The Cavern
Rock & Words
McCARTNEY (Paul McCartney, 1970)
Artist: Paul McCartney (C)
Recording Dates: Sep ’69 – Mar ‘70
Release Date: April 20th, 1970. UK
Record Label: Apple / EMI
Producer: Paul McCartney
Rating: 9.5
Era: The Great Transition (1970-1980+)
Subgenre: The Great Transition
Best Song: Maybe I'm Amazed
Tracklist: 1) The Lovely Linda; 2) That Would Be Something; 3) Valentine Day; 4) Every Night; 5) Hot As Sun/Glasses; 6) Junk; 7) Man We Was Lonely; 8) Oo You; 9) Momma Miss America; 10) Teddy Boy; 11) Singalong Junk; 12) Maybe I'm Amazed; 13) Kreen - Akrore.
Many fiercely attack this debut album by McCartney, accusing it of being recorded in Paul's bathroom. I wonder, how many people in the world are capable of composing songs of this caliber while their friends are going through a divorce, recording each and every instrument themselves without any help (bass, drums, guitars, keyboards, vocals, backing vocals (except for one or two tracks by Linda), percussion…) and doing it all in the comfort of their own backyard in Mull of Kintyre , Scotland?
It's certainly not a work of art. It was the first solo debut by a former Beatle. Well, not quite; Ringo beat him to it, but you get the idea. In fact, it was something of a divorce settlement for the quartet, as they had refused to change the release date, which would have clashed with Ringo's Sentimental Journey ( March 27 ) and Let It Be ( May 8 ). John and George even sent Ringo to try and convince him to postpone the release for the sake of the group. Paul kicked him out of his house, telling him there was no group. He would later regret this action, saying that he treated poor Ringo so badly only because he was blinded by ego and fear of the band's impending breakup.
The fact is, it's an album rushed by circumstances. Paul had been working on some tracks and demos both at home and at Abbey Road Studios, where he recorded under the pseudonym "Billy Martin" so the others wouldn't find out. Because of this, the debut sounds somewhat unfinished, with terrible, almost amateurish production and a lot of echo, courtesy of the bathroom tiles. You can even hear his children's voices playing around. Admittedly, this is a flaw, but more due to the circumstances than anything else; Paul is, in fact, the ex-Beatle who would later be most concerned with production and high-quality finishes on his albums, becoming a compulsive perfectionist. McCartney was a bundle of nerves at that time, and he knew that the end of the Beatles was imminent due to irreconcilable differences with John, and to a lesser extent, George and Ringo, who had sided with Lennon. Despite having composed separately for years and treating each other more as backing musicians than a band since the White Album , their psychological dependence was enormous. John had Yoko as his intellectual and artistic support, for better or for worse. Paul had Linda as emotional support, but the truth is that the artistic support she could offer her husband was minimal, perhaps as a muse. Therefore, he was terrified. John was too, but he was better at hiding it. McCartney would later admit that he acted as he did out of fear, and both the announcement of the quartet's breakup on April 10 , 1970, and the rushed album and subsequent lawsuit for the rights to their songs were nothing more than an attempt to appear to still have some control, when in reality they were absolutely impulsive and misguided decisions.
Now, the album feels rushed and rough in terms of production and songwriting, but the songs are rather mellow, recapturing some of the semi-acoustic feel of the White Album . Paul's solo debut is light, warm, very easy to listen to, and melodic, as one would expect from Paul. And it's clear he's relaxed and enjoying himself during the recording sessions, contrary to what one might think given the rushed nature of the recording. However, one would have expected the debut to be more polished and refined, considering that Paul carried the bulk of the work on the masterpiece that is Abbey Road. One would have thought he would release a powerful album, as if to try and prove he was better than John and didn't need to, but he actually saved that for Ram, where he proved to be much more competitive. This is a calm and easygoing album, having fun with its light and digestible music, demonstrating that even in average moments he is a master of melody, and looking cheerful and carefree as if he were playing for us sitting from his living room... or his bathroom, hahaha .
While Lennon emerged with a ferocious debut, furious against the world and himself, yet brutally honest and minimalist, as if saying, “Right now, I only care about myself, and I’m going to burn demons,” and George delivered a universal, spiritual triple anthem of moving beauty, Paul didn’t take as many risks. He continued making the kind of songs we might expect from him on a Beatles album. Paul’s usual perfectionism is absent. True, all the tracks are very melodic, but some are quite lightweight, even for Paul, and give the impression that they were recorded simply to get ahead of his bandmates. John “had” to make Plastic. Ono A band to burn off demons and distance himself from the Beatles. George "had" to release the tons of songs his bandmates had rejected, and perhaps his album was the most pleasant surprise from an ex-Beatle , but he also "had" to release it to prove his true worth to himself, his former bandmates, and the world. Paul didn't. He simply wanted to do it to spite them, and as such, the album seems somewhat inferior to the expectations we might have had of him. He'll recover his form in the Ram. But as they say, Paul is Paul, and even drowsy, scared stiff, and in his bathroom, he's capable of making good songs, and at least foisting his first two great classics as a solo artist on us.
