Beady Eye - Different Gear, Still Speeding

Beady Eye - Different Gear, Still Speeding
Produced by Steve Lillywhite and Beady Eye
Recorded at RAK Studios, London
Beady Eye Records, 2011. 

Formed from the ashes of Oasis following their acrimonious split in 2009, Bead Eye were, somewhat unsurprisingly, even more influenced by the Beatles than their previous band. With their aesthetically pleasingly 1960's photo-shoots and artwork, alongside their shamelessly vintage production, Different Gear, Still Speeding is an undeniably retro album. Despite these easy comparisons to make with the band and the music of 1960s, the album actually stands up in its own right and one that I return to often.

Led by formidable front man Liam Gallagher, the band consisted of Gem Archer, Andy Bell and Chris Sharrock, who each had a big input into the sound of Oasis' final album Dig Out Your Soul. Alongside Liam, Andy and Gem bring their own tunes to the table, which help makes the album varied, yet cohesive and thoroughly interesting.

The album has a nice blend of rockers, slower tunes and songs like ‘Kill For A Dream',‘Wig Wam’ and ‘Morning Son’, which are delightful slices of pure psychedelia. While not every song is not a classic, there is sense of urgency and a purpose, that was possibly lacking in latter day Oasis. What also gets me is there was a bite and character to this album that still eludes Noel Gallagher's High Flying Birds, even to this day. Liam's vocals is also on top form and there is an energy and a chemistry between the members which makes a highly consistent and confident album.

CD insert

Beady Eye had an ability to put together a tuneful songs, that are familiar to Oasis fans but have enough individuality and freshness that allow the songs (and the band) to feel different to their former band. Sadly, the band could never really get out of the shadow of oasis and it hindered their commercial and critical success. It was a shame the only managed one further album, 2013's underrated BE. I've always felt that Beady Eye could have gone onto bigger and better things, but alas it was not be. Still, Different Gear, Still Speeding still excites me to this day and I think it deserves a lot more respect and attention than it currently gets.

Hope you enjoy!

Key tracks:
The Roller
For Anyone
The Beat Goes On
Bring the Light 

If you enjoyed this album, check out:
Oasis - Dig Out Your Soul (2008)
Jet - Shine On (2006)
Neal Casal - No Wish to Reminisce (2006)
The Magic Numbers - The Runaway (2010)

Bike - Take In The Sun

Bike - Take In The Sun
York Street Studios, Auckland
Flying Nun Records, 1997

Take In the Sun is the sole album by New Zealand pop-rock group Bike. Led by former Straitjacket Fits guitarists and sometime songwriter Andrew Brough, Bike are best remembered for their shimmering guitar pop anthem, ‘Save My Life’. However, the band were more than one song and their album is a beautifully crafted piece of shimmering guitar pop. The album was released on New Zealand's legendary record label Flying Nun Records and it is one of the labels finest, albeit forgotten albums.

After quitting (or maybe being pushed out of) The Fits In the early 1990s, Brough set about perfecting his melodic pop style he had become his signature sound. Recorded in the summer of 96/97, Take In The Sun showcases Brough’s gift for melody and uplifting choruses, albeit contrasted with slightly dark and sad lyrics. Songs like 'Take in the sun', 'Circus Kids', and 'Welcome to My World' are pure slices of sun-drenched pop, with glistening layer upon layer of chiming electric guitar. The track 'Inside' is an epic ballad, with multiple guitars layers that wash over the vocals, almost obscuring them completely.

Back cover of CD

CD design 

My favourite tracks are on the second side, such as the instantly memorable 'Save My Life', and the irresistible ballads 'Slide on By' and 'Sunrise'. The latter two songs are Bike at their most achingly beautiful with strong melodies and glistening instrumentation. Not all tracks are brilliant and the album tends to dip in the middle. However, the album has a nice flow and a consistency in sound and as such, I wouldn't lose any tracks

Bike split not long after the albums release and their New Zealand tour. Brough faded into obscurity and reportedly become fairly reclusive in his hometown of Dunedin, New Zealand. Sadly, Brough died early this year, but thankfully his passing has sparked a resurgence in his music and this fine pop album is now available on streaming services for the first time ever.

