A BREAKDOWN OF THE ARTIST/S :-
Born James Paul McCartney, 18 June 1942, Liverpool, England. Although commitments to the Beatles not unnaturally took precedence, bass player/vocalist McCartney nonetheless pursued several outside projects during this tenure. Many reflected friendships or personal preferences, ranging from production work for Cliff Bennett, Paddy, Klaus And Gibson and the Bonzo Dog Doo-Dah Band, to appearances on sessions by Donovan, Paul Jones and Steve Miller (on Brave New World). He also wrote "Woman' for Peter And Gordon under the pseudonym Bernard Webb, but such contributions flourished more freely with the founding of Apple Records, where McCartney guided the early careers of Mary Hopkin and Badfinger and enjoyed cameos on releases by Jackie Lomax and James Taylor. However, despite this well-documented independence, the artist ensured a critical backlash by timing the release of McCartney to coincide with that of the Beatles" Let It Be and his announced departure from the band. His low-key debut was labelled self-indulgent, yet its intimacy was a welcome respite from prevailing heavy rock, and in "Maybe I'm Amazed", offered one of McCartney's finest songs. Ram, credited to McCartney and his wife Linda (Born Linda Eastman, 24 September 1942, Scarsdale, New York, USA, d. 17 April 1998), was also maligned as commentators opined that the singer lacked an acidic riposte to his often sentimental approach. The album nonetheless spawned a US number 1 in "Uncle Albert/Admiral Halsey", while an attendant single, "Another Day", reached number 2 in the UK.
Drummer Denny Seiwell, who had assisted on the Ram sessions, was invited to join a projected band, later enhanced by former Moody Blues' member Denny Laine. The quartet, dubbed Wings, then completed Wild Life, another informal set marked by an indifference to dexterity and the absorption of reggae and classic rock 'n' roll rhythms. Having expanded the line-up to include Henry McCullough (ex-Grease Band; guitar), McCartney took the band on an impromptu tour of UK colleges, before releasing three wildly contrasting singles, "Give Ireland Back To The Irish" (banned by the BBC), "Mary Had A Little Lamb", and "Hi, Hi, Hi"/"C Moon" (all 1972). The following year, Wings completed "My Love", a sculpted ballad in the accepted McCartney tradition, and Red Rose Speedway, to that date his most formal set. Plans for the unit's fourth album were undermined by the defection of McCullough and Seiwell, but the remaining trio emerged triumphant from a series of productive sessions undertaken in a Lagos studio. Band On The Run was undeniably a major achievement, and did much to restore McCartney's faltering reputation. Buoyed by adversity, the artist offered a passion and commitment missing from earlier albums and, in turn, reaped due commercial plaudits when the title song and "Jet" reached both US and UK Top 10 positions. The lightweight, but catchy, "Junior's Farm" provided another hit single before a reconstituted Wings, which now included guitarist Jimmy McCulloch (Born 4 June 1953, d. 27 September 1979; ex-Thunderclap Newman and Stone The Crows) and Joe English (drums), completed Venus And Mars, Wings At The Speed Of Sound, and the expansive on-tour collection, Wings Over America. Although failing to scale the artistic heights of Band On The Run, such sets re-established McCartney as a major figure and included bestselling singles such as "Listen To What The Man Said" (1975), "Silly Love Songs", and "Let 'Em In" (both 1976).
Progress was momentarily undermined by the departures of McCulloch and English, but Wings enjoyed its most spectacular success with "Mull Of Kintyre" (1977), a saccharine paean to Paul and Linda's Scottish retreat which topped the UK charts for nine consecutive weeks and sold over 2.5 million copies in Britain alone. Although regarded as disappointing, London Town nevertheless included "With A Little Luck', a US number 1, but although Wings" newcomers Laurence Juber (guitar) and Steve Holly (drums) added weight to Back To The Egg, it, too, was regarded as inferior. Whereas the band was not officially disbanded until April 1981, McCartney's solo recordings, "Wonderful Christmastime" (1979), "Coming Up" (1980) and McCartney II, already heralded a new phase in the artist's career. However, if international success was maintained through duets with Stevie Wonder ("Ebony And Ivory"), Michael Jackson ("The Girl Is Mine") as well as "Say Say Say" and the Christmas single "Pipes Of Peace", attendant albums were marred by inconsistency. McCartney made the headlines for all the wrong reasons on 16 January 1980 when he was arrested at Tokyo's Narita Airport for being in possession of half a pound of marijuana. He spent 10 days in a Japanese prison before being released and deported.
