keep on sending your love
My long and winding review of Paul McCartney's newest solo album, New. (No, I'm not counting Kisses on the Bottom because that wasn't original work. I can't say I even bought it if I'm honest; not really to my taste. I know, I know, what kind of fan am I?? ;))
I actually enjoyed Paul's last album, Memory Almost Full a *lot* when it first came out, though I don't know how well it's held up over the years - inversely, I wasn't a huge fan of Chaos and Creation In the Backyard when it first came out (8 years ago, god damn), but I appreciate it more now. (I'm not sure if the newest Fireman album Electric Arguments from 08 counts either, but that was *excellent*.)
There have been a ton of articles and reviews published about New, but I think my favourite is from stuff.co.nz. The reviewer there has phrased exactly what I want to say perfectly, so I can't help but quote a few of his best bits among my own thoughts.
There were some live clips that suggested, most recently, that Macca was a bit past it. That embarrassing uncle the press loves to paint him as. None of this was helped by the fact that his last album, mostly covers, was called Kisses on the Bottom. It could have been a great record and it still would have been awful. But it was a rather appalling record with a thoroughly awful title.
Being a McCartney fan in this day and age is being something of a McCartney apologist.
Macca's always his own worst enemy. Either he's out there peace-sign-waving and thumbs-upping as if every day is his first full recovery from a paralysing stroke, or he's making music we all instantly compare to his other music. Including suggestions, now, that a 71-year-old man doesn't sound like he did when he was 28 or 38 or 51 for that matter.
I had no idea what I'd think of New when it finally came out a week ago. I'd heard the title single many times (and enjoyed it just fine), but had deliberately avoided listening to anything else on it until the album was out properly. There was always the risk the album might fall flat for me; just because he's my favourite artist doesn't mean I'm going to love everything he does.
I was delighted to find, then, that I loved New from the very first listen. And not just one or two tracks, either - the majority of the album. There are a couple I'm not bowled over by, but that's always going to be the way - even the greatest Beatles albums have one or two tracks I might skip (shock, horror). I listened to it once through and immediately had a handful of favourite tracks, then on repeated listens that began to shift and change until my favourites were cemented.
And I wanted to give it another listen immediately. In fact, in the week since it came out, I've listened to little else. I haven't been so enamoured of a McCartney album since Flaming Pie, which I discovered late but also listened to endlessly once I had.
It's fabulous, New is. Many reviews say 'McCartney back on form' after his covers album and disappointing live performances over the last few years, and I'd have to agree. This album is full of all the best of him, of the overflowing talent and skill that you should expect from one of the greatest songwriters and performers of all time. If that sounds a bit overblown, well - maybe it is. What can I say, I'm a fan. But - especially in the UK - there's been such a trend over the years to write him off as everybody's embarassing uncle that it's great to see him come out with something like this - at the age of 71, no less! It's great to be able to say 'he's still got it' and mean it.
Sure, he’ll always be Paul and it’s probably evenly split between those who love him for that (and always will) and those who hate him for that (and grew into that without giving the best bits of his post-Beatles career a chance; or simply decided it was unfair that John was the one to go) but the opening brace of songs on New feels like the best kind of victory lap. A guy who can write a pop song in his sleep - and has finally woken up (again) and decided it’s best he not keep doing that. A guy who had a hand in inventing pop music, prepared, now - as always - to be the experimental one even though credit for that was slow and still forthcoming.
So, the tracks themselves. Four different producers worked on the album, including Mark Ronson - whose 2010 album Record Collection is one of my favourite albums of all time - and Giles Martin, son of George (who did some stuff with one of Paul's old bands back in the day). This means that there's quite a bit of variety across the tracks in style and feel, but that's been something that's been consistent throughout McCartney's career including with the Beatles (who pretty much started it).
The first single - and title song - is great, infectious. And with both Queenie Eye and Hosanna he shows that rare skill in taking nursery-rhyme derrived lyrics and crafting something magical, something that - frankly - no one else could do. There’s are more tributes here to The Beach Boys than there are The Beatles and there is, again, some wonderful bass playing. Also that guitar-pinch that McCartney added to the best of the late Beatles material is on display.
Not all of New is wonderful, not all of it is a revelation but the revelation, the wonderful part, is simply in McCartney making a record that’s easy to like, okay to be on board with, better than could be expected. And if that’s faint praise it’s not meant to be the case. He suffers so often for comparisons to past work but this is the most energised he’s sounded on record as a solo artist since Flowers In The Dirt - it contains as many good songs as that record did (maybe more?) and it has a small hint of what was great about Flaming Pie too - but where that was wistful and a nostalgia-nod this is something else.
This isn’t the embarrassing uncle having a go at being hip again. This is one of the finest pop songwriters ever standing up and having a go again, making a decent fist of it. Putting it (out) there. And it weighs a (good) ton.
