Wednesday, 31 October 2018

Beatles for geeks

Furore #24, January 2019.
The other day I was sent a highly interesting Beatles magazine. Interesting for geeks like me, I mean. Furore is a gazette compiled and designed by Piet Schreuders and published at highly irregular intervals since 1975. Issue number 24, with publication date January 2019 is a Beatles special. You may remember Piet Schreuders as the co-writer of The Beatles' London as well as from a recent film he compiled of Beatles locations in Stockholm, Sweden. As you understand, Piet is interested in "then and now" pictures of historic locations. Endorsed by Mark Lewisohn, who has also written one of the articles in the magazine, here's what he says: "The world’s most interesting publication dedicates an entire issue to the world’s most interesting subject, and approaches it from the most oblique and fascinating angles. There’s something for everyone here. Don’t be shy – buy."
The contents of this Beatles special:

  • COVER STORY – Andre Barreau describes the exact spot where Fiona Adams photographed the Twist and Shout cover picture;
  • Mark Lewisohn writes about the jobs the Beatles had before they were Beatles;
  • Lucas Ligtenberg and Piet Schreuders describe the unforgettable canal tour of Amsterdam, 6 June 1964, and reveal who jumped onto the Beatles’ boat;
  • The original poster of ‘Being for the Benefit of Mr. Kite!’ is finally on public view, take a look at the various reimaginations of the poster and see how they compare with the original.
  • Har van Fulpen studies the Beatles’ signatures, real and almost real;
  • Piet Schreuders revisits the beach near Weston-super-Mare where Dezo Hoffmann created his classic Beatles photos;
  • The photo sources of Richard Hamilton’s ‘White Album’ poster revealed;
  • How The Analogues re-created ‘Revolution 9’;
  • Piet Schreuders shows some of his ‘then-and-now’ photos he made for The Beatles’ London and Adam Smith picks out a few memories of this immortal project

Spread from magazine
116 pages – full colour – GBP 15 / USD 19.50 / EUR 16,95 / JPY 2200

Ordering: Furore

Tuesday, 30 October 2018

The Lennon McCartney fake romance

Real photo of John and Paul. Photo: David Bailey
Someone out there on the internet has an agenda: to make the Lennon-McCartney relationship closer than it was. I have no clue why, but this is equivalent to fan fiction, only done by editing photos. Typically, a photo of John and Paul standing together will be edited by moving them closer to each other. And sometimes very close, like the following example:
Real photo of John and Paul in the studio, singing into the same microphone.

Someone's wet dream, accomplished by photo editing.
This photo spreads like wildfire on social media and Pinterest. The latter is also usually the culprit when people are posting photos with a wrong caption. When you image search with Google, photos from Pinterest will show up with a caption or quote taken from another photo on the same Pinterest board.
But let's stick with the topic, here's another example:

Top: real photo, bottom: same photo, edited.
We have nothing against gays here, but we are against fakery unexplained. And that's the trouble with these photos, they are usually presented without any explanation and people who are not used to seeing the originals are fooled. I have come across several of the faked photos in this blog post on Facebook, where the person who posted has believed them to be real. Fortunately, the Facebook groups I have seen them in have had experienced fans pointing out that there's something wrong with the picture.

A magazine cutting, photo taken at the George V Hotel near the Champs Elysées, Paris, France, 1965.

Ringo obscured because the photo enthusiast wanted to bring Paul closer to John.
I started out writing about the Beatles to correct mistakes and myths. The Beatles history is full of myths, which has been corrected by later accounts by either members of the band, people who were close to them or historians with documented proof. And yet, the myths just continue. Why? Both because some myths make better stories than the truth and because the people in general are not likely to read articles that expose the myths as untrue. Still, I keep on fighting this losing battle, which is why I am posting this.

Photo taken during the filming of Strawberry Fields Forever

Fakery of same.
This particular direction in the world of Beatles fan fiction is called "McLennon", so you'll find more examples if you do an internet search for that. Fan fiction usually resides at internet sites like Tumblr and Deviantart and their like. Places that often contain wonderful images, but when they go astray like this, people are taking them at face value.

Yes I know, by posting these photos here, even more people are going to spread them via their Pinterest boards etc without any comment. Yet, I urge you to, whenever you find one of these images that tries to imply a Lennon-McCartney romance, comment by posting a link to this blog post. I even made a shortened link for you to use:
See what I did there? Thank you.

If you want to suggest that something was going on, there's always real photos to choose from.

Monday, 29 October 2018

The Beatles "White Album" Super DeLuxe - What's new?

Mike Carrera finds out what's new on the new super deluxe edition of The Beatles' "White album"
This is a quick fan review from the forthcoming Box Set The Beatles (aka The White Album) Super Deluxe Edition, focusing only on disks 3-6  containing the demos and outtakes versus what’s been already out on past official and bootleg releases. We'll see what’s new and what’s not.

By Mike Carrera

Esher demos: The bootleg version in circulation is an off-line recording made by George to John so there are some ambient noises sometimes and chats between George, Paul and John before, during or after some demos not heard on the 2018 master tapes mixes. The 2018 edition of the Esher tapes are all way better in terms of audio quality, and they are also all in stereo, where bootleg editions were all in mono. So, disregarding audio quality, we are comparing this official release with the best bootleg of Esher demos, and also with the versions officially released on "Anthology 3". We have found that in some cases, you will need to hang on to your bootleg edition, in order to have an as complete as possible representation of the track in question:


Disc 3:

  1. Back In The U.S.S.R. (Esher Demo) 3:00
Same as on bootleg.

  2. Dear Prudence (Esher Demo) 4:47
Partially NEW. Two seconds longer here than on bootlegs, the initial chord heard at the intro is slightly longer.

  3. Glass Onion (Esher Demo) 1:55
Partially NEW. Completely different mix from "Anthology 3", John’s talk heard at the intro on the right channel on CD 1 of the third Anthology volume has been mixed out here. The mix done by George Martin with the two overdubs can be heard on the left and right channel, while on this new mix it’s all more centred. The end is new, John can be heard singing something like “Chicago, Chicago”.

  4. Ob La Di Ob La Da (Esher Demo) 3:10
Three seconds longer on bootlegs, and at the end we can hear Paul and George talking - but this comes from the off-line recording while they were doing the copy for John, so it’s not part of the actual demo.

  5. The Continuing Story Of Bungalow Bill (Esher Demo) 2:40
The bootleg version runs 2:54, here in the new mix the intro chat is slightly edited plus all the end: John continuing singing after the song has ended and Paul and George talking.

  6. While My Guitar Gently Weeps (Esher Demo) 2:41
Partially NEW. George’s count-in is new, but the bootleg version (which runs 2:35) has an organ overdub and post ambient noise (Paul humming and George talking in the background) and this new version has the organ mixed out, but at the end you can hear it very low with it headphones. It seems the unedited bootleg version comes when they did the organ overdub while the tape was running, because if we listen closely while Paul is humming, the tape continues without any editing signal and the same organ now continues with a few notes, before overdubbing the next song on the original tape: “Circles”.

