An Impossible Reunion?

So, Dan McFarland has stepped down as Ulster coach. The departure was inevitable. It’s not so much results, as disappointing as they’ve been of late, but the maddeningly inconsistent nature of performances.

It started quite well for him. Initial performances were good and, in the early days, Ulster gained a consistency that eluded McFarland’s predecessors. But, alas, that didn’t translate into silverware or success. The same old story.

It’s important to mention that the sole responsibility for the malaise doesn’t rest with the coach. In recent years, Ulster have become increasingly reliant on big, marquee signings, mostly from South Africa.

These acquisitions are impressive: Coetzee, Vermuelen and Kitschoff. But the stardust is at the expense of developing and nurturing homegrown talent. Yes, the Ulster system produces plenty of local players, but how many have developed into genuinely world class operators?

You can count on one hand how many have progressed as fully fledged and seasoned Irish internationals. Arguably, the most talented local, homegrown players have regressed under this regime’s management. That’s its biggest indictment.

But it’s not just the signings. Ulster have been sprinkled liberally with players from the other Irish provinces. In recent times, the side has felt like a version of Leinster ‘A’. And, yes, I know that wasn’t always Ulster’s call. There’s a bigger picture there. But it’s a symptom of the province’s regression from what it used to be.

Therefore, the issues are institutional. There are no quick fixes. To regain success (Ulster’s last trophy was in 2006), the province must move away from over reliance on those marquee signings and return to the bread and butter of nurturing local players.

Just the way Leinster does. It’s not enough to merely cultivate local players, the system must breed excellence. The yardstick is how many become regular and enduring Irish internationals. That’s a harsh lesson, but a truthful one.

Richie Murphy comes in to stabilise, but there are bigger issues to address. A fairly substantial reset is needed. It won’t happen overnight, but investment in youth and excellence will bear fruit eventually. The raw materials are there. But Ulster must stick to that vision.

Perhaps Murphy is the long term answer, but I feel a more experienced hand is needed to steady the ship initially, but also lay the groundwork for future success, to re-establish a vibrant, high performance culture.

The solution rather than belonging to the future may well lie in Ulster’s past. I’m pretty sure it won’t happen, but if Ulster’s kingmakers had any sense, they would land at Mark McCall’s door and ask what it takes to get him home. It’s been a frustrating time for the northern province, but in the right hands, the potential is immense.

@rorymcgimpsey

The Brilliance of Now!

So, it’s finally here: ‘Now and Then’, the ‘new’ single from the Beatles. At the time of writing, it’s number one in the charts, too. What an astonishing achievement.

What to make of it all? Well, the tremendous commercial performance more than vindicates Paul McCartney’s decision to push for this song’s release. Decades after it was ostensibly discarded, the resurrection of ‘Now and Then’ is the ultimate modern day Beatles’ success story. It’s wonderful news.

In this age of streaming and the likes of Taylor Swift dominating the charts, it’s a phenomenal accomplishment to even have the Beatles in the conversation for relevance, let alone topping the charts for the first time in 54 years. Kudos to all involved.

The song itself is very good, if not exceptional. John’s demo, as many of you know, is decent but needed colossal work, hence George Harrison’s well publicised objections. Clearly, a huge amount of effort went in to clean it up with the crucial help of Peter Jackson’s boffins.

The end result is as good as we could expect. It’s superbly produced and packaged-Giles Martin always does a terrific job in that respect. In my view, ‘Now and Then’ is an inferior song to both its predecessors, ‘Free as a Bird’ and ‘Real Love’, but the production masks any deficiencies. Make of that what you will.

Furthermore, the video’s reception has been mixed, but I like it. There’s something incredibly poignant in seeing those images of forever young superstars juxtaposed with the older, frailer figures McCartney and Starr cut these days. Time waits for no-one, after all, not even Beatles!

It’s argued they shouldn’t be doing this at all, but who are we to grumble? There isn’t much left in the tank, not in the surviving two’s lifetimes anyway. Where this goes after that, considering the rapidly increasing advances in technology, is anyone’s guess. Posthumous protection of the catalogue will be so important in the years ahead without its fiercest gatekeepers around.

