{"id":527,"date":"2026-05-23T04:08:23","date_gmt":"2026-05-23T04:08:23","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=527"},"modified":"2026-05-23T04:08:23","modified_gmt":"2026-05-23T04:08:23","slug":"paul-mccartney-explores-his-ever-present-past-in-the-boys-of-dungeon-lane-a-delightful-return-to-wings-era-form-album-review","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=527","title":{"rendered":"Paul McCartney Explores His Ever-Present Past in \u2018The Boys of Dungeon Lane,\u2019 a Delightful Return to Wings-Era Form: Album Review"},"content":{"rendered":"
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\nPaul McCartney is a master of the fake-out. The first feint around his new album, \u201cThe Boys of Dungeon Lane,\u201d came when he released \u201cDays We Left Behind\u201d as the first single, an exceedingly gentle and wistful ballad that allowed for the possibility that the whole LP might be a collection of acoustic memory songs. The second bluff comes when you have the record in hand and put it on, to find that the opening track, \u201cAs You Lie There,\u201d is very much in that same soft, nostalgic, fingerpicking vein \u2026 but just for the first 55 seconds. At that point, a loud drum fill announces itself, snarling electric guitars kick in and McCartney\u2019s trademark howls of old arrive in time for a fairly kick-ass chorus.<\/p>\n

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\n\tThat\u2019s when you know for sure that \u201cDungeon Lane,\u201d which comes out May 29, is decidedly not going to be anyone\u2019s idea of an old man<\/em> album, whatever the calendar may say about his tender age. (Next month, he\u2019ll be able to sing \u201cWhen I\u2019m 84.\u201d) He\u2019s determined to keep it fresh and lively, and occasionally even fiery, but not by pretending that he\u2019s a youngster. Actually, the promise of \u201cacoustic memory songs\u201d offered by that first single was half right; it\u2019s just that you can scratch \u201cacoustic\u201d as a through-and-through qualifier. On at least half these 14 songs, McCartney is taking an unapologetically nostalgic look at his ever-present past. But he\u2019s doing it mostly in the flagrantly commercial, engaging, oft-rocking style of a 1970s Wings record<\/em>. McCartney is acting his age and defying it too, which is kind of the best of both worlds.<\/p>\n

\n\tSuperlatives are meant to be quibbled over, but here\u2019s one that will be met with a lot of agreement: \u201cThe Boys of Dungeon Lane\u201d is absolutely the best album ever recorded and released by a rock star in his 80s. Now, that could be taken as damning with faint praise, because how many serious, qualifying entries have there been? But that fact that there hasn\u2019t been much competition for that title yet doesn\u2019t diminish the achievement. There are other commendations that could be thrown on, like how this might be McCartney\u2019s best album of the 21st century. Macca-heads all have their favorites from his later work; mine up until now has been 2007\u2019s \u201cMemory Almost Full,\u201d partly because it was similar to this one in the way it mixed ruminative thoughts with crunchy sounds. (If he imagined he was running out of mental RAM back when he made that record 19 years ago, imagine how he might feel now.)<\/p>\n

\n\tBut this album is even more a celebration of memory, with plenty of current happiness thrown in too \u2014 as if his recollections about his Liverpool boyhood and his contemporary mash notes to his wife, Nancy Shevell, occupied adjacent spots on his personal timeline. He seems to get a kick out of leaping between the 1950s and the 2020s in these lyrics, with neither era luring him any closer to melancholia than the other. McCartney has some good company this time, anyway, in his cheerful time-tripping. Aiding him in all this robust reminiscence is his co-producer on all the tracks and co-writer on about half of them, Andrew Watt, classic rock\u2019s biggest modern cheerleader. With his taste in superstar collaborators, Watt is 35 going on 70, but when it comes to his enthusiasm level as he\u2019s egging on his heroes, he\u2019s more 35-going-on-17. There may be a couple of generation gaps between them, but as partners in willful agelessness, they couldn\u2019t be better matched.<\/p>\n

