Here’s a simple task: review Paul McCartney’s first album of originals since 2007’s "Memory Almost Fall." Not.

"The cute one" of The Beatles and Wings is now 71, in a relatively new marriage, and unsurprisingly, still killing it. "New" is actually McCartney’s recollection of old memories, looking back on his days in Liverpool with the eyes of the experienced icon he truly is.

McCartney recorded songs with not one but four producers, eventually deciding to use each for their different strengths brought to each individual track. Paul Epworth, Mark Ronson, Ethan Johns, and Giles Martin (the son of longtime Beatles producer George Martin) all get credit here for creating the eclectic sounds on New." 

In this collection of younger producers who've work for artists such as Adele (Epworth took home the Oscar for "Skyfall"), Amy Winehouse, Bruno Mars, and Kings of Leon, McCartney obviously tries to captivate the millennials and their parents, as in earlier attempts with his last two albums of originals, "Chaos and Creation in the Backyard" and "Memory Almost Full." 

With "New," McCartney will find the same results as he did in 2005 and 2007, in that those nostalgic fans, young and old, carrying over from Beatlemania will indulge in his process.

On "Alligator" and "Appreciate," for example, we’ve got McCartney’s timelessly smooth vocals colliding with big, bold instrumentation, a spectacle of synth and electric guitar. The third track, "On My Way To Work," blends his infectious acoustic feel dating back to the Lennon/McCartney songbook harmonies with the epic drums and horn section one would hear from Of Monsters and Men or Mumford and Sons. Even the first title single, "New," still reminds us of the pulse and big brass of "Got to Get You Into My Life," from 1966’s "Revolver," fleshed out to fill the bigger soundscapes of our Beats headphones.

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Many of the other songs compiling "New," however, probably won’t do the job of grabbing multiple audiences. As expected, there’s no dance tracks here (tenth track "I Can Bet" tries?), and McCartney instead relies on his ability to, simply put, write a good song. Perhaps there’s something to say about the album’s US release on Hear Music Label, also known as "the voice of music at Starbucks."

Many of these songs, while good (we’re still talking about Paul McCartney), sound like they could’ve been written in the last couple decades. Whether it’s the haunting echoing melodies on "Road" (followed by its hidden track "Scared") or the straight-up rock n’ roll feels on "It Turned Out," the opening track "Save Us," or "Queenie Eye," the majority of "New" is less of McCartney experimenting with his sound and more showing his fans what he’s been up to the last few years with a slew of new and effective songs. 

And for those fans, there’s really nothing wrong with that. "Everybody Out There" features the famous wailing upper register McCartney adapted in his early days as an impression of Little Richard on 1963’s "Twist and Shout." "Hosanna" borrows from the days of late '60s psychedelics complete with backwards loops and strange concoctions of George Harrison’s sitar over a beautiful folk melody.

"Looking at Her" is a sweet, yet sad love song perhaps dedicated to new wife Nancy Shevell with an expectedly-catchy McCartney chorus. And the last two tracks "Turned Out" and "Get Me Out Of Here" bring us back to McCartney’s love of the bluegrass and country sound, ditching his bass for a twangy guitar and a box drum. 

Yet, standing out among the pack of typical McCartney-isms, "Early Days," clocking in at track five, is lyrically rich in its tribute to the times McCartney spent with John Lennon growing up in Liverpool: "Dressed in black from head to toe/Two guitars across our backs/We would walk the city roads/Seeking someone who would listen to the music/That we were writing down at home," that can only remind us of John Lennon’s "In My Life," which was written in 1965. 

"New" is unshockingly another winner for Paul McCartney, and his collaborations with current big-name chart-topping producers most definitely contributed to its success. Perhaps for future projects McCartney would consider collaborating directly with the artists these producers record to attract an even bigger audience. Then again, he’s Paul McCartney, and in many ways, he’ll always be "new."

Read more of NT's album reviews here.

Reach Staff Reporter Becca Grumet here. Follow her on Twitter here.