Some of you may remember a minute-by-minute review KingEd did a while back, when Wilco’s latest was first previewed for the technologically inclined. Today, I’m going to perform my own live review of the latest from former Wings frontman Paul McCartney. The album is entitled Memory Almost Full, and if you’ve already gleaned reviews like I have, we should prepare for his “best album since Exile on Main – er – Flowers in the Dirt.” And you’ll know that unlike his last album, which was previously his best album since Flowers in the Dirt, this one’s not just mournful and reflective, based on the then-recent death of his first wife and Wings collaborator Linda, no this one’s really heavy, man, in emotional terms. Linda’s still dead and now his second wife, the former call girl and model, has left him and former Flowers in the Dirt collaborator Hamish Stuart feels abused. Boy, you’ve got to carry that weight, and today, Rock Town Hall is here to help you.
I’d like to start out by congratulating the hated, overrated McStarbucks for launching its own record label. Seriously. It’s about time that someone merged coffee and coffee-table albums for the middle-aged among us who are trying desparately to hang onto some relevance, or at least recall the days when we felt our lives were relevant. Now many of us are “building for the future” – hauling our kids around, trying to set them on a sound path, secretly hoping they fulfill at least a few of our faded dreams. This morning I decided to bypass my local, independently owned coffee shop and buy the new McCartney CD and an iced coffee from McStarbucks. When the girl at the counter asked me what size I wanted, I defiantly declared “Small.” Let’s get on with this live review…
“Dance Tonight”
This is a nice, opening folksy stomp, powered by a mandolin. (See video – fellow haters of Natalie Portman beware!) Paul’s going to dance away the heartache, like we knew he would, and he wants us to join him. Why not? The one thing that spoils this ditty is an ill-advised fadeout just as the band comes to a true ending. Why??
“Ever Present Past”
Paul puts his voice front and center as he’s often done on his best, concise pop songs dating back to “You Won’t See Me”. The production is very artificial in the way ABBA or his old band, Wings, could make work. Two song in and I’m enjoying this more than I know I could ever enjoy the most-recent Fountains of Wayne album, which admittedly I’ve only heard one bad single from.
“See Your Sunshine”
The first thing that strikes me about this song are backing vocals and keyboard highlights that are highly reminiscent of Linda McCartney’s work with Wings. Despite the sarcasm that is loaded in this statement, it’s a welcome relief to hear Paul refer to his Wings catalog rather than once more reheat the stuff he did with that other band all those years ago. Pleasant song. I’d love to hear it while riding shotgun in Hrrundi’s convertible. The wind could whip through both of our heads of hair. Let’s do it, my friend!
“Only Mama Knows”
Mournful faux strings bode for the first turd on this album…but wait! A full-blown, dual-guitar rocker of “Junior’s Farm” vintage breaks out. Too bad for the Sam Ash guitar production, though, or this would have been a Wings-worthy hockey rink rocker. At this point I can’t help but wonder how this album might have been improved by the contributions of Hamish Stuart.
“You Tell Me”
This minor-chord lament features tasty acoustic guitar and a very cool mini-guitar solo. The backing vocals peek through midway into the song, and I’m reminded of “Because”. Nice.
“Mr Bellamy”
As was blatantly evident in A Hard Day’s Night, Paul was the worst actor in The Beatles. I think his poor film-acting abilities would extend to his ability to “act” in character study songs, especially as he got into the late-60s and his most overrated song as a solo artist, “Uncle Albert/Admiral Halsey”, or whatever that song is called. The guy pours on the pathos like there’s no tomorrow. And he’s so proud of himself for doing so. This “Mr Bellamy” song is a quirky nod to that “We’re so sorry…” number so many of you still hold dear from your childhood. I loved that song for a time as well, but over time, the bad acting ruined it for me. This song’s not terrible, but the multiple parts Paul plays…Yuck!
“Gratitude”
The grating, cutesy opening of this song followed by the mock-gospel delivery of Paul immediately challenges my tolerance levels. His singing is actually pretty good in that “Maybe I’m Amazed” way, but the cloying lyrics and implied robed choir are bugging me… Nice little middle eighth – gotta give the man credit for this. Oh my god, the final note he hits leading into the horn solo is some river-ready showboating! This song’s not horrible, but it belongs on an awards ceremony show.
“Vintage Clothes”
The song opens with a piano figure that’s reminiscent of Fleetwood Mac’s “You Make Loving Fun”, a song I really love, so I’m feeling open to loving this number. As the verse kicks with classic Rug harmonies I’m briefly reminded of those rare songs I cannot help but like by Crosby, Stills, Nash & Young. In between there’s a lot of production nonsense that might seem remarkable on an album by some Prock artist. I need to tune that stuff out. This is a clunky, awkward song with many redeeming values. Whenever we get back to hashing out the official RTH glossary definition of Prock, this will be a helpful case study.
