2Dmitryj:
>Вот интересная вещь. Как писал Пол, его почему-то
>считали сочинителем красивых баллад, а Леннону
>достались лавры мудрого философа и музыкального
>экспериментатора. В действительности именно Пол
>обследовал весь Лондон, находя новаторские музыкальные
>идеи и беседуя с интеллектуалами той эпохи. Тогда
>возникает вопрос - почему эти находки достались,
>казалось бы, преимущественно песням Джона? Взять
>хотя бы Strawberry Fields.., She Said.., Tomorrow
>Never Knows и т. д. Если вспоминать песни Пола,
>то там, конечно, тоже были новации - например,
>ударение на каждый такт в Gettind Better или Good
>Day.., но всё было, скажем так, попроще, хотя
>и восхитительно красиво.
Интересный вопрос. Как я понимаю, большинство экспериментов Пола так и остались на полке, а жаль. Было бы очень интересно услышать так и не созданный альбом “Paul Mccartney goes too far”.
PAUL: “John's ended up as the one that's the avant-garde guy because he did all that with Yoko. Well, actually quite a few years before he'd ever considered it, when he was living out in the suburbs by the golf club with Cynthia and hanging out there, I was getting in with a guy called Miles and the people at Indica. I used to be at his house a lot of nights, just him and his wife, because he was just so interesting, very well-read. So he'd turn you on to Burroughs and all that”.
<...>
PAUL: “We sat around. We got wrecked together. We discussed all these crazy ideas together. We put down these lines of research together. I'd come home from an exciting crazed sort of think meeting with Miles, a stoned think tank, which was great fun and I'd love it and I'd be very enthusiastic about all these ideas and I used to tell John about this stuff. I'd spew 'em all out the next day. John would say, 'Wow, wow, wow! Well, why don't you do that? Why don't you do that?"' I remember saying to him I had an idea for an album title, Paul McCartney Goes Too Far. He said, "Fantastic! Do it! Do it!" He always wanted me to do that. I remember one of our ideas was to master two pieces of music on to a record, have two albums on one record, and all you would do in the future was switch out one of them with your brain. You'd say, "I'm not listening to the Beethoven, I'm listening to the Beatles," but they would be both going on”.
В биографии Пола авторства того самого Майлза очень подробно описывается, чем Пол тогда интересовался и кто на него влиял:
The discussions ranged from 'pataphysics to Buddhism and drugs. Most of the records in the flat were avant-garde jazz John Coltrane, Albert Ayler, Sun Ra, Cecil Taylor, Ornette Coleman and works by Karlheinz Stockhausen, John Cage, Luciano Berio, Morton Subotnick and other electronic-music composers. Paul particularly liked Albert Ayler's free-form tenor-saxophone playing: sweeping screams and wails which helped define the nascent Black Power movement. He bought some of Ayler's albums for himself and enjoyed the puzzled look on George Martin's face when he put on Spirits or Bells and filled the room with Albert's honks and squeals. William Burroughs's spoken-word album Call Me Burroughs was a great favourite for late- evening listening when people were stoned; Paul heard Burroughs's cold, flat Mid-Western voice reading from The Naked Lunch before he saw the book. The discussion often focused on the nature of music and the possibilities of electronic music and random sound; the way boundaries were being tested in jazz by Ayler, Coleman, the saxophone chords of John Coltrane and the orchestration of Sun Ra; the musical environments being created by Terry Riley and Steve Reich, and the wide-ranging experiments of the French musique concrete composers Pierre Henry and Pierre Schaeffer in the late forties and fifties who were producing sound collages.
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