Looking At Her
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Bruce M.:
SusyLuvsPaul:
That high voice he employs reminds me of his lovely sweet, soft crooning on "Here, There, and Everywhere." He said long time ago after that song first came out, that he was trying to copy Marianne Faithfull's singing when she was a mezzo soprano or soprano, haven't you read that, I have. He admired the copious emotions she expressed. Can't help but wonder whom he's crushing on this time, in this song--who is the subject, or is it femininity in general the entire gender, everyone he's ever fancied all rolled up into one. Some might say it's his current beloved, but why would he have had to lose his mind over her, seems they started dating very soon after they first met. So he always felt comfy, cozy and secure in the desired affections. Except for that "hidden" song, he was "scared" to reveal his feelings for awhile, maybe that Looking song is about his present paramour (?). "Hosanna" might be the lovelier sounding romance ditty on the album. It sounds gently lilting and lush. It boasts a softer more beguiling sound, to my ears.
Except that at the time of "Here, There and Everywhere," he had the voice to pull it off. Now, he doesn't. I know some people on here don't like to hear that, but it's true. This isn't one of those songs (like "Early Days" or "You Tell Me") where the weakness of his voice underlines the meaning of the song. Here it just sounds feeble. Okay, bring out the knives...
Nah, just rotten tomatoes!
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I'll be keeping the knife in the scabbard. I agree with Bruce that the voice isn't quite able to pull off that style like it used to... even the recent Heart of the Country remake had to conjure a completely different register. Far inferior to the original. Looking at Her is not his greatest vocal effort. It was the first thing I thought when I heard it.
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Bruce M.:
SusyLuvsPaul:
That high voice he employs reminds me of his lovely sweet, soft crooning on "Here, There, and Everywhere." He said long time ago after that song first came out, that he was trying to copy Marianne Faithfull's singing when she was a mezzo soprano or soprano, haven't you read that, I have. He admired the copious emotions she expressed. Can't help but wonder whom he's crushing on this time, in this song--who is the subject, or is it femininity in general the entire gender, everyone he's ever fancied all rolled up into one. Some might say it's his current beloved, but why would he have had to lose his mind over her, seems they started dating very soon after they first met. So he always felt comfy, cozy and secure in the desired affections. Except for that "hidden" song, he was "scared" to reveal his feelings for awhile, maybe that Looking song is about his present paramour (?). "Hosanna" might be the lovelier sounding romance ditty on the album. It sounds gently lilting and lush. It boasts a softer more beguiling sound, to my ears.
Except that at the time of "Here, There and Everywhere," he had the voice to pull it off. Now, he doesn't. I know some people on here don't like to hear that, but it's true. This isn't one of those songs (like "Early Days" or "You Tell Me") where the weakness of his voice underlines the meaning of the song. Here it just sounds feeble. Okay, bring out the knives...
Well, he doesn't sound feeble on that song. He just doesn't. His voice, which may have been helped by studio technology, sounds great as a matter of fact. Not even close to feeble. This is not bringing out the knives, it's just stating what I hear. Maybe we each hear what we want to hear, but Giles Martin's production of "Looking At Her" is terrific. And so is Paul's vocal performance. So there!
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Beatles4Ever&Ever:
Bruce M.:
SusyLuvsPaul:
That high voice he employs reminds me of his lovely sweet, soft crooning on "Here, There, and Everywhere." He said long time ago after that song first came out, that he was trying to copy Marianne Faithfull's singing when she was a mezzo soprano or soprano, haven't you read that, I have. He admired the copious emotions she expressed. Can't help but wonder whom he's crushing on this time, in this song--who is the subject, or is it femininity in general the entire gender, everyone he's ever fancied all rolled up into one. Some might say it's his current beloved, but why would he have had to lose his mind over her, seems they started dating very soon after they first met. So he always felt comfy, cozy and secure in the desired affections. Except for that "hidden" song, he was "scared" to reveal his feelings for awhile, maybe that Looking song is about his present paramour (?). "Hosanna" might be the lovelier sounding romance ditty on the album. It sounds gently lilting and lush. It boasts a softer more beguiling sound, to my ears.
Except that at the time of "Here, There and Everywhere," he had the voice to pull it off. Now, he doesn't. I know some people on here don't like to hear that, but it's true. This isn't one of those songs (like "Early Days" or "You Tell Me") where the weakness of his voice underlines the meaning of the song. Here it just sounds feeble. Okay, bring out the knives...
