New - Track-by-track thoughts
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How would this album have sounded if Paul had produced it all himself? Sort of like "McCartney" with the bowl of cherries, or more like McCartney II, or more likely a combination of the two? Even more than "New" album is now? Because acoustic folksy or folk rocky and even Southern folksy-bluegrassy are presently in vogue ("Mumford and Sons," "The Avett Brothers," etc.) and also at least semi-electronica with synthesizers and odd distorted sound effects, and full out rave-y electronica and post-disco dance music and rap and hip hop and "world." Asking that because of several posts above (or on the page before this one, by now) that find fault with the four producers and their takes on Paul's new songs. Got me wondering exactly how much influence and input does a producer have on a song--I'd rather think Paul had the most say-so and the song came out how he wanted, as its creator, writer and music player. Would he allow a producer to re-arrange a lot, impose his own desires and get a certain sound for the song that the producer wanted that was really different from Paul's original conception of the tune.
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What's the name of track 15 (if you have the Target version of the special edition)? I'm trying to gum up enough energy to read through that enormous paragraph that makes up the liner notes...but haven't yet...LOL. But anyway, I'm assuming it's the unlisted extra track I had read about somewhere - piano ballad is absolutely gorgeous and soul bearing In any regards, I'm liking what I hear so far from the album as a whole. I like the story told in Early Days a lot and of the singles (as I just mentioned in another thread), I'm favoring Queenie Eye over New by a good margin...I like New ok, but never struck me as 'single' material, despite the fact that the production seemed to attempt some 'hit' type form. Overall, this album almost seems like Paul took Electric Arguments and moved it a bit from it's fireman persona and bumped it towards the 'Paul McCartney' persona...Like a hybrid (which I thought EA was a hybrid of sorts and this 'New' album seems like a similar hybrid with the line drawn a little closer to 'Paul McCartney' rather than 'The Fireman')
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Early Days is just ok ...I like the WHOLE IDEA of the song..just not easy to listen too....Remember Paul is 71 ...It's RAW
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rich n:
What's the name of track 15
The hidden track, "Scared" - lovely!
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I really like Turned Out and I can't get it turned out of my head! Is it just me or does anyone else think that the basic beat of the song, the energy if you will, sounds like the popular 80s band The Cars????
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Turned Out sounds to me like George Harrison wrote it and Paul finished it. The sounds are pure George. Like a Paul version of "Blow Away". Yet, the middle part is all Paul. It's just very well done, catchy and fun. a true grower on me.
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Steve:
Turned Out sounds to me like George Harrison wrote it and Paul finished it. The sounds are pure George. Like a Paul version of "Blow Away". Yet, the middle part is all Paul. It's just very well done, catchy and fun. a true grower on me.
I hadn't thought of George when I have listened to it but am going to hear it again in awhile. If it's George, then that would make it akin to Friends to Go on Chaos where he said he was "channeling George." Any resemblance to The Cars is purely accidental and is a very superficial similarity.
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I have listened to it a couple times...and I will give it an A - . The only 2 tracks that are cringe worthy for me and I skip because of the vocals are "Early Days" and "Hosanna". Otherwise, it's a great CD. Do you think any tracks will get any airplay on the radio?
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lisalou7:
We're a diverse bunch aren't we, I think that is PM fans all over! I think this album is stupendous. Its really cohesive, flows easily, has all the trademarks of a Paul album, fabulous melodies, quirky lyrics, wonderful musicianship. There isn't a duff track on here. The only song that sounds slightly forced is Everybody Out There. Possibly Paul is guilty of songwriting by numbers here. My 5* go to Road, Hossana, Early Days & Alligator. I think my favourite track is a toss up between Road and Hosanna. Road is very different/amazing/wow/ wasn't expecting anything like this. The bass is off the wall! If anyone says Paul hasn't got it still, I'll stick this one on. Also loving Turned Out ( deliciously melodic). I think this is classic Macca! Infectious. Queenie Eye, very quirky, lyrically clever. Save Us much better on the recording, more subtle with great vocals. On My Way to Work is a charmer, reminds me of English Tea. Its very knowing. Great vocals again. I actually also love Get Me Out of Here, its very funny. Like a long lost relative of Rocky Racoon. Appreciate is an ear worm with a real groove going on, again not expected. Growers but liking more are Looking at Her and I Can Bet. Not instant but already thinking I've under valued Looking At Her. New is sweet and toe tapping with a nod to his past. Scared is stunning, with the piano leading the way. Very beautiful. So for me its a winner all the way.
Couldnt agree more its a wonderful Album
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I don't care for the overuse of the hand clapping sound effect he uses on a few of the tracks.
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oobu24:
I don't care for the overuse of the hand clapping sound effect he uses on a few of the tracks.
What???? That's my favorite part of the whole CD!!
