Customer Reviews

Kisses on the Bottom

5 star:		(46)
4 star:		(23)
3 star:		(12)
2 star:		(11)
1 star:		(14)

 

 

Let's face it - these cover albums from veteran, heavily-moneyed legends of rock and pop are often pretty mundane, or at the very least inconsequential. In spite of this, Paul McCartney delivers quite well on "Kisses on the Bottom," with his iconic, velvety voice singing an eclectic, elaborate array of some of the best tunes ever written - as well as two extremely impressive new ones.

The gorgeous, lilting "My Valentine" recalls a fond romantic memory without a trace of sap or sickly-sweetness. It is a damn solid McCartney original that, save for his now-huskier vocal range, would fit in well on one of the classic Beatles albums. "Only Our Hearts" is similar in its theme and melancholic edge, but better showcases McCartney's expressive, stirring lower register. Eric Clapton plays guitar on the latter while Stevie Wonder contributes harmonica on the former. It helps to have friends.

This is not a Valentine's Day album, but it is very fortunately released in the days leading up to the holiday, for its ambiance is certainly warm, balmy and lush - that is to say, romantic. Whether he's singing the nuances of the evocative "Bye Bye Blackbird" or the timeless, drippy "Always," McCartney's delivery is consistently restrained, contemplative and sentimental, yet, importantly, he never sounds insincere or premeditated. Each selection is well-rendered and straightforward.

Much of the reason for this cohesion is owed to Diana Krall's backing band, hired specifically for this project. Backing McCartney with a fervent glow on the likes of the brilliant "The Glory of Love" and the relatively funky "Ac-Cent-Tchu-Ate the Positive," they earn their keep here.

McCartney has set many records in his long and varied career, and "Kisses on the Bottom" won't break any of them, yet it is also a highly listenable set of mellow, lovely tunes that goes perfect with a bottle of wine, whether or not the evening skews romantic.

(Certain retailers carry different editions, some featuring bonus tracks, so do your homework.)

Dear Music Appreciators,

If you've always wanted to get all up close and personal with "The Cute Beatle" then this may be the album for you. Notice Paul with his arms full of flowers on the cover of his new album - an album loaded with his close-mic vocals on old-fashioned romantic standards...released just a week before Valentines' Day...he might as well be saying "will you be my valentine?"

Whether it's a calculated marketing ploy or just a coincidence of timing, this is certainly a good album. But it will probably divide some of McCartney's fans and may not win him many new ones outside of those who enjoy "the standards."

If you're looking for an album full of Beatlesque singer-songwriter brilliance then you'd best look elsewhere. This is mostly jazzy, old-timey stuff from the 1920's and 30's that a young McCartney first heard from his father's piano. In the same way that many actors just want to direct, there are many singers who just want to sing the standards, and thanks in part to Willie Nelson's 1978 blockbuster STARDUST many of them eventually do. Rod Stewart is another prime example of a star who cashed in big on this same concept, though he drew a fair amount of criticism as well. And then of course there's fellow Beatle Ringo Starr's 1970 effort SENTIMENTAL JOURNEY.

After initially thinking "oh brother" (before hearing the album) I changed my tune pretty quickly about 25 seconds into the opening track - a 1935 tune that has been covered by a host of singers including Sinatra, Bing Crosby, Nat "King" Cole, and Dean Martin - McCartney gives it just the right amount of jazzy snazz and I found myself thinking "maybe he can do this after all - maybe he's just the right singer for the job."

For many music fans, their personal reaction to an album of cover songs can depend largely on their familiarity with the songs and the various previously released cover versions of those songs. I'm guessing your average fan will know about half of these by title alone. A personal high point of this record for me was the Irving Berlin classic "Always." McCartney gives a respectful and subtly nuanced performance, and I was unfamiliar enough with the song and all its versions so as to make this tune virtually new to me. A low point was probably "Get Yourself Another Fool" but only because I was already familiar with a beautiful rendition by Patty Griffin on her LIVE FROM THE ARTISTS DEN album, and then after I heard McCartney sing it I decided to pull up an old Sam Cooke version, and...well let's just say Sam Cooke can sing. Man can he sing. I also discovered that "Home (When Shadows Fall)" is another tune that both McCartney and Sam Cooke have now covered, and again I was hooked on Sam Cooke's version.

