The Paul McCartney Project

McCartney

By Paul McCartneyOfficial album• Part of the collection “Paul McCartney • Studio albums

Timeline See what happened in April 1970
UK release date:
Apr 17, 1970
US release date:
Apr 20, 1970
Sessions This album has been recorded during the following sessions

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Track list

Disc 1


1.

The Lovely Linda

Written by Paul McCartney

0:46 • Studio versionA

Paul McCartney:
Acoustic guitar, Bass, Engineer, Percussion, Producer, Vocals
Phil McDonald:
Mixing engineer

Session Recorded:
December, 1969
Studio:
At home, Cavendish Avenue, London

Mixed:
January 1970
Studio:
EMI Studios, Abbey Road, London


2.

That Would Be Something

Written by Paul McCartney

2:43 • Studio versionA

Paul McCartney:
Acoustic guitar, Bass, Drums, Electric guitar, Engineer, Producer, Vocals
Phil McDonald:
Mixing engineer

Session Recording:
December, 1969
Studio:
At home, Cavendish Avenue, London

Mixed:
January 1970
Studio:
EMI Studios, Abbey Road, London


3.

Valentine Day

Written by Paul McCartney

1:44 • Studio versionA

Paul McCartney:
Acoustic guitar, Bass, Drums, Electric guitar, Engineer, Percussion, Producer
Phil McDonald:
Mixing engineer

Session Recording:
December, 1969
Studio:
At home, Cavendish Avenue, London

Mixed:
January 1970
Studio:
EMI Studios, Abbey Road, London


4.

Every Night

Written by Paul McCartney

2:40 • Studio versionA

Paul McCartney:
Acoustic guitar, Bass, Drums, Producer, Vocals
Phil McDonald:
Engineer, Mixing engineer

Session Recording:
Feb 23, 1970
Studio:
EMI Studios, Abbey Road, London


5.

Medley


1.

Hot As Sun

Written by Paul McCartney

2:08 • Studio versionA

Paul McCartney:
Acoustic guitar, Bass, Bongos, Drums, Electric guitar, Maracas, Organ, Producer
Phil McDonald:
Mixing engineer
Robin Black:
Engineer

Session Recording:
December, 1969
Studio:
At home, Cavendish Avenue, London

Session Overdubs:
February, 1970
Studio:
Morgan Studios, London

Mixed:
February, 1970
Studio:
EMI Studios, Abbey Road, London


2.

Glasses

Written by Paul McCartney

Studio versionA

Paul McCartney:
Engineer, Glasses, Piano, Producer, Vocals
Phil McDonald:
Mixing engineer

Session Recording:
February 21st to 25th, 1970
Studio:
EMI Studios, Studio Two, Abbey Road


6.

Junk

Written by Paul McCartney

1:57 • Studio versionA

Paul McCartney:
Acoustic guitar, Bass, Drums, Producer, Vocals, Xylophone
Phil McDonald:
Mixing engineer
Robin Black:
Engineer

Session Recording:
December, 1969
Studio:
At home, Cavendish Avenue, London

Session Overdubs:
February, 1970
Studio:
Morgan Studios, London


7.

Man We Was Lonely

Written by Paul McCartney

3:00 • Studio versionA

Paul McCartney:
Acoustic guitar, Backing vocals, Bass, Drums, Electric guitar, Percussion, Producer, Vocals
Linda McCartney:
Backing vocals, Vocals
Phil McDonald:
Engineer, Mixing engineer

Session Recording:
Feb 25, 1970
Studio:
EMI Studios, Abbey Road, London


8.

Oo You

Written by Paul McCartney

2:50 • Studio versionA

Paul McCartney:
Aerosol spray, Bass, Cow bell, Drums, Electric guitar, Producer, Tambourine, Vocals
Robin Black:
Engineer, Mixing engineer

Recording:
December, 1969
Studio:
At home, Cavendish Avenue, London

Session Overdubs:
February, 1970
Studio:
Morgan Studios, London


9.

Momma Miss America

Written by Paul McCartney

4:09 • Studio versionA

Paul McCartney:
Acoustic guitar, Bass, Drums, Electric guitar, Engineer, Mellotron, Piano, Producer
Phil McDonald:
Mixing engineer

Session Recording:
December, 1969
Studio:
At home, Cavendish Avenue, London

Mixed:
February 1970
Studio:
EMI Studios, Abbey Road, London


10.

Teddy Boy

Written by Paul McCartney

2:25 • Studio versionA

Paul McCartney:
Acoustic guitar, Backing vocals, Bass, Drums, Engineer, Producer, Vocals
Linda McCartney:
Backing vocals
Phil McDonald:
Mixing engineer
Robin Black:
Engineer

Session Recording:
December, 1969
Studio:
At home, Cavendish Avenue, London

Session Overdubs:
February, 1970
Studio:
Morgan Studios, London


11.