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LOL!
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How could someone in their 70's make an album that is as good as any that he's ever made? In the liner notes McCartney admits how hard he "worked" on this. It shows, Paul. He's been on this road for a few years now- and it's another road to the Toppermost. Again. Observing the upward trajectory has been fun, but still, many of us still cross our fingers every time we read a review. Fear no more! Finally- the day is here, McFans! Our hero- the act we've known for all these years- will finally get all the acclaim due him. And he'll get to read it himself. This LP will shut up so many former critics. And it seems our guy had that very thing in mind when he put this together over these last two years. (or more?) Chaos & Creation grabbed me right away, and it's documented that Godrich worked Paul- demanded better bridges- rejected half-baked ideas. NEW does that, and then some. I can already tell that as instantly as I like this, it will be many listens before there's nothing left to hear. I keep coming back to my initial thought- this contains more things that Paul does well in one LP than any other- and is presented in a way that leaves no doubt that he's The Man. The true King of Pop. Thank you, Paul. This LP coulda been called Man On the Run. Save Us- Pure Paul- pinching off himself with a riff based on the "if I ever get out of here" riff. Maybe re-working that riff was done on purpose- hoping some clever lad would catch the link between the 40 years of the same quest for freedom- Band on the Run, and this LP. Only about a month separates their release of 40 (can you believe it?) years exactly. Comparisons should be drawn- but this is Paul all grown up. No more silly love songs- he's finally comfy enough in his own skin to tell it like it is. We're all the better for it. Alligator- A great example of what some work on the production will do. How about the little stuff that happens after he sings "someone letting them be". I can't believe how much nuance is here- just in this song! The guitar riff recalls something from DR- don't wanna go back to find out. More honest lyrics- from the guy who invented cool sounds. On My Way To Work- It seems this is a song about his teen years- on his way to a job, creatively told and I just love his nice harmony. What was the one dream that didn't come true? This is another track that got attention paid to it. Queenie Eye- A traditional Liverpool street game- like "keep away"? Whatever its lyrical origin, there's no doubt this was inspired by the ex. This has many layers and textures. What great sounding chords to open it! I wonder if O-U-T spells out is part of the game and maybe that's where Ringo's xmas line came from? We'll have to learn more about the origins. I also hope there's some detailed interviews with the four producers! Early Days- It starts so pure and clean and Paul has that vulnerable, yet old and wise voice going here. We must embrace this style- the older Paul- it's quite endearing really. There's been a resurgence of this kind of acoustic, organic music- Mumford etc. Paul is reminding everyone that he had this base covered long ago and far away. New- I loved this track from the get-go and it's much better than Fine Line or other singles of recent releases. Hooks galore- which is a Paul trademark. Appreciate- Based on going from minor to major- first done long ago on I'll Be Back. Percussion reminded me of Prince- another oldster who broke much ground and doesn't get enough credit for it. Lyrically, again, I wonder if this talks about some of the reality of marriage imperfection? "She says it's all show- no go"? Everybody Out There- Another one we got to hear live before studio (Off the Ground was a cool way of hearing the LP live from Ed's theater) and this has some great hooks and a wonderful chorus. So many of these songs just feature Paul's gift of harmonizing with his own melodies. Hosanna- It doesn't get good until the harmony and great bass and still is my least fave. This was the first title we heard about. It gets better as it goes- more hooks and ear candy. I Can Bet- This is Paul as a musical Hugh Hefner??? A septuagenarian version of groovy sex and experimentation, good on him! Healthy eating keeps all your organs working properly. ;-} Looking At Her- Is this a song about Nancy being shy and her not liking all the attention? Not a great track but good. Again, Paul has such tasty harmonies- he's always had a knack for it, like no other. Remember John just gushing about what cool harmony Paul had come up with for George's Think for Yourself? Musicality- a lost art in many ways these past 30+ years. Road- A very unique track- co-written with Paul Epworth. This is a good ending of the LP- that's what's tough about bonus tracks- they often fit better within the LP. Here's been all this harmony track after track and these verses are sung in octaves! Cool background vox. Turned Out- A song about Paul doing LSD and other drugs, and stepping out- taking some chances? Why was this left off the official? Great lil guitar riff too- and Paul's patented 'ooo-ooo's' soaring over it. Get Me Out of Here- Another gem and a bit out of the McNorm. This could be a Stones song, or an old blues number by Charlie Patton. Great little riff and Paul brings some blues to the scene. Let's face it, this should've been a 15 song LP as I'm betting there are a few more recorded that maybe did belong as a non-LP track. Scared- Definitely belongs on the LP- I do like it right after Everybody Out There. This is another lyrical gem- Paul is revealing his emotions like never before. I can't believe how good and well-produced each track is. It's hard to compare