Back in Love Again Horn Charts
| Back to the Egg | ||||
|---|---|---|---|---|
 | ||||
| Studio album by Wings | ||||
| Released | 8 June 1979 | |||
| Recorded | 29 June 1978 – February 1979 | |||
| Studio | Spirit of Ranachan, Campbeltown; Lympne Castle, Kent; Abbey Road and Replica, London | |||
| Genre | Rock | |||
| Length | 42:01 | |||
| Characterization | Columbia (US) Parlophone (UK) | |||
| Producer | Paul McCartney, Chris Thomas | |||
| Wings chronology | ||||
| ||||
| Paul McCartney chronology | ||||
| ||||
| Singles from Back to the Egg | ||||
| ||||
Dorsum to the Egg is the 7th and final studio album by the British–American rock ring Wings, released in June 1979 on Columbia Records in America (their first for the label), and on Parlophone in the United kingdom. Co-produced past Chris Thomas, the album reflects band leader Paul McCartney'south embracing of gimmicky musical trends such as new wave and punk, and marked the arrival of new Wings members Laurence Juber and Steve Holley. Back to the Egg adopts a loose conceptual theme around the idea of a working band, and its cosmos coincided with a period of considerable activity for the group, which included making a return to touring and work on several tv and film projects.
Recording for the album began in June 1978 and lasted for almost a year. The sessions took place at Spirit of Ranachan Studios in Campbeltown, Scotland; Lympne Castle in Kent, London's Abbey Road Studios, and Replica Studio – the concluding of which McCartney built equally an verbal replica of Abbey Route's Studio Two when the latter became unavailable. Wings returned to Abbey Road in March 1979 to complete the album, earlier filming a serial of promotional videos in Lympne and elsewhere, for what became the Back to the Egg Tv set special.
Back to the Egg received unfavourable reviews from the majority of critics, with Rolling Rock magazine deriding it as "the sorriest grab purse of dreck in recent memory".[1] Although the album charted in the top ten around the world and was certified platinum in the United States, it was viewed every bit a commercial failure relative to previous Wings releases, particularly in light of the generous financial terms under which McCartney had signed with CBS-endemic Columbia Records. Of its singles – "Old Siam, Sir", "Getting Closer" and "Arrow Through Me" – only "Getting Closer" made the top 20 in Britain or America. The song "Rockestra Theme", recorded with a cast of guest musicians from bands such as the Who, Led Zeppelin and Pink Floyd, won a Grammy Award for All-time Stone Instrumental Functioning in 1980.
Wings toured the UK in support of the album, but the planned world bout ended in January 1980, when McCartney was arrested in Japan for possession of marijuana, spending nine days in jail. The group disbanded early on the following year after the departure of Laine. Back to the Egg was reissued in 1993, with bonus tracks, and in 2007 for iTunes, with the addition of Wings' 1979 not-album single "Goodnight Tonight", in its extended form.
Background [edit]
After the release of the anthology London Town (1978), Wings ring leader Paul McCartney hired 2 session musicians, drummer Steve Holley and lead guitarist Laurence Juber, to supersede quondam members Joe English and Jimmy McCulloch.[2] With the new line-upward – Wings' sixth since its germination in 1971[3] – McCartney intended to tape a raw rock and roll album and return to touring, for the ring's offset concerts since their successful Wings Over the Earth tour of 1975–76.[iv] McCartney likewise hoped to realise his longstanding program of making a movie adaptation of the Rupert the Bear cartoon serial,[5] for which he owned the commercial rights,[vi] and deputed English playwright Willy Russell to write a feature picture show starring Wings.[7] [nb 1]
Holley and Juber were recruited past Wings co-founder and guitarist Denny Laine,[thirteen] who had appeared as a invitee on The David Essex Evidence in 1977 when Juber was working every bit a guitarist in the firm band.[14] Holley, a neighbour of Laine'due south, joined Wings in time to appear in the promotional video for London Town 's pb single, "With a Picayune Luck",[15] having turned down a position with Elton John'southward ring.[xvi] According to Wings biographer Garry McGee, Juber and Holley were each paid a weekly sum less than i-5th of that paid to McCartney, his wife Linda (the ring's keyboard actor) and Laine.[15]
For the new album, Back to the Egg, McCartney collaborated in the studio with producer Chris Thomas,[17] with whom he had begun working on the audio for 2 films documenting Wings' terminal earth bout: Wings Over the Globe, a television documentary,[eighteen] and the picture palace release Rockshow (1980).[19] This was the outset time Wings recorded with an exterior producer since their 1973 single "Live and Let Die", which George Martin had produced.[20] Afterward working with the Pretenders and the Sex activity Pistols, Thomas brought a punk rock and new wave influence to Wings' sound,[21] [22] matching McCartney'south want to reflect contemporary musical trends.[23] [24]
Songs [edit]
The new wave matter was happening and ... I sort of realized, "Well, so what'south wrong with us doing an uptempo [album]?" ... Back to the Egg was influenced just as what I had wanted to practice at the time, the direction I felt I hadn't been in for a while ...[25]
– Paul McCartney, on his musical influences while making the album
Although London Town had featured a significant level of contribution from Laine as a songwriter,[17] [26] all but i of the songs on Back to the Egg are credited to McCartney alone.[27] The album was originally planned around a loose conceptual theme,[28] about which authors Chip Madinger and Mark Easter write in their book Eight Arms to Hold You: "The idea was to accept a theme of a working band, getting dorsum on the road ... or 'back to the egg' (or protective shell) of touring."[23] In the original LP format, the 2 album sides were labelled with the egg-related titles "Sunny Side Up" and "Over Easy".[29]
