Paul McCartney - Chaos And Creation In The Backyard (18 tracks) +Album Reviews

Exceptional album from Macca plus a DVD for special ed.

Wayne Klein | My Little Blue Window, USA | 09/14/2005

(5 out of 5 stars)

"McCartney's latest has been compared to his "solo" albums "McCartney" and "McCartney II". It's both an accurate and inaccurate representation of the music contained on it. The music is, as usual, tuneful and memorable and the lyrics are very good as well. It's clear that working with the producer of Radiohead had a positive impact. While McCartney plays almost all the instruments, he has a few guest musicians (including the talented Jason Falkner on guitar)make appearences as well. The songs are among the best he's written in a long time. It's clear that from "Flaming Pie" onward he's continued to improve his focus as a songwriter even his singing here feels more heartfelt than before.

So where does "Chaos and Creation in the Backyard" fit in? It's definitely a more consistent album than "Flaming Pie" (which had some filler on it)and although it doesn't rock as hard as "Driving Rain" the songs are full of inventive little touches missing from that terrific album as well. "Fine Line" the single is terrific and the stunning "How Kind of You" isn't one that knocks you off your feet on first listen but it works its way into your brain. Eventually you'll find it's a track you'll come back to quite a lot. "Jenny Wren" is one of the few tracks that doesn't come to life for me but the fine acoustic work reminds me a bit of "Blackbird"."Friends to Go" another great hook followed through by strong lyrics and melody and another winnner from Macca. "English Tea" has a bizarre recorder solo in it that just makes it work for me. "Too Much Rain" and "Riding to Vanity Fair" are both equally good. The latter is a song about betrayal while the former showcases what Paul does best when he's on his game.

The spare production works very very well. This continues to show McCartney's artistic rebirth as he's released four strong albums in a row (I'm not counting the live album) with the "Flaming Pie", the amazing "Run Devil Run" and "Driving Rain". Definitely worth picking up for Beatles and McCartney fans. Worth picking up for anyone who likes great songwriting.

There's a DVD with a 1/2 hour documentary included (about the making of the album)on the two disc edition that also features a performance and animated footage put to the music from the album as well. Personally, I found the DVD/CD combo to be worthwhile. 4 1/2 stars. If you purchase this at Bestbuy you'll have access to an excellent rocking song called "Comfort of Love" which makes the perfect companion piece to "Fine Line" (I wouldn't be surprised if it's been released as a single that way in a couple of markets)."

THE BEST IN YEARS

Mitchell Cassman | BUFFALO GROVE, IL United States | 09/14/2005

(5 out of 5 stars)

"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

Chaos And Creation In The Back Yard is a return to the basics for McCartney. The album successfully fuses his undeniable song writing talents with his unparalleled musicianship. In fact, McCartney is credited with playing the majority of the instruments on the album, which is somewhat reminiscent of McCartney when he was credited with playing all of the instruments. They include the drums, guitar, bass, keyboards, as well as many of the less traditional instruments such as block flute, harmonium and flugelhorn.

Chaos And Creation In The Back Yard is a mix of up-tempo piano driven McCartney instant classics such as the new single "Fine Line" and "Promise To You Girl" and more introspective darker tracks such as "At The Mercy", "Too Much Rain" and "Riding To Vanity Fair". One of the many highlights is a track entitled, "Jenny Wren", which Paul describes as "daughter of Blackbird", as well as "Follow Me", which McCartney debuted at The Glastonbury Festival, while on his '04 Summer European Tour.

"

Macca's filler-free empathy album

Who Fanatic | Mankato, MN | 12/16/2005

(5 out of 5 stars)

"Paul McCartney's songwriting is indeed a peculiar beast. It's hard to find albums in his sizeable catalog that are consistently great, but it does make for a treasure hunt trying to pick out the gems. The highest praise I can give Paul's latest effort is that EVERY track has something indelible about it that lingers in your head and rewards repeat listens. Therefore, I would like to briefly discuss each track.

1.) Fine Line - Paul's fine return to rocking form, opening promisingly with, "There is a fine line between recklessness and courage," which is probably not topical, but can certainly be interpreted as such. Imagine the stomp of "Flaming Pie" put to far better use.

2.) How Kind Of You - The one track that could be called "McCartney meets Radiohead" and also the most autobiographical. The song's melody seems to drift in space around Paul's precious vocal, as a harmonium and loops accentuate the story of a man finding love late in life. Genuinely touching.

