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10.44am
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20 August 2013
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meanmistermustard said
Didn’t Paul discuss his gas supply in one of his fascinating website Q&A’s or am I going mad?
He has talked about gas from cows when encouraging people to go vegetarian for the health of the planet.
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29 June 2017
Offline “Egypt Station” and is due out September 7, 2018 according to a listing on Amazon.com
https://thefutureheart.com/201…..album-2018
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Offline Excellent news. We’re very lucky to still have new Paul music to look forward to.
I’m eager to hear snippets. 
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12.37pm
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20 August 2013
Offline Just out from paulmccartney.com
Sharing a title with one of Paul’s own paintings, Egypt Station is the first full album of all-new McCartney music since 2013’s international chart-topping NEW. Preceded by two of its tracks just released as double A-sides – plaintive ballad ‘I Don’t Know’ and raucous stomper ‘Come On To Me’ – Egypt Station was recorded between Los Angeles, London and Sussex, and produced (with the exception of one Ryan Tedder track) by Greg Kurstin (Adele, Beck, Foo Fighters).
Of the forthcoming album’s enigmatic title, Paul says, “I liked the words ‘Egypt Station.’ It reminded me of the ‘album’ albums we used to make… ‘Egypt Station’ starts off at the station on the first song and then each song is like a different station. So it gave us some idea to base all the songs around that. I think of it as a dream location that the music emanates from.”
True to the inspiration behind its title, Egypt Station ’s 14 songs combine to convey a unique travelogue vibe. Between the opening and closing instrumentals ‘Station I’ and ‘Station II’, each song finds Paul capturing a place or moment before transporting the listener seamlessly to the next destination. Stops along the way include an acoustic meditation on present day contentedness (‘Happy With You’), a timeless anthem that would fit on virtually any album of any McCartney era (‘People Want Peace’), and an epic multi-movement closer clocking in at seven minutes with a song suite structure harkening back to the days of Paul’s previous combos (‘Despite Repeated Warnings’). The result is a kaleidoscopic journey through myriad musical locales and eras, yet firmly rooted in the here and now – with Paul’s singular unmistakeable melodic and lyrical sensibility serving as a guide.
What a trip it will be 
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1 May 2011
Offline Unlike many here I cannot say I’m excited about this in the slightest. I’ll pick it up eventually but not paying full price for an album from an artist that I cannot remember the last time I was impressed by one of his latest songs.
I bought ‘New’ (oh, how I hate that title) the weekend it came out and I’ve listened to it twice in four and a half years.
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22 December 2013
Offline meanmistermustard said
Unlike many here I cannot say I’m excited about this in the slightest. I’ll pick it up eventually but not paying full price for an album from an artist that I cannot remember the last time I was impressed by one of his latest songs.I bought ‘New’ (oh, how I hate that title) the weekend it came out and I’ve listened to it twice in four and a half years.
While I share your sentiment in the “excitement” department… What exactly soured you on the ‘NEW’ album anyways? Did you not make a concerted effort to listen to Paul’s solo works sequentially in recent years? I remember you raving about some pretty forgettable albums (‘RAM’ & ‘Back To The Egg ‘ specifically…) but what scared you off with ‘NEW’?… In my opinion, it rivals ‘Band On The Run ‘ & ‘Venus & Mars’ for best Paul Solo Works…:-)
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1 May 2011
Offline I listened to ‘New’ when it came out and hated it. Nothing stood out and it was a concerted bore of a listen with a crap title that was no doubt a hilarious joke when first suggested yet after the third repeat everyone hated whoever suggested it in the first place.
The title track is one of those bouncy tracks that always reminds me of the inane stupid grinning Paul from ‘Spitting Image’. Paul’s vocal is awful. I hate it. Every time I think of the first line my brain immediately goes to the Young One’s version of ‘Living Doll’, which is a far better listen.
‘Save Us’ is a paint by numbers ‘anthem’ that has as no balls. Oh, and Paul’s vocal is awful.
‘Early Days ‘ is Paul moaning about others not being right because he was there so must know better. Sorry Paul, you don’t. Oh, and the vocal is crap.
‘Everybody Out There’ has nothing to it.
After years of folk going on about how wonderful the album is, I listened to it again. And I hated it. It’s dreadful. A pile of crap.
Don’t think I raved about ‘Back To The Egg ‘, it’ has moments but also dreck. ‘Ram ‘ is a great album but a tiring listen. I think ‘Wild Life ‘ is great in places and doesn’t deserve the amount of hatred it gets and I love ‘McCartney II ‘.
