't portray these passages in a heavy metal way. I think these guys just practiced a lot and learned how to play scales. Listening to the game of some of them is simply boring - scales without end. I guess I just like the sound of the guitar in heavy metal because it turns me on.
You started using bass fuzz early. Was it like an alternative to playing the guitar?
I like fuzz with bass. Yes, it helps you to be more lyrical, because it gives the notes sustain, makes them stretch. It changed a lot.
And with the Rickenbecker bass you don't seem to use fuzz?
The fact is that modern fuses are not as good as the old ones. Technology has changed. With the Beatles, we used a lot of primitive things - prehistoric apparatuses. One of my thoughts about today's sound is that the old machines were "fucking". Not sure if this word is in the dictionary. But they were easier to damage. It was even possible to overload the console, and today they are made such that no matter what idiot sits down for them, they will not be overloaded. Most of the equipment we used could surprise you in some way. We did a great trick with acoustic guitars, like on "Ob La Di, Ob La Da." There I played acoustic an octave above the bass line. It produced a great sound - like when two voices sing in an octave - and it boosted the bass line. We recorded acoustic guitars at the "red" level. The sound engineer said: "It will be terrible!" And we answered: "Well, let's try." We heard this sound being made by mistake and we said, "Sounds great! What's going on?" We were told: "It's because the record is at the red level." And we specially recorded in red. And these old tables overloaded just as much as needed, and gave compression. So, instead of (mimics the "Ob La Di" staccato riff) ta…tu-tu-tu, everything was floating. So modern fuzz doesn't sound as crazy as the old ones. It reproduces everything cleaner, and I'm not a fan of this. I really love blues records, where there is not a single clean moment.
With Hamish on bass, I was able to get back to guitar, back to my lifelong dream. And Linda really likes the way I play the guitar, while I have doubts about my playing. I think there are real guitarists and there are people like me who love to play, but haven't played in twenty years. But what's good about it is that since I haven't played in 20 years, I haven't run out of ideas. Moreover, I didn't even realize half of my guitar ideas. And this tour gives me such an opportunity to open up, thanks to Hamish. I even play a few solos and I'm getting more and more used to the electric guitar - because I love playing it. I think I really feel it well, but I don't have the experience of playing 20 years in a row.
Your guitar sounds good...
Yes, it's possible. And I suddenly remember: "My God, I started out as a guitarist!" I've been playing for longer than many others, and I should be able to do it. And the great thing is that for a few songs I can get rid of the bassist mentality.
Why did you choose a Les Paul for this tour and not, say, a Stratocaster?
I have a Strat too, actually I have a big collection of guitars. I've tried a couple of others. But since I was playing guitar on stage for the first time in many years, I wanted a great and at the same time reliable instrument. And the Les Paul is just such a guitar. I know that you can get a lot of sound options on others, but I didn't need it. All I need is "chick, chick, chick" - three timbres. And even of these, I used only two - playing only on the rear or only on the front sensor. I used the front one less, including distortion with it, and then I got a cool sound like the Isley Brothers. I think the front pickup gives more sustain and I really like that.
Does it happen that you are fiddling with an amplifier at home, trying to make some kind of sound?
I do it mostly in the studio, which is almost like home to me. Sometimes I'm just fooling around, sometimes I can work on the guitar sound. I can easily set up a good clean guitar sound. I like experimenting with overdriven sound. I have one of those old Vox AC30s that Jeff Beck once called "old Beatle bullshit". Yes, once I asked him if he uses them, and he said: "What? That old Beatle stuff?" Then he realized what he said (laughs). But I like their sound. I like the punchy, slightly overdriven sound. I am generally not a supporter of pure rock and roll, and in terms of sound too. It's kind of funny because I think I have a reputation for being a pretty clean rock 'n' roll guy.
If you want a clean sound, you can always switch to acoustic...
Or (in a whisper), you can turn the volume down. The best way to get clear sound. But it's not cool. So yes, I sometimes experiment with nothing to do, including with lotions.
Are you sometimes in a fever to buy some equipment?
Happens. So I bought my first Epiphone when, after listening to B.B. King, Eric Clapton, Jimi Hendrix, I wanted a guitar that would wind up. I went to the store and they told me: "This Epiphone will do, because it is semi-acoustic." And they were right. It starts up easily and that's the only reason I don't use it on stage. It's great for the studio. You have to stand in the right place so that it does not start - we always did this in the studio. Today's guitars are not like that.
Is this guitar for right-handers?
Yes, but I play the other way - they changed the threshold on it.
Are you constantly touching the switches with your hand?
