Shock Machine pay tribute to Paul McCartney

My father is to blame. As a child he would play piano and sing "My Love", "Silly Love Songs", "Uncle Albert". Dad's versions of McCartney's hits became my radio. At first I presumed these songs were written by my Dad. Struggling to find an 'Uncle Albert' in the family I soon realised these songs were actually the work of a man called Paul.

I'm going to be specific. When I talk about Macca, what I'm really referring to is the body of work McCartney wrote between 1970 and 1981 (ending with McCartney II). McCartney as the hippy on the run. Shaking off the shadow of the Beatles. Making decisions on the fly. This, is when it really gets interesting.

Let's start with the facts. During this period Paul McCartney released 7 Wings albums, 3 solo McCartney records, 1 live album, wrote one of the greatest Christmas songs of all time, toured the world many times over, wrote or contributed to songs by countless other artists, and wrote one of the greatest Bond themes of all time – 'Live and Let Die'! All of this while effortlessly from the outside maintaining a stable family life. And...he'd already spent the last decade churning out hits with the Beatles. His creativity as he reached his 30's didn't slow down, it sped up! I mean did this man sleep? When Lennon wrote 'How Do You Sleep?' maybe it was a comment on McCartney's phenomenal creative output, rather than a dig at Paul.

Before the sycophancy continues I will admit that as prolific as McCartney was, not every record is laden with gold. The wacky voices and certain interludes do slightly overstep the novelty mark. And yes nothing excuses "Mull of Kintyre". But pop always treads a fine line between the saccharine and the divine. Sometimes yes, McCartney overstepped the mark, but again let us bring it into context – the man was high! High as a fucking kite. He was a Beatle. He smoked great weed! How could it not slightly skewer your judgement. How could it not? This is the man who travelled to Japan with a suitcase stacked full of weed. Bonkers.

The two records I go to more than any from this period are Band on the Run and Ram. Band on the Run is a classic from start to finish. No question. I've listened to this record more than any other. It's my go to record. In the car, on the tube, away on holiday. Wherever. This album finds a space and place. It fits all time. It never tires. You can listen with it on in the background or you can zoom in and study every line. It's an album of character, warmth, soul and it makes me smile every time I listen.

The second record I love more than any is Ram. People hated Ram when it was released. Like really hated it. However over the last few years it has been rightfully reappraised. For me, the record is playful, fun, weird. You can hear the freedom. Paul at play. Free of The Beatles' chains. No baggage. An album of wonder, exploration, song craft, melody and spirit. It's McCartney at his best.

In making Shock Machine, technically my first solo album, Ram was a huge inspiration. I listened to Paul. I turned off my mind. I started playing without thinking what people might want to hear. I made the music that came most naturally. I stopped worrying. Stopped caring about the things you can't control and I reacquainted myself just how much fun music making can be.

Over the last few years, this McCartney decade has rightfully undergone reappraisal. Critics and musicians have seen the light and now 70's McCartney is omnipresent. Listen to "Arrow Through Me" and you'll hear the blueprint etched out in Thundercat records. The tight, warm, lean production of "Let 'Em In" you hear in all LCD Soundsystem records, as well as the string of soundtracks James has made for Noah Baumbach. The playfulness of "My Machine" is Hot Chip. "Temporary Secretary" is the proto techno that everyone seems to reference these days. McCartney's now even started playing it live, such has been its resurgence. The list goes on but just go dig for yourselves. There is a wealth of wonderful music there for discovery.

I was lucky enough to meet him once. When I was a brazen, and probably slightly annoying young man, Klaxons played at the Brit Awards the year McCartney won his LIfetime Achievement Award. Backstage after his show myself, Simon and James Ford plucked up the courage to go up to the great man. Now I know the general rule of thumb is to not meet your idols as they only let you down but...he didn't let us down! He was even nicer and more courteous than I imagined!

Paul - you wonderful English eccentric, thank you.