Paul McCartney | ||
| Allmusic Biography : Out of all the former Beatles, Paul McCartney by far had the most successful solo career, maintaining a constant presence in the British and American charts during the 70s and 80s. In America alone, he had nine number one singles and seven number one albums during the first 12 years of his solo career, and in his native United Kingdom, his record was nearly as impressive. McCartneys hot streak began in 1970, when he became the first Beatle to leave the group. A little more than a year after the Beatles breakup, McCartney formed Wings with his wife Linda and Moody Blues guitarist Denny Laine, and the group remained active for the next ten years, racking up a string of hit albums, singles, and tours in the meantime. Wings disbanded in 1980 but McCartney stayed near the top of the charts over the next five years, thanks in part to a couple big duets with Michael Jackson. McCartney revived his solo career in 1989 via Flowers in the Dirt and its accompanying international tour, setting a template he would follow into the new millennium, when hed support his records by playing concerts around the world. Between these massive endeavors, McCartney pursued other projects, including classical compositions, an electronica outfit with Youth called the Fireman, and overseeing archival projects such as the Beatles Anthology series. As the 21st century rolled on, McCartney continued to take risks, including recording an album of standards from the Great American Songbook and collaborating with rapper Kanye West, proving that there was no area of popular music he couldnt touch. Like John Lennon and George Harrison, McCartney began exploring creative avenues outside the Beatles during the late 60s, but where his bandmates released their own experimental records, McCartney confined himself to writing and producing for other artists, with the exception of his 1966 soundtrack to The Family Way. Following his marriage to Linda Eastman on March 12, 1969, McCartney began working at his home studio on his first solo album. He released McCartney in April 1970, two weeks before the Beatles Let It Be was scheduled to hit the stores. Prior to the albums release, hed announced that the Beatles were breaking up, against the wishes of the other members. As a result, the tensions between him and the other three members, particularly Harrison and Lennon, increased and he earned the ill will of many critics. Nevertheless, McCartney became a hit, spending three weeks at the top of the American charts. Early in 1971, he returned with "Another Day," which became his first hit single as a solo artist. It was followed several months later by Ram, another homemade collection, this time featuring the contributions of his wife, Linda. By the end of 1971, the McCartneys had formed Wings, which was intended to be a full-fledged recording and touring band. Former Moody Blues guitarist Denny Laine and drummer Denny Seiwell became the groups other members, and Wings released their first album, Wild Life, in December 1971. Wild Life was greeted with poor reviews and was a relative flop. McCartney and Wings, which now featured former Grease Band guitarist Henry McCullough, spent 1972 as a working band, releasing three singles -- the protest "Give Ireland Back to the Irish," the reggae-fied "Mary Had a Little Lamb," and the rocking "Hi Hi Hi." Red Rose Speedway followed in the spring of 1973, and while it received weak reviews, it became his second American number one album. Later in 1973, Wings embarked on their first British tour, at the conclusion of which McCullough and Seiwell left the band. Prior to their departure, McCartneys theme to the James Bond movie Live and Let Die became a Top Ten hit in the U.S. and U.K. That summer, the remaining Wings proceeded to record a new album in Nigeria. Released late in 1973, Band on the Run was simultaneously McCartneys best-reviewed album and his most successful, spending four weeks at the top of the U.S. charts and eventually going triple-platinum. Following the success of Band on the Run, McCartney formed a new version of Wings with guitarist Jimmy McCulloch and drummer Geoff Britton. The new lineup was showcased on the 1974 British single "Juniors Farm" and the 1975 hit album Venus and Mars. At the Speed of Sound followed in 1976; it was the first Wings record to feature songwriting contributions by the other bandmembers. Nevertheless, the album became a monster success on the basis of two McCartney songs, "Silly Love Songs" and "Let Em In." Wings supported the album with their first international tour, which broke many attendance records and was captured on the live triple-album Wings Over America (1976). After the tour was completed, Wings rested a bit during 1977, as McCartney released an instrumental version of Ram under the name Thrillington, and produced Denny Laines solo album Holly Days. Later that year, Wings released "Mull of Kintyre," which became the biggest-selling British single of all time, selling over two million copies. Wings followed "Mull of Kintyre" with London Town in 1978, which became another platinum record. After its release, McCulloch left the band to join the re-formed Small Faces, and Wings released Back to the Egg in 1979. Though the record went platinum, it failed to produce any big hits. Early in 1980, McCartney was arrested for marijuana possession at the beginning of a Japanese tour; he was imprisoned for ten days and then released, without any charges being pressed. Wings effectively broke up in the wake of McCartneys Japanese bust, although its official dissolution was not announced until April 27, 1981, when Denny Laine left the band. Back in England, McCartney recorded McCartney II, which was a one-man band effort like his solo debut. Ironically, the hit single associated with the album was a live take of the song "Coming Up" that had been recorded in Glasgow with Wings in December 1979 and was intended to be the B-side of the 45, with the solo studio recording as the A-side. DJs preferred the live version, however, and it went on to hit number one. Later in 1980, McCartney entered the studio with Beatles producer George Martin to make Tug of War. Released in the spring of 1982, Tug of War received the best reviews of any McCartney record since Band on the Run and spawned the number one single with "Ebony and Ivory," a duet with Stevie Wonder that became McCartneys biggest American hit. In 1983, McCartney sang on "The Girl Is Mine," the first single from Michael Jacksons blockbuster album Thriller. In return, Jackson duetted with McCartney on "Say Say Say," the first single from McCartneys 1983 album Pipes of Peace and the last number one single of his career. The relationship between Jackson and McCartney soured considerably when Jackson bought the publishing rights to the Beatles songs out from underneath McCartney in 1985. McCartney directed his first feature film in 1984 with Give My Regards to Broad Street. While the soundtrack, which featured new songs and re-recorded Beatles tunes, was a hit, generating the hit single "No More Lonely Nights," the film was a flop, earning terrible reviews. The following year, he had his last American Top Ten with the theme to the Chevy Chase/Dan Aykroyd comedy Spies Like Us. Press to Play (1986) received some strong reviews but was another flop. In 1988, he recorded a collection of rock & roll oldies called Choba B CCCP for release in the U.S.S.R.; it was given official release in the U.S. and U.K. in 1991. For 1989s Flowers in the Dirt, McCartney co-wrote several songs with Elvis Costello; the pair also wrote songs for Costellos Spike, including the hit "Veronica." Flowers in the Dirt received the strongest reviews of any McCartney release since Tug of War, and was supported by an extensive international tour, which was captured on the live double-album Tripping the Live Fantastic (1990). For the tour, McCartney hired guitarist Robbie McIntosh and bassist Hamish Stuart, who would form the core of his band through the remainder of the 90s. Early in 1991, McCartney released another live album in the form of Unplugged, which was taken from his appearance on MTVs acoustic concert program of the same name; it was the first Unplugged album to be released. Later that year, he unveiled Liverpool Oratorio, his first classical work. Another pop album, Off the Ground, followed in 1993, but failed to generate any big hits, despite McCartneys successful supporting tour. Following the completion of the New World tour, he released another live album, Paul Is Live, in December 1993. In 1994, he released an ambient techno album under the pseudonym the Fireman. McCartney premiered his second classical piece, The Leaf, early in 1995 and then began hosting a Westwood One radio series called Oobu Joobu. But his primary activity in 1995, as well as 1996, was the Beatles Anthology, which encompassed a lengthy video documentary of the band and the multi-volume release of Beatles outtakes and rarities. After Anthology was completed, he released Flaming Pie in summer 1997. A