Music

Paul McCartney - "Oo You"

“Oo You” opens side B of the McCartney album, and despite the fact that it is such a great, bluesy little rocker, it isn’t discussed much. Strangely, I can’t seem to find any evidence that McCartney has ever performed it live. When searching for information on “Oo You”, sometimes you come up with things about the Beatles working on it together. While some of the songs on McCartney started out as Beatle jams, whatever you hear about this being one of those songs comes from mere speculation. In 2005 a online music store came up with the idea to make the album that the Beatles would have made if they stayed together. Part of this ensemble of covers and Beatles’ Anthology tracks was a brief interpretation of “Oo You”. That is where those rumors of it originally being recorded by the group come from.

Not surprisingly, “Oo You” started out as an instrumental track. McCartney’s opening suggestion of “More guitar” might lead you to think that someone else was playing the electric guitar on it, but like the tambourine, cowbell, and “aerosol spray” heard on the track, it was all Paul. Reportedly ad-libbed on the spot, it was written and recorded on the same day as the album’s previous track, “Man We Was Lonely”. However, it wasn’t completed until a tape echo was used to move the guitar’s feedback “from one side to another”. On that same date of February 12th, 1970, McCartney also worked on “Junk”, “Singalong Junk”, “Hot As Sun”, and “Teddy Boy”.

Even though it seems to be ignored by McCartney himself, “Oo You” is critically praised all over the internet as one of the album’s best “deep cuts”. As a testament to this, there are many amateur covers of it on YouTube.

Cover down, pray through: Bob Dylan's underrated, misunderstood "gospel years" are meticulously examined in this welcome new installment of his Bootleg series.

"How long can I listen to the lies of prejudice?
How long can I stay drunk on fear out in the wilderness?"
-- Bob Dylan, "When He Returns," 1979

Bob Dylan's career has been full of unpredictable left turns that have left fans confused, enthralled, enraged – sometimes all at once. At the 1965 Newport Folk Festival – accompanied by a pickup band featuring Mike Bloomfield and Al Kooper – he performed his first electric set, upsetting his folk base. His 1970 album Self Portrait is full of jazzy crooning and head-scratching covers. In 1978, his self-directed, four-hour film Renaldo and Clara was released, combining concert footage with surreal, often tedious dramatic scenes. Dylan seemed to thrive on testing the patience of his fans.

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TV

Inane Political Discourse, or, Alan Partridge's Parody Politics

Publicity photo of Steve Coogan courtesy of Sky Consumer Comms

That the political class now finds itself relegated to accidental Alan Partridge territory along the with rest of the twits and twats that comprise English popular culture is meaningful, to say the least.

"I evolve, I don't…revolve."
-- Alan Partridge

Alan Partridge began as a gleeful media parody in the early '90s but thanks to Brexit he has evolved into a political one. In print and online, the hopelessly awkward radio DJ from Norwich, England, is used as an emblem for incompetent leadership and code word for inane political discourse.

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The show is called Crazy Ex-Girlfriend largely because it spends time dismantling the structure that finds it easier to write women off as "crazy" than to offer them help or understanding.

In the latest episode of Crazy Ex-Girlfriend, the CW networks' highly acclaimed musical drama, the shows protagonist, Rebecca Bunch (Rachel Bloom), is at an all time low. Within the course of five episodes she has been left at the altar, cruelly lashed out at her friends, abandoned a promising new relationship, walked out of her job, had her murky mental health history exposed, slept with her ex boyfriend's ill father, and been forced to retreat to her notoriously prickly mother's (Tovah Feldshuh) uncaring guardianship. It's to the show's credit that none of this feels remotely ridiculous or emotionally manipulative.

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To be a migrant worker in America is to relearn the basic skills of living. Imagine doing that in your 60s and 70s, when you thought you'd be retired.


Nomadland: Surviving America in the Twenty-First Century

Publisher: W. W. Norton
Author: Jessica Bruder
Publication date: 2017-09
Amazon

There's been much hand-wringing over the state of the American economy in recent years. After the 2008 financial crisis upended middle-class families, we now live with regular media reports of recovery and growth -- as well as rising inequality and decreased social mobility. We ponder what kind of future we're creating for our children, while generally failing to consider who has already fallen between the gaps.

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Gallagher's work often suffers unfairly beside famous husband's Raymond Carver. The Man from Kinvara should permanently remedy this.

Many years ago—it had to be 1989—my sister and I attended a poetry reading given by Tess Gallagher at California State University, Northridge's Little Playhouse. We were students, new to California and poetry. My sister had a paperback copy of Raymond Carver's Cathedral, which we'd both read with youthful admiration. We knew vaguely that he'd died, but didn't really understand the full force of his fame or talent until we unwittingly went to see his widow read.

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