"Sunny Side Up" [edit]
The anthology'due south opening song is "Reception", an instrumental, in which McCartney attempted to capture the effect of turning a radio punch and finding "most four stations at once".[xxx] The track features a guitar-controlled synthesizer (played past Juber) over a funk-inspired bassline, and spoken voices, including a reading of role of "The Poodle and the Pug", from Vivian Ellis'southward opera Large Ben (1946).[31] A brief segment from the rail "The Broadcast", which appears later on Back to the Egg, is previewed in this opening slice.[30] The side by side iii songs – "Getting Closer", "Nosotros're Open Tonight" and "Spin Information technology On" – adhere to the proposed anthology-wide concept.[23] Writing in Tune Maker in June 1979, Marker Williams interpreted "Reception" as representing a radio being tuned in a car, whereby "the occupant is on his way to a gig, hence 'Getting Closer' [to the venue] and, upon inflow, 'We're Open Tonight'".[32] The notion of live performance is then reflected in the sequencing of what Madinger and Easter term "heavier rock tracks such as 'Spin It On'".[23]
The Sexual activity Pistols (pictured in concert in 1977), part of the punk and new-wave phenomenon that inspired some songs on Back to the Egg
McCartney had recorded a piano demo for "Getting Closer" in 1974, at which point the song had a slower tempo.[33] Writer and Mojo correspondent Tom Doyle describes Wings' version every bit "ability-popping" and reminiscent of the English band Squeeze.[34] The mellow "We're Open up This evening" was written at the McCartneys' farm in Campbeltown, Scotland, and was the album'due south title track until Linda suggested Dorsum to the Egg.[35]
Another song composed in Scotland,[36] the fast-tempo[32] "Spin Information technology On" was an obvious acknowledgment of punk and new wave;[37] author Vincent Benitez terms it "McCartney-esque whimsy on punk steroids".[27] Laine's limerick "Again and Once more and Once more" similarly has "echoes of the Clash", according to McCartney biographer Howard Sounes.[37] This song was originally ii dissever pieces, which Laine combined on McCartney's recommendation.[36]
Although credited to McCartney alone, "Sometime Siam, Sir" marked "the most collective band involvement" as regards songwriting, Madinger and Easter advise.[36] Similar in way to "Spin It On", the song features a keyboard riff written past Linda[36] and a Holley-composed middle 8;[38] in improver, Laine helped McCartney complete the composition,[27] an early version of which the previous incarnation of Wings had demoed in July 1976.[39] [nb 2] "Arrow Through Me", a rails more in keeping with McCartney's melodic popular way,[41] is a song written from the perspective of a rejected lover.[42] With a musical arrangement that eschews guitar bankroll for synthesizer, Fender Rhodes pianoforte and horns, Benitez views it as "reminiscent of the techno-pop fashion of Stevie Wonder".[27]
"Over Easy" [edit]
Opening side 2, "Rockestra Theme" was a composition that McCartney had commencement recorded in 1974, on the same pianoforte demo tape equally "Getting Closer".[43] "Rockestra Theme" is an instrumental – except for the shouted line "Why haven't I had any dinner?", which writer Robert Rodriguez describes as a "deliberate evocation" of Glenn Miller's 1940 unmarried "Pennsylvania 6-5000".[24] Another rock track,[44] "To You" includes a lyric aimed at a lover who has wronged the singer.[45] The guitar solo on the recording provides an unusual aspect for a Wings vocal,[44] in that Juber played the office through an Eventide harmonizer while McCartney simultaneously altered the harmonizer's settings from the studio's control room.[46]
McCartney deemed the two gospel-influenced pieces making up "Later the Brawl/Meg Miles" as existence of insufficient quality to merit inclusion equally divide tracks;[47] "After the Ball" ends with a guitar solo,[47] edited from parts played past McCartney, Laine and Juber, after which "Million Miles" consists of a performance by McCartney alone, on concertina.[48] This is followed past some other medley, "Winter Rose/Love Awake", both portions of which McCartney had demoed at Rude Studio, his domicile studio at Campbeltown, in 1977.[49] [nb 3]
"The Broadcast" is some other instrumental,[51] designed to requite the impression of several radio signals interlaced, and bringing full-circle the concept established in the album's opening track, "Reception".[48] Over a musical backing of piano, mellotron and gizmotron,[48] it features readings taken from the plays The Sport of Kings by Ian Hay and The Piffling Human past John Galsworthy.[52] Every bit a render to the proposed working-band concept, "So Glad to Meet You Here", Rodriguez writes, "[evokes] the anticipation of a alive act guaranteed to 'knock 'em dead'" and then recalls Wings' 1975–76 testify-opening medley "Venus and Mars/Rock Testify".[53] During the outro, the band reprise a line from "Nosotros're Open Tonight".[45] The album ends with a jazz-inflected[37] ballad, "Baby'south Request", which McCartney wrote for American vocal group the Mills Brothers, after seeing them perform in the Due south of French republic during the summer of 1978.[48]
Production [edit]
The band first rehearsed material for Back to the Egg in London, at the offices of McCartney's visitor MPL Communications in Soho Square, before carrying out further rehearsals in Scotland, in June 1978.[23] As on his other Wings recordings over 1978–79, Thomas worked with Phil McDonald as his recording engineer, at McCartney'southward insistence, rather than Nib Price, who was the producer's preferred engineer.[54] [nb iv]
