| McCartney | ||||
|---|---|---|---|---|
 | ||||
| Studio album by | ||||
| Released | 17 April 1970 (1970-04-17) | |||
| Recorded | 1 December 1969 –25 February 1970 | |||
| Studio | McCartney's home, London Morgan,Willesden, London EMI, London | |||
| Genre | Lo-fi[1] | |||
| Length | 34:22 | |||
| Label | Apple | |||
| Producer | Paul McCartney | |||
| Paul McCartney chronology | ||||
| ||||
McCartney is the debut solo studio album by the English rock musicianPaul McCartney, released on 17 April 1970 byApple Records. McCartney recorded it in secrecy, mostly using basic home-recording equipment at his house inSt John's Wood. Mixing and some recording took place at professional London studios. In its loosely arranged performances,McCartney eschewed the polish ofthe Beatles' records in favour of alo-fi style. Apart from occasional vocal contributions by his wife,Linda, McCartney performed the entire album alone by overdubbing on four-track tape.
McCartney recorded the album during a period of depression and confusion, followingJohn Lennon's private departure from the Beatles in September 1969. Conflicts over the release of McCartney's album further estranged him from his bandmates, as he refused to delay the album's release to allow for Apple's previously scheduled titles, notably the Beatles' albumLet It Be. A press release in the form of a self-interview supplied with UK promotional copies ofMcCartney led to theBeatles' break-up.
McCartney received mostly negative reviews, while McCartney himself was vilified for seemingly ending the Beatles. The record was widely criticised for being under-produced and for its unfinished songs, although the ballad "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 USBillboard Top LPs before yielding that position toLet It Be. It peaked at number 2 in Britain.
In later years, the retrospective reviews became more positive, and the album was credited for influencingDIY musicians and lo-fi music styles.[1][2] McCartney also recorded two successor albums:McCartney II (1980) andMcCartney III (2020). In 2011, the firstMcCartney record was reissued with bonus tracks as part of thePaul McCartney Archive Collection.
AfterJohn Lennon requested a "divorce" fromthe Beatles in a band meeting on 20 September 1969,[3]Paul McCartney withdrew to his farm inCampbeltown, Scotland.[4] Author Robert Rodriguez describes his frame of mind as "brokenhearted, shocked, and dispirited at the loss of the only job he had ever known".[5] While Lennon's departure was not made official, partly for business reasons,[3][6] McCartney's period in seclusion with his family coincided with widespread rumours in America that he had died[7] – an escalation of the three-year-old"Paul Is Dead" rumour.[8][9] The rumour was dispelled by journalists fromBBC Radio[10] andLife magazine, who tracked him down at his farm, High Park.[11][12]
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.[13]
McCartney's two months in Scotland created an estrangement between him and his bandmates,[14] further to the division caused by their appointment ofAllen Klein as business manager in May that year.[15][16] McCartney later cited Klein's appointment as the first "irreconcilable difference" within the Beatles, since he continued to favour New York lawyersLee Eastman and John Eastman[17] – father and brother, respectively, of his wifeLinda.[18] For McCartney, the period following Lennon's departure was also marked by a bout of severe depression,[4] during which, in his own estimation, he came close to suffering anervous breakdown.[19][20][21]
In his bookFab: An Intimate Life of Paul McCartney,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."[13] With Linda's encouragement, McCartney began to consider a future outside the Beatles, by writing or finishing songs for his first solo album,McCartney.[5][13]
I was like a professor in his laboratory. Very simple [set-up], as basic as you can get ... Even now that album has an interesting sound. Very analogue, very direct.[22]
McCartney and his family returned to London shortly before Christmas 1969,[13] and he started work on the album at his home inCavendish Avenue,St John's Wood.[23] The recordings were carried out on a recently deliveredStuderfour-tracktape recorder, without amixing desk,[24][25] and therefore withoutVU displays as a guide for recording levels.[26][27] McCartney described his home-recording set-up as "Studer, one mic, and nerve".[23][26] He played all the musical instruments on the album[13] – from acoustic and electric guitars and bass to keyboards, drums and various percussion instruments – with Linda supplying backing vocals on some songs.[28]
