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Paul McCartney - Wingspan (Hits & History) ******************************************************************************* CD: Paul McCartney - Wingspan 1 - Hits Digital Remasters 2001 2001 MPL Communications Ltd./Inc. under exclusive licence to EMI Records Ltd. YEAR: 2001 01. Listen To What The Man Said [0:03:57.02] 02. Band On The Run [0:05:13.05] 03. Another Day [0:03:43.13] 04. Live and let die [0:03:12.57] 05. Jet [0:04:08.48] 06. My Love [0:04:08.40] 07. Silly love song [0:05:55.05] 08. Pipes Of Peace [0:03:26.67] 09. C Moon [0:04:35.20] 10. Hi Hi Hi [0:03:09.28] 11. Let 'Em In [0:05:10.55] 12. Goodnight Tonight [0:04:21.47] 13. Junior's Farm (DJ Edit) [0:03:03.70] 14. Mull Of Kintyre [0:04:45.73] 15. Uncle Albert - Admiral Halsey [0:04:50.67] 16. With a Little Luck (DJ Edit) [0:03:13.50] 17. Coming Up (Live) [0:03:51.20] 18. No More Lonely Nights [0:04:47.23] CD: Paul McCartney - Wingspan- Hits & History (Disc 2) 01. Let Me Roll It [0:04:51.65] 02. The Lovely Linda [0:00:45.60] 03. Daytime Nightime Suffering [0:03:23.52] 04. Maybe I'm Amazed [0:03:52.55] 05. Helen Wheels [0:03:46.48] 06. Bluebird [0:03:26.05] 07. Heart Of The Country [0:02:24.67] 08. Every Night [0:02:34.60] 09. Take It Away [0:04:05.30] 10. Junk [0:01:57.03] 11. Man We Was Lonely [0:02:59.60] 12. Venus And Mars & Rockshow [0:03:46.07] 13. Back Seat Of My Car [0:04:29.68] 14. Rockestra Theme [0:02:37.12] 15. Girlfriend [0:04:44.05] 16. Waterfalls [0:03:24.48] 17. Tomorrow [0:03:27.20] 18. Too Many People [0:04:12.47] 19. Call Me Back Again [0:04:59.43] 20. Tug Of War [0:04:04.40] 21. Bip Bop & Hey Diddle [0:03:36.52] 22. No More Lonely Nights (Playout Version) [0:03:55.30] ------------------------------------------------------------------------------- THE ALLMUSIC REVIEW ------------------------------------------------------------------------------- Review by Stephen Thomas Erlewine Paul McCartney always got the short end of the stick when he was in the Beatles and again in the '70s, as he and his erstwhile partner John Lennon pursued solo careers. McCartney was attacked for his virtues -- for his melodicism and his domesticity, along with his desire to form a real touring band following the Beatles. None of these were celebrated at the time, but he moved many, many records and sold countless concert tickets, which only hardened opposition toward him. But, in retrospect, McCartney's albums make for the most fascinating body of work among any of the ex-Beatles, and really among any of his peers. Yes, there were pitfalls among the heights, but that's part of what makes his career so fascinating -- each record is distinctive, and even if the songs themselves are shallow, at least lyrically, the melodic skill and studio savvy behind each are hard not to admire. This may require a bit of conversion, and if you're not up to trudging through his individual works, even such masterworks as Ram (truly the roots of homemade pop), the double-disc set Wingspan is ideal. McCartney has had a number of career overviews before, including such seemingly comprehensive discs as All the Best, but those were plagued by vaguely haphazard sequencing. This is nearly perfectly executed, dividing McCartney's career between the "hits" and "history," with the latter being devoted to album tracks that are acknowledged classics, yet never were singles. Now, it's true that this isn't completely comprehensive -- some will notice that superstar duets with Stevie Wonder and Michael Jackson are missing, and others will wonder where such terrific latter-day singles as "Press" are or why such charting hits as "So Bad" are bypassed, or why album tracks like "Ballroom Dancing" are absent -- but nothing has come as close to capturing the quirky brilliance of McCartney's solo career, how it balanced whimsical pop with unabashedly sentimental romantic ballads, piledriving rockers, and anything in between. And what makes Wingspan so impressive is how the "History" disc fills in the gaps that "Hits" leaves, whether it's on the tremendous "Maybe I'm Amazed" (one of the very best songs he ever wrote), the charming "Junk," the clever "Take It Away," or such absolutely stunning miniatures as "Heart of the Country," an effortless folk-pop tune that ranks among his very best songs. That's why Wingspan isn't just a good hits collection -- it's a convincing argument that McCartney's solo recordings are a rich, idiosyncratic body of work of their own merits. Ram, Red Rose Speedway, and London Town all have their merits, but if you need to be converted, this is where to start. ------------------------------------------------------------------------------- SOME WIKIPEDIA INFO ------------------------------------------------------------------------------- Wingspan: Hits and History is a greatest hits compilation album by Paul McCartney