  7. Happiness Is A Warm Gun (Esher Demo) 1:55
NEW. Here is the unheard double tracked demo for the first time. John doesn’t catch some phrases with his first vocal track at some points or sings in different keys and adds extra verses at the end and also extra guitar notes. Very interesting. The "Anthology 3" version is the single vocal and single guitar track running 2:14 that also has a false start not present in the new mix, but lacks the second vocal with additional verses from John.

  8. I'm So Tired (Esher Demo) 3:08
The demo length is the same here as on bootlegs, but on the latter we can hear some chat from George at the end, three seconds longer than this 2018 mix.

  9. Blackbird (Esher Demo) 2:33
Even though this and the bootleg start at the same time, on the bootleg you can hear some chat from George and a comment “Ok Mal” and Paul saying “ok?” as well as some extra noise. But on this new mix, those bits were erased from the left channel as we can hear at 0:07 the sound coming in from left channel that was covered with “hiss” during the first seconds.

  10. Piggies (Esher Demo) 2:03
Partially NEW. George’s first “One” count-in is new, he then start again with “One, Two…” but at the end on the bootleg version we can hear George saying “living Piggie lives” and some extra noise of some background tape or distorted guitar. The bootleg version is 2:06. The official edit on "Anthology 3" was in mono, but like all the other Esher demos here, this is also presented in stereo. 

  11. Rocky Raccoon (Esher Demo) 2:41
This new mix and the bootleg are the same versions, but on the bootleg there's an additional 16 seconds at the end, of some chat between John and George.

  12. Julia (Esher Demo) 3:54
Partially NEW. The first two seconds here are new: John saying “Hellooo Paul”. On the bootleg version at the very end we can hear some birds that were cut out on this new mix, but at the intro and again after Paul says “OK” you can hear some birds as well (at least if you listen through headphones).

  13. Yer Blues (Esher Demo) 3:29
Two extra seconds at the end on the bootleg version allow us to hear John talking, whereas on this new mix he's missing.

  14. Mother Nature's Son (Esher Demo) 2:22
There seem to be no differences between this and the bootleg.

  15. Everybody's Got Something To Hide Except Me And My Monkey (Esher Demo) 3:01
The bootleg version has some post song chat from Paul, but the rest is the same.

  16. Sexy Sadie (Esher Demo) 2:24
The bootleg version runs 2:29 and there are extra noises when the song ends, some guitar noise or amp, and George coughing.

  17. Revolution (Esher Demo) 4:04
The bootleg version starts with one extra second on the intro (a guitar string noise is heard), and the end is 10 seconds longer (and this 2018 mix has an early fade out) while the song is still playing it's final chords and John is singing at least three more times “all right” while also fading out, but not as early as in this new mix.

  18. Honey Pie (Esher Demo) 1:57
There seems to be no differences between this and the bootleg.

  19. Cry Baby Cry (Esher Demo) 2:25
No differences between this and the bootleg - but on the latter we can hear in the background some ambient noises and chat at the end, and a sound of a harmonium or organ but it’s not part of this song, still interesting to hear a different tape of the ‘Esher demos’ although not with the same quality as the 2018 mix.

  20. Sour Milk Sea (Esher Demo) 3:41
NEW. A huge surprise to find out we are getting a new and unheard demo of this song, completely different from the bootleg. Here is a double tracked vocal acoustic demo (with percussion from Ringo(?) and handclaps) lasting 3:41 with different vocals from George, different count in and different end while the bootleg version lasts 3:25 and is a also a double tracked vocal demo with acoustic guitar, tambourine, bass and some electric guitar fill ins. Also the bootleg has extra 21 seconds of post chat between George and John.

  21. Junk (Esher Demo) 2:34
John’s final comment is slightly longer here than the bootleg version, otherwise no differences.

  22. Child Of Nature (Esher Demo) 2:35
No differences between this and the bootleg.

  23. Circles (Esher Demo) 2:15
Partially NEW. The “one” from George’s initial count-in is missing here while it’s complete on the bootleg. The bootleg also includes two stray organ notes before (while Paul is talking) and also another one just when George counts in “two”. Paul’s voice can also be heard after the count-in of “three”, but all of this was erased in creating this new mix. The organ overdub is more prominent on the bootleg but this official mix has an almost perfect and clear vocal (double tracked) mix not heard before. The organ’s final chord is slightly faded out in the 2018 mix while it’s complete and with a few seconds of post chat on bootleg. After hearing the bootleg version and this official mix, we can assume what we have on bootleg is a copy of the organ overdub live on top of what was recorded earlier, while the 2018 version is a final mix not available before.

  24. Mean Mr Mustard (Esher Demo) 2:03
Partially NEW. A completely different mix from the one available on "Anthology 3", here everything is more centred (mostly vocals) while on "Anthology" we can hear the original demo on the left channel and overdubs with double vocal on the right channel. The 2018 mix is six seconds longer, with some extra chat from John and tape noises.

  25. Polythene Pam (Esher Demo) 1:25
A completely different mix from the one available on "Anthology 3", contrary to "Mean Mr. Mustard", the two vocal tracks are separated here (left channel original demo, right channel overdub) but more clear on "Anthology 3". It’s two seconds longer now, without the fade out.

  26. Not Guilty (Esher Demo) 3:04
Since the bootleg tape comes from an off-line recording, we can hear some comments from George and John from time to time on the very background, while on this 2018 mix it’s a perfect recording but the end is complete on the bootleg, because it's five seconds longer (we can hear Paul? And John chatting and also an extra guitar note).

  27. What's The New Mary Jane (Esher Demo) 2:40
Partially NEW. The count-in from John is truncated on the bootleg (One/ee/Four) while it’s complete here (One, two, three, four), other than that, there is nothing new. At the end of the tape on the bootleg version there is a click from a tape being stopped, this is not present on the new mix but it’s not part of the demo, but an ambient noise when George was copying the tape for John (we presume?)
George and Ringo during a break in the studio sessions. Photo: © Copyright Apple Corps Ltd.


Disc 4:

  1. Revolution 1 (Take 18) 10:26
NEW. The basic take (drums, guitar and piano) that was used to create the final version, at this stage this take has many overdubs recorded: double tracked vocals by John, mellotron, a bass and many electronic sounds and Yoko’s tape also heard at the end, some bits from this take including John’s screams were used in ‘Revolution No 9’, but still misses the distinctive guitar overdub all through the song. We can note that the “Take Two” heard on the intro is not coming from any “take two”, it actually says “Can I take two?”. This take 18 are without any backing vocals from Paul and George. At 07:35 Paul starts singing “Love Me Do”. Take 20 RM1 is available on bootleg and comes from this very same take when it was bounced to another 4-track tape but adds some extra overdubs (backing vocals, extra tape loops effects, the unused “Mama, Dada” chorus, another John vocal, etc)

  2. A Beginning (Take 4)/ 0:55
Partially NEW. The same take is already available on "Anthology 3", where it's not linked with ‘Don’t Pass Me By’ (so the end is clearer than on this new mix). but here for the first time is the engineer’s announcement  From Take 1 (unlisted) “This is introduction to Ringo’s Don’t Pass Me By ”  and edited together with engineer’s announcement for “Take 4”. The change of sound is very noticeable during the two slates.