this with earlier work- except Chaos, for me. But if side-by-side comparisons to Chaos with Kahne produced crap didn't convince you that Kahne was wrong for the job, play a weakly produced song like Only Mama Knows, then play Queenie Eye. Dance Tonight compared to Early Days. NEW simply glistens in great sound and top-notch production. I look forward to reading other reviews now! I just read RS' last night- it was a 4 star, but didn't get featured. Instead it was a 31/2 star Pearl Jam that got the nod. RS best put him on the cover and do another interview if they're smart- which has been mixed over the decades. So McFans, keep us in the loop for groovy magazines and interviews. There's a new Mojo out now, right? Sure hope Macca does something like Chaos at EMI. That Lewisohn book sounds GREAT (10/29)- giving us a detailed look at the formative years. Looks like the end of '13 will be a fab one- at least musically! Appreciate the day, Tom Satriano
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Tom Satriano:
How could someone in their 70's make an album that is as good as any that he's ever made? In the liner notes McCartney admits how hard he "worked" on this. It shows, Paul. He's been on this road for a few years now- and it's another road to the Toppermost. Again. Observing the upward trajectory has been fun, but still, many of us still cross our fingers every time we read a review. Fear no more! Finally- the day is here, McFans! Our hero- the act we've known for all these years- will finally get all the acclaim due him. And he'll get to read it himself. This LP will shut up so many former critics. And it seems our guy had that very thing in mind when he put this together over these last two years. (or more?) Chaos & Creation grabbed me right away, and it's documented that Godrich worked Paul- demanded better bridges- rejected half-baked ideas. NEW does that, and then some. I can already tell that as instantly as I like this, it will be many listens before there's nothing left to hear. I keep coming back to my initial thought- this contains more things that Paul does well in one LP than any other- and is presented in a way that leaves no doubt that he's The Man. The true King of Pop. Thank you, Paul. This LP coulda been called Man On the Run. Save Us- Pure Paul- pinching off himself with a riff based on the "if I ever get out of here" riff. Maybe re-working that riff was done on purpose- hoping some clever lad would catch the link between the 40 years of the same quest for freedom- Band on the Run, and this LP. Only about a month separates their release of 40 (can you believe it?) years exactly. Comparisons should be drawn- but this is Paul all grown up. No more silly love songs- he's finally comfy enough in his own skin to tell it like it is. We're all the better for it. Alligator- A great example of what some work on the production will do. How about the little stuff that happens after he sings "someone letting them be". I can't believe how much nuance is here- just in this song! The guitar riff recalls something from DR- don't wanna go back to find out. More honest lyrics- from the guy who invented cool sounds. On My Way To Work- It seems this is a song about his teen years- on his way to a job, creatively told and I just love his nice harmony. What was the one dream that didn't come true? This is another track that got attention paid to it. Queenie Eye- A traditional Liverpool street game- like "keep away"? Whatever its lyrical origin, there's no doubt this was inspired by the ex. This has many layers and textures. What great sounding chords to open it! I wonder if O-U-T spells out is part of the game and maybe that's where Ringo's xmas line came from? We'll have to learn more about the origins. I also hope there's some detailed interviews with the four producers! Early Days- It starts so pure and clean and Paul has that vulnerable, yet old and wise voice going here. We must embrace this style- the older Paul- it's quite endearing really. There's been a resurgence of this kind of acoustic, organic music- Mumford etc. Paul is reminding everyone that he had this base covered long ago and far away. New- I loved this track from the get-go and it's much better than Fine Line or other singles of recent releases. Hooks galore- which is a Paul trademark. Appreciate- Based on going from minor to major- first done long ago on I'll Be Back. Percussion reminded me of Prince- another oldster who broke much ground and doesn't get enough credit for it. Lyrically, again, I wonder if this talks about some of the reality of marriage imperfection? "She says it's all show- no go"? Everybody Out There- Another one we got to hear live before studio (Off the Ground was a cool way of hearing the LP live from Ed's theater) and this has some great hooks and a wonderful chorus. So many of these songs just feature Paul's gift of harmonizing with his own melodies. Hosanna- It doesn't get good until the harmony and great bass and still is my least fave. This was the first title we heard about. It gets better as it goes- more hooks and ear candy. I Can Bet- This is Paul as a musical Hugh Hefner??? A septuagenarian version of groovy sex and experimentation, good on him! Healthy eating keeps all your organs working properly. ;-} Looking At Her- Is this a song about Nancy being shy and her not liking all the attention? Not a great track but good. Again, Paul has such tasty harmonies- he's always had a knack for it, like no other. Remember John just gushing about what cool harmony Paul had come up with for George's Think for Yourself? Musicality- a lost art in many ways these past 30+ years. Road- A very unique track- co-written with Paul Epworth. This is a good ending of the LP- that's what's tough about bonus tracks- they