low-key, largely acoustic affair that had some of the same charm of his debut, Flaming Pie was given the strongest reviews McCartney had received in years and was a modest commercial success, debuting at number two on the U.S. and U.K. charts; it was his highest American chart placing since he left the Beatles. Flaming Pie certainly benefited from the success of Anthology, as did McCartney himself -- only a few months before the release of the album in 1997, he received a Knighthood. On April 17, 1998, Linda McCartney died after a three-year struggle with breast cancer. A grieving Paul kept a low profile in the months to follow, but finally returned in fall 1999 with Run Devil Run, a collection that primarily included cover songs. The electronica-based Liverpool Sound Collage followed a year later, and the pop album Driving Rain -- a successor, of sorts, to Flaming Pie -- came a year after that. The live album Back in the U.S. appeared in America in 2002 with the slightly different international edition, Back in the World, following soon after. McCartneys next studio project included sessions with super-producer Nigel Godrich, the results of which appeared on the mellow Chaos and Creation in the Back Yard, released in late 2005. The album reached the Top Ten in more than a dozen countries, including the U.S. and U.K. McCartney performed every instrument (not including the strings) on 2007s David Kahne-produced Memory Almost Full, a bold but whimsical collection of new songs, some of which had been recorded before the Chaos and Creation in the Back Yard sessions. It too reached the Top Ten across the world. A live CD/DVD set, Good Evening New York City, appeared in 2009. The following year, McCartney kicked off an extensive reissue campaign with a box set of Band on the Run, and he supported the reissue with an American tour in the summer of 2011. Later in 2011, McCartney released his first ballet, Oceans Kingdom, and less than a year later followed with another first -- his first collection of pre-WWII standards. The latter work, titled Kisses on the Bottom, topped the U.S. jazz charts and reached the Top Five in seven different countries. His busy year continued during the summer, when he ended the opening ceremony of Londons 2012 Olympics with a set that included a customary extended version of "Hey Jude." A surprising cap to 2012 came that December when he appeared on-stage with the surviving ex-members of Nirvana as part of a benefit concert for victims of Hurricane Sandy. The year 2013 brought recording sessions with four of McCartneys favorite producers: Paul Epworth, Ethan Johns, Giles Martin, and Mark Ronson. His initial intention had been to hold trial sessions with each producer, aiming to select one of them to oversee the whole of his next album. However, each of them had a hand in producing New, his first album of original material in six years, which appeared that October. New debuted in the Top Ten in more than a dozen countries and McCartney supported the album over the next two years with a series of international tours. In 2015, he continued his ongoing Paul McCartney Archive Collection with deluxe reissues of Tug of War and Pipes of Peace. The next summer he released Pure McCartney, a personally curated overview of his solo career available in two separate incarnations: a double-disc set and a four-disc box. Flowers in the Dirt arrived in early 2017 as part of the singers Archive Collection. In September 2018, he delivered the Greg Kurstin-produced Egypt Station, his 17th solo album; it was preceded by the singles "I Dont Know," "Come on to Me," and "Fuh You." | ||
 | Album: 1 of 29 Title: McCartney Released: 1970-04-17 Tracks: 13 Duration: 35:06 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 The Lovely Linda (00:45) 2 That Would Be Something (02:42) 3 Valentine Day (01:44) 4 Every Night (02:40) 5 Hot as Sun / Glasses (02:08) 6 Junk (01:57) 7 Man We Was Lonely (03:00) 8 Oo You (02:50) 9 Momma Miss America (04:07) 10 Teddy Boy (02:25) 11 Singalong Junk (02:37) 12 Maybe I’m Amazed (03:53) 13 Kreen‐Akrore (04:13) |
| McCartney : Allmusic album Review : Paul McCartney retreated from the spotlight of the Beatles by recording his first solo album at his home studio, performing nearly all of the instruments himself. Appropriately, McCartney has an endearingly ragged, homemade quality that makes even its filler -- and there is quite a bit of filler -- rather ingratiating. Only a handful of songs rank as full-fledged McCartney classics, but those songs -- the light folk-pop of "That Would Be Something," the sweet, gentle "Every Night," the ramshackle Beatles leftover "Teddy Boy," and the staggering "Maybe Im Amazed" (not coincidentally the only rocker on the album) -- are full of all the easy melodic charm that is McCartneys trademark. The rest of the album is charmingly slight, especially if it is read as a way to bring Paul back to earth after the heights of the Beatles. At the time the throwaway nature of much of the material was a shock, but it has become charming in retrospect. Unfortunately, in retrospect it also appears as a harbinger of the nagging mediocrity that would plague McCartneys entire solo career. | ||
 | Album: 2 of 29 Title: Ram Released: 1971 Tracks: 12 Duration: 43:12 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Too Many People (04:10) 2 3 Legs (02:48) 3 Ram On (02:30) 4 Dear Boy (02:15) 5 Uncle Albert / Admiral Halsey (04:54) 6 Smile Away (03:53) 7 Heart of the Country (02:24) 8 Monkberry Moon Delight (05:25) 9 Eat at Home (03:22) 10 Long Haired Lady (06:04) 11 Ram On (00:56) 12 The Back Seat of My Car (04:28) |
| Ram : Allmusic album Review : After the breakup, Beatles fans expected major statements from the three chief songwriters in the Fab Four. John and George fulfilled those expectations -- Lennon with his lacerating, confessional John Lennon/Plastic Ono Band, Harrison with his triple-LP All Things Must Pass -- but Paul McCartney certainly didnt, turning toward the modest charms of McCartney, and then crediting his wife Linda as a full-fledged collaborator on its 1971 follow-up, Ram. Where McCartney was homemade, sounding deliberately ragged in parts, Ram had a fuller production yet retained that ramshackle feel, sounding as if it were recorded in a shack out back, not far from the farm where the cover photo of Paul holding the ram by the horns was taken. Its filled with songs that feel tossed off, filled with songs that are cheerfully, incessantly melodic; it turns the monumental symphonic sweep of Abbey Road into a cheeky slice of whimsy on the two-part suite "Uncle Albert/Admiral Halsey." All this made Ram an object of scorn and derision upon its release (and for years afterward, in fact), but in retrospect it looks like nothing so much as the first indie pop album, a record that celebrates small pleasures with big melodies, a record thats guileless and unembarrassed to be cutesy. But McCartney never was quite the sap of his reputation, and even here, on possibly his most precious record, theres some ripping rock & roll in the mock-apocalyptic goof "Monkberry Moon Delight," the joyfully noisy "Smile Away," where his feet can be smelled a mile away, and "Eat at Home," a rollicking, winking sex song. All three of these are songs filled with good humor, and their foundation in old-time rock & roll makes it easy to overlook how inventive these productions are, but on the more obviously tuneful and gentle numbers -- the ones that are more quintessentially McCartney-esque -- its plain to see how imaginative and gorgeous the arrangements are, especially on the sad, soaring finale, "Back Seat of My Car," but even on its humble opposite, the sweet "Heart of the Country." These songs may not be self-styled major statements, but they are endearing and enduring, as is Ram itself, which seems like a more unique, exquisite pleasure with each passing year. | ||
 | Album: 3 of 29 Title: McCartney II Released: 1980-05-16 Tracks: 11 Duration: 38:41 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Coming Up (03:55) 2 Temporary Secretary (03:16) 3 On the Way (03:40) 4 Waterfalls (04:46) 5 Nobody Knows (02:54) 6 Front Parlour (03:33) 7 Summer’s Day Song (03:26) 8 Frozen Jap (03:41) 9 Bogey Music (03:28) 10 Darkroom (02:22) 11 One of These Days (03:38) |
| McCartney II : Allmusic album Review : Entitled McCartney II because its one-man band approach mirrors that of his first solo album, Paul McCartneys first record since the breakup of Wings was greeted upon its release as a return to form, especially since its synth-heavy arrangements seemed to represent his acceptance of new wave. In retrospect, the record is muddled and confused, nowhere more so than on the frazzled sequencing of "Temporary Secretary," where McCartney spits out ridiculous lyrics with a self-consciously atonal melody over gurgling synths. Things rarely get worse than that, and occasionally, as in the effortless hooks of "Coming Up," the record is quite enjoyable. Nevertheless, the majority of McCartney II is forced, and its lack of memorable melodies is accentuated by the stiff electronics, which were not innovative at the time and are even more awkward in the present. At least McCartney II finds Paul in an adventurous state of mind, which is a relief after years of formulaic pop. In some ways, the fact that he was trying was more relevant than the fact that the experiments failed. | ||