Recording and overdubbing [edit]
June–July 1978: Spirit of Ranachan Studios [edit]
The recording sessions for Back to the Egg began on 29 June 1978 at Spirit of Ranachan Studios[56] – another, larger recording facility on the McCartneys' Campbeltown subcontract – using equipment loaned from Mickie Most'south RAK Studio in London.[57] The basic tracks were recorded with a spontaneity that had been absent in Wings' past piece of work,[35] employing an approach that Juber has described as a "back-to-basics, garage band kind of feel".[21]
Sessions at Spirit of Ranachan lasted until 27 July, during which the band taped and added overdubs to "Arrow Through Me", "Once more and Once more and Again", "To You", "Wintertime Rose", "Old Siam, Sir" and "Spin Information technology On".[23] Basic tracks were also completed for "Cage", a song that remained in the proposed running order for the album until early in 1979, "Crawl of the Wild", "Weep for Love", "Ballroom Dancing" and "Maisie".[56] These terminal three compositions would all announced on solo albums by members of Wings between 1980 and 1982.[58] [nb 5]
In addition, the band filmed a promotional video for the London Town single "I've Had Plenty" while in Scotland[38] [61] and, in early on July, recorded demos of twelve pieces intended for the Rupert the Bear film soundtrack.[xviii] In the case of the latter activity, none of these compositions were revisited for what became Rupert and the Frog Song (1984).[62] [nb 6]
September 1978: Lympne Castle [edit]
After a interruption to allow for school summertime holidays,[64] recording recommenced on 11 September at Lympne Castle in Kent, using the RAK mobile recording equipment, as earlier.[23] The choice of location was partly due to the castle's proximity to the McCartneys' property "Waterfall", in Peasmarsh, East Sussex.[65] [66] During sessions lasting through to 29 September,[67] the band recorded "We're Open Tonight", "Honey Awake", "After the Ball", "Million Miles", "Reception" and "The Broadcast".[23]
Recording took place mainly in the castle's great hall, with Holly'due south drum kit positioned in the fireplace.[23] McCartney and Juber taped their acoustic guitar parts for "We're Open Tonight" in a stairwell.[36] Excerpted from books found in the library, the readings for "Reception" and "The Circulate" were overdubbed in the kitchen and performed by the owners of Lympne Castle,[48] Harold and Dierdre Margary.[68]
October–Dec 1978: Abbey Route Studios [edit]
Sessions moved to Abbey Road Studios in London on 3 October.[69] That day, Wings joined with a supergroup of guest musicians, collectively known as "Rockestra",[42] to record the tracks "Rockestra Theme" and "And so Glad to Run into Yous Hither".[69] A camera crew led by Barry Chattington filmed the proceedings,[twoscore] and a 40-minute documentary, titled Rockestra, was later compiled from the footage.[69] Equipment used for this session included 60 microphones, a pair of mixing consoles and a 16-rails recording desk.[twoscore] James Honeyman-Scott of the Pretenders, Hank Marvin of the Shadows, the Who's Pete Townshend, Pink Floyd's David Gilmour, Led Zeppelin's John Paul Jones and John Bonham, and the Attractions' Bruce Thomas all took part.[69] Also among the line-up was the horn section from Wings' 1975–76 world bout, consisting of Howie Casey, Tony Dorsey, Thaddeus Richard and Steve Howard.[40] Keith Moon was meant to participate, but he had died presently earlier the session; Jeff Brook and Eric Clapton were besides scheduled to appear.[lxx]
On 10 October, Wings taped "Getting Closer" at Abbey Road, along with a demo[48] of "Baby's Request".[69] McCartney had intended this recording of "Baby's Request" for the Mills Brothers to use as a guide, but after they asked to be paid for recording the song,[71] he instead included the demo on Back to the Egg.[72] The ring then continued with overdubs on these and other songs intermittently through October and November, finishing at Abbey Road on 1 December.[73]
December 1978–February 1979: Replica Studio [edit]
Towards the end of the year, Wings also carried out overdubs at the newly built Replica Studio, located at MPL's Soho Foursquare offices.[73] Frustrated at the impending unavailability of Abbey Road'due south Studio Two[thirty] – which studio possessor and record visitor EMI needed for its other acts, besides Wings[74] – McCartney had constructed an verbal replica of Studio Two in the basement at MPL.[75] [nb 7] Among the piece of work done on Back to the Egg at Replica, the band replaced the final twenty seconds of "So Glad to Come across Y'all Here" with what Madinger and Easter depict as "a reggae-styled coda", containing the "Nosotros're Open Tonight" reprise.[77]
Sessions continued there in January and February 1979.[78] During that time, the band recorded a non-album single – the disco-styled "Goodnight Tonight", backed with "Daytime Nighttime Suffering" – every bit a release to coincide with the airing of the long-delayed[79] Wings Over the World special.[80] While noting that McCartney and Laine's relationship was commencement to unravel at this point, Sounes compares the freshness of these new recordings with the drawn-out sessions for Back to the Egg and writes that the album "was now and so overworked it might more aptly have been titled Over-Egged".[81] Impatient at the corporeality of time being spent in the recording studio, Laine publicly admitted that he was "desperate" to go out on tour.[82]
Last overdubbing and mixing [edit]
In March, Wings moved back to Abbey Route Studios to consummate the anthology.[30] Vocal overdubs were then added to "Wintertime Rose/Beloved Awake"[83] and an orchestral-sounding mellotron part to the end of "Getting Closer".[36] Having worked with the Black Dyke Mills Ring in the 1960s, when he produced their 1968 single "Thingumybob" for Apple Records,[84] McCartney invited the band down from Yorkshire to overdub brass accompaniment on "Winter Rose/Love Awake".[85]
