Review: Paul McCartney :: I/II/III

The three albums that McCartney produced on his own in 1970, 1980 and 2020 are now being released for the first time as a box set in a stylish slipcase, either on black or colored vinyl or on CD, but always supplemented by a few photo prints. One after the other: the debut, released just in time for the end of the Beatles, caused rather long faces at the time, because its lo-fi miniatures from the home studio thwarted the expectations of the fans, who were particularly sensitive at the time and were grieving.

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Critics also took the ex-Beatle to court, who was previously suspected of being a genius, and showed little understanding for the sounded testimony to self-discovery. “Maybe I’m Amazed” and “Junk” were absolutely fine songs. Ten years later, after the end of his band Wings, McCartney proved that at least he hadn’t lost his creative courage. Surprisingly, this was not appreciated everywhere.

A dilemma!

Let’s put it this way: If he had limited himself to tried-and-tested pop and rock à la Wings, the accusation would certainly have been raised that he was outdated, which in 1980 could lead directly to the murky cooldown of boring old farts. However, II’s slightly eccentric synthesizer pop, inspired by contemporary wave, also polarized, because the earlier-it-was-better faction preferred tonally more traditional forms of administration. A dilemma!

In the meantime, however, the plant is considered to have been rehabilitated. McCartney’s 2020 Lockdown Album III then demonstrated almost the entire range of his work, from the semi-experimental “Deep Deep Feeling” to pub rock, folk, chamber pop, music hall and the catchy Britpop anthem “Seize The Day”, the can also reconcile Beatles fans. Which confirms a phenomenon when listening chronologically: that Paul McCartney’s solo form curve actually increased within 50 years.

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