It just felt like there was too much going on for 2001’s Driving Rain to have much of a chance of making its mark. It was Paul McCartney’s first complete album of originals since the death of his wife Linda, and, in the interim, he had taken up with Heather Mills, so that aspect of it seemed to overshadow the actual music. On top of that came 9/11, which led McCartney to promote the album with “Freedom,” a jingoistic one-off that had little to do with the rest of the lovey-dovey material. All that aside, however, the album suffers anyhow from being unnecessarily long at 16 songs, not one of which quite muscles its way into classic territory. Here is a song-by-song review:
16. “Spinning On An Axis”- McCartney’s first of two songwriting collaborations with son James on the album is sunk by lyrics that aren’t nearly as deep as they want to be and music that struggles to define what it wants to be and ends up not being much at all.
15. “Freedom”- The intent was impeccable, and there’s no question the song did it’s job at the Concert for 9/11. But going back and listening to it as anything more than a curiosity is not something I can see many McCartney fans doing.
14. “Heather”- Some decent chord changes, but this mostly instrumental felt indulgent then. And, of course, knowing the outcome of the marriage, it feels downright awkward now.
13. “Back In The Sunshine Again”- The second McCartney/McCartney track on the album is a little better than the first, but not much.
12. “About You”- The rock racket it tries to raise sounds labored, and, by this point in the album, the praising love songs are struggling to say something new from the ones that preceded them. It does find its groove in the run-out, but by then you might have lost interest.
11. “Tiny Bubble”- Not to be confused with Don Ho, the best part of this bluesy midtempo track is McCartney’s willingness to let the melody drift to unlikely places. Nothing too memorable, but sounds pretty good while it’s on the speakers.
10. “Rinse The Raindrops”- The main section with the lyrics is forceful enough. How much tolerance you have for endless instrumental noodling probably dictates how you feel about the rest. As someone who thinks “Can’t You Hear Me Knocking?” should have ended before the bongos enter the picture, you can guess how I feel about it.
9. “Your Loving Flame”-Suffers from a lot of the same issues as “From A Lover To A Friend.” There’s a nice melody in there, but the lyrics are cliched and the production pushes a little too hard to try to get it to lighter-waving mode. That said, it fits into a kind of pleasing balladic template that makes you like it in spite of your best intentions.
8. “Driving Rain”- More jazzy than we’re used to from Paul, this one. And he wears it pretty well for the most part, although the improvisatory lyrics run out of steam as the song progresses. I do like the line, “Something’s open it’s my heart” though.
7. “Riding Into Jaipur”- Just a few weeks after the release of this album, George Harrison passed away. This feels like a preemptive tribute by Paul, and a pretty able one at that.
6. “Your Way”- Locating the heart of the country has never been an issue for Paul, and he does so effortlessly with this little, foot-tapping love song that’s charming if a bit slight.
5. “From A Lover To A Friend”- I feel like this echoes classic McCartney efforts without quite getting there on its own. The music is unmistakably lovely, stirring piano balladry with Abe Laboriel Jr. doing an excellent job on the Ringo-style fills. But the lyrics are all over the place to me, pronouns kind of thrown about willy-nilly to confuse the perspective and no real unifying aspect to really make the emotional connection. The music wins out in the end, but it feels like it could have been so much greater.
4. “Magic”- The serendipity of love is explored on this dreamy song. Macca’s bass work is inventive, and some leftover Jeff Lynne mojo must have been hanging around the studio from the Flaming Pie sessions, because this one could easily have slid onto an ELO album circa ’78 or so, which is a good thing.
3. “Lonely Road”- Those electric guitars really have some edge to them, and McCartney’s lyrics speak with a kind of fierce honesty to the disorientation that one feels after someone they loves moves on. Bluesy and tough, this song conjures up some raw emotions. Alas, it sets a personal tone that the rest of the songs just don’t quite sustain.
2. “I Do”- Producer David Kahne doesn’t shy away from ladling some Beatlesque bombast to the production here, and it suits the delicate melody and McCartney’s sweet sentiments. Just enough melancholy is located on the periphery to make the loving center that much more affecting. And Paul is everywhere, both singing high and lovely and rolling underneath it all on the bass, a wonderful performance at both extremes.
1. “She’s Given Up Talking”- Slow, heavy and compelling, with lots of vocal and instrumental effects that make matters all the more interesting. Kahne does a nice job laying things on and then pulling them away, while the relentless thrum of Paul’s bass and the smack of Laboriel’s drums provide steady ground. Add on the quirky little character sketch that McCartney delivers in the lyrics and you’ve got an unheralded track that would make for a great live cut if he ever decided to showcase some of his late-period solo stuff.
(E-mail me at firstname.lastname@example.org or follow me on Twitter @JimBeviglia. Check out the link below to my new book Counting Down The Beatles: Their 100 Finest Songs, available now.)