  Don't Pass Me By (Take 7) 4:50
NEW. The violin starts on the official version at 00:39, while on this unmixed Take 7 it starts almost right away. There is also no intro on the piano as heard on the official version, here the piano starts directly with the drum beat. The original Take 7 presented here is one minute longer than the released version (3:50) because it doesn’t have one verse edited out on the final mix. The vocal track is the same as the released version also with Artificial Double Tracking (ADT) but we can hear Ringo singing the full end of the song, something that was faded out on the Anthology Version: “I want you to make me happy.. happy… happy…. ‘cause that’s what I want” and linked together with a real surprise: the original title of the song, Ringo is heard at the end saying “This is Some Friendly” while the others are whispering the same. The "Anthology 3" version is more than a minute shorter (2:40) than the official version and more than two minutes shorter than this 2018 outtake.

  3. Blackbird (Take 28) 2:15
NEW. The take runs 1:55 while the rest is Paul talking with George Martin and there is also a female voice heard near the end (Francie Schwartz?) when Paul says that it's better to sing quieter. According to Kevin Howlett, the tape box of this was mislabeled as Take 9 while “Take 4” from "Anthology" is actually Take 23!

  4. Everybody's Got Something To Hide Except Me And My Monkey (Unnumbered Rehearsal) 2:43 
NEW. A real jewel here was discovered while researching for this project, only three minutes survived from this instrumental rehearsal.

  5. Good Night (Unnumbered Rehearsal) 00:39
NEW. Apparently the spoken introduction tryouts done by Ringo were recorded after the next track, another similar (but not the same) tryout is found on the "Anthology" video during the medley of "White Album" outtakes.

  6. Good Night (Take 10 With A Guitar Part From Take 7) 2:31
NEW. With a combination of two takes, a splendid mix with the unused vocal harmonies from John, Paul and George. One of the highlights from this boxed set. But there is actually more than one guitar, Take 7 is a combination of three guitar recordings done by John on top of Take 5.

  7. Good Night (Take 22) 3:46 Partially
NEW. The very same take as used on "Anthology 3", it has a slate and some extra chat at the intro not heard before (the first 15 seconds are new) but the rest of the intro is the same but mixed slightly differently. The "Anthology" take is edited with Take 34 at 1:59 and ends at 2:34 while this is the full Take, lasting more than one minute longer. The liner notes of the "Anthology 3" album mention that this is a rehearsal take, while the new documentations prove that this is Take 22, another survivor of the erasing, along with part of Take 21.

Photo: © Copyright Apple Corps Ltd.

  8. Ob La Di Ob La Da (Take 3) 2:54
NEW. In the same vein as the very well known “acoustic” version Take 5 also on "Anthology 3" and many bootlegs and the unreleased "Sessions" LP, this is the same take before overdubs but ADT in Paul’s vocal is present and also in some parts a double tracked vocal is heard (during the “Happy ever after in the marketplace” line starting at 2:14), plus backing vocals from John and George doing the “la la las”. What is missing from this Take 3 and present on Take 5 are the congas, saxophones and extra percussion.

  9. Revolution (Unnumbered Rehearsal) 2:16
NEW. Another discovered rehearsal fragment that survives, having been thought erased. Main and backing vocals are already present at this stage including some low “shoo-bee-do-wop” by Paul.

  10. Revolution (Take 14 Instrumental Backing Track) 3:25
NEW. Still to be added piano by Nicky Hopkins and another guitar part by John are not present at this take yet. It also has a slightly different and unedited ending.

  11. Cry Baby Cry (Unnumbered Rehearsal) 3:02
NEW. Also known as “Version one”, another surviving rehearsal tape was found, and just a fragment is presented here. John’s vocal is already present.

  12. Helter Skelter (First Version Take 2) 12:53
Partially NEW. Known as “Version one”, the now very famous slow version of this song sees the light of day being released in full. However, there is fade out involved, so we can’t hear how it actually ends. Kevin Howlett says we can hear this take in it’s entirety lasting 12:49, but it actually continues until 12:53 where there is a fade out. So maybe the third and most famous 27 minute take starts linked after Take 2? Just like Take 2 starts with a jam already in progress (from the end of Take 1?) and six seconds later we can hear the engineers’ “Take two” announcement. The "Anthology 3" version was heavily edited to a total of 4:35 using the “best” parts of this long take.

Long Long Long tape box © Copyright Apple Corps Ltd.
Disc 5:

  1. Sexy Sadie (Take 3) 3:08
NEW. We can hear George singing a few lines of ‘Getting Better’ over the intro. Part of the initial chat between John and George was already available coming from the "Rockband" intros (“How fast John?”, “however you like, you know?.. feel it!), the rest is new and with a fade out at the end, so we can’t hear the actual ending.

  2. While My Guitar Gently Weeps (Acoustic Version Take 2) 3:02
NEW. An undocumented second take on the session tape box was discovered for this project. Recorded the same day and after the famous Take 1, which was also on "Anthology 1" and many bootleg releases (unedited and edited). George and Paul are the only members of the Beatles here.

  3. Hey Jude (Take 1) 6:44
NEW. Another surprise for those collecting bootlegs, different from the other, mislabeled “Take 1” which is circulating and never heard before until now, recorded July 29, 1968, the second take from this same session appears on "Anthology 3". George is playing some electric guitar riffs on this take as well.

  4. St Louis Blues (Studio Jam) 00:50
Nothing new, there is even an early fade out.

  5. Not Guilty (Take 102) 4:28
Partially NEW. The full length performance from beginning to end without any early fade out. The first five seconds are new, starting with the “Take 102” announcement and ending with post-song guitar riffs which can also be heard on the "John Barrett Tapes" bootleg but are more prominent here as the bootleg has a fade out but runs a few more seconds longer during the final riffs. So we still need both to get the complete take.

  6. Mother Nature's Son (Take 15) 3:11
NEW. Paul trying to sing some parts differently. The take runs 2:29 while the rest is Paul and George Martin talking.

Photo: © Copyright Apple Corps Ltd.
  7. Yer Blues (Take 5 With Guide Vocal) 3:57 
NEW. John comment at the end that “it’s getting better”.

  8. What's The New Mary Jane (Take 1) 2:06
Partially NEW. 35 seconds were already available coming from the "Anthology" video or DVD but mislabeled as “Take 2” on bootlegs, now this full breakdown take is available.

  9. Rocky Raccoon (Take 8) 4:57
Partially NEW. Already available on the "Anthology 3" album, the intro there is more complete as we can hear a guitar note that was edited out in this new mix, the talk between John and Paul is the same. The "Anthology" version ends at 4:10 so now we have almost 40 seconds of an unheard passage with improvised lyrics from Paul, a real highlight for those expecting nothing new with the choice of the same take as on the "Anthology".

  10. Back In The U.S.S.R. (Take 5 Instrumental Backing Track) 3:09
NEW. No extra comments since it’s already out.

  11. Dear Prudence (Vocal, Guitar & Drums) 3:59
NEW. A real surprise where you didn't expect one, as this could be read as a “channel mix”, judging by the description - and it’s not! It’s a full length take without overdubs (except for a double tracked vocal by John) and also a different guitar is heard near the end plus John continues playing his guitar with more extra riffs. The track ends with John saying: ‘Can I just do the last verse?’.

