Mary McCartney – If These Walls Could Sing

 

Mary McCartney – If These Walls Could Sing

By

Jesse E. Mullen

 

With a recording studio as famous as Abbey Road, there is as much mystique as there is history. After attending an advance screening of Mary McCartney’s If These Walls Could Sing, I was reminded of that old adage “the recording studio doesn’t make the artist, the artist makes the studio.”

While that isn’t strictly true – there are numerous excerpts regarding the unique timbre of Studio 2 – it is the unique cast of characters who recorded at Abbey Road which make it the name it is today. The Beatles, Cliff Richard, Pink Floyd to name a few.

It is to McCartney’s credit as a director that she gives ample focus to the players, both through interviews and archival footage/recordings, while also reminding viewers of the omnipotent force that is the studio itself.

She uses beautiful shots of the studio rooms empty in modern times, which flow nicely into the archival footage. The interviews were especially popular with the audience, with a Liam Gallagher segment regarding Oasis’ ill-fated Be Here Now recording sessions drawing a lot of laughs.

The one complaint I have is that at 90 minutes, it almost felt too short. McCartney stated in a post-viewing audience Q&A that her initial rough cut was two and a half hours long. I said to her afterwards that I would love to see more of this material released. (Maybe a podcast is in the cards?)

If Walls is about crediting artists for making the most of their surroundings and drawing influence from those that came before, then I think we must credit Mary McCartney for making a great film using the same methods. I can only hope that this is just the first in a series of music films from McCartney, and not a one-off. If These Walls Could Sing premieres December 16^th on Disney+.

 

Gorman Bechard - Where Are You, Jay Bennett?

 

Gorman Bechard - Where Are You, Jay Bennett?

By

Jesse E. Mullen

 

I normally use this blog to write about albums which are – in my opinion – not properly appreciated by fans and critics alike. But today I would like to draw attention to a new film which does the same thing. A film which tells the story of a misunderstood genius who died far too young.

Gorman Bechard has directed a fabulous documentary about the life of late multi-instrumentalist Jay Bennett. Utilizing audio recordings of an interview with Bennett, combined with new animations to go along with the discussions, it truly makes it feel like Jay is in the room with the viewer. This is often contrasted with interviews with Bennett’s mother, reminding us that he is no longer here.

Musical friends and collaborators also frequently pop up, and there is a healthy use of archival concert footage. But one of the great surprises is the footage of Bennett working on his beloved Toyota and talking about the glory days of his former band.

Or the little clips of Bennett harmonizing with a college friend on an apartment fire escape. Bechard masterfully weaves these elements into the patchwork of the overriding narrative – that Bennett was an ordinary man with extraordinary talents.

He was someone who would have so many ideas in his head for a song that he would often leave it in an unfinished state, only to move onto another song and repeat the process. This overflow of ideas was a treat for his fans but didn’t always make for easy collaboration.

It once took two different studios to sort through all of his multitrack recordings to finish mixing an album. (Bennett was known for playing most of the instruments on his solo records, adding a myriad of overdubs.) His kitchen sink approach didn’t just affect his solo work, however.

Bennett is most famous as a member of Wilco, contributing heavily to classic works such as Being There, Mermaid Avenue, Summerteeth, and Yankee Hotel Foxtrot. His work with the group is the heart of the film, culminating with his dramatic exit in August of 2001.

While a previous documentary about the band – 2002’s I Am Trying To Break Your Heart: A Film About Wilco – dramatized that event in a way which made Bennett appear to be the villain, this film makes it clear that Jeff Tweedy played an equal role in the end of the relationship. The big takeaway, the underlying goal of the film, is that there just wasn’t room for two geniuses in Wilco.

Bennett was the experimental mastermind, while Tweedy understood the commercial side of things. It was a great marriage while it lasted – something Bennett himself says in the film via audio interview. But it couldn’t go on forever.

The other major misconception about Bennett is that because he died of drug-related causes, that it was because of addiction. In reality, it was because of a pain patch which leaked, administering a lethal dose. Yet as recently as last week on Pitchfork.com, the prevailing narrative still states that he died of a fentanyl overdose and nothing more.

In the end, Bennett was always a misunderstood genius. A man who could play more instruments than the human hands can count. But thanks to this documentary, he can now be recognized for his incredible talents and lasting contributions to the rock music sonic landscape.

What Were We Thinking Films/2022