The Albums of 1973: Paul McCartney and Wings: Band on the Run

Release Date: December 5, 1973

Lineup: Paul McCartney (vocals, bass, guitars, piano, keyboards, percussion); Linda McCartney (vocals, keyboards, percussion); Denny Laine (vocals, guitars)

Produced by Paul McCartney

Side One: Band on the Run; Jet; Bluebird; Mrs. Vanderbilt; Let Me Roll It

Side Two: Mamunia; No Words; Picasso's Last Words (Drink to Me); Nineteen Hundred and Eighty-Five

Band on the Run bookended a challenging and prolific year for Paul McCartney and Wings which began with the release of Red Rose Speedway. In search of creative inspiration, McCartney with band members Linda McCartney and Denny Laine recorded most of the record at EMI studios in Lagos, Nigeria. Planning for days on the beach and recording at night, they instead found the country in political turmoil following a civil war that had ended in 1970 with a military dictatorship in charge. The change of scenery and some of the dangers that came with making the record resulted in a record even McCartney's most begrudging critics praised. 

The album also bore a striking resemblance to the concept records of the late Beatles period, although McCartney never intended it as such, although are recurring romantic themes of escape and adventure. "Band on the Run" opened the record with one of Paul's best songs since the Beatles breakup. Conceived as a mini suite opening with weary guitar melodies, then into a crescendo of resolve, and transitions into an anthemic pop song.

Another FM staple, "Jet" was inspired by the McCartney family dog. The non-sensical lyrics and big production were primed for arena rock shows. "Bluebird" is wonderfully produced and performed, both subdued and fantastical. "Mrs. Vanderbilt" also spans genres from rock-pop to Paul's fondness for writing singalongs. Many noticed "Let Me Roll It" sounded like a John Lennon pastiche, even with lyrics possibly aimed at his old bandmate. Musically, McCartney was proving he could still write rockers with the best of them.

Inspired by a famous hotel in Marrakesh, "Mamunia" has drawn comparisons to "Rain", also similar in sentiment to "Mother Nature's Son." Co-written with Laine, lyrically "No Words" could be on a lounge singer's repertoire but works fine as a pop song. Reportedly written on a dare by Dustin Hoffman, "Picasso's Last Drink" is another mini suite with a reprise of "Jet" and "Mrs. Vanderbilt" tying both sides of the record together (and works as a quirky tribute to the legendary artist). There's a Sci-Fi edge to "Nineteen Hundred and Eighty-Five" to close out the record, a bit of prog rock on the fadeout.

Band on the Run never ceases to be entertaining, a retro extravaganza and celebration of '70s pop.

The Albums of 1973: Paul McCartney and Wings: Red Rose Speedway

Release Date: April 30, 1973

Produced by Paul McCartney

Personnel: Paul McCartney, Linda McCartney, Denny Laine, Henry McCullough, Denny Seiwell

Side One: Big Barn Bed; My Love: Get on the Right Thing; One More Kiss; Little Lamb Dragonfly

Side Two: Single Pidgeon; When the Night; LOUP (1st Indian on the Moon); Medley: Hold Me Tight; Lazy Dynamite; Hands of Love; Power Cut

Originally intended to be a double album that was recorded mostly in 1972, Red Rose Speedway met with a tepid critical response. It produced a lone hit single in "My Love" that hit #1 in America and became a 70s/80s staple of FM radio. Despite the criticism, Red Rose Speedway has aged well with its retro good time vibe. In 2018, the double album version was released as part of the Paul McCartney Archive Collection.

While all the former Beatles released strong albums in 1973, it would be a standout year in particular for McCartney and Wings. In June they released the popular "Live and Let Die" for the James Bond film, and then went off to Nigeria and recorded Band on the Run, arguably their best record of the decade. 

