This approach means that, for example, music which others smugly dismiss as "guilty pleasures", I accord the same respect as any other works. Falling within this definition for me are the likes of Abba, the Carpenters and Paul McCartney and Wings.
Since the break-up of the Beatles it has been fashionable to decry McCartney's solo material as hollow and over-sentimental, a trend which many had detected whilst he was in the Beatles, but which some had disregarded because criticism of the Beatles was considered taboo. But once he was out of the cocoon of the Fab Four, he was fair game, and it was open season.
What had gone immediately before was an albatross around Paul's neck, but at least some observers are able to retain some objectivity, and appraise his post-Beatles efforts on their own merits.
It is hard to dispute that some of Paul's solo work is uneven, with occasional weak moments and even what could be termed lapses in taste. However, the cream of this body of work has stood the test of time.
Some of the criticisms levelled are valid, but at the same time much of the disdain stemmed from snobbery and false premises. In the eyes of some detractors, Paul's 1970s music committed the crime of not being as "good" as the Beatles, or as socially or politically relevant as what John Lennon was doing around the same time. In reality, what he was doing differed little from his role in the Beatles, but he was now more exposed and vulnerable.
Looking back at the "Wings" era, there were very few periods of sustained weakness, Paul always being capable of coming up with strong melodies and commercially appealing songs. So the output was reasonably consistent. As has been said, the strongest material at any given time was always around the same standard.
One thing which some of the tracks suffer from in the period 1971-75 is that curious 1970s "sheen", which is by no means unique to Paul's work of the time, which can be disconcerting, and even detracts from the quality of the songs on occasion.
Ironically, one of the McCartney tracks from the early 1970s which receives inordinate amounts of praise from pundits is "Maybe I'm Amazed". For me, it is over-rated, with a mediocre tune which is partially concealed by a grandiose production and arrangement. It comes across as "profound", but a closer look reveals otherwise.
Most of the genuine high points were reached in the first half of the decade. "Another Day" is a prime example of Paul's common touch, although I accept not everyone's cup of tea. Definite parallels with, and echoes of "Eleanor Rigby" here. Relying on subtlety and finesse for its impact, and melodically reminding me of some of Paul's acoustic numbers of the "White Album" period.
The status of "Live and Let Die" as a Bond theme I think has distorted people's appreciation of it as a song. A dynamic production, benefiting from application of "light and shade", whilst also allowing Paul's prowess as a tunesmith to shine through.
Although "My Love" probably divides opinion, it is difficult to dispute its gorgeous simplicity.
The McCartney and Wings music of this era was quite eclectic, with some genre exercises, reflecting his sheer joyous love of music in all its forms. The attempts at returning to rock 'n' roll roots met with mixed results artistically, but were invariably infectious and likeable, dripping with the customary enthusiasm.
There was always something engagingly low-key, humble and unpretentious about Wings. No outlandish projection of an "image" or gimmicks, just musicians making music and enjoying themselves. This went against the grain of the period.
By common consent, 1973's Band On The Run was the apogee of the Wings era, and two of the songs on that album, the title track and "Jet" represent everything that was admirable and pure about Paul, and the group, at their best. Effortlessly tuneful, clever, crafted and hook-intensive, with a warm, vibrant and inviting production. This was what Wings were always meant to sound and feel like, but the formula sometimes proved elusive before and since...
Would Paul and Wings have "benefited" from a harder edge, to be provided by more assertive collaborators? Possibly at times, but this is missing the point. This was one of the things which made the Beatles so powerful, and was Macca really striving for that anymore? Wings were not designed to be "the Beatles Mark II".
One of the things which did not promote balanced assessment of Paul's work, in Britain at least, was the overwhelming commercial success of "Mull of Kintyre". This, in hindsight something of a novelty record, for some time overshadowed their worthy and interesting music of previous years. Thankfully, this perception receded gradually, and my feeling is that the McCartney/Wings catalogue has been mildly rehabilitated in the eyes of many.
Listen, and enjoy!
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