He's undeniably one of the greatest singer-songwriters and multi-instrumentalists in rock 'n' roll history, but Paul McCartney's solo albums can be hit-and-miss, to put it diplomatically.

Off the Ground was a case in point. Released on released on Feb. 1, 1993, the LP featured many of the lyrical and melodic elements that are McCartney's strengths, but somehow didn't quite come together. The results were quite simply not among McCartney's best.

He was coming off the success of 1989's Flowers in the Dirt, on which McCartney revitalized his career by collaborating with Elvis Costello and working with multiple producers. For the new record, he chose to co-produce with Julian Mendelsohn, cutting the tracks live in the studio with his touring band instead of using studio musicians and piecing tracks together through overdubbing.

That approach should have yielded a rockier, more energetic result, but instead, Off the Ground ended up as a fairly standard-issue McCartney pop album. Much of that owes to some sub-standard songwriting, including the title track, the cloyingly simple love song "I Owe It All to You" and a predictable plea for world peace and unity titled "C'mon People."

There were several tracks whose more interesting bed tracks and stronger melodies were hampered by weak lyrics from McCartney, including the album's first single "Hope of Deliverance," "Peace in the Neighbourhood" and "Golden Earth Girl."

Listen to Paul McCartney Perform 'Hope of Deliverance'

Then there were songs that were just plain bad: "Biker Like an Icon" was so laughably weak that it not only ranks toward the very bottom of any realistic overall assessment of McCartney, it arguably shouldn't have appeared on a major label release from any artist, ever.

Still, the album did have its strengths. Two of the better tracks were leftovers from Flowers in the Dirt: "Mistress and Maid" and "The Lovers That Never Were," both of which were Costello co-writes from that period. The anti-animal testing anthem "Looking for Changes" provided a bit more backbone, as did "Get Out of My Way" – though the latter featured a shopworn chord progression and arrangement that could have come from virtually any songwriter in rock music history.

"Big Boys Bickering" was a stab at something a little edgier for McCartney, with a lyric about how politicians were "fucking it up for everyone," but it was still hampered by the general mood of uninspired malaise that pervaded much of the album.

Critics' reviews for Off the Ground were mixed, with many writers noting the overall lack of energy. In the end, Off the Ground proved more significant as a reason for McCartney to go on tour than it was as an individual musical statement. It fared reasonably well commercially, going gold in the U.S. and in many other countries, but for the average music listener the music from Off the Ground has since been mostly forgotten – and rightfully so.

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