PAUL MCCARTNEY OPENS UP about the doubts and fears that fed into songs on his latest album, Egypt Station.
“Sometimes in your life, you’re not a god on Olympus,” he tells Keith Cameron in the new MOJO magazine, in UK shops from Monday, August 21. “You’re a real person walking round the streets. I’m a grandfather, a father, a husband, and in that package there’s no guarantee that every minute’s gonna go right. In fact, quite the opposite.”
Not known as a confessional songsmith, the Beatle talks about his writing as “a therapy session”, citing the Let It Be album’s The Long And Winding Road as a song underestimated for its emotional heft.
In an in-depth interview he delves into the making of his new album and tackles many other topics besides – including reflections on his cannabis-wreathed past. He even reveals a recurring dream where he’s on stage with the Beatles and everything’s going wrong…
“We’re playing a dreadful gig somewhere and the audience are walking out. That happens a lot. But I get to meet John, and George. So that’s kinda good.”
And in an intimate portfolio of shots by his daughter Mary, MOJO readers are afforded an unprecedented glimpse off-duty Macca – captured at the ‘Magic Piano’ on which he wrote Fixing A Hole, posing in front of Beatles wallpaper and in the middle of a yoga move.
If you dig the Beatles, and/or you’re interested in Paul McCartney (“one of the greatest melodists who ever lived,” as Harold Goodall claims elsewhere in the feature) it’s a must-read.
Also in the latest MOJO: Nile Rodgers counts his blessings; celebrating The Band’s Music From Big Pink; inside Marianne Faithfull’s extraordinary new album; Primal Scream seek redemption in Memphis; David Crosby stirs it up. Plus: Joe Strummer; Cat Power; Graham Parker; Pearl Jam; Fatoumata Diawarra; Billy Gibbons; Dinosaur Jr; unheard Tom Petty and more.
Moreover: our covermount CD is a Macca-inspired collection of Liverpudlian pop and rock, including classic tracks by Deaf School, The Coral, OMD, The La’s and The Liverpool Scene.
Photography © Mary McCartney