A bit of everything and nothing is too much

It is suitable as the ultimate irony of the music industry, that of all the purely monetary criteria probably most commercial musicians at all (McCartney is considered the world's wealthiest musician by far) basically no rules for predictable commercial success followed. Somewhat to predict reliably how well his next album will sound, the direction in which it moves, where it sets priorities, has always been impossible.

"New" is the 33rd studio album since 1970, the Beatles were queued in the history, five of which were classical works, four were published under a pseudonym (The Fireman / Twin Freaks) and fathomed musical borderlands from, but also the 24 more or less regular, times especially and sometimes not quite as strong albums were anything but complacent meter. And "New" is no exception, it is new and different and yet so wonderfully old and familiar. Even with 71 years can be McCartney in a corset presses, apparently has no intention to meet possible expectations, except for those who expect to be surprised.

With four producers he set to work and created separately in separate sessions very different material. In the booklet McCartney admits that he feared that the material could fall too different to give a homogeneous album. Now a homogeneous maybe not, but an exciting. He thought that no matter that his voice alone everything will hold together and forms a constant, and even the Beatles albums are quite complex songs on a plate united and it worked then. And it works even over 40 years later on "New". It even works quite outstanding. Not only from song to song, but even within a piece you listen to often surprised because this mischievous sends a re in the wrong direction and the song completely different is going on, as you have spun him already thinking further.

For example, in "Looking at her". Head voice singing McCartney strolls leisurely through the first harmless friendly pop song. But then coming wummert the good old Moog (the original synthesizer in 1970) out of nowhere once across the melody, but is recaptured, and Sir Paul ambles on. Towards the end of the Moog begins then but no more, and the song leaves the room very different from what he has three minutes earlier entered it.

Throughout the album (standard: 12 + 1 songs, Deluxe: 14 + 1 songs) McCartney through all realms, which he gladly crosses have always been and continues here and there new design accents. From catchy sing-along pop song, silent songwriter pieces, driving rock songs, experimental sound thunderstorms, reminiscent of the Beatles era and the future facing sound expeditions, he one on "New" everything and presents it in an unpredictable mix - as mentioned, not only from song to song, but also within a song.

Especially, however, and actually in the nature not at all unusual or original is the +1 song, so the 13th to the standard, the 15 on the deluxe edition - the hidden song listed neither in the tracklist, even in the booklet.
"Scared" is the number and proves that McCartney in 2013 with 71 years, in particular urge to exceptional arrangements and qualified in all styles to compose, still the master of the actual Champions League is the only accompanied on piano ballad. What he achieved already at times with "Yesterday" or "Let it be", as mankind itself was not quite sure if the earth perhaps is not flat, succeeds well in times when humanity predicts whether you could not live on other planets. A good song does not need more than a piano, playing him and a voice that sings it, then as now. "Scared" is such a song and the quiet finale of a very versatile album.