Being the only surviving Beatle not to have starred in "Shining Time Station" must put the pressure on for Sir Paul McCartney. He anchors the band's ongoing artistry, and while it may be nearly impossible to tarnish The Beatles' reputation, McCartney is still forced to find a fresh and individualized sound without straying too far from the persona the world fell in love with back in the 60's. In Chaos And Creation In The Backyard, his 20th studio album since The Beatles, McCartney succeeds at establishing a delicate balance between the novel and the nostalgic, the spirited and the subtle, the passionate and the politely political.
Saying anything less than mediocre about Sir Paul is analogous to insulting a certain religious figure due to a controversial comparison, as expressed by a different Beatle so many years ago. But ask any expert or non-expert alike and one soon discovers that McCartney's solo gig over the last 35 years has been just that: mediocre. For a guy who has been accredited as the world's most influential musician, for a guy who can sell out an overpriced concert faster than a microwave pops popcorn, mediocrity has never been so successful.
With Chaos, though, McCartney attempts something relatively new: excellence. Not one of its thirteen tracks deserves a less than neutral review. Nigel Godrich, made famous by his collaborations with Beck and Radiohead, produced the album, and his influence is felt on the organic vibe of a number of songs. But don't assume Godrich is the core reason for the album's success. McCartney, as on his first solo album, appropriately entitled McCartney, did almost all the vocals and instruments himself; four of the album's tracks are not attributed to any other musician.
Given the amount of solo work that was put into this album, it is amazing how far away McCartney is from those fluffy lyrics that once generated his reputation as a softie. Although composed of weak rhymes and unnecessary repetition, the first song, "Fine Line," offers what has been missing in a handful of previous McCartney tunes — depth. The song politely urges an implied solider to "come home," establishing a war protest appropriate to the subdued governmental opposition necessary to avoid another Dixie Chick CD-stomping debacle. Although the song doesn't possess the timelessness of John Lennon's "Imagine," it is nevertheless a heartfelt questioning of the status quo; its eager beat and galvanizing lyrics undeniably help steer the album toward success. While "Fine Line" may not be the album's best track, it is certainly a song that demands attention.
The album's second track, "How Kind of You," is lyrically similar to the romantic ear candy that made McCartney famous. It is overproduced and superficial, but snuggled between "Fine Line" and "Jenny Wren," the song is impossible to ignore.
"Jenny Wren" is perhaps the most reminiscent song offering on the album. Its melody almost identically matches that of the delicate "Blackbird." A cynical acoustic ballad, the song concretely displays McCartney's mindset that the older he becomes, the more comfortable he feels publicly expressing his emotions.
The remainder of the album, consisting of songs spanning from the John Mayer to the Kurt Cobain ends of the spectrum, displays McCartney's polarized emotions. Each song is introspective, and although a bit saccharine, McCartney proves that he has nothing to prove. He doesn't cater to anyone, writing his thoughts as they come to him without conspicuously cultivating them to create Dylan-like poetry. As a result, he has created his highest-praised solo album.
"English Tea" sounds surprisingly Disney-esque, but thanks to the supplement DVD, one discovers that that was McCartney's exact intention. He wrote "Friends to Go" with George Harrison in mind, resulting in an addictive Traveling Wilburys-like tune guaranteed to drive nostalgic 60-year-old women into Beatlemania hysterics. The album's only rock song, "Promise to a Girl," delivers a needed jolt to the otherwise placid collection.
If this album were the lineup for McCartney's sold-out concert, audiences would leave unsatisfied and insulted. The dark and lethargic "At Your Mercy" and the slow-moving "A Certain Softness" are not bad songs, but just not the type of songs worthy of sacrificing a week's earnings to hear live. McCartney owes fans a "Hey Jude" and a "Michelle," because those are the songs that sell out a show. They are the songs sure to drive audiences to tears. The Chaos collection offers 13 tracks that may withstand the test of time, but it is important to remember that they haven't yet. Until they do, audiences around the globe will yearn for Yesterday.
At 63 and having aged a hell of a lot better than Keith Richards, McCartney may be eligible for the early bird special, but his solo career is just beginning to blossom.
Grade: AB