  12. Let It Be (Unnumbered Rehearsal) 1:17
NEW. Undocumented track (second engineer John Smith wrote “Ad Lib” in his recording notes) during the ‘While My Guitar’ sessions with mister Slow Hand himself, we can hear George Harrison telling him at the end “Cans On Eric”.

  13. While My Guitar Gently Weeps (Third Version Take 27)
Partially NEW. George’s initial comments regarding his sandwich and coffee were already available from the "Rockband" and "Anthology" video intros and apparently comes from Take 1 (Third Version session), even the count-in is the same here and there. The breakdown is also available from the "Rockband" intros where George is referring to sing like Smokey Robinson but the rest is completely new and not heard before.

  14. (You're So Square) Baby I Don't Care (Studio Jam) 0:42
NEW. Recorded during the session for the second version of ‘Helter Skelter’.

  15. Helter Skelter (Second Version Take 17) 3:39
NEW. The “keep that one, mark it Fab” comment that has been repeated over and over from "Rockband", "09 09 09" back catalogue, bootlegs, etc comes from this session and this take 17 although the group tried more takes until Take 21 became the actual master.

  16. Glass Onion (Take 10) 2:12
NEW. Full of alternate or unfinished lyrics. John can be heard at the intro asking George Martin's assistant Chris Thomas about his opinion so far.

Paul in the control room. Photo: © Copyright Apple Corps Ltd.

Disc 6:

  1. I Will (Take 13) 2:20

NEW. Starts with a breakdown so we don’t know if that could be Take 12?.

  2. Blue Moon (Studio Jam) 1:11
NEW. Played before Take 28 of ‘I Will’, according to the liner notes.

  3. I Will (Take 29) 00:26
NEW. A breakdown take, Paul finish it by singing ‘If you want me to- I won’t!” and John replying “Yes you will!”

  4. Step Inside Love (Studio Jam) 1:34
Partially NEW. Although it's the same as the bootleg version (also incomplete on the intro as there was a tape change) what’s new is part of the next track,  after John says “Los Paranoias” and Paul laughs, it seems that there is an edit on the bootleg as this improvisation starts immediately but here there is something new: John comment, Paul laughs and the tape continues three more seconds where we can hear John singing something unidentified and Paul adds “Ok” (and move to the next track as the two are linked).

  5. Los Paranoias (Studio Jam) 3:58
Partially NEW. (tape keeps rolling from previous track).. Paul adds “come on now chaps, swing A-la-Latina” and sang a little something like “Ya-ka-tan” while strumming his guitar not heard on the bootleg, then the song starts, that’s the only new thing here.

  6. Can You Take Me Back (Take 1) 2:22
Partially NEW. The version circulating on bootlegs for many years is an edited one and also runs slightly faster. This 2018 mix and the bootleg starts almost at the same time (one extra second longer on the bootleg), and also finish almost at the same time (a tiny bit longer on the bootleg where you can hear the tape being cut), but there's an unbooted segment in the middle. The underground version runs 1:56 and here we are having almost 30 seconds extra. The new segment starts at 1:11 and lasts until 1:37, while the edit on the bootleg occurs at 1:14. This song was preserved on the session recording notes as ‘Jam- Unidentified‘ (I Will Take 19).

  7. Birthday (Take 2 Instrumental Backing Track) 2:40
NEW. A very interesting backing track with some alternate guitar riffs (buried by the piano on the released version). Paul can be heard counting to eight during the break as well as shouting and guiding at some points.

  8. Piggies (Take 12 Instrumental Backing Track) 2:10
NEW. John starts chanting “I’m a fabulous fabulous vegetarian”, followed by George: “One More.. One More Time..” which is the exact phrase (“One More Time”) heard on the official version near the end of the song (not present here). This intro comes (possibly) from a different take. This is mostly a “channel mix” rather than an outtake. It’s Take 12, the master take with overdubs except for the animal noises and vocals, but if you use headphones you can hear the first verse sung by George buried in the mix -  possibly from a live vocal guide although it could also be from the final vocal track.

  9. Happiness Is A Warm Gun (Take 19) 3:09
NEW and fantastic! It has an extra verse repeated twice, something that was later changed on the final version (‘I need a Fix’) and replaced by a guitar solo. John sings it in a very raw form at this stage.

  10. Honey Pie (Instrumental Backing Track) 2:40
NEW. This is just a simple instrumental mix, no outtake.

  11. Savoy Truffle (Instrumental Backing Track) 2:56
NEW. Contrary to the past track (Honey Pie) although this is also a channel mix simply erasing the vocal track, we can hear three extra seconds of actual session noises at the end: a tambourine and George’s ‘How’s that’?” comment.

  12. Martha My Dear (Without Brass And Strings) 2:29
NEW. Another good surprise where you didn’t expected based on the track description. We can hear Paul’s “Four” count in over the intro, plus his vocal is single tracked and there is also a noise made by his piano at the end.

  13. Long Long Long (Take 44) 2:54
NEW. Another highlight, it’s an incomplete take including a false start and after the 2 minute mark George starts singing one of his unreleased compositions: "Gathering Gesturing".

3CD edition

  14. I'm So Tired (Take 7) 2:29

  15. I'm So Tired (Take 14) 2:17
NEW. Take 7 is more interesting than the master Take 14 which only adds a few extra elements which were erased from the final version, one of them a very good three-vocal harmony part and a familiar guitar riff present on the "Monitor Mixes" bootlegs and extra gibbering from John. The intro chat from John is clearly edited from a different take. Why Giles opted to include two takes with not very much difference between them, and for other songs only went for a rehearsal or a backing track but no vocal outtakes is questionable.

  16. The Continuing Story Of Bungalow Bill (Take 2) 3:12
NEW. A different beat in Ringo’s drum is present here at some points, at the end we can hear the announcement for Take 3 as well.

  17. Why Don't We Do It In The Road? (Take 5) 2:03
NEW. Paul’s intro comments is a continuation of the speaking heard on "Anthology 3", a very similar take (quiet verse and loud verse) that ended up as the master to made overdubs.

  18. Julia (Two Rehearsals) 4:31
NEW. "Is it better standing, what’d you think?" John starts asking George Martin. As previous rehearsals presented on this box set, this is also a survivor that remained on the tape where the actual takes were recorded.

  19. The Inner Light (Take 6 Instrumental Backing Track) 2:47
NEW. Although “Take 5” circulates on bootlegs, it seems that is a so-called outfake made by the bootleggers by simply erasing the vocals, where close examination shows that at some point they are still present. Also, a “monitor mix” circulates from a very old bootleg but there too there's no evidence whether it's real or not. Here for the first time is Take 6, a copy-to-tape from Take 5, which was recorded in India. It features engineer’s announcement as well. A completely different alternate take (maybe take 2 ,3 or 4) is available as bonus track on the recent ‘Wonderwall’ CD re-issue.

