It’s much easier, nearly four decades later, to separate the music from the moment when it comes to Wings Over America. Back then, this multi-disc concert souvenir from Paul McCartney seemed like a triumphant musical summation.
In stark contrast to his modern-day globe-trotting ways, McCartney hadn’t at this point toured America in 10 years — and those concerts dated to his time in the Beatles. Only one of his former bandmates had even attempted such a thing in the interim, and George Harrison’s 1974 stateside jaunt (staggered as it was by his throat problems) had been sadly underwhelming.
Thus, Wings Over America, now seeing a sweeping reissue as part of the Paul McCartney Archive Collection, was greeted with what can only be described as unfettered joy. Highlights included not just the U.S. concert debuts of a number of 1970s hits with Wings but also, and this was of particular interest at the time, Fab Four favorites like “Blackbird,” “The Long and Winding Road” and “Lady Madonna” — all of which were recorded after the Beatles had stopped touring.
Of course, after so many successive McCartney tours (and so many concurrent live albums) in the years since he retook the road in 1989, much of that seems like quaint nostalgia. Wings Over America — due May 28, 2013 via Hear Music-Concord Music Group — can come off like the sum of its weakest parts.
That’s a big mistake. Sure, the second half of this set was far weaker than the first — as Paul McCartney and Co. delve into some of the most lightweight (but biggest selling, mind you) songs from their polyester-era oeuvre, including the smash “My Love” from 1973’s Red Rose Speedway, the 1975 Venus and Mars hit “Listen to What the Man Said”, and “Silly Love Songs” from their just-released Wings at the Speed of Sound.
Too often, it seems, Wings Over America threatens to run out of gas as it couples throwaways like “You Gave Me the Answer” and “Magneto and Titanium Man” or “Hi Hi Hi” and “Soily.” Forget the Beatles retreads, too. They often feel rushed, in particular during the acoustic segment, and “The Long and Winding Road” is still a crashing bore — even without the gauzy Phil Specter strings.
Maybe it wasn’t the career exclamation point that it once seemed. But that doesn’t mean there isn’t much to recommend here. You’ll just have to take out the lesser items from Wings, and skip over the tracks from his old band. Luckily, that will still leave you with plenty of material: The original 28-track triple album has been remastered, and — on the deluxe model — also now includes eight previously unheard bonus songs from a San Francisco performance.
The leftovers actually make up the heart of Wings Over America, and it stands today (yes, even after all of those deletions) as some of the most vital work that Paul McCartney has ever done. There remains, for instance, this fizzy rush of anticipation surrounding the album’s initial trio of songs — “Venus and Mars/Rock Show” combined with incandescent take on “Jet,” even now the best opening McCartney’s ever constructed. Then there’s this set’s definitive version of “Maybe I’m Amazed.” And a remarkable take on “Call Me Back Again,” from Venus and Mars — with Jimmy McCulloch’s blistering guitar matched stride for stride by a tough trio of horn players led by saxophonist Thaddeus Richard.
Wings Over America also stands as the pinnacle of Denny Laine’s often-overlooked career with Wings, from his featured vocals on “Spirits of Ancient Egypt” and “Picasso’s Last Words,” to a vital take of his Moody Blues-era hit “Go Now” and an admittedly less interesting cover of “Richard Cory.” But check out “Time to Hide,” a deep cut from Speed of Sound, where we find Laine brilliantly recapturing the raw emotion of his early R&B-sides with the Moodies.
Then, just when the mawkish distractions of “Let ‘Em In” threaten to sink the whole thing, Wings unleashes the feverish “Beware My Love” — another Speed of Sound track which, though tissue thin lyrically, begins a run of three muscular tracks: The Venus and Mars cut “Letting Go,” which is shot through with this jagged sexuality, and then the ageless “Band on the Run.”
A bonus DVD finds many of these tracks reprised, but in edited form, as part of the 75-minute “Wings over the World” TV special. There is also a new short film of tour photos. That’s to say nothing of the deluxe edition’s treasures — a huge book, with new notes from David Fricke; a tour journal with images taken by the late Linda McCartney; a replica tour book, a bonus live CD with alternate versions, and a download code for 24-bit hi-res audio versions of the original 36-song set.
