"The Boys Of Dungeon Lane." Do Not Resist! It's Unbecoming. And Boring.

 

 

"As You Lie There," the first track on Paul McCartney's new album "The Boys Of Dungeon Lane" is one of the greatest pieces of record making I've heard in a very long time. It could only come out of the mind of Paul. Or, was it out of the mind of producer Andrew Watt?

I'm bettting on the exacta.

"As You Lie There" sounds like nothing Paul has done before, and we're talking about a career that is pushing 70 years. It's a stunning piece of work.

I was prepared to call this album the greatest of Paul's career based on this one song. But of course, I snapped out of the reverie by track two, "Lost Horizon," which is more like what we've been hearing on recent Macca records, and that's not a bad thing. It's a nifty little pop tune that any songwriter would kill to have written. 

This album evokes a number of different Macca eras. "Ripples In A Pond" and "Never Know" both hit the spot. Either could have been placed comfortably on "Tug Of War." "Down South" and "We Two" have simple, uncrowded production not unlike "Chaos & Creation In The Backyard," which is a late career masterpiece, my third favorite McCartney album and is now shockingly 20 something years old. 

Paul is looking back. In his words, "Maybe it's because of the point in my life." He said he enjoys looking back. He actually started looking back in a not so subtle way in 2013, with songs like "Early Days," "Queenie Eye" and "On My Way To Work," all from the "New" album. He never says "Beatles," but those songs couldn't be about anyone else. Many of the songs on "Dungeon Lane" feel the same way. There is even an appearance by Ringo on the first ever Ringo/Paul duet, "Home For Us," which is pure joy.

McCartney's voice is weathered. He is 84. But don't let the word "weathered" fool you. You don't need to be in good voice to be a great singer. His singing is better than most of his peers and these songs pair up wonderfully with the quality of his voice.

There are so many gems on this record, even the songs I thought were weak at first, "Mountain Top" with its unexpected coda, or "Come Inside," which sounds like a rewrite of "If You Wanna" from "Flaming Pie," or maybe "Save Me" from the aforementioned "New," I havent figured it out yet, have moments that made me smile. 

"Dungeon Lane" finishes strong with some true beauty. Both "Salesman Saint" and "Momma Gets By" hit harder, at least from a musical POV, than anything I've heard from McCartney in a very long time. The arrangements are bold and pack a wallop. And "First Star Of The Night" is simply gorgeous.

"The Boys Of Dungeon Lane" has been getting rave reviews, at least those are the reviews I've seen so far. It's easy to understand. It's great music from one of the greatest living songwriters that isn't Diane Warren. The man is a treasure. (Did you see him play trumpet on Colbert's last show? WTF? Trumpet!) 

You can resist if you want. Be that guy who can't stop mentioning "My Love," even though it was a major hit and has one of the greatest guitar solos ever committed to tape, courtesy of Henry McCullough. You can cite the lyrics to "Silly Love Songs" as insipid and well, silly, even though the bass playing would make you want to sell your Hofner and the horn arrangement is worthy of its own documentary. You can, and you will, trash most of McCartney's work since...what..."Band On The Run?" That is certainly what it feels like sometimes. It's fashionable. Dimiss ""Flowers In The Dirt," "Flaming Pie," "Driving Rain," and "Memory Almost Full," if that's what you're feeling.  But at least pass a lightning round of "What about this song?" Dollars to donuts, you wouldn't win the Quoizel lamps.
Resisting is boring. Get in on it. 

NO ONE has been this consistent. Or smart. Or daring. Or charming. NO ONE.

I hope Andrew Watt and Sir Paul cut twice as many songs, the way the Rolling Stones did during the "Hackney Diamonds" sessions. I'd love one more Macca/Watt album while we are still all around to hear it.

 

 

 

And I love this.

 

Songs Of The Week, 2026: 5/23-5/29

 

Three Hours Past Midnight- Johnny "Guitar" Watson
Teacher Of Love- Ray Barretto 
Nineteen Fifty-Six- The Rascals
You Don't Know What Love Is- Sonny Rollins
Sombre Reptiles- Brian Eno
Requiem- King Crimson
Struggle- Toots & The Maytals

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These seven songs cover a lot of ground. 

You know why Sonny Rollins is here. It would have been easy to go with "St. Thomas." But, "You Don't Know What Love Is" feels like the better tribute

That Ray Barretto track should get you moving. 

And that Rascals deep cut has always been a fave. Dino is swingin'!

 

Have at it. 

"Pay It Back: The Original Costello Covers: : THE WEEKEND MIX(ES)

I originally posted this back 2012 but the files have long been dead. I decided to resurrect and restore because you deserve it.

This is one helluva collection, if I do say so myself. This two-parter gathers the original versions of a surplus of songs covered by Mr. McManus over the years. You will get the original versions of everything found on both "Almost Blue" and "Kojak Variety," as well as a plethora of EC bonus tracks and b-sides all by the original artists.

What else can I say? 

Dig in.

Enjoy the Weekend Mixes!


Part 1

Part 2

 

 

 

Squeezin'

 

From 1985, please enjoy what I thought was a new Squeeze single when I first heard it, George Benson's almost Top 40 hit, "20/20."

I don't believe George Benson has ever tried to sound like Glenn Tilbrook before, or for that matter, after this record. 

 

"Oh My God! Look At The Time!

