Paul McCartney
Memory Almost Full

I have read reviews regarding Paul McCartney's latest work. I must say, even if my opinion is absolutely harmless as I belong to the fringe of common mortal reviewers, there are many things I can't agree with.

This work has, at least for now, been the subject of venomous criticisms, hurled by people who in my opinion either haven't properly listened to the album or have reviewed it really too superficially. I have been listening to McCartney for at least twenty years and based on that, even as a common mortal, I can say something about "Memory almost full".

It is certainly inferior to the musical finesse offered to us by "Chaos and creation in the backyard", characterized by a freshness in the notes that flow so pleasantly that, after a warm listen, it even acts as a deterrent. A deterrent associated with a sense of "deflated", sparse songs that become essential and excellent after several listens.

"Memory almost full" has been erroneously described by some as a jumble of leftovers from "Driving rain", an undoubtedly bad album, except for some fleeting beams of light. Based on that, I do not blame Sir Paul, as that work was born in the worst years of his life. A state of confusion tragically highlighted even in the tracks of the album. I strongly condemn those who wrote such things. "Memory almost full" is not the trail of "Driving rain". If it were, it couldn't even be listened to through an echo effect.

Moving to my very personal and questionable analysis of McCartney's latest effort, we open the curtain with:
Dance tonight - Excellent overture, simple, straightforward, without too many pretensions, reminiscent in some passages of George Harrison's "Give me love". The strummed ukulele gives the appearance of a sweet song dedicated to a child. This is, in my opinion, the imposing soul of the piece.
Event present past - Not exceptional, although very smooth, quite clean in orchestration. At most, it might appear as a song with repetitive metrics, as it is far too similar to other medium-grade songs from Paul's vast archive.
See your sunshine - The first low point of the lineup. In the melodic sphere, it doesn't evoke any emotion that might perhaps be highlighted by reading the lyrics well, but I wouldn't bet on it. Reminds of something thrown into the oblivion of the dark years 1983/1986 from "Pipes of peace" to "Press to play". Nothing more.
Only mama knows - Now we're starting to reason. Subtle and engaging start with a likely, and very fitting quartet of strings that repeats at the end, up to the sudden arrival of an orchestration eruption like a river mouth, raw and at times "dirty" with excellent electric guitars and choruses worthy of Wings' golden years. Somewhere it even seems like you can hear Denny Laine (those were the golden years!). Excellent piece!
You tell me - Track with a melancholic, introspective soul, even moving at some points. Absolutely not sappy as someone might say. Comparable to painful laments like the beautiful "Dear friend" or "Love in song". To be listened to carefully. Possibly in solitude for reflective purposes.
Mr. Bellamy - Another track of great depth. Interesting orchestration, rich in sounds skilfully fragmented but floating within the overall structure of the song. Also interesting from a vocal point of view, where McCartney challenges himself with highs and lows hardly retrievable elsewhere in his discography.
Gratitude - Slight decline. In some echoes similar to a black blues with inadequate results but nonetheless not to be thrown away.
Vintage clothes - Fun and sparkling piece, adorned with excellent choruses and sincere whistled metrics. Interesting, catchy piece, absolutely engaging, also in what the orchestration offers. The choice of instruments is well-disposed in the flow of the song.
That was me - Another decline. Too superficially smooth, without highlights either musically or vocally. It seems like it was thrown there just to fill a gap. A poorly executed attempt that fortunately is short-lived.
Feet in the clouds - Transition track. Comparable to the previous one. It doesn't produce remarkable effects, where that "very very very very" even becomes tedious. Negligible but transitional for the following track.
House of wax - The best piece of the album. Imposing track, of monumental interpretation. This is the Paul we would like to hear, regardless of those who consider him outdated. If a distinguished gentleman of 65 years gives you such a piece, it is absolutely commendable. Bloodthirsty piano, incisive, melodies at times muffled as if about to explode. Dilanian voice, touching, of colossal emotional impact. Excellent electric guitar solos blend skillfully with the orchestration imposed by the song's metrics. Exceptional!
The end of the end - Essential return to earth. Simple and sincere. Ballad marked by the inimitable trademark of the McCartney firm with an absolutely captivating whistling interlude. Sweet and pleasantly embedded light strings accompany the subtle piano. Excellent!
Nod your head - Perhaps not worthy of the album closure, as it is characterized by a rough riff and choirs found in "Back to the egg". Not bad the vocal timbre, despite the commendable age of the subject. Globally sufficient.

I close with a cryptic "Buy it" without paying attention to negative reviews. If I've gotten it all wrong, I'm ready to recant.