Chaos And Creation In The Backyard

Paul McCartneySeptember 13, 2005
Adult Contemporary℗ 2005 MPL Communications Inc/Ltd under exclusive license to Universal Music Enterprises, a Division of UMG Recordings, Inc
58
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Chaos and Creation in the Backyard is the thirteenth solo studio album by Paul McCartney, released in the UK on 12 October 2005 and in the US on 13 October. A long time in the making, the set was produced by Radiohead and Beck collaborator Nigel Godrich at George Martin's suggestion.
McCartney plays almost all of the instruments, similar to his 1970 album McCartney and the 1980 McCartney II album. In addition, Chaos and Creation in the Backyard marks the first time since 1984's Give My Regards to Broad Street that McCartney was not involved in producing one of his studio albums.
Chaos and Creation in the Backyard was McCartney's last rock album release for longtime label EMI. He signed a deal with Hear Music, owned by Starbucks, in March 2007. He later returned to his old label Capitol Records in 2016.

Description provided by Wikipedia under Creative Commons Attribution CC-BY-SA 4.0

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Songs
Popularity
1
Fine Line3:05
2
How Kind Of You4:47
3
Jenny Wren3:46
4
At The Mercy2:38
5
Friends To Go2:43
6
English Tea2:12
7
Too Much Rain3:24
8
A Certain Softness2:42
9
Riding To Vanity Fair5:06
10
Follow Me2:31
11
Promise To You Girl3:09
12
This Never Happened Before3:24
13
Anyway3:52
4.9
58 total
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Additional Information

Total length
43:23
Tracks
13
Released
June 8, 2010
Label
℗ 2005 MPL Communications Inc/Ltd under exclusive license to Universal Music Enterprises, a Division of UMG Recordings, Inc
File type
MP3
Access type
Streaming and by permanent download to your computer and/or device
Internet connection
Required for streaming and downloading
Playback information
Via Google Play Music app on Android v4+, iOS v7+, or by exporting MP3 files to your computer and playing on any MP3 compatible music player
In 1995, twenty five years after The Beatles had stopped working together, a TV series telling the group’s story was broadcast. Called Anthology, it featured recently filmed interviews with Paul McCartney, George Harrison and Ringo Starr; John Lennon, who had died in 1980, was represented by archive footage. To complement the documentaries, three albums of previously unreleased Beatles material were issued under the same title.

The tracks in the Anthology 2 collection date from February 1965 to February 1968 - the period when The Beatles became the ultimate record makers. It was during 1965 that, as John Lennon recalled, The Beatles ‘got knowledge of the studio’. That year had been as hectic as the previous one with concert tours around the world, a film to shoot and two albums to make. But although studio time was still restricted and the group continued to face the pressure of fast approaching record release dates, they were constantly searching for new sounds. One of the most radical innovations was heard on ‘Yesterday’ from Help! when a recording of Paul’s guitar and voice was embellished by a sombre string quartet. Anthology 2 includes the first take without the added strings. There is also a solo performance by Paul with an orchestra taken from the British TV show Blackpool Night Out. ‘’Thank you, Ringo, that was wonderful’, John quips when he returns to the stage. The other songs from that show prove how proficient The Beatles were in live performance.

However, in this era, it was mostly inside the studio - in collaboration with producer George Martin and the skilled Abbey Road engineers and technical staff - that The Beatles’ creativity flourished. For the first time, sessions for their 1966 album Revolver stretched over nearly three months. They began recording with the startlingly different ‘Tomorrow Never Knows’ and the first take of the song, called at that point ‘Mark I’, is a stark reminder of its revolutionary basis. Frequently, tracks might be considered finished, only then to be rerecorded with a different approach. An example on Anthology 2 is the first unreleased version of ‘And Your Bird Can Sing’ which features the sound of John and Paul dissolving into giggles as they attempt to overdub harmony vocals. In contrast, a ‘strings only’ mix of ‘Eleanor Rigby’ reveals in mesmerising detail the dramatic sound of the double string quartet. Elsewhere in the collection, it is fun to hear George Harrison’s ‘Taxman’ with different backing vocals and his composition ‘Only A Northern Song’ presented in a much simpler form compared to the released version. Ringo’s drumming is impressive throughout - just listen to his exciting drum fills on the versions of ‘Got To Get You Into My Life’ and ‘Good Morning Good Morning’.

The zenith of The Beatles’ experiments in changing sounds and bringing in musicians from outside the pop world was reached during the sessions for Sgt. Pepper’s Lonely Hearts Club Band. Anthology 2 charts the evolution of trailblazing tracks such as ‘Strawberry Fields Forever’, ‘Penny Lane’, ‘A Day In The Life’, ‘Being For The Benefit Of Mr Kite!’ and ‘Within You Without You’. Indeed, listening to Anthology 2 gives a remarkable insight into the quantum leaps of imagination made by The Beatles as they worked on tracks recorded during this adventurous musical era.
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