In the studio
The backing track for Uncle Albert/Admiral Halsey was first recorded in November 1970 at Columbia Studios in New York, with David Spinozza on guitar. However, the song was later re-recorded with Hugh McCracken before a number of overdubs were added.
Security was tight, and each day Paul and Linda would come up the back elevator with their kids and a playpen, which we set up in the front of the control room. I was a part-time nanny since Mary would often be crawling around the console and sitting on my lap! The interplay between Paul and Linda was sweet, especially when they were on-mic. Linda actually came up with some parts on her own — the entire backing vocals on Uncle Albert/Admiral Halsey consists of the two of them — but when she needed a hand, Paul was great with her.We used a combination of U87s — if we were working on something smooth — and Shure SM57s for the rockier stuff throughout the album. Paul didn't care what mic you put on him, although he did like the U87. He's such a great singer. I know that the vocals they cut over at CBS are Paul singing live right off the floor with the rhythm section into an Electro-Voice RE20, which was a relatively new mic at the time. They recorded the telephone section over at CBS, as well. That character voice was also Paul, with a simple highpass filter engaged to give the telephone effect.
Mix magazine
From around 1966 onwards, McCartney tended to arrive at the studio with clear ideas of how he wanted his songs to be recorded. This often bred dissatisfaction or resentment from his fellow musicians, who occasionally felt their suggestions were being dismissed by the single-minded McCartney.
Although McCracken he had previously worked under McCartney's close supervision, on Uncle Albert/Admiral Halsey he was given free rein to compose his own parts.
This song represented a breakthrough in our musical relationship. Paul is a genius. He sees and hears everything he wants, and would give specific instructions to me and the drummer. But he didn't know what he wanted the guitar part to be like on this song. I asked him to trust me, and he did. After I came up with the parts, he was very pleased. For the rest of the record, Paul let me try things out before making any suggestions.
Mix magazine
The flugelhorn solo, meanwhile, that marks the beginning of the Admiral Halsey section, was performed by American bebop trumpeter Marvin Stamm.
When Paul decided he wanted a short solo from one of the horn players – me, Snooky Young, Mel Davis, Ray Crisara – someone in the section yelled out, 'Let the kid do it!' Paul must have liked the idea, because he asked me to go ahead with it.By the time this session occurred, I had been in New York for about four years working as a studio recording musician, so I felt very comfortable within the community, although I was only 31 years old at the time. Paul was very relaxed in the studio, he did not try to cause any tension. He was also very open and respectful of everyone. We were going to do the brass for three different songs in three separate sessions, completely apart from the strings overdubs.
For Admiral Halsey, we listened to the backing track, that had a scratch vocal on it and the solo was the last thing we recorded for the track. There was nothing terribly difficult to play. THe most difficult thing was to make the music sound the way Paul wanted it to sound. It was a challenge. He sat on a chair and sang the part, that he would have like to sound as much as possible close to the old radio days.
Paul McCartney: Recording Sessions (1969-2013), Luca Perasi
The release
Uncle Albert/Admiral Halsey was released as a single in the United States on 2 August 1971, as Apple 1837. Its b-side was Too Many People.
The single topped the Billboard Hot 100 in September 1971, becoming the first in a string of McCartney's number one singles throughout the 1970s and 80s.
Uncle Albert/Admiral Halsey was an epic thing, a Number 1 in America, surprisingly enough. I like the little bit that breaks in: 'Admiral Halsey notified me, da-da-da, had a cup of tea and a butter pie.' It's a bit surreal, but I was in a very free mood, and looking back I like all of that. It must have freaked a few people, 'cause it was quite daft.
Mojo, 2001
McCartney received a Grammy Award for Best Arrangement Accompanying Vocalists for Uncle Albert/Admiral Halsey in 1971.
Fascinating detail about that filter effect on the final fake telephone ring – it functions just like a sudden cut in a movie, unintended or not. A “happy accident” worthy of the Beatles!
Am I the only one that hears Paul doing a bit of John Cleese in this song
Nope, I hear it too!
No, you hear nothing of the sort. Cole Porter is the person he’s channelling, not John Cleese. As if. Too much ignorance on these boards.
I was thinking the same thing as I listened to the song but an hour ago. Intentionally or not, Paul sounds very much like John Cleese in that passage.
NNo you are not. Have always looked for a cameo credit for J.C.
Cette chanson est, et de loin, une des plus belles de son époque.
Paul McCartney is the best musician in the world! The only thing you did wasn’t Yesterday! Kudos Paul! Keep going!! Buddy Haughwout!
John Lennon was so jealous and bitter at Paul’s genius and talent, that he just couldn’t help himself with the constant bashing of his musical soulmate. I think that Lennon recognized that McCartney, who loved, admired and hero worshipped him as a teen and young adult, started to catch up, then surpass Lennon with his songwriting skills, that Lennon feared that McCartney wouldn’t need/want him anymore, so Lennon just criticized and put down just about everything Paul did, running to the press and running off at the mouth, with the music press poison pens dripping and at the ready, to heap vitriol at McCartney’s works, as if THEY could create anything better musically themselves.(unlikely)
I think that John truely loved Paul, but was just too envious and wanted to ALWAYS to be perceived as the best……but he wasn’t.