So thanks Paul for helping me realize how amazing Sam Cooke is (there are still some legends I just haven't gotten around to yet) and for delivering a stellar collection of standards just in time for V-Day. McCartney's version of any of these songs could probably play in the background of some big budget romantic comedy while the leading characters canoodle each other all over New York City.

There are in fact two McCartney originals on this album. "My Valentine" is probably the most intriguing of the two because it seems to fit right in with the other songs, as if it was written 70 or 80 years ago - and if it was I'm betting it would have been heavily covered and perhaps even have found its own slot in "The Great American Songbook."

If you only want pop-rock music from pop-rock legends then you should turn around and walk away, but if you're open-minded and feel like you could use some old school atmospheric romance in your life, then this album will give you a nice little injection of exactly what you're looking for.

Sincerely,

Constant Listener

"Kisses on the Bottom" is personal, restrained, and moving. Many albums of standards are virtually interchangeable, as the singer "sells" each one through vocal gymnastics and splashy instrumentation. "Kisses on the Bottom" is, in contrast, an intimate and unpretentious affair. [The title is taken from a line in "I'm Going to Sit Right Down and Write Myself a Letter" and refers to putting XXXXXs on the bottom of a letter.]

McCartney is turning 70 this year, and this album feels like a reckoning with both his past and future. These are (with the exception of the two originals, "My Valentine" and "Only Our Hearts"), the songs he grew up listening to, but he's singing them from a perspective that comes with age. He doesn't try to hide his voice's aging, and has said he was trying for a "small" voice effect, similar to Fred Astaire's. The spare arrangements by Diana Krall and her band complement his voice instead of overwhelming it, and the overall effect is spacious and unforced.

In "Ac-Cent-Tchu-Ate The Positive," you can hear the roots of McCartney's upbeat, say-hello-not-goodbye musical persona, and in "My Very Good Friend the Milkman" the kind of whimsy that characterizes "Lovely Rita" or "Martha My Dear." But many songs offer windows into deeper emotions. "More I Cannot Wish You," expressing a parent's hopes for his children, and the slowed down "Bye Bye Blackbird" are particular standouts. The combination of longing and acceptance of limitation that infuse these two songs is hard to put into words, but I can't hear them without thinking that McCartney is looking at the end of life and thinking about what can still make it worthwhile. The two original songs on the album, "Only Our Hearts" and "My Valentine," seamlessly match the tone of the standards that surround them. No mean feat, this.

In one way, this album isn't surprising at all - McCartney is the guy who wrote "When I'm 64" and "Your Mother Should Know" in his twenties and crafted "You Gave Me The Answer," which could be a missing song from one of Astaire's musicals. But the combination of restraint and sincerity that McCartney summons on what might have been a rote recitation is a surprise - and a very pleasant one. I wish there were one or two more originals, since "My Valentine" and "Only Our Hearts" are lovely, and that he'd lowered the key on a couple of songs, but these are quibbles.

"Kisses on the Bottom" shows again (after 2008's "Electric Arguments," a collaboration with Martin Glover released under their moniker "The Fireman) in these later years McCartney is doing what he wants to, musically, and isn't focusing on what will go over commercially. I suspect that the double entendre title is a nod to the reception many will give this album, and an indication that he's not fussed about it.

While Paul McCartney is not the first ex-Beatle to explore The Great American Songbook - that honor goes to Ringo Starr's unfairly maligned 1970 album Sentimental Journey, which was actually fairly successful (Number 7 in the UK, and a respectable Number 22 in the U.S.) - this album is a wonderful trip back in time to the music of the pre-rock era. I played both CDs back-to-back the other night and, although Ringo's is a little brassier, both are excellent. The music on KISSES ON THE BOTTOM fits Paul like a glove - it's as though he has been a jazz singer his whole life instead of one of the world's greatest rock 'n' roll vocalists - and Diana Krall and her band (who I am also a huge fan of) provide excellent backing. There is not a bad track in the lot; the highlight is probably Macca's own "My Valentine," written for new bride Nancy Shevell.

