Kisses On the Bottom

By Paul McCartneyOfficial album• Part of the collection “Paul McCartney • Studio albums

Timeline See what happened in February 2012
UK release date:
Feb 06, 2012
US release date:
Feb 07, 2012
Publisher:
Hear Music/Concord Records
Reference:
HRM-33369-02
Sessions This album has been recorded during the following sessions

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Track list

Disc 1


1.

I'm Gonna Sit Right Down And Write Myself A Letter

Written by Fred E. Ahlert, Joe Young

2:36 • Studio version

Paul McCartney:
Vocals
Tommy LiPuma:
Producer
Diana Krall:
Piano, Rhythm arrangement
Karriem Riggins:
Drums
Robert Hurst:
Bass
John Pizzarelli:
Guitar

Session Recording:
Second half of 2011 (?)
Studio:
Avatar Studios, New York, USA


2.

Home (When Shadows Fall)

Written by Harry Clarkson, Jeff Clarkson, Peter Van Steeden

4:04 • Studio version

Paul McCartney:
Vocals
Tommy LiPuma:
Producer
Diana Krall:
Piano, Rhythm arrangement
Karriem Riggins:
Drums
Robert Hurst:
Bass
John Pizzarelli:
Guitar
Mike Mainieri:
Vibraphone
London Symphony Orchestra:
Orchestra
Alan Broadbent:
Orchestra arrangement, Orchestra conductor
Roman Simovic:
Concertmaster

Session Recording:
Second half of 2011 (?)
Studio:
Avatar Studios, New York, USA

Session Overdubs:
Late 2011 (?)
Studio:
EMI Studios, Abbey Road


3.

It's Only a Paper Moon

Written by Harold Arlen, Edgar Yipsel Harburg, Billy Rose

2:35 • Studio version

Paul McCartney:
Vocals
Tommy LiPuma:
Producer
Diana Krall:
Piano, Rhythm arrangement
Karriem Riggins:
Drums
Robert Hurst:
Bass
John Pizzarelli:
Guitar
Bucky Pizzarelli:
Guitar
Andy Stein:
Violin

Studio:
Capitol Studios, Los Angeles


4.

More I Cannot Wish You

Written by Frank Loesser

3:04 • Studio version

Paul McCartney:
Vocals
Tommy LiPuma:
Producer
Diana Krall:
Piano, Rhythm arrangement
Karriem Riggins:
Drums
Robert Hurst:
Bass
John Pizzarelli:
Guitar
Mike Mainieri:
Vibraphone
Eddie Karam:
Orchestra conductor
Assa Drori:
Concertmaster
Johnny Mandel:
Orchestra arrangement

Studio:
Capitol Studios, Los Angeles


5.

The Glory of Love

Written by Billy Hill

3:46 • Studio version

Paul McCartney:
Vocals
Tommy LiPuma:
Producer
Diana Krall:
Piano, Rhythm arrangement
Mike Mainieri:
Vibraphone
John Clayton:
Bass
Jeff Hamilton:
Drums
Anthony Wilson:
Guitar

Studio:
Capitol Studios, Los Angeles


6.

We Three (My Echo, My Shadow And Me)

Written by Dick Robertson, Sammy Mysels, Nelson Cogane

3:22 • Studio version

Paul McCartney:
Vocals
Tommy LiPuma:
Producer
Diana Krall:
Piano, Rhythm arrangement
Karriem Riggins:
Drums
Robert Hurst:
Bass
John Pizzarelli:
Guitar
Mike Mainieri:
Vibraphone
Bucky Pizzarelli:
Guitar
Eddie Karam:
Orchestra conductor
Assa Drori:
Concertmaster
Johnny Mandel:
Orchestra arrangement

Studio:
Capitol Studios, Los Angeles


7.

Ac-Cent-Tchu-Ate the Positive

Written by Harold Arlen, Johnny Mercer

2:32 • Studio version

Paul McCartney:
Vocals
Tommy LiPuma:
Producer
Diana Krall:
Piano, Rhythm arrangement
Karriem Riggins:
Drums
Robert Hurst:
Bass
John Pizzarelli:
Guitar

Studio:
Avatar Studios, New York


8.

