Flaming Pie by Paul McCartney

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Flaming Pie by Paul McCartneyAfter spending a few years working on The Beatles Anthology project, it was clear that Paul McCartney wanted to continue revisiting the sounds and styles of the past when he resumed his solo career. Flaming Pie, McCartney’s tenth solo album, was a success in achieving this goal as it features an array of styles which pinpoint musical moments with and without the Beatles. This was also an album where McCartney collaborated with Ringo Starr as well as a couple of his own immediate family members.

Coming into the decade of the 1990s, McCartney was one of the highest grossing rock acts. Still, he decided to branch out into orchestral and opera music with Liverpool Oratorio in 1991 and electronica music the final year with Strawberries Oceans Ships Forest. In 1993, McCartney released the pop/rock album Off the Ground, which would be his last studio album for the next four years.

Following the completion of the Anthology project, McCartney teamed up with co-producer and multi instrumentalist Jeff Lynne with the intention of producing something “pure and easy”. The album was recorded over the course of two years and included new material as well as some songs initiated in previous years. These sessions also produced excess material, most notably the “Oobu Joobu” series of rare tracks.

Flaming Pie by Paul McCartney
Released: May 5, 1997 (Parlophone)
Produced by: George Martin, Jeff Lynne and Paul McCartney
Recorded: Sun Valley, Idaho and Abbey Road Studios, London, September 1992 – February 1997
Track Listing Primary Musicians
The Song We Were Singing
The World Tonight
If You Wanna
Young Boy
Calico Skies
Flaming Pie
Heaven On a Sunday
Used to Be Bad
Little Willow
Really Love You
Beautiful Night
Great Day
Paul McCartney – Lead Vocals, Bass, Guitars, Piano, Keyboards, Drums, Percussion
Jeff Lynne – Guitars, Keyboards, Vocals
Steve Miller – Bass, Chapman Stick
Ringo Starr – Drums, Percussion, Vocals

Flaming Pie by Paul McCartney


The album’s opener, “The Song We Were Singing”, is instantly rewarding and pleasant as it alternates between softly picked acoustic folk verses and the strong, Scottish-folk influenced choruses. Philosophically it centers around the core of McCartney’s existence, the “song”, and it appears to allude to his relationship with John Lennon. The pop radio hit “The World Tonight” features verses with interesting harmonies before McCartney breaks out vocally in the pre-chorus as well as a slight but excellent piano later.

As the album settles in, we have “If You Wanna”, an acoustic rocker with some strong late seventies, early eighties pop elements along with some excellent lead guitars, followed in contrast by the picked acoustic ballad “Somedays”, the first of two tracks produced and orchestrated by Sir George Martin. “Young Boy” is a standard, but pleasant, pop / rock track where McCartney teamed up with the legendary Steve Miller. Later on the album, the duo returns on the bluesy “Used to Be Bad” where Miller shares lead vocals and proves that he has the better blues pedigree as McCartney’s lines sound more like a novelty.

The acoustic picked “Calico Skies” was written in 1991 during a hurricane blackout while the title track, “Flaming Pie” features a sound that is pure late-era Beatles, with boogie piano accented by crisp, distorted guitar riffs. “Heaven on a Sunday” takes a soft jazz approach with pleasant melodies, backing vocals by Linda McCartney and a great contrasting, whining rock lead guitar by son James McCartney.

Paul McCartney

The album’s final stretch features some of the more interesting tracks. “Souvenir” is a sonic masterpiece from beginning to end, using some classic rock motifs and a melancholy ballad approach, while “Little Willow” is a sad ballad which McCartney wrote for the children of the late Maureen Starkey, wife of Ringo. Next comes a unique composition by Paul and Ringo,”Really Love You”, with a kicking rhythm focused on the strong bass and drum beat and a classic blues / soul / R&B feel. “Beautiful Night” is a grandiose song with grandiose production by Martin and soaring vocals and lyrics by McCartney. His strained vocals through the later half of this power ballad makes it an instant classic. Wrapping up the album is “Great Day”, acting almost as the reciprocal of “Beautiful Night” with simple finger-picked guitar and hand percussion. This closing track features Linda McCartney joining on backing vocals, which would sadly be her last collaboration with Paul as she passed away a year after the album’s release.

Flaming Pie was a success on both sides of the Atlantic, peaking at number two in both the UK and US. It has grown to become one of McCartney’s most critically acclaimed albums of his long solo career.


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Rubber Soul by The Beatles

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Rubber Soul by The BeatlesAs the years have gone by, Rubber Soul has distinguished itself more and more from the “typical” early album by The Beatles. While the 14 selections remain pretty much bright and poppy, the underlying lyrical content starts to touch on more mature themes, as its center of gravity migrates from teenage love to young adult sex. More importantly are the compositions, the music and the sound production which feature a stream of creative innovativeness by the group and producer George Martin.

Following the band’s international success in 1964, the year 1965 saw many new achievements and discoveries for the group, ranging from their reception of Members of the Order of the British Empire (MBE) in June to their first experiences with LSD and other drugs later in the year. During the summer of 1965, the motion picture and accompanying soundtrack album Help! were released and continued their phenomenal chart success. The group’s third US tour followed, opening with a then world-record crowd of over 55,000 at Shea Stadium in New York on August 15th, with many more sold out cities to follow. That Fall even saw the premier of an American Saturday-morning cartoon series of the band, the first ever television series to feature animated versions of real, living people.

After the tour, the group had little time to record their sixth album in order for it to hit the markets in time for Christmas. However, due to their second straight year of top-level success, there was little pressure to focus on hit singles, which made this their most cohesive album effort to date. They returned to London in October 1965 and nearly all of the songs were composed and recorded within a four week period into November. The Beatles grew up quite a bit on this album. The harmonies are simple but artfully arranged while the production begins to get a bit “edgy” (without being too revolutionary) but adding more piano and keyboards as well as excess percussion and some non-traditional instrumentation.

Stylistically, the group incorporates contemporary R&B, soul, folk rock, and just a tad of psychedelic music styles. In fact, the album’s title is a play on the slang term “plastic soul”, which some musicians coined to describe Mick Jagger of The Rolling Stones when he attempted to replicate the “soul” singing style.

Rubber Soul by The Beatles
Released: December 3, 1965 (Parlophone)
Produced by: George Martin
Recorded: EMI Studios, London, October-November, 1965
Side One Side Two
Drive My Car
Norweigen Wood
You Won’t See Me
Nowhere Man
Think For Yourself
The Word
What Goes On
I’m Looking Through You
In My Life
If I Needed Someone
Run For Your Life
Group Musicians
John Lennon – Guitars, Keyboards. Vocals
George Harrison – Guitars, Sitar, Bass, Vocals
Paul McCartney – Bass, Piano, Vocals
Ringo Starr – Drums, Percussion, Organ, Vocals

The album opener, “Drive My Car”, reaches back to The Beatles’ roots as a pure rocker with little deviation, save for the overdubbed piano during chorus sections and Ringo Starr‘s cow bell throughout. Lyrically, the comical phrases are augmented by the title, which is an old blues euphemism for sex. Rubber Soul‘s next two tracks feature incredible production value. John Lennon‘s, “Norwegian Wood (This Bird Has Flown)”, is where the group takes its first real leap into the unknown as an acoustic folk song with a complementing sitar riff played by George Harrison. This works to gives a mystical feel to this story of what seems to be about a love affair that has lost its spark and the fire that was once warm and welcoming becomes vengeful in the end. Some have credited this song as the conception of the “world music” genre. “You Won’t See Me”, is a somewhat forgotten gem by Paul McCarftney. It is piano driven with fine chord progressions and melodies throughout. The bridge section shows off McCartney’s complex compositional skills, while the three part-harmonies throughout are another highlight to the song.

The Beatles in 1965

“Nowhere Man”, features clever lyrics and philosophical commentary by Lennon, all while remaining melodic and pop-oriented. Harrison provides a slight guitar lead after first verse, while McCartney and Starr thumb out good rhythms throughout on this track which reach number 3 on the pop charts in America. “Think for Yourself”, is the first of two compositions by Harrison this album and features an intriguing “fuzz” bass line by McCartney, complemented by a Vox Continental organ played by Lennon, giving it a total mid sixties vibe. While still entertaining, “The Word”, is the first song in the sequence which is not absolutely excellent, as the harmonies seem a bit too forced. However, this track does contain a cool piano backdrop and outstanding drums by Starr. The first side wraps with another unique track, the European folk-influenced, “Michelle”, complete with lyrics partially in French. This melodramatic love song is beautifully produced with rich background harmonies and Chet Atkins-style finger-picked electric guitar by McCartney for great sonic effect. “Michelle”, which was originally written as a spoof on French Bohemians during the Beatles’ early days, was re-written with proper lyrics for Rubber Soul and eventually won the Grammy Award for Song of the Year in 1967.

Side two of the album is not quite as excellent as the first side, but still contains solid songs throughout. “What Goes On”, is Starr’s country and western influenced contribution, in which he sings lead vocals and receives partial compositional credit for the only time on the album. Lennon’s, “Girl”, features great folk rhythms and melodies and previews some of his finer solo works years later. With more fine harmonies, the songs lyrics paint a vivid picture of a character who drives the protagonist crazy but is mesmerizing nonetheless;

Was she told when she was young that pain would lead to pleasure? Did she understand it when they said… That a man must break his back to earn his day of leisure? Will she still believe it when he’s dead?”