"Big Barn Bed" is a strong opener with Paul's whimsically surreal imagery that becomes a singalong rock song. Written for Linda, "My Love" features a nice guitar solo by Henry McCullough. Criticized for being corny and a far cry from his previous work by a mostly pro-Lennon press, the song has since become a standard. "Get on the Right Thing" is well produced, a sly update of early rock and roll reimagined as epic power pop. "One More Kiss" is more in the country rock vein and the mini-suite "Little Lamb Dragonfly" is both melodic and folkish. 

A piano ballad, "Little Pigeon" resembles "Martha My Dear" from the White Album. "When the Night" is another modernized ode to '50s rock with energized background vocals, a highlight of the record. An instrumental, "LOUP (1st Indian on the Moon)" provides a glimpse into Paul's more experimental side in what sounds like the theme of a quirky Sci-Fi film of the era. 

Ending the record with a medley was an attempt to emulate Abbey Road. Once again, the critical knives were out, and while the Red Rose suite may have a tossed off feel, the songs are fun and include a variety of instruments and contrasting styles, evoking the mood of the album in microcosm. 

The Albums of 1973: Ringo

Release Date: November 2, 1973

Produced by Richard Perry

The 1991 Reissue Track Listing: I'm the Greatest; Have You Seen My Baby; Photograph; Down and Out; Sunshine Life For Me (Sail Away Raymond); You're Sixteen; Oh My My; Step Lightly; Six O'clock; Devil Woman; You and Me (Babe); It Don't Come Easy; Early 1970

Perhaps the closest instance of the Beatles ever reuniting was for Ringo's eponymous 1973 album. All three of Ringo's bandmates contributed songs and took part in the recording process, albeit, all four were never in the studio together. Yet a détente was in the air during 1973 among the Beatles despite ongoing litigation over the breakup which had alienated McCartney from the others.

Ringo's former bandmates had all established successful solo careers. In 1970 Ringo released two solo records: a collection of pre-rock standards Sentimental Journey and country-western covers on Beaucoups of Blues. Starr took a few years off from music to focus on acting, he notably played a fictional version of himself in That'll Be the Day, a film inspired by the early life of John Lennon.

For the recording of Ringo, an all-star group of musicians were assembled including members of The Band, Marc Bolan, Harry Nilsson, Billy Preston and many others.

The album begins with the tongue in cheek "I'm the Greatest" Lennon gave to Ringo. Using Muhammad Ali's iconic line, the narrator recounts a life of being beloved by everyone who comes into his presence in a satire of rock star egotism. Like "Glass Onion," there are many references to Beatle lore like Ringo's alter ego "Billy Shears," even mimicking John's vocal from "Revolution." As John himself stated, coming from him the song would've had a sardonic quality, but Ringo singing it took the edge off. 

Ringo turned in a laconic performance for Randy Newman's bluesy ballad "Have You Seen My Baby." "Photograph" became a smash hit, hitting No.1 in several countries. The simple eloquence of the lyrics and the immaculate production by Richard Perry are matched by Ringo's impassioned vocal that provides a timeless quality. Included on the reissue, "Down and Out" was the B-side to "Photograph," another bluesy rocker.

"Sunshine Life for Me (Sail Away) was written by Harrison, a Celtic inspired folk rock song in the style of The Band who also played on the track. A cover of Johnny Burnette's 1950s jukebox hit "You're Sixteen" also became a hit, reintroduced to audiences that same year in the George Lucas film American Graffiti. "Oh My My" and "Step Lightly" were both quirky additions written by Ringo

"Six O'clock" was recorded in London with Paul and Linda McCartney. And the song is undoubtedly McCartney, a stately ballad reminiscent of "The Long and Winding Road" from Let it Be and "Man We Was Lonely" from McCartney. An underrated gem.

"Devil Woman" is more of a '70s style rock song done with glam theatricality. "You and Me (Babe)" was the closing track on the original release with Ringo offering a proper farewell, thanking all who contributed in spoken word on the fadeout.

