“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. “Free Bird (feat.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". Paul McCartney & Ringo Starr with special guests Peter Frampton & Mick Fleetwood)”ģ0. Ronnie McDowell with special guest The Jordanaires)”Ģ9. Rob Halford with special guests Nikki Sixx & John 5)”Ģ5. Stevie Nicks & special guest Waddy Wachtel)”ġ1. “What Has Rock And Roll Ever Done For You (feat. Steven Tyler & special guest Warren Haynes)”ĩ. Ann Wilson with special guest Howard Lee)”Ħ. “Rockstar (with special guest Richie Sambora)”ĥ. I hope it is something that will touch you and maybe touch enough people to want to make a change for the better.”Ĭoming up this week, Parton joins Garth Brooks as they host the 58th Academy of Country Music Awards streaming around the world live on Prime Video May 11 at 7:00P CT from The Ford Center in Frisco, TX.ĭolly Parton merchandise will also be available during ACM Awards Week on Tuesday, May 9 thru Sunday, May 14 at The Star in Frisco, Texas as well as Wednesday, May 10 via a merchandise trailer on The Star complex and on Thursday, May 11 inside The Ford Center during the 58th Academy of Country Music Awards.ġ. I think it speaks about everything and to everyone this day and time. Regarding the track, Dolly says, “This is a song I felt very inspired to write. The lead track off Rockstar is the timely original “World on Fire,” which is available this Thursday, May 11, to coincide with the world premiere performance of the song at the ACM Awards.
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