My Valentine

Written by Paul McCartney

3:14 • Studio version

Paul McCartney:
Vocals
Tommy LiPuma:
Producer
Diana Krall:
Piano, Rhythm arrangement
Karriem Riggins:
Drums
Robert Hurst:
Bass
John Pizzarelli:
Guitar
London Symphony Orchestra:
Orchestra
Alan Broadbent:
Orchestra arrangement, Orchestra conductor
Roman Simovic:
Concertmaster
Eric Clapton:
Guitar

Studio:
Avatar Studios, New York - London Symphony Orchestra recorded at Abbey Road Studios, London


9.

Always

Written by Irving Berlin

3:49 • Studio version

Paul McCartney:
Vocals
Tommy LiPuma:
Producer
Diana Krall:
Piano, Rhythm arrangement
Karriem Riggins:
Drums
Robert Hurst:
Bass
John Pizzarelli:
Guitar
London Symphony Orchestra:
Orchestra
Alan Broadbent:
Orchestra arrangement, Orchestra conductor
Roman Simovic:
Concertmaster

Studio:
Avatar Studios, New York - London Symphony Orchestra recorded at Abbey Road Studios, London


10.

My Very Good Friend the Milkman

Written by Johnny Burke, Harold Spina

3:04 • Studio version

Paul McCartney:
Vocals
Tommy LiPuma:
Producer
Diana Krall:
Piano, Rhythm arrangement
John Clayton:
Bass
Jeff Hamilton:
Drums
Anthony Wilson:
Guitar
Ira Nepus:
Trombone

Studio:
Capitol Studios, Los Angeles


11.

Bye Bye Blackbird

Written by Ray Henderson, Mort Dixon

4:26 • Studio version

Paul McCartney:
Vocals
Tommy LiPuma:
Producer
Diana Krall:
Piano, Rhythm arrangement
Karriem Riggins:
Drums
Robert Hurst:
Bass
John Pizzarelli:
Guitar
London Symphony Orchestra:
Orchestra
Alan Broadbent:
Orchestra arrangement, Orchestra conductor
Roman Simovic:
Concertmaster

Studio:
Avatar Studios, New York - London Symphony Orchestra recorded at Abbey Road Studios, London


12.

Get Yourself Another Fool

Written by Ernest Forrest, Frank Heywood

4:42 • Studio version • Avatar Studios, New York - London Symphony Orchestra recorded at Abbey Road Studios, London

Paul McCartney:
Acoustic guitar, Vocals
Tommy LiPuma:
Producer
Diana Krall:
Piano, Rhythm arrangement
Karriem Riggins:
Drums
London Symphony Orchestra:
Orchestra
Alan Broadbent:
Orchestra arrangement, Orchestra conductor
Roman Simovic:
Concertmaster
Anthony Wilson:
Rhythm guitar
Eric Clapton:
Guitar
Christian McBride:
Bass

13.

The Inch Worm

Written by Frank Loesser

3:43 • Studio version

Paul McCartney:
Acoustic guitar, Vocals
Tommy LiPuma:
Producer
Diana Krall:
Piano, Rhythm arrangement
Karriem Riggins:
Drums
Robert Hurst:
Bass
John Pizzarelli:
Acoustic guitar
Eddie Karam:
Orchestra conductor
Assa Drori:
Concertmaster
Johnny Mandel:
Orchestra arrangement
Chloe Arzy:
Children's choir
Evyn Johnson:
Children's choir
Makiah Johnson:
Children's choir
Michael Johnson:
Children's choir
Delany Meyer:
Children's choir
Ilsey Moon:
Children's choir
Sabrina Walden:
Children's choir
Sasha Walden:
Children's choir
Scottie Haskell:
Children's choir conductor

Studio:
Capitol Studios, Los Angeles


14.

