In the s, a depressed, heavy-drinking Paul McCartney walked musician who shared his first name, Denny Laine, ventured to High Park. Denny Laine, long-time former collaborator with Paul McCartney and Wings, is at work on a new memoir — and he says McCartney is lending a. Denny Laine is an English musician, singer, and songwriter known as a founder of two major . Laine, McCartney, and McCartney's wife, Linda McCartney formed the nucleus of the band to which it was also reduced twice. He has three other children from other relationships: Lucianne Grant (with Helen, daughter of Led.
Birmingham was not the place you could get a record deal. There was no music scene in Birmingham, really. It was just factories that had workers from all over the world. So a lot of musical influences came through Birmingham — reggae, Irish show bands. Most of the Birmingham bands were into pop, but you had to move to London to get a deal. Was Birmingham a place people wanted to escape from or just that London was where it was happening? I joined the Moody Blues because they wanted to go to Germany first.
Two of the guys had been out there working in the same clubs as the Beatles. Then we got discovered in a blues club.
The Moody Blues were a blues band, so when we got discovered, we were taken to London. When we started getting popular, a lot of bands came from Birmingham. Brum Beat was a magazine from Birmingham that started to bring music to the forefront, so therefore Birmingham became a music scene after that.
Denny Laine - Wikipedia
Wherever people in the British Commonwealth came from to work in the factories after the war, they brought their music with them. Like I said, there was reggae and all sorts of styles we were influenced by, but especially American music thanks to American Forces Network in Germany.
We used to listen to all that American music. We were picking up on American pop music, but that led us to investigate, like kids do now. They research past music. Listening to American music, we got into blues before the American public did. Europe was open to it all. The Moody Blues was very big in France, because they liked that we were basically playing blues.
We started out a little bit like bands in London — the Yardbirds, Eric Clapton, all those people. We were all into the blues. The Moody Blues and the Spencer Davis Group were the only blues bands that came from Birmingham to London and started being a part of that scene. They voted for me to be in it. Fortunately for them, they did their own thing and it was very successful.
It gave me a sense of closure and I was happy for them. Was your family musical? Yes, because after the war, everybody was into music in some sense. They were playing their own music.
During the war, you had to make your own entertainment, all right? Practically every family, just to cheer themselves up, would sing and play music. My sisters and my brother were all very much into music.
A couple of them were dancers. My brother had a ukulele. I found a ukulele in the cupboard.
And then my parents had an act that they used to sing together in the local club. I was put into a theater school called Jack Cooper School of Dancing where my sisters had gone. From there, I got into playing guitar in between the two halves of a musical, for example. I would get up there with a piano player and do some of my own stuff at the intermission.
And then it developed from that into me getting into a band while I was at school. So it was definitely a musical influence from my family that got me going. I was into gypsy jazz. I was into classical music.
Denny Laine of Wings on Paul McCartney and anniversary of 'Band on the Run' - Washington Times
I was into all sorts of music as a kid. I was very curious about ethnic music and different styles. I loved Django Reinhardt. I loved Ella Fitzgerald. I was also influenced by all the crooners of the day, like Johnny Ray, Frankie Lane. That was family music. To play the guitar, I listened to that music, not so much pop music. When Buddy Holly and Elvis came along, I got into that more.
So the British Invasion and that generation of musicians came out of an auto-entertainment movement born of the bunker? It was a way of carrying on. Of course, after the war, it made its way to the young kids — because I was born nine months before the war ended — as a way of making a living. Everybody was encouraged to. It was a lot of energy from all the kids. In school, I was in a couple of bands and then I went on to having my own band.
It got quite big. We were all ambitious. We wanted to be famous. We wanted to make some money. We wanted to do something we enjoyed doing and we were encouraged to do it. I think these days, kids are encouraged to do it because they can see the history of the music business.
In those days, nobody knew what the hell they were doing business wise. We were all part of that Renaissance. We knew all these people. As young kids, we ended up being on the same labels. Not labels necessarily, but agencies.
We got friendly with the Beatles because of that. I knew him for all those years before. You did a hell of a lot in two years. It was a lot more concentrated. We were on the Chuck Berry tour at the time and guess who was in the opening band?