Enjoy!

Key tracks:

Save My Life
Circus Kids
Inside
Sunrise
Slide On By

If you enjoy this album, check out the following:

Teenage Fanclub - Grand Prix [1995]
Martin Phillipps and The Chills - Sunburnt [1996]
You Am I - Dress Me Slowly [2001]
President Gas - Sound On Sound [2007]
Bennett Wilson Poole - Bennett Wilson Poole [2018]

James Taylor - One Man Dog

James Taylor - One Man Dog
Produced by Peter Asher
Record at James's house; A&R Recording, New York; Clover Recorder, Los Angeles
Warner Brothers, 1972

James Taylor's fourth album came as a bit of a surprise for his fan-base when released in 1972. One Man Dog is a care-free collection of short songs strung together to create, more-or-less, a continuous piece of music, different from his earlier releases. The album ranges from the mellow, self-conscious, semi-autobiographical folk-pop that James Taylor was known for, to more horn-driven upbeat acoustic jazz and funk numbers, a style he touched on in his early years. But most surprisingly, the LP ends with and an intriguing and ambitious musical song-suite, a change in direction which divided fans somewhat. Due to stylistic differences and experimentation, One Man Dog is a largely overlooked record that rarely features amongst a list of his best work.

By 1972, James Taylor was one of the most successful American singer-songwriters with the multi-platinum albums Sweet Baby James and Mud Slide Slim And The Blue Horizon and numerous top-ten hits. One Man Dog was eagerly anticipated before its release in November 1972, however, it stalled at #4 on the US charts and reception and sales were lukewarm. The criticism directed at this album, despite the appearance of stars such as Carly Simon and Carole King, claim that the songs are too brief, a bit amateurish, and seemingly half-baked in comparison to his earlier, more realized records. However, the sketch-like ideas is the exact reason why I love this record. One Mad Dog is an inspired folk-pop LP, with acoustic jazz and funk instrumentals alongside quirky pop vignettes, all recorded in a very home-made, off-the-cuff fashion.

One Man Dog opens with song 'One Man Parade', a minor US Hit and a tuneful, wistful and summery folk-pop number. The song has some good percussion playing and care-free lyrics about the simplest pleasure in life. A terrific opening song, 'One Man Parade' is one of the more underrated singles in Taylor's career. Next up is one of my favourite songs, the honest 'Nobody But You'. A lovely pop song with lyrics written and sung with such blunt sincerity, something Taylor had become famous for. The next few songs are lovely short tunes such as 'Chili Dog' and 'New Tune' and an instrumental, which all come under the half-finished category. The briefness and playfulness of these tunes is addictive and continue this care-free, home-spun vibe which I adore. The album picks up a bit commercially on the catchy Danny Kortchmar (JT's longtime sidekick) penned tune 'Back On The Street Again' and the albums' sole hit, the top twenty US hit. 'Don't Let Me Be Lonely Tonight'. The latter is an easy highlight; tuneful, good lyrics, and has that signature James Taylor sound.

Inside Cover of Vinyl

A highlight of Side B is the charming traditional folk ballad 'One Morning In May', a duet with Linda Ronstadt. A charming piece of music and is a showcase for Taylor's smooth and warm tenor. Interestingly, the legendary English Jazz guitarist John McLaughlin wrote the song 'Someone' for this album, an interesting fusion of folk and jazz. The results are breath-taking as McLaughlin's guitar weaves around Jame Taylor's soft tenor beautifully. The last six tracks on One Man Dog are strung together much like The Beatles Abbey Road from a few years previous. It is an adventurous 10-minute-long medley complete with horns, bells, and even a saw and hammer on the fun number 'Little David'! Overall, the medley flows quite nicely and is a solid end to the record and has some nice gospel moments, such as on the righteous 'Hymn'.

What really grabs me about One Man Dog is the spontaneity, playfulness, and humor, which probably lacks in all of JT's subsequent releases. He was never able to capture this sound again, probably a reflection of where he was during this time of his life and the fact that the album was mostly record at his home studio. I am disappointed that One Man Dog was greeted with a lukewarm reception at the time as I think it is a very creative and enjoyable record. Yes it does lack the song-craft of Sweet Baby James and Mud Slide Slim but it makes up for it with warmth, charm, and an unmistakable down-to-earth atmosphere which Taylor would slowly lose over the years. A must have for even the casual James Taylor fans and any lovers of great American folk-pop music.

