Saturday, February 29, 2020

Howlin Wolf - All Night Boogie (1984) (Vinyl)

Year: 1984
Label: Blue Moon Records (UK), BMLP-1019
Style: Blues
Country: White Station, Mississippi, US
Time: 37:03
Format: Flac Tracks 16/44,1 kHz
Size: 226 Mb

Chester Arthur Burnett (June 10, 1910 – January 10, 1976), known as Howlin' Wolf, was a Chicago blues singer, guitarist, and harmonica player. Originally from Mississippi, he moved to Chicago in adulthood and became successful, forming a rivalry with fellow bluesman Muddy Waters. With a booming voice and imposing physical presence, he is one of the best-known Chicago blues artists.
The musician and critic Cub Koda noted, "no one could match Howlin' Wolf for the singular ability to rock the house down to the foundation while simultaneously scaring its patrons out of its wits." Producer Sam Phillips recalled, "When I heard Howlin' Wolf, I said, 'This is for me. This is where the soul of man never dies.'" Several of his songs, including "Smokestack Lightnin'", "Killing Floor" and "Spoonful", have become blues and blues rock standards. In 2011, Rolling Stone magazine ranked him number 54 on its list of the "100 Greatest Artists of All Time".

01. A1 Cause Of It All (02:45)
02. A2 The Killing Floor (03:32)
03. A3 Little Red Rooster (05:36)
04. A4 Built For Comfort (02:22)
05. A5 Commit A Crime (04:10)
06. B1 Do The Do (03:29)
07. B2 Highway 49 (03:00)
08. B3 Worried About My Baby (02:57)
09. B4 Poor Boy (04:08)
10. B5 Wang Dang Doodle (04:58)


Pink Floyd - The Dark Side Of The Moon (1973) (Vinyl)

Year: 1973 (LP 1973, 6th Press)
Label: EMI Harvest Records (UK), SHVL 804
Style: Classic Rock
Country: London, England
Time: 42:58
Format: Flac Tracks 16/44,1 kHz
Size: 261 Mb

The Dark Side of the Moon is Pink Floyd’s ninth album and is a single extended piece rather than, a collection of songs. It seems to deal primarily with the fleetingness and depravity of human life, hardly the commonplace subject matter of rock. “Time” (“The time is gone the song is over”), “Money” (“Share it fairly but don’t take a slice of my pie”). And “Us And Them” (“Forward he cried from the rear”) might be viewed as the keys to understanding the meaning (if indeed there is any definite meaning) of The Dark Side of the Moon.
Even though this is a concept album, a number of the cuts can stand on their own. “Time” is a fine country-tinged rocker with a powerful guitar solo by David Gilmour and “Money” is broadly and satirically played with appropriately raunchy sax playing by Dick Parry, who also contributes a wonderfully-stated, breathy solo to “Us And Them.” The non-vocal “On The Run” is a standout with footsteps racing from side to side successfully eluding any number of odd malevolent rumbles and explosions only to be killed off by the clock’s ticking that leads into “Time.” Throughout the album the band lays down a solid framework which they embellish with synthesizers, sound effects and spoken voice tapes. The sound is lush and multi-layered while remaining clear and well-structured.
There are a few weak spots. David Gilmour’s vocals are sometimes weak and lackluster and “The Great Gig in the Sky” (which closes the first side) probably could have been shortened or dispensed with, but these are really minor quibbles. The Dark Side of the Moon is a fine album with a textural and conceptual richness that not only invites, but demands involvement. There is a certain grandeur here that exceeds mere musical melodramatics and is rarely attempted in rock. The Dark Side of the Moon has flash-the true flash that comes from the excellence of a superb performance.
(Album Reviews. RollingStone magazine. May 24, 1973 4:00AM ET)

01. A1 Speak To Me (01:09)
02. A2 Breathe (02:48)
03. A3 On The Run (03:40)
04. A4 Time (06:59)
05. A5 The Great Gig In The Sky (04:41)
06. B1 Money (06:25)
07. B2 Us And Them (06:20)
08. B3 Any Colour You Like (02:51)
09. B4 Brain Damage (03:55)
10. B5 Eclipse (04:05)


Wednesday, February 26, 2020

Dire Straits - Brothers In Arms (1985) (Russian Vinyl)

Year: 13 May 1985, Recorded November 1984 – March 1985, (LP 1992)
Label: Lad Records (Russia), LD–238015
Style: Rock
Country: Deptford, London, England, UK
Time: 47:05
Format: Flac Tracks 16/44,1 kHz
Size: 262 Mb

