2018-09: Crítica ao Egypt Station

Desta vez considerado como "Minor entry" no catálogo:
https://consequenceofsound.net/2018/09/album-review-paul-mccartney-remains-full-of-vigor-on-egypt-station/

2018-09: Crítica ao Álbum Novo de Paul McCartney

E as críticas (reviews) começam a aparecer:
https://www.omelete.com.br/musica/criticas/paul-mccartney-egypt-station

Citando:
"“Ele fez de tudo. Ele fez álbuns experimentais. Ele fez álbuns de pop. Tudo que alguém pode querer fazer em um estúdio, ele foi e tentou”. Em entrevista à Rolling Stone, o produtor Greg Kurstin(Adele, Foo Fighters) explicou em poucas palavras o trabalho da carreira de Paul McCartney. Ao resumir a diversidade musical do Beatle, Kurstin explicou bem, ao mesmo tempo, seu último trabalho: Egypt Station."

2017-05-16: Filme sobre época do Sgt. Pepper's (Crítica)

http://www.hollywoodreporter.com/review/was-fifty-years-today-beatles-sgt-pepper-beyond-review-1003725

Citando:
"In  fairness, It Was Fifty Years Ago Today! is not wholly devoid of interest, especially for forensic Fab Four fans. Lengthy archive newsreel clips give an intriguing sense of life inside the Beatlemania bubble just as the band were in transition from moptop pop minstrels to planet-shaking rock aristocrats. The chapter on Epstein's death also has a pleasing journalistic rigor that is lacking elsewhere. Yanked out of a meditation retreat with the Maharishi Mahesh Yogi to hear the news, Lennon's shell-shocked reaction still feels raw five decades later. "There's no such thing as death anyway," George Harrison argues. "There's death on a physical level, but life goes on everywhere."

More earthly insights into Epstein's death come in a contemporary interview with Simon Napier-Bell, a budding pop impresario in Sixties London who later went on to manage Wham! and many other artists. After spurning repeated sexual advances from Epstein, Napier-Bell came home from a weekend in Dublin to find several bleary messages that the tormented Beatles manager had left on his prototype answerphone machine the very night he died. "I did the stupid, British, correct thing and immediately erased the tape," Napier-Bell says ruefully.

In visual terms, Parker tries to compensate for a dearth of fresh Beatles material with small stylistic flourishes. Trippy animated credits invoke the surreal look of Yellow Submarine (...)"