“That Was Me”
Here’s a tough, bluesy, even jazzy little song that segues immediately from “Vintage Clothes”. I like it. This is what those early McCartney solo albums were supposed to sound like, when he was gettin’ back and diggin’ his inner (and outer) beard. Hrrundi’s gonna go apeshit over the Stevie Wonder scat segments!
“Feet in the Clouds”
Oh my, we’re hip deep in segues! No time to reload. Here’s another personal, gettin’ back-type song. Paul’s voice sounds really good on this album, not that that’s a great surprise, but he’s using it to its best effect on almost every song. This is the sort of album cut that XTC fanboys live for hearing just one more time. Don’t wait on that next XTC album – download this one from iTunes instead. You know, you can access iTunes right from Rock Town Hall and do your part to keep the Hall strong! After years of holding out from the iTunes Empire, McCartney has agreed to release this album through the service. Starbucks…iTunes… Who woulda thunk he’d be doing all this when he was about to turn 65?
“House of Wax”
Mournful piano ballads set in Paul’s higher register are usually not my cup of tea, and this one’s no exception. Unlike previous songs that I thought I’d hate based on long-held prejudices, this one’s not taking a refreshing turn. I’m sensing tympanni, thunder effects, and a guest solo by Slash… Here’s the solo. Not even Hamish Stuart could save this one. Time to press SKIP for the first time. This one’s only half over.
“The End of The End”
Paul’s gearing up for his eventual death. “On the day that I die I’d like jokes to be told…” Man, this is getting too heavy for me. I’m passionately against death. I’m nowhere near finding solace in “a much better place” that’s promised. I want to live, even if to hear more decent McCartney albums and whistling solos. Despite the anxiety I’m feeling, this is a fine, pretty song from a man who’s earned singing such sentiments.
“Nod Your Head”
What’s this funky rock dance-along number doing here? Paul’s doing his Little Richard thing over one of those Sam Ash musical beds, as my man E Pluribus has described a certain kind of “modern-sounding” music. The most interesting thing about this thankfully brief song is the Reeves Gabrels-style guitar part.
And that’s that!
“Linda’s still dead and now his second wife, the former call girl and model, has left him”
I’m pretty sure I read somewhere that the songs on this one come from about 3-4 years ago and so have nothing to do with the split with Heather. Of course, that may be the PR angle Paul wants to take.
Speaking of which, do you think there will be any PR push for this disc?
I don’t think there will be a lot of PR for this one, Al:)
Nice melody on ‘Ever Present Past’ but he might as well be singing over a karaoke mix. The backing track sounds like it came out of a vending machine.
Just saw that this album is available on eMusic. For those curious to grab a copy of this album for free, you may want to consider grabbing it as part of the “Free 25 downloads” offer listed on the righthand column of this page. That’s the END of my subtle promotional messages for today.
What I love about these Rocktown reviews is all the in-depth detail about albums that with luck I’ll never have to hear. I think I’m starting to prefer my music secondhand–just tell me about it so I don’t have to waste my time.
it must be really hard to be paul mccartney now. but it must also be really easy, too. hmmm….
with some of this stuff you can hear him deliberately copping this or that old beatles riff.
and some of his lyrics strike me as incredibly vain and self-referential. example…the last song (or is it second to last? the one about how he wants his funeral to go)…i know he doesn’t come right and say it, but isn’t he saying he wants everyone to sing HIS songs when he dies? i think that’s a horribly vain conceit. and the fact that he DOESN’T come right out and say it, but that that’s what he SEEMS to be saying, somehow makes it all a bit…dodgy to me.
and this is to say nothing of “my ever present past”, which is based on the notion that we’d all like to hear his musings on what it’s like to be an old beatle. i’m sure there are many people out there for whom this is very interesting, but i’m not one of them.
still, he DOES manage to pull off some WONDERFUL stuff, though…
and in the end, ol’ paul, he’s a good lad.
Mwall wrote:
We aim to bring you the future of music loving. Seriously, if there’s one message I hope comes forward from my live review, it’s that this is definitely Macca’s best album since Flowers in the Dust – much better than the previous contenders, his Run Devil Run covers album notwithstanding (because that wasn’t trying to match the heights set by Flowers in the Dust).
Well, that’s high praise that’s made me rethink this issue. So I promise I’ll get to this Macca album when I get done listening to all the best albums Graham Parker has done since, uh, The Real Macaw.
