The Fireman - Electric Arguments Review

Posted by Aaron Mayagoitia on 11.29.2008

Gaze into the colorful canvas of Paul McCartney's side-project's latest album. Be careful, you may not want to look away.



When I first knew about The Fireman, I had no idea that it was actually a side-project by Paul McCartney and producer Youth. And when I knew about the type of music The Fireman made, I was baffled. Paul McCartney making electronic music? I later found out that he already has recorded two albums under The Fireman name: Strawberries Oceans Ships Forest (1993) and Rushes (1998). Then I found out that a third album of the same type of music was going to be released: Electric Arguments. Having never listened to the first two albums before, I thought that listening to Electric Arguments would require previous ear-training from the other albums to get used to the fact that this was going to be Paul McCartney playing a type of music I was not used to listening to him play. But after giving Electric Arguments a spin, any previous misconceptions about what Paul McCartney’s music should sound like came tumbling down.

Electric Arguments is a feast for the ears. It’s a brilliant mishmash of creativity coming from an artist who, most people would think, ran out of juice years ago. It is an album of electronic music, but not as thoroughly as you might think; vintage electronic instruments like mellotrons and Moogs make constant appearances and give some songs a more progressive rock feel, as well as more modern electronica-sounding instruments showing up and adding that dance-oriented sound you would expect when someone tells you “this is an electronic music album” in late 2008. But what you’ll be listening to most of the time anyway, is an array of conventional instruments: bass, guitar, harmonica, drums, etc. Also, you should know that this is the first album by The Fireman to include lyrics and vocals -which makes me think that the other two albums are where the trippy stuff really is-. Not that Electric Arguments isn’t trippy, but the absence of lyrics within a myriad of sounds doesn’t give you something to hold on to that easily.

The album starts off with “Nothing Too Much Just Out Of Sight,” a stomping rocker showcasing Paul McCartney’s Little Richard-like vocals. An irresistible vamp carries the song with slide guitar and fuzzy bass. From the very moment you listen to the song, you can tell McCartney is enjoying every second of it. This song is a stunning breath of fresh air and it sets the tone for the rest of the album’s euphoric sonic spread.

All of a sudden, the buildup from the previous song comes to a halt with “Two Magpies,” an acoustic number inevitably reminiscent of “Blackbird,” for also having a title named after a bird and for being a calm acoustic song. The major difference is that in “Two Magpies” McCartney sings in a playful whisper. The song is relaxed and has a sparse arrangement. It’s one of those sweet songs that end too soon.

“Sing The Changes” comes next, and it’s all joy and celebration. The line “feel a sense of child-like wonder” sums up the song: it’s a beautiful ode to life itself and to the freedom we can all find within the many wonders it has to offer. Up to this point, you can notice that there’s not too much electronica going on, mostly standard rock and acoustic arrangements and sounds. You won’t even care because the songs are that good. However, what’s next is a hazy journey across the sea reminiscent of Meddle-era Pink Floyd.

Segueing with “Sing The Changes” is “Traveling Light.” This is the first song on the album to feature electronic elements. A mellotron with a flute voice paints nostalgic strips of blue, and trickling piano and tiny chime-like percussion create a haunting star-filled sky. A worthwhile trip that takes you from the cool sand on the beach under your feet, then into the blue sea, then above it and under the twinkling stars, and finally arriving at your love’s side; a standout track and probably one of the best in McCartney’s career.

“Highway” comes next and once again The Fireman plays with our emotions, getting rid of the nostalgic weight of “Traveling Light” and switching to an upbeat rocker. This could easily be the weakest track on the album; it’s not bad, by any means, but the song lasts a tad too long. Conventional rock instrumentation shines throughout with only a few electronic details at the end.

If I could keep only one song from Electric Arguments, it would have to be “Light From Your Lighthouse;” it’s that good. A fun mix of campfire song and cheery blues, this is the type of sing-along song McCartney would play live to get the crowd going. And who can blame him? Its irresistible chorus gets you in a good mood and makes you tap your feet.

More electronic textures appear in “Sun Is Shining.” The color orange comes to my mind every time I listen to this one; fuzzy warmth everywhere is what this song is all about: “the sun is shining down, the air is buzzing.” This could have almost been a Beach Boys song since it’s full of good vibrations (no pun intended); a perfect way to start your day. Add a glass of orange juice and you’re in for one tangy commute.

This enthralling album also contains a symphony –it contains almost everything else, so what the hell! - “Dance ‘Til We’re High” showcases a wall of sound Phil Spector would be proud of, with string arrangements, bells and mellotron; a very nice love song, but not as tender and heartfelt as “Lifelong Passion.”

This time it’s a Moog adding tubular notes to a tribal beat. “Lifelong Passion” could be one of McCartney’s best love songs ever. “Let me kiss your lips of silver; give me love; be my lifelong passion” almost made me shed a tear. This song and the following “Is This Love?” are lyrically alike, though the arrangements are completely different. “Lifelong Passion” is psychedelic and “Is This Love?” has a Celtic sound. “Is This Love?” has a deep, spacey sound almost identical to U2’s “Mothers Of The Disappeared,” and can cause the same effects as “Lifelong Passion” if listened to while yearning.

“Lovers In A Dream” begins with the sound of a foghorn and then electronic threads blend in and make way for the most dance-oriented song on the album: a droning lyric repeats throughout the song while a danceable beat sets an erotic mood. That’s right! McCartney even threw a little erotic mojo into the album; this is not your conventional Beatles or Paul McCartney album, this is a work of art.

He got freaky with the previous track, so why not get scary with the next one? Barking dogs and scared kids’ voices pave the way for “Universal Here, Everlasting Now’s” solid rhythm and Exorcist-like piano. This song could be more of an instrumental than a song, since there are barely any lyrics.

The album comes to a close with “Don’t Stop Running,” the longest track on the album. Ever heard of Black Mountain? Well, this song sounds a lot like “Wucan,” which is a very good thing. This song has the only bit of bitterness that kept me from giving this album a perfect 10: an extended silence that separates the first half of the song from the last half. No matter what artist, no matter what band, no matter what album, no matter what song, extended silences suck, and they suck more when it takes forever for the rest of the song to play. So “Don’t Stop Running” is the longest track on the album, but most of it is silence anyway. By the way, I’m not a fan of John Cage’s “4’33,” so don’t get me started.

When the song finally comes back, it would seem McCartney stepped out the studio and in came Tangerine Dream, all sorts of electronic noises ensuing. A backwards voice track ends the record.

Track listing:

1. - Nothing Too Much Just Out Of Sight.
2. - Two Magpies.
3. - Sing The Changes.
4. - Traveling Light.
5. - Highway.
6. - Light From Your Lighthouse.
7. - Sun Is Shining.
8. - Dance ‘Til We’re High.
9. - Lifelong Passion.
10. - Is This Love?
11. - Lovers In A Dream.
12. - Universal Here, Everlasting Now.
13. - Don’t Stop Running.

The 411: Slightly short of being perfect, Electric Arguments is one of Paul McCartney’s best albums ever; an addictive, colorful collage of sounds featuring stellar instrumental, lyrical and vocal performances; essential.

Final Score:  9.5   [  Amazing ]