Except for their swell debut hit single, "Sultans of Swing," in 1979, the British band Dire Straits has never come as much of a surprise. And, then, what caught you off guard was how much the singer sounded like Dylan. Brothers in Arms, their first studio album since Love over Gold three years ago, offers more of their winsomely rocking tunes. The band is augmented by bassist Tony Levin, Weather Report drummer Omar Hakim, a horn section, which includes the Brecker Brothers, and some thirteen different keyboards that are used to explore orchestral textures. Carefully crafted instead of raucous, pretty rather than booming, and occasionally affecting, the record is beautifully produced, with Mark Knopfler’s terrific guitar work catching the best light. The lyrics are literate, but the scenarios aren’t as interesting as they used to be on records like Making Movies, still the band’s most solid LP.
Side one has the most driving songs: the bouncy "Walk of Life," a Fifties rock & roll song about cool Fifties rock & roll songs that features a cheesy organ sound, and "So Far Away," a missive from a distant town, with a catchy bass line rumbling underneath it. After a grandiose introduction, "Money for Nothing" shows what a guy who moves refrigerators for a living thinks of the rock stars on MTV. "See the little faggot with the earring and the makeup/Yeah buddy that’s his own hair/That little faggot got his own jet airplane/That little faggot he’s a millionaire," the guy mutters, while Knopfler’s guitar grinds out his irritation. The guitar turns delicate for the gentle "Why Worry," a song that’s as soft as a sigh.
Side two, made up of four songs about men and war, is more ambitious and less successful. Knopfler practically whispers the lyric to "Brothers in Arms" but never turns out images that catch your eye; the music’s lovely, though, with the electric guitar cutting patterns in a soft-toned background. But no telling metaphors are found in this quartet of songs, and the music lacks the ache that made Knopfler’s recent soundtracks for Comfort and Joy and Cal so powerful.
(Album reviews July 4, 1985 4:00AM ET "Rolling Stone" magazine.)

01. A1 So Far Away (03:58)
02. A2 Money For Nothing (06:57)
03. A3 Walk Of Life (04:07)
04. A4 Your Latest Trick (04:38)
05. A5 Why Worry (05:21)
06. B1 Ride Across The River (06:51)
07. B2 The Man's Too Strong (04:40)
08. B3 One World (03:35)
09. B4 Brothers In Arms (06:56)


Sunday, February 23, 2020

Elton John - Honky Chateau (1972) (Vinyl)

Year: 1972 (LP 1972)
Label: DJM Records (UK), DJLPH 423
Style: Rock
Country: Pinner, Middlesex, England
Time: 44:55
Format: Flac Tracks 16/44,1 kHz
Size: 299 Mb

Elton John was well on his way to becoming a star when he released his fifth album, Honky Chateau, in May 1972. But nobody had an idea just how big of a star he'd become following the record's supernova climb up the charts.
Several changes in John's approach to record-making probably had something to do with this. First of all, he and songwriting partner Bernie Taupin, after crafting two excellent albums of introspective singer-songwriter fare in 1970's Tumbleweed Connection and 1971's Madman Across the Water, broadened their focus to a more general pop and rock 'n' roll stance for the songs that ended up on Honky Chateau.
And, for the first time, John got to use his live band -- made up of guitarist Davey Johnstone, bassist Dee Murray and drummer Nigel Olsson -- for an entire album. They appeared in bits and pieces on earlier records, but on Honky Chateau, the core quartet makes most of the sounds you hear (except for some horns, violins and synths used here and there).
The songs were still rooted in his past -- "Mona Lisas and Mad Hatters" particularly sounds like something left over from Madman Across the Water -- but there was a more playful side to John now, especially on tracks like the opening "Honky Cat" and "Hercules," the LP's closer. In between is one of John's most cohesive set of songs up to that point, 10 tracks that make up one of his all-time greatest albums.
The ringer here is "Rocket Man," inspired by equal parts Ray Bradbury and David Bowie, whose earlier "Space Oddity" dealt with similar themes of astronauts and alienation. Bowie's song received new life when his 1969 recording was reissued in early 1973 following his own rise to fame, courtesy of the Ziggy Stardust persona and music fans' appetite for outer space-themed songs - and it was ushered in by John's hit.
The "Rocket Man" single, which features the subtitle "I Think It's Going to Be a Long, Long Time," became, at the time, John's biggest single in the U.S., peaking at No. 6. "Crocodile Rock" went to No. 1 later in the year, marking the first of John's eight chart toppers. Honky Chateau also hit No. 1, the first of seven straight John albums, including 1974's Greatest Hits, to do so.