McCartney's 1984 feature film, Give My Regards To Broad Street, was maligned by critics, a fate befalling its soundtrack album, although the optimistic ballad, "No More Lonely Nights", reached number 2 in the UK. The artist's once-prolific output then noticeably waned, but although his partnership with 10cc guitarist Eric Stewart gave Press To Play a sense of direction, it failed to halt a significant commercial decline. Choba B CCCP, a collection of favoured "oldies' solely intended for release in the USSR, provided an artistic respite and publicity, before a much-heralded collaboration with Elvis Costello produced material for the latter's Spike and McCartney's own Flowers In The Dirt, arguably his strongest set since Venus And Mars. Paradoxically, singles culled from the album failed in the charts, but a world tour, on which the McCartneys were joined by Robbie McIntosh (ex-Pretenders; guitar), Wix (keyboards), Hamish Stuart (ex-Average White Band; bass/vocals) and Chris Whitten (drums), showed that his power to entertain was still intact. By drawing on material from the Beatles, Wings and solo recordings, McCartney demonstrated a prowess spanning a quarter of a century. The extent of his diversity was emphasized by his collaboration with Carl Davis on the classical Liverpool Oratorio, which featured opera singer Dame Kiri Te Kanawa. His next solo project, 1992"s Off The Ground, received lukewarm reviews and soon dropped out of the charts after a brief run. The accompanying tour, however, was a different story. The ambitious stage show and effects undertook a world tour in 1993, and was one of the highest grossing tours in the USA. The following year McCartney collaborated with UK producer Youth on a dance music project, released under the pseudonym "The Fireman".
Various rumours circulated in 1994 about a reunion with the surviving members of McCartney's most famous band. Both he and Yoko Ono appeared to have settled their long-standing differences, as had George Harrison and McCartney. The success of the Beatles At The BBC release indicated a ripe time for some kind of musical reunion. This was partly achieved with the overdubbing of "Free As A Bird" and "Real Love' for the magnificent Anthology series in 1996. The profile of the Beatles had rarely been higher and this was celebrated in the new year honours list by a knighthood for services to music to McCartney. Presumably this was in recognition for his outstanding work with Lennon. No doubt spurred on by the success of Anthology, the solo Flaming Pie sounded like McCartney meant it again. The addition of Steve Miller on three tracks added some gutsy rock guitar credibility. Mostly however, it was a magnificent return to form. Jeff Lynne's production was tempered to sound cooked to perfection, unlike some of his previous overbaked concoctions. This was most definitely for lovers of the Beatles" "White Album". The varied contents included "Heaven On A Sunday", with its descending acoustic guitar duelling with the ascending lead guitar of son James, and "Used To Be Bad", an excellent simple up-tempo blues featuring Miller, both singers trading lines as their voices blended beautifully. Further tracks included the Memphis soul of "Souvenir", and "In It For The Money", which never loses pace for one moment. The folk simplicity of "Calico Skys" was topped by the exquisite "Somedays", a heart-tugging love song to Linda, and one of his finest songs in many decades. His love for his wife shone through the whole record. (Sadly, Linda lost her battle with cancer the following year, but was honoured with a memorial service on 9 June in London's Trafalgar Square.) Flaming Pie should ideally be listened to as one piece, since, in that context, it sounds like a minor masterpiece.
