By The Fireman (Paul McCartney & Youth)

ELECTRIC ARGUMENTS is the THIRD album by The Fireman, the music duo consisting of Paul McCartney and producer Youth.

November 24th, 2008 was its release date. It is the first Fireman release to be publicly acknowledged by McCartney, and the album cover features the names of both contributors.

Unlike the earlier Fireman albums, Electric Arguments features prominent vocals. Each of the songs was recorded in one day, the album itself being completed in only thirteen days, spread over the course of a year.

The album includes the hidden track “Road Trip“, at the end of “Don’t Stop Running“.

Remixes of “Lifelong Passion” were made, titled “Sawain Ambient Acapella” and “Sawain Instrumental Dub“.

Instrumental mixes of “Sun Is Shining” and “Traveling Light” were made, titled “Equinox Instrumental” and “Travelling Light Instrumental”.

Instrumental dub mixes were made of “Sing the Changes” and “Don’t Stop Running“, titled “Morning Mist Instrumental Dub” and “Wickerman Ambient Dub”.


The duo borrowed the title “Electric Arguments” from the poem “Kansas City to St. Louis” by Allen Ginsberg.

McCartney stated this was because he had been looking “at the beauty of word combinations rather than their meaning.”

Paul: “We had a ball making this album, and it was a great departure because it seemed more like improvisation theater. In the improvisation spirit, there are William Burroughs-type cut-ups in the lyrics.

I came to “Sing the Changes,” as well as all the other songs in the album, with absolutely no concept of what the melody or lyrics would be about. So it was like writing on the spot, which I think lent an electricity to the whole sound.”

The album debuted at number 79 on the UK Album Charts, marking the first appearance for The Fireman in the British charts. The duo also made their inaugural appearance on the Billboard 200, peaking at number 67. The album was acclaimed by critics, cited as one of the best albums of 2008.

AllMusic’s Stephen Thomas Erlewine: “There are more twists and turns, more textures, than on any other McCartney album in the last 20 years …”

Will Hermes of Rolling Stone: “The ex-Beatle’s headiest music in years“.

Electric Arguments demonstrates that Paul McCartney is still interested in pure musical possibilities. This is an album set to both surprise and delight the listener. Made with no record company restraints or a set release date to work to, Electric Arguments was made with complete artistic and creative freedom.


When I bought and listened for the first time…I heard a noticeable change in McCartney’s singing voice. Now, since then he has released three albums, NEW, EGYPT STATION and III. I have heard his voice shift even more to what it is… and listening to this 2008 recording makes me realize I was wrong.

His voice is amazing, and captured in so many ways on the album. This to me is more of a solo album for Paul, with Youth as the very hands on producer. He helps with the tracks in other ways than Paul’s other producers.

But Paul makes nearly every sound, with little if any help. Youth is an outstanding producer, and this is what makes this album so great. He was able to take the talent of McCartney and help sound shape each track, and with 100% Paul in charge they make each fresh and unique. Each recorded in one day, over months….

All Songs by Paul McCartney
(Credits listed on song 1 for entire album)

1. Nothing Too Much Just Out Of Sight
Paul McCartney :
Bass, Drums, Electric guitar, Harmonica, Producer, Slide guitar, Vocals
Youth : Producer
Clive Goddard : Recording engineer
Tim Bran & David Nock : Programming

Session Recording: December 2007 – June 2008. Hog Hill Studio, Rye, UK

-I sit…. And what is the first sound in my ears… Paul on some funky harmonica. Yes, this album is going somewhere. It stops…. The drum kicks in, and he gives us one of the most intense recordings of his career.

Paul growls like we heard 40 years earlier on “Heater Skelter.” Run thru a filter, it is a chilling reminder how good this 68 year old man still was. The guitar work keeps up until a joyous Paul drags it across the finish line. Rating – 9.25

2. Two Magpies
– Paul takes it down and it is a lovely little ditty. He uses his Bill Black stand-up bass to give it a timeless feel. And what a beautiful slightly squeaky voice. And the lyrics are outstanding on this and every song. Paul gives it 100%. Rating – 9

3. Sing The Changes
– Here it is, the masterpiece he is able to come up with at least once an album, In 2008 this is not a hit single, but it should have been. Recorded with his touring drummer, this is just a wonderful, powerful song. The cheap music video doesn’t do it justice. Abe Laboriel Jr. drumming is always special. Rating – 9.5

4. Travelling Light
-Paul takes us on a journey. His use of the recorder (much like “Fool On The Hill”) and lower register in the first stanza gives this song the travel feel it’s title tells…. Paul takes it to his upper register on the second verse, and today it sounds sweet and warm. He lowers his key and the journey continues….

Then do you know what Paul does…. He changes the tempo at 3:45 and wraps up the story…. A bit like “Despite Repeated Warnings”. Rating – 8

5. Highway
Another one he played in concert (“Sing The Changes”) that has nice chord changes and hooks, and Paul again breaks out the harmonica. Paul’s vocals are kind of kind of muddy and mixed a bit back in the mix for my taste. And he runs the main vocals thru a processor but not any of the background vocals. Interesting spiritual vibe you don’t get in many of Macca’s songs. Outstanding playing. Rating – 8.5

6. Light From Your Lighthouse
-Okay, here is the biggest gainer for me since the album came out. Let that foot start tapping and you have maybe the best good time spiritual boogie of his career. He nails the acoustic solo, the vocals are beyond amazing. The production is perfect. Rating – 9.25

7. Sun Is Shining
-A nice mid tempo rocker, with Paul’s drums driving the tempo. Outstanding acoustic guitars in the mix help Paul’s double track vocals (at times a bit off but it sounds good). A weak middle eight and back to the main verse as Paul’s bass runs lead us out…. Rating – 8.5

8. Dance ‘Til We’re High
–Youth uses a Phil Spector type production and Paul is double tracked on the verse, one low and one upper.
Another love song that Paul writes so well about living for today, saying you love to people, do it now etc…. Let the rain run down your back…. Oh yeah, see the day and dance until you get high. Sounds good to me…. Naive, but if we all believed it. Rating – 8.5

9. Lifelong Passion
-A bit like “Caeser Rock” into before the cut, this is a very tribal sounding acoustic track. Paul uses different types of drums.
A gentle love song with harmonica and more /synths/recorder and bird sounds and all kids of tweaks and squeaks in the sonic portrait. These guys had a wonderful time mixing this album. Paul is smart enough to change tempo’s from song to song. Rating. – 8.5

10. Is This Love?
Take us to the banks of the river, and then we gaze at the sights, smell the air, see the sky, feel the wind, hear the sounds…
Paul vocals are taken back in the mix and are almost hard to understand…. But I find no fault in this as this is almost a ceremonial track. As the song goes on our procession continues to move towards the ceremonial alter. A gentle moving song of devotion. As we arrive it gets ultra trippy… we are here.
Rating – 8.5

11. Lovers In A Dream
The song opens with a slow building of the layers and tempo and we have the first “dance” beat. Paul’s vocals are very Roxy Music or Bowie, and I guess that’s not bad. Kind of an homage, that doesn’t go anywhere lyrically, but is interesting musically. The end slows and de-layers.. Rating – 8.5

12. Universal Here, Everlasting Now
Paul opens with a simple piano and I’m like… “Oh yeah, he plays piano too.” But it’s too late, we have dogs and noises and then it’s on to 5:05 of sounds/shifts/stops/piano intro… but no dogs. The least imaginative track, for me. Rating – 7

13. Don’t Stop Running
-Much like “Deep Deep Feeling” from III, you have to let yourself go and enjoy the ride. Imagine this 10:31 song as a roller coaster ride. There are twists and turns, but getting in and letting the vehicle do the work and enjoying the feeling of the ride is the way to go. The backwards vocals at the end foreshadow “Road Trip’s” ending. This is a song to be listened to… not just put on the stereo. Rating – 9

4. Road Trip
The not so “hidden” track at the end of “Don’t Stop Running.” I view this as a bonus track, but it shows that they still have a few of their original Fireman moves in their arsenal. This is another slowly evolving landscape that also features backwards spoken words (?) And the feeling is this is the end of the journey…. Rating – 8. Not a song per say, but I like how they leave us to think, as we sit on the side of the road.