If anything, though, those extras tend to underscore what time has wrought: Both McCulloch and Linda McCartney have passed, while drummer Joe English has retired from the business. At the same time, though, you have to marvel at Paul’s dogged resiliency. Though he hasn’t worked with Laine since 1983’s Pipes of Peace, McCartney is still somehow out there, still somehow touring.
At one point in the accompanying film, Paul McCartney is actually asked if 33 — his tender age at the time of this tour — is too old for rock ‘n’ roll. “It’s ancient,” Paul allows. “But I tell you what, you come to the show. If you like the show, you tell me if I’m over my peak after it, OK? And, if you tell me I am, it’s coats off outside!” I feel confident, no matter the odd misstep found on Wings Over America, that everybody’s outer garments remained in place.
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I never much liked Wings Over America and this is one from the Archive Collection I won’t be acquiring. The triple LP already seemed far too long, so an expanded edition doesn’t have much appeal. All the same, I am glad he’s remastering / re-releasing his catalogue, and I hope Tug of War is up soon, one of my personal faves.
I don’t know what album you listened to mr. DeRiso but the Wings Over America album I have never ever threatens to run out of gas, and there’s absolutely nothing throw away about absolutely fantastic songs like Listen To What The Man said, Magneto And Titanium Man, and especially the absolute hard rocking Hi Hi Hi!
These are some of the very best songs of McCartney’s entire career!
It seems since the very second the Beatles broke up, you critics, journalists, etc, just don’t have a clue about how great McCartney has been since the Beatles!
It’s way way way past time that this mans career after the Beatles got it’s real true credit, something that hasn’t happened yet!
That’s a sin and a total shame!
I don’t know what review you read, Mr. Maccafan, but I just said plenty of favorable things about songs McCartney did since the Beatles broke up.
In the name of all that is reasonable, please tell me that you are not arguing on behalf of “Listen What The Man Said” and “Magneto and Titanium Man.” TELL ME. Everything you said after that became garbled. I may have had a stroke.
The first record I ever wanted to buy was the ‘Let ‘Em In’ single the previous year. At the time I had no idea that the artist on it was the same guy as in the ‘Help!’ and ‘Yellow Submarine’ movies I’d already loved. I also had no idea what Beatles were, really, as the movies didn’t exactly impart this data amid the fun. So it was that with my Xmas money I went to buy my first LP and, seeing the Lennon name on some of the tracklist (which by the way listed them uncontroversially during John’s lifetime, as ‘McCartney/Lennon’. Yoko, please note), decide to have it. It’s a brilliant live album experience, up there in the top notches with The Who’s ‘Live at Leeds’ and Thin Lizzy’s ‘Live and Dangerous’ and McCartney’s soul and rock voices never found better form on record. This remaster has removed the only complaint I ever had on this…the muddy mix, which reportedly came after Paul had decided he’s had enough of listening to endless live recordings for the ‘WOA’ set and it’s (much delayed) film counterpart, ‘Rockshow’.
How unfortunate Mr.DeRiso is not able to recognize, let alone enjoy, good music when he hears it.
I always though WOA is one of the greatest live albums ever, I still think so, I’m glad it’s coming out again.
The new remastered sound, which is the reason for it being re-released and which Mr.DeRiso doesn’t even address, is the liveliest it has ever been, all instruments and vocals have stunning presence and dynamics.
There’s really nothing “throwaway” or “weak”, nothing really to “skip over” here.
This is, as Mr. Fricke has put it, “McCartney’s *second* dream band at its peak” – for infallible taste for melody, song structure, band arrangements, driving performances by all involved.
Sure, they’re only silly (love) songs, you won’t expect world-changing lyrics carried on for ten minutes on three chords (there’s already Dylan for that) but that’s how your McCartney’s always been, Beatles- or Wings- era: great musicianship, great tunes, impeccable performances.
So, Kudos to this reissue. Differently from Mr. DeRiso I hoped for more music, not less, and I wish more extra shows had been added (all the US shows have been recorded). Anyway the S.Francisco material is a welcome addition. The quality books coming with the deluxe version are interesting but, yes, make it very expensive.
