一位有勇氣對抗保羅麥卡尼的音樂家

保羅·麥卡尼幾乎贏得了被視為音樂家之神的權利。對於任何仍在努力磨練作曲手藝的外行人來說，一想到他們與Macca 站在同一個地方，他們很可能會興奮地昏倒，或者跪下向這位誕生了“Hey Jude”的人表示敬意。

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.

保羅麥卡尼堪稱音樂家中的神。任何有抱負的詞曲作者發現自己站在 Macca 附近時，可能會因興奮而昏倒或跪下，以表達對這位毫不費力地誕生了“Hey Jude”的人的敬意。儘管麥卡尼享有傳奇般的地位，但他從未聲稱自己是完美的。事實上，當 Wings 中的一位音樂家認為 Macca 的吉他技巧沒有發揮作用時，他敢於發聲。

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.

在麥卡尼的整個職業生涯中，任何人最不想做的就是告訴他如何唱某句歌詞或如何彈奏吉他。在披頭四之外，他一直被認為是常駐的完美主義者，當他認為一首歌不適合某種表演時，他從不害怕說出自己的想法。

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.

但在這個過程中，麥卡尼開始接受比平常更搖搖欲墜的想法。除了首張專輯的古怪之處之外，《Wild Life》可能被視為他整個職業生涯中最支離破碎的專輯之一，其特色是勉強保持在一起的Wings 版本，在半個小時的大部分時間裡面出現了一堆鬆散的即興演奏和一些象徵性的結構曲調。

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，當《紅玫瑰賽道》問世時，麥卡尼又開始找到自己的聲音。樂團仍然是他的寶貝，但他們發行雙張唱片的想法並不適合他的唱片公司，導致唱片上的許多精彩時刻被降級到 B 面或被留在剪輯室的地板上。

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.

儘管必須坐下來聽完《Loup（月球上的第一個印第安人）》這樣的歌曲，但麥卡尼確實有一張王牌《My Love》。整首曲子感覺像是他過去以甜蜜情歌而聞名的自然延伸，但就其本身而言，有些曲子危險地接近於進入糊狀民謠領域，這在當時讓人感到噁心。直到亨利·麥卡洛開口說話。

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 仍然由麥卡尼口授，丹尼·萊恩(Denny Laine) 擔任聯合隊長，但麥卡洛是第一個願意冒險的人，當他提議在《My Love》中加入自己的吉他獨奏時，麥卡特尼回憶道：“我們清楚地知道什麼我們會這樣做，然後就在拍攝之前，亨利走過來在我耳邊低聲說道，“你介意我在獨奏中嘗試一些不同的東西嗎？我必須做出其中一個決定——堅持我們已經排練過的內容，還是遵循他的新想法。冒著把事情搞砸的風險，我同意了他的想法，他從左場拉出了一段很棒的新獨奏。他確實能應付這種情況。

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.

雖然這裡非常懷念《也許我很驚訝》中麥卡尼風格的獨奏，但沒有其他獨奏可以取代麥卡洛的位置。有幾首曲子往往偏藍調一些，但對於一首每個毛孔都散發著甜蜜的歌曲來說，需要有一些輕鬆的時刻，讓事情聽起來實際上變得有點噁心。

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.

因為這始終是披頭四如此成功的關鍵。他們每個人都有一種平衡歌曲創作的陰暗面和光明面的方法，在這首歌曲中，麥卡洛為麥卡尼的傳統歌曲結構提供了完美的襯托。