Over all this album by The Fireman rates as 8.57, one of the finest ratings yet. He took changes he wouldn’t in one of his normal releases, and maybe that’s why it still sound so good.

NEXT UP: III Imagined

SOON, gulp….. His classical work, where we’ll be reviewing on feel… We’ll discuss that later. You mission, listen to this album…and leave your impressions. Headphones recommended.



Initially released as a double vinyl album, TWIN FREAKS saw Paul in partnership with the DJ and producer The Freelance Hellraiser, alias Roy Kerr.

Best-known at the time for his genre-defying mash-up album A STROKE OF GENIUS, Kerr had become a sought-after re-mixer.

In the summer of 2004, he toured Europe with Paul, opening each show with a 25-minute set of remixed McCartney songs, the tour culminating with a famous headline performance at Glastonbury.

I saw this tour when it came to the US, promoting CHAOS AND CREATION, and I really enjoyed the Hellraiser’s preshow opening set. It was another interesting preshow from Paul. The previous tour, the “Driving Rain” tour, Paul had members of Cirque du Soleil slowly enter the arena and interact.

But I was very happy to hear that he was going a step further than Jjust being a preshow D.J. And TWIN FREAKS was released in June 2005. Its initial release consisted of 12 re-worked and re-invented from Paul’s back catalogue, the credits on the album not giving the listener any clues as to who did what on each track.

‘Really Love You’, the first single to be released, was a remix of a track taken from Paul’s 1997 album Flaming Pie.

“Those of you who were there for the European Tour will have heard our DJ, Freelance Hellraiser, cooking up some mixes before we came on and people have been inquiring about these mixes ever since.

Well the good news is he’s put together an album called ‘Twin Freaks’ using fragments from my original multi-tracks which we hope will rock your little cotton socks!” – Paul

The first fruits were the ‘Really Love You’ 12” single, in which the FLAMING PIE song was converted from a simple jam into a dance-based track. It featured drums from ‘What’s That You’re Doing’, a collaboration with Stevie Wonder from the TUG OF WAR album.

The b-side was ‘Lalula’, a new composition which featured the riff from ‘Old Siam, Sir’, from Wings’ 1979 album BACK TO THE EGG, as well as guitars from the 1971 b-side ‘Oh Woman, Oh Why’.

The one-sided 12″ vinyl single was issued in the UK on 6 June 2005, as a limited edition of 2,000 copies. The b-side was an etching of McCartney’s painting Twin Freaks. Due to the limited run it failed to chart.

The album Twin Freaks followed seven days later, on June 13th, 2005. Credited simply to Twin Freaks, it was a double-disc vinyl set issued in Europe only by Parlophone/Graze Records. It was available worldwide as a digital download.

Twin Freaks is full-on dance music, often intense and dark, which is unusual for Paul, and refreshing because of that. It just adds another layer on the canvas he is leaving us with.



1. Really Love You. (Paul McCartney, Ringo Starr)

Paul McCartney : Executive producer.

Clive Goddard : Mixing engineer.

Freelance Hellraiser : Producer

Studio : Hog Hill Studio, Rye, UK

(Production is the same for all songs)

-I am a huge fan of the mash-up. I have heard many wonderful mixes, featuring Beatles and solo material.

The format of the mashup is that of an extreme remix in which two disparate musical and recording experiences are combined in a manner that goes beyond remix to literally merge or mash up the two songs so that they emerge as something unique or hybridized.

The technique sometimes obscures the original source material or so seamlessly blends the divergent elements that disentangling the grafted parts becomes nearly impossible.

“Really Love You” was the 1st single drawn from the album. Fantastic use of the bass and vocals. It’s hard to describe these songs, as there is so much going on in the mix. You either throw yourself in the mix and enjoy or you may not love this as much as I do. Rating – 9

2. Long Haired Lady (Reprise) (Paul & Linda McCartney)

-This is a song that is my least favorite from RAM. It’s not bad, but not my fav. However with the introduction of the guitars from “Ooo You” and a host of other wonderful layers I bow before you and say I am not worthy. Rating – 9.5

3. Rinse The Raindrops

-One of the more interesting songs from the blah DRIVING RAIN, On this one the tempo is taken up more than a bit, but keeping the vocals the same speed as the album. Even the mid temp shift doesn’t stop this maniac thumper. Rating- 8.5

4. Darkroom

-A stripped down of the original, slowed, and gently handled with vocals and effects from the original. Rating – 8

5. Live And Let Die. (Paul & Linda McCartney)

-Should be called “When You Were Young.” Features that riff over talk by fans, critic and broadcasters (Howard Stern is one I recognize). It is a cool beat, but I yearn for it to really lose this groove and linking the rocking parts of “live and Let Die.” A swing and …. it’s fouled off. Rating – 6

6. Temporary Secretary

-A track that has lot on the bone to begin with.

1. The synth drum machine that played the notes has been all but eliminated. 2. The entire middle verse was eliminated… “She’s a…” as has the altered backup vocals on the refrain. Instead Paul leaves his main vocals, on the the now slightly flat refrain. Interesting.

This is the mix that made this song turn towards a “classic” in the overall cannon. He even began to play this in concert, and it went from deep deep track to cult status. It stays pretty much on the same page…. But that’s fine with me. Rating – 9.5 (Even my dog & cats dance together on this one)

7. What’s That You’re Doing (Paul McCartney, Stevie Wonder)

-Another that’s not one of my favorite TUG OF WAR tracks (see previous review). Not bad… it’s just ok. I thought these two superstars could produce better than this jam.

But here, the tempo is sped up, and the mix is thinned out, with the baseline driving the beat. The lead vocals are primarily given to Stevie, and the background vocals are nice remixed. The mid-song tempo change was very nice…. It returns to the first tempo, and the lack of vocal remixing FOR ME makes this more of a skipper, even though the ending is landed gently and with a smile. Rating – 7

8. Oh Woman, Oh Why

-A concert review CBS announcer…. And Paul talks about the 2002 preshow. 2 A woman from the tour is heard talking about the vibe of the preshow. Band On The Run guitar vibe with Oh Woman vocals and bass. Interesting, yes. Rating – 8

9. Mumbo (Paul & Linda McCartney)

-WILD LIFE opening track on a bit of helium. About 20% or so faster the album track, stripped of all the guitars…. Not a bad groove, but other than a few subtle percussion and a nice temporary tempo change… not that much here other than the basic groove. It is certainly danceable…. Rating – 7

10. Lalula

– The drum beat of “What’s That Your Doing” with the slow layering of sounds. Guitars are brought in and this is a kick-ass groove. “Old Siam, Sam” and “Broadcast” vocals are brought in on the tempo change until the groove kicks back in with constantly altered vocals and a slowly building backspace of sound. This is some awesome toe-tapping stuff…. Rating – 9

11. Coming Up

-Opens with the end of “More Moose and The Grey Goose” from LONDON TOWN and merges it’s bass and drum line with the lead and backing vocals of “Coming Up.” If you like either of these threads, good. If you like them both, you are in luck. The tension in the track is altered with some amazing mixing. The groove plays out till the fade Rating – 8.5

12. Maybe I’m Amazed

-Another fantastic use of the basic track, as we hear Paul sing backing vocals we have NEVER heard before. The basic track is speeded up during the verse, but the vocal pitch is preserved nicely, and even though the mix feels slightly awkward, you go with it. The re-mixing of the vocals at the end with “Creen-Akore” breathing over the album track remix is sonic bliss. Rating – 8.5


Over the rating of this album is 8.21/10. Very good indeed.