Key Tracks:

One Man Parade
Nobody But You
One Morning in May
Someone

If you enjoyed this album, check out:

America - Hat Trick
Jackson Browne - For Everyman
Graham Nash - Wild Tales
Paul McCartney - McCartney or Ram

Richard Thompson - Henry The Human Fly

Richard Thompson - Henry The Human Fly
Produced by Richard Thompson and John Wood
Recorded at Sound Techniques Studio, London
Warner Brothers/Island/Reprise/Hannibal/Fledg'ling, 1972

Henry The Human Fly is the very obscure debut album by British folk rock guitarist Richard Thompson. Released in 1972, it is reported that this record was either the worst selling album in Warner Brothers history or the quickest record to be deleted from their catologue. Both claims I can't confirm but it is certain that the LP was very poorly received both critically and commercial at the time and faded into history. Sadly though, Henry The Human Fly is a great record and it successfully combines British folk music with rock n' roll, with a very unique and original twist. Furthermore, It features guest appearances from ex-Fairport members Sandy Denny and Ashley Hutchings as well as Thompson's future with Linda Pettifer.

After leaving Fairport Convention in 1971, Thompson worked as a session guitarist and began to write his own songs, formulating a style far different from other folk rock music at the time. The idea for to record a Richard Thompson solo record was reportedly not a planned career move, but one that happened organically over time. The result were a strangely captivating hybrid of folk and rock, however, it is easy to see why the record never caught on with critics and the record buying public. The folk is not 'folky' enough, and probably too electric and eclectic for his Fairport fan base and the rock isn't 'rocking' or 'cool' enough to gain a more broader mainstream appeal. Henry The Human Fly sits out on its' own musically and lyrically and far more idiosyncratic than his work in Fairport Convention. Despite its obvious peculiarity, if you approach the album upon its own merits, it will reveal itself as an exceptional record - a true musical outlier!

The record opens with the rough 'Roll Over Vaughan Williams', led by a trademark Thompson lead guitar riff which swirls and drones ominously. A tough tale about street life, the song is crunchy and raw, as though a British pub band was trying to tackle a traditional folk tune. The song is quite unique, and the accordion and guitar interplay is jarring and borderline un-listenable, however the combo makes for a scintillating opening and one of my favourite Richard Thompson songs. The next two tracks 'Nobody's Wedding' and 'Poor Ditching Boy' are more traditional folk in terms of arrangements and have a timeless feel to them. However, both have original musical arrangements and bizarre lyrics, further moving Thompson away from his Fairport Convention days. Both songs focus on Thompson's acoustic playing rather than his electric and the sound is filled out by violin, accordion and even a whistle, most notably on on the gorgeous tune 'Shaky Nancy'. Thompson further shakes things up on the pop-folk of 'The Angels Took My Racecourse Away' in which he blends chugging electric guitars and accordion to the story of a beloved racehorse being poisoned! On side B, notable songs like 'The New St. George' and 'Painted Ladies' are more traditional folk songs with that unique Thompson twist. All the songs demonstrate a developing sound and style which would be fully realized on his next LP; the timeless I Want To See The Bright Lights Tonight.

Henry the Human Fly is quite unlike any other record I have heard. Its odd, unique, familiar, and different all at once, I can't quite compare this mysterious release to any other records. Thompson's lyrics and subject matter is what makes this a very strange record, full of dark, humorous, and sad stories which are cleverly written and expertly performed. Furthermore, Thompson's guitar playing is incredible, so intricate yet so simple and easily recognizable, surely he must be one of the most accomplished players in his field. Henry The Human Fly has largely been dismissed (along with Thompson himself I believe) and has faded into obscurity. I urge fans of Richard Thompson' solo work to engage with this album as this is where it all began in all its strange and mysterious glory.

