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PAUL MCCARTNEY
RATING: 6
PLAY THESE: All of the original soundtrack.
SKIP THESE: Carl Aubut's revisionist crap at the end of the CD re-issue.
The first solo project recorded by any of the Beatles, The Family Way is actually a film score for the long-forgotten 1967 movie by the same name. The score is actually a series of George Martin-arranged variations of an original Paul McCartney composition, 'Love In The Open Air,' which represents Paul's first stab at the classical genre. The overall sound is quite nice: strings, flutes, classical guitar, and a touch of brass all combine to create a lovely sound, and George Martin's arrangements are typically excellent. Because McCartney cannot read or write music, it is unclear as to just how much input he had into Martin's arrangements, but the fact that he can construct melodies that transcend musical genres is quite impressive. And boy, are there ever some great melodies on this album - some of McCartney's best, truth be told. Overall, it's a nice album to listen to just before falling asleep, and one that should be required listening for McCartney fans of all stripes. Unfortunately, The Family Way is rather hard to track down, and was actually only issued on CD in 2003. This particular re-issue contains the original twenty four minute 1967 film soundtrack, as well some recently recorded variations performed by some obscure French Canadian classical guitarist named Carl Aubut, all of which are cheesy and do little to improve upon the original performances. Stick to the original, and forget about the bonus material.
RATING: 8
PLAY THESE: MAYBE I'M AMAZED, JUNK, EVERY NIGHT
SKIP THESE: OO YOU, MOMMA MISS AMERICA, KREEN-AKRORE
Of of all of the former Beatles, Paul McCartney's solo career has been by far the most successful - and controversial. He is a man capable of writing classic songs like 'Band On The Run' on a whim, but is often more happy churning out drivel such as 'Let 'em In,' or the pathetic Press To Play album. This conspicuous lack of quality control makes listening to a Paul McCartney solo album a frustrating experience, as even the most dedicated of McCartney fanatics have difficulty navigating the highs and lows of the McCartney music landscape. It's unclear whether McCartney releases sub par material because he is incapable of self-editing his ideas, or whether he just does it because he enjoys knocking off cheesy little ditties (and doesn't give a rip if you or anyone else doesn't like them), but the end result is always the same - his output is frustratingly inconsistent. Paul's main problem as a solo artist appears to be that he is Paul McCartney, and as such there is no-one on the planet who is willing to speak the truth to him. All of the musicians he's worked with have been hired guns, anonymous players who get paid to tell Paul what he wants to hear.
Paul McCartney's solo debut, McCartney tells you everything you ever wanted to know about the ex-Beatle's solo career. As with nearly every other McCartney release, this album consists of a couple of classics, a few obscure gems, and a shitload of filler. At the top of the "classics" list is the truly remarkable 'Maybe I'm Amazed,' a piano-based rock anthem with some fantastic shouty vocals and a typical "go for it" McCartney guitar solo. It's a perfect song, and easily equals anything Paul did as a Beatle. I suppose 'Every Night' might also squeak into the "classics" list too, although it's still a track that many casual fans may never have heard before. It's got a nice groove happening, and a great McCartney melody to boot (I really like the scatting at the end too, where McCartney shows off just how wide his vocal range is. The lyrics are dumb (e.g. "every night I just wanna go out, get out of my head"), but musically speaking it's top notch. In the "obscure gems" column goes 'That Would Be Something,' which on first listen sounds a bit simplistic (it simply repeats the line "that would be something to meet you in the pouring rain" ad nauseum over a I-IV-V chord progression) but is actually a real grower. The other really good tune you may not have heard is 'Junk,' a ballad dating back to the White Album sessions that boasts what is perhaps McCartney's greatest melody, over a very interesting chord progression. There is also an instrumental version of the song included on the album, which is simply entitled 'Singalong Junk.' To be sure, it's filler, but it stands up on its own as a great musical moment in it's own right.
As for the list of "filler" tracks, this basically comprises the rest of the album. Some of them are more vomit inducing than others, but for me 'Teddy Boy' is definitely the hardest to stomach. Most Beatles fans will recognize 'Teddy Boy' from the Let It Be sessions, where we got to hear a frustrated John Lennon mock the song with his hilarious square dancing MC impersonation on the unreleased Beatles version. There's no such luck here: Paul's solo version is so bad I can't even talk about it.
I guess I forgot to talk about the actual sound of the album, so here it goes. It was recorded at McCartney's house, which explains the stripped-down, basic nature of the recordings. In some ways it is even more primitive-sounding than John Lennon's Plastic Ono Band, which is often held up as the most basic of the Beatles solo albums. Paul plays all of the instruments, including the drums, although I'll be the first to point out that his stickwork is pretty uneven. He's good at the tom-tom fills, but he sounds pretty stiff when he robotically clanks away on the hi-hat in the verses, which is just about all of the time. He's by no means a bad drummer, but I'd still take Ringo any day of the week, thank you very much. The one thing that really bugs me about this album is Linda's backing vocals. It's not that she's a terrible singer or anything, but there's something about her phrasing and the whiney tone of her voice that makes me want to kill her every time she opens up her yap. It's hard to accept Linda's mediocre singing when you've been spoiled by John Lennon's harmonies over the years.
The final verdict? The album is worth picking up for 'Maybe I'm Amazed' alone, and tracks like 'Every Night' and 'Junk' are remarkable as well. Unfortunately, about half of the album consists of pure filler, garbage even. If not for 'Maybe I'm Amazed,' this album would be a six out of ten, but the inclusion of the classic track bumps the rating up to a low eight.
RATING: 9
PLAY THESE: TOO MANY PEOPLE, UNCLE ALBERT / ADMIRAL HALSEY, SMILE AWAY
SKIP THESE: MONKBERRY MOON DELIGHT, EAT AT HOME, LONG HAIRED LADY
If you're viewing this page for the first time, you may think you've stumbled upon some kind of sick, vulgar bestiality site. After all, the front cover of Paul McCartney's Ram does feature the famous singer in a rather, err, "compromising" position with a horned animal, and heaven only knows what he was thinking when he allowed this photo to be taken in the first place.
By the way, if you're interested in checking out a really neat bestiality site why not give farmanimalfunxxx.com a tryst?
All kidding (no pun intended) aside, Ram is one of the best products McCartney ever came up with as a solo artist (although the album is actually credited to both Paul and Linda McCartney). It's got the same home-recording charm as the debut solo record, but boasts more polished performances, and overall better songwriting. Best bits include the incredibly catchy dig at John, 'Too Many People,' which allegedly takes issue with Lennon's attachment to faddish protest movements. The opening descending chord sequence sounds like it could be the start of a great song in its own right, but then an entirely different song kicks into gear, and it's even better! It sounds like a long lost classic from the White Album sessions, and it's refreshing to hear it. Speaking of John, there's another cheeky little John put-down song called 'Dear Boy,' which is a bouncy piano song and a deceitfully sweet McCartney vocal performance. Good tune too! If you loved the Abbey Road medleys then you'll at least like the dual punch of 'Uncle Albert/Admiral Halsey," another in a long string of brilliant McCartney narratives. It's got a bit of 'When I'm 64,' English shanties, and polka, but when the big arena rock sing-along 'Hand Across The Water' comes in, it's pure bliss. If you like rock 'n roll you'll likely love 'Smile Away,' a song that proclaims "I can smell you're feet from a mile away" in its chorus. It's strange, and a bit stupid, but somehow it works magic. 'The Heart Of The Country' is also good, a nice cod-Nashville tune with some fingerpickin' good acoustic guitar from Paul. I also kind of like 'The Back Seat Of My Car,' a song that dates back to the Beatles Let It Be sessions, although it is perhaps a bit on the lengthy (and gay) side. The album loses a bit of steam in the second half, but doesn't truly begin to stink until 'Monkberry Moon Delight,' a narcotic nightmare of bad ideas that puts Yoko Ono to shame. Paul's vocal alone should have banished him to a Japanese jail 9 years before marijuana possession finally did - what the heck is that screaming all about? Whatever the case, it is awful. Which is too bad, because the rest of the album is really good.
RATING: 4
PLAY THESE: LOVE IS STRANGE, SOME PEOPLE NEVER KNOW, DEAR FRIEND
SKIP THESE: MUMBO, BIP BOP, WILD LIFE
Wow...this is a really bad album. However, it should be pointed out that Paul wasn't the only former Beatle who fell from grace in the early 1970's. It seems as though both Paul and John sat down at the end of 1971 and decided to have a "shitting the bed" contest of sorts - the simultaneous artistic decline of the former musical partners is that shocking. Always the first to strike, Paul hit first with Wild Life, which was followed in turn by John and Yoko's retaliatory stink-fest in Sometime In New York City. Although John has the dubious honor of winning this battle, Paul shouldn't get off the hook for the massive damage he inflicted on his fans. The only reason McCartney didn't win is because his album does not feature Yoko Ono. That's it. Otherwise, Wild Life is unnervingly similar in quality to John's horrific album, as both contain sub-par songwriting, bad production, and a seemingly endless supply of embarrassing filler.
Granted, subsequent releases prove that McCartney's muse wasn't close to being dead yet, but that doesn't mean it wasn't on life support in the early 1970's. This is the only McCartney solo album bar Press To Play that does not contain a single identifiable classic song. There are a couple semi-good songs, but nothing that truly stands out as being great - at least by lofty McCartney standards. The more notable moments here include the six minute long 'Some People Never Know,' which is a nice acoustic-based song (albeit two minutes too long), as well as 'Dear Friend,' which is a coy answer to Lennon's 'How Do You Sleep.' I suppose the cod reggae cover 'Love Is Strange' is pretty nice too, although it is certainly nothing to get too excited about - most other fans and reviewers seem to hate it, so what do I know? But like the other tracks on the album, it is also way too long.
