McCartney's unpretentious vocals acquire enchantment

Paul McCartney is now a long time removed from his Beatles days. He is 69 years old. He is no more the teen idol. His singing, huskier now, is not going to put him in any talent show. But believe me when I say that this guy still packs a wallop.

He is really quite a distraction. I have had his new album Kisses On The Bottom for several days and I cannot stop listening to it. I cannot do anything else. Worse, he gets my tummy all gushy when he sings and he is no Sinatra or Bublé.

I thought it would be one of those CDs I could put in the player and listen to while busy with other things. But no way, Kisses commands listening. Sir Paul’s tone is so soft and intimate, the sort made for cuddling. The songs are old but so lovingly revived. And the music is smooth and easy. Then there is a lilt in his voice and a relaxing warmth in the way he phrases the lyrics. I did sit back and asked, am I thinking this way because McCartney was a Beatle? Maybe. But Beatle or no Beatle this is one fantastic album.

The title Kisses On The Bottom comes from a line in the song I’m Gonna Sit Right Down And Write Myself A Letter that dates back to 1936. That more or less is the median age of the songs in the album. It is an American songbook but one with very unusual choices. As in not The Way You Look Tonight but We Three (My Echo, My Shadow and Me, 1940). Not I Only Have Eyes For You but It’s Only A Paper Moon, 1933.

There is a snappy music hall feel to the line up. These are the songs you expect to hear from a player piano in a period movie. But made with a difference. Remember, you are dealing with the most successful songwriter of all time here. He also knows what would be best for these songs. Instead of producing the album like he usually does, McCartney recruited the Grammy Award-winning Streisand producer Tommy Lipuma, who in turn brought in Diana Krall.

You all know Diana. She makes dreamy jazz music. Then Diana brought in her famous band, which by the way is excellent as always. And that was how Sir Paul got the sound he wanted. Kisses hooks the listener right from the start. With Krall’s velvety piano, leading the band, McCartney’s unpretentious vocals acquire enchantment. That is the mood that holds throughout the CD.

Here, too, is superb songwriting, clever, witty, amusing, moving but oh so simply done. Most touching is the seldom heard More I Cannot Wish You (1950) by Frank Loesser. It is Only A Paper Moon (1933) has a jaunty, playful vibe. You should hear what he does with the Sinatra oldie, My One And Only Love (1952).

Most romantic of all the cuts and the one I like best is Irving Berlin’s Always (1925). Makes you wonder why people go about complicating relationships nowadays, when that is all that you have to say, l’ll Be Loving You Always… And can anything get more sentimental than Home (When Shadows Fall, 1931). This one makes me think of being home at sunset with the love that has weathered the years.

Also included are The Glory Of Love, We Three (My Echo, My Shadow And Me), Ac-cent-tchu-ate The Positive, My Very Good Friend The Milkman, Bye Bye Blackbird, Get Yourself Another Fool and the kiddie favorite The Inch Worm.

Completing the CD are three originals by McCartney himself. My Valentine, Only Our Hearts and Baby’s Request. This is a brave move considering the treasures in the album but again, this is one guy who has written his goodly share of classics. What’s to stop him from adding a few more?

The new songs are not only sweet and romantic, they could have also come from some era in the past. This is proof that McCartney did not decide to do Kisses on some sudden whim. How wonderful to know that he has always had this music in him. More wonderful even that he decided to do Kisses On The Bottom.

 XXOXXOXXOXX Sir Paul.