Yes, but what can you do. It wasn't until much later in my career that I could afford the luxury of having the guitars tune to me. So, I'm already used to playing backwards.
How did you put together your current band?
It all started while working on Flowers in the Dirt. I wanted to play live, and the easiest way to do that was to have a jam once a week. Just invite people and see who will come. At first it was assumed that everyone who wanted to come came. But it was very disorganized - one time there might not be anyone, and the next week fifty people came. Therefore, we began to invite musicians to the evening on Friday, and each new line-up. Usually, when I'm jamming, I'm just going through the old rock and roll numbers that I know - like "Lucille," "Matchbox," "Lawdy Miss Clawdy," "Bring it on Home" and similar standards. Of the drummers on these jams, Chris stood out - he was not too fixated on any one style.
And then what?
(Laughs) Well, if your magazine is talking about drummers, then I will say that sometimes there are those who are absolutely obsessed with their style, and they even say: "I can't play this way." So you need a more versatile drummer. And Chris is still young enough not to be obsessed, and a good enough drummer to be able to keep a clear pace. Young guys usually have problems with shuffle - they are not from those times. With Ringo, for example, the shuffle is brought to automatism, this is part of his style. And since I also play drums a bit, I know how hard it is to play a shuffle to be very loose. Of course, Chris was terribly nervous, and it was the worst day of his life. But he still played great, and we called him again, and so he became a regular. I decided to record some of those jams because they worked well and we kind of built a repertoire. The result was an album released exclusively for Russia.
Was that your original plan to release an album at this stage?
At first it was supposed to be just jams. The next step was, "Listen, sounds good, should be recorded." So, we gathered at my studio for two days, and on the first day we made eighteen (!) songs. It was simply unheard of, I'm sure that hardly anyone else would dare to do this. But it was fun. We recorded a lot of material, and some of it sounded very decent - we were surprised by ourselves. So we worked both days. On the second day there was a different line-up, and again we spent only five minutes on each song. As a result, we had quite a decent set of rock and roll. And I said, "Look, I still wouldn't want to release this as my next album."
He would not show you from all sides, you are a composer ...
Well, for me it wasn't even that. Everything looked unfinished, just some jams, home recordings from nothing to do. But then people started saying, "Listen, it sounds fresh and spontaneous." We wanted to make it look like the Russians had bootlegged in London - bootleg these records and say, "Look! Here's a Russian bootleg of McCartney's unknown records!" But then the record label and my manager said, "You can't do that with your position," and all that. Then I said to them (with fake contempt): "I hate you, the townsfolk! You are so predictable!" I was really very upset by this. I thought it was a brilliant idea, and a bold one! What I liked about it was the element of risk, the electrification!
But then my manager, who was also upset, said something had to be done about it. So we decided to release it exclusively in Russia, and not in any other place. This has never happened before - it's all "glasnost" (pronounced). And it was the first disc that became gold in Russia. Then it was actually time to continue working on my studio album, Flowers in the Dirt, and I needed a singing guitarist. Somehow we knew that Hamish was relatively free and that he could be persuaded to work with us.
And how difficult was it to convince him?
Well, we had to hit him on the knee (laughs). He came and we sat in the studio for a day, recorded one track, just to see how he works in a spontaneous environment, instead of listening to him. I think it's pretty ridiculous to have an audition for a fully formed musician with a lot of experience under his belt. You can't "listen" to him, it's humiliating. So we made a song, and I really liked how Hamish sang along with me everywhere. He really listened to my part, and our voices blended well. He also played the guitar decently, and I noticed that he can play bass pretty well too. If I was going to play guitar on this tour, then I needed someone to take over the bass, so Hamish was accepted. He, Chris and I formed the backbone of the band on the album.
Then Linda was added to sing along. Her voice, mine and Hamish's sounded good together. In the past, I have heard a lot of attacks like: "She didn't study anywhere, how can she be in a group?" To which I replied: "Listen, name me any decent team, and hardly any of them are educated." I prefer this approach. A couple of times I tried to get "serious" session vocalists, but they were so professional that I didn't like it. Everything seemed to be correct, but, how should I say it, I did not like the noise that they made.
Then we started looking for a main guitarist. And I'm very picky about guitarists - I've heard too many to be easily convinced. I saw Jimi Hendrix when he performed in London and was a huge fan. He is still my favorite guitarist to this day, simply because of his playing and approach to the guitar. I mean, I like it when there is an approach, but it's useless if you don't know how to play. In fact, some aspects of his approach, such as playing with his teeth, Jimi did not want to do at all. It was just a show, and he quickly got fed up with it, because he was a real serious guitarist. He was great with sound. He was the first to really wind up the guitar and get a lot of feedback. I got to see him for the first time in London and then followed him all over London as a fan. It's a very small area, they called me and said: "Jimi is playing there," and that evening I was there.
