Use The Tubes
The Paul McCartney / Wings Dozen.
In a parallel universe, Paul McCartney could've been a pioneer in hotel management and marketing, because the man knows how to sell mini-suites. Looking over the list, I realize how many writeups would've mentioned the way he takes various super-catchy pieces parts, in different tempos and/or keys, and locks 'em together to make yet another hit single.
The Back Seat Of My Car -- The only song here that I had never heard until 
this summer's McCartney eBay backcatalog adventure. From Ram, a boy/girl companion to "Uncle Albert / Admiral Halsey". Sweet verse, countervocals, horns in the middle, and rockin' fake-out coda. More than the others, this one brings to mind the McCartney/Wilson competition.
Band On The Run -- I can't help but think of his future pot bust in Japan whenever I hear, "If I ever get outta here, thought of giving it all away / To a registered charity / All I need it a pint a day, if I ever get out of here ..." The title track for an album that, oddly, wouldn't get to #1 until four months after it came out.
Comin' Up (live) -- Like the rest of McCartney II, this song was not so engaging. But when a live Wings version went on the flip side of the "Comin' Up" single, it became his first b-side to go to #1 in the U.S. (Inexplicably, the studio version was a #2 UK hit and is on their Wingspan.) No complexity here, just a solid pop song with tons of energy and a memorable horn break.
Jenny Wren -- The most recent recording, from Chaos & Creation In The Backyard. A quiet, toe-tapping number that instantly sounds like McCartney, from the guitar to the bridge's melody. One of the best signs that you're listening to a pop genius is a new little melodic tag in the last 30 seconds of a track.
Listen To What The Man Said -- A breezy hit from Venus & Mars that gallops along, its omission was the biggest flaw in the fine Wings Greatest compilation (rectified when the song hit leadoff for Wingspan). Another memorable main instrumental riff, then a guest horn solo by Tom Scott, and then there we are again with the Pop Genius Bonus Riff. "The wonder of it all, baby ..."
Live And Let Die -- It's a tribute to the quality of the franchise's catalog that this may not be the best Bond theme ever. That said, it's perfect in its role. Ballad opening, quick reggae-like bridge, and George Martin-directed orchestral fireworks ... you know, that stale formula.
Silly Love Songs -- What's wrong with that? Nothing at all, when you have that kind of bass tone and bass line underpinning a sweet arrangement. This is also a good opportunity to play the game where you go through a McCartney tune and count all the distinct catchy bits. More than a couple of times on this Dozen, you can get to a half-dozen without too much effort. From Wings At The Speed Of Sound.
Singalong Junk -- I first heard this McCartney song via the Unplugged appearance and subsequent CD. Writers from all decades have had this impulse; now and then, you don't want to write a pop song, or a jazz song, or a country or classical song, or a showtune. You just want to write something pretty. Those are the songs that don't show their age or era, and which sound good regardless of what genre you use to frame them.
Take It Away -- Another track where the parts don't sound particularly related, but when there's a hook in each section, it doesn't matter. You could probably take the sections of six of these songs, and reassemble them to make six equally good songs. That said, love the block saxophones here. The video has a certain charm, too, now that I remember it. From Tug Of War.
This One -- Almost overproduced, the Flowers In The Dirt song stays on the right side of the line and features a rarity -- a non-annoying harmonica. I admire how the bass part bubbles up between each line in the chorus.
Uncle Albert / Admiral Halsey -- The song deserves it, in my opinion, but could anyone but a Beatle have taken this to #1 in 1971? Or ever? Sounds like Ringo on, "The butter wouldn't melt, so I put it in the pie." Favorite part might be the double-time ride-out with the doo-doo-doo's.
With A Little Luck -- I'm not sure how much of London Town you really need; this might be it. But McCartney takes a fairly slight tune with a decent melody and incorporates zero guitars, multiple keyboards, and an extended section (with some soulful singing) to make another #1 in the U.S., #5 in the U.K. Don't pick up the radio edit by mistake.