"The Boys of Dungeon Lane": life can be hard, but less so if you have Paul McCartney

Five and a half years have passed between McCartney III, Paul McCartney’s latest studio album, and this new The Boys of Dungeon Lane. Without resorting to rhetoric, we can safely say that, in the meantime, the world has been through many things, including a pandemic and is currently facing a difficult period, one that has called many of our certainties into question. Personally, I have had to face a number of tragedies, issues and vicissitudes, including the passing of some friends and the betrayal of others I considered as such, a serious illness and the death of my father – the latter two events occurring within the space of a single week in 2022, as if my stress had predicted his departure from this world.

Life, however, also has a way of surprising us, and I certainly cannot say it did not surprise me by allowing me to fulfil not one but two professional and personal dreams: becoming co-author with Paul McCartney through the Italian translation of the book The Lyrics in 2021, and working for him and his company MPL on the compilation The 7” Singles Box, right in the midst of that strange year, 2022. In recent years, moreover, many wonderful publishing projects have come to fruition for me and my L.I.L.Y. Publishing. Last but not least, I made new friends and collaborators, some old friends stayed, and I grew closer to certain other people. I am extremely grateful for all of this.

In short, “life can be hard”, as the title of a song on this new album goes, and this personal introduction explains, in a way, the title of my review and ties in with what you’ll find at the end.

Our Paul hasn’t lost his way over the past years, continuing his multifaceted career, which has included live concerts, book publications, photography exhibitions, reissues from his Wings era, and “the last Beatles song”, “Now and Then”.

The Boys of Dungeon Lane is not (merely) an autobiographical album, nor is it “nostalgic”. The past is a source of inspiration – and is viewed with gratitude – but it is accompanied by a McCartney with his feet firmly planted in the present, through his co-production with Andrew Watt, and the album does not shy away from the usual variety of soundscapes and styles. I also find the album not too polished, which I see as a positive.

Here’s my review of The Boys of Dungeon Lane, which I had the chance to listen to at Universal in Milan on 11 May.  Coincidentally, Universal is very close to where my dad lived and grew up in the 1940s, 1950s and 1960s (he was born in 1944), which made the event particularly meaningful for me.

Bear in mind that this review is based on just one listen. We know that Paul's music, and pop music in general, benefits from repeated listening. I may overlook some tracks now, but I could find myself appreciating them more in a while. However, I’m pretty sure about what I consider to be the best songs on the record.

P.S. The references to other McCartney songs scattered throughout the review are intended merely as stylistic hints to appeal to all genuine Paul fans!

“AS YOU LIE THERE”

If you thought the almost entirely instrumental opening of McCartney III was unconventional, you'll be surprised by this: the album begins with Paul’s spoken intro while an acoustic guitar plays a gentle arpeggio over which a sweet melody unfolds. Just as you’re getting used to what seems like a gentle ballad, heavy drums and aggressive guitars kick in, and McCartney takes over in his rockier style. This section features a blues-tinged solo, and the track closes with the opening arpeggio.

“LOST HORIZON”

This old song has been rediscovered and put together for this album, and it has a certain Flaming Pie vibe to it. Aggressive guitars go hand in hand with a catchy chorus to create a nice pop-rock sound.

“DAYS WE LEFT BEHIND”

It’s been almost two months since its release, and we’ve already grown accustomed to this utterly sweet song, as if it were an old friend. While the melody of “Days We Left Behind” may seem fragile at times (and has shades of “House of Wax” from Memory Almost Full at the beginning), but in terms of its intent and atmosphere, this is one of the album’s finest moments. The song’s evocative power is undeniable, enhanced by an arrangement that radiates the dazzling light of childhood and adolescent summers, a light that we carry with us always.

“RIPPLES ON A POND”

Though not produced in an overtly commercial style, “Ripples on a Pond”, the most pop-oriented track on the album, retains a certain rustic quality and it’s not too polished. It's a lovely, upbeat track featuring McCartney's processed vocals and prominent guitar sounds once again.

“MOUNTAIN TOP”

The piano and harpsichord provide a dramatic opening to “Mountain Top”, a track that is a veritable treasure trove of ideas. It features a psychedelic instrumental interlude, edgy guitars, a bouncy, catchy chorus, and a finale with a change of tempo.

“DOWN SOUTH”

It's just McCartney strumming chords on his acoustic guitar in a deliberately rudimentary style that takes us back to the 1950s and the days when he and George used to hitchhike (the inspiration to the song). The song has a bluesy feel and is reminiscent of “Confidante” from Egypt Station.

