Paul Mccartney - Chaos And Creation In The Backyard
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Artist: Paul MccartneyEdition: Music CD
CD Release Date: 2005-09-13
Music Label: Capitol
Soundtracks:
- Fine Line
- How Kind Of You
- Jenny Wren
- At The Mercy
- Friends To Go
- English Tea
- Too Much Rain
- A Certain Softness
- Riding To Vanity Fair
- Follow Me
- Promise To You Girl
- This Never Happened Before
- Anyway
Music reviews of Chaos And Creation In The Backyard
Music Review: Mature Work from a True Genius of Pop
Rating: 5 Stars
Since the days of the Beatles, the writer of such classics as Yesterday, Michelle, And I Love Her, and so many others has always had to compete with his own catalog of inspired tunes. As A solo artist and with his group Wings, McCartney had to overcome expectations that everything he wrote would be as great as the Beatles, an impossible burden, even for the ex-Beatle himself. All the Beatles managed to have successful solo careers, but expectations for John and Paul of course were the highest, since they were considered by many to be our greatest songwriters. With John and George now gone, the Beatle mantle falls squarely upon Paul's shoulders.
Paul's solo career has had its share of high and lows. A songwriter with a gift of seemingly effortlessly proliferating musical ideas, this is McCartney's 20thstudio album since the Beatles, and this doesn't count other albums, such as his forays into classical music or covers of classic rock songs.
Paul's ear for arrangements, his wonderful gift of melody and his buoyant spirit have often helped him produce works of pure pop genius. Yet those same strengths could sometimes be liabilities. He has had a tendency either towards over-production, or under-production, often releasing half-finished tunes. His penchant to put on his "brave face" has caused him to be a little too glib and superficial in his lyrics.
Paul's best album is generally thought to be Band On the Run, which was received well by critics and fans alike. But the quality of many of his other albums has been spotty, with almost every album containing a certain number of clunkers and misfires. Some albums, like Press to Play or McCartney II, are notable for having almost no songs one can remember (even McCartney recently said he couldn't remember the tunes from Press to Play).
The tendency towards "silly love songs", a certain lack of depth in many of his lyrics, combined with the spottiness of his output, has meant that Paul has not always been well-received by critics. Some of that criticism was undoubtedly justified, but some may have also been a result of negative comparison to his former writing partner, John Lennon. Judging from posy-Beatles material, some surmised that it had been John who was the true artist, while Paul was just a kind of entertainer. This characterization is unfair, and I talk about it at some length in a review of this album that appears on my blog http://jordansview.blogspot.com/2005/09/review-of-chaos-and-creation-in.html.
While it's true that neither in his writing nor in interviews does Paul come across as a deep intellectual, yet there is a genius in his writing, an instinctive way with the sounds of words, a cleverness with phrases, and at his best, he has produced imaginative lyrics that have matched the originality of his interesting melodies.
He is often compared with Brian Wilson, but Paul's solo music is more accessible and memorable than the solo work of Mr. Wilson. Paul is hands down the best melody maker in the history of pop. Yet as noted, his solo career has been marked by inconsistent efforts.
But on Chaos and Creation, working with a fresh producer, Nigel Godrich (Radiohead, Beck), Paul has managed to rein in some of his negative tendencies. The lyrics are more mature and reflective. The spare, tasteful musical arrangements complement the thoughtful quality of the words perfectly. Apparently Godwin persuaded Paul to leave out his band and record almost all the parts himself (something Paul has done before but not since McCartney I and II). The result is an album that feels "organic", all the parts relating to one another well. And best of all, McCartney's voice sounds incredible (it's hard to believe he's 63!)-- it's strong and confident on the uptempo tracks, and vulnerable, wise, and, for lack of a better word, beautiful, on the more mellow numbers.
Chaos and Creation in the Backyard opens strongly, with Fine Line (also the first single), an up-tempo number that contains some interesting dissonance. It has a good lyric, of more depth than usual for a McCartney pop single. This is followed by "How Kind of You", a moody, mellow piece that reflects on the kindness of a friend (lover?) who was there in a time of need.
The beautiful, haunting Jenny Wren is next and features lovely acoustic guitar by Paul, in the tradition of some of his great guitar work on songs such as Blackbird, or Calico Skies. Its minor key and lovely chorus are well-matched to the simple, evocative lyrics. The plaintive solo (by Pedro Eustache, on an instrument called the duduc) is one of the high points of the album. I think this song may join the McCartney canon of greats.
At the Mercy, to my ears, has classical music elements; there are many interesting twists and turns to follow in this complex tune. The complexity of the tune perhaps makes it less easy to remember, but this is one of the best songs on the album.
McCartney has said that on the next number, Friends to Go, he felt inspired by George Harrison-- and the song does have a "Traveling Wilburys" kind of feel. In fact, it is the kind of tune George might have written, in his later career. It's a very likable, memorable tune and good tribute to George, if that is what it is meant to be.
English Tea changes the mood again with its opening, which sounds like a passage imported from one of Paul's classical pieces. The song itself seems a mild parody of aristocratic life. It reminds me a bit of "Piggies" from the White Album, except where Piggies was an attack on the aristocracy, English Tea shows affection for the old English ways.
Too Much Rain opens with chords that sound familiar (they remind me of the song Lonely People by America). But it turns into another beautiful melody from Paul, and the song has a lovely piano/guitar arrangement. The lyrics may sound trite at times, but the song works anyway. A great pop piece.