01. A1 Honky Cat (05:10)
02. A2 Mellow (05:30)
03. A3 I Think I'm Going To Kill Myself (03:33)
04. A4 Susie (Dramas) (03:22)
05. A5 Rocket Man (I Think It's Going To Be A Long, Long Time) (04:39)
06. B1 Salvation (03:58)
07. B2 Slave (04:19)
08. B3 Amy (04:02)
09. B4 Mona Lisas And Mad Hatters (04:58)
10. B5 Hercules (05:19)


Monday, February 10, 2020

T Rex - Marc Bolan T Rex (1991) (Russian Vinyl)

Year: 1991 (LP 1991)
Label: Russian Disc Records (USSR), R60 00505
Style: Rock, Glam Rock
Country: Stoke Newington, London, England
Time: 40:46
Format: Flac Tracks 16/44,1 kHz
Size: 276 Mb

Marc Bolan (born Mark Feld; 30 September 1947 – 16 September 1977) was an English singer, songwriter, musician and poet. He was the lead singer of the band T. Rex and was one of the pioneers of the glam rock movement of the 1970s.
Bolan’s appearance on the BBC's music show Top of the Pops in March 1971, wearing glitter and satins, is often cited as the beginning of the glam rock movement. Music critic Ken Barnes called Bolan "the man who started it all". T. Rex’s 1971 album Electric Warrior, with all songs written by Bolan, including the UK chart topper “Get It On”, has been described by AllMusic as “the album that essentially kick-started the UK glam rock craze.” Producer Tony Visconti, who would also work with the other major glam rock pioneer David Bowie, stated, “What I saw in Marc Bolan had nothing to do with strings, or very high standards of artistry; what I saw in him was raw talent. I saw genius. I saw a potential rock star in Marc – right from the minute, the hour I met him.”
Bolan died at the age of 29 in a car crash two weeks before his 30th birthday. In 1997, a memorial stone and bust of Bolan, Marc Bolan's Rock Shrine, was unveiled at the site where he died in Barnes, London. As a member of T. Rex, Bolan will posthumously be inducted into the Rock and Roll Hall of Fame in 2020.
On 16 September 1977, Bolan was riding in a Mini 1275GT driven by Gloria Jones as they headed home from Mortons club and restaurant in Berkeley Square. After she crossed a small humpback bridge near Gipsy Lane on Queens Ride, Barnes, southwest London, the car struck a fence post and then a tree. Bolan was killed instantly, while Jones suffered a broken arm and broken jaw.
At Bolan's funeral, attended by David Bowie, Rod Stewart, Tony Visconti, and Steve Harley, a swan-shaped floral tribute was displayed outside the service in recognition of his breakthrough hit single "Ride a White Swan". His funeral service was at the Golders Green Crematorium, a secular provision in north London, where his ashes were buried. The car crash site has subsequently become a shrine to his memory, where fans leave tributes beside the tree. In 2013, the shrine was featured on the BBC Four series Pagans and Pilgrims: Britain's Holiest Places. The site, referred to as Marc Bolan's Rock Shrine, is owned and maintained by the T. Rex Action Group.
Bolan never learned to drive, fearing a premature death. Despite this fear, cars or automotive components are at least mentioned in, if not the subject of, many of his songs. He also owned a number of vehicles, including a white 1960s Rolls-Royce that was loaned by his management to the band Hawkwind on the night of his death.

01. A1 Debora (EP version 1972) (03:16)
02. A2 Mystic Lady (album - The Slider 1972) (03:19)
03. A3 Rock On (album - The Slider 1972) (03:34)
04. A4 Spaceball Ricochet (album - The Slider 1972) (03:41)
05. A5 Buick Mackane (album - The Slider 1972) (03:37)
06. A6 Chariot Choogle (album - The Slider 1972) (02:48)
07. B1 Baby Boomerang (album - The Slider 1972) (02:23)
08. B2 Rabbit Fighter (album - The Slider 1972) (04:04)
09. B3 Baby Strange (album - The Slider 1972) (03:10)
10. B4 Ballrooms Of Mars (album - The Slider 1972) (04:14)
11. B5 Main Man (album - The Slider 1972) (04:19)
12. B6 Solid Gold Easy Action (single 1972) (02:16)