featuring material spanning his first solo album McCartney in 1970 to the 1984 Give My Regards To Broad Street movie soundtrack. This set is officially credited to Paul McCartney, although the bulk of the music included was performed by McCartney's former band Wings. American and British editions of the album vary slightly, as the UK edition contains the studio version of "Coming Up," while the U.S. edition contains "Coming Up (Live at Glasgow)," which had reached number one on the Billboard singles chart. The Japanese version of the album also includes "Eat at Home," which had been issued as a 1971 single in the non-English-speaking world, as a bonus cut on the "Hits" disc. History McCartney was involved in 15 albums during this period: five solo albums; one album with his wife Linda; and nine albums with Wings (including a greatest hits compilation). Wingspan features songs from each of those albums, as well as a few singles that had not been included on Wings Greatest. Wings was active from 1971 to 1980, but this set also includes material from McCartney's albums from earlier (1970-71) and later (1980-84) years. It does not, however, include any of McCartney's well-known collaborations with Stevie Wonder or Michael Jackson, which took place during the latter period. The album is separated into two distinct sets: a "Hits" component which highlights commercially successful material, while "History" showcases less generally known McCartney favourites from the same period. On the U.S. release, 14 of the 18 songs on "Hits" were performed by Wings, but only 9 of the 22 songs on "History" are by Wings. Released in 2001 in conjunction with a prime time TV documentary simply called Wingspan, the associated soundtrack was a commercial success, reaching #5 in the UK and #2 in the US. The album was eventually certified Double Platinum by RIAA. A DVD release of the documentary, which dealt with McCartney's relationship with Linda Eastman and their eventual marriage, the traumatic final year of the Beatles' career and his own role in their breakup, and the story of Wings' formation and career through the 1970s toward their final dissolution in 1980, was produced by Mary McCartney, who also interviewed her father in the film. ------------------------------------------------------------------------------- SOME ALLMUSIC REVIEWS, ON INDIVIDUAL TRACKS CONTAINED HERE ------------------------------------------------------------------------------- ANOTHER DAY by Scott Janovitz Paul McCartney's first solo single, 1971's "Another Day," remains among his best post- Beatles work. As a legal maneuver to keep royalties coming into his household while his own affairs with Apple and Northern Songs were tied up, the always business savvy McCartney credited his wife, Linda McCartney, with co- writing his songs. While for the most part this was simply a loophole, on "Another Day" Linda earns her pay, delivering her finest supporting performance on any of her husband's records. Of course, the show is Paul's, and the raw material here is undeniably of the highest quality. "Another Day" features the best of what he is capable of: an incredibly catchy melody; an organic, acoustic arrangement; complex and well-orchestrated harmonies; and an active, melodic bass line. And again, lyrically, this type of song is where he shines. It's a picture of seemingly average life, about a woman who gets up everyday and goes to work. But McCartney is able to expose the darkness underneath the surface of this life, describing her hopes and disappointments and, ultimately, her breakdown. It is one of McCartney's gifts, like a pop Rodgers & Hammerstein, to be able to match the music to the change in lyrical tone within the same song, making it sound seamless and natural. "Another Day" bounces along with the cheery banality of the woman's routine before making sharp detours into menacing territory as he describes her sadness and her highs and lows as "the man of her dreams" appears. But he apparently uses her and leaves her again in despair. Dramatic swells and releases mark this event: "And he comes, and he stays/But he leaves the next day/So sad." This is also the point where Linda's contribution comes to the fore. Her harmony on this latter line matches Paul's lead vocal in presence, and the passionate swell in volume is truly the selling point of the song. She sings well throughout the song (parts no doubt arranged by Paul), but perhaps the importance of her part here is not just her complete commitment to it, but also the fact of the female voice being identifiable with the song's subject character. Paul pleads, "Ah, stay/Don't stand her up," but it's Linda, becoming the character and doubling the plea, who injects reality into the moment. The tone of her voice as it changes from a falsetto background voice to a prominent, full voice is distressingly and perfectly