Is there a more harshly scrutinized – and frequently misunderstood – discography in popular music than that of the cutest ex-Beatle? John's been canonized in death, and it seems like bad karma to say anything too harsh about George. Nobody expected much from Ringo, so he's always gotten a free pass. But Paul McCartney's solo projects, particularly in the 70s and 80s, became the broad side of the barn for music critics. To this day, the mere mention of Wings can bring a titter to many a rock snob.
I set out to listen to, and fully absorb, every album McCartney has made in the 43 years since the Beatles split. I've rated each album using the Rolling Stone scale – that is, from 1 to 5 stars. This list does not include live albums, film soundtracks, orchestral forays, or side projects recorded under pseudonyms. All of these albums are available on Spotify or YouTube if you care to form your own opinions, and I highly recommend taking this tour for yourself.
Now let's dig in.
McCartney, 1970
4 stars
With the Beatles kaput, Paul was finally free to sit in a room by himself and go bonkers. Few of these songs are songs at all; it’s more an abandoned sketchbook than an album. But “Maybe I’m Amazed” is evergreen, and even the thinnest goofs (“Junk”) won me over with charm and uncanny musicality.
Ram (Paul & LindaMcCartney), 1971
4 stars
Unalloyed McCartney. More professional than its predecessor but just as messy. Bursting with melodies, “Ram”is sloppy, brilliant, and as lovable as it is irritating. Every track sticks in your noggin, and every track could have been improved if Paul had a real collaborator to keep him in line. But if you don’t like “Uncle Albert/Admiral Halsey,” I don’t know how to talk to you.
Wild Life (Wings), 1971
2 stars
Paul only manages to give his new“band” 2 memorable tunes, and those songs close the album. Until then it’s just McCartney coasting on his cuteness, and barely. Only the adorable “Tomorrow” and the cryptically bitter “Dear Friend” save this one from being completely missable.
Red Rose Speedway (Paul McCartney & Wings), 1973
2 stars
Strike two for Wings. It’s less annoying than “Wild Life” but also more boring. “My Love” gets a pass because I have a heart, for Christ’s sake. But the laziness of the closing medley is unforgivable -- three non-songs strung together still equals 0.
Band on the Run (Paul McCartney& Wings), 1973
4½ stars
Now this is more like it. From the daffy title saga to the bouncy closer (“Nineteen Hundred and Eight-Five”), it’s a master class in popular songwriting. “Jet” rocks, “Bluebird” is a winning James Taylor impersonation, and “Let Me Roll It” proves Paul has soul. Nearly perfect.
Venus and Mars (Wings), 1975
3½ stars
Paul really wants us to think Wings is a real band, so he lets his guitarists take one turn each in the frontman spot. The results aren’t too shabby, but it’s McCartney’s show as usual. “Listen to What the Man Said” is the sweetest pop sugar ever tasted, but the real key is “Letting Go,” the great FM rock staple that never was.
Wings at the Speed of Sound (Wings), 1976
2½ stars
Almost half of the album showcases Wings’ non-Beatle personnel, with mixed results. There’s nothing wrong with silly love songs, but Linda singing lead just doesn’t pass muster. “Let ‘Em In” and “Warm and Beautiful” allow us glimpses of the genius at the helm, but more would be nice.
London Town (Wings), 1978
2½ stars
One thing you can say about it: “With a Little Luck” has perhaps the best vocal McCartney ever laid down. The rest is pleasant and forgettable, though the delectable “I’m Carrying” does deserve mention. And in case you forgot it was the late '70s, dig that smooth electric piano.
Back to the Egg (Wings), 1979
2½ stars
After hearing the record three times, I still struggled to recall more than two titles (out of fourteen). “Arrow Through Me” is expert elevator music, and "Rockestra Theme” might be a good workout soundtrack if you’re sick of “Eye of the Tiger”. None of it is great, none of it is embarrassing, and it ends sweetly with one of Paul’s 1940s pastiches. Fine.
McCartney II, 1980
2½ stars
Sitting in a room and going bonkers:the sequel. But this time it’s chilly synths instead of warm acoustics. I like the bluesy twang of “On the Way”. “Summer’s Day Song” is lovely and “Waterfalls” is the McCartney masterpiece you’ve probably never heard. But “Temporary Secretary” is easily the most infuriating tripe he ever unleashed.T ruly unique in McCartney’s large body of work, for better or worse.
Tug of War, 1982
4½ stars
Everything works. He has plenty of chances to stumble and never does. The majestic title track lives up to its anthemic ambition. The John Lennon tribute is touching and tasteful. Oddities like “Ballroom Dancing” and “The Pound is Sinking” remind us he’s still capable of surprises. And you know what? “Ebony and Ivory” makes me smile every time.
Pipes of Peace, 1983
2½ stars
This “Tug of War” sequel is a bit slicker and noticeably duller. Paul strikes gold with Michael Jackson on “Say Say Say”, one of the few times he’s ever allowed himself to be upstaged. Maybe he just didn’t realize? “The Other Me” is almost a classic but another draft of those lyrics would have helped. (Yes, I know “landed in a hole” rhymes with “a little self control”, but c’mon, it’s lazy). Also: never, ever use a children's choir. Just don't.