 | Album: 4 of 29 Title: Tug of War Released: 1982-04-16 Tracks: 12 Duration: 41:09 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Tug of War (04:22) 2 Take It Away (04:15) 3 Somebody Who Cares (03:19) 4 What’s That You’re Doing? (06:22) 5 Here Today (02:28) 6 Ballroom Dancing (04:08) 7 The Pound Is Sinking (02:55) 8 Wanderlust (03:49) 9 Get It (02:28) 10 Be What You See (Link) (00:33) 11 Dress Me Up as a Robber (02:42) 12 Ebony and Ivory (03:42) |
| Tug of War : Allmusic album Review : Like 1970s McCartney, 1980s McCartney II functioned as a way for Paul McCartney to clear the decks: to experiment and recalibrate in the aftermath of his band falling apart. This means 1982s Tug of War is, in many ways, the very first Paul McCartney solo album, a record recorded not at home but in a studio, a record made without Wings and not co-credited to Linda, who nevertheless is present as a backing vocalist. McCartney recognized this album as something of a major opportunity, so he revived his relationship with Beatles producer George Martin and brought in several heavy-hitters as guests, including his hero Carl Perkins, his Motown counterpart Stevie Wonder, fusion star Stanley Clarke, prog rock refugees Eric Stewart and Andy Mackay, and his old bandmate Ringo Starr, whose presence was overshadowed by "Here Today," an elegy written for the murdered John Lennon. Tucked away at the end of the first side, "Here Today" is bittersweet and small when compared to all the show pieces elbowing each other for attention throughout Tug of War: the grave march of the title track, the vaudevillian "Ballroom Dancing," the stately drama of "Wanderlust," and sincere schmaltz of "Ebony and Ivory," the Wonder duet that helped turn this album into the blockbuster it was intended to be. As good as some of these numbers are -- and they are, bearing an ambition and execution that outstrips latter-day Wings -- much of the charm of Tug of War lies in the excess around the edges, whether its the rockabilly lark of the Perkins duet "Get It," the later-period Beatles whimsy of "The Pound Is Sinking," the electro-throwaway "Dress Me Up as a Robber," or the long, electro-funk workout of "Whats That Youre Doing?," a track thats a fuller collaboration between Paul and Stevie than "Ebony and Ivory." Such crowd-pleasing genre-hopping finds its apotheosis on "Take It Away," a salute to eager performers and the crowds who love them, which means it summarizes not only the appeal of Tug of War in general -- it is, by design, a record that gives the people old Beatle Paul -- but McCartney in general. | ||
 | Album: 5 of 29 Title: Pipes of Peace Released: 1983-10-26 Tracks: 11 Duration: 39:04 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Pipes of Peace (03:55) 2 Say Say Say (03:56) 3 The Other Me (03:59) 4 Keep Under Cover (03:07) 5 So Bad (03:22) 6 The Man (03:57) 7 Sweetest Little Show (02:54) 8 Average Person (04:33) 9 Hey Hey (02:56) 10 Tug of Peace (02:56) 11 Through Our Love (03:28) |
| Pipes of Peace : Allmusic album Review : Styled as a conspicuous companion piece to Tug of War, Pipes of Peace mirrors its 1982 cousin in many ways: its title track holds up a mirror to its forefather -- and, if that werent enough, Paul McCartney serves up the knowing "Tug of Peace," an almost-electro collage that twists the songs into McCartney II territory -- it serves up two showcases for duets with a former Motown star along with a cameo from fusion superstar Stanley Clarke and, most importantly, it is also produced by former Fab Four ringleader George Martin. Some of that production occurred during the sessions for Tug of War, with roughly half of the record culled from outtakes from that album, but Pipes of Peace has a distinctly different feel than its predecessor, seeming fleet, adventurous, and modern, almost as an accidental riposte to the consciously classical Tug of War. Sometimes that whimsy slides right into silliness -- witness "Average Person," a music hall showstopper inexplicably shoehorned into the middle of the second side -- but that lightness allows McCartney to indulge in an instrumental funk collaboration with Clarke ("Hey Hey"), a super-slick bit of yacht pop with Jackson ("The Man"), a bit of confession disguised as a synthesized soft rock lark ("The Other Me"), and a galloping revision of Red Rose Speedway with "Keep Under Cover." If McCartney gets a little sticky on the ballad "So Bad," his melody saves him and the albums other two hits have aged exceptionally well: "Say Say Say" hits hard, sounding as funky as anything on Thriller, and "Pipes of Peace" achieves an earned grace. Perhaps Pipes of Peace doesnt have the gravitas of Tug of War but it offers something equally valuable: a portrait of an impeccable craftsman at play. | ||
 | Album: 6 of 29 Title: Press to Play Released: 1986-08-22 Tracks: 15 Duration: 1:08:24 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Stranglehold (03:36) 2 Good Times Coming / Feel the Sun (04:56) 3 Talk More Talk (05:17) 4 Footprints (04:32) 5 Only Love Remains (04:16) 6 Press (04:42) 7 Pretty Little Head (05:13) 8 Move Over Busker (04:05) 9 Angry (03:36) 10 However Absurd (04:59) 11 Write Away (03:01) 12 It’s Not True (05:53) 13 Tough on a Tightrope (04:51) 14 Spies Like Us (04:45) 15 Once Upon a Long Ago (long version) (04:36) |
| Press to Play : Allmusic album Review : At the time, Press to Play was occasionally promoted as Maccas response to punk -- which we all better hope is not true, since that means he was responding ten years after the fact, signaling just how out of touch he was. But McCartney wasnt that disconnected from reality (he did talk about punk in interviews from the late 70s), so a more accurate view of Press to Play is to see it as McCartney trying to reconnect with his classic strengths, from orchestral pop and whimsy to driving rockers and sweet love songs. All this is apparent on the record, often in pretty charming fashion. "Stranglehold" has an offhand charm, "Good Times Coming/Feel the Sun" feels like a forgotten Red Rose Speedway medley, "Move Over Busker" has a brisk gait (better than its cousin, "Angry," anyway), and "Press" is a terrific mid-80s drum machine-driven slice of synth-pop, utterly featherweight in the best possible way. Each of these captures a different side of McCartney, and thats the overriding impression of Press to Play -- McCartney is dabbling in each of his strengths, just to see what works. It doesnt wind up as one of his stronger albums, but its more interesting than some of his more consistent ones, and those aforementioned cuts demonstrate that he could still cut effective pop records when he put his mind to it. | ||
 | Album: 7 of 29 Title: All the Best! Released: 1987-11-02 Tracks: 17 Duration: 1:12:54 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Jet (04:09) 2 Band on the Run (05:13) 3 Coming Up (03:52) 4 Ebony and Ivory (03:42) 5 Listen to What the Man Said (03:57) 6 No More Lonely Nights (ballad) (04:38) 7 Silly Love Songs (05:54) 8 Let ’em In (05:11) 9 C Moon (04:34) 10 Pipes Of Peace (03:25) 11 Live and Let Die (03:13) 12 Another Day (03:43) 13 Once Upon a Long Ago (04:10) 14 Say Say Say (03:56) 15 My Love (04:08) 16 We All Stand Together (04:24) 17 Mull Of Kintyre (04:44) |
| All the Best! : Allmusic album Review : Technically, All the Best was the first compilation of McCartneys solo material, since Wings Greatest covered songs released under the Wings aegis. Well, there is considerable overlap between the two records -- no less than ten of that albums 12 songs are here, yet only the hard-rocking "Hi Hi Hi" is truly missed -- although the seven new songs do give this album a different character, for better or worse. With the U.S. version of All the Best, which has four different songs than its British counterpart, the balance shifts toward the positive, since it simply boasts a better selection of songs. Yes, "Once Upon a Long Ago," the single offered as bait on the British All the Best, isnt here, but its not missed since two of the four songs exclusive to the American version are among McCartneys best solo singles ("Juniors Farm," "Uncle Albert/Admiral Halsey") and the other two are good adult contemporary easy listening (the previously non-LP "Goodnight Tonight," "With a Little Luck"). These songs add to the retrospective, although its still not perfect -- such highlights as "Maybe Im Amazed" and "Take It Away" really should have been included. However, as a cross section of McCartneys solo singles, this is very, very good. It may be a little heavy on the schmaltz at times, yet this is still mainstream pop craft of the highest order. | ||