Well, he doesn't sound feeble on that song. He just doesn't. His voice, which may have been helped by studio technology, sounds great as a matter of fact. Not even close to feeble. This is not bringing out the knives, it's just stating what I hear. Maybe we each hear what we want to hear, but Giles Martin's production of "Looking At Her" is terrific. And so is Paul's vocal performance. So there!
I'm not sure what record you're referring to. I'm talking about "Looking at Her" from the album called "New." You must be referring to something else, because the only moments on this song that sound strong are when he goes into his lower register on "losing my mind." The rest is pretty painful, and I'm one who is mostly pretty accepting of Paul's "old man" voice.
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Bruce M.:
Beatles4Ever&Ever:
Bruce M.:
SusyLuvsPaul:
That high voice he employs reminds me of his lovely sweet, soft crooning on "Here, There, and Everywhere." He said long time ago after that song first came out, that he was trying to copy Marianne Faithfull's singing when she was a mezzo soprano or soprano, haven't you read that, I have. He admired the copious emotions she expressed. Can't help but wonder whom he's crushing on this time, in this song--who is the subject, or is it femininity in general the entire gender, everyone he's ever fancied all rolled up into one. Some might say it's his current beloved, but why would he have had to lose his mind over her, seems they started dating very soon after they first met. So he always felt comfy, cozy and secure in the desired affections. Except for that "hidden" song, he was "scared" to reveal his feelings for awhile, maybe that Looking song is about his present paramour (?). "Hosanna" might be the lovelier sounding romance ditty on the album. It sounds gently lilting and lush. It boasts a softer more beguiling sound, to my ears.
Except that at the time of "Here, There and Everywhere," he had the voice to pull it off. Now, he doesn't. I know some people on here don't like to hear that, but it's true. This isn't one of those songs (like "Early Days" or "You Tell Me") where the weakness of his voice underlines the meaning of the song. Here it just sounds feeble. Okay, bring out the knives...
Well, he doesn't sound feeble on that song. He just doesn't. His voice, which may have been helped by studio technology, sounds great as a matter of fact. Not even close to feeble. This is not bringing out the knives, it's just stating what I hear. Maybe we each hear what we want to hear, but Giles Martin's production of "Looking At Her" is terrific. And so is Paul's vocal performance. So there!
I'm not sure what record you're referring to. I'm talking about "Looking at Her" from the album called "New." You must be referring to something else, because the only moments on this song that sound strong are when he goes into his lower register on "losing my mind." The rest is pretty painful, and I'm one who is mostly pretty accepting of Paul's "old man" voice.
Same album, same song...with different (less critical) ears, I guess. Sounds great to me. Love that song!
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I really like this one, the melody is catchy as anything!
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Love this song too. He's using his KOTB vocals on this one. Low and close to the mic Nothing wrong with his voice
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By FAR, be second favorite tune after "Queenie Eye". Both songs just have that Wings sound.
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Bruce M.:
Beatles4Ever&Ever:
Bruce M.:
SusyLuvsPaul:
That high voice he employs reminds me of his lovely sweet, soft crooning on "Here, There, and Everywhere." He said long time ago after that song first came out, that he was trying to copy Marianne Faithfull's singing when she was a mezzo soprano or soprano, haven't you read that, I have. He admired the copious emotions she expressed. Can't help but wonder whom he's crushing on this time, in this song--who is the subject, or is it femininity in general the entire gender, everyone he's ever fancied all rolled up into one. Some might say it's his current beloved, but why would he have had to lose his mind over her, seems they started dating very soon after they first met. So he always felt comfy, cozy and secure in the desired affections. Except for that "hidden" song, he was "scared" to reveal his feelings for awhile, maybe that Looking song is about his present paramour (?). "Hosanna" might be the lovelier sounding romance ditty on the album. It sounds gently lilting and lush. It boasts a softer more beguiling sound, to my ears.
Except that at the time of "Here, There and Everywhere," he had the voice to pull it off. Now, he doesn't. I know some people on here don't like to hear that, but it's true. This isn't one of those songs (like "Early Days" or "You Tell Me") where the weakness of his voice underlines the meaning of the song. Here it just sounds feeble. Okay, bring out the knives...