Singalong Junk

Written by Paul McCartney

2:37 • Studio versionA

Paul McCartney:
Drums, Electric guitar, Mellotron, Piano, Producer
Phil McDonald:
Mixing engineer
Robin Black:
Engineer

Session Recording:
December, 1969
Studio:
At home, Cavendish Avenue, London

Session Overdubs:
February, 1970
Studio:
Morgan Studios, London


12.

Maybe I'm Amazed

Written by Paul McCartney

3:54 • Studio versionA

Paul McCartney:
Backing vocals, Bass, Drums, Electric guitar, Organ, Piano, Producer, Vocals
Linda McCartney:
Backing vocals
Phil McDonald:
Engineer, Mixing engineer

Session Recording:
Feb 22, 1970
Studio:
EMI Studios, Studio Two, Abbey Road


13.

Kreen - Akrore

Written by Paul McCartney

4:15 • Studio versionA

Paul McCartney:
Backing vocals, Bass, Drums, Electric guitar, Organ, Percussion, Piano, Producer
Linda McCartney:
Backing vocals
Robin Black:
Engineer

Session Recording:
Feb 12, 1970
Studio:
Morgan Studios, London

About

From Wikipedia:

McCartney is the first solo album by English musician Paul McCartney. It was issued on Apple Records in April 1970 after McCartney had resisted attempts by his fellow Beatles to have the release delayed to allow for Apple’s previously scheduled titles, notably the band’s Let It Be album. McCartney recorded his eponymous solo album during a period of depression and confusion, following John Lennon’s private announcement in September 1969 that he was leaving the Beatles, and the conflict over its release further estranged McCartney from his bandmates. A press release in the form of a self-interview, supplied with UK promotional copies of McCartney, led to the announcement of the group’s break-up on 10 April 1970.

Apart from then-wife Linda’s vocal contributions, McCartney performed the entire album by himself, playing every instrument. Featuring loosely arranged (and in some cases, unfinished) home recordings, McCartney explored the back-to-basics style that had been the original concept for the Let It Be project in 1969. Partly as a result of McCartney’s role in officially ending the Beatles’ career, the album received an unfavourable response from the majority of music critics, although the song “Maybe I’m Amazed” was consistently singled out for praise. Commercially, McCartney benefited from the publicity surrounding the break-up; it held the number 1 position for three weeks on the US Billboard 200 chart and peaked at number 2 in Britain. The album was reissued in June 2011 as part of the Paul McCartney Archive Collection.

Background

Following John Lennon’s announcement in a band meeting on 20 September 1969 that he wanted a “divorce” from the Beatles, Paul McCartney withdrew to his farm in Campbeltown, Scotland. Author Robert Rodriguez describes his frame of mind as: “brokenhearted, shocked, and dispirited at the loss of the only job he had ever known“. While the announcement was not made official, partly for business reasons, McCartney’s period in seclusion with his family coincided with widespread rumours in America that he had died – an escalation of the three-year-old “Paul Is Dead” conspiracy theory. The rumour was broken only by journalists from BBC Radio and Life magazine tracking him down at his farm, High Park.

I nearly had a breakdown. I suppose the hurt of it all, and the disappointment, and the sorrow of losing this great band, these great friends … I was going crazy.” – McCartney to daughter Mary, 2001

McCartney’s months in Scotland created an estrangement between him and his bandmates, further to the division caused by their appointment of Allen Klein as business manager in May that year. McCartney later cited Klein’s appointment as the first “irreconcilable difference” within the Beatles, since he continued to favour New York lawyers Lee Eastman and John Eastman – father and brother, respectively, of his wife Linda. For McCartney, the period following Lennon’s departure was also marked by a bout of severe depression, during which, in his own estimation, he came close to suffering a nervous breakdown.

In his book Fab: An Intimate Life of Paul McCartney (2010), Howard Sounes writes of the McCartneys’ exile at High Park: “This was grim for Linda. She had a seven-year-old and a baby to look after, with a husband who was depressed and drunk. She later told friends it was one of the most difficult times in her life, while Paul reflected that he might have become a rock ‘n’ roll casualty at this point in his career.” With Linda’s encouragement, McCartney began to consider a future outside the Beatles, by writing or finishing songs for his first solo album, McCartney.

[…]

Album artwork

The design concept for the album’s gatefold cover was McCartney’s, with artist Gordon House and designer Roger Huggett hired to “bring Paul’s concept to life“, Spizer writes. Photos by Linda McCartney featured throughout the packaging, including a collage of 21 family snapshots in the gatefold’s inner spread, variously depicting Paul, Linda, seven-year-old Heather (Linda’s daughter by her first marriage), newborn Mary, and the McCartneys’ sheepdog, Martha. The gatefold cover of McCartney was the first among “27 years’ worth” of albums by her husband to feature Linda McCartney’s photography, Madinger and Easter write.