Later in the year McCartney released his second classical piece, Standing Stone. Following Linda's death he embarked upon another collaboration with Youth as The Fireman. In March 1999, McCartney was inducted into the Rock And Roll Hall Of Fame as a solo artist. Later in the year he recorded another back-to-basics collection of 50s rock 'n' roll cover versions, including three new tracks. Run Devil Run was an excellent collection and included versions of "All Shook Up" and "Brown Eyed Handsome Man" in addition to lesser known material, notably "No Other Baby". This little known track, a smouldering slow blues, was recorded by the Vipers Skiffle Group in the late 50s. On 14 December 1999, McCartney took himself back to the famous The Cavern club with his studio band, comprising guitarists Mick Green (ex-Pirates) and David Gilmour, keyboardist Pete Wingfield, and drummer Ian Paice. In reality, it was a rebuilt Cavern, next door to the original cellar. Musically however McCartney seemed fired up, singing and playing with an energy not seen for many years. In marked contrast, McCartney's next two releases were another classical collection and a sound collage about Liverpool. In other areas McCartney might be seen as an over-achiever, with his original paintings getting media coverage in 2000, and his book of poetry the following year.
Released in 2001, Driving Rain was McCartney's first proper album of new songs since the death of Linda. Although much weaker than Flaming Pie it is still a mystery why the album was such a commercial disaster. In the UK it arrived at number 46 and departed the following week. Later in the year McCartney contributed the title track to the soundtrack of Cameron Crowe's Vanilla Sky. On 12 June 2002 he married ex-model Heather Mills in Glaslough, Ireland. Over the next few months he undertook a major tour, known as Back In The World Live. With a stable band of Rusty Anderson (guitar), Brian Ray (guitar/bass), Paul "Wix" Wickens (keyboards) and Abe Laboriel Jnr (drums) it was a huge financial, emotional and critical success. The resulting live album left the listener with the feeling "you had to have been there". Listening to McCartney sing numerous Beatles songs is fine, but the originals are better.
McCartney (Apple 1970)***, Ram (Apple 1971)****, McCartney II (Parlophone/Columbia 1980)***, Tug Of War (Parlophone/Columbia 1982)***, Pipes Of Peace (Parlophone/Columbia 1983)**, Give My Regards To Broad Street film soundtrack (Parlophone/Columbia 1984)*, Press To Play (Parlophone/Capitol 1986)**, Choba B CCCP (Melodiya 1988)***, Flowers In The Dirt (Parlophone/Capitol 1989)***, Tripping The Live Fantastic (Parlophone/Capitol 1990)**, Tripping The Live Fantastic - Highlights! (Parlophone/Capitol 1990)***, Unplugged (The Official Bootleg) (Parlophone/Capitol 1991)***, Paul McCartney's Liverpool Oratorio (EMI Classics 1991)***, Choba B CCCP (The Russian Album) (Parlophone/Capitol 1991)***, Off The Ground (Parlophone/Capitol 1992)**, Paul Is Live (Parlophone/Capitol 1993)**, as The Fireman Strawberries Oceans Ships Forest (Parlophone/Capitol 1994)***, Flaming Pie (Parlophone/Capitol 1997)****, Paul McCartney's Standing Stone (EMI Classics 1997)**, as The Fireman Rushes (Hydra/Capitol 1998)***, Run Devil Run (Parlophone 1999)****, Working Classical (EMI Classics 1999)***, Liverpool Sound Collage (Hydra/Capitol 2000)***, Driving Rain (Parlophone/Capitol 2001)**, Back In The U.S. Live 2002 (US) Back In The World Live (UK) (Parlophone/Capitol 2002)**.
THE COVER :- Single laminated sleeve
THE LABEL :- Fontana blue labels
THE VINYL VISUALLY :- On initial inspection of this piece of vinyl I cannot see any areas of immediate concern. The vinyl sits perfectly flat on the turntable so there are no nasty warps to worry about. The vinyl still retains its just pressed quality, full of deep shine and lustre. I have only noted a few whispy sleeve removal lines that do not affect play. These can only be seen in bright sunlight with the album tilted. A lovely piece of vinyl. Near Mint visually.