Who knew that McCartney’s 1970s-era fans were such myopic crybabys? You act as if everyone must like everything about every album he’s ever put out in order to meet your standard of ‘recognizing good music.’ That quite frankly is ridiculous. He liked some of it, he didn’t like some of it. These bandwagon fans kill me.
This comment is gibberish. There is praise for McCartney’s stuff all over this review, which means he largely **agrees** with your position on “Wings Over America.”
I, on the other hand, would argue that it has aged extremely poorly. If you ask me, you BOTH can’t “recognize” so-called “good music.”
So, I had to laugh at you insulting the guy. Did you even read the review? Geez:
http://www.youtube.com/watch?v=-Fj9vlWjLgo
Yeah, and I actually quoted Mr. DeVito’s words. So please do take your time to read, it’s important you do so.
Interesting that you claim to have read it so carefully, since you didn’t notice that he argued strenuously for portions of the album, which would seem to echo at least in part your own opinion. And that his name isn’t DeVito.
Sorry for the misspelling, my heartfelt apologies to Mr DeRiso. Everything else stands.
I dunno… Paul sure built up a lot of bad will over the years with all sorts of “silly love songs.” The occasional “Maybe I’m Amazed” or “Band On the Run” doesn’t make the bad taste of “Listen to What the Man Said” go away completely.
This is a very well written and fair review of WOA as well as the band. I may not totally agree with all of his comments (I wouldn’t recommend skipping over Soiley and Hi,Hi,Hi- two rock tracks that feature McCartney at his rock vocal best and McCulloch’s lead guitar work shines- always wished they had also performed Helen Wheels, 1985 and/or Junior’s Farm as additional encores, but that’s for another post . . .). He gives credit where it is due, acknowledging bandmates Denny and Jimmy’s contributions, and the fact that Wings was not just Paul’s backup band (which is well documented in Rockshow and WOA). And yes, I agree that the second half of WOA is somewhat weaker than the first, but I’ve grown to appreciate the pacing of this concert. I wouldn’t say that certain songs were rushed, the band picked up the tempo (ie- I’ve Just Seen A Face), or changed the arrangement or interpretation slightly (Long and Winding Road- agreed, not a favorite, but the concert version is an improvement over the original). I felt that Listen to What the Man Said was weaker in concert than on Venus and Mars- just didn’t have the same energy or vibrance, the guitar was understated and lacking the same sound quality than the original (effects and mix were off). Overall, this is an excellent review of WOA and Wings, much better than other reviews that I’ve read elsewhere.
This is an absolutely terrible review of one of the greatest live rock albums ever, and I do mean ever!
In fact I think the Wings tour of 75-76 is one of the greatest rock tours ever!
Yes, the reviewer sprinkles very tiny and I do mean very tiny bits of praise, but his criticizms are where he goes totally wrong!
There’s absolutely nothing lightweight about the performances of Listen To What The Man Said and Silly Love Songs, those songs are given the added punch and energy they deserve on those performances, they sound great, even better with this remaster.
The second half isn’t weaker than the first, in fact the show picks up momentum with a horn blasting bass thumping Silly Love Songs, Letting Go, Band On The Run and an absolutely ferocious rocking Hi Hi Hi, and a scorching almost heavy metal sounding Soily!
Mr. Deriso, you didn’t give credit where it’s plainly and more than deservedly due!!
You say: ‘Yes, the reviewer sprinkles very tiny and I do mean very tiny bits of praise.’
I read: ‘Even now the best opening McCartney’s ever constructed,’ ‘the pinnacle of Denny Laine’s often-overlooked career with Wings,’ ‘some of the most vital work that Paul McCartney has ever done.’
I’m not sure that there could be higher praise.
Oh … you say he didn’t like every single song? … that he didn’t treat it all like mop-top manna falling from musical heaven upon our most unworthy ears?
Maybe you should see if Andrea will write that one up for you. The rest of us would like our reviews to come from someone with a little perspective on things.