Expanded Edition

NOW…. this album may have a higher RATING than other “classic” Macca releases, but I reviewed it in the context of so many other factor. In this case, it’s shear uniqueness makes it a review unto itself. Only a TWIN FREE TWO could be judged against it.

Even the Fireman material is not like this, other than it certainly pleases Paul to death to have these in his catalog.

In that vain, NEXT, 2008’s ELECTRIC ARGUMENTS by The Fireman.



“I compiled sounds and made the basic collage … I asked Cian Ciarán of Super Furry Animals to mix something from it, which he kindly did, and my mate Youth used his talents to add a final touch.” – Paul

Because McCartney was so heavily involved in its creation, in addition to his production credit, Liverpool Sound Collage, which was released in 2000, is generally considered a part of his main discography and is filed under his name.

Asked by artist Peter Blake to create something musical and with a Liverpool spirit to it, in order to complement his concurrent artwork exhibition.

Liverpool Sound Collage was nominated for the 2001 Grammy Award for Best Alternative Music Album but lost to Radiohead “Kid A.”

“It’s a new little piece of The Beatles. It’s an outbreak from my normal stuff. It’s a little side dish that is not to be confused with my other work.” – Paul

“It’s really weird. I think Cian [the band’s resident mixer] was fucked off his head and he saw Paul McCartney at an awards ceremony and they talked about mixing, so Cian gave him his phone number and Paul phoned up the following week. And then the following week to that a pile of tapes arrived at our office from the Apple Corporation. All dusty boxes with a heavy letter from the Apple Corp. saying “these tapes contain previously unreleased Beatles material and should not be played anywhere but our broadcast area…” – Gruff Rhys, from The Super Furry Animals.


Although essentially a Paul McCartney release, four of the five tracks on Liverpool Sound Collage were co-credited to The Beatles.

The ambient electronic pieces came about after artist Peter Blake asked McCartney to create a soundtrack for the On Collage exhibition at Liverpool’s Tate Gallery in 2000.

Blake had previously famously designed the iconic artwork for The Beatles’ album Sgt Pepper’s Lonely Hearts Club Band with his former wife, Jann Haworth.


When this album came out in 2000 I really wasn’t expecting it, and this falls into that very special one of a kind release for Paul. Yes, it is in the same spirit as The Fireman albums. Youth (his Fireman partner) is featured here as engineer on every track and the listed writer of “Real Gone Dub Made In Manifest In The Vortex Of The Eternal Now.”

One “Lord Doufous” is also listed as recording engineer for each of the five tracks. Paul is listed as the producer.


Track Listing

1. Plastic Beetle 8:23

-Credited to Paul McCartney and The Beatles. We hear the voices of the John and Paul over a rhythm track that weaves slowly. A note Paul sings is stretched and moves within the slowly changing tapestry of this and each track. We hear lovely backwards sounds melodically pasted. George and Ringo are also heard. This track, and the album in general is best appreciated under the headphones with a careful listen. Proper medication wouldn’t hurt either! There are some really interesting transitions, and it never really gets TOO repetitive. The end is a flourish of Beatles sounds, layered and mixed…. Wonderful. Rating – 9

2. Peter Blake 2000 16:54

-Credited to The Beatles and Super Furry Animals. The word “Blake” is sampled and stitched and manipulated until it morphs at 2:23. This is strictly sound manipulation at this point, and quite frankly, unless the medication was acid, boring.

The “word” is now been transformed into “Liverpool.” Odd sounds and shapes…. for nearly 17 minutes. Where is my bong??????? “George” saying “do what you want to do” is tweaked and altered and morphed in a nice way and the song picks up some steam. The drums are sampled from “Free Now” track and Beatles session tapes. It’s a nice groove that gives us the “free now” groove used in track five.

Overall, this is a long road, filled with many twists and turns. There are many interesting sounds and ideas and mixtures of the both. But nearly 17 minutes makes this again a very specific album to listen to. “Chinga-Chinga..” Rating – 7.5

3. Real Gone Dub Made In Manifest In The Vortex Of The Eternal Now 16:37

-Credited to Youth. He uses the drum beat from “Free Now” and mixes many of the samples we have heard, or slightly different samples from the same source.

Youth uses more sources, and many will be used in the next two songs. They all had access to the same load of originals source material and each has taken the care to mix and blend and re-imagine each. Different tracks, but each holding the same threads.

The transformation of the threads is what makes each of the tracks unique. Rating – 7

4. Made Up. 13:01

-In his 1973 special Paul recorded a segment which Liverpool residents were interviewed and it ended up as a family sing a long at a local pub.

Paul talks, asks their name, their favorite “group”, city, what they thlnk of “The Beatles,” or just explaining the purpose of why he is recording. We can hear the “Liverpool Oratorio” chorus samples over the steady “Free Now” drum track. Paul arrives at the Cavern Club to applause.. and pre-show chat. Paul again uses many of the previous samples… but they are used least effectively on this one. Easily, the least interesting of all the tracks….. Rating – 5.5

5. Free Now. 3:30

The culmination of all of the tracks. Taking George’s “Do What You Want To Do” and it transitions into “Free Now.” Many of the effects we have heard in previous tracks are brought together and make this the “single”of the album. Now, we know it wasn’t. It basically stays in the same music traffic lane most of it’s 3:30. Nice use of previous samples. Rating – 7


Overall, this album rates as 7.2/10. Not an easy listen, but still a part of his entire output I’m sure he is very happy with. Put it on the stereo on those very special occasions.

Next, 2005’s TWIN FREAKS!


Rupert The Bear

The unreleased Soundtrack to the unreleased film (1971-77)

This review is going to feature quite a bit of “What if?,” “What was?,” “What is?” And “What could be?”


I think that for Paul McCartney, “I THINK” he really wishes that this had happened instead of what really did…. (Some are quite obvious while others feature my wish as well).

The Beatles would have STAYED creative brothers and never broken up. They continued to work on amazing albums as their best songs combined on new albums only added to the legend.

The band allowed themselves to work on solo projects, and helped each other as often as they wanted.

The money would be handled by the right people after Brian Epstein’s death. Each of whom made the right decisions on every aspect of it. The money issues would never come into play etc…

Wives and girlfriends caused no internal or external problems, and were unnoticed parts of the cherished Beatles recording sessions unless asked. They were there…but no beds.

Apple was never started.

John and Paul hadn’t agreed to put every song as Lennon-McCartney back in 1962. I feel Paul wishes they had just been honest about each, and MOST IMPORTANT is that Brian Epstein never allowed to sell or lose any or their song rights or get swindled on merchandising rights.

That they would have learned to tour with 1970’s and 1980’s technology…. They would have full band sets and solo sets and the shows would be mind-blowing.

John would have had better security and had a chance to live a full life.

The Beatles would have ended after George’s 2001 death, unless John had died of natural caused earlier.

The final one…. I think Paul would have loved The Beatles to have made this project we are discussing today. He loves hand drawn cell animation and acquired the rights to the Rupert books in one of his first non-musical investments in the late 1960’s. He announced that he had bought the rights to the Rupert catalog on the day he released McCARTNEY 1, which also was the day announced he was leaving the band.

I think he loved how Yellow Submarine ultimately went down with the critics and fans. Since the Beatles wouldn’t be making any more of the HELP type silly films, then outside of recording, filming concerts or producing animated films could have been a direction had the band stayed together.

