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Switched On PopHow Popular Music Works, and Why it Matters$
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Nate Sloan and Charlie Harding

Print publication date: 2020

Print ISBN-13: 9780190056650

Published to Oxford Scholarship Online: September 2019

DOI: 10.1093/oso/9780190056650.001.0001

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The Past, Present, and Future of Silly Little Love Songs

The Past, Present, and Future of Silly Little Love Songs

Paul McCartney—“Get Enough”

(p.164) Conclusion The Past, Present, and Future of Silly Little Love Songs
Switched On Pop

Nate Sloan

Charlie Harding

Iris Gottlieb

Oxford University Press

Paul McCartney is a legend of popular music who shows no interest in resting on his laurels. He has made forays into disco, opera, classical, and techno—but he always returns to the silly little love songs of pop. His 2019 release “Get Enough,” discussed in the Conclusion, references his classic hits with the Beatles while making use of modern musical devices and co-composers such as OneRepublic’s Ryan Tedder. The unexpected effect of Auto-Tune places the song in a liminal space between the singer’s past and the song’s present. The classic timbres in the bridge are the “tried and traditional” sounds McCartney fans expect, but on the final refrain the past merges with the present as Auto-Tuned harmonies recur over his raw voice. “Get Enough” expresses at once the newness and the timelessness of pop. By song’s end, it feels like McCartney’s object of affection is pop itself, the sound of which he “can’t get enough.”

Keywords:   Paul McCartney, Ryan Tedder, Beatles, Auto-Tone, robotic conversion

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