Defense Case 1- Press to Play
-
The album is good. I enjoy it immensely from time to time. Forget the production values mid/late 80s obviously, but such tracks as Stranglehold, Talk More Talk, Press, Good Times Coming, Pretty Little Head and Only Love Remains are all FAB.
-
I've been listening to this album quite a lot recently. I'm not sure why it failed so spectacularly in the charts, or why it's viewed with a certain amount of chagrin in retrospect. Song for song, it's not any stronger or weaker than most of Paul's better albums. Outstanding tracks are Stranglehold, Footprints, Only Love Remains, Press, However Absurd. That's half the album right there. Middling tracks are Good Times Coming/Feel the Sun and Angry. There are a couple of Paul's love 'em/hate 'em experimental numbers - Talk More Talk and Pretty Little Head. That leaves only Move Over Busker as the only truly excruciating song, and even that's not too bad. When we get to the bonus tracks, they're all good and it's a real treat to have them on the CD. Production-wise the album isn't even very typical of its time. It's not hugely over-produced; in fact, Footprints and Only Love Remains are understated; the only overproduced number is However Absurd, but that gels with the song so it's not a problem. It sounds 80s, yes, but it doesn't have the sterile, corporate edge that most mid-80s albums by major artists seemed to have. The bass is a little weak, and the drum sound is in your face, but the melodies are intact. I think there were three serious mistakes made with this album. First was the confusion over which version of Press was the lead single - I do remember that my copy of the album had some sort of dub mix, apparently limited to the first 45000 copies pressed. Subsequent pressings featured the full version taken from the 10" single. There were so many remixes floating around at this time that the whole release and publicity mechanism seemed confused and stalled. The second major error was the choice of Pretty Little Head as the second single. This didn't chart, as this-then 15 year-old Paul fan could have told him it wouldn't. Perhaps Paul was hoping the song would key into a mid-80s dance vibe. No chance. Last was the emergency remix of Only Love Remains for the single release, which took a starkly beautiful song and sweetened it up for an audience that had already turned its back on the album. The 80s have been in vogue for some time now, but albums like Press to Play remain to be rehabilitated; this tells me that such albums don't have the fallacies of the 80s attached to them; that they are reasonably timeless. Not perfect by any means, but detached from passing fashions. I think this is the whole point if Press to Play - it's an attempt by Paul to keep on doing what he was always doing, while remaining just current enough to be relevant. On those terms, and because of the songs, the album is a success.
-
Ammar:
Remembering the first time I bought this album and listening to it around 1990 The first track was there and I thought I bought the wrong cassette for another singer! the music was not Paul, the production was not Paul, and most important ... his voice is not the same!!!! track after track I recognized his voice, but just was not Paul McCartney album. I truely was shocked and never understood why he did it at that time I listened more and more trying to get something I like, even I thought that it must be my ears that might have the problem! some of the tunes grew in me later on like and I like it now like "Footprints" and "Press" "only Love remains"but man! this was Paul McCartney... these songs are nothing for a legend like him! and the other tracks were making me angry and sad. I think Paul was lucky that the album was in top10. but we should always remember that the history and previous records always effects the sales of new release of any artist. you can see that after this album paul's selling records begin to fade no matter how good it is. like "Flowers in the dirt" did not chart well in USA even though it was a very strong come back album. years ago (and now) I know that it was the worst period in his solo career (starting from POP) maybe because the music scene of the 80's was so different and he felt lost in it and didnt know which direction is the best. sorry "Press" fans but i consider this album the worse in Paul McCartney's efforts.
Interesting. I liked it right away. There were a couple of tracks I could have done without..or maybe it was just one....."Talk More Talk". It was just annoying to me. When I purchased it again,...CD version. ...the collection edition...with bonus cuts, I wondered why he hadn't included "Write Away" and "Once Upon A Long Ago" on the album proper in the first place. Love those two songs!! "Footprints" is one of those lovely ballads and mood pieces Paul does so well with seemingly very little effort. Love the swirling sound bits in the production. "Only Love Remains" is a gorgeous ballad. "Pretty Little Head" was a great departure for him....very modern sounding...even now. And I loved the single..."Press". Remember the video he had for it....him riding on the London Tube....all the people looking at him....It's Paul Bloody McCartney!!! It was like a scene in "A Hard Day's Night"!!! So, I give two thumbs up for "Press To Play"!!!
