I would bring in a tune, and if he didn’t like it, he’d just say, 'I’d rather not work on that one. “For my part, my main contributions were the songs. Let’s get out a packing case, or hit the back of a chair or something' In the ’60s, when the Beatles were quite experimental, we’d say to Ringo, 'Aw, man, didn’t you use that snare drum on the last track? Let’s not use it. It just presented everything right there with no added cosmetics. It was either Revolver or Rubber Soul – I can’t remember which – where we outlawed echo to keep everything dry and really in your face. We’d done this sort of thing in the Beatles. “Once I caught onto his plan, I realized that it was good.
He definitely wanted to present the whole thing straight from the shoulder, and just document some good songs, some good singing, and some good playing. “It really did sneak up on me, but I figured that we were looking for some sort of direction, and it was good to get Nigel to make some of the key decisions. Going into pre-production for the album, was it a surprise that Nigel wanted to pursue a very simple and natural approach – one that almost brought you back to the unfussy charm of your first solo album? (Image credit: Mick Hutson/Redferns/Getty Images)
WHO MADE CHUG CHUG WITH YOU FULL
There are no obvious production tricks, nor any bizarre effects or textures presented simply because they might sound hip for the next 15 minutes.Īll you get on the introspective Chaos is one astounding voice, 13 fantastic songs, a collection of evocative instrumental performances, and a heart full of good feelings.
As a result, every instrument stands out like a sentry, and supports McCartney’s still-beautiful and beguiling melodies. Godrich directed an extremely organic and uncluttered sonic spectrum for Chaos. So what happens when one of classic rock’s most astounding talents is guided by one of modern rock’s most cutting-edge production visionaries? Well, in a cagey sabotage of expectations, the culmination of the McCartney/Godrich collaboration is a spectacle of stark, exquisite simplicity. They were into whatever it took to make a good record, and they said they’d be happy to play the tracks live.“ ‘I’d like to hear you play drums,’ he’d say. So I talked to my band about it, and they said it was no problem if they didn’t play on the album. “Nigel had a clear idea of the record he wanted to make,“ explains McCartney, “and he started off by saying, ‘I want to make a record that’s you.’ We worked a week with my live band, but Nigel decided to take the approach of me playing most of the parts.
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