The album's recordings eschewed the musical sophistication that distinguished the Beatles' work with producerGeorge Martin, particularly the band's 1969 releaseAbbey Road.[29] According toThe New Rolling Stone Encyclopedia of Rock & Roll,McCartney is "a one-man-studio-band LP" with "a pronounced homemade quality; it was spare and sounded almost unfinished".[30] Rodriguez writes that in his avoidance of theAbbey Road studio aesthetic, "In his own way, [McCartney] was fulfilling the 'as-nature-intended' theme of the aborted 'Get Back' sessions, albeit as a one-and-a-half man band."[31]
McCartney first taped a 45-second portion of a song he wrote in Campbeltown, "The Lovely Linda".[32] As with much of the album, McCartney sang the composition accompanied by acoustic guitar before filling the remaining tracks on the Studer with a second guitar part, bass and percussive accompaniment.[25][33] Although this performance of "The Lovely Linda" was only intended as a test of the new equipment,[33] it would be included on the official release, as the opening track,[25] complete with the sound of McCartney giggling at the end of the recording.[13] Reflected in the sequencing of the album, the second and third songs McCartney taped were "That Would Be Something", also written in Scotland, and the instrumental "Valentine Day".[32] The latter was one of three selections onMcCartney that its creator "ad-libbed on the spot", he later claimed,[26] along with the similarlyrock-oriented "Momma Miss America" and "Oo You".[34]
On 3 January 1970, he interrupted work onMcCartney to participate in the Beatles' final recording session,[35] when he,George Harrison andRingo Starr recorded the Harrison composition "I Me Mine" at EMI Studios (nowAbbey Road Studios).[36][37] The next day, the three musicians revisited McCartney's "Let It Be",[35] a song recorded by the band in January 1969 for their forthcomingGet Back film project.[37][38]
On 12 February, McCartney took his Studer tapes toMorgan Studios, in the north-west London suburb ofWillesden,[27] in order to copy all the four-track recordings onto eight-track tape, to allow for furtheroverdubbing.[23] To maintain the project's secrecy,[23] McCartney worked at Morgan under the pseudonym "Billy Martin".[39][nb 1] By this point, he had also taped "Junk" and "Teddy Boy" at Cavendish Avenue,[23] two songs he began writing during the Beatles'1968 visit to India and had rehearsed with the band in January 1969.[40][41] The other recordings transferred to eight-track included "Glasses" – asound effects piece featuring "wineglasses played at random", in McCartney's description[42] – and "Singalong Junk",[27] an instrumental version of "Junk" to which he now added astrings part played on aMellotron.[43] Among other overdubs on these eight-track mixes, McCartney supplied a vocal to the previously instrumental "Oo You".[42]
While at Morgan, he also taped "Hot as Sun", a "Polynesian-influenced" instrumental dating from the late 1950s, according to authorBruce Spizer,[42] and "Kreen-Akrore",[27] which Sounes describes as an "experimental percussion track".[13] Recorded on 15 February,[44] "Kreen-Akrore" was McCartney's attempt to describe sonically a hunt by theKreen-Akrore tribespeople of the BrazilianAmazon,[42] after he had watched anATV documentary on their way of life.[43][41] Amid musical interludes featuring electric guitar, organ and piano,[42][41] McCartney used abow and arrow he purchased at theKnightsbridge department storeHarrods, according to engineer Robin Black.[45] The latter was among the few people who knew that McCartney was making a solo album.[4][24] Linda contributed the breathing and animal-like sounds, with McCartney, on "Kreen-Akrore".[41][43]
On 21 February 1970, McCartney moved to the more familiar EMI Studios,[46] with the booking again under the name of Billy Martin.[47] There, he carried out further mixing on the previously recorded material, as well as taping new selections.[48] On 22 February, McCartney recorded "Every Night"[47] – another composition rehearsed during theGet Back sessions,[49] and a song that authors Chip Madinger and Mark Easter note as the "first 'professional' recording" on the finished album, given its position as track 4, following "Valentine Day".[32] On 15 February[50] McCartney recorded "Maybe I'm Amazed",[47] a piano-based ballad dedicated to Linda,[13] and, in Madinger and Easter's description, "the most elaborate instrumental track on theLP".[43] The final new recording forMcCartney was "Man We Was Lonely", which he taped on 25 February,[47] having composed it earlier that day.[43][51] It is the track on the album on which Linda's vocals are most audible.[43]
