Paul McCartney and producer Youth collaborated on 13 songs in as many days to make Electric
Arguments, their first collaboration in over a decade, and the first to feature vocals.
McCartney and Youth ping-ponged ideas back and forth over the period of about a year through
writing, arrangement and production cycles while making this album. Some of this is a
continuation of the technique McCartney used on the "mystery" track -- a Beatles
picking up an instrument and seeing what happens. But this was a real collaboration, and both
creative forces are evident throughout. Many have used this recording/writing technique, but the
results don't end up sounding like The Fireman.
McCartney's melodic, harmonic and improvisational skills combine with Youth's inventive,
intelligent production for a stunning array of sounds. The variety of terrain on this album is
astounding, and these two know their way around it all.
You can stream the whole
thing on NPR; here's our song-by-song analysis of Electric Arguments (November 25,
ATO Records; vinyl on December 16):
"Nothing Too Much Just Out of Sight" - A real scorcher, as we noticed when the song showed up
online after being played on British radio. To quote our earlier review, "the tune finds Macca
running full bore, like he just stepped out of the Maharishi's headquarters after a full session
of devotional chanting and directly into an ultra-heavy jam with members of Cream. If you still
sound this vital at his age, count yourself lucky -- or on fire."
"Two Magpies" - Like laid-back, jazzy cousins of the Beatles' "Blackbird."
"Sing the Changes" - An radio, stadium-friendly anthem that might sound better if you don't watch
the inspirational video at the same
time. Bonus points for what sounds like a Space Echo reverb/delay.
"Traveling Light" - An underwater sea shanty with some fantastic touches. 3:36, I'm talking
especially to you.
"Highway" - A bluesy, gospel-flavored jam with boot-stomping harmonica that will find its way
onto at least a few road trip mixes. But "The Return of Bruno" this is not.
"Light from Your Lighthouse" - Another gospel-infused number, this time with a more Tom Waits-ish
element doubled by falsetto an octave up and some bluegrass guitar.
"Sun Is Shining" - Heartbreaking bass breaks in nearly a minute in over acoustic strumming and
picking. This is what Spiritualized might sound like if Jason Pierce had never discovered heroin,
with lyrics about waking up and looking forward. Nice optimistic chorus, verses and resolution.
Paul can still write them and he can still play, but then again we already knew that from the the
previous material.
"Dance 'Till We're High" - Church bell, sleighbells and the specter of Phil Spectre. Snow.
Direct lyrics about love. String. Out of all of them, this is the one Celine Dion might be
tempted to cover, which she hopefully won't.
"Lifelong Passion" - Harmonica gives way to warm, orchestral synthesizers. Mellow tribal drums
form a novel combination with a Moog or something like it. Great, dense production as usual.
"Lovers in a Dream" - This one finds The Fireman in trippy, spaced out territory. Then comes the
four-on-the-flour club beat, and we could be making our way through one of those borderline
swanky Berlin squatters' dance clubs. Remixers, start your engines -- there's plenty to work with
here.
"Universal Here, Everlasting Now" - What we thought was going to be a mournful piano tune for
upscale massage spas gets interesting quick with sinister swells and more birds. This is the most
experimental track on the album. Suddenly, a major guitar chord and a motorik-ish beat with a vaguely
Eastern reverb guitar solo turn this into a real builder. I had to turn it up around 3:15.
"Don't Stop Running" - Another classic Paul bassline, this time over a shuffling beat with
harpsichord and other twangy sounds. Is it a false ending or a silent hit in the style of
Pootie Tang? Or does the music
come back? I'm not going to give that away, but this is a suitable ending for the album. And no
matter what speakers you have, you'll wish they were better.
See Also:
The Fireman didn't reveal who they were until after
the second their second album. Discography: Strawberries Oceans Ships Forest ('94,
McCartney Productions Limited, distributed by Capitol in the US); Rushes ('98, Capitol);
Electric Arguments ('08, ATO Records).
KIKOILOU
Mavrika1
Suspect in 
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