The breakup of The Beatles freed John Lennon, but it was much harder for Paul McCartney to accept. Having tried valiantly since 1967 to keep the band together, he now found himself taking the most important steps to break up the most popular band of the sixties. Legal battles with his former Beatles and his shocked reaction to the lousy final mix of ‘Let It Be’ (ignored by Lennon), McCartney cordoned himself off in Scotland with the one person who could possibly have a greater influence on his life than Lennon did. . : his wife Linda.
Standing by his side during the post-Beatles breakup (her determination was necessary at a time when alcohol played an unusually large role in her husband’s life), she would grace every one of McCartney’s records until his death in 1998. , his helper. camp during the colossal flight of Wings in the mid-1970s. The only other musician to appear on the record (although her contribution would be relegated mostly to backing vocals), Linda’s uncanny eye for photography of her gave the record its cherry-laden album cover. McCartney would pay tribute to his partner in the premiere ‘The Lovely Linda’ and in the magnificent ‘Maybe I’m Amazed’.
Although Lennon turned to Phil Spector to produce his somber 1970 release ‘Plastic Ono Band’, McCartney decided to take over production and recording duties, recording mainly on his Scottish farm (although he would record several overdubs at Abbey Road, under the pseudonym Billy Martin). Although ‘Ono Band’ is the more celebrated of the two releases, ‘McCartney’ is the more intriguing record, a compilation of ideas, some brilliant, some not-so-brilliant, some hilariously unfinished, but significantly more raw and honest than many of the previous. albums that Paul McCartney would release in the 1970s and 1980s. With ‘Let It Be’ marred by strings and choral singers, ‘McCartney’ may come as close to the original concept as ‘Be’ envisioned, a raw song for and for the listener. Complete with giggles, coughs and mumbles, ‘McCartney’ had the intimacy of a live concert, one that baffled contemporary critics for its unfinished feel.
Leftover Beatles ‘Junk’ and ‘Teddy Boy’ showed the range of quality of the records, the former a song of lyrical beauty, one fitting nicely with ‘Eleanor Rigby’ and ‘For No One’, the other a bewildering throwaway, devoid of concept or rhyme. The bluesy ‘Valentine Day’ showcased McCartney’s penchant for electric guitar but little else, while ‘Every Night’ proved to be one of the best pop songs of the year. Both inspired and unsure of himself, the album is a powerful insight into its author’s fractured and fragile mind.
Although Lennon has long been recognized as the most experimental of the Beatles, it was McCartney who proved to be the most avant-garde (he was the man who suggested the tape loops for ‘Tomorrow Never Knows’ and the chaotic orchestration of the band’s magnum opus’). A Day In The Life’), ‘Hot As Sun/Glasses’, the prototype of The Fireman’s records with which he collaborated with Youth in the nineties, a great scheme for future Cage-like compositions and esoteric melodies. ‘Ooh You’ and ‘Momma Miss America’ also hit the left of the musical field, ‘Man We Was Lonely’ its two thumbs up for 1920s blues singers, though the oddly titled ‘Kreen-Akore’ proved be an unnecessary indulgence to follow the best track on the album.
‘McCartney’s indelible force would be remembered for a four-minute composition, McCartney’s best, second only to ‘Yesterday’, the incredible ‘Maybe I’m Amazed’. A low-key piano ballad brought to life by McCartney’s tender voice, the song would be a favorite among soul and rock singers Rod Stewart, Dave Grohl and Norah Jones – just three of many who have put on his stamp on McCartney’s love letter. Backed by an image of McCartney with firstborn Mary under her coat, ‘McCartney’ was a general family affair, Paul and Linda against the world.
Charmingly flawed, yet brutally imaginative and direct in his delivery, McCartney proved he could deliver without his Liverpudlian friends. As if to better explain his intentions, ‘McCartney’ was supplemented by a Q&A declaring the end of The Beatles, much to Lennon’s fury. Such a decision may have been regrettable, giving critics license to criticize McCartney and all he stood for. Lennon labeled the album poor, McCartney would eventually come to agree with him. They were all wrong!