That’s for another day. For now, we simply marvel and celebrate yet another landmark for the most important group of all-time. In this troubled world, it’s lovely to have something put a timely smile on our faces. As fans, we’re not deluded. We know it’s not really a new Beatles’ song, but it’s as close as we’ll get. And that’s good enough.

@rorymcgimpsey

World in Their Hands

Ireland’s World Cup campaign is underway and we’re excited by the prospects. The team’s in good shape: a talented playing group, superb coaches, top form, and a relatively clean bill of health.

There are caveats. Ireland are in the toughest group and even if they come out unscathed, it’s a hard old route to the semi-finals and beyond. That said, they’ll never have a better chance.

March’s Grand Slam was preceded by the historic series win in New Zealand. Indeed, the Irish have achieved consistently under Andy Farrell, all the while playing supremely attractive yet winning rugby.

Jonny Sexton still pulls the string superbly and looks fresher than ever following his recent layoff. But it’s the strength in depth that excites. There’s substance in every position, with understudies as capable as the front line.

And Farrell has brought through so many gems. Lowe, Hansen, Baird, Gibson-Park and Doris, to name but a few.

The head coach isn’t afraid to take chances with new blood and backs the entire squad to deliver under pressure. An already talented group is supplemented with extra quality. That stands the Irish in good stead for the challenges ahead.

Setbacks will happen, of course. Injuries are inevitable and the path to the latter stages is lined with difficult opponents. Such enterprises never run smoothly. Nevertheless, Ireland are smart, astute and confident.

Whisper it quietly, but the signs are good. Notwithstanding the unforgiving draw, Ireland are primed to make history and, finally, fulfil their potential on the biggest stage. The rewards are there if they get it right. Opportunity beckons.

P.S. I always watched big rugby tournaments with my dad. World Cups, Six Nations, Lions’ Tours. You name it. Dad passed away in May and the World Cup is the first one without him. It feels weird.

That’s probably the hardest thing about losing someone. The world goes on without them. They miss out and it doesn’t seem right. Certainly, big rugby events will never be the same for me again. No doubt, regardless of how Ireland get on, I’ll be enjoy this World Cup immensely. But there’ll always be someone missing.

@rorymcgimpsey

Now or Never

As you may have heard, Paul McCartney recently announced a new Beatles record. Yes, that’s right. And the way it was announced was incredible. This seismic announcement was casually dropped into an interview promoting McCartney’s new book: Eyes of The Storm. Unbelievably, it was mentioned right at the end of the interview, almost as an afterthought!

What? What song was he referring to? When will it be released? And, how is any of this even possible, given that George Harrison passed away in 2001? So many questions. Well, the song referred is believed to be Now and Then, a demo John Lennon composed in 1979. The background to this is, of course, the Anthology Project of 1995, where the three remaining Beatles at that point completed and then released two Lennon demos recorded before his murder in 1980: Free as a Bird and Real Love.

However, there was a third demo they didn’t get round to finishing. That song is Now and Then. Rumour has it that McCartney was keen to finish it, but Harrison disliked the third demo and prevented that from happening. That, we thought, was that. Now, all of a sudden, the project is back on, with artificial intelligence apparently being used to clean up the vocals.

The announcement has met a fair bit of scepticism and surprising negativity. This is puzzling. It seems some are conflating the talk of AI with the myriad videos populating the internet these days. You know the sort of awful thing: Jimmy Hendrix singing an Elton John song etc. But that’s clearly not what this is. All we’re talking about is using technology to clean up and finish an old demo. In that sense, it’s no different to what they did in 1995.

Others seem aggrieved that Harrison’s wishes are seemingly being overridden. This objection is a little odd. The Beatles work collectively and as a democracy. In fact, unanimity is required for any project to get the green light. Therefore, all parties (that is McCartney, Starr and the Lennon/Harrison estates) are clearly on board for this project to be announced in the first place.

Paul must be taken aback by some of the scepticism. After all, he’s not used to that. Well, not in recent years anyway. I, for one, think it’s fantastic. In our fandom, experiencing the enduring nature of this remarkable band, we forget how quickly time passes. Paul, sprightly though he is, has just turned 81 and Ringo, 83. Thankfully, both men are in rude health. But time waits for no-one. There won’t be many more opportunities to do these type of things. That’s the brutal reality.