THE VINYL PLAY GRADED :- The playgrading of the vinyl reveals no lessening in the sound quality. It lives up to its visual grading. There is barely any surface noise. If being critical tiny amounts can be heard on the run in and run out of tracks but barely any. The sound quality is high with a full dynamic range and very detailed sound. I feel certain this album has been played carefully and stored well over the years. I would grade the audio playback as Near Mint condition.
THE SLEEVE FRONT CONDITION :- This is the very earliest 1st press textured sleeve. The front of the sleeve is free from writing, free from stickers or evidence of previously removed stickers. The sleeve reveals no ringwear and no creases. There are just a couple of very small grazes at the top of Paul's head. The colours are bright and crisp. I would grade the front of the cover as Excellent Plus condition.
THE SLEEVE REAR CONDITION :- The rear of the sleeve is free from writing, free from stickers or evidence of previously removed stickers. There are no creases on the rear of the sleeve and no ringwear. Again the rear still retains its original crisp colours. No issues. I would grade the rear as Near Mint condition.
THE INNER GATEFOLD CONDITION :- The Inner of the sleeve is free from writing, free from stickers or evidence of previously removed stickers. There are no creases on the inner of the sleeve and no ringwear. Again the inner still retains its original crisp colours. No issues. I would grade the inner as Near Mint condition.
THE LABEL SIDE ONE CONDITION :- Original Parlophone label in excellent order free from stickers or writing and no damage at all. No signs of play around the spindle hole. Near Mint condition.
THE LABEL SIDE TWO CONDITION :- Original Parlophone label in excellent order free from stickers or writing and no damage at all. No signs of play around the spindle hole. Near Mint condition.
THE SPINE CONDITION :- The writing on the spine is crystal clear. No spine splits at all. Just very light signs of shelfwear in the two corners. Excellent condition.
THE TOP EDGE CONDITION :- The top edges show some very light shelfwear.
THE BOTTOM EDGE CONDITION :- The bottom edges show some light shelfwear in places but nothing too bad, slightly more than the top edges.
THE OPENING EDGE CONDITION :- The opening edges are in lovely condition, nice and crisp.
THE INNER SLEEVE CONDITION :- The picture inner is in Excellent Plus condition with no issues.
THE EXTRAS :- No extras were given with this album
THE CATALOGUE NUMBER :- 1A 062-63812
THE YEAR OF RELEASE :- 1980
THE LABEL :- PARLOPHONE
THE COUNTRY OF ORIGIN :- HOLLAND
PLAYING FORMAT :- STEREO
THE MATRIX NUMBERS :- 062-63812-A//44183-1Y & 062-63812-B//44184-1Y
TRACK LISTING :-
SIDE ONE :-
- COMING UP
- TEMPORARY SECRETARY
- ON THE WAY
- NOBODY KNOWS
SIDE TWO :-
- FRONT PARLOUR
- SUMMERS DAY SONG
- FROZEN JAP
- BOGEY MUSIC
- ONE OF THESE DAYS
WHAT WE PLAY THE RECORD ON :-
We use a Project 6 Perspex Turntable to play grade our records which delivers a rich authoritative sound and achieves a rich and weighty vibrancy unrivalled by the majority of decks within its price range
HOW WE CLEAN YOUR RECORD :-
We use a V.P.I. HW-16.5 record cleaning machine to clean your vinyl. "A highly recommended machine" as quoted by Stereophile magazine. This removes any excess dirt before playing
HOW WE PACKAGE YOUR RECORD :-
Your record will be package very securely to minimise any risk of damage during transit. We remove the record from the outer sleeve unless asked not to do so. This helps to minimise the risk of seam spliting. We use a high quality record mailer which is designed to give superior protection for your vinyl record. We place stiffeners either side of the record for added protection. The album will also be placed in a 450 gram Poly outer sleeve for even extra added protection