-
PTP is, IMO, the result of some negative experiences in Paul's life. -Pipes Of Peace and Give My Regards To Broad Street. Bad works, and it had passed four years since Tug of War. -John's death. Is not a surprise, but after his death and the results of his last works, many people (music critics) began to believe that Paul's time was over, or worst, they said that he was completely lost without his best friend. Pure opportunism, but it was a straight attack to his confidence. He called Ian Stewart to write some songs, and when he came to his house the first day, he asked Paul "what did you write?". Paul said "nothing"... he was empty, lost... that's why he called Ian. Anyway I guess he had a big ambition, that's why he called the great Hugh Padghman to produce Press To Play. When Paul gave Hugh his new material, Hugh said himself "man, this is a complete shit". We're talking about a man who produced 'Genesis' and 'Invisible Touch' from Genesis, all Collins's solo albums in the 80's, The Police's 'Synchronicity'... he probably was the most requested producer of the moment. Bad choice... if you call a great producer, make sure you have good stuff to give. Press To Play is more famous for his production, not for his songs. I love 'Footprints', is delightful, specially the chorus. The rest of the songs... they can be nice or not, depends of the opinions. But the conclusion is that PTP is an album created in a period of chaos and personal crisis. The 80's were not confortable for him, he was a 40 years old man trying to create his own space in the middle of big (and younger) stars like Michael Jackson, Madonna, Simple Minds and others.
-
I love reading contemporary reviews of albums. Here is a very positive Rolling Stone review of Press to Play (I believe they gave it 5 stars). http://www.rollingstone.com/music/albumreviews/press-to-play-19861023 IMO, its probably the most unfocused album of Paul's career. Every song seems to have a different vibe, production, genre, etc. In the end, nothing sticks together even though there are some decent tunes on it. It reminds me of Back to the Egg in many ways, except that album was more memorable. I would never listen to the full Press to Play album all the way through but I may go back to hear a song or two. I definitely would put it lower tier Macca in terms of albums.
-
I think Paul tried to be a little more 'abstract', you know, making songs with other kind of charm, something like he did in 'Fixing a Hole' twenty years before. Maybe that's the reason of why is PTP a weird album, is not Paul's territory.
-
WingsOfMacca:
PTP is, IMO, the result of some negative experiences in Paul's life. -Pipes Of Peace and Give My Regards To Broad Street. Bad works, and it had passed four years since Tug of War. -John's death. Is not a surprise, but after his death and the results of his last works, many people (music critics) began to believe that Paul's time was over, or worst, they said that he was completely lost without his best friend. Pure opportunism, but it was a straight attack to his confidence. He called Ian Stewart to write some songs, and when he came to his house the first day, he asked Paul "what did you write?". Paul said "nothing"... he was empty, lost... that's why he called Ian. Anyway I guess he had a big ambition, that's why he called the great Hugh Padghman to produce Press To Play. When Paul gave Hugh his new material, Hugh said himself "man, this is a complete s**t". We're talking about a man who produced 'Genesis' and 'Invisible Touch' from Genesis, all Collins's solo albums in the 80's, The Police's 'Synchronicity'... he probably was the most requested producer of the moment. Bad choice... if you call a great producer, make sure you have good stuff to give. Press To Play is more famous for his production, not for his songs. I love 'Footprints', is delightful, specially the chorus. The rest of the songs... they can be nice or not, depends of the opinions. But the conclusion is that PTP is an album created in a period of chaos and personal crisis. The 80's were not confortable for him, he was a 40 years old man trying to create his own space in the middle of big (and younger) stars like Michael Jackson, Madonna, Simple Minds and others.
At that exact moment Paul should have fired his ass! This Hugh guy should have been honest up front with Paul if that's how he felt about the material. Sounds to me like he was covering his own ass just in case things should go awry. I never thought the production was particularly memorable or noteworthy...or as a reason why we should even remember the album. I don't buy this Paul was lost crap either. He may have been older but....so what. He's much older now and that doesn't seem to affect how he thinks of himself or the music he writes and plays. Paul probably would have benefited from George Martin coming along and handling the production of PTP.