On A Certain Softness, McCartney creates a Latin-flavored piece which really works well, due to another well-conceived and executed arrangement. The song adds yet another bit of variety in texture to the overall album. The melody is excellent, if not quite as instantly memorable as some of McCartney's best work along these lines (And I Love Her, for example). Being a fan a Latin-flavored music, this is one of my favorites on the album. Paul's harmonies on the middle section are gorgeous.
Riding to Vanity Fair marks perhaps a first for McCartney, in that he reveals bitter feelings, the result of betrayal in friendship. The song's slow, atmospheric quality heightens the feeling of dazed confusion expressed by the words. The orchestration is excellent, recalling the song "Distractions", but is more understated here. I think McCartney should keep writing in this vein, because the lyrics in this song feel more real and more honest than the perfect ideal described in the very next song, Follow Me. One wonders, to what human being could these words be expressed ("I can rely on you to guide me through any situation"? Interestingly, since I write from a Christian point of view, this song, which seems to be about God, should probably appeal to me. But its melody isn't as inspired as other songs on this album, and one isn't so sure if there is heartfelt conviction in the song. For these reasons, Follow Me was probably my least favorite track.
Promise to You Girl is another great pop song from McCartney, inserting a needed burst of energy into this mostly mellow album. Paul, "looking through the backyard of my life", realizes it's "time to sweep the fallen leaves away". The song expresses the idea of taking stock and looking to the future with a determination to leave behind a positive mark on this world. And it does so with a catchy, fun tune that is typical Paul. This would be a good choice for the next single.
On This Never Happened Before, Paul has crafted yet another gorgeous love song, with chord changes reminiscent of Burt Bacharach. In the DVD interview, Paul relates how he lent out the song, prior to its official release, to a couple getting married (very sweet).
The album closes with a pair of love songs. Like Too Much Rain, Anyway also opens with a familiar-sounding chord progression (remember "People Get Ready" by Curtis Mayfield?). Still, Paul's song veers into much different musical territory after that. The song is a plea for lovers to re-unite (it feels perhaps as if they have been parted by a quarrel). But the narrator believes that their love is "strong enough to take it on the chin" and to "cure each others sorrow". He waits for her to "make that call", "anyway" she can. Both This Never Happened Before and Anyway could be criticized for their simplistic lyrics, but the music expresses emotional nuances that fills in what the words do not. Perhaps if the words were more complex, they might clash with the musical expression of emotion.
Finally, there is a instrumental jam that follows the last song, Anyway, that has points of interest although it is not really very cohesive. It sounds really like three different musical passages strung together but the best of these passages is the piano section.
If you're planning on purchasing the album, I'd strongly recommend buying this Special Edition version, which includes along with the CD, an entertaining and informative 50 minute DVD, in which Paul talks about the making of Chaos and Creation.
Or to help you make up your mind about buying, right now you can listen to the album in its entirety at Sneek Peek from Q104NY online http://www.q1043.com/cc-common/sneakpeek/mccartney/
indexpreview.html
Chaos and Creation is a grownup work from an artist who obviously still has lots of creative juices flowing. Some fans and critics have lamented the lack of "rockers" on this album, but it seems Paul's latest batch of inspiration just didn't include those types of songs. Working with a strong producer was definitely a good move for Paul: this is a thoughtful, well-crafted album with no major "clunkers", as have appeared on most previous albums. Paul no longer needs to stake his reputation on the body of work he created with the Beatles, as wonderful as that body of work was. His body of work as a solo artist, and with Wings, is equally impressive. It remains to be seen whether or not this album's songs will live up to very high standards set by all of Paul's past work, to become his new classics. Still, McCartney is a true genius of pop, and he can (and should) hold his head up high with this album.
Description of Chaos And Creation In The Backyard
UK 13-track vinyl LP vinyl co-produced with Nigel Godrich (Radiohead, Travis and Beck) and featuring the single 'Fine Line', presented in gatefold picture sleeve and includes 4 limited edition art prints! Chaos And Creation In The Back Yard, Paul McCartney's 20th studio recording since The Beatles, marks an end to a nearly four-year hiatus since his last studio recording, 2001's platinum certified 'Driving Rain'. The new 13-track album is co-produced by Nigel Godrich (Radiohead, Travis and Beck) and McCartney, and was recorded in London and Los Angeles over the course of the past two years. Parlophone. 2005.Sir Paul is an elder statesman now, but Chaos and Creation in the Backyard finds him in considered and tastefully restrained form, penning songs worthy of his finest hour. McCartney crafts this collection of songs with exquisite balance, lining up haunting chimes and heartfelt lyrics ("Riding to Vanity Fair") alongside pounding "Hey Bulldog"-esque chords and eerily Beatles-ish multitracked vocals ("Promise to You Girl," "Fine Line") and, most impressively, distinctively new yet timeless gems of songcraft ("Anyway," "Jenny Wren"). Emotionally, Chaos and Creation manages to avoid being mired in oversentimentality, while retaining a powerful, understated sincerity. Poignant though it is, however, the record is essentially positive and hopeful: Sir Paul's playfulness beams through in his intonation, which picks up a line such as "It's not right/In your life/Too much rain" and breathes life and optimism into its words. "English Tea" completes the package, an unrepentantly twee serving of Anglo-nostalgia with recorder. Chaos and Creation in the Backyard displays the full range of McCartney's inimitable talent, presenting listeners with one of his finest solo albums. --Jonti Davies
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