Customer Reviews

Memory Almost Full

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It was 40 years ago today (at least, this week) Paul McCartney asked, "Will you still need me, will you still feed me, when I'm 64?" It was among his most beloved compositions on "Sgt. Pepper's Lonely Hearts Club Band," the Beatles LP defining 1967 (and, for many, the classic rock era) without unanimously being considered rock's (or the group's) finest album.

In "Vintage Clothes," among highlights on his vibrant new CD, "Memory Almost Full," the knighted grandfather warns, "Don't live in the past/Don't hold on to something that's changing fast." It's an odd sentiment from history's most successful living songwriter from its most famous band who, before turning 30, wrote backward glancing music hall classics like "Yesterday," "Honey Pie," and "Your Mother Should Know."

But announcing his intents early allows McCartney musical and lyrical space to examine his "ever present past" (to quote his zippy first single) with warmth if not bitterness. (This is sensible, as it's Macca's first release with Starbucks Coffee's new music label.) He knows each new song refers you to a Beatles or Wings classic. "House of Wax"'s guitar solo recalls 1968's White Album's distorted rock. "Dance Tonight," a deceptively simple melody over strummed, country stomp, echoes McCartney's first, homegrown solo records. Sir Paul sings his childhood scrapbook over "That Was Me"'s jazzy backbeat, from young Paul's appearing in scout camp and school plays to signing his first contract. He then concludes, "When I think that all this stuff could make a life/it's pretty hard to take it in."

"Only Mama Knows," "Memory's" most memorable song, at first recalls mid-70s chuggers like "Jet" and "Junior's Farm." But its pensive string arrangement wrapped around the song's center, McCartney's angry, resigned lyrics ("Only Mama knows/why she laid me down in this God-forsaken town/She was running too.") and impassioned vocals make it his strongest rocker since 1989's "My Brave Face."

Those thinking McCartney retired to concertos and frivolous "smoochy ballads" (the odd "Gratitude" notwithstanding) will be pleasantly surprised by this album's aggressive rock. Producer David Kahne, whose worked with everyone from 80s jangle rockers the Bangles and Matthew Sweet to crooner Tony Bennett, pushes McCartney's still-strong voice higher in the mix, while drummer Abe Laboriel establishes himself MVP of McCartney's crack traveling band.

"The End of the End," where McCartney asks for jokes and stories instead of tears at his funeral, is his gentler, solitary update of "Abbey Road"'s frenzied final moments (themselves an era's end.) While "Memory Almost Full" shows Paul McCartney acting and understanding his age, it also shows him returning rock fans' love and respect for him by trying some fresh musical and even marketing ideas, and sharing more of his history amid the hits. A key CD in his long, remarkable career, and highly recommended.

