Man on the Run by Tom Doyle is a 2014 Ballantine publication.

Maybe I’m amazed…

Much has been written about the Fab Four as evidenced by the recent Disney Plus documentary, the group still draws mass audiences today. They seem endlessly fascinating, and I admit that every time I see a new book about the Beatles my ‘one-click’ finger itches.

While, John, understandably has been the Beatle whose life has been examined every which way, I think we might be doing Paul a disservice on that front, especially after having read this book.

While the book is confined to the 70s decade where Paul was all over the place there for a while, I could see a fighting spirit in him that was smarter than people realized at the time. He stood alone against the crowd and now people are glad that he did, because in essence, he saved the Beatles legacy- though I’m not sure he ever got public credit for that.
The hippie lifestyle described in the book is almost un-relatable now, but it was a fun reminder of the past. Occasionally, I do have daydreams of living off grid like that, I must admit. It was probably cathartic though, for Paul, who was going through a deep depression coming down from the incredibly intense high of the Beatles success, to find it all coming to very ugly, contentious end.

This book chronicles Paul’s rise, with the help of his wife, and family, out of his depression and back to writing songs, to the formation of a new band, while he fought through the last days of the Beatles that ended in a nasty legal battle.

While the process wasn’t necessarily pretty, McCartney, managed to re-invent himself. 'Wings' went on the win numerous awards, including several Grammy Awards.

I didn’t know much about this time in Paul’s life and didn’t realize, despite having read so much about the Beatles over the years, how awful and messy dismantling the group was and how McCartney became the villain.

The book also touches on the aftermath of Wings, briefly, and the book gives Paul a chance to set the record straight about a few unfortunate decisions and remarks and defend poor Linda, who was often battered by critics due to her lack of natural musical talent- and I agree with Paul- it really was cruel.

He also gets a chance to reflect on this period in his life- the good, bad and ugly of it all, as well as make a few more contemporary remarks about John and Linda’s deaths.

Overall, a very interesting piece of history, with a big of nostalgia, and lots of insights into Paul’s life during this transitional period in his life.

While, of course, one can’t put Wings in the same category as the Beatles- I think this world could really use a lot more of those ‘silly love songs’ right now! ( )

Man on the Run is an interesting biography of Paul McCartney and his family during the 1970s, as well as his band, Wings (one of my favorite bands of that decade). It is a long, thorough look at the good, bad, and ugly and pulls no punches, even while it clearly sympathizes with McCartney.
The book begins with the messy breakup of the Beatles, centering around the very public feud between Paul and John, which was part of the impetus for Paul’s decision to legally file to dissolve the Beatles. However, the legal ramifications showed that there were financial problems for the group and led to even more, thus sending Paul into a spiral of depression that led to he and his wife, Linda, to move to a farm in Scotland, out of the spotlight. During this period, he also lost a great deal of his confidence he had had in his abilities as a musician, as well as his own identity. Thankfully, Linda helped him through this crisis. Without her devoted love, who knows what would have happened to Paul?

The McCartney family became hippies and lived the hippy lifestyle, but Paul missed being in a band and missed touring, something he had tried to talk the Beatles into doing again and which they had refused to do. So he decided to start his own band – Wings. I didn’t know this, but there were actually three incarnations of Wings, three different bands over the years, all with Paul and Linda in them. And they were all comprised largely of studio musicians, mostly unknown. In my opinion, it’s frankly amazing Wings achieved the success and prominence they did with such an unassuming group of musicians. They obviously did this only with Paul’s leadership and drive.

However, first Paul put out a couple of solo albums, although one was credited to both he and his wife. They were all largely critical failures. The first Wings group met, practiced, and put out Wild Life in 1971. I don’t actually recall how it initially did, but ultimately it reached number 11 in the UK and number 10 in the US. Indeed, Paul’s first “hit” was a political song called “Give Ireland Back to the Irish,” a song that was banned by the BBC. A 1972 non-hit was actually “Mary Had a Little Lamb, literally, which left both his band and the critics confused. Not Paul’s best decision. In 1973, Red Rose Speedway was released. It ultimately hit number 5 in the UK and number 1 in the US. In late 1973, the band got its first big break with Band on the Run, which immediately hit number 1 in both the UK and the US (the previous two albums achieved high chart status over time, not immediately). Band on the Run turned Wings into instant stars. 1973-4 hits include “Jet,” “Let Me Roll It, “ “My Love,” a major song that hit number one in the US, “Helen Wheels,” “Junior’s Farm,” “Band on the Run,” a huge hit that got to number three in the UK and number one in the US, and “Live and Let Die,” a theme song to a new James Bond movie and one that hit number two in the US.

