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Monday 20 January 2020

"She's Leaving Home", A Paul McCartney Song

"She's Leaving Home": A Posthumous Paul McCartney Song

By: B. H. Shamis

Monday January 20, 2020

Posted with permission: Many people have long suspected that "She's Leaving Home" (SLH) was Paul's song, not by the late-1966 replacement of Paul, named Bill and living as a "Sir Paul" through now. This post is here to remark that B.H. Shamis was the one who discovered that Her Majesty was Paul's and now also to demonstrate conclusively that SLH has to be Paul's song, with a false creation myth, showing Pattie Boyd, George Harrison's wife (with a possible secret, lost pregnancy), as if she were Melanie Coe. Melanie played along with the ruse for years and has disappeared now. The harpist who spoke out is also now gone, dead. -- Clare Kuehn






Top two photos: We propose these are Pattie Boyd, George Harrison's wife, playing Melanie Coe in news story in Daily Mail newspaper of early 1967, about Paul's song, "She's Leaving Home" and that the song was published posthumously, as if his "double" had written and sung it. Bottom three photos: comparison photos officially of Pattie, likely older than the one used in the Daily Mail false news story.



Top photo film still: Melanie Coe, at the time she met the Beatles, in the early 1960s, on TV. Bottom two photos: Melanie, years later, from her now-defunct Twitter profile and a TV interview, in which she partly continued to play along about the song's attribution to her life. 


"SHE’S LEAVING HOME"

After discovering, 
about four years ago, that the song planned to be the Beatles' last, "Her Majesty", was played and sung by not by the replacement, Bill / Sir Paul, but by JPM (James Paul McCartney) himself, and getting the information to Lucy Sunrise, Clare Kuehn, and Lady Ruth, I set out to find proof that "She’s Leaving Home" (SLH) was also originally recorded by James Paul McCartney.

Although I can hear his voice in the song, more evidence is required. Clare recently said that just a harpist was added in 1967. She forgot part of the proofs; more was done to the presumably missing original tapes. My post is also here to point out that I definitely discovered the reasonable evidence that "She’s Leaving Home" is Paul’s song.

I believe that "She’s Leaving Home" was recorded at the same recording session as Eleanor Rigby in April of 1966, because it is one of two songs which features a double string quartet. It has to be one of those songs which had already been recorded and was left to be included on a later album. I am saying that any historical record of when it was actually recorded has been erased.

-- Update: Melanie has disappeared off all on-line platforms.

MELANIE COE PICTURED AS PATTIE  BOYD IN NEWSPAPERS

The official story was that the song was about a runaway, Melanie Coe, however the picture in the Daily Mail is Pattie Boyd and not Melanie Coe. The timeframe also doesn’t work for PID (the "Paul is Dead" case). William was just settling in and beginning to work with the other three Beatles at the beginning of 1967. It’s a long stretch to think that he would hear a story about a girl Paul had met, not him, and write and record such a beautiful song by the middle of March.


I believe Pattie Boyd played Melanie Coe in the news article so that the whole thing could be used as a joke if anyone realized that it was her. No one would have realized the real reason (that it was Paul's song and he was dead). The deception about Melanie worked until now.


ADDING INSTRUMENTS TO AN OLDER RECORDING

Other instruments were added and John and William did record their voices over the original recording twice, leading to the confusion that William sang the song because his voice is recorded over Paul’s voice. I discovered this years ago and I believe it’s time to explain why I think this is proof that this song was originally JPM.

A summary of the official story:

“She’s Leaving Home” is a song which was released on the "Sgt. Pepper’s Lonely Hearts Club Band" album in 1967. The official story is that it was recorded March 17, 1967 and was written by John Lennon and Paul McCartney. It also says that the song was inspired by a story in "The Daily Mail", about a teenage runaway, Melanie Coe and claims that in February 1967, Paul McCartney [Bill] read about Melanie Coe, a 17-year-old, A-level schoolgirl from North London, who went missing without her car, checkbook and spare clothes.

"The Beatles’ Bible", on line, explains correctly that Coe was not a stranger to The Beatles. She had first met them on October 4, 1963 when she had won a miming competition on the television music show, "Ready Steady Go": “The Beatles were making their first appearance on the show that day and Paul McCartney presented her with the award.”

According to George Martin, Paul [Bill] called him and asked him to write the arrangement for the song the next afternoon. Martin told him he couldn’t because he had a recording session scheduled. Paul [Bill] then contacted Mike Leander. (“All You Need Is Ears” : George Martin / Jeremy Hornsby 1979).

THE HARPIST IN EARLY 1967 DOESN'T RECOGNIZE PAUL AND THERE IS CONFUSION OF WHAT TO DO

Wikipedia says George Harrison and Ringo Starr were not involved in the recording. The song's instrumental background was performed entirely by a small string orchestra. The recording took place over two days. The first day, March 17, 1967 featured only the strings. Paul McCartney [Bill] was present in the studio and six takes were recorded. Sheila Bromberg the harpist told this story about the recording:

“I got to the studio early to tune the instrument.

“I walked in and there was Paul McCartney [Bill] but I didn’t recognize him at first.

“I was concentrating on what was written on the manuscript, then I turned around, heard the Liverpool accent [Bill must have faked the accent] and realized it was him.

“I hadn’t got a clue, I had just talked to the other musicians and waited.

“In actual fact, he was quite difficult to work with because he wasn’t too sure what he actually wanted. He said, ‘No I don’t want that, I want something…’ but he couldn’t describe what he wanted and I tried it all every which way.” (“The Paul McCartney Project” : Sheila Bromberg)

-- Update: The harpist, Sheila Bromberg, has died.


TAKE ONE WAS THE BEST BECAUSE IT WAS PAUL

On March 20th, 1967, it was decided that take one had been the best. Of course, that was because that was the only one that was pure JPM (James Paul McCartney)!!

Officially, Paul and John’s vocals were recorded twice over, in 1967, to give the impression of more voices. The George Martin orchestral setting style is of the previous year, not typical of Bill.


Other Posthumous Songs

We have a similar situation with "Fool on the Hill" (FOTH), also released in 1967, as well, after Sgt Pepper's album came out. There, Paul's voice and Bill's voice were definitely blended in parts; Sir Paul seems to have sung some typical, irritating "oodle oodle oodle"-style sections in higher notes for FOTH. There is far more Bill in parts of that song than in SLH.

We have some "demo" or outtake sessions for that song, one with Paul and several of Bill, whose voice is, to be honest, rather horrible, compared with Paul's. More orchestra and George Martin's newer style of setting were added to that one.

"Penny Lane" is clearly Paul's lyrics, probably a teenage fluff piece, with its sexual Liverpudlian wordplay about "fish and finger pie", but it has so many bells and whistles, so to speak, and awkward constant key changes, that George Martin and Bill seem to have overworked it in their rush to put out a Paul single to release, in early 1967, with John's disturbing eulogy for Paul, "Strawberry Fields". Bill seems to be the one who recorded Penny Lane.

"Her Majesty", with its officially missing final notes, has been processed to make it fit better on the slightly harsh sounding 
"Abbey Road" album, but if you listen carefully, the ditty has beautiful, sensitive guitar and Paul's husky, warm, lilting voice. Officially, it is missing the notes at the end, because of a "cutting-room error", but because Paul died, it has to be because his life was "cut short".

Sir Paul was supposedly angry that it was included. It was to have been the final song on the final Beatles album; it was not listed on the album; it was an honor to Paul. "Abbey Road" album was pushed forward for release in 1969, and "Let It Be" became the last album, in 1970.