Following McCartney’s bright and sparse acoustic pop track, “I’m Looking Through You”, comes Lennon’s masterpiece of this album, “In My Life”. Everything about this two and a half minute ballad showcases the Beatles at their best in 1965, The opening guitar notes, which were written by McCartney but played by Harrison, instantly tug at heartstrings. The poetic lyrics drip with sentimentality and lead to the climatic, Baroque–style piano lead played by Martin, which got a unique effect when the producer recorded it at half speed and found an authentic-sounding harpsichord result when played back at the normal rate. The first of its kind, Lennon wrote the song as a long poem reminiscing on his childhood years, themes which would be further explored by Beatles’ members on future band albums.

“Wait”, features great choruses and a decent bridge by McCartney along with a creative percussive ensemble and pedal-effected guitars, but is otherwise a weak song for this album. This is followed by Harrison’s smooth classic, “If I Needed Someone”, which features deliberate vocals, a sweet guitar and upbeat rhythms. This song was nearly simultaneously recorded and released as a cover by the Hollies and became a minor hit for that group. While Rubber Soul is a bright album overall, it concludes with the dark and violent, “Run for Your Life”, an ode to domestic violence or perhaps the “outlaw country” of 1965, as presented by Lennon. A very far cry from the “Give Peace a Chance” theme of the near future, it is hard to discern if this is serious or dark comedy lyrically, but musically it contains a plethora of guitar textures – from the strummed acoustic, to the slide electric and rockabilly lead – which make it undeniably catchy overall.

Like all albums to that point, Rubber Soul was released with differing British and American versions, with the British version eventually becoming canon (and hence, the one we review here). The album was another commercial success, originally staying on the charts for nearly a year, with several chart comebacks throughout the decades. Within the following year of 1966, The Beatles would continue to accelerate their recording innovations with the follow-up, Revolver ,and give up on touring completely to strictly become a studio-oriented band.


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Part of Classic Rock Review’s celebration of the 50th anniversary of 1965 albums.


Help! by The Beatles

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Help by The BeatlesTheir fifth overall studio album, Help!, is perhaps the final of The Beatles‘ pop-centric, “mop-top” era records released over the course of 30 months. Still, the group did make some musical strides on this album, most particularly a stylistic move towards folk and country on several tracks and the addition of piano and keyboards, performed by John Lennon and Paul McCartney on a few songs. Released in conjunction with their second feature-length film (of the same name), Help!, contains fourteen tracks split evenly between seven that were featured in the film (side one) and seven other 1965 studio tracks on the original second side of the LP.

Already a relentlessly hard working group, The Beatles’ American and worldwide breakthrough in early 1964 only served to expand their schedule as their label and management looked to fully capitalize on their unprecedented popular success. During March and April of 1964, the group members filmed A Hard Day’s Night as they played themselves in a “mock-umentary” about their sudden success where the Beatles showed a knack for comedy. That film was accompanied by their third studio LP with each being very well received. During the summer of 1964, the Beatles embarked on an international tour through Europe, Asia, and Australia, followed by a 30-concert tour of the United States. Returning to Abbey Road studios, the Beatles recorded and released their fourth studio LP, Beatles for Sale in late 1964, which had a much darker tone than any of their previous work.

The Beatles on the set of HelpIn early 1965, the group filmed the movie, Help!, which included a much larger budget than the previous year’s A Hard Days Night. As a result, this movie was filmed in color and at many disparate locations including various places in England, the Bahamas, and the Austrian Alps. However, the richer plot and cast served to alienate the band members who stated that they felt like “guest stars” or even extras in their own film, despite the fact that the drummer, Ringo Starr, plays a central part in the plot.

Music for the film and album was produced by George Martin who, for the first time, employed “track bouncing” techniques for overdubbing. Distinct versions of the record were released in the UK and North America (we focus on the long since canonized British LP version in this review). The North American (Capitol Records) release was of EP length and features some orchestral scores produced by Dave Dexter, with omitted songs later appearing on the US versions of Beatle VI and Rubber Soul. On the other end of the spectrum, a few songs that were recorded intended for the film were not used in either the movie or on the album, including the tracks “If You’ve Got Trouble”, “That Means a Lot”, “Yes It Is”, and an early version of, “Wait”, a song re-recorded for Rubber Soul later in the year.

Help! by The Beatles
Released: August 6, 1965 (Parlophone)
Produced by: George Martin
Recorded: EMI (Abbey Road) Studios, February–June 1965
Side One Side Two
The Night Before
You’ve Got to Hide Your Love Away
I Need You
Another Girl
You’re Going to Lose That Girl
Ticket to Ride
Act Naturally
It’s Only Love
You Like Me Too Much
Tell Me What You See
I’ve Just Seen a Face
Dizzy Miss Lizzy
Group Musicians
John Lennon – Guitar, Piano, Vocals
Paul McCartney – Bass, Piano, Keyboards Vocals
George Harrison – Guitars, Vocals
Ringo Starr – Drums, Percussion, Vocals

The title track storms in with a sudden vocal explosion of the distinct intro section of “Help”. Written by Lennon to express his personal difficulties with the Beatles’ sudden success, the song contains a desperate message lyrically but an excited and frantic approach musically and tonally, making for a strange but effective mix of emotions throughout. The descending bass and guitar line during the chorus is the most effective and interesting element of this fine track which became the group’s tenth #1 pop hit. McCartney’s, “The Night Before”, features a nice mixture of guitars and electric piano, adding an overall twang effect to the background. The sharp beat and rhythm is kind of boilerplate Beatles at this point in their career but this song does feature a unique, duo guitar lead by McCartney and George Harrison.

“You’ve Got to Hide Your Love Away” is a loose tribute to Bob Dylan which features a tremendous sound that is at once simple but still fills the room. Lennon constructed this not as a lovey-dovey song, but as an introspective track where he delivers totally distinct vocals and gives early Beatles fans a glimpse into what group would the later become. Aside from Lennon’s strummed acoustic, the song musically features simple, layered percussion and an earthy, ending flute solo by guest John Scott. “I Need You” is an early, forgotten gem by Harrison that features sweet sounds, such as a cool guitar pedal effect, and somber vocals.

Later on the first side, the Beatles revert back to some of their traditional styles. “Another Girl” includes some bluesly slide guitars, possibly influenced by Brian Jones, as well as a nice little solo lead at the very end. But otherwise, the track was garden variety and had not ever been played live by any Beatle until April 2015, over 50 years after it was recorded. Lennon’s “You’re Going to Lose That Girl” was a bit more popular, in somewhat the same vein of the female vocal groups of the day, with its backing vocal chorus call-and-response. “Ticket To Ride” is not only the only track to exceed three minutes in length, but may well be the finest overall song on the album. There are inventive and entertaining blends of sound throughout and droning rhythms with steady but interesting drum patterns by Starr during the verse/chorus sections that work seamlessly with Harrison’s ringing guitar riff and Lennon and McCartney’s harmonized melodies. The song transitions to a few upbeat bridge sections which transition back with a slight solo guitar flourish. Lyrically, the song caught some controversy due to its sexual connotations, but nonetheless topped the charts on both sides of the Atlantic when it was released ahead of the album in April 1965.

The album’s second side features two tracks which made up one of the oddest inverted 45 singles ever. The cover “Act Naturally”, with lead vocals by Starr is a country-flavored acoustic track and complete change of pace for the group, which was originally issued as a single with McCartney’s “Yesterday” occupying the ‘B’ side. Of course, “Yesterday” became one of the most popular songs in music history, even though its solo performance by McCartney with string quartet and non-rock-n-roll approach was considered a significant risk by the band at the time. It is a song that hits every note in your emotions and a universal song that makes one feel a little nostalgic no matter what age. McCartney says he received the entire melody in a dream and hurried to a piano to play the tune before he forgot it, using the filler theme “Scrambled Eggs”.

The remaining songs on side two are relatively lesser known, albeit interesting. “It’s Only Love” is a short blend of Byrds-meet-Roy Orbison with a slight preview of the psychedelic flower-power English pop to come. Harrison’s “You Like Me Too Much” is another retro-sounding tune with a hi-hat and double piano holding the beat and a bridge section which features trade-offs between lead guitar and piano by Lennon and Martin. On “Tell Me What You See”, complex percussion rules the day through the first two verses and an electric piano section at end. “I’ve Just Seen a Face” features a great intro with dueling acoustic guitars, fantastic vocals by McCartney, and a fast-paced skiffle beat throughout. If anything, this track shows how the Beatles can take common instruments, voices and tools to  make unique and divergent sounds. The Larry Williams cover, “Dizzy Miss Lizzy” concludes the album as a groovy early sixties jam which, if anything, shows that this is still the “Beatles” after the unconventional track, “Yesterday”. This song is also notable as the final cover song on a Beatles album until 1970’s Let It Be, which included the traditional folk song, “Maggie Mae”.

Beyond spawning three #1 singles, Help! became an album chart-topper as well as a multi-platinum seller worldwide. Following the album’s release, The Beatles embarked on their third US tour, which opened with the classic Shea Stadium performance on August 15, 1965 that shattered all previous attendance records. Following the tour, the group took some time to focus on their next album, which would become the classic Rubber Soul late in 1965.


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Part of Classic Rock Review’s celebration of the 50th anniversary of 1965 albums.


Let It Be by The Beatles

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Let It Be by The BeatlesReleased less than a month after the announcement of their breakup, Let It Be was a unique release by The Beatles on several fronts. First, the bulk of the album was recorded over a year earlier (and before the recording and release of 1969’s Abbey Road) and was slated to be released twice in 1969 as different incarnations of an album called Get Back. Also, after it was finally released, there was debate over the enriched production added by Phil Spector, which ultimately led to a 2003 re-mixed version called Let It Be Naked.

