The Boys of Dungeon Lane, to my ears, isn't the late-career masterpiece it's been hyped to be, nor is it a the revealing, autobiographical concept album about his pre-fame days in Liverpool that it's been presented to be.
What it is is an enjoyable LP that stacks up well amongst his other solo releases of our current century. In fact, I'd rank it as probably his best since 2005's Chaos and Creation in the Backyard, which was his best since the last really good McCartney album, 1997's Flaming Pie, recorded when his voice was still strong and his songwriting was full of fresh inspiration.
I don't intend to damn with faint praise, nor to be ageist (something I'm very cognizant of, having just hit age 60, myself), but Paul is no longer a great vocalist, nor a great songwriter. He's nearly 84, his voice is frayed, and he's not written a hit nor a true, classic McCartney song in many years.
Yet, he continues to write, sing and record music nevertheless, and that's remarkable, commendable, and I'm thankful for it.
But I do think it's dishonest, or at least overly sentimental, to say this new album, or even Chaos, contains anything that stands up to the caliber of Sgt. Pepper, Ram, Band on the Run or Flowers in the Dirt.
If I took the hype behind this LP seriously, I'd be tremendously disappointed. But I don't, so I'm not.
What I hear is a few good new tunes, a number of imaginative, playful arrangements and a voice that, although diminished, sounds blessedly stronger on CD/vinyl than it does in Paul's recent TV performances.
Here's my take on the songs:
"As You Lie There"
A weird one to open with, I think, and a weird song, period.
Paul begins with a spoken word intro referencing the 1957 doo-wop tune ""Silhouettes," which itself also served as the inspiration for the Beatles' "No Reply."
Paul's lyrics capture the spirit of innocent infatuation of both of those earlier tunes, but then get dark, as the music becomes louder and more intense. Our narrator isn't all that innocent, nor benign, it seems. He's not a lovelorn boy, but a creep and a stalker. Or is he? Isn't there always a bit of lustful selfish obsession lurking beneath the surface of romantic infatuation?
It's an interesting theme to explore, yet also, like I said, a bit weird. And I do think it would be easier to process if placed later on on the album.
"Lost Horizon"
More good, albeit not great, lyrics on this medium-tempo rocker. The words describe how sounds — the squeak of bus brakes, music and laughter from a distant fairground — can conjure up memories. Yet, Paul sings in generalities, not revealing anything deeply personal, nor that deep at all.
The song's backing is fairly generic and not that interesting melodically.
"Days We Left Behind"
This is the LP's first high point, I think, with a memorable melody and a moving vocal as Paul tests the top of his diminished range.
The song opens with the lovely sound of plucked acoustic guitar strings and there's some nice lines about "smoky bars and cheap guitars," "secret codes" and promises that never will be broken.
It's all very reminiscent of "Early Days," one of the best songs of 2013's New.
"Ripples in a Pond"
This is the album's one stab at something approaching the sound of contemporary pop music. It's not desperate, as was "Fuh You" on Egypt Station, but, like that song, it's also not that great. Paul sounds out of his element and not committed and, despite some nice guitar playing, there's nothing that saves the tune from being just a bit of filler.
"Mountain Top"
This one's more fun: Launching with piano followed by crunchy guitar, Paul brings us back to "Pepperland," with various psychedelic effects, some backward guitars and mysterious overheard voices near the end. It reminds me a bit of XTC in its playfulness, but doesn't descend into Dukes of Stratosphear parody.
"Down South"
A folky reminiscence about Paul's pre-Fabs hitchhiking trip with George Harrison. It's a nice memory for Paul, I'm sure, but there's nothing very special about the melody and the on-the-nose lyrics referencing "Twist and Shout" are about as superficial as something Ringo might've included on one of his pre-T Bone Burnett LPs.
"We Two"
Nothing that spectacular here, either, although some of the production touches — heavy snare drum, Mellotron strings and overdubbed harmonies — create some interest.
"Come Inside"
Every McCartney album, it seems, needs a tossed off, forgettable rocker. Here it is.
"Never Know"
Much better. Very nice, Beatle-y, production and arrangment touches, including a shift from minor to major on the bridge, more backward bits, Mellotron flutes and a very cool, Swingle Singers-ish bit of a capella harmony singing with Paul handling all of the parts.
"Home to Us"
You'd need to be Satan not to love this one.
Paul and Ringo trades funny lines about growing up in Liverpool, carried along by a bouyant sing-along melody. The mix of wit and sentimentality, and the overall theme, reminds of of Madness' "Our House."
Another of the album's highlights, and a highlight in Paul's catalog because it features him singing endearingly with his old friend and bandmate. I know I'll smile every time I hear it.
"Life Can Be Hard"
Another highlight depsite the not terribly revelatory title and theme. Paul tests his upper range again in moving fashion. Nice melody and the arrangement is a nice change of pace from most of the album's other tunes, which lean on the guitars, bass and drums format.
Here we have flute, clarinets and violins set to a jazzy, swinging beat.
"First Star of the Night"
This sounds stripped down, like a home recording. The opening guitar notes remind me of "Dear Prudence" and there are some nice jazzy chords played later on, too.
"Salesman Saint"
Another look back at Liverpool, this time from the perspective of Paul's parents generation, making do after the war.
Paul's arrangement is imaginative, setting stark folk touches against snippets of ghostly swing-era brass. The lyrics aren't nearly as creative, yet seem heartfelt.
"Momma Gets By"
A good song, yet, like "As You Lie There," oddly sequenced.
At first blush it seems like another of Paul's tributes to the power of women — "Lady Madonna," "Another Day," "Daytime Nighttime Suffering" — yet, like the LP's opening tune, there's a disconcerting darkness beneath the surface.
"Momma gets by, while poppa gets high," Paul sings. This is a woman not elevated, but dismissed, taken for granted and abused.
The orchestral backing reminds me a little of "She's Leaving Home," as do the lyrics, which convey deep tragedy masquerading as everyday life.
Again, a good song, yet an odd one to go out on, especially given Paul's generally upbeat temperament. Usually he'd leave us feeling up, rather than down.
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