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22 December 2013
Offline meanmistermustard said
‘Early Days ‘ is Paul moaning about others not being right because he was there so must know better. Sorry Paul, you don’t. Oh, and the vocal is crap.
I won’t argue with you there… the most glaring evidence that Paul’s voice isn’t what it once was… ‘Egypt Station’ holds a certain curiosity charm for me, but nothing else… The ‘NEW’ album had an accelerant kinda effect on this “curiosity”… The recent Pub Appearance, in juxtaposition to the Stadium Shows, has me thinking that Paul might still outdo George’s excellent ‘Brainwashed‘ swansong just yet… it’d be a helluva an album should he accomplish this… let’s just eat some good vegetarian food and vastly improve our chances of hearing it in September… until then… ‘September In The Rain ‘ will just have to do…:-)
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11 April 2016
Offline I’m actually really liking Paul’s new tunes. I’m excited. 
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15 February 2015
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WeepingAtlasCedars took the words right from my mouth
I’m actually really liking Paul’s new tunes. I’m excited.
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11.24pm
15 May 2015
Offline Well, I gave a listen to “Come On To Me” and “I Don’t Know” linked above and I was underwhelmed. In those two songs, Paul does two things that signal an inferior creation: his voice affects a needlessly over-emphasizing unctuousness which he seems to do whenever he knows in the back of his mind he doesn’t have an inspired melody: it’s like giving it an extra push, nudging it along at every turn. In addition (especially in the first one), he tries to vamp up the feeble melody with distracting frills that are equally uninspired, sort of the equivalent of trying to bail out a sinking boat. You can tell when Paul has an inspired song: he relaxes into it with assured command and lets his innate talent spontaneously come up with devices & frills that flow naturally and enhance it, rather than artificially trying to resuscitate a dying patient.
I have a theory why Paul seems to have been doing this more in the past 20 or so years: his life has become so busy and hyped, he doesn’t have time (or doesn’t make the time) to just take his shoes off in the back yard and diddle with his guitar under a tree for a while, like I suspect he did in former decades more often. Now he’s going from meeting to meeting, party to party, jet-setting from concert to concert, and whenever he manages to squeeze out time for songwriting activity, he’s not doing it in relaxed, lazy, leisurely, natural contexts anymore.
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31 March 2008
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New interview: http://diymag.com/2018/06/20/p…..pt-station
Here’s the key info specifically about Egypt Station:
Why did you choose to work with Ryan Tedder on album track ‘Fuh You’?
There’s always a little thing that sparks these things off. It’s not like I’m going around, checking the internet for who to work with next. There’s always a little occurrence. So I’d been working with Greg [Kurstin] who’s the main producer. I had a couple of weeks off but I was itching to keep going. My manager said, why don’t you try someone else? I liked the idea of Ryan and I listened to [Beyoncé’s] ‘Halo’ that he was part of.
I was gonna say before about [writing] ‘All Day’ with Kanye – just the other day I happened to look at the writing credits and there’s about 50 people! There were only three of them I knew and one of them’s Kendrick Lamar! I’m thinking, I’ve written a song with Kendrick Lamar?! I wish I’d met him! But that’s just the way they do it these days. The other day I was reading an article about this guy from Dirty Projectors who’s a band I like, and it says that his latest claim to fame was that he wrote the middle eight for ‘FourFiveSeconds’. Oh, so that’s how that happened! All these little mysteries, that’s how he pulls them together. It’s fascinating.
So out of all the producers that were suggested, I liked Ryan, rung him up and we chatted. He said, ‘What do you hope to get [out of this]?’. I was like, oh I don’t know. And then I thought, come on Paul, don’t be so shy. So I said, ‘A hit?’ And he was like ‘Yeah! Now you’re talking my language! The world loves a hit!’ So that was our brief. To do something commercial. In a week, we ended up with three songs and one of them was ‘Fuh You’, which is on the album.
This record was made while you were compiling the 50th anniversary re-release of ‘Sgt Pepper ’ – did going back through your old work start to influence you again?
Yeah, you’re right. Because there was so much on about it – the programmes about how we made it [etc]. I remember going up to the studio a couple of times with Greg and saying, oh well I was listening to this programme last night and I thought on ‘Penny Lane ’ it was just one piano that I played but it turns out it’s eight! We were goofing around on that, and it inspires you and makes you think you can go anywhere. It’s still gonna sound like a piano, but sonically you can play with it. ‘…Pepper’ was a big influence.
