McCartney* ‎– McCartney

Apple Records ‎– PCS 7102, Apple Records ‎– 1E 062 o 04394, Apple Records ‎– PCS7102
Vinyl, LP, Album, Gatefold

Companies, etc.



Released in a fold-out cover with a plain white Apple inner sleeve, carrying a patent caption at the bottom left.
label reads: PCS7102
sleeve back also reads: 1E 062 o 04394

Bottom of sleeve back reads:
EMI Records
(The Gramophone Co. Ltd.) Hayes, Middlesex, England
Printed and made in England

Barcode and Other Identifiers

  • Matrix / Runout (A-side, variant 1): YEX 775 A-2U MM C
  • Matrix / Runout (B-side, variant 1): YEX 776 B-2U H0 4
  • Matrix / Runout (A-side, variant 2): YEX 775 A-2U RL
  • Matrix / Runout (B-side, variant 2): YEX 776 B-2U RL 3
  • Matrix / Runout (A-side, variant 3): YEX 775 A-2U 2 GA
  • Matrix / Runout (B-side, variant 3): YEX 776-1U 1 T, B

Other Versions (5 of 192) View All

Cat# Artist Title (Format) Label Cat# Country Year
2C 264-04394 Paul McCartney McCartney(Cass, Album) Apple Records 2C 264-04394 France 1970 Sell This Version
C4-46611 Paul McCartney McCartney(Cass, Album, RE, RM, XDR) Capitol Records, MPL (2), Parlophone C4-46611 US 1988 Sell This Version
CP32-5454 Paul McCartney McCartney(CD, Album) Odeon CP32-5454 Japan 1987 Sell This Version
HRM-32797-02, 888072327979 Paul McCartney McCartney(CD, Album, RE, RM + CD, Comp, RM) MPL (2), Hear Music, Concord Music Group, MPL (2), Hear Music, Concord Music Group, Universal Music Group International, Universal Music Group International HRM-32797-02, 888072327979 Thailand 2011 Sell This Version
STAO 3363 McCartney* McCartney(LP, Album, Gat) Apple Records STAO 3363 US 1970 Sell This Version



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June 2, 2019

If you received the UK version of this album as I did in 1970, you found it full of propaganda, not just the album jacket images, but the four accompanying pages that went on endlessly about how happy Paul and Linda were to have stepped out of the Beatles, to have stepped out of the city and discovered a life for themselves and their family in a more tranquil setting.

It’s not my intention to say or imply that the album isn’t good, what I am saying is that I was sure that the character of the album would be a leap beyond the Beatles, a no doubt super-duper extravaganza which would pale in comparison to anything the Beatles had ever done. Yet compared to what the Beatles had done, this record for me was decidedly second rate, where for the first time I came to the realization that Paul could only write the likes of “Let It Be” and “Hey Jude” because John Lennon was in the wings tweaking the sound, infusing those songs with his visions, with the results being a Beatles’ song, that Lennon and McCartney were two halves of a whole, and that without each other, the solo material of these four musicians who changed the world would never equal the tenor or scope of their previous incarnation.

On the whole, even with Paul’s emphasis on simplicity, there are good and even great moments within the construct of most of the songs, yet the songs seemed rather playful and unfinished in their nature, as if there were an important element that had been intentionally left out. It’s not until “Maybe I’m Amazed,” a powerful and visionary song finds its groove that one understands that the album is about loneliness, a loneliness that can only be dispelled by love, not passion, just love. While Linda is the focal point of all this love and attention, I’m sure that subconsciously she’s standing in for his bandmates in general, where Paul is now out on his own and alone.

Most of the rest of the songs come across as fractured memories, reminding me of this or that, pleasing, yet very elusive, certainly not on even footing with anything Lennon and McCartney had done together. Though in retrospect, perhaps what Paul’s doing here is re-introducing himself to the world, where listeners are face to face with Paul’s vocals alone, minus any studio inflections. Of course all this means that if one is coming to this album with the mindset of hearing quasi-Beatles material, think again, because what you’re going to get is the simplicity of Paul, alone on his own without John to shake things up and make them bigger than they are. That being said, I imagine that those who come to this album thirty or forty years after its release, will find it to be conceptually entirely different, especially without all of the hoopla surrounding the so-recent demise of the world’s first musical love affair … instead of the hollowness I hear.

In support of my observations, Paul’s first outing was panned by nearly everyone as being lightweight and filled with fluff, while the same folks expressed concerns the Lennon’s work was too experimental in nature. McCartney was such a vital and strong aspect of the Beatles that one would think those attributes would surely manifest themselves on this record, though while this album may sound lightweight, it’s overflowing with emotional possibilities that include realism (reality), love, depression, and a seductive element for the discovery within the unknown (being on his own). Without a doubt, all of the songs are well crafted and presented with care, where perhaps this was the only sort of album Paul McCartney could have made in order to break free of his shadow.

While there may be far too many musical pathways intersecting for me to see this record as openly in 2019, as those hearing it for the first time today, perhaps that’s a really good thing, as they get to experience this record without all of the pretenses and baggage that came with the record for those of us who lived though those times.

Review by Jenell Kesler