The idea for this project was sparked by Paul McCartney who wanted to use these sessions to “get back” to the rock basics of the band’s early years. McCartney was also eager to play live again and wanted simplify the band’s sound, which had gotten increasingly complex in the studio. As an added dimension, the rehearsals and recording sessions would be filmed as part of a planned documentary showing the group prepare for a return to playing live.

Starting in late 1968, the project was marred by confusion in purpose and production duties and, ultimately, led to strong animosity within the band itself. In fact, George Harrison temporarily quit the band and agreed to return only if plans for a live tour were nixed (the band ended up playing a single “show” on the roof of Apple Studios). Still, the band was incredibly prolific in rehearsing over a hundred songs during these sessions, which included early incarnations of songs which would end up on Abbey Road and several early solo albums by individual band members.

An originally intended release date for Get Back was set for the summer of 1969, but the group members were dissatisfied with the mix and the project was temporarily shelved while they worked on Abbey Road. Early in 1970, a second version was attempted, again to less-than satisfactory results. Finally, Spector was brought in to “save” the project in March 1970 and finished the album which now had a new title and new status as the final album by the world’s most popular rock band.

Let It Be by The Beatles
Released: May 8, 1970 (Apple)
Produced by: Phil Spector & George Martin
Recorded: Abbey Road, Twickenham & Apple studios, London, February 1968-April 1970
Side One Side Two
Two of Us
Dig a Pony
Across the Universe
I Me Mine
Dig It
Let It Be
Maggie Mae
I’ve Got a Feeling
One After 909
The Long and Winding Road
For You Blue
Get Back
Group Musicians
John Lennon – Guitars, Bass, Vocals
George Harrison – Guitars, Tambora, Vocals
Paul McCartney – Bass, Keyboards, Guitar, Vocals
Ringo Starr – Drums, Percussion

“Two of Us” was written by McCartney about a driving adventure with his future wife, Linda. While early incarnations were electric guitar-driven, the final album version was mostly acoustic with harmonized vocals by McCartney and John Lennon. “Dig a Pony” was composed and sung by Lennon, almost as a counterpart to the opener as it was inspired by his future wife, Yoko. This song was also the first of several to feature guest Billy Preston on electric piano.

The oldest composition on Let It Be, “Across the Universe” was written by Lennon in 1967 and originally recorded in early 1968. The song’s vibe was heavily influenced by the transcendental meditation the band was studying at the time, and its melodic flow make it one of the most enjoyable tracks on the album. “I Me Mine” was Harrison’s first songwriting contribution to the album with lyrics that mock the bickering within the band. Late on the album’s first side are a couple of filler tracks, each less than a minute in duration. “Dig It” is credited to all four group members (giving Ringo Starr a rare songwriting credit), while “Maggie Mae” is a traditional British skiffle tune.

McCartney’s title ballad was Billboard’s highest debut single to that date and the final single before the band’s breakup announcement. The song was sparked by a dream he had about his mother (Mary), who had died when Paul was a teenager and its title and theme served as a call for serenity in the face of the band’s breakup.

Beatles in the Film Studio, 1969The album’s second side begins with “I’ve Got a Feeling”, a fusion of two unfinished songs, along with John Lennon’s “Everybody Had a Hard Year”, which may have been one of the last true collaborations between the famous songwriting team. McCartney’s guitar-driven and upbeat rock theme fuses nicely with Lennon’s mellow folk lines to make a unique tune. In contrast, “One After 909” was a song written a full decade earlier in 1960, as one of the first Lennon–McCartney compositions. It was recorded here as a symbolic gesture to signify the band’s return to “good ol’ rock n’ roll”. “The Long and Winding Road” became the group’s twentieth and final number one song as a mature and philosophical piano ballad by McCartney. After production modifications by Spector, which included orchestral strings Richard Anthony Hewson and a choral arrangement by John Barham, McCartney expressed outrage at the enhancements without his input.

Harrison’s “For You Blue” features Lennon playing lap steel guitar with McCartney playing an intentionally dulled piano, which act as the only “bass” on the track. The album closer, “Get Back”, was the earliest single from the album, released over a year before the album as a single credited to “The Beatles with Billy Preston.” The album’s version is a different mix of the song. The song’s evolution was fully documented on film and the album’s version ends with the ironic quote by Lennon,

I’d like to say thank you on behalf of the group and ourselves, and I hope we passed the audition…”

Let It Be topped national charts in a half dozen countries worldwide and won an Academy Award for the Best Original Score for the songs in the film. Beatles fans still debate whether this is truly their final studio album or more of a posthumous release of tracks from an unfinished project. In any case, it is a quality addition to the band’s portfolio.


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Badfinger 1970 albums

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Buy No Dice

Badfinger 1970 albumsBadfinger thrust into the world of popular music with their first two releases, the soundtrack Magic Christian Music and the rock album No Dice. The first of these was actually an unplanned hybrid of five songs recorded specifically for the film The Magic Christian and seven songs released in the late 60s when the group was known as “The Iveys”. The latter was their pop/rock breakthrough as it significantly expanded the group’s popularity with a handful of indelible songs.

Based in London, The Iveys caught the attention of Mal Evans in early 1968, shortly after he was brought on board the Beatles’ brand new Apple Records. The group was signed to the label in April 1968 and immediately began recording soft rock styled pop singles, which were released throughout the next several months. In early 1969, Maybe Tomorrow by the Iveys was compiled from previous singles and released as a debut album. Later that year, the group changed their name to Badfinger and recorded a few songs, produced by Paul McCartney, intended for a multi-artist soundtrack to The Magic Christian. However, when Apple couldn’t retain the rights to Thunderclap Newman’s “Something In the Air”, the label decided to release a Badfinger-only soundtrack.

The band refined their sound in a more rock-oriented direction on No Dice. This was due in part to the arrival of guitarist Joey Molland, formally of the band The Rain. The four group members also recorded sessions on George Harrison’s All Things Must Pass album. Mal Evans was the original producer for this album but, after Apple execs expressed dissatisfaction with the sound, longtime Beatles’ engineer Geoff Emerick was brought in to finish the album. Even though No Dice was released during a very competitive Christmas season for rock records, it did very well commercially and became the band’s best-selling LP.

Magic Christian Music by Badfinger
Released: January 9, 1970 (Apple)
Produced by: Paul McCartney, Mal Evans, & Tony Visconti
Recorded: Abbey Road, Trident, IBC & Olympic Studios, London, 1968-1969
Side One Side Two
Come and Get It
Crimson Ship
Dear Angie
Midnight Sun
Beautiful and Blue
Rock of All Ages
Carry On Till Tomorrow
I’m in Love
Walk Out In the Rain
Knocking Down Our Home
Give It a Try
Maybe Tomorrow

No Dice by Badfinger
Released: November 9, 1970 (Apple)
Produced by: Geoff Emerick & Mal Evans
Recorded: Abbey Road & Trident Studios, London, April–August 1970
Side One Side Two
I Can’t Take It
I Don’t Mind
Love Me Do
Midnight Caller
No Matter What
Without You
Better Days
It Had to Be
Watford John
Believe Me
We’re for the Dark
Band Musicians
Pete Ham – Guitars, Paino, Vocals
Tom Evans – Bass, Guitars, Vocals
Ron Griffiths – Bass, Vocals (Magic Christian only)
Joey Molland – Guitars, Vocals (No Dice only)
Mike Gibbins – Drums, Vocals


“Come and Get It” was written by McCartney during the sessions for Abbey Road but not included on that album. He offered the song to Badfinger along with his producer services on the condition that they record it exactly like this demo. The opening track and lead single from Magic Christian Music, “Come and Get It” was the group’s first hit, reaching the Top 10 in both the US and the UK.

Magic Christian Music by BadfingerOther new tracks recorded for the movie included “Crimson Ship”, “Give It a Try”, “Midnight Sun”, and “Rock of All Ages”. The latter song was also produced by McCartney and has a pure, Early-Beatles’ inspired rock feel that made it a highlight of the album’s first side. “Dear Angie” was written by bassist Ron Griffiths and producer Tony Visconti as the Ivey’s second single in 1969. Griffiths left the group later in the year, making this his only composition for the band.

Tom Evans started off as a guitarist but later moved to bass following the departure of Griffiths and the arrival of Molland. On Magic Christian Music, Evans composed and sang lead vocals on many tracks, including the folk-tinged “Fisherman”, the pop-oriented “Beautiful and Blue”, the quasi-psychedelic “Angelique”, and the closing ballad “Maybe Tomorrow”. This last track was the Ivey’s first single in mid-1968 and includes string arrangements by George Martin, but had disappointing chart success following its release.

Evans co-wrote “Carry on Till Tomorrow” with Pete Ham. This track may be the most complex on the album, starting dark and melancholy, but adapting contrasting musical arrangements ranging from simple folk with rich vocal harmonies to sweeping strings and blistering lead guitar. Ham’s other contributions to Magic Christian Music are the upbeat, jazzy rocker “I’m in Love”, the sixties folk tune “Walk Out In the Rain”, and the Roy Orbison-like crooner “Knocking Down Our Home”, a song with piano, clarinets, and Caribbean-like beats in a laid back and breezy journey through catastrophic irony.

Starting with No Dice, Ham would play an increasing role in Badfinger’s musical direction, as evident on the hard rock opener “I Can’t Take It”. Still, this album was incredibly democratic compositionally with drummer Joey Molland writing or co-writing several tracks. “I Don’t Mind” is a flange-induced rock ballad, sung by Evans with Emerick adding subtle production effects. “Love Me Do” is the first song with Molland on lead vocals as a very basic rocker and apparent homage by the band to their mentors.