In retrospect “Let It Be” was supposed to be that type of film. The editing forever ruined its true worth. If only the “Get Back” film we saw in 2021 had come out in 1970….

For their last film commitment they even floated the idea of doing “Lord Of The Rings” (with them in the lead roles) before making it “Let It Be” in 1970.

But with the actual history of the break up Paul was free to do and start all of the whims he tried to get the others to do.

Paul formed a band, and toured.

He recorded a film filled with live footage and animation in the 1972 period called “The Bruce McMouse Show” which finally was wonderfully finished and saw the light of day a few years ago.

At the same time Paul also wanted to do a full length animation of the newly acquired RUPERT library, so he must have set into works in 1971 the starting of maybe story boarding etc….

But he came up with a complete story in musical fashion. This “album” is roughly 70-75% or so finished.

Paul hums and whistles or skats within songs where maybe he hadn’t finished lyrics.

The sound quality is very good for a bootleg, but not nearly as good as that from any final mix source. But the sound is still good, not great. There is an orchestra track on some songs mixed in, but it sounds somewhat bland with less than 100% sound depth (I’m Listening under the headphones). The piano used is the same on each track, and sounds like the kind played in a pool hall.

Recording was started in 1971 with the original 4 person Wings. Denny is clearly heard on the harmonies, but not so much Linda. Overall it sounds like Paul did the drumming and everything else, and shared guitar work with Laine. Except for one song I don’t hear the Seiwell sound…

Paul gives a narration before every song describing what is happening in the story…

If he had finished this soundtrack without a film… the critics would have went wild as this is strictly for children or drug taking adults…. Paul and Linda fell into the later.

In 1971 the film was never made. The ideas stayed. In 1978 the film was never made. What came was Paul saving one song and giving it the full animation treat in “Rupert And The Frog Song.” If the entire film was given this care and quality music, it would have been amazing.

But “Frog Song” was huge, the best selling VHS video sale of 1984. It was featured as the opener to the 1984 film “Give My Regards To Broad Street.” It also was featured on Disney channel.

Paul took another segment idea in his 1997 short animated “Tropic Island Hum.” The Disney connection was here as it opened for the movie, “Hercules.”

Now, works are underway for another film, “High In The Clouds.” This is again, is another segment from this Rupert album.

It is interesting to see this project start brewing in late 1969, never FULLY blossom but still it yields dividends to this day.


Rupert Song (version 1)

Paul: “Once upon a time there was a young white bear named Rupert.”

-Besides “We All Stand Together” the most commercial sounding song, that even with its child like quality stays in your head long after it ends.

Paul seems content on the melody, but the words aren’t flushed out. Paul sings words that fit the phrase but are meaningless. Denny and Linda add nice harmonies on the chorus. Would have like to see this one finished properly. Rating – 8

2. Tippi Tippi Toes (Parents Theme)

Paul: “He lived with his mother and father in the village of Nutwood.”

-Piano only, Paul on drums. It goes through a few tempo changes, aided by acoustic guitar and synths. It has kind of an old-time driving down the road feel at points. Some nice chord changes…. But was it supposed to have lyrics? Rating -7

3. Flying horses

Paul: “One day he is exploring in the woods when he is surprised by a black winged stallion leading a herd of white flying horses. They tell Rupert of a secret mission that the king of the birds has for him. And the stallions says they have been sent to take him to the king. So Rupert sits on the leaders back, and off they gallop.”

Horses run…. The sounds are there as they move along, with acoustic and electric guitars helping drive the herd.

Not much here….. besides the horses… Paul strums the melody of the next song as the song ends…and the horses seemingly stopped. Rating – 6

4. When The Wind Is Blowing

(Paul & Linda McCartney)

Paul: “After a long run they leap off the edge a high cliff and start to fly to the clouds.” (“High In The Clouds” segment)

Another where Paul just skats until he get to the “When The Wind Is Blowing” line. A gentle acoustic number that has a few nice chord changes but was never seemingly finished. His bass playing is evident for the first time. There are some nice Spanish guitar flourishes here and leaves me wanting more…. He even does a few verses whistling…. Rating – 6

5. The Palace Of The King Of The Birds

Paul: “As the huge clouds part they see the palace of the birds.

This piano based instrumental feature Paul multi-tracking vocals on harmony but again, no lyrics. Has a bit of the “Frog Song” feel to it. Rating – 6

6. Sunshine Sometime

Paul: “The King explains that the North wind has gone out of control and is about to freeze the whole world over. Rupert agrees to help and flies away, carried by a giant bird. But they meet icy winds which freeze the birds wings over, and he has to drop Rupert, who manages to parachute down on a tropical island.” (“Tropic Island Hum” segment)

-We’ve heard this song before. A wonderful little ditty. It was given to us as a bonus track on the RAM box set. I have heard this song with (1978?) and without lyrics (1971?). This would have made a nice addition to the first Wings album. The bass work is amazing. Rating – 8

7. Sea / Cornish Wafer/Storm

Paul: “After a celebration with the natives, where Rupert meets “Sailor Sam” (1973 BAND ON THE RUN reference), they set off the next day across the sea.”

This is an amazing 3 part song. Paul and Denny really bring out the slow sea dirge “Sea.” One can feel the boat slow journey across the open water. It then quickly changes into the sea shanty “Cornish Wafer.” Why wasn’t this song dusted off for “LONDON TOWN?” They, sounding like “Feet On The Ground” from MEMORY ALMOST FULL, Paul and Denny (or Lawrence etc..) share the guitar stage on this segment as the boat finds itself rocked by the electronic tidal wave. Wow…. Rating – 9

8. Nutwood Scene

Another piano instrumental, very old time sounding musical phrases depicting rural life. Birds chirp gleefully throughout the song. The least flushed out of the piano based songs. Rating – 4.5

9. Walking In The Meadow

Paul: “After a visit by Doctor Lion, Rupert begins too feel better. One day he goes for a walk in the countryside.”

Now…this could have been the link that starts off the “Frog Song” film, where Rupert takes off for a walk and meets the frogs and owls…. There he left his home…. Maybe this is easier to explain than Dr. Lion?

-Another whistler from Paul. He mouths sounds but no words. No, THIS is the least interesting unfinished piano instrumental. Rating – 4

10. Sea Melody

Paul: “Rupert now decides to carry on with his mission. And with the help from the professor he set off on a flying bubble to seek the advice of the “wise goat of the mountains.” After many adventures he meets Jack Frost but they are both buried by a massive avalanche of snow and ice. The friendly south wind rescues them and after a fierce battle they and all their helpers defeat the north wind.”

Wow…. that was a lot of story that went by between the last two songs…. You sort of need the movie. On the last, Paul plays a familiar sounding melody that lifts the mood. The synth and backing vocals are sweet. Rating – 6

11. Rupert Song (version 2)

Paul : “The balance between the winds is restored and Rupert and his friends say goodbye and head home for tea.”

-Paul reprises the opening tracks, just like he did on track one. A different skat vocal track and a bit shorter. Either Denny or Lawrence play some nice phrases on guitar. Rating – 8


Overall this unreleased album rated as 6.59/10. We could probably add at least 0.5-1 full point out of 10 if the songs were finished to satisfaction.

Overall I hear the faint melody in various songs that Paul may have brought into other future recordings. Nothing exact, but the melodies remind me of similar melodies over the last 45 years.

Next: 2000’s Liverpool sound Collage

Kind of sad, to do so much work on something and not having it see the light of day or even get finished.


RUSHES (1998)

RUSHES is a 1998 ambient techno album by The Fireman, the second by Paul McCartney and producer Youth.

Better received then predecessor Strawberries Oceans Ships Forest, Rushes is distinguished by not relying so much on McCartney’s previous recordings.

