McCartney Songs That Might Surprise You

Even with a career already filled with milestones, Paul McCartney has never been content to coast on past success. He continues to release new music that still manages to surprise audiences—well beyond what most would expect from an artist of his stature. That unpredictability is evident in unexpected collaborations, from working with Kanye West and Rihanna on “FourFiveSeconds” to joining Dave Grohl and Krist Novoselic for the grunge-leaning “Cut Me Some Slack.”

With the 2026 release of the nostalgic ballad “Days We Left Behind,” alongside the announcement of his upcoming album The Boys of Dungeon Lane, McCartney once again proves that his creative drive remains intact. Even decades past the age of retirement, he continues to push forward—while his deep catalog still holds overlooked tracks that deserve renewed attention.

The Back Seat of My Car

Released in 1971 as part of Ram, McCartney’s second post-Beatles album, “The Back Seat of My Car” stands as one of his most underrated compositions. The album itself was initially dismissed by critics—famously labeled “incredibly inconsequential” and “monumentally irrelevant”—but has since undergone a major critical reassessment.

The track closes the album with cinematic ambition. It begins with soft, dreamlike harmonies before building into a sweeping orchestral arrangement featuring the New York Philharmonic. McCartney plays with structure, shifting tempo midway through, delivering a false ending, and briefly pivoting into a 1950s-style rock passage before fading out. Originally introduced during The Beatles’ “Get Back” sessions, McCartney once described it as “the ultimate teenage song,” emphasizing its romantic, youthful energy.

Beware My Love (John Bonham version)

From 1976’s Wings at the Speed of Sound, “Beware My Love” is a standout buried within an otherwise uneven album. While the record produced major hits like “Silly Love Songs,” it also featured filler due to McCartney’s decision to give each band member a vocal spotlight.

Two versions of the song exist, but the superior take features John Bonham of Led Zeppelin on drums. Recorded during an earlier session, this version carries a heavier, more aggressive energy, driven by Bonham’s unmistakable style. Compared to the official release, it feels looser and more alive, with McCartney delivering a rawer vocal performance.

Reflecting on the session years later, McCartney praised Bonham, calling the experience “fantastic” and ranking him among his top five drummers, noting both his power and personality.

Not Such a Bad Boy

Included in the soundtrack to the 1984 film Give My Regards to Broad Street, “Not Such a Bad Boy” emerged from a project that ultimately failed both critically and commercially. Despite the film’s reception, the track itself stands out as a strong, straightforward rocker.

The lineup behind the recording adds to its appeal, featuring Ringo Starr on drums and Dave Edmunds on guitar, alongside session veteran Chris Spedding. McCartney’s driving bass anchors the song, while layered harmonies—featuring Edmunds, Spedding, and Linda McCartney—bring balance to its energetic delivery.

McCartney later reflected that working with this group rekindled his enthusiasm for performing live, describing the lineup as “not a bad little band… not bad at all.”

Stranglehold

Opening 1986’s Press to Play, “Stranglehold” is one of the few highlights from an otherwise forgettable album. Co-written with Eric Stewart, the song delivers a polished rock sound shaped in part by producer Hugh Padgham, known for his work with Phil Collins.

Despite its strengths, the single performed poorly on the charts, peaking at No. 81. Stewart later criticized the final production, arguing that multiple producers diluted the song’s original charm, particularly with excessive saxophone embellishments.

McCartney, however, took a pragmatic view of the outcome. Acknowledging that not every track can succeed, he emphasized that occasional standout moments make the creative process worthwhile.

Dominoes

From 2018’s Egypt Station, “Dominoes” highlights McCartney’s enduring songwriting ability. The album itself was seen as a return to form, with critics describing it as “classic Paul,” and this track stands among its most memorable moments.

McCartney performs nearly every instrument on the song, including guitars, bass, harpsichord, and drums, while also incorporating tape loops reminiscent of The Beatles’ experimental work. The result is a melodic, layered composition that feels both nostalgic and contemporary.

Lyrically, “Dominoes” reflects on cause and effect, using the image of falling dominoes to illustrate how small actions can ripple outward. As McCartney explained, the song ultimately carries an optimistic message: even when life seems uncertain, things tend to resolve themselves in the end.