No Dice by BadfingerThe true heart of the album begins with Ham’s ballad “Midnight Caller”. This simple but exquisite song features beautiful vocals by Ham to his simple, rocking piano, steadily strummed acoustic, slightly funky bass and subtle drums. The hit song “No Matter What” was originally cut from the album when Apple considered its sound (produced by Mal Evans) to be insufficient. Later in the sessions, however, the group needed another track and revisited this track to find a pure pop/rock sound that perfectly fit the times in late 1970. Complex harmonies, call and response vocals, and good rock instrumentation with effective sonic treats like a distorted organ and fine lead guitar, all worked to make this simplest of upbeat love themes one the group’s biggest ever hits, peaking at number 5 in the UK and number 8 in the US.

The polar opposite of previous feel-good song, “Without You” is a melancholy classic and a true collaboration between Ham and Evans. Actually the song is a fusion of two ballads with Ham’s “If It’s Love” used for the verses and Evans’ chorus giving the song its title. Badfinger’s version features a smooth, George Harrison-like lead guitar by Molland and a long outro chorus with building instrumentation. However, this original version was far from the most popular version of this song, which has been covered by over a hundred artists. Harry Nilsson heard the Badfinger recording of this song and instantly decided to cover it on his Nilsson Schmilsson album in 1971. His version topped the US pop chart for four weeks in 1972, and was one of the highest selling singles for that year. When Nilsson passed away in 1994, Mariah Carey decided to record the song as a tribute to him and it once again topped the pop charts.

Side two of No Dice contains some lesser known tracks which are of no less quality. Ham’s “Blodwyn” is an upbeat, drinking pub type folk song with Country-inspired lead guitars, while “Better Days” with interlude guitar riffs and Elvis-inspired lyrics by Molland as well as an effective key change for the final verse. “It Had to Be” is a simple ballad written by Gibbins with Ham offering the emotive lead vocals, while “Watford John” is a band jam with a boogie piano named after a studio engineer employed by Apple.

The album ends very strong with a gem each by Evans and Ham. “Believe Me” is a John Lennon-inspired rock screed with harmonized vocals and a methodical but powerful delivery, along with the best overall guitar lead on the album, a duo effort which is slightly harmonized and slightly competing. This track was one of the earlier efforts by the group and Mal Evans. An absolute gem by Ham, “We’re for the Dark” completes the album as a simple but effective arrangement with tremendous sonic effect. This includes a fine fade-in of single acoustic, Ham’s double-tracked vocals, and the slightest accompaniment of bass guitar and orchestration, which never overpower the root acoustic and vocal elements. Although there are no drums, there is a consistent, rapid, heart-beat like beat throughout, which works to boast the songs motion overall.

Upon completion of No Dice, Emerick and the band began recording songs for a potential follow-up album. Although the project never materialized, several of these tunes appeared as bonus tracks on later versions of this album, with the beat-driven, slow rocker “Mean, Mean Jemima” being the best of this lot. In 1971, Badfinger started over with a new album project which spawned Straight Up, another successful pop rock release by the group.


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Part of Classic Rock Review’s celebration of the 45th anniversary of 1970 albums.


McCartney by Paul McCartney

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McCartney by Paul McCartneyThe second of our three “Life After Beatles” reviews looks at the most controversial release in the sense that it played an indirect role in the group’s demise. Covertly recorded during The Beatles last months as an official band, McCartney is a very scaled back one-man effort by Paul McCartney, who tracked much of the music at home. As such, reception and reviews of this album have been mixed and deservedly so. In one sense, there are songs which are very efficient, saying more in 150 seconds or less than most standard or elongated rock songs. On the other hand, there is some annoying repetition, which signals the presence of underdeveloped material released before its time.

Following the release of Abbey Road in September 1969, John Lennon confided in his bandmates that he was finished being a Beatle. After strenuously trying to change Lennon’s mind, McCartney retreated to his isolated farm in Campbeltown, Scotland, where he lost touch with the other Beatles and neglected their common management of Apple Records. With encouragement from his wife Linda McCartney, Paul began developing solo material and he purchased a four-track recorder when the McCartneys returned to their proper home in London. Playing every instrument with just some backing vocals by Linda, McCartney later took his recordings to Morgan Studios and Abby Road to record overdubs, using a fake name in each case to keep the upcoming album a secret. While a handful of the tracks on McCartney date back to Beatles’ sessions, most of the material was composed and developed over a two month span in the Winter of 1969-70.

When the album was revealed to Apple (and the other Beatles), McCartney was slated for a mid-April release date. However, Phil Spector had been working on post-production of the Let It Be album and accompanying film that had a world premiere scheduled for April 28th. Harrison and Lennon wrote to McCartney that his album release would be postponed until June 4th, which was hand delivered to McCartney by Ringo Starr. This situation nearly came to blows and, although the other Beatles relented on their demands, McCartney decided to go public on April 9, 1970, with what was essentially his resignation from the band. Nine days later, McCartney was released.

McCartney by Paul McCartney
Released: April 17, 1970 (Apple)
Produced by: Paul McCartney
Recorded: McCartney’s home, St John’s Wood; Morgan Studios, Willesden; Abbey Road Studios, London, December 1969–February 1970
Side One Side Two
The Lovely Linda
That Would Be Something
Valentine Day
Every Night
Hot As Sun / Glasses
Man, We Was Lonely
Oo You
Mama Miss America
Teddy Boy
Singalong Junk
Maybe I’m Amazed
Paul McCartney – Lead Vocals, Guitars, Keyboards, Bass, Drums, Percussion
Linda McCartney – Backing Vocals

The early part of the album runs sequentially, with the first three songs being the first three recordings McCartney made at home for this project. “The Lovely Linda” is the shortest song and is only annoying because it seems like there is so much more here than on some of the later filler – with a nice bass groove and interesting hand percussion to accompany the bright acoustic – only to go away after just 43 seconds. In contrast, “That Would Be Something” is mostly filler, with only two distinct lines and musical melodies repeated to death. The first of several instrumentals, “Valentine Day” is a simple riff-oriented blues jam with interesting percussion that McCartney claims he improvised on the spot while the tape was running.

“Every Night” is the first really complete and excellent song on the album. This song also is, in many ways, the true heart of this domestic-inspired record. Recorded at Abbey Road, everything works well on this brief love song, including McCartney’s duo acoustic, bass, subtle drums, and, most especially, his exquisite vocal melodies. The album’s second instrumental, “Hot As Sun/Glasses” begins with a bright, Polynesian-influenced jam that McCartney first developed in the late 1950s. This shortly breaks down with the eerie sound of tapping crystal wineglasses at home.

Back Cover of McCartney
Back Cover of McCartney
A short but beautiful gem, “Junk” was originally written during the sessions for The White Album. This acoustic ballad with philosophical lyrics features some xylophone in the final verse as well as the first vocal harmonies by Linda McCartney. Linda’s vocals are even more present on “Man We Was Lonely”, the original side one closer. This fine and polished track features electric overdubbed guitars complementing the strummed acoustic strummed in intro and a “hoe-down” duet with a bouncy beat and enjoyable melodies.

A rock riff jam with interesting guitars and bass line, “Oo You” was originally recorded at home as an instrumental but McCartney decided to add mainly scat vocals later in the studio. Two distinct instrumentals were combined to form “Momma Miss America”, the best musical passage on the album with the first half featuring potent bass, piano, and drums and subtle guitar motifs with interesting effects on each. The bass and drums persist on the second half, accompanied by a heavy acoustic presence and lead guitar above it all. While “Teddy Boy” was rejected as a Beatles track, this acoustic folk track actually works much better as a solo song. Of note here are Linda’s backing vocals, the finest on this (or any other) album. When accompanied by Paul’s bass vocals, the backing chorus has an almost orchestral effect. The reprise “Singalong Junk” is an instrumental version that is actually longer than the song proper on side one. A few notches above elevator music, the melody is played on piano with the fine additions of mellotron strings.

In a way, one can claim that “Maybe I’m Amazed” is the reason for the album as a whole, as the one true radio hit and indelible song. On the other hand, one might also argue that it this is too well produced to blend with the preceding tracks, as this Abbey Road production abandons the “homey” feel. In any case, it is a real showcase for McCartney’s talent as a composer and performer, especially when it comes to the soaring lead guitars between each verse. Following this climatic moment, “Kreen-Akrore” finishes the album as a showcase for dry drums and percussive effects, only disrupted by very short full instrumentation sections which reprise a small phrase from “Maybe I’m Amazed”. This piece was inspired by the hunting rituals of tribesmen in the Brazilian Amazon.

Despite its mixed reviews, McCartney was a worldwide hit, reaching number 2, in the UK and Number 1 in the US, where it sold over a million copies in its first six weeks. Some have cynically noted that this album was a commercial beneficiary of the the publicity surrounding the Beatles’ break-up, which McCartney initiated. In any case, it commenced a long and successful solo career which continues 45 years later.


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Part of Classic Rock Review’s celebration of the 45th anniversary of 1970 albums.


Top 9 Rock Festivals of All Time

This week Classic Rock Review joins the celebration of the 45th Anniversary of the historic 1969 Woodstock Music Festival. In conjunction with Top 9 Lists, we present a list of the Top 9 Rock Festivals of all time, along with a bonus list of Top 9 Single Day, Single Location Concerts.

Woodstock from behind the stage

1. Woodstock

August 15-18, 1969
Bethel, New York

This remains the mother of all music festivals, held at a 600-acre dairy farm owned by Max Yasgur. A series of coincidental events unfolded which effected the location and operation of this festival, which grew to become a “free” event for over 400,000 attendees. Regarded as a pivotal moment in popular music history, 32 acts performed during the rainy weekend, starting with Richie Havens, and concluding with a memorable performance by Jimi Hendrix as the crowd dispersed mid-morning on Monday, August 18th. Woodstock was immortalized in a later documentary movie as well as a song by Joni Mitchell, who was one of many major acts that did not attend by later regretted it.