As for the rest, it's all garbage. It was bad enough that we have to sit through both 'Mumbo' and 'Bip Bop,' but to also have to put with reprises for both of these songs is just plain insulting. The insipid 'I Am Your Singer' may also induce vomiting for some listeners, or at least violent retching, as it is a duet between Lind and Paul - the cheese factor on this one is right off the scales. Not as bad as a John and Yoko duet, mind you, but certainly atrocious in its own right.
Oh, and I guess I should mention that this album is the first album credited to Paul's new "band" Wings, as former Moody Blues guitarist Denny Lane and drummer Danny Seiwell join Paul and Linda for the first time. However, it must be remembered that Wings were never in any way, shape, or form a true band - they were simply paid employees of Paul. Regardless, Wild Life is still a poor debut by anyone's standards.
RATING: 8
PLAY THESE: MY LOVE, LITTLE LAMB DRAGONFLY, WHEN THE NIGHT
SKIP THESE: LOUP (FIRST INDIAN ON THE MOON)
Whew...this album is a lot better, although you wouldn't know it from the atrocious album sleeve, which features a mulletted Paul McCartney - eyebrows arched and pupils dilated - with a red rose stuffed inside his pie-hole. What prompted this idea is not clear, although you can be certain drugs were involved one way or another. Nevertheless, Red Rose Speedway is a really good collection of tunes - not quite on par with Ram, but it's undoubtedly one of McCartney's better solo efforts up until this point. However, not everyone is in agreement about the merits of this album. Many McCartney fans claim it to be a forgotten classic, while others deride it as being "Wild Life with better production," but all I can say is that it's the album that got Paul's career back on the rails again, and I'm grateful for that. It's certainly middle-of-the-road music, but at least it's interesting, full of typical McCartney melodies, quirky musical ideas, and slick production.
As for me, I quite enjoy this album. Take, for example, the Abbey Road-style medley at the end of the record, which is quite enjoyable if you aren't expecting too much from it other than pure musicality and cheesy McCartney charm. And no, the 'Hold Me Tight' section of the medley isn't the same as the Beatles song by the same name, although it does feature some really nice harmony guitar work and a nice chorus. Most people have probably heard the big hit single from the album, 'My Love,' which many critics dismiss as schmaltzy crap, although I must admit that I'm kind of partial to it. Just listen to that melody - it's a work of genius, I tell you!! Nice guitar solo too. On the other hand, you may not have heard the obscure 'Little Lamb Dragonfly,' which is hands-down the best song on the album. On first listen it may sound a little bit meandering, but it's a real grower. It's another sweet McCartney melody over an interesting chord progression - I love Paul's vocals on this album, which for some reason doesn't sound like his usual singing. Other highlights include the punchy 'When The Night, as well as the gospel-tinged 'Get On The Right Thing,' although I suppose any gospel choir that features Linda McCartney is destined to sound somewhat less than celestial.
The bottom line? Get this album if you like Paul McCartney (and Wings) even just a little bit. An easy eight out of ten.
RATING: 10+
PLAY THESE: BAND ON THE RUN, JET, LET ME ROLL IT, NINETEEN HUNDRED AND EIGHTY FIVE
SKIP THESE: BLUEBIRD
Well, this was my very first Paul McCartney solo album, which was loaned to me by my Uncle Rod when I was about ten or eleven years old. I was already a huge Beatles fan, and at that time Paul was my favorite Beatle, so I was very curious about his solo career. Most McCartney fans and music critics agree that Band On The Run is Paul's best solo offering, and I would agree that this is probably the best music Paul made on his own. It stands up to most Beatles albums in terms of quality, and gives both Lennon's Plastic Ono Band and Harrison's All Things Must Pass a run for their money as far as the best Beatles solo album of all-time is concerned. There really isn't any filler on Band On The Run, which is a rarity among Paul's solo albums. What we do get is Paul doing what Paul does best - which just happens to be writing good songs with unbelievable melodies, with more interesting musical ideas than you can shake a stick at.
Sure, you can complain that some of the songs are a bit cheesy, and that much of the lyrical content is shallow and nonsensical, but such criticism misses the point. Paul McCartney is not only a singer-songwriter, but also an entertainer, and this album entertains like no other in the McCartney canon. Who else but McCartney can take an inane idea, such as basing an entire song on Pablo Picasso's last words ("drink to me, drink to my health, you know I can't drink any more"), and turn it into a mini medley full of unexpected musical twists and turns? The answer is few, if any, which is why it is folly to dismiss McCartney's music as "lightweight" or "fluff." McCartney also delivers the goods with the epic title track, which contains at least three excellent songs in their own right - the man really knows how to write songs. Also excellent is the glam rock classic 'Jet,' a made-for-stadium anthem that has it all - a hook, great vocals, horns, a nice groove, and a big rock 'n roll sound. And what about Paul's cheeky dig at John, 'Let Me Roll It,' which duplicates the echoey, minimalist sound of Lennon's Plastic Ono Band right down to the snarled electrical guitar and impassioned vocals? It's a rock 'n roll classic - and one of Paul's best-ever songs. Also enjoyable is 'Mummonia,' a folky pop tune with a classic LA sound, as well as the album closer 'Nineteen Hundred and Eighty Five,' a piano-driven rocker with some swooshing synths, smokin' lead guitar, and a propulsive beat.
Overall, there really aren't any bad songs at all, although sometimes I get a bit annoyed with 'Bluebird,' which is a bit too slick for my tastes. In the end, if you're only going to buy one Paul McCartney solo record, make it this one. Classic.
RATING: 7
PLAY THESE: VENUS AND MARS/ ROCK SHOW, MEDICINE JAR, LISTEN TO WHAT THE MAN SAID
SKIP THESE: YOU GAVE ME THE ANSWER, MAGNETO AND TITANIUM MAN, CROSSROADS
After borrowing Band On The Run from my Uncle Rod in Grade 5, my next introduction to Paul McCartney's solo career occurred a few months later when my Uncle Len made me a mixed cassette tape, which included the following selections from Venus and Mars: 'Venus and Mars,' 'Rock Show,' 'Spirits Of Ancient Egypt,' and 'Medicine Jar.' Needless to say, I was very impressed, and immediately fell under the false assumption that the rest of Paul's solo career was also equal to his Beatles output. Naturally, I was a bit disappointed when I purchased Venus and Mars a bit later on, and actually heard the rest of the album for the first time. Actually, I'm beginning to think that Venus and Mars sums up Paul McCartney's solo career in a nutshell. What we get here is a few moments of inspired genius, several half-decent fare - and a dumpster-full of pleasant-yet-below-par filler that just doesn't cut it as far as Macca is concerned. The other thing that kind of bugs me about this album is the production. It sounds like a muffled version of Band On The Run played over a stereo system that has been covered with a wet, heavy blanket. In other words everything is really muggy-sounding, and it has the production has a kind of "suffocated" quality to it.
But in spite of the obvious problems, there are still some really great songs here. Among them is the title track, which is a quiet acoustic number with a sweet McCartney melody and nice synths that segues into 'Rock Show,' a tribute to 70's rock that is likely the best arena rocker of Paul's career. And not only is it rockin' but it has some great lyrics too ("the pressure mounts/ you score an ounce" ha!!). Good stuff. Gotta love Paul's "rock 'n roll" Little Richard vocals on that one too. You've probably also heard 'Listen To What The Man Said' while shopping at Safeway; its a very catchy song, but some people don't prefer it's sickly sweet melody and lyrics. I like it though, and that's all that counts in my books.
Oh yeah, I should also mention that two new band members joined the Wings for this album. These include Joe English and Jimmy McCullogh, the latter of which contributed the psychedelic blues rocker tune 'Medicine Jar,' which is a cool sort of anti-drug song that also promotes drugs in a twisted sort of way (i.e. "you won't get far/ if you keep on stickin' your hand in the medicine jar"). Good tune.
As for the filler, there's a lot to be found. The most annoying song is probably 'You Gave Me The Answer,' which starts off with this cool descending chord thing on the piano, but then does a complete 180 in a few seconds and ends up sounding like 'Honey Pie,' except even more gay and show-tunish. I don't usually mind Paul's retro 1940's compositions, but this one is unbearably cheesy, and his sweet, sickly singing is atrocious. The rest of the songs are actually pretty unremarkable, and quite frankly it's difficult to remember them after even repeated listening.
Overall, Venus and Mars is basically just Band On The Run's younger, uglier sister - it's shorter and fatter, and there are plenty of blemishes to be found, but the resemblance is still there. Not bad, but a bit of a disappointment. Seven out of ten.
WINGS
AT THE SPEED OF SOUND (1976)
RATING: 5
PLAY THESE: LET 'EM IN, BEWARE MY LOVE, SILLY LOVE SONGS
SKIP THESE: WINO JUNKO, COOK OF THE HOUSE, MUST DO SOMETHING ABOUT IT
A smash-hit blockbuster album that consolidated Paul McCartney and Wings as one of the premier rock groups of the 1970's, Wings At The Speed Of Sound is probably the very last record you would play for someone you are trying to convert to the gospel of Paul McCartney. The reason for this is quite simple: it is excruciatingly cheesy. And I'm not talkin' cutesy 'When I'm Sixty Four' style fromage either - this album is so confrontationally cheesy that it sounds as though McCartney is rubbing our collective faces in his ass crack while letting go a huge, stinky cheddar fart. Ok, it's not quite that foul, but this is definitely some of the most uncomfortably corny music Paul has ever come up with. I'm sure that you've heard 'Silly Love Songs' playing on the radio station that your grandma listens to while she's baking pies, and 'Let 'em In' is probably the only "rock" song that has the cahoonas to begin with a doorbell without even the slightest trace of embarrassment. And while I must admit that I like both of these catchy tracks (just listen to the in-your-face bass on 'Silly Love Songs'), I can also understand why so many people have written off McCartney on the basis of such fluff. You just can't do that sort of thing to people very often and expect them to take it without plugging their noses, or running away in disgust.