Key tracks:

Roll Over Vaughan Williams
The New St. George
Painted Ladies
The Angels Took My Racehorse Away
If you enjoyed this album, check out:

John Martyn - Solid Air
Nick Drake - Bryter Layter
Fotheringay - Fotheringay

The Band - Moondog Matinee

The Band - Moondog Matinee
produced by The Band
Recorded at Bearsville Sound Studios, Bearsville, NY; Capitol Studios, Hollywood, CA; New York, NY
Capitol Records, 1973

Moondog Matinee is a covers LP released by the legendary Canadian group The Band in 1973. An often neglected record, to me Moondog Matinee maybe is the most misunderstood record in their discography full of beautiful singing and tight grooves. After releasing to of the most influential records in the latter half of the 1960's, the incredible Music from Big Pink and equally impressive The Band in 1969, the group had sadly begun a creative decline, most probably due to internal squabbling over royalties and songwriting. After the ill received and musically chaotic Cahoots in 1971 and the live LP Rock of Ages the following year, The Band were clearly low of inspiration and needed to go back to basics. The decision to record a covers LP is seen by many as a sign of a creative nadir for songwriter and guitarist Robbie Robertson and the low-point for the group. However, I view Moondog Matinee  as the perfect anecdote for their dry spell and became subsequently their most focused record in years and the inspiration for some of their finest work yet to come.

Moondog Matinee is a joyous, slick, and thoroughly likable record full of modest recreations of songs which were features of their mid-sixties set-lists when they were know as The Hawks. From the punchy opener 'Ain't Got a Home' to the bizarre show tune instrumental, 'Third Man Theme', Moondog Matinee is a start-to-finish brilliant album. The group are tighter than ever and approach each song like the are playing at a sweaty club in the early sixties, with energy and slickness which had not been heard from the group in years. The Band are at their rocking best on 'I'm Ready' and the Chuck Berry's 'The Promised Land' and their most beautifully tender on the Richard Manuel sung 'Show Your Love'. With nods to Allen Toussaint on the records horn arrangements and the funky 'Holy Cow' and 'Mystery Train', Moondog Matinee is the sound of a band getting their groove back and rediscovering their love of playing. Levon Helm and the others' voices are on fine form sounding clearer and energized after the lackluster performances on Cahoots. The only downspot is the slightly underwhelming version of Sam Cooke's 'A Change is Gonna Come' (still a lovely version!) a mere blip in an otherwise flawless piece of work.

Moondog Matinee is widely viewed as a largely unimportant album when comparing to the quality and the difficult-to-overstate importance of their first two or three records and was dismissed by members of the group. As the music is unoriginal and the overall influence of the album minimal, the above position is arguably a correct observation to make about Moondog Matinee. More over, I feel that this record was a much needed step for The Band - a necessary reevaluating project for them. Not only did it refocus the group and tightened their sound, it inspired Robbie Robertson as a songwriter by The Band revisiting these old classic songs. As a result, Robertson went onto to compose some of their finest songs such as 'Ophelia' and 'Arcadian Driftwood' on their subsequent release, Northern Lights - Southern Cross. After Moondog Matinee, the group collaborated with Bob Dylan on the roots-rock classic Planet Waves and returned to forefront of American music on the Before the Flood joint tour with Dylan in 1974. Without the energizing Moondog Matinee, it is hard to see how The Band could have carried on making cultural important music and continue through until their final The Last Waltz concert in 1976. Undoubtedly, this record is vital in the history of The Band and can be viewed as a perfect anecdote to a period of musical uncertainty.

Key tracks:

Ain't Got a Home
Holy Cow
The Great Pretender

If you like this record, check out:

Allen Toussaint - Southern Nights
Eric Clapton - There's One in Every Crowd

Queen - News of the World

Queen - News of the World
EMI/Elektra, 1977
Recorded at Sarm West Studios and Wessex Studios, London
Produced by Queen and Mike Stone

Queen's sixth album News of The World is comparatively stripped down and back-to-basics record after its ambitious and elaborate predecessor, A Day At the Races. Despite being released at the height of punk in 1977, News of the World was a major success selling over 6 million copies worldwide and spawning the mega hits 'We Will Rock You' and 'We Are the Champions'. As News of the World features two of the most iconic (and arguably best) Queen songs, the rest of the album tracks are often overlooked and indeed, forgotten about. The neglect the rest of the album receives upsets me as it is one of the more satisfyingly varied, consistent, and accomplished Queen records. News of the World shows all four members songwriting skills and their unique ability to incorporate many different styles and sounds, without losing their identity and is a must have for all rock music fans.