"It Don't Come Easy" was a hit single in 1971, a creative breakthrough for Starr who was concerned if a solo career was in the offing. A pop song written with Harrison (who also produced), it remains a staple of the post-Beatles era. Another B-side, "Early 1970" expresses Starr's state of mind at the time of the breakup taking some good-natured jabs at the others (including himself), but also a bit of longing for the old days.

Ringo brought nostalgia and some good vibes to the heady atmosphere of 1973, providing both a sense of continuity and fun.

The Albums of 1971: The Isley Brothers: Givin' It Back

Release Date: September 25, 1971

Members: Ronald Isley (vocals); Ernie Isley (lead guitar); Marvin Isley (bass); O'Kelly Isley (vocals); Rudolph Isley (vocals); Chris Jasper (piano); Chester Woodard (guitar)

Produced by Ronald Isley, Rudolph Isley

Track List: Ohio/Machine Gun; Fire and Rain; Lay Lady Lay; Spill the Wine; Nothing to Do But Today; Cold Bologna; Love the One You're With

The Isley Brothers began their career in 1954 as teenagers when rock and roll was still in its infancy and continue performing and recording seven decades later. Their astoundingly long and varied career is a history of modern popular music itself. Yet there's no book length study of The Isley Brothers, at least nothing like the tomes written on so many other artists from the era. Hopefully that will change with a documentary in the works.

The Isley Brothers hailed from Cincinnati. They started out as a gospel group and recorded many crossover hits in the early 1960s including "Twist and Shout" and "Shout" and many other charting singles with various labels. Motown was their home base from 1966-69 where they continued recording hit singles, but they were just getting started. With younger brothers Ernie and Marvin joining the group in 1970, their sound continued to evolve with each record - ranging from rock, folk, and funk. 

Givin' It Back is an album of covers by mostly white artists, returning the favor since so many white bands had covered them, the freaking Beatles chose "Twist and Shout" as the grand finale on their debut LP!

The album opens with "Ohio/Machine Gun", a hypnotic mash up of Neil Young and Jimi Hendrix (a former guitarist for the Isley Brothers). The original CSN&Y recording featured an onslaught of sonic infused anger, the Isleys incorporated gospel, doo-wop, while retaining the rock roots of the song, creating a complex emotional journey on the ramifications of  the Kent St. massacre. "Fire and Rain" by James Taylor begins as a soulful lament and settles into an impassioned acoustic number. Bob Dylan's "Lay Lady Lay" is reimagined as a ten minute long reggae/country western foot stomper. 

A rendition of War's "Spill the Wine" never strays too far from the original source (even includes the flute). "Nothing to do Today" by Stephen Stills is performed as easy going soul in the polished Motown style. "Cold Bologna" written by Bill Withers is a reflective acoustic track recalling childhood in Harlem. Another Stephen Stills cover, "Love the One You're With," ends the record on a festive note. 

Givin' It Back features the versatility of The Isley Brothers at the start of a revolutionary decade in their epic career - highly recommended!

The Beatles (The White Album)

Release Date: November 22, 1968

Personnel: John Lennon, Paul McCartney, George Harrison, Ringo Starr

Produced by George Martin

Side 1: Back in the U.S.S.R.: Dear Prudence: Glass Onion: Ob-La-Di, Ob-La-Da: Wild Honey Pie: The Continuing Story of Bungalow Bill: While My Guitar Gently Weeps: Happiness is a Warm Gun

Side 2: Martha My Dear: I'm So Tired: Blackbird: Piggies: Rocky Raccoon: Don't Pass Me By: Why Don't We Do It in the Road: I Will: Julia

Side 3: Birthday: Yer Blues: Mother Nature's Son: Everybody's Got Something to Hide Except for Me and My Monkey: Sexy Sadie: Helter Skelter: Long, Long, Long

Side 4: Revolution 1: Honey Pie: Savoy Truffle: Cry Baby Cry: Revolution 9: Goodnight

If Sgt. Pepper's Lonely Hearts Club Band marked the pinnacle of popular music during the 1960s, The Beatles recorded over the summer/autumn of 1968 serves as a cultural marker, traversing between the light and the darkness of the decade (and what was to come.) The mysterious white cover hinted at the abstract nature of the album ranging in genres, mood, and style. 

