It’s funny how much better this album is than I initially remember. When Paul McCartney released Off The Ground in 1993, I was underwhelmed. I think that’s because the songs that Paul chose as singles and the ones he put forth to promote the album in various TV spots were some of the poorer ones on the record. And there’s no killer, must-have track on here. But this is a very consistent collection of songs and performances, with McCartney ruminating on topics that were important to him with the able support of his tried-and-true touring band. If you’ve slept on this one, you should give it another try; take it from one who knows. Here is a song-by-song review:
13. “Looking For Changes”- What happens sometimes when people write songs about issues is that they get so concerned with getting their lyrical point across that they forget to worry about the melodic aspects. I feel like that happens here. Paul’s lyrics are pointed enough about mistreatment of animals, but they don’t hit home as they might have had their been more hooks involved. And the generic title phrase kind of cops out. Which is too bad because, whether you agree or not with McCartney here (and I do), you have to admire his taking on the topic.
12. “Biker Like An Icon”- The music works for me, nicely downbeat and highlighted by an urgent chorus. And the story itself of the runaway girl compelled by a charismatic is interesting. I just could never get past the wordplay of the refrain to rate it much higher; that phrase is just too clumsy and somehow unintentionally funny, undercutting the serious intent.
11. “Golden Earth Girl”- “Julia”-like lyrics more comic than cosmic to these ears. Maybe they’d sound better recited at a poetry slam (and then again, maybe not.) And yet the music bails them out to an extent, as one of those McCartney tunes of simple yet boundless beauty gets the job done.
10. “C’mon People”- There’s a kind of arms-waving, all-inclusive, well-meaning McCartney song that can be grating when executed poorly. This one just sneaks by; it’s no classic, but the sentiment is expressed all right and the arrangement is off-kilter enough to keep it from getting too familiar, Beatlesque horns and all.
9. “Cosmically Conscious”- McCartney’s love of non-sequitur album endings is indulged here with this “hidden” psychedelic fragment that was apparently written way back in the White Album days.
8. “Winedark Open Sea”- Subtly rendered and all the better for it, McCartney keeps this love song simple save for the striking title. Nothing here that we haven’t heard before, but still quietly effective.
7. “Off The Ground”- The title track delivers some bluesy rock and solid lyrics. I would have gone up to four stars, but the “la-la-la” refrain in the chorus always struck me for a bit too cutesy for a song that’s tougher than all that.
6. “Mistress And Maid”- The arrangement Paul uses here does this song, one of the finest of the McCartney/MacManus compositions, no favors. It turns the story into a farce, when it’s better rendered as a tragedy. There’s a live version of Paul and Elvis duetting on this that’s a stunner; would that the album version had taken its cues from that. Nonetheless, the song itself, with that mumbling to garment-rending melody and the lyrical details of harrowing relationship neglect, still reaches you, even in the wrong setting.
5. “Peace In The Neighbourhood”- The looseness of the groove is quite inviting, keeping this from getting preachy, which could have happened easily. And I love those opening lines: “Best thing I ever saw/Was a man who loved his wife.” It suggests that love and peace begins at home, which is quite a profound notion when you think about it.
4. “I Owe It All To You”- There’s a certain desperation in the chorus, even as it expresses such warm sentiments, that makes the devotion and gratitude of the narrator all that more touching. This is also one of the more musically affecting songs on the album, with an arrangement that doesn’t overdo it and adds just the right touches to the acoustic foundation. Very well done in every respect.
3. “Hope Of Deliverance”- There’s nice interplay here between the light-footed acoustic guitars and the sudden melancholy shift of the music when the chorus approaches. And that refrain is pretty apt, because we are always in the terrible position of not knowing what comes next, and thus are forced to cling to hopes that might never be satisfied. That entire chorus sequence is so good that you can forgive McCartney for going to it so often in this relatively short song.
2. “Get Out Of My Way”- McCartney sinks his teeth into this Chuck Berry-esque ripper with relish. The live-band approach used on this album is well-suited to a track like this, and the horns are a surprise and well-utilized. Crash bang wallop, indeed.
1. “The Lovers That Never Were”- Not quite as good a song as “Mistress And Maid” just in terms of lyrics and music (though close), and yet the fact that the band pulls this tricky number off delicately in conjunction with McCartney’s forceful performance pushes it a notch above everything else on record. The melody keeps surprising you, phrases like “a parade of unpainted dreams” really stick with you, and the narrator’s helpless pleas to engage his reticent paramour make a strong impact. Another example of the McCartney/Costello partnership proving simpatico.
(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, will be released in a few weeks, but you can preorder it at the link below.)