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Source: Operation Disclosure Official | By RT, Contributing Writer
Submitted on February 27, 2023
Ok, to be on board with this brief look (not really a review) you have to be up to speed with at least the possibility that the real Paul McCartney passed in 1966 and that rather than go public with this news a replacement with both excellent musical ability and a very strong work ethic was found and because of this timely decision (at the very least) hundreds of girls from all over the world, who, finding life unbearable without their chief love and idol would have otherwise elected to join him (a well known and extremely regrettable social phenomena) instead grew up to be adult women who had families with children and grandchildren of their own.
Grief can do terrible things when the public object of both adulation and love of a teenager are suddenly taken and there’s no doubt real and awful worldwide family tragedies were nipped in the bud and diverted from happening by the decision to make the switch.
It does mean there are two song legacies to consider, Paul’s (up to and including Revolver) and Bill’s (from Pepper on). Both 5 star legacies imho and whose to say they would both be such an overwhelmingly strong contribution to the culture if that decision had not been made at that critical time …
If you want to learn more I suggest you go to Mike Williams’ Paul Is dead channel on youtube, from there you can get info for the relevant book (s) on amazon – if your mind is open enough you will not be disappointed.
Ok one initial, pertinent thought on Bill to set the scene …
He is (or certainly can be) an absolute workaholic and this could either be part of his nature or due to the fact that the org he is (has been) embedded in are (or were at a seminal time in his development) fierce whip-crackers. Who knows … Lets look at the film (s)
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If you look at the first disc in the Get Back series you can see that he comes into the Twickenham work arena pushing, pushing, pushing both musically – trying to lever as many ideas as possible into the songs, but also with ideas for live shows that he is trying to get unanimity on with the rest of the band.
In his driven-ness many of the ideas he pushes the band to try out are not (or to my ear don’t seem) so good so that objectively it seems he is just creating extra work and at one point his own self awareness tells him how this dominant streak (based on the hyper work ethic) is coming over on camera and he complains as much to others.
It is clear he feels the others are being too lax, he wants them to join him on his level of all out commitment and dynamism. This is the period when George (who appears to be the main holdout as far as most of the live show ideas are concerned) temporarily leaves.
When the band return to a studio setting (disc 2) after a private meeting you can see he is more relaxed and more ok just being part of (rather than the main spearhead for) the band and the music generally seems to benefit from this more organic approach. But here is the thing …
It is while riding that wave of really going for it that (as shown in the film) he comes up with the seminal structure and melody that after dedicated work becomes Get Back itself. So perhaps it’s best not to jump to narrow conclusions about the best way to approach work in order for musical genius to flower – but simply be glad it does, when it does.
I myself think that self generated dynamism can lead, by unpredictable avenues, to amazing things …
And that’s all I got … It is a fleeting observation really, but enjoy the research, and looking at the series with that extra spark of knowledge – both are a remarkable journey …
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