Detractors of the record sort of have a point, the argument being it would've worked better as a single record and that track for track it holds no candle to the previous albums. But let's be honest,  the White Album launched a thousand ships, an unstoppable freight train of imagery and melody. Insular yet inviting, the record serves as a wondrous and sometimes eerie look into the minds of The Beatles. 

The variety of songs spoke to the different directions they were going as individuals. Lennon moved further towards searing personal expressions of memory and angst. Always the most open to writing about himself from early songs like "I Don't Want to Spoil the Party" and "Help," to brutal self-examination on "Yer Blues and "I'm So Tired." McCartney would prove himself to be the chameleon, using the studio as a playground for various styles. Harrison's four contributions, especially "While My Guitar Gently Weeps," put him on a level with Lennon/McCartney. Ringo is the constant throughout, although he's not drumming on all the tracks, his distinct style keeps the chaos together. 

There's a myriad number of ways to approach the record, one's as a dialogue between John and Paul. With McCartney being the main influence on Sgt. Pepper and Magical Mystery Tour, Lennon would assert himself here. His contributions to the record not only equaled McCartney's, but revealed a new undercurrent to his songwriting, honest, surreal, playful. There's a restlessness to Paul's songs as well, a conflict between his more conventional and Avant Garde sensibilities. 

"Back in the U.S.S.R." opened the album appropriately as a sort of meta statement. Mimicking the opening of Sgt. Pepper, the song parodies The Beach Boys and Cold War politics. "Dear Prudence" by John was inspired by India, pop psychedelia evolving into a bliss out of transcendence. John pokes fun at Paul and himself on "Glass Onion" with John referencing past Beatles songs including "Fixing a Hole" and "I am the Walrus."

Paul's "Ob-La-Di, Ob-La-Da" famously annoyed his band mates, but he persisted in his affinity for the occasional novelty song. The lyrics tell the story of Desmond and Molly and became a hit single in Europe and Japan. "Wild Honey Pie" is the fragment of a chant concocted by McCartney. John invited Yoko to join him on background lyrics on "Bungalow Bill" in a story song told with his familiar sardonic edge.

Side one ends with two standouts with Harrison's "While My Guitar Gently Weeps" and Lennon's "Happiness is a Warm Gun" each taking the album in a more serious direction. Eric Clapton played lead guitar on "Gently Weeps" in one of the heaviest songs ever recorded by The Beatles. Similar in theme to "Within You, Without You" but more despairing. Lennon put together three songs and made "Happiness is a Warm Gun" into a marvelous production of dark, surreal imagery culminating into a wonderful harmony anticipating Queen by a few years.

The second side would feature shorter songs, a collection of asides and alternating moods. "Martha My Dear" and "I'm So Tired" contrast each other well. Paul writes a cheerful ditty about his sheepdog Martha set to piano and horns. John wrote a song about insomnia, expressing his agonized state of mind at the time, and Paul's background vocals contribute an added edge. 

Next follows the "animal" sequence of tracks "Blackbird", "Piggies," and "Rocky Raccoon." Paul's metaphorical "Blackbird" and George's Orwellian "Piggies" provided further juxtapositions. "Rocky Raccoon" is a pastiche of a country western ballad, with Paul acting as the narrator.

Ringo wrote the rickety "Don't Pass Me By", punctuated by George's fiddle playing. Paul's bluesy, but under produced, "Why Don't We Do It On the Road," and the soft balladry of "I Will" continued his chameleon streak. "Julia" by Lennon is one of his tenderest songs and the only Beatles track he recorded by himself.