Sunday, February 9, 2020

Kiss - Unmasked (1980) (Vinyl)

Year: 1980 (LP 1980)
Label: Mercury Records (UK), 6302 032
Style: Rock, Glam Rock
Country: New York City, New York, U.S.
Time: 39:58
Format: Flac Tracks 16/44,1 kHz
Size: 281 Mb

Unmasked is the eighth studio album by American hard rock band Kiss, released in 1980. Despite being credited, Peter Criss had no involvement with the recording of the album; Anton Fig played all the drums uncredited.
The album features substantial songwriting contributions from Vini Poncia, who had previously been Ringo Starr's post-Beatles songwriting partner. The album marked the first time Kiss had used the contributions of outside songwriters to such a large extent, as all tracks except two of the Frehley contributions, "Talk to Me" and "Two Sides of the Coin", were written or co-written by someone outside the band.
The band filmed a promotional video for "Shandi" with Criss. It was the last time he appeared with Kiss until he performed with them at a Kiss Convention on June 17, 1995. In the band's authorized biography, the drummer revealed that he was the last one left in the band's dressing room after filming and broke down crying. The album cover and poster insert, designed by artist Victor Stabin, featured a winking Criss. "Unmasked was like the tail end of a comet," reflected Stanley, "and I don't mean Frehley's."
Unmasked went on sale on May 20, 1980 through Casablanca Records and reached number 35 on the Billboard 200, the worst position for the group since Hotter Than Hell (1974). The album got a gold certification from the RIAA two months after its launch, although it was the first Kiss album not to obtain the certification of platinum since Destroyer (1976). Meanwhile, in Europe and Oceania, Kiss maintained its popularity; Unmasked topped the charts in Norway and New Zealand, and reached the top 5 in Australia, Austria, Germany and the Netherlands.
"Shandi", published on June 1, 1980, was the first single from the album. Although in the United States it only reached No. 47, in Argentina it reached number one, while in Australia, New Zealand and Norway it reached the top 10. "Talk to Me" was the next single outside the United States. It went on sale on August 24 and its highest position was the tenth, reached on the Swiss charts. "Tomorrow" was the third and last single by Unmasked – the second in the United States – and reached No. 70 in Germany.
Although Unmasked marked a major musical departure for the band, it still reached #35 on the US Billboard chart and was certified gold by the RIAA on July 30, 1980.
One year after their last tour, which was somewhat a disaster, Criss was fired from the band due to his erratic behavior. Unmasked was the first album that failed to reach platinum status since 1976's Destroyer. Kiss played only one show in the US, at the Palladium with Carr. The band decided to take a break from the U.S. because the album was more successful in other countries, and Kiss played in Australia, England, New Zealand, Sweden, Netherlands, Norway, Denmark, Germany, France, and Italy.

01. A1 Is That You (03:57)
02. A2 Shandi (03:36)
03. A3 Talk To Me (04:03)
04. A4 Naked City (03:52)
05. A5 What Makes The World Go Round (04:09)
06. B1 Tomorrow (03:17)
07. B2 Two Sides Of The Coin (03:15)
08. B3 She's So European (03:32)
09. B4 Easy As It Seems (03:24)
10. B5 Torpedo Girl (03:46)
11. B6 You're All That I Want (03:02)


Saturday, February 8, 2020

Elton John - Goodbye Yellow Brick Road (1973) (Yellow Vinyl 2xLP)

Year: 1973 (LP 1973)
Label: DJM Records (UK), DJE 29001
Style: Rock, Pop Rock
Country: Pinner, Middlesex, England
Time: 39:25, 36:45
Format: Flac Tracks 16/44,1 kHz
Size: 256, 260 Mb