 | Album: 8 of 29 Title: Снова в СССР Released: 1988-10-31 Tracks: 13 Duration: 20:19 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Kansas City (04:01) 2 Twenty Flight Rock (?) 3 Lawdy, Miss Clawdy (?) 4 Bring It On Home to Me (03:14) 5 Lucille (10:12) 6 Don’t Get Around Much Anymore (02:50) 7 I’m Gonna Be a Wheel Some Day (?) 8 Thats All Right (Mama) (?) 9 Summertime (?) 10 Ain’t That a Shame (?) 11 Crackin’ Up (?) 12 Just Because (?) 13 Midnight Special (?) |
 | Album: 9 of 29 Title: Flowers in the Dirt Released: 1989-06-05 Tracks: 22 Duration: 1:24:01 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 My Brave Face (03:18) 2 Rough Ride (04:43) 3 You Want Her Too (03:12) 4 Distractions (04:40) 5 We Got Married (04:56) 6 Put It There (02:10) 7 Figure of Eight (03:24) 8 This One (04:10) 9 Don’t Be Careless Love (03:19) 10 That Day Is Done (04:20) 11 How Many People (04:14) 12 Motor of Love (06:24) 13 Ou est le soleil (04:44) 1 The Lovers That Never Were (03:58) 2 Tommy’s Coming Home (04:09) 3 Twenty Fine Fingers (02:27) 4 So Like Candy (03:29) 5 You Want Her Too (02:40) 6 That Day Is Done (04:16) 7 Don’t Be Careless Love (03:43) 8 My Brave Face (02:40) 9 Playboy to a Man (02:56) |
| Flowers in the Dirt : Allmusic album Review : Paul McCartney must not only have been conscious of his slipping commercial fortunes, he must have realized that his records hadnt been treated seriously for years, so he decided to make a full-fledged comeback effort with Flowers in the Dirt. His most significant move was to write a series of songs with Elvis Costello, some of which appeared on Costellos own Spike and many of which surfaced here. These may not be epochal songs, the way many wished them to be, but McCartney and Costello turn out to be successful collaborators, spurring each other toward interesting work. And, in McCartneys case, that carried over to the album as a whole, as he aimed for more ambitious lyrics, themes, sounds, and productions for Flowers in the Dirt. This didnt necessarily result in a more successful album than its predecessors, but it had more heart, ambition, and nerve, which was certainly welcome. And the moments that did work were pretty terrific. Many of these were McCartney/McManus collaborations, from the moderate hit "My Brave Face" to the duet "You Want Her Too" and "That Day Is Done," but McCartney also demonstrates considerable muscle on his own, from the domestic journal "We Got Married" to the lovely "This One." This increased ambition also means McCartney meanders a bit, writing songs that are more notable for what they try to achieve than what they do, and at times the production is too fussy and inextricably tied to its time, but as a self-styled comeback affair, Flowers in the Dirt works very well. | ||
 | Album: 10 of 29 Title: Liverpool Oratorio Released: 1991-10-11 Tracks: 50 Duration: 1:37:28 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 Liverpool Oratorio: Ia. War: Andante (02:02) 2 Liverpool Oratorio: Ib. War: “Non nobis solum” (Boy Solo, Boys’ Choir, Chorus) (02:35) 3 Liverpool Oratorio: Ic. War: “The air raid siren slices through” (Shanty, Chorus) (02:09) 4 Liverpool Oratorio: Id. War: “Oh will it all end here?” (Shanty) (01:36) 5 Liverpool Oratorio: Ie. War: “Mother and father holding their child” (Chorus) (01:16) 6 Liverpool Oratorio: IIa. School: “We’re here in school today to get a perfect education” (Boys, Shanty, Headmaster) (02:10) 7 Liverpool Oratorio: IIb. School: “Walk in single file” (Headmaster, Boys) (01:02) 8 Liverpool Oratorio: IIc. School: “Settle down” (Boys) (00:40) 9 Liverpool Oratorio: IId. School: “Kept in confusion” (Shanty, Men’s Chorus) (02:35) 10 Liverpool Oratorio: IIe. School: “I’ll always be here” (Mary Dee, Women’s Chorus, Full Chorus, Shanty) (01:35) 11 Liverpool Oratorio: IIf. School: “Boys, this is your teacher” (Headmaster, Boys, Miss Inkley) (01:23) 12 Liverpool Oratorio: IIg. School: “Tres conejos” (Miss Inkley, Boys, Headmaster, Shanty) (01:50) 13 Liverpool Oratorio: IIh. School: “Not for ourselves” (Boys, Chorus, Headmaster, Miss Inkley, Shanty, Women’s Chorus) (00:55) 14 Liverpool Oratorio: IIIa. Crypt: “And so it was that I had grown” (Shanty) (00:48) 15 Liverpool Oratorio: IIIb. Crypt: Dance (01:44) 16 Liverpool Oratorio: IIIc. Crypt: “I used to come here when this place was a crypt” (Shanty, Preacher) (01:58) 17 Liverpool Oratorio: IIId. Crypt: “Here now” (Shanty) (00:46) 18 Liverpool Oratorio: IIIe. Crypt: “I’ll always be here” (Mary Dee, Women’s Chorus, Shanty) (02:24) 19 Liverpool Oratorio: IIIf. Crypt: “Now’s the time to tell him” (Mary Dee, Chorus, Shanty) (02:21) 20 Liverpool Oratorio: IVa. Father: Andante lamentoso – “Father, Father” (Chorus) (02:59) 21 Liverpool Oratorio: IVb. Father: “O Father, you have given” (Chief Mourner, Women’s Chorus) (01:05) 22 Liverpool Oratorio: IVc. Father: “(Ah) O Father, you have given” (Full Chorus, Chief Mourner) (01:13) 23 Liverpool Oratorio: IVd. Father: “Hey, wait a minute” (Shanty) (01:44) 24 Liverpool Oratorio: IVe. Father: “Father, Father, Father” (Chorus, Boys, Shanty, Chief Mourner) (04:12) 1 Liverpool Oratorio: Va. Wedding: Andante amoroso – “I know” (Shanty, Mary Dee, Chorus) (05:42) 2 Liverpool Oratorio: Vb. Wedding: “Father, hear our humble voices” (Boys, Preacher, Women’s Chorus, Full Chorus, Solo Quartet) (01:13) 3 Liverpool Oratorio: Vc. Wedding: “Hosanna, Hosanna” (Chorus, Mary Dee, Shanty) (01:40) 4 Liverpool Oratorio: VIa. Work: Allegro energico (01:20) 5 Liverpool Oratorio: VIb. Work: “Working women at the top” (Women’s Chorus, Mary Dee) (02:52) 6 Liverpool Oratorio: VIc. Work: Violin solo (05:05) 7 Liverpool Oratorio: VId. Work: “Did I sign that letter that you typed up yesterday?” (Mary Dee, Women’s Chorus) (01:34) 8 Liverpool Oratorio: VIe. Work: Tempo I (00:30) 9 Liverpool Oratorio: VIf. Work: “When you ask a working man” (Men’s Chorus, Shanty, Mr. Dingle) (01:34) 10 Liverpool Oratorio: VIg. Work: “Let’s find ourselves a little hostelry” (Mr. Dingle, Mary Dee) (02:04) 11 Liverpool Oratorio: VIIa. Crises: Allegro molto (00:54) 12 Liverpool Oratorio: VIIb. Crises: “The world you’re coming into” (Mary Dee, Boy Solo) (02:28) 13 Liverpool Oratorio: VIIc. Crises: Tempo I (00:45) 14 Liverpool Oratorio: VIId. Crises: “Where’s my dinner?” (Shanty, Mary Dee) (02:40) 15 Liverpool Oratorio: VIIe. Crises: “Let’s not argue” (Shanty, Mary Dee) (00:31) 16 Liverpool Oratorio: VIIf. Crises: “I’m not a slave” (Mary Dee, Shanty) (00:52) 17 Liverpool Oratorio: VIIg. Crises: “Right! That’s it! I’m off!” (Mary Dee) (00:49) 18 Liverpool Oratorio: VIIh. Crises: “Stop” (Chorus) (02:03) 19 Liverpool Oratorio: VIIi. Crises: “Do you know who you are” (Nurse) (03:36) 20 Liverpool Oratorio: VIIj. Crises: “Ghosts of the past left behind” (Boys, Men’s Chorus, Nurse, Women’s Chorus, Mary Dee, Shanty) (03:08) 21 Liverpool Oratorio: VIIk. Crises: “Do we live in a world” (Mary Dee, Nurse, Shanty, Chorus) (03:18) 22 Liverpool Oratorio: VIIIa. Peace: “And so it was that you were born” (Shanty, Boy Solo, Boys’ Choir) (01:22) 23 Liverpool Oratorio: VIIIb. Peace: “God is good” (Men’s Chorus, Full Chorus) (01:26) 24 Liverpool Oratorio: VIIIc. Peace: “What people want is a family life” (Preacher, Basses, Altos, Tenors, Boys, Full Chorus) (02:17) 25 Liverpool Oratorio: VIIId. Peace: “Dad’s in the garden, he won’t speak to Mum” (Nurse, Mary Dee, Shanty, Preacher, Full Chorus, Solo Quartet) (03:13) 26 Liverpool Oratorio: VIIIe. Peace: “So on and on the story goes” (Shanty, Mary Dee) (01:06) |
| Liverpool Oratorio : Allmusic album Review : Paul McCartney was commissioned by the Royal Liverpool Philharmonic Orchestra to compose a work to mark its 150th anniversary and collaborated with composer/conductor Carl Davis on this 90-minute classical piece, which features soloists Kiri Te Kanawa and Jerry Hadley in a vaguely autobiographical story of a Liverpudlian named Shanty. While ambitious for an untaught musician like McCartney, the assignment didnt inspire him to any heights of melodic or lyrical achievement. In both areas, the piece plods, suggesting that McCartney hasnt so much taken on the unfamiliar form as surrendered to it. Maybe be should have worked with George Martin (who scored "Yesterday" and "Eleanor Rigby") instead. | ||
 | Album: 11 of 29 Title: Karaoke Lennon & McCartney Released: 1993 Tracks: 21 Duration: 1:00:41 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 She Loves You (karaoke) (02:26) 2 Sgt Peppers Lonely Hearts Club Band (karaoke) (02:03) 3 With a Little Help From My Friends (karaoke) (02:39) 4 Help (karaoke) (02:18) 5 Penny Lane (karaoke) (03:01) 6 All You Need Is Love (karaoke) (04:01) 7 Cant Buy Me Love (karaoke) (02:15) 8 Love Me Do (karaoke) (02:46) 9 Eleanor Rigby (karaoke) (02:09) 10 I Wanna Hold Your Hand (karaoke) (02:18) 11 Back in the USSR (karaoke) (02:52) 12 When Im Sixty Four (karaoke) (02:42) 13 Please Please Me (karaoke) (02:03) 14 Michelle (karaoke) (03:11) 15 From Me to You (karaoke) (02:01) 16 Let It Be (karaoke) (03:52) 17 Ticket to Ride (karaoke) (03:42) 18 Yellow Submarine (karaoke) (03:46) 19 A Hard Days Night (karaoke) (02:41) 20 Yesterday (karaoke) (02:10) 21 Hey, Jude (karaoke) (05:45) |
