He’s 71, but Macca’s more hip-hop than hip op
PAUL McCARTNEY: New (Virgin EMI) Verdict: Still fab ★★★★★
ONE of the cornerstones of Pa u l McCartney’s artistic longevity has always been t he f ormer Beatle’s refusal to rest on his laurels. His recent tours might have been electrifying celebrations of shared memories ( and, given his back catalogue, why not?). But, in the studio, Sir Paul has generally insisted on pushing forwards.
Here, on his first collection of new songs since 2007’s low-key Memory Almost Full, the 71-year- old pop legend hooks up with a crack team of relatively young producers to deliver his most enjoyable and energetic album in ages.
Tuneful and poppy, but with an intuitive rock ’n’ roll edge, New casts a wistful eye towards Macca’s illustrious past, but is f ar too vibrant and inventive to degenerate into pastiche.
The theme of a man living in the present while acknowledging his history i s reinforced by his quartet of collaborators: new kids Paul Epworth ( who helmed Adele’s 21) and Mark Ronson (who won Paul over after DJ-ing at his wedding to Nancy Shevell) are joined by Giles Martin and Ethan Johns (the sons of George Martin and Glyn Johns, who both worked with The Beatles).
Echoes of the past are apparent from the off. The opening track Save Us is one of several songs — Everybody Out There is another — that nod in the direction of Wings.
The dreamy psychedelia of Alligator and the sunny, beautifully sung title track (both produced by Ronson, with the latter featuring a clever false ending) ing) hark back to The Beatles circa a Penny Lane and Strawberry Fields ds Forever.
Elsewhere, h On OMW My Way To TW Work k recalls McCartney’s early solo hit Another Day, while Early Days addresses his bugbear about those who get their Fab Four facts wrong:
‘Everybody seems to have their own opinion / Of who did this and who did that / As for me, I don’t see how they can remember / When they weren’t where it was at.’
There are experimental moments, too, with Looking At Her an imaginative blend of arcane electronics and Brazilian bossa nova rhythms.
McCartney stumbles just once, with the Giles Martin-produced Appreciate an ill - advised mixture of hip-hop loops and synthetic th ti d drums.
Si r Paul was apparently impressed when he saw Jay-Z and Kanye West in concert last year, but this is a stylistic leap too far.
It is a rare slip, however. From David Bowie’s brilliant comeback to the superb live shows put on by Fleetwood Mac and The Rolling Stones, 2013 has been an exceptional year f or rock’s silver-haired survivors.
And now, with this touching, witty and accomplished return, Paul McCartney has joined the party i n his own, inimitable style.