Published on Sep 23, 1999
Every once in a while, I get a request from one of our readers
which just happens to fall in place with what I planned to do here
at “The Daily Vault”.
One long-time reader, who goes by the handle “Waiter”, happened
to suggest that I dust off
Red Rose Speedway from Paul McCartney & Wings. (I’d
quote some of the things he said about this album, but
unfortunately, his e-mail is on my computer at work.) The same day
I got his request, I had just finished listening to the copy of
Tripping The Live Fantastic! that I won on eBay. But,
because I love you all
sooooo
much (warning: bullshit meter reaching overload), that tape
went back into the Pierce Memorial Archives, and out came my old
vinyl copy.
A word of warning, before we begin: I am well aware that I am
far behind the times, and that the CD release of this album
contains three extra tracks. Unfortunately, the funds to upgrade
everything to CD are low this month (guess I’d better not hold my
breath for the NEA to fund this site), so I hope you’ll cut me a
little slack.
When McCartney threw his two-album-old solo career into neutral
in 1971, it might have shocked some people that he chose to start
up a new band so soon after the implosion of The Beatles. But Wings
indeed took flight at the end of 1971; one of these days, we’ll get
to
Wild Life on these pages.
Red Rose Speedway, the 1973 sophomore effort from the band,
became their second top 10 album in America (and the group’s first
to top the charts), thanks in no small part to the ballad “My
Love”. And while this might be the best-known track from this
album, I would dare to argue that it’s not the best track overall.
(Save the flame mail, gang; for all the wishy-washy love ballads
McCartney’s done over the years, this is one of the better
ones.)
The album opens up with “Big Barn Bed,” a track which might not
have been a potential chart-topper, but it sure is a foot-stomper.
It’s a great way to kick off this album, and is sure to lock you in
the groove almost instantly.
For almost the entire first side, it seems like McCartney and
his group can do no wrong – until you hit one particular song.
Remember how I just said some of McCartney’s love sonnets were
wishy-washy? Three words: “One More Kiss”. ‘Nuff said.
Two tracks which I think never got the attention they truly
deserved are “Get On The Right Thing” and “Little Lamb Dragonfly”.
“Get On The Right Thing” is a powerful rocker that allows each
member of the band to shine in their individual performances. (If I
ever were given the opportunity to land a radio show where I could
play the closet classics – you listening, CD 94.7? – this would be
one of the first ones I’d play.) “Little Lamb Dragonfly” is a track
that does need to grow on you, but it does so rather quickly, and
turns out to be a hauntingly beautiful number.
The second half of
Red Rose Speedway continues in this vein with strong,
underrated numbers like “Single Person” (which clocks in at under
two minutes), “When The Night” and the instrumental “Loup (1st
Indian On The Moon)”. The only time where
Red Rose Speedway really falters is in the 11-minute closing
medley of “Hold Me Tight,” “Lazy Dynamite,” “Hands Of Love” and
“Power Cut”. It’s not that the track is bad, it’s just that
McCartney’s ambition gets in the way. Simply put, this one is too
much of an okay thing. Had these tracks been broken up and
scattered on the album, I think they would have come out sounding
better.
If you’re not the kind of vinyl fossil that I am, you already
know that three other songs – “I Lie Around,” “Country Dreamer” and
“The Mess” – await your listening pleasure. All of these were
B-sides to singles that Wings released around this time, so
consider these to be enhancements to the original album.
I don’t know if Waiter is going to agree with everything that
I’ve said, but I think we both pretty much agree that
Red Rose Speedway is, for the most part, a very enjoyable
album that is noteworthy not for the hit single, but for the
“shoulda-been hit” tracks.