 | Album: 12 of 29 Title: Off the Ground Released: 1993-02-01 Tracks: 12 Duration: 50:25 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Off the Ground (03:41) 2 Looking for Changes (02:48) 3 Hope of Deliverance (03:21) 4 Mistress and Maid (03:00) 5 I Owe It All to You (04:51) 6 Biker Like an Icon (03:26) 7 Peace in the Neighbourhood (05:06) 8 Golden Earth Girl (03:44) 9 The Lovers That Never Were (03:42) 10 Get Out of My Way (03:32) 11 Winedark Open Sea (05:26) 12 C’mon People (07:42) |
| Off the Ground : Allmusic album Review : Flowers in the Dirt did earn good reviews but perhaps more important was its accompanying tour, McCartneys first full-fledged world tour in years. Given the tours enthusiastic reception, McCartney could wait until 1993 to deliver the albums proper sequel, Off the Ground. Though it isnt as consciously ambitious, Off the Ground certainly picks up where Flowers left off, as McCartney feels no shame in making an album that doesnt aim for the charts (though success would certainly be welcomed), yet is still classy, professional, and ambitious. Two key differences appear: its a leaner production (making the midtempo numbers seem less cloying and giving the rockers real kick), and McCartneys social conscience dominates the record (which is easily his most politically active, as he rails against animal testing and pleads for world peace several times). He doesnt leave love or whimsy behind ("Biker Like an Icon" is easily his worst, most studied stab at whimsy), and he still has a pair of fine McCartney/MacManuss songs ("Mistress and Maid," "The Lovers That Never Were") to pull out. This all results in a record that has its virtues -- its clean and direct, where many of his solo albums are diffuse and meandering, and its serious-minded where many rely on cutesiness -- but, overall, Off the Ground feels like less than the sum of its parts, possibly because the seriousness is too studied, perhaps because the approach is a bit too stodgy. Nevertheless, this has nearly as many successful moments as Flowers in the Dirt, standing as a deliberately serious comeback record by an artist who spent too much time relying on his natural charm, and who feels no shame in overcompensating at this stage of the game. | ||
 | Album: 13 of 29 Title: Beatles Classic Hits Released: 1994 Tracks: 22 Duration: 1:23:14 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Sergeant Pepper’s Lonely Hearts Club Band (05:54) 2 With a Little Help From My Friends (03:12) 3 Yesterday (03:54) 4 She Loves You (03:22) 5 Something (03:32) 6 Eleanor Rigby (03:09) 7 Fool on the Hill (03:39) 8 Strawberry Fields Forever (05:08) 9 Yellow Submarine (03:24) 10 All You Need Is Love (02:47) 11 Please, Please Me / A Hard Day’s Night (04:52) 1 The Long and Winding Road (03:00) 2 Penny Lane (03:27) 3 Got to Get You Into My Life (03:04) 4 She’s Leaving Home (03:56) 5 Good Day Sunshine / Day Tripper (03:29) 6 And I Love Her (04:04) 7 Here, There and Everywhere (02:44) 8 I Want to Hold Your Hand (03:04) 9 Michelle (04:33) 10 I Am the Walrus (03:36) 11 A Day in the Life (05:24) |
 | Album: 14 of 29 Title: Danger Zone Released: 1995 Tracks: 14 Duration: 47:01 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Japanese Tears (03:33) 2 Danger Zone (03:10) 3 Clock on the Wall (02:19) 4 Send Me the Heart (03:41) 5 Same Mistakes (03:46) 6 Silver (03:59) 7 Go Now (03:24) 8 Somebody Ought to Know (03:15) 9 Lovers Light (03:03) 10 Guess Im Only Foolin (02:33) 11 Nothing to Go By (03:11) 12 I Would Only Smile (03:22) 13 Weep for Love (04:35) 14 Say You Dont Mind (03:10) |
 | Album: 15 of 29 Title: The Family Way Released: 1995-12-05 Tracks: 22 Duration: 57:53 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 The Family Way, Variations Concertantes op. 1 no. 1 (03:14) 2 The Family Way, Variations Concertantes op. 1 no. 2 (02:01) 3 The Family Way, Variations Concertantes op. 1 no. 3 (02:00) 4 The Family Way, Variations Concertantes op. 1 no. 4 (02:59) 5 The Family Way, Variations Concertantes op. 1 no. 5 (02:25) 6 The Family Way, Variations Concertantes op. 1 no. 6 (00:52) 7 The Family Way, Variations Concertantes op. 1 no. 7 (03:18) 8 The Family Way, Variations Concertantes op. 1 no. 8 (02:51) 9 The Family Way, Variations Concertantes op. 1 no. 9 (02:50) 10 Hymn to the Child / L’Hymne a L’Enfant (04:12) 11 Reminiscences: Double March Theme (00:59) 12 Reminiscences: Double March Variation I (02:00) 13 Reminiscences: Double March Variation II (01:48) 14 Reminiscences: Double March Variation III (02:30) 15 Reminiscences: Double March Variation IV (01:48) 16 Reminiscences: Double March Variation V (01:42) 17 Le Capitaine Bonhomme (02:48) 18 Le Pirate Maboule (03:53) 19 Sol et Gobelet (03:30) 20 Grujot et Delicat (02:47) 21 Monsieur Surprise (02:22) 22 Children of Sarajevo / Les Enfants de Sarajevo (04:54) |
 | Album: 16 of 29 Title: Flaming Pie Released: 1997-04-01 Tracks: 14 Duration: 53:44 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 The Song We Were Singing (03:54) 2 The World Tonight (04:05) 3 If You Wanna (04:37) 4 Somedays (04:15) 5 Young Boy (03:54) 6 Calico Skies (02:32) 7 Flaming Pie (02:30) 8 Heaven on a Sunday (04:26) 9 Used to Be Bad (04:12) 10 Souvenir (03:41) 11 Little Willow (02:57) 12 Really Love You (05:17) 13 Beautiful Night (05:08) 14 Great Day (02:09) |
| Flaming Pie : Allmusic album Review : According to Paul McCartney, working on the Beatles Anthology project inspired him to record an album that was stripped-back, immediate, and fun, one less studied and produced than most of his recent work. In many ways, Flaming Pie fulfills those goals. A largely acoustic collection of simple songs, Flaming Pie is direct and unassuming, and at its best, it recalls the homely charm of McCartney and Ram. McCartney still has a tendency to wallow in trite sentiment, and his more ambitious numbers, like the string-drenched epic "Beautiful Night" or the silly Beatlesque psychedelia of "Flaming Pie," fall a little flat. But when he works on a small scale, as on the waltzing "The Song We Were Singing," "Calico Skies," "Great Day," and "Little Willow," hes gently affecting, and the moderately rocking pop of "The World Tonight" and "Young Boy" is more ingratiating than the pair of aimless bluesy jams with Steve Miller. Even with the filler, which should be expected on any McCartney album, Flaming Pie is one of his most successful latter-day efforts, mainly because McCartney is at his best when he doesnt try so hard and lets his effortless melodic gifts rise to the surface. | ||
 | Album: 17 of 29 Title: Standing Stone Released: 1997-09-23 Tracks: 19 Duration: 1:14:45 Scroll: Up Down Top Bottom 25% 50% 75% Spotify AlbumCover | 1 Standing Stone: Ia. After Heavy Light Years: Fire/Rain (Allegro energico) (04:29) 2 Standing Stone: Ib. After Heavy Light Years: Cell Growth (Semplice) (08:30) 3 Standing Stone: Ic. After Heavy Light Years: Human Theme (Maestoso) (03:36) 4 Standing Stone: IIa. He Awoke Startled: Meditation (Contemplativo) (03:57) 5 Standing Stone: IIb. He Awoke Startled: Crystal Ship (Con moto scherzando) (02:02) 6 Standing Stone: IIc. He Awoke Startled: Sea Voyage (Pulsating, with cool jazz feel) (03:39) 7 Standing Stone: IId. He Awoke Startled: Lost at Sea (Sognando) (04:37) 8 Standing Stone: IIe. He Awoke Startled: Release (Allegro con spirito) (01:54) 9 Standing Stone: IIIa. Subtle Colours Merged Soft Contours: Safe Haven/Standing Stone (Pastorale con moto) (04:11) 10 Standing Stone: IIIb. Subtle Colours Merged Soft Contours: Peaceful Moment (Andante tranquillo) (02:09) 11 Standing Stone: IIIc. Subtle Colours Merged Soft Contours: Messenger (Energico) (03:35) 12 Standing Stone: IIId. Subtle Colours Merged Soft Contours: Lament (Lamentoso) (02:26) 13 Standing Stone: IIIe. Subtle Colours Merged Soft Contours: Trance (Misterioso) (05:32) 14 Standing Stone: IIIf. Subtle Colours Merged Soft Contours: Eclipse (Eroico) (04:57) 15 Standing Stone: IVa. Strings Pluck, Horns Blow, Drums Beat: Glory Tales (Trionfale) (02:40) 16 Standing Stone: IVb. Strings Pluck, Horns Blow, Drums Beat: Fugal Celebration (Listesso tempo. Fresco) (04:25) 17 Standing Stone: IVc. Strings Pluck, Horns Blow, Drums Beat: Rustic Dance (Rustico) (02:00) 18 Standing Stone: IVd. Strings Pluck, Horns Blow, Drums Beat: Love Duet (Andante intimo) (03:43) 19 Standing Stone: IVe. Strings Pluck, Horns Blow, Drums Beat: Celebration (Andante) (06:15) |
 | Album: 18 of 29 Title: Run Devil Run Released: 1999-10-04 Tracks: 15 Duration: 40:46 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Blue Jean Bop (01:57) 2 She Said Yeah (02:06) 3 All Shook Up (02:05) 4 Run Devil Run (02:36) 5 No Other Baby (04:17) 6 Lonesome Town (03:30) 7 Try Not to Cry (02:40) 8 Movie Magg (02:12) 9 Brown Eyed Handsome Man (02:27) 10 What It Is (02:23) 11 Coquette (02:42) 12 I Got Stung (02:40) 13 Honey Hush (02:35) 14 Shake a Hand (03:52) 15 Party (02:37) |