Rushes was released in the UK on Hydra on 21 September 1998, while in the US it was released on Capitol on 20 October 1998. The album was also released on double vinyl. Two 12″ singles were released from the album, both mixes of “Fluid“. The first 12”, released on the same day as and with the same name as the album, contains the tracks “Fluid“, “Appletree Cinnabar Amber“, and an extended version of an album track titled “Bison (Long One)“.

The second 12” was released in 1999, as a limited edition of 3000, titled Fluid (Nitin Sawhney Remixes), and features three remixes of “Fluid” (“Fluid (Out of Body and Mind Mix)“, “Fluid (Out of Body Mix)” and “Fluid (Out of Body with Sitar Mix)“) and the album version of “Bison“.

Like the duo’s first album, Rushes was a no-show on the charts and is also no longer in print.


One line of lyrics included in the song “Palo Verde” was taken from an unreleased track of McCartney’s, titled “Let Me Love You Always”.

Similarly, bits from another unreleased song, “Hey Now (What Are You Looking at Me For?)”, was used in “Bison”, “Auraveda” and “7 a.m.”.

Both unreleased tracks were recorded at some point during 1995, at McCartney’s The Mill studio. Two more songs were mentioned: “Plum Jam” and “Through the Marshes”.

All of the tracks featured on the album were recorded in February 1998.

Youth later referred to this album as his proudest of the Fireman albums. “We recorded the album when Linda was going through the final stages of her cancer.” “She was very involved with the project again. It was very sad when she died. When I listen to the album now, it sounds like a requiem for her, it’s very beautiful.”


The Fireman brings bison for trancing in the streets.

The Fireman gives a watercolour rush, fluid.

The Fireman understands darsh walls and emerdeen sky. Do you?

The Fireman know’s a lemon’s peal.

And the power of the equinox

The Fireman heard a girl’s snatch-talk of a saucer, flying.

The Fireman likes the sound of mud.

The Fireman plays it all; Bass. Watercolour Guitar. Keyboards. Cymbals.

And the fool.

The Fireman looped a shadow’s clipclop.

And made auraveda.

The Fireman taped the talk of sex.

The Moon is right. So the Fireman comes.

The Moon is right. So The Fireman comes.

Rudely. 7am. 
 With Rushes.



Watercolor Guitars

Palo Verde



Apple Cinnabar Amber


7 a.m.

Watercolor Rush


This second Fireman album is a dramatic improvement for me as it’s much easier to listen to then STRAWBERRIES… The tracks are flushed out with care and these transitions within the melodies are made more with greater care and frequency. This again only adds to the lavish landscape.

“Palo Verde” is my favorite, a clear tribute too Linda, which included riding of her horses and vocals.

It is unique and unlike anything he had done before so a listen for any McCartney fan who is unaware of this output in his musical cannon.

While I gave the first Fireman a basic 6.5, mostly on the chances taken, and for the times any of the track segments kicked into a groove.

For RUSHES, I do the same thing, but with an across the board 8.5/10. This is a wonderful album to put on the stereo or on a in your car at the start of a slow journey….

Basically an overlooked GEM.

Listen to it online and give me your feelings.

Next… started in 1971…sort of finished in 1978…and basically unreleased RUPERT THE BEAR SOUNDTRACK. Play narrates the story on each of the tracks. The original planned full Rupert movie and companion album.


Strawberries Oceans Ships Forest (1993)

When this album was recorded (late fall 1992) and released (late 1993 and early 1994) the face of music had changed greatly in the last 10 years.

The classic bands of the 60’s, 70’s and 80’s basically had broken up or had peaked. Hip-hop or Rap began to spread its wings and other types of music appeared and grew in popularity. Alternative and Grunge, Brit-Pop, New age, Trap, Low-fi, G-Funk, Crunk, New Jack Swing, Ambient, trance, house.. etc…yikes!

As soon as Strawberries Oceans Ships Forest was released, cryptically credited to The Fireman, rumors started circulating about Paul’s involvement.

So when word on who was “The Fireman” leaked out, I quickly bought and consumed it. I was proud of Paul for stretching his limits, but this was not anything I had bought or listened to at that point in my life.

An ambient electronic album, the project emerged from Paul’s request to producer Youth (who is best known as a member of Killing Joke and the Orb) for remixes of songs from his previous album OFF THE GROUND, using elements found within the songs themselves.

Talking at the time, Youth described how he expanded on the concept: “I thought it would be better to do a more conceptual thing – that is, rather than remix a track I thought we should deconstruct the album into samples and then construct a new mix from those. And Paul liked the idea. He was into it, so I went for it.”

Paul then joined him in the studio and the album was born. “It was great fun,” Paul said at the time, “because normally these are the bits that producers try to get me to shut up about – they usually say ‘Stop messing around, Paul, sing the song properly.’” But producer and co-Fireman Youth wanted all the messing around. “It was an interesting release for me.”

The album also consists of samples of “Reception” and “The Broadcast” from Wings’ 1979 album Back to the Egg, as remixed by Youth.

Neither McCartney nor Youth are credited on the album.

Eventually, McCartney decided to join Youth in the studio to create new music to add to the tapestry along with the existing samples, and the project became a more collaborative effort. Although originally conceived as a series of 12″ remixes, McCartney became so happy with the results of the sessions that the project became this full-length album.

McCartney’s involvement was eventually confirmed by EMI.


The Album

All album tracks written by Paul McCartney, Youth. Recorded Oct 07 – Oct 10, 1992 Hog Hill Studio, Rye, UK

1. Transpiritual Stomp 9:05

2. Trans Lunar Rising 9:11

3. Transcrystaline 8:42

4. Pure Trance 8:42

5. Arizona Light 8:42

6. Celtic Stomp 8:35

7. Strawberries Oceans Ships Forest 8:10

8. 4 4 4. 7:37

9. Sunrise Mix 8:19

Overall…. Like THRILLINGTON, this is not an album I can put on the stereo or listen under headphones and enjoy on it’s own, song for song.

This, for me, is something to put on and capture the vibe in whatever I am doing.

STRAWBERRY is interesting, yet repetitive, ground breaking for Paul, but like some of his first forays into a new genre, he learns and improves on the output each time. It is very exciting in parts, and snooze worthy in others. I used various parts of it on video productions and it works nice in these instances.

Overall I give the entire album a 6.5/10. It would be the last McCartney album I would go to unless I’m whipped into an Indican frenzy and need to clean out closets or sheds while it roars in the background.


In a Melody Maker review, Michael Bonner wrote…. Paul McCartney has discovered dance music – and the results are staggeringly brilliant.

Truly, we live in an age of miracles. Eschewing the easy option of making a remix album, McCartney and his collaborator, Youth, have chosen to follow the likes of Brian Eno down a more experimental and cerebral path. They take a melody and, with dexterous genre-hopping through ambient, trance and house, evolve a number of breathtaking variations. Like snowflakes, each song seems identical to the last, until closer inspection reveals that it has its own unique shape.

The album was released in the UK on November 15th, 1993, and in the US on February 14th, 1994. The album was released on Parlophone in the UK, and Capitol in the US.

“Transpiritual Stomp” was released as a 12″ single, with “Arizona Light Mix” as the B-side.

Next: 1998’s RUSHES, by The Fireman.



NOTE: I gave this an overall rating because I didn’t review it song by song but for the feeling the album gives me. It’s great to sing and hum along to these odd, entertaining light versions of the classic RAM. It’s true worth in the Paul cannon is when it was recorded, when it was released and how it was rolled out. Most important, why in the first place? The critics ripping of RAM back in the day must have also helped slam on the brakes.

Give it a listen.

Remember when Paul and Linda recorded an orchestral version of RAM in 1971, about a week after recording the original album….

Not many do.

