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(More customer reviews)While all of the Beatles had successful solo careers following the breakup of the band, it was Paul McCartney's career that would prove to be the most successful. With the bar set high, McCartney often found himself trying to measure up from a critical standpoint to what the Beatles had done. In the 1970s, McCartney's band Wings - while not the apple of the critics eyes, continued to sell records. Things would change in the 1980s when McCartney would dissolve Wings. Although McCartney would start the decade out with two successful solo albums in "Tug of War" and "Pipes of Peace". In 1984, things would drastically change - "Give My Regards to Broad Street" would be the soundtrack for a film he would write. That film would prove to be a box office bust and the album would have moderate success. In 1986, things would get worse as his album "Press to Play" was for all practical purposes a flop. As the 1980s would close, McCartney would turn to an unlikely source to try to revive his legendary career - and he would succeed with the 1989 release "Flowers in the Dirt". This would prove that McCartney was back.
Many attribute McCartney's problems in the 80s because he would often have trouble focusing. While McCartney is a great musician, it was obvious that he would often require that "voice of reason" to push him when it came to songwriting or producing. John Lennon and George Martin would fill these roles, but even Martin couldn't stop the train wreck that occurred with "Give My Regards to Broad Street".Following the disaster of "Press to Play", McCartney would start a long songwriting partnership with one of the most unlikely musicians - Elvis Costello. No doubt, Costello is a different artist than McCartney, but he would also provide the stimulus needed to recharge McCartney's creative juices. The duo would begin to write songs for "Flowers of the Dirt" and Costello's album "Spike". Costello would use his real name Declan MacManus to credit the songwriting on four songs included "Flowers in the Dirt".Costello would also participate on three of the four tracks from a musician standpoint - including the duet "You Want Her Too".
At the same time, McCartney brings in a team to help out with the production duties. This team includes longtime Beatles producer George Martin, Elvis Costello, acclaimed producers Chris Hughes and Neil Dorfsman, and former Yes member and producer in his own right Trevor Horn. These producers would work on producing McCartney's efforts on a track by track basis. Combining this approach with his new alliance with Costello would result in some of the freshest material by McCartney since his Beatles days. It found McCartney exploring new avenues as well as revisiting old ones.
Here is a track by track breakdown:
"My Brave Face": This is a McCartney/Costello collaboration and is a very well written song. You can hear sounds of the old McCartney sound as well as the new Costello influence. This is a song that talks about someone putting on a "brave face" after losing a love. (Kind of takes a new spin when McCartney's wife Linda would pass away almost a decade after this song).
"Rough Ride": This song was co-produced with Trevor Horn. It features synthesizers and drum programming as well as trademark Linda McCartney background vocals. Not a bad song - but it's average when you compare it to the remaining tracks.
"You Want her Too": This is the McCartney - Costello duet. Once again, McCartney and Costello bring the best of both worlds. The song opens with an East Indian-influenced melody - going back to the days of the Beatles. McCartney and Costello then trade vocals - and Costello's unique sound really works in the vocal exchange. Great track.
"Distractions": This song has a classic Beatles feel. The Orchestral feel to the song really gives it a good dimension. McCartney's vocals are right on target.
"We Got Married": This song also has a classic Beatles feel, but also you can hear some of the classic McCartney solo sound. No doubt, McCartney's own relationship with his wife played into this song's story. This song features David Gilmour on guitar.
"Put it There": This is McCartney's tribute to Fathers and Sons. I assume this song is a tribute to his own father Jim as well as his own son James.
"Figure of Eight": This song really blew me away. This has a slight Blues influence to it at times. McCartney's vocals a right on the money as well. This is one track where I wouldn't change a thing.
"This Time": Another great sounding song. This one is a very catchy song, but well-written as well.
"Don't Be Careless Love": Another McCartney-Costello collaboration. Once again this is a terrific way of the bridging between McCartney and Costello. There are some terrific harmonies in the chorus.
"That Day is Done": This is the final McCartney-Costello collaboration on this album. Same message as for all of these collaborations as you hear the best of both of these musicians. This song sounds very different than anything McCartney has done before - good stuff.
"How Many People": McCartney's creativity is in high gear as he assembles a reggae influenced track. Paul pulls this off beautifully.
"Motor of Love": I heard almost a (very light) R&B influence at the beginning of this track. Although it's not one of the stronger tracks, I give McCartney credit for trying something new.
"Ou est le Soleil": What a great wrap-up song. McCartney always liked to have fun in his music and this song wraps it up perfectly. The lyrics are basically three lines in French (Where is the Sun?) and has a terrific Euro-Pop beat.
The liner notes contain all of the lyrics as well as songwriting and musician credits. This album proved that McCartney was not washed up in the 1980s. It brings the best of old and new together. Highly recommended.
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Digitally Remastered Reissue of the Original Album with My Brave Face / Put it There / this One / Ou Est Le Soleil / Rough Ride / Figure of Eight and More, plus Three Bonus Tracks Added:Back on My Feet / Flying to My Home / Loveliest Thing.--This text refers to an out of print or unavailable edition of this title.
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