Only Our Hearts

Written by Paul McCartney

4:21 • Studio version

Paul McCartney:
Vocals
Stevie Wonder:
Harmonica
Tommy LiPuma:
Producer
Assa Drori:
Concertmaster
Johnny Mandel:
Orchestra conductor, Rhythm and orchestra arrangement
Vinnie Colaiuta:
Drums
Chuck Berghoffer:
Bass
John Chiodini:
Guitar
Tamir Hendelman:
Piano

Studio:
Capitol Studios, Los Angeles


15.

Bonus tracks


1.

Baby's Request

Written by Paul McCartney

3:30 • Studio version


2.

My One And Only Love

Written by Guy Wood, Robert Mellin

3:50 • Studio version

About

From the official Paul McCartney website:

While many a musician is often asked about the tunes that have influenced their songwriting, it is not a question Paul McCartney ordinarily gets to answer – until now. Paul is about to offer a glimpse into “the songs which inspired the songs” with the upcoming release of a brand new album of those standards he grew up listening to in his childhood—plus two brand new McCartney compositions: the album, which is currently untitled, will be released on Hear Music/Concord Records on February 7th 2012.

With the help of Grammy Award-winning producer Tommy LiPuma and Diana Krall and her band—as well as guest appearances from Eric Clapton and Stevie Wonder, McCartney’s new album is a deeply personal journey through classic American compositions that, in some cases, a young Paul first heard his father perform on piano at home. As authentic and daring a musical statement as he could make, this is the album Paul has been thinking about making for more than 20 years – and probably the last thing his fans are expecting. “In the end it was ‘Look, if I don’t do it now, I’ll never do it,” he says.

In short,Paul believes it is about time “the songs me and John based quite a few of our things on” received the recognition they deserve. Moreover, the record also features a couple of new original McCartney compositions in the spirit of those classics. […]

Determined to approach the record in a new and unique manner, Paul enlisted the help of LiPuma and Krall and her band—who delivered ultra-high quality musicianship and were completely in tune with Paul’s restraint and feel for the music. In the studio, the recording of this album was also a new challenge for Paul who, for the first time ever, performed exclusively in the vocal booth without no instrument – no guitar, no bass, no piano – which led to a vocal performance like no other in his career.

From Amazon.com:

While many a musician is often asked about the tunes that have influenced their songwriting, it is not a question Paul McCartney ordinarily gets to answer – until now. Paul is about to offer a glimpse into “the songs which inspired the songs” with the upcoming release of a brand new album of those standards he grew up listening to in his childhood-plus two brand new McCartney compositions. With the help of Grammyr Award-winning producer Tommy LiPuma and Diana Krall and her band-as well as guest appearances from Eric Clapton and Stevie Wonder, McCartney’s new album is a deeply personal journey through classic American compositions that, in some cases, a young Paul first heard his father perform on piano at home. As authentic and daring a musical statement as he could make, this is the album Paul has been thinking about making for more than 20 years – and probably the last thing his fans are expecting. “In the end it was ‘Look, if I don’t do it now, I’ll never do it’,” he says. In short, Paul believes it is about time “the songs me and John based quite a few of our things on” received the recognition they deserve. Moreover, the record also features a couple of new original McCartney compositions in the spirit of those classics. “When I kind of got into songwriting, I realized how well structured these songs were and I think I took a lot of my lessons from them,” Paul explains. “I always thought artists like Fred Astaire were very cool. Writers like Harold Arlen, Cole Porter, all of those guys – I just thought the songs were magical. And then, as I got to be a songwriter I thought it’s beautiful, the way they made those songs.” Determined to approach the record in a new and unique manner, Paul enlisted the help of LiPuma and Krall and her band-who delivered ultra-high quality musicianship and were completely in tune with Paul’s restraint and feel for the music. In the studio, the recording of this album was also a new challenge for Paul who, for the first time ever, performed exclusively in the vocal booth without an instrument – no guitar, no bass, no piano – which led to a vocal performance like no other in his career. He adds, “It was very spontaneous, kind of organic, which then reminded me of the way we’d work with The Beatles. We’d bring a song in, kick it around, when we found a way to do it we’d say ‘Okay, let’s do a take now’ and by the time everyone kind of had an idea of what they were doing, we’d learnt the song. So that’s what we did, we did the take live in the studio.” “It was important for me to keep away from the more obvious song choices so, many of the classic standards will be unfamiliar to some people. I hope they are in for a pleasant surprise.” The album was recorded at the legendary Capitol Studios in Los Angeles, New York and London throughout 2011. It also features guest musicians Eric Clapton and Stevie Wonder, respectively, on the original compositions “My Valentine” and “Only Our Hearts.”

