Paul McCartney’s choice of album opening tracks has often been unpredictable, showcasing a mix of styles and approaches that reflect his artistic journey. In several notable instances, such as the 1973 classic Band on the Run, 1975’s Venus and Mars, and the 1984 film soundtrack Give My Regards to Broadstreet, McCartney opted to launch his albums with hit singles that captivated listeners. Conversely, there are instances like his debut with Wings, Wild Life, and the 2013 release New, where he began with more improvisational and free-spirited jams that set a different tone.

Throughout his career, McCartney has produced tracks that have become anthems for a generation, while others have quietly faded into obscurity within his extensive catalog. In albums spanning from 1970’s McCartney to 1979’s Back to the Egg and even 2018’s Egypt Station, he employed short snippets that primarily served as atmospheric introductions rather than fully developed songs.

EXPLORE MORE: Uncover the Top 40 Paul McCartney Songs from the 1970s

McCartney used albums like 1980’s McCartney II, 1993’s Off the Ground, and 2020’s McCartney III as platforms for experimentation with varying degrees of success. However, the 1976 release At the Speed of Sound starts with one of his quintessentially McCartney-esque songs, which showcases his unique songwriting style. This diverse range of opening tracks creates a fascinating and sometimes frustrating collection of songs, making this ranked list of Paul McCartney’s album openings one of the most diverse in rock history.

No. 24. “Mumbo”
From: Wild Life (1971)

“Mumbo” stands out as one of the more blatant throwaways from Wings’ somewhat tumultuous debut album. The track embodies the essence of a spontaneous jam session, featuring minimal lyrics and a loose structure. McCartney recalls in Keith Badman’s The Beatles: The Dream is Over – Off the Record 2 that during the recording, he humorously urged co-engineer Tony Clark to start recording only to discover that the session had been going on without capturing the essence of their performance. Ultimately, “Mumbo” serves as a testament to the carefree spirit of McCartney’s early post-Beatles work, despite its lack of lyrical depth.

No. 23. “Lonely Road”
From: Driving Rain (2001)

With a relaxed and casual vibe, “Lonely Road” captures the essence of a beach vacation in Goa, India, where McCartney composed the song in January 2001. He described it on his website as a piece that is open to interpretation, stating, “It is what it is, this song. You can make of it what you want to make of it.” While it may not have a definitive message, it reflects a sense of not wanting to feel weighed down by negativity. Today, “Lonely Road” is often remembered for featuring guitarist Rusty Anderson and drummer Abe Laboriel Jr., both of whom would become long-term collaborators with McCartney.

No. 22. “Save Us”
From: New (2013)

Decades after the free-spirited opener “Mumbo,” McCartney continued the trend of starting albums with raw rock energy. For “Save Us,” he visited the studio of new co-producer Paul Epworth without any set song ideas. What emerged from their initial jam session was a track that blended their creative energies. McCartney noted in an interview with Rolling Stone how they layered the music, with him contributing chords and structure to the evolving sound. Unlike “Mumbo,” McCartney returned to write meaningful lyrics for “Save Us,” demonstrating his growth as a songwriter.

No. 21. “Off the Ground”
From: Off the Ground (1993)

The title track from McCartney’s early ’90s album, “Off the Ground,” started as a folk-inspired idea that was reimagined through the lens of modern technology. Initially not even considered for inclusion, it was revived with the help of keyboardist Paul “Wix” Wickens, utilizing a computer to craft a mechanical rhythm and synth bass. McCartney later reminisced in a tour booklet about how a conversation with one of his daughters inspired the title, and ultimately, the song became a pivotal part of the album, showcasing his innovative approach to songwriting.

No. 20. “London Town”
From: London Town (1978)

By the time McCartney and Wings released London Town, the band had been reduced to a trio, mirroring the dynamic of their earlier album Band on the Run. The title track presents a more laid-back and mellow sound, contrasting with the energetic spirit of their previous work. The collaboration with guitarist Jimmy McCulloch and drummer Joe English, while present, failed to capture the same vivacity that characterized earlier hits like Venus and Mars and Speed of Sound. Notably, “London Town” peaked at No. 17 on the U.S. Easy Listening chart, reflecting its softer appeal.

No. 19. “Long Tailed Winter Bird”
From: McCartney III (2020)

The origins of “Long Tailed Winter Bird” can be traced back to the ’90s, linked to an earlier piece titled “When Winter Comes,” co-produced by the legendary George Martin. As McCartney revisited the concept, he expanded the musical ideas, resulting in an intriguing new song that opened McCartney III amidst much anticipation. The track features a captivating riff paired with a driving rhythm and hints of Eastern musical influences. However, as the song progresses, it unexpectedly devolves into a repetitive drone, leaving listeners with a sense of unfulfilled promise.

