While Paul has had the most successful post-Beatles career, he seems to have been the bandmate most negatively affected by the breakup. The recent Get Back documentary illustrates how hard he was working to keep the group together, and how much friction he was sparking with George and John in the process. By all accounts, McCartney sank into depression, drinking, and isolation. (Tom Doyle's Man on the Run is a fine account of McCartney in the 70s, btw.) His first set of solo records are the story of a man facing the abyss, then finding deeper meaning from his family. In this recovery mode Macca is not writing the kinds of show-stoppers he was known for in the Beatles. The fans did not react well, but his first two records just might be the genesis of the whole lo-fi genre.
McCartney, 1970
It confuses me that this fine album was panned so thoroughly upon release. It was probably because Paul included the "self-interview" in the liner notes about leaving the Beatles, and because the music was so stripped down, especially compared to recent Beatles records. The liner notes broke a lot of hearts, and the music itself confounded people's expectations. It's telling that the front cover is a striking artistic photo without McCartney's face or name, while the back has the lovely picture of him holding his baby daughter Mary in his jacket. The whole thing is a declaration that the Beatles are done and that Paul is focusing on matters closer to home. I am sure that was a shock to the 60s generation. As someone born five years after this album came out, I can listen to it on its own terms.
The fact that McCartney recorded all the instruments himself reveals his virtuosity. He's an excellent drummer and guitar player. The hard drum hits on "Momma Miss America" are thrilling and the subtle touch on the kit brings out the pathos of "Every Night." "Maybe I'm Amazed" is his one big Beatles-y ballad in the old mode, but it also includes a stirring guitar solo. Because this is an intentionally lo-fi album made at home on a four-track, not all of the songs are as finished as they could be. "Junk" is probably the most emblematic song. It's a little, gorgeously affecting thing, little bauble of a cast-off about old odds and ends, much like these songs. "Every Night" is the most meaningful, in that Paul details his depression and how Linda is the one thing allowing him to hold on. Despite our stereotypes about McCartney's "silly little love songs" this is a deadly serious one.
Rating: Four and a half Pauls (out of five)
Ram, 1971 (with Linda McCartney)
After taking some first steps with the lo-fi approach, McCartney masters it with Ram, which is certainly among his favorite album among rock snobs. Being one myself I probably concur. While there's a lot of spare songs he also brought in the more orchestral mode he had perfected with the Beatles on "Admiral Halsey/Uncle Albert" and "Back Seat of My Car." The former is a little silly but quite beautiful and fun. He does a great job of evoking a rainy Sunday afternoon early in the song, and the "hands across the water" chorus is practically transcendent when it hits. I might like "Back Seat of My Car" even more, since it shows off McCartney's bright guitar tone so well.
From the first song, it's also apparent that Paul has shaken off the deep blues so apparent on his first album. Here he is feisty on "Too Many People," taking a couple of potshots at John Lennon. It also sets the tone for his new life. He is saying that he just doesn't give a shit what other people want from him. He's going to hang out on his farm, smoke weed, and enjoy time with his family. Accordingly "Long Haired Lady" is a wonderful note to Linda and "Smile Away" and "Dear Boy" allow him to expiate his anger at his former songwriting partner. (In my opinion "Dear Boy" is far more effective than Lennon's "How Do You Sleep." "Eat At Home" is bluesy fun and a little dirty, too. This album got panned at the time but I attribute this to Boomer trauma over the Beatles breakup and Paul refusing to give them the Beatle-y stuff they wanted to hear. Good on 'im.
Rating: Five Pauls
Wild Life
Oy
McCartney's first effort with Wings was not an auspicious start. The laid-back feel that made his first two records is interesting, but the songs just are not here, to an almost shocking degree. This album was evidently rushed, and that's pretty apparent. While I like his two albums a lot, I understand how at the time they may have looked slight compared to Lennon's Plastic Ono Band and Harrison's All Things Must Pass (which for my money are the two best Beatles solo records.) For McCartney to follow them up with this when his peers had just released some truly epic efforts had to have looked especially awful in the context of the times.
It's easy to think that McCartney is missing John's input on these songs, but I think John's absence is a problem in a different kind of way. McCartney is a competitive guy with a lot of pride in his craft, and having another great songwriter in the band forced him to try harder to one-up him. Now Paul does not have that motivating factor. These songs are just flacid and forgettable.
Rating: Two and a half Pauls
Red Rose Speedway, 1973
Things are slightly improved here, with songs that have more shape. Evidently it was supposed to be a double album, but the label forced Paul to cut it down after the lackluster sales of his last record. "My Love" is the hit, and while it is a sign of Paul's increasingly cornball ways, I must admit that it's catchy. The problem is that so many of the songs are indistinct and not fully formed, but not in the charming way they were on Ram. There's a little song suite at the end trying to do what he did on Abbey Road or "Uncle Albert/Adminral Halsey," but it's just turgid. At this point in his career it was obvious that Paul needed a new direction. The fact that members of Wings quit after this album is telling; the project seemed so hopeless that they were willing to give up a sure meal ticket.
Rating: Three Pauls
Non-Album Singles
Many of McCartney's biggest hits were non-album singles, so I am going to include a special section about them in each installment. Instead of a star rating I will be classifying them as "Fab," "Mid," or "Ob-La-Di-Ob-La-Don't."
"Another Day"/"Oh Woman Oh Why" 1971
This is a song in the vein of "Lady Madonna" and "Eleanor Rigby" about the day-to-day letdowns and struggles of life. It's catchy and affecting and while not a masterpiece is pretty good. The B side has some great slide guitar. It's a perfect B-side: just a rocking little raver of small importance.
Rating: Fab
"Give Ireland Back to the Irish" 1972
This one, released at the height of the Troubles, got banned from the BBC for its political message. If only the music matched the cause. For such a serious and searing topic this song sounds almost like a tossed off joke. I gave it a slightly higher rating just because I agree with its sentiments.
Rating: Mid
"Mary Had a Little Lamb"/"Little Woman Love" 1972
A nursery rhyme Paul, really? Another sign that he was lost post-Ram.
Rating: Ob-La-Di-Ob-La-Don't
"Hi Hi Hi"/"C Moon" 1972
This one got banned on the BBC for drug references, proving once again that Paul was edgier than people normally credit him for. "Hi Hi Hi" is a fun bit of rock and roll, but nothing more than that. I understand why fans at the time were underwhelmed by Paul's efforts.
Rating: Mid
"Live and Let Die"/"I Lie Around" 1973
George Martin was back producing this Bond theme, perhaps the best one ever. There's more excitement and guts in this one song than all of Wild Life and Red Rose Speedway put together.
Rating: Fab
Soon after "Live and Let Die," Paul, Linda, and Denny Laine would go off to Lagos together to work on Band on the Run. He would find the spark of creativity he had on his lo-fi records, but finally brought back his pop music mastery into the mix. The result would be the most popular run of any Beatle post-breakup.
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