The album opens with “Lovely Linda”, a very short but heartfelt acoustic track dedicated to the love of his life, Linda. It’s incredibly simple, yet catchy, with a warm acoustic strum, a playful bass line , and Paul delivering a poem that needs no more than two lines to demonstrate his love and devotion to his muse in just 45 seconds. Unlike the songs John would later dedicate directly to Yoko (“Dear Yoko,” “Oh Yoko”), I like this one better; it’s much simpler and cuter. Originally, it was a demo intended to be expanded into a longer, more complex love song, but I suppose he didn’t mind including it as is. To be honest, neither did I.
Then there's "That Would Be Something", which always struck me as a kind of tribute to Elvis during his Sun Records days, is simple in its simplicity and Paul's deep, resonant voice. The riff is straightforward yet catchy, and it stays in your head for quite a while. The thing is, it's incredibly simple, with barely a couple of lines. But Paul manages to add "drumroll effects" with his vocals, which is another example of his genius for crafting catchy hooks. How can you make a 2:40 song with two verses and a riff and make it work? I don't know, but he pulls it off. Many consider it filler because it's simple and repetitive, but for me, it's a testament to Paul's ingenuity.
Next up is “Valentine Day”, a pretty decent instrumental by Paul, full of energy and good vibes. It’s not a masterpiece, but it features a good acoustic riff, solid drumming, and a decent electric guitar part, vaguely reminiscent (just a little and very distantly) of the solo section on “The End.” It’s a short and harmless instrumental, but with plenty of personality, though it feels like another unfinished track.
We continue with “Every Night”, another very catchy acoustic ballad, with melancholic verses in minor keys and a sweet, more upbeat chorus. The 12-string guitar arrangement is simple, but it works, and instead of a lead guitar solo, Paul delivers some delightful “Uh uh.uh” sounds. "Uh's ." The lyrics are simple and optimistic, and Paul adds a wonderful melody, one of those that bear his unmistakable signature. In short, it's simple, again with the feeling that it's one of the lost demos from the White Album , but there's no denying that it's one of Paul's charming ballads, almost cloying, but they work just in time and inevitably leave you with a big smile.
Next up is “Hot As Sun/ Glasses”, another very cheerful, almost childlike instrumental, just over two minutes long. The guitar riff builds the song and repeats, interspersed with a cute little carousel organ. In short, simple but very melodic. Around the 1:30 mark, a strange, sustained, almost icy sound lingers, until finally a brief section of what I assume is “ Glasses ” comes in, more in the retro 1930s style of “Martha My Dear,” but it's too fleeting to really appreciate.
Next comes one of the album's highlights. "Junk" is so movingly beautiful, it almost hurts. Paul sounds so sad and alone that he almost rivals John on Plastic. Ono band. Well, no, it's a very different kind of sadness, this time wondering about the fate of broken things and junk that no one uses anymore, patiently waiting to be sold at a landfill. I agree with Starostin that it's a potential "Eleanor Rigby." It's incredibly sad, and the point here isn't that we miss John, George, and Ringo, but George Martin. Paul is a great musician and was already self-sufficient as a producer, but it's clear that this song, despite its raw and minimalist beauty, could have reached unimaginable heights with a good arrangement of the saddest violins in the world or a good orchestration. Paul settles for a melancholic xylophone at the end. All in all, it's absolutely gorgeous, and you certainly end up feeling the same desolation with those old things as with our beloved Eleanor. This track appears on the White Album demos in Anthology 3, so it was possibly composed in India. It's impossible to deny the tremendous beauty and delicacy of this song. In my opinion, it should be considered one of McCartney's classic tracks.
Then there's "Man We Was Lonely", another curious song with an irresistible melody that compels you to sing along even if it's the first time you've ever heard it. An intro with two guitars alternates slow, drizzle-like notes until the rhythm kicks in. Linda provides backing vocals in the background, and thankfully she's no Maria Callas, but she's no Yoko either. This is a masterclass in songwriting, from the playful melodies to the countless hooks: slide guitars emulating Harrison's style, a section where he sings and Linda responds, the sustained notes at the end of the verses, the harmonies with Linda towards the end, and the simple bassline that still gets your feet tapping. Plus, you can tell he was having a blast recording it.
Next up is “Oo You”, a slow rocker with somewhat silly lyrics that I'm not sure is an attempt to emulate Dylan's “Just Like a Woman.” In any case, the song features distorted guitars that mesh together for a solid riff that sustains the track. The melody is catchy, and Paul creates subtle inflections to keep you engaged. A rudimentary drum kit and a cheerful tambourine complete the picture. Simple and straightforward, but full of character. It's far from a classic, but you have to admit that many of the average tracks on this album have an indescribable appeal.
