Mecca May Part Two: Return

McCartney’s first two solo records were interesting, homespun little jewels. His first two records with Wings were sclerotic and frankly sloppy. Paul could have given up at that point, but he bounced back with aplomb, entering the most popular phase of his solo career with what he had been missing: great pop songs. While McCartney found his mojo again, he only put out one truly great album in this era, and would soon find himself adrift yet again. 

Band on the Run, 1973

Two members of Wings left after the lackluster Wild Life and Red Rose Speedway. Paul made the admirable decision to shake things up. He looked at where EMI had recording studios, and decided to record his next record in Lagos, Nigeria. It was the kind of wild, impulsive thing he needed to inspire a new wave of creativity. Only Linda and Wings stalwart Denny Laine came along, giving this album a similar feel as his first two (which is a good thing).

Miracle of miracles, McCartney got his immense pop chops back. “Band on the Run” and “Jet” sound amazing even today after decades on classic rock radio. I’ve also developed a new appreciation for “Mamunia,” a beautiful song about the LA rain and accepting what comes to you in life. It’s a strong record top to bottom with catchy hooks galore. It’s almost as if the messsage is, “Lest you forget, I’m still Paul fucking McCartney.” This record hit as the other Beatles were losing steam. Paul was now the most relevant Beatle after a couple years in the wilderness. While he was not able to follow it up, I think this one has to be considered a top five Beatles solo album. 

Rating: Five Pauls

Venus and Mars, 1975

This album is not as good as Band on the Run, but far better than the other preceding Wings records. Not all of the songs are memorable, but it’s a well-crafted set. “Venus and Mars” and “Rock Show” start things off with excitement and would make a perfect concert opener once Wings went on tour. “Listen to What the Man Said” is insanely catchy. "Letting Go" has a great down-and-dirty blues vibe. None of the other songs make the same impression, but they come off well. The presence of Jimmy McCulloch, who can really let it rip on guitar, helps liven things up. 

Rating: Four Pauls

Wings at the Speed of Sound, 1976

This is more of a band effort, which is not a good thing. There’s still some catchy tunes, like “Let ‘em In” and “Silly Love Songs.” Both, however, show that Paul was lapsing again. The first song is about…answering the door. The man knew how to write hooks, but he too often wedded them to phenomenally stupid lyrics. John would’ve laughed this one out of the studio of Paul had presented it to the Beatles. “Silly Love Songs” basically celebrates his status as a schlockmeister. He's telling the world that yes, he writes silly loves songs, so fucking what. That all sounds a wee bit defensive and self-indulgent. The thing is, Paul’s bass playing on it is amazing. It raises the question of how a man this talented could toss off his abilities so frivolously. It's a frustration I have had time and again listening to most of these albums. 

Rating: Three and a half Pauls

Wings Over America, 1976

The arena rock show was one of the key cultural innovations of the 1970s. The double live album became a necessary addition to every band’s catalog, big or small. Paul was no ordinary artist, so his live album is a triple. People flocked to the Wings shows for that old Beatles magic, and Paul obliged them. He plays songs like "Blackbird" and "Yesterday" solo acoustic, emphasizing that HE made these songs. The length of this one is a bit of an issue, but the performances are energetic and fun. The surest way for a legacy music act to make a pile of dough is to give the fans what they want, and that's exactly what McCartney does here. After this moment of triumph, McCartney would fumble around for awhile through the rest of the 70s.

Rating: Four Pauls

Non-album singles

(Again, for these the ratings are Fab, Meh, and Ob-La-Di-Ob-La-Don't)

"Helen Wheels" b/w "Country Dreamer," 1973

This one was recorded in Lagos during the Band on the Run sessions. The A side is a great little rock and roll raver, not as produced as the stuff that would make the album. It's got a Chuck Berry feel and fun to play behind the wheel of a car. It's a bit slight compared to the songs on the album, but whatever. The B side is a leftover from earlier sessions, but I dig the laid-back feel and country steel guitar. It's another side of Paul, the kind of small revelation I always love to get on a B-side. 

Rating: Fab

"Junior's Farm" b/w "Sally G," 1974

Alright, I'll say it, I love this song. The lyrics might be slight but there's such propulsion and looseness. I love how Paul says "take me down Jimmy" right before new guitarist Jimmy McCulloch rips open a great solo. This, to me, is what Wings could have been had they been willing to rock full-time. The B-side is another country track, and it makes me wish Wings had cut a full country record. 

Rating: Fab

(I'm not including the Dixieland jazz single Wings recorded as The Country Hams because, well because)