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.

In the middle of my Beatlemania back in the 80's, I instantly honed in on Paul McCartney, whose videos were on constant rotation on MTV. 1989 saw him releasing his followup to Press To Play, Flowers In The Dirt, a title mentioned in the song "That Day Is Done" but also borrowed from a line in the Sex Pistols' "God Save The Queen", altering "flowers in the dustbin."

The catchy opening song and first single, "My Brave Face" is one of my favourite songs by him, telling of a man living alone after his loved one has gone, died probably. When I hear some lyrics, "As I pull the sheet back on the bed, I want to go bury my head in your pillow", and "Now that I'm all alone again/I can't stop breaking down again/The simplest things set me off again", I eerily think of Linda McCartney's death died 9 years after this song.

The trials of life in a marriage are recounted in "We Got Married" whose sound is a distant cousin to "Things We Said Today." Dave Gilmour's trademark guitar crunches along as if to affirm the gladness of being together despite hardships. A lyrical triumph, especially this: "I love the things that happen/When we start to discover who we are/And what we're living for/Just because love was all we ever wanted/It was all we ever had." Marriage, says Macca at the end, "It's not just a loving machine/It doesn't work out/If you don't work at it."

One of the standout cuts is the bouncy, sweet acoustic "Put It There" of a tender assurance from a father to son that he's there to help him: "If there's a fight, I'd like to fix it/I hate to see things go so wrong" It's reminiscent of "Blackbird", except sweeter, with string orchestration by George Martin.

"Don't Be Careless Love" is a poignant portrait of a worried man waiting the late hours for his girl, worried she got killed by some mugger, until he goes to bed. In the end, he finds her back in bed, and it's all right

"Figure Of Eight" is something to avoid ending up in. It's an affirmation of loving instead of hating and taking care of one another. An 8 is the infinity symbol on end, but infinity could mean an endless loop one can't get out of.

The upbeat electric guitar number "This One" reveals the downside of waiting for the perfect moment such as being open or affectionate. It's an explanation, an apology, that I found convincing.

The elegiac ballad "That Day Is Done" is of someone who's died and is sung from that person's point of view, with references to a woman in higher circles who's spurned him. I've felt this way during my dark moments: "That day is done, that day is done/You know where I've gone/I won't be coming back/That day is done."

The relaxing reggae-ish beat of "How Many People" is dedicated to environmentalist and Brazilian rain forest advocate Chico Mendes, who was murdered in 1988. This song answers questions philosophers and poets have asked for many ages. "How many people have died?" "How many people never make it through to the other side", "How many people have cried?" It's like his own "Blowin' In The Wind."

"Motor Of Love" is a very languid cousin of "My Love". It's ironic that given his closing remarks in "We Got Married", he sings here "I don't anything from you/Turn on your motor of love." Uh, what about the loving machine?

"Ou Est Le Soleil" is French for "where is the sun?" Accompanied by a backbeat of a programmed drum machine and various instruments, the lyrics go "Ou est le soleil/dans la tete/Travaillez", meaning "Where is the sun/In your head/Go work"

While McCartney writes most of the songs solo, he gets co-writing help from a certain DeClan McManus, a.k.a. Elvis Costello, who does harmony vocals on "You Want Her Too". The sound, while spright, is more mid-paced, far from the rock theatrics of "Band On The Run" or "Jet". Flowers In The Dirt is a sign of a legendary artist growing finer with age.

Flowers in the Dirt is one of the most masterful recordings of Paul McCartney's career. He calls on some of the best musicians in the world and they all deliver. Dave Gilmour is tremendous on guitar and the production is flawless. McCartney gives us one of the best love songs of his career in This One, Hamish Stuart gives great soleful refrain vocals and the melody is neo-classic McCartney. Figure of Eight is a great romp of pop craftsmenship. How many People is a wonderful song of hope and peace. Put it There is a great David Crosby influenced acoustic number. It's lyrics are appropriate and not overdone. My Brave Face is a tremednous pop tune that got a fair amount of radio airplay. I can definetely hear the Elvis Costello influence in this one. That is another great thing about this Album. Costello provides balance to McCartney's sometimes over-sweet flavor. This mastery can be heard on You want her too. We Got Married is one of the most well produced song of all time. The guitars are perfect and the vocals are strong. The production is wonderful and the vibe is neither contrived nor trite. The gem of the album for we is Distractions. This is a great relaxing tune with wonderful lyrics that are touching and very real. McCartney harnesses his tunefullness and matches that greatness with lyrics. Overall,this is one of the best albums of Paul McCartney's career. He gets the best musicians and production and he somehow gets it to flow. This album lacks the band feel of his work with Wings but it has the best singing and the best flow of anything since Band on the Run. McCarntey succeeds beautifully and makes us believe. The artwork is also excellent. Overall this is one of my favorite McCartney albums. The only thing that I can say is, Enjoy!

I'm about to make a big statement. This is Paul's best solo album ever!! I always felt "Band On The Run" was the best until this gem came out in 1989. Not a bad song on the CD. Personal favorites "MY Brave Face," "Figure Of Eight," "This One" and the simply great "We Got Married."

Now if you ask me, and a lot of fans of Mr. Declan McManus do now and again, this here Flowers in the Dirt album by Paul McCartney is probably more a collaboration betwixt Paul and Declan than the general public ever really likes to admit. Them two had been together and collaborating for a fair piece and they did some songs together that ended up on each other's 1989 releases... "Veronica" was the most notable collaboration lifted from the Spike album that Declan put out, and "My Brave Face" was a similar collaboration from this here album.

It appeared to many of us that Sir Paul was in an 80s tailspin until this one came out and rescued his reputation. It was a little better than the mediocrity that it looked like his music was slipping in to and hinted at things to come as the decade got ready to flip over to the 90s.

Mama loves this album because she likes the fact that some of the songs are biting and mean-spirited (her words, not mine) and the twins like it because they like the Brave Face ditty pretty much more than anything McCartney did that year. I could listen to this one time and again and never get sick of it. In fact, I keep me a copy of this album out in the shed and turn it on when I'm working on things that require grit and determination... such as rebuilding carburetors, and setting the flip nozzle on a flange.

No matter what you think of McCartney, or for that matter McManus, then you owe it to yourself and English/Irish relations to check this here album out and give it a serious listen... especially if you are needing to rebuild carburetors, or setting the flip nozzle on a flange