sad. The culmination of the song is the woman's breakdown: "As she posts another letter to the sound of five/People gather round her as she finds it hard to stay alive." McCartney then leaves this scene to refrain. Just the hint of it is enough to convey the despair of her life. Earlier, he indicates this impending breakdown in a mirroring verse as he says, "At the office where the papers grow she takes a break/Drinks another coffee as she finds it hard to stay awake." This betrays the foreignness of this office setting to McCartney himself ("at the office where the papers grow") and thus, to the character he's created, who has difficulty surviving there when it's all she lives for (since the rest of her life is so unrewarding). However, the final verse is a repetition of the first verse, describing her getting up and going to work again, indicating that it's a cycle she will not break out of. Nothing has changed for her, and therefore, nothing will. GOODNIGHT TONIGHT by Donald A. Guarisco With this 1979 hit, Wings joined fellow British rockers like the Kinks and the Rolling Stones in experimenting with the disco trend on "Goodnight Tonight." Some rock fans turned up their nose at it as a result but a close listen to the song reveals it is not the sell-out that these fans claimed. In fact, "Goodnight Tonight" is a good example of Paul McCartney’s ability to incorporate the sounds of the day into his usual blend of pop and rock elements without ever losing his unique musical personality. The lyrics have a low-key charm not usually present in disco songs as they present a would-be romeo trying to talk his date out of going home before he can work his magic: "Don’t be too tired for love/Don’t let it end/Don’t say goodnight to love/It will never happen again/Don’t say it, Don’t say it/Say anything but don’t say goodnight tonight." The music has a surprisingly jazzy edge to it as it pairs elegant verses full of wistful melodic twists to a chorus that delivers its hooks in a swinging style. Wings’ recording of "Goodnight Tonight" into a fusion of rock and disco elements: steady drumming and a percolating bass line give it a dance-friendly flair but these elements are balanced with some hard-rocking twin guitar work (including an amusing solo break where two guitars ‘answer’ each other in call-and-response fashion) and mellow electric piano work. McCartney keeps this sonic brew afloat with a slick vocal that affects a silky croon on the verses but shifts into a bluesy wail for the chorus. The result had enough of a solid beat for the discos but enough pop and rock elements to please non-disco fans and it became a top-five hit as a result. McCartney also produced a 12-inch version of "Goodnight Tonight" especially for dance clubs. Today, the song remains a favorite because its solid hooks and adventurous arrangement have made it strong enough to outlive the disco backlash. HELEN WHEELS by Donald A. Guarisco Man critics and pop fans wrote Paul McCartney off as a mere purveyor of sugary pop in the 1970's due to hits like "Silly Love Songs" but a close look at his work from this era reveals he also recorded several bracing rockers. One of the best was "Helen Wheels," a raucous 1973 single that was added to American pressings of Band On The Run. The lyrics were inspired by Paul McCartney’s land rover and pay homage to Chuck Berry’s travelling-themed rockers like "The Promised Land" as they describe a trip from Scotland to England on the M-6 motorway: "M6, south down to Liverpool/Where they play the west coast sound/Sailor Sam, he came from Birmingham/But he never will be found." This narrative is pumped up by an exciting melody that builds from swinging, breathlessly paced verses into a shout-along chorus that underlines the phrase "Helen - hell on wheels" with go-for-broke enthusiasm. McCartney raises the excitement level even higher on his recording of "Helen Wheels" with a gutsy arrangement that marries snarling electric guitars to a shuffling, ska-styled beat. McCartney wails over the top of this driving sound with an abandon reminiscent of his early Beatles, adding the ideal final touch to make it a fun rocker. As a result, "Helen Wheels" became a top-10 hit for McCartney. It did simarly well around the world and stands alongside "Jet" and "Junior’s Farm" as one of McCartney’s finest rockers from this era. BLUEBIRD by Donald A. Guarisco Many pop fans consider Band On The Run to be the gem of Paul McCartney’s solo catalog because of the high amount of craftsmanship that distinguishes each of its songs. Indeed, even the album’s simplest tracks benefit from the intensive amount of work put into the album - a case in point is "Bluebird," a simple bit of acoustic pop that overflows with hooks thanks to a slick arrangement. The lyrics are simple but Related Torrents
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