I'm a little obsessed with this song, partly because I only just heard it, though I've had it in my collection since "Egypt Station" was released. But also because it's got a few things wrong with it and yet I can't stop listening to it.
The autotune is a problem, but then when the song is complete, I find myself not minding it in a "whole is greater than the sum of its parts" way. Paul's lyrics, as per usual, are a bit clunky. Yet I find the whole structure of the song to be quite beautiful.
I'm sure the feeling of discovering an unreleased Paul McCartney has something to do with why I'm digging it, but I do believe there is something more here.
See what you think, though if you're one of those solo Macca haters, I can't imagine this will change your mind.
I think I really love this track. For real. It's a grower.
17 comments:
I am with you on this one. Yes, the auto-tune is problematic, but the very good far outweighs the bad. McCartney remains an outstanding and, from where I sit, has had the longest run of any songwriter rock has produced.
Would love to hear it sans the dreaded auto tune. I'm a Macca fan, but not so sure about this one - granted, I've only listened once.
The autotune is absolutely a distraction, but the melody and chord changes, and the gorgeous second half, make me forget about it. I'm hearing it less like something used by a lousy vocalist to stay in pitch, and more as an effect, like phasing or distortion.
i think it's McCartney's way of saying, see, I can do modern pop, too. the opening chords reminded me of his interviews with Rick Rubin when he would pick out a progression and show how the song writes itself.
You are absolutely right that the autotune is used for effect, not to cover up less-than-stellar singing; Paul seems to accept that his voice ain't what it used to be, based on what I'm hearing at the song's start (Not being one who's kept up with PM, I didn't realize how frail-sounding he's become). The song is pretty, but the autotune makes it REAL hard to do more than one pass for me.
I'm glad he continues to follow his muse, and even if he quit now or put out dreck for another decade, he need not worry about his unimpeachable legacy.
@JD: Some Dylan fans might dispute your assertion :)
C in California
I blame Kanye for the auto-tune
Just a thought, that could very well be its own post:
There are some brilliant songs on the new Margaret Glaspy, yet that Alanis-effect that she uses occasionally seems to be a deal breaker for some.
This McCartney song has some gorgeous structure and a fantastic melody, but the focus seems to be on the autotune, which is turning out to be the deal breaker.
Are these really so bad as to completely sabotage a song?
In parts it reminded me of I Melt with You, cuz all the rhyming with "embrace", "face", and in the wistful resignation. Subtle familiarity is why one falls for songs is my theory ;)
Having read your warnings of the Alanisisms before I listened to the Glaspy selections you posted, I was expecting worse than what was delivered and may not have even noticed them, had you not called them out. I've not listened to AM enough to be annoyed by her vocal tic, at any rate, so I had no dog in that fight. But don't get me going on overwrought vocal fry or overwrought melisma or the keening whining so prevalent in 'soft' R&B!
I'm also not against autotune, per se, or anything that adds to the attractiveness of a song. I suppose this is a matter of personal taste, in that it is clear that autotune is a de facto dealbreaker for some. For this PM tune, it bugged me, but I love it in Shout Out Out Out Out's 'Dude You Feel Electrical'.
There are songs I hated or disliked or were befuddled by, that, later (sometimes years later) I lost my antipathy for; changing tastes, context, exposure over time, etc. can do that. I might grow to look past the autotune in this PM song, but it would take more than the exposure I've already had, and that's a challenge if I don't go out of my way to keep listening to it.
C in California
Like Kevin M, I am not an Alanis fan, so that resemblance jumped out at me. But like you, C in California, they are not a bother on Glaspy's album because I find so much else to love. Guess that goes for this Macca track, too.
To answer my own question, I've let the tone of Robyn Hitchcock's voice keep me away from his solo records for years. But I love "Underwater Moonlight" so much, that aversion suddenly went away one day.
That song is so good it overcomes the autotune. It's OK for me on the "Do you remember" parts, the rest is unnecessary, and yes, it's a distraction, but most autotune irritates me. Excellent song anyway!
Whoa, sorry but I'm lost. I have Egypt Station and like most of it, but I don't recall this song. One listen and it sounded ok, similar to the rest of the album. WTH did this come from? (Hope I'm not dense about this)
Troy,
This track, along with 9 others appeared on the special edition of "Egypt Station."
Thanks, Sal. Guess I've got some digging to do. Nine songs is like a whole other album.
Not a comment on the song per se, but I sometimes daydream about aging songwriters whose voices are going or gone writing and producing albums for younger singers, using them as muses, say. Elton John, for instance. His records since "Songs from the West Coast" I have a hard time listening to, but suspect there are some excellent songs on them.
Bruce H
Nope. Autotune does it in.
The song has created an earworm,and I don't mind. It's pleasant enough.
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