Played 49 times

SIDETRACKED

(Side Projects, Solo Albums, and Other Detours)

Percy “Thrills” Thrillington - “Ram On”

As we all know, Paul McCartney’s Ram is the best1 post-Beatles solo2 album, so it makes sense that McCartney would want to take a victory lap after completing that record. And so he did by recording a full-length instrumental cover of his own album under the name Percy “Thrills” Thrillington. Yes, he took a page out of George Martin’s book and created a far far far less essential version of his own music. Before Ram was even released, McCartney was already working with conductor Richard Anthony Hewson to arrange new versions of his songs. The recordings began less than two weeks after Ram hit shelves, and were completed within the month. That was June 1971. Thrillington was released in April 1977, nearly six years later. Apparently forming the band Wings distracted Paul enough to neglect his most outlandish creation for more than half a decade.

But in the run up to the album’s release, McCartney seemed to dive headfirst into creating the character of Percy Thrillington. He sent rogueish valentines to female reporters under that name, and regularly took out personal ads detailing adventures in exotica locals that Thrillington had supposedly recent experienced. Naturally, since Thrillington was going to working with his music, McCartney had to create a space for himself within the life of this fictional playboy. He cast himself as a sort of mentor figure for Thrillington, taking the young and talented musician under his wing and helping to arrange the lad’s first album.

Here’s the inside of the album, which details Thrillington’s life and rather unconvincingly denies that Paul and Thrillington are the same person:

image

(And here’s a direct link to it if the one above is too small to read.)

Yet, despite Paul’s involvement and his attempts to drum up interest in Thrillington, the album went utterly unremarked upon when it was released, save a passing mention in the Random Notes section of Rolling Stone. Perhaps Paul was great at convincing people of the existence of a fictional person, but not so great at convincing them to buy that fake person’s albums. So, Thrillington became a sort of, kind of collectors item, hampered somewhat by the nebulousness of Paul’s contributions. It took until a November 27, 1989 press conference for Paul to publicly admit that he was behind the record, which revitalized interest in it and turned it from a footnote in his career to a slightly larger footnote in his career.

But, beyond it’s undeniably amusing backstory, the question remains as to whether Thrillington is actually worth a listen. While this is far from a ringing endorsement, I will say that it’s a far more interesting listen than George Martin’s easy listening Beatles cover records. However inferior these renditions may be, at least they’re not boring. He turns “3 Legs” into a sleazy saxophone number, and nearly converts “Dear Boy” into a doo-wop track. Most, though, are given horn-heavy instrumental makeovers. None of the tracks manage to outdo the originals, but then again, they’re not really trying to. This record is a low-stakes lark, not a true McCartney album by any stretch of the imagination. Ultimately, Thrillington is an utterly inessential record, but also never an unpleasant one.

-TWG

1. Yes, better than All Things Must Pass, and yes, better than John Lennon/Plastic Ono Band. (The runners up.)

What? Ringo Starr? I’m sorry, but I’m not sure who that is.

2. Yes, Ram is credited to “Paul & Linda McCartney” but we all know that all projects by former Beatles will be lumped together under the title of [That Beatle] Solo Works. It’s not isolation from all people that matters; it matters that they’re away from The Beatles.

 

Played 19 times

RIFFS AND VARIATIONS

(Alternate Takes, Live Versions, and Early Mixes)

The Beatles - “Sie Liebt Dich”

Yep. This again.

I’m inordinately fascinated with alternate-language versions of songs performed by the original artist. Both picking apart the technical details of the translation itself, and examining the ways that the shift in tongue effects the performers deliver just delight me to no end. But, when it comes to “Sie Liebt Dich”, a German rendition of “She Loves You” by The Beatles, I don’t think either of those aspects is particularly notable. The translation of the lyrics is extremely straightforward, and the only notable change in delivery is that Paul and John sound just a little bit unsure of themselves, if you listen closely.

Instead, what I’d like to draw your attention to is the fact that “Sie Liebt Dich” was eventually released in the United States as a single, and it cracked the Billboard Hot 100, coming in at at #97 for the week of June 27, 1964.1 It was one of the 31 songs they had chart in 1964 alone. Isn’t that just absurd? If you’ve ever wondered how big the Beatles were at the height of Beatlemania, just think about that fact for a moment. They were so popular that a re-recorded, German-language version of a song they’d already released still sold enough to eek onto the charts in the United States. 

So basically, never forget that no matter how big you think the Beatles were, you’re probably still underestimating them

-TWG

1. In Germany, this song was paired with “Komm, Gib Mir Deine Hand” a rework of “I Wanna Hold Your Hand” and became a big hit there. “Sie Liebt Dich” peaked a #7, while “Komm, Gib Mir Deine Hand” went all the way to #1. [Source]

babylonfalling:

Rock Liberation Front, 1971
To launch the RLF into the public eye, [A.J.] Weberman and [David] Peel gathered together about 100 friends, and journeyed uptown to the plush townhouse that housed the law practice run by Paul McCartney’s father-in-law and legal advisor, Lee Eastman. ‘We figured McCartney could use some liberating,’ Weberman explains. ‘It was around the time he had released that album [Ram] that was really inane and said nothing about what was happening on the street. He was supposed to be a representative of youth culture, but he was just a businessman. We reckoned he could use a wake-up call.’ The RLF staged a mock funeral right there on Park Avenue to emphasize the death of the ex-Beatle’s ideals, with a black Cadillac hearse and a coffin bearing his picture.—There’s a Riot Going On, Peter Doggett

babylonfalling:

Rock Liberation Front, 1971

To launch the RLF into the public eye, [A.J.] Weberman and [David] Peel gathered together about 100 friends, and journeyed uptown to the plush townhouse that housed the law practice run by Paul McCartney’s father-in-law and legal advisor, Lee Eastman. ‘We figured McCartney could use some liberating,’ Weberman explains. ‘It was around the time he had released that album [Ram] that was really inane and said nothing about what was happening on the street. He was supposed to be a representative of youth culture, but he was just a businessman. We reckoned he could use a wake-up call.’ The RLF staged a mock funeral right there on Park Avenue to emphasize the death of the ex-Beatle’s ideals, with a black Cadillac hearse and a coffin bearing his picture.—There’s a Riot Going On, Peter Doggett

The cover of Paul & LInda McCartney’s Ram / a post card of John Lennon included in early editions of his album Imagine