Paul McCartney / Wings: Band on the Run Album Review – Warungku Terkini
That series of re-recordings could be a key to why Band on the Run is tighter than most McCartney records: Forced to revise from memory, McCartney effectively gave his songs a second draft. He saved the creative spontaneity for the recording, working well with Linda, Laine, and Emmerick; he later recalled, “It was quite a joy being so slimmed down after the other two members of the band decided they didn’t want to come out.”
Band on the Run lacks the detours and loose ends common to McCartney records without sacrificing his quirks; they’re there, simply used as flair. At a mere nine or 10 tracks—the American version, which is the one included on this 50th-anniversary edition shoehorned the glam-inflected hit “Helen Wheels” onto the second side—it doesn’t ramble, nor does it wander into foreign territory. The songs can be broken down into three familiar McCartney categories: There are sweet acoustic reflections and rampaging rockers, plus snazzy showstoppers that blend these two sounds. McCartney pulls out a couple of tricks he pioneered with the Beatles, threading song snippets into a mini-suite à la Abbey Road and closing the album with a reiteration of musical themes in a fashion that echoes Sgt. Pepper’s Lonely Hearts Club Band. There’s a crucial difference between those records and Band on the Run: Although Tony Visconti’s walloping orchestral arrangements on the perennial hits “Band on the Run” and “Jet”—written in just three days—create the illusion of a studio tour de force, the album actually captures the sound of a small combo being inventive with the meager tools at hand.
To that end, the “Underdubbed” version included here—a rough mix created by Geoff Emerick after everybody returned home, previously buried somewhere in McCartney’s archives—has instructive value. Initially, the absences are glaring, particularly on the tracks sweetened by Visconti. Without the orchestrations, “Band on the Run” and “Jet” can seem incomplete; indeed, “Nineteen Hundred and Eighty-Five” contains no lead vocals whatsoever. It’s not a finished product but a working mix, one that nevertheless captures how Wings interacted as a band. Stripped of the gloss, Band on the Run’s quieter moments seem to be a natural heir to the ramshackle rustic strumming of Wild Life. It also becomes apparent how much texture Linda’s analog synthesizer adds to the songs, generating rumbling propulsion on “Jet” and adding a creeping sense of foreboding on “Nineteen Hundred and Eighty-Five.” Laine acts as empathetic support, weaving his guitar with Paul’s and seamlessly intermingling his harmonies with the McCartneys’. When he trades lead lines on the lovely “No Words”—an effervescent evocation of mid-’60s guitar jangle that’s his first co-writing credit on a Wings record—there seems to be no distance between himself and his married partners. He’s not an interloper, he’s part of the crew.
In a sense, this is what McCartney yearned for since the waning days of the Beatles: to get back to the early days, when being in a band carried a sense of adventure. His phenomenal fame created an inherent power imbalance when he started Wings, but by Band on the Run, he had a pair of players who knew and accepted his idiosyncrasies. He didn’t have supporting musicians, he had a group with a distinct character, one that was captured on record during an extraordinarily difficult set of circumstances. Paul McCartney is surely the driving spirit behind Band on the Run—it distills his gifts as well as any album could—but the peculiarly warm, loving camaraderie of Wings is the reason it’s endured over the decades.
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