Paul was secretly unlisted as PERCY “THRILLS” THRILLINGTON, the conductor of the music heard on the vinyl.

The album was ready and then like many projects of the time he abandoned it.

He started forming Wings and didn’t want to invest time and energy putting the final touches on an album of his last SOLO album.

So at some point in 1977 he gets the CRAZY idea to begin an ad campaign to hype the name and the potential product when it is finally released.

They even came up with a model to play the part of the mysterious “where in the world is” Thrillington. The album is excellent in what it attempts to do. It is an easy listening album of its day and yet it does it with a wink and a nod to its being more than just elevator music.

“Percy “Thrills” Thrillington” was the pseudonym used by Paul McCartney to release in 1977 the instrumental version of RAM that was recorded 6 years before in 1971.

“I did one of my favorite little tricks, which was to use a pseudonym. Me and Linda sat around and we invented this character called Percy Thrillington. So we invented it all, Linda and I, and we went around southern Ireland and found a guy in a field, a young farmer, and asked if he minded doing some photographic modeling for us.

We wanted to find someone that no one could possibly trace, paid him the going rate, and photographed him in a field, wearing a sweater and then wearing an evening suit. But he never quite looked Percy Thrillington enough.” -Paul

For the record’s release, Paul and Linda devised a novel promotional scheme whereby the fabricated Percy Thrillington generated curiosity by taking out classified ads in the back section of British newspapers, making cryptic announcements such as “Percy Thrillington wishes to announce that, comforted by his specialist’s verdict regarding his condition, he has departed, all smiles, for Yorkshire.”

In addition, fake business cards were deliberately left in select locations around London, while radio and poster campaigns also tried to build a mystique. Ultimately, however, Thrillington failed to chart.

Then we started this whole business in the Evening Standard ad columns, which was the really fun thing, putting in things like ‘Must get in touch with… Thrillington’, as a result of which the newspaper columns picked up on it – ‘Has anyone seen this rubbish going on in the Evening Standard about Percy Thrillington?’ – and it was good publicity. It was one of our madcap publicity schemes, as if we were managing this character called Percy Thrillington. -Paul McCartney

Paul finally acknowledged he was Thrillington during a press conference on November 27, 1989, when journalist Peter Palmiere pressed him on the matter. “What a great question to end the conference. The world needs to know! But seriously it was me and Linda – and we kept it a secret for a long time but now the world knows! – you blew it!- (laughs) I was hoping to remain anonymous. I always like people not to know what I’m doing. That’s why I find the whole social networking a bit weird.

I think it’s something to do with having been Beatles famous. […] For years I denied any responsibility and authorship because then, for me, I just had something on people – it was a good feeling. I’d just say, ‘I’m sorry. I have no idea who this person is or why he has covered my album’. I basically enjoy lying.” – Paul

THRILLINGTON was released as an exact format of the album RAM is a delightful listen to when not having to think about a thing…. *Rating – 8.0

NEXT…. The Fireman, part 1.


One Hand Clapping (1974)

In the summer of 1973 Wings was brought in to record a one off single for Paul’s brother Mike, “Leave It.” Mike had just signed with Warner Brothers.

Warner decided upon hearing the amazing track to expand the recording to an entire album.

Maybe welcoming Michael was the first nugget in an ayyempt to lure Paul away from Capitol Records when his contract was soon up??? (He stayed with Capitol)

In early 1974 Paul, produced and wrote/co-wrote nearly every song.

Wings was again brought in to record, but Denny Seiwell and Henry McCullough had left the band the previous December.

So, besides the project for Mike, Paul was also testing out a new drummer, Geoff Britton, and wunderkind lead guitarist, Jimmy McCulloch. After this, with anticipation to record and get back on the road, this new version of Wings rehearsed and then went into Abbey Road studio, where they were filmed live playing what would come out ONLY as a bootleg, “One Hand Clapping.”

No video, no official release. But a very interesting period for Paul.

Tensions soon led to Britton leaving and drums taken over by Joe English.

The Set List

One Hand Clapping
-Interesting instrumental, heavy on synth blasts by Linda, Paul thumping bass and Jimmy taking the lead. Nice, at a time Wings still love recording instrumentals. Rating -8.5

-Not sure why Jet was recorded again, just 8 months after it was recorded for BAND ON THE RUN. If they were rehearsing these for a possible future tour, but they are recording. Maybe as a companion to the film?? He does this many times on this project, and this would have been the first, not last that Paul has re-recorded the previous album (the BROAD STREET film…). Great version – 8.5

Paul yells out “take 7”. So they were picking up a track that Wings II had attempted and played live in 1972 era. An excellent studio version, with outstanding playing on this odd song Paul would use as final encore on 75-76 world tour. Rating – 9

Little Woman Love/C Moon
– Sorry, never liked this pairing, as the odd tempo change killed for me any momentum either song had. I think I’ve heard him do this the other way, with C Moon opening and Little Woman. This version opens with a partial short fail then restarted. It’s not bad at all, but I think Paul settles on forcing this pairing. Rating – 7

Let Me Roll It
Very Good version. They must have been thinking tour…. Rating – 8.5

Juniors Farm
Another version I don’t have audio for. See #11. Rating N/A

Wild Life/Hi, Hi, Hi
-Just the ending of what sounded like a nice version of “Will Life” into a fantastic version of “Hi, Hi, Hi.” Played at the perfect speed…. And wonderfully. The trippy ending wasn’t needed. A proper could have made this a classic. Rating – 8.5

Go Now
Denny says “take 99” and then they re-create Denny’s Moody Blues classic. Done very much like they would do on tour. Excellent version with Linda handling the horn sections on keys while Paul doubles on electric piano…. Background vocals are incredible. Rating- 8.5

Maybe I’m Amazed

-Wonderful version with fairy tale intro. “A novel opening.” Paul actually asks what this one is called. Very good straight forward version. Yes, this had to be a prep for a tour… but still recording take after take in the studio…. Hmmm…. Rating – 8

-Pink and Perky. Opens with an unusual and interesting drop key opening. Without the drum machine but still sounds wonderful. Rating – 8

Junior’s Farm
This is the song this version of Wings is famous for…. “Take me down…James.” Not sure if they got the final studio version in these sessions or in Nashville. Nice version, but nothing other than toned down guitars compared to the final. Rating – 8

-Another attempt. Paul is especially randy mood vocally, loose as a goose. Nothing new here. Rating – 7

Second attempt made…l. Don’t have the audio… yet. Rating – N/A

My Love
-Gentle and caring. Paul on electric piano. Denny on bass and the solo is wonderful. Linda doesn’t attempt to add any lush on synth. Wonderful background by Denny, Linda and Jimmy. Rating – 8.5

Nineteen Hundred And Eighty Five
-Odd…. Paul plays solo on piano and then starts out song. He is later synced on a tape from studio version. Outrageous skats to end this one. But odd…. Filmed when he was doing the piano part of the film. Rating – 8.5

Live And Let Die
-Take three. Long before flash pods and fire. A wonderful little song the band brings in a full orchestra for. Outstanding all around recreation of the George Martin arrangement. Paul likes it. Rating – 8.5

Band On The Run
-Take 6, “Hand on the Bun.” Full sound with synths high up on both sides of the mix and the acoustics nice and bright. Paul and the band sounds wonderful. The orchestra on the final build up ices the cake. Paul’s vocals are a tad too deep in the mix for me. Britton’s drumming is excellent here, and throughout. Nothing special. He was a straight egg, who clashed with young brash Jimmy. Geoff would show up in full karate gear and practice between takes. This was the era of tons of weed smoking (see the cover) and Britton was not into this. Rating – 7

Blue Moon of Kentucky
-Fantastic bass riffs by Paul on this quick off of The Bill Monroe track we know Paul loves. Part on original Wings set. Denny on harmonica is the highlight. Everyone shine on this. Rating – 8.5

None of the piano part of the film were released and are available as a bootleg as “The Piano Tape.”

