Oobu Joobu: Week Seven

00:27   Intro.
01:55   So Long Lucky ???
03:50   I Never ???
06:50   Sneaking Up Behind You - Brecker Bros.
11:00   Commercial
15:26   The Grand Ole Operee
16:20   Crackin' Up
20:20   Louie Louie - Toots and the Maytalls
25:39   Daytime Nighttime Suffering
29:12   Turn Tape Over
00:20   Bill Haley at the Liverpool Odium
01:16   Rock Around The Clock - Bill Haley
03:31   Beatle Christmas Records
04:43   Please Don't Bring Your Banjo Back
06:20   The Family Way
09:20   Stilton Cheese Pate - Linda
10:30   Hot Soup Jamming Fools - Linda
13:00   Commercial
16:04   Midland Two-Step  - Pousette Cajun Band,
19:33   San Francisco Bay Blues
21:50   After You've Gone
23:05   Goodbye
24:10   Yellow Submarine
			Aaron Gill ([email protected])
Track listing courtesy Aaron Gill for the Internet Oobu Joobu Tape Tree

Two things leap out about this edition of "Paul McCartney's Oobu Joobu": Paul has some interesting things to say about his past for perhaps the first time in the series, and we get a particularly nice chance to hear Paul's experimental side come to the fore.

The spoken bits are particularly surprising, given Paul's usual lack of ease in talking about himself and the way we've heard certain stories re-hashed over the years. This time out, Paul recalls playing games with himself as he worked on the score to "The Family Way" (which he refers to as coming "just when the Beatles were starting"--they had been stars for several years already), relates how a greeting card inspired Tony Barrow to suggest the Beatles' Christmas records, and reminisces sweetly about seeing Bill Haley at the Liverpool Empire. None of these segments are mind-blowing revelations, but they are enjoyable and fresh. The bits are illustrated musically with, respectively, some (rather brief) excerpts from the movie score, "Please Don't Bring Your Banjo Back" from the 1966 Christmas flexi, and Haley's "Rock Around the Clock" with Paul singing along on the opening line.

The show begins with a remarkable studio outtake that shows Paul at his most unconventional. The track, which is not given a title, takes Paul's habit of stringing together bits of uncompleted songs to a new extreme, as the bits here are totally dissimilar and don't even merge seamlessly. The track has three basic sections. The first is totally instrumental, carried along at a midtempo pace by arena-rock synths and some nice drumming. This gives way to a very slow section, which features a slow keyboard part and has Paul singing the words "so lucky" in a soft, almost disembodied voice. There are some sound effects in the background, but no noticeable drums or guitars. This is followed by a hard-rocking section with a full band, which comes in with a chorus built around the words "I ain't never, no I never". The chorus is followed by a long instrumental portion dominated by guitar and piano, after which we finally hear the first and only verse--several minutes into the song! This is a bluesy bit, sung with gusto by Paul, built around the phrase "I can see you", but sporting full lyrics. We then return to the "I ain't never" bit before things fade out. By now you're probably either thrilled or appalled, and either way I expect you'll keep the same attitude when you hear it. Personally, I was thrilled. As I've said about this series in the past, this piece is quintessentially McCartney, and will provoke reactions in both directions as so much of his work does.

Also in an experimental vein was Linda's spot, a song called "Hot Soup Jamming Fools", with a detached vocal over electronic riffs. Quite odd. (As is her recipe for Stilton cheese pate.)

The highlight of the soundcheck material is a version of, of all things, "Yellow Submarine", done for fun. Paul fails to remember the lyrics in Lennonesque fashion, and this version makes a nice companion from the one recorded by John, Ringo and friends at a party (and captured on the "Let's Have a Party" bootleg). There's a strong take of "Crackin' Up", and a "San Francisco Bay Blues" with more energy than the "Unplugged" take.

Paul also throws in a bit of the already booted drum machine demo of "After You've Gone" (the twenties-era tune), and plays the legit release of the wonderful "Daytime Nighttime Suffering", grousing about how the song has been forgotten. (Gee, Paul, if you'd just play it live some time...)

Outside material, in addition to the Bill Haley song, was a cover of "Louie Louie" by reggae legends Toots and the Maytals, "Midland Two-Step" by the Pousette Cajun Band, and "Sneaking Up Behind You", a mostly instrumental jazz fusion track by the Brecker Brothers, whose session credits include work for such luminaries as Paul Simon and Ringo Starr, among many others.

No question what the song of the week is--only what's its title is! That complex outtake, which I guess I'll refer to as "I Ain't Never", is a most welcome addition to the McCartney catalogue, given its uniqueness. All in all, a fine outing for "Oobu Joobu".


Note! The first in my series of articles on "Oobu Joobu", featuring material from these Net-posted reviews plus additional information and a newly written overview, is now available in the new issue of the Beatle newsletter "The 910". E-mail [email protected] if you don't receive this publication and would like more info.

... Oh, Pedro! How atheletical!

Review by Brett Pasternack, extended upon in "The 910"
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