With a couple days to kill in the studio and some ace session men on hand, Paul McCartney ripped off a bushelful of songs consisting mostly of classics from the first wave of American rock and roll. The resulting album (CHOBA B CCCP or Back In The U.S.S.R.) was released only in the Soviet Union in 1988 before finally getting a worldwide release three years later. Although the arrangements sometimes betrayed the tossed-off, hurried nature of the sessions, McCartney’s affinity for and ease with this material makes it an invigorating listen, reminding anyone who might have forgotten how great a rock and roller this guy is.
14. “Don’t Get Around Much Anymore”- A rock arrangement of this standard might have worked with just a tad more lightness to highlight the deft nature of Duke Ellington’s melody. But the band sort of bludgeons it, even if the instrumental break is well-done.
13. “Ain’t That A Shame”- Cheap Trick had a pretty good go at this song by not playing it too close to the vest. The respect that McCartney shows to the original smothers it a bit and makes it come off as more imitation than inspiration.
12. “Midnight Special”- Maybe too light a touch is employed here by McCartney and the band, with the arrangement by Paul not quite capturing the darkness in the song that makes that ever-loving light so important in the first place. Nice guitar work on this one by Mick Green though to recommend it.
11. “Lucille”- The groove is a touch mathematical here, especially when you compare it to Little Richard’s raucous original. McCartney has fun with the vocal though, inspired by one of his true idols, and there’s no denying that this is a bona fide classic that’s hard to botch as long as you bring the energy.
10. “That’s All Right, Mama”- You have to hand it to McCartney on one account: He certainly didn’t back away from the behemoth songs of the genre. His take on this track that Elvis immortalized hews a bit more country and western, with the exception of the robust guitar break. Doesn’t threaten the original by any stretch, but a fine turn nonetheless.
9. “Kansas City”- McCartney knows his way around this song, as it was included way back in the day on Beatles For Sale. His voice sounds remarkably spry considering the quarter-century between recordings, doesn’t it? But, then again, it sounds pretty spry today even further down the road. Pretty good heft delivered by the band on this one.
8. “I’m Gonna Be A Wheel Someday”- McCartney is, for sure, a “real gone cat” throughout this collection. On this, one of three Fats Domino-penned songs on the album, he and his buddies bust it up pretty good and vigorously sink their teeth into a tale of romantic revenge.
7. “Twenty Flight Rock”- This one holds a special place in Macca’s heart, as it was his knowledge of the song’s lyrics and changes that allegedly impressed John Lennon back in the day when the pair first met. Mick Gallagher gets a nice showcase on piano, as the band, taking the Eddy Cochran classic at a lope instead of a sprint, keeps their footing very well.
6. “I’m In Love Again”- Anybody’s who’s ever heard “Lady Madonna” should know that McCartney can do Fats Domino better than anyone save Fats himself. He slips into this rambler with no sweat at all, as Gallagher nails the piano triplets to anchor the music.
5. “Lawdy, Miss Clawdy- Man, does Paul sing this one wonderfully, touching every bit of the playfulness and bluesiness in the lyrics with ease. The fuzz of the guitar doesn’t quite square with the swing of the arrangement, in my humble view, but that’s nitpicking. The positives far outweigh that little nick.
4. “Crackin’ Up”- This is the most obscure song on the album, and it benefits from that, sounding alive and fresh rather than encased in glass. McCartney gets a lead guitar showcase and makes the most of it, while seeming to enjoy the quirkiness of the lyrics.
3. “Just Because”- The quartet nails the rockabilly vibe of this one, an antiquated song that Elvis also made famous. Great interplay among the musicians, while Paul’s bass and vocals bring a lot of charm to the proceedings. Certainly one of the most fun recordings on an album where “fun” was the operative word.
2. “Bring It On Home To Me”- Taking on a Sam Cooke song isn’t for the faint of heart if you’re a vocalist. McCartney tears into it fearlessly, adding a bit of a grittier edge in the higher notes compared to Cooke’s break-no-sweat smoothness. The call and response at the end leaves everything on the floor. A great showcase for his vocals, which retain their youthfulness and yet still reference the heartbreaks only life experience can engender.
1. “Summertime”- Taking this George Gershwin song and giving it an arrangement that hits the ominous notes of “House Of The Rising Sun” proves to be a stroke of genius. It really transforms it into something that Gershwin himself might not have realized possible. And it’s the one place where the heavier tones of the electric guitar don’t sound like they’re overwhelming the content of the song. Paul puts everything he has into the vocal; Ella would have been proud.
(E-mail me at firstname.lastname@example.org or follow me on Twitter & JimBeviglia. My new book, Counting Down The Beatles: Their 100 Finest Songs, arrives in March. You can preorder it at the link below.)