Cloudy

Any Pronouns - 19 - Lesbian - Autistic - i luv the bebols (Follow my simon and garfunkel sideblog!! @sifunkel thats where i usually post)

[scollieosis]

Hamburg mclennon 😳

[undying-love]

Interviewer: So Paul, tell us about 'We Two.'

Paul's brain: I am singing about dreaming of John, standing side-by-side with him, and promising to be in love with him until the day I die.

Paul's mouth: Well, we used a Studer four-track machine. And the thing we loved most about it was the snare drum sound. Oh, and we also stuck the tape rewinding at the end because nobody hears that, you know.

[calicoskies333]

happy pride month to these gay boys

[spoonmoment69420]

happy pride month i’m unleashing my beatles doodles 🪲🪲🪲🪲

[absoluteuemployment]

Also happy pride to John Lennon and Paul McCartney

[spoonmoment69420]

not like they dont already... 😑

[undying-love]

"What's the secret?"

Q: The song talks about the beginning of your friendship with John Lennon, and you mention a secret that you kept. Are you able to tell us what that secret was? Paul: No, I mean, that's the secret, you know. The lyrics is, "We met at Forthlin Road and wrote a secret code." So I'm meaning we wrote songs, but you did, you had secrets that only you two know. That's what brings you together.

It would be interesting if someone asked him about the “promise”, rather than just the “secret code.” The code can easily be explained away as referring to songs they wrote, like Paul does here (and I do think Paul is telling the truth there btw. He has said many times that he reveals things in his songs). But the promise feels much more personal, because he specifically says he’s still keeping it to this day.

[abbeydaisy]

Paul talking about Paris, recently

[taepomme]

80s mclennon hashtag happy

[garfunkelgirl]

i like how you can tell which paul mccartney songs are love songs to john lennon bc they’re the ones where he is intentionally cagey about what inspired them

[just--monica]

we all agree that as you lie there also carries the implication of 'do you ever think of me when youre jerking off' right

[subaru-copilot]

no but really paul mccartney has been telling everyone and their mother's for the last forty years how he spiritually connects to john to ask him for help (musically and elsely) and everyone is fine with it like oh look at that sweet old man talking psychically with his dead friend and asking what he thinks of his new music or of his divorce isn't that nice :) it's not nice! it's not! he's haunting a ghost can't you see it he's haunting a dead man. this is not allowed, it's not allowed!

[bodhbdearg]

"The Boys of Dungeon Lane" through the McLennonlens

(Not entirely McLennonlens, and not in first person, but structuring my overall review:)

________________________________

As You Lie There: Feels like two songs stuck together and the screamy bits feel like they're addressing Dakota John, with the quieter bits reminiscing on when they first met and the Devotion Commenced.

Lost Horizon: Reminiscent thematically of Get Enough and musically of Lonely Road. Musically it shows its early-2000s origins.

Days We Left Behind: We already know the bridge is about John; also interested in the references to the boys of Dungeon Lane, some of whom "will feel the pain" and some "were meant for more".

Ripples in a Pond: Unfortunately I gotta put this in the "love song for my wife that I'm phoning in" category (except maybe the middle eight).

Mountain Top: If this isn't at least partially about the LSD Emperor of Eternity night I'll eat my hat. Full of Revolver/Pepper evoking harpsichord, a few tape loops, imagery reminiscent of Lucy in the Sky, reference to "the two of us" doing something "on the second bus".

Down South: The "oh yeahs" are exactly the same as the ones on Beatles songs like "I'll Get You", described by Paul as "a bit f*ggy, very Beatle-y". Also "bummin' around down south" has to be a double entendre.

We Two: Musically this wasn't as interesting as I hoped but the theme of a loving, equal partnership make it a John song, plus "we wanna live for love, like other people do" and "over over again, I'll be in love with you". Also I NEED to know what the beepy sounds at the end are. (EDIT: It's a tape rewinding, thanks @rumyodin !) Reminiscent of Strawberry Fields.

Come Inside: The freakout section has more great Pepper-y mellotron and loops. Kind of sounds like an address to fans too - "I been saying it all, you just gotta listen with an open mind."

Never Know: Mellotron flute and backwards guitar (?) tape loop alert!! Think this one takes place in post-breakup Scotland depression period. Also recorders. Echo before the freakout bit reminiscent of the end of Day In The Life.