There’s a track on the new record, ‘Despite Repeated Warnings’, which goes off on sonic tangents in a similar way to ‘A Day In The Life ’ [from ‘Sgt. Pepper ]…
‘A Day In The Life ’, ‘Live And Let Die ’, ‘Band On The Run ’… they’re episodic things. It’s something that music’s been doing for a while. It kind of started in the ’60s with, I think it was called ‘Teenage Opera’, and I think that sparked people. Then we did ‘A Day In The Life ’ which really cemented it for me.
The whole piece is worth reading. He speaks about collaborating with Kanye, Dave Grohl and others, how songwriting has changed in the modern era, and confirms the forthcoming White Album 50th anniversary special edition.
I’m also wondering if Fuh You is in any way related to King Of Fuh by Brute Force. Surely McCartney wouldn’t write “a hit” with the f-bomb in the title…
“In this land there was a king, and everybody called him the Fuh King/And the Fuh King did what he wanted to do”
(NSFW without headphones)
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31 March 2008
Offline meanmistermustard said
Unlike many here I cannot say I’m excited about this in the slightest. I’ll pick it up eventually but not paying full price for an album from an artist that I cannot remember the last time I was impressed by one of his latest songs.I bought ‘New’ (oh, how I hate that title) the weekend it came out and I’ve listened to it twice in four and a half years.
I still get hyped by new music, even if six months later I don’t often go back to it. I should know better by now, but I quite like the fact that I still get a dizzy excitement over buying records. I hope that never goes away. So I’ll very likely pre-order the album.
I’m not sure whether to hold out for the super deluxe numbered box set that’s still to be announced. Depends what’s in it, and whether I’m likely to actually open it all that often. If it’s just badges and postcards rather than additional music I’ll probably pass.
I do like Come On To Me a lot. It’s sexy and sleazy, and reminds me of Nothing Too Much Just Out of Sight and Cut Me Some Slack – old-school rocker Paul, my favourite. A few years ago he’d have probably have made it a jaunty little number with a mandolin or ukulele, so it’s definite progress (hey, it’s the small things). Love the dirty brass and harmonica, and is that an electric sitar in the middle?
I Don’t Know is a bit underwhelming. Maybe it’s a grower, but it feels like a very average McCartney ballad. Maybe I need more time with it.
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6.10am
31 March 2008
Offline There are a few formats on various stores. Here are the official ones I’ve found (it’s also on Amazon etc).
UK: https://shop.virginemi.com/pau…..mccartney/
CD, standard vinyl, deluxe double vinyl, standard coloured vinyl, deluxe coloured vinyl.
US: https://shop.paulmccartney.com…..yptstation
CD, standard 140g vinyl, Ltd deluxe 180g coloured vinyl, digital download, super deluxe box set (details tba)
I’ve heard about an indies-exclusive coloured vinyl edition too. The ones on the McCartney store are described as “Exclusive color vinyl disc”, so there may be a different one in stores.
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15 May 2015
Offline The song by Brute Force reminded me of the similar (but funnier) play on words on SNL a few years ago, a Slavic family-owned furniture business, the “Sofa King”:
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5.07pm
1 January 2017
Offline Finally got around to listening to the two songs just now and they are brilliant! 
Come On To Me is pretty much stuck in my head now, but it’s awesome. You can tell the protagonist of the song (whether it’s Paul himself or not, or maybe I’m thinking too deep
) and their new love interest are going to have an epic relationship!
I Don’t Know, IMO, has a sort of retro Wings vibe to it, and I think it would have fitted in well on something like London Town or Back To The Egg . Also, I noticed a few people in the YouTube comments saying that the piano sounds similar to John’s Now And Then demo, which I can also hear.
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1.57am
8 November 2012
Offline Paul’s Carpool Karaoke with James Corden is up at YouTube. They sing “Come On To Me” at one point.
*sniff*
[x-posted at the news thread]
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20 August 2013
Offline From Joe’s post 33 above. Paul says, “The other day I was reading an article about this guy from Dirty Projectors who’s a band I like”
That is some high praise. I bet that band is flying high on that comment.
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Offline Pre-ordered my copy just now.
“Come On To Me” is growing on me. I especially like the way they bring in more and more musical elements as the song moves along. “I Don’t Know” has a nice flow to it – typical melodic Macca.
Overall, it makes me happy (warm and cozy?) knowing that Paul and Ringo are still actively playing and/or recording music. Treasure them while you still can.
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