-
favoritething:
Wyrdskein:
Bruce M.:
So, your suggesting that PTP is good because the songs are a bit more complex than stuff he was writing when he was 22? Or because it's less awful than the bulk of Michael Jackson's songwriting? Wow, could you set the bar any lower? But in fact nothing on PTP has anything remotely like the verve or charm of All My Loving or the raw, sexual energy of I Saw Her Standing There, so it doesn't even pass that standard. The album has a few interesting moments (even Paul's weakest albums have brief flashes of brilliance), but mostly it's just not very good.
In my opinion it's brilliant. It's all subjective after all.
Yes, all subjective. The critic for the Chicago Tribune said at the time, "No doubt about it, this is McCartney's most rocking album in ages. Much of it's catchy, most of it's fun, and it's superior to McCartney's efforts of recent years." That was my view as well. It's true that most critics were ambivalent about the album, but on the other hand, most critics were ecstatic about Electric Arguments, and I know that Bruce has no use for that album whatsoever. So yes, we all have our own opinions, regardless of critical consensus.
Rolling Stone magazine review was positive and they supposedly hated McCartney back then - lol. I enjoyed the album but it was not close to his best.
-
Beatles4Ever&Ever:
At that exact moment Paul should have fired his ass! This Hugh guy should have been honest up front with Paul if that's how he felt about the material. Sounds to me like he was covering his own ass just in case things should go awry. I never thought the production was particularly memorable or noteworthy...or as a reason why we should even remember the album. I don't buy this Paul was lost crap either. He may have been older but....so what. He's much older now and that doesn't seem to affect how he thinks of himself or the music he writes and plays. Paul probably would have benefited from George Martin coming along and handling the production of PTP.
My opinion is that Paul though he had a great material for the album. That's why he hired Hugh. But he was wrong... come on, he did it with Martin in Pipes Of Peace, making an album with wasted material from Tug Of War. Sometimes Paul doesn't accept critics from his producers, and is OK because he's a musical genius. In fact, Padgham and Paul had a little fight during de recording sessions. I don't remember song was, but Hugh recommended to raise up the volume in some choirs... and Paul answered: 'how many nº1's did you write?'. Paul is a little arrogant, and thank God he is. But I have no doubt: he was lack of inspiration in that time.
-
And as usual, the worst song on the album was lifted for the single.
-
WingsOfMacca:
PTP is, IMO, the result of some negative experiences in Paul's life. -Pipes Of Peace and Give My Regards To Broad Street. Bad works, and it had passed four years since Tug of War. -John's death. Is not a surprise, but after his death and the results of his last works, many people (music critics) began to believe that Paul's time was over, or worst, they said that he was completely lost without his best friend. Pure opportunism, but it was a straight attack to his confidence. He called Ian Stewart to write some songs, and when he came to his house the first day, he asked Paul "what did you write?". Paul said "nothing"... he was empty, lost... that's why he called Ian. Anyway I guess he had a big ambition, that's why he called the great Hugh Padghman to produce Press To Play. When Paul gave Hugh his new material, Hugh said himself "man, this is a complete s**t". We're talking about a man who produced 'Genesis' and 'Invisible Touch' from Genesis, all Collins's solo albums in the 80's, The Police's 'Synchronicity'... he probably was the most requested producer of the moment. Bad choice... if you call a great producer, make sure you have good stuff to give. Press To Play is more famous for his production, not for his songs. I love 'Footprints', is delightful, specially the chorus. The rest of the songs... they can be nice or not, depends of the opinions. But the conclusion is that PTP is an album created in a period of chaos and personal crisis. The 80's were not confortable for him, he was a 40 years old man trying to create his own space in the middle of big (and younger) stars like Michael Jackson, Madonna, Simple Minds and others.
Interesting comments, and some truth to them, I'd say. Press to Play feels to me like an uncomfortable attempt to sound modern that mostly doesn't succeed. For my money the 3 originals on "Broad Street" run circles around anything on Press to Play. For those who enjoy the album, by all means enjoy. Mostly I'd rather listen to my washing machine, which at least sounds like it's doing something meaningful.
-
I also enjoy this album. I do think it sounds much better on vinyl and without the bonus tracks. I hope a rerelease (with a second disc of bonus tracks) in the archive series might provide a new perspective on the album, as with "McCartney II".