One of my fondest memories is that "Sergeant Pepper" came out on a Friday night and on Sunday night Jimi performed at the Savile Theater run by Brian Epstein. There was never any show on a Sunday night and Brian started inviting people like Chuck Berry and Fats Domino and we could go to a little special box where no one bothered us and watch all these great performers. Jimi took the stage that night and started by singing Sgt. Pepper's, which was released only on Friday the day before. It was an unforgettable moment. Since then, I have seen other guys, such as Clapton, whom I admire, and David Gilmour. And they have what I call a "real guitarist" "They hold the instrument right and play it right. They have the right attitude to the guitar and each of them has something individual that they bring to their playing. During the jamming process, I think I was a little disappointed, so how I didn't hear a guitar player who would blow me away, although there were some pretty decent ones.Johnny Mar appeared and we played well, but I was looking for someone in the spirit of Hendrix, while Mar was more of a rhythm guitarist than solo Although they were all great.
Eventually Robbie came to one of the sessions to record the overdubs, and Chrissie Hind, who he had worked with before in The Pretenders, told Linda, "Robbie is what you guys need. He's a Beatles freak." Robbie really knows all our repertoire, I even think better than me. He is one of those who knows all the solos by heart. He learned them when he was a teenager - he is so much younger than me. Robbie impressed me, and we decided to leave him.
And finally, we were joined by Wicks (Paul Wickens), a session musician and producer, as well as a keyboard specialist, a friend of Robbie's. We decided that we needed a sampling expert if we weren't going to take a horn or string band on tour. So Wicks joined us more as a computer/keyboard specialist and Linda was happy to take a place on second keyboards. She likes simpler music. For example, she is not a fan of jazz, and also solo, because there are a million notes in it. Although, she, like me, is a big fan of Hendrix. She listens to the sound. She wants to sound good, and I'm doing my best for her. I think it's right. You can play nothing at all and still sound amazing.
Did you rehearse the material with your band before recording it?
No, it was like a regular studio album with guest musicians. We hardly played it live in the studio, except for the rhythm section parts. But back then we didn't have a full band - it was just me, Hamish and Chris. Then we overdubbed Linda's vocals, and then Robbie and Wicks joined in with their overdubs of rhythm and solo parts. So, we did not make the album as a single group. So I'm looking forward to when we start recording the next studio album with this band so that we can compose material and then rehearse it like at sound checks.
This is your first permanent band since Wings broke up in 1976...
In terms of composition, yes. Brian May once said that "you only get to be in a great band once in your life." I understand what he meant, but I was really lucky - the '76 line-up with Jimmy McCulloch was fantastic. And I really like today's line-up for its musical capabilities. With him, we can go anywhere, and that's interesting and even a little puzzling, because if you can go anywhere, where would you go? It's like going on vacation: if you can afford to go anywhere, it's hard to choose. But that doesn't bother me too much, since I have a pretty good idea of the direction of our next album, so I'll give it a try and see what happens.
Are you happy that you have a musician in your band who can pick up bass if you want to play guitar?
Certainly. This is one of the attractive features of Hamish. He is fond of the bass guitar - and not as a side instrument, but quite seriously. I started on acoustic guitar, then played guitar during our Hamburg period. But after I switched to bass, I rarely returned to it - only for a rare solo, as in the songs "Taxman", "Tomorrow Never Knows", "Paperback Writer," in which I play the riff. Well, also the acoustic numbers "Yesterday" and "Blackbird."
On the song "Get It" from the Tug of War album you play with Carl Perkins. How did it happen?
Well, I called him, he was playing clubs in the States at that time. We met him in the early days of the Beatles and he's been a friend of ours ever since, kind of like a guy. I am in awe of Karl, he is just great. I'll tell you a story about him, I think he wouldn't mind. We were recording on the island of Montserrat, and a musician friend of ours was just passing by, circumnavigating the world on his yacht - probably dodging taxes (laughs), and came into the harbor to see us. He invited Karl and me to his magnificent yacht. Carl was so excited about the reception - the buffet, champagne and the like - that he came up to me and said, "Paul, where I come from, it's called 'shit in the cotton bush'. It's one of my favorite expressions. Then we recorded "Get It" At the end of the song you can hear us laughing at this very joke, the joke had to be cut because otherwise the song wouldn't get on the radio.