Final mixes of songs such as "Junk" and "Teddy Boy" were completed at Morgan Studios along with the remaining tracks on the album.[23] During this process, "Hot as Sun" and "Glasses" were segued into amedley, ending with a snippet of McCartney performing the song "Suicide" on piano.[32][52] Unacknowledged in the track listing for the album, "Suicide" was a composition that he had intended forFrank Sinatra to record.[53][nb 2] He also edited two separate instrumental pieces into one for "Momma Miss America";[42] McCartney can be heard shouting the first portion's original title, "Rock 'n' Roll Springtime", on the recording.[25][32]
On 23 March, while American producerPhil Spector began mixing theGet Back tapes for release as the Beatles'Let It Be album in EMI's Studio 4,[54] McCartney completed work on his album in Studio 2.[23] Although McCartney has frequently maintained that he was ignorant of Spector's involvement until receiving anacetate copy ofLet It Be for approval,[55][56][57] authorPeter Doggett writes that after "several weeks", McCartney had finally "answered the string of messages he'd received about Phil Spector" and had agreed to let him prepareLet It Be for release.[58]
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For the album's gatefold cover, artist Gordon House and designer Roger Huggett worked on a design concept by McCartney.[42] Photos by Linda McCartney featured throughout the packaging, including a collage of 21 family snapshots in the jacket's inner spread.[59] The images depicted Paul, Linda, seven-year-oldHeather (Linda's daughter by her first marriage), newbornMary, and the McCartneys'sheepdog, Martha.[60] The gatefold cover ofMcCartney was the first of close to 30 years of albums by her husband to feature Linda McCartney's photography.[23]
Set against a black background, the front cover image consisted of a bowl of cherry-red liquid placed on a cream-coloured wall and surrounded by loosered cherries, as if the fruit had been emptied from the bowl.[42] On the back cover, a photo taken by Linda in Scotland showed her husband with Mary tucked inside his fur-lined leather jacket.[59][60] Madinger and Easter comment that, unlike Lennon, McCartney did not feel the need to include his wife on the cover, and her back-cover photo was a "stunning" contribution from the former professional photographer.[23] In a 2013 news article recalling the album's release, the Philadelphia radio stationWMMR described the photo of McCartney and his baby daughter as "iconic" and reflective of "his ultimate message: 'Home, family (and) love'."[61]
Maybe John was right. Maybe the Beatles were crap. The sooner I get this album out and get it over with the better.[62]
McCartney said that he "boycotted" Apple's offices after Klein's arrival in 1969.[22][63] His continued isolation in 1970 led to Lennon, Harrison and Starr making business decisions without McCartney's input.[64][65] One decision concerned the release of theLet It Be documentary, a necessity in order to fulfil the Beatles' contractual obligations to film companyUnited Artists.[66][nb 3] McCartney privately agreed to a mid-April release date forMcCartney withApple Records executiveNeil Aspinall,[70] one of the few people associated with the Beatles who was aware of the project.[4] Its late addition to Apple's schedule clashed with the imminent release of theLet It Be album, and of Starr's solo debut,Sentimental Journey, which was due out on 27 March.[71][72] On 25 March, after discovering that Klein arranged to have the release ofMcCartney postponed,[73] McCartney received an assurance from Harrison, as a director of Apple Records, that his solo album would be issued on 17 April, as planned.[71][nb 4]
The situation then changed when Spector reported that work on theLet 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.[71][74] Doggett writes that "the solution was obvious", sinceLet It Be was "a multimedia package" and, as a band venture rather than a solo album, it "should automatically take precedence".[75] Harrison and Lennon therefore wrote to McCartney on 31 March to say that they had instructedEMI, Apple's parent label, to postpone his album until 4 June;[76][77] they also explained the need to stagger the various new releases, particularly in America, where theHey Jude compilation had been issued on 26 February.[78][79] Rather than have a member of staff deliver the letter to McCartney at Cavendish Avenue, Starr decided to take it to him personally.[80]