To put it simply, this album has not aged well. It seems as though McCartney was a bit touchy about accusations that he was a control freak, and set out to prove that Wings were a real band, and allowed each band member - even Linda! - to write songs and sing lead on this album. Predictably, the results are very patchy. I needn't mention that Linda's sole contribution - the clunky dirge of banal domesticity entitled 'Cook Of The House' - is the worst of the lot, although Denny Laine gives her a run for her money on the rather nasally-sung generic classic rocker 'Time To Hide.' When all is said and done, Paul isn't fooling anyone here - it's clear that Wings are Paul's supporting cast (or rather, should be Paul's supporting cast), and it is telling that subsequent Wings albums were once again dominated by McCartney. Anyways, I guess I should mention that 'Beware My Love' is one kick ass tune, another McCartney epic that starts off softly but erupts into a high-octane rocker, with some great shouty vocals from Paul. But other than this single moment of inspiration, this is McCartney-by-numbers, a CD full of guffawing "aw shucks" cornball tunes without hooks, and a cartload of unwelcome filler from Paul's less talented bandmates. Five out of ten.
RATING: 7
PLAY THESE: MEDLEY: VENUS AND MARS / ROCK SHOW / JET, MEDICINE JAR, MAYBE I'M AMAZED, LIVE AND LET DIE, BLACKBIRD, BEWARE MY LOVE, BAND ON THE RUN, HI HI HI
SKIP THESE: RICHARD CORY, BLUEBIRD, LISTEN TO WHAT THE MAN SAID, LET 'EM IN, TIME TO HIDE, SOILY
A triple live album that was delivered to shops just in time for Christmas 1976, Wings Over America is a kick ass collection that effectively documents the band's triumphant 1976 American tour. The recordings prove once and for all that Wings were truly first class arena rock band, and that McCartney could pull off just about any genre of music in a live setting and still keep the audience hanging on his every word. The album is also special because Paul has finally coming to terms with his illustrious past, as he performs a number of Beatles songs for the first time since the 1960's, including great performances of 'Lady Madonna' and 'Blackbird,' just to name a few.
I really like this album, in case you haven't already noticed. It's got a nice variety of tunes, and the energy level is high throughout - you can feel the energy level of the crowd, and the band feeding off of it. The only major problem is that the record should've been a double instead of a triple - the quality dips a bit in the middle, where the setlist is a bit heavy on the relatively weak Wings At The Speed Of Sound and Venus and Mars material. There are few rather bland covers included as well, the most offensive of which is definitely Paul Simon's 'Richard Cory,' which was a shit song to begin with, so it's no surprise it sucks when the Wings do it too. However, these momentary lapses in good taste are more than atoned for by some really great performances, in particular 'Maybe I'm Amazed,' which is even better than its studio recorded counterpart. The introductory medley ('Venus and Mars,' 'Rock Show,' and 'Jet') is pretty sweet as well, and I'm sure that I don't have to explain why 'Live and Let Die' was built for the arena rock concert experience. In the end, Wings Across America is the only McCartney live album you'll ever need to own, and even though it's still not available on the CD format, it's well worth searching out a vinyl copy at your local used record shop.
RATING: 6
PLAY THESE: I'M CARRYING, I'VE HAD ENOUGH, FAMOUS GROUPIES
SKIP THESE: CUFF LINK, CHILDREN CHILDREN, MORSE MOOSE AND THE GREY GOOSE (and some other stuff too...)
Jeez, this album should be called Paul McCartney On Autopilot - Macca can write this kind of stuff in his sleep, and judging by some of the lethargic performances on London Town, he very well may have been sleepwalking. The first time I heard the opening strains of 'Girlfriend' I thought I had accidentally downloaded an Eagles album by mistake. However, when Paul's distinctive falsetto came calling, I knew I had the right mp3 file and felt an instant sense of relief, knowing that I wouldn't have to listen to Don Henley for the next hour or so.
All joshing aside, though, 'Girlfriend' is a pretty catchy little number, although it's so freaking cheesy that I feel ashamed of myself for humming along as I write this review. There are other moments of, if not greatness, then at least trademark solo Macca mediocrity. I really like 'I'm Carrying' quite a lot, although even many McCartney fans haven't heard this relatively obscure song before. It's a great acoustic tune with a sweet, lilting melody, a cello, and a nice hook, which is more than I can say for many of the other songs. Take the hit single 'With A Little Luck,' for instance. It's a little bit catchy, but it truly is hard to love the song. Heck, if I were to compile a Best Of 1970's Paul McCartney CD with 20 songs, this one wouldn't even be in the running for the last spot. Another problem with this album is guitarist Denny Laine. For the first time, it appears as though Denny and Macca were writing songs together, as four or five of the songs are credited to both musicians. These guys have absolutely NO chemistry together. None! Just listen (or actually, don't) to 'Children Children' which sounds like a Crosby, Stills, and Nash sing-along, with the immortal Joan Biaz on flute (yes, the song does have a flute). Denny sings this one with the vigor of a young, eager Yanni, and I for one CAN"T STAND A SECOND OF IT! And to add insult to injury, to rub salt in our wounds, to....oh, I don't know....the next song - the title track, to be precise - features Paul singing a song about a man playing a flute, which even includes a cutesy "toot toot" flute imitation courtesy of Sir Paul. It's too bad, because the song sounded pretty good until then....Really, things don't get much better from then on, although the risqué 'Famous Groupies' is a pretty funny song, with great tongue-in-cheek humour, and 'I've Had Enough' is a terribly good oxymoron of a rock song. All in all, it's a pretty average Macca album (make that below average, actually), and although I don't often see it listed alongside Wild Life or Press To Play as the worst McCartney album, London Town doesn't have much to brag about either - and that's by anyone's standards. And when you're listening to Paul McCartney, average is pretty disappointing.
RATING: 9
PLAY THESE: LIVE AND LET DIE, JUNIORS FARM, HI HI HI
SKIP THESE: ANOTHER DAY, LET 'EM IN
The first so-called "Wings compilation," Wings Greatest is a decent enough overview of the band's most popular hit singles from 1972 to 1978. However, the compilation breaks its own rules by including 'Uncle Albert/ Admiral Halsey' and 'Another Day,' both of which are actually solo McCartney releases, but since the former was Macca's first number one hit after the Beatles broke up I suppose we can excuse the inconsistency. It's nice to have all the big hits on one album (e.g. 'Band On The Run,' 'Jet,' and 'My Love,' to name just a few), but the best thing about Wings Greatest is the fact that it compiles a number of singles that had never before been available on a full length record. Of these songs, the most notable is 'Live and Let Die,' which originally surfaced on the James Bond movie by the same name. Produced by George Martin, it easily matches anything Paul did as a Beatle, as it's difficult not to marvel at the song's complicated ballad-to-rocker arrangement, as well as the MASSIVE sounding orchestral overdubs. Great vocals too! Lesser known hits like 1974's 'Junior's Farm' (great go-for-it McCartney guitar solo!) and 'Hi Hi Hi' (1972) are also welcome additions, as both songs boast an infectious hard rock sound rarely heard on Wings recordings, and McCartney demonstrates why he is one of the best rock 'n roll singers of all time. Paul even gets a little but risqué on the latter tune, and the song has the dubious distinction of being one of the few McCartney tunes that has been banned for its overt sex, drugs, and rock 'n roll references (sample lyric: "I want you to lie on the bed/ get you ready for my body gun/ I'm gonna do it to ya, gonna do it/ sweet banana, like you've never been done/ and like a rabbit, gonna grab it/ gonna do it 'til the night is done"). To claim that such lyrics are out of character for McCartney would be a huge understatement, but it's still a great song, and has been unjustly forgotten by both McCartney and his fans alike.
Other single-only tracks included are the so-so Scottish folk "original" 'Mull Of Kintyre,' which is one of the biggest hits in British music history, and the rather insipid and weak 'Another Day,' which pretty much sums up everything negative about Paul's solo career. A much better choice would have been the controversial (and banned) political rock anthem 'Give Ireland Back to the Irish,' or even the Cajun-flavored B-side 'Sally G,' which is better than many of his A-sides. And since we've already broken the rules by including a couple of non-Wings tracks, why not do it properly by elbowing off Wings crap like 'Let 'Em In' in favor of great McCartney album tracks like 'Maybe I'm Amazed' or 'Too Many People'? Just like almost every McCartney album, Wings Greatest is weighed down by the schmaltzy filler, and one get the distinct impression that it could have been a lot better (in spite of the fact that there 10 truly exceptional songs on the album). Good, but there are better McCartney compilations to be found.
RATING: 7
PLAY THESE: GETTING CLOSER, ARROW THROUGH ME, AFTER THE BALL/ MILLION MILES
SKIP THESE: SPIN IT ON, OLD SIAM SIR
Another week, another Paul McCartney review...how many more do I have left? Twelve, is it? Yikes....Mind you, I suppose there are worse things I could be doing with my free time than listening to all of Paul McCartney albums.....Anyways, to cut to the chase, Back To The Egg can be summed up as "Paul McCartney does new wave," although the fact that Back to the Egg is also the Wings' last album also says a lot. All joshing aside, the album is fairly enjoyable. It's certainly better than the soft rock-ish London Town, and the fact that Paul McCartney seems halfway interested in the music makes it even better. It rocks harder than any other Wings album, and while that might not be saying much, at least it has some energy for a change.
On the minus side, Back to the Egg has what is probably the most unremarkable tracklisting of any Paul McCartney album. There are zero classics on this album. Zilch. There are a handful of very good songs, and a lot of listenable fare, but there isn't a single song on this album that is even remotely well-known. Not that that's necessarily a bad thing, but when you're Paul McCartney, it's quite unusual. Even at his lowest point in the mid-80's, McCartney could still be counted upon to write at least one excellent single per record. But there isn't anything even close on this album.