  20. Lady Madonna (Take 2 Piano & Drums) 2:25
NEW. Starts with the engineer announcing “Two” and is simply the backing track. Take 3 was used as master for overdubs.

  21. Lady Madonna (Backing Vocals Take 3) 00:54
Although everything from this track is available on bootleg (one of the "Monitor Mixes" tracks), this mix has the voices so clear that is worth listening to. But it’s incomplete so you will still need the bootlegs for completion!

  22. Across The Universe (Take 6) 3:52
NEW. An unheard version, this is the take before the one that was used as master for overdubs, it has not been heard or released before, and is a simple take, only with John’s vocal track, his guitar and Ringo on tom-toms.

Monday, 22 October 2018

Roll up for the Wings Tour Bus

Tour bus from Wings tour of 1972, here in Oslo on August 9, 1972.
The colorful tour bus from which Wings used to tour Europe with in 1972 was recently rescued from the Spanish island of Tenerife outside Africa, where it had been rotting away for years. Shipped back to the UK, it has been donated to the charity organisation Arms Around The Child, who are going to use the bus to attract attention and to promote their activities.

The sorry state of affairs a few years ago.
Word got back to Paul McCartney that the bus had been seen back on the road in the UK, so a message was tweeted from his twitter account December 10, 2017: "We’ve heard that the 1972 Wings tour bus is back on the road in the UK. Have info on this? Send us a DM!".
Fans were very helpful and tweeted replies about the rescue mission, and the next day, a Justin James tweeted a new photo of the bus, with the message: "Don’t worry @PaulMcCartney @RadioJammor . I have it safe and sound in snowy Oxfordshire".

The bus in snowy Oxfordshire in December 2017.
As the new archive release from Paul is focusing on the 1972 tour, and the special limited edition boxed set is decorated in colourful patterns inspired by the 1972 tour bus, we'd be surprised if the bus itself won't be part of the promotion at some point. As seen in Justin James' photo, it still needed some work done at the time, to bring it back to it's former glory.
The new limited edition boxed set with archive editions of Wild Life, Red Rose Speedway and a tour CD.

This is possibly the best of all the volumes in the Paul McCartney archive series. It includes the ICA Rehearsals film, which we have been awaiting ever since Lewisohn was able to see and review it in Wings Fun Club magazine, Club Sandwich, the fabled Bruce McMouse Show TV special which we have been waiting for since 1973, and finally an opportunity to hear what a full Wings concert sounded like in 1972, courtesy of that extra disc. It's exactly what I was hoping for when he started the Archive series, but the only volume so far which really exploits the potential. The fun thing is, none of this material has ever been bootlegged, unlike much of the bonus video material released with or beside the other archive boxed sets.
The video material which HAS been bootlegged and is included in this boxed set is the 1973 James Paul McCartney TV special, which finally sees an official release.

However, we just heard that the ICA rehearsal is severely truncated, which really sucks big time! The original 85 plus minute long film seems to have been chopped down to just a few minutes, according to a description of the video disc for Wild Life:

1. Scotland, 1971: Bip Bop/Hey Diddle/She Got It Good/I Am Your Singer/Good Rockin' Tonight - McCartney, Paul
2. The Ball - Paul McCartney & Wings
3. ICA Rehearsals:The Mess/Give Ireland Back To The Irish/My Love - Paul McCartney & Wings
4. Give Ireland Back To The Irish (Rehearsal/February 1, 1972) - Paul McCartney & Wings
5. Menu/Wild Life - Paul McCartney & Wings
6. Menu/Hey Diddle - Paul McCartney & Wings
7. Menu/Give Ireland Back To The Irish - Paul McCartney & Wings
The menu songs are probably songs played under the menu.

Here is a description of the full ICA Rehearsal film (which is what we expected when this archive volume was announced):


Written by Mark Lewisohn and originally published in the summer of 1995 in Club Sandwich #74, the magazine from Paul McCartney's official fun club.

Take a walk in Central London, just a few hundred yards from St James's Palace, scene of Paul's recent concert success described elsewhere in this Sandwich. Tread the better class of paving stone you will find on The Mall, that most well-heeled of London boulevards - boasting, as it does, Buckingham Palace at one end and Trafalgar Square at the other. And soon you will arrive at the glorious piece of Georgian architecture that houses the Institute of Contemporary Arts, or the ICA as it is more commonly known.

Step inside love, and step back 23 years from that Royal College of Music evening, and you have the setting for one of the juiciest of films, still unseen, that resides in the prodigious Paul McCartney movie archive.

Wings were just a few months old, and only a few days into becoming a fully-rounded quintet, when Paul led the band through a short period of rehearsals on the stage and behind the firmly-closed doors of the tiny theatre-cum-cinema inside the ICA. No one knew Wings were there - there were no fans outside the front door, and none of the passengers inside the taxis and chauffeur-driven cars heading towards Buckingham Palace knew either - but important ground-laying work was being done in this short period, cementing Wings as a unit, ready, with jack, to hit the road.

On one of these days Paul decided, at short notice, to have the rehearsal filmed, and remembered a sound recordist called Dick Spicer who had been up to the Mull of Kintyre recently to help film family man and guitarist Paul McCartney enjoying leisurely times down on the farm. Spicer had formed a business partnership with a cameraman, Phil Mottram, and together, calling themselves Tycho Films, they were invited by Paul to bring their equipment to the ICA for a day. In so doing, although they little realised it at the time, they shot the first performance film of Paul McCartney since the Beatles' Get Back/Let It Be sessions in January 1969, more than three years earlier. (Indeed, the feel of the ICA footage is reminiscent of that earlier production.)

"At first Paul wanted it filmed in 35mm," remembers Phil Mottram now, "but Dick and I persuaded him that we couldn't really lay that on at six hours' notice. We would have needed a larger crew and a major lighting rig. As it was, although I was nominally called the 'director', I was really the cameraman. And Dick, although nominally the 'producer', was really just the sound recordist. I also rigged up the lights. We had a basic three-man crew and what we shot was very much in the dnema-verite style. Basically, the end result was just rushes. I don't know if Paul had a long-term idea in the back of his mind for the film, but in this case he certainly didn't get around to doing anything with it."

Indeed he didn't. To view the ICA film today one has to wade through a mass of odds and ends of 16mm film, some of it synchronised to sound, some not. The film runs out in the most irritating - but unavoidable - of places, and the whole experience is rather trying. (Which is no less than the norm for watching any rough, unedited film material.) In short, the ICA footage would make for an excellent production when edited, but such a luxury has never come its way. There's always time, though.

One thing is for certain: if the ICA film was ever to be finished, the viewer would be in for a treat. Nowhere else can one see Wings taking flight in this way; nowhere else can one watch Paul & Co running through tracks like 'Lucille', 'The Mess', Wild Life', 'Bip Bop' and 'Blue Moon Of Kentucky', plus, so interesting that they deserve to follow this artificial and entirely redundant break in the list, 'Seaside Woman' and 'Give Ireland Back To The Irish'.

