Paul McCartney's Red Rose Speedway was originally intended to be a sprawling double album

Paul McCartney's Red Rose Speedway was originally intended to be a sprawling double album
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In short: Before it became a single LP, Wings' 1973 album was envisioned as a diverse double record. Internal friction, label pressure, and a producer who quit in frustration reshaped the project. While it topped US charts, the final product left band members and critics divided over its lightweight, ballad-heavy direction.

Recording for Red Rose Speedway began in March 1972 at London's Olympic Studios. Paul McCartney sought a relaxed, experimental atmosphere, hiring producer Glyn Johns to provide direction. However, the sessions quickly devolved into aimless jamming. By late March, Johns had quit, famously describing the band as a group of sycophantic musicians and expressing frustration that McCartney held the reins too tightly. McCartney later admitted he struggled with his musical direction following the Beatles' breakup, and his bandmates felt the final song selection favored McCartney's whimsy over the group's collective strength.

The album's evolution was marked by significant compromise. Originally planned as a double LP, EMI requested it be condensed into a single disc, citing concerns over the modest commercial performance of the band's debut, Wild Life. This decision led to the omission of several tracks, including compositions by Denny Laine and rock-oriented songs favored by guitarist Henry McCullough. The final tracklist, released in April 1973, leaned heavily into ballads, ending with an 11-minute medley that echoed the structure of the Beatles' Abbey Road.

Despite the internal turmoil, the album achieved commercial success, reaching number one on the US Billboard Top LPs & Tape chart, bolstered by the hit single 'My Love'. Critical reception, however, remained polarized for decades. While some reviewers praised its melodic structure and production, others dismissed it as 'fluff' or 'mediocre'. McCartney himself later expressed regret, noting that the album lacked the impact of the band's live performances. It was not until the 2018 Archive Collection reissue that the public could finally hear the reconstructed double LP version as originally intended.

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