I debated for a while whether to give Sir Paul’s latest album a review. Not a lot of people listen to his new works nowadays; just devoted Beatles fans, mostly. However, the more I listen to this record, the more convinced I am that it is one of his best solo works even though his voice has aged. So I decided to champion it and explain why I’m convinced of its status as a masterpiece.
Paul began working on this album in 2021 after the release of McCartney III, having met fabled producer Andrew Watt and recording the first track, As You Lie There, with him on electric guitar. The remaining songs were done over the next four years with Watt producing in between Paul’s touring sessions. Dungeon Lane is a street in the Speke area of Liverpool, where Paul grew up. When I heard about this and heard the first single, Days We Left Behind, I thought, “Oh, another Flaming Pie,” which was a record I didn’t really care for although some of its songs are excellent. Pandering to the fans, I feared. The release of the second song, Home to Us, with Ringo playing drums and singing a duet with Paul, was great but didn’t really alleviate the fears.
After listening to the entire album repeatedly, though, I think it’s not just nostalgic, and it’s not just for Beatles fans. It’s someone who knows he’s nearing the end of his life looking back at his past, the people whom he knew and loved, events which meant something to him and feelings he had about his life. And because he’s not naming specific people, for the most part, the experience becomes universal. These songs are very affecting.
Following is a track by track summary of each song. All were written by Paul except those with an asterisk, which were co-written by Andrew Watt.
As You Lie There*: With a few exceptions, all the instruments and vocals were performed by McCartney, which I think works better (for the most part) than when he uses his touring band, because he can get the exact sounds inside his head. Watt plays guitar, synth and piano, and Ringo joins in on tambourine. The subject is a girl who Paul had a crush on when they were both teens. No, I don’t think he really wants to be “together forever” with her now, but he’s recalling that feeling of forever love which hits so strongly in puberty. It starts with a very strange chord, which Paul had discovered and shown to Watt at their first recording session; goes into a spoken interlude; and then brings down the hammer into fiery rock. Paul shreds his vocal, proving he still has it. His most sexual song in years.
Lost Horizon: An engineer of Paul’s found this song on a tape and asked Paul if he wanted to finish it. It’s all McCartney. Lyrically, he remembers sounds which lingered in his head through the years–a train whistle, the ticking of a clock, the braking of a bus–and which remind him of memories which “[were] the start of the first day of forever.” It’s a chugging tune, with great harmonies.
Days We Left Behind: Again, all Paul, on acoustic guitar mostly. “Nothing ever stays, nothing comes to mind; no one can erase the days we left behind.” Yes, it mentions Forthlin Road, but it’s not a song about the early Beatles as much as it is about Paul’s youth. That’s something we can all relate to.
Ripples in a Pond: Paul with Watt on synth, tambourine and the good old Mellotron. Mike Davis guests on trumpet. It’s a love song, with wonderful echoing vocals and chiming guitars. Very catchy.
Mountain Top: This is a piano-based, vaguely psychedelic number. All McCartney except for Nancy contributing some speech at the song’s conclusion. Bouncy and fun, with magic mushrooms and pumpkin pies. I thought Paul had given up the ganja.
Down South: Paul on acoustic and electric guitars only. This is remembering a trip he and George took together as teens. Again, because he’s not leaning heavily into the Beatles thing, it works as something we can all relate to–being young and going off on your own. A wonderful tribute to an old friend.
We Two*: Watt joins Paul on electric guitar. I don’t know which one of them plays the melodic riffs, but they’re marvelous. This is the song which reminded me of the Kinks’ Wicked Arabella, which led me to a realization that I’ll explain later. This could be a love song to a mate or to a close friend. One of my favorites.
Come Inside*: Watt plays acoustic, synth, tambourine and maracas with McCartney. This and the following number remind me of his album NEW, which I mostly hate as being way too overproduced. However, this song doesn’t seem as if it steps over the line. The phrase “All my life’s an open book” amuses me, though, because Paul spends all his waking hours keeping himself hidden. I must admit that this record seems to be an exception to that.
Never Know*: Watt on drums, electric guitar and tambourine; Paul also plays drums and everything else. Nice minor key verses with some Mellotron noodling throughout. Another catchy tune which articulates doubts McCartney has about the love he feels.
Home to Us*: Ringo on drums, vocals and tambourine; Watt on guitars and synth; Paul on the rest. Chrissie Hynde and Sharleen Spiteri on backing vocals in the choruses. When Ringo first recorded his vocal, he thought that he’d just be harmonizing with Paul, but they decided to make it a real duet with answering lines. I love the women’s voices in the middle eight, and it really gives me the feeling of playing as kids when everything’s simple and fun.
Life Can Be Hard: Paul with Watt on acoustic guitar and synth and Ben Foster conducting. Written during the pandemic, when they were staying with a niece of Nancy’s. Paul sings it in falsetto, which shouldn’t work but does. I do think the line “I can see when there’s no food in the larder/I know she wouldn’t care” is a bit much. When did you last go hungry, Paul? It’s been quite a while, I expect. But it’s a nice song about love overcoming obstacles.
First Star of the Night: Paul solo. Written in Costa Rica, which touches me personally. It’s a beautiful ballad, but is perhaps the least memorable song on the record. Still, his singing and playing are lovely.
Salesman Saint: Paul solo with Ben Foster conducting and Mike Davis on trumpet. About his parents during and just after the war. I like his looking back on his life pre-Fab Four for a change. Clarinets à la When I’m Sixty-Four; nice touch.
Momma Gets By: Paul with Ben Foster conducting. Heartbreaking. It’s piano based, and has the best melody on the record. Old-fashioned in the aspect that “Momma” puts up with such a loser of a husband instead of hauling his ass to a divorce court, but McCartney is definitely in awe of the woman’s strength and determination. Since taking up with Linda, his songs have always been pro-woman, and I’m here for it. A perfect ending.
The overall impact of The Boys of Dungeon Lane is perhaps not as apparent on the first listen, but upon hearing the lyrics and seeing how the mosaic of numbers all fit together, the album’s greatness becomes clear. If Chaos and Creation In The Backyard from 2005, written when Paul and his second wife were having issues which led to their divorce, was Paul’s Pet Sounds–a personal statement about his feelings–then Dungeon Lane is his The Kinks Are The Village Green Preservation Society; a nostalgic look back at his life and all the people and places that he knew. As an old friend wrote, “There are places I remember/All my life, but some have changed.” If this turns out to be his final album, it’s going out on a high note.