Album review: Paul McCartney’s “Egypt Station”
Musicians as legendary as Paul McCartney could have easy lives resting on the laurels of their early careers. Five years ago, Macca showed us he wasn’t about to do that as he delivered the spectacular “New.” Now the Beatles bassist is back with another strong showing: “Egypt Station.”
It’s not as immediately captivating as “New” was. And the songwriting might not be quite as adventurous. But “Egypt Station” is full of charm — the kind of charm only Sir Paul could deliver.
Now well into his 70s, McCartney is still a captivating singer.
That charm is strong on “Happy With You,” which tells the story of an angry man who used to get stoned and wasted, who drank too much and lied to his doctor, but now he doesn’t do anything of these things because he’s happy with someone special. It would be almost cheesy if it didn’t sound so darn genuine. Plus, there’s a fantastic little acoustic guitar riff that is one of the highlights of the album.
Speaking of charming, there’s no better word to describe the acoustic guitar-based “Confidante,” where McCartney sings, “I played with you throughout the day / And told you every secret thought / Unlike my other so-called friends / You stood beside me as I fought.”
“I Don’t Know,” the first full track after a short chorale opening, makes it immediately known that this is a Paul McCartney album. It’s anchored by a bittersweet melody and tender chorus: “But it’s alright, sleep tight / I will take the strain / You’re fine, love of mine / You will feel no pain.”
Now well into his 70s, McCartney is still a captivating singer. Check out “Hand In Hand,” where that distinctive voice we’ve loved for more than five decades wafts over lyrics like “Want to give you my heart / Want to tell you my story.” Or there’s “Do It Now,” where his distinct phrasing perfectly frames lines like “Got the time, the inclination / I have answered your invitation.”
It’s kind of amazing that after decades of writing music — including many of the most beloved songs of the past century — that McCartney still comes up with absolutely engaging tunes. Among them is “Dominoes” with its catchy pre-chorus and its lyrically adept chorus: “And lines of dominoes keep falling / Into place ignoring everything in their way / And all the telephones keep calling / Constantly imploring us to come out and play.”
The most hook-heavy songs here are, reasonably, the first two singles. He debuted the first one, “Come On To Me,” before the album released on “The Late Late Show With James Corden.” It’s not the most complex song McCartney has ever written. In fact, it’s pretty basic. The lyrics are simple. And aside from the surprising horn section, the music is fairly straightforward as well. But, damn, it’s catchy. Good luck not singing along by the end.
Then there’s “Fuh You,” which may catch McCartney fans off guard at first. Co-written with song doctor Ryan Tedder of OneRepublic, there’s definitely more of a contemporary pop influence here. Yet it still has some of that McCartney magic, and the sweeping chorus is enchanting after a few listens.
While the overall vibe of “Egypt Station” is the jaunty pop-rock that defined much of McCartney’s career, there are a few harder hitting tracks like “Who Cares” and “Caesar Rock” that remind us he’s still very much a rock star too, even if “Caesar Rock” is the only forgettable track on the record.
We don’t deserve Sir Paul. We just don’t.
There are some interesting influences on this record as well. An obvious one is McCartney’s former songwriting partner, John Lennon. The lyrics and the vocal effect McCartney uses on “People Want Peace” are both quite Lennon-esque. Still, there’s a McCartney-like showmanship here when he sings, “Ladies and gentlemen / I’m standing before you / With something important to say.”
And there’s the Brazilian influence on “Back In Brazil,” which was recorded, appropriately, in Sao Paulo and incorporates a fun Latin lounge rhythm. McCartney also reportedly played nine different instruments on the track. Despite a markedly different texture from the rest of the album, it still fits in remarkably well with the rest of the songs.
Perhaps the most fascinating tracks here are two numbers near the end of the album that both clock in at more than six minutes. “Despite Repeated Warnings” is a nearly seven-minute epic tale of a ship bound for doom and the act of mutiny that just might save it. The beginning is slow and melodic as the narrator unveils a dire situation. Then the music shifts, becoming more rhythmically driven as the engineer rises up to save the ship from the captain’s bad decisions, erupting into a triumphant chorus of “Yes we can do it.”
Apparently unwilling to settle for a single epic track, McCartney also delivers “Hunt You Down/Naked/C-Link,” which is really three songs in one. The first is an upbeat rocker, complete with fuzzy guitars, barroom piano, and horns. The second is a breezy tune that focuses on the vocals and employs a rhythmically complex lyrical style. And the final part is a ruminating instrumental led by a searing electric guitar.
While “Egypt Station” may lack some cohesion and could have possibly benefited from losing a track or two, it’s still a fine showing for a 76-year-old rocker’s 18th solo album — his 50th album if you include all his collaborations, classical works, and recordings with The Beatles and Wings.
We don’t deserve Sir Paul. We just don’t.
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