-
Bruce M.:
Interesting comments, and some truth to them, I'd say. Press to Play feels to me like an uncomfortable attempt to sound modern that mostly doesn't succeed. For my money the 3 originals on "Broad Street" run circles around anything on Press to Play. For those who enjoy the album, by all means enjoy. Mostly I'd rather listen to my washing machine, which at least sounds like it's doing something meaningful.
You know, it feels like Paul did everything he needed to do to make a great album, but he fail in the most important thing: the composition. The sound is modern, but the producer can't do a great work if he doesn't have the appropriate material.
-
I will always have a soft spot for this album, 'cos I was at that stage of having discovered all the solo follow-on music, and this was the next real-time release. I must've listened to it thousands of times. Had it on vinyl and cassette (for the car) and when the CD-technology was introduced, this (with INXS' Listen Like Thieves) was the first CD I ever bought. I do like Stranglehold, Only Love Remains, However Absurd, Move Over Busker, Footprints, Angry, Press. I never liked Pretty Little Head and Talk More Talk, Good Times Coming/Feel the Sun were too forced for me. I do like the songs that didn't make it on the album. It's Not True, I really, really liked. There was some real stirring stuff in that song.
-
Press To Play album is one of my favourite albums of Sir McCartney. The song 'Footprints' IS my all time favourite track. It's all just my personal subjective impression. I'm a very new McCartney's fan (since New album) - so I had that possibility to listen to ALL his albums at once and look at his whole past at one glance so to say. And the most striking change seemed to be Press To Play album (that time era): these deep emotions of loss, desperate pain expressed in voice, melody and breathtakingly sincere words. For me it's like two different McCartneys: before and after Press period. As some of you mentioned a difficult period in his life at that time. It's felt in this record very much and in his interviews too. Footprints, However Absurd, Once Upon a Long Ago, Talk More Talk, Only Love Remains, Good Times Coming/Feel the Sun, Stranglehold, Pretty Little Head, Spies Like Us - are my fav from this period.
-
WingsOfMacca:
Bruce M.:
Interesting comments, and some truth to them, I'd say. Press to Play feels to me like an uncomfortable attempt to sound modern that mostly doesn't succeed. For my money the 3 originals on "Broad Street" run circles around anything on Press to Play. For those who enjoy the album, by all means enjoy. Mostly I'd rather listen to my washing machine, which at least sounds like it's doing something meaningful.
You know, it feels like Paul did everything he needed to do to make a great album, but he fail in the most important thing: the composition. The sound is modern, but the producer can't do a great work if he doesn't have the appropriate material.
I very much agree on this! Composition !!! this is the weakest composition McCartney album have ever. as a die hard fan after listening 50- 100 times I got used to part of few songs : Footprint intro, Only Love Remains. but they are just a shadow of what Paul McCartney can do! or sound. I remember listening to it the first time on cassette and wondered .. did I really buy Paul's album ??? this is not his voice , and the track is not close to anything even when Paul can write simple words he never fails at melody, his bass playing, his dreamy strong beautiful voice. Again: This album is a turning point in Paul's history in my opinion. it nailed top 10 on charts because it is Paul McCartney album with all success and reputation he had before. if it was in any other singer name then it would have never been in charts or anyone's memory. BUT after many people listening to this, they started to turn away unfortunately. Sadly his name was never as strong as before this album. this was the real flop in his history.
-
I can't remember the last time I listened to this album. Years ago. Always have placed it quite near the bottom, but I will have to have another listen.
-
favoritething:
The basic album has the 10 songs ending with "However Absurd" and the original CD added the three bonus tracks Write Away, It's Not True (remix), and Tough On A Tightrope. The 1993 CD reissue added two additional bonus tracks: Spies Like Us, and Press (dub mix).
My 1993 CD has "Once Upon A Long Ago" and not "Press (dub mix)" as second bonus track.
-
The last time I listened to this was in 1986.
-
I think the songs on "Press to Play" are mostly good, maybe not great as there are no obvious classic best of tracks or even big classic hits, but I enjoyed it a lot when it came out and it got favorable reviews, I find it strange how it has slided down to be considered his low point. I don't think there are any particular terrible studio albums in his discography and "Press to Play" to me are no exception, it's a bit like "Back to the Egg" and "Wild Life", there's no big hits on it but fun enough for what there is. A variety of styles and some 80's production experiments.