POSTAGE AND PACKAGING CHARGES FOR UK CUSTOMERS :-
We advise that items reaching over £50 in price to be insured and sent by Special Delivery. This protects both of us and ensures better handling of the parcel during transit.We are in no way out to make money from postage. The postage price includes the record mailer, stiffeners and plastic sleeve. We just want your item to reach you in the best possible condition. A breakdown of insured postal services are listed below. Please choose to use the relevant postal service for your own protection as once these rare records are lost they can quite often seldom be replaced
SECOND CLASS RECORDED (INSURED UP TO £50) :- FREE
FIRST CLASS RECORDED (INSURED UP TO £50) :- £0.45
SPECIAL DELIVERY NEXT DAY UPTO 500g :- £3.80
SPECIAL DELIVERY NEXT DAY FROM 500g - 1000g :- £5.00
(SPECIAL DELIVERY INSURES YOUR ITEM UPTO £500)
POSTAGE AND PACKAGING FOR THE EUROPEAN UNION :-
All records reaching under £10 are sent to the European Union by Airmail small packets. We will not ship abroad without insured post for items reaching over £10
AIRMAIL SMALL PACKETS :- £6.22 (For items under £10)
INTERNATIONAL SIGNED FOR :- £11.37 (For items £10 - £50)
INTERNATIONAL SIGNED FOR :- £13.97 (For items £50 - £500)
(These prices are based on a package weight of no more than 500g and can vary for heavier packages)
POSTAGE AND PACKAGING FOR THE USA AND CANADA :-
All records reaching under £10 are sent to the USA & Canada by Airmail small packets. We will not ship abroad without insured post for items reaching over £10
AIRMAIL SMALL PACKETS :- £8.78 (For items under £10)
INTERNATIONAL SIGNED FOR :- £13.93 (For items £10 - £50)
INTERNATIONAL SIGNED FOR :- £16.53 (For items £50 - £500)
(These prices are based on a package weight of no more than 500g and can vary for heavier packages)
POSTAGE AND PACKAGING FOR THE AUSTRALIA AND JAPAN AND ROW :-
All records reaching under £10 are sent to the Australia & Japan by Airmail small packets. We will not ship abroad without insured post for items reaching over £10
AIRMAIL SMALL PACKETS :- £9.06 (For items under £10)
INTERNATIONAL SIGNED FOR :- £14.21 (For items £10 - £50)
INTERNATIONAL SIGNED FOR :- £16.81 (For items £50 - £500)
(These prices are based on a package weight of no more than 500g and can vary for heavier packages)
PLEASE NOTE THAT WE DO NOT PROFIT FROM POSTAGE, THE PRICES WE QUOTE ARE QUITE ACCURATE AND INCLUDE THE PACKAGING MATERIALS AT COST PRICE
NOTE FOR INTERNATIONAL BUYERS:
PLEASE AWAIT AN INVOICE BEFORE PAYING SO WE CAN WORK OUT THE CORRECT POSTAGE/SHIPPING CHARGES
BUYERS OF MULTIPLE ITEMS :-
Postage prices and courier methods for multiple purchases will be calculated after the auction end. It is impossible for us at the pre auction stage to determine these prices as the final weight is unknown.If you are the winner of multiple items the please await contact from us or alternately contact us yourself for a breakdown of the shipping costs.You will only pay the stamp price + relevant packaging charges so there are big savings to be made with multiple purchases
HOW TO PAY FOR YOUR RECORD :-
We can accept the following payment methods
UK BUYERS :-
OVERSEAS BUYERS :-
TERMS AND CONDITIONS :-
We always try to appraise the record for sale as openly and honestly as possible and provide plenty of pictures for you to look at but please be aware that errors however rare do occur and not everyone has the same audio equipment. There is no problem that cannot be worked out in a civilised manner. We urge you to contact us so that we can discuss any small problems that may occur. We offer a refund of the purchase price for returned items within 7 days of purchase and are happy to help you with any questions or concerns you may have during the auction
SAVE US TO YOUR FAVOURITES LIST AS WE INTEND TO LIST MANY MORE RARE VINYL TREATS OVER THE COMING MONTHS AND YEARS