The inclusion of this last song neatly dates the session. Reacting swiftly to the sorry upturn in political events in Ulster, Wings had recorded Paul's Irish lament on 1 February 1972. A little over a week later, on the 9th, they took off on their now almost fabled university tour, traversing the highways of Britain while looking for places to play unannounced concerts. The ICA rehearsals fell in between these two events.

So while there's no known film of Wings on that college outing, the ICA rehearsal footage captures the band at this most interesting and pivotal of moments. It shows, too, the band's initial sessions with new guitarist Henry McCullough. Henry had not been a Wing when the band taped debut album Wild Life in the closing overs of 1971, but he provided a much-needed presence on lead guitar, obligatory for the anticipated stage work.

As for 'Give Ireland Back To The Irish', it's easy to spot that the cameras deliberately tried to capture footage for a promotional film for the song, ultimately never produced because its political nature led to an instant airplay ban. It's difficult to credit today the paranoia that banned records then generated, and as well to recall that the BBC not only forbade the playing of the record but the very mention of its name. As a consequence, the then Radio 1 disc-jockey Tony Blackburn, when reading out a Top 30 chart run-down in March 1972, had to stop himself when he said "And, at number 17, 'Give Ire...'" and replace it with "And, at number 17, a record by Wings". Those were the days, my friend - and thank goodness they're behind us now.

Viewed chronologically, which seems a smart idea, the ICA film opens with a shot of the exterior of the building, a scene-setting cornerstone on which everything else follows. Soon enough, three Wings - Henry, Denny S and Denny L - each buttoned up against the biting February wind and drizzle (silver rain was evidently falling down that day in London town), individually walk up to and into the ICA building. Then, without any warning, the viewer is thrust into a ballsy version of 'Lucille'. Like I said, this is raw footage. When the camera stops turning so the film ends. When it begins again, so does the image. There are no pretty fade-ups or neat introductions here.

'Lucille' is a blast, the sound cranked-up through outsize Fender amps that had become de rigeur in the few short years since Paul had last trodden a concert stage. (A case now, excuse me, of "those were the dais".) As cameraman, Phil Mottram was in no position to avoid the ear-perforating sound. "It's 23 years since the shoot and, to tell you the truth, what I can remember most about it today is the earth-shattering noise," he says. "It's only a very small cinema at the ICA and Wings produced quite a sound. They had what I gather was a typical live rig, and I seem to remember trying to film them through the projection port at one stage, just to get away from the front of stage. We were at the ICA only one day but I couldn't hear well for at least two weeks afterwards."

Wearing a fashionable (honest, it was) woollen tank-top, shod in sneakers and fingering a four-string Rickenbacker bass, Paul brought 'Lucille' to end in his customary rave manner, and then led the band into 'The Mess', one of the more obscure, certainly the most disjointed, of McCartney song releases. (No studio version has ever been issued, and the world has to thank a live recording taped in Holland and released on the B-side of the 'My Love' single for knowing it.) This ICA rehearsal version didn't get very far before Paul brought it to a shuddering halt, though. "Wait a minute, wait a minute," he urged fellow Wings members. "Let's all c-o-o-l down a little. We're all a little excited and it's a bit too fast. Let's just sit back...and forget them." ("Them", here, meant the film cameras - Paul was instructing Wings to imagine that the film crew wasn't present and play it like they had the day before.) Several takes of 'The Mess' were captured on film during this day, not all of them complete, and not without further positive encouragement from Paul to the band that they could "do it better".

New songs? Wings were full of them at this time, Paul having decided to leave out the small matter of some 200+ Beatles recordings from his repertoire in order to, a) not re-tread old ground, and, b) give the new band a chance to build a canon of its own with which to blast the concert audiences. 'Seaside Woman' was very new, Linda having been inspired to compose her first song during the McCartneys' pre-Christmas 1971 holiday in Jamaica. Only three years earlier she had been a New York-based photographer, now she was composer, singer and keyboardist in a hot rock combo - and, in the ICA footage at least, looking surprisingly at ease in her new guise. The available film includes two takes of 'Seaside Woman', possibly the only time that a band performance of it has been shot.

Not that the ICA film is always so eventful. Being a rehearsal session, there's plenty of between-songs idleness, long shots of cigarettes being pulled and Cokes being drunk, roadies moving amps and drums and some fairly shaky camera work as Phil Mottram, moving as he filmed, bumped into people and pieces of equipment. There's a brief jam session at one point featuring Denny Laine picking at his guitar whilst lying flat on the floor, Linda shaking a tambourine and Paul playing the drums, but, truth be told, it doesn't amount to much.

But there are other surprises too: 'Bip Bop', a nice enough track from the Wild Life album which even Paul has since admitted he "didn't really finish off", comes across well in the ICA film, and there are some newly-arranged backing "oh-oh-oh"s behind Paul's lead vocal on 'Wild Life', in which, also, Paul deliberately sings the word "aminals" at one point, as he did on the record.

Perhaps the most interesting bit of the film occurs near the end, though, as Paul leads the band into a rehearsal of'My Love'. Familiar to us again now following its popular revival on the New World Tour, the song is all of 22 years old, having been first issued in 1973. In 1972, then, using great powers of deduction, it must have been minus one, and was therefore something of a work-in-progress. Paul has since told the story of how, in the studio recording, with an orchestra waiting to strike up, guitarist Henry suddenly asked if he could change the long-arranged solo, duly going on to produce a stirring piece of playing that graced this already graceful McCartney ballad. The ICA film proves what the instrumental break originally sounded like. In fact, this February 1972 performance was one of Henry's first ever stabs at the number, which explains why, in the film, Paul can be seen asking him, before they started, "How do you feel on 'My Love'?" The answer is that Henry coped OK, sort of.. .but there's little doubt that the studio version worked much better.

After about 85 minutes of film, including a rough-n-ready version of 'Blue Moon Of Kentucky', done again by Paul in the Unplugged show of 1991, and a brief jam of 'Maybellene', the day's rehearsal was over. Gentleman McCartney helped his wife down off the high stage, looked into Phil Mottram's camera and mugged "It's been very nice being filmed today...thank you very much for having us."

That said, the members of Wings went their separate ways until the morrow. Phil Mottram and Dick Spicer dismantled their equipment and went home, and the film, once it had been synced up, was consigned to the MPL vault for safe keeping. Roughly-produced papers stuck inside the film cans prove that someone has since viewed the material with an eye to its creative use, but this was evidently a long time ago because the notes are typed, with indentations made on the paper, and the machines that did this disappeared from modern offices some years ago.

With the exception of a very brief extract from the performance of 'Lucille' that was included in the 1978 TV special Wings Over The World and the 1986 programme The Paul McCartney Special, the ICA footage remains unseen. It deserves better and maybe, just maybe, one day, it will reap those desserts.