\n\t\u201cDungeon Lane\u201d is quite a variety pack, not just in the differing styles from song to song, but quite often in the shifts that tracks take just from moment to moment. An album that has so many tunes about boyhood is well served by songwriting and arrangements that evoke such a never-ending sense of play. This album contains the most key changes you\u2019ll find anywhere this side of a locksmith\u2019s workweek, and not for show-offy effect, but because that\u2019s just how McCartney rolls, and writes, still. That first track, \u201cAs You Lie There,\u201d is the track with the most extreme dynamics, in the tradition of a previous you-didn\u2019t-see-that<\/em>-coming opener like \u201cBand on the Run.\u201d<\/p>\n

\n\tBut the kicky little intra-song surprises hardly end there. If you enjoy hearing the sound of McCartney riding the gear-shift knob, you\u2019re bound to get a kick out of how \u201cMountain Top\u201d \u2014 a slightly goofy ode to girls indulging in wholesome psychedelia at a musical festival \u2014 suddenly shifts from Beatles-style harpsichords and loops to a double-time rocker, in its final minute. (That track ends with some credited but unintelligible mumbling from Shevell. Could it be she\u2019s saying \u201ccranberry sauce\u201d? No, that\u2019s not it.)<\/p>\n

\n\tAnd then, bringing up the album\u2019s most musically audacious conceit, there\u2019s \u201cSalesman Saint,\u201d a salute to the struggles of McCartney\u2019s parents (Jim was the salesman; Mary, as you know, the saint) in WWII-era Liverpool before he was born. Partway through, this heretofore unassuming number gets an overlay of a \u201cBallroom Dancing\u201d-style swing orchestra, one that\u2019s not even in the same time signature as the basic track underneath. It\u2019s a freakishly weird touch, and a satisfying one. Suffice it to say, no one can accuse him of getting lazy in his 80s when he can still dream up a turn that far left. \u201cSalesman Saint\u201d is one of three songs grouped together at the end of the album that have string and\/or woodwind arrangements by Ben Foster and Giles Martin, two of the very few outside interlopers who\u2019ve been allowed into the otherwise insular world of Watt and McCartney. If you\u2019re a hardcore fan, you\u2019re grateful for the intrusion: There\u2019s something that just feels right about being in Macca\u2019s universe, any time a clarinet shows up.<\/p>\n

\n\tBut the eclecticism almost sneaks up on you. There\u2019s some consistency to how McCartney and his partner have fashioned this as a rock record that\u2019s closer to mid-period Wings than any kind of flagrant Beatles self-homage. With that said, though, Paul does play the recorder on one track; take from that what you will. And while I can\u2019t say for certain whether this was deliberate or not, I did enjoy the moment in the otherwise minimalist \u201cNever Know\u201d in which, at the two-minute point, there\u2019s a quick a cappella harmony bit that transitions right into a H\u00f6fner-esque bass lick, as if he decided to quickly throw in back-to-back nods to \u201cPet Sounds\u201d and \u201cRevolver\u201d just because he could.<\/p>\n

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\n\tOne thing there\u2019s none of, in this potpourri? Bad vibes. Anyone who\u2019s heard \u201cDays We Left Behind,\u201d you\u2019ve already heard the sum total of the album\u2019s sorrowful content, and that only amounts to a hint of melancholy in a couple lines. He switches the repeated lyrics around a bit, thoughtfully making certain that the tune does not land as a complete lament for things lost, but doesn\u2019t undercut the reality that there is a cost to the passage of time, either. \u201cNo one can erase the days we left behind,\u201d he sings in one version of the chorus, suggesting the past can have some kind of permanence, but then he changes \u201cno one can erase\u2026\u201d to \u201cnothing can reclaim\u2026,\u201d and that\u2019s about as sad a thought as you\u2019re going to get out of a Paul McCartney record right now. It certainly doesn\u2019t linger.<\/p>\n

