In 2017, McCartney and his legal team filed a lawsuit in New York against what is now known as Sony/ATV, attempting to finally regain his ownership stake in the Beatles back catalogue. So, I thought, ‘Yeah, it is,’ and waited for a reply, but we never kind of got to it … It was no big bust-up. He kept saying, ‘That’s just business, Paul.’ You know. So I kept thinking, it was time for a raise … I did talk to him about it, but he kind of blanked me on it. And the deal, it’s remained the same, even though we made this company the most famous – hugely successful. I thought, here’s the guy historically placed to give Lennon–McCartney a good deal at last, ‘cos we got signed when we were 21 or something in a back alley in Liverpool. What happened actually was then I started to ring him up. In 2009 McCartney told David Letterman: “Somebody had to get it, I suppose. Whilst no pauper by any stretch of the word, it must be deeply hurtful to witness a former friend own and live off what is naturally yours, particularly in such an unscrupulous manner. Jackson’s purchase would support his increasingly opulent lifestyle up until his death in 2009, all while McCartney looked on. However, he did let out a Freudian slip in his 1989 autobiography Moonwalk. He claimed: “Paul and I both learned the hard way about business”, and the “Importance of publishing and royalties and the dignity of songwriting.” He opined, “I think it’s dodgy to do something like that.” He concluded that it was like, “To be someone’s friend, and then buy the rug they’re standing on.” Typical of Jackson, he remained quiet on the matter. Understandably, McCartney was shocked and outraged by the insidious manoeuvring of MJ. Although the decade gave us great partnerships such as The Pogues and Kirtsy MacColl’s ‘Fairytale in New York’ and Run DMC and Aerosmith’s ‘Walk This Way’, it also gave us another weird partnership that has long since been consigned to the dustbin of history.
As if the advent of the digital world made people think that truly anything was possible, there were countless instances of musical shoe-horning. One decade that was brimming with these bizarre musical convergences was the 1980s. This idea goes some way in demonstrating that one’s strengths can be augmented by another, and vice versa, as the traditional doctrine of marriage would tell you. Skinner and Baddiel, Puyol and Pique, Laurel and Hardy, Cannon and Ball.
PAUL MCCARTNEY AND MICHAEL JACKSON FULL
In fact, if we were to extend this sentiment outside of music, we find that life is full of successful partnerships that have come to embody the essence of yin and yang. If you were to think of the most iconic acts/hits of the past 60 years, they would be almost certain to have featured a successful duo.
Since the advent of pop culture, there have been countless partnerships that have underpinned our favourite pieces. Billie Eilish and Finneas, Mick Jagger and Keith Richards, John Lennon and Paul McCartney, Chas and Dave, you get the picture. In fact, one might even say it is defined by them. Lizzo’s “It’s About Damn Time” took a slow crawl to the Top 10, and much of its success was fueled by TikTok, where it went viral for a viral dance to the song.Music is full of partnerships. It was quickly embraced as an anthem for the Great Resignation, with lyrics like “release your job” and “I just quit my job.” Styles’ “As It Was” was the first single from Harry’s House, and in the day after it was released it became the most-streamed song in a day for a male artist, getting over 16 million streams. “Break My Soul,” a dance tune, was released by surprise in June.
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