Paul McCartney - "Chaos and Creation in The Backyard" Vinyl, LP, Album, Reissue, 2018/2005 (Capitol)

Online I have been chatting away about the subject matter of Lennon and McCartney songs and the aspect that both of them have (or had in John's case) an incredible amount of craft in getting from point A to B.  That alone is almost if not on a genius level.  What they do lack in their solo career work is a lack of passion or doing things by the number, which again, in the hands of these two, that alone can be awarding experience.  For me, the solo work of both one time Beatle members is that without the inspiration or passion, their work suffers greatly.  On the other hand, both had or has a very long career in the music writing business.  There will be the dips and heights, and one should acknowledge that, even if they are heroes of some sort.   "Chaos and Creation in The Backyard" strikes me as a Paul masterpiece.  For one, I can feel the sadness that wraps around the voice and melodies.  There are albums such as Lennon's "Plastic Ono  Band" that hits your heart and head in an equal manner, due to its frankness and skills of putting a great collection of songs together for an album.   "Chaos and Creation" is such an album where it was either the right series of moments or a reflection that McCartney was going through at the time; nevertheless, this all added up to a superb album.

McCartney chose to work with people who were sympathetic to his heritage as well as the 'Paul' sound. Produced by long-term Radiohead producer Nigel Godrich, shows a respectful but a strong hand in getting that sound perfectly, and with the addition of Joby Talbot, who worked with Divine Comedy" doing some of the string arrangements was an excellent choice as well.  Talbot is the contemporary walking version of Baroque Pop sounds.  He did remarkable work with Divine Comedy, and his light touch on the arrangements is very sympathetic to the McCartney aesthetic.  Paul had outside help, but it's mostly him on most of the instrumentation on the album, and it doesn't have the first solo album feel, but still, when he's devoted to a recording, it comes clear that he is working fully with his talent and vision.  

McCartney is very much a collaborative artist.  Still, he sometimes falls behind the wrong people in recordings, especially in his solo years.  Godrich, I think pushed him for excellence, and I have read that their relationship was tense, or that could be just gossip.  What I do hear is an artist who is pushing himself in a manner that is frank, but skilled with brilliant musical skills and chops to convey a world that is sad and reflective.  In other words, "Chaos and Creation" is very much a middle-aged man's type of record.  Not far off from Frank Sinatra's brilliant "September of My Years."  It's an album of deep feeling but with the light and upbeat melodies of songs such as "Fire Line," "Promise To You Girl," or the beautiful rumba ballad "A Certain Softness."  There is a range of feelings, but all of them looking back in a manner that comes with age and experience.  Some sections remind me of The Beatles "Revolver" where I feel certain songs "Promise To You Girl" or "A Certain Softness" comes to mind, that would fit perfectly in that Beatle album.  This is not nostalgia, but an artist working with what he has, which of course, is remarkable.  At the moment in my life, this is my favorite Paul McCartney album.  

The Beatles "Revolver" Vinyl, LP, Album, The Beatles in Mono Series, Reissue, Remastered (Parlophone)

I already have the original American Mono edition of this album, which has fewer songs than the British version.  I bought the new remastered / reissue mono "Revolver" mostly out of boredom while waiting for a bus in Pasadena, and I was nearby the great Canterbury Records store on Colorado Boulevard.   For new year's day, and in a quiet series of moments during the early evening, i put this album on the turntable with my headphones on my ears.  It wasn't like visiting an old friend, in fact, I haven't listened to this album for some years. More of a meditation on what seems so perfect, and marveling what must have been so new in 1966.

"Revolver" always struck me as a violent title for an album.  Especially considering how John Lennon died years later, yet for some reason, I now see the title in a new light or awareness.   I think of it more as "revolve" as in moving in a circle on a central axis.   As one grows older they change, in other words, they revolve as in a verb.  Yet, it's a clever title, because most of us will think of the title as a revolver gun.  I have to imagine it was John Lennon who thought up of the title as a pun of sorts. Then again it could have been Ringo!  Nevertheless, this is an album in motion.  Their next album "Sgt. Peppe"r strikes me as a beginning, middle, and end.  Revolver just keeps turning round and round, with no start or no stop.  

"Revolver" may be the first proper 'modern'  power-pop format album. The guitars, the aggressive but melodic bass playing (by Paul) is upfront and always driving the song.  Also, incredible piano playing throughout the entire album as well.  Not sure if it's Paul or George Martin handling the keyboards, but it's an essential part of the overall sound, and especially when you included Indian instrumentation here and there.  Their previous album "Rubber Soul" is the first Beatle album to sound grown-up, and "Revolver" is made by wise men who tasted life in their own time-frame.  It exposes the inner world of 1966 than say the news of the day or time.  "Taxman" by Harrison is a bitter song about of course, the rich man's number one hatred 'paying taxes.'   Harrison's songs are always odd because at one point it can deal with spirituality and then make a sharp turn about the bitterness of romance or being pissed off about taxes.  I suspect the average Beatle fan in 1966 could care less about the tax issues among the wealthy.  Still, Harrison was an amazing songwriter when he was good.  "Taxman" is a funk machine of sorts that is mechanical in format, but driven by it's seductive (not necessarily sexual) rhythm.  

The only song that makes me frown is "Yellow Submarine" not due that it's a bad song, because it's not horrible, but just tattoed on my brain from so many years ago.  I never need to hear that song again.  On the other hand "Here, There, and Everywhere" is like butter melting on a hot biscuit, it's a perfect melody word combination that is classic Lennon/McCartney.   "Tomorrow Never Knows" is the perfect ending or beginning of "Revolver."  As mentioned, the circle is completed but I feel it can go on until one has enough of the album.   I reviewed the American edition, writing that it's an old friend that one doesn't need to really revisit anymore.  Hearing the full British version (and in mono) the album is not new, but I realize the delights that come up on "Revolver" is consistently fresh (except for "Yellow Submarine") and one just marvels at the tightness of the playing and the brilliance of George Martin's production.  

The Beatles - "Revolver" Vinyl LP, Mono

The Beatles – Revolver

Vinyl LP, Mono, 1966

Capital Records

The emotional favorite for a lot of Beatle fans, but for me there are few surprises on this album anymore. The only songs that are fresh to me is “She Said She Said” and “Tomorrow Never Knows.”

Also keep in mind that there are no bad songs on this album, even “Yellow Submarine” is imaginative and witty. But, this is one of the few albums where I can just look at the cover and all the songs come to mind – recording, voices, just everything. Most of the Beatles albums have that affect on me. I grew up with them, and after awhile I just say 'ta-ta.'

But the funk of “Tax Man” and the two Lennon songs still give me that goose-bump feeling in the back of my neck. Also this is a very sophisticated album with respect to where they were two years ago when they recorded this material. It is kind of amazing to me that bands or artists these days make an album every four or five years or even longer, and it basically has the same sound as their last album. But The Beatles changed so radically over their career, that what they did was really unique. Beatles For Sale turns to Rubber Soul and then Revolver. How did that happen?

If someone came up to me and told me that Revolver is the greatest album ever made, I wouldn't disagree. But funny enough the visuals of this album is stronger than actually listening to the record. Similar to Proust eating that cookie that brought up memories, this album does the same for me.