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11.43pm
11 June 2015
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Ladies and Gentlemen, SIR PAUL McCARTNEY – Slidin’ 
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Longer than the road that stretches out ahead
11.44pm
11 June 2015
Offline Ladies and Gentlemen, SIR PAUL McCARTNEY – Deep Down
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You and I have memories
Longer than the road that stretches out ahead
3.31am
Members
18 March 2013
Offline You trying to up your post count, sigh butterfly? 😉
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9.06am
11 June 2015
Offline I know-I know, maybe a little too excited last night. That’s why I wouldn’t make a good mod because I’d be sending bulk emails to all 2,599 forum members on days like this. The thing is there won’t be that many more chances to have the experience of listening to new Paul music. I don’t want any forum member or guest to miss out on this opportunity for even a second.
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9.09am
2 January 2017
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So I’m currently leaning very positively about it, but still feel somewhere in the middle. I’ve given it two full listens and a few more for my favourite tracks – those six being:
LTWB (a nice opener that sets the intimate mood and also reminds me a little of That Would Be Something .)
Find My Way (love the retro drum sound as well as the creative use of harpsichord, guitar loops and brass throughout)
Lavatory Lil (Paul’s lead guitar here is just awesome plus the silly lyrics and response chanting are fun, it overall sounds very RAM-esque)
Kiss of Venus (nice acoustic guitar and harpsichord and the imagery in the lyrics carry you away to somewhere else…)
Seize The Day (a strong power pop song with a great motivational message)
When Winter Comes (this does feel slightly out of place as a 1992 recording, but I really like the chords, farm-life lyrics and pleasant vibe it ends the album on.)
However, the other half of tracks I’m not too keen on atm. Women and Wives and Pretty Boys are both nice enough, but not very memorable imo. Slidin’ seems a bit too overdramatic for me and sounds like it’s just waiting to be thrown in some car advert. The two tracks I really dislike are Deep Deep Feeling and Deep Down – might just be me, but I get a looming sinister feel from both that really puts me off and I don’t like how they drag on. But yeah, just my opinion at this current moment that could change… 
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11.31am
2 July 2020
Offline Here’s a theory: Lavatory lil is me (aka Magill)
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5.24pm
Moderators
27 November 2016
Offline Well, that exceeded my expectations. I quite enjoyed it actually – take out Deep Deep Feeling (which, I agree Peppdog, is both too long and too… odd), and I’d say it’s a very strong album. My favourite is Lavatory Lil, I think, as it’s a fun, silly song that he doesn’t take too seriously. And his voice held up quite well for a 78 year old!
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7.36pm
Reviewers
17 December 2012
Offline Greatly enjoyed that. I don’t even mind Deep, Deep Feeling – seeing it as a link back to the electronic experiments of McCartney II , many of which it took time to come to appreciate. It’s not a bad track at all, just not the type of thing he includes on his “mainstream” albums any more, but tend to appear on side-projects like The Fireman.
As for Lavatory Lil, since it’s said to be about someone who was in his life, but that he’s said he’ll never say who, I’d suggest that the second Mrs. McCartney has to be a very viable candidate for a song about a gold-digger.
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The Beatles Bible 2020 non-Canon Poll Part One: 1958-1963 and Part Two: 1964-August 1966
8.18pm
4 September 2019
Offline mr. Sun king coming together said
So, rumors abound on 3 separate new McCartney albums. If he pulls a Memory Almost Full and still makes great songs as if there was a band, fine. If he goes McCartney – do it yourself style, then it will flop.
Not sure why that would be so. The first McCartney album is revered by many. McCartney II is not so well rated, but it yielded a decent single and TLC apparently liked it well enough to rip off Waterfalls. I find the do it yourself aspect an added facet to listening to it, makes it more interesting in some ways.
I’m curious about the production on this. Is he doing all the recording himself, or does he have an engineer there to push buttons for him? If he can’t sleep, does he go out to his studio at 4am, throw a mic up and record? Does he mix it himself, or leave it to someone else (with plenty of his own input, I’m sure)?
I’ve heard a few of the tracks, can’t say I thought any of them ranked up there with his best work, but I enjoyed them enough. I saw a video of someone saying that with Paul at 78, we need to appreciate every moment we have of him, and I couldn’t agree more. I’d love to be hearing an album from a 78 year old John Lennon right about now.
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sigh butterfly, Vera Chuck and Dave9.15pm
11 June 2015
Offline Hey @forn, here are the credits from the McCartney III CD booklet. It does appear that an outside engineer is involved, but I can’t find any info on the logistics.
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Longer than the road that stretches out ahead
9.58pm
Reviewers
17 December 2012
Offline During the lockdown in the UK, people were asked to work from home if possible, but engineer and technical assistant on a recording session aren’t jobs you can do from home. You can imagine it was mainly just Paul, Steve Orchard and Keith Smith at Hog Hill; which, given it’s a sizable studio, would be reasonably easy to social distance in.
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The Beatles Bible 2020 non-Canon Poll Part One: 1958-1963 and Part Two: 1964-August 1966
10.06pm
11 June 2015
Offline Hi @forn, I found an interview with Steve Orchard and Keith Smith that was published earlier today. It appears that they live near Paul’s farm in Sussex and were able to work in the Hog Hill Mill studio every day during lockdown. The article goes into great detail about Paul’s studio, his instruments, and the writing/recording process.