Well, he doesn't sound feeble on that song. He just doesn't. His voice, which may have been helped by studio technology, sounds great as a matter of fact. Not even close to feeble. This is not bringing out the knives, it's just stating what I hear. Maybe we each hear what we want to hear, but Giles Martin's production of "Looking At Her" is terrific. And so is Paul's vocal performance. So there!
I'm not sure what record you're referring to. I'm talking about "Looking at Her" from the album called "New." You must be referring to something else, because the only moments on this song that sound strong are when he goes into his lower register on "losing my mind." The rest is pretty painful, and I'm one who is mostly pretty accepting of Paul's "old man" voice.
it seems you are the only person who is putting the song down! so you might be the one who is listening to a different song and album! probably "the wizard of OZ"!
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dcshark:
Love this song too. He's using his KOTB vocals on this one. Low and close to the mic Nothing wrong with his voice
Exactly with a very catchy melody! and the production makes it more modern and acceptable to new audience than any other track.
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Ammar:
dcshark:
Love this song too. He's using his KOTB vocals on this one. Low and close to the mic Nothing wrong with his voice
Exactly with a very catchy melody! and the production makes it more modern and acceptable to new audience than any other track.
I agree, but I think Appreciate is the most modern and acceptable track. Wish he'd release it as a single!
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Nancy R:
Ammar:
dcshark:
Love this song too. He's using his KOTB vocals on this one. Low and close to the mic Nothing wrong with his voice
Exactly with a very catchy melody! and the production makes it more modern and acceptable to new audience than any other track.
I agree, but I think Appreciate is the most modern and acceptable track. Wish he'd release it as a single!
Both are. what I like more about "Looking at her" is that typical catchy McCartney melody trademark. and that brilliant guitar solo sound who comes in right on time. this is can be tempting for new fans to explore more about McCartney.
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Nancy R:
Ammar:
dcshark:
Love this song too. He's using his KOTB vocals on this one. Low and close to the mic Nothing wrong with his voice
Exactly with a very catchy melody! and the production makes it more modern and acceptable to new audience than any other track.
I agree, but I think Appreciate is the most modern and acceptable track. Wish he'd release it as a single!
Yes, I agree with you Nancy. But Appreciate needs to be remixed into a club mix or DJ mix. All the elements are there and it would top the charts. That would alert a younger audience to a new McCartney song, but honestly top 40 radio would not be playing any song from NEW.
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Bruce M.:
Beatles4Ever&Ever:
Bruce M.:
SusyLuvsPaul:
That high voice he employs reminds me of his lovely sweet, soft crooning on "Here, There, and Everywhere." He said long time ago after that song first came out, that he was trying to copy Marianne Faithfull's singing when she was a mezzo soprano or soprano, haven't you read that, I have. He admired the copious emotions she expressed. Can't help but wonder whom he's crushing on this time, in this song--who is the subject, or is it femininity in general the entire gender, everyone he's ever fancied all rolled up into one. Some might say it's his current beloved, but why would he have had to lose his mind over her, seems they started dating very soon after they first met. So he always felt comfy, cozy and secure in the desired affections. Except for that "hidden" song, he was "scared" to reveal his feelings for awhile, maybe that Looking song is about his present paramour (?). "Hosanna" might be the lovelier sounding romance ditty on the album. It sounds gently lilting and lush. It boasts a softer more beguiling sound, to my ears.
Except that at the time of "Here, There and Everywhere," he had the voice to pull it off. Now, he doesn't. I know some people on here don't like to hear that, but it's true. This isn't one of those songs (like "Early Days" or "You Tell Me") where the weakness of his voice underlines the meaning of the song. Here it just sounds feeble. Okay, bring out the knives...
Well, he doesn't sound feeble on that song. He just doesn't. His voice, which may have been helped by studio technology, sounds great as a matter of fact. Not even close to feeble. This is not bringing out the knives, it's just stating what I hear. Maybe we each hear what we want to hear, but Giles Martin's production of "Looking At Her" is terrific. And so is Paul's vocal performance. So there!
I'm not sure what record you're referring to. I'm talking about "Looking at Her" from the album called "New." You must be referring to something else, because the only moments on this song that sound strong are when he goes into his lower register on "losing my mind." The rest is pretty painful, and I'm one who is mostly pretty accepting of Paul's "old man" voice.
