Either the Anthology project re-energised him, or Paul McCartney finally rid himself of a need to be a pop musician. Whatever the case, both Chaos and Creation in the Backyard and Memory Almost Full offer thrilling, open moments from the veteran songwriter. His work in the mid-2000s is as strong as his time with Wings. Truly great moments and touching songwriting which would certainly eclipse his solo material post-Wings and pre-Flowers in the Dirt. A dark time for McCartney fans but he learned to lean into those genres that he loved and did as much with Flaming Pie. The best material from McCartney, much of it found on both Chaos and Creation in the Backyard and Memory Almost Full, comes when he has his usual creative style challenged. No love songs, no this or that, it makes all the difference when McCartney is told to operate with a closer eye on the detail of his work. That is the case for Memory Almost Full, a staggering album from McCartney.
You could call opener Dance Tonight a simple song, and that may be the case, but it’s a delightful start. It never imposes a complex tone or instrumental, but it has that enjoyable charm McCartney is a master of after decades on the frontlines of pop music. Consistently delightful is the tone Memory Almost Full takes, and it’s a real success. Ever Present Past has some incredible moments of contemplation, of being too busy to be an effective lover, paired with a softer instrumental tone. The mix is cause for concern, especially after the clarity of Chaos and Creation in the Backyard. Muddled it may be, it’s still a solid bed of light and loose performances for McCartney to work from. Even with those mixing woes, it doesn’t stop the guitar work from standing out on You Tell Me. It’s an incredible song not just because of that slower tempo but because of how it utilises McCartney’s vocal changes.
He does not have the same range as he did in his heyday. No singer, truly, does. Memory Almost Full leans into that. It never makes the age of the performer a point of the material, but it has a softer touch, a real tenderness, in all the right places. That informs what McCartney writes of, with nostalgic summers and the face of his father dominating the early half of the album. Even with that changed vocal range, McCartney showcases the depths of his talent on Gratitude. It’s more a thrill to hear him hit those rough, Oh, Darling! depths than anything else, but Gratitude is a remarkable piece of work. Feet in the Clouds feels like it could fit on Off the Ground, that floaty style and surrealist edge which is at the core of many great McCartney songs. There are some all-time great efforts from McCartney found within Memory Almost Full.
The End of the End is as tender a send-off as The End from Abbey Road, though not as steeped in history. McCartney’s writing across Memory Almost Full is startling. He reflects as much as he can not because there is an urgency but because there is a fear he will forget those times, be it his youth or experiences elsewhere. Really strong from McCartney here, and not only that, but it stands up over a decade later. He would soon find himself collaborating with everyone from Kanye West to The Fireman project once more, but the latter was a welcome surprise, and the Rihanna-featuring single scratched the pop itch McCartney gets in a completely harmless way. It’s a golden age from McCartney here and the strength of Memory Almost Full acts as a brilliant core.
