FEATURE:
Man We Was Lonely
McCartney at Fifty-Five
_________
THIS is a significant anniversary…
PHOTO CREDIT: Linda McCartney
as some say that Paul McCartney announcing the release of his first solo album was the reason The Beatles split up. I do not think that was the case. I feel the band broke up in 1970 because it had come to an end. Even if McCartney made an announcement in 1970 that he was not working with the group anymore, the breakup of the band was not formalised until 1974. On 17th April, 1970, McCartney was released. This brilliant album was recorded it in secrecy, with McCartney using basic home-recording equipment at his house in St John's Wood, London. There are contributions from his wife Linda but, for the most part, this was Paul McCartney performing on his own and recording to four-track. Very different to the sheen and polish of Beatles albums like Abbey Road (1969) and Let It Be (1970), this was something a lor more basic. There was some critical backlash in 1970 as they felt this album and McCartney had split up The Beatles. Ahead of the fifty-fifth anniversary of McCartney, I want to get to some praise. Give some background to the album. The album was a big commercial success. However, match that to the critical negativity and vilification Paul McCartney received, it is only in subsequent years that McCartney has been heralded by some. However, there are those who feel the album is ragged, underdeveloped and mediocre. I think that is short-sighted. It is sad that there are no retrospective features that herald the album and note its quality. Although Paul McCartney would release better albums, I think that his first eponymous album – McCartney II arrived in 1980; McCartney III in 2020 -, is a really important document. At a time when his band were breaking up, it is an insight into his mind and personal life. There are some incredible tracks on the album.
It seems that most reviews for the album come with a note of caution or disappointment. The fact that many might see it as responsible for killing The Beatles rather than judging it on its own merits. It was obviously important for Paul McCartney to release a solo album. Rather than it being this rushed release that confirmed he was no longer with the band, this is music he felt he could not release with The Beatles. I don’t think it is fair it got the criticism it did. I want to move to a review from the BBC from 2011:
“In 1970 Paul McCartney left The Beatles and set about sloughing off seven years’ worth of extravagant wardrobes and philosophies that no longer fitted or suited him, and embarked upon a solo career that would reveal ‘the real’ Thumbs Aloft. Obviously, being one of an equal partnership in the world’s biggest/most important rock/pop group meant that his aesthetic had been asserted plenty of times before, in most recent memory during the back-to-basics Let It Be sessions. But this time he was going to give us more than just a glimpse of the boy-next-door millionaire idol.
He played everything on this album. We were left in no doubt that his claim that Ringo wasn’t even the best drummer in The Beatles, while snide, wasn’t entirely rash. Everything about this album says, "This is organic – this is me freed from John’s pretension and artifice". McCartney’s homely, almost idiot-savant, gift for songwriting seemed to be undiminished now that he was on his own. Opening track The Lovely Linda, although barely more than a sketch, was written in order to try out a new 4-track. Macca was back to being the guy who couldn't make a cup of tea without it inspiring a top 40 hit. His creative wellspring had been topped up by spending more time with his kin. This was revealed by the design for the album, compiled from Linda’s (excellent) holiday snaps. The iconic image of cherries left on a seaside wall for birds to feed on has slowly usurped the actual cover art of Macca with cherubic baby Stella peeking out of the lining of his sheepskin.
This said, it hadn't been an entirely clean break. Some of the tunes were left over from the Fab Four endgame. Junk was originally written in the Maharishi’s camp and Teddy Boy was a Let It Be reject. But even some of the songs that seemed to have an exotic nature were deceptively domestic. Kreen-Akrore may well have been about rainforest tribesmen, but McCartney’s information came directly from a TV documentary he watched with his family. And, really, this is what this album is: written and recorded by a victor, someone who has successfully negotiated his retreat from being one of the most famous people on the face of the planet to blissful semi-retirement to the homestead. He would go on greater things – including McCartney II, released a decade later – but this debut album represents a necessary start to the most consistently pleasing solo career of all The Beatles”.
