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From Collectors Music Review:
After Paul McCartney finished the sessions for the final Wings album Back To The Egg in April 1979 he retired to his farm in Scotland. That July he wrote and demoed about twenty new songs, recording the music directly into his Studer 16 track tape machine, laying down bass, drums, guitar and adding the vocals on later.
Although this material may have been used on future Wings releases, many of the songs were polished and released on his third solo album McCartney II, released in May 1980. In the eighties a two LP surfaced titled The Lost McCartney Album (Club Sandwich GTX-222) which claimed to be the original concept for the album before it was paired down to a single disc.
Given the sparse arrangements and raw quality of the music, any suggestions this was meant for official release are patently absurd and are to be dismissed. What this does offer though is an interesting glimpse into McCartney stretching his musical vocabulary by experimenting with the synthesizer driven new wave music popular in the late seventies and early eighties. The master tapes have never surfaced after the LP release so all compact disc releases utilize the original LP.
Previous CD releases include the incomplete The Lost McCartney Album (Not Guilty KSK – 7120) on one disc and on The Original McCartney II Double Album (Ram Records RAM 004). The complete tape can be found on The Lost McCartney II Album (Birthday Records BR 041) and on The Lost McCartney Album (VOXX 0007-01/02).
From the liner notes:
Paul McCartney most assuredly has the largest catalog of unreleased songs of all the ex-Beatles, and perhaps more than most well-known rock stars (with the possible exception of Frank Zappa). Some of these tracks have surfaced on a few “collector’s albums” such as the superb Cold Cuts. Virtually unknown until now, however, is another lost McCartney project, the album that you hold in your hands, the original version of the 1980 LP McCartney II a two record, 18-track, 81-minute set.
The version of this album that you’re all familiar with was Paul’s first totally solo release in a decade. Recorded at home with little or no artistic or technical help, many of its tracks lapse into an experimental mode with the use of synthesizers and electronically- induced vocal tricks. The album was perceived as something of an oddball project, but it nevertheless managed to peak at #3 in Billboard, Cashbox & Record World, not to mention hitting #1 in England’s New Musical Express.
This version, the album’s originally conceived format, differs markedly from the already issued product. It contains a number of unreleased songs, original versions of a couple of songs that only found their way to B-sides, and different versions or mixes of most of the tracks that were subsequently released. Frankly, had this version of the album been released it is doubtful that it would have been very well-received or its concept even understood. Three of its first four tracks are instrumentals and the only vocal on side one appears in the form of a semi-voice-over narration. The album plays for nearly 20 minutes before a “proper” McCartney vocal performance takes place (“Temporary Secretary”).
Considering the battery McCartney has frequently taken in the critical press, it’s almost nightmarish to imagine what sort of reception this thing would have received.
What follows is a track-by-track break-down of the album with comparisons to the already released versions of particular songs where appropriate.
Disc One
“Front Parlour” (5:06)–This instrumental was remixed and cut to 3:31 for it’s eventual release.
‘Frozen Jap” (5:30)– Also destined to be remixed and considerably cut (to 3:38) was this second instrumental track.
“All You Horseriders” (3:45) and `Blue Sway” (6:04)–Neither of these songs were released and have never even been bootlegged (or even heard of. apparently). Although they we listed together on the handwritten label notes to the original test pressings of this album, this is not a true medley but rather two distinct songs with a cross fade between the end of the first and the beginning of the second.
The first is said to have been initially done by McCartney in the mid-70’s for a home-made film called The Backyard, which remains unreleased.
The version on this album however is most definitely am entirely different recording because all of the McCartney II tracks were done during one group of sessions at Paul’s home in summer of 1979.
In any event, “Horseriders” is perhaps McCartney’s very worst song, the absolute nadir of his available recording legacy. So it’s no surprise that the track was dropped from the final line-up. On this cut Paul is heard shouting instructions to horse riders over a syncopated horse trot that is in fact merely a bane exercise, in synthesized noodling. The end result is bound to leave you, the unwary listener, chomping at the bit. “Blue Sway” is not so noxious, but neither is it very memorable. It might function well as music to wallpaper your living room by; or perhaps it could be construed as an ahead-of-its-time precursor to that modern day Muzak known as New Age Music. Although the song is largely instrumental some vocals can be heard way back in the mix during the second half of the song. This track brings to a close the most “difficult” side of the album. The music on subsequent sides is considerably more, shall we say, accessible.
“Temporary Secretary” (3:05)–Catchy or annoying. depending on your taste, this was a hit in England in a slightly slowed-down version lasting 3:13.