From the liner notes:

The album offers some classic vintage songs and a few Paul McCartney originals. How did the general idea come about?

For years I’ve been wanting to do some of the old songs that my parents’ generation used to sing at New Year. What would happen is us kids would arrive at the ‘do’, the carpets would get rolled back, all the women would sit around with their little drinks of rum-and-black, gin-and-it, Babycham; someone would play the piano and it was normally my Dad. They would sing these old songs all night: When The Red Red Robin, Carolina Moon. And I took all of that in.

So I met with Tommy (LiPuma), and we just hung out, talking about the old singsongs, and we found we had a lot in common. But we tried to work out a slightly different approach, and used a selection of songs that wouldn’t be the obvious ones, like The Way You Look Tonight, songs that everyone tends to cover. We looked for songs that were a little more unusual. It’s a good idea to go slightly off-piste. Even to the extent where I didn’t know some of them.

And he suggested Diana Krall, who he knew very well. We ran through a couple of my selections, a couple of Tommy’s, a couple of Diana’s, and we just threw a lot of songs into a pool.

Were songs like these among the first you ever learned to play?

No, I never learned how to play them. All I ever did was sing them, at the family sing-songs. They’re quite complicated, the chords and things. I’d have a bash, and I did eventually become the sort of family piano player, at New Year, as my Dad got a bit older and I got a bit more capable. But I was always busking it; he knew the real chords, and I had to busk my way around. But it was good enough for the family sing-song. A lot of these songs, like Bye Bye Blackbird, were ones that I’d sung along with.

There’s a track called Home that I actually used to do an instrumental version of, before The Beatles. I liked the chords, so I used to play a little guitar instrumental when me and John were just getting it together. So I had nice memories of that one.

But some of the songs we’ve done on the album are songs that I didn’t know. Like, More I Cannot Wish You, is actually from the stage show Guys & Dolls; it didn’t make the film. But I thought it was such a poignant little song. And what totally did my head in is, it’s a guy, the grandfather, singing to a young girl. With me having a young daughter it’s very poignant.

Tell us a little about the making of this album.

The great thing about working with someone like Tommy, and it reminded me really of working with George Martin, is that he’s a knowledgeable guy. He’s a veteran, in the nicest possible way, of the recording business, so he has a great lineage. And, like George, he knows all the good players. That was very helpful.

We ended up at Capitol A Studio, in that very iconic building (Capitol Records Tower, Hollywood), where Nat King Cole, Frank Sinatra, Dean Martin, even Gene Vincent recorded. I was thrown in the deep end, because I’m not a jazz player. I didn’t have a guitar or a piano to hide behind. I was just put on what the engineers told me was Nat King Cole’s mic, which was amazingly intimidating! In front of jazz musicians, which again was pretty intimidating. I just had to find my way through this. And once I’d got over the intimidated feeling, it became a very pleasurable way to work.

There’s such a high level of musicianship on there. And the nice thing for me was, other than going in to do the vocals, I didn’t feel like I had to do much hard work. The players did all the hard work, and I was just in the booth, singing. There was one moment when we were having a puzzle over some slight problem, and I said, “I don’t mind. I’m in LA. I’m British. I’m a tourist. I’m in Capitol A Studio, I’m singing on Nat King Cole’s microphone – I’m on holiday!” So, coupled with the fact that we were not working from musical charts, there is a very relaxed approach to it all.