Set against a black background, the front cover image consisted of a bowl of cherry-red liquid placed on a cream-coloured counter and surrounded by loose red cherries, as if the fruit had been emptied from the bowl. On the back cover, a photo taken by Linda in Scotland – described by Madinger and Easter as a “stunning picture” – showed her husband with Mary tucked inside his fur-lined leather jacket.

Apple Records’ scheduling conflict

Maybe John was right. Maybe the Beatles were crap. The sooner I get this album out and get it over with the better.” – McCartney commenting after finishing work on his debut solo album.

McCartney has said that he “boycotted” Apple’s offices after Klein’s arrival in 1969, and biographers observe that his continued isolation in 1970 led to Lennon, Harrison and Starr making business decisions without McCartney’s input. One decision concerned the release of the Let It Be documentary, a necessity in order to fulfil the Beatles’ contractual obligations to film company United Artists.

McCartney had privately agreed a mid-April release date for McCartney with Apple Records executive Neil Aspinall, one of the few people associated with the Beatles who was aware of the project. Its late addition to Apple’s schedule clashed with the imminent release of the Let It Be album, and of Starr’s solo debut, Sentimental Journey, which was due out on 27 March. On 25 March, after discovering that Klein had already arranged to have the release of McCartney postponed, McCartney received an assurance from Harrison, as a director of Apple Records, that his solo album would be issued on 17 April, as planned.

The situation then changed when Spector reported that work on the Let It Be album was almost complete, meaning that it could be issued to coincide with the film’s world premiere, which was scheduled for 28 April, in New York. Doggett writes that “the solution was obvious“, since Let It Be was “a multimedia package” and, as a band venture rather than a solo album, it “should automatically take precedence“. Harrison and Lennon therefore wrote to McCartney on 31 March to say that they had instructed EMI, Apple’s parent label, to postpone his album until 4 June; they also explained the need to stagger the various new releases, particularly in America, where the Hey Jude compilation had been issued on 26 February. Rather than have a member of staff deliver the letter to McCartney at Cavendish Avenue, Starr decided to take it to him personally.

McCartney later described the tone of Starr’s message as “the party line“, to which he reacted badly: “I told [Starr] to get out. I had to do something like that in order to assert myself because I was just sinking … I was getting pummelled about the head, in my mind anyway.” According to Starr, McCartney “went crazy“, threatening: “I’ll finish you now. You’ll pay!” Although the other Beatles backed down over the release of McCartney, the confrontation initiated what Rodriguez terms “a three-against-one war” within the band.

Promotional Q&A and the Beatles’ break-up

It’s a simple fact that [Paul] can’t have his own way, so he’s causing chaos. I put out four albums last year, and I didn’t say a f***ing word about quitting.” – John Lennon, May 1970

On 9 April, McCartney released a Q&A package to the British press, in which he explained his reasons for making his solo album and described its overall theme as “Home, Family, Love“. Compiled with the help of Apple executives Derek Taylor and Peter Brown, the self-interview also contained questions McCartney imagined he would be asked regarding the possibility of the Beatles splitting up. While stopping short of saying that the band was finished, McCartney stated that he did not know whether his “break with the Beatles” would be temporary or permanent.

That same day, McCartney called Lennon, who was undergoing primal scream therapy at the time, to tell him that his album was coming out, but he made no mention of leaving the Beatles. Doggett suggests that McCartney’s intention was not necessarily to break up the band, and cites Beatles confidant Ray Connolly’s recollection that McCartney was “devastated” by the press’ interpretation of his self-interview. After its original publication in the Daily Mirror on 10 April, author Mark Hertsgaard writes that “newspaper headlines around the world reduced the story to screaming variations of PAUL BREAKS UP THE BEATLES“.

Release

McCartney was released in Britain on 17 April 1970 (as Apple PCS 7102), and three days later in America (Apple STAO 3363). Although McCartney’s standing among Beatles fans had plummeted as a result of his announcement, news of the band’s break-up ensured that the album was highly publicised. Adding to this exposure in the US, McCartney commissioned a second set of print advertisements for the album, to counter what Doggett describes as Klein’s “incendiary statement of fact” in the official advertisements, that Apple was “an ABKCO-managed company“.

In the UK, McCartney debuted at number 2, where it remained for three weeks behind the best-selling album of 1970, Simon and Garfunkel’s Bridge Over Troubled Water. By 15 May, McCartney had sold over 1 million copies in the US, and from 23 May, began a three-week stay at number 1 on the Billboard 200 albums chart, eventually going double platinum. Despite “Maybe I’m Amazed” receiving considerable airplay on US radio, McCartney refused to issue it or any other song from the album as a single.

