![]() ![]() Overseeing the whole project is Giles Martin, son of George, who executive produced the album and directly produced half of the songs. (He also proves his reputation as an expert vocal producer by stacking McCartney’s voice into a multitracked nod to Pet Sounds at the end of “New.”) “Alligator” and “New", the two tracks produced by Mark Ronson, are the ones that most closely resemble McCartney’s classic work (late-era Beatles and early Wings, respectively) but he’s given them a modern-sounding density. Trad-rock specialist Ethan Johns gives two of the album’s acoustic moments, “Early Days” and Hosanna" an intimacy that’s almost painfully raw. Adele and Florence and the Machine producer Paul Epworth revives the taut, nervy postpunk sound of his early work with Bloc Party for the album-opening “Save Us", and injects the single “Queenie Eye” with aggressively punchy compression and generous splashes of noise. He’s found some enthusiastic partners in this in the album’s four producers, each of whom approaches the collaborative challenge from a different angle. While it’s not as radical an aesthetic statement his searingly noisy 2008 Electric Arguments, his appearance on a recent EDM banger by Bloody Beetroots, or his stint as frontman for Nirvana, it still pushes hard against the popular conception of what a Paul McCartney record’s supposed to sound like, which is a wonderful thing. As his evolving relationship with shmaltz goes to show, he’s continued to stretch out as an artist long after most artists from his generation slipped into a comfortable rut. ![]() While the verses are a rose-tinted reminiscence of McCartney and John Lennon’s brief period of pre-fame friendship in Liverpool, the choruses project something altogether different: “They can’t take it from me/ if they try/ I lived through those early days.” Whereas most of his hippie-era pop contemporaries enthusiastically embraced self-hagiography decades ago, McCartney’s relationship with nostalgia is complicated, and fraught with skepticism, and by embracing these complications he offers an understandably human portrait of a position few of us will ever find ourselves in: watching your life story being converted into mythology by forces outside of your control.īut really, there isn’t a cut out of the thirteen on New that doesn’t make a compelling argument for McCartney continuing to produce music. At first blush it seems to be that most heinous of Boomer cliches, the acoustic Those Were the Days ballad where youth-culture narcissism collides with old-people shmaltz, but fairly quickly the song resolves into something much more interesting. McCartney and Lennon actually wrote the Stones’ first hit, “I Wanna Be Your Man,” and, four years later, Jagger was in the studio when the Beatles recorded “All You Need Is Love.”Īccording to Rolling Stone magazine, “Jagger was a semi-regular guest of honor at Beatles sessions: He also turned up for the mixing of Revolver and the recording of the orchestral section of ‘A Day in the Life’.If there’s one single song that can justify the existence of Paul McCartney’s 24th studio album since leaving the Beatles, it’s track number five, “Early Days". “I think our net was cast a bit wider than theirs.”īut despite the friendly jibes, this is not the first time the stars have worked together. Stones frontman Mick Jagger responded, saying in another interview “there’s obviously no competition.”Ī year later, in an interview to promote his book “The Lyrics,” McCartney said: “I’m not sure I should say it, but they’re a blues cover band, that’s sort of what the Stones are. ![]() In an interview with Howard Stern in 2020, McCartney said simply: “The Beatles were better.” Ringo Starr cancels all North American tour dates after testing positive for Covid again Allan Jung/Telegram & Gazette/USA Today Network The former Beatles member has tested positive twice this month.
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