It's not exactly a complimentary review. This album is really growing on me, so I don't accept it's conclusion.
It says:
'Over the course of the past few years, Paul McCartney has been trying to infiltrate a younger demographic...'
I noticed that, but that it might have failed matters not.
The problem, however, is that although Godrich and McCartney made attempts to meet on middle ground, they remained somewhat disconnected. Consequently, what should have been a match made in heaven yielded an occasionally uncomfortable stylistic exchange of ideas that, regardless of what works and what doesn’t, has the unfortunate effect of diminishing the overall collection.
I disagree. It's both marvellously mellow and marvellously melodic!
'...there’s a superficiality to the weird instrumental interludes that fuse the tracks together as well as to the Beatle-esque overtones that dot its landscape. At the Mercy, for example, is a throwback to Abbey Road’s minor key dirge I Want You (She’s So Heavy); Jenny Wren dabbles in the acoustic folk of The White Album; the string section that envelopes the playful English Tea is drawn straight from the acid-laced etchings of the era that spawned Magical Mystery Tour; and the driving piano that propels both Fine Line and Promise to You Girl owe a debt to Lady Madonna.'
Great! Not superficial to the beatles fans who would like Macca to 'get back'!
Time will tell if Chaos and Creation in the Backyard provided the jolt that was necessary to wake McCartney from slumbering in his safe house, but for the moment, it merely makes it clear as to how unique and special his partnership with John Lennon truly was.
The Lennon contribution thing rears it's head again!
I can kind of see where he's coming from. Everything Paul does - whether its a concert or an interview or a record, seems to lack passion. Now that could be his age (can anyone think of any 60's star who's had a commercially and criticaly acclaimed album in the last 10/20 years?) And it's no slight to Paul that he and John had a magic together that is lacking in both their solo efforts. I wonder about the age thing in rock. In jazz, blues, classical, age is a downright benefit. Maybe that in other genres there's no expectation for artists to constantly turn out original material. They are free to interpret their own and others work.
Also, Jazz, Blues, Orchestral, are not so commercially-inclined. People expect hits from many pop and rock artists.
Good point. They're also not expected to have huge album sales. I really wouldn't mind if Macca gracefully retired now. (except the odd live show.) C&C would be a nice full stop, and I just can't see where he can go from here.
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