Woodstock Performers: Richie Havens, Sweetwater, Bert Sommer, Tim Hardin, Ravi Shankar, Melanie, Arlo Guthrie, Joan Baez, Quill, Country Joe McDonald, Santana, John Sebastian, Keef Hartley Band, The Incredible String Band, Canned Heat, Mountain, Grateful Dead, Creedence Clearwater Revival, Janis Joplin with The Kozmic Blues Band, Sly and the Family Stone, The Who, Jefferson Airplane, Joe Cocker and The Grease Band, Ten Years After, The Band, Johnny Winter, Blood, Sweat & Tears, Crosby, Stills, & Nash, Paul Butterfield Blues Band, Sha Na Na, Jimi Hendrix and Gypsy Sun Rainbows

Buy Woodstock soundtrack
Buy Woodstock: Three Days of Peace & Music DVD

2. Monterey Pop Festival

June 16-18, 1967
Monterey, California

Jimi Hendrix at MontereyCredited as the event which sparked the “The Summer of Love”, The three-day Monterey International Pop Music Festival had a rather modest attendance but was soon recognized for its importance to the performers and significance to the sixties pop scene. The lineup consisted of a blend of rock and pop acts with memorable performances by The Who and Jimi Hendrix Experience.

Monterey Pop Performers: Jefferson Airplane, The Who, The Jimi Hendrix Experience, Janis Joplin, Otis Redding, Booker T. & the MG’s, Ravi Shankar, The Mamas and the Papas

Buy Monterey Pop Festival Live album

3. Live Aid

July 13, 1985
London and Philadelphia

Live Aid, PhiladelphiaStill the largest benefit concert 30 years on, Live Aid was a also the first live multi-venue event, with over 70,000 at London’s Wembley Stadium and close to 100,000 at JFK Stadium in Philadelphia. Organized by musician Bob Geldof of the Boomtown Rats as relief for the Ethiopian famine, the concert evolved from Band Aid, a multi-artist group who recorded “Do They Know It’s Christmas?” in 1984. Live Aid was also one of the largest worldwide television broadcasts, with an estimated audience of 1.9 billion in about 150 nations. Memorable performances and moments included those by Queen, U2, Dire Straits, a reunited Black Sabbath, and a loose reunion by members Led Zeppelin, the first since their breakup in 1980.

Live Aid Performers: Status Quo, The Style Council, The Boomtown Rats, Adam Ant, Spandau Ballet, Elvis Costello, Nik Kershaw, Sade, Sting, Phil Collins, Branford Marsalis, Howard Jones, Bryan Ferry, David Gilmour, Paul Young, U2, Dire Straits, Queen, David Bowie, Thomas Dolby, The Who, Elton John, Paul McCartney, Band Aid, Joan Baez, The Hooters, Four Tops, Billy Ocean, Black Sabbath, Run–D.M.C., Rick Springfield, REO Speedwagon, Crosby, Stills and Nash, Judas Priest, Bryan Adams, The Beach Boys, George Thorogood and the Destroyers, Simple Minds, The Pretenders, Santana, Ashford & Simpson, Madonna, Tom Petty and the Heartbreakers, Kenny Loggins, The Cars, Neil Young, The Power Station, Thompson Twins, Eric Clapton, Led Zeppelin (announced as “Jimmy Page, Robert Plant, John Paul Jones, Tony Thompson, Paul Martinez, Phil Collins”), Duran Duran, Patti LaBelle, Hall & Oates, Mick Jagger, Eddie Kendricks, David Ruffin, Tina Turner, Bob Dylan, Keith Richards, Ronnie Wood, USA for Africa

Buy Live Aid DVD

4. Isle of Wight Festival

August 26-30, 1970
Isle of Wight, UK

Isle Of Wight Festival, 1970In sheer numbers, the 1970 Isle of Wight Festival may be the largest ever, with estimates of over 600,000, which is an increase of about 50% over Woodstock. Promoted by local brothers Ronnie, Ray and Bill Foulk, the 5-day event caused such logistical problems (all attendees had to be ferried to the small island) that Parliament passed the “Isle of Wight Act” in 1971, preventing gatherings of more than 5,000 people on the island without a special license. Memorable performances included late career appearances by Jimi Hendrix and The Doors, and The Who, who released their entire set on the 1996 album Live at the Isle of Wight Festival 1970.

Isle of Wight 1970 Performers: Judas Jump, Kathy Smith, Rosalie Sorrels, David Bromberg, Redbone, Kris Kristofferson, Mighty Baby, Gary Farr, Supertramp, Howl, Black Widow, The Groundhogs, Terry Reid, Gilberto Gil and Caetano Veloso, Fairfield Parlour, Arrival, Lighthouse, Taste, Rory Gallagher, Chicago, Procol Harum, Voices of East Harlem, Cactus, John Sebastian, Shawn Phillips, Joni Mitchell, Tiny Tim, Miles Davis, Ten Years After, Emerson, Lake & Palmer, The Doors, The Who, Sly & the Family Stone, Melanie, Good News, Ralph McTell, Heaven, Free, Donovan, Pentangle, The Moody Blues, Jethro Tull, Jimi Hendrix, Joan Baez, Leonard Cohen, Richie Havens

Buy Message to Love, The Isle of Wight Festival DVD

5. Ozark Music Festival

July 19-21, 1974
Sedalia, Missouri

Ozark Music Festival stage“No Hassles Guaranteed” was the motto of the Ozark Music Festival, held at the Missouri State Fairgrounds in 1974. While this festival offered an impressive lineup of artists as well as a crowd upwards of 350,000 people, the Missouri Senate later described the festival as a disaster, due to the behaviors and destructive tendencies of the crowd.

Ozark Music Festival Performers: Bachman–Turner Overdrive, Aerosmith, Premiata Forneria Marconi, Blue Öyster Cult, The Eagles, America, Marshall Tucker Band, The Nitty Gritty Dirt Band, Boz Scaggs, Ted Nugent, David Bromberg, Leo Kottke, Cactus, The Earl Scruggs Revue, Lynyrd Skynyrd, Electric Flag, Bob Seger & the Silver Bullet Band, Joe Walsh and Barnstorm, The Souther Hillman Furay Band, The Ozark Mountain Daredevils, Charlie Daniels Band, REO Speedwagon, Spirit

6. US Festival

May 28-30, 1983
Devore, California

Steve Wozniak’s US Festivals were staged on two occasions in September 1982 and May 1983. The second of these was packed with a lineup of top-notch eighties acts who performed in an enormous state-of-the-art temporary amphitheatre at Glen Helen Regional Park.

1983 US Festival Performers: Divinyls, INXS, Wall of Voodoo, Oingo Boingo, The English Beat, A Flock of Seagulls, Stray Cats, Men at Work, The Clash, Quiet Riot, Mötley Crüe, Ozzy Osbourne, Judas Priest, Triumph, Scorpions, Van Halen, Los Lobos, Little Steven & the Disciples of Soul, Berlin, Quarterflash, U2, Missing Persons, The Pretenders, Joe Walsh, Stevie Nicks, David Bowie

7. The Crossroads Guitar Festival

June 4-6, 2004
Dallas, Texas

Crossroads Festival 2004 adStarting in 2004, the Crossroads Guitar Festivals have been held every three years to benefit the Crossroads Centre for drug treatment in Antigua, founded by Eric Clapton. These concerts showcase a variety of guitarists, with the first lineup at the Cotton Bowl stadium in 2004 featuring some legends along with up-and-comers hand-picked by Clapton himself.

2004 Crossroads Guitar Festival Performers: Eric Clapton, Johnny A, Vishwa Mohan Bhatt, Ron Block, Booker T. & the M.G.’s, Doyle Bramhall II, JJ Cale, Larry Carlton, Robert Cray, Sheryl Crow, Bo Diddley, Jerry Douglas, David Honeyboy Edwards, Vince Gill, Buddy Guy, David Hidalgo, Zakir Hussain, Eric Johnson, B.B. King, Sonny Landreth, Jonny Lang, Robert Lockwood, Jr., John Mayer, John McLaughlin, Robert Randolph, Duke Robillard, Carlos Santana, Hubert Sumlin, James Taylor, Dan Tyminski, Steve Vai, Jimmie Vaughan, Joe Walsh, ZZ Top, David Johansen

Buy Eric Clapton: Crossroads Guitar Festival 2004 DVD

8. Live 8

July 2, 2005
Locations world wide

Pink Floyd at Live 8Held 20 years after he organized Live Aid, Bob Geldof’s Live 8 was even more ambitious, being held in nine different locations around the world on the same day. Timed to coincide with the G8 conference in Scotland that year, the goal was to raise money to fight poverty in Africa. The most memorable moment from the concerts was at Hyde Park in London where the classic lineup of Pink Floyd reunited for the first time in over two decades.

Live 8 Performers: U2, Paul McCartney, Annie Lennox, Mariah Carey, R.E.M. The Killers, The Who, UB40, Pink Floyd, Elton John, Bob Geldof, Velvet Revolver, Madonna, Coldplay, Robbie Williams, Will Smith, Alicia Keys, The Black Eyed Peas, Kanye West, Linkin Park, Jay-Z, Rob Thomas, Sarah McLachlan, Stevie Wonder, Maroon 5, Deep Purple, Neil Young, Buck Cherry, Bryan Adams, Mötley Crüe, Brian Wilson, Green Day, a-Ha, Roxy Music, Dido, Peter Gabriel, Snow Patrol, The Corrs, Zola, Lucky Dube, Jungo, Pet Shop Boys, Muse, The Cure

Buy Live 8 DVD

9. Woodstock ’94

August 12-14, 1994
Saugerties, New York

Organized to commemorate the 25th anniversary of the original Woodstock festival, Woodstock ’94 was promoted as “3 More Days of Peace and Music”. in fact, this concert took place near the originally intended location of that first show and other similarities such as common performers, similar crowd size, rain, and mud.

