Red Rose Speedway: McCartney’s most melodic album. And, by the way, a crucial one for his career.

Red Rose Speedway is generally considered a sort of bridge between the first years (1970-72) where McCartney’s music was heavily criticized and considered under the Beatles standard and a second phase where Paul’s commercial success and critical reception were great (e.g. Band On the Run and Venus and Mars).

Its inevitable commercial success (a gold disc for one million copies sold in America) was followed by kinder critical reviews than those for previous records, although the reception wasn’t triumphant.

According to Rolling Stone, “the album is good, competent McCartney, neither his best nor worst, but solidly constructed material”.

Others noticed that the album lacked real rockers but the general feeling was that Paul had begun to discipline his musical behavior and Red Rose Speedway turned out to be the record with which Wings began to gain respect from the reviewers.

Tony Tyler of New Musical Express said: “Well folks, this time Paul has really done it; he’s really made a nice record. Certainly, Red Rose Speedway is lightweight, sure it has no intellectual posture. But, with all the current heaviness and after-me-the-apocalypse brain studs around, I for one am bloody pleased to discover a lightweight record that not only fails to alienate, but actually succeeds in impressing via good melodic structure, excellent playing and fine production. It altogether makes my day”.

Red Rose Speedway was conceived by McCartney as a double album. On December 13th, 1972, Paul sent an acetate to EMI, containing the following tracklist: “Country Dreamer” – “Night Out” – “One More Kiss” – “Jazz Street” – “Big Barn Bed” – “My Love” – “When the Night” – “Single Pigeon” – “Tragedy” – “Mama's Little Girl” – “Loup (First Indian on the Moon)” – “I Would Only Smile” – “I Lie Around” – “Little Lamb Dragonfly” – “Get on the Right Thing” – “1882” – “The Mess”

EMI refused it and insisted on a single LP, containing “easy listening” songs, to take advantage of McCartney’s name in terms of sales. Paul gave up, in favour of a more commercial style, suitable to his public and critics.

The EMI marketing department wisely put McCartney’s face (with a big red rose in his mouth) on the album cover: years later, this iconic album cover was proudly shown by Oasis in their video-clip for the song “Shakermaker” (1994).

Red Rose Speedway track by track

Big Barn Bed

Harmonically, “Big Barn Bed” is brilliantly simple: it’s all in F Major, and plays on the basic chord triad, overlapping and intertwining several melodies. McCartney’s bass is all syncopated and almost in reggae style.

My Love

The song was performed during the concert at Nottingham University on February 9th, 1972. It was identical to the officially released version: its structure and lyrics would remain unchanged – except for Linda’s “answering” vocals.

Get On the Right Thing

A RAM leftover. McCartney was not pleased with his vocal part. It was Denny Laine who convinced him otherwise: “But it’s great. I love it. If you change the vocal though, it won’t be as strong.”

One More Kiss

Reportedly, a first take, entirely acoustic, was discarded.

Little Lamb Dragonfly

McCartney: “It was very early in the morning and I had my guitar there and I couldn’t really say much to this lamb. But I started ‘I have no answer for you little lamb.’ Just not being able to do anything was the idea of that song.”

Single Pigeon

Basically a solo for piano and voice, “Single Pigeon” is another variation on the theme of loneliness.

When the Night

Another melodic and vaguely old-fashioned song, with Paul eading the group on piano in a typical staccato Fifties style.

Loup (1st Indian on the Moon)

An acid instrumental piece. Denny Seiwell: “Paul said that he crafted that song thinking that, to him, it’s what jazz was.”

Hold Me Tight/Lazy Dynamite/Hand of Love/Power Cut

A fine example of how well McCartney masters the rules of musical harmony.

Copyright by Luca Perasi