“On The Way” (3:27)–Again, just a minor variation in length from the released version which runs 3:36
“Mr. H. Atom” (2:17)–Another totally unreleased song. Linda sings lead on the continually repeated chorus of “Mr. H. Atom lives in a flat on the male side of town.” The “H” stands for hydrogen, and Paul’s spoken recitation during the song is his speculations on the differences between the number of atoms required to determine the gender outcome of us humans. Or something like that.
“Summers’s Day Song” (3:16)–Unlike the released version which was a vocal number, this edition is an instrumental.
“You Know I’ll Get You Baby” (3:45)–Another unreleased track with minimalist lyrics, layered with vocal multi-tracking and other studio trickery.
“Bogey Wobble” (3:14)–The last of this album’s completely unreleased tracks is yet another instrumental, heavy in the effects department. Apparently it’s meant as some sort of companion piece to “Bogey Music”.
Disc Two
“Darkroom” (3:38)–Considerably longer here in its original form than the 2:18 version that finally appeared. The mix is different, too.
“One Of These Days” (3:26)– One of the more straightforward tracks of this collection, it runs eight seconds shorter than the common release.
“Secret Friend” (10:05)–McCartney’s most extreme venture into the experimental, and the longest track he ever committed to wax. A slightly longer version was released (in England only) as the B-side of the 12-inch ‘Temporary Secretary” single.
“Bogey Music” (3:17)–Again, a slightly shorter running time than its released counterpart which clocks in at 3:25.
“Check My Machine” (8:39)– The first track Paul recorded during these immortal sessions, it was drastically shortened and completely reedited and remixed for it’s eventual emergence as the B-side of the single “Waterfalls”. Compare this version’s length to the scant 5:44 of the released specimen. On this version, the “Hi George, ‘Morning Terry” opening is eliminated as the track begins with the shouting followed by the slowed-down tape of Mel Blanc doing the Barney Rubble character reciting the “Sticks And Stone” rhyme.
“Waterfalls” (“I Need Love”) (4:29)–Except for the slight difference in length due to slowing down the master tape (the released version is 4:42) there is little difference between the released version and this one. Strangely enough, another version exists with an electric piano intro. It’s the one heard on the promo film to this song and was subsequently issued on a collector’s LP called Suitable For Framing back in the early 80’s. The song’s original title appears on the original test pressing.
“Nobody Knows” (2:44) Another track that went basically unchanged as the album changed its form.
‘Coming Up” (5:26) Oddly, the song that opened the released McCartney II was used to close the unreleased McCartney II. However the two versions are considerably different. To make the song 3:51 in length some verses and choruses were eliminated and the whole thing was remixed.
Thus ends McCartney’s most serious foray into vinyl excess. If nothing else, this album would have dispelled some of Paul’s overcommercial image and the simple-minded pigeonholing of John Lemon as the Beatle with avant-garde instincts and McCartney as merely the manufacturer of vacuous pop tunes. (On the other hand it might have led to McCartney being pigeonholed as the purveyor of vacuous avant-garde tunes). In truth, Paul’s range has been pretty broad during his solo years, but regardless of which artistic course he has followed he has rarely been treated with much kindness by critics. Now that his fans have an opportunity to hear this entire album they will be better able to judge its merits, or lack thereof, for themselves. Amen.
[we.tl]
[we.tl]
Cheers Captain, thanks very much .........
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OT: Paul McCartney - Lost McCartney II Album_CaptainAcidRemaster
Posted by:
CaptainAcid
()
Date: December 20, 2020 14:50
From Collectors Music Review:
After Paul McCartney finished the sessions for the final Wings album Back To The Egg in April 1979 he retired to his farm in Scotland. That July he wrote and demoed about twenty new songs, recording the music directly into his Studer 16 track tape machine, laying down bass, drums, guitar and adding the vocals on later.
Although this material may have been used on future Wings releases, many of the songs were polished and released on his third solo album McCartney II, released in May 1980. In the eighties a two LP surfaced titled The Lost McCartney Album (Club Sandwich GTX-222) which claimed to be the original concept for the album before it was paired down to a single disc.
Given the sparse arrangements and raw quality of the music, any suggestions this was meant for official release are patently absurd and are to be dismissed. What this does offer though is an interesting glimpse into McCartney stretching his musical vocabulary by experimenting with the synthesizer driven new wave music popular in the late seventies and early eighties. The master tapes have never surfaced after the LP release so all compact disc releases utilize the original LP.
Previous CD releases include the incomplete The Lost McCartney Album (Not Guilty KSK – 7120) on one disc and on The Original McCartney II Double Album (Ram Records RAM 004). The complete tape can be found on The Lost McCartney II Album (Birthday Records BR 041) and on The Lost McCartney Album (VOXX 0007-01/02).
