New Paul McCartney

[djuny]

Chaos is, IMO, a great record and on a par with Ram and Band on the Run. Now, having said that, I'm a fan of his and have even listened to some of the practically unlistenable stuff that he's put out over the years.
There is definitely something different about the vibe of this record, though. Part of it is the sound and part of it is the darker flavor of the songs, I think, but the main thing is Paul's performances on the various instruments. He really is a great multi insturmentalist.
I'm not sure how much credit to give to Nigel, other than the fact that he didn't get in the way and "over produce", and perhaps even kept Paul from doing same. Whatever his role was, I think he should be applauded and I hope it inspires Paul to work in a similar fashion next time around.

[riantide]

Ok, glad this discussion got back on track, I thought I has accidentally stumbled onto gearslutz or something.

Just got this record three weeks ago at the suggestion of a friend and I have to admit I'm pretty blown away. Nigel Godrich might be my favorite producer and this album is sonically stunning. That aside, I also really love the songs. Some of them have their quirks ("at the mercy" is a good example) but if it's like most records that stay with me, the quirky ones will end up being my favorites.

I didn't expect to like this record near as much as I do and surpirses like that are more and more rare, I find.

Does anyone know what Nigel uses on guitars with any great frequency? His guitar tones always floor me.

[leigh]

I know this thread is dead and buried, but while looking through it (after UTFSF'ing McCartney) I read something that made me laugh:

And one more thing, toaster, I was referring to the new Paul McCartney when I was talking about "hack" chord changes

...and then...

Maybe, he didn't put that stupid song on his album, which, admittedly I haven't even heard

Rank inconsistency.

Farewell, HT, wherever you have gone to...

[jckinnick]

They had a special on PBS last year with Paul and Nigel Godrich showing how they recoreded his latest album at Apple Studios. They even used some of the Beatles old equipment.

[tactics]

Marlowe, my reaction was to the notion that studying music/art in a learning institution somehow makes you more qualified to speak about it. I call bullshit on that notion. Period.

My favorite bit.

[LeedyGuy]

So what about the New New Paul McCartney? Memory Almost Full? I love it to death, but that's not why I'm posting.

What about this whole "Starbucks Records" type thing. This is sort of a serious event in the music business, right? I mean, what happens when the majors go away completely? No...I mean what REALLY happens...not some smart ass punk rock answer. Really, what's going to happen and more importantly, how the hell all of us capitalize on it. How do I go about buying the rights to put out an artist's back-catalog from a non-existent company? Is that too obvious? Where do you think it's all headed?

[mRG]

What about this whole "Starbucks Records" type thing.

The girls that work in the Starbucks I stop at on the way to work were groaning as that "Dance Tonight" one or whatever it's called, the one with the mandolin, came on for what must have been 100th time that week.

I'm getting a weird level of exposure to that album just from stopping off for coffee each morning. That 'ever present past' one ... I'm developing an odd relationship with it. I think I hate it, and yet it's taken up residence in my mind. Whenever I think of it I see PMcC with both thumbs up, mouth doing that puckered thing. And then Cliff Richard rollerskates past in a tracksuit.

[Johnny B]

I mean, what happens when the majors go away completely? No...I mean what REALLY happens...not some smart ass punk rock answer. Really, what's going to happen and more importantly, how the hell all of us capitalize on it. How do I go about buying the rights to put out an artist's back-catalog from a non-existent company? Is that too obvious? Where do you think it's all headed?

The rights to all the albums will be owned by big holding companies that do nothing but license the songs to movies and commercials and repress the biggest sellers on whatever format's big at the time. All the cool, obscure stuff will still be out of print, except for what the big reissue labels license. As much as I don't like Warner, thank JHVH for Rhino. They're doing their best to keep the interesting parts of those massive vaults available.

Even when the labels don't exist anymore, someone usually still owns the rights. Most of the bigger independent labels of the 60s, 70s and 80s were bought by one of the majors at some point (e.g. Stax, Elektra, Sun, Rhino, Virgin). What you have to do is research who owns the rights to the material now, and talk to whomever that is.

If you're really interested in that sort of thing, you'd probably want to talk to Sundazed or Norton Records or one of the other reissue labels about what they do.