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."[24] According to Starr, McCartney "went crazy",[80] threatening: "I'll finish you now. You'll pay!"[81] Although the other Beatles backed down over the release ofMcCartney,[82] the confrontation initiated what Rodriguez terms "a three-against-one war" within the band.[72]
On 9 April,[83] 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".[84] Compiled with the help of Apple executivesDerek Taylor andPeter Brown,[81] 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,[60][85] McCartney stated that he did not know whether his "break with the Beatles" would be temporary or permanent and that it was based on business, personal and creative differences.[33] He also said that he had not missed Starr's drumming, nor any of his bandmates' contributions, when making the album, and could not envisage a time when he and Lennon would write together again.[86] When asked whether Klein and his companyABKCO would be "in any way involved with the production, manufacturing, distribution or promotion of this new album", McCartney said, "Not if I can help it", and he stressed that Klein was in no way his business representative.[33] Although McCartney later recalled that he was responding to questions put to him, Brown said that McCartney wrote all the questions,[87][88] as did Taylor.[89][nb 5]
That same day, McCartney called Lennon at the clinic where he was undergoingprimal scream therapy with his wife,Yoko Ono. McCartney told him that he was following Lennon's example and leaving the Beatles, but he made no mention of making his departure public.[83] Doggett suggests that McCartney's intention was not necessarily to break up the band, and cites Beatles confidantRay Connolly's recollection that McCartney was "devastated" by the media's interpretation of his self-interview.[90] The first reaction from the press was a piece by Don Short of theDaily Mirror, on 10 April,[91] titled "PAUL IS QUITTING THE BEATLES".[92] From there, in authorMark Hertsgaard's description, "newspaper headlines around the world reduced the story to screaming variations of PAUL BREAKS UP THE BEATLES".[93]
It's a simple fact that [McCartney] can't have his own way, so he's causing chaos. I put out four albums last year, and I didn't say a fucking word about quitting.[94]
McCartney was released in Britain on 17 April 1970 (as Apple PCS 7102), and three days later in America (Apple STAO 3363).[95] While the reports about the Beatles' break-up resulted in McCartney's standing among Beatles fans to plummet,[96][97] they also ensured that the album was highly publicised.[34][98] Adding to this exposure in the US, McCartney commissioned a second set of print advertisements for the album,[99] to counter what Doggett describes as Klein's "incendiary statement of fact" in the official advertisements that Apple was "an ABKCO-managed company".[100]
In the UK,McCartney debuted at number 2, where it remained for three weeks behind the best-selling album of 1970,Simon and Garfunkel'sBridge Over Troubled Water. By 15 May,McCartney had sold over 1 million copies in the US,[101] and from 23 May, began a three-week stay at number 1 on theBillboard Top LPs chart,[102] eventually going double platinum.[4] Despite "Maybe I'm Amazed" receiving considerable airplay on US radio,[43] McCartney refused to issue it or any other song from the album as a single.[42][51][nb 6]
McCartney's former bandmates viewed his making the band's break-up public as a betrayal in light of how Lennon had acquiesced to the group's interests by staying silent about his departure the previous year, and as McCartney using the end of the Beatles as a way to promote his solo album.[103][92] When asked for his opinion of 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".[104] 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."[104] In a December 1970 interview withRolling Stone editorJann Wenner, which was re-published the following year as the bookLennon Remembers, Lennon dismissedMcCartney as "rubbish"[105] and "Engelbert Humperdinck music";[106] he said that his primal therapy-inspired albumJohn Lennon/Plastic Ono Band would "probably scare [McCartney] into doing something decent".[107][108] Lennon rejected Wenner's interpretation of the back cover portrait as a possible reference to Ono's recent miscarriage; instead, he read it as an example of the McCartneys slavishly following his and Ono's lead by releasing a family-oriented album.[109][nb 7]
McCartney was followed by two sequels,McCartney II (released in 1980), andMcCartney III (released in December 2020), both sharing the same recording technique as this album.