From the liner notes:
Paul McCartney most assuredly has the largest catalog of unreleased songs of all the ex-Beatles, and perhaps more than most well-known rock stars (with the possible exception of Frank Zappa). Some of these tracks have surfaced on a few “collector’s albums” such as the superb Cold Cuts. Virtually unknown until now, however, is another lost McCartney project, the album that you hold in your hands, the original version of the 1980 LP McCartney II a two record, 18-track, 81-minute set.
The version of this album that you’re all familiar with was Paul’s first totally solo release in a decade. Recorded at home with little or no artistic or technical help, many of its tracks lapse into an experimental mode with the use of synthesizers and electronically- induced vocal tricks. The album was perceived as something of an oddball project, but it nevertheless managed to peak at #3 in Billboard, Cashbox & Record World, not to mention hitting #1 in England’s New Musical Express.
This version, the album’s originally conceived format, differs markedly from the already issued product. It contains a number of unreleased songs, original versions of a couple of songs that only found their way to B-sides, and different versions or mixes of most of the tracks that were subsequently released. Frankly, had this version of the album been released it is doubtful that it would have been very well-received or its concept even understood. Three of its first four tracks are instrumentals and the only vocal on side one appears in the form of a semi-voice-over narration. The album plays for nearly 20 minutes before a “proper” McCartney vocal performance takes place (“Temporary Secretary”).
Considering the battery McCartney has frequently taken in the critical press, it’s almost nightmarish to imagine what sort of reception this thing would have received.
What follows is a track-by-track break-down of the album with comparisons to the already released versions of particular songs where appropriate.
Disc One
“Front Parlour” (5:06)–This instrumental was remixed and cut to 3:31 for it’s eventual release.
‘Frozen Jap” (5:30)– Also destined to be remixed and considerably cut (to 3:38) was this second instrumental track.
“All You Horseriders” (3:45) and `Blue Sway” (6:04)–Neither of these songs were released and have never even been bootlegged (or even heard of. apparently). Although they we listed together on the handwritten label notes to the original test pressings of this album, this is not a true medley but rather two distinct songs with a cross fade between the end of the first and the beginning of the second.
The first is said to have been initially done by McCartney in the mid-70’s for a home-made film called The Backyard, which remains unreleased.
The version on this album however is most definitely am entirely different recording because all of the McCartney II tracks were done during one group of sessions at Paul’s home in summer of 1979.
In any event, “Horseriders” is perhaps McCartney’s very worst song, the absolute nadir of his available recording legacy. So it’s no surprise that the track was dropped from the final line-up. On this cut Paul is heard shouting instructions to horse riders over a syncopated horse trot that is in fact merely a bane exercise, in synthesized noodling. The end result is bound to leave you, the unwary listener, chomping at the bit. “Blue Sway” is not so noxious, but neither is it very memorable. It might function well as music to wallpaper your living room by; or perhaps it could be construed as an ahead-of-its-time precursor to that modern day Muzak known as New Age Music. Although the song is largely instrumental some vocals can be heard way back in the mix during the second half of the song. This track brings to a close the most “difficult” side of the album. The music on subsequent sides is considerably more, shall we say, accessible.
“Temporary Secretary” (3:05)–Catchy or annoying. depending on your taste, this was a hit in England in a slightly slowed-down version lasting 3:13.
“On The Way” (3:27)–Again, just a minor variation in length from the released version which runs 3:36
“Mr. H. Atom” (2:17)–Another totally unreleased song. Linda sings lead on the continually repeated chorus of “Mr. H. Atom lives in a flat on the male side of town.” The “H” stands for hydrogen, and Paul’s spoken recitation during the song is his speculations on the differences between the number of atoms required to determine the gender outcome of us humans. Or something like that.
“Summers’s Day Song” (3:16)–Unlike the released version which was a vocal number, this edition is an instrumental.
“You Know I’ll Get You Baby” (3:45)–Another unreleased track with minimalist lyrics, layered with vocal multi-tracking and other studio trickery.
“Bogey Wobble” (3:14)–The last of this album’s completely unreleased tracks is yet another instrumental, heavy in the effects department. Apparently it’s meant as some sort of companion piece to “Bogey Music”.
Disc Two
“Darkroom” (3:38)–Considerably longer here in its original form than the 2:18 version that finally appeared. The mix is different, too.
“One Of These Days” (3:26)– One of the more straightforward tracks of this collection, it runs eight seconds shorter than the common release.
“Secret Friend” (10:05)–McCartney’s most extreme venture into the experimental, and the longest track he ever committed to wax. A slightly longer version was released (in England only) as the B-side of the 12-inch ‘Temporary Secretary” single.
“Bogey Music” (3:17)–Again, a slightly shorter running time than its released counterpart which clocks in at 3:25.