And on it continued. After starting its career playing impromptu college student union tours for something like 50 pounds, Wings were now doing international stadium tours. And Paul could finally gloat over John, who had been taunting Paul publicly for years, basically calling him a giant failure while John, of course, was a musical genius. Not anymore. While John turned out the occasional hit, Paul McCartney and Wings were international stars selling out stadiums with superstar hit albums, something John couldn’t say. Paul could, temporarily, put his demons behind him.

However, there was a problem. Pot. He and Linda loved their pot. They smoked a lot of it. And they got it shipped to whatever country they were visiting on their tours. And in one country, Finland?, they were caught and it made international headlines. Of course, it was hugely embarrassing, but the couple actually embraced the moment and came out in favor of pot use and said they were in favor of legalizing it. Later in his career, Paul would be arrested in Japan for possession and it could have been a very serious situation. You should read the book to find out what happened.

Meanwhile, there were band personnel changes. Paul was a cheapskate and while he raked in millions, he paid his band members practically nothing at all. Finally, these session musicians would get fed up and state that they could make more doing session work back in New York or London, so they’d leave. Paul never really got the hint. It’s a shame. Still, he continued to put out good albums and tour with his new musicians.

In 1975, Venus and Mars was released and would ultimately hit number one in both the UK and US. 1975 hits included “Venus and Mars/Rock Show” and “Listen to What the Man Said, “ which would hit number one in the US. In 1976, Wings released two albums: Wings at the Speed of Sound and a live album, Wings over America. Both hit number two in America. They contained “Silly Love Songs,” which hit number two in the UK and number one in the US and “Let ‘Em In,” which hit number two in the UK and number three in the US. In 1977, “Mull of Kintyre” was released, instantly a huge hit in the UK, remaining at number one longer than any other song in British history until that time, I believe. However, in America, it didn’t fare so well, just getting to number 33.

It was at this time that Wings peaked. Already there was a third group of musicians and maybe it was chemistry, maybe Paul was burned out from the nonstop, frantic pace of the decade, I don’t know, but the following two albums weren’t nearly as good as the preceding albums by most accounts. In 1978, London Town was released. It didn’t do as well. Only Paul, Linda, and the lead guitarist were on the album cover because those were the only people in the band. It actually happens to be one of my favorite albums of all time, because I was a youngish kid when it came out and it was one of the first albums I had and my best friend and I listened to it over and over while building model planes. I love that album, but most critics do not. It’s not considered one of the better Wings albums, but it did hit number four in the UK and number two in the US. There were three singles released from this album, but the only one that really charted high was “With a Little Luck,” one of my all time favorite songs, which hit number five in the UK and number one in the US. Wings’ last gasp in the studio came in 1979 with Back to the Egg. It hit number eight in the UK and number three in the US. Its’ biggest single was “Getting Closer,” which made it to number 60 in the UK and number 20 in the US. And aside from some more solo work over the years, Paul was done and Wings were definitely done as a group. It was the end of an era. A highly successful era, a great decade of music, one of my favorite groups, as I said. And while the rest of the Beatles went on to do solo work and while John achieved some success, clearly Paul McCartney ended up the most successful Beatle of them all, post-Beatles. The best musician, the one who taught John and George how to play, ended up teaching Linda and helping his studio musicians put out a series of commercially successful albums and successful world tours, something the other Beatles rarely, if ever, achieved.

John sniped at Paul throughout most of their post-Beatles lives and Paul, on occasion, sniped back. Paul never really understood where John’s hostility came from, his utter hatred. Paul tried to make peace a number of times. There were a few times John seemed to accept the olive branch, only to blindside Paul later with public attacks that hurt Paul deeply. Fortunately, some time before John’s premature death, they buried the hatchet and reconnected, so that’s a very good thing and even though the author implies John was the major one to start things between the two, he treats all of the Beatles with reasonable respect and points out Paul’s faults when necessary.

The author stresses certain things that are important to Paul, such as family. He brought his family on the road with him, kids included. This sometimes made his band members uncomfortable, as it limited their abilities to lead the stereotypical 1970s rock and roll lifestyle (i.e., groupies), and it led to tension, but Paul was dedicated to his wife and kids and that’s generally a good thing. He was the only Beatle to have a 100% successful marriage/relationship. That’s impressive. He was also committed to financial honesty, at least in his dealings with the Beatles and in management’s dealings with the band. He figured out quite quickly that the manager the other three had hired had been screwing the band out of millions while paying the band crap, so he sued – and won – and was vindicated in doing so. The only difficulty with his financial honesty was in his dealings with his band because he stuck with his commitment to pay his band members their agreed upon wages, but when they struck it rich with their new number one hits and their world tours, he wouldn’t share the riches and it was truly rather greedy of him, unfortunately. A McCartney wart.