That review was published to coincide with the reissue of McCartney. If this album was released after Let It Be, I don’t think it would have received quite the same level of attack. Released a month before that album in 1970, it was perceived as McCartney breaking up the band. I will mark Let It Be at fifty-five closer to its anniversary in May. Before getting to a 1970 interview from Paul McCartney, I want to bring in a passage from The Paul McCartney Project:
“Released in 1970, a month before The Beatles’ swansong Let It Be, McCartney was Paul’s first solo album. Notable for the fact that he performed all instruments and vocals himself, aside from some backing vocals performed by Linda, it’s an album rich in experimentation, and the original home of ‘Maybe I’m Amazed’. “The McCartney album was good fun,” Paul remembers, “because I got a machine from EMI, only a four-track, and I just had it in my living room where I lived in London at the time. I’d just go in for the day like Monsieur Magritte. Go in and do a little bit of stuff and make something up, and knock off in the evenings. It was very interesting to do and it had a certain kind of rawness, because I was breaking loose after The Beatles, we all got a feeling of that, I think. During the Beatles period I’d said to John, ‘I think I should do an album called Paul McCartney Goes Too Far”. He said, ‘That’s a great idea man, you should do it.’ Of course, I never really did. It was just, Well, I’ll do it one day”.
The interview I want to bring in is from a press release for Apple Records in 1970. Published on 9th April, 1970, there are some interesting questions and exchanges. I wonder how Paul McCartney feels about the album fifty-five years later. It must have been such a strange and stressful time for him:
“Q: Why did you decide to make a solo album?
A: Because I got a Studer 4-track recording machine at home – practised on it (playing all instruments) – like the results and decided to make it into an album.
Q: Were you influenced by John’s adventures with the Plastic Ono Band, and Ringo’s solo LP?
A: Sort of, but not really.
Q: Are all the songs by Paul McCartney alone?
A: Yes sir.
Q: Will they be so credited: McCartney?
A: It’s a bit daft for them to be Lennon-McCartney-credited, so ‘McCartney’ it is.
Q: Did you enjoy working as a solo?
A: Very much. I only had me to ask for a decision, and I agreed with me. Remember Linda’s on it too, so it’s really a double act.
Q: What is Linda’s contribution?
A: Strictly speaking she harmonises, but of course it’s more than that because she is a shoulder to lean on, a second opinion, and a photographer of renown. More than all this, she believes in me – constantly.
Q: Where was the album recorded?
A: At home, at EMI (No. 2 studio) and at Morgan studios (Willesden!).
Q: What is your home equipment (in some detail)?
A: Studer 4-track machine. I only had, however, one mike, and, as Mr Pender, Mr Sweatham and others only managed to take six months or so (slight delay), I worked without VU meters or a mixer, which meant that everything had to be listened to first (for distortion, etc…) then recorded. So the answer – Studer, one mike and nerve.
Q: Why did you choose to work in the studios you chose?
A: They were available. EMI is technically good, and Morgan is cosy.
Q: The album was not known about until it was nearly completed. Was this deliberate?
A: Yes, because normally an album is old before it comes out. (aside) Witness ‘Get Back’.
Q: Why?
A: I’ve always wanted to buy a Beatles album like ‘people’ do and be as surprised as they must be. So this was the next best thing. Linda and I are the only two who will be sick of it by the release date. We love it really.
Q: Are you able to describe the texture or the feel of the theme of the album in a few words?
A: Home, Family, Love.
Q: How long did it take to complete – from when to when?
A: From just before (I think) Xmas, until now. The Lovely Linda was the first thing I recorded at home, and was originally to test the equipment. That was around Xmas.
Q: Assuming all the songs are new to the public, how new are they to you? Are they recent?
A: One was 1959 (‘Hot As Sun’), two from India (‘Junk’, ‘Teddy Boy’), and the rest are pretty recent. ‘Valentine Day’, ‘Momma Miss America’, and ‘OO you’ were ad-libbed on the spot.
Q: Which instruments have you played on the album?
A: Bass, drums, acoustic guitar, lead guitar, piano and organ-Mellotron, toy xylophone, bow and arrow.
Q: Have you played all these instruments on earlier recordings?
A: Yes – drums being the one that I would normally do.
Q: Why did you do all the instruments yourself?
A: I think I’m pretty good.
Q: Will Linda be heard on all future recordings?
A: Could be; we love singing together, and have plenty of opportunity for practice.
Q: Will Paul and Linda become a John and Yoko?
A: No, they will become a Paul and Linda.
