Paul McCartney: A Solo Journey: One Track Per Solo Album
The raw, unguarded love song he wrote for Linda; one of the great rock ballads, recorded alone at home just after the Beatles fell apart.
A playful, suite-like piece full of left turns and humour, co-written with Linda and their only US number one as a duo.
The title track of the first Wings album, recorded almost entirely live in the studio in a deliberate back-to-basics move.
A sweeping ballad written for Linda, featuring a famous live guitar solo from Henry McCullough that was never rehearsed.
The title track opens as a jailbreak fantasy and shifts gears twice; one of the most inventive rock structures of the decade.
A deliberate riposte to critics who accused him of writing fluff; it became one of the biggest hits of 1976 and proved the point.
A brilliantly simple piece of pop built around a doorbell; deceptively slight, utterly irresistible.
A buoyant, synth-cushioned optimism song that reached number one on both sides of the Atlantic.
A thundering instrumental recorded with a cast of rock royalty including John Bonham and Pete Townshend; it won a Grammy.
A one-man-band funk workout recorded at home on a four-track; John Lennon reportedly heard it on the radio and was impressed enough to return to writing.
The elegiac title track, produced by George Martin and reflecting on the tensions of human ambition with real emotional weight.
Built around the Christmas Day 1914 truce on the Western Front, it became a UK Christmas number one and remains one of his most affecting songs.
A genuinely strong ballad that outlasted the film it came from, with a memorable David Gilmour guitar solo.
The lead single from his most underrated album, a crisp piece of mid-80s pop-rock that holds up better than its reputation suggests.
Co-written with Elvis Costello in a partnership that energised McCartney considerably; clean, melodic, and utterly confident.
A gentle acoustic-driven pop song with a folk sensibility, charting a quiet kind of optimism without a hint of bombast.
A bright, guitar-led track that shows him sounding entirely at ease; the whole album has the feel of a man who has nothing left to prove.
Written in the early stages of his relationship with Heather Mills, it has a looser, more vulnerable quality than most of his work.
The opening track from his most critically praised album in years, produced by Nigel Godrich; quiet, piano-led, and beautifully restrained.
A mandolin-driven curiosity that became a surprise hit, simple to the point of audacity and somehow impossible to dislike.
The ebullient title track, produced by Mark Ronson, catches him in genuinely youthful form; a reminder that the gift for a hook never left.
A strutting, good-humoured rock track produced by Greg Kurstin; Egypt Station was his first number one album in the US in 36 years.
Another solo home-recording, this one optimistic and punchy, made during lockdown and showing he hadn’t lost the instinct for a great pop melody.
The lead single from his most personal album, a reflective look back at Liverpool childhoods and pre-fame friendships, co-produced with Andrew Watt.
Monday
still only a name, a date, a point in time.
Go do great things.
Ooooh. Wind-swept.
What a Fabulous
Become a Hunter-Gatherer 21C (something I wrote an eternity ago) A complete two score and ten.
Relax
Cut the Social Grease
There IS a time and place for pleasantries at work, but when we need to focus, let’s focus. Of course, rapport matters; we are social creatures, but it’s easy to overdo the gossip at the expense of both time and clarity.
Be direct and concise: Email: “Quick question: Can we move Thursday’s meeting to 3pm?” Meeting: “Thanks for coming. Let’s review the agenda. Here is what we need to decide today.” Conversation: “I have fifteen minutes. What’s the core issue?”
People value directness paired with courtesy. This is not rude; it shows respect for everyone’s time; you can remain warm and direct.
A Book for One Euro at the Market