Nevertheless, there are some catchy moments on Back to the Egg. Among them are the opening rocker 'Getting Closer,' which has one of Paul's best "rock 'n roll" vocals, although the song is somewhat weakened by the horrible lyrics (sample: "say you don't love me, my salamander"). It would be OK to write songs about salamanders if you're a psychedelic rock band circa 1967, but when you're playing straight ahead rock 'n roll in the late 70's, reptile love songs just don't cut it. The adult rock of 'Arrow Through Me' is also catchy, although I must admit it's a bit weird to hear a Paul McCartney song with a disco beat. As I said before, the best thing about Back to the Egg is the energy, and cuts like 'So Glad to See You Here' and 'Rockestra Theme' have it in spades, the latter of which is a very well-done instrumental track with a big rock stadium sound. But when Paul attempts heavy metal the results are less magnificent, as the clumsy 'Old Siam, Sir' is an ambitious-yet-flawed attempt to merge oriental harmonies with hard rock - Paul's screaming is particularly horrible on this one. Overall, though, the album is pretty good - heck, even Denny Laine's sole contribution 'Again, Again, and Again" is enjoyable, which I wasn't expecting at all. Throw in couple of classy McCartney medleys, ("After the Ball/ Million Miles" and "Winter Rose/ Love Awake"), add a small dash of pure McCartney melody ("We're Open Tonight"), and you've got yourself the recipe for one of Paul's more ambitious solo albums.
P.S. What was Paul thinking when he relegated the ultra-catchy 'Daytime Nighttime Suffering" to b-side status? Thankfully this rare gem is a bonus cut on some pressings of Back to the Egg, so it's relatively easy to find. Great tune! A lost classic! Give it a listen! Don't listen to the two bonus Christmas songs though! Cheeeeeesy!!!
RATING: 2
PLAY THESE: COMING UP
SKIP THESE: BOGEY MUSIC, DARK ROOM, SUMMER'S DAY SONG, etc....
Dreadful. This, my friends, is one unquestionably of the worst albums I've ever heard by anyone, anywhere. It's definitely the most irritating record to listen to, that's for certain. The first "solo" album released by Paul McCartney in almost a decade, McCartney II is the bastard son of McCartney, the self-titled solo album that signaled the end of the road for The Beatles. Like its 1970 predecessor, McCartney II is a solo album in every sense of the word, as Paul once again played all of the instruments, and wrote, arranged, and produced every single track at his home studio. As can be expected, McCartney II sounds exactly what you would expect a home recording to sound like - crappy, amateur, and frustratingly basic.
Unfortunately, the problems don't end there. The album also has an incredibly weak selection of tunes, and it would be a stretch to call any track apart from 'Coming Up' an actual "song." There's really nothing more here than pointless, confused "new wave" doodlings from a man capable of so much more. While 1979's Back to the Egg deftly incorporates subtle new wave elements to hard rockin' tunes, this record sees Paulie pretend he's the second coming of the trendy B-52's (gulp!). Everything is very synth-heavy, with nary a guitar or a piano to be found, and Paul sings in a stupid robotic voice, where every note is a hiccupped staccato, every phrase a hookless, monotonous disaster of nearly Devo-like proportions.
The only standout track is the aforementioned 'Coming Up,' but it too has its own share of problems - namely, the sped-up Alvin and the Chipmunks vocals, which come uncomfortably close to ruining an otherwise brilliant up-tempo pop classic. The rest of the material falls into one of two unfortunate categories: "mediocre" and "annoying." The "mediocre" material, while somewhat tolerable, includes the generic blues track 'On The Way,' and the moody-but-formless ballad 'Waterfalls.' Some critics highlight these songs as classics, but I would argue that they only look good in comparison with the other, crappier material - they're actually pretty generic.
The rest of the album undoubtedly falls into the dreaded "annoying" category. These tracks sound like they were completely improvised (which is not one of McCartney's strengths), and even the best of the bunch - the somewhat-amusing-but-mentally-challenged 'Temporary Secretary' - was probably written and recorded within the space of about fifteen minutes. Although it was difficult to determine the worst song (they're all really bad), I'd have to say that 'Bogey Music' takes home top prize for its nearly unsurpassable irritation factor. This cheesy synth-laden "song" has no verses, just a stupid, repetitive chorus in which Paul's shouts "bogey music!" in his best scary monster voice. Terrible! There's even a crappy instrumental track called 'Frozen Jap,' a song that goes a long way in explaining Paul's infamous earlier January 1980 drug bust in Japan, when customs officials found a half-pound bag of Linda's weed in the couple's luggage (Paul, ever the gentleman, claimed it as his own and was promptly whisked away to the slammer). However, a short stint in a Japanese prison is a just and appropriate punishment for foisting this horrendous album upon the world, even if the punishment was before the crime. Two out of ten (and a low two at that!).
Just as an aside, I do like the album sleeve though. There are some hilarious photos of Paul impersonating all three of his ex-bandmates - the "Indian mystic" George Harrison picture is especially amusing. Check it out! It had me in stitches! I didn't realize Paul could be such a funny guy! I'd post the photos, but I can't find them on the internet, and my vinyl copy of the album is somewhere in my parent's attic.
RATING: 10
PLAY THESE: TUG OF WAR, GIVE IT AWAY, WANDERLUST
SKIP THESE: NONE
Wow! What a turnaround! Past failings aside, Tug of War is one of the few McCartney albums that can confidently look posterity in the eye, without the slightest hint of embarrassment. I'd go as far as to assert that it gives Band On The Run a run for its money - it's truly that solid, and the songs are that strong. One reason for the album's success is undoubtedly the return of Sir George Martin, who gets production credits for for the first time on a solo McCartney album. The music has Martin's unique fingerprints all over it: clean, timeless production (despite being an 80's album, no less), majestic, stately orchestral arrangements, and flawless arrangements.
However, Paul McCartney also deserves credit for delivering a very strong selection of compositions, which showcase the full range of his many talents. We get everything from perfect up-tempo pop ('Give It Away') to melodic piano balladry ('Tug of War): Latin-flavored melancholy ('Always Somebody Who Cares') to whimsical electronic vaudeville ('Ballroom Dancing); classic well-arranged McCartney medleys ('The Pound is Sinking') to strange flamenco/ New Wave hybrids ('Dress Me Up As A Hybrid). There's a lot to like about this album, but for the the highlight is definitely 'Wanderlust,' a heartfelt, well-arranged ballad with a haunting melody and great vocals from Paul (truth be told, the album has some of Macca's best-ever vocals). There's also a nice musical tribute to the recently deceased John Lennon ('Here Today") included, which is sure to bring a tear to your eye if you have a heart ("and I am holding back the tears...I love you"). Although there's something a little bit clumsy about the arrangement, the song has some great musical bits going for it, and George Martin's string arrangement is both sympathetic and restrained. There are other highlights as well, among them a rock-a-billy duet with George Harrison hero, Carl Perkins ('Get It'), as well as a couple of collaborations with Stevie Wonder (the funky 'What's That You're Doing' and the dated-though-catchy hit single 'Ebony and Ivory'). I realize that I've unnecessarily listed every single song on the album, but I'm only doing it because I care about you, the loyal reader. Heed a jaded rock critic's clichéd advice and get your copy today. Now!
RATING: 6
PLAY THESE: SAY SAY SAY, SO BAD, THE OTHER ME
SKIP THESE: AVERAGE PERSON, HEY HEY, TUG OF PEACE
Pipes of Peace. The very name sends most McCartney fans scattering like flies from a displaced pile of dog poop, and even the most casual of rock fans "knows" that it's one of Paul's weakest albums: a dreadful attempt to merge synth-driven soft rock with cheesy McCartney bombast. However, the truth is a little more complicated than that. Sure, there are a lot of synthesizers throughout Pipes Of Peace, but they don't overwhelm the overall sound, and the music is less dated than most other albums from the same era (likely because George Martin produced it). Contrary to popular belief, the songwriting is not excruciatingly cheesy - few tracks even come close to offending, and those that do can't match his countless mid-70's stink bombs. No, the problem with the album is twofold: (1) The songwriting, while good, lack truly outstanding McCartney melodies, and (2) The music is one-dimensional - just mid-tempo, synth flavored pop songs, and little else. The overwhelming feeling of sameness probably contributes to the first problem too: even when the melodies are up to snuff, they are rendered impotent in the face of the musical redundancy, so you don't notice them as much as you should. It is so surprising that McCartney and Martin would limit themselves musically here, especially since the previous year's ultra-successful Tug of War succeeded on its vast variety of different styles.
That being said, Pipes of Peace does have some great musical moments. The Paul McCartney/ Michael Jackson duet 'Say Say Say' is the album's catchiest tune, mixing typical Jacko groove and Macca melodic sensibilities to achieve perfect results. I especially love the middle eight, where Paul does that cool "you...never ever worry, and you never shed a tear bit." Don't know why, but it gets me every time. The other Paul/ Michael collaboration 'The Man,' is also one of the album's better moments. It's just a pure, gleaming McCartney-style pop song, and it's fun to hear the vocal interplay between these two great singers. The other major highlight is 'So Bad,' which features an alarmingly high McCartney falsetto and a nice hook of a chorus. Some think it's bland, but I love its gentle atmosphere, which I find quite pleasant.
As for missteps, there are a few, but not as many as I expected. The obvious choice for worst song on the albums is 'Tug of Peace,' which merges the previous album's title track, 'Tug of War,' with burping synth-driven early 80's electronica. It's every bit the nightmare that it sounds like, and it's completely unnecessary; the original recording worked better as a piano-driven orchestral rock tune, rather than a gay disco aphrodisiac. 'Average Person' takes it title a bit to literally, as it's "everyman" theme renders it unremarkable in every regard, while the instrumental 'Hey Hey' is the very definition of album padding. Other than that, Pipes of Peace holds up remarkably well, and if you can come to turns with its soft rock sound you'll likely find yourself returning to it from time to time. Regardless, it has aged better than some of McCartney's mid-70's output, and should not be dismissed as it has been so often in the past.