The second disc is heavier and even more experimental. "Birthday" is a traditional rocker but becomes more sonic as it progresses foreshadowing what's to come. Lennon's "Yer Blues" is lacerating and claustrophobic, a foreshadowing of grunge. Paul's "Mother Nature's Son" returns us to another pastoral setting, John wrote a similar song "Child of Nature" that never went beyond the demo stage (later reworked as "Jealous Guy"). John's surreal rocker "Everybody's Got Something to Hide Except for Me and My Monkey" exclaims the "deeper you go, the higher you fly - so COME ON!" The equally compelling "Sexy Sadie" offers another one of John's dream like settings serving as an allegory/satire of the messianic voices who arose during the 1960s.

"Helter Skelter" continues to carry a level of ominous undertones because of the Manson case, but it persists as a snapshot of the band at their most unhinged. A garage band assault of guitars continued the more experimental bent of the record, lyrics mean less and less and are dwarfed by the sound. Harrison's "Long, Long, Long" is a favorite of mine and precursor to All Things Must Pass and the Merseybeat piano echoing "Go Now" by The Moody Blues.

"Revolution 1" was the band's almost obligatory statement on the events of 1968. Lennon's non-committal on the youth revolution pleased few, but would be consistent with his personal philosophy: change yourself before trying to save the world.

Paul's nostalgic period piece "Honey Pie" follows "Revolution" in jest. "Savoy Truffle" features George's icy wit backed by a horn section. John's
Cry Baby Cry" is another highlight with its vivid imagery of a dream like world in power pop splendor.  The hidden track by Paul "Can You Take Me Back" serves as a haunting prologue to "Revolution 9."

The sound collage of "Revolution 9" may be less revolutionary today, but any true fan of the record shall never skip it. Lennon allegedly said it was the music of the future and he may have been right. "Goodnight" sends all listeners home with an appropriate lullaby also written by Lennon.

As Ringo said in The Beatles Anthology, "there's a lot information on a double album." Now over 50 years later the album survives on its wealth of content and variety. It is the narrative of the Beatles coming apart, but it is still a Beatles record. They were obviously going their own way, but still capable of amazing collaboration. It will continue to inspire.

The Albums of 1970: George Harrison: All Things Must Pass

Release Date: November 27, 1970

Personnel: 

Drums and Percussion: Ringo Starr, Jim Gordon, Alan White
Bass Guitar: Klaus Voormann, Carl Radle
Keyboards: Gary Wright, Bobby Whitlock, Billy Preston, Gary Brooker
Pedal Steel Guitar: Pete Drake
Guitars: George Harrison, Dave Mason, Eric Clapton
Saxophone: Bobby Keyes
Trumpet: Jim Price
Rhythm Guitars and Percussion: Badfinger


Produced by Phil Spector and George Harrison

Side 1: I'd Have You Anytime; My Sweet Lord; Wah-Wah; Isn't It a Pity

Side 2: What is Life; If Not For You; Behind That Locked Door; Let it Down; Run of the Mill

Side 3: Beware of Darkness; Apple Scruffs; Ballad of Sir Frankie Crisp (Let it Roll); Awaiting on you All; All Things Must Pass

Side 4: I Dig Love; Art of Dying; Isn't it A Pity (version 2): Hear Me Lord

Side 5: Out of the Blue: It's Johnny's Birthday; Plug Me In

Side 6: I Remember Jeep; Thanks for the Pepperoni

The 2001 Reissue features extra tracks and demos with a slightly different song order.

Recorded over the summer/fall of 1970, George Harrison's post-Beatles solo album is nothing less than a powerhouse of triple vinyl. Like his former band mates (even more so), Harrison had a burst of creativity following the demise of the Fab Four. While the art pop of McCartney and the proto grunge of Plastic Ono Band were both bold artistic statements, All Things Must Pass was a far more ambitious work, spiritual, philosophical, and epic in the best possible sense.