A time will come, and it’s not that far away, when we’ll look for the next big Beatles project and realise it’s too late. At that point, the wonderful projects we currently take for granted will be confined to the past. So, let’s celebrate this project and look forward to what they’re planning. Scepticism undoubtedly has its place, but let’s not tarnish our understandable excitement. With the Beatles, we must make hay while the sun shines. It’s now or never!

@rorymcgimpsey

An Andy Way to Work

At the time of writing, Ireland are three from three in the 2023 Six Nations Championship. Following on from the uber successful tour of NZ in the summer, Irish rugby is sure in a good space. As the old cliche goes, winning is very much a habit. But what has caused this successful turnaround?

To my mind, the key factor is Andy Farrell. Farrell has brought so much to the Irish set up. Consistency of performance hit new heights under the venerable Joe Schmidt but, against the odds, the former rugby league man has pushed standards even further. The proof is there for all to see. So, what has Farrell done?

The primary thing that Farrell has provided is the infusion of a winning mentality. Sure, Ireland has a group of talented and ambitious players, but it’s the mind-set of the group that impresses most. These guys expect to win. Not in an arrogant way, but they fear no-one. And they’re relentless in maintaining and improving standards of performance.

Here, Farrell’s influence is key. A product of that splendid Wigan rugby league side of the ’90s, Ireland’s coach was brought up in an environment where winning was not just desirable but essential. It was mandatory. That side was marvellous. And Farrell was an integral component of it. You see that relentless attitude within the current Irish playing group.

What’s wonderful as well is the brand of rugby currently played. It’s pleasing on the eye and there’s a massive emphasis on individual and collective skills. Schmidt’s side was the archetype of systemic rugby, where everyone was meticulously drilled within their roles. It was functional rather than overtly creative.

Farrell’s side plays differently. The players clearly have licence to play what’s in front of them. If it’s on, they routinely go for it. And, delightfully, the offload is no longer an endangered species. Don’t get me wrong. It’s all curated within a definite shape and structure, and the team is as well organised as it’s ever been. But it’s not restrictive. There’s no straight jacket at play.

And they’re doing it with smiles on their faces. This Irish team is evidently enjoying its rugby. Work is an opportunity to improve, grow and develop. It’s not onerous in any way. The players are clearly relishing the challenge.

One example of the elite nature of this environment is the way in which Ireland have coped with injuries. A succession of players have gone down, but replacements have slotted in seamlessly. For instance, Stuart McCloskey has thrived with his belated chance at a regular run. Similarly, Finlay Bealham has excelled covering for the once indispensable Tadhg Furlong. Players have slotted in and out pretty effortlessly.

Such understanding only happens within a highly competitive and organised environment. All credit goes to the coach. The Schmidt era was the high water mark for Irish rugby. And, yet, his successor has taken performance to another level entirely. Success is never guaranteed in any walk of life but, heck, it’s coming pretty regularly these days at Lansdowne Road. We’ll soon see if the precious Slam lands, but these days it’s very unwise to bet against Andy Farrell’s men.

P.S. The Rolling Stones are reportedly collaborating with the surviving Beatles on their new album. Some are surprised at the move. But these guys have always been great friends. The supposed rivalry was always over hyped and as much a media invention as anything else. After all, it was Lennon and McCartney that gave the Stones their first major UK hit.

What this project ends up as, who knows. But even if McCartney and Starr only play on a couple of tracks, how fantastic is that? I’m excited to see what materialises. Because we’re running out of time to make this type of history. Bring it on!


@rorymcgimpsey

Promotion of a Lion!

It was mooted this week that Andy Farrell is in the running to be Lions’ head coach for their tour of Australia. The IRFU has stated that it won’t stand in the way if its main man is indeed the choice. Good news for Farrell and for rugby fans alike as Farrell’s appointment, if rubber stamped, is a shrewd move.