"How Bernie Taupin Rejected Fame on ‘Goodbye Yellow Brick Road’" (ultimateclassicrock_com/elton-john-bernie-taupin-goodbye-yellow-brick-road-2/)
Elton John's flamboyance was always balanced out by Bernie Taupin's more reserved tendencies. That's one reason why they made such a perfect songwriting team.
Still, just three years after they first became famous, Taupin was already tiring of the spotlight, and put that desire for something else into 1973's platinum-selling No. 2 smash "Goodbye Yellow Brick Road."
Just as Dorothy needed to follow the glittering path in The Wizard of Oz to realize that her black-and-white Kansas home offered her more than the technicolor Oz, Taupin's lyrics reflect someone who's seen the limelight and wants to be back among the "howling old owl" and "horny-back toad" of his rural past.
The lyrics are among Taupin's most explicitly autobiographical. He was raised on a farm in Lincolnshire, England, living without electricity until he was five years old. As a child, he developed a fascination with America, both through country music and cowboy movies.
"When I was growing up in England in the '50s and '60s, we all played cowboys and Indians and watched westerns on TV and it entranced me," Taupin told the Telegraph in 2002. "I was intoxicated by the myth of the west. The music I listened to – Johnny Cash and the like – the films I watched, even the history I was interested in: I wanted to live like a cowboy."
The lyrics on 1970's Tumbleweed Connection drew upon that same Old West imagery. Taupin's love of the movies was also reflected three years later in a few songs from Goodbye Yellow Brick Road: "Roy Rogers" and two of Elton John's most famous singles, "Candle in the Wind" (a tribute to Marilyn Monroe) and the title track.
Taupin told Rolling Stone in 2014 that he wasn't a huge Monroe fan, adding that the actress "was just a metaphor for fame and dying young." "Goodbye Yellow Brick Road," on the other hand, was more personal.
"Goodbye Yellow Brick Road is a cinematic album," Taupin added. "The lyrics to the title track do say that I want to leave Oz and get back to the farm. I think that’s still my M.O. these days. I don’t mind getting out there and doing what everybody else was doing, but I always had to have an escape hatch.”
John wondered aloud whether Taupin “ever really liked the fame. He was always the quiet one and the more thoughtful one. I was always the one that said, ‘Let’s go out!’ I used to go out with Divine and dance at clubs. We’d both burn the candle at both ends, but I did it far more than he did.”
John's tune and vocal perfectly capture the wistful longing in Taupin's words, but John admitted that he really didn't know where the lyrics come from. "I was just the guy who wrote the melodies, that was my job," John told Rolling Stone. "I just love writing to his lyrics. I really don’t analyze them much. He’s never told me what sort of song to write. He just gave me the lyrics. It’s nice when you’re creating something that comes together like a jigsaw puzzle very quickly.”
Taupin eventually found a way to combine his love of America with his rural roots: In 1992, he bought the Roundup Valley Ranch, a 30-acre estate in California's Santa Ynez Valley where Taupin could ride horses, paint and write lyrics. "This place has just been unbelievably inspirational for me," he said in 2017. "The songs that I've written have all been inspired by this place, and just the comfort it gives me."
Work with John earned him a fortune, but Taupin remains grateful that – unlike his friend – he's been able to stay relatively anonymous.
"That’s one of the things I’m the most thankful for," Taupin told Rolling Stone in 2015. "I mean in the early '70s, I would get recognized because my picture was on the album covers a lot. My name does still get recognized. I go places and give a credit card or give my name at the airport, and someone will recognize the name and the gushing begins. But I couldn't live (Elton's) life. I would rather drill myself in the head with a nail gun than do what he does."

01. A1 Funeral For A Friend (Love Lies Bleeding) (11:05)
02. A2 Candle In The Wind (03:49)
03. A3 Bennie And The Jets (05:17)
04. B1 Goodbye Yellow Brick Road (03:14)
05. B2 This Song Has No Title (02:23)
06. B3 Grey Seal (03:59)
07. B4 Jamaica Jerk-Off (03:37)
08. B5 I've Seen That Movie Too (05:58)

01. C1 Sweet Painted Lady (03:54)
02. C2 The Ballad Of Danny Bailey (1909–34) (04:23)
03. C3 Dirty Little Girl (05:02)
04. C4 All The Girls Love Alice (05:07)
05. D1 Your Sister Can't Twist (But She Can Rock'n Roll) (02:44)
06. D2 Saturday Night's Alright For Fighting (04:54)
07. D3 Roy Rogers (04:08)
08. D4 Social Disease (03:42)
09. D5 Harmony (02:46)

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Deep Purple - Stormbringer (1974) (Russian Vinyl)

Year: 1974 (LP 1991)
Label: Antrop Records (Russia), П91 00128
Style: Hard Rock
Country: Hertford, Hertfordshire, England
Time: 36:40
Format: Flac Tracks 16/44,1 kHz
Size: 255 Mb

Stormbringer is the ninth studio album by the English hard rock band Deep Purple, released in November 1974, and the second studio album to feature the Mk III lineup including vocalist David Coverdale and bassist/vocalist Glenn Hughes.
Alex Henderson of AllMusic writes that "Stormbringer falls short of the excellence of Machine Head and Who Do We Think We Are, but nonetheless boasts some definite classics – including the fiery "Lady Double Dealer," the ominous title song (a goth metal treasure), the sweaty "High Ball Shooter," and the melancholy ballad "Soldier of Fortune."
Guitarist Ritchie Blackmore left Deep Purple following Stormbringer and its subsequent tour, publicly citing his dislike for the funky direction the band was taking. Glenn Hughes nevertheless praises the album and Blackmore's contributions: "People who listen to Stormbringer, please listen...Ritchie Blackmore is damn funky, whether he likes it or not. He played wonderfully on the album."

