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In the same commentary, he’s forever reaching back to the England of his boyhood: taking phone calls in the cupboard beneath the stairs, being dispatched into the street to collect horse shit for Dad’s roses, watching Bootsie and Snudge on TV, lifting an idea for Mrs Vandebilt from The Vamp of Baghdad by Charlie Chester. If one Paul is keen to point out that the intermediary of She Loves You is like the hero of LP Hartley’s novel The Go-Between, the other Paul is quite happy to agree he may have been influenced by it. Macca rarely resists an upmarket comparison.
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Photograph: Mike McCartneyĮach song has a commentary drawn from chats with McCartney’s editor, the Irish poet Paul Muldoon, who was presumably the one introducing words such as “epistolary” and “intertextual” into the conversation. McCartney with the Quarrymen (George Harrison, John Lennon) and friend Dennis Littler in Liverpool, 1958. “Can you write a song about anything?” Hoffman asked.
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It’s this more than 10,000 hours spent setting himself the eternal puzzle of getting from the beginning of a song to its end that enabled him to dazzle Dustin Hoffman by writing Picasso’s Last Words (Drink to Me) in front of him. Whereas the other Beatles wrote fitfully after the group broke up, Paul kept getting out his pencil, taking his guitar into a quiet corner and writing yet another song, less on the basis of inspiration than the feeling that it was a muscle he must use or lose. It’s thanks to this genius for record-making that his music is imprinted on us all. Paul McCartney’s medium is certainly not manuscript paper. The majority have lived inside us since we first heard them, in my case for almost 60 years, as a consequence of which I am incapable of reading “and the fireman rushes in” without hearing the precise intonation of the way he sang it for the ages on 30 December 1966. The lyrics you actually read are for the records you don’t know. Neither lyrics nor commentary will be studied quite as closely as the pictures of Paul looking fabulous for more than 50 years This last turns out to have been half-written by a schoolteacher friend, which would guarantee it winding up in court if it were to happen today.
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As much space in this book is devoted to Magneto and Titanium Man as Michelle. Unsurprisingly, almost everything under I dates from the Beatles’ personal-pronoun period – I Saw Her Standing There, I Wanna Be Your Man, I Want to Hold Your Hand, I’m Down, I’ll Follow the Sun and others – while the average reader may be a bit lost in the O section once they get past Ob-La-Di, Ob-La-Da. F is particularly solid, featuring Fixing a Hole, The Fool on the Hill, For No One and From Me to You. Chronological was obviously a non-starter.Īlphabetical it is, then, with each initial letter a fresh lottery. Had they been so, most of the hits would be in the first book and a lot of people would hardly open the second. With that kind of introduction you’d be forgiven for expecting them in chronological order. A t the beginning of this two-volume book, Paul McCartney says that while he has no intention of writing his autobiography and has never kept a diary, it has been his habit throughout his adult life to turn his life experiences into the words of songs, and so here are 154 of them.