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Why Venus And Mars Is Paul McCartney’s Hidden Gem From His Post-Beatles Era

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WINGS: Venus And Mars (MPL Reissue)

Verdict: Macca in his 1970s prime 

After the release of Paul McCartney’s critically acclaimed post-Beatles masterpiece, “Band on the Run” in 1973, any subsequent Wings album might not measure up. Indeed, its successor, “Venus and Mars,” hasn’t been showered with universal adoration… primarily because it doesn’t live up to the standard set by “Band on the Run.

First released in 1975, this album is significant as it was the one that Wings, rather than ‘Paul McCartney And…’, was credited for, although its creation wasn’t a seamless process.

During the preparations for the Band on the Run recording, two band members, Denny Seiwell and Henry McCullough, decided to leave the group, reducing it to a three-piece consisting of Paul and Linda McCartney, along with guitarist Denny Laine.

They brought in guitarist Jimmy McCulloch and initially drummer Geoff Britton, but later on, Geoff was swapped out for the American drummer Joe English.

Celebrating its 50th anniversary, this album by the band has stood the test of time with an everlasting charm. Originally recorded tapes were used to remaster it at Abbey Road, and it’s now available once more on vinyl (costing £41) and digital streaming platforms (the latter version boasting a premium-quality Dolby ATMOS remix by Giles Martin and Steve Orchard). While there isn’t much new archive material, Paul McCartney has provided several timeless hits.

One of the most delightful and radio-friendly hits from Wings is its lead single, “Listen To What The Man Said.” This tune, which topped the U.S. charts, still holds a special place among fans due to Paul McCartney’s catchy melody, further embellished by Linda’s harmonious backing vocals. The track also features Tom Scott’s impressive solo sax performance, played in a single take on the soprano saxophone, and the shimmering, layered guitar work of Laine, McCulloch, Paul McCartney, and guest artist Dave Mason from the British rock band Traffic.

You Gave Me The Answer” evokes the classic Music Hall tunes reminiscent of The Beatles’ compositions like “When I’m Sixty-Four” and “Honey Pie.” Notably, Paul McCartney has suggested that the soulful ballad “Call Me Back Again,” which was recorded in New Orleans, might have been a request for reunion with his former bandmate John Lennon.

In other songs, “Love In Song” is an exceptional melancholic ballad that sometimes gets overshadowed by Macca’s extensive catalog. The underestimated Laine, formerly of the Moody Blues, lends his voice to “Spirits Of Ancient Egypt.” There are moments where it falters, such as a redundant rendition of Tony Hatch’s Crossroads soap opera theme, but overall, Venus And Mars holds its ground.

In a more casual tone, let me rephrase for you: The bluesy “Letting Go” continues to shine in McCartney’s electrifying live performances, just like his standalone single “Junior’s Farm,” which was released half a year prior to this album.

If you add last year’s Band On The Run deluxe reissue and the cinema version of the studio film One Hand Clapping to his collection, it becomes evident that he deeply values the lasting enchantment of the music he created during the mid-1970s. He’s not by himself in this appreciation.

 

THE HORRORS: Night Life (Fiction)

Verdict: Moody magnificence

In the year 2007, The Horrors made their debut with a touch of whimsical freshness. Originating from Southend, this five-piece band released their first album titled Strange House, which positioned them as a raw and energetic garage band, driven by grungy guitars, retro organ melodies, and an eccentric cover of Screaming Lord Sutch’s 1963 hit Jack The Ripper. It was quite entertaining, but it wasn’t obvious that they would endure for 18 years afterward.

Despite a hiatus of eight years, the group led by captivating frontman Faris Badwan returns today with Night Life, their latest album. Building on their 2017 venture into dance music (V), they’ve now shifted towards grand electronic rock, following in the footsteps of their past tour companions, Depeche Mode, and reminding us all of their knack for delivering the unexpected.

As a dedicated follower, I’m sharing an update on the band. After the departure of original members Tom Furse and Joe Spurson, the latest album was created by Alex Badwan, joined by bassist Rhys Webb, guitarist Josh Hayward, newcomers Jordan Cook (on drums) and Amelia Kidd (handling synths and vocals). Notably, Amelia, our first female member, stands out significantly, contributing innovative electronic beats to the music.

Similar to Songs Of A Lost World, The Cure’s 2024 comeback, Night Life, delves into a somber ambiance of the night. The title doesn’t signify the joyous energy of a club at night, but rather, it symbolizes the haunting reflections that surface during the quiet hours of the early morning.

38-year-old Faris admitted to struggling with sleeplessness during his recording sessions, which comes as no shock given his unconventional nighttime habits – he rarely appears to be the type who winds down with a book and hot cocoa by 10 pm.

In the tranquil winter landscapes where dreams remain invisible, he sings mysteriously in the song Ariel. Meanwhile, Silent Sister depicts him strolling through a darkened valley, revealing a soul that cannot be concealed.

On “The Silence That Remains,” there’s an increased depth with the deep, powerful voice of the artist enhanced by Kidd’s ethereal harmonies.

Although parts of it seem inspired by other works, Night Life, produced in Los Angeles with Yves Rothman, carries a sense of inspiration and positivity that sets it apart.

Trial by Fire” embodies a gritty, Suede-esque rock anthem style. On the other hand, “More Than Life” exudes the confident, stadium-worthy strut reminiscent of Simple Minds.

Badwan notes that, fundamentally, the creation of this album was filled with enjoyment. As they embark on a new phase, these nocturnal beings have once again surprised us with an unanticipated twist.

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2025-03-21 02:51

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