Ritchie Blackmore - guitar
David Coverdale - vocals
Glenn Hughes - bass, vocals
Jon Lord - organ, keyboards
Ian Paice - drums

01. A1 Stormbringer (04:06)
02. A2 Love Don't Mean A Thing (04:24)
03. A3 Holy Man (04:31)
04. A4 Hold On (05:03)
05. B1 Lady Double Dealer (03:21)
06. B2 You Can't Do It Right (03:21)
07. B3 High Ball Shooter (04:31)
08. B4 The Gypsy (04:03)
09. B5 Soldier Of Fortune (03:16)


Tuesday, February 4, 2020

Paul McCartney - Flowers In The Dirt (1989) (Russian Vinyl)

Year: 5 June 1989 (LP 1990)
Label: Melodia Records (Russia), A60 00705 006
Style: Rock
Country: Liverpool, England
Time: 48:31
Format: Flac Tracks 16/44,1 kHz
Size: 311 Mb

One of the most critically acclaimed albums of the eighties, nominated for both BRIT and Grammy Awards, Flowers In The Dirt saw Paul team up with Elvis Costello to co-write a third of the album ('My Brave Face', 'You Want Her Too', 'Don’t Be Careless Love' and 'That Day is Done') as well as boasting production credits from producers such as Mitchell Froom, Trevor Horn, David Foster, Steve Lipson, Elvis Costello and Paul himself.  Pink Floyd guitar legend David Gilmour makes an appearance on 'We Got Married' and George Martin’s string arrangement on 'Put It There' is amongst the many album highlights.

Flowers in the Dirt is the eighth studio solo album by Paul McCartney. The album was released on 5 June 1989 on Parlophone, as he was embarking on his first world tour since the Wings Over the World tour in 1975–76. It was considered a major return to form, and earned McCartney some of the best reviews he had received in years. The album made number 1 in the United Kingdom and Norway and produced several hit singles (the first being "My Brave Face").
After the meagre sales for Press to Play, McCartney realised that he needed to work much harder on his follow-up. Thus, he not only teamed up with several different producers, but also spent the better part of 18 months perfecting Flowers in the Dirt. A highlight of the sessions was McCartney's alliance with Elvis Costello, with whom he composed many new songs. In his 2015 autobiography, Unfaithful Music & Disappearing Ink, Costello described the track "That Day Is Done" as, "the unhappy sequel to 'Veronica'", which they had also co-written. Despite Costello's similarities to John Lennon, the partnership was not to endure. McCartney's then manager, Richard Ogden, confided at the time to Beatles historian Mark Lewisohn that the relationship between Costello and the former Beatle was "not entirely harmonious" and that at points McCartney had gone as far as to rant at him regarding Costello's attitude and approach to the sessions. Costello would appear on the album, even co-singing "You Want Her Too" with McCartney. Another guest included was his friend David Gilmour from Pink Floyd, who plays the guitar on "We Got Married". On "Put It There", McCartney used an old Buddy Holly trick, the knee-percussion, that McCartney recorded on the same day as the backing track.

Paul McCartney – vocals, guitars, piano
Linda McCartney – Minimoog, backing vocals, hand claps
Robbie McIntosh – guitar (acoustic and electric)
Hamish Stuart – guitars, percussion, backing vocals
Elvis Costello – vocals (backing and co-lead), keyboards
David Gilmour – electric guitar on "We Got Married"
Nicky Hopkins – piano

01. A1 My Brave Face (03:16)
02. A2 Rough Ride (04:40)
03. A3 You Want Her Too (with Elvis Costello) (03:12)
04. A4 Distractions (04:40)
05. A5 We Got Married (04:54)
06. A6 Put It There (02:08)
07. B1 Figure Of Eight (03:24)
08. B2 This One (04:08)
09. B3 Don't Be Careless Love (03:17)
10. B4 That Day Is Done (04:18)
11. B5 How Many People (04:10)
12. B6 Motor Of Love (06:16)