Hog Hill Mill Studio
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Longer than the road that stretches out ahead
3.19pm
4 September 2019
Offline sigh butterfly said
Hi @forn, I found an interview with Steve Orchard and Keith Smith that was published earlier today.
That’s a really informative article. Really paints a good picture of how Paul works, at least the recording end of it.
By the way, I was watching a video review of McCartney III (can’t remember which one). And this guy was saying that the changes to McCartney’s voice weren’t so much due to age, as it was to his lengthy career, and how he has basically worn out his voice entertaining us over the years. I don’t know if that’s true or not, but it’s an interesting theory. Paul has to have put a lot of strain on his voice, with all those different types of voice styles that he uses, especially the heavier rocking ones like his Little Richard voice. Paul has to have put a lot more strain on his voice than say, Bob Dylan or Paul Simon.
Paul’s falsetto is still remarkably intact IMO, especially compared with guys like Robert Plant and Brian Wilson.
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Vera Chuck and Dave, sigh butterfly12.20pm
8 January 2015
Offline I’ve been listening to the album, as usual it’s taking a few listens to properly hear it. Currently besotted by Slidin’ I just love that wall of 70’s muff grunge and an absolute ripper of a riff that will have guitarists worldwide absolutely FUMING they didn’t lay claim to it, and it isn’t overdone which could so easily have ruined it. But he cheated by getting Abe and Rusty on it, so there is that. Long Tailed Winter Bird is also something anyone could have written but they didn’t. I think Deep Deep Feeling is the most detailed and ambitious piece, there’s a lot going on there and it’s very clever. I wasn’t expecting the Johnny Cash hat-tip in Women and Wives but its a great melody and I’ve been playing a lot of piano and so I’m digging his piano chops too.
My general impression is that the album is almost too polished by comparison to the previous ones, and I miss that. There are no extended jammy instrumentals that needed cutting back for official release (that we know of, perhaps) like McCartney II , and the home studio is better equipped than most professional studios so there’s none of those sloppy takes, we have automation now. But as the Guardian review warned, we underestimated the previous two releases, who knows what stature this one will acquire 20 years from now (yell it at my ashes wherever they are by then can you). It also strongly reminds me of the last Fireman album Electric Arguments, where he demonstrated just how versatile his voice still is, even if its lost its shine through age. Nowhere is that better demonstrated than on The Kiss of Venus where Paul retraces his fingerpicking routine and falsetto and let’s face it, we’re all suckers for that one 
You may be interested in the Japan Special edition outtakes which are are on youtube courtesy of one Eggman Station, I’ll link one here and you can find the others yourselves. This one sounds like he’s doing it on a parlour guitar:
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3.38pm
Moderators
27 November 2016
Offline ewe2 said
I’ve been listening to the album, as usual it’s taking a few listens to properly hear it. Currently besotted by Slidin’ I just love that wall of 70’s muff grunge and an absolute ripper of a riff that will have guitarists worldwide absolutely FUMING they didn’t lay claim to it, and it isn’t overdone which could so easily have ruined it. But he cheated by getting Abe and Rusty on it, so there is that.
Apparently it’s an outtake from Egypt Station, that’s why.
But very well put ewe2, and a good reminder that over time it’s likely to be remembered well.
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6.58pm
11 June 2015
Offline Yes, thanks @ewe2 I dig your perspective on the new album. Also enjoying the outtakes, especially The Kiss of Venus. 
I know nobody is driving around for leisure these days, but wanted to mention this album sounds great on my car’s sound system.
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8.12am
8 January 2015
Offline The Hole Got Fixed said
Apparently it’s an outtake from Egypt Station, that’s why.
But very well put ewe2, and a good reminder that over time it’s likely to be remembered well.
Ah now that makes everything fall into place. After writing those comments I was pondering all day and I realized just how backward-looking the album is. I watched an interview Paul did and he, being the complicated human he really is, was making the big show of being always looking forward and never dwelling in the past so never remembering specific dates etc, but this album is completely nostalgic. It might well be unfairly characterized as “not enough in the can so fell back on the scraps from previous forays” but I ask you, isn’t it more likely in the year of covid and the world stopping than to look squarely back to the previous decades since McCartney II and wonder where the years went? Just about every song has a nod to a former style or a past era as well as a deft use of current tech that adds depth and detail that I don’t doubt isn’t currently appreciated. It also makes sense in the context of previous albums; as Paul said in the interview it was at the cusp of changing eras that the previous albums were made. Makes me a little nervous what that might mean in this context.
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4.40pm
4 September 2019
Offline ewe2 said
After writing those comments I was pondering all day and I realized just how backward-looking the album is. I watched an interview Paul did and he, being the complicated human he really is, was making the big show of being always looking forward and never dwelling in the past so never remembering specific dates etc, but this album is completely nostalgic.
Well seriously, if you can’t reflect and get nostalgic when you’re 78, when can you?
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28 March 2014
Offline Am I the only Macca fan who can’t get into this album???
Listened a few times, and just cant get past his voice 
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