GIVE
MY REGARDS TO BROAD STREET (1984)
RATING: 7
PLAY THESE: NO MORE LONELY NIGHTS, YESTERDAY, NOT SUCH A BAD BOY
SKIP THESE: GOOD DAY SUNSHINE/ CORRIDOR MUSIC, THE LONG AND WINDING ROAD, ELEANOR RIGBY/ ELEANOR'S DREAM
Ever watched the Give My Regards To Broad Street? If your answer is no, do yourself a favor and don't. It's ever bit as bad as the promo poster indicates, where a very stoned Paul McCartney cautiously scans the room for onlookers whilst picking his nose. But despite the awful film, I would still recommend that you listen to the soundtrack, which is the single most underrated Paul McCartney solo album this side of 1993's chronically underappreciated Off the Ground. I like it! It's got Ringo Starr on drums! And George Martin in the control room! That's practically a Beatles reunion, people!
That being said, I do realize that my assessment of the album flies in the face of reason, as a quick glance at the track listing would be enough to induce heart palpitations in most Beatles fans. After all, he had the nerve to re-record not one, but SIX Fab Four tunes ('Good Day Sunshine,' 'Yesterday,' 'Here There and Everywhere,' Eleanor Rigby,' 'The Long and Winding Road'), which in theory seems like the ultimate sacrilege, but actually works quite well in practice (for the most part, that is). 'Yesterday' is given a slower, slightly more "mature" reading, and a lightly different string arrangement as well - it's better than the Beatles version by a whisker. Paul's voice has not started to deteriorate just yet, so his vocals sound fresh and convincing as per usual. Also interesting is the sublime 'Here There and Everywhere,' which has a rather nice new orchestral arrangement courtesy of Sir George Martin. Not so nice, however, is the updated, 80's pop rendition of 'Good Day Sunshine,' as well as the new low budget 80's porn instrumental version of 'The Long and Winding Road,' After hearing this, I can't believe McCartney had the nerve to get on Phil Spector's case for his production on the Beatles original - the new version way more offensive than the Spector's over-the-top version.
In addition to the Beatles songs, Paul also rerecords some solo and Wings material, much of which is also surprisingly good. The best of the bunch is 'Silly Love Songs,' which somehow manages to sound less dated than the original, even though it has a typical mid-eighties synth pop sound and a slapped bass guitar. I suppose the reworked versions of recent material like 'Wanderlust' and 'Ballroom Dancing' from Tug of War, and 'So Bad' from Pipes of Peace, might seem superfluous, but at least they're well done. 'Ballroom Dancing' benefits from a new, extended ending with a great horn arrangement, and I'm even tempted to say that it's better than the original, but I won't.
There are also a handful of new compositions, the best of which is the catchy mid-tempo ballad 'No More Lonely Nights.' This tune just might be Paul's last truly classic composition, which has one of the best melody's Paul ever came up with. Just listen to that range - wow, it's unbelievable how the melody moves upward from the beginning of the verse to the chorus. Brilliant! The dated production has the year "1984" written all over it, but at the end of the day, when the dust has cleared and all is said and done, it's still one helluva tune. Unfortunately, the album contains a couple of inferior remixes of the song, and the CD has the gall to include a couple additional dance remixes as well. Terrible! The other new tunes are mostly good, especially the catchy rocker 'Bad Boy (not the Beatles song), which has a good rockin' Paul vocal, while 'No Values' is catchy but slightly moronic in terms of lyrical content. There are also a couple of instrumental film score pieces ('Eleanor's Dream' and 'Good Night Princess'), both of which don't fit in particularly well with the pop tune musical majority.
In the end, this album is one that has been unjustly ridiculed by fans and critics alike, and to ignore its merits is pure folly. Even though some of the re-makes are pointless, at least they're very well done, and the fact that the new material quite good makes Broad Street an album that can be enjoyed by causal and obsessive-compulsive McCartney fans alike. A fine collection of songs - seven out of ten.
RATING: 5
PLAY THESE: STRANGLEHOLD, IT'S NOT TRUE, TOUGH ON A TIGHTROPE
SKIP THESE: TALK MORE TALK, PRETTY LITTLE HEAD
First off, this album is nowhere near as bad as it has been described over the years. Not even close. Yes, it's one of Paul's weaker solo albums, but in comparison with Paul's truly offensive offerings like McCartney II it sounds like Abbey friggin' Road. So why do so many people hate it? Apart from the obvious 80's production problems, I feel that the main reason why Press to Play has been so demonized by fans and critics alike is that it was the album that "broke the camel's back," so to speak. By 1986 Paul had released so many mediocre solo albums that even the most dedicated of Beatles fanatics had had enough - they weren't going to let McCartney hide behind smiley thumbs-up and half-assed, half-baked musical efforts any more. The issue wasn't so much that Press to Play was a particularly horrible album, it was more a case of fans finally catching on to the fact that Emperor Paul wasn't wearing any clothes, and calling him on it.
As a result, Press to Play became the first McCartney solo album that didn't spawn a big hit song - despite the fact that the album's synth-driven, 80's pop sound was all the rage in 1986. I suppose Paul's increasing age may have also played a factor in his dipping popularity, but then again the biggest pop star in the world at the time was none other than the balding, overweight, pasty-skinned affront to good taste also known as Phil Collins, so I digress. And speaking of Phil Collins, his former musical collaborator, Eric Stewart (originally from the 10cc's), co-wrote most of the songs on Press to Play with McCartney, an interesting fact that suggests Paul was aiming for Phil Collins-like stardom with this album. Whatever the case, he didn't achieve it, and it took Paul another ten years to undo the damage that this album inflicted on his reputation. Attempting to copy Mr. Mister is one thing, but when you're Paul McCartney it's just plain wrong. When you also take into account the fact that one of the album's better songs is called 'Move Over Busker,' it's not hard understand why fans turned their noses up at the album. Oh, and the disgusting Paul and Linda photo on the album sleeve didn't help matters either.
As previously mentioned, the biggest problem with Press to Play is the 80's production. Apart from the decent-but-unremarkable McCartney piano-based ballad 'Only Love Remains,' every track is weighed down by its dated sound, and some of the tracks are downright laughable. The ridiculous electronic-tinged, funk-lite track 'Pretty Little Head' is one of Paul's more pathetic attempts to sound "hip," and one can't help but cringe when he sings in that stupid, unnatural low voice in the chorus. If you're having trouble picturing this kind of sound, just imagine the bastard son of an illicit relationship between The Thompson Twins and Falco, and then weep in frustration. The bizarre-but-not-in-a-good-way 'Talk More Talk' is almost as bad, but I guess it does have a hook in its favor, however slight it may be.
However, these two songs are the only truly depressing moments - and no, I'm not being sarcastic again. While the majority of the songs are lightweight and often cheesy, most are actually well-crafted pop tunes, and although nowhere near Beatle quality some are quite enjoyable. It's hard to believe that 'It's Not True' wasn't a hit single, with it's catchy chorus and typical 80's drum sound making it an ideal candidate for the charts in 1986. The album opener 'Stranglehold' is also quite good, sounding a bit 50's retro, but with a dash of reverberated drums and a sprinkling of squeaky saxophone - that most trendy of brass instruments in the mid 80's - making the song more palatable for mid 80's musical tastes. The ear-catching 'Tough on a Tightrope' is upbeat and melodic, and although the poppy 'Press' is not exactly my cup of tea, it's enjoyable in a throwaway, guilty pleasure kind of way. It's a good 80's pop song, nothing more, nothing less. Besides, when my one year old daughter Katie first heard the drum machine kick in at the beginning of the song she started cuttin' a rug on the living room floor - she was grooving to the music in her own adorable way! She only does that on rare occasions when a song truly moves her soul, so there must be something good about 'Press,' at least to an infant's forgiving ears. The other tune of note (get it? I'm so unbelievably witty) is the Latin-flavored 'Footprints,' which kind of poor man's 'Hope of Deliverance,' but is nonetheless kind of interesting. All in all, Press to Play just isn't all that bad, and when compared to other music in 1986, it is actually pretty decent.
RATING: 8
PLAY THESE: C MOON, LIVE AND LET DIE, BAND ON THE RUN
SKIP THESE: WE ALL STAND TOGETHER
Another McCartney compilation, All The Best! is a seventeen track Macca collection that functions as a quick musical overview of Liverpool's most famous knight. After the commercial (and arguably, artistic) failures of Pipes of Peace, Give My Regards to Broad Street, and Press to Play, the time was nigh to rehabilitate McCartney's reputation as a solo artist, which had been in steady decline since the early 80's. Coinciding with EMI's re-issuing of the Beatles catalog on CD, as well as the hoopla surrounding the 20th anniversary of Sgt Pepper, there had never been a more appropriate time for Paul to politely remind his fans that he was still around. There are actually two distinct versions of All The Best floating around out there - an American and a UK release, to be precise - so be sure to check the track listing before you buy this album. As can be expected, the UK version caters to British tastes, as Brit-only Top 40 hits 'Mull of Kintyre, 'We All Stand Together,' 'Once Upon a Long Ago' and 'Pipes of Peace' are exclusive to that edition. Needless to say, none of these songs really deserve to be on a Paul McCartney best-of compilation. The worst of the lot is 'We All Stand Together,' which is a children's song sung by frogs. And no, I'm not joking. It's worth checking out for a one-time laugh, but long term exposure to this song may seriously damage your mental health.