Links for preordering the boxed set:
Paul McCartney US Shop (USD $400)
Musicvaultz Canada (CAD $554.99)
UDiscover Great Britain (GBP £319.99)
UDiscover Garmany (EUR 369,99€)

Friday, 19 October 2018

Wings Over Europe CD

Paul McCartney and Wings - 1971–73 Limited Edition Box Set
Paul McCartney and Wings - 1971–73 Limited Edition Box Set is a box containing both DeLuxe editions of Wings' 1971 album "Wild Life" and "Red Rose Speedway" from 1973, in addition there is a bonus disc called "Wings Over Europe", containing performances of songs recorded during the Wings Over Europe 1972 tour, and a few from Newcastle, 1973. Additionally, paper memorabilia from the tour is included:

Wings Over Europe
- Previously unreleased, newly mixed Wings Over Europe 20 track set recorded across 5 shows on 1CD
- Introduction from Paul McCartney talking about his memories of the 1972 tour
- 96-page photobook including previously unreleased images by Linda McCartney
- Replicated 1972 Wings Over Europe tour programme
- Downloadable 24bit 96kHz unlimited high-resolution audio versions

Wings Over Europe Tracklist
CD 1
1. Big Barn Bed [Live In Newcastle/1973]
2. Eat At Home [Live At The Hague/1972]
3. Smile Away [Live In Berlin/1972]
4. Bip Bop (Link) [Live At The Hague/1972]
5. Mumbo (Link) [Live In Antwerp/1972]
6. Blue Moon Of Kentucky [Live At The Hague/1972]
7. 1882 [Live In Berlin/1972]
8. I Would Only Smile [Live In Antwerp/1972]
9. Give Ireland Back To The Irish [Live In Groningen/1972]
10. The Mess [Live In Berlin/1972]
11. Best Friend [Live In Antwerp/1972]
12. Soily [Live In Berlin/1972]
13. I Am Your Singer [Live At The Hague/1972]
14. Seaside Woman [Live In Groningen/1972]
15. Wild Life [Live At The Hague/1972]
16. My Love [Live At The Hague/1972]
17. Mary Had A Little Lamb [Live At The Hague/1972]
18. Maybe I'm Amazed [Live In Groningen/1972]
19. Hi, Hi, Hi [Live At The Hague/1972]
20. Long Tall Sally [Live In Groningen/1972]

Box uncovered

All the contents

The Wings Over Europe tour has previously not seen much documentation, only one live song from the tour saw official release, "The Mess" was recorded at The Hague and released as a B-side to the 45 rpm single, "My Love" in 1973.  A couple more were slated for the "Red Rose Speedway" double album, but when that album was downsized to just one LP, they fell by the wayside.
On this tour, McCartney focused on his new group and performed no Beatles songs at all. The only reminder from Beatles concerts was that "Long Tall Sally" was kept as a good song to close each concert with. Furthermore, a lot of the songs on the set list from this tour were new to the audience. Songs like "Best Friend", "1882" and "Seaside Woman" were supposedly going to be released on the upcoming "Red Rose Speedway" album, but that never happened. Of course, "Seaside Woman" finally ended up as a single released under the pseudonym of Suzy And The Red Stripes in 1977, but the other songs haven't been officially released until now.

Wings Tour Programme 1972 - a replica is included in this boxed set

Of course, several of the concerts on the 1972 tour has been bootlegged, courtesy of people bringing tape recorders to the gigs, but some of the professionally recorded songs also appeared on the illegal market. Most notably the late nineties bootleg CD "Got Any Toothpicks" had a few of those, and in 1991, Mistral Music released a professionally recorded CD of the July 10, 1973 Newcastle concert, taken from a second generation dub of an acetate record.

The limited edition boxed set is available to preorder from the official Paul McCartney store, priced at $399.98. As far as we can understand, this boxed set will not be available through physical stores, and only from Universal Music, who are also running the official Paul McCartney online stores. Expect official word today, as well as listings also in the European McCartney store.

Paul McCartney US Shop (USD $400)
Musicvaultz Canada (CAD $554.99)
UDiscover Great Britain (GBP £319.99)
UDiscover Germany (EUR 369,99€)

Thursday, 18 October 2018

The Bruce McMouse Show will finally be released!

We have been waiting many years for this but it's finally going to happen: The Bruce McMouse Show! A film I have been longing to see ever since I first heard about it in the seventies. Nothing at all has been seen from it earlier, and it is by Wings and Macca fans regarded as "The Holy Grail" of shelved McCartney productions. The Bruce McMouse Show was intended as a one-hour, part-animated, film for ITV with two advert breaks. The idea was to show concert footage from the Wings Over Europe tour of 1972, interspersed with animation action relating to the cartoon characters Bruce McMouse and family living under the floorboards of the stage. Although it was completed, it's never been shown and probably didn't stand up to McCartney's high standards.

The film will be now made available as video material on the new archive edition of Red Rose Speedway. Yes, the two albums Wild Life and Red Rose Speedway are being released in the Archive editions soon. Other video material includes the James Paul McCartney TV Special as well as the unseen ICA rehearsals, which we have only seen small bits and pieces from earlier.

The four-disc (3CD + 1DVD) limited deluxe edition of Wild Life, the debut album from Wings, originally released December 1971. Written by Paul and Linda McCartney (with the exception of a cover of Mickey & Sylvia's ‘Love Is Strange’), Wild Life is beloved by fans for its raw and direct vibe - having been recorded in just over a week with the majority of tracks laid down in a single take. Wild Life’s limited deluxe edition treatment features the full album remastered at Abbey Road Studios plus 25 bonus audio tracks including rough mixes of the album, original single edits, B-sides, home recordings and other previously unreleased material across three CDs. The set’s DVD features rare footage of acoustic home videos, rehearsals and more. The Wild Life deluxe package includes a 128-page book written by David Fricke telling the story behind the album – including track-by-track information and new interviews with Paul and key album personnel, a 48-page scrapbook of tour diaries, lyrics and set lists, unpublished Polaroids, lyrics, notes and memorabilia from the MPL archives. Wild Life’s download redemption card will provide access to all audio in HD 24/96kHz unlimited high-resolution versions.


CD1 – Remastered Album
1. Mumbo (2018 Remaster)
2. Bip Bop (2018 Remaster)
3. Love Is Strange (2018 Remaster)
4. Wild Life (2018 Remaster)
5. Some People Never Know (2018 Remaster)
6. I Am Your Singer (2018 Remaster)
7. Bip Bop Link (2018 Remaster)
8. Tomorrow (2018 Remaster)
9. Dear Friend (2018 Remaster)
10. Mumbo Link (2018 Remaster)

CD2 – Rough Mixes
1. Mumbo [Rough Mix]
2. Bip Bop [Rough Mix]
3. Love Is Strange (Version) [Rough Mix]
4. Wild Life [Rough Mix]
5. Some People Never Know [Rough Mix]
6. I Am Your Singer [Rough Mix]
7. Tomorrow [Rough Mix]
8. Dear Friend [Rough Mix]

CD edition

LP edition

CD3 – Bonus Audio
1. Good Rockin’ Tonight [Home Recording]
2. Bip Bop [Home Recording]
3. Hey Diddle [Home Recording]
4. She Got It Good [Home Recording]
5. I Am Your Singer [Home Recording]
6. Outtake I
7. Dear Friend [Home Recording I]
8. Dear Friend [Home Recording II]
9. Outtake II
10. Indeed I Do
11. When The Wind Is Blowing
12. The Great Cock And Seagull Race [Rough Mix]
13. Outtake III
14. Give Ireland Back To The Irish
15. Give Ireland Back To The Irish (Version)
16. Love Is Strange [Single Edit]
17. African Yeah Yeah