The release of "My Sweet Lord" in November of 1970 as the first single got a strong response from the public, hitting number one on both sides of the Atlantic. It became one of the more popular songs of the 1970s, credited with being a natural extension of The Beatles philosophy with its pan-religious message, fusing elements of Hinduism, Judaism, and Christianity. Ringo's drumming that comes in halfway through and the use of slide guitars built up a wondrous tapestry of sound to fill the airwaves. 

Similar in sound to "My Sweet Lord" with its flurry of guitars and reverb, 
"What is Life" also was another top ten single released in February of 1971. Often considered a love towards a woman and God, the recurring idea is devotion:

What I feel I can't say
But my love is there for you anytime of day
But if it's not love that you need
Then I'll try my best to make everything succeed.

Bob Dylan also has a presence throughout All Things Must Pass, a co-writer of the opening track "I'd Have You Anytime" and "If Not for You." Bob was possibly the subject of "Behind That Locked Door." By most accounts Harrison and Dylan were good friends and inspired each other. A year later they would perform onstage together in the Concert for Bangladesh.

Dylan included a soulful version of "If Not For You" on his New Morning LP in 1970, while Harrison's version is more symphonic. "I'd Have You Anytime" starts the album on a pleasant note and was probably good enough to be a single. Inspired by Dylan's shyness and his hiatus from touring, "Behind That Locked Door" encourages Bob to engage with the world again, the country western twang mirroring Dylan's country influenced records of the time.

"All Things Must Pass" was rehearsed by The Beatles in 1969, but a lack of enthusiasm from his band mates prevented a proper version from being recorded (but the harmonies from the demos are outstanding). A cosmically wise song inspired by the roots music of The Band, it would become an anthem for Harrison in the years to come. Maybe a little over produced, but the power of the song' s ethos remains. 

Like the other post-Beatles releases of 1970, the fallout from the breakup casts a shadow. Although a few years before The Beatles disbanded, it became a dirge for the end of an era:

Isn't it a pity,
isn't it a shame
How we break each other's hearts, 
and cause each other pain
How we take each other's love
Without thinking anymore
Forgetting to give back
Isn't it a pity

Hypnotic, melancholy, and beautiful, "Isn't it a Pity" has proved an endearing hymn of sorts, the sound of catharsis captured on record.  A maybe unnecessary reprise on side four is more stripped down and less effective. 

"Wah-Wah" was written after Harrison stepped out on the Let it Be sessions, signaling his frustration at being in the shadow of Lennon/McCartney for all those years. If I had to pick an underrated track it would be "Run of the Mill," an angry lament on the end of a friendship. The wall of sound and dramatic use of horns works perfectly and adds to the heightened sentiments. 

The 2001 release included an acoustic version of "Let it Down." A passionate love song that's almost Wagnerian in the hands of Spector, more tender and resigned as a quiet acoustic number.

The tone takes a more serious tone on the second disc. "Beware of Darkness" and "Art of Dying" both deal with mortality and having a focused mindset.

In the midst of the record are some outliers and curiosities. "The Ballad of Sir Frankie Crisp (Let it Roll)" was about the former owner of George's Friar Park estate who had captured his imagination. Ghostly and hypnotic, the song links Victorian mysticism with counterculture's interest in the supernatural. "Awaiting on You All" playfully satirizes the materialistic nature of modern Christianity. The acoustic track "Apple Scruffs" was a shout out to all the fans gathered outside Apple Studios.

"I Dig Love" recalls "Love You To" from Revolver, but much funkier. "I Live for You" made it on to the 2001 release, another country rock tune featuring the slide guitar. "Hear Me Lord" is a plea for forgiveness. Perhaps the most gospel influenced of all the selections, Billy Preston worked closely with Harrison on seeing it to completion as an appropriate closer to the second disc.

The third disc known as "Apple Jam" consists of almost all instrumentals. They all sound great when turned up loud on the stereo. Apple Jam allows the audience to join in on the fun, a freewheeling ambush of electric music.

One of the great rock albums of the era, All Things Must Pass improves and and deepens in meaning with each listening.