Roanoke Times
Copyright (c) 1995, Landmark Communications, Inc.
DATE: TUESDAY, February 9, 1993 TAG: 9302090118
SECTION: EXTRA PAGE: 1 EDITION: METRO
SOURCE: DEBORAH WILKER KNIGHT-RIDDER/TRIBUNE
DATELINE: LENGTH: Long
TWO ROCK LEGENDS SCHEDULE SOLO FLIGHTS ON THE SAME DAY
THROUGH a quirk of scheduling, rock royals Paul McCartney and Mick Jagger will release new solo albums today.McCartney's "Off The Ground" and Jagger's "Wandering Spirit" are both tied to extensive hype campaigns that will showcase the superstars for the next several months.
McCartney's disc is also a prelude to a world tour. He'll announce his itinerary during a New York press conference Thursday.
Typically when one record company learns that a rival release may steal thunder from a superstar project, in-store dates are usually adjusted by a week or two. But in this case neither Capitol Records (McCartney) or Atlantic Records (Jagger) would have reason to budge, hoping perhaps for logically packaged media adoration of two legendary careers and less intensive scrutiny of the recordings.
That sort of wishful thinking is understandable, considering the lackluster releases by each in recent years.
And McCartney and Jagger do have enough in common, more so today than they did years ago when the cute Beatle and the Stones' bad boy were rival spearheads of the British Invasion.
McCartney, 50, is nearing 35 years in the business. Jagger, a 49-year-old grandfather, has been shepherding the Rolling Stones since 1963. As legends who fronted the two most influential and successful bands during rock's most formidable era, their place in history is unmatched.
Though he assumed icon status almost from the moment the Stones broke through in '65, it wasn't until 20 years later that Jagger made his first solo exploration with the barely memorable "She's The Boss." Two years later came the flop set "Primitive Cool," completing Jagger's entire solo resume until now.
His most recent effort with the Stones was 1989's "Steel Wheels." Capping a near-decade of band misfires, the album was little more than a souvenir from the group's accompanying stadium tour.
McCartney, of course, had a brilliant post-Beatles career with Wings throughout the 1970s, but also faltered mightily during the 1980s with one stiff after another, culminating with 1989's embarrassing "Flowers In The Dirt."
Yet happily, both restore their reputations this time around - and that's a relief.
The new records are as different as would be expected: McCartney's all full of love and hope and messages of peace and friendship, while a lusting, defiant Jagger plays the field.
At this stage in his life, Jagger would seem too old for this sort of thing, particularly when he hauls out such juvenile phrases as "I'm hard as a brick/I hope I never go limp." But that's just a quibble considering the total effort.
He rocks out so aggressively, his sheer commitment brings it home. Snarling his way through such thunderclap tracks as "Wired All Night," "Mother of a Man," and "Put Me In The Trash," there is no mistaking his passion. One can only wonder what it is about his life at this moment that has ignited him so.
A layered duet with Lenny Kravitz on the old Bill Withers hit "Use Me," the angst-filled tenderness of "Evening Gown," and the "Angie"-like ballad, "Don't Tear Me Up" all simmer to an emotional payoff.
Jagger swaggers as he did during his "Miss You" era on the raunchy "Sweet Thing," which builds to a lusty grind. Billy Preston's piano is the crucial touch on the church-styled "Out Of Focus."
McCartney's "Off The Ground" isn't quite as loaded with winners, but it's still such a marked improvement over "Flowers In The Dirt," it must be recognized as a success.
"The Lovers That Never Were," a head-turning ballad with an unstoppable chorus and soaring vocals is his best song in years - vintage McCartney in its phrasing and emotion. "Mistress and Maid" is another stand-out during which McCartney regains his knack for subtle story-telling, for making ordinary people seem compelling.
Both songs were written with occasional collaborator Elvis Costello, and reflect Costello's whimsical side and deft hand at melodies.
The first single, "Hope and Deliverance," mirrors the lofty optimism of past McCartney hits, while acknowledging problematic times. The long and winding epic "C'mon People" features the most polished arranging, and a lovely "strawberry" feel.
McCartney doesn't rock as confidently as Jagger, but then again, we don't expect him to. It's light stuff to be sure, but with enough subtle Beatles shadings to make us feel quite at home with this record.
A jolt from a tougher producer might have helped, or maybe a little co-writing with a ruffian like Jagger. But that's just daydreaming.
While both should score critically with these sets, there will still be commercial hurdles. Teens who drive radio's Top 40 aren't likely to buy their singles or request their songs.
Like Bruce Springsteen's recent releases, these albums will have to find an audience in longtime followers, but those are also the same people who are less likely to make a trip to the record store these days.
McCartney may be able to get around that, since he has always been an accessible star who easily crosses the pop-rock demographic. He's also got the tour in support of this disc, and that alone should be enough to propel sales for a while.
This new tour won't be much different from his last one in 1990: It's slated for outdoor stadiums, and is expected to look much the same in terms of lighting and video effects.
His touring band is also essentially the same, except for new drummer Blair Cunningham of the Pretenders.
Jagger does not have touring plans, but he's also likely to be busy. Like McCartney he'll be making lots of promotional appearances, and will soon have to find a replacement for Stones bassist Bill Wyman, who just announced his retirement.
And Jagger will have to do it soon, since the Stones' mega-deal with new label Virgin Records (estimated to be worth about $40 million over three albums) kicks in next month.