Interestingly, though, Farrell’s would-be promotion creates an opportunity for one of our own to shine in his absence. You don’t need to be Sherlock Homes to deduce that Paul O’Connell is being lined up to succeed Farrell as Irish head coach. When the Munster legend was catapulted into the Irish set-up a couple of years ago, all signs pointed to this being an integral part of the IRFU’s succession plan for the national team. The universal plaudits O’Connell has received since his arrival attest to the monumental impact he’s made.

Therefore, it makes perfect sense that in the event of Farrell shipping off with the Lions, O’Connell is a ready made stand in. Sounds like the perfect plan, right? Of course, these days Lions coaches get carte blanche to pick their assistants and the former Wigan man may well want his Irish assistant with him in his jaunt down under if appointed to the Lions. However, from an Irish perspective, it makes sense for O’Connell to deputise with Ireland while his boss is away with the Lions, should that scenario come to pass.

So, although the IRFU has said it won’t stand in Farrell’s way should the Lions come knocking, will its condition be that O’Connell stays put for the duration of the Australian tour? I imagine the union won’t want to lose both its star coaches to the Lions when Lions’ tours always provide such great developmental opportunities for the players left behind. For Irish rugby, the dream scenario is Farrell leads the Lions to an historic series victory and that O’Connell stays behind to begin his apprenticeship as Ireland head coach in waiting.

Of course, much water has to pass under the bridge for any of the above to emerge. Life is fluid and things change very quickly. One day, you’re hot and the next you’re, well, not. But, all things being equal, this series of events could work out very well for all concerned in Irish rugby. The road map for succession is laid out before our eyes and few rugby nations are in as strong a position. Big Paul striding into his first press conference as head coach, you sense the excitement just thinking about it. With Farrell linked to the Lions’ job, Irish rugby has talked about contingency. That contingency has to be Paul O’Connell.

@rorymcgimpsey

In Pods We Trust!

As you know, I’ve been a Beatles nut for the best part of 15 years. However, this year was a game changer. It started with Macca’s historic headlining stint at Glastonbury in June. Despite devouring anything Beatles in recent years, I’d always resisted a deep dive into Paul’s solo and Wings’ stuff. Why? Well, the reviews were often so poor. To be honest, I was afraid of the disappointment.

But, after the glory of Glastonbury, I belatedly gave it a go. And I haven’t looked back since. I was always worried about being let down. To my delight, I was blown away by the sheer quality of the Wings’ output. For those who don’t know, Wings are immense! The obvious place to start is Band on The Run but there is so much more to discover. Red Rose Speedway is terrific and I even like Wild Life, an album that’s been universally derided by critics over the years.

Thereafter, I ploughed my way obsessively through Macca’s solo stuff. Sure, some of it is average and the music is so diverse at times it can’t be to everyone’s tastes. But there are some undisputed gems in there. Ram, of course, is essential listening but you won’t regret discovering later classics like Flaming Pie or Flowers In The Dirt. The most satisfying thing to unearth is the absolute breadth of the catalogue: there is so much material to get your teeth into.

But that was only the start of it. After that, I discovered two fantastic podcasts that I want to share with you. The first is I am The Eggpod, hosted by the wonderfully amiable Chris Shaw. The pod is conversational in style, dissecting Beatles’ and solo albums with an array of consistently brilliant guests. I’ve learned a phenomenal amount from listening and the great thing is, it’s helped me reappraise some albums I’d previously discounted.

Virtually every interview is worth a listen, but the podcast really excelled with its treatment of Peter Jackson’s Get Back film. Here, Chris and contributors went through each day captured in Jackson’s film. Of course, Get Back was the event all Beatles’ fans looked forward to with feverish anticipation. How satisfying it is to have the film analysed in such marvellous detail. It’s a tour de force.

But I am The Eggpod reviews a litany of albums and there’s much to delight. Virtually everything in the canon has been discussed, which means there’s always something to treasure. Your favourite Beatles’ related album is sure to be in there and, if not, you can bet your bottom dollar it’s coming!

The other superb Beatles podcast I discovered came to me later in the year. I stumbled upon a Radio Ulster series called Give The Beatles Back To The Irish which uncovered the band’s Irish roots and influences. The series is great, please go check it out if you haven’t heard it. As part of this discovery, I learnt that the hosts, Jason Carty and Steven Cockroft had a Beatles podcast. An Irish Beatles’ podcast? I was in!

