Q - 6/00, p.64Ranked #75
in Q's "100 Greatest British Albums" - "...A joyous, moving, occasionally daft album, a transatlantic chart-topper which sold over 6 million..."
CMJ - 3/20/00, p.28
"...Even Lennon once called it 'a great album'. Its multi-faceted big-band rock has withstood the test of time, posturing firm like an iceberg of creative brilliance..."
Mojo (Publisher) - p.1234 stars out of 5
-- "[The songs] remain some of McCartney's deftest pop creations, none more so than the irresistible, three-part drama of the title track..."
Mojo (Publisher) - 7/01, p.64
"...Acclaimed as Wings' finest...and the title track is unquestionably fine..."
Record Collector (magazine) - p.874 stars out of 5
-- "[T]he album saw the long-overdue return of Paul's creative focus, from the urgency of 'Jet' to the subtle jazz of 'Bluebird'..."
Uncut (magazine) - p.985 stars out of 5
-- "BAND ON THE RUN is still magisterial, for its melodies, invention and sheer confidence....Genuinely great."
Neither the rustic Wild Life nor the slick AOR flourishes of Red Rose Speedway earned Paul McCartney much respect, so he made the self-consciously ambitious Band on the Run partially to rebuke his critics. On the surface, Band on the Run appears to be constructed as a song cycle in the vein of Abbey Road, but subsequent listens reveal that there are only passing similarities between the two albums. Some of this is quite showy, particularly the whimsical mini-suite of the title track and the surging surrealism of "Jet," but some of the most enduring moments are simpler, like the sunny acoustic "Bluebird" and rocking, rolling "Helen Wheels." Sometimes McCartney's whimsy is a little strong, but song for song Band on the Run is always enjoyable, whether McCartney is running through "Picasso's Last Words" or responding to John Lennon's "How Do You Sleep" taunts with "Let Me Roll It." ~ Stephen Thomas Erlewine