September 2018, Paul McCartney-"Come On To Me"

Since 2015 I have analyzed current top ten  hits in this space.  Since the metrics of what a 'hit' is has changed over the decades, I feel that the Billboard list is completely meaningless.  It has been meaningless for many years, but I was using it as an example that the simple mind could relate to.
So I will no longer take examples from the Billboard top 100, but rather pick new releases of real music that does not depend on the nonsense of social media.  Yesterday, Paul McCartney released his 17th album and this is one of the most popular tracks on the album.  So let's see how it looks by the numbers.

LKFS/LUFS                         -7.2 dB
Clipped Samples Left           2
Clipped Samples Right         0
DC Offset                 -0.004%, -0.009%
Dynamic Range                 5.2 dB
RMS level left                  -6.68 dB
RMS level right                -6.78 dB

LKFS is squashed to -7.2, but there are worse examples out there.
Clipped Samples, not 0, but as they go these days, not bad at all.
Dynamic Range is good. 
DC offset is not 0, but is average these days.
RMS level left and right is within .10 dB.
EQ is not bad at all.
True Peak is +0.1dB

Song is a typical example of a 'dynamics squashed' modern mastering job.
And that is a pity, since it is a well crafted pop song by someone who has
made great songs long before the current convention of no dynamics mastering.
​Here is the picture, zoom in if you want to see the numbers.

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