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Last December, Paul McCartney gave fans an early Christmas present in the form of McCartney III, an event that—short of a holographic Beatles reunion tour or an official release of Carnival of Light—fulfilled the ultimate fantasy of many long-time Maccaphiles. But the excitement was as much about him embracing old ways as making new music: The album revisited the mad-scientist methodology of die-hard fan favorites McCartney (1970) and McCartney II (1980), DIY efforts that deconstructed his perfectionist streak through off-kilter folk-funk and bizarro synth-pop. The enduring cult appeal of the latter record, in particular, has done much to transform McCartney’s image from a sentimental, set-in-his-ways rock dinosaur into an eccentric godfather figure for a new generation of home-recording misfits and pop omnivores.

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