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Part Two: McCartney and Wings
This show represents a deep (3 hour) dive into examining the evolving language of rock criticism: the ideology employed – the fluid definitions of “rock” and “pop” – the application of “authenticity” as a value to an artist’s work, in this specific case, Paul McCartney and Wings. The 1970s was a time when rock critics achieved nearly the status of rock icons themselves: everyone from John Mendelssohn and Jon Landau to Simon Frith and Lester Bangs. Paul’s post-Beatle career stands as an example of an artist that reviewers struggled to get a handle on, resulting in sometimes unfair assessments.
Leading this exploration is PhD candidate (with an M.A. in Beatles, Popular Music, and Society) Allison Bumsted, currently studying in England at Liverpool Hope University. For ease of listening, the conversation has been split into two 90 minute parts. 
I find it interesting that there is no mention of Crawdaddy magazine in this discussion. Crawdaddy was second only to Rolling Stone regarding coverage of the rock scene.
Well we do mention Crawdaddy. However by the time Wings exists Crawdaddy is not what it was in the 60s. Also it is important to remember this focus is on Wings, again, I mention the Silly Little Love Songs Crawdaddy review. This discussion is mostly focused on Wings. Crawdaddy is very important, but this is just a micro discussion of my research, I did not have time here to discuss the beginning of the under ground press. Thanks for listening.
I find it interesting that there is no mention of Crawdaddy magazine in this discussion. Crawdaddy was second only to Rolling Stone regarding coverage of the rock scene.
Well we do mention Crawdaddy. However by the time Wings exists Crawdaddy is not what it was in the 60s. Also it is important to remember this focus is on Wings, again, I mention the Silly Little Love Songs Crawdaddy review. This discussion is mostly focused on Wings. Crawdaddy is very important, but this is just a micro discussion of my research, I did not have time here to discuss the beginning of the under ground press. Thanks for listening.
The mention of Jon Landau brings to mind for me the fact that from the time Landau started producing Springsteen he started de-evolving musically, granted they had some highlights but for me it went downhill after Born In The USA, I don’t agree with him at all in his critical points , especially on CREAM , what a dope.
The mention of Jon Landau brings to mind for me the fact that from the time Landau started producing Springsteen he started de-evolving musically, granted they had some highlights but for me it went downhill after Born In The USA, I don’t agree with him at all in his critical points , especially on CREAM , what a dope.
I enjoyed 176B very much. Interesting how the wings re-issues have forced us to reassess the vast wings catalog. Great to hear those early reviews of Band On The Run and Ram. Allison was fun to listen to. And she enjoyed Robert’s (now expected) puns & innuendos through out. On that note, the closing track seemed especially fitting. Thanks.
I enjoyed 176B very much. Interesting how the wings re-issues have forced us to reassess the vast wings catalog. Great to hear those early reviews of Band On The Run and Ram. Allison was fun to listen to. And she enjoyed Robert’s (now expected) puns & innuendos through out. On that note, the closing track seemed especially fitting. Thanks.
loved it – you two made an engaging and insightful show. Allison – so sorry you had to be subjected to boorish mansplaining
loved it – you two made an engaging and insightful show. Allison – so sorry you had to be subjected to boorish mansplaining
Dismissive, most journalists don’t review Paul McCartney and Wings material for what he or they did but are stuck comparing him to The Beatles.
Kiss as a rock band was never taken serious by critiques in the 1970s. They were always a popular commercial idea that sell dolls, comic books and bed sheets. The Beatles did the same thing but Wings did not. McCartney did not sell these either.
Kiss is a make believe war music band. People buy into their camp capitalism.
McCartney’s efforts in the past 40 years have been inconsistent. These are the only releases
where the lyrics and production are strongest.
Chaos & Creation in the Backyard (2005)
Run Devil Run (1999) mostly covers but the few originals were very strong.
Tug of War (1982)
McCartney II (1980)
McCartney’s music has suffered because he’s a poor lyricist. Only exception is his collaboration with
Elvis Costello but their efforts were shelved. The Flowers in the Dirt LP was well produced musically
but didn’t include the best collaborations. The public had to wait until 2017 to experience the “lost” collaborations with Elvis Costello. It is a shame McCartney could not see the strength of these songs
when they were originally recorded. But these examples are the result of a creative person who doesn’t make proper decisions on their own material.
Paul Simon isn’t a strong example as someone who has evolved in a critical manner. Graceland LP was a work by South African musicians and he was accused of plagiarism by those musicians. Plus Simon disappeared soon after Graceland.