While mixing the anthology during March, Wings finally discarded the vocal "Cage", which had been sequenced as the 2d track, following "Reception".[86] The same alternative running lodge paired the Rockestra recordings at the finish of side two, and so that the album closed with the "We're Open Tonight" coda.[30] Holly subsequently recalled that whereas beforehand the ring had been confident that Back to the Egg would be a potent anthology, during the last mixing process "[it] dawned on us in that location might be bug".[87] At the last minute, "Baby's Request" replaced "Cage" and the running order was revised, with the consequence that the working-band concept became less pronounced.[88]
Artwork and promotional videos [edit]
The blueprint for the anthology's artwork was past Hipgnosis,[89] the company responsible for previous Wings anthology covers such equally Venus and Mars (1975)[ninety] and the contempo Wings Greatest compilation (1978).[69] The front end cover depicts the 5 members of Wings in a room, looking down through space at Planet Earth through an open up hatchway in the floor; the statuette in a higher place the mantlepiece behind them is the same that appears in the Wings Greatest artwork. The picture was taken by photographer John Shaw[25] at his London studio.[30] Photos of the private band members appeared on the back cover, credited to Linda and Paul McCartney.[89]
Working with film company Keef & Co., Wings filmed 7 promotional videos for the album, which would later be compiled into the Back to the Egg TV special.[91] Filming took identify between iv and 13 June, at locations including Lympne Castle's main hall, a private airfield at Lympne, Slant Sands in Due east Sussex, and Keef & Co.'due south London studios.[92] [nb 8] "Old Siam, Sir", "Getting Closer", "Spin Information technology On" and "Arrow Through Me" were among the tracks for which videos were made.[91]
Release [edit]
"Goodnight Tonight" had been issued on Columbia Records in America,[94] marker McCartney's pause from EMI-affiliated Capitol Records,[95] although he and Wings remained with EMI's Parlophone characterization in the United kingdom.[96] McCartney'southward contract with Columbia made him the highest-paid recording artist in the world.[83] [97] [nb ix] Equally an incentive for McCartney, Columbia's parent visitor, CBS, had added to his publishing portfolio by giving him the highly profitable[99] Frank Music catalogue[74] – making McCartney the copyright holder to Guys and Dolls and other popular musicals by Frank Loesser.[100] [101]
Back to the Egg was released on 24 May 1979 in the US[102] (as Columbia FC-36057), and on 8 June in the Uk (every bit Parlophone PCTC 257).[25] [29] [nb ten] In Britain, "Old Siam, Sir" was the anthology's first single, whereas "Getting Closer" was the option in America; in both cases, "Spin Information technology On" was the B-side.[104] On 11 June, an album launch party took place inside Abbey Route's Studio 2, which had been blacked-out like a large frying pan, while tables carrying xanthous parasols represented fried eggs sitting in the pan.[105] Office of Chattington'due south Rockestra documentary was screened during the result,[106] the just public airing the film received.[107]
The follow-up singles, issued in August, were "Pointer Through Me" in the US and "Getting Closer" in the UK,[108] the latter release a double A-side with "Baby's Asking".[70] In some European countries, "Rockestra Theme" was released as a single.[44]
Compared to the major commercial success of previous Wings albums, sales of Back to the Egg were disappointing,[109] [110] and none of its singles became significant hits.[seventy] [111] In the UK, "Erstwhile Siam, Sir" and "Getting Closer" climbed to number 35 and number 60, respectively.[112] On America's Billboard Hot 100 nautical chart, "Getting Closer" peaked at number 20, and "Arrow Through Me" at number 29.[113] [114] Back to the Egg reached number half-dozen in the Uk[112] and number eight on the Billboard 200,[114] although U.s. nautical chart compilers Cashbox and Tape Earth both listed information technology at number 7.[115] With heavy promotion from Columbia, the album sold over ane million copies in America;[116] in United kingdom, retail outlets soon slashed its price in an attempt to dispense with their surplus of stock.[117]
McCartney later reflected that for an human action other than Wings, sales such as those for Back to the Egg would have been considered "very healthy".[25] Given CBS's substantial investment in their new signing, Madinger and Easter write, the album's apparent failure led to a flow of "mutual finger-pointing between Paul and Columbia Records", lasting until his contract expired in 1985.[30] [nb 11]
Reception [edit]
| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |   [119] |
| Billboard | "Spotlight"[120] |
| Christgau's Record Guide | C[121] |
| The Essential Rock Discography | v/10[122] |
| MusicHound Rock | 1/v[123] |
| Q | [124] |
| The Rolling Stone Album Guide | [125] |
| Blast Hits | 6/10[126] |
Dorsum to the Egg received predominantly negative reviews on release;[21] author Alan Clayson writes of the anthology receiving "a critical mauling every bit brutal as that for London Town".[70] In an specially unfavourable critique for Rolling Stone magazine,[127] Timothy White described it as "the sorriest grab purse of dreck in recent memory" and lamented that none of the songs were "the least bit fleshed out", with the listener instead given "an irritating display of disjointed images and unfocused musical snapshots".[ane] After opining that, since 1970, "this ex-Beatle has been lending his truly prodigious talents ... to some of the laziest records in the history of rock & whorl", White wrote: "Who, 1 felt compelled to enquire, is in charge here? Back to the Egg provides the final, obvious answer: no one."[1]