No. 18. “Pipes of Peace”
From: Pipes of Peace (1983)

Often compared to its predecessor, 1982’s Tug of War, the album Pipes of Peace includes tracks that evoke memories of childhood innocence. McCartney was inspired to write “Pipes of Peace” for an international children’s organization, which contributed to its whimsical and childlike quality. The song achieved commercial success, reaching No. 1 in the U.K., but it initially struggled to find its place in the U.S. charts until it was re-released as a b-side to the overly sweet “So Bad,” which ironically hindered its potential success.

No. 17. "Coming Up"
From: McCartney II (1980)

“Coming Up” opened McCartney II with a minimalist synth version, which unfortunately underwhelmed compared to the vibrant live rendition that had propelled McCartney back to the top of the U.S. singles chart. Despite his admitted amateurism with the new technology, McCartney’s enthusiasm and creativity shone through in this follow-up to his more acoustic debut. However, this version was also somewhat marred by his use of a vari-speed tape machine to artificially speed up his vocals, a stylistic choice that some fans found off-putting.

No. 16. "Stranglehold"
From: Press to Play (1986)

Positioning “Stranglehold” as the lead track on the heavily synthesized Press to Play might be seen as misleading, yet it represents a pivotal moment in McCartney’s creative resurgence. The track features a catchy groove and energetic lyrics delivered with a sense of urgency. Despite the album’s overall reliance on synths, McCartney’s ability to craft a compelling anthem shines through. Unfortunately, the album as a whole was overshadowed by its slick production, which lacked the warmth and authenticity of his earlier work.

No. 15. “The Lovely Linda/That Would Be Something”
From: McCartney (1970)

In a moment of experimentation, McCartney recorded the brief “Lovely Linda” while testing a new four-track recorder in his home studio just before Christmas 1969. Lasting less than 45 seconds, this song remains one of his shortest compositions. It seamlessly transitions into the groove-centric “That Would Be Something,” which captures the spirit of the era with its carefree and whimsical nature. McCartney himself described it as reflecting the peace and love ethos of the ’60s, showcasing his knack for simplicity and charm in songwriting.

No. 14. “Let ‘Em In”
From: Wings at the Speed of Sound (1976)

As McCartney prepared for his first U.S. tour since the Beatles’ final concert in 1966, he released the album At the Speed of Sound, which quickly climbed to the top of the charts over seven non-consecutive weeks. The buoyant “Let ‘Em In,” a Grammy-nominated hit, contributed significantly to this success. The lyrics, which discuss welcoming friends and family, hold personal resonance for McCartney, especially since he later married Nancy Shevell, who has both a “Sister Susie” and a “Brother Jon.” This track exemplifies the joy and warmth present in McCartney’s songwriting.

No. 13. “Dance Tonight”
From: Memory Almost Full (2007)

Inspired by the playful dancing of his toddler, McCartney crafted the delightful “Dance Tonight” using a left-handed mandolin. Interestingly, this charming piece was the last song he completed for Memory Almost Full. The distinctive kick-drum sound was created by McCartney stomping his foot, capturing the spontaneous joy of his home life. In reflecting on the song, McCartney expressed his affection for the mandolin and the upbeat nature of the track, emphasizing how it naturally came together in the creative process.

No. 12. “Tug of War”
From: Tug of War (1982)

While “Here Today” poignantly addressed the loss of John Lennon, “Tug of War” subtly explores their complex relationship. Collaborating with producer George Martin once again, McCartney crafted an emotional orchestral backdrop that beautifully complements the song’s lyrical themes. The verses convey a sense of struggle, while the chorus offers an uplifting sense of hope. This juxtaposition reflects McCartney’s ability to convey deep emotion through his music, making it a standout track on the album.

No. 11. “No More Lonely Nights”
From: Give My Regards to Broadstreet (1984)

In need of a title track for his film Give My Regards to Broad Street, McCartney instead delivered one of his most exquisite mid-tempo love songs, “No More Lonely Nights.” Featuring a breathtaking guitar solo by David Gilmour, the track came together swiftly in the studio, becoming an international Top 10 hit. Interestingly, an Arthur Baker dance remix of the song exists, which has been criticized and is generally advised to be avoided, contrasting sharply with the beauty of the original.

No. 10. “Opening Station/I Don’t Know”
From: Egypt Station (2018)

After a 41-second atmospheric introduction, McCartney’s Egypt Station begins with a sense of uncertainty in the track “I Don’t Know.” This introspective emotion is a surprising departure from McCartney’s reputation for crafting lighthearted love songs. The verses are some of the darkest lyrics he has ever written, but they transition into a beautifully soothing chorus, showcasing his masterful piano playing. This contrast exemplifies McCartney’s ability to explore complex emotions within his music.