Woodstock ’94 Performers: Blues Traveler, Candlebox, Collective Soul, Jackyl, King’s X, Live, Orleans, Sheryl Crow, Violent Femmes, Joe Cocker, Blind Melon, Cypress Hill, Rollins Band, Melissa Etheridge, Crosby, Stills, & Nash, John Sebastian, Nine Inch Nails, Metallica, Aerosmith, Country Joe McDonald, Sisters of Glory, Arrested Development, Allman Brothers Band, Traffic, Santana, Green Day, Paul Rodgers Rock and Blues Revue, Spin Doctors, Porno For Pyros, Bob Dylan, Red Hot Chili Peppers, Peter Gabriel

Read more on Woodstock ’94 from our recent Comebacks and Reunions special feature

Bonus Top 9 List: Best Single Day, Single Location Shows

The Who at Concert for New York City

1. The Concert for New York City October 20, 2001. New York, NY
2. The Band’s Last Waltz November 25, 1976. San Francisco, CA
3. Atlantic Records 40th Anniversary Celebration May 14, 1988. New York, NY
4. Concert for Bangladesh August 1, 1971. New York, NY
5. Knebworh Festival June 30, 1990. Knebworth, UK
6. Texxas Jam July 1, 1978. Dallas, TX
7. Farm Aid September 22, 1985. Champaign, IL
8. Canada Jam August 26, 1990. Bowmanville, Ontario
9. Altamont Free Concert December 6, 1969. Tracy, CA


Ric Albano

Abbey Road by The Beatles

1969 Album of the Year

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Abbey Road by The BeatlesShort of careers cut short by tragedy, there are very few times in rock history where a band or artist finished with their greatest work. Abbey Road, the eleventh and final studio album by The Beatles, is one such occasion. Released in October of 1969, This album marks the last true collaboration all four Beatles in the studio with producer George Martin (Let It Be was released in April of 1970, weeks before the Beatles broke up, it was mostly recorded prior to any Abbey Road recording sessions). This final effort with their classic producer and at the studio they would make famous, Abbey Road would go on to tremendous popularity and critical success and become our of the Year for 1969.

It is no secret that the Beatles were going through internal turmoil later in their career. Having lost the glue that held them together, manager Brian Epstein just two years earlier, the band had been going through personal and financial struggles. The strained business relationship was complicated by the addition of John Lennon‘s new love interest, Yoko Ono, who was a constant presence in their recording sessions. During a break in recording in March 1969, Lennon and Ono were married and when Lennon returned from his honeymoon, he approached Paul McCartney with a song he had written about the occasions called “The Ballad of John and Yoko”. The song was immediately recorded without George Harrison or Ringo Starr, who were both away from London when Lennon had his sudden inspiration. With McCartney on piano, bass, and drums, and Lennon on vocals and guitars, “The Ballad of John and Yoko” became the Beatles’ 17th and final UK number one single, all done without half the group members knowledge or consent. But such was the case for the Beatles in 1969.

Early in the year, The Beatles seemed to be on the road to breaking up during the recording of what would become Let it Be, as each member had started doing solo projects. It was McCartney who approached George Martin and asked him to work with them on another studio album. Martin agreed as long as the band agreed to his strict discipline in the studio and let him have control over the production from start to finish. So, recording began in February 1969 with Martin at the helm as well as all four Beatles at Abbey Road Studio. Some of the early recordings for the Abbey Road sessions included non-album material which would surface elsewhere, such as Harrison’s acoustic demo of “All Things Must Pass” (later on a solo album of the same name), McCartney’s “Come And Get It” (a minor hit for Badfinger in 1970), and “Old Brown Shoe”, an interesting composition by Harrison, used as the B-side for “The Ballad of John and Yoko”. However, as the sessions moved along, the Beatles found their magic formula once again and made the classic Abbey Road music which showcases each member of the band performing at their finest level.

Abbey Road by The Beatles
Released: September 26, 1969 (Apple)
Produced by: George Martin
Recorded: EMI Abbey Road Studios, London, February-August 1969
Side One Side Two
Come Together
Maxwell’s Silver Hammer
Oh Darling
Octopus’s Garden
I Want You (She’s So Heavy)
Here Comes the Sun
You Never Give Me Your Money
Sun King
Mean Mr. Mustard
Polythene Pam
She Came In Through the Bathroom Window
Golden Slumbers
Carry That Weight
The End
Her Majesty
Group Musicians
John Lennon – Guitars, Piano, Keyboards, Percussion, Vocals
Paul McCartney – Bass, Piano, Keyboards, Percussion, Vocals
George Harrison – Guitars, Keyboards, Percussion, Vocals
Ringo Starr – Drums, Percussion, Piano, Vocals


The album aptly begins with the Lennon led “Come Together” While the title sounds like a lead in to a hippie commune sing along, it is actually has a rougher edge to it with a funky bass, bluesy guitar and sloshy drums. “Come Together” and “Something” were released as a double A-sided single. George Harrison’s, “Something”, is often regarded as Harrison’s finest composition. It is certainly one of the greatest love songs ever recorded. It starts with the line, “Something in the way she moves…” and the music flows right along with that movement. It has a natural, fluid feel to it with the steady bass, beautiful guitar riffs and cricket like sounds that lead into a perfect fade out.

“Maxwell’s Silver Hammer” is a duplicitous song. The lyrics describing the antics of a sociopathic serial killer are in stark contrast to the syrupy sweet music. The anvil banging and McCartney’s mischievous vocal delivery add to the effect that this is a children’s song gone awry, but one can’t help but sing along. The next McCartney led song, “Oh Darling” has a completely different style. McCartney’s voice carries the whole thing. This doo-wop inspired song actually has a tinge of Motown in it with the intense, strained vocal and simple accompaniment.

Ringo Starr’s contribution, “Octopus’s Garden” is another childlike fantasy song. Ringo has said it was inspired by a story he had heard about how octopus like to gather shiny objects and make their own little “garden”. This song lightens the mood after the intensity of “Oh Darling” and the black hole that ends side one, “I Want You, She’s So Heavy”. This is a lengthy indulgence that has some interesting parts, a few moments of brilliance and some superb musicianship. That said it carries on for a nearly eight minute decent into repetitive madness.

Beatles during Abbey Road sessions
The second side is where the magic of this album really starts. It opens with the uplifting and fresh sounds of Harrison’s second contribution, the sonic masterpiece, “Here Comes the Sun”. The harmony of vocals and the light, catchy melody capture the feeling of rebirth that comes from a new beginning, like the sun coming out from behind the clouds as winter fades and spring blooms. This, along with the outstanding, “Something” may make this Harrison’s best Beatles album ever. “Because” features a three part harmony tripled in production so it sounds like nine voices over a simple moog synthesizer and harpsichord. The vocals are masterful and the production technique is superb. Beethoven’s, “Moonlight Sonata”, played backwards, inspired the chords of the song.

“You Never Give Me Your Money” drops in perfectly with soft piano chords and dramatic vocals, there is a plethora of music in this piece. The sounds draw you in and the steady drum beat is mesmerizing. The production on this one is masterful as it leads the listener into the medley that is the heart of this production masterpiece. The production of these little vignettes is brilliant in how they blend together into a cohesive story. “Sun King” reprises the triple three part harmonies while, “Mean Mr. Mustard” and “Polythene Pam” are more upbeat and end in a crash. “She Came in through the Bathroom Window” was inspired by a determined female fan who crawled through a bathroom window of Paul’s home. There is a cool riff going on throughout the song.

With a slight pause in the medley, “Golden Slumbers” rises as another melodramatic McCartney contribution showcasing his knack for making pretty melodies. This abruptly leads to “Carry That Weight”, featuring a reprise of “You Never Give Me Your Money” where Ringo is prominent in the vocal harmonies. Fittingly, it all culminates with “The End”. There is a showcase for each performer here. The guitar parts were done by Paul, John and George and Ringo has his only drum solo as a Beatle. It is a grand finale that brings this album, as well as the Beatles recording days, to an end in grand style.

Abbey Road’s cover, though it appears to be a simple shot of the band walking across the street in single file, has been said to have some clues to the rumored death of Paul McCartney. Paul is walking barefoot in a suit, George is dressed in jeans, much like a gravedigger, Ringo is dressed in similar fashion as an undertaker while John is dressed in white to symbolize a minister. Adding to the intrigue is the license plate on the VW that reads, “28 IF” as Paul would have been 28 if he had lived. Of course, Paul McCartney is not dead, but the “clues” became a fan obsession and the band seemed to have an endless supply of “clues” to egg them on.

Of course, the album was a huge success, reaching the top of the charts in scores of countries as the sixties came to an end. The songs on this album lean on each other much as the Beatles needed to lean on each other to produce the quality and quantity of music they made throughout their career. There are a few outstanding singles, but the medley only shines because they put together pieces of songs that weren’t quite complete on their own and created something unique, special and fleeting as the Beatles rode off into history shortly after Abbey Road was released.


1968 Images

Part of Classic Rock Review’s celebration of the 45th anniversary of 1969 albums.


