Paul McCartney’s new album, “The Boys Of Dungeon Lane,” has received predominately positive reviews from the mainstream media, the music press and fans. Based on the two preview singles, “Days We Left Behind” and “Home To Us,” Paul gave us the impression that his latest collection of songs would focus on his childhood days. And to a certain extent, it does. But as Paul has said in interviews, “a lot of it’s looking back, memories,” but there is also “other stuff.” And on this album, Paul’s gift for melody is consistently complemented by meaningful lyrics about days gone by or “other stuff” such as love songs to his wife Nancy or tripping out.

Paul plays most of the instruments and does most of the singing on the album, although he is joined on some tracks by his co-producer, Andrew Watt, and other guests, including Ringo Starr, Mike Davis, Chrissie Hynde (of the Pretenders), Sharleen Spiteri, and Nancy McCartney. His musicianship has not diminished in any way, and his voice not only holds up well for someone in his eighties, but also is quite suitable for the songs with themes of past experiences.

The album’s title references a lane in Liverpool frequented by Paul in his childhood days where he often went bird watching (the flying kind, with book in hand). Its front cover incorporates a Liverpool street sign of Dungeon Lane. Its inner sleeve (for the vinyl disc and CD) contains a collage of photographs on each side. A booklet contains Paul’s handwritten lyrics to the songs. As was the case with all but one of the Beatles’ seven British LPs from 1963-1966, the album has 14 songs, with none of extended length (at least not by today’s standards).

Paul has put a lot of effort in promoting this album that he is rightfully proud of. His website has been sending out near daily emails. He has appeared on numerous podcasts and television shows, with his highest profile events being the musical guest on the Saturday Night Live season finale and the last guest on Stephen Colbert’s final show. For the latter, he appropriately performed “Hello Goodbye.”

Online comments on his SNL appearances were mixed, with some quite brutal, while others were excited to see him still performing. I enjoyed seeing and hearing him sing “Days We Left Behind,” but realized his vocals on “Band On The Run” were a bit off, but not enough to ruin the experience of watching him in action. He also played “Coming Up” during the closing credits and “Drive My Car” and “Help!” for the studio audience after the broadcast ended. Paul was backed by his usual band, except for Chad Smith of the Red Hot Chili Peppers substituting for usual drummer Abraham Laboriel Jr., and additional vocals supplied by Ingrid Michaelson. Guest host Will Ferrell reprised his “more cowbell” bit on “Help!,” getting Paul to laugh, although it would have been more appropriate on “Drive My Car,” which actually has cowbell. I thought “Help!” was the best of the lot. I was quite moved hearing Paul in his eighties sing “When I was younger, so much younger than today.” As of this writing, these performances can be found on YouTube.

The Boys Of Dungeon Lane

The album’s opening track, “As You Live There,” has Paul singing about a childhood crush with the anxiety it brings: “Do I ever cross your mind?” It is dominated by acoustic guitar augmented with a nice guitar solo and piano fills. His voice grows more powerful as the song builds with tension. It calms down for the end as Paul sings: “I’d like to think that we can be together forever.”

“Lost Horizon” is a song that had been lost for a few years before Eddie Kline, an Abbey Road tech guy working on Paul’s home studio, told Paul he thought the song was good. Although McCartney had forgotten about the song, he resurrected it for the album. It is a heavy mid-tempo rocker with some powerful guitar riffs, a catchy chorus, and an effective middle eight. Paul’s message: “You’ve got to live for now (make every moment count).” This one reminds me of a mid-seventies Wings song that would have worked well in concert.

“Days We Left Behind” has Paul “Looking back at white and black reminders of the past” (meaning black and white photos of his Liverpool days). His memories do not glorify the past, but rather provide vivid images of “smokey bars and cheap guitars, but nothing built to last.” (Paul’s first guitar fell apart in Hamburg.) He realizes change is inevitable, but memories last: “Nothing stays the same/Nothing comes to mind/No one can erase/The days we left behind.” The songs opens with acoustic guitar and has effective piano, particularly at the end. His voice sounds a bit vulnerable, showing his age. And while he sounds like a man in his eighties singing memories of his past, that is both appropriate and effective.