Nothing is Real is awesome. It’s superbly researched and goes into minute detail in every topic it discusses. It’s definitely one for The Beatles’ obsessives. The best example of its forensic approach is the series of pods the guys did on the controversial former Beatles’ business manager, Allen Klein. Klein, to put it mildly, is a divisive figure in the Beatles’ universe. However, Jason and Steven go to great lengths to truly dissect what really happened in The Beatles’ breakup and the messy aftermath.

It’s not quite a reappraisal of Klein but strenuous efforts are made to properly understand what happened at the end of the end. The timeline is rigorously followed and questions are asked in relation to each party’s real motivations. As a listener, I left with the impression that the breakup was not so much a fait accompli but the result of a complex series of events and reactions that culminated in the final, bitter legal acrimony. Yes, Klein was a factor in the breakup, but by no means the only one and certainly not the most significant one.

Nothing Is Real is full of good stuff like that, though- essential listening for The Beatles’ buffs out there. That’s the best thing about being a Beatles’ fan. Just when you think you know most of it, you find there’s a treasure trove of wonderful, new stuff to discover. It’s never ending. At the start of this year, I thought I knew a good deal of Beatle trivia, but it turns out it was the mere tip of the iceberg. For those fans wishing to go to the next level, Nothing Is Real and I am The Eggpod are good places to start.

@rorymcgimpsey

Worth a Spin!

Don’t know if you’ve caught the Revolver Special Edition , recently released by The Beatles? It’s well worth it if you haven’t. I’m not big on the endless trend of bands constantly remastering and editing old records. After all, the value is in the novelty of the original work, right?

In truth, I’ve always had a mixed relationship with Revolver anyway. Hailed by many as the greatest Beatles’ album, I disagree with that assessment myself. For me, The White Album and Abbey Road are vastly superior pieces of work. That said, it’s important not to underestimate the significance of Revolver. Above anything else, the Beatles’ heralded 1966 release represents the peak of the band’s transition from jovial mop tops who mastered the art of radio friendly pop into an experimental, creative group that was determined to cement its place in history.

So, Revolver is undoubtedly important, but I’m not its biggest fan. To me, the record always had an Indy vibe and that was never my bag, to be honest. I approached the new release, therefore, from a rather underwhelmed viewpoint. In preparation for the release, I listened to Revolver on repeat to try and approach it from a new angle. To my delight, it worked! After bombarding my ears with repeat marathons, I finally get why Revolver is so good.

The Special Edition of Revolver involved remixing the record through the wonders of modern technology and also incorporates previously unheard demos and samples from the period. The mastermind behind it all is Giles Martin, son of George. Well, is it any good? And given the fact that all Beatles albums were remastered as recently as 2009, is there any point?

Well, the results are incredible. Martin has done a wonderful job with the mixes. The songs sound beautifully fresh and modern, yet retain the creative genius of the original compositions. The tunes are polished and packaged superbly, but the technological sheen doesn’t diminish the essence of the album’s spirit. The Beatles still sound like the Beatles and that’s essential.

In listening to the album again, it strikes me that Revolver is the perfect gateway for Beatles newbies to learn about the unrivalled skill and creativity of the band. Because this album has everything. Ballads, social commentary, poetry and even Indian music (courtesy of George Harrison’s mid-60s obsession with the sitar). You name it, Revolver’s got it.

The most essential track to understand how creative and experimental the Beatles were is Tomorrow Never Knows. When I first heard the Lennon composition, I was mesmerised. This was written in 1966? It can’t be, it sounds like a 90s’ dance track! Talk about being ahead of their time! If you listen to nothing else, check out this tune. It is very special and still sounds modern all these years later.

But there’s much more. And all so varied. Eleanor Rigby is a masterpiece of melancholy and also like nothing heard before. Along more conventional lines, Here There and Everywhere is a classic; one of the most beautiful songs ever composed. It’s said that Jane Asher never speaks about her relationship with Paul McCartney. Then again, she doesn’t have to as it’s charted in some of the greatest love songs ever written.