Overall, this unreleased project rates as 8.15/10. I wish that we could get a proper release. This was certainly at a time when Paul was overloaded with plans and projects, still up to his neck in legal issues with the other three Beatles.

But he was nearing his peak in many ways, and he really enjoyed himself making this attempted project. Clean it up as best as possible and put it out as album and video, warts and all.

Next…. 1971…I mean 1977’s remake of Ram, “Thrillington.”



After releasing the two live albums in 2002 and 2003, Paul continued to write, record and release albums, start many different solo projects in addition to regular touring.

He also dealt with personal changes within his life.

After his marriage to Heather Mills went south, he released and toured promoting both CHAOS AND CREATION IN THE BACKYARD (2005) and MEMORY ALMOST FULL (2007) and ELECTRIC ARGUMENTS (2008).

He toured in the summer of 2004, the US Tour in 2005 (I saw him in Miami), and the Secret Tour of 2007.

This album is part of The Summer Live ’09 tour.

The New York Mets had destroyed their previous stadium (Shea Stadium), which Paul helped Billy Joel fantastic “Last Play At Shea”close out concert. They had replaced it on the same site with the beautiful new Citi Field.

This album is drawn from the three shows he did there on July 17th, 18th or 21st. I saw him on the 18th of July, and remains the only McCartney show with an opening act (The Killers).

I saw Paul again in 2011 at the “new” Yankee Stadium,

Then once more in Tampa Bay in 2017 at Amalie Arena.

But for me, I love Paul, but it has gotten way too expensive for me to get good seats and the set list has not changed enough to justify the money. He tours to this day (having a magnificent Get Back 2022 tour of America and headlining Glastonbury festival). And at 80 years of age… not slowing a bit. He is a miracle.

But no more live releases after this.

So after this review we will go into… Alternative releases. Starting with 1974’s film “One Hand Clapping.”
It’s live, never been properly released, but an important part of Wings, thee third phase.

Statistical Analysis (U.S.)

of Songs: 33

Songs of Paul (solo): 7 (21.2%)
Songs of Wings: 6 (18.2%)
Songs of Beatles: 18 (54.5%)
Songs of Others: 2 (6.1%)

“Drive My Car”
-3rd time on live release. A favorite of Paul’s to open shows. The sound is fine, this band is slicker than oil.
Rating – 8

-6th time on live release. And in its usual spot at the #2 song. I don’t know if its the mix (I’m under headphones and listening to the CD) but the guitars, drums and even the crowd sound odd to me. Rating – 7

“Only Mama Knows”
-3rd time on live release. Paul was touring mostly on The Fireman’s ELECTRIC ARGUMENTS album, but he did play a few other new solo, this from MEMORY. Paul and the band sound great, as usual. Rating – 8

“Flaming Pie”
-1st time on live release. This was a breath of fresh air.

Let me have at a 33 song set list for Paul’s show and this would be more like it.

Paul still rocks hard on this one, and the altered ending is better than the album fade. Rating – 8.5

“Got To Get You Into My Life”
-3rd time on live release.
Another fresher Beatles song we hadn’t heard in 20 years. Paul still needs help on the chorus, but not as much as the 1989 tour. Bet you the asses were “a popping.” Rating – 8

“Let Me Roll It”
-5th time on live release.
Another that has racked up enough miles. Paul likes to play it to show off the Lennon like riff. But Paul only plays it on the non-singing verses, then Robbie takes over. We loved it back in 1976…. Rating – 6.5

-1st time on live release.
Underrated song from ARGUMENTS. The band plays it well, but a definitive lack of response from the crowd. Rating – 7.5

“The Long And Winding Road”
-4th time on live release.
I love this song, but maybe “She’s Leaving Home” or “Tomorrow” or something new…. Rating – 7

“My Love”
-4th time on live release. A tad rough.
See above.. Rating – 7

-4th time on live release.
See above. The story… How about “I Will” or “I’m Carrying”? Rating – 7

“Here Today”
-2nd time on live release.
It’s impossible to top AMEOBA. Paul was touched, since this is NYC, where John lived and was murdered, so it came off well. Rating – 8

“Dance Tonight”
-2nd time on live release.
I like this silly simple song, and it’s another bum shaker…. Still sounded fresh. Rating – 8

“Calico Skies”
-2nd time on live release.
Great song, played well, with great visuals on stage. More of a group rally feel than sadder solo acoustic on the album. Rating – 8

“Mrs. Vanderbilt”
-1st time live release.
Another highlight… a Wings song never played live before and they have a blast, turning a jungle like romp of the album into a soviet like dance party. Rating – 8.5

“Eleanor Rigby”
-3rd time live release.
Classic Beatles track that has lovers holding each other, and everyone appreciated this one. The crowd always helps out on the chorus. Rating -8

“Sing The Changes”
-1st time live release.
Another first timer of a great track from ARGUMENTS that too many in the crowd didn’t get or know about . Fantastic version. Rating -8.5

“Band On The Run”
-5th time live release.
Another song I have always loved, but for me, it’s not one I go to hear anymore. Nice. Rating – 7.5

“Back In The U.S.S.R.”
-3rd times live release.
Maybe he should have followed with “Mrs. Vanderbilt.” Done very well, with Rusty the highlight hidden in the mix. Rating – 8

“I’m Down”
-1st time live release.
This was Paul’s signature closing songs at Beatles concerts from 1965-66. He would let loose on the vocals, and John would go wild on the organ. The band, and Paul do a great job with this. Paul still takes the vocals 5 miles above the speed limit! Rating – 8.5

-3rd time live release.
Love this like I love “Here Today” but there must be another song to give this segment life for the old fans. Still, lovely. Rating – 8.5

“I’ve Got A Feeling”
-1st time live release.
Love how Paul still does this song to the day. He has re-fallen in love with this one, and is a centerpiece to the show and now includes JOHN singing his own parts instead of Rusty. But for its day., it was exciting an a new fresh Beatles track heard live for the first time. Rating – 8

“Paperback Writer”
-2nd time live release.
Another fresher Beatles track that worked. Still a tough song to pull off live. Rating – 8

“A Day In The Life”/“Give Peace A Chance”
-1st for “A Day” 2nd for “Give Peace” live release.
He’s done tone other tribute to John before in the 80’s on his birthday and played in Liverpool. That medley included “A Day” but was combined with “Help” and “Strawberry Fields.”

Great selection, and so nice hearing Paul sing a John sung song. Would have been nice to have heard the whole song played but the “All we are saying….” chant by the crowd is the involvement that Paul loves. Rating – 8.5

“Let It Be”
-4th live release.
Nice, as always. Not perfect, but sweet. You are hearing the man who wrote it sing it live for you. As fans, this song makes you happy sad…. Rating – 8

“Live And Let Die”
-5th live release.
We know we are nearing the end of the regular set. The bombs are bigger, hotter and higher. Paul’s voice is good, but struggles at times. And once again, he was surprised at the last explosion and he collapses on his baby grand. We love him! Rating – 7

“Hey Jude”
-4th live release.
A song he must play, and we must sing along. His signature song, forever. By the way…..we sounded so sweet to him….again. Rating – 7.5

“Day Tripper”
-1st live release.
One of the best ass-shakers of the Beatles cannon. Just what we needed…. The bass playing is other worldly. Rating – 8

“Lady Madonna”
-4th live release.
Another one he maybe needs to do it in a whole different style… Maybe. Again, I love this song. But maybe a non-performed Wings or solo song here? Rating – 7

“I Saw Her Standing There”
-6th live release.
Billy Joel comes out and gives these balls some hair. Another song of his “I” have seen enough. Rating – 8

-5th live release.
He’s hitting the lobs pitches in batting practice of his greatest hits. Like many before, he feels he MUST play these songs for the fan whom this is their first show. Rating – 8

“Helter Skelter”
-1st live release.
OMG. You gotta be kidding me…. He fooled us all by dusting this one off and is now a every concert show. Playing bits of “Foxy Lady”on previous tours must have made him revisit this White Album gem. Weird hectic ending maybe fits the song better…. Rating – 8.5

“Get Back”
-3rd live release.
One of my favorite Macca songs, now given an extra star for how the GET BACK project is now viewed. He gets you ass back out of the chair, for one more time.. Yes, we all wanted to get back. Rating – 7.5

“Sgt. Pepper’s Lonely Hearts Club Band”/“The End”
-3rd “Sgt. Pepper’s” and “The End” live release.