I tend to agree. Many people don't want to accept that McCartney's voice just isn't what it was in 1993 or 1989, never mind 1976 or 1966!! He sounds good, MAYBE great for a guy his age. But his best singing days are behind him. Of course, some here see facing reality as a criticism. But it is not. It is just the truth. Paul's voice IS shaky on Appreciate. and not in the same way as on Here, There, and Everywhere. That song was recorded in 1966 by a 24 year old singer, and even that track has Paul double-tracked, as touring had roughed up his voice and he wanted it stronger for that recording.
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RMartinez:
Paul's voice IS shaky on Appreciate. and not in the same way as on Here, There, and Everywhere. That song was recorded in 1966 by a 24 year old singer, and even that track has Paul double-tracked, as touring had roughed up his voice and he wanted it stronger for that recording.
Not sure where you are getting your info on Here There and Everywhere but The Beatles last live performance was Dec 12 1965. Recording for Revolver began in April 1966 and continued until June 1966. With recording for Here There & Everywhere beginning on June 14th More than enough time for his voice to recover. The Beatles world tour began in Germany June 24th 1966. Paul double tracked his vocals for effect. Nothing wrong with vocals back then either.
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Ammar:
Nancy R:
Ammar:
dcshark:
Love this song too. He's using his KOTB vocals on this one. Low and close to the mic Nothing wrong with his voice
Exactly with a very catchy melody! and the production makes it more modern and acceptable to new audience than any other track.
I agree, but I think Appreciate is the most modern and acceptable track. Wish he'd release it as a single!
Both are. what I like more about "Looking at her" is that typical catchy McCartney melody trademark. and that brilliant guitar solo sound who comes in right on time. this is can be tempting for new fans to explore more about McCartney.
Preach on brother, you and I agree! and most others on here. no question his voice is 71 yrs old, but he can still turn out gems in the songwriting arena.
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dcshark:
RMartinez:
Paul's voice IS shaky on Appreciate. and not in the same way as on Here, There, and Everywhere. That song was recorded in 1966 by a 24 year old singer, and even that track has Paul double-tracked, as touring had roughed up his voice and he wanted it stronger for that recording.
Not sure where you are getting your info on Here There and Everywhere but The Beatles last live performance was Dec 12 1965. Recording for Revolver began in April 1966 and continued until June 1966. With recording for Here There & Everywhere beginning on June 14th More than enough time for his voice to recover. The Beatles world tour began in Germany June 24th 1966. Paul double tracked his vocals for effect. Nothing wrong with vocals back then either.
Not sure where I read it, but someone said, maybe it was George Martin, that McCartney felt his voice was a bit shaky from performances or something. In any event, yes, he is double tracked on that song, and sounds much better than on NEW.
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RMartinez:
dcshark:
RMartinez:
Paul's voice IS shaky on Appreciate. and not in the same way as on Here, There, and Everywhere. That song was recorded in 1966 by a 24 year old singer, and even that track has Paul double-tracked, as touring had roughed up his voice and he wanted it stronger for that recording.
Not sure where you are getting your info on Here There and Everywhere but The Beatles last live performance was Dec 12 1965. Recording for Revolver began in April 1966 and continued until June 1966. With recording for Here There & Everywhere beginning on June 14th More than enough time for his voice to recover. The Beatles world tour began in Germany June 24th 1966. Paul double tracked his vocals for effect. Nothing wrong with vocals back then either.
Not sure where I read it, but someone said, maybe it was George Martin, that McCartney felt his voice was a bit shaky from performances or something. In any event, yes, he is double tracked on that song, and sounds much better than on NEW.
Man you cant even compare Paul's voice now to when he was in the Beatles, totally different now. Today its just about is he delivering cool and current songs, and he is. he's blasting away on sounds that are available today and working them into great songs. pretty cool
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Exactly. He was in his 20s then, and is 71 now. There is no real comparison. I agree! As I have said before, he sounds pretty good for his age these days. But sounded better in 1993, even better in 1976!
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RMartinez:
Exactly. He was in his 20s then, and is 71 now. There is no real comparison. I agree! As I have said before, he sounds pretty good for his age these days. But sounded better in 1993, even better in 1976!