Q: Are you pleased with your work?
A: Yes.
Q: Will the other Beatles receive the first copies?
A: Wait and see.
Q: What has recording alone taught you?
A: That to make your own decisions about what you do is easy and playing with yourself is difficult but satisfying”.
“Q: "Why did you decide to make a solo album?"
Paul: "Because I got a Studer four-track recording machine at home, practiced on it, liked the results, and decided to make an album."
Q: "Were you influenced by John's adventures with the Plastic Ono Band?"
Paul: "Sort of, but not really."
Q: "Are all songs by Paul McCartney alone?"
Paul: "Yes, sir."
Q: "Will they be so credited?"
Paul: "It's a bit daft for them to be Lennon/McCartney-credited, so 'McCartney' it is."
Q: "Did you enjoy working as a solo artist?"
Paul: "Very much, as I only had me to ask for a decision, and I generally agreed with myself! Remember, Linda's on it too, so it's really a double act."
Q: "What is Linda's contribution?"
Paul: "Strictly speaking, she harmonizes, but of course it's more than that, because she's a shoulder to lean on, a second opinion, and a photographer of renown. More than all this, she believes in me constantly."
Q: "Where was the album recorded?"
Paul: "At home, at EMI, and at Morgan Studios."
Q: "What is your home equipment - in some detail?"
Paul: "Studer four-track machine. I only had, however, one mike, and I worked without VU meters or a mixer, which meant that everything had to be listened to first for distortion, etc, then recorded. So the answer - Studer, one mike, and nerve."
Q: "Why did you choose to work in the studios you chose?"
Paul: "They were available. EMI is technically very good and Morgan is cozy."
Q: "The album was not known about until it was nearly completed. Was this deliberate?"
Paul: "Yes, because normally an album is old before it even comes out. Witness 'Let It Be.'"
Q: "Why?"
Paul: "I've always wanted to buy a Beatles album like people do and be as surprised as they must be. So this was the next best thing. Linda and I are the only two who will be sick of it by the release date. But we love it really."
Q: "Are you able to describe the texture or feel of the album?"
Paul: "Home, family, love."
Q: "How long did it take to complete?"
Paul: "From just before Christmas, until now. 'The Lovely Linda' was the first thing I recorded at home and was originally to test the equipment. That was around Christmas."
Q: "Assuming all the songs are new to the public, how new are they to you?"
Paul: "One was from 1959 - 'Hot As Sun.' Two are from India - 'Junk' and 'Teddy Boy.' and the rest are pretty recent. 'Valentine Day,' 'Momma Miss America' and 'Oo You' were ad-libbed on the spot."
Q: "Which instruments have you played on the record?"
Paul: "Bass, drums, acoustic guitar, lead guitar, piano, organ, mellotron, toy xylophone, bow and arrow."
Q: "Why did you play all the instruments yourself?"
Paul: "I think I'm pretty good."
Q: "Will Linda be heard on all future records?"
Paul: "Could be. We love singing together and have plenty of opportunity for practice."
Q: "Will Paul and Linda become a John and Yoko?"
Paul: "No, they will become a Paul and Linda."
Q: "What has recording alone taught you?"
Paul: "That to make your own decisions about what you do is easy, and playing with yourself is very difficult but satisfying."
Q: "Is it true that neither Allen Klein nor ABKCO have been nor will be in any way involved with the production, manufacturing, or promotion of this new album?"
Paul: "Not if I can help it."
Q: "Did you miss the other Beatles and George Martin? Was there a moment when you thought, 'I wish Ringo were here for this break?'"
Paul: "No!"
Q: "Assuming this is a very big hit album, will you do another?"
Paul: "Even if it isn't, I will continue to do what I want, when I want."
Q: "Are you planning a new album or single with the Beatles?"
Paul: "No."
Q: "Is this album a rest away from the Beatles or the start of a solo career?"
Paul: "Time will tell. Being a solo means it's 'the start of a solo career...' and not being done with the Beatles means it's just a rest. So it's both really."
Q: "Is your break with the Beatles temporary or permanent, due to personal differences or musical ones?"
Paul: "Personal differences, business differences, musical differences, but most of all because I have a better time with my family. Temporary or permanent? I don't really know."
Q: "Do you foresee a time when Lennon/McCartney becomes an active songwriting partnership again?"
