The Fireman - Electric Arguments reviews
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| Allmusic |
 Ever since the early days of the Beatles, Paul McCartney has known the value of a pseudonym, famously registering into hotels under the surname Ramone and pushing the Fab Four to act like another band for Sgt. Pepper. This carried through to his solo career, where he released a couple odd singles while flitting back and forth with Wings, but he never again embraced the freedom of disguise like he did with Sgt. Pepper until 2008, when he put out the Fireman's Electric Arguments. McCartney created the Fireman alias with Youth back in the mid-'90s when electronica was all the rage and Macca hesitated dipping his toe in the water on his own LPs. A decade after Rushes, he revived the Fireman moniker not to cut another electronic record but to put out what in effect was McCartney III: a weird clearinghouse of experiments, jokes, detours, and rough-hewn pop. McCartney and Youth recorded Electric Arguments quickly -- not so much in a brief, weeklong blast of activity, but spending one day on each of the 13 tracks, writing and recording within a 24-hour period. This speed is the opposite of his ambitious 2000s projects Chaos and Creation in the Backyard and Memory Almost Full, both accomplished, carefully considered albums constructed with a broad audience in mind, if not necessarily the charts. As its release under McCartney's pseudonym makes plain, Electric Arguments wasn't intended for a large audience; he did this for himself, just like he did the two McCartney albums and even Ram, three records that had loose ends and odd detours, just like this does....full text |
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| Guardian |
| Paul McCartney likes to remind the world that he hasn't just been cute, he's also been cutting edge, the Beatle who dabbled with Stockhausen. His third stint as the Fireman, his partnership with producer Youth, finds the pair on inspired form, ready to take risks while knocking out a track a day....full text |
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| Uncut |
Yes, he may have hammered the point home a little gracelessly at times. But nevertheless, Many Years From Now – the 1997 biography virtually dictated to Barry Miles by Paul McCartney, made a convincing case for McCartney as the Fabs’ chief experimenter. John may have written and sung “Tomorrow Never Knows”, but long after he went home, it was Paul who worked into the night fashioning tape loops to drop in lieu of a guitar solo. Famously, for “A Day In The Life”, it was Paul – apparently, wearing a red butcher’s apron – who overrode George Martin’s misgivings and freighted in the New Philharmonia to create the song’s iconic 24-bar happening.
All of which, is fine, of course. But there’s something a little odd about Sir Macca’s eagerness to remind us that he was the Fabs’ first avant-gardist, while – even during the relative creative upswing of recent years – seeming reluctant to re-engage with that spirit. One suspects the real problem for McCartney, has been an inability to measure the success of his projects by any means other than record sales and the mainstream appeal upon which those sales are predicated. On the rare occasions McCartney has strayed from his musical comfort zone, he has shown reluctance to attach the Paul McCartney “brand” to anything o...full text |
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