Hamlet Vox critic Robert Christgau said of McCartney and the new Wings album: "When he's on, Paulie's abundant tunefulness passes for generosity. Here he's just hoping something will stick."[121] In Melody Maker, Ray Coleman wrote that McCartney "seems to be on a treadmill of banality".[128] Coleman described "Rockestra Theme" and "So Glad to See You Here" equally "creditable, rolling, raunchy and at least efficient, with Paul'due south vocalisation at its rocking best on the terminal named runway", but concluded: "This anthology gets Wings nowhere ..."[128] Billboard 'due south reviewer gave Back to the Egg "Spotlight" status (significant "the most outstanding new product of the week's releases and that with the greatest potential for height of the chart placement") and commented: "The music features typical McCartney fare of late with naught here that volition distinguish it as one of his classics. The arrangements, though, are interesting, encompassing a diversity of styles."[120]
In a more positive assessment, for Creem magazine, Mitchell Cohen highlighted the album's second side every bit "a drove of McCartney performances that string together like abbey roadwork", and praised McCartney's vocals relative to his past piece of work, writing: "all of the electric current tracks are terser, sung meliorate, accept less of what I suppose would be called the recording artist's equivalent of photographic camera consciousness."[129] To NME critic Bob Woffinden, the attempt at an album-broad concept was "a pretty half-baked one" and Hipgnosis' cover photo was "hands the album's strongest point".[52] While identifying the songs as "particularly weak lyrically", Woffinden concluded: "It was the familiar McCartney problem. He had every essential creative requirement, except the discipline required to knead the parts into a perfect whole."[117]
AllMusic critic Stephen Thomas Erlewine views Dorsum to the Egg as "a fix of [McCartney's] most undistinguished songs" that "have no spark whatsoever", and bemoans "the weak sound of the record and Wings' faceless performances".[119] Among McCartney biographers, Vincent Benitez writes that the songs are "uneven in quality",[21] and Howard Sounes describes the anthology every bit "a curate'south egg, good in parts, with token attempts at sounding contemporary".[110] Tom Doyle views "the new wave-ish rockers" like "Spin It On" as "too smoothed out to exist truly edgy" and the ii spoken-word tracks every bit "weird – and non in a good way".[34] Doyle considers that while Dorsum to the Egg has its "moments of inspiration", "There was likewise much textile [recorded during the sessions], and yet non enough of it to gel into a cohesive album."[130]
Backwash and reissues [edit]
These days you talk to some young people and information technology's actually absurd if you don't make the charts. Information technology's very alien to my way of thinking ... [Simply] in a way it's quite cool to have a few albums that didn't make it. I didn't mean [Dorsum to the Egg] to be hush-hush, simply it's prissy.[131]
– McCartney, 2001, reflecting on the relative failure of the album
With the album falling well short of Columbia's and McCartney's expectations commercially, McCartney spent the balance of summer 1979 recording in Peasmarsh and Campbeltown, without Wings,[132] creating his solo anthology McCartney Ii (1980).[116] During November and December 1979, US Telly stations aired the 31-minute Dorsum to the Egg special, as Wings undertook a nineteen-bear witness United kingdom of great britain and northern ireland tour,[133] the first leg of the proposed world bout.[4] Amongst the songs in the setlist, they performed several tracks from Dorsum to the Egg: "Getting Closer", "Again and Over again and Once again", "Old Siam, Sir", "Spin It On" and "Pointer Through Me".[134]
The band were scheduled to bout Nippon during January and February 1980,[4] but the concerts, together with their tour dates elsewhere in the world,[135] were cancelled after McCartney was arrested for possession of drugs when entering the state.[136] Effectually this time, "Rockestra Theme" won the Grammy Award for Best Rock Instrumental Performance.[42] Wings regrouped in October 1980 to finish off songs for the planned Cold Cuts anthology,[137] a compilation that McCartney had suggested when CBS sought to recover role of its financial losses from Back to the Egg.[138] [nb 12] The reunion with Wings was brusque-lived and the band discontinued upon Laine'south departure in April 1981.[140]
On 20 June 1989, by which time McCartney had returned to Capitol Records,[141] Back to the Egg was released on CD in America.[142] In Baronial 1993,[143] Parlophone reissued the anthology as part of The Paul McCartney Drove with iii bonus tracks:[51] "Daytime Nighttime Suffering",[144] McCartney'southward 1979 Christmas unmarried "Wonderful Christmastime", and the latter's B-side, "Rudolph the Red-Nosed Reggae".[145] Samples of "Reception" and "The Broadcast" appeared on the Fireman's Strawberries Oceans Ships Forest (1993) album, a collaboration betwixt McCartney and Youth.[146] In 2007, Back to the Egg was released on iTunes, with a remix of "Goodnight This evening" as a bonus runway.[51]
Rails listing [edit]
All songs written by Paul McCartney, except where noted.
Side one: Sunny Side Up
- "Reception" – 1:08
- "Getting Closer" – 3:22
- "We're Open Tonight" – one:28
- "Spin It On" – ii:12
- "Again and Again and Again" (Denny Laine) – 3:34
- "Quondam Siam, Sir" – 4:eleven
- "Pointer Through Me" – iii:37
Side two: Over Like shooting fish in a barrel
- "Rockestra Theme" – 2:35
- "To You" – 3:12
- "After the Brawl / Million Miles" – 4:00
- "Winter Rose / Love Awake" – 4:58