The opening track, Save Us, is very catchy, and having seen it live on 6 Music it's one that goes over well at a concert. I hope he works into his future setlists. The second track, and the first of the 2 Mark Ronson-produced tracks, is Alligator. And if you'll forgive me for sounding pretentious, it really spoke to me. One thing I've always felt about Paul's music over the years is that it's more broad, applicable, less specific to him himself than it is to everybody in general. Not that this is a bad thing - it makes it extremely accessible - but I noticed it as a contrast to John Lennon's solo work which is often extremely specific to him, his situation or feelings. Not that either is better or worse - just different. However, occasionally McCartney touches on the personal-to-him as well, and this happens several times on New. Alligator, actually, is not one of those times - I'll come to those later. But Alligator did feel personal to me.
Everybody else busy doing better than me
And I can see why it is
I also love the melody and the fabulous-yet-unintrusive bass part. There's fantastic bass work throughout this album; not that I'd expect anything else from the man who wrote the book on melodic bass playing.
On My Way To Work is one of those which starts off gently - almost a little bland - but develops into something much more interesting by the time the chorus comes around. The little guitar riff in the chorus is rather wonderful.
The next track is the second single-to-be, Queenie Eye. Oh my god oh my god, what a fabulous song! Immediately catchy and energetic; I was bouncing around the first time I heard it, unable to keep still, and had it stuck in my head for the rest of the evening and much of the next day. Wonderful song. If he doesn't add it to his concerts immediately I just don't know what he's thinking. ;) Might just be the standout of the entire album ... though there are a couple of others that might also qualify.
Next up is Early Days. Almost got tears in my eyes as I listened and realised. Oh. Oh. It's about John. (Partly.) A nostalgic but also slightly angry track, the decision by the producer to keep Paul's vocal 'nude' and keep the frailty that exists in his voice nowadays front and center was a bold one, but it paid off in this very emotional track. I quite enjoy the unspoken 'fuck you' to all the 'Beatles experts' who think they know exactly how it all went down.
Appreciate is next - a huge departure in style but ohh, what a wonderful track. Another definite favourite. Heavy on the bass, leading to a sultry feel to the song - I've listened to this one a lot.
Everybody Out There is one that I imagine will be worked into his concerts - shades of Mrs Vandebilt to it making it one I bet he'll love to do live. Enjoyable enough and catchy, but not one of my solid favourites on the album.
Hosanna is another I wasn't bowled over by but it's certainly a solid song - another that's more complex than it first seems. Really lovely bass, and some lovely twangy guitar stuff. Nice and laid back.
I Can Bet is a fabulous, very Wingsy stormer of a track, which has grown and grown on me every time I've listened to it.
Looking At Her - omg. I think we all know what (or who) this one is about. ;) I love how it starts off a bit twee then suddenly becomes all ragey. ;) But yes, also not a total favourite but still enjoyable.
Road is next, and indeed last if you have the standard edition of the album. What an extraordinary track. Fabulous melody, vocal, bass; well-crafted and unexpected. I don't think it could be a single, it's almost too interesting for that. (True of many of Paul's best.)
I have the deluxe edition so have a few extra tracks, which are well worth the extra couple of quid. The first is Turned Out which is greatly enjoyable; very melodic and catchy, bounces along nicely. The final track is the country-ish, charming Get Me Out of Here, which also contains the 'hidden track'. I always love these. The hidden, instrumental track on Chaos and Creation was one of the highlights of the album for me. This one is also very good, rounding out the album nicely. Beautiful piano work and a nice rich vocal.
So that's New. If you can't tell, I adore it. I'm genuinely excited about it. I've been evangelising about it to everybody, which I can't say I've done with a Paul album for a loooong time. Most people are a bit sceptical. I hope the good reviews rolling in manage to convince a few people to give it a try. It's worth a listen, even if you haven't listened to much of his stuff since the 90s (or even since the Beatles). I'll finish with a final quote from the excellent Stuff reviews.
And though his great crime - in keeping the spirit of The Beatles alive with his shows, in reminding that Wings wasn't just a punchline about a dog that could fly, in charging on and reinventing, innovating, and most importantly in fronting up, turning up, plying his trade - is that it's so easy to take pot-shots (pardon the pun) at the last living Beatle of great importance (sorry Ringo), the last great hero of his generation, when in fact he's still doing the work. And doing a lot of great work too.
But the sad truth is people wrote McCartney off a long time ago and never bothered to keep up with the music; never did the listening.
And that's a shame. Because there's a lot of good stuff and even more really great stuff in and around the small amount of tosh.
New is available now in the usual places - hmv, all the Amazons, iTunes, and can be listened to in full on Spotify.