McCartney’s former bandmates voiced their disappointment with the album. Shortly after its release, Harrison described “Maybe I’m Amazed” and “That Would Be Something” as “great“, but the rest, he said, “just don’t do much for me“. Harrison added that, unlike Lennon, Starr and himself, McCartney was probably too “isolated” from other musicians, such that: “The only person he’s got to tell him if the song’s good or bad is Linda.” In a December 1970 interview with Rolling Stone editor Jann Wenner, Lennon dismissed McCartney as “rubbish” and expressed a belief that his primal therapy-inspired album John Lennon/Plastic Ono Band would “probably scare [McCartney] into doing something decent“.

[…]

Critical reception

On release, McCartney was widely criticised for being under-produced and for its unfinished songs. In addition, according to Nicholas Schaffner in his 1977 book The Beatles Forever, McCartney’s attempt to use the Beatles’ break-up to promote his solo album, while presenting himself as a happy family man, “apparently backfired“, since “many observers found the whole thing contrived, tasteless, and rather vicious.” Madinger and Easter write of the album receiving a “critical lambasting” and that the “general sentiment” among reviewers was “something to the effect of ‘He broke up the Beatles for this?!?’” Richard Williams of Melody Maker suggested that “With this record, [McCartney’s] debt to George Martin becomes increasingly clear …” Williams found “sheer banality” in all the tracks save for “Maybe I’m Amazed” and described “Man We Was Lonely” as “the worst example of his music-hall side“.

In a favourable assessment, for the NME, Alan Smith wrote that while on first listen he found McCartney “too harmlessly mild“, his view had changed with time, such that: “Listening to it is like hearing a man’s personal contentment committed to the sound of music. Most of the sounds, effects and ideas are sheer brilliance; much of the aura is of quiet songs on a hot summer night; and virtually all of the tracks reflect a kind of intangible roundness. ‘Excitement’ is not a word to use for this album … ‘warmth’ and ‘happiness’ are.

Writing for Rolling Stone, Langdon Winner found the songs “distinctly second rate” relative to McCartney’s best compositions as a Beatle, with only “Maybe I’m Amazed” “even com[ing] close” to matching that high standard, but he admired McCartney’s vocals and added: “if one can accept the album in its own terms, McCartney stands as a very good, although not astounding, piece of work.” Winner admitted to being repelled by the “tawdry propaganda” surrounding the release, however, about which he emphasised: “Remember, this is all stuff that Paul himself deliberately included [in the album’s press kit], not just some idle comments he let slip to a probing journalist.” The reviewer concluded: “I like McCartney very much. But I remember that the people of Troy also liked that wooden horse they wheeled through their gates until they discovered that it was hollow inside and full of hostile warriors.” More recently, Rolling Stone has deemed the album “so modest it barely registers” in comparison with Lennon’s Plastic Ono Band, adding: “Only the white soul of ‘Maybe I’m Amazed’ distinguishes otherwise unbearably slight confections such as ‘Lovely Linda.’

Stephen Thomas Erlewine of AllMusic writes that McCartney possesses “an endearingly ragged, homemade quality“, with “That Would Be Something“, “Every Night“, “Teddy Boy” and “Maybe I’m Amazed” all “full-fledged McCartney classics“. Although he notes that “the throwaway nature of much of the material … has become charming in retrospect“, Erlewine adds: “Unfortunately, in retrospect it also appears as a harbinger of the nagging mediocrity that would plague McCartney’s entire solo career.” Record Collector has highlighted “Every Night“, “Junk” and “Maybe I’m Amazed” as songs that “still sound absolutely effortless and demonstrate the man’s natural genius with a melody“.

Among Beatle biographers, Robert Rodriguez includes McCartney in his chapter covering the worst solo albums issued by the former band members between 1970 and 1980, saying: “For anyone wanting to get to the root of the most common rap against Paul’s solo output, look no further …” While bemoaning the lack of quality control that allowed “charmless ditties” such as “Teddy Boy” to go under-developed, Rodriguez writes: “What made McCartney so frustrating a listen was not the absence of compelling musical ideas; it was the abundance of them. Had melodies like ‘Momma Miss America’ been teased out into compositions with a beginning, middle, end, and point, McCartney could have ended up as highly regarded in its own way as Plastic Ono Band: a full slate of focused, listener-friendly pop confections that might very well have given fans far less cause for bitterness at the Beatles’ breakup.

In 1999, Neil Young inducted McCartney into the Rock and Roll Hall of Fame and praised McCartney, saying: “I loved that record because it was so simple. And there was so much to see and to hear. It was just Paul. There was no adornment at all … There was no attempt made to compete with the things he had already done. And so out he stepped from the shadow of the Beatles.

Last updated on January 10, 2015


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