\n\tBut he does believe in yesterday\u2026 or in time being a flat circle. \u201cAs You Lie There\u201d really sets out in an audacious way to put us inside McCartney\u2019s pubescent mind, as he speaks and sings his longing thoughts to a neighborhood object of desire from when he was growing up, a girl he\u2019s identified in listening sessions as Jasmine. In real life, he barely exchanged any words with her, dreaming only of her in an upstairs bedroom window as he\u2019d walk by her home. If you\u2019re a movie buff, you might think of \u201cCitizen Kane\u201d and the poignant little speech given by Mr. Bernstein, where he remembers falling at first sight for a young woman with a parasol. \u201cShe didn\u2019t see me at all, but I\u2019ll bet a month hasn\u2019t gone by since that I haven\u2019t thought of that girl,\u201d Mr. Bernstein said. There\u2019s something beautifully spooky and wonderful about Paul McCartney, at 83, being like that Orson Welles character, still mooning over someone who barely knew his name 70 years ago. (\u201cSorry, Nance,\u201d he said to his wife, apologetically, at one of those listening parties.)<\/p>\n

\n\tThe charming thing is, McCartney is indulging a lot<\/em> of youthful crushes in these songs. \u201cDown South\u201d is really about his platonic crush on George Harrison, when they were fellow travelers on buses in Liverpool and lorry rides down to the coast. \u201cWe\u2019d talk about guitars and rock and roll \/ They were the subjects that would never grow old,\u201d he sings. \u201cIt was a good way to get to know you, before we learned to twist and shout.\u201d This solo-acoustic ode to friendship from the Cute One to the Quiet One is so romantic, you could almost swoon.<\/p>\n

\n\tMeanwhile, there\u2019s a true consummation of a Beatles relationship here with \u201cHome to Us,\u201d the first-ever true duet between McCartney and Ringo Starr, with a sprightly feel that splits the difference between power-pop and the country-rock feel Ringo revived for his last couple of albums. The collaboration is their mutual love letter to growing up in post-war Britain without a lot of privilege but with a lot of help from their school buddies. At least two out of four Fabs agree: Liverpudlian poverty was awesome<\/em>.<\/p>\n

\n\tIf it\u2019s darker shadings or regrets you\u2019re looking for, you\u2019ve come to the wrong Beatle, as always. Now, as ever, there may be some who hold McCartney\u2019s cherubic good will against him, as a badge of insufficient seriousness. But for all its characteristic positivity, \u201cThe Boys of Dungeon Lane\u201d really puts the lie to the silly idea that the best composer of the last century is not a deep thinker or feeler. There\u2019s a deeply observational quality to his songwriting, especially evident in the most nostalgic numbers here, that makes his eternal cheer feel well earned.<\/p>\n

\n\tIn one of the best tracks here, \u201cLost Horizon,\u201d he invokes an entire ambient audio history of his childhood, from train whistles to playground noise to fairground echoes to a tabletop clock. He\u2019s been in love with all things aural, not just musical things, since he was a lad, and as he ticks off them off, he concludes, \u201cThat sound can lift me up\u2026 That sound can do my head in<\/em>.\u201d We know exactly what he means, not because we grew up with the same background noise, but because right in the middle of those phrases, he throws in a beautifully bent electric guitar lick that will lift you up and do your head in, too, if you let it. After all these years, McCartney still has an undying urge to try to change your day or your life with a sound. He\u2019s boyish that way.<\/p>\n

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Paul McCartney’s ‘The Boys of Dungeon Lane’ might be his best 21st century album, with plenty of Wings and Beatle-esque callbacks, says our review.<\/p>\n","protected":false},"author":1,"featured_media":526,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[33],"tags":[563,490,564],"class_list":["post-527","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music","tag-andrew-watt","tag-paul-mccartney","tag-ringo-starr"],"yoast_head":"\nPaul McCartney Explores His Ever-Present Past in \u2018The Boys of Dungeon Lane,\u2019 a Delightful Return to Wings-Era Form: Album Review - Relocation Observer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationobserver.com\/?p=527\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Paul McCartney Explores His Ever-Present Past in \u2018The Boys of Dungeon Lane,\u2019 a Delightful Return to Wings-Era Form: Album Review - 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