一位有勇气对抗保罗·麦卡特尼的音乐家

保罗·麦卡特尼几乎赢得了被视为音乐家之神的权利。对于任何仍在努力磨练作曲手艺的外行人来说，一想到他们与 Macca 站在同一个地方，他们很可能会兴奋地昏倒，或者跪下向这位诞生了“Hey Jude”的人表示敬意。无中生有。

Paul McCartney is practically a god among musicians. Any aspiring songwriter who found themselves standing near Macca would probably pass out from excitement or genuflect in reverence to the man who effortlessly birthed ‘Hey Jude’. But despite his legendary status, McCartney never claimed to be perfect. In fact, one musician in Wings dared to speak up when he thought Macca's guitar prowess wasn’t working out.

保罗·麦卡特尼堪称音乐家中的神。任何一个有抱负的歌曲作者，如果发现自己站在 Macca 附近，可能会因为兴奋而昏倒，或者跪下，以表达对这位毫不费力地诞生了“Hey Jude”的人的敬意。尽管麦卡特尼享有传奇般的地位，但他从未声称自己是完美的。事实上，当 Wings 的一位音乐家认为 Macca 的吉他技巧没有发挥作用时，他敢于发声。

Throughout McCartney's career, the last thing anyone would want to do is tell him how to sing a certain line or how a guitar is supposed to be played. Out of The Beatles, he was always considered the resident perfectionist, and he was never afraid to speak his mind when he thought that a song wouldn’t work with a certain performance.

在麦卡特尼的整个职业生涯中，任何人最不想做的就是告诉他如何唱某句歌词或如何弹奏吉他。在披头士乐队之外，他一直被认为是常驻的完美主义者，当他认为某首歌不适合某种表演时，他从不害怕说出自己的想法。

But somewhere along the line, McCartney started to embrace the idea of being a little bit more ramshackle than normal. Outside of the quirkiness of his debut, Wild Life might be seen as one of the most fractured albums of his entire career, featuring a barely-held-together version of Wings that shows up for the better part of a half hour for a bunch of loose jams and a few token structured tunes.

但在这个过程中，麦卡特尼开始接受比平常更摇摇欲坠的想法。除了他首张专辑的古怪之处之外，《Wild Life》可能被视为他整个职业生涯中最破碎的专辑之一，其特色是勉强保持在一起的 Wings 版本，在半个小时的大部分时间里出现了一堆松散的即兴演奏和一些象征性的结构曲调。

When Red Rose Speedway came out, though, McCartney had started to find his voice again. The group was still his baby, but the thought of them releasing a double record didn’t sit well with his label, leading to a lot of the best moments on the record being relegated to B-sides or being left on the cutting room floor.

然而，当《红玫瑰赛道》问世时，麦卡特尼又开始找到自己的声音。该乐队仍然是他的宝贝，但他们发行双张唱片的想法并不适合他的唱片公司，导致唱片上的许多精彩时刻被降级到 B 面或被留在剪辑室的地板上。

Despite having to sit through tunes like ‘Loup (1st Indian on the Moon)’, McCartney did have one ace up his sleeve with ‘My Love’. The whole tune felt like a natural extension of the syrupy love songs that he was known for in the past, but taken on its own, some pieces were dangerously close to going into mushy ballad territory that made people queasy back in the day. That is, until Henry McCullough spoke up.

尽管不得不坐下来听完《Loup（月球上的第一个印第安人）》这样的歌曲，但麦卡特尼确实有一张王牌《My Love》。整首曲子感觉就像是他过去著名的甜蜜情歌的自然延伸，但就其本身而言，有些作品危险地接近于进入糊状民谣领域，这在当时让人感到恶心。直到亨利·麦卡洛开口说话。

Wings was still dictated by McCartney with Denny Laine as a co-captain, but McCullough was the first one willing to take a chance when he motioned to include his own guitar solo on ‘My Love’, with McCartney recalling, “We knew exactly what we would be doing, and then just before the take Henry came over and whispered in my ear, ‘Do you mind if I try something different on the solo?’ I had to make one of those decisions – to stick with what we’d rehearsed or to run with his new idea. At the risk of messing the thing up, I went with his idea, and he pulled a great new solo out of left field. He really rose to the occasion.”

Wings 仍然由麦卡特尼口述，丹尼·莱恩 (Denny Laine) 担任联合队长，但麦卡洛是第一个愿意冒险的人，当他提议在《My Love》中加入自己的吉他独奏时，麦卡特尼回忆道，“我们清楚地知道什么我们会这样做，然后就在拍摄之前，亨利走过来在我耳边低声说道，“你介意我在独奏中尝试一些不同的东西吗？”我必须做出其中一个决定——坚持我们已经排练过的内容，还是遵循他的新想法。冒着把事情搞砸的风险，我同意了他的想法，他从左场拉出了一段很棒的新独奏。他确实能应对这种情况。”

While the same McCartney-style solo from ‘Maybe I’m Amazed’ is sorely missed here, there’s no other solo that could have taken McCullough's spot. There are a few pieces that tend to be a bit more bluesy, but for a song that has sweetness dripping out of its every pore, there needs to be some moment of levity where things actually start sounding a bit nastier.

虽然这里非常怀念《也许我很惊讶》中的麦卡特尼风格的独奏，但没有其他独奏可以取代麦卡洛的位置。有几首曲子往往偏蓝调一些，但对于一首每一个毛孔都散发着甜蜜的歌曲来说，需要有一些轻松的时刻，让事情听起来实际上变得有点恶心。

Because that was always the key to what made The Beatles work so well. Each of them had a way of balancing the dark and light sides of their songwriting, and on this one track, McCullough provided the perfect foil to McCartney’s traditional song structure.

因为这始终是披头士乐队如此成功的关键。他们每个人都有一种平衡歌曲创作的阴暗面和光明面的方法，在这首歌曲中，麦卡洛为麦卡特尼的传统歌曲结构提供了完美的衬托。