No. 9. “Nothing Too Much Just Out of Sight”
From: The Fireman’s Electric Arguments (2008)

McCartney’s encounter with conga player Jimmy Scott at London’s Bag O’Nails club inspired him to create “Nothing Too Much Just Out of Sight.” Scott’s colorful expressions, including “Ob-la-di, ob-la-da,” influenced McCartney’s earlier work and resurfaced in this track. Drawing from Scott’s saying, McCartney infused the song with a relaxed yet rhythmic quality. This collaboration with Martin “Youth” Glover as the Fireman highlights McCartney’s versatility as an artist, blending different influences into a unique sound.

No. 8. “Reception/Getting Closer”
From: Back to the Egg (1979)

The opening track “Reception” is notably longer than both “The Lovely Linda” and “Opening Station,” yet it maintains a similar lack of lyrical substance. Following this, “Getting Closer” features one of McCartney’s most intriguing lyrical choices, using “my salamander” as a term of endearment. Despite its quirky nature, the song remains engaging, showcasing McCartney’s talent for creating enjoyable melodies, bolstered by the impressive guitar work of late-period Wings guitarist Lawrence Juber.

No. 7. “The Song We Were Singing”
From: Flaming Pie (1997)

While working on the Beatles’ Anthology series, McCartney felt a wave of nostalgia, which is reflected in “The Song We Were Singing.” This track serves as a heartfelt tribute to the camaraderie he shared with John Lennon during their creative peak. McCartney reminisced about the late-night conversations filled with laughter and wine. He believes that this song effectively sets the tone for the album, drawing listeners into its warm embrace.

No. 6. "Big Barn Bed"
From: Red Rose Speedway (1973)

“Big Barn Bed” draws a direct connection to McCartney’s earlier work on Ram, referencing the line “Who’s that coming round that corner?” This track exemplifies McCartney’s ability to infuse joy and energy into his music, even as it lacks a traditional resolution. The infectious groove and uplifting spirit of the song carry Wings through to a bright and lively experience, despite its somewhat incomplete feel.

No. 5. “Fine Line”
From: Chaos and Creation in the Backyard (2005)

With “Fine Line,” McCartney showcases his knack for crafting catchy melodies effortlessly. The song opens with the insightful line, “There’s a fine line between recklessness and courage,” a reflection of McCartney’s own artistic journey. The successful collaboration with producer Nigel Godrich—known for his work with Radiohead—encouraged McCartney to embrace experimentation, leading to a unique sound that resonates with listeners and stands out in his discography.

No. 4. “My Brave Face”
From: Flowers in the Dirt (1989)

In an effort to revitalize his career during the ’80s, McCartney formed a creative partnership with Elvis Costello, resulting in a new wave of respect for his work. “My Brave Face” exemplifies this collaboration, blending McCartney’s melodic sensibilities with Costello’s sharp lyricism. The track channels McCartney’s vintage pop roots, showcasing his enduring talent for creating timeless music that resonates across generations.

No. 3. “Too Many People”
From: Ram (1971)

Opening with “Too Many People,” McCartney weaves a narrative rich with subtext, reflecting the tension of his public fallout with Lennon. The album art features provocative imagery, hinting at the underlying conflict while the music itself offers a compelling groove. This track successfully transcends its confrontational origins, featuring powerful guitar solos that elevate the overall listening experience, ensuring its place as a standout moment in McCartney’s career.

No. 2. “Venus and Mars/Rock Show”
From: Venus and Mars (1975)

The opening track “Venus and Mars” leads seamlessly into “Rock Show,” capturing the essence of McCartney’s exploration of both cosmic themes and earthly experiences. Recorded in part at Allen Toussaint’s Sea Saint Recording Studio in New Orleans, the song reflects a settled atmosphere, marking McCartney’s evolution beyond the Beatles. Despite its commercial success with U.S. listeners, it surprisingly did not chart in the U.K., highlighting the differing tastes of audiences across the Atlantic.

No. 1. “Band on the Run”
From: Band on the Run (1973)

“Band on the Run” stands as a pinnacle of Wings’ creativity, emerging as a powerful anthem of escape and resilience. Crafted during a period of turmoil within the band, the song fuses McCartney’s melodic genius with orchestral elements and rock influences. This Grammy-winning track encapsulates the essence of his artistic vision, taking inspiration from a throwaway comment made by former bandmate George Harrison during a meeting. It represents not only a musical achievement but a lasting legacy within rock history.