Paul McCartney – Flaming Pie Review

Listeners would be forgiven for thinking Flaming Pie is a return to form for Paul McCartney. While the Wings frontman would struggle to cement the depths of his music through the 1980s, he did manage to catch a break when working with Elvis Costello. A fraught relationship, but one which benefited both performers. They would separate and go on to deliver career-best works in the years to follow. In McCartney’s case, he found a much better balance between his pop sensibilities and the deeper, emotional style which could be found in those rarely visited, darker pockets of his mind. Off the Ground is an underrated gem which gets this balance perfect, and through troublesome circumstances in the lead-up to his first studio album in five years, Flaming Pie has it, too.  

Initially told by EMI not to release a solo album while The Beatles’ Anthology releases were being prepared, McCartney found himself “insulted” but then accepted the competition. Why compete with yourself? The Beatles’ bassist would wait, then, and it was worth the two-year delay. Flaming Pie benefits from the Anthology project not because of the delay, but because of who it paired McCartney with. Jeff Lynne and Beatles producer George Martin are on hand in the studio for this one, with Ringo Starr also featuring as a writing credit on Really Love You. Though Martin had produced Tug of War and Pipes of Peace, neither felt as though they had grasped the wisdom of McCartney as a songwriter. They placed him in the position of a pop sensation. Nothing could be further from that than Flaming Pie. Opening track The Song We Are Singing calls on listeners to catch their breath, to live in the moment. It is easier sung than acted on, but it is an earnest call from McCartney. Sincerity runs through Flaming Pie, and it would stick around on the albums to follow.  

A folksy tone is taken on by McCartney here as he interprets some moments from his life, which, while broad, are a rare bit of direct writing from the Fab Four member. The World Tonight has him running and hiding from paparazzi, while his love for Linda McCartney is made clear on Somedays. Martin and Lynne’s production flourishes can be heard, with the pair working well together as they draft in this acoustic tone; the string sections backing McCartney here are delightful. Domesticity is somewhat absent on this one from McCartney, but what remains clear is that love is the language which keeps him alive. He is happiest when seeking the positive side to life, as he does on Young Boy. The follow-up, Calico Skies, is one of the very best from McCartney. A standout of the 1990s, but also a song which can hold up when compared to his writings from previous decades. 

Part of that comes from emotional maturity, and part of it comes from liking the simpler touch Flaming Pie offers. The one-man-and-his-guitar format is overwhelmed by half-hearted efforts from those whose ear for music does not expand much beyond the one instrument. But McCartney makes it clear that these stripped-back offerings can hold a far greater emotional tone than the instrumentally overwhelmed efforts which derailed his ‘80s efforts. While Used to Be Bad may be a cringe-inducing offering from alleged “bad boy” McCartney, it is at least an honest attempt at remodelling himself in the years when his biggest hits were influencing bands of the time. But take a listen to Souvenir or Beautiful Night and hear two songs which still sound contemporary, which still highlight the brilliant delivery that McCartney can give in the studio. A truly wonderful album, the heavy-hitting names on the production list do their best, and their best is more than enough for this stripped-back McCartney effort.