Paul McCartney
McCartney III

Paul McCartney has decided to make the best use of his free time given the adverse circumstances of this devastating year. Like many artists, more or less famous and more or less talented, he had to give up performing live. What better way to spend the time than producing new music?

This time, as the title reminds us, he has decidedly gone solo, creating the next chapter of the now trilogy of "McCartney" albums, entirely written, played, and produced by the English baron himself.

Rewinding just two years back, the gem of an album called "Egypt Station" was released. An album that was a definite success with critics and also with the public, given its good sales. A rich and varied record, with sometimes distant but always coherent sounds with the artist's journey. An artist who in nearly sixty years of career has never stood still in his ideas and overall vision.

He has always been very courageous in experimenting with new sounds, or simply sounds far from his background. If we look closely, it's also the path of the Beatles. The Fab Four were for long stretches a kaleidoscope of sounds. A universe of notes that gradually intertwined. Without ever having any common denominator except talent.

Sir Paul, after over 400 songs released in his name (or under Wings), has thus released a new album in this unfortunate year.

This "McCartney III" is a very different album from the previous one. If the previous one was elaborate and rich in post-productions, this one is instead very direct and simple. It's a spontaneous record, the result of a few sessions (as declared by Paul).

The album opens with "Long Tailed Winter Bird," a splendid almost entirely instrumental song that immediately sets the right mood for a beautiful and heterogeneous album. Even "Deep Deep Feeling," backed by its eight minutes and twenty-six seconds, stands out as a hypnotic song with a good instrumental base. The melody forcefully arrives (and how could it be otherwise?) with "The Kiss Of Venus."

Guitar and voice, nothing more is needed when your name is Paul McCartney.

"Pretty Boys" confirms this, not unforgettable but certainly noteworthy. There is also room for a bit of R&B with "Deep Down," a song that doesn't fit the artist's classic patterns but is rewarded by some good ideas and an overall pleasant rhythm. The album closes with the B-side of the opening track: "Winter Bird/When Winter Comes." The song indeed opens with the same melody as the first track and then follows the tried-and-true guitar/voice scheme.

There are no particularly bold experiments in this work. Just about ten inspired songs with Paul having much more to say even from a vocal standpoint. Certainly, his voice can't be the same as a few years ago, but anyone who has had the fortune to see him live recently will agree that this music genius is in great shape.

If he still allows himself to go around doing two-and-a-half-hour shows, it's not just because of his immense past. But because, unlike many old glories, he has always been able to renew himself and maintain an absolutely respectable physical state.

Frankly, we must be satisfied with how one of the most incredible careers in the history of music is closing. Certainly, his solo journey wasn't on par with the mother band. It was frankly difficult. There can probably also be a comparison with the other Beatles, and everyone clearly has their preferences (personally, I believe "All Things Must Pass" is the best solo album by an ex-Beatle). But there is no doubt that McCartney has confirmed all these years to be a rare pearl that is born once. And perhaps there may not be more. And yes, that is indeed a great pity.