3.) Jenny Wren - Most love it, but many have ripped this track for being a supposed xerox of "Blackbird". Well, that one was nearly forty years ago, Paul openly discusses wanting to craft something similar in feel, and Wren is quite a bit more complicated. The instrumental duduk passages are haunting, and the social commentary is simple but not too preachy.

4.) At The Mercy - A product of improvisation and simple lyrics and melody, Mercy nonetheless creates quite an atmosphere via the cinematic strings and a foreboding lead vocal. A definite mood-setter.

5.) Friends To Go - Paul has spoken of this song as if it was ghost-written by George Harrison, and the crisply-strummed acoustic, plain-spoken vocal, and contemplative lyrics bear that out. Would have made a great track for the Traveling Wilburys.

6.) English Tea - A silly but instant favorite, with Paul being unabashedly Brit as he invites you to join him and the quartet for a little refreshment. The song is short, sweet, and very hard to get out of your head. I had a friend who sang it all the way to a McCartney concert, until I finally succumbed to its charms.

7.) Too Much Rain - Gorgeous and moving. Paul makes a sincere attempt to reach out to the burdened and depressed segment of his audience, and the result is one of the album's finest melodic efforts. The chorus and piano melody are just lovely.

8.) A Certain Softness - Paul becomes Dennis O'Bell on this bossa nova lounge piece. But good lounge music it is, with playful lyrics and some lovely percussion work. One that Paul obviously had a blast recording.

9.) Vanity Fair - As with "Rinse The Raindrops" on Driving Rain, this track raises both your eyebrows as you ask, "This is him?!!" The DVD doc shows a glimpse of the early recording of Vanity Fair, where it was uptempo and probably would have ended up more a kin to "Too Many People". The relaxed, sublime treatment of the song turns it into something else entirely, with some rather pointed lyrics. Anyone who has hit a wall in communication with someone will identify with the track, and it's my vote for best of the record.

10.) Follow Me - Simple and anthemic, this is probably the most conventional song, but heartwarming nonetheless, and will probably inspire lots of hand-held sings in the crowd at future Paul concerts.

11.) Promise To You Girl - Some more relaxed piano chords as Paul looks "at the backyard of my life". Then a Bohemian Rhapsody-like harmony section. And then the song comes to rocking life, showing that Paul can still take you by surprise. All in all, a fine abbreviated nod to Paul's fascination with pop suites.

12.) This Never Happened Before - The straight-forward love song on the album, given a little extra character by the subtle beat-box that runs throughout. Definitely a candlelight song, as we see Paul recording it on the DVD.

13.) Anyway - Is that "People Get Ready" I hear? Paul does ape Mr. Mayfield's melody, but puts it to great use as a springboard for a terrific closer. This is the track that really grew on me, as I had first dismissed its simple words and arrangement. But it's power arises from its simplicity, wherein Paul pleads with a disconnected love to "please, please, please get in touch." For anyone who's been there, this song is great therapy as you try to wait it out for the one you love.

The album doesn't quite end with the closing strains of Anyway, as we have a few more minutes of Paul noodling, first with a moody piano piece, then some silly stomping rock, then a sound-effect laden fadeout. Nothing earth-shattering, but its inclusion isn't offensive.

My short-hand description of this album to fellow Paul fans is "Flaming Pie without the filler." Chaos & Creation shows very much the home-made intentions of that album, but benefits immeasurably from producer Nigel Godrich's quality control. Paul no doubt played Godrich several songs that past producers would have allowed for albums that are among his lesser works. By having a producer willing to say "No," every track has at least a sparkle of true McCartney magic. And the producer's insistence that Paul play nearly everything means that the sparkle shows in the performance as well as the songwriting. It is also a moody album as well as a meaty one, a true rarity in the McCartney catalogue. Not to say that Chaos & Creation is especially dark or depressing, but there are more minor chords used here than on just about any three other Macca albums combined.

Even the recorded tracks that didn't make the album are worthwhile, and you should find them however you can. In fact, their omission from the deluxe package of the CD is my only disappointment. "Comfort Of Love" is a great energetic piece, and will help placate those who think the album should rock more for some reason. Then there's "Growing Up Falling Down". The song is very simple, with a slight oriental feel around two chords, but it features the absolute spookiest McCartney vocal ever put on tape.

That exhausts most of what I have to say about Chaos & Creation In The Backyard. Suffice to say, it was honestly better than what I was expecting at this point in Sir Paul's career, since I thought Driving Rain was a fluke, emboldened by his then-recent losses. It's comforting to see that Paul can be just as inspired by his joy, and channel it into an album that REALLY will be counted among his best.

"

Chaos & Creation not so much Chaotic, but very Creative

Vince S. | Canton, OH, USA | 09/14/2005

(5 out of 5 stars)

""Chaos & Creation In The Backyard" - Paul McCartney - Capitol Records 2005

OK, after repeated listening (I've probably heard the entire album at least a dozen times by now) I feel qualified to render my own "homemade" review of Paul McCartney's "Chaos & Creation In The Backyard," produced by Nigel Godrich.

Like Paul's first solo album "McCartney" from 1970 he plays most all instruments and does all the vocals. In my opinion, the similarity ends there. "McCartney" is basically a rough home recording. "Chaos & Creation," while not over-produced, benefits from the same high level of production quality found on more recent McCartney releases, particularly "Flaming Pie." Instrumentally Paul seems to draw heavily on his strengths; Lady Madonna-esque piano and Yesterday-ish acoustic guitar seem to permeate most tracks. The drums are simple and solid, yet distinctly "Paul" as opposed to the more polished Ringo. The bass is pure McCartney on every single track. The vocals are simply flawless and recorded very pure without the masking of effects or doubling. If you suddenly found yourself stranded on a desert island with Paul McCartney, this is the musician/singer/songwriter you'd have captive for your private entertainment. "Chaos & Creation In The Backyard" is a pure, thoroughbred Paul McCartney performing quietly intense, melancholy songs defying categorization (with a few pleasant exceptions).

The album begins with "Fine Line." This is a straight-ahead McCartney piano tune combining the "potboiler" qualities of "Why Don't We Do It In The Road" with the melodic sensibility of "Hello Goodbye." It was probably chosen for the lead-off track because of its unique sound and its upbeat. It's one of the most up-tempo songs on an album filled with delicate tracks. Although I'm sure it'll be a single, I don't hear it was being the biggest hit on the album. Out of a possible five stars I'll grade it four (or for future reference, ****).

"How Kind Of You" has a dreamlike quality and utilizes eerie tape loops under Paul's piano and acoustic guitars. It may be the most obscure song on the album, although the lyrics and melody seem to draw me in every time. *** ½.

"Jenny Wren" takes the classic "Blackbird" guitar style to another level with twists and turns on the guitar that can only be categorized as pure musical genius. Working within the same chord structure as "Blackbird," McCartney turns the key of `G' on its head by using `passing' chords as key-changing primary chords. For those of you at home trying to learn this song on acoustic guitar, be warned that Paul uses his Epiphone Texan acoustic on this track which is normally tuned down a whole step for live performances of "Yesterday." The lowered tuning makes it much easier to sing. Speaking of vocals, Paul uses his soft falsetto voice previously found on gems like "So Bad". "Jenny Wren" is irresistible. *****

"At The Mercy" is a ballad that could have "classic" potential if it didn't convey such a dark side. Once again, it's unmistakably "Paul", making it an easy listen for serious McCartney fans. Still, every time Paul draws you in with the "hook-ish" parts of this song, he bums you out with a dreary/dark turn. ***

"Friends To Go" sounds like something from the "Tug Of War/ Pipes Of Peace" era without the weightiness of George Martin's huge production. On the DVD that accompanies the album Paul mentions he was thinking of George Harrison while he was recording this song. While I could hear the influence slightly from time to time, I'd still classify "Friends To Go" as an 80's-type McCartney tune. It's mid-tempo with a very catchy melody and great arrangement. ****

Had McCartney written "English Tea" during the Beatles era it would have been called "Granny Music" by John and George - a term they used to describe Paul's songs in the latter part of the 60's like "Martha My Dear" and "Honey Pie." Fortunately, hindsight has shown that Paul's "Granny Music" factors heavily into the art form we now revere as `Classic Beatles'. "English Tea" scores at the very top of this genre. Both lyrically and musically it brings to the table Paul's complete uniqueness in the music world. Nobody else could have written or performed this piece. As far as I'm concerned, it's a Beatles song in the tradition of "Martha My Dear" much the same way Paul's "C'mon People" (Off The Ground) is a Beatles song in the tradition of "Hey Jude." Once again....quite irresistible. Incidentally, the terribly corny lyrics were quite intentional. *****

"Too Much Rain" is a lovely acoustic song. It's only fault is that it's buried in the middle of an album already chock full of MORE lovely acoustic songs. Realizing this, I waited until I had some distance from the CD, then listened to it as the first track. Once done, it was immediately apparent to me how strong this piece is. Simply put, it's another finely crafted McCartney gem sure to be a favorite with his fans. ****