There was only one drawback: misleading advertising on various Web sites (including Paul's own) led me to believe that the Deluxe Edition contained two bonus tracks ("Baby's Request" and "My One and Only Love") and said nothing about any retail exclusive. When I received the Deluxe Edition from Amazon, it did not have the two extra cuts, so I returned it for a refund. I found the extended version at Target. The Deluxe Editions at other stores are the same as the Amazon version, and other outlets only carry the standard version. I don't know if there are any other bonus cuts available on other versions; I hope not, because I don't like purchasing multiple copies of the same CD from different retailers to get different bonus tracks.

I know that the elitist rock critics will turn up their noses at this album, just as they have done with Paul's classical work. Well, after 50+ years in the music business, Paul McCartney has more than earned the right to do any kind of music he damn well pleases. If he retired tomorrow - and I don't think he will - he has given his millions of fans a musical legacy that will last forever. So get off his back, please.

"Kisses On the Bottom" is a tribute to many of the songs Paul heard his father sing and play on the piano when he was a young boy. As for the title of the album, Paul got the idea from the song "I'm Gonna Sit Right Down and Write Myself a Letter". In that song, there is a part which says; "I'm gonna write words so sweet-gonna knock me off my feet. A lotta kisses on the bottom, I'll be glad I got 'em".

Word of caution- none of the American pressings of the Deluxe version contain the bonus tracks, EXCEPT the exclusive pressings from Target Department Store. Only the European pressings seem to have the bonus tracks. There is also another edition that comes in a special slipcase and this is only available at the UK website( play.com).

Whenever a performer tries to create an album based on someone elses songs,this becomes a very risky situation. This is because the listener will always (at least subconciously) be comparing the new version of the songs to the original versions. Therefore, in order for the new version to be a smashing success, the performer has to "make that song his (or her) own". In other words, put a new spin on it (like they always say on X Factor and American Idol.)
In my opinion, Paul seems to be trying to make the songs sound (vocally) like the originals. His voice sounds funny as he tries to "croon" like the singers on the original versions. Also, I'm not certain, but it SOUNDS (to me) like Paul even performed many of the songs in the original key that they were written in. In my opinion, this just doesn't work. (It would be like having Barry Manilow do an album of songs by Aerosmith or Black Sabbath.)

Ok- now for some positive comments. You have to give Paul alot of credit for doing what he wanted to do. I believe he wanted to recapture the original essence and feeling of these songs as they were performed "back in the day". After all, that's how he remembered them as he was growing up. Maybe that's how HE wants you to experience them now.

Therefore, if you would like to hear Paul McCartney sing some of the standards from long ago in the style that they were originally written, then perhaps you might enjoy this album. On the other hand, some of you may feel like I do after listening to this CD.

One side note- Paul is going to be 70 years old on his next birthday and if you had the chance to see one of his concerts last summer-I'm sure you will agree with me that his voice sounded as good as ever!

Be aware that some deluxe versions of this CD are more deluxe than others.
The standard version has 14 tracks. The amazon "Deluxe" version has 14 tracks.
If you want the two bonus tracks you can order the Deluxe version at Paul's site, or go to Target. Both places have the 16 track CD.
They all have the post cards, download card, and expanded booklet.

At first I thought 'oh no,' he's following on the coat-tails of Rod Stewart in doing boring standards now. (I'm still hoping Rod will get back to making good original songs like he used to in the previous century.) But then I remembered, this is the man - Paul McCartney! He's covered I think almost every category of music, but the standards album was missing from his resume so voila now he's got that covered too. What makes this album work is the fact that he covered relatively unknown songs, which is great! So it sounds fresh, it sounds like their his songs. The music is truly outstanding, hats off to Diana Krall. I think now all Paul has left to do is a rap and heavy metal album and there'll be nothing left for him to do! At 69, this creative legend keeps going strong!