Next up is a nice love song rocker, “Ripples In A Pond.” Like ripples expanding across a still pond, his love radiates outward, constantly growing and touching everything in its path. “Let’s carry on making ripples in a pond/And will see how far it goes.” The song quietly ends with Paul singing “I must be blessed.”

“Mountain Top” flows with more current memories inspired by his performances at rock festivals. In an interview about the album, Paul stated: “It’s like Coachella and Glastonbury…people going off for the weekend to trip out and getting stoned…I was trying to get that feeling of a young girl at the festival, tripping out.” The song has a keyboard opening and is full of guitar riffs. Its laid back tempo and butterfly imagery and mood give way to Paul rocking out for the final half minute.

Paul returns to the past with “Down South” as he sings about George Harrison and him hitching on a lorry (truck) heading south and sitting next to each other on the bus talking about “guitars and rock and roll.” He fondly recalls: “It was a good way to get to know you/Before we learned to twist and shout.” The mid-tempo track moves along with acoustic guitar and features a melodic guitar solo.

“We Two” was recorded on Paul’s old Studder four-track tape recorder in his home studio. The analog equipment from days gone by produces a great snare drum sound and helps showcase Paul’s great guitar work and solid bass playing. This is the type of love song that Paul has effortlessly written over the years, but we no longer call them “silly love songs.”

“Come Inside” is a mid-tempo rocker driven by piano and guitar riffs. Paul is asking his lover to join him in opening their hearts to one another. “Step right up and take a look/See what you can find/All my life’s an open book/Come inside my mind.” Paul moves to a shouting mode in the song’s middle 8, showing that his voice still has some power left.

“Never Know” is a slow tempo love song that has a guitar-dominated heavy, tripped out sound augmented with effective backing vocals. At various times it showcases acoustic guitar and weird guitar sounds. It has separate vocal and instrumental interludes. When the song seems to come to a halt, it suddenly explodes with guitars for about 30 seconds before calming down at the end. This is another one that reminds me of Wings.

Ringo’s participation makes “Home To Us” one of the highlights of the album. The song started life as a drum track by Ringo that was recorded by Andrew Watt for a separate potential project. Paul then wrote a song to go with the drum part. The track is an up-tempo rocker that nostalgically defends Paul and Ringo’s hometown of Liverpool. Once again, the lyrics do not glorify where they grew up, instead focusing on images like wilting roses. Nonetheless, they triumphantly sing “But it was home to us.” Paul and Ringo each sing solo lines and join together for others. Chrissie Hynde said Sharleen Spiteri add backing vocals. The track ends with an exciting burst of guitar riffs. Watt was given co-writer’s credit on the song, apparently for his creative involvement with Ringo and Paul’s contributions.

“Life Can Be Hard” is a love song with a nice acoustic guitar opening. The song’s backing track adds a bit of nostalgia with jazzy-sounding fills towards the end.

“First Star Of The Night” is another mid-tempo song, but this time with a more upbeat message. “Positive emotions that died seem to come back/Shining bright like the first star of the night.”

Paul returns to the past with a tribute to his parents and the environment under which they grew together as a family in “Salesman Saint.” The first verse sets the scene: “My father was a salesman/My mother was a saint/Working every God given minute/Just to pay the rent.” The remaining verses delve into World War II coming to an end and the hard times they endured. But even when they couldn’t take it anymore, “they had to carry on.” The backing track adds horn-driven jazz riffs designed to sound like what the family heard on the radio in 1940s.

The album closes with “Momma Gets By,” a slow piano tune with guitar fills. The song is a bit of a downer from the start. “Momma gets by while pappa gets high/She makes enough to raise a family/She’s working all day to bring in the pay.” Although her situation is tough, she doesn’t complain and stays because “she loves him, with all her heart and soul.”

“The Boys Of Dungeon Lane” is the type of album that you will enjoy now and revisiting years down the road. It is a collection of songs that will not be left behind. As for when we can expect another one from Paul, only time will tell. He has earned a rest. In his interview with Zane Lowe, Paul stated: “I don’t feel the pressure that I’ve gotta make another album. This one will do for awhile.” Indeed it will.

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