I decided midway through the third listen that I really like Memory 
Almost Full.  Here's what I told the good people at Amazon:

Among McCartney's work from 1980 on, it is generally accepted that the 
two best records are Tug of War (1982) and Flowers in the Dirt (1989). 
Memory Almost Full deserves a place beside these two later-period 
works; it is certainly his best since Flowers in the Dirt. 

When Linda McCartney passed away, clearly a part of Paul died with her, 
and his post-Linda records (Run Devil Run, Driving Rain, and Chaos and 
Creation) all sounded fragile, brittle, old, lonely. This from an 
artist who is all about whimsy, playfulness, who had a number one hit 
with the wry and self-aware "Silly Love Songs." Somber and mortal don't 
sound well on Paul, cute doesn't age well, Peter Pan should never grow 
up. 

At first I thought this record was going to fall into that cluster of 
recent records that just didn't work. But some time during my third 
listen, it all snapped into place. The melodies had worked their way 
into my brain, and I am happy to announce that Memory Almost Full is a 
solid return to the musical DNA of his best work. And especially after 
the moody downbeat experimentation of Chaos and Creation, I say, 
hallelujah. 

This is not to say he's repeating himself, or rehashing old ground. 
Rather, I think that Paul sounds quintessentially like Paul here, and 
if you've gone for that over the years, you will find this a welcome 
revelation. 

"Dance Tonight" is an infectious if innocuous ditty of the sort he's 
been pulling off and tossing off for years; "Ever Present Past," the 
single, grows on you and works better in the context of the record than 
as a standalone. It is the first of several songs here in which Paul 
looks back on his life and legacy; talk about a guy who can't escape 
his ever present past, eh? "See Your Sunshine" is a winning 
arrangement, lush with gorgeous backing vocals; it harkens back 
sonically to Tug of War, I'd say. 

"Only Mama Knows" is one of those rockers of his like "Junior's Farm" 
or "Girls School." Some have said that this record is reminiscent of 
the Wings stuff, and I think it is-- and what's wrong with that, I'd 
like to know "You Tell Me" is a gently loping, somewhat haunting ballad 
built around acoustic guitar. "Mr. Bellamy" most certainly bears at 
least a passing acquaintance with a Mrs. Vanderbilt. "Gratitude" is a 
winning vampy tune with an exquisite and chilling ascent on the 
harmonies of the refrain that make it sheer ear candy. 

Then "Vintage Clothes" begins a 5-song medley which looks back at the 
artist's life (its OK to wear old clothes, but don't live in the past); 
the song segues into "That Was Me," a nice upbeat number (or "noom-
bah," as Paul would say) that sees him owning up to, embracing his past 
("That was me on the river, Mersey-beatin', with the band... that was 
me.") Later in the song he sings, "If fate would decree that all of 
this would make a lifetime, who am I to disagree? That was me." Another 
neat segue into the pretty "Head in the Clouds," then the more 
somber "House of Wax," more great vocal arrangements, and nice lush 
orchestration, then some tasty minor key guitar work. 

The medley ends with "The End of the End" (the title a wink at the 
final track on Abbey Road?) which is the most maudlin thing on here; 
Paul talks about what he wants at his funeral. But then he, literally, 
goes whistling past the graveyard. 

Then a coda of a sort, the hard rocking "Nod Your Head." 

The singing--and especially the backing vocals--is outstanding 
throughout, but more than anything else, with only a couple of 
exceptions, the moroseness is gone and the whimsy is back. The melodies 
are memorable, burrowing into your brain and setting up camp there, so 
that as you play the record you're thinking, "Oh yeah, I like this 
one!" as each tune rolls by. The songs exude the combination of 
seductive playfulness combined with seeming total effortlessness that 
marks his best work. And as always, the musicianship is first rate, 
especially the old fella on bass. 

But hell, don't take my word for it--go to Starbucks and give it a 
listen.