Paul McCartney – Unplugged Review

An unofficially official collection of unplugged recordings from Paul McCartney is the stuff of dreams. Even with a less-than stellar setlist, with covers and clunky solo songs featuring, Unplugged is still an understanding of the fundamentals that mark McCartney’s music. Joined by Linda McCartney for a selection of strong, stripped-back performances, Unplugged is an example of instrumental versatility. Everyone from Bob Dylan to Liam Gallagher and right through to Nirvana has offered up stripped-back material, but what separates McCartney from that is the consequential sound he has when covering the works of others. Kurt Cobain got that with The Man Who Sold the World, an identifiable, David Bowie classic. But McCartney has, like Cobain, dug into the music that influenced him in those formative years. He opens with a cover of Be-Bop-A-Lula, a song that relied on its upbeat tempo and spirited, energetic performance in the past. McCartney is a natural at bringing the tempo down but maintaining the tone. It’s a skillset he deploys well on Unplugged.  

He turns what looks like a relatively tame setlist in a striking display of acoustic beauty. Simple songs are given a depth to them through the beauty of McCartney’s voice, the playful instrumental tone, and that ever-present fun that comes through at the best of times for The Beatles veteran. When McCartney steps into his own discography, or that of The Beatles and Wings, it’s a cause for celebration. Here, There, and Everywhere is a delight at the best of times, but it certainly suits the laid-back atmosphere McCartney succeeds in creating here. McCartney has a knack for catchy tunes, and that’s what he displays better here than he ever could when he broke from Wings. Blue Moon of Kentucky, as obvious a cover as it is, works well with McCartney’s vocal range in the early 1990s. Even getting the words wrong and restarting We Can Work It Out is oozing with charm. What Unplugged successfully maintains is that intimate feeling of being in a small audience with McCartney. 

Acoustic variation is what makes the difference on Unplugged. This performance of I’ve Just Seen a Face is nothing short of essential. Every Night is a wild selection; a McCartney debut album choice paid its dues here. A wonderful bit of piano backing it too, a crucial listen that one. Unplugged walks a fine line between a trip through the archives and a celebration of what McCartney had achieved up to that point in his career. Raw and emotional is what Unplugged is, and not just because of the inevitabilities that come with acoustic music. McCartney has a delicate voice, this is a time when he was transitioning from that youthful voice to a more mature, modern sound. You can hear that back and forth on And I Love Her. Hearing the stage play from McCartney, too, is a delight. His preamble to Blackbird is pure McCartney joy.  

A rocking good time with McCartney is easy to find, but Unplugged is utter brilliance. Cool, acoustic work with a light-hearted instrumentalist sharing his love for old rock and blues numbers in reimagined form. It’s easy to lose sight of just how special an occasion this is given the acoustic similarities from song to song, but what McCartney can do with the instrument at hand is nothing short of extraordinary. This is more stock for those who want a read on how McCartney manages to keep the many moving parts of his studio work together. He’s an everyman instrumentalist, but has such a knack for each instrument that it’s a truly staggering experience to hear that develop. Unplugged is a great introduction for those who want to learn more about what inspires McCartney, those old numbers that developed his greatest hits and most popular songs.