Bonnie Raitt, Neil Young, Neneh Cherry, Bob Dylan, Sananda Maitreya are all still making serious music.
Dismissive, most journalists don’t review Paul McCartney and Wings material for what he or they did but are stuck comparing him to The Beatles.
Kiss as a rock band was never taken serious by critiques in the 1970s. They were always a popular commercial idea that sell dolls, comic books and bed sheets. The Beatles did the same thing but Wings did not. McCartney did not sell these either.
Kiss is a make believe war music band. People buy into their camp capitalism.
McCartney’s efforts in the past 40 years have been inconsistent. These are the only releases
where the lyrics and production are strongest.
Chaos & Creation in the Backyard (2005)
Run Devil Run (1999) mostly covers but the few originals were very strong.
Tug of War (1982)
McCartney II (1980)
McCartney’s music has suffered because he’s a poor lyricist. Only exception is his collaboration with
Elvis Costello but their efforts were shelved. The Flowers in the Dirt LP was well produced musically
but didn’t include the best collaborations. The public had to wait until 2017 to experience the “lost” collaborations with Elvis Costello. It is a shame McCartney could not see the strength of these songs
when they were originally recorded. But these examples are the result of a creative person who doesn’t make proper decisions on their own material.
Paul Simon isn’t a strong example as someone who has evolved in a critical manner. Graceland LP was a work by South African musicians and he was accused of plagiarism by those musicians. Plus Simon disappeared soon after Graceland.
Bonnie Raitt, Neil Young, Neneh Cherry, Bob Dylan, Sananda Maitreya are all still making serious music.
I love how this program recognizes there are truly a universe of Beatles topics to discuss and this was certainly a unique and interesting one. Allison was a great guest who knows her stuff. I hope she’ll be back sometime.
Robert, from what you’ve discussed in several shows I gather McCartney was originally intended to be an experimental type album until instant Karma made the break up seem a fait accompli to Paul, who then just added some more commercial songs and put it out. If that’s the case, then when it comes to the critics he was basically beaten before he began as such a hybrid album was bound to be disappointing. Especially when George and John then each released stellar solo debuts (with “serious” themes) to make Paul look even worse to the rock press.
I love how this program recognizes there are truly a universe of Beatles topics to discuss and this was certainly a unique and interesting one. Allison was a great guest who knows her stuff. I hope she’ll be back sometime.
Robert, from what you’ve discussed in several shows I gather McCartney was originally intended to be an experimental type album until instant Karma made the break up seem a fait accompli to Paul, who then just added some more commercial songs and put it out. If that’s the case, then when it comes to the critics he was basically beaten before he began as such a hybrid album was bound to be disappointing. Especially when George and John then each released stellar solo debuts (with “serious” themes) to make Paul look even worse to the rock press.
I love how this podcast recognizes there are truly a universe of Beatles topics to discuss and this was certainly a unique and interesting one. Allison was a great guest who knows her stuff. I hope she’ll be back sometime.
Robert, from what you’ve discussed in several shows I gather McCartney was originally intended to be an experimental type album until instant Karma made the break up seem a fait accompli to Paul, who then just added some commercial songs and put it out. If that’s the case, then when it comes to the critics he was basically beaten before he began as such a hybrid album was bound to be a disappointment. Especially when George and John then each released stellar solo debuts (with “serious” lyrics) to make Paul look even worse in the eyes of the rock press.
I love how this podcast recognizes there are truly a universe of Beatles topics to discuss and this was certainly a unique and interesting one. Allison was a great guest who knows her stuff. I hope she’ll be back sometime.
Robert, from what you’ve discussed in several shows I gather McCartney was originally intended to be an experimental type album until instant Karma made the break up seem a fait accompli to Paul, who then just added some commercial songs and put it out. If that’s the case, then when it comes to the critics he was basically beaten before he began as such a hybrid album was bound to be a disappointment. Especially when George and John then each released stellar solo debuts (with “serious” lyrics) to make Paul look even worse in the eyes of the rock press.
Regarding your final conversation, when you ask which at from th 60s is still upwards at the end of the 70s, I’d add The Kinks and Ray Davies. They really were hiting it at last at that moment.
Regarding your final conversation, when you ask which at from th 60s is still upwards at the end of the 70s, I’d add The Kinks and Ray Davies. They really were hiting it at last at that moment.