The Beatles

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The Beatles (white album)In 1968, The Beatles released their only double studio album, an eponymous release commonly referred to as The White Album. Despite the official title which emphasized group identity, the actual recordings were segmented and increasingly individualized based on the original composer of each tune.  Much of this was due to dissent and inner turmoil in which members openly objected to certain tunes. In fact, all four members of the group play together on barely half of the album’s 30 tracks and producer George Martin later admitted he advocated for a “very good single album” in lieu of including so many marginal individualized tracks. Thematically, the White Album was a complete withdrawal from The Beatles 1967 albums, retreating from the lush and vivid colorful themes of Sgt. Pepper’s Lonely Hearts Club Band and Magical Mystery Tour with a plain white sleeve (save for the band’s name discreetly embossed) to pair with the most simple of titles. This was also the first release by the group on their independent label, Apple Records.

Even with 30 tracks, the album omitted much potential material. Several songs started during the five months of recording were later included on Abbey Road and several solo albums by the members and the group opted to release the tracks “Hey Jude” and “Revolution” (two of the most popular songs ever by the Beatles) as a pre-release single than include them on the White Album. With such a large amount of tracks, the album contains an eclectic mix of songs from wide musical genres, including folk, country , avant-garde, classical and chamber music, and British dance-hall music. The Beatles only slightly continued their psychedelic leanings from 1967 but spent much more effort returning to basic rock and blues of their earlier years. Such diversity on a single album was largely unprecedented in 1968 and seemed to bring equal measures of praise and criticism from fans and critics over the years. Still, The Beatles was a phenomenal commercial success, reaching number one on both side of the Atlantic and selling well over 10 million copies worldwide.

Many of the songs originated in Rishikesh, India while the band was collectively on a Transcendental Meditation retreat with Maharishi Mahesh Yogi in the spring of 1968. Both John Lennon and Paul McCartney used the time to write songs in earnest and would frequently meet to discuss song ideas (even though this was in contrast to the meditation “course”). Theses songs were composed on acoustic guitar, the only Western instrument available during their Indian visit. Once back in England, the group gathered at George Harrison‘s home to hash out the close to forty new compositions and make preliminary plans for recording. The sessions for The White Album were the first on which the band used 8-track recording, starting with “Hey Jude” at Trident Studios in central London before returning to Abbey Road Studios once EMI installed their own 8-track machine.

During the lengthy sessions from May through October 1968 much internal conflict began, group members later pinpointed this as the beginning of their ultimate breakup. Frustrated with his diminished role on several tracks, drummer Ringo Starr quit the band for a brief time, leaving McCartney as the drummer on a couple of tracks. These were also the first Beatles sessions where wives and girlfriends frequently attended, most notably Lennon’s future wive Yoko Ono, who was constant presence at the sessions. As a result of the tension McCartney and Lennon would often record in separate studios at Abbey Road (there were three), each using different engineers. The turmoil of these sessions extended beyond the band members. Engineer Geoff Emerick, who had worked on several albums with the Beatles, abruptly quit and announced he would no longer work with the band and even George Martin took an unannounced holiday midway through the sessions, leaving the group to scramble for an interim producer. In the end, however, Lennon. McCartney, and Martin got together for a 24-hour session to mix, master, and sequence the White Album.

The Beatles by The Beatles
Released: November 22, 1968 (Apple)
Produced by: George Martin
Recorded: EMI and Trident Studios, London, May-October, 1968
Side One Side Two
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
Martha My Dear
I’m So Tired
Rocky Raccoon
Don’t Pass Me By
Why Don’t We Do It in the Road?
I Will
Side Three Side Four
Yer Blues
Mother Nature’s Son
Everybody’s Got Something to Hide…
…Except Me and My Monkey
Sexy Sadie
Helter Skelter
Long, Long, Long
Revolution 1
Honey Pie
Savoy Truffle
Cry Baby Cry
Revolution 9
Good Night
Group Musicians
John Lennon – Guitars, Keyboards, Harmonica, Saxophone, Vocals
Paul McCartney – Bass, Guitars, Keyboards, Drums, Flugelhorn, Vocals
George Harrison – Guitars, Organ, Percussion, Vocals
Ringo Starr – Drums, Percussion, Piano, Vocals


McCartney played drums on the first two tracks of The Beatles. The opener “Back in the USSR” commences with jet aircraft effects and breaks into an upbeat rocker, combining elements of earlier Beatles and Beach Boys songs. In fact, Mike Love of the Beach Boys also attended the retreat in Rishikesh and he encouraged McCartney to “talk about the girls all around Russia” when Paul told him of his idea to write a song called “Back in the USSR” as a homage to Chuck Berry’s “Back in the USA”. Although no tracks from The White Album were initially released as singles, “Back in the USSR” was released by Parlophone as a single in the UK in 1976, eight years later. “Dear Prudence” arrives like an awakening or a drawing out, with the hypnotically picked, rotating guitars by Lennon. The subject of this song is Prudence Farrow, part of the Rishikesh entourage, who became so serious about her meditation that she rarely came out of the cottage she was living in, prompting others to enlist Lennon to try and make sure she came out more often. Towards the end of the song is a good rock jam which previews some of the finer moments on the album.

“Glass Onion” contains lyrics and music that acts as an epilogue to Magical Mystery Tour. Like a psychedelic trip through the past year, the lyrics call out earlier Beatles songs by name with provocative lyrics to fans such as; “Well here’s another clue for you all, the Walrus was Paul”, which Lennon later dismissed as having no deeper meaning. On the gibberish front, McCartney’s “Ob-La-Di, Ob-La-Da” may contain sophomoric lyrics, but this song shines for its pure sonic quality, starting with McCartney’s vocals which sound like nothing else he had (or has) done. Thematically, this infectiously fun song is an expression of the pure joy of everyday, ordinary life. While Lennon, openly detested this song in its original, reggae-influenced form, the band spent many sessions reworking it towards its finished form.

George HarrisonAfter the filler experimental piece “Wild Honey Pie”, a flamenco guitar phrase introduces “The Continuing Story of Bungalow Bill”. Like a kids song gone rogue, the song mocks a guy in Maharishi’s meditation camp who took break from meditation to go hunting tigers. Recorded later in the album sessions, “Bungalow Bill” features Yoko Ono singing co-lead vocals for a single line, the only female lead vocal in the Beatles library. Harrison’s “While My Guitar Gently Weeps” is the best moment on the album. With a great piano intro and chord structure, the song features a pulsating rhythm beneath the profound vocals of Harrison and wild guitar  by guest Eric Clapton. Inspiration for the song came from reading the I Ching which prompted Harrison to experiment by writing a song based on the first words he saw upon opening a random book. Those words were “gently weeps” and he immediately began writing the song, although many of his verses were later omitted. The presence of Clapton also served to temporarily alleviate the studio tension, as the band members were on their best behavior during his time in the studio.

The fantastic first side concludes with Lennon’s “Happiness Is a Warm Gun”, an asymmetrical mini suite, which moves several sections rapidly, each becoming more anthemic and rocking. Lennon claims the title came from the cover of a gun magazine that George Martin showed him. and it has been cited by both McCartney and Harrison as one of their favorites on the White Album.

Paul McCartney“Martha My Dear” begins with a great piano through intro, soon accompanied by orchestration and a very slight thumping rock section during the middle of the bridge. McCartney is the only Beatle to appear on this track (written about his English sheepdog), which includes nice brass and string arrangements by Martin. “I’m So Tired” is another short masterpiece by Lennon with very emotive vocals masterfully adjusted for differing effects. A direct, first-person account of a sleepless night in India, the unabashed examination of his own fragile state of mind, previews later solo work by Lennon such as Plastic Ono Band. Back to McCartney, with the solo recording of “Blackbird”, a beautiful acoustic solo piece with music based on J.S. Bach’s “Bourrée”. The hypnotizing acoustic, double-tracked vocals and tapping percussion and the guitar make for a pretty and inspirational tune with lyrics inspired by the Civil Rights struggle.

“Piggies” is a Baroque influenced song by Harrison as social commentary on the class system. Originally written in 1966 at his parents’ home, Harrison’s mother provided the line “What they need’s a damn good whacking” while Lennon contributed the line “clutching forks and knives to eat their bacon.” The predominant harpsichord is accompanied by a string quartet, produced by Chris Thomas in Martin’s absence. Ringo Starr“Rocky Raccoon” is a Western saloon type folk song with McCartney on consistent acoustic and lead vocals, Lennon providing harmonica and harmonium, and George Martin adding the nice honky-tonk piano breaks. An actual collaboration between McCartney and Lennon, this storytelling song originated during a three man acoustic jam with folk singer Donovan on retreat in India. “Don’t Pass Me By” is the first composition credited to Richard Starkey (Ringo Starr) and would have made for a good Ringo Starr solo track. Starr also provides an interesting tack piano, accompanied by great bluegrass fiddle playing by guest Jack Fallon. The song was a #1 hit in Denmark in April 1969.

Following his frivolous, minute and a half “Why Don’t We Do It in the Road?”, McCartney provides the retro feeling “I Will”. With much nod towards early Beatles, this song contains a unique arrangement with vocal bass and unconvential percussion. Although simple and short, “I Will” took 67 takes to record. Lennon’s solo ballad “Julia” is a finger-picking acoustic song written for his mother Julia Lennon, who died in car accident when John was 17 years old. The fun celebration rocker “Birthday” starts the album’s third side. One of the rare tracks written in the studio, the song features a catchy blues progression guitar riff augmented by choppy piano.