Then there's "Momma Miss America", another relatively well-executed instrumental. What I love about this song is the bassline—dark, menacing , and unmistakably McCa 's signature . The piano takes the lead, creating an almost boogie-like feel. It starts off at a medium pace , and in the spaces it leaves, Paul adds a guitar with quite a bit of delay . In short, he weaves the music together well so that the song keeps you engaged without needing vocals. If it continued until the 2-minute mark, I'd definitely give it a thumbs up. The problem is that from that point on, the song shifts into a one- man -band jam ( goodness me, can you believe it?! ) in which Paul completely loses his footing and starts improvising aimlessly, making a lot of noise with all the instruments until the end at the 4-minute mark. When you listen to these jams and compare them to those on the third disc of " All Things Must Pass," you'll understand why I say there are levels of jams , and those on that third album are top-notch. This one completely ruins a song that was going well.
Then we have “Teddy Boy”, which is another track that didn't make it onto the White Album … thankfully. This time, the melody strikes me as incredibly silly, and the lyrics are even worse. I know he's trying to describe those kind of rebels without a cause that were so common in Liverpool in his younger days, but the truth is, I don't like it, neither this version nor the one on the Anthologies. It's very simplistic, unfinished, I detest the way he sings it, and the melody goes beyond the saccharine level I can tolerate from Paul, and believe me, that's a lot.
Next up is “Singalong Junk”, which is simply the same “Junk” without lyrics, a karaoke version ready for us to sing along to. The guitars are almost identical, but here a Mellotron is added , and the vocal melody is replaced by a delicate piano. The production sounds much better here, with clearer sounds that help the song maintain its nostalgic feel and vocal effects.
Track 12 is the star. “Maybe I 'm Amazed" is a tremendous song, one that could easily have been one of the Beatles' greatest classics. It maintains that same majestic aura and is far more complex in every aspect than any other track on the album. Like "Hey Jude ," it begins with a simple piano and Paul singing that exquisite melody, and the legendary lines "Maybe I'm amazed of the way you love me all the time, Maybe I'm "Amazed by the way I love you." For the second verse, Paul raises the intensity with his "shouted vocals," adding a driving rhythm to the drums, which until then had been more understated, and majestic backing vocals with Linda. He carries the song along with its ups and downs, filling it with hooks and creating a truly historic ballad. At 1:20, he dares to play a double-guitar solo, which (God forgive me) rivals those of his mentor Harrison, although it's rather brief. In fact, I'd swear it's George's, but I've already confirmed that he had nothing to do with it. Lyrically, it's also the most complex. It's still a ballad, but it's simultaneously a cry for help and a thank you to Linda for being his only lifeline in the midst of the storm that was the Beatles' breakup. It seems like a silly ballad, but it's basically the same desperate cry that John lets out on Plastic. Ono Band. At 2:30, an organ is added, serving to fade the song into a false ending, which fools us for a few moments at the 3-minute mark before returning with another guitar solo, very similar to the first in terms of melody and Harrison-esque effects . And so it fades away with the organ and guitar intertwined, leaving us with the certainty that only a genius named Paul McCartney could have single-handedly recorded a masterpiece of this magnitude. Undoubtedly the most well-known track from this debut album, and the first true classic in Paul's discography. I must admit that I didn't like it at first, but it has grown on me over time, to the point that it has to be in my top ten Paul McCartney songs.
The album should have ended here to achieve a magnificent finale. Unfortunately, Paul lost his marbles and decided to add "Kreen – Akrore", which is a kind of demonstration that, despite what John said, the best Beatles drummer was always Ringo. A hateful drum solo and pointless panting for over four minutes. Frankly, while I'm not a fan of virtuoso drum solos from players like Baker and Bonzo, Paul's pseudo-solo, lacking technique and purpose, just to show he can also play drums, strikes me as simply an unnecessary display of ego. A colossal mistake that mars the album and lowers its score by at least a point.
In short, a good album from Paul, although, as I mentioned, it falls a little short of the expectations one might have had for his debut, which George and John more than met. All things considered, Paul is Paul, and although the songs are simple, they are not without charm and are well-written. They certainly need some polishing, but it's impossible to deny that McCartney is a virtuoso songwriter, however light and unpretentious his style may be. He is a master of melody and manages to distance himself from the Beatles without losing his own signature sound. Moreover, he deserves credit for having done it all himself, something no other ex-Beatle can boast. And the songs are light and cheerful; it's clear he was just looking to have fun and was still far from the attacks on John that would begin on Ram. It's not his best album, but it's certainly worth giving it a good listen.
By Corvan
May/4/2012
