Venus And Mars
McCartney & Wings
Released: June 1975
Chart Peak: #1
Weeks Charted: 77
Certified Gold: 6/2/75
Venus and Mars confirmed, if nothing else, that Paul had totally mastered the craft of turning out hit "product." Many of the songs are the sort that stubbornly stick in the head whether you want them to or not, and the production is the most polished since the break with the other Beatles and George Martin. And yet there is often something calculated and impersonal in its slickness.
The title track itself, which boasts a typically seductive McCartney melody, proved than Paul could still write lyrics when he saw fit to. "Venus and Mars" cleverly makes use of the various connotations of the word "stars." The setting of the version that opens the album is a sports arena, abuzz with anticipation just before a rock show. In the lyric about the "good friend following the stars," the friend could just as easily be a groupie or a rock fanatic as an astrologer; and the stars might even be Venus (Linda) and Mars (Paul) McCartney.
Sure enough, the track segues -- or, rather, explodes -- into "Rock Show," as spirited a celebration as any on record of the excitement, crowds, noise, and lights at a big rock concert. (Paul admitted that the references to Madison Square Garden and the Hollywood Bowl were a "hint" of Wings' future plans to tour the U.S. the following year.)
Yet when "Venus and Mars" resurfaces on Side Two -- in the grand old Sgt. Pepper/Ram/Band On the Run tradition -- "following the stars" takes a different context. The sports arena has metamorphosed into an Isaac Asimov-inspired starship, fueled by Linda McCartney's gurgling synthesizer. Had Paul chosen to extend the "Venus and Mars"/"Rock Show" idea throughout the rest of the LP, he might have produced an ambitious and fascinating concept album. In any case, he at least now had a great framework for a "Rock Show" of his own, which he would shortly put to use.
Augmented by the jangling guitars and trilling woodwinds of guest artists Dave Mason and Tom Scott, the ultra-catchy "Listen To What the Man Said" quickly scored Wings their eighth consecutive American Top Ten hit (and third Number One). This single, and the album from which it was lifted, were the first McCartney records to sport the familiar Capitol logo since the Beatles' "Lady Madonna." Paul had just signed on again for the record-shattering sum of eight million dollars.
Venus and Mars first appeared on the Billboard charts on June 14, 1975, reaching #1 and spending a total of 77 weeks.
- Nicholas Schaffner, The Beatles Forever, pg. 181.
Latest effort from Paul McCartney and friends is another set of fine rock, but with some strong basic differences from past LPs. First, it stands less as a collection of good rock singles and more as a collection of various styles of music that can also work as singles. Styles range from the perfect Top 40 rock McCartney is such a master of, to New Orleans horn filled cuts, to '20s flavored tunes, to oldie sounding songs, to some big brass arrangements. McCartney's vocals range from the smooth ballad style he has always handled well to a raunchier rock sound that he has heretofore been unable to attain, even on his wilder singles. In other words, he sounds less like a soft voice singer trying to scream and more like a legitimate screamer. Addition of Jimmy McCulloch has added a strong rock guitar vein and has allowed Denny Laine to switch to bass and spend more time on vocal harmonies. Linda also sounds like more of a singer. Guest musicians like Tom Scott, Allen Toussaint and Dave Mason also add to the variety of sounds and add an authenticity to the sounds and styles explored. A much more musically intricate project than Wings' other solo effort without losing the feeling of fun and spontaneity that good rock has always offered. And, to serve up the old cliche, all possible singles.
- Billboard, 1975.
Superficially, which counts for a lot with McCartney, his New Orleans venture is his most appealing post-Beatles album -- straight rock and roll with a few pop detours and one excursion into "When I'm 64" nostalgia. So clear in its melodies, mix, and basic pulse that his whimiscal juxtapositions -- robots on Main Street, Rudy Vallee cheek by jowl with Allen Toussaint -- sound like they might make some sense. Don't get me wrong -- they probably don't -- because McCartney's a convinced fool. But when the music is coherent it doesn't matter so much. B+
- Robert Christgau, Christgau's Record Guide, 1981.
Released in 1975, Venus and Mars was the follow-up to Band on the Run (which was basically all McCartney in the studio). With this recording, Wings again became a real rock band, notably through the addition of guitarist Jimmy McCulloch and drummer Joe English. For this outing, the group went to New Orleans and availed themselves of the local musical riches, notably Allen Toussaint. The result is probably the best rock & roll that McCartney has made since departing his original group, particularly in the selections, "Rock Show" and "Listen to What the Man Said;" in no small part because Paul's songs here also have more spine than most of the post-Beatles saccharin pop with which he has been associated. The sound of the compact disc generally leaves a bit to be desired -- heavy hiss, buried vocals, and occasional distortion are too much in evidence. B-
- Bill Shapiro, Rock & Roll Review: A Guide to Good Rock on CD, 1991.
A highly polished band album featuring the number one hit "Listen to What the Man Said," as well as "Letting Go" and "Venus and Mars/Rock Show," which served to introduce the McCartney & Wings world tour of 1975-1976. * * *
- William Ruhlmann, The All-Music Guide to Rock, 1995.
Main Page | The Classic 500 | Readers' Favorites | Other Seventies Discs | Search The RockSite/The Web