9 de Abril de 1970: El día que Paul McCartney le dijo adiós a The Beatles.

Un día como hoy Paul McCartney publicaba en las primeras ediciones promocionales de su Primer disco solista; «McCartney» una curiosa nota que parecía ser una ‘auto entrevista’, donde daba a entender que The Beatles ya no iban más. Lo que la gente nunca se imaginó, estaba pasando, la década de 1970 empezaba con la disolución de la banda más grande de la historia.

En realidad el comunicado no fue hecho sólo por Paul, las preguntas fueron formuladas por  Peter Brown (trabajador de Apple). Peter escribió una serie de preguntas y Paul respondió. Here they are:

Q: «Why did you decide to make a solo album?»

PAUL: «Because I got a Studer four-track recording machine at home – practiced on it (playing all instruments) – liked the results, and decided to make it into an album.»

Q: «Were you influenced by John’s adventures with the Plastic Ono Band, and Ringo’s solo LP?»

PAUL: «Sort of, but not really.»

Q: «Are all songs by Paul McCartney alone?»

PAUL: «Yes sir.»

Q: «Will they be so credited: McCartney?»

PAUL: «It’s a bit daft for them to be Lennon/McCartney credited, so ‘McCartney’ it is.»

Q: «Did you enjoy working as a solo?»

PAUL: «Very much. I only had me to ask for a decision, and I agreed with me. Remember Linda’s on it too, so it’s really a double act.»

Q: «What is Linda’s contribution?»

PAUL: «Strictly speaking she harmonizes, but of course it’s more than that because she’s a shoulder to lean on, a second opinion, and a photographer of renown. More than all this, she believes in me – constantly.»

Q: «Where was the album recorded?»

PAUL: «At home, at EMI (no. 2 studio) and at Morgan Studios (WILLESDEN!)»

Q: «What is your home equipment (in some detail)?»

PAUL: «Studer four-track machine. I only had, however, one mike, and as Mr. Pender, Mr. Sweatenham and others only managed to take 6 months or so (slight delay) I worked without VU meters or a mixer, which meant that everything had to be listened to first (for distortion etc…) then recorded. So the answer – Studer, one mike, and nerve.»

Q: «Why did you choose to work in the studios you chose?»

PAUL: «They were available. EMI is technically very good and Morgan is cozy.»

Q: «The album was not known about until it was nearly completed. Was this deliberate?»

PAUL: «Yes, because normally an album is old before it even comes out. (A side) Witness ‘Get Back.'»

Q: «Why?»

PAUL: «I’ve always wanted to buy a Beatles album like people do and be as surprised as they must be. So this was the next best thing. Linda and I are the only two who will be sick of it by the release date. We love it really.»

Q: «Are you able to describe the texture or the feel of the album in a few words?»

PAUL: «Home, family, love.»

Q: «How long did it take to complete?»

PAUL: «From just before (I think) Xmas, until now. ‘The Lovely Linda’ was the first thing I recorded at home, and was originally to test the equipment. That was around Xmas.»

Q: «Assuming all the songs are new to the public, how new are they to you? Are they recent»

PAUL: «One was from 1959 (Hot As Sun). Two are from India – ‘Junk’ and ‘Teddy Boy,’ and the rest are pretty recent. ‘Valentine Day,’ ‘Momma Miss America’ and ‘Oo You’ were ad-libbed on the spot.»

Q: «Which instruments have you played on the album?»

PAUL: «Bass, drums, acoustic guitar, lead guitar, piano and organ-mellotron, toy xylophone, bow and arrow.»

Q: «Have you played all these instruments on earlier recordings?»

PAUL: «Yes, drums being the one that I normally wouldn’t do.»

Q: «Why did you do all the instruments yourself?»

PAUL: «I think I’m pretty good.»

Q: «Will Linda be heard on all future records?»

PAUL: «Could be. We love singing together and have plenty of opportunity for practice.»

Q: «Will Paul and Linda become a John and Yoko?»

PAUL: «No, they will become Paul and Linda.»

Q: «What has recording alone taught you?»

PAUL: «That to make your own decisions about what you do is easy, and playing with yourself is very difficult, but satisfying.»

Q: «Who has done the artwork?»

PAUL: «Linda has taken all the photos, and she and I designed the package.»

Q: «Is it true that neither Allen Klein nor ABKCO have been nor will be in any way involved with the production, manufacturing, distribution or promotion of this new album?»

PAUL: «Not if I can help it.»

Q: «Did you miss the other Beatles and George Martin? Was there a moment when you thought, ‘I wish Ringo were here for this break?'»

PAUL: «No.»

Q: «Assuming this is a very big hit album, will you do another?»

PAUL: «Even if it isn’t, I will continue to do what I want, when I want to.»