| Run Devil Run : Allmusic album Review : When Paul McCartney returned to the studio a year after his wife Lindas death, he wanted to cut loose and have a good time. He gathered a bunch of friends, most notably guitarist David Gilmour, with the intention of cutting a collection of rock & roll oldies with minimal rehearsal and a handful of takes. On the surface, that makes Run Devil Run like Choba B CCCP, but there are subtle differences that make Devil a far superior effort. This time around, theres a real freshness to the performances. Gilmour, in particular, amazes, turning in some of his finest playing in years. Similarly, McCartney is invigorated, leaving behind his vocal schtick, laying back and rocking out with a set of fairly unfamiliar oldies. Only three songs -- "All Shook Up," "Lonesome Town," and "Brown Eyed Handsome Man" -- are radio staples; and while "I Got Stung," "Blue Jean Bop," "She Said Yeah," "Honey Hush," and "Movie Magg" are known by aficionados, theyre not ubiquitous standards. This leaves room for a few more obscure numbers, such as Little Richards "Shake a Hand," the Vipers "No Other Baby," and the Fats Domino B-side "Coquette," plus three terrific new songs from McCartney: "Run Devil Run," a fantastic Chuck Berry-styled narrative; "Try Not to Cry," a strong bluesy pop number; and "What It Is," a catchy up-tempo shuffle. Best of all, McCartney and co-producer Chris Thomas create an appealingly out-of-time production -- heavily compressed sound, yes, but cleaner than 50s recordings and livelier, grittier than most 90s albums. It all adds up to a dynamic, loose, carefree, and utterly infectious record, one of his best solo albums. | ||
 | Album: 19 of 29 Title: Working Classical Released: 1999-10-14 Tracks: 14 Duration: 1:01:35 Scroll: Up Down Top Bottom 25% 50% 75% Spotify AlbumCover | 1 Junk (02:49) 2 A Leaf (11:08) 3 Haymakers (03:33) 4 Midwife (03:33) 5 Spiral (10:01) 6 Warm and Beautiful (02:31) 7 My Love (03:47) 8 Maybe I’m Amazed (02:04) 9 Calico Skies (01:52) 10 Golden Earth Girl (01:57) 11 Somedays (03:04) 12 Tuesday (12:26) 13 She’s My Baby (01:47) 14 The Lovely Linda (00:56) |
 | Album: 20 of 29 Title: Liverpool Sound Collage Released: 2000-08-21 Tracks: 5 Duration: 58:24 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Plastic Beetle (08:23) 2 Peter Blake 2000 (16:54) 3 Real Gone Dub Made in Manifest in the Vortex of the Eternal Now (16:36) 4 Made Up (13:00) 5 Free Now (03:29) |
| Liverpool Sound Collage : Allmusic album Review : The hype mill, stoked in part by McCartney himself, promoted this CD as nothing less than a posthumous chapter in the Beatles saga ("a new little piece of Beatles," in Pauls words). Nonsense, for this is really just the latest of McCartneys excursions into electronica, an interest of his that dates back to the Beatles boundary-shredding experiments with musique concrète and the Moog synthesizer in the 1960s. It is a series of five electronic collages, with occasional eruptions of a new tune called "Free Now" (actually a catchy repetitive riff, no more or less), sounds of the auto tunnel under the Mersey, pieces of strange off-the-cuff interviews conducted by Paul on the Liverpool streets (he asks, disingenuously, "What do you think of the Beatles?"), snippets of a chorale from his Liverpool Oratorio -- and yes, some Beatle talk from the 1965 sessions for "Think for Yourself." All of the tracks are given separately distributed credits to McCartney, the Beatles, the group Super Furry Animals, and Youth -- his collaborator in previous electronica projects -- but in fact, the whole hour-long CD is of a single piece. The most effective segment is the one credited solely to Youth (bearing the unwieldy title "Real Gone Dub Made in Manifest in the Vortex of the Eternal Now"), where the pitchless electronic sounds are at their wildest and the disembodied Beatles voices and ghostly choruses are hauntingly adrift in a high-tech netherworld. As a listening experience, it is at least as casually absorbing as McCartneys two Fireman albums -- and it grows on you, provided that you drop any expectations of this being a long-lost Beatles album. | ||
 | Album: 21 of 29 Title: Wingspan: Hits and History Released: 2001-05-04 Tracks: 40 Duration: 2:32:55 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 Listen to What the Man Said (03:57) 2 Band on the Run (05:13) 3 Another Day (03:43) 4 Live and Let Die (03:13) 5 Jet (04:09) 6 My Love (04:08) 7 Silly Love Songs (05:54) 8 Pipes of Peace (03:27) 9 C Moon (04:35) 10 Hi Hi Hi (03:09) 11 Let ’em In (05:11) 12 Goodnight Tonight (04:22) 13 Junior’s Farm (DJ edit) (03:04) 14 Mull Of Kintyre (04:44) 15 Uncle Albert/Admiral Halsey (04:51) 16 With a Little Luck (DJ edit) (03:14) 17 Coming Up (03:51) 18 No More Lonely Nights (04:47) 1 Let Me Roll It (04:51) 2 The Lovely Linda (00:45) 3 Daytime Nighttime Suffering (03:24) 4 Maybe I’m Amazed (03:53) 5 Helen Wheels (03:47) 6 Bluebird (03:26) 7 Heart of the Country (02:24) 8 Every Night (02:35) 9 Take It Away (04:05) 10 Junk (01:57) 11 Man We Was Lonely (03:00) 12 Venus and Mars / Rockshow (single edit) (03:46) 13 The Back Seat of My Car (04:30) 14 Rockestra Theme (02:35) 15 Girlfriend (04:42) 16 Waterfalls (DJ edit) (03:25) 17 Tomorrow (03:27) 18 Too Many People (04:13) 19 Call Me Back Again (05:00) 20 Tug of War (04:05) 21 Bip Bop / Hey Diddle (03:37) 22 No More Lonely Nights (playout version) (03:55) |
| Wingspan: Hits and History : Allmusic album Review : 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, McCartneys 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 thats 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 youre 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 McCartneys career between the "hits" and "history," with the latter being devoted to album tracks that are acknowledged classics, yet never were singles. Now, its true that this isnt 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 McCartneys 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 its on the tremendous "Maybe Im 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. Thats why Wingspan isnt just a good hits collection -- its a convincing argument that McCartneys 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. | ||
 | Album: 22 of 29 Title: Driving Rain Released: 2001-11-09 Tracks: 16 Duration: 1:07:17 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Lonely Road (03:16) 2 From a Lover to a Friend (03:48) 3 She’s Given Up Talking (04:57) 4 Driving Rain (03:27) 5 I Do (02:56) 6 Tiny Bubble (04:21) 7 Magic (03:58) 8 Your Way (02:55) 9 Spinning on an Axis (05:16) 10 About You (02:54) 11 Heather (03:25) 12 Back in the Sunshine Again (04:22) 13 Your Loving Flame (03:43) 14 Riding Into Jaipur (04:07) 15 Rinse the Raindrops (10:12) 16 Freedom (03:33) |
| Driving Rain : Allmusic album Review : For Paul McCartney, Driving Rain completes the trilogy he began with Flaming Pie, in retrospect a warm tribute to his dying wife, and continued through the storming rock & roll of Run Devil Run. The first found Macca writing some of his most affecting songs while he returned to his musical standbys -- charming folk, layered pop, and amiable rock & roll. Then, with Run Devil Run, he retreated even further, finding his love for piledriving, uncompromising rock & roll. With those two extremes, he covered the bases with everything except one important thing -- he had yet to reclaim his art pop inclinations, something he does so subtly on Driving Rain. In a sense, its a nice blend of the self-conscious Flowers in the Dirt and the organic, natural Flaming Pie, combining the craft of the former with the attitude of the latter. As such, it sounds fresh, particularly because McCartney has teamed up with young producers and backing bands that dont just allow him to follow his muse, theyre eager to chase him when he extends a song to an abnormal length with a jam. This is not the homemade charm of Ram, nor the post-Abbey Road studio trickery of Red Rose Speedway or Band on the Run, but instead a seasoned professional finding a way to fuse his various influences in a record that is as proud of its melody as it is of its elasticity. As such, its more self-conscious than its immediate predecessor and its a little indulgent, but in a good way. When McCartney decides to indulge himself here, its not with whimsy but with sheer musical muscle. As the record draws to a conclusion, he hauls out a bunch of inventive, winding jams that may be a little excessive, yet theyre exciting because he hasnt tried something like this in years. Hes grooving on making music again, just like he did on Flaming Pie and Run Devil Run. Driving Rain may not be as coherent as Pie, nor as relentless as Devil, but its rich, layered, ambitious, and successful. Since becoming a solo artist, Paul McCartney has never delivered three records in a row so overstuffed with imagination, melody, and enthusiasm as he has in these three albums. Lets hope he can keep the streak going next time around. | ||
 | Album: 23 of 29 Title: Chaos and Creation in the Backyard Released: 2005-09-09 Tracks: 13 Duration: 43:22 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Fine Line (03:05) 2 How Kind of You (04:47) 3 Jenny Wren (03:46) 4 At the Mercy (02:37) 5 Friends to Go (02:43) 6 English Tea (02:12) 7 Too Much Rain (03:24) 8 A Certain Softness (02:41) 9 Riding to Vanity Fair (05:06) 10 Follow Me (02:31) 11 Promise to You Girl (03:09) 12 This Never Happened Before (03:24) 13 Anyway (03:52) |
