Press To Play (1986)
Press to Play has been dubbed by many the most disappointing of Paul McCartney’s solo work. While it might not be the most exciting or star-studded record he’s produced, it is by no means a bad one. McCartney chose to chase the sounds of the present day, adopting a production-heavy, synthesized aesthetic for his 1986 project. At times it feels mechanized, but it’s smooth, compressed, and groove-driven. Is it a great Paul McCartney album? No, not necessarily. Is it objectively a good album? Yeah, it’s fine. There’s nothing about Press to Play that screams bad.
The album starts with what ends up being its best song, Stranglehold. Paul dives into a heavier 80s production style with a funky bassline, blistering saxophone, and a catchy melody. It sets a promising tone. Next comes Good Times Coming/Feel the Sun, which shows off Paul’s creativity with a 1980s retro-reggae bounce. It’s unique and fun, even if it isn’t trademark McCartney. Talk More Talk rounds out the opening trio, and you could argue these three are the strongest of the bunch. This one straddles the line between a good 80s song and a just fine one, fitting neatly into the mood of a John Hughes film.
The next trio of songs lacks a bit of pizzazz. They’re all decent, but they tend to get lost in the record’s production, feeling thin and somewhat over-processed. They wouldn’t make you change the radio station, but they wouldn’t make you call in a request either.
Pretty Little Head is a deeply eccentric track. Layered with interesting textures and a spacey overlay, it becomes a total experiment unlike anything Paul has done before. You wouldn’t immediately recognize it as a McCartney song, but it fits the mid-80s mold perfectly and it’s worth a listen.
Straying from the synthesized sounds, we finally get some pure rock entries. Pete Townshend shreds the guitar on Move Over Busker and Angry, the former being the more memorable. They’re tuneful, agreeable rock numbers that this album needed. They don’t feel out of place and add a nice variation to the mix.
Closing the album is However Absurd. The song aims to be an epic power ballad that ends things on a high note, but it lacks a sense of sincerity. It’s ambitious for sure, but it doesn’t quite hit the mark.
Press to Play might not be McCartney’s crowning achievement, but it’s an interesting snapshot of his willingness to experiment and adapt to an ever-changing musical landscape. The record shows a Paul who isn’t afraid to take risks, even when the results are mixed. It’s a testament to his enduring creativity and his ability to make music that, while maybe not timeless, is still enjoyable and reflective of its era.
All in all, Press to Play is a product of its time, with moments of brilliance that shine through the heavy production. It’s worth a listen for any McCartney fan, if only to appreciate the sheer breadth of what he’s made.
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Highlight Songs:
Stranglehold
Good Times Coming/Feel the Sun
Move Over Busker
Pretty Little Head
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Own it, Stream it, Forget about it?
You could get away with just streaming this one. The highlights are definitely worth hearing and maybe adding to a playlist or two, but the record as a whole might not be worth spinning over and over.
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Overall Rating:
2.5 Stars