DVD – Bonus Video
1. Scotland, 1971
2. The Ball
3. ICA Rehearsals
4. Give Ireland Back To The Irish (Rehearsal)

The full contents


Released in April 1973 and featuring the #1 single ‘My Love,’ Red Rose Speedway was the first Wings album to hit #1 on the U.S. chart. The Red Rose Speedway limited deluxe edition features three discs of audio including the original album remastered at Abbey Road Studios, no less than 35 bonus audio tracks, including a reconstruction of the originally conceived double album version of Red Rose Speedway, singles, B-sides, alternate mixes and previously unreleased tracks. The 2DVD + Blu-ray portions of the deluxe are packed with rare and previously unseen footage, including the James Paul McCartney TV Special, interviews and music videos, as well as the never before seen film The Bruce McMouse Show - fully restored and remixed in stereo and 5.1 surround sound. The package includes a folio containing 14 replica hand drawn original character sketches by Paul and facsimile dialogue sheets for the film, a 128-page book containing many previously unpublished images by Linda McCartney, expanded album and single artwork from the archives and story behind the album — including new interviews with Paul McCartney, and key album personnel — and track-by-track information, written by Amanda Petrusich, five replica handwritten lyric sheets and photo print, a 64-page ‘Wings In Morocco’ photo book, all housed in a numbered outer slipcase. The Red Rose Speedway download redemption card will provide access to all audio in HD 24/96kHz unlimited high-resolution versions.


CD1 – Remastered Album
1. Big Barn Bed (2018 Remaster)
2. My Love (2018 Remaster)
3. Get On The Right Thing (2018 Remaster)
4. One More Kiss (2018 Remaster)
5. Little Lamb Dragonfly (2018 Remaster)
6. Single Pigeon (2018 Remaster)
7. When The Night (2018 Remaster)
8. Loup (1st Indian On The Moon) (2018 Remaster)
9. Medley (2018 Remaster)
* a) Hold Me Tight
* b) Lazy Dynamite
* c) Hands Of Love
* d) Power Cut

2LP regular 

CD2 – “Double Album”
1. Night Out
2. Get On The Right Thing
3. Country Dreamer
4. Big Barn Bed
5. My Love
6. Single Pigeon
7. When The Night
8. Seaside Woman
9. I Lie Around
10. The Mess [Live At The Hague]
11. Best Friend [Live In Antwerp]
12. Loup (1st Indian On The Moon)
13. Medley
* a) Hold Me Tight
* b) Lazy Dynamite
* c) Hands Of Love
* d) Power Cut
14. Mama’s Little Girl
15. I Would Only Smile
16. One More Kiss
17. Tragedy
18. Little Lamb Dragonfly

2LP - archive

CD3 – Bonus Audio
1. Mary Had A Little Lamb
2. Little Woman Love
3. Hi, Hi, Hi
4. C Moon
5. Live And Let Die
6. Get On The Right Thing [Early Mix]
7. Little Lamb Dragonfly [Early Mix]
8. Little Woman Love [Early Mix]
9. 1882 [Home Recording]
10. Big Barn Bed [Rough Mix]
11. The Mess
12. Thank You Darling
13. Mary Had A Little Lamb [Rough Mix]
14. 1882 [Live In Berlin]
15. 1882
16. Jazz Street
17. Live And Let Die [Group Only, Take 10]

2CD edition

DVD 1 – Bonus Video
1. Music Videos
2. James Paul McCartney TV Special
3. Live And Let Die [Live in Liverpool]
4. Newcastle Interview

DVD 2 – Bonus Film
1. The Bruce McMouse Show
5.1 Surround Dolby Digital, 16bit 48kHz /PCM Stereo

Blu-Ray - The Bruce McMouse Show
5.1 Surround DTS-HD Master Audio, 24bit 96kHz/PCM Stereo 24bit 96kHz

Red Rose Speedway - full contents

The following editions will be made available:
Wild Life (2CD)
Wild Life (2LP)
Wild Life 3CD+DVD

Red Rose Speedway (2CD)
Red Rose Speedway (2LP Archive Edition)
Red Rose Speedway (2LP Original Version)
Red Rose Speedway 3CD+2DVD+Blu-Ray

Box containing DeLuxe editions of both albums

And the combo: Wild Life/Red Rose Speedway 6CD+3DVD

RRS and Wild Life combo boxed set

Pack shot of combo box

The combo box comes with additional content, in the form of an exclusive book and CD WINGS LIVE. The live recordings were done during the Wings Over Europe tour.

1. Big Barn Bed [Live In Newcastle/1973]
2. Eat At Home [Live At The Hague/1972]
3. Smile Away [Live In Berlin/1972]
4. Bip Bop (Link) [Live At The Hague/1972]
5. Mumbo (Link) [Live In Antwerp/1972]
6. Blue Moon Of Kentucky [Live At The Hague/1972]
7. 1882 [Live In Berlin/1972]
8. I Would Only Smile [Live In Antwerp/1972]
9. Give Ireland Back To The Irish [Live In Groningen/1972]
10. The Mess [Live In Berlin/1972]
11. Best Friend [Live In Antwerp/1972]
12. Soily [Live In Berlin/1972]
13. I Am Your Singer [Live At The Hague/1972]
14. Seaside Woman [Live In Groningen/1972]
15. Wild Life [Live At The Hague/1972]
16. My Love [Live At The Hague/1972]
17. Mary Had A Little Lamb [Live At The Hague/1972]
18. Maybe I'm Amazed [Live In Groningen/1972]
19. Hi, Hi, Hi [Live At The Hague/1972]
20. Long Tall Sally [Live In Groningen/1972]

Original Bruce McMouse drawings by Paul were withdrawn from a 2011 auction,
now reproductions will accompany the DeLuxe Red Rose Speedway album
Likely release date: December 7, 2018.

Thursday, 11 October 2018

Come On To Me

It's finally becoming a physical single for people to buy.
October 9, on his wedding anniversary, Paul published this music video for "Come On To Me", a song which, alongside "I Don't Know" was released on June 20th on streaming services as a foretaste of his "Egypt Station" album. Along with the video comes this challenge: "Do you think you have better moves than Freddie? Show us! Film yourself dancing to ‘Come On To Me’ and post a video to Instagram or Twitter using the hashtag #COTMChallenge "

On Record Store Day November 23 the single "I Don't Know"/"Come On To Me" will be made available on vinyl in a limited edition. According to, the edition will be limited to only 5000, and each copy will be hand-numbered, a one-time pressing, and a double A Side single. We have however, previously experienced that information presented on this website have only concentrated on the U.S.A. market, and that international editions have been made available elsewhere on the planet, bringing the total amount of records pressed up a bit. This has certainly been true for previous McCartney and Beatles RSD releases. However, the UK edition of the website, has no mention of the McCartney single, at least not yet.

Rare white label promo single
An extremely rare, earlier edition of this single was pressed up in only 200 copies and given for free to Capitol Records executives around the world.

Link: Record Store Day