- "The Broadcast" – 1:xxx
- "So Glad to See You Hither" – three:twenty
- "Baby's Request" – 2:49
- 1993 The Paul McCartney Drove bonus tracks
- "Daytime Night Suffering" – iii:23
- "Wonderful Christmastime" – iii:49
- "Rudolph the Cherry-Nosed Reggae" (Johnny Marks) – i:48
- 2007 iTunes bonus track
- "Goodnight Tonight" (Extended Version) – 7:16
Personnel [edit]
Wings and additional personnel per Benitez.[147] Rockestra line-up and production per sleeve.[89]
Wings
- Paul McCartney – lead and backing vocals, bass, acoustic and electric guitars, keyboards, concertina on "Million Miles", pianoforte and harpsichord on "Winter Rose"
- Linda McCartney – keyboards, backing vocals
- Denny Laine – lead vocal on "Again and Again and Over again", electric and acoustic guitars, backing vocals
- Laurence Juber – electric and acoustic guitars, guitar synthesizer, bass on "Dearest Awake"[148]
- Steve Holley – drums, percussion
Additional personnel
- Black Dyke Mills Band – horns on "Love Awake"
- Dierdre Margary, Harold Margary – book readings
Rockestra line-up on "Rockestra Theme" and "So Glad to See You Here"
- Denny Laine, Laurence Juber, David Gilmour, Hank Marvin, Pete Townshend – guitars
- Steve Holley, John Bonham, Kenney Jones – drums
- Paul McCartney, John Paul Jones, Ronnie Lane, Bruce Thomas – basses
- Paul McCartney, Gary Brooker, John Paul Jones – pianos
- Linda McCartney, Tony Ashton – keyboards
- Speedy Acquaye, Tony Carr, Ray Cooper, Morris Pert – percussion
- Howie Casey, Tony Dorsey, Steve Howard, Thaddeus Richard – horns
Production
- Paul McCartney and Chris Thomas – producers
- Phil McDonald – engineer
- Mark Vigars – assistant engineer
- John Shaw – front cover photo
- Linda McCartney, Paul McCartney – back cover photos
- Hipgnosis – design[110]
Accolades [edit]
Grammy Awards [edit]
Charts and certifications [edit]
Notes [edit]
- ^ The concept of a Wings moving-picture show formed the footing of McCartney'southward poorly received[8] cinematic release Give My Regards to Broad Street (1984).[9] The Rupert project finally came to fruition in 1984 also,[10] condensed into an blithe short titled Rupert and the Frog Song, which played in theatres as the back up moving-picture show to Give My Regards to Broad Street.[11] [12]
- ^ Laine and Holley each claimed to have written the chief guitar riff to "Old Siam, Sir".[40] On the day that Wings recorded the song, a disagreement over this event almost led to a concrete confrontation between the two musicians.[forty]
- ^ "Million Miles" was another older song of McCartney'southward, dating from the 1974 demo session, which Madinger and Easter suggest was recorded in Los Angeles.[fifty]
- ^ Among their pre-Back to the Egg recordings together, Wings worked in London on two McCartney songs intended for the 1978 Hollywood films Heaven Can Wait and Same Time Next Yr,[38] neither of which was used at the time.[55]
- ^ Laine's "Cry for Love" appeared on his album Japanese Tears (1980),[58] McCartney re-recorded "Ballroom Dancing" for Tug of War (1982), and the Juber-composed[59] "Maisie" was included on the guitarist'south solo debut, Standard Fourth dimension (1982).[60]
- ^ Of the twelve tracks that Wings recorded, some dated from fragments of songs played by McCartney during, variously, the Beatles' Get Back rehearsals in January 1969, the initial recording for his and Linda's album Ram in 1970, and demo sessions such as that for the 1974 piano tape.[63]
- ^ Co-ordinate to Madinger and Easter, McCartney had to make way for block-booked sessions for Cliff Richard's new album, Stone 'n' Roll Juvenile (1979).[thirty] Doyle writes that the competing project was in fact an album by "EMI'due south new darling", Kate Bush.[76]
- ^ In their department covering the filming, Madinger and Easter list the same locations but give dates of 28 May to 6 June, during which Wings had too returned to Lympne Castle for a 2nd set of recording sessions.[93]
- ^ McCartney's royalty charge per unit was twenty per cent of each re-create of an album sold, a rate that McGee describes as "remarkable" for that time.[98]
- ^ While the US release appointment was 24 May co-ordinate to McGee[25] and Beatles Diary compiler Keith Badman,[102] Madinger and Easter give it equally eleven June, a week after Columbia issued the anthology's pb single there.[103]
- ^ Columbia had wanted to maximise the album's commercial potential past including "Goodnight Tonight", a worldwide hit,[118] only McCartney had vetoed its inclusion.[30] [116]
- ^ Originally planned as an Apple Records budget release in 1974,[139] Cold Cuts was turned downwardly past Columbia.[138]
References [edit]
- ^ a b c White, Timothy (23 August 1979). "Paul McCartney Back to the Egg". Rolling Stone. pp. 55–56. Archived from the original on xx Dec 2013. Retrieved 17 March 2014.
- ^ McGee, p. 120
- ^ Doggett, p. 264
- ^ a b c Rodriguez, p. 66
- ^ Madinger and Easter, p. 239
- ^ Clayson, p. 210
- ^ Sounes, pp. 345–46
- ^ The New Rolling Rock Encyclopedia of Stone & Curlicue, p. 641
- ^ Sounes, pp. 345, 383, 396
- ^ Madinger and Easter, p. 262
- ^ Clayson, pp. 210, 211
- ^ Sounes, p. 397
- ^ Clayson, p. 190
- ^ Rodriguez, pp. 217, 220
- ^ a b McGee, p. 121
- ^ Rodriguez, pp. 217, 219
- ^ a b Woffinden, p. 120
- ^ a b McGee, p. 122
- ^ Madinger and Easter, p. 228
- ^ Rodriguez, pp. 66, 269
- ^ a b c d Benitez, p. 88
- ^ Sounes, pp. 344–45
- ^ a b c d e f g h i Madinger and Easter, p. 240
- ^ a b Rodriguez, p. 376
- ^ a b c d due east McGee, p. 192
- ^ Rodriguez, p. 223
- ^ a b c d Benitez, p. ninety
- ^ Rodriguez, pp. 269, 391
- ^ a b Madinger and Easter, p. 599
- ^ a b c d e f 1000 h i Madinger and Easter, p. 241
- ^ Benitez, pp. 88–89
- ^ a b Williams, Mark (xvi June 1979). "Wings: Taking off at Last". Melody Maker. Available at Rock's Backpages Archived 12 March 2014 at the Wayback Machine (subscription required).