| Chaos and Creation in the Backyard : Allmusic album Review : Quiet though it may be, Paul McCartney experienced something of a late-career renaissance with the release of his 1997 album Flaming Pie. With that record, he shook off years of coyness and half-baked ideas and delivered an album that, for whatever its slight flaws, was both ambitious and cohesive, and it started a streak that continued through the driving rock & roll album Run Devil Run and its 2001 follow-up, Driving Rain. For Chaos and Creation in the Backyard, the follow-up to that record, McCartney tried a different tactic, returning to the one-man band aesthetic of his debut album, McCartney, its latter-day sequel, McCartney II, and, to a lesser extent, the home-spun second album, Ram. Apart from a guitar part or two, a couple of drum tracks, and, of course, the strings and horns that pop up now and again, McCartney played everything here, from the guitars and keyboards down to the bass and drums. The difference here is that instead of producing the record by himself, McCartney brought in alt-rock auteur Nigel Godrich, best known as the producer behind Radioheads OK Computer and Becks Mutations, as well as being the only producer responsible for a streamlined Pavement record. Godrich has a gift for making messy or difficult music sound simple, logical, and clean, and he has that same effect on Chaos and Creation, removing the obvious rough edges and home-spun charm that characterized Maccas previous one-man affairs. Consequently, Chaos sounds as polished as a normal McCartney album, as polished as Driving Rain, but the process of its creation and recording does make this a very different album from not just its predecessor, but from most of McCartneys solo albums. Its quiet and meditative, not without its share of eccentricities, nor without its share of sprightly tunes -- certainly, the opener, "Fine Line," is a propulsive, hooky song that burrows into your head after just one spin and sounds like a tune youve known all your life, and "Promise to You Girl" also zips along nicely -- but the overall feel of the record is one thats reflective and ruminative, not messy or silly. Or whimsical or treacly, for that matter, since the combination of introspective ballads and intricately detailed but not overly fussy or polished production means that Chaos and Creation in the Backyard is a rare thing indeed: a McCartney album thats devoid of cuteness or easy sentiment. Which doesnt mean that its somber or lacking in romantic material -- Paul loves his love songs, after all -- but the tone and timbre of the album is so simple, stripped-down, and sincere that all the music resonates a little deeper and feels a little more heartfelt. If there are no outright knockouts here, there are no weak spots, either, and if the album doesnt have the sprawl and quirks or overt humor of his classic solo albums from Ram through Tug of War, thats OK, because Chaos and Creation in the Backyard offers something different: not only is Paul in an unusually reflective mode, but hes made a lean, cohesive record that holds together better than his previous latter-day high-water mark, Flaming Pie -- which is unusual, since McCartney albums rarely, if ever, come without spots of filler. The quiet nature of Chaos and Creation may mean that some listeners will pass it over quickly, since its a grower, but spend some time with the record and it becomes clear that McCartney is far from spent as either a songwriter or record-maker and, in many ways, continues to make some of the best music of his solo career. | ||
 | Album: 24 of 29 Title: Ecce Cor Meum Released: 2006-09-21 Tracks: 5 Duration: 56:51 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Ecce Cor Meum: I. Spiritus (12:00) 2 Ecce Cor Meum: II. Gratia (10:50) 3 Ecce Cor Meum: Interlude (Lament) (03:56) 4 Ecce Cor Meum: III. Musica (15:14) 5 Ecce Cor Meum: IV. Ecce Cor Meum (14:50) |
| Ecce Cor Meum : Allmusic album Review : If only one of Paul McCartneys varied musical strengths carries his oratorio, Ecce Cor Meum (Behold My Heart), it is his astonishing melodic talent: indeed, it is because of the pieces undeniable tunefulness that it is at all viable. This grandiose, neo-Romantic work for soprano, mixed choir, boy choir, and orchestra would seem unbearably tedious were it not for the chains of attractive themes that are laced throughout, and the monumental structure would collapse under its ponderous weight were it not for the light, lyrical touches that hold it up. McCartney the pop master is still the classical naïf who, by dint of his supreme self-confidence, believes he has the technical skill and artistic imagination to set his rambling, sentimental text with enough interesting material to hold the listeners attention for close to an hour. Yet the predominant tempos are slow to moderately slow, the orchestration is lackluster, and the textures are so thickly chordal that even McCartneys amateurish attempts at counterpoint bring welcome relief. The somber tone of a requiem is unmistakable throughout, and McCartneys gravitas is expressed through dark timbres and minor harmonies that seem borrowed from Mozart and Verdi; only in the third movement, "Musica," is the mood lightened to a bittersweet nostalgia, expressed through a poignant melody comparable to anything in McCartneys popular song catalog, and brightened with brass fanfares reminiscent of "Penny Lane." Yet the bulk of this overlong work is heavy going, and despite the best efforts of soprano Kate Royal; the London Voices, the combined boy choirs of Magdalen College, Oxford, and Kings College, Cambridge; and the Academy of St. Martin-in-the-Fields under Gavin Greenaway, this oratorio comes off as a pretentious exercise with few worthwhile highpoints. EMIs sound is good, though better separation of parts might have made this recording more listenable. | ||
 | Album: 25 of 29 Title: Memory Almost Full Released: 2007-06-01 Tracks: 13 Duration: 42:05 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 Dance Tonight (02:54) 2 Ever Present Past (02:57) 3 See Your Sunshine (03:20) 4 Only Mama Knows (04:17) 5 You Tell Me (03:15) 6 Mr. Bellamy (03:39) 7 Gratitude (03:19) 8 Vintage Clothes (02:22) 9 That Was Me (02:38) 10 Feet in the Clouds (03:24) 11 House of Wax (04:59) 12 The End of the End (02:57) 13 Nod Your Head (01:58) |
| Memory Almost Full : Allmusic album Review : Allusion to the digital world though it may be, theres a sweet, elegiac undercurrent to the title of Paul McCartneys Memory Almost Full, an acknowledgement that it was written and recorded when McCartney was 64, the age he mythologized on Sgt. Peppers Lonely Hearts Club Band, released almost exactly 40 years before Memory. Certainly, McCartney has mortality on the mind, but this isnt an entirely unusual occurrence for him in this third act of his solo career. Ever since his wife Lindas death from cancer in 1998, hes been dancing around the subject, peppering Flaming Pie with longing looks back, grieving by throwing himself into the past on the covers album Run Devil Run, slowly coming to terms with his status as the old guard on the carefully ruminative Chaos and Creation in the Backyard. But if that previous record was precise, bearing all the hallmarks of meticulous producer Nigel Godrich, Memory Almost Full is startlingly bright and frequently lively, an album that embraces McCartneys unerring gift for melody. Yet for as pop as it is, this is not an album made with any illusion that Paul will soon have a succession of hit singles: its an art-pop album, not unlike either of the McCartney albums. Sometimes this is reflected in the construction --- the quick succession of short songs at the end, uncannily (and quite deliberately) sounding like a suite -- sometimes in the lyrics, but the remarkable thing is that McCartney never sounds self-consciously pretentious here, as if hes striving to make a major statement. Rather, hes quietly taking stock of his life and loves, his work and achievements. Unlike latter-day efforts by Johnny Cash or the murky Daniel Lanois-produced albums by Bob Dylan, mortality haunts the album, but theres no fetishization of death. Instead, McCartney marvels at his life -- explicitly so in the disarmingly guileless "That Was Me," where he enthuses about his role in a stage play in grammar school with the same vigor as he boasts about playing the Cavern Club with the Beatles -- and realizes that when he reaches "The End of the End," he doesnt want anything more than the fond old stories of his life to be told. This matter-of-fact acknowledgement that hes in the last act of his life hangs over this album, but his penchant for nostalgia -- this is the man who wrote the sepia-toned music hall shuffle "Your Mother Should Know" before he was 30, after all -- has lost its rose-tinted streak. Where he once romanticized days gone by, McCartney now admits that were merely