It took some digging around in the old backroom archive (really – a backroom in my basement – no allegory implied), but I thought it might be fun to see what some contemporary reviews thought about Wings and/or WOA back in the day:
“Paul McCartney is Pardoned” (Doyle, Kevin. CREEM Magazine. March 1977. Page 58) – “Paul has been on trial before a jury empaneled with a presumption of guilt ever since the demise [of the Beatles]…. What is his offense? Writing songs about the loves of his life – his wife, his flocks, his fantasies?”
“Wings set has been carefully constructed to offer something to all segments of [Paul’s] entire audience… and with 30 songs, you’re guaranteed at least a couple of sides to love. The rest you can just like, or use as frisbees.”
“Paul and Linda McCartney: Bionic Couple.” (Bangs, Lester. CREEM Magazine, August 1976 [cover story]. Pages 34 – 39, 71 – 73.) – “What has McCartney got that makes people of all ages the world over respond…? His albums are, by and large, the blandest discs ever piped into a waiting room, and even his hit singles are so eminently forgettable that the titles evade recall without research… his lyrics are so dopey they end up making fun of themselves…”
“As for Wings’ live, Paul McCartney’s triumphal tour of US rock arenas is final proof that rock fans can no longer tell the difference between rock ‘n’ roll and Easy Listening. Nor do they care.”
“[McCartney albums] are like electronic massages, from which you come away soothed but neither satiated nor fortified.”
These comments are nearly four decades old… apparently, not a lot has changed. The complete articles are quite insightful – these are just some of the highlights.
The message here from JC seems to be clear: Plenty of people (and I’m starting to become one of them, after listening to all of these completists and their ceaseless bellyaching) actually hate every single moment of this record. Take your compliments (even if they are so “very tiny”) when you get them.
At some point in my life, I would’ve been in the “Pro-John, Anti-Paul” group. It wasn’t until the late 90s when he released the albums Flaming Pie and Run Devil Run that I got some perspective on the both of them – John also wrote his share of bad songs, and Paul really is a musical genius, or at the very least, has a pretty darn good knack for songwriting.
Still, there’s no explaining the bad run of Macca tunes in the early to mid 70s, right after the breakup of YouKnowWho. It’s about a 50/50 chance of a song being brilliant or drivel (check out Wing’s Greatest Hits or McCartney’s All the Best) – you would think a genius could make better quality controls decisions in the studio, or at least at the record pressing plant. There’s no rule that says you have to release every stray melody and lyric that crosses your mind.
At any rate, it’ll be interesting to see the sales figures this reissue will generate.
And a note to DLDNG – I imagine if you hang around here long enough, eventually someone will post a comment explaining why this really is a terrible album with few redeeming qualities whatsoever. Discussing genius brings out the yin/yang in everyone.
His bad run in the 1970s? “Let ‘Em In” is “Hey Jude” compared to disasters like the following, Paul’s most recent trip to the Top 10. I tried mustering enough musical competence to distinguish the awful lyrics from the horrid music, but I just couldn’t–
http://www.youtube.com/watch?v=27ATt3FXAUY
Yes it’s true that in the 70’s plenty of ‘music critics’ made a point of slashing everything McCartney would do. they got a kick out of it. Apparently this is not completely over yet. Every now and then someone who has not enough musical competence to distinguish the lyrics, which often are, yes, silly, from the music, which is pure genius, comes along. Very few, actually, compared to the millions who love it. This reissue is great.
Hey Another Day,
Although I am not a big Paul fan I believe that music is a subjective topic and some like some things while others like something else. As Frank Zappa once said:
“Definition of rock journalism: People who can’t write, doing interviews with people who can’t think, in order to prepare articles for people who can’t read.”
If music is a truly subjective topic, then an unexplained remark like “Paul is a genius” is as valid a remark to make as “Paul has a genie up his ass.”
Hey man, I didn’t say that. You can feel however you want. I tend to say nothing about stuff I don’t care for but whatever.
Honest, this reviewer doesn’t seem very much “with a perspective”, he just seems rather confused to me. The really outstanding feature of this reissue is the new remaster, which the reviewer doesn’t even mention. It’s a big improvement on all previous reissues, except maybe the Japanese of a few years ago, which was good but maybe not this good.