The album opens with the infectious and anthemic, 'We Will Rock You' - one of the bands most recognizable and enduring songs. 'We Will Rock You' has become a rock standard and is a feature at sporting events around the world. Written by Brian May, who made a conscious to compose a stripped back song in which an audience could contribute to. A simple 4/4 song which consists of a 'stomp stomp clap' motif,  repeated throughout the duration of the tune.  The simple percussive beat is complemented by Freddie Mercury's rhythmical, almost proto-type rap vocal take. Easily the highlight of the song is Brian May's killer guitar solo towards the end, which is actually the only electric instrument to feature. 'We Will Rock You' is followed by the equally recognizable 'We are the Champions' making for and exhilarating, and admittedly exhausting album opening. A Mercury penned power ballad, 'We Are the Champions' was released as double A side along with 'Rock You reaching number two in the UK and number four in US Billboard charts. Like its' fellow A Side, it has became a feature at sporting events around the world with its sing-a-long and crowd motivating chorus. Both songs are so iconic and instantly recognizable and are arguably two of the most effective crowd participation songs in popular music. The immensity of these two songs unfortunately and understandably overshadows the remaining album tracks, something I hope to remedy here.

Back cover

'Shear Hear Attack', written by Roger Taylor is one of the most ferocious songs in Queens back catologue. A clear nod to the punk groups at the time, Queen have never sounded so intense and aggressive It is notable for being of the only Queen songs that does not feature John Deacon on bass guitar, as Taylor played rhythm guitar and bass. interestingly, the song was intended for inclusion on the 1974 album of the same name, however, it was not completed in time and was shelved. A remarkable speed-rock song and a fantastic example of the bands ability to completely let loose.
'Shear Heart Attack' is followed by the beautifully somber May ballad 'All Dead. All Dead'. Written about the passing of his childhood cat and the lasting effect that its' death had on him. Sung by May himself, 'All Dead, All Dead', is a nice mellow relief from the full throttle intensity of the opening three songs.

One of the highlights on Side A is 'Spread Your Wings', considered by many to be the ultimate forgotten Queen hit. Released as a UK only single and stalled at number 34 in the charts. Written by John Deacon who, since the surprise success of 'You're My Best Friend', was now considered an equal songwriter in the band. Interestingly, it was the first Queen single released without the inclusion of backing vocals. Closing Side A is the rocking 'Fight From the Inside', another Taylor penned number. Like 'Shear Heart Attack'. It is one of the few songs in the Queen catologue that is recorded almost entirely by Roger Taylor. 'Fight From the Inside' goes from one awesome riff to another, highlighting Taylor's innate ability to write some of the most bad-ass rock tunes in seventies.

Inside gatefold sleeve

Side B begins with raunchy psychedelic funk rock of 'Get Down Make Love' and the sloppy blues of 'Sleeping on the Sidewalk', with the latter being apparently recorded in one take. Both great rocking tunes, which would have been excellent in a live setting. Deacon comes up trump again with the lovely, jazzy, and indeed very catchy, 'Who Needs You', which features some nice Spanish guitar work from Brian May. Arguably though, the highlight from the second half of News of the World is the epic stadium-sized, 'It's Late'. Along with a powerful riff, epic sing-along chorus, and an excellent vocal take, 'It's Late' also makes use of the guitar tapping technique - which May helped to innovate in the mid-seventies. May's lyrics concern a love affair that is on the verge of ending and are sung with such passion and power by Mercury, you would easily think that it was his composition. A truly awesome piece of rock music - a Queen classic!  

The album was released to expected lukewarm critical reaction (as all Queen's albums at the time were). The varied nature of the music is one of the reasons it is a personal favourite of mine. There is far more to this album than 'We Will Rock You' and 'We Are the Champions'. News of the World ranges from hard rock to soft rock, and even dabbles in punk, blues and jazz. Queens ability to pull off each style with such conviction and make it sound their own is truly awe-inspiring. They are one of the only bands that have the ability to play numerous styles, yet still manage to sound uniquely like themselves. There are no other bands like Queen, making them one of the most successful outsiders in popular music. News of the World is one of my favourite Queen albums, and arguably one of the archetypal stadium rock records.