Seriously, though, I’m having to think about the issue of whether there aren’t there some pieces of music I’d rather read about than listen to. “That album was a fascinating read.” I think there’s a topic here somewhere, though damned if I know what it is.
What your saying mwall sounds to me like a true aim and benefit of criticism in any realm of the arts. How many novels, for a longer-established medium involving criticism, keep in print and keep being taught more for what’s written about them than what’s actually being understood by readers on first pass in the text itself?
I do understand that Mr. Mod’s gone in another direction than the point I’m making. All I’m saying is that there’s a difference between analyzing whether a band lives up to its own values or lives up to the values that somebody else has. The Cure seems to fare pretty well with those who share its values.
To the original question, I’m wondering whether what Mr. Mod likes about a few of their later singles is the fact that they’ve become more competently and typically pop. I’m not saying this as a veiled put-down, but as a real query.
Yes, Mark, it’s the fact that they more consistently churn out competent, sing-along pop with lyrics that can make one feel emotions that I give them credit for and that appeals to me as I wipe away the eyeliner. In this respect, I really do see them as being similar to The Byrds: little earth shattering but more than enough to like. In this sense, I am beginning to see them as being a bit better than “As good as that pussy shit gets.” This may not seem like a tremendous step up, but if more Townspeople were willing to come clean on their feelings for this band, we might see more of the logic in my argument.
As for the different direction you’re taking, sure, this ties into my ancient theory on “Olympic Rock,” that is, subgenres of rock that require the bands working within those subgenres to hit specific targets in order to succeed. Rockabilly is a great example of the sort of rock subgenre that could be scored, much like a gymnastics competition or figure skating competition is scored.
Not that I’m hugely invested in the answer, but does anyone know whether this move has cost them some of their fan support, along the usual lines of “selling out”? Or have the faithful remained faithful? If so, that might be somewhat surprising.
My apologies–it appears to me that I’ve been responding to the Cure thread under the Macca thread, accidentally. A misreading of the Last Comments link.
Mr. Mod said:
As for the different direction you’re taking, sure, this ties into my ancient theory on “Olympic Rock,” that is, subgenres of rock that require the bands working within those subgenres to hit specific targets in order to succeed. Rockabilly is a great example of the sort of rock subgenre that could be scored, much like a gymnastics competition or figure skating competition is scored.
I say:
Now THAT’s some RTH-ian thinking!
Hrrundi, have you heard this new McCartney CD yet? I’m curious to know your reactions to it.
Mr. Mod —
Well, you’ll recall I was the guy who pointed RTH at the early leaked trax on youtube, and said they sounded surprisingly good. Now that I own the album, and after having it in exclusive rotation in the car for the last couple of days, I can say:
This is, *by far*, the best McCartney since — forget “Flowers In the Dirt,” that thing was a bona fide turd — since the prime Wings years. Actually, it may be his best album since “Band On the Run.” I feel comfortable saying it’s in his top five solo albums, I think.
I think the opening track is lame (and good WTF call on the fade at the end), but then the record settles into an amazingly solid groove of quality songwriting until that “House Of Wax” number, which is an unqualified stinker. From that point on — which is to say the last three songs — the album is pretty lame. Oh, and I think there’s a slow track in the first nine or 10 songs that’s pretty mediocre Macca fluff. But in general, I’m reallly, really digging it. And I literally think it’s been 30 years since I felt that way about a McCartney album. (Singles are a different story.)
The production is hit-or-miss for me, but not to any spoilage level.
I think it’s downright remarkable that Paulie conjured up an album this vital given the advanced years of his life and professional career.
I’ll tell you who needs to listen to this record with an open set of ears: our old pal epluribus. Play it for him!
Thanks for getting back to me, Hrrundi. Glad you like it too. I don’t know that Epluribus would like it. I don’t know that he even digs much Wings – do you, E? To me, this is the album that Back to the Egg should have been, and I know there is humor in that statement, but given the times, this would have been the more energetic response to London Town.
OK, admittedly, I’m not even sure what I’m saying at the end of that paragraph, but this is a thoroughly enjoyable album by an artist I thought was incapable of making anything better than that somewhat enjoyable he put out last year.
Just got off the phone with E. We agreed that Band on the Run is the man’s one solid album, and the singles around that time are strong. He really likes only about 4 more songs; I may like another half dozen. We agreed that “Uncle Albert/Admiral Halsey” is weak.
He wanted to know if he could like this new album. I said, probably not. To me, a strength of the album is that McCartney’s not trying to sound like The Beatles. He’ll never do anything half as good as The Beatles, but on this album he approaches the high points of his work with Wings. Then Epluribus agreed that he’d probably have difficulty liking this new album.
That’s my report.