As a person, Paul McCartney has done an efficient job of keeping his personal affairs outside of the public eye, and that judicious sense of self-protection has always extended to his music. One reason his solo career has been so frustrating is because we rarely catch a glimpse of what is really on his mind. His recent marital issues have been tabloid fodder for quite a while now, though, and I'd bet that many fans are secretly hoping that juicy tidbits concerning his divorce will be revealed in his newer material. A nasty break-up song would be most scintillating, but true fans already know that the odds of hearing anything so bluntly autobiographical from Sir Paul is virtually nonexistent.
Well, hold onto your hats. You still have to make presumptions, and assume even more, but it's obvious that McCartney has a lot on his mind, and he's putting those thoughts into lyrics. Unlike previous tactics, where he often applied his observations to third parties, "Memory Almost Full" displays McCartney singing mostly in the first person. He still keeps his cards fairly close to his vest, but you can't help but sense that he's really trying to convey something disarmingly honest about himself. Virtually every song on the album includes the word `I'. Of course, these songs could be characterizations, too, but I doubt it. There's such a strong underlying theme of mortality running through this collection of songs that it would nearly impossible to fake anything so heavy and earnest.
"Memory Almost Full" overflows with intense ruminations on time passing and the finality of death, and yet McCartney still maintains a whimsical tone throughout most of the disk. - How Paul McCartney-like is that? Who else could sing about impending death and make it sound like a Sunday drive? "Ever Present Past" has him dwelling on "times that have gone too fast" with a carefree shrug. "You Tell Me" is more inscrutable and poetic, but it catches McCartney questioning his own power of recall, singing, "Were we there? Was it real? Is it truly how I feel? Maybe. You tell me." Mr. Bellamy is certainly a classic McCartney characterization of a man contemplating suicide, or at least escaping his oppressors. The deeper you go into the disk, the more impressive (and impending) it becomes. "Vintage Clothes" is a clever allusion to growing old and watching your wardrobe turn into `vintage clothes'. "That Was Me" flashes images of a life, while observing, "when I think that all this stuff makes a life, it's pretty hard to take it in."
As you'd expect from a collection of McCartney songs, there's plenty of melody, and many sound oddly familiar, suggesting classic Wings tunes. "Only Mama Knows" hints at "Junior's Farm" and "Ever Present Past" lifts some of its melody from "Wonderful Christmastime," while "You Tell Me" and "House of Wax" both suggest bits of "Dear Friend." Many of these songs even feature Linda-esque harmonies, which is somehow simultaneously comforting and creepy. The sense of finality reaches its poetic climax on the aptly named "End of the End," wherein McCartney faces his own death as though the Grim Reaper was hovering over him. It is a stunningly beautiful moment that justifies the entire disk; indeed, it justifies his entire career. This would be the logical ending for "Memory Almost Full," but "Nod Your Head" provides a most unusual coda for such a well-adjusted album. Over a sea of noisy atonality, McCartney lets loose with some unbridled anger, aimed at a not quite estranged partner. Could this be that most rare moment when McCartney finally releases unbridled and mostly undisguised anger at someone who has deceived him? It's thoroughly incongruous with the rest of the disk and 100% unexpected, and especially unsettling coming at the end of an entire album's worth of songs that sum up a life well spent. A- Tom Ryan

Paul McCartney's "Memory Almost Full" is an excellent addition to his body of work. While I couldn't get the lyric section on his website to pull up for my computer, some of his lyrics are incredibly intriguing, as I hear them. "House of Wax" is a very interesting track with a great orchestral build and some of Paul's most expressive singing on the disc with blistering electric guitar, "Lightning hits the house of wax, women scream, "another round" to dance upon the battleground..." "You Tell Me" has Paul singing wistfully in his upper register with a stately melody. It evokes a flood of memories with each lyrical snapshot, "When was that summer when it never rained? The air was buzzing with the sweet old honey bee, let's see, you tell me." "Only Mama Knows" starts & concludes with a string orchestration. Then Paul breaks out into rock track, "On my hand was a plastic back with a picture of my face; I was crying, left to die in this God-forsaken place." What an exquisite track! "See Your Sunshine" bubbles with joy and puts a smile on my face like "Silly Love Songs." Other tracks like "Mr. Bellamy," "Vintage Clothes" & "Feet in the Clouds" are delights. This is an excellent outing from Paul McCartney, one that should be received joyfully by most of his fans. Bravo!

Hello everyone who reads it! I am Russian, so please excuse me if I have some errors. :O)

I know why some people here did not like the record. They waited for same old pop-like songs, but this one is so amazingly creative and contemporary that it shocks you.

First 2 songs are classic McCartney - those that the most of The Beatles fans, I am sure, will love. The rest is so fresh and nice that it's hard to evaluate - I need more listening to find right words!!! Just want to say that Mr. Bellamy is the best song on the album for me!

Some people here were right, the album kinda reminds Ram (my favorite album of Paul) but reminds it in the way that it is a truly artistic - unusual work.

I am a musician and a songwriter myself and can tell this record is a great work and any musician can see that it is such a hard work (in terms of - a lot of effort put in it). If you listen to the record in headphones you can hear a lot of little parts guitars, pianos, vocals and so on that Paul uses to paint that Masterpiece!

I know English good enough to say that the lyrics on the album are good too. The End of the End is a good example of Paul's way of expressing the world and human feelings through lyrics - makes you feel positive about life and death - that is what true poetry should do for us - people!