living with "The Ever Present Past," just like how although we live in the present, we still wear "Vintage Clothes." Hes no longer pining for the past, since he knows where the present is heading, yet he seems disarmingly grateful for where his journey has taken him and what it has meant for him, to the extent that he slings no arrows at his second wife, Heather Mills, he only offers her "Gratitude." Given the nastiness of the coverage of his recent divorce, Paul might be spinning his eternal optimism a bit hard on this song, but it isnt forced or saccharine -- it fits alongside the clear-eyed sentiment of the rest of Memory Almost Full. It rings true to the open-heartedness of his music, and the album delivers some of McCartneys best latter-day music. Memory Almost Full is so melodic and memorable, its easy to take for granted his skill as a craftsman, particularly here when it feels so natural and unforced, even when it takes left turns, which it thankfully does more than once. Best of all, this is the rare pop meditation on mortality that doesnt present itself as a major statement, yet it is thematically and musically coherent, slowly working its way under your skin and lodging its way into your cluttered memory. On the surface, its bright and accessible, as easy to enjoy as the best of Pauls solo albums, but it lingers in the heart and mind in a way uncommon to the rest of his work, and to many other latter-day albums from his peers as well. | ||
 | Album: 26 of 29 Title: Ocean’s Kingdom Released: 2011-10-03 Tracks: 4 Duration: 56:34 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Ocean’s Kingdom: I. Ocean’s Kingdom (14:07) 2 Ocean’s Kingdom: II. Hall of Dance (16:19) 3 Ocean’s Kingdom: III. Imprisonment (13:36) 4 Ocean’s Kingdom: IV. Moonrise (12:31) |
| Ocean’s Kingdom : Allmusic album Review : Oceans Kingdom, Paul McCartneys fifth full-length classical album in 20 years, is his first ballet, its story concerning a star-crossed romance between an earthly prince and a water princess. McCartneys music is appropriately romantic, sometimes to the extent that the moments intended to convey creeping tension or sadness bounce with a joyous gait. Joy isn’t a bad characteristic for a piece of music, and if Oceans Kingdom is decidedly less ambitious than Liverpool Oratorio or Standing Stone, whatever charm it has lies in its simplicity, McCartneys good cheer evident in the clean lines of his melodies and their counterpoints, the lack of melancholy in his ballads, and the triumphant brass that closes the proceedings. Perhaps it is pastiche -- its reworking of themes and sounds befitting a narrative that’s essentially a respun Romeo and Juliet -- but Macca’s sweet swagger sells a shopworn story, at least as far as a record goes. | ||
 | Album: 27 of 29 Title: Kisses on the Bottom Released: 2012-02-03 Tracks: 14 Duration: 49:15 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 I’m Gonna Sit Right Down and Write Myself a Letter (02:36) 2 Home (When Shadows Fall) (04:04) 3 It’s Only a Paper Moon (02:34) 4 More I Cannot Wish You (03:03) 5 The Glory of Love (03:45) 6 We Three (My Echo, My Shadow and Me) (03:21) 7 Ac‐Cent‐Tchu‐Ate the Positive (02:31) 8 My Valentine (03:14) 9 Always (03:49) 10 My Very Good Friend the Milkman (03:03) 11 Bye Bye Blackbird (04:25) 12 Get Yourself Another Fool (04:42) 13 The Inch Worm (03:42) 14 Only Our Hearts (04:21) |
| Kisses on the Bottom : Allmusic album Review : Way back in 1963, Paul McCartney sang "A Taste of Honey" on the Beatles debut album, and "Til There Was You" on their second LP, establishing that his tastes ran far beyond the world of rock & roll and R&B.; Over the years, he touched upon pre-rock & roll pop -- writing pastiches like "Honey Pie" with the Beatles and, crucially, snatching up the publishing rights to many of these tunes, thereby building his MPL empire -- but he never devoted a full record to the style until 2012s Kisses on the Bottom, a cheekily titled (pun not only intentional but solicited) collection of songs you know by heart. Hes not the first Beatle to sing songs his mother should know: Ringos first step outside the Fab Four was 1970s Sentimental Journey, a record of standards produced by George Martin. Sentimental Journey may share a tune with Kisses on the Bottom -- Ray Henderson and Mort Dixons "Bye Bye Blackbird" -- but its splashy, show biz sensibility differs greatly from McCartneys intimate stroll through the past. Macca hired Diana Kralls band as his support, enlisted veteran vocal producer Tommy LiPuma, and then set up shop at Los Angeles famed Capitol Studios, along with spots in N.Y.C. and London, to cut faithful, loving versions of songs hes always sung. Overachiever that he is, Macca throws in two new originals -- the quite good "My Valentine" and "Only Our Hearts," the former featuring guitar by Eric Clapton, the latter harmonica by Stevie Wonder -- that fit right into the soft-shoe shuffle of the rest of the record, enhancing its casual charm. And since McCartney is no longer quite the vocal powerhouse he used to be -- something the spare setting makes all too clear -- the chief appeal is its leisurely vibe, how McCartney settles into his surroundings, savoring each melody and every witty turn of phrase. As a vocalist, this may not be his natural forte, but he takes great care with the songs, and that palpable love is enough to make Kisses on the Bottom worth a spin or two. | ||
 | Album: 28 of 29 Title: New Released: 2013-05-07 Tracks: 12 Duration: 46:07 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Save Us (02:39) 2 Alligator (03:27) 3 On My Way to Work (03:43) 4 Queenie Eye (03:48) 5 Early Days (04:08) 6 New (02:56) 7 Appreciate (04:29) 8 Everybody Out There (03:21) 9 Hosanna (03:30) 10 I Can Bet (03:22) 11 Looking at Her (03:05) 12 Road (07:39) |
| New : Allmusic album Review : At its quietest moments, 2007s Memory Almost Full played like a coda to Paul McCartneys illustrious career; he seemed comfortable residing in the final act of his legend, happy to reflect and riff upon his achievements. Such measured meditation is largely absent from 2013s New, the first collection of original material hes released since 2007. New lives up to its title, finding McCartney eager, even anxious, to engage with modern music while simultaneously laying claim to the candied, intricate psychedelia of latter-day Beatles. Five decades into his career, reinvention isnt expected from McCartney, so the shock arrives in the avenues Paul chooses to follow and, here, hes enthusiastically embracing modernism and pop art. He brings in Mark Ronson, the producer best-known for hits by Amy Winehouse and Lily Allen, to add a bit of modern snazz, but sharp guy that he is, McCartney knows that contemporary pop albums are created by a fleet of producers, so Paul Epworth, a collaborator of Adele, Foster the People, and Florence & the Machine, is hired along with Ethan Johns (a veteran of Kings of Leon and Laura Marling) and Giles Martin (the son of Beatles producer George Martin), each enlisted to give New a crisp, clean sheen. There are a lot of cooks in the kitchen but the chef is undoubtedly McCartney, with every song -- from the kaleidoscopic title track to the delicate folk of "Hosanna" and the pounding, overstuffed "I Can Bet" -- bearing his unmistakable stamp. From the moment it opens with the insistent, propulsive "Save Us," this is a bright, vivid pop album, robust with color and so confident in its swagger that its assurance is almost distracting. Macca is determined to dazzle: not only are the melodies bold but the production is over-saturated so his pop pops in a way it hasnt in years, not since the days when a Top 40 single was a genuine possibility. Paul isnt chasing a hit single but rather embracing pop as a vital, vivacious life force, which makes the presence of "Early Days" all the more baffling. A stark acoustic recounting of the dawn of the Beatles, McCartney seems uncharacteristically defensive here as he wonders how anybody who wasnt in Hamburg could possibly tell tales of the Fabs origins, strangely tone-deaf to how he and his band have turned into myth. But that unwillingness to accept his role in history books also gives New its nerve, letting McCartney create music that is thoroughly within his lineage but cleverly modern, eschewing nostalgia for a vibrant present. Thats why New is one of the best of McCartneys latter-day records: it is aware of his legacy but not beholden to it even as it builds upon it. | ||
 | Album: 29 of 29 Title: Egypt Station Released: 2018-07-07 Tracks: 18 Duration: 1:04:22 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Opening Station (00:42) 2 I Don’t Know (04:26) 3 Come On to Me (04:10) 4 Happy With You (03:34) 5 Who Cares (03:13) 6 Fuh You (03:23) 7 Confidante (03:05) 8 People Want Peace (02:59) 9 Hand in Hand (02:35) 10 Dominoes (05:02) 11 Back in Brazil (03:21) 12 Do It Now (03:17) 13 Caesar Rock (03:29) 14 Despite Repeated Warnings (06:58) 15 Station II (00:47) 16 Hunt You Down/Naked/C-Link (06:23) 17 Get Started (03:41) 18 Nothing for Free (03:15) |