Key Tracks:

Spread Your Wings
Fight From the Inside
Who Needs You
It's Late

If you enjoy this album, Check out:

Aerosmith - Rocks   1976
Bad Company - Straight Shooter  1975
Thin Lizzy - Bad Reputation   1978

Paul McCartney and Wings - Venus and Mars

Paul McCartney and Wings - Venus and Mars
Capitol Records, May 1975
Recorded at Abbey Road Studios, London, Sea Saint Studio, New Orleans and Wally Heider Studios, LA
Produced by Paul McCartney

The follow-up to the world conquering Band on the Run was always going to be a tall order for Paul McCartney's post-Beatles group, Wings. Indeed, Venus and Mars from 1975 was, albeit commercially successful, but was deemed as a disappointing successor. However, I feel it is on par with Band on the Run and is an excellent album and needs to be reevaluated as one of his greatest post-Beatle triumphs!

Formed in 1971, Wings were back-to-basics group in which McCartney aimed to start in a humble fashion and grow organically, rather than riding on the success of The Beatles. In order to achieve this he recruited ex Moody Blues and Ginger Baker's Air Force guitarist Denny Laine, the unknown american drummer Denny Seiwell; and his wife Linda McCartney whom was a musical novice. Wings were a very amateur pub group that the record buying public were not expecting A scruffy, homespun group - a complete contrast from the bombastic and pretentious later day Beatles. Wings played early rock n' roll music mixed with simple folksy compositions which purposely lacked the wide appeal of McCartney's earlier music. Their first record Wild Life, released in 1971,  was a commercial and critical disappointment. It produced no hit singles and failed to spark the imagination of the record buying public as Paul's name was purposely left of the record sleeve.

Later on in 1972, the band added Northern Irish guitarist Henry McCullough and released a few singles, Including the banned 'Give Ireland Back to the Irish and the bizarre kids' song 'Mary Had a Little Lamb'. A followup record Red Rose Speedway was, however, a more commercial release, and ultimately more successful. The LP  spawned the smash hit ballad 'My Love', which has become one of McCartney's enduring post-Beatle hits. However, like Wild Life, Red Rose Speedway was critically destroyed as being lightweight and inferior in comparison to the other Beatles post 1970 releases.

It wasn't until the epic James Bond theme 'Live and Let Die' and the mega-selling Band on the Run LP in 1973, that McCartney arrived commercially and critically. With the departure of Seiwell and McCullough, Band on the Run was written and recorded with core lineup of the McCartney's and Laine and produced a string of successful singles. Band on the Run is widely viewed as McCartney's greatest post-Beatle triumph, however, the follow-up LP Venus and Mars is an album that interests me far more and deserves a lot more respect than it currently receives.

Venus and Mars/Rock Show 45 Cover

Following Band on the Run, Wings recruited Glaswegian blues-man, Jimmy McCulloch, formerly of Thunderclap Newman and Stone the Crows, and the little know American drummer Joe English. This lineup proved to be the most consistent and arguably the strongest in terms of live performances and longevity. The first recordings made by the new lineup was the tremendous power pop tune 'Junior's Farm', a top-five US hit in 1974. The success of 'Junior's Farm' kick started the lineups chemistry and they soon found themselves in New Orleans recording the follow-up to Band on the Run. 

Venus and Mars was released in 1975 and reached the number one position on both sides of the Atlantic. The album opens with the epic, Abbey Road-like suite 'Venus and Mars/Rock Show'. A US top-twenty hit, the song surprisingly failed to chart in the UK. 'Venus and Mars' is a short folky tune sung in the perspective of an excited concert going, anticipating the beginning of a rock concert. The songs morphs seamlessly into anthemic 'Rock Show'. An upbeat pop-rock song with lyrics concerning the wonders of a live concert. 'Rock Show' references everything from the Hollywood Bowl, Jimmy Page, to the fictional Silly Willy with the Philly Band. It is a fun and memorable song with some excellent slide guitar from work from Jimmy McCullough. Interestingly, one of my favourite singers Allen Toussaint is also credited with the Piano, something I did not realize until recently. 'Venus and Mars/Rock Show' is an excellent opener to the album and went on to became a live staple for the band during their epic Wings Over America tour in 1976.