John was so blessed to meet Paul back in fifties (as well as Paul to meet John). I am sure that Paul was the main force behind arrangements of all amazing staff in the Beatles work not only his but other Beatles writers too! In my opinion, we would never had Strawberry Fields, Tomorrow Never Knows, A Day in The Life, Taxman... you name it... the way they are - without Paul - he is the pusher, the hardworking artist, the fearless creator!!! I wish I could see how he works in person to see the creative process of his.

Anyway.

Everyone, I think will like something on this record because it has everything in it, but true art lovers will name it one of his best work.
I hope Paul will keep on working and creating (I know he will 'cos he is a true artist and a never giving up warrior) :O)

I was smiling when Paul said in his video message to get the record for - "Your friends, enemies, pets..." but that is the feeling I have after listening. I think I am going to buy the album for everyone who's in my opinion will be able to appreciate it - to share my joy! One is flying to Germany right now as a birthday gift for my friend Shyrik who is always afraid to get a record the day it comes out. :O)

Paul, I wish you the greatest health and never feel negative no matter what happenes. We all here to support each other. "No need to be sad!" :O)

Big Respect to you Paul!!!

Nearly every song has something that makes it great. Dance Tonight is just a catchy little diddly but after a few listens, even though there is no substance you're boppin' to it and feeling good. Ever Present Past--didn't like it the first couple of times, but now I'm noticing lots of subtlties that make it excellent. The best songs on the album though are Only Mamma Knows, The House of Wax (two awesome rockers the likes of which they just don't make anymore but should), Mr. Bellamy, and The End of the End--his obligatory ballad, but one of his best ever.

Over the last 10 years McCartney has been going through a renaissance of sorts. I'm not sure if this culminates it or not, but this effort certainly does keep the momentum going. Excellent, excellent album from start to finish.

Highlights? There are many. The opener "Dance Tonight" is fun, especially with the mandolin rhythm. Or there's "Only Mama Knows" a clear ode to his first wife Linda. And then of course, there is the suite of songs that finish the album. However, I think my favorite is "Gratitude". Here McCartney pulls out his rocker voice (ala Sgt. Pepper, Oh Darling, Back in the U.S.S.R.) and delivers one of his best vocals in the last 20 years.

Absolutely worth purchasing (especially if it's on sale.) McCartney's "memory almost full" is a tour de force that will rank as one of his best solo albums ever. (And that's saying a lot considering what he's accomplished in his brilliant career.)

Forget the sappy love songs that have hurt Paul, Stevie Wonder and some other of our best artists last several albums. "Memory Almost Full" is a modern reinvention of McCartney's best work since the first Wings albums.

Among McCartney's work from 1980 on, it is generally accepted that the two best records are Tug of War (1982) and Flowers in the Dirt (1989). Memory Almost Full deserves a place beside these two later-period works; it is certainly his best since Flowers in the Dirt.

When Linda McCartney passed away, clearly a part of Paul died with her, and his post-Linda records (Run Devil Run, Driving Rain, and Chaos and Creation) all sounded fragile, brittle, old, lonely. This from an artist who is all about whimsy, playfulness, who had a number one hit with the wry and self-aware "Silly Love Songs." Somber and mortal don't sound well on Paul, cute doesn't age well, Peter Pan should never grow up.

At first I thought this record was going to fall into that cluster of recent records that just didn't work. But some time during my third listen, it all snapped into place. The melodies had worked their way into my brain, and I am happy to announce that Memory Almost Full is a solid return to the musical DNA of his best work. And especially after the moody downbeat experimentation of Chaos and Creation, I say, hallelujah.

This is not to say he's repeating himself, or rehashing old ground. Rather, I think that Paul sounds quintessentially like Paul here, and if you've gone for that over the years, you will find this a welcome revelation.

"Dance Tonight" is an infectious if innocuous ditty of the sort he's been pulling off and tossing off for years; "Ever Present Past," the single, grows on you and works better in the context of the record than as a standalone. It is the first of several songs here in which Paul looks back on his life and legacy; talk about a guy who can't escape his ever present past, eh? "See Your Sunshine" is a winning arrangement, lush with gorgeous backing vocals; it harkens back sonically to Tug of War, I'd say.