I still haven't seen the Oscar winning motion picture "One Battle After Another." Why? Because it is two hours and forty two minutes long, which is about 50 minutes longer than I now want a film to be. This coming from a guy who has watched both "Godfather" films back to back, two times a year for as long as I can remember. Each of those back to back viewings equal six hours and twenty minutes, by the way.

When I first started writing in any serious way, I wanted to be a screenwriter. My roommate at the time, as well as two of my closest friends, already had three or four screenplays under their belts. I had one, my first feature after three one act plays, and it was both hilarious and cringemakingly horrible. The four of us would see five or six movies a week. It wasn't odd to see two in one day. We saw it as research. In 1988, I saw four films in one day, three times! 

Back in the day, if someone asked, "Any interest in seeing (insert film here)?" My immediate answer was "Yes." Didn't matter what it was. Our goal was to see everything, which is how I ended up in an empty theater with just my roommate watching the 1986 Hal Needham movie "Rad." It was one of the only films left that we hadn't seen. Now, if someone asks if I have an interest in seeing a film, my question is always, "How long is it?"

I've recently been editing down classic double albums to more manageable 40 minute playtimes. I'm trimming "The White Album" and "Quadrophenia" as if cutting fat off of chicken cutlets. 

Our friend Cleveland Jeff wrote a rave review of the new Cal Everett record over at his place "...Like Dancing About Architecture," and this paragraph stood out.

"The artist suggests listening to the record as a whole, and I did that the first couple of times, and that works. But that takes an hour. Without the little interludes and maybe four of the songs, it would be a perfect 45 minute record, and that's a big deal. Perfect is a high bar."

 

What exactly are we doing with those extra 15 minutes?

 

If the goal was to create a more perfect album, then I guess one man's fat is another's meat. But I think it's more than that.

 

Back in 2019, I wrote one of my favorite posts, thinking I was onto something, hoping it would open the eyes and ears of many. It received a measly five comments. The idea was simple. 

 

Long songs seem to be a turn off, especially when they are long prog rock songs, like the Genesis masterpiece "Supper's Ready," which clocks in at 23 minutes. But seven 3 minute songs, and for some reason, we've got a deal.

 

But guess what? "Supper's Ready," the legendary sidelong epic from Genesis IS seven 3 minute songs and they are mostly all terrific. There are seven different titles and if you have the vinyl, you can easily see the bands that separate each of the parts. But the jacket says, "Supper's Ready- 23:06," and that's the dealbreaker. The jacket also says "Genesis," so that may be the dealbreaker for some, as well

(There, I made the joke for you.)

The opening, "Lover's Leap," runs a bit under 4 minutes, and it is a lovely piece of British folk/pop, that would not sound out of place on a Cat Stevens or Sandy Denny record." "Willow Farm" isn't so far removed from British psychedelia, or for that matter, something The Beatles might have attempted on "Magical Mystery Tour." And "Apocalypse In 9/8" is quite frankly, some of the best drumming you will ever hear, courtesy of the World's Punching Bag, the amazing Phil Collins.

So, what is it exactly?

 

I realize that time becomes more precious the older we get, and maybe we have better, more appealing things to accomplish than binge-listening to the entire catalogue of one artist. But the aversion to length when it comes to music seems extreme. I like the instrumental title track from "Quadrophenia" just fine, yet I cut it on my edit. There ya go! Six more minutes in my life to do...what? 

 

I am very guilty here. I am not pointing fingers.

 

When it comes to film, you can't just snip out awkward or uncomfortable scenes. There are no "The Very Best Of Mutiny On The Bounty" DVDs for the impatient out there, or at least I hope not.

 

Records don't have plots or stories, unless you listen to concept records exclusively. When I first saw "The Deer Hunter," the wedding scene made ME want to play Russian roulette. It felt like an entire movie I didn't sign up for within a movie I paid to see. I was also 50 years younger. Now, I couldn't imagine that brilliant wedding not being in the film. But trimming down a 60 minute record to 45 minutes, or in my case, feeling so daunted by double albums, and movies over 2 hours, that I skip completely what could be brilliant art, is a habit I need to break. 

 

Why does music need to be said in 2:54, ten times?

What is so wrong with saying something in 7:21, five times?

 

 

World Class Pop From Class Three Overbite

 

"Class Three Overbite began in June of 2006 when Michael Elgert and Bradley Jendza came together to write the songs they would love to hear. Sharing a love for bands like Queen, The Beatles, Jellyfish & Kiss, the songs poured out of them one after another. In March of 2007, CTO’s debut “Rendezvous” was released receiving great reviews and gaining fans around the world. Now a little over a year later, Class Three Overbite has returned with their new release “Horses For Courses." It’s filled with 12 songs of exquisite pop/rock for the world to enjoy. You’ll sing, you’ll dance, you’ll laugh, you’ll cry and you’ll love it."

I pulled that off of their Discogs page.

I first learned about these guys back in January, thanks to my friend hpunch. I really enjoyed the first pass of "Horses For Courses," hearing solid pop with great vocals, some of it a bit camp like Queen and the Scissor Sisters. I went back to it this past weekend and enjoyed it even more. So, I thought it was time to pass it along to you dear readers.

 

 

 

Songs Of The Week, 2026: 5/16-5/22

 

Day's Dawning- Peter Frampton
Tears Of Rage- The Band
Play It All Night Long- Warren Zevon 
Voice Of Harold- R.E.M.
The Way It Will Be- Gillian Welch
Jewel In A Cobweb- Jules Shear
Yazoo Street Scandal- Bob Dylan & The Band

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Have at it!