And Paul's array of vintage instruments he played on the new album have an even more storied history, including Bill Black of Elvis Presley's original trio's double bass alongside Paul's own iconic Hofner violin bass, and a mellotron from Abbey Road Studios used on Beatles recordings, to name but a few. McCartney III spans a vast and intimate range of modes and moods, from soul-searching to wistful, from playful to raucous and all points between - captured with some of the same gear from Paul’s Rude Studio used as far back as 1971 Wings sessions. Recorded earlier this year in Sussex (UK), McCartney III is mostly built from live takes of Paul on vocals and guitar or piano, overdubbing his bass playing, drumming, etc. Before long an eclectic collection of spontaneous songs would become McCartney III: a stripped-back, self-produced and, quite literally, solo work marking the opening of a new decade, in the tradition of 1970’s McCartney and 1980’s McCartney II. Paul hadn’t planned to release an album in 2020, but in the isolation of Rockdown, he soon found himself fleshing out some existing musical sketches and creating even more new ones. That makes the falling groove of the next song, “Slidin,’” feel naturally relentless, not unlike Wings’ “Let Me Roll It.” McCartney pushes his voice a bit and, paired with some fuzz guitar, almost sounds like something he would’ve done had he continued his brief partnership with the surviving members of Nirvana.A follow-up to his 1970 self-titled solo debut and 1980's McCartney II, the new album features the McCartney playing all the instruments he wrote and recorded every song.ĥ0 years following the release of his self-titled first solo album McCartney, featuring Paul playing every instrument and writing and recording every song, Paul McCartney will release McCartney III on December 11th.
#PAUL MCCARTNEY III HOW TO#
It’s almost a faith-restoring master class in how to write a song to convey real feelings. It’s the record’s only song demanding repeated listening. He constructs a rollercoaster ride about emotional peaks and valleys during which he rips away musical layers and reconstructs them without being obvious, ending with an almost-desperate mantra set to sophisticated piano and bare guitar. The ears wait … and wait … and wait for the next change, a beautifully laid trap for the listener’s attention. Where McCartney really stopped me dead in my tracks was on “Deep Deep Feeling,” which ranks with his best solo material. “Lavatory Lil” may be a fun nod to John Lennon’s “Polythene Pam,” proving McCartney still does whimsy well. “Women and Wives” has a clearer point, made with melody-hauling piano. Same for “Pretty Boys,” which sounds a bit forced. Includes 3 LPs on 180g audiophile vinyl with 3. McCartney falls back on his love of catchy and compact little ditties on the barebones and upbeat “Find My Way.” It’s a nice hook, but nothing anyone will demand to hear again. The eponymous solo albums written, performed, and produced by Paul McCartney from 1970, 1980, and 2020. He sounds like a determined young guy with blisters on his fingers and a riff in his brain. He lets the song breathe and takes his time, giving it that homemade feel which, like good food, is usually a good idea. Paul McCartney makes his intentions clear on opener “Long Tailed Winter Bird.” The riff jangles a bit messily, which is usually a good idea for him.
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