Sorry but John was a music genius too and there are countless great examples of this during his Beatles years,and some during his solo career.Please go listen to his beautiful,brilliant music in his 1974 song, Number 9 Dream, the music is beautiful and brilliant with beautiful melodies and harmonies and John’s usual beautiful singing voice.John produced and arranged this song by himself and the very good album it’s on,Walls and Bridges too. And John’s beautiful Hawaiian type music in this song, You Are Here, from his Mind Games album.
Lennon´s critique of McCartney´s material was almost always fair. He knew what he was talking about. I agree totally with the Lennon citation above, about Uncle Albert and the Ram and McCartney LP:s.
Lennon was better than McCartney at hearing if the basic material of a song was good or not. He was able to think past, and not be fooled by, a slick production.
I really think Lennon wanted McCartney to make good and fully developed songs and was disappointed when he almost never did.
When Paul almost never wrote good and fully developed songs? Paul wrote *many* of these in his early solo/Wings career.And John didn’t always write these type of songs in his solo career either.
On the McCartney LP Maybe I´m amazed and Every night are really good. That would be something is good but definitely not fully developed.
Junk is okay but melodically too predictable. That goes for Teddy boy to. whch does not have very good lyrics, because McCartney did not bother to develop it or did not understand that he should do so.
Man we was lonely has good verses but a rather tedious chorus. The two parts differ too much emotionally to fit together.
Kreen Akrore is interesting but not a real song. What else is there on that LP? Not much.
Ram is even worse: Uncle Albert is good, as is the verse-refrain in The back seat of my car, but that is all, in my opinion.
Wild life is a right out terrible LP. Red rose speedway has the not so bad, but also not very good, My love and When the night.
Band on the run is overrated. The two first parts of the Band on the run song are good as is Denny Laines No words, but the rest of the songs are mediocre compared to McCartney´s Beatles production.
Venus and Mars… I can´t be bothered. Speed of Sound has Let ’em in which is not so bad.
London Town, Back to the egg, McCartney II… Not much substance there.
Tug of war is a good LP in many ways, for a change.
Pipes of peace is not very good. And so on.
I think you’re right. Uncle Albert, as even Paul admitted, was a collection of odds and ends of bits and pieces sewn together to make a song. John saw right through it and called him on it, mentioning what he liked and what he didn’t. John could be very unfair sometimes, but on this count he was just calling it like he saw it.
Maybe it’s just me but this song just screams John. I know that Paul had an Uncle Albert who this was suppose to be about and maybe to some extent it was. To me however, “Albert” is John, who at the time was referring to himself as a genius (like Albert Einstein) and he, John, was so busy rubbing his “love cloud” goings on with Yoko in Paul’s face as if to say “I don’t need you anymore, I have Yoko” Paul hits back with, in essence, “Sorry, I’m too busy for you, I’ve got to check on tea” (We’re so easily called away)
The ending part makes me think of Yoko “Little, little be a gypsy get around…”) The whole tune is extremely clever but it is a dig at both Lennon and Ono. At least that is what I get from it. Love it though.
Nah. McCartney explicitly stated what the song’s about – nothing to do with J & Y. That’s your imagination running amok.
One of my favorite songs by paul. What a genius.
I’ve always loved the song! One of my favorite along with Magneto from Venus and Mars. Love you Paul!
I too like Magneto and Titanium man, though the lyrics is silly.
I’m dying to know “What is that sound effect when he says the word “wa-ter”?? The song Admiral Hasley? For several years I wanted to know how did that weird vocal effect..”Land, across the water “wa-ter”, land across the sky”…
That was Linda McCartney’s vocal, “water”, and it was passed through modulated reverb and mixed in separately from the main backing track.
Who does the voice over on the talking part? Sounds like John Cleese. Is it?
Certainly sounds like Paul, no?
McCartney made a mistake when coupling Uncle Albert with Admiral Halsey. The former is much better and one should never connect a good to a lesser song.
Lennon´s critique of McCartney´s material was almost always fair. He knew what he was talking about. I agree totally with the Lennon citation above, about Uncle Albert and the Ram and McCartney LP:s.
How do we know that John didn’t any influence in the “Uncle Albert” song? And in meaning representation was Einstein. I understand Paul’s comments concerning his uncle and Admiral Halsey. But very deep in my gut something tells me that John had a bit of influence for his own reasoning. They both may of agreed on the lyrics for separate reasons. John was a visionary and Paul would take an idea from time to time I’m sure. Not saying Paul to be fair was a ladder stepper for his own reasons, but was an amazing artist himself but was the first to be the business man.
I had the 45 back in the day. This is just a fun listen, nothing spectacular or meaningful. Not a great piece of art, but one to just hum or sing to, however meaningless the lyrics are.