Memory Almost Full

When it was announced awhile ago that Paul McCartney would be releasing an album of new material, Memory Almost Full, exclusively through Starbucks' hearmusic (tm) label, I was skeptical for two reasons. First of all, Starbucks is such a large corporation that I'm naturally wary of it. Recently one moved to Manhattan, KS, threatening two privately owned coffee houses and bakeries, Radina's and the Bluestem Bistro. It doesn't appear to have much success so far, although Starbucks is sold in several on-campus locations at Kansas State University and at several other locations throughout the city. Its brand is omnipresent.

The other reason I was worried is probably the more shallow -- the album is by Paul McCartney. Paul has never been my favorite Beatles (that's George!), and I blame him (perhaps unfairly) for breaking up the Beatles. My reasoning on this is that, starting with "Yesterday," Sir Paul would often refuse to allow the other Beatles to play on his songs. I would imagine that Ringo, for instance, was particularly hurt when a frustrated Macca kicked him off of drums during the recording of "Back In the U.S.S.R." Also, except for his first solo album, a few select singles and various segments of Wings, I haven't found Paul's post-Beatles output particularly interesting. To be honest, some of it is absolutely phenomenal, but early eighties output like "Ebony and Ivory" and "The Girl Is Mine" is legacy-killing.

After hearing a snipped of "Dance Tonight" on an iTunes commercial, I bided my time until I could find the album on sale and then quickly snatched it up. "Dance Tonight" had sounded like a revelation; fun music to just dance to. I absolutely loved it. Hearing the song in full, I realized that the excerpt simply repeated itself without ever filling out any more. I was a tad bit disappointed.

My initial disappointment faded with subsequent listenings. "Ever Present Past" may be my favorite post-Beatles McCartney song. The beat is funky and contemporary. The line "I don't have time to be a decent lover" is simultaneously simplistic and powerful, if only for its strong confessional nature. This is something we've all felt at some point and been either too inarticulate or too scared to express so clearly as McCartney does here.

"Mr. Bellamy" is another standout track. The piano hook that it hangs on is killer-diller. The funky voice modification on the voice talking to "Mr. Bellamy" is spot on, robbing the songs assumed-authority of its ethos. "Mr. Bellamy" becomes a classic characterization, combining Bartleby the Scrivener's calm refusal with the wisened introspection of the sage on the hill.

There are several other highlights as well. "See Your Sunshine" sounds like romantic comedy soundtrack filler, but from a smart romantic comedy that I wouldn't mind watching. "Grattitude" is one of Paul's rockingest post-"Oh Darling!" vocals. "The End of the End" is a great concept.

Overall, the album is probably as strong as anything McCartney has made, with the possible exceptions of McCartney, Band On the Run, and "Uncle Albert/Admiral Halsey." The only real complaints from this end are the over-nostalgic indulgence of "Vintage Clothes" and "That Was Me." While Nostalgia can be made fresh (see "Ever Present Past" where others' nostalgia of McCartney becomes a nuisance), these songs are like Hallmark-card rehashes. And while "That Was Me" is at least mildly likeable in spite of itself, "Vintage Clothes" sounds like a commercial for an overpriced thrift store. Still, if this album is any indication, Sir Paul isn't content to rest on his laurels quite yet.