From his early days in the Beatles to his work with contemporary artists in the 21st century, Paul McCartney has built his entire career on his incomparable ability to craft songs into a bona fide earworms. Whether a catchy lyrical cadence, a perfectly hummable tune, or something so oddly memorable you can’t help but sing it back to yourself after you hear it, McCartney is certainly a master at writing a hook.
To be clear, we’re not specifically talking about McCartney songs that one could use as a masterclass in songwriting—although there are several of those to choose from. We’re talking about pure, unadulterated hooks that seem to permanently lodge themselves in our brains, regardless of whether the song has the most poignant lyrics or groundbreaking chord progression.
Videos by American Songwriter
Ready to hear some earworms? Let’s dive in.
“Let ‘Em In”
An appropriate start to our round-up of solo Paul McCartney songs that inevitably get stuck in our heads, we’re kicking things off with Wings’ 1976 track “Let ‘Em In.” Featuring a pulsing bass line and a chord progression that closely follows the sound of a Westminster Chime doorbell, the simplicity of the instrumental arrangement perfectly complements McCartney’s casual vocal delivery. Someone’s knocking at the door, he begins, somebody’s ringing the bell.
The earworm song’s B-section utilizes McCartney’s go-to writing technique of incorporating characters by name, including Sister Suzie, Brother John, Martin Luther, and Phil and Don. The end of this section has an equally infectious turnaround into the initial groove that makes you want to listen to it over and over and…
“Heart of the Country”
While Paul and Linda McCartney’s 1971 track “Heart of the Country” received mixed reviews upon its release, we can’t help but feel it deserves a spot on this earworm list. The jaunty, mellow track certainly doesn’t feature the deepest, most profound lyrics McCartney’s ever written. But the music matches the sentiment of longing for a simplistic, easy life in the heart of the country, where the holy people grow.
McCartney’s vocal timbre adds another catchy earworm element to the track. Something about his slightly nasal falsetto adds to the song’s overall lightheartedness, an un-seriousness McCartney hammers home in the interludes between the chorus and verse that feature him scatting along to his guitar riffs.
“Monkberry Moon Delight”
“Monkberry Moon Delight” is another ultra-catchy cut from Paul and Linda McCartney’s 1971 album Ram, which also featured the previous “Heart of the Country.” Featuring nonsensical lyrics McCartney would later compare to an abstract painting and a driving rhythm that utilizes a plodding downbeat on the 1 and 3, this track is easily one of the stranger McCartney earworms he’s ever written. But what else would one expect from a song about a fantasy milkshake called Monkberry Moon Delight?
McCartney took vocal cues from Screamin’ Jay Hawkins (who later released his version of McCartney’s song) for this 1971 track, opting for a gruff growl that only adds to the song’s catchy abrasiveness. Just go ahead, listen to that song, and tell us you don’t sing “canta-TUHHH” and “toma-TUHHH” like he does for the rest of the day. We’ll wait. (It’s impossible.)
“Band on the Run”
Paul McCartney and Wings’ 1973 track “Band on the Run” is a combination of three catchy songs in one. But fair’s fair, so we’re only giving this one a single spot on our earworm round-up. From the dreamy A-section with its wavering synth to the grooving minor B-section to its jangly, acoustic guitar-driven C-section, there are several distinctive hooks to latch on to throughout the five-minute-long single.
Ironically, McCartney wrote his song, “Band on the Run,” about freedom and escape, which is exactly what you won’t be able to do from these ultra-catchy, infectious tunes. Good luck getting these songs out of your head. We certainly won’t be able to any time soon.
Photo by Robert R. McElroy/Getty Images
