Showing posts with label Wings. Show all posts
Showing posts with label Wings. Show all posts

Saturday, November 29, 2025

Denny Laine (Paul McCartney) - Holly Days (1977)

Year: May 13, 1977 (CD ????)
Label: Unofficial Release (Russia), DLMPLCD 140802/76
Style: Rock
Country: Tyseley, Birmingham, England (29 October 1944 - 5 December 2023)
Time: 29:53
Format: Flac Tracks 16/44,1 kHz
Size: 202 Mb

Musicians: Denny Laine, Paul McCartney, Linda McCartney.
Of the myriad side projects and offshoots which occupied Paul McCartney and Wings during the early to mid-'70s, it is regrettable that this is the only one which came to full fruition - regrettable because it's also the only one in which Fab Macca had any kind of vested financial interest, thus opening the door for decades' worth of subsequent critics to write it of as just another means of adding more cash to the coffers. Of course, there's no denying that McCartney's acquisition of the Buddy Holly songbook was a prime reason for this collection of, indeed, Buddy Holly covers. But to dwell on that is to overlook the fact that, alongside Wildlife, Red Rose Speedway, and two or three later Wings 45s, Holly Days sounds more like McCartney's original blueprint for Wings than anything else the group accomplished. Laine, Paul, and Linda alone feature on the album, recording in the same Rude studios (the appropriately named Rude Studio where McCartney banged out his demos), and not sounding much more advanced. A note on the sleeve even warns, "this album consists of monophonic recordings, electronically reprocessed to give a stereo effect," and anyone familiar with any of the Beatles' own early-'60s recordings will know exactly what that sounds like. Holly Days is crude, ramshackle, and impossibly primitive, then, but its naivete is its strength, its amateurism is its armor. It's the sound of three musicians having fun with songs that they love, eschewing effects, ignoring mistakes, and cherishing the lo-fi brashness of it all. Laine's lead vocals are excellent, the McCartneys' harmonies are spot-on, and the musicianship - mainly Paul - is supremely slapdash. The result, for anybody wishing to seriously anthologize McCartney's solo output, is an album as honest as any he's been involved in, and a lot more fