Customer Reviews

Chaos And Creation In The Backyard

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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).

"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

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.

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!

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.

This time Paul is serious. By that I mean, this not an upbeat Pop album or a collection of "Silly Love Songs." And that's meant as a compliment. When Paul was in the Beatles, the creative competition & tension between him & John pushed him to create an amazing collection of timeless tunes. By contrast, though, Paul's solo efforts, often devoid of that creative competition, frequently have come off as trifling or half-baked. Seemingly, creating music comes so easily to McCartney that one often gets the impression that he doesn't try very hard unless pushed. Fortunately, someone pushed him during the creation of his new album. The much needed goading came from Nigel Godrich (Radiohead, Travis & Beck), who was recommended to Paul by George Martin. What Paul has delivered is a serious artistic vision that is at times more melancholy, introspective & darker in tone than anything he's ever released before. However, the album, overall, is positive & hopeful. Ever tuneful, lyrics have often been the weak link in McCartney's music, but pleasantly, whether it comes from Nigel's cajoling or some other source, the lyrics on C&C are not an embarrassment, but for the most part well-written. Paul is in fine voice with some of his most heartfelt, expressive singing ever. While he retains his remarkable vocal range, even in the upper register, there's a noticeable patina of age that nicely compliments the elder statesman feel conveyed both in the exceptional craftsmanship of the music & maturity of the lyrics. Think of some of the more "serious" songs Paul wrote with the Beatles - Yesterday, Eleanor Rigby, For No One, Blackbird, Let It Be - & you'll be better prepared for the mood & tone of his latest tome. (And yes, these songs can hold up favorably in comparison with his Beatles catalog.) As with those songs, this album gets most of its tonal coloration from piano, acoustic guitar & various combinations of orchestral strings. Electric guitars, while used, are rarely to the fore. What we have here is the mature work of one of our most accomplished & acclaimed tunesmiths in full command of his craft & in fine form, delivering one of the most solid works of his solo career. Interestingly, this album seems to be drawing a definite love-it-or-hate-it reaction in Paul's considerable fan base, so you may want to preview it first to see if it's your cuppa "English Tea."

A quick comment on the songs.

1. FINE LINE - The lead-off single & one of the most upbeat songs on the album, this has kind of a Hey Bulldog/Lady Madonna piano-driven feel to it. This track walks a "fine line" between rocking out & middle-of-the-road. If the drums were brought up more in the mix & some loud electric guitars were added, this song would rock as hard as those Beatle songs, too. Gets the album off to a "fine" start.

2. HOW KIND OF YOU - A song about meeting his new wife, Heather, this has a somewhat unstructured, meandering feel to it, perhaps reflecting the daze Paul felt upon their first meeting.

3. JENNY WREN - McCartney has said he deliberately tried to write this as a "daughter" of Blackbird. While I wouldn't say it's as stunning a beauty as its "mother," it does bear a "family resemblance" whose loveliness is enhanced by the inspired use of the soulful, evocative tones of the duduk in the instrumental solo. (The duduk is an ancient Armenian double-reed distant forerunner of the oboe.)

4. AT THE MERCY - Very different sounding song for Paul. In an interview for Time magazine, Paul said, "When I write, there are times - not always - when I hear John in my head." I think this might have been one of those times as its melancholy, dark tone seems more in keeping with Lennon than with the usually "sunny" McCartney.

5. FRIENDS TO GO - A mid-tempo, very catchy tune displaying an unmistakable Harrison-esque quality. My only complaint being that it's too short!

6. ENGLISH TEA - A light-hearted, oh-so-British music hall delight that Paul pulls off with complete charm.

7. TOO MUCH RAIN - Another song haunted by Harrison. This would make an excellent & moving choice for performance at one of the Katrina hurricane relief concerts.

8. A CERTAIN SOFTNESS - With a decided Spanish/Mediterranean feel, this is a bit different type of ballad for Paul, though it is somewhat reminiscent of And I Love Her. A beautiful, moving love song.

9. RIDING TO VANITY FAIR - Unquestionably the most musically challenging song on the album. This sounds unlike anything Paul has done before. Over a simple, circular, trance-like track Paul delivers a somewhat oriental sounding melody. Conveys a mystical, ethereal mood. Even the lyrics deviate some from Paul's usually very linear style. Gets my vote for "best lyrics." Riding to Vanity Fair turns out to be quite adventurous.

10. FOLLOW ME - For me, the weakest track on the album. Not that it's bad or an embarrassment, but nothing distinguishes it, either. Pleasant, but not memorable. Interestingly, the only song on the album to use most of the members of his current touring band - Rusty Anderson, Abe Laboriel, jr & Brian Ray.

11. PROMISE TO YOU GIRL - Paul McCartney & Brian Wilson have had a mutual admiration society thing going for years, with Paul guesting on Brian's last solo album. Here Paul pays tribute to Brian's influence with the vocal harmonies in this, the most raucous, rollicking track on the disc. Piano-driven & decidedly Beatle-esque - a great romp.

12. THIS NEVER HAPPENED BEFORE - A prime example of the kind of beautiful, tender love song that Paul is so deservedly famous for. Nicely understated.

13. ANYWAY - The album ends with another excellent ballad. Great use of dynamics. From just a solo piano the song builds up to the end, then suddenly fades out without resolution, effectively conveying the unresolved yearning expressed in the lyrics.

Despite being one of the greatest living songwriters and despite haven proven time and time again his virtuosity and craftmanship, Paul McCartney's new material is always greeted by critics and fans with some skepticism. Admittedly there are occassions where the criticisms are warranted. Both Flaming Pie and Driving Rain contained a mix bag of gems and clunkers, yet I would describe both of those albums as good overall efforts. Songs like "Your Way," "Calico Skies," Beautiful Night," and "Loving Flame" wouldn't seem out of place on some of McCartney's best albums from his debut to Venus and Mars.

His penchant for writing hummable melodies has never faded, and on Chaos and Creation in the Backyard, Paul is more focused than he has been in recent memory. Perhaps, Nigel Godrich found the key to keeping Macca out of his comfort zone and pushing the artist to challenge himself if not out of need then out of a desire to show the craftmanship and talent everyone knows that he has. Paul plays almost all the instruments on this album, and perhaps this why it seems more focussed. The result his a pretty much almost flawless effort. It starts off with "Fine Line," which is probably the most radio-friendly tune on the album reminding me of a cross between "Come and Get It" and "Lady Madonna." It's the kind of tune that you might start humming along to as if it's been one of your favorites for years.

Things slow down a bit and at first I didn't think I liked "How Kind of You" very much but there is something about it that makes me want to keep listening to it. Patience is it's own reward with this song. If you don't like it at first, don't be surprised if something about it catches you when you listen to the album again. The coda to this song is what makes me keep coming back to it. It sounds like something that could have come off Abbey Road.

"Jenny Wren" is an acoustic song that has been compared with "Blackbird" except it has a strange chord progression. It's okay. Not one of my favorites on the album. It would have worked better if it had better lyrics, which might also apply to "At the Mercy." Musically, I like the song, but it just seems like Paul got lazy in writing the lyrics and just came up with something on the fly. It's a nice song if only for the music though.

On the DVD that accompanies the special edition, Paul explains that George was on his mind when he wrote "Friends to Go." It's something I picked up on even before watching the DVD. It's a truly fun off the cuff tribute Macca pays to George. Here Paul more or less channels George's spirit and writes something that he thinks George might have written. His voice even sounds a little like George on this one.

"English Tea" is a fun little pastiche of a song in the tradition of "Martha My Dear" and "Honey Pie" It's has some very "English" lyrics and I think it's probably more amusing than most of his efforts to write in this vein.

"Too Much Rain" and "A Certain Softness" contain some of Paul's gentlest melodies while "Riding to Vanity Fair" is certainly his most haunting song in recent memory. Compared to most songs of this nature it may be considered a lightweight, but to hear a song like this coming from Paul makes it intriguing along with its slow and almost menacing rhythm. It's nice to hear this side of Paul once in while. I wish he'd write more songs like this.

"Follow Me" is a decent song but not too memorable while "Promise to You Girl" gives us a glimpse of Paul in rock 'n roll mode.

"This Never Happened Before" is a beautiful love song and certainly the most beautiful song he has written since marrying Heather Mills. Again, a great melody and while the lyrics aren't exactly Paul's best it certainly ranks up there with some of Paul's other great love songs like "My Love" and "Yesterday." It's the kind of song that would have been a classic by now if it were written 20 or 30 years ago.

