One Day a Week (documentario) e Botswana (nuovo strumentale)

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Re: One Day a Week (documentario) e Botswana (nuovo strument

Messaggioda Ybgir Ronaele » sabato 04/11/2017 16:40:43

Stavo giusto guardando il piccolo documentario e mi chiedevo se la musica strumentale dopo il passaggio di Standing Stone fosse sua o meno.
Mi pare che questo titolo -Botswana- girasse da un po' di tempo, forse Backseat ne sa di più
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Re: One Day a Week (documentario) e Botswana (nuovo strument

Messaggioda Ybgir Ronaele » sabato 04/11/2017 16:47:12

Ok, ho fatto una ricerchina ed ho trovato io stesso le informazioni sul brano.
A quanto pare il brano sarebbe nato nel 2014 nel mezzo di alcune registrazioni informali fatte da Paul nel suo studio Hog Hill Mill, in cui ha ripreso in mano il sequencer dei tempi di McCartney Two.
Ne parlò lo stesso Macca nella famosa intervista a Rolling Stone di quell'anno.
Molto interessante quello che dice:


McCartney says the time off from the road let him catch up on all kinds of pursuits that his heavy touring schedule might have otherwise made difficult.
“I just took it really easy at home in England,” he says. “My son-in-law had a film script – plenty of time to read that. I started jogging a bit. The weather was great, so that was cool. And then I went into my recording studio and did some music that I didn’t have to do, some experimental stuff. That was a really nice musical awakening, and it made me feel better.” […]

Tell us more about the music you were working on.
I have a studio about 20 minutes away from where I live, and sometimes I’ll go in and work on my computer. Even though I’m not really a computer guy, I have a music program that I’ve worked on for years, called Cubase. It’s incredibly addictive – I’ll just sit there for six hours, until someone has to nudge me and say, “Go home now.” Normally I work on my orchestral side on that, but someone said to me, “You know what? That’s not technically an orchestral program. It’s more of a pop program.” So when I had some time to do nothing, I went in and said, “Great. I’ll start on a dance track or something.”

I also got a sequencer, which I was revisiting from years ago. I did an album called McCartney II [in 1980],where I had experimented with sequencers and synths in their early days. I wanted to get back into that, but I really hadn’t had much time before. So I hooked that up with Cubase. It was really cool. I’d get the BPM on the sequencer, match it on the computer, put some drums in from the computer, put that all down onto Pro Tools, and screw it all up – because it was for nothing.

Over a week, I did a couple of tracks, and that reawakened my musical taste buds. I was really happy with those. They were just funky little experimental things, instrumentals. The first one I did was kind of African, so I gave it the working title “Mombasa.” The next one was faster, and that one I called “Botswana.” It was a good week. It was funny, I was talking to Joe Walsh about this. He said, “Yeah, man, that’s the best – when it’s for nothing and it’s not important and it’s just experimental, you have the most fun. It’s really good for your soul, that stuff.’ And I agree. It was very freeing
It's awfully considerate of you to think of me here

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