I wonder how much pre-rock and roll music Paul McCartney listened to in his mums polar as a little kid, radio tuned to the beeb. Certainly before Buddy Holly and Elvis were known in the colonies, never mind England, this was the pop music people listened to.

You could even tell in the 1960's. Even when the fabs were going all Helter Skelter with long hair and LSD and politics and Apples, Paul was writing songs like "Honey Pie" and "When I'm Sixty Four." Dancehall ditties that had nothing to do with rock--UNTIL THE BEATLES MADE IT SO! AND SO IT HAS BEEN SINCE. The Walrus was also listening to Stockhausen and Biero at the same time, and if this does not prove how all-encompassing the fabs were, nothing does. You can even hear the Beatles on demo tapes of Sgt. Pepper, jamming old little pre-rock tunes between takes of rock revolution. All music was at their command.

So does it surprise me that McCartney has recorded this album. No. Only that it took him so long. He probably had this in his head his whole life, working with the Beatles, Wings, Firemen. or just fooling with a ukalalie on the Beatles Anthology tapes. It is all music to be owned by the master.

Kisses From The Bottom has Paul working with Tommy Lapuma, who was a staff producer way back in the 1960s at A&M, working with, for instance, the Sandpipers, and later, Barbra Streisand and Diane Kroll. He and McCartney here take standards like "It's Only A Paper Moon," and "My Valentine," and treat them with bass, brushed drums, and piano. You can walk down Bleaker St. in New York and hear standards getting the same treatment. They even do "The Story Of Love,"--that pop from way back in '67 when Paul and John and George Martin were trying to find that 80,000 kilocycle highnote to end the "A Day In The Life." .He probably heard the song at a friend's flat between Hendrix and John Cage and loved it

McCartney and Lapuma are smart to give this track, and all the others, the stripped down treatment that they do on Kisses from The Bottom. Paul was always asking George Martin to give him clean sounds, and the result was making all music rock, and rock able to hold all other music. His voice here is outstanding, as Paul stays in that wonderful low register he does so well, singing to the classy instrumentation with the intimacy of a lover's speech, His voice here is totally unaffected. Why would the master need to do anything else.

This is no black bow tie and tails affair. No digital ticket crossover coffee house puddle. This is a man who can make any music he wants making the kind of music he wants.

I am sure right now, Paul is planning a rock album, more electronic projects--maybe getting his fire hat ready-and has fingers in a million more of Admiral Halsey's butter pies. But for now, there is this, and if you are surprised by Kisses At The Bottom, think of Paul's history more, and you won't be. You'll love it, yeah, yeah, yeah, YEAHHHHHHHH!

Just listened all the way through, and I don't get what all the criticism is about. It's exceptionally tasteful - considerately chosen songs (very few "usual suspects"), two fantastic originals (Stevie Wonder's harmonica accompaniment on "Only Our Hearts" is signature), Paul's vintage vocals front and center, spare and mature arrangements throughout, and Diana Krall's top-notch band underneath it all.

Unlike the recent series of Rod Stewart songbook atrocities, there's nothing gimmicky here, and very little schmaltz.

Everyone knew there was a new McCartney album on the way (his first studio release for 4½ years), but none realised it would be issued so soon after being announced, and it certainly wasn't envisaged to be a collection of personal favourites, two newly written songs and a re-recording of a 33 year old album track. It's available in two versions; the usual jewel case, and a deluxe pack with two extra songs, expanded sleeve notes, three postcards and access to an exclusive live show. An easy listening offering of songs he heard, and was influenced by, during his formative years (and he has chosen many that might not be familiar), the booklet explains how he and John tried to copy these songs. I'm surprised McCartney hasn't done anything like this until now; and another first is that he just sings on this. Then again, maybe he's been planning such a project and only just got round to doing something about it. Joined by Eric Clapton, Stevie Wonder, and Diane Krall and her band, who play with the lightest of touches on their instruments.

