Paul McCartney – The Boys of Dungeon Lane

Review by

Tom Parmiter

Tom is a UK-based music writer who first contributed to No Ripcord in 2018.

Studio album number twenty. Rarefied air indeed, but then, Paul McCartney has had rather a lot to say musically over the decades. 56 years since his first solo effort, that career in itself coming after his work across the most famous back catalogue in recorded history. The Boys of Dungeon Lane is the culmination of various sessions with co-producer Andrew Watt dating back to 2021, recorded between legs of the three-and-a-half-year Got Back tour.

The record opens with confidence and purpose via “As You Lie There,” the first song recorded by McCartney and Watt for the project. It’s a deep-sounding, satisfyingly recorded opener, the verses gentle and reverb-filled, the choruses hoving into view with rock heft. “Days We Left Behind” is a gorgeous opening single, with acoustic guitar and piano accompanying Sir Paul as they have on so many tracks up to now. Despite the familiarity, the song feels as though it offers something slightly different to those before, the weathered vocals and tone adding weight to unswerving lyrics.

“Mountain Top” is an immediately noticeable cut, heavily infused with latter-day Beatles instrumentation. It wouldn't be much of a stretch to see this piece sitting comfortably on Sgt. Pepper's Lonely Hearts Club Band, all phase-enhanced drums and percussion. “Never Know” falls into a similar region and, like many Beatles songs of this era, features a strong melodic pattern that gradually unfolds as the track develops into a wide mix and an expansive outro section.

Returning to some of the mood set by “As You Lie There,” “Come Inside” brings a satisfying and surprising rasp and rock edge, its beefy mix replete with raunchy piano, guitar licks, and handclaps. This material generally feels stronger than a couple of the mellower cuts (“We Two” and “First Star of the Night” are a little too subdued for this writer).

The second single on the album, “Home to Us,” is a big draw given its duet between Sir Paul and Ringo Starr. The lyrics paint a vivid picture of where the two men grew up, a touching and appropriately hook-filled tribute that features backing vocals from Chrissie Hynde and Sharleen Spiteri.

This number would be the emotional highlight of the record, were it not for a couple of tracks beholden to themselves, the closing pair “Salesman Saint” and “Momma Gets By.” The former is another lyrically direct cut, led by acoustic guitar, brass, and some deft brushes drumming. Curious period orchestration weaves through the piece as it develops. A similar tone is set by the closing track “Momma Gets By,” the two songs operating like companion pieces. It’s a moving couplet of tracks, and a fitting close to an album unafraid of retrospective viewing.

McCartney sounds particularly good throughout; there isn’t a song on the record that his vocals don’t feel well pitched to, and his lyrics frequently hit the mark in these emotive numbers. With nimble production and deceptively varied music, The Boys of Dungeon Lane contains all the hallmarks of one of Britain’s finest songwriters.

The Boys of Dungeon Lane is out now via Capitol Records.