Just in time for the holidays comes McCartney III, Paul McCartney’s “surprise” album recorded during “rockdown,” when the singer was stranded at home, like so many of us, with some extra time on his hands. This is the third in a loose-fitting trilogy of McCartney solo albums wherein he plays and sings everything.
The first, McCartney, was the newly former Beatle’s debut solo effort, made during a transitional time and released in 1970. The inclusion of “Maybe I’m Amazed” and “Every Night,” and the fact that this was the first new music from Paul McCartney after the Beatles broke up make this an ever-green keepsake. McCartney II, coming in 1980, marked another transition: The end of Wings with a full-on solo career going forward. Skipping over to 40 years later, the third installment, intended as a home-made project for self-amusement during lockdown, is filled with the same DIY spirit as its predecessors.
There’s going to be a crowd of fanatics who will eat up every note of McCartney III. This is, after all, Paul McCartney of the Beatles, and the fact that he’s still, at 78, pumping out music when others are hiding, is a testament to his genius. Or is it? There are a few of us who can back off the Beatles legacy, and judge any of the four on the merit of the work. So here goes…
In the general scheme of McCartney’s history, McCartney III, like much of his work of the last 20, 30 years, will never quite live up to what happened before. Depending on your perspective, it’s either a masterpiece, another notch in the belt, or something that doesn’t even matter. Given the circumstances — a world health crisis, live concert tours on hold for the foreseeable future, 40 years since John Lennon’s demise, and the realization that things are winding down — McCartney III bears a bit more significance than it might ordinarily net.
The opening “Long Tailed Winter Bird” and second-to-last track “Winter Bird,” two bluesy acoustic-based numbers with basically the same chords and general theme, form the foundation for which the album’s other tracks evolve. Let’s face it: when you’re Paul McCartney, you have the liberty to do it any way you want. In this case, a potpourri of music spills out from every direction. “Find My Way” is a catchy jumper that has the man known for his steady bass wrangling down layers of guitars and synths to fill the spaces.
“Pretty Boys” and “Woman And Wives” subtly roll off the line, exposing McCartney’s more wistful side. Both are built around simple structures, played on acoustic guitar and piano. “Deep Deep Feeling” maintains the approach, retaining a blend of sly arrangement and sonic sophistication. Though it runs a bit long and the lyrics are overflowing with clichés, it might be one of the most inventive songs McCartney’s put together in 30 years.
Heavies like “Lavatory Lil” and “Slidin’” don’t go down as easily, though they provide the expected balance. “The Kiss Of Venice” possesses a sort of “Yesterday” / “Blackbird” charm with lovely changes and a tender harpsichord solo possibly inspired by “In My Life” and “Being For The Benefit Of Mr. Kite!.” Likewise, “Seize The Day” sallies forth with Beatlesque confidence and a stellar arrangement with a refined bridge. You might even want to listen to it twice, if you dare.
“Deep Down” may have benefitted with Ringo Starr behind the kit, but when you’re quarantined, ambitious, and hold claim to drumming on a couple Beatles classics, there’s little you can complain about. Even the sentimental flavorings of “When Winter Comes,” which ends the record, will have you hankering for a little more (and if you want it, the Japanese import and deluxe versions include outtakes). Really, as a whole, McCartney III is probably one of the tastier collections Sir Paul McCartney has cooked up in recent years. All things considered, it’s certainly one of the brighter spots in a year when a seismic shift in our world becomes more of a challenge with each passing day.
~ Shawn Perry