I'M GONNA SIT RIGHT DOWN AND WRITE MYSELF A LETTER. A piano and double bass led jazz tune, this is whispered in fine style in a way you might imagine someone suddenly joining in with the house band. A potential single?
HOME (WHERE THE SHADOWS FALL). Maybe the most obscure song included, this is nicely sung in a late-night fireside way.
IT'S ONLY A PAPER MOON. An occasional voice straining to reach the right notes doesn't seem to spoil the shortest track that has an effective violin and whistling middle eight. It certainly grows on you.
MORE I CANNOT WISH YOU Annoying. Not in a bad way but you just wish it would start instead of sounding like a three minute introduction to something more substantial. But that's the tune itself, not the way it's presented. For my money, the poorest thing included.
THE GLORY OF LOVE. Rather intimate this, but then so are all the other songs, one to be sung to your new wife, or a very old one. One thing this CD has going for it is that you can actually hear every word sung, something many are guilty of in their failing.
WE THREE (MY ECHO, MY SHADOW AND ME). Delivered in a way only McCartney could get away with, don't be surprised to hear this on Radio 2. Whilst the whole CD is good, this is one I particularly like.
AC-CENT-TCHU-ATE THE POSITIVE. A weirdly titled clever tune on antonyms, this is a bit of a toe-tapper that will have you singing the title to yourself. My own favourite.
MY VALENTINE. The first of two new original compositions, this is an acoustic and piano track that could actually become a favourite of club supper acts. It sounds plodding at first but it does grow on you. With just the guitar player from the band remaining, you can imagine the spurned lover slumped over the piano, a dying rose and whisky glass on the top, bemoaning his luck to an empty floor. This could be a single, though he needs to be quick about it. Expect cover versions.
ALWAYS. I didn't recognise this from the introduction, but when the main body began I was singing along, as will you if you remember it. Once more, the music doesn't swamp the singing.
MY VERY GOOD FRIEND THE MILKMAN. More whistling bookends a song about a lovelorn soul tempting his girlfriend to marry him through a variety of others. It's rather cute.
BYE BYE BLACKBIRD. The second Beatle to record this (after Ringo in 1970), this is taken at a slower pace but doesn't suffer from that, even though you think it might peter out at some point.
GET YOURSELF ANOTHER FOOL. Whilst much of what precedes and follows this track is taken in a laid-back style, this has a far stronger vocal and is another of my favourites. The longest track, the use of the guitar compliments this well.
THE INCH WORM. All of those of a certain age will remember this from listening to Junior Choice on the radio. Possibly the biggest surprise on a surprising collection, no doubt it's the Danny Kaye version he remembers and not the one by the cast of Grange Hill. With backing vocalists doing the adding up, it's one of only two songs not to have a full ending.
ONLY OUR HEARTS. The other new self penned song; it sits well with the rest of this collection. Sounding as if it was written for Nancy, it's one that might well be covered by other artists.
BABY'S REQUEST. Fitting in well, this is taken at a more leisurely pace than the version on 'Back to the Egg' with a good trombone middle. There's an elongated instrumental fading ending.
MY ONE AND ONLY LOVE. Another nice tune to be sung at the end of the day when the candles are burning.

This is bound to be a decent seller and maybe, given the contents, there will be those that wouldn't normally buy his product delving in because they like this style of music. I was pleased he didn't go down the big band route, but use backing that respects the deliberate understated vocals. If pretenders such as Rod Stewart, Robbie Williams, Michael Buble and others can release CDs of `standards', why not the biggest name of them all? It might be the songs or it might be the way in which they're presented, but McCartney shows he still has the capability to deliver. There may be those who dismiss this as self-indulgent, and maybe that's what it is; Ringo made his `for his mum', so maybe Macca wanted to do this for himself and his wife, and there's nothing wrong with that. A very nice CD.