Q: «Are you planning a new album or single with the Beatles?»

PAUL: «No.»

Q: «Is this album a rest away from the Beatles or the start of a solo career?»

PAUL: «Time will tell. Being a solo album means it’s ‘the start of a solo career…’ and not being done with the Beatles means it’s just a rest. So it’s both.»

Q: «Is your break with the Beatles temporary or permanent, due to personal differences or musical ones?»

PAUL: «Personal differences, business differences, musical differences, but most of all because I have a better time with my family. Temporary or permanent? I don’t really know.»

Q: «Do you foresee a time when Lennon-McCartney becomes an active songwriting partnership again?»

PAUL: «No.»

Q: «What do you feel about John’s peace effort? The Plastic Ono Band? Giving back the MBE? Yoko’s influence? Yoko?»

PAUL: «I love John, and respect what he does – it doesn’t really give me any pleasure.»

Q: «Were any of the songs on the album originally written with the Beatles in mind?»

PAUL: «The older ones were. ‘Junk’ was intended for ‘Abbey Road,’ but something happened. ‘Teddy Boy’ was for ‘Get Back,’ but something happened.»

Q: «Were you pleased with ‘Abbey Road’? Was it musically restricting?»

PAUL: «It was a good album. (number one for a long time.)»

Q: «What is your relationship with Klein?»

PAUL: «It isn’t. I am not in contact with him, and he does not represent me in ANY way.»

Q: «What is your relationship with Apple?»

PAUL: «It is the office of a company which I part own with the other three Beatles. I don’t go there because I don’t like offices or business, especially when I am on holiday.»

Q: «Have you any plans to set up an independent production company?»

PAUL: «McCartney Productions.»

Q: «What sort of music has influenced you on this album?»

PAUL: «Light and loose.»

Q: «Are you writing more prolifically now? Or less so?»

PAUL: «About the same. I have a queue waiting to be recorded.»

Q: «What are your plans now? A holiday? A musical? A movie? Retirement?»

PAUL: «My only plan is to grow up!»

Largo, ¿no? Pues les he puesto todas las preguntas y respuestas, así que agradecédmelo. No las he traducido porque quiero mantener la esencia lacónica de las respuestas de Paul, y por pereza principalmente. Si no entienden alguna palabra no duden en usar su traductor favorito.

La pregunta que más llamo la atención de los medios fue ésta:

Q: «Do you foresee a time when Lennon-McCartney becomes an active songwriting partnership again?»

PAUL: «No.»

Paul daba a entender que no podría tocar junto a John otra vez. Lo que marcaba el verdadero fin de la banda para los fans.

¿Pero a qué se debía la ruptura? No voy a escribir sobre todas las causas de las ruptura, mas las enumeraré:

1. The Beatles llegaron al punto de aborrecerse por completo. No se soportaban.

2. La muerte de Brian Epstein (mánager) y dejando todo a cargo de 4 inexpertos Beatles que poco o nada sabían de como manejar los negocios.

3. Paul McCartney había tomado un liderazgo que a los demás no les parecía nada bien. El proyecto ‘Get Back’ idea de McCartney, y la dificultad con la que se lo llevo acabo fue el punto culminante.

4. La independencia creativa: Cada beatle se inclinaba por algo diferente; Lennon por lo experimental, McCartney por el pop, Harrison por la mezcla de música oriental con la occidental.

5. Yoko Ono (¿necesitan que se los explique?)

6. El ascenso como compositor de George Harrison. Debido a esto George buscaba más espacio para sus canciones en los discos, espacio que se merecía y todos veían que era así, pero que, para disgusto de George, le seguían negando.

7. La producción de Phil Spector en Let It Be. Phil prácticamente asesinó las canciones con su ‘pared de sonido’. Traerlo como productor fue un craso error

8. Y quizá la razón más fuerte: traer a Allen Klein como nuevo mánager provocando el disgusto de Paul McCartney, ya que era el único que estaba en contra de ésto. Este hecho fue la gota que derramó el vaso; Paul fue visto como el villano al no aceptar a Allen, e intentar traer al padre de su novia Linda Eastman como mánager. Las discusiones fueron bastante fuertes y Paul nunca lo aceptó como mánager. El tiempo le daría la razón a Paul ya que Allen no fue más que un vil ladrón para con ellos.

The Beatles, Yoko Ono, and Allen Klein

El 10 de Abril de 1970 todos los medios hacían público el comunicado de Paul, y aparecían encabezados como el siguiente:

Ese día sería el fin de la banda como tal ya que no volverían a tocar (los 4 juntos) bajo el nombre de The Beatles. El fin oficial (legalmente) de la banda vendría el 31 de Diciembre de 1970.

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