In a similar vein, For No-One is a beautifully crafted number, with its plaintive lament for a relationship that seems to have run its course. John’s I’m Only Sleeping, meanwhile, is humorous and whimsical, an ode to lazy days, if you like. There’s also a delightfully pissed off George sticking it to the man in Taxman; all these years later you still hear the anger of a working class man who’s finally made money only to find that the bloody government is taking most of it!

Then there’s the extras and demos on the new release. The full speed version of Rain blew my mind-the song sounds fantastic that way. The guitars are great. But the real revelation was Lennon’s Yellow Submarine demo. I’d always seen this (ostensibly a children’s song) as slightly out of place on this album. All these serious and experimental pieces joined by this tongue-in-cheek McCartney joke song, given to Ringo almost as a throwaway.

The demo casts doubt on all of that. The original idea for the song actually seems to have come from John and his demo is a world away from the finished version. Check it out. It has what can only be described as a haunting quality. And the lyrics? ‘In the town where I was born, no-one cared, no-one cared…’ There’s genuine sadness there. Paul took the song in a very different direction, of course, but, man, what if Lennon had developed that demo?! Certainly, I’ll never look at Yellow Submarine the same way again.

My verdict is a positive one. The Revolver Special Edition is class. It’s a lovely polished, updated version of the classic album and the extras are delightful glimpses into geniuses at work, building towards their creative peak. Martin has done a terrific job. And, yes, it still sounds rather like a ’90s Indy record, albeit one by the greatest, most experimental band ever seen.

@rorymcgimpsey

Who Needs Yesterday?

If you haven’t already, I suggest you watch Paul McCartney’s headlining Glastonbury set. Even if you’re not a Beatles’ fan. Even if you don’t particularly dig that type of music. Watch it. You’ll not be disappointed.

For an 80 year-old to headline the most prestigious festival in music is impressive enough in itself. But it’s the way McCartney did it. In a set that lasted nearly three hours, the former Beatle didn’t pause or draw breath. The only short interlude in the entire performance was prior to the encore. And that was a matter of minutes.

For the rest of it, Paul was relentless; entertaining the vast crowd with anecdotes in between the comprehensive rendition of the most impressive catalogue in rock n’ roll. Brilliant, as an adjective, fails to capture the awesomeness of it.

Still, there were detractors, of course. Some complained about the composition of the set. This allegation was peculiar given that McCartney rattled through loads of Beatles’ classics, as well as Wings’ staples such as Maybe I’m Amazed and Band on The Run.

Some moaned about his voice. Sure, it’s not what is used to be, understandably, but see how well it held up, without backing, during I’ve Just Seen A Face and George Harrison’s Something.

Others complained about a lack of crowd enthusiasm. I assume they switched off before the end. Yes, the set started slowly (as is the way with these things), but by the end Sir Paul had the audience eating out of the palm of his hand. What else to expect from a legend with over 60 years’ experience in the industry?

Criticism of McCartney has often been fashionable. Yet, no-one has achieved what he has. In truth, no-one’s even come remotely close. Such an accomplished history. The Beatles’ stuff alone is peerless, but look at all he’s done since. And he’s still going!

Paul’s last two albums, New and Egypt Station were damn good. Keen observers also note that the veteran entertainer found time during Lockdown to complete McCartney III. On top of all that, he’s still touring, performing to tens of thousands of people per night in stadiums all over the world. Evidently, the fire still burns brightly.

It’s not as if he’s doing it for the money. McCartney’s still stretching himself at this stage of his career because he still loves it and is so damn good at it. Paul McCartney could have retired comfortably years ago and with his place in music history long since assured. The fact that he hasn’t tells all about this remarkable man.

The Glastonbury show ended, of course, as is now customary, with the finale of the Abbey Road medley. You sensed the palpable disappointment from the crowd that it was all over. Because we felt it too watching on our tv sets. There was no shortage of emotion. Headlining Glastonbury at 80: what an incredible achievement.

So, complain if you want to. Be negative if it makes you feel better. But I know what I prefer to do. How long can he keep this up? Who knows? But, one thing I do know for sure. Make the most of this iconic human being while he’s still around. For we will never, ever see his likes again.

@rorymcgimpsey