Sevens :: Paul McCartney & Wings/Arrow Through Me

(Sevens, a recurring feature on Aquarium Drunkard, pays tribute to the art of the individual song.)

Arrow Through Me,” off 1980’s Back To The Egg, finds McCartney dipping into his Stevie Wonder bag of tricks, employing both a laid back, slightly gruff, low-end Michael McDonald coupled with a high falsetto. All good, but what really sets the track apart, and grounds it in some kind of white-boy funk netherworld, is McCartney’s use of the the fender Rhodes. Almost sinister, the bassline not only anchors “Arrow,” but transforms it—from what could have easily been a rote Macca torch/love song—into a thick, delicious, slow-burn. Heavily steeped in the times, a la Steely Dan, “Arrow” was just dusted off in 2010 and sampled by Erykah Badu.

Elsewhere: Paul McCartney To Reissue Catalog On Concord Music Group

MP3: Wings :: Arrow Through Me

+ Download Paul McCartney & Wings via eMusic’s 35 free MP3 no risk trial offer

9 thoughts on “Sevens :: Paul McCartney & Wings/Arrow Through Me

  1. Back to the Egg drummer Steve Holley plays on the title track on The Bramblemen album “Fast Train to Memphis.” It also features Box Top Bill Cunningham on bass, and Ian Lloyd from Stories on background vocals. The track & video was produced by Wall of Voodoo (“Mexican Radio”) producer Richard Mazda (who also cameos in video).

  2. “Laid-black”? Was that intentional? Or a Freudian slip? Anyway, love the bassline and McCartney’s voice in this.

  3. “Arty and long winded…”???

    this was four sentences, vicious. this song brings nothing of ritchie to mind and everything of contemporary stevie & steely.

    nice write up, AD. thanks for the vid embed & the badu sample heads-up.

  4. Nice. But I think the funky keyboard is a Hohner clavinet, not a Rhodes…ala Stevie Wonder’s “Superstition” and Steely Dan’s “Big Black Cow.”

  5. There is a Rhodes on this track, but it’s not playing the funky line, which is most certainly on a clavinet.

    The Rhodes comes in when McCartney starts singing, and it’s treated with chorus, in typical 70’s fashion (ie. Simon’s Still Crazy, the combination of Rhodes and a chorus unit is the “classic sound” of the instrument).

    It’s an okay song. If it was written by someone other than Paul, I don’t know if any attention at all would be brought to it.

  6. Nice! Never heard that one before.
    I imagine if I’d have heard it for the first time at 3 a.m. at some bar I would have lovvved it but it’s still pretty awesome.

Comments are closed.