"Only Mama Knows" is one of those rockers of his like "Junior's Farm" or "Girls School." Some have said that this record is reminiscent of the Wings stuff, and I think it is-- and what's wrong with that, I'd like to know "You Tell Me" is a gently loping, somewhat haunting ballad built around acoustic guitar. "Mr. Bellamy" most certainly bears at least a passing acquaintance with a Mrs. Vanderbilt. "Gratitude" is a winning vampy tune with an exquisite and chilling ascent on the harmonies of the refrain that make it sheer ear candy.

Then "Vintage Clothes" begins a 5-song medley which looks back at the artist's life (its OK to wear old clothes, but don't live in the past); the song segues into "That Was Me," a nice upbeat number (or "noom-bah," as Paul would say) that sees him owning up to, embracing his past ("That was me on the river, Mersey-beatin', with the band... that was me.") Later in the song he sings, "If fate would decree that all of this would make a lifetime, who am I to disagree? That was me." Another neat segue into the pretty "Head in the Clouds," then the more somber "House of Wax," more great vocal arrangements, and nice lush orchestration, then some tasty minor key guitar work.

The medley ends with "The End of the End" (the title a wink at the final track on Abbey Road?) which is the most maudlin thing on here; Paul talks about what he wants at his funeral. But then he, literally, goes whistling past the graveyard.

Then a coda of a sort, the hard rocking "Nod Your Head."

The singing--and especially the backing vocals--is outstanding throughout, but more than anything else, with only a couple of exceptions, the moroseness is gone and the whimsy is back. The melodies are memorable, burrowing into your brain and setting up camp there, so that as you play the record you're thinking, "Oh yeah, I like this one!" as each tune rolls by. The songs exude the combination of seductive playfulness combined with seeming total effortlessness that marks his best work. And as always, the musicianship is first rate, especially the old fella on bass.

But hell, don't take my word for it--go to Starbucks and give it a listen.

You want some whipped cream with that, she said as I waited with mounting anticipation. Yes, yes and I also got this album. You gotta love those Mocha Frappucinos at Starbucks.

As I listen to this, several things really impress me. As he is getting older his lyrics are getting so much deeper and emotional. I particularly like Ever Present Past with its contrasting title. But this is one of his most interesting songs, because the lyrics are musically contrasted with a driving straight eight style riff with a musical countermelody, and also gives his voice a chance to shine. This is a great song.

Mr Bellamy is also one of his vivid word portraits, where his songs have characters somewhat like he did in Maxwell's Silver Hammer, or Lovely Rita. Vintage Clothes is also rather intriguing.

There is nothing here that screams number one. All the songs are listenable, I mean there are no bad songs that make my finger reach for the skip button. Probably the weakest song is the catchiest one Dance Tonight. Its a little simplistic but keeps running around my head.

I am so impressed by this album I just went out and got Chaos and Creation his last album. That is a great album, and I particularly love A Certain Softness, one of his best songs ever, with a soft romantic latin jazz style. Really cool. Macca still has it, as much as ever, and now with extra punch to his lyrics.

I hope you find this review helpful.

The atomsphere on this album displays McCartney's different and brilliant styles and craft developed through his fifty plus years of experience (he started writing before meeting Lennon). These different styles and periods accumulated developped and innovated come together here,sometimes partly sometimes totally. Some songs are Beatlesque,McCartney I,Band on the run,Driving rain & McCartney sounds fresher and more grounded on this album than on Chaos and Creation for example. His lead signing is strong and less constrained on most tracks(65 this month). The backup vocals (his own) are innovative with well interwoven balanced/blended staccatos taking root from many Beatles, Beach Boys and Wings songs. McCartney's musical virtuoso is again displayed with quite good lead guitar riffs, accomplished piano playing (remember the piano intro.on "While my guitar gently weeps") and of course his trademark unorthodox bass playing style.
McCartney's musical prodegy is astonishing : he plays most of the instruments (horns and strings excepted... but give him time ha. ha.),does all the vocals, writes his own songs, directs the hired studio horn and strings players although he still cannot write or read music. I'm a Beatles and McCartney fan and if anyone thinks I'm being somewhat bias, ask yourself this question : who else in today's music industry can accomplish all of the above, for so many decades and do it so well so consistently ? Look at his track record and you will discover that McCartney is more than a musician... he is... An "Icon".