Opening the tour was Ginger Baker and Jack Bruce. Were they role models? They were a wonderful example of how a husband and wife can work together. Linda was very much the Earth Mother; extremely unpretentious. The McCartneys were, as a couple, very grounded and truly in love with each other. None of the game-playing and complications that often go with the entertainment business.
He and Linda were a definite influence on my life and marriage. What was it like watching Paul and Ringo interact and work together? How cool is this? It was magical to watch the two interact. What was it was like working with him and then, of course, his experience with your lovely wife, Hope. There was a producer named Bob Rose I had been working with on a few projects, who produced some stuff for Donovan that was released in Japan, plus an album with Michael Des Barres the singer from Checkered Past and Power Stationwho I had written some songs with.
George Harrison had asked Bob to help him out with some of the tracks for the Shanghai Surprise soundtrack, so I went into the studio and played acoustic. I loaned George some of my equipment and he played on one of my guitars, and we spent a lot of time talking about the Beatles, because believe it or not, George was a big Beatles fan. He was just a lovely guy and very gentle. I literally went directly from being with Hope when she gave birth to our second daughter Ilsey, to the studio with George.
She is extremely musical and now she has her own band called Walking In Space, who are being produced by Randy Jackson. Even though you were in Wings, it seems as if playing the Beatles is such a natural fit for you given your analytical mind and adaptability. I tend not to discriminate by decade! The Beatles repertoire is just so rich and resonant to me and my audience. And LJ Plays the Beatles turned out well and proved to be quite popular. Acoustic Guitar magazine selected it as one of the top 10 acoustic guitar recordings of all time.
And in doing the Beatles, did you have a new appreciation for them as writers, players and their styles of music that they fused together? Every time I hear a Beatles record I gain a new appreciation. Above and beyond the analytical part of it and creating the arrangements, when I start deconstructing Beatles songs, I find unexpected things. I can never listen to a Beatles record twice and hear exactly the same thing. In the decade since Vol. LJ Plays the Beatles Vol. Was there a particular reason why you chose this batch of songs for the second volume?
Denny Laine: 'Wing(s) Man'
As it was, he wrote it on the piano, but it fits so neatly onto the fingerboard with minimal adaptation. Then the challenge was to separate the intro harmonica motif from the melody. With that said, was it an easy or hard song for you to reproduce? It was actually kind of hard.
When I did the first album, I stayed away from the already finger-picked tunes.
What caused the fallout between Paul McCartney and Denny Laine?
John, Paul and George all picked up some picking tricks from Donovan in India when they were there with Maharishi. John had this ability to transcend time in some of his songs.
Add the two together and the results can be quite potent. As part of her present, she insisted I record it that day, and that evening we were going to see Sir Paul at the Hollywood Bowl. We had about a brief time-window of 15 minutes from the time the noise stopped to the time we had to leave to see Paul.
When I listened to the recording the next day, we got everything in that window. On one hand, it felt like we were stopping time, but on the other hand there was a certain urgency, which I think was appropriate creatively. Incidently, these three ex-wings were present at Linda's memorial service. I really think Paul's reputation for stinginess is a bum rap and I take anything Denny Laine sold to the tabloids or Guiliano with a huge pillar of salt.
Denny was given a substantial pay raise following the success of BOTR and the WOA tour I've read it was 70, pounds a year which was a substantial amount in those days and managed to blow it all himself by living high on the hog. There are examples of Paul's generosity and extravagant that one could cite too. One retired MPL assistant said in a news piece a few years back that Paul is very generous with individuals and organizations and much of it is done quietly.
He seems to be thrifty in some areas relative to his resources but will spare no expense in other areas 1st class touring, luxurious holiday, buying art and things that are of true value to him and sounds a bit like my own husband who is an accountant and also good with money; tight when it comes to clothing or certain material things but never penny pinches for vacations, entertainment in general, food and wine, his car, experiences for our kids, helping out a friend in need, etc.
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I agree with lots of your opinions here. I never said Paul ripped anyone of. However I think-besides from being generous- he has another side to. However much I like Paul I don t believe him to be a saint. I guess Denny Laine is responsible for both his lack of sucess and financial shortcomings. Guess it was not his wisest move to sell his rights to Mull of Kintyre. The publishing rights to a song like than would surely have gained more money that the sum he got from Paul.