This hardback I read isn’t long, just over 250 pages. However, it’s packed with so much information and trivia, it takes longer to get through than your average 250 page book. Still, it’s informative and exciting and exactly what I’ve been looking for. I know a lot about the Beatles. I know a lot about John during the 1970s. What I didn’t know was what happened to Paul during the 1970s and the story of Wings and I didn’t know a book like this existed. So I’m elated to have discovered it and read it. I learned a ton of new information, some good, some bad, but all fascinating, and it answers a lot of questions I had about these people, that band, and that decade. For anyone who’s a fan of McCartney and Wings, this is a must read for you. Even if you’re just a Beatles fan or a 1970s music buff, this will be a good read for you. Four stars and definitely recommended. ( )

Right off the bat, you'll have to be a big McCartney/Wings fan to care, but if you do, this is a fascinating book of post-Beatle hangover.

You start at the moment the Beatles call it quits, and it ends as Wings calls it quits a decade later. In between, Paul McCartney is devastated by doubt, derailed by drug arrests, subjected to infighting and devastated again by John Lennon's murder.

Some great music came from McCartney during this era, such as My Love, Listen to What The Man Said, Uncle Albert/Admiral Halsey - but he also penned such trifles as Mary Had A Little Lamb.

McCartney begins the decade wondering if he will ever regain his groove, and he does find it with a new band of convenience, Wings. As he hits the top again, he's proved to himself he's still got it - and then loses interest in the whole hitmaking machine again.

The author had access to McCartney himself and a lot of the anecdotes come from Paul's own memories, which makes this a stronger book than another rehash of clippings.

Worthwhile if you're into the Beatles, Macca himself or just good pop-rock music. ( )

As a culture we tend to focus on the high points of achievement, the deeds that make a person’s reputation. We rarely reflect enough on what comes next, the fallout from those events, how people cope with the consequences. We get ‘where are they now’ articles 20-30 years later and express astonishment about what’s happened since. But if you’re interested in the people at the heart of events, rather than the abstraction of the events themselves, what happens next is always more fascinating. Because you tend to learn more about people by how they cope in the aftermath of crisis points than you do about how they react in the moment.

There are few bands as well documented as The Beatles – band biographies tend to the ludicrously comprehensive (the official biography by Hunter Davies clocks in at a mere 500 pages and the first volume of Mark Lewisohn’s All These Years comes in at a lean 900 pages or in a 1700 page extended version). Beatles books are clearly the prog rock of band biographies. It’s such well-covered territory that major revelations are unlikely, even the diligent biographer being limited to shading in unknown and/or peripheral details. How much is there left to say about such scrutinised events fifty years on, with so many of the participants now dead too? What’s left to learn?

The answer to that question comes in the post-Fab decades. Lennon’s time is almost as well documented as his time in the Beatles – his emigration to New York, confessional albums, bile spewing interviews with Rolling Stone, the Lost Weekend… his assassination in December 1980 means books could be closed and his life assessed. McCartney made that harder by always carrying on. Man On The Run is the story of Paul McCartney’s post-Beatles decade. It begins in the acrimony and bile of the last days of the Beatles, McCartney becoming increasingly isolated from his bandmates over business matters, and it ends with his extended reaction to Lennon’s assassination. It takes in his early solo efforts, his time in Wings and ends with him solo once more, this time permanently. It takes in their retreat to the country, the post-Beatles relations of the Fabs and doesn’t shy away from the recreational use of drugs, including his infamous drugs bust in Japan. It’s a breezily chronological approach, the story shaped by time and events rather than dramatic licence.

Where it scores above normal rock chronologies is in the input it has – as the fore and afterwords make clear, Doyle has built up a rapport with McCartney and the interviews with him provide crucial inside perspective on his motivations. There’s also a wealth of key personnel interviewed to provide alternate views, so hagiography is neatly sidestepped. What emerges is the human being at the heart of events, we don’t get the parodic wacky thumbs-aloft McCartney persona. The revelation is how much of McCartney’s career is shaped on the fly, on spur of the moment actions. What might be widely read as calculating moves are just something he fancied doing. Consciously or subconsciously, it’s clear the decade was essentially spent casting around for a post-Beatles direction.

The other thing that comes across is McCartney’s musical tendency that marks him out from fellow musicians. His instinctive populism and openness to all musical forms provides the creative tension in his two major bands, neatly balancing Lennon’s acid tongue and later experimental leanings and playing against the professional musicians who passed through the various incarnations of Wings. It’s difficult to think of another musician who’d move from the acme of cool that was the Beatles to releasing a version of Mary Had A Little Lamb, a Bond theme and (eventually) The Frog Chorus whilst also being open to modern musical trends (the synth of McCartney II, even the penning of a punk parody). That family entertainer streak might keep him from ever being regarded as cool as Lennon, but does mean he’s been able to sustain his popularity over the decades. Cool’s a temporary glory, a common touch means sustainable success.

A welcome retelling of a great rock story that’s always been lost in the shadows of the achievements of his previous decade. ( )