Paul McCartney is a name synonymous with music royalty. His influence spans generations, from the groundbreaking era of the Beatles to a prolific solo career that continues to this day. With a catalog brimming with chart-topping hits, it’s easy for some gems to be overshadowed by the ubiquitous anthems. This exploration delves into the lesser-known corners of McCartney’s discography, uncovering hidden treasures from each of his mainstream studio albums. We’ll bypass the familiar “silly love songs” and focus on the moments where McCartney truly stretched his creative muscles, revealing a depth and diversity often missed amidst the glare of superstardom. Prepare to rediscover the musical genius of Paul McCartney through the lens of his underrated masterpieces.
The Early Years: Solo Beginnings and Wings Take Flight
McCartney’s solo journey began in the wake of the Beatles’ disbandment, a period marked by both vulnerability and a renewed sense of creative freedom. His debut solo album, simply titled McCartney, offered a glimpse into his introspective world.
“Every Night” (McCartney, 1970)
This poignant ballad, a remnant from the Beatles’ final sessions, carries a raw emotional weight that could have easily found a home on one of their later albums. Discarded attempts from January 1969 featured ill-fitting slide guitar contributions from John Lennon. Ultimately, McCartney revisited the track in February 1970, recording a solo rendition at Abbey Road on the same day he laid down the iconic “Maybe I’m Amazed.” The song’s wordless bridge echoes the melody of “You Never Give Me Your Money,” perhaps an unintentional yet powerful callback to his past as he embarked on his solo path.
Ram (1971), co-created with his wife Linda, showcases McCartney’s eclectic musical sensibilities. The album’s closing track, “Back Seat of My Car,” perfectly embodies this adventurous spirit.
“Back Seat of My Car” (Ram, 1971)
A sprawling, ambitious piece, “Back Seat of My Car” might be considered overstuffed with ideas. It’s a whirlwind journey through musical styles, veering from ’50s rock and roll to cocktail lounge crooning, punctuated by sweeping strings and multi-layered vocals. Despite its occasional lack of focus, the song captures the boundless creativity and unapologetic pop sensibilities that make Ram such a unique and enduring work.
The formation of Wings marked a new chapter, and their debut album, Wild Life, included a track often interpreted as a message to his former bandmate.
“Dear Friend” (Wild Life, 1971)
Widely perceived as a response to John Lennon’s lyrical barbs on Imagine, “Dear Friend” actually predates those attacks, originating from the Ram sessions. The song’s melancholic tone and unanswered questions reveal McCartney’s genuine attempt at reconciliation. Richard Hewson’s string arrangement adds a layer of heartbreaking emotion, underscoring the complex relationship between the two former Beatles.
Red Rose Speedway (1973), though initially intended as a double album, was eventually condensed, leaving some intriguing tracks, like “Get on the Right Thing,” to be rediscovered.
“Get on the Right Thing” (Red Rose Speedway, 1973)
Another Ram outtake, “Get on the Right Thing,” showcases McCartney’s euphoric songwriting and vocal prowess. The song’s soaring chorus is undeniably infectious, while McCartney’s Little Richard-inspired vocal delivery adds a touch of raw energy. Despite its somewhat abrupt ending, the track stands as a testament to McCartney’s ability to craft uplifting and joyful melodies.
Mid-70s: Wings Soar to New Heights
The mid-’70s saw Wings achieve global success with Band on the Run. Amidst the hits, a subtle yet significant nod to Lennon can be found in “Let Me Roll It.”
“Let Me Roll It” (Band on the Run, 1973)
While McCartney later claimed the song was simply about rolling a joint, its sonic elements strongly suggest a musical dialogue with Lennon. The “Instant Karma” echo effect on the vocals, the “Revolution”-esque guitar tone, and the raw vocal shredding at the end all point towards a deliberate emulation of Lennon’s signature style. Lennon himself seemed to acknowledge the connection, later incorporating the riff into his 1974 instrumental track, “Beef Jerky.”
Venus and Mars (1975) offered a glimpse into McCartney’s domestic bliss, but also contained a hidden gem that hinted at unresolved tensions.
“Call Me Back Again” (Venus and Mars, 1975)
This simmering deep cut is arguably one of Wings’ most underrated tracks. Tony Dorsey’s vibrant brass arrangements provide a stark contrast to McCartney’s pained vocals, as he delivers lyrics that could be interpreted as another message to Lennon. The song’s emotional depth and musical complexity make it a standout on an album that often prioritized accessibility over experimentation.
At the Speed of Sound (1976) showcased a more democratic approach within Wings, with each member contributing songs. However, McCartney’s “Beware My Love” stands out as a particularly powerful track.