"A Certain Softness" is not my favorite track on the album. To me, it sounds more like one of Sting's psuedo-Euro outings than a Paul McCartney song. Ironically, it sounds a lot like the song Sting was nominated for at the Oscars along side Paul who was up for "Vanilla Sky" the same year. If not for the fact that Sting's song is a stronger piece of material, I'd have given this one a higher mark.***

"Riding To Vanity Fair" is a very dark, minor-ish song positioned in such a place on the album as to tempt the listener to remark "This is getting just plain dreary." To be sure, Paul sounds depressed on this track. On the positive side, Paul's electric blues guitar riffs bring a certain amount of life to an otherwise sleepy and depressing tune. I could easily live without this one. Sorry, Paul...a few good rockers between slow tracks would have made some of these darker tunes stand out much better. **

"Follow Me" reminds me of Paul's stuff during the Ram/Wildlife period. OK, so it's another slow song in an already long succession of laid-back stuff on this album. However, this one is simply a well-written song with inspiring lyrics and strong vocal performance. ****

"Promise To You Girl." We're back to "classic" status. The up-tempo portions of this song are Lady Madonna/Flaming Pie-ish. The harmony parts seem to have John and George singing along with Paul from `beyond'. I absolutely love this track. I particularly love the lyric "Looking through the backyard of my life, time to sweep the fallen leaves away." *****

"This Never Happened Before" is quite simply one of the best love songs Paul has ever written. The melody and chord structure are both surprising and dead-on target. I'll classify this one as the first GOOD song Paul has ever written for Heather. It's about time...the last few he wrote for her were borderline stinkers!(Heather, time to take "Your Loving Flame" off the CD player. You've finally been given your "My Love".) If Paul releases "This Never Happened Before" as a single, it'll make the top 10. Had this song been on 'Abbey Road' it would be considered a standard today. "This Never Happened Before" made the price of the entire CD worth it for me. Perfection. *****

"Anyway" also scores very high. What you have here is Paul using the basic chord progression to the southern gospel standard "People Get Ready" and making his own song out of it. Once again, McCartney's ability to take something familiar and write a completely original song around it stuns me. This is his pure genius - he's pulled yet another unwritten classic melody out of thin air and shared it with the world. *****

To conclude, "Chaos & Creation In The Backyard" is a delicate, worthwhile album by the most famous and accomplished musician in modern history, seemingly nearing the end of his long & winding road, yet still far enough away to sound in his prime. Its only fault is being plagued by slow songs while lacking any serious McCartney rock & roll. A naïve observer might accuse Paul of being incapable of "rocking" now that he's firmly in his 60's. Those folk only need to pop their heads in the door during Paul's new tour. One blast through 'Helter Skelter' should satisfy even the biggest skeptic. Apparently, "Chaos & Creation In The Backyard" reveals what Paul McCartney wants to say at this point in his long, illustrious career. For those in a melancholy mood, this one is decidedly personal and heartfelt, with little-to-no political overtones or serious messages. For those not completely taken with Paul's softer side, I'm afraid you might find this album boring. Listen in the right frame of mind and you might be very surprised at what you hear. Yes, he's the most successful songwriter in history...but even without his track record there are shades of magic and brilliance in many of the compositions on "Chaos & Creation In The Backyard."

As for me, I love this album because after listening to it I feel as if I've just finished hanging out with Paul in his studio, hearing McCartney songs nobody else knows about - some future public classics; others fiendishly private.

My overall rating: **** ½ (sorry about the 5 stars here on Amazon but they don't allow for 'half stars'! When it's Paul, you always ROUND-UP.)

Nice job, Paul & Nigel. I hope people give it a fair listen.

Vince S.

Canton, Ohio, USA

9/14/2005"

McCartney matures

Pierre-Andre La Chance | Beaverton, Oregon | 09/13/2005

(5 out of 5 stars)

"I am overjoyed to discover the tremendous musical growth exhibited by McCartney on his new album, "Chaos and Creation in the Backyard." To date, he has demonstrated complex, deep, and evocative musical themes, but these have generally been reserved for non-pop/non-rock works such as Standing Stone and Liverpool Oratorio. On his new album he has succeeded with inserting this complexity into Pop, which I find refreshing, challenging, and thought provoking.

Furthermore, the honesty of his lyrics and the depth of the message he is presenting here is worthy of someone who has grown within his art during the last 40 plus years. I would be disappointed if he instead, was still churning out something akin to the Stones' latest, "A Bigger Bang," which is neither bigger than their earlier work nor has as much of a bang to it.

Those still pining for a new "I Saw Her Standing There" will be disappointed. Those who hope to continue riding the musical wave Paul has taken us on for over 4 decades will be as thrilled as I.

Well done, Sir Paul!"

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