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Memory Almost Full

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Memory Almost Full album cover
Dance Tonight
Ever Present Past
See Your Sunshine
Only Mama Knows
You Tell Me
Mr. Bellamy
Vintage Clothes
That Was Me
Feet in the Clouds
House of Wax
The End of the End
Nod Your Head
Album Information

Total Tracks: 13   Total Length: 41:59

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Wondering Sound

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Michael Azerrad


eMusic editor-in-chief Michael Azerrad is the author of Come As You Are: The Story of Nirvana (Doubleday, 1993), which remains the definitive Nirvana biography,...more »

Paul McCartney, Memory Almost Full
Label: Hear Music / Concord

Thanks to a song he wrote when he was in his twenties, there must have been no human being in history as self-conscious about turning 64 as Paul McCartney. Life hardly ever works out the way you thought it would, and sure enough his 65th year was hardly the vision of senescent domestic tranquility that he'd imagined. So McCartney did what any good artist would do: He made an album about it. As Memory… read more »

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Memory Almost Full


rate 4 1/2 stars Good Album

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Thses reviewers are lost.


Ya sure, Denny laine was the big draw for the Wings and put the band together. And what idiot wrote I feel sorry for Sir Paul? They should stick with Bon Jovi and the theme song for Barney. This is Paul McCartney. Listen to the meaning of the music You in your lifeless myopia should all be banned from downloading real music. I wish I could knock some sense into the guy going on about Denny Laine. We need life guards in the gene pool and that idiot proves it.

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This was mailed in


I am not at all inspired by any of these songs. I'm almost embarrassed for Sir Paul. Every once in a while i hear him hit one of his signature high notes and it sounds like he's just trying to capitalize on past success. Also, the lyrics are incredibly uninspired. What the heck Paul?

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sad, and not in a wistful or melancholy way

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voice almost gone


I found it almost painful to listen - his voice has really deteriorated in range and quality.

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Solid effort from McCartney


Paul McCartney's work is sometimes held to a higher standard than what we would expect from someone without his history. This isn't the best thing that he has ever done, but it's successful in its own way. I downloaded it one month when I didn't really have anything else that I wanted. I have found that I listen to songs from it much more often than I expected.

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stay away from this at all costs


huge Mac fan, but this is painful. "Creativity Almost Gone" would be more appropriate. Get The Fireman instead.

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One of Macca's best.


As good as anything he's ever done. What it lacks is that one great song. It has no "Band On The Run" on it. But top to bottom just excellent music.

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Memories are Never Full


Sir Paul has been kind enough to intertwine his life with mine for the past half century and I thank “What Ever Gods There Be” for that wonderful soul. In the early 70s I volunteered for the Air Force because of a draft number in the low 30s. I worked in a clean environment not out in the field. Finally Nixon gave me my release when he announced a reduction in force of 750,000, this took several months to process giving me personal ID with Wing’s song Band on the Run with its famous lyrics "Will we ever get out of here. Will we ever get out of here". Surviving the insanity of the military, raising 6 kids, and then actually writing a review on Sir Paul is amazing. "The End of The End" I predict this will become a classic for my generation being played at our funerals with a regularity approaching Satchmos Beautiful World for the Next Older Generation. It takes somebody who has lived a life to have written a classic such as that piece.

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Paul is still...


{This review's about who Paul is and what has made him that.} For a guy who played the in the most successful band in history, is the wealthiest musician in the world and yet doesn't know how to read music (by choice), the guy has done pretty good for himself! Paul can write a song so rich in melody and emotion and so natural - it just flows out of him. He has written a classical oratorio by singing the parts for each instrument to the conductor, who turned that into music for the orchestra! Paul follows the beat of his own drummer and has always given what was in his heart, not moved by what others did. There are two kinds of people in this world. Some saw the greatest contribution and genius from the Beatles as coming from John, others thought it was from Paul. Paul wasn't the tortured soul that John was, usually due to to his own foolish decisions. Nothing the media and reporters throw at Paul sticks. He knows well that they lie just to make themselves a name at his expense. He does

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They Say All Music Guide

Allusion to the digital world though it may be, there’s a sweet, elegiac undercurrent to the title of Paul McCartney’s Memory Almost Full, an acknowledgement that it was written and recorded when McCartney was 64, the age he mythologized on Sgt. Pepper’s Lonely Hearts Club Band, released almost exactly 40 years before Memory. Certainly, McCartney has mortality on the mind, but this isn’t an entirely unusual occurrence for him in this third act of his solo career. Ever since his wife Linda’s death from cancer in 1998, he’s been dancing around the subject, peppering Flaming Pie with longing looks back, grieving by throwing himself into the past on the covers album Run Devil Run, slowly coming to terms with his status as the old guard on the carefully ruminative Chaos and Creation in the Backyard. But if that previous record was precise, bearing all the hallmarks of meticulous producer Nigel Godrich, Memory Almost Full is startlingly bright and frequently lively, an album that embraces McCartney’s unerring gift for melody. Yet for as pop as it is, this is not an album made with any illusion that Paul will soon have a succession of hit singles: it’s an art-pop album, not unlike either of the McCartney albums. Sometimes this is reflected in the construction — the quick succession of short songs at the end, uncannily (and quite deliberately) sounding like a suite — sometimes in the lyrics, but the remarkable thing is that McCartney never sounds self-consciously pretentious here, as if he’s striving to make a major statement. Rather, he’s quietly taking stock of his life and loves, his work and achievements. Unlike latter-day efforts by Johnny Cash or the murky Daniel Lanois-produced albums by Bob Dylan, mortality haunts the album, but there’s no fetishization of death. Instead, McCartney marvels at his life — explicitly so in the disarmingly guileless “That Was Me,” where he enthuses about his role in a stage play in grammar school with the same vigor as he boasts about playing the Cavern Club with the Beatles — and realizes that when he reaches “The End of the End,” he doesn’t want anything more than the fond old stories of his life to be told.
This matter-of-fact acknowledgement that he’s in the last act of his life hangs over this album, but his penchant for nostalgia — this is the man who wrote the sepia-toned music hall shuffle “Your Mother Should Know” before he was 30, after all — has lost its rose-tinted streak. Where he once romanticized days gone by, McCartney now admits that we’re merely living with “The Ever Present Past,” just like how although we live in the present, we still wear “Vintage Clothes.” He’s no longer pining for the past, since he knows where the present is heading, yet he seems disarmingly grateful for where his journey has taken him and what it has meant for him, to the extent that he slings no arrows at his second wife, Heather Mills, he only offers her “Gratitude.” Given the nastiness of the coverage of his recent divorce, Paul might be spinning his eternal optimism a bit hard on this song, but it isn’t forced or saccharine — it fits alongside the clear-eyed sentiment of the rest of Memory Almost Full. It rings true to the open-heartedness of his music, and the album delivers some of McCartney’s best latter-day music. Memory Almost Full is so melodic and memorable, it’s easy to take for granted his skill as a craftsman, particularly here when it feels so natural and unforced, even when it takes left turns, which it thankfully does more than once. Best of all, this is the rare pop meditation on mortality that doesn’t present itself as a major statement, yet it is thematically and musically coherent, slowly working its way under your skin and lodging its way into your cluttered memory. On the surface, it’s bright and accessible, as easy to enjoy as the best of Paul’s solo albums, but it lingers in the heart and mind in a way uncommon to the rest of his work, and to many other latter-day albums from his peers as well. – Stephen Thomas Erlewine

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