The reviewer says that the first part is stronger than the second, then he says to ‘forget about’ the Beatles tracks, which are all in the first part. And why should we forget about them? – God only knows. They’re all excellent versions, not second to the originals. Lady Madonna has an extra punch and, on the S.Francisco version, a nice coda reprise which is not on the original WOA. The Long and winding road, far from being ‘a crashing bore’, with its sparse, tasteful horns and Howard’s magnificent trumpet solo instead of Spector’s bombastic orchestra, may be the definitive version of the song. The reviewer doesn’t seem to have noticed the beautiful brass arrangement on Yesterday, designed on the original string quartet, with the warm sound of Steve Howard’s flugelhorn taking the place of the violin.
It doesn’t seem that the reviewer has even listened to the extra tracks from the S.Francisco concert. There are many, if subtle differences from the originally released versions. Beside tha coda on Lady Madonna, Bluebird has a longer acoustic guitar intro, and the percussion on this track is much more present, and so are keyboards on Live and let die. And so on.
Beside all this, the newly released tracks have no overdubs, so you get to realize where overdubs where probably needed in the first place. Lead vocals and instrumental parts are uniformly excellent, probably the only thing that needed correction were a few of the backing vocals, which on the S.Francisco disc are occasionally a bit erratic or slightly out of tune. These were probably the only overdubs required on the original release.
Glad you enjoyed the San Francisco show, and thanks for the insights.
As for the rest of your comments: Take away the Beatles songs from Side One, and you are left with 12 titles — almost all of which are favorably mentioned in the review. There are only 13 songs on all of Side Two, which is dominated by songs which are not favorably mentioned. That makes Side One stronger, in my opinion, than Side Two. Further, I specifically mentioned why I felt the Beatles renditions were forgettable.
Nothing like the same tired old internet memes from the bandwagon fan: Throw up a diversion to make yourself appear smarter and, when that fails, name calling.
The review isn’t about the San Francisco show; it’s about the original album. And how about simply stating your case for the songs, rather than insulting the person you disagree with?
It’s called having an adult conversation.
” I specifically mentioned why I felt the Beatles renditions were forgettable” – If I’m not mistaken, you only wrote that they seem “rushed”, a rather vague assertion which holds no water, whatever its meaning…I’m afraid the only thing that seems a little bit ‘rushed’, here, is this review.
It is not vague, and it was not rushed.
Well, let’s cut right to it – fundamentally, ANY discussion of Paul McCartney centers around how the brilliant songwriter of the Beatles (along with his partner, John Lennon) and the writer of some equally wonderful solo material could also be the same person who released an equal amount of schlock over the span of his career? Second question: why do fans fall on their swords to defend the bad along with the good? And third: why didn’t someone stop him?
Well, the last one is easy. He traded songwriting partnerships with John Lennon and George Martin to work with a series of hourly wage earners and his wife.
Interesting review and interesting thread. I’m always amused to see how music, just like religion or politics, can divide people…
I tend to agree with Mr. Deriso, there are many gems here, as well as a few songs on which I wished some serious lyricist had tapped on Paul’s shoulder and offered to lend a hand. Which might be said about most of McCartney’s records. So I guess you could argue that Wings Over America mirrors quite accurately the whole of his solo career, the good and the bad.
But that’s how McCartney is. And he’s always been the same.
He’s always composed the occasional songs about Obladiobladas, silver hammers, meter maids and honey pies, you name them. It’s just that, “then”, there was Lennon’s material, and maybe a couple Harrisons, so in a 35minute LP there was very little room for weak material (mind you, little room also for Lennon’s weak material…).
About Wings Over America, though, I think it’s also fair to stress that the performances are spectacular and that this reissue sounds terrific. Maybe it’s just me, but even the silliest song on these 2cd, after all, doesn’t fail to put a smile on my face and make me tap my foot.
But that’s how McCartney is.
It’s also interesting to see how this kind of topic regularly brings out diehard maccafans as well as a few maccahaters who seem to loathe everything about him, almost on a personal level, without apparently any specific reference to the record in question.