Paul: "No."
Q: "What do you feel about John's peace efforts? The Plastic Ono Band? Giving back his MBE? Yoko's influence?"
Paul: "I love John and respect what he does, but it doesn't really give me any pleasure."
Q: "Were any of the songs on the album originally written with the Beatles in mind?"
Paul: "The older ones were. 'Junk' was intended for 'Abbey Road,' but something happened. 'Teddy Boy' was for 'Let It Be,' but something happened again."
Q: "Were you pleased with 'Abbey Road'? Was it musically restricting?"
Paul: "It was a good album... number one for a long time”.
I think I might wrap up with one more review. It is useful having those words from Paul McCartney about his first solo album. Released at a time when The Beatles were still together, it has never received the love it deserved because of the timing. Also based around the 2011 reissue, Consequence shared their thoughts on McCartney. If seen as inferior to work he would go on to make, I think few McCartney solo albums are as important as his debut:
“When The Beatles broke up in 1970, Paul McCartney certainly didn’t waste any time before launching his solo album McCartney. Wanting a distraction from the break-up of the band, McCartney decided to release McCartney three weeks before The Beatles’ last album Let it Be and only one week after he publicly announced his split from the band. The decision created an even greater rift between him and his former bandmates and angered a lot of loyal Beatles fans who thought McCartney should have delayed the release of his solo debut out of respect for them.
Despite the bad (or good, depending how you looked at it) timing, and even though McCartney produced many chart-topping all-time favorites, such as the timeless “Maybe I’m Amazed”, the album was universally panned by critics at the time. They found McCartney’s rock/pop effort to be lightweight, especially in comparison to John Lennon’s more “daring” solo project. Even Lennon and George Harrison didn’t have many kind words about it, Lennon especially noting the album’s “lack of quality.” The public though, didn’t take long to warm up to it and 31 years later, McCartney, now a double-disc, will be winning over new fans with its sharp remastering and nostalgic journey through the many vibrant emotions on the album. McCartney started writing songs for it as early as 1969 and, though it doesn’t sound groundbreaking in this day and age, he ended up playing every single instrument on the album from the Mellotron to the “bow and arrow” (with backing vocals supplied by his wife Linda) and the entire LP was originally recorded in his house.
Mixed by the Abbey Road team who did the reissued Beatles catalog, and last year’s Band on the Run, the reissued McCartney probably sounds fresher than it did in 1970. All the favorites are still present but in a much sharper tone. The aforementioned and heartbreakingly sincere “Maybe I’m Amazed”, the bluesy rumble of “That Would Be Something” and the involving “Teddy Boy” are joined by a few new surprises. There are outtakes and demos like “Suicide” (a song he wrote when he was 14) and “Woman Kind”, an extra version of “Junk” that turns the song’s minimalism on its head by making it into a swaying instrumental version, “Don’t Cry” (another instrumental re-imagining, this one of “Oo You”), plus a range of live recordings done in Glasgow in 1979 .
McCartney might still sound “lightweight” to some, but it’s an album brimming with the emotional possibilities of love, the realism of depression, and the seductive cries of the unknown. McCartney was such a strong, driving part of The Beatles that it was impossible for his talent and progress to not come through on this album. Yes, the bonus tracks weren’t a necessary addition here, but there’s no denying that McCartney is a near-perfect presentation of the well-crafted rock/pop songs that he was (and still is) famous for, and the rare emotional sincerity that shines through. This album finally allowed McCartney to break free from the constraints that at least he felt was holding him back in the Beatles and gave him permission to explore his musical pathways. The result is retrospective and introspective at the same time. A look back – and a look into – the man he was”.
I am going to leave things there. On 17th April, it will be fifty-five years since the release of the brilliant McCartney. Neil Young is a fan of the album. He said as much when inducting Paul McCartney into the Rock & Roll Hall of Fame in 1999. McCartney himself had great fun making it and says it may have invented Indie music. That idea of knocking about and the D.I.Y. approach. Look at the artists since who have created homemade albums and you can trace that back to 1970’s McCartney. For that reason alone, we need to show it more love. With some beautiful and timeless songs, this album is worthy of celebration. I still think it sound amazing, inspiring and fresh….
IN 2025.