One of the nice things that I realised afterwards, I thought, “You know what? That’s exactly how we used to work with The Beatles.” John and I would come in on Monday morning with a song, that George Martin hadn’t heard, George and Ringo hadn’t heard. We’d play them the song and we’d all kick it around until we had an arrangement that we were satisfied with. Then we’d record it, quite quickly, without too much fuss. That was very much the way we did this, which was a great pleasure for me.

What about the track, My Valentine? That’s one of your own, albeit in the same general style.

I was in Morocco with Nancy, who’s now my wife, and we were having a nice holiday but it was raining rather a lot. I said, “A pity it’s raining” and she said “It doesn’t matter, we can still have a good time.” And I’m like that, too, I don’t mind at all. So there was an old piano, slightly out of tune, in the foyer of the hotel. And there was this lovely Irish guy who knew so much old stuff, like Beautiful Dreamer, If You Were The Only Girl In The World … Again, stuff from my Dad’s era. I used to enjoy listening to him and he put me in mind of that genre.

So one afternoon, when it was raining, I was in that foyer, and without anyone noticing except a couple of waiters who were clearing up, I sat at the piano and started knocking around with this little tune: “What if it rained? We didn’t care. She said that someday soon the sun was gonna shine … ” So we did that one and eventually I had the pleasure of working with Eric (Clapton), who put a lovely acoustic guitar part on. And by the way, I forgot the important ingredient, the day I wrote it was Valentine’s Day, a fairly important fact! It was our first dance, very romantic.

The songs of that era were very often on the smoochy side.

Exactly, they’re pretty romantic. The way I figure it, a lot of it was post-War. My parents’ generation were just recovering, when I grew up, from World War II.

In Liverpool they’d all been bombed. so they were now determined to have a good time, and they latched on to these very positive songs. They didn’t have expensive entertainment centres. Basically, many of the houses in those days, and I understand it was the same in America, had a piano. No matter how poor you were, most people managed to get a piano. It’s funny, the one we had in our house, my Dad later told me he’d bought off Brian Epstein’s Dad, in NEMS. People wanted positive songs to lose the memory of the War. And I grew up with that. I think it really gave me a deep love of that kind of thing.

Did it shape you much? We think of The Beatles as springing up with rock’n’roll, but you personally had been around for some years before Elvis came along.

Yes, we’d actually grown up with songs from that era. Two of John’s favourite songs, when I met him, were Close Your Eyes (by Bernice Petkere, 1933), which is very much of that era, and the other was Little White Lies (by Walter Donaldson, 1930). Those were the kind of songs that we’d been listening to and that attracted me to him. And I do think they did have quite an influence on us melodically. A lot of these old songs had what they called a “verse”. Anyone else would call it an introduction. It’s always the bit that you never knew.

You include one here on Bye Bye Blackbird.

Yeah. Then it goes, “Pack up all my cares and woe” and you go, “Oh, I know this song!” You finally recognise it. John and I liked that. We used to talk about that as one of things it would be good to do. We gave a kind of nod to it on Here,There And Everywhere: “To lead a better life, I need my love to be here … ” Whereas in the old days they would have extended that: “She was here, and I was there, and I think she’s everywhere … ”

It’s an era you’ve often revisited, isn’t it? Honey Pie, You Gave Me The Answer, Baby’s Request…

It’s a style that appeals to me. People will often say “What songs do you like? Who are your favourite composers?” And I say Cole Porter, the Gershwin brothers and people like that, because the songs are very skilled. Cheek To Cheek was always one of my favourite songs, I love the way it returns to its opening. It’s a simple little trick, but as a writer I always loved that. And someone pointed out to me that I kind of did that in Here, There And Everywhere. So all these influences were definitely in a lot of what we did in The Beatles.

Interview by Paul Du Noyer

Paul's cover shoot for 'Kisses On The Bottom' in 2012. Photo by Mary McCartney

Paul’s cover shoot for ‘Kisses On The Bottom’ in 2012. Photo by Mary McCartney

Last updated on July 21st, 2016

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