On release,McCartney was widely criticised for being under-produced and for its unfinished songs.[111][112] In addition, according toNicholas Schaffner in his 1977 bookThe 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."[113] 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 forthis?!?'"[114]Richard Williams ofMelody Maker[104] suggested that "With this record, [McCartney's] debt to George Martin becomes increasingly clear ..."[115] Williams found "sheer banality" in all the tracks save for "Maybe I'm Amazed"[116] and described "Man We Was Lonely" as "the worst example of hismusic-hall side".[104][117]
In a favourable assessment, for theNME, Alan Smith wrote that while on first listen he foundMcCartney "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."[118][119] In his combined review of all the former Beatles' 1970 solo releases,Geoffrey Cannon ofThe Guardian dismissed it as an album that had "no substance". Cannon continued: "Paul reveals himself in it as a man preoccupied with himself, and his own situation. The music is boastfully casual ... He seems to believe that anything that comes into his head is worth having. And he's wrong."[120] John Gabree ofHigh Fidelity magazine similarly bemoaned the expectation that "we should dig his every little noise" and found the reasons for the album's failure evident in theLet It Be film, where McCartney appeared to be "the only Beatle who has stagnated as a human being", as well as "incredibly arrogant" in his treatment of his bandmates. Gabree added that "Perhaps the greatest disappointment lies in the songs, although most of them could have been saved by better performances, especially the instrumentals."[121]
Writing forRolling 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."[122][nb 8] The reviewer concluded: "I likeMcCartney very much. But I remember that the people of Troy also likedthat wooden horse they wheeled through their gates until they discovered that it was hollow inside and full of hostile warriors."[122]
| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |   [124] |
| The A.V. Club | B[125] |
| Blender | [126] |
| Christgau's Record Guide | B[127] |
| Consequence of Sound | [128] |
| Encyclopedia of Popular Music | [129] |
| MusicHound | 3.5/5[130] |
| Pitchfork | 7.9/10[131] |
| Record Collector | [132] |
| The Rolling Stone Album Guide |  [133] |
In the 2004 edition ofThe Rolling Stone Album Guide,Greg Kot deems the album "so modest it barely registers" in comparison with Lennon'sPlastic Ono Band, adding: "Only the white soul of 'Maybe I'm Amazed' distinguishes otherwise unbearably slight confections such as 'Lovely Linda.'"[133]Stephen Thomas Erlewine ofAllMusic writes thatMcCartney 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."[124]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".[132]
Among Beatle biographers, Robert Rodriguez includesMcCartney 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 ..."[134] While bemoaning the lack of quality control that allowed "charmless ditties" such as "Teddy Boy" to go under-developed, Rodriguez writes: "What madeMcCartney 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 asPlastic 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."[135]
In 1999,Neil Young inducted McCartney into theRock and Roll Hall of Fame[136] and praisedMcCartney, 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."[61] McCartney subsequently toldRolling Stone that, given the album's homemade qualities, he considered it to be rock music's firstindie album, adding: "Y'know, it's now what would be called an 'indie' thing. To me, then, it was just ... knockin' around experimentin' with some sounds and notworrying how it was gonna turn out. I think that was one of the secrets."[61] Citing its home recording and mixing, Brent Day ofPaste felt thatMcCartney was arguably "one of the first biglo-fi records of its day."[1] It was one of McCartney's two post-Beatle albums that was included in1001 Albums You Must Hear Before You Die.[137]
McCartney was released on CD on 7 June 1993, along with six other studio albums McCartney made during the 1970s, includingRam (with Linda) andBand on the Run (with their bandWings).[138]
On 13 June 2011, the album and McCartney's second official solo work,McCartney II, were reissued together byHear Music/Concord Music Group as part of ThePaul McCartney Archive Collection.[139] The album re-entered the charts in the UK, the Netherlands, France and Japan. On 17 November 2017,McCartney was re-released by Capitol/UMe without bonus tracks as part of McCartney's 2016 return to Capitol Records and a catalogue service agreement taking over fromConcord Records and Hear Music.
McCartney received a special 50th anniversary release in a limited edition half-speed mastered vinyl pressing forRecord Store Day on 26 September 2020.[140]
The album was reissued on 5 August 2022 in a boxset entitledMcCartney I II III, consisting of 3 LPs or 3 CDs, along withthe second andthird albums of the trilogy.[141]
All songs written byPaul McCartney.
Side one
Side two
For its June 2011 reissue,McCartney was released in multiple formats:
Disc 1 – the original albumThe original 13-track album.
Disc 2 – bonus tracksAll tracks are previously unreleased.
Note: Tracks 2–4 performed by Paul McCartney and Wings.
Disc 3 – DVD
According to authorBruce Spizer:[142]
Weekly charts
|
Year-end charts
|
|
| Region | Certification | Certified units/sales |
|---|---|---|
| United States (RIAA)[162] | 2× Platinum | 2,000,000^ |
| Canada (Music Canada)[163] | Platinum | 100,000^ |
^ Shipments figures based on certification alone. | ||
The likes of 'Every Night,' 'Junk,' and 'Maybe I'm Amazed' still sound absolutely effortless and demonstrate the man's natural genius with a melody.