Press to Play, 1986
2 stars
Smells like the ‘80s. Middle age sinks in and Paul wants a hit, so he teams up with Phil Collins’ producer and makes his most sterile effort to date. Sure, some of the lyrics are impressively weird, but not enough to make you want to hear them again. The closest thing to a good song is the single,“Press”, and... I don’t want to talk about it anymore.
Choba B CCCP, 1988
3 stars
Initially released exclusively behind the Iron Curtain, this “gift” to the Russian people sees Paul ripping through some old rock 'n' roll favorites. There is an offhand, even rote quality to some of the readings, though his Little Richard remains as good as the real thing (“Lucille”). And finally getting a full recording of “Twenty Flight Rock”, the song that first impressed a teenage acquaintance named Lennon, has sentimental value to die-hards, communist or no.
Flowers in the Dirt, 1989
4 stars
McCartney strikes up a songwriting partnership with acerbic fellow Liverpudlian Elvis Costello, transparently inviting the obvious Lennon comparison.The surprise is the union exceeds expectations, especially on the instant classic “My Brave Face”. “You Want Her Too” brilliantly casts Declan as the devil on sweet Paul's shoulder, as canny a choice as having John voice the Greek chorus on “She's Leaving Home”. McCartney's solo compositions are strong too, especially the father-son ditty “Put it There”. McCartney like the album so much he was inspired to tour behind it. He's hardly left the road since.
Off the Ground, 1993
3½ stars
Two more mini-masterpieces, co-written with Costello, are the highlights of this solid set. “Hope of Deliverance” is just about perfect too, and how about the darkness that creeps into “Biker Like an Icon”? Paul is maturing, or at least becoming less afraid to go to certain places thematically, and it's encouraging. The production feels a bit flabby and soft: too much echo puts this most intimate of singers at a distance. Still, Paul's songcraft and unflappable optimism allow this one take flight.
Flaming Pie, 1997
3½ stars
An utterly charming, unambitious grab-bag, patched together from sessions with several different producers across half a decade. Surprise guest Steve Miller fits in well, especially on “Young Boy” and the enjoyable near-novelty “Used to Be Bad”. “Great Day” and “Calico Skies” sound just like escapees from 1970's McCartney, only the artist sounds a bit grayer, a bit sadder. It's not a bad thing.
Run Devil Run, 1999
4 stars
Mourning his lovely Linda, Paul reconnects with the music of his youth, covering classics by The King and Carl Perkins et al. with a crack studio crew. It easily could have been evidence of an over-the-hill ex-Fab running out of ideas. Besides, this is his second album of r'n'r covers. Instead, it astonishes. “All Shook Up” and “Honey Hush” never rocked this hard in other hands. Even the Macca originals, written to blend in with the covers, succeed, especially “What It Is”, which the singer just slaughters. Never got to see teenage Paul rock the Cavern? This is the closest you'll get.
Driving Rain, 2001
3½ stars
“Lonely Road”, mournful but propulsive, kicks off McCartney's first 21st century statement with true grit. “From a Lover to a Friend” insists that love never dies, and I believe it. In fact, most of the record succeeds, thanks to sharp production and Paul's sticky tunes. But it rambles on longer than it needs to, spinning its wheels until finally ending on the facile 9/11 anthem “Freedom”, which leaves a sour taste. A good album that just misses being great.
Chaos and Creation in the Backyard, 2005
5 stars
His solo masterpiece. McCartney handles most of the instruments himself under the watch of aggressive producer Nigel Godrich (Beck, Radiohead). No yes-man, Godrich filters out McCartney's more cloying instincts and the results are a jolt. Most shocking is “Riding to Vanity Fair,” a bitter tale of a curdled friendship. “Jenny Wren” aches gorgeously, “Fine Line” mesmerizes, and “English Tea” is whimsical without being annoying(!) Even the romantic ballads glow with wisdom, never weighed down by excessive sentiment. It's a crowning achievement on an already heavily decorated career.
Memory Almost Full, 2007
4 stars
Paul, fully inhabiting his elder statesman status, takes us on a sunny nostalgia trip. “Vintage Clothes”, “Ever Present Past” and “That Was Me” all cast a fond eye on a life well spent. McCartney's not just looking back, though: “End of the End” touchingly essays his last wishes (“On the day that I die, I'd like jokes to be told / And stories of old to be rolled out like carpet”). As usual, there are great melodies to spare, but the most fetching is the jangly single “Dance Tonight”. And that vocal on “House of Wax”? Jesus Christ.
Kisses on the Bottom, 2012
3½ stars
Another covers project,this one has McCartney paying tribute to his parents' generation, crooning WWII-era staples like “It's Only a Paper Moon” and “Always”. These aren't interpretations; they're reenactments. Tommy LiPuma and pianist Diana Krall create a smooth jazz backdrop while McCartney does his best to give life to these well-worn, well-loved classics. The best moments are on the more obscure selections, like Frank Loesser's “More I Cannot Wish You”, which is as warm as a glass of red wine by the fireplace. One of the two originals, “My Valentine”, might even find a place in the Songbook someday. Somewhere toward the back.
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