C/D Paul McCartney Solo

Does anyone else like 'Hope of Deliverance'? I think it has a haunting melody.

p.s. 'for your love'+'bus stop'=gouldman.

Dud: 'Wings at the Speed of Sound', 'Flaming Pie', 'Driving Rain' (a little better than 'FP'), 'Press to Play' (interesting yet not successful experimentation from Macca in 1986...) & 'Back to the Egg' (consistently average, only 'Old Siam Sir' makes any real impression).

Many albums of his i'm mixed about... yet, overall 'Classic', I maybe go towards this strongly as the general consensus is so unfairly a 'dud' opinion. You have to look deep into his work, and will find much that is good...

Too late, it was in the issue with Santana on the cover.

If one's scratching one's head about how badly Paul's solo cheese wears on the nerves, try the following experiment: program disc one of the white album to only play Paul's tracks. Starts off okay but the unrelenting 'Ob-la-di' to 'Martha My Dear' to 'Blackbird', by the time it gets to 'Rocky Racoon' you'll be clawing your face off.

It should be mentioned that it's the MCCARTNEY II version that should be considered "classic." The live version, which Columbia released as a single in the US, pales in comparison (though there's a very strange meteor-shower synth break toward the end).

Am I the only person who thinks BACK TO THE EGG is almost the equal of BAND ON THE RUN/VENUS & MARS? Probably.

Most obvious cases of search:
"Tug Of War", "Flowers In The Dirt", "Band On The Run", "Venus And Mars"

Destroy:
"Wild Life", "McCartney II", "Press To Play", "Wings At The Speed Of Sound", "Pipes Of Peace".

Other than the disastrous "Wild Life", even the worst albums contain at least one or two great tracks each though.

The production on that album is definitely classy, but the songs are just too weak for it to avoid the dustbin. "Tug Of War" has the same marvellous production, and contains almost exclusively great songs. (Yes, even "Ebony & Ivory" isn't that bad, really)

"Waterfalls" is the only really good song on that album. "Coming Up" is a dud IMO. Just because John Lennon liked it doesn't automatically mean it was good (in fact, most of Lennon's solo work sucked anyway)

'Flowers in the Dirt' has a far worse production than 'Pipes of Peace'; it really lacks focus and sympathy for the songs. There is some fine material on there, but much of it is middling.

Do *not* destroy 'McCartney II'... it's a revelation frankly! Such a massive step up from 'Back to the Egg' and more cohesive and compelling I believe than 'McCartney' (though 'Junk' & 'Every Night' are sublime). It is McCartney very interestingly going down the route of electronic music; which sadly he didn't continue so much on his next two (nevertheless good) albums. 'Summer's Day Song' is among McCartney's most beautiful, as is 'Waterfalls'... 'Frozen Jap' and 'Front Parlour' see a Kraftwerk-type influence beautifully used to make jaunty, expressively melancholic electronic pieces. 'Dark Room' is oddball in a great manner... 'One of these Days' is a masterful close to the album.

'Press To Play' possibly does... but it is mis-produced and really inadequate in its music and songwriting (will have to give it another chance, mind).
I fully agree on 'Wings at the Speed of Sound'; apart from 'Silly Love Songs' (a badly produced and sounding recording of it) and the towering pop of 'Le 'Em In', it is a seriously mediocre record and the one with the most detrimental influence of the other Wings members.
'Ram', 'Band on the Run', 'Red Rose Speedway' and 'Venus and Mars' are unreservedly recommended as an fine early quartet of albums.

Wouldn't call any of them awful. Although they are clearly tracks that seem like partly failed attempts to copy his duet partner's musical styles.

I love the production on that one too. But, then again, I enjoy most of what Mitchell Froom and Trevor Horn/Stephen Lipson have ever done sonically.

The hits are mainly produced by Mitchell Froom (Crowded House, Suzanne Vega, early 90s Elvis Costello). But Trevor Horn produced "How Many People" and "Figure Of Eight"

i have heard neither, and know very little about mccartney solo. what are these songs like?

Would anyone care to share their thoughts? You can make them up if you like. I'm just trying to get better value for money.

Your last comment is OTM btw.

McCartney wasn't familiar with his collaborator's musical history when they met, so Falkner gave him a copy of "Bedtime With the Beatles," the instrumental children's lullaby album Falkner released through Sony/Wonder in 2001. He admits it "blew his mind" after McCartney gave him a glowing review of the disc the next time they met.

If one suspects (as I do) that Falkner has been disappointed/angry/disgruntled over the way the industry has treated him these last several years, essentially reducing him to a sideman/cover-artist/enhancer-of-others'-work, it follows that the Paul love must do his heart good. A moral victory of some sort, I suppose.

The larger point, though, is interesting, regarding Falkner/Godrich working with Paul for material that may or may not be on his next album — it's exactly what you'd expect from Paul, that searching, persistence and sort of endless curiosity. It's funny — because it's exactly what makes Paul's output so maddenly elusive, frustrating and inconsistent for some, while making others (well, me) love him so. For the latter crowd, he's the quintessential restless artist, which is why so many are still waiting for—expecting even—that late-period masterpiece.

Seriously, though — even those (what I assume are) half-assed "serious" works don't come off remotely as pompous and ill-considered as those of, say, Billy Joel, Paul Simon or—most embarrassingly—Elvis Costello. Where those guys seem to be deluding themselves about where their talents lie and what constitutes "serious" composition (as if pop doesn't), with McCartney, the impetus behind his experiments in pop or otherwise has always seemed like geniune curiosity and a love for music. I mean, you can almost hear him going, "Oh yes, well, that's interesting. Perhaps it's something I can try," whether it's him doing a take on Little Richard ("Long Tall Sally", "Get On the Right Thing"), Eno ("Summer's Day Song"), The Orb (his Fireman project), Joplin ("Honey Pie"), Steely Dan ("Arrow Through Me"), John Lennon ("Too Many People"), Brian Wilson ("Back Seat of My Car"), Elvis Costello ("Getting Closer"), or whoever else. The orchestral pieces—which I've never heard, btw—seem very much cut from that cloth.

At the end of the day, there are really just a handful of artists who are capable of pulling off this sort of thing with any measure of success (and no, Stephen Merritt, you're not one of them). So, I'll tolerate the misfires — even if there seem to be an awful lot of them in his discography.

Yeah, otm. I've thought about this a bit myself. I mean, he's Paul McCartney. Even if someone did have the balls to tell him his songwriting was pants, he'd probably just think "What a retard. I'm PAUL MCCARTNEY."