In contrast, the superior American version benefits from the inclusion of the rockin' 'Junior's Farm' and the sublime McCartney epic medley 'Uncle Albert/ Admiral Halsey,' although the presence of 'With A Little Luck' and 'Goodnight Tonight' is somewhat questionable. Other than those key differences, it's pretty much the usual fare here, most of which also appeared on the Wings Greatest collection ten years prior. 'Jet,' 'Band on the Run,' 'Live and Let Die,' and 'My Love' (among others) are all present again, and more recent 80's McCartney fare is also aptly represented ('No More Lonely Nights,' 'Coming Up,' and 'Ebony and Ivory,' etc). The only big surprise is the inclusion of the delightful obscure b-side 'C Moon,' which doesn't sound the least bit out of place amongst these monster a-sides. Sure, the lyrics are wacky ("It will be L7, and I'll never get to heaven if I fill my head with glue"), but it's very catchy, and boasts some of McCartney's finest vocals.
Inevitably, this collection overlooks many worthy McCartney songs, and one can't help but wish that classics like 'Maybe I'm Amazed,' 'Too Many People,' 'Little Lamb Dragonfly,' 'Wanderlust,' 'Let Me Roll It,' or 'Take It Away' were included, but then again it's hard to effectively summarize McCartney's career on a single disc. But if you're a new McCartney fan and want a good introduction to what Macca has to offer, and you don't have enough money to buy the two-disc Wingspan collection, this compilation does the trick nicely. Get the American version though.
RATING: 7
PLAY THESE: MY BRAVE FACE, PUT IT THERE, THIS ONE
SKIP THESE: DISTRACTIONS, MOTOR OF LOVE, OU EST SOLEIL
Frequently described by critics and fans alike as Paul McCartney's "comeback album," Flowers in the Dirt is indeed Macca's most consistent effort since 1982's Tug of War, a much-welcomed back to basics affair that sees McCartney drop trendy 80's electronica for good old fashioned songwriting. The production is still very much of its time, but unlike most of McCartney's trend-chasing 80's output, the album's 80's sound actually compliments the music, which is to say the glossy pop sound matches precisely the mood and structure of the songs.
And the tunes are very good. The album opener is one of Paul's best solo singles, an unbelievably catchy example of melodic genius that announces to the world that his muse has returned. The song's domestic theme seems to be a subtle nod to John Lennon's "house husband" tunes on Double Fantasy, and although cheesy, the words are sung with conviction by Sir Paul. The song is also notable in that it is one of four collaborations with Elvis Costello on the album (the other three include the melodic Elvis-Paul duet 'You Want Her Two,' the soulful 'Don't Be Careless Love' and the solid Motown throwback 'That Day Is Done'), and it is clear that Paul has finally found a songwriting partner that compliments his strengths and compensates for his weaknesses, just as Lennon once did.
Other highlights include the acoustic-picked gem 'Put It There,' which succeeds in spite of its banal and clumsy lyrics ("put it there/ if it weighs a ton/ I don't care if it weighs a ton/ as long as you and I are here/ put it there"). If you like Paul's acoustic-based songs like 'Blackbird' you'll probably love this one two, and the guitar's counter melody is the perfect accompaniment for his sweet vocals. And speaking of Paul's voice, it hasn't deteriorated yet - despite the fact that Paul was 46 when this album was recorded. Other examples of Paul's still-great singing include the up-tempo 'Figure of Eight,' which has some great rock 'n roll vocals, as well as 'This One,' which is pure glistening McCartney pop with an affecting vocal performance from Paul. Very catchy, and very, very good.
But like any McCartney album, there is some filler here. Following in the, err, footsteps of Press To Play's schmaltzy 'Footprints' there are a couple of dull Latin flavored mid-tempo ballads, 'Distractions' and 'We Got Married.' Neither are particularly vomit inducing, and I'm sure there are some McCartney fans who will love these somewhat catchy tunes, but I'm not one of them. Paul's well-intentioned stab at reggae, 'How Many People,' is also a bit cringe worthy, although I can certainly picture it sounding great if a genuine reggae singer covered it. It's got hooks galore, but Paul will never, ever sound even remotely Jamaican - no matter how much ganja he smokes. The worst song, though, is 'Motor of Love,' a generic 80's power ballad makes Pipes of Peace sound cutting edge in comparison. It is well-written, but it's hilariously dated, and the cheese factor is off the scales, even by McCartney standards.
In the end, Flowers In The Dirt is an essential album for McCartney fans of any era, a solid record that signaled greater things to come. It's times like these that sometimes make me wish I could hand out half points, because the album has 7.5 written all over it, but I must follow my own inherently flawed rules and give it a 7 out of 10.
UNPLUGGED:
THE OFFICIAL BOOTLEG (1991)
RATING: 8
PLAY THESE: HERE THERE AND EVERYWHERE, JUNK, BLUE MOON OF KENTUCKY
SKIP THESE: NONE
Keeping up the momentum started by 1989's excellent "back to basics" album Flowers In The Dirt, 1991's fantastic Unplugged: The Official Bootleg takes the approach one step further by presenting Paul McCartney - warts and all - in an intimate live acoustic setting. Unlike most MTV unplugged albums, which are actually full-band, electric guitar extravaganzas, this one actually follows its own rules - there are absolutely no electric guitars to be found, and there are no obvious overdubs. There are plenty of little mistakes, yes, but these somehow add to the quality of the performance, which is uniformly high. We even get to hear Paul forget the words to 'We Can Work It Out,' and when Paul jovially stops the band and starts all over again add too the overall charm of the album. The performances sound fresh and spontaneous.
The most impressive aspect of the album is the track listing, which includes a generous serving of classic Beatles tunes, some of which had never before been performed live by Paul or any of his ex-band mates. Among these are sublime versions of sonic treasures like 'And I Love Her,' 'She's a Woman,' and 'Here There and Everywhere,' the latter of which which is probably the best version of the Revolver classic that I've heard. Paul also performs some obscure solo material, including a trio of rare tracks from his 1970 eponymous debut solo album, 'That Would Be Something,' 'Every Night,' and 'Junk,' all three of which are quite enjoyable. The performance of 'That Would be Something' is particularly good, with Paul's backing band helping the song reach its full potential, as the original recording was almost painfully rudimentary.
In addition to the original McCartney material, Paul also covers a number of old rock 'n roll classics, the best of which is Bill Monroe's rockabilly hit 'Blue Moon of Kentucky,' although Paul's heartfelt vocals performance on 'Singing The Blues' gives it a run for it's money. Paul even takes a turn on the drums during a cover of Bill Wither's 'Ain't No Sunshine,' allowing guitarist Hamish Stuart to sing lead for the first and only time on a McCartney album. He's a pretty good singer, but I'd rather hear Paul sing, thank you very much. All in all, this is one of McCartney's most enjoyable albums, and is easily his best live recording. Recommended for casual and hard core fans alike.
RATING: 4
PLAY THESE: THAT'S ALRIGHT MAMA, SUMMERTIME, CRACKIN' UP
SKIP THESE: LAWDY MISS CLAWDY, LUCILLE, BRING IT ON HOME TO ME
Originally released exclusively in the Soviet Union in 1988 as a token of appreciation for McCartney's many Russian fans, CHOBA B CCCP (translation: Back in the USSR) was finally issued worldwide in 1991. Although Paul's gift to his Eastern Bloc friends may have been well-intentioned, in purely musical terms it's an insult to Russia's collective intelligence. You see, the album consists entirely of covers, and was hastily recorded in 1988 as a means of breaking in his new band in the studio. Granted, everything sounds professional and every note is in place, but for the most part it sounds sterile and soulless, and as such conjures up images of a middle aged covers band playing at your local Holiday Inn. Luckily, the middle aged covers band on this album features Sir Paul McCartney on lead vocals, so all is not lost, but trying to choose the highlights is almost as difficult as finding an interesting musical idea on a Chris Isaac album. In other words, it ain't easy. I suppose the cover of Bo Diddley's 'Crackin' Up' is more lively than most, and I would certainly take Paul's entertaining Elvis impersonation on 'That's Alright Mama' over Chris Isaac's banal Presleyisms any day of the week. But apart from those few moments, this is just polite background music - nothing more, nothing less.
Sometimes the music is downright disappointing. After watching Paul absolutely NAIL Eddie Cochrane's 'Twenty Flight Rock' on the Beatles Anthology DVD I had high expectations for the version included here, but unfortunately it sucks. The drummer totally botches it up, playing a stupid, generic rock beat over this rockabilly classic - it's very frustrating to hear, and represents another wasted opportunity. The only truly interesting thing about the album is the fact that Paul chooses to cover two songs ('Ain't That A Shame' and 'Bring It On Home To Me') that are also included on John Lennon's Rock 'n Roll covers album, which gives fans an opportunity to compare both renditions. Lennon's takes on these two songs are undoubtedly better, but then again it's hardly surprising when one considers the vastly different approaches both men took when recording their "covers albums." While a mellowed, middle-aged McCartney and his faceless hired hands knocked off these recordings in about a week's time, stopping every so often for a well-deserved tea and scones break, Lennon's covers album was a full-blown, Spector-produced wall of sound, recorded in the mid 1970's in an chaotic environment of sex, drugs, rock 'n roll, and violence. No wonder McCartney's album sounds so tame in comparison!
In the end, this is not an essential McCartney album by any stretch of the imagination. I may be in the minority on this one, but I'd take Press To Play or Pipes of Peace any day of the week over this banal, unimaginative drivel. Save your money and buy McCartney's quintessential covers album, Run Devil Run, instead.
