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However Absurd [2025 Mix]

The Redux series of albums aims to stay true to the spirit of the original work while making it the best it can possibly be. Each song receives a new mix, done by me. Press to Play is one of Paul McCartney’s most divisive albums. While some see it as a desperate attempt to stay relevant through the recruitment of producer Hugh Padgham and the use of gated reverb, others view it as a bold, more experimental work in the vein of McCartney II and the Fireman albums. Press to Play has yet to see a true critical reevaluation as, like most of Paul’s post-Speed of Sound and pre-Flaming Pie material, it’s disregarded in what’s viewed as Paul’s long period of commercial and artistic irrelevance. The sessions for Press to Play were quite productive — Paul made a number of singles that any other artist would have considered album-worthy as well as several alternate mixes of nearly every song in the sessions. To create this Redux version, I borrowed from a number of mixes to create what I view as the definitive versions of each track. To me, the underlying theme of Press to Play is nostalgia. I see it not only in a number of the songs, but the album art, which intentionally mimics ’30s and ‘40s movie posters. “Good Times Coming” exudes a longing for a past in which the singer hopefully looked toward the future. “Talk More Talk” is an ode to Paul’s love of words and conversation, referencing his days at grammar school. “Only Love Remains” is a sweeping orchestral ballad reminiscent more of film score than any rock-style ballad previously composed by Paul. “Pretty Little Head” atmospherically tells a tale about the beginnings of civilization. “Move Over Busker” merges Paul’s love of ‘50s rock (with plenty of ‘80s reverb) and name drops to stars from the Golden Age of Hollywood. In “However Absurd” (which itself is composed nostalgically; Paul noted a connection to “I Am The Walrus”), Paul seems to both mourn and accept his lost artistic relevance — “Custom-made dinosaurs, too late now for a change.” It’s a shame that the contrast between the clearly nostalgic undertones of the album and the new ‘80s production wasn’t picked up on. I was mindful of this theme when choosing two new songs for the album. “I Love This House” and “Lindiana” both dated to 1984 sessions with David Foster. From a production standpoint, I feel they fit the album well. It’s a mystery to me why neither of these songs were considered as singles for this period, let alone the album proper. “I Love This House” reinforces the theme of nostalgia as Paul belts out a paean to his dilapidated home. Below is a list of the songs on the album and the mixes I used: Stranglehold: album mix I Love This House: version released on 1997 “Young Boy” single Lindiana: bootlegged version; never officially released Talk More Talk: album version with instrumental bridge from 12” single mix Footprints: album mix Press: UK 7” single mix with additional bridge from album mix and outro from 10” single mix Good Times Coming / Feel the Sun: album mix Pretty Little Head: album mix with added vocals from 7” single mix Angry: 7” single mix with intro from album mix Only Love Remains: album mix Move Over Busker: album mix However Absurd: album mix