CK Retro Review: McCartney by Paul McCartneyPosted: September 26, 2016
Never has such a humble album caused so much stir as 1970’s McCartney, the first solo album by Paul McCartney. The reason, of course, wasn’t the album itself, but rather Macca’s disastrous strategy for publicizing it, during which he announced its release in concord with the breakup of the greatest musical group the world will ever know. But if you can set aside McCartney‘s place in history as the final straw that broke The Beatles’ back, you’ll find a sweet, tuneful, unassuming collection of tossed-off ditties with one or two excellent ones in there just to remind us what he could do when he was motivated. It’s an album that’s not trying to beat the world so much as get away from it. Here is a track-by-track review:
13. “Valentine Day”- Paul has admitted that the instrumentals here were used more to test out his recording machine than anything else. Alas, that motivation comes through all too clearly here.
12. “Lovely Linda”- It’s just a fragment, albeit a pleasant one. Important as a statement though because he brings Linda into the songwriting picture just like John brought in Yoko.
11. “Kreen-Akrore”- McCartney’s tribute to a Brazilian Indian tribe is ambitious if a bit overdone. Fancy him taking all those drum solos when they only ever let Ringo have one.
10. “Hot As Sun/Glasses”- Too bad this instrumental didn’t last a little longer, because it seems to be just getting warmed up (no pun intended) when it trails off.
9. “Oo You”- If nothing else, McCartney seems to anticipate the way outtakes and cutting-room floor material would soon be fetishized by rock aficionados. Hence Paul has no problem leaving a song with nothing much to recommend it besides a gritty groove in the running order.
8. “Teddy Boy”- A poster-child for the kind of thing that drove critics mad about Paul’s solo career. The music is effortlessly catchy and ingratiating, while the melody latches on to the listener immediately. The lyrics are simplistic to the point of childish. The tune wins the tug of war, but still.
7. “That Would Be Something”- It has the focused vibe of “Why Don’t We Do It In The Road?”, that one idea pounded in over and over again. As usual with Macca, the bass ups the melodic quotient considerably, and the scatting vocals in the connecting sections are fun.
6. “Momma Miss America”- McCartney would marry similar minor-key intrigue to nonsensically brilliant lyrics on “Monkberry Moon Delight,” from Ram, not too far down the road. This is like a test-run. The first part of the song is much more engaging than the second, however.
5. “Singalong Junk”- Oh so pretty.
4. “Man We Was Lonely”- The jaunty refrains play well off the meditative verses, with McCartney seeming to reference his life story at the time. The chorus wants you to believe in a happy ending, but the tug of the other sections causes us to think that it’s not going to be quite so easy. Some nice steel guitar in there as well by the ever-resourceful Paul, and the intro and outro are moodily pretty as well.
3. “Maybe I’m Amazed”- I think people grab on to it because it’s the most finished thing on that album (and certainly the most Beatles-y), but it’s by no means the best. The performance is better than the song by a good margin, with McCartney’s leave-nothing-in-the-tank vocal putting across the message, about needing someone so desperately that it doesn’t even make sense anymore, better than the words or even the music, which gets the benefit of a stirring arrangement and excellent guitar and piano work from Paul.
2. “Junk”- Call me a sentimentalist (you’d be accurate), but the idea of discarded household trinkets representing a kind of loss of innocence gets me every time. It helps that McCartney hangs it on one of his most wistful melodies. And, again, his wordless vocals say a lot.
1. “Every Night”- It comes on like a lovely love song, but there are darker themes playing about. The bit about not wanting to get out of bed hints at the depression through which McCartney was working as his group shattered around him. “Resting my mind” likely seemed like an unattainable goal but for the love there to pull him back to warmth and humanity each evening. The falsetto “ooo-ooo” vocals are triumphant release in this context. The first one of his where you could say, “Hey, this is as good if not better than some of the best stuff he did with The Beatles,” and you can’t hold a song to a higher standard than that.
(E-mail me at firstname.lastname@example.org or follow me on Twitter @JimBeviglia. Check out the link below to pre-order my new book Counting Down The Beatles: Their 100 Finest Songs, due in March.)