“Check My Machine” (8:39)– The first track Paul recorded during these immortal sessions, it was drastically shortened and completely reedited and remixed for it’s eventual emergence as the B-side of the single “Waterfalls”. Compare this version’s length to the scant 5:44 of the released specimen. On this version, the “Hi George, ‘Morning Terry” opening is eliminated as the track begins with the shouting followed by the slowed-down tape of Mel Blanc doing the Barney Rubble character reciting the “Sticks And Stone” rhyme.
“Waterfalls” (“I Need Love”) (4:29)–Except for the slight difference in length due to slowing down the master tape (the released version is 4:42) there is little difference between the released version and this one. Strangely enough, another version exists with an electric piano intro. It’s the one heard on the promo film to this song and was subsequently issued on a collector’s LP called Suitable For Framing back in the early 80’s. The song’s original title appears on the original test pressing.
“Nobody Knows” (2:44) Another track that went basically unchanged as the album changed its form.
‘Coming Up” (5:26) Oddly, the song that opened the released McCartney II was used to close the unreleased McCartney II. However the two versions are considerably different. To make the song 3:51 in length some verses and choruses were eliminated and the whole thing was remixed.
Thus ends McCartney’s most serious foray into vinyl excess. If nothing else, this album would have dispelled some of Paul’s overcommercial image and the simple-minded pigeonholing of John Lemon as the Beatle with avant-garde instincts and McCartney as merely the manufacturer of vacuous pop tunes. (On the other hand it might have led to McCartney being pigeonholed as the purveyor of vacuous avant-garde tunes). In truth, Paul’s range has been pretty broad during his solo years, but regardless of which artistic course he has followed he has rarely been treated with much kindness by critics. Now that his fans have an opportunity to hear this entire album they will be better able to judge its merits, or lack thereof, for themselves. Amen.
[we.tl]
Re: OT: Paul McCartney - Lost McCartney II Album_CaptainAcidRemaster
Posted by:
hobshobs1
()
Date: December 20, 2020 14:52
Great. Thanks so much.
Re: OT: Paul McCartney - Lost McCartney II Album_CaptainAcidRemaster
Posted by:
gotdablouse
()
Date: December 21, 2020 15:16
Thanks, some stuff didn't make it to the McII Deluxe version.
--------------
IORR Links : Essential Studio Outtakes CDs : Audio - History of Rarest Outtakes : Audio
--------------
IORR Links : Essential Studio Outtakes CDs : Audio - History of Rarest Outtakes : Audio
Re: OT: Paul McCartney - Lost McCartney II Album_CaptainAcidRemaster
Posted by:
stonesmuziekfan
()
Date: December 21, 2020 23:15
THX
Re: OT: Paul McCartney - Lost McCartney II Album_CaptainAcidRemaster
Posted by:
rovalle
()
Date: December 22, 2020 15:41
Thanks mucho as always Mi Capitan!
Re: OT: Paul McCartney - Lost McCartney II Album_CaptainAcidRemaster
Posted by:
StoneZP
()
Date: December 22, 2020 23:56
Great OT gift
Re: OT: Paul McCartney - Lost McCartney II Album_CaptainAcidRemaster
Posted by:
ahgriorr
()
Date: December 24, 2020 00:58
Thanks
Re: OT: Paul McCartney - Lost McCartney II Album_CaptainAcidRemaster
Posted by:
keithpinkmoon
()
Date: December 25, 2020 17:56
Thanks!!!!
Re: OT: Paul McCartney - Lost McCartney II Album_CaptainAcidRemaster
Posted by:
gomper076
()
Date: December 27, 2020 07:50
This is one of my all time favorite boots. This is a very nice gift Captain. Thank you very much.
Re: OT: Paul McCartney - Lost McCartney II Album_CaptainAcidRemaster
Posted by:
EddieByword
()
Date: December 29, 2020 00:39
Hi Captain, thanks for this of course, but any chance you could re-up it?...................
Re: OT: Paul McCartney - Lost McCartney II Album_CaptainAcidRemaster
Posted by:
CaptainAcid
()
Date: December 30, 2020 20:37
Quote
EddieByword
Hi Captain, thanks for this of course, but any chance you could re-up it?...................
[we.tl]
Re: OT: Paul McCartney - Lost McCartney II Album_CaptainAcidRemaster
Posted by:
EddieByword
()
Date: December 31, 2020 01:54
Quote
CaptainAcidQuote
EddieByword
Hi Captain, thanks for this of course, but any chance you could re-up it?...................
[we.tl]
Cheers Captain, thanks very much .........
Re: OT: Paul McCartney - Lost McCartney II Album_CaptainAcidRemaster
Posted by:
MrEcho
()
Date: December 31, 2020 12:43
Exemplary – thanks a lot, Captain!
Re: OT: Paul McCartney - Lost McCartney II Album_CaptainAcidRemaster
Posted by:
nbutton
()
Date: December 31, 2020 15:47
Thank You and best wishes for 2021
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