RATING: 8
PLAY THESE: OFF THE GROUND, GOLDEN EARTH GIRL, THE LOVERS THAT NEVER WERE
SKIP THESE: BIKER LIKE AN ICON, PEACE IN THE NEIGHBORHOOD
The All Music Guide gave Off The Ground two out of five stars, and the All Music Guide has lost all credibility as far as I'm concerned. That review really chaps my ass. Stephen Thomas Erlewine spends most of his useless review heaping praise upon the album, but then dismisses it in a sentence by claiming that it fails as a body of work "possibly because the seriousness is too studied, perhaps because the approach is a bit too stodgy." What the heck is that supposed to mean, Steve? For a minute it sounded like you were going to give it at least four stars, but then you yanked the carpet from under McCartney because you couldn't go against popular perceptions and admit the truth. Sheesh!
But in spite of critical prejudices, the fact remains that it is one of McCartney's best solo albums. Hands down. Before you laugh, ask yourself this question: have you heard it? If the answer is no, then please swallow your pride and hunt this musical beast down in your local music store. You WILL be surprised by how good it is. Sounding a heckuva lot like 1982's Tug of War, Off The Ground continues with the comeback that began with 1989's Flowers In The Dirt, featuring clean, timeless (but not simplistic!) production and another whack of solid McCartney tunes. Most startling, however, is the quality of Paul's fifty-year-old voice. I mean, wow! The range is still there. The power is unbelievable for a man his age. The guy still sounds like he's in his early thirties, for Pete's sake! And the melodies...simply fantastic!
If you need proof, just check out Macca's collaborations with Elvis Costello, 'Mistress and Maid' and 'The Lovers That Never Were,' the latter of which is - I kid you not - one of McCartney's best-ever compositions. I love everything about this song: the rolling piano intro, the waltz feel, the relentlessly ascending melody, and the great harmonies. Now THAT is a good song. The title track also represents pure McCartney pop at its best, with a great hook for a chorus and infectious clapping to boot. Even the "animal rights" songs are surprisingly great, with the pop metal rocker 'Looking For Changes' and the unbelievably good 'Golden Earth Girl' standing out of the pack. Just listen to that utterly original piano-based chord progression, and to the the sweet, lilting melody - even the saccharine lyrics can't ruin this great song. There are also a few great ballads, as songs like 'I Owe It All To You,' 'Winedark Open Sea' conjure up ghosts of McCartney's musical past, and demonstrate that Paul's muse is still on the rebound. Fans of McCartney epics like 'Live and Let Die' might also want to check out the album closer, 'C'mon People,' which was produced by the great Sir George Martin. It's got trademark Martin orchestration, great usage of augmented chord shapes, and a massively catchy chorus. It's a tad overblown, but it's so fun that it's not concern.
The only low points on the album are the stupidly whimsical 'Biker Like An Icon,' as well 'Peace In The Neighborhood,' a song that many people like but to my ears sounds mid-80's McCartney filler, albeit with less dated production. However, these songs are far from offensive, and only a fool would judge this great album based on these two lapses in musical judgment. Ram, Band On the Run, Tug Of War, and....Off The Ground? It would seem so....
RATING: 7
PLAY THESE: CALICO SKIES, LITTLE WILLOW, BEAUTIFUL NIGHT
SKIP THESE: HEAVEN ON A SUNDAY, USED TO BE BAD, REALLY LOVE YOU
Frequently lauded as a "return to form" by fans and critics alike, Flaming Pie is actually a little bit of a letdown, albeit an enjoyable one. In my opinion, the fact that Flaming Pie was more popular than any Macca album since 1982's Tug of War only seems to underline the reality that Off The Ground was unfairly ignored, as it was actually a much better album, both in terms of songwriting and production. Whilst promoting Flaming Pie Paul went to great lengths to emphasize how The Beatles' mid-90's Anthology project inspired him to take a more "simplistic" approach to the music, and how the new album was better for it. However, I would tend to disagree with this view. In my opinion, Paul is at his best when he complicates the recording process just a bit, when he experiments with new sounds and musical ideas. McCartney's best albums (Beatle or solo) tend to have millions of overdubs, complex arrangements, and unorthodox song structures, so stripping the music of all of the sonic goodies tends to make things a bit more generic. And when you're a Beatle, generic just doesn't cut it.
The other major problem is with Paul's voice. For the very first time, age has started to creep up on McCartney, and it is painfully obvious that his voice no longer has the power, depth, and range that it still had as recently as 1993's Off The Ground. It's still great, of course, but it's difficult to resist the temptation of comparing Paul's current singing to his older material, when he had one of the best voices in rock. Oh well, i guess sometimes talent withers with age.....
So what's good here? I love 'Calico Skies,' which is another one of Paul's acoustic guitar-based tunes, albeit in a slightly unusual 6/8 time signature. The way that Paul uses those different D chord shapes is quite interesting, and the melody really hold things together quite well. I'm not a big fan of the lyrics, though, which start off as a love song, but take a sudden, unexpected - and unwelcome - turn towards an awkward anti-war statement in the final verse ("may we never be called to handle/ the weapons of war we despise"). It's not enough to ruin the song though, which is top-notch McCartney pop. Paul's moving tribute to Ringo Starr's recently deceased ex-wife Maureen is also excellent, as it has a melody to die for and emotive lyrics that use a willow as a metaphor for a dying friend. The instrumentation is also perfect, as the electric spinette harpsichord fits in nicely around the singing and the acoustic guitar's counter-melody. The other big highlight is 'Beautiful Night,' and epic, piano-based ballad featuring Ringo on drums and backing vocals that has just about everything you could ask for in a McCartney song: beautiful melody, interesting chord progression, a great George Martin arrangement...you name it, it's there....I also love how the song pauses after the last chorus and launches into a fantastic, revved up orchestral section at the end, replete with horns, a great bass line, and one of Paul's best-ever guitar solos. There are other fine moments as well, including the album opening nostalgic piece 'The Song We Were Singing,' as well as the Motown-ish 'Souvenir' and the home-spun, acoustic ditty 'Great Day.'
The only songs that tend to fall a bit flat are Paul's three collaborations with Steve Miller (the faux-hard rock 'The World Tonight,' the generic blues 'Used To Be Bad' and the cheesily banal 'Young Boy'), all of which have a certain "aimless jam" kind of an aura around them, although the latter song is admittedly a bit catchy. Paul's other collaboration with Ringo, 'Really Love You' also suffers from this lazy, let's-hope-something-good-happens approach to music making, and as such can only be classified as filler. If this is what Paul means by "back to basics," I'm not sure if it's a great idea. In the end, then, Flaming Pie is another fairly solid effort that sees Paul continue in his winning ways, although there is little doubt that the album is a tad overrated by some. It's still very good, but definitely a step down from the last couple efforts.
RATING: 8
PLAY THESE: RUN DEVIL RUN, NO OTHER BABY, BROWN EYED HANDSOME MAN
SKIP THESE: NONE
Paul McCartney second (and more successful) crack at recording a 1950's covers album, Run Devil Run is so much better than Choba B CCCP that it isn't even funny. Paul recorded this album with a little bit of help from some of his old friends, including former Pink Floyd guitarist David Gilmour and Deep Purple drummer Ian Paice, as well as erstwhile McCartney guitarist Mick Green and keyboardist Geraint Watkins. The band rocks surprisingly hard, with Gilmore attacking his guitar with uncharacteristically manic Chuck Berry style licks, and Paice does a very effective job of holding down the rhythm section as well. McCartney's voice seems to be on the rebound, and by the way he belts out these it becomes clear that he's gotten at least some of his power back.
You know, this album is kind of surprising in a lot of ways. I sort of half-expected Paul to respond to Linda's death by recording a quiet, melancholy album of tear jerkers, but the fact that he comes out rocking so hard is pretty impressive. How many people out there would have this kind of fortitude to resist the temptation to wallow in grief, and instead come out swinging, recording new versions of songs that made him want to pick up a guitar in the first place. The fact that this album is so kick-ass makes Paul's achievement all the more remarkable - this is probably the most energized we've ever heard Paul as a solo artist.
The other great thing about the album is the track listing, which is so obscure that you've probably never heard most of these tunes unless you are a 1950's rock 'n roll historian. We get to hear Paul tackle rarities like the long-forgotten (but very catchy) 1958 British skiffle ballad 'No Other Baby,' which almost sounds like a McCartney original, as well as obscure tracks from well known artists like Elvis Presley ('I Got Stung'), Fats Domino ('Coquette'), and Little Richard ('Shake A Hand'). There are a few well-known covers on the album as well, including a superior, rocked-up version of 'All Shook Up,' and the Cajun flavored version of Chuck Berry's 'Brown-Eyed Handsome Man' is a nice musical diversion that works sonic wonders. Ricky Nelson's ballad 'Lonesome Town' is also quite good - it's a great song, and a nice, restrained performance from McCartney.
Paul even contributes three very solid original tracks, the best of which is probably 'Run Devil Run,' which is a manic, menacing rocker, the likes of which is almost unprecedented in the McCartney catalog (the only songs that come close to eclipsing it's primal energy are The Beatles' 'I'm Down' and 'Helter Skelter'). The bluesy 'Try Not To Cry' is very respectable as well, and the bouncy, poppy 'What Is It' is a nice musical tribute to Linda. All of this leads to the following question: how does Run Devil Run compare to John Lennon's covers album? The truth is that this album blows Lennon's out of the water - it's not even close. Rarely have we seen McCartney so genuinely impassioned, or so enthusiastic about making music. An eight out of ten it is, then.