- ^ Benitez, p. 89
- ^ a b Doyle, p. 174
- ^ a b Madinger and Easter, pp. 240, 242
- ^ a b c d eastward f Madinger and Easter, p. 242
- ^ a b c Sounes, p. 345
- ^ a b c Rodriguez, p. 219
- ^ Madinger and Easter, pp. 223–24
- ^ a b c d e McGee, p. 123
- ^ Madinger and Easter, p. 243
- ^ a b c Benitez, p. 91
- ^ Madinger and Easter, pp. 193–94, 599
- ^ a b c Madinger and Easter, p. 244
- ^ a b Benitez, p. 92
- ^ Benitez, pp. 92–93
- ^ a b Benitez, p. 93
- ^ a b c d eastward f Madinger and Easter, p. 245
- ^ Benitez, p. 94
- ^ Madinger and Easter, pp. 193–94
- ^ a b c Benitez, p. 95
- ^ a b Woffinden, p. 121
- ^ Rodriguez, pp. 62–63, 269, 376
- ^ Madinger and Easter, p. 238
- ^ Madinger and Easter, pp. 237, 238
- ^ a b Badman, p. 223
- ^ Madinger and Easter, pp. 223, 240
- ^ a b McGee, p. 226
- ^ Madinger and Easter, p. 246
- ^ Badman, pp. 223, 264–65
- ^ Madinger and Easter, pp. 232–33
- ^ Madinger and Easter, pp. 239, 262
- ^ Madinger and Easter, pp. 239–40
- ^ Badman, pp. 223–24
- ^ Sounes, pp. 306–07, 346
- ^ Doyle, pp. 173–74
- ^ Badman, p. 225
- ^ Benitez, pp. 89, 94
- ^ a b c d e f Badman, p. 226
- ^ a b c d Clayson, p. 191
- ^ Perasi, pp. 184–86
- ^ Clayson, pp. 191–92
- ^ a b Madinger and Easter, pp. 240–41
- ^ a b Sounes, p. 348
- ^ Badman, p. 227
- ^ Doyle, pp. 176–77
- ^ Madinger and Easter, pp. 241, 245
- ^ Badman, p. 229
- ^ McGee, p. 127
- ^ Madinger and Easter, pp. 246, 247
- ^ Sounes, pp. 347–48
- ^ Doyle, p. 177
- ^ a b Badman, p. 230
- ^ Spizer, p. 342
- ^ Sounes, pp. 216, 348
- ^ Madinger and Easter, pp. 241, 247
- ^ McGee, p. 128
- ^ Madinger and Easter, pp. 240, 241
- ^ a b c Back to the Egg (inner sleeve credits). Wings. MPL Communications. 1979. PCTC 257.
{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link) - ^ Spizer, pp. 197, 199
- ^ a b Madinger and Easter, p. 247
- ^ Badman, pp. 233, 234
- ^ Madinger and Easter, pp. 247–48
- ^ Badman, pp. 230, 232
- ^ McGee, pp. 125, 126
- ^ Madinger and Easter, pp. 246, 247, 590
- ^ Doyle, p. 178
- ^ McGee, p. 126
- ^ Doggett, p. 263
- ^ Clayson, p. 200
- ^ McGee, pp. 125–26, 147–48
- ^ a b Badman, p. 232
- ^ Madinger and Easter, pp. 594, 599
- ^ Madinger and Easter, pp. 590, 594
- ^ Badman, p. 233
- ^ McGee, pp. 127–28
- ^ Madinger and Easter, pp. 243, 244
- ^ Badman, p. 235
- ^ Woffinden, pp. 117, 118, 124
- ^ a b c Sounes, p. 352
- ^ Rodriguez, p. 269
- ^ a b c "Artist: Paul McCartney". Official Chart Visitor. Archived from the original on half dozen March 2014. Retrieved 3 Nov 2013.
- ^ The New Rolling Rock Encyclopedia of Rock & Curlicue, p. 640
- ^ a b c "Dorsum to the Egg > Charts & Awards > Billboard Albums". AllMusic. Retrieved 3 November 2013.
- ^ McGee, p. 233
- ^ a b c McGee, pp. 127, 128
- ^ a b Woffinden, p. 124
- ^ Rodriguez, p. 389
- ^ a b Erlewine, Stephen Thomas. "Paul McCartney/Wings Back to the Egg". AllMusic. Archived from the original on xi March 2016. Retrieved 5 November 2013.
- ^ a b Harrison, Ed (reviews ed.) (23 June 1979). "Meridian Album Picks". Billboard. p. 64. Retrieved 26 Nov 2014.
- ^ a b Christgau, Robert (1981). "Consumer Guide '70s: West". Christgau'south Tape Guide: Rock Albums of the Seventies. Ticknor & Fields. ISBN089919026X . Retrieved 9 March 2019 – via robertchristgau.com.
- ^ Strong, p. 696
- ^ Graff and Durchholz, p. 731
- ^ Nicol, Jimmy (October 1993). "Re-releases: Paul McCartney The Paul McCartney Collection". Q. p. 119.
- ^ "Paul McCartney: Album Guide". rollingstone.com. Archived from the original on 4 July 2014. Retrieved 13 Oct 2014.
- ^ Starr, Ruddy (28 June–11 July 1979). "Albums", Blast Hits, p. 25.
- ^ Woffinden, pp. 121, 124
- ^ a b Chase, Chris, ed. (2005). "Chapter 4: 1976–1980". NME Originals: Beatles – The Solo Years 1970–1980. London: IPC Ignite!. p. 123.
- ^ Cohen, Mitchell (September 1979). "Wings: Back to the Egg (Columbia)". Creem. Bachelor at Rock's Backpages Archived 7 March 2014 at the Wayback Machine (subscription required).
- ^ Doyle, pp. 174, 209
- ^ Du Noyer, Paul (2003). "Lone Again, or ...". Mojo: The Beatles' Final Years Special Edition. London: Emap. p. 64.
- ^ Madinger and Easter, pp. 241, 248–49
- ^ Badman, pp. 238, 239
- ^ Madinger and Easter, p. 254
- ^ Benitez, p. xi
- ^ McGee, p. 135
- ^ Madinger and Easter, p. 260
- ^ a b Sounes, p. 265
- ^ Spizer, p. 199
- ^ Benitez, p. 97
- ^ The New Rolling Rock Encyclopedia of Rock & Roll, p. 639
- ^ Badman, p. 425
- ^ Badman, p. 508
- ^ Ingham, p. 143
- ^ Madinger and Easter, pp. 207, 251, 608
- ^ Madinger and Easter, p. 350
- ^ Benitez, pp. 88–94
- ^ Terrill, Marshall (15 October 2010). "Exclusive: Ex-Wings guitarist, Laurence Juber, talks about having Paul McCartney as a boss". Daytrippin' Magazine. Archived from the original on 22 Apr 2016. Retrieved xiii April 2016.
