Paul McCartney is an artist who has always refused to be pinned down. His solo career has encompassed a wide variety of styles, including Christmas carols, electro, and rock operas.
A man seemingly willing to try anything while remaining the most affable character in music, McCartney has given us many classic moments over the years. Whether brilliant, hilarious, or downright terrible, he’s crossed every possible bridge in his long and illustrious career.
After the Beatles disbanded in 1970, McCartney really moonlighted as a solo artist. While her solo efforts are eclipsed by those of her former writing partner John Lennon, her production in the 1970s is, at times, pretty good. He wrote surreal tunes such as “Uncle Albert / Admiral Halsey”, the controversial “Give Ireland Back To The Irish” and the Wings’ magnum opus. Group on the run. In many ways, Paul McCartney, the solo artist, can be considered a leader of the 1970s.
This is not to neglect his work after the decade when “classic rock” was usurped by punk. In fact, in 1980 McCartney gifted us with perhaps his most famous album, McCartney II. Not only did it contain classics such as ‘Coming Up’, but its experimental style also gave way to pioneering electronica. The third single, ‘Temporary Secretary’, is undoubtedly one of his best tracks and is celebrated by musos and internet forums. A strange and catchy electronic track, McCartney managed to make Hot Chip before Hot Chip.
Then, as if his iconoclastic character weren’t already solidified, in 1991 McCartney would release an album that was the true embodiment of his versatile character. If we look back 34 years, to July 1987, we will find the still optimistic McCartney in a small dilemma. He released his sixth studio album, Press to play, in August 1986, but it was a largely forgettable work, which met with a lukewarm reaction, as public interest in the “gods” of old rock was at an all-time low. Undeterred, McCartney spent the first half of 1987 preparing for a triumphant return to form.
One afternoon, he jammed with some of his favorite musicians from his childhood in the 1950s, and together they played some of his favorite songs and rock ‘n’ roll numbers from the era. Absolutely thrilled, McCartney chose to record some of these performances in the studio.
During July 20 and 21, 1987, McCartney recorded 20 songs. Some of them, like an interpretation of “I Saw Her Standing There” by The Beatles, remain unreleased. Being the mad genius that he is, with no end of wacky trick up his sleeve, McCartney originally wanted to release the new album in the UK outside the usual distribution channels in an effort to make the album had been smuggled. through the Iron Curtain of the Soviet Union. Since it was the Cold War and it made no logistical sense, McCartney’s label EMI quickly shut down the idea. It was a shame because McCartney’s manager had already squeezed a batch of LPs with special Russian covers. These were meant to be an early Christmas present for McCartney, but fear not, they will go beyond what was originally planned.
Not knowing what to do with this batch of records, McCartney quickly conceives the idea that the album should in fact be released in the Soviet Union as a token of peace. After all, it was the period of “glasnost” when the United States and the USSR had cooled their antithetical tensions. In addition, Soviet politician Mikhail Gorbachev was embarking on an unprecedented campaign of “openness and transparency”, giving the Soviet people more freedom than they had ever known before.
An agreement was made with the record company run by the Soviet government, Melodiya. He authorized 400,000 copies of the album for release in the Soviet Union, without export. The album was to be released only in the USSR and nowhere else. It was a gigantic step in the post-Cold War future for McCartney and his team.
Entitled нова в СССР, the album’s title was the direct Russian translation of the 1968 Beatles classic “Back in the USSR”. Dropped by the Russian public, increasingly westernized during the 1980s, the first pressing of 50,000 copies sold almost overnight. Other pressings came out quickly, and the album, containing 11 covers, was a resounding success.
Although the license was signed so that there would be no exports out of the USSR, it was the Cold War and smuggling abounded. In a surreal role reversal, where the USSR would usually be smuggled into Western European records, this time our Soviet music lovers found themselves at the best end of the market. Some have made up to $ 100-250 in the US for registration and others as much as £ 500 in the UK.
Due to its cult and much sought after status, the album was finally released to the rest of the world in 1991. In retrospect, you could say that it was in fact one of McCartney’s most powerful albums ever. gone out.
With covers of Leiber and Stoller’s classic 1952 rocker ‘Kanas City’, Sam Cooke’s classic 1962 soul ‘Bring It On Home to Me’ and a rendition of the traditional folk song ‘Midnight Special’, нова в СССР, it’s a refreshing break from McCartney’s repertoire.
Personally the highlight is track six. The stellar cover of Duke Ellington’s 1940 track, ‘Don’t Get Around Much Anymore’. Both rock and melodic, it’s like listening to an energetic young McCartney play in one of the clubs in Liverpool where he made his debut. In addition, the end of the piece is brilliant, and the guitar solo is of pure quality. I just wish it could be longer.
A surreal moment in McCartney’s career, нова в СССР always worth a visit. A breath of fresh air that sees middle-aged McCartney going back to his roots, and it really pays off. It’s a clear indicator that if you’re stuck in a creative quagmire, it’s always a good bet to go back to your roots.
to listen нова в СССР in full below.