One of the best endings he has done…. He cuts and pastes between this and the full version and others. Either way…. every show must now end with “The End.” Rating – 8.5

Overall this album by Paul rates as 7.53/10.

If you have never seen Paul live, or never watched a DVD of his live concerts, or never listened to a CD of any of his live releases, then this is a good place to start. Paul is always worth seeing, but just not as much on this release if you have seen him multiple times over the span of 40+ years (1976-2017 for me..)



After the 2002-3 world tours Paul continued to record, tour and work on projects. His short lived marriage to Heather Mills ended with much turmoil and many of the songs on his next two releases (CHAOS AND CREATION IN THE BACKYARD (2005) and MEMORY ALMOST FULL (2007)) dealt with the changes. He also released the TWIN FREAKS in 2007 and the classical ECCE COR MEUM in 2007.

He toured the U.S. to support CHAOS in 2005 (I saw him in Miami) and in 2007 played various high profile shows, promoting MEMORY highly in the set list. The reviews of both albums were outstanding, and Paul was more than willing to play these tracks live.

This is exactly the type of gig that Paul loves. Small, intimate loving crowd that hangs on every note. Even the new songs are cherished by this audience of 700.

The Ameoba Gig

Some screamed adulations. Others danced with religious fervor. Hundreds waved peace signs in the air with eternal devotion. Many wept at the sight of him. Outside the unfortunate were forced to stand and peer through windows just to get a glimpse of a living icon. Sir Paul McCartney was singing “Drive My Car”…inside a record store.

Amoeba Music Hollywood was chosen as McCartney’s next stop on a promotional “mini tour” for his latest album 2007’s “Memory Almost Full.”


Only an hour after the official announcement on Monday the tried and true McCartney fans began to line up outside the store with lawn chairs and McCartney memorabilia in hand.

By Wednesday night a lucky seven hundred fans, some coming all the way from Japan, were let into the show.

Beatlemania descended upon Amoeba for the biggest show in the store’s history. Fans camped out on the street for days for this once in a lifetime chance to get up close and personal with Paul.

Celebrities like Woody Harrelson and Alanis Morrisette could be found in the crowd but none could compare to the arrival of Ringo Starr.

Although only coming to lend support to a friend the former Beatle drummer was practically mobbed as he stood in the crowd to watch the show.

AMEOBA GIG is taken from the recordings of a secret performance at Amoeba Music in Hollywood, California, on 27 June 2007, and released in its full format in July 2019.

Parts of the performance were released in November 2007 as “Amoeba’s Secret”, a limited edition 12″ vinyl record, and again in January 2009 on CD.

Three tracks from the Amoeba’s Secret release were also released as B-sides for the “Ever Present Past” single in November 2007.

In 2010, the set was released as Live in Los Angeles, a 12-track CD version given away free with the Daily Mail newspaper.

In 2012, an extended version of the Daily Mail CD was released by Paul McCartney’s website, adding two additional tracks.

The complete Amoeba Gig show, with all 21 songs and remixed by McCartney’s engineer Steve Orchard, was finally released on 12 July 2019 on CD, vinyl, and digital download.

This is the version I will review.
It is Paul with his touring band, but Paul “Wix” Wickens didn’t play on this show and replaced by keyboardist David Arch.
Statistical Analysis

Number of Songs: 21

Songs of Paul (solo): 7 (33%)
Songs of Wings: 1 (4.7%)
Songs of Others 2 (9.5%)
Songs of Beatles 11 (52.4%)

As we can see this is a shorter set list than the band would do in a regular concert set list. The solo songs are basically pulled from MEMORY, and the only Wings track was “C Moon.”

This review is going to be simple. This may be the finest example of Paul and this recording/touring band officially released. The playing of the entire band is near perfection. They are all obviously loving this gig. Even missing Wix isn’t a factor, with Arch handling everything perfectly.

McCartney’s voice is amazing, and the remix of the full show on the 2019 release is breathtaking.

Yes, we have heard these songs before, and still to this day, but unless noted, these are some of the best, if not the best, live versions of these songs I have ever heard.

“Drive My Car”
“Only Mama Knows”
“Dance Tonight”

  • All of these are rated a solid 9….. as are….

“C Moon”
-Paul and the band make me love a song I have never loved before.

“The Long And Winding Road”

“I’ll Follow The Sun”

  • Paul has so much fun with this…with 5 mini reprises of the chorus where he usually does one or two.

“Calico Skies”
“That Was Me”
-Rating of 9 for all of these gems.

-The first flawed. Tender, loving attempt, but even in 2007 Paul struggles on the vocals. Maybe “Getting Better” or some other acoustic ballad (“Footprints” from PRESS TO PLAY?) would have worked for me…. Rating – 7

“Here Today”
-The highlight. With Ringo, and others who knew John in the crowd, Paul breaks down emotionally near the end, but carries it to the finish line. He points out after… “It’s okay for men to cry.” It’s impossible not to listen to this and not be affected. Rating -10

“Back In The U.S.S.R.”
“Nod Your Head”
“House Of Wax”
“I’ve Got A Feeling”
All Ratings are a delightful 9

-Since Richard Starkey is in the crowd, Paul does the usual soundcheck song as a tribute to the man who sang it back in the day.
Done a bit too loosey goosey for me. Maybe this was the time to do a tribute to him, like “Photograph” or “Yellow Submarine?” Rating – 7.5

“Get Back”
-Simply fantastic version. Everyone there wanted to…“get back.”
Rating -9

“Baby Face”
-Paul has done this before… pretending to sing a piano ballad and launch into an old-time favorite. He’s done it usually before “Hey Jude” each of the times, with “Baby Face” and “Tip Toe Thru The Tulips” and once about a naughty limerick and then he stops the band. He takes a beat and sings… “Hey Jude..” And he has them…..

He has done “Baby Face” in the studio with “One Hand Clapping” video and I believe he also when he was in New Orleans recording VENUS AND MARS and he did an amazing job. This was a just a lure….. Rating – 7

“Hey Jude”
-Traditional way he did it in that period. With 700 people…. Many of whom “were great.” By the way, the girls section kicked the mens ass and he had them do a second verse.
Rating – 8

“Let It Be”
“Lady Madonna”
“I Saw Her Standing There”
-All done great by Paul and the band…. And after thanks all around he again says….“See you next time.”
Rating – all 9’s

This is the kind of gig that the biggest artists love. While he has dazzled nearly 200,000 in South America, it’s the “he can see every single fans face in the crowd” that makes Paul and this band take it up at least a notch.

The Cavern Club, Grand Central Station, On The Roof at Letterman Show etc… these are all gigs Paul and his band will remember most.

Overall this amazing release gets a rating of 8.73/10.

The highest rating for a live album so far!!! Up next…. 2009’s “GOOD EVENING NEW YORK CITY.”