"Anyway" is another great song with a solid melody, but what I really enjoyed is the jam at the end of the album about a minute or two after "Anyway" ends. It's a good way to end this album an it corporates all the styles and musical influences at work on the album as a whole.

Overall, this is paul's best work since Tug of War. I think he benefits from having someone in the studio with him who will challenge him and force him to discover new subtlties to work with his talents. Kudos to Paul and Nigel Godrich for this valiant effort and for putting together something that benefits from repeated listening.

Well I'm 18 and bought this on a whim. I have long been a Harrison/Lennon fan and been somewhat turned off by Paul's pop repetiton. 'What The Man Said' and 'Jet' along with too many to count seemed to see Paul in a direction I personally didn't care for. However I love 'Maybe I'm Amazed' and the fantastic 'Mull of Kintyre. Paul's craft never left it was just in a different place I didn't particularly care for as a fan.
I did not become a solo Paul fan until 2001 after I heard of George dying and discovered my love for his music. I quickly heard 'From A Lover To A Friend' from Driving Rain and thought 'that's great!'. I felt the same for 'Your Loving Flame' when I heard it. I also heard some negative press and just enjoyed the singles. I also delved into Flaming Pie and liked it aswell. I was determined to but the next McCartney album when it came out.
I bought this combo at Best Buy for the bonus track and was overjoyed by what I found. Here was Paul writing some fantastic music. Better music then I can find anywhere on radio. All are new songs done by a rejuvenated genius. 'Friends To Go' is my favorite song by far. 'Anyway', 'How Kind Of You' are masterpieces and I found them all fantastic! These are great songs and the lead single 'Fine Line' is wonderfully catchy.
The dvd is a good watch and you see how Paul makes songs and how much he enjoys it. All of his playing is great.
Not one bad song.
I'm 18 and this is now one of my favorite cds ever done.
You won't regret purchasing it.

Four years ago, Paul McCartney fans dutifully sifted through the wet mess that was "Driving Rain," scratched their heads and begged for something better. For the sake of his fans and the legacy he so often frets over, McCartney thankfully delivers on "Chaos And Creation In The Backyard."

The story has been told and retold a dozen times already: McCartney challenged himself to make a thorough, coherent album and brought in Nigel Godrich of Radio Head and Beck fame to whip him into shape. The result is a reserved and melodic 13-track album that plays to McCartney's strengths as a tunesmith while swerving to avoid his silly and sometimes lazy tendencies.

Though the whimsical "English Tea" is probably the only song that truly harkens back to the glory days of "Revolver," this is the first McCartney album in ages that isn't poch-marked by bad songs. (Let's face it, even the beloved "Flaming Pie" had some God-awful filler.) Addictive surprises are also found on the George Harrison-flavored "Friends to Go" and the soulful "How Kind of You."

McCartney's probably at his best though when he tickles the ivories on "Fine Line," "Too Much Rain" and the Wings send-up "Promise to You Girl." Some will complain that the sunniest ex-Beatle never turns the amp up and rocks out on "Chaos," but it's important to remember that both he and Lennon found most of their solo success when they unplugged and got behind a piano.

The "Chaos" experience is enhanced by a 30-minute DVD interview that features McCartney and Godrich fleshing out songs in the studio, along with a video of "Fine Line." It's nothing earth-shattering, but probably worth the extra bucks for true fans.

Paul has truly created a dark, brooding, introspective classic. It's as if he is sitting in front of you spilling out his heart. I agree with many that it does get better with each listen, however I enjoyed it from the first play. Nothing cute or "silly" about this music.

There is no huge "radio friendly" hits, however I find all the songs to be solid without a clunker in the bunch (ok, English Tea is a slight incomplete throw away).

The sound is tight, melancholy and mature (kind of funny to say Paul is now "mature" at 63), from the thumping opening number "Fine Line" to the beautiful "Jenny Wren" (yes, much like "Blackbird"), to my favorite song on the CD, the closing sweeping "Anyway".

I encourage anyone who has "given up" on Paul to listen to this CD and give it a chance. I'd also recommend recent stand outs like "Flaming Pie" (Beatle "esc" mode) and "Run Devil Run" (Rocker mode).

Paul is making some of his best music since the early 1970's and this started with his "Flaming Pie" CD. No doubt this will be a big hit with fans and critics (for once!) a like. I also see a ton of Grammy's in Paul's future.

Pure excellence! Thanks Paul.