Mccartney Dcc

Paul McCartney retreated from the spotlight of the Beatles by recording his first solo album at his home studio, performing nearly all of the instruments himself. Appropriately, McCartney has an endearingly ragged, homemade quality that makes even its filler - and there is quite a bit of filler - rather ingratiating. Only a handful of songs rank as full-fledged McCartney classics, but those songs - the light folk-pop of "That Would Be Something," the sweet, gentle "Every Night," the ramshackle Beatles leftover "Teddy Boy," and the staggering "Maybe I'm Amazed" (not coincidentally the only rocker on the album) - are full of all the easy melodic charm that is McCartney's trademark. The rest of the album is charmingly slight, especially if it is read as a way to bring Paul back to earth after the heights of the Beatles. At the time the throwaway nature of much of the material was a shock, but it has become charming in retrospect.

All right, he's made a record with his wife and a record with his pickup band where democracy is allegedly the conceit even if it never sounds that way, so he returns to a solo effort, making the most disjointed album he ever cut. There's a certain fascination to its fragmented nature, not just because it's decidedly on the softer side of things, but because his desire for homegrown eccentricity has been fused with his inclination for bombastic art rock à la Abbey Road…

Band on the Run is generally considered to be Paul McCartney's strongest solo effort. The album was also his most commercially successful, selling well and spawning two hit singles, the multi-part pop suite of the title track and the roaring rocker "Jet." On these cuts and elsewhere, McCartney's penchant for sophisticated, nuanced arrangements and irrepressibly catchy melodic hooks is up to the caliber he displayed in the Beatles, far surpassing the first two Wings releases, Wild Life and Red Rose Speedway. The focus found in Band on the Run may have to do with the circumstances of its creation: two former members quit the band prior to recording, leaving McCartney, wife Linda, and guitarist Denny Laine to complete the album alone (with Paul writing, producing, and playing most of the instruments himself). The album has the majestic, orchestral sweep of McCartney's Abbey Road-era ambition…

Wings at the Speed of Sound is the fifth studio album by Wings and was recorded and issued in 1976 in the midst of a large world tour as the follow-up album to the popular Venus and Mars. It is the band's only album where every member sings lead on at least one song…

After the breakup, Beatles fans expected major statements from the three chief songwriters in the Fab Four. John and George fulfilled those expectations - Lennon with his lacerating, confessional John Lennon/Plastic Ono Band, Harrison with his triple-LP All Things Must Pass - but Paul McCartney certainly didn't, turning toward the modest charms of McCartney, and then crediting his wife Linda as a full-fledged collaborator on its 1971 follow-up, Ram.
Where McCartney was homemade, sounding deliberately ragged in parts, Ram had a fuller production yet retained that ramshackle feel, sounding as if it were recorded in a shack out back, not far from the farm where the cover photo of Paul holding the ram by the horns was taken…

After recording Band on the Run as a three-piece with wife Linda and guitarist Denny Laine, McCartney added Jimmy McCulloch on lead guitar and Geoff Britton on drums to the Wings line-up in 1974. Having written several new songs for the next album, McCartney decided upon New Orleans, Louisiana as the recording venue, and Wings headed there in January 1975. As soon as the sessions began, the personality clash that had been evident between McCulloch and Britton during Wings' 1974 sessions in Nashville became more pronounced, and Britton - after a mere six month stay - quit Wings, having only played on three of the new songs. A replacement, American Joe English, was quickly auditioned and hired to finish the album…