This third side is where some of the White Album’s weaker spots come to the fore. “Yer Blues” is one of these, as an almost-annoying blues tune with the only redeeming quality being the slight middle jam section that is unfortunately cut short by a return to the repetitive verse. “Everybody’s Got Something to Hide Except Me and My Monkey” is another marginal song by Lennon, albeit a little more interesting due to its frantic rocking style, complete with groovy late sixties guitars and rudiments. in between these is the pleasant folk diddy “Mother Nature’s Son” by McCartney, the best song on this side. This song completely captures the intended mood with great acoustic riffs and horns ensemble musically and inspired lyrics based on a lecture by the Maharishi. McCartney recorded it “live”, singing and playing acoustic guitar simultaneously with overdubs done later.

John LennonThe four Beatles left India at different times and with different opinions of the Maharishi. Lennon, a t one point a “true believer”, ultimately became the most jaded by the experience and expressed this brilliantly on the song “Sexy Sadie”. starting with an interesting reverbed piano, the song is arranged in manner frequently used by the group Queen a decade later, with lush backing vocal choruses, other parts laden with effects, and a lead guitar lying sharply above the mix. “Helter Skelter” is a style piece, with little substance by McCartney, in a deliberate effort to create a sound as loud and dirty as possible. Still, this became one of the most famous (or infamous) on the album following the Manson family murder spree and its use as title for the subsequent book. After the 18th take, Ringo Starr flung his drum sticks across the studio and screamed, “I got blisters on me fingers!”, included on the stereo mix of the song. Harrison’s “Long, Long, Long” completes side three as a cross between jazz waltz, folk, and psychedelia with good underlying riffs and great drum interludes, but not very cohesive overall. With the topical organ this track sounds like it may have been influenced by Pink Floyd.

And then there is Lennon’s “Revolution”. Originally, a single ten-minute piece comprised of a song proper and an improvised coda, the first part of the song was edited out as “Revolution 1”, a slow acoustic blues number with “shooby-do-wah” vocals and added horns. However, most of the Beatles were unhappy with this version, so a heavier, more upbeat version of “Revolution” was recorded and released as the B-side of the “Hey Jude” single. Still, Lennon wanted to return to the earlier recording and fought to have “Revolution 1” included on the White Album as well as re-record the avant-garde sound collage as the track “Revolution 9”, using the last six minutes of the original recording as a starting point. With numerous sound effects, tape loops, and overdubs, and virtually no musical melody, the eight and a half minute track is the longest track that the Beatles officially released. McCartney was against including this song on the album and Beatles fans have debated its merits for four and a half decades. In any case, it was a dissatisfying “tour de force” for this otherwise fine musical collection.

The Beatles was quickly followed up by Yellow Submarine less than two months later in January 1969. By then the band had already moved on to their next project, which was eventually released as Let It Be. Despite the unevenness of the music, the controversial inclusions, and the utter lack of promotion, the album became a classic. As McCartney later unapologetically put it, “it’s the bloody Beatles White Album!”


1968 Images

Part of Classic Rock Review’s celebration of the 45th anniversary of 1968 albums.


London Town by Wings

London Town by WingsAs the sixth overall album under the group name Wings, the 1978 album London Town is often overlooked as a great album by the Paul McCartney led band. But a great album this certainly is, despite the relative commercial disappointment at the time. Wings was coming off two number one albums in 1976 (the preceding studio album Wings at the Speed of Sound and the live album Wings Over America), as well as McCartney’s two biggest hit singles of his career. Decades later, London Town trumps all those in musical quality, richness and quantity, clocking in at over 50 minutes, near the physical upper limit for a single vinyl LP.

Sessions for the album began in February 1977 at Abbey Road Studios with initial plans for a release later that year. After Linda McCartney discovered that she was pregnant, the group nixed a planned tour and decided to move recording to moored on a yacht in the Virgin Islands called “Fair Carol” in May 1977. Several new songs were recorded in this unorthodox studio, including the songs “Mull of Kintyre” and “Girls’ School”, which were released as a single in August. To the surprise of everyone, “Mull of Kintyre” became the best selling British single of all time (replacing McCartney’s own The Beatles’ song “She Loves You”), while the single barely made the charts in the U.S. While the band was on break for Linda’s maternity, two members (guitarist Jimmy McCulloch and drummer Joe English) departed Wings, leaving just the McCartneys lead guitarist Denny Laine as a trio.

With Laine promoted to the forefront, this is the most guitar-centric Wings album. Laine also performs lead vocals on two tracks, giving the album a group feel while keeping Paul McCartney firmly at the forefront. A very diverse album, London Town is an adventurous celebration of music itself, hopping from one contemporary genre to another, all grounded by the underlying rock riffs and rhythms provided by Laine and McCartney. The album also featured many state-of-the-art synthesizers, making it a very interesting listen.

London Town by Wings
Released: March 31, 1978 (Capitol)
Produced by: Paul McCartney
Recorded: Abbey Road and Air-London-Studios, London, Fair Carol (private yacht), Virgin Islands, February 1977-January 1978
Side One Side Two
London Town
Café On the Left Bank
I’m Carrying
Backwards Traveler / Cuff Link
Children, Children
I’ve Had Enough
With a Little Luck
Famous Groupies
Deliver Your Children
Name and Address
Don’t Let It Bring You Down
Morse Moose and the Grey Goose
Band Musicians
Paul McCartney – Lead Vocals, Guitars, Bass, Keyboards, Violin, Drums, Percussion
Denny Laine – Guitars, Recorder, Percussion, Vocals  |  Linda McCartney – Keyboards, Vocals


The tremolo electric piano of the title song “London Town” sets the pace for this soft-rock classic opener. McCartney’s bouncy bass gives it a soulful edge that saves it from being too traditionally English and the singer works through some great vocal melodies and harmonies. Lyrically, the song is sort of a modern day “Penny Lane”, offering word motifs of an ordinary British street scene. That 1966 song was accented by the distinct piccolo trumpet while a dozen years later “London Town” is brought into greatness by Laine’s brief but potent electric guitars. The song became a Top 40 hit in the U.S.

Like a traveler through Europe, the album transports the listener from London to Paris with the more upbeat yet just as melodic tune “Cafe on the Left Bank”. This song is sonically superb with the mixture of Laine’s hard-edged riffing, Paul McCartney’s bass and Linda McCartney’s bouncy waltz-organ. The soft “I’m Carrying” is a mainly solo piece by McCartney, recorded on the yacht as just gently picked acoustic and vocals, “Yesterday” style. Some orchestral strings were later overdubbed in London along with McCartney adding an electric guitar using a Gizmo, a then-new device which allows a guitar to be played by vibrating the strings rather than plucking them. The medley of “Backwards Traveler” and “Cuff Link” may be one of the very few parts of the album which feel like filler. “Backwards Traveler” is a single verse and repeated chorus which lasts all of a minute before devolving into a synth-driven funk instrumental “Cuff Link”, which may have sounded hip in 1978 but sounds dated today.

Laine takes over lead vocals on “Children Children”, which almost has a Burl Ives feel at first, but does eventually rise to a pleasant folk/rock song. A fiddle part is added by Paul McCartney along with layered acoustics and a main keyboard riff. “Girlfriend” was written for Michael Jackson as a soul-style song at first intended just as a demo. The recording itself does have does have some interesting caveats such as the bridge with pop/rock elements including a heavy guitar lead by Laine and great bass throughout. Making yet another radical transformation, “I’ve Had Enough” is a pure rocker that almost sounds like a proto-punk, (or at the very least Kinks-like) cynical song. This side one closer never relents from the its rock vibe, which only intensifies with the guitar overdubs by Laine later in the song.

“With a Little Luck” returns to the soft pop/rock as a turn towards optimism. It contains a rich arrangement of synth and electric piano parts and passionate lyrics with McCartney repeatedly using terms like “exploding” and “rocketing” to explain the desired outcome of fate, no doubt metaphors for the music industry. During the final verse, his shredding voice wails in hopeful desperation. The middle synth and bass section (unfortunately omitted from the original single and most “Best of..” collections) is a real highlight of the song, with Linda McCartney showing some of her keyboard talents. The song hit number one in the United States and reached number 5 in the UK.

“Famous Groupies” is a marching sing-along about the taboo subject of “those magnificent examples of female pulchritude and luminosity”. The song’s ironic theme was allegedly inspired by Linda’s distain for some of the more outspoken “groupies” and is a very entertaining acoustic folk song with regal chorus and ascending verses in the vibe of Jethro Tull and multi-character aspect of old Genesis. The brilliant “Deliver Your Children” is the second and final song to feature Denny Laine on lead vocals (although McCartney does harmonize on almost every line). The verses are pure country rock, complete with acoustic lead riffs, while the chorus is more pop-oriented. Overall, “Deliver Your Children” is one of the most unique Wings songs and a truly under-appreciated gem despite some slightly trite lyrics.

While the album is downright brilliant through ten tracks, it tends to lose some steam during the final three. “Name and Address” is a tribute to Elvis Presley, who died the previous August, and is entertaining enough except a bit too stereotypical, like a Vegas lounge act of an Elvis impersonator. “Don’t Let It Bring You Down” is a bit better as a dark folksy, Scottish waltz by McCartney and Laine. Acoustic throughout with unique percussion, this moody tune contains a slight but potent electric guitar and a flute riff in the foreground. The closer “Morse Moose and the Grey Goose” seems like an attempt to end with a progressive-like mini suite but it seems to lack much substance to justify its six and a half minutes, While not a terrible or excruciating listen, the song is just an unfortunate closer for a very fine album.

London Town reached number two on the album charts, Wings’ first album since their 1971 debut Wild Life to not hit the top spot. Replacements for McCulloch and English were hired later in 1978 so the group could continue touring as a five-piece. Wings would release one more album in 1979 before McCartney settled into a multi-decade solo career, which continues to this day.


Part of Classic Rock Review’s celebration of the 35th anniversary of 1978 albums.

1978 Images