Do you both play guitars on this song?
Yes, I played a little and Carl played the rhythm part. The most fun was in free minutes. We sat on the floor of the studio and chatted with the microphone on. I told him about how we loved his songs like "Lend me Your Comb" and "Your True Love" and even played the second one. Then we sang with him. When we stopped, he would say things like, “You know, Paul, I played this…” and show me different finger-style tricks.
In the early days of the Beatles, you played "Matchbox" and other Perkins stuff. Did you feel proud to meet someone who was a legend for you?
Undoubtedly. All those who were legends for us in the period of our formation have remained so. I didn't grow out of it. Carl to me is still the one who wrote "Blue Suede Shoes" and he can't do anything wrong. Although Elvis surpassed the original Carl with his version, Carl wrote this thing. This is real magic. We really loved these early records - so simple and primitive, but with so much soul. Carl told very touching stories about a black gentleman (John Westbrook) who taught him how to play and spoke of him with great respect. It was very pleasant to listen to. He said, "You know, Paul, I used to work in a cotton picker, and during breaks we sat down with this old gentleman, and he showed me different phrases." I was very moved by his stories. After all, we grew up in cities, and did not know anything about this. Karl is still my idol.
My other idol was Little Richard. And again, the magic did not disappear after we met him. It's always fun with him. Whenever he does an interview, he always looks at the camera and says: "You know, Paul, it was you who learned this woo from me!" And indeed it is! He talks like I don't want to admit it. But I'm happy to admit it! Moreover, my first performance took place at school at the end of the school year, when on the very last day everyone comes off. I remember the teachers were busy doing their own thing and I climbed onto the desk in the class of our history teacher Mr. Edge, whom we loved because he wasn't as strict as the others. And so I stood on the table - it looked like a scene from some old rock and roll movie - and sang, clapping to the beat, "Tutti Frutti", imitating Little Richard, and my classmates stood around me and sang along.
I still owe a lot to Little Richard and all those guys just because they set us on fire. This is impossible to forget. And it especially sinks into the soul when you are young. Things like "That"ll Be the Day", "Heartbreak Hotel", "What"d I Say?" and others are already a part of me.
And you can't part with them?
And I never would. I'm very proud of the fact that the stigma of rock and roll has been put on my soul.
Jon Hummel talks about Paul's guitars
John Hammel has been working with Paul for the past 15 years and is now taking us backstage to see Paul's instruments.
"Paul's main live guitar is a 1960 Cherry Sunburst Gibson Les Paul previously owned by Cheap Trick's Rick Nielsen. Paul loves it. The great thing about it is that it has a type of neck that was discontinued when Les was released. SG type floors.It feels great in the hands.As a spare electric guitar, Paul has a "57 Les Paul GoldTop for left-handers. This is a rare specimen. We took it from a special store for left-handed guitarists.
"Paul's main acoustic guitar is a black Alvarez that Carl Perkins found for him. It's got a right hand neck and dots on it on the opposite side. Someone at Alvarez found out that Paul was playing their guitar and they made him another two for this tour, with the dots on the right side.One of them is tuned down a tone for "Yesterday. It doesn't have a sound hole, just a pickup built into the bridge. There are tone controls for treble, mid, and bass, as well as You can turn it all the way up and there's no feedback, so for live work my prayers have been answered.
"Paul doesn't like playing thick strings.
On a Les Paul, he has Ernie Ball strings in .009 - .042 gauge.
Alvarez wears bronze Ernie Ball Earthwood .010 - 054.
"Other guitars we carry with us are Paul's old D-28 Martin as a spare, and the 1964 Epiphone Casino that Paul recorded "Taxman" on. It's right-handed, with a Bigsby typewriter. Of course, it's been remade for the left hand We also had to redo the bridge to get the intonation right.
"For the guitars, we use two Mesa/Boogie Studio preamps connected to a Mesa/Boogie Strategy 295 amp and then into two 4x12 cabinets. Side A is for electric guitar, side B is for acoustic. Pete Cornish is used to turn the preamps and distortion on/off. Paul has one panel with his pedals and I have the other behind the stage.My switch has a mute button, so when Paul comes on stage or changes guitars, I mute the signal.Then there is a switch between bass and guitar, and also for the Mesa/Boogie preamp.There is also a T.C. Electronic 1210 Spatial Expander/Stereo Chorus that we only use with electric guitars."
For 1989's Flowers in the Dirt, McCartney used a range of instruments, including his old friend the Hofner violin bass, as well as a new five-string Wal.
translation - Dmitry Fedorov