RATING: 4
PLAY THESE: YOUR LOVING FLAME
SKIP THESE: SHE'S GIVEN UP TALKING, SPINNING ON AN AXIS, FREEDOM
I can remember just how excited I was when Driving Rain was released back in late 2001. Paul had been on an impressive decade-long winning streak, a career-high succession of five great albums that took fans from the glorious pop of 1989's Flowers in the Dirt to the energized 50's rock of 1999's Run Devil Run. I had read several glowing reviews of the album, and every indication was that Driving Rain was one of Paul's best solo albums. I had no reason to believe otherwise. Imagine my dismay when I first listened to the album, and was shocked to learn that IT DOESN'T EVEN HAVE ONE MEMORABLE SONG ON IT! What exactly were these critics listening to?Were they even talking about the same record? Isn't it obvious how bland the melodies are, or how clear it is that McCartney is going through the motions? After a single listen I put the CD on the shelf, where it remained undisturbed for the next four years. It wasn't until earlier this week that I finally forced myself to listen to it again, and put it on regular rotation on my stereo. And you know what? It still stinks. Only excessive beer drinking makes it sound good (I know this from experience). And that's about it. Sure, a couple of the better tracks have finally begun to grow on me a little bit, but overall this is probably the worst batch of songs Paul has foisted upon us since Wild Life nearly destroyed McCartney's solo career before it even really started back in 1972. I know I sound bitter, but I truly am disappointed. The only thing that takes the sting away is the fact that four years later Paul would rise to the challenge and put out an album we can all be proud of in 2005's Chaos and Creation in the Backyard. Still, Paul can't be let off the hook on this one, so let's begin our Driving Rain post-mortem..
For this album, Paul hired a new band of unknown younger session players, all of whom could easily be his children, if not grandchildren. From the start, it is clear that this band has no chemistry in the studio, which is surprising considering just how well they played together on the ensuing tour. The sound is very sterile, the performances are mostly uninspired, and nothing really seems to gel properly. Mind you, I can imagine that it would been hard to get excited about any of these new tunes, most of which are so underwhelming that it's hard not to conclude that Paul needs someone - anyone - to give him a helping hand in the songwriting department (Ringo, where are you?).
The other thing that is really striking about the album - and this relates to the melodic deficiencies I talked about earlier - is Paul's declining vocal abilities. On Run Devil Run it almost sounded like Paul had got his voice back after a slight blip circa Flaming Pie, but on this record he finally sounds like the old man that he is. And while it's not fair to expect him to sing like he did thirty years ago, it is fair to expect him not to attempt to. Listening to him struggle to hit the high notes - melodies that used to come so easily to him even a few years prior - on tracks like 'From A Lover To A Friend' is a grueling experience, one that I did not expect to encounter.
I also think that Paul's diminishing vocal abilities are related to the perceptible lack of melodies. Just think about it. Paul was able to write such soaring melodies in the past for the simple reason that HE WAS CAPABLE OF SINGING THEM. For obvious reasons, singer-songwriters tend to write material that suits their own voice, and generally don't write melodies that are out of their vocal range. Paul used to be able to sing anything, so his melodies were out of this world in terms of quality. Paul now seems handicapped by what used to be one of his biggest weapons - his voice. He can't sing the material like he used to, so he sounds a bit off on those rare occasions when he tries (and you can tell that he knows it too), but I think he also consciously tries to compensate for his vocal failings by writing generic melodies that anyone can sing. The one-note, staccato melodies on songs like 'She's Given Up Talking' and 'Driving Rain' are so generic that they sound like nursery rhymes that we've all heard a million times before. Extended jams like 'Spinning On An Axis' and the ten-minute-long 'Rinse The Raindrops' were evidently created on the spot as the tape was rolling. The only thing mildly interesting ear-catching is the Indian-flavored 'Riding Into Jaipur,' but again the song is so strange and unfocused that it's hard to resist the temptation to hit the CD player skip button most times.
The only well-written pop song on the album is 'Your Loving Flame,' which has a kind of 'My Love' schmaltzy power ballad kind of sound that works quite well. The lead-off single 'From A Lover To A Friend' is also pretty decent, but its primary attraction is not the melody but the lyrics, which seem to be some kind of three way conversation between Paul, Linda, and Macca's new flame, Heather ("from a lover to a friend/ take your own advice/ let me love again"). And speaking of Heather, Paul immortalizes her in a semi-instrumental track that bears her name, but unfortunately it has a sort of Grade 2 piano recital quality about it that is kind of annoying at times. In other words, very rudimentary. The worst moment, however, is 'Freedom,' a post-9/11, pro-war anthem so simplistically patriotic in its message that it sounds like it was ghostwritten by George Dubya Bush, as well as Cheney's good folks back at Haliburton. Back in the 60's McCartney was singing about peace and love, but here he is singing lines like "I will fight for the right to live in freedom" without the slightest trace of irony. Ah, but to be old and neo-conservative - it happens to the best of 'em, I suppose. And the worst too, evidently.....
To sum things up, Driving Rain is probably the weakest McCartney album bar McCartney II. It's not even as good as the tragically dated Press To Play, or the oft-reviled Pipes of Peace. Critics loved it but, but to me it once again reinforces the fact that nobody - least of all The All Music Guide - actually listened to those great albums that McCartney churned out between 1989 and 1999. Two words: don't bother.
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CHAOS & CREATION IN THE BACK YARD (2005)
RATING: 8
PLAY THESE: JENNY WREN, NO MORE RAIN, ANYWAY
SKIP THESE: NONE
It has been a rather unusual week, to say the least. Within a space of 6 days I've purchased not one but TWO brand spanking new albums by rock dinosaur acts - and they're both very good! First came The Stones with their magnificently raunchy A Bigger Bang last Wednesday, and today I have had the pleasure of hearing Paul McCartney's new offering for the first time And you know what? It's is one of the best solo albums the "great man himself" has ever released.
(As an aside, the term "great man himself" was coined by a Scouse gentleman my wife and I met a few years back in Liverpool. You see, in the year 2000 we went on a great Beatles pilgrimage to the Holy Merseyside Mecca. It was with great zeal that we embarked on the "Magical Mystery Tour," a guided tour which takes tourists to all Beatle-related locations in Liverpool. I was sitting on the bus, eating, enjoying the sights, when the tour guide casually mentioned that Paul McCartney happened to be in town, giving a speech at the Liverpool Institute for the Performing Arts, which he founded some years ago. I almost choked on my sandwich as I heard these magic words - I had never before seen Paul in person, and to catch a glimpse of him in his hometown was too good to be true. Sure enough, a few minutes later we drove past the Institute, and we saw Macca's gleaming Jaguar parked inside the gates. As we made our way towards our final stop on the tour - The Cavern Club, to be precise - I paid very close attention to where we were going, so that I would find my way back. As soon as the bus stopped, Melissa and I bolted up the hill, and managed to reach the Institute within 15 minutes or so - not bad, considering it was several miles away.
When we finally got there, McCartney's car was still parked inside the gates, so we
hauled out our cameras and waited for Macca to appear. I twitched
nervously and chain smoked Marlboros as we waited, and even though it was only
about 30 minutes, it seemed like an eternity. Finally, a middle aged
gentleman dressed in an expensive suit strode into view, accompanied by a blonde
woman with a prosthetic leg - it was Paul McCartney and his then-girlfriend,
now-wife Heather
Mills! They stood around the car for a few minutes, chatting and laughing,
while Paul's chauffeur climbed inside the Jag and fired it up. Paul
climbed into the driver's seat, and Heather sat beside him (the so-called "driver" sat in
the back), and the started driving driving towards us. It was at this
moment that I caught Paul's eye, and he smiled at me and gave me his trademark
thumbs-up sign as he drove by us. I could have died at that moment.
I had never seen a Beatle before, and since Paul never comes to Vancouver it's
very unlikely that I'll ever see him perform. But this was almost as great
- maybe even better. A truly magical moment, in Liverpool, of all places. Here's a few blurry
National Enquirer-style photos that Melissa and I took):
So, to make a long, completely off-topic story short, we arrived back at the YMCA in downtown Liverpool (yup, the YMCA!) where we were staying, and told the receptionist our exciting story. "I've lived in Liddypool all me life, and I've never caught a glimpse of the great man himself," he sighed with obvious sadness. "You're right lucky bastards," he added. And you know what? He was right!
Anyway, to get back on topic, Chaos and Creation in the Back Yard is the kind of album we wish Paul McCartney would make more often. It's a true solo album in every sense - Paul plays almost all of the instruments, and all of the songs are his originals. However, this is not a home spun, self-made solo album in the vein of McCartney or McCartney II - not even close. Unlike those two albums - both of which were ragged, primitively-recorded efforts - Chaos and Creation has a very slick, professional sound. This is likely due in part to the presence of producer Nigel Godrich, who is known for his work with Radiohead and Beck. Godrich pushed McCartney into making the kind of album he is capable of but rarely makes, and was ruthless in his efforts to bring out the best in Paul. McCartney admits that at first he was tempted to fire Godrich, as he was deeply offended by some of Nigel's negative assessments of his latest compositions, but eventually he realized that he was being offered a great opportunity to do something great. After all, there are very few people in the music industry with enough balls to look Paul McCartney in the eyes and tell him the truth - that much of his solo material is an embarrassment. That's one reason why there is so little of the cutesy, cheesy fare that blemishes so many of his albums on Chaos and Creation, and why McCartney has rarely bared his soul as often as he does here. Sure, there are still some love songs on the album, but overall this album conveys a sense of loss, regret, and personal pain unlike any other work in the McCartney canon. Witness the moody, atmospheric "Riding To Vanity Fair," where he intones "you put me down/ but I can laugh it off/ and act like nothing's wrong...you're not aware/ of what you put me through." Rarely has Paul been this candid about himself (or others), and its nice to hear.
The other major plus is that the album sounds great. The production is spot-on: well produced, but not in an over-the-top kind of way, which is a nice surprise. Overall, it's the sort of album that sounds best on headphones, as you are better able to appreciate all of the subtle musical lines that are constantly popping up everywhere - good work, Nigel. It's not exactly Radiohead-type production, but if you listen closely there are some similarities. The songwriting is quite good too. The most obvious highlight is the catchy album opener 'Fine Line,' which is McCartney's best radio fodder in many a moon. White Album fans should also take note of the beautiful 'Jenny Wren,' which is another acoustic-based, finger-pickin' tune similar in style to 'Blackbird' and 'Mother Nature'