- ^ "By Winners Search". National Academy of Recording Arts and Sciences. Archived from the original on 3 February 2014. Retrieved 3 October 2011.
- ^ a b Kent, David (1993). Australian Chart Book 1970–1992. St Ives, NSW: Australian Chart Book. ISBN0-646-11917-6.
- ^ "Wings – Dorsum to the Egg" (in German). austriancharts.at. Archived from the original on ii November 2012. Retrieved 3 October 2011.
- ^ "RPM 100 Albums (11 Baronial 1979)". Library and Archives Canada. Archived from the original on 5 November 2013. Retrieved 17 March 2014.
- ^ "Wings – Dorsum to the Egg" (in Dutch). dutchcharts.nl. Archived from the original on 5 Nov 2013. Retrieved 12 September 2011.
- ^ "InfoDisc: Tous les Albums classés par Artiste > Choisir Un Artiste Dans la Liste: Wings". infodisc.fr. Archived from the original on vii May 2013. Retrieved 12 September 2011.
- ^ a b "Hitting Parade Italia – Gli album più venduti del 1979" (in Italian). hitparadeitalia.it. Archived from the original on 11 Baronial 2011. Retrieved 3 October 2011.
- ^ a b Oricon Anthology Chart Volume: Complete Edition 1970–2005. Roppongi, Tokyo: Oricon Amusement. 2006. ISBN4-87131-077-9.
- ^ "Wings – Back to the Egg". charts.nz. Retrieved 3 Oct 2011.
- ^ "Wings – Back to the Egg". norwegiancharts.com. Archived from the original on 2 November 2012. Retrieved 12 September 2011.
- ^ Salaverri, Fernando (September 2005). Sólo éxitos: año a año, 1959–2002 (1st ed.). Spain: Fundación Autor-SGAE. ISBN84-8048-639-ii.
- ^ "Wings – Back to the Egg" (in Swedish). swedishcharts.com. Archived from the original on 24 Oct 2012. Retrieved iii October 2011.
- ^ "Wings, Back to the Egg" (in German). charts.de. Archived from the original on 24 July 2014. Retrieved 4 Nov 2013.
- ^ "RPM Top 100 Albums of 1979". Library and Archives Canada. Archived from the original on five December 2012. Retrieved 17 March 2014.
- ^ "Les Albums (CD) de 1979 par InfoDisc" (in French). infodisc.fr. Archived from the original (PHP) on 21 February 2014. Retrieved 29 January 2012.
- ^ "Canadian album certifications – Wings – Dorsum to the Egg". Music Canada.
- ^ "British album certifications – Wings – Back to the Egg". British Phonographic Industry.
- ^ "American album certifications – Wings – Back to the Egg". Recording Industry Association of America.
Sources [edit]
- Badman, Keith (2001). The Beatles Diary Volume 2: Later on the Pause-Up 1970–2001. London: Bus Printing. ISBN978-0-7119-8307-6.
- Benitez, Vincent P. (2010). The Words and Music of Paul McCartney: The Solo Years. Santa Barbara, CA: Praeger. ISBN978-0-313-34969-0.
- Clayson, Alan (2003). Paul McCartney. London: Sanctuary. ISBN1-86074-482-half-dozen.
- Doggett, Peter (2011). You Never Give Me Your Coin: The Beatles After the Breakup. New York, NY: It Books. ISBN978-0-06-177418-eight.
- Doyle, Tom (2013). Man on the Run: Paul McCartney in the 1970s. New York, NY: Ballantine Books. ISBN978-0-8041-7914-0.
- Graff, Gary; Durchholz, Daniel, eds. (1999). MusicHound Rock: The Essential Album Guide. Farmington Hills, MI: Visible Ink Press. ISBN1-57859-061-2.
- Ingham, Chris (2003). The Crude Guide to the Beatles (1st ed.). London: Rough Guides. ISBN978-i-84353-140-one.
- McGee, Garry (2003). Band on the Run: A History of Paul McCartney and Wings. Lanham, MD: Rowman & Littlefield. ISBN978-0-87833-304-2.
- Madinger, Scrap; Easter, Mark (2000). Viii Arms to Concur You: The Solo Beatles Compendium. Chesterfield, MO: 44.ane Productions. ISBN0-615-11724-four.
- The New Rolling Rock Encyclopedia of Rock & Curl. New York, NY: Fireside/Rolling Rock Press. 1995. ISBN0-684-81044-1. Archived from the original on twenty November 2019. Retrieved nine Baronial 2019.
- Perasi, Luca (2013). Paul McCartney: Recording Sessions (1969–2013). [S.l.]: L.I.L.Y. Publishing. ISBN978-88-909122-1-4.
- Rodriguez, Robert (2010). Fab Four FAQ 2.0: The Beatles' Solo Years, 1970–1980. Milwaukee, WI: Backbeat Books. ISBN978-0-87930-968-viii.
- Sounes, Howard (2010). Fab: An Intimate Life of Paul McCartney. London: HarperCollins. ISBN978-0-00-723705-0.
- Spizer, Bruce (2005). The Beatles Solo on Apple Records. New Orleans, LA: 498 Productions. ISBN0-9662649-5-9.
- Potent, Martin C. (2006). The Essential Rock Discography. Edinburgh, United kingdom of great britain and northern ireland: Canongate. ISBN978-ane-84195-827-9.
- Woffinden, Bob (1981). The Beatles Apart. London: Proteus. ISBN0-906071-89-5.
External links [edit]
- Dorsum to the Egg at Discogs (listing of releases)
Source: https://en.wikipedia.org/wiki/Back_to_the_Egg
0 Response to "Back in Love Again Horn Charts"
แสดงความคิดเห็น