“Beware My Love” (At the Speed of Sound, 1976)
Rushed to completion before a major US tour, At the Speed of Sound occasionally suffers from a lack of polish. However, “Beware My Love” transcends these limitations, showcasing McCartney’s ability to create complex and layered arrangements. Interestingly, a superior version of the song exists, featuring John Bonham on drums instead of Wings’ Joe English, highlighting the potential of the track with a more dynamic rhythmic foundation.
Late ’70s and Early ’80s: Exploring New Sounds and Collaborations
The late ’70s and early ’80s saw McCartney experimenting with different musical styles, from the laid-back vibes of London Town to the more polished productions of Tug of War.
“I’ve Had Enough” (London Town, 1978)
London Town is largely known for its softer, more mellow tracks. “I’ve Had Enough,” however, breaks the mold with its raw energy and driving rock and roll spirit. Propelled by Jimmy McCulloch’s fiery guitar work, the song harkens back to the early Beatles’ energetic performances. Despite its potential, the track was somewhat overlooked, perhaps overshadowed by the album’s more commercially successful singles.
“To You” (Back to the Egg, 1979)
Amidst the stylistic shifts of Back to the Egg, “To You” stands out as a blast of new wave energy. McCartney’s Ric Ocasek-influenced vocals and Laurence Juber’s frenetic guitar work create a sound that would soon become synonymous with the burgeoning MTV era. Sadly, the track’s innovative spirit was somewhat lost amid the album’s uneven second half.
“One of These Days” (McCartney II, 1980)
McCartney II, a largely experimental and home-recorded album, features “One of These Days,” a surprisingly effective acoustic ballad. The song’s simple arrangement, featuring double-tracked and synthesized vocals, allows the emotional core of the melody to shine through. While the pastoral imagery might evoke comparisons to lesser-known tracks from the White Album, its understated beauty stands out within the context of McCartney II‘s more unconventional offerings.
“Wanderlust” (Tug of War, 1982)
Originally conceived as a collaboration with George Harrison, “Wanderlust” eventually became a solo McCartney track, enriched by Philip Jones’ shimmering brass arrangements. The song’s warm, inviting melody and reflective lyrics make it a standout on Tug of War, an album marked by its polished production and collaborative spirit. A leaner version, recorded with Ringo Starr, later appeared on Give My Regards to Broad Street.
“Sweetest Little Show” (Pipes of Peace, 1983)
Pipes of Peace, often considered a collection of Tug of War outtakes, contains the hidden gem “Sweetest Little Show.” This exuberant track, reminiscent of Wings’ signature sound, originated from a jam session with Denny Laine. The spontaneous applause from studio assistants captured during the recording adds to the song’s infectious energy, making it a welcome reprieve from the album’s more calculated attempts at modernization.
“Not Such a Bad Boy” (Give My Regards to Broad Street, 1984)
Amid the generally underwhelming Give My Regards to Broad Street, “Not Such a Bad Boy” shines as a surprisingly energetic rocker. Backed by Chris Spedding and Dave Edmunds on guitars and Ringo Starr on drums, McCartney delivers a spirited performance, injecting a much-needed dose of rock and roll energy into an album largely dominated by re-recorded Beatles material.
“Stranglehold” (Press to Play, 1986)
“Stranglehold” kicks off the synth-heavy Press to Play with an unexpected burst of energy. McCartney’s forceful vocals and the song’s driving groove hint at a potential return to form, reminiscent of classic Wings anthems like “Jet.” However, the promise of “Stranglehold” is largely unfulfilled by the rest of the album, which often succumbs to the overproduced sound of the era.
“You Want Her Too” (Flowers in the Dirt, 1989)
Co-written and performed with Elvis Costello, “You Want Her Too” showcases the brilliant synergy of their brief yet impactful collaboration. Costello’s snarling vocals perfectly complement McCartney’s more melodic approach, creating a dynamic and engaging listening experience that transcends the typical ’80s duet trope. The song’s episodic structure and lyrical complexity make it a highlight of Flowers in the Dirt, an album that marked a significant creative resurgence for McCartney.
“Mistress and Maid” (Off the Ground, 1993)
Another Costello collaboration, “Mistress and Maid” blends theatrical elements reminiscent of “Eleanor Rigby” with the kaleidoscopic textures of “Being for the Benefit of Mr. Kite.” However, this is not a nostalgic throwback. The song’s sharp lyrics and call-and-response vocals offer a pointed critique of male chauvinism, showcasing a willingness to address social issues with Costello’s characteristic wit and directness.