Home To Us: Kind of a skip for me, but appreciate the sentiment.

Life Can Be Hard: Another one in the category of "slightly ambivalent love songs for The Wife". Nice orchestral arrangement.

First Star of the Night: I like to think that the cheering star is John's spirit :)

Sailsman Saint: A lot more ambivalent than initial reports indicated. The parents in this are traumatised but carrying on because they have no choice. I really love the musical experiment at the end. Weirdly the circular chords in the chorus kind of remind me I Want You (She's So Heavy).

Momma Gets By: Gorgeous melody and vocal. The beginning sounds REALLY like the start of Back Seat of My Car. Think it's a combined reflection on Mary, Linda and maybe a little bit Paul himself in his devotion to John, especially the "and if it rains" verse.

[epiphainie]

i love paul's interviews because on mainstream press he'll be like "we ALL appreciated and miss john. his death was a shock like the kennedy assassination, for everyone" then you will find that one deep cut you can only access by buying it on a cd or bootleg from the dark internet or exist in a third party quote printed on a newspaper that doesn't exist anymore and it'll be like "EYE was the one with him. not yoko, not cynthia, not sean, not julian, not george, not ringo, ME. EYE was his partner. losing him was life MY soul getting CUT in HALF"

[and-drive-real-far]

For all the fun and delight and nostalgia and ludicrous amounts of illicit gay sex in the McLennon Album, I am hit every time I listen to it by the revelation in 'Mountain Top' that implies that yes, Paul stormed out of the 'She Said She Said' Revolver recordings because John had written the song to talk shit about him, and fuck, the line 'when I was a boy, everything was right' (implied: but now my girl is a drag who won't do drugs and just brings me down) hits hard with the nostalgia of the album's revelations, but also with the fact John wanted to turn that into a whole song. So 'Mountain Top' coming in and being a song that says: 'Hey babe, we're absolutely killing it at the top of our career, could I please have a conversation with you where you aren't high?' and getting the response 'Calm down, you're being a bore, take some drugs with me if you don't want to break up' is just...

And like, the album jumps around chronologically, signified by the musical eras especially, but having Paul's next song be that heavy duty seduction song? Implying he basically bartered doing LSD for a wedding ring?! Making 'Tomorrow Never Knows' be the direct response to 'She said, she said', intended for Paul, tying back into the Lost Horizon of Shangri-La theme again from the second song and none of that, none of that fucks me up like the last track, and like... 'Never Know' seems to imply that yeah, he did psychedelics just for John so he wouldn't lose him.

"There’s a song, Momma Gets By, towards the end of the album. That’s just a flight of fantasy. I’m imagining this woman faced with this guy who seems a bit lazy. I’m making up two characters in a play. I’m messing around with them and thinking, Well, what was she thinking? Why does she think that? It just turned into that song. You take bits of yourself, bits of the life you know, and that’s what’s interesting to me as a writer – writing about what is or what was or what could be."

Having a song right before about how your parents made it through World War 2 and all the miserable things in the world and all they needed was hot tea and cigarettes to be together and happy, then turning that into a fantasy where you once again turn yourself into your mother, working to hold the family together while dad is off doing... who knows what but it's sure not enough and your mother was a saint, she must have been a saint because you can't, you just can't do it like she did, and now, fifty years later taking the story of standing in your kitchen and John comes in and says 'I want a divorce' and turning it into a fantasy where you're a saint like your mother, where you didn't start an argument, where you remember to weather the storm and the imperfections and that no marriage is a honeymoon you romantic little fool why did you think money would make it easier.

And if it rains, she never complains She's tough enough to make it through the storm, mm-hm Papa gets back and heads for the sack As soon as he steps inside the kitchen door But she doesn't mind, she's seen it all before She doesn't care, she's got her own philosophy of life It wasn't too long ago that she agreed to bе his wife And even though hе's complicated, she takes it in her stride What are his silly faults compared to what she feels inside? She loves him She loves him with all her heart and soul All her heart and soul Because she loves him She loves him with all her heart and soul All her heart and soul

Momma gets by while papa gets high Momma gets by

[epiphainie]

losing it

[the-fag-four]

How more blatant does this man have to get