often fit better within the LP. Here's been all this harmony track after track and these verses are sung in octaves! Cool background vox. Turned Out- A song about Paul doing LSD and other drugs, and stepping out- taking some chances? Why was this left off the official? Great lil guitar riff too- and Paul's patented 'ooo-ooo's' soaring over it. Get Me Out of Here- Another gem and a bit out of the McNorm. This could be a Stones song, or an old blues number by Charlie Patton. Great little riff and Paul brings some blues to the scene. Let's face it, this should've been a 15 song LP as I'm betting there are a few more recorded that maybe did belong as a non-LP track. Scared- Definitely belongs on the LP- I do like it right after Everybody Out There. This is another lyrical gem- Paul is revealing his emotions like never before. I can't believe how good and well-produced each track is. It's hard to compare this with earlier work- except Chaos, for me. But if side-by-side comparisons to Chaos with Kahne produced crap didn't convince you that Kahne was wrong for the job, play a weakly produced song like Only Mama Knows, then play Queenie Eye. Dance Tonight compared to Early Days. NEW simply glistens in great sound and top-notch production. I look forward to reading other reviews now! I just read RS' last night- it was a 4 star, but didn't get featured. Instead it was a 31/2 star Pearl Jam that got the nod. RS best put him on the cover and do another interview if they're smart- which has been mixed over the decades. So McFans, keep us in the loop for groovy magazines and interviews. There's a new Mojo out now, right? Sure hope Macca does something like Chaos at EMI. That Lewisohn book sounds GREAT (10/29)- giving us a detailed look at the formative years. Looks like the end of '13 will be a fab one- at least musically! Appreciate the day, Tom Satriano
Tom, Don't know if you've seen it, but you should check Jim Fusilli's review on the album in today's WAll Street Journal. He not only loves the album but he loves Paul's overall Solo career and he calls Paul the most musically talented Beatle. I have always thought that based on Paul's tremendous musical diversity and some things that George Martin has said but for a music critic to be bold enough to say it is against the grain.
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Epworth was 3/3 in my book. "Save Us" is a song I woke up with in my head after playing the album a couple of times yesterday. "Queenie Eye" and the O-U-T spells out is a lot of fun. "Road" (no pun intended) has a driving bass beat which is outstanding. I hear a little bit of U2 in the rhythm section. It gets better and better with each listening. Johns went with the first take on the vocals, and it worked fine on "Early Days" which is a moving song. The vocals and acoustic remind me a bit of "Little Willow" but more aged. It's also "Rocky Raccoon" folk/country. However, Paul's voice isn't really up to the task on "Hosanna." I think the rhyme in the lyrics in "Alligator" are a bit forced, and it's the music not the words that carries the song. "New" has yet to get stale after my 100th (or more) listening. Along with the 3 Epworth songs, "New" is the first go-to song on the album. "Everybody Out There" may be the best of the 5 Martin productions. I can understand how some say "On My Way to Work" has a kind of feel from Paul's middle bit in "Day In the Life." I have yet to develop an appreciation for "Appreciate" or "Looking at Her." "I Can Bet" isn't particularly memorable either. A solid album in total, but c'mon, it's not his best post-Beatles work. That is still "band on the Run" and "Ram."
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Agree totally. Wish Paul had created the entire album with Epworth. He brings out the melodic, punchier sound. No disrespect, but Giles Martin has no business producing Paul.
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After repeated listens here are more thoughts... For me the strongest and greatest songs are... Alligator - This song is just masterfully crafted, and the twist and turns are just brilliant! I Can Bet - Convinced more than ever that this should have been the lead off single for the album, absolute top notch McCartney. Turned Out - On other sites some have said that this should have been the first song on the album, I agree, along with Alligator and I Can Bet these three are absolutely excellent! All of these are songs he did with his band, shows just how good they are and I want McCartney to make a whole album using just his band. These songs are really good... Save Us Appreciate Get Me Out Of Here New These songs are just okay... Queenie Eye Everybody Out There Road On My Way To Work The songs I don't like remain the same, in fact I'm disliking them more and more, in fact in reality I already skip them when I listen to the album, they are... Hosanna Scared Early Days Looking At Her
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JoeySmith:
No disrespect, but Giles Martin has no business producing Paul.
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The production on the CD is fine. When did everyone become experts on what "better" production is? As if a "punchier" kick drum would result in a big hit. Nonsense! A lot of McCartney's production of Wings stuff, like VENUS AND MARS and AT THE SPEED OF SOUND, was actually not that great, but the songs were. That's why they were hits. Giles Martin knows much more about production than me or anyone else on this forum.
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rich n:
...Overall, this album almost seems like Paul took Electric Arguments and moved it a bit from it's fireman persona and bumped it towards the 'Paul McCartney' persona...
Completely agree.