“Souvenir” (Flaming Pie, 1997)
Inspired by the Beatles’ Anthology project, Flaming Pie saw McCartney embracing a more straightforward approach to songwriting and recording. “Souvenir,” produced by Jeff Lynne, showcases McCartney’s under-explored R&B influences. The song’s raw, soulful vocals and driving groove create a sense of gritty authenticity, reminiscent of classic McCartney tracks like “I’ve Got a Feeling.”
“No Other Baby” (Run Devil Run, 1999)
Following the loss of his wife Linda, McCartney sought solace in the music of his youth, revisiting the rock and roll and R&B sounds that shaped his early career. Run Devil Run, a collection of covers and originals, features “No Other Baby,” a Bobby Helms cover that poignantly expresses McCartney’s grief and longing. The song’s raw emotion and heartfelt delivery make it a deeply moving tribute to his late wife.
“Spinning on an Axis” (Driving Rain, 2001)
Driving Rain, an album grappling with themes of loss and new beginnings, features “Spinning on an Axis,” a track that embraces a more spontaneous and less calculated approach. The song’s loose groove and first-take freshness provide a welcome contrast to the album’s more meticulously crafted arrangements, showcasing McCartney’s ability to capture raw emotion and musical spontaneity.
“How Kind of You” (Chaos and Creation in the Backyard, 2005)
Produced by Nigel Godrich, Chaos and Creation in the Backyard saw McCartney stepping outside his comfort zone, embracing a more experimental and less polished sound. “How Kind of You,” a vulnerable expression of gratitude, features a mesmerizing drone-like accompaniment that adds a layer of ethereal beauty to the song’s emotional core. Godrich’s production choices create a sonic landscape that perfectly complements McCartney’s introspective lyrics.
“See Your Sunshine” (Memory Almost Full, 2007)
Written during a period of personal upheaval, Memory Almost Full finds McCartney revisiting the classic Wings sound with “See Your Sunshine.” This upbeat, infectious track serves as a reminder of McCartney’s enduring ability to craft pure pop gems, even in the face of adversity. The song’s optimistic spirit and effortless melody make it a standout on an album that explores a wide range of musical styles.
“Sun Is Shining” (The Fireman’s Electric Arguments, 2008)
The Fireman, McCartney’s collaborative project with Youth, offers a more experimental and improvisational outlet for his creative energies. Electric Arguments, the duo’s third album, features “Sun Is Shining,” a deceptively simple track that embodies the project’s playful and spontaneous spirit. Even within a familiar lyrical theme, the song’s raw energy and unconventional arrangement distinguish it from McCartney’s more polished solo work.
“I Can Bet” (New, 2013)
New saw McCartney collaborating with a diverse group of producers, resulting in an album that blended classic songwriting with contemporary production techniques. “I Can Bet” updates the Wings sound for the 21st century, incorporating programmed elements and looped textures while retaining the core of McCartney’s melodic genius. The song’s layered instrumentation and infectious energy make it a highlight of New.
“Dominoes” (Egypt Station, 2018)
“Dominoes,” from Egypt Station, is a musical journey through McCartney’s extensive career. The song’s shifting styles and sonic textures pay homage to different eras of his musical past, from the acoustic intimacy of the White Album to the synth-driven sounds of the ’80s. The lyrics, reflecting on the unexpected turns of life, resonate with a sense of nostalgic reflection and a continued passion for musical exploration.
“Deep Down” (McCartney III, 2020)
Recorded during the isolation of the COVID-19 pandemic, McCartney III sees McCartney returning to his home-recording roots, embracing a raw and unfiltered approach to songwriting and production. “Deep Down,” a driving, groove-oriented track, embodies this spirit of creative freedom. The song’s infectious energy and enigmatic lyrics capture a sense of uninhibited expression, a testament to McCartney’s enduring musical curiosity and his ability to find inspiration in unexpected places.
FAQ: Delving Deeper into McCartney’s Underrated Tracks
Here are some frequently asked questions about Paul McCartney’s less-celebrated songs:
Q: Why are some of McCartney’s best songs often overlooked?
A: With such a vast and successful catalog, some gems inevitably get lost in the shuffle. The sheer volume of hits can overshadow deeper cuts, and radio play often favors the more commercially viable singles.
Q: Where can I find these underrated tracks?
A: While not always readily available on mainstream radio, these songs can be found on the original albums, various compilations, and streaming services. Exploring McCartney’s discography beyond the greatest hits collections is a rewarding experience.
Q: Are there any other hidden gems not mentioned in this article?
A: Absolutely! This exploration is just a starting point. McCartney’s vast catalog offers countless opportunities for discovery. Dive in and explore – you might find your own personal favorite among his lesser-known tracks.
We encourage you to share your thoughts, favorite underrated McCartney songs, and any questions you may have in the comments below. Let’s celebrate the depth and diversity of Paul McCartney’s musical legacy together.