LP inside cover - Picture taken in Mojave Desert 

'Venus and Mars/Rock Show' is followed by the melancholic and vaguely Psychedelic ballad 'Love in Song'. A tender tune that runs perfectly after the pomposity of 'Rock Show' and flows seamlessly into the music hall bounce of the preceding 'You Give Me the Answer'. A fun vaudeville styled, almost  like Queen in style, 'You Gave Me the Answer' could be seen as an easy target for McCartney detractors because of its jointy and light-weight lyrics. However, I think it is a terrific song and, like most solo McCartney songs,  if released during The Beatles heyday, would have been applauded by the music press. One of the highlights on side A of Venus and Mars is the ridiculously poppy, 'Magneto and Titanium Man'. A marvel comics inspired tune with a terrific electric piano groove and three-part harmonies. Another possible target for detractors for it's lightweight subject and overtly catchy melody. I find the tune of 'Magneto' just simply irresistible and I am totally obsessed with it.  Indeed, 'Magneto and Titanium Man' is very much of a song of its era, it is a bit naff and dated, but it is just so dam infectious! Side A ends with the bluesy, 'Letting Go'. A tad lyrically predictable, but it does showcase the immense musicianship of this lineup of Wings. The guitar interplay between Laine and McCulloch is unprecedented and McCartney's bass line is so solid and pumping that gives 'Letting Go' an r'n'b groove. It really frustrates me how little respect Wings got during this period. Wings were as good, if not better, than many of the more critically acclaimed groups in the 1970s.

Single cover of the US number 1 hit, 'Listen to What the Man Said'

Side B opens with cosmic-rock of 'Spirits of Ancient Egypt' and the bluesy 'Medicine Jar', both sung by Denny Laine and Jimmy McCullough respectively. Both great album tracks in their own right, and it is great to see McCartney's respect and encouragement for other members to contribute to the album. Call Me Back Again' is a heart-wrenching gospel-inspired song, which is one of the strongest tracks on the album. McCartney sings his heart out, with a gritty vocal take, not dissimilar from 'Oh Darling!' from Abbey Road or the vocal refrains towards the end of 'Hey Jude'. Often listed as one of the top Wings' songs in various list, indeed 'Call Me Back Again' is a firm reminder that McCartney was still one of the best singers and songwriters at the time. The albums biggest success was the slick pop tune, Listen to What the Man Said' which topped the US Billboard charts. The song features ex Traffic man Dave Mason on guitar and oozes with some slightly suspect saxophone licks, hinting at the Wings to come. A great pop song, and a showcase of McCartney's ability to pump out commercial music with such ease and skill. Venus and Mars closes with the pretty and slightly forgettable, 'Treat Her Gently/Lonely Old People' and the slightly unnecessary instrumental 'Crossroads Theme', Wings interpretation of the them from a British Soap Opera of the time.

Venus and Mars is on par with any record Paul McCartney has ever done. Its a worthy successor to Band on the Run as it continues the seventies pop rock sound they perfected and more. It is also a great album in its' own right. It is colorful, varied and has a fantastic flow and feel to it. The album has been expertly sequenced to create a complete piece of work. Yes the album isn't perfect, but there aren't many McCartney albums that are. I wouldn't remove the weaker songs like 'Treat Her Gently/Lonely Old People' or 'Crossroads Theme' even if i could. For me, the flaws actually make the album and is a snapshot of mid-70's pop music - a period of in which music was notoriously hit and miss. Like Band on the Run, Venus and Mars still sounds good today, but I wish it would receive a bit more positive press and reviewed as a stand alone LP rather than comparing to it to Band on the Run or The Beatles music.

Key Tracks;

Venus and Mars/Rock Show
Magneto and Titanium Man
Call Me Back Again

If you enjoy this album, Check out:

Paul McCartney and Wings - Band on the Run    1973
Elton John - Caribou    1974
Rod Stewart - Atlantic Crossing   1975
Queen - A Night at the Opera   1975