“WE TWO”

Inspired by simplicity, Paul and Andrew Watt worked on this song using the vintage Studer four-track machine. The track features gutsy guitars and loud drums, as well as organ. The song closes with the noise of the tape rolling. What else could you want?

“COME INSIDE”

There’s also some pure rock on this album, The Boys of Dungeon Lane; “Come Inside” is one of those tracks that Paul loves to build around a guitar riff. It’s solid, with a relentlessly repeating lick and a piano glissando. A touch of “Highway” from Fireman’s Electric Arguments!

“NEVER KNOW”

With its canyon vibe, it's the most laid-back track on the whole album. Its bluesy rock atmosphere is reminiscent of the obscure B-side “I Want You to Fly” from the Chaos and Creation in the Backyard sessions. The arrangement features a nice instrumental part and possibly some backwards guitars.

“HOME TO US”

Perhaps the track on the album where Watt’s influence is most evident, this vocal duet between Paul and Ringo – previously released as the second “single” – is a fine, almost seafaring choral moment, entirely dedicated to their hometown. Powerful guitars and vocals come together to create a rousing track that fits perfectly within the context of the album.

“LIFE CAN BE HARD”

“Life Can Be Hard” is not only the best track on The Boys of Dungeon Lane alongside “Days We Left Behind”, but also, without a doubt, a new classic in McCartney’s repertoire. Many, if not all, of us will be familiar with the song, as a snippet of it was featured in the 2021 documentary McCartney 3, 2, 1 with producer Rick Rubin. As soon as he hears the tune, Rubin comments, “This is a song that’s always been around. It's one of those songs that feels like it's in the air!” Spot on, Rick! In fact, you won't be able to get rid of this melody; you'll be singing it for days and days.

With its exquisitely retro arrangement, the track bounces along effervescently. It opens with acoustic guitar playing the main theme, and then it builds up with piano, drums, maracas, shakers, and a nostalgic woodwind contribution. Paul blends melancholy and cheerfulness like a modern-day Charlie Chaplin. The lyrics, the melodic flow, the harmonic structure and the arrangement suggest that McCartney wrote it for the stage adaptation of It’s a Wonderful Life, a project that seems to have been shelved. “Life Can Be Hard” does indeed bring to mind some of the most swinging moments from the La La Land soundtrack.

“FIRST STAR OF THE NIGHT”

It’s no secret that McCartney’s creative streak thrives on “exotic” locations and holidays. Written by Paul in Costa Rica on a rainy day off, probably during the 2024 tour, “First Star of the Night” has a slightly Latin-flavoured rhythm and opens with the sound of pouring rain – a detail that will remind die-hard fans of the demo for “Souvenir”, recorded in Jamaica in January 1995. Carefree and almost entirely acoustic, it is the lightest moment on the album, with McCartney singing in his highest register. Would you like another reference? It has a hint of the sunny “Sunshine, Sometime”, perhaps.

 “SALESMAN SAINT”

In this tribute to his parents and the strength they displayed in raising a family during wartime, Paul channels all his emotions into a song that has an old-fashioned feel. Like a true blues-folk balladeer, he picks up his acoustic guitar and delivers this sombre song, reminiscent of the mood of “Don't Let It Bring You Down” from London Town, which evokes damp scents and distant colours. One can almost glimpse the misty sea in the distance through a highly suggestive trumpet. It is a powerful portrait of Liverpool over World War II, enriched by an enchanting vintage interlude featuring clarinets and strings.

“MOMMA GETS BY”

“People ask if I feel an album’s incomplete without a ballad, and I do think that a little bit,” said Paul at the time of Press to Play, talking about the inclusion of “Only Love Remains” on the album. And here it is: no more fear, ladies and gentlemen. Here’s your big ballad, with piano and orchestra, the purest love song. The opening chord is mysterious and dreamy, transporting me back to a distant moment in time: the spring of 1985, when I first heard “The Back Seat of My Car” and RAM. Thanks, Paul.

It's difficult to say where this album would sit in the ranking of Paul McCartney's albums. It doesn't make sense to me after just one listen; I need to give it some time. But maybe we don't need to rank, judge or assess it, or put it in a top ten. Let's just embrace it.

If there's one “lesson” we could learn from this album, it's that Paul McCartney is the only artist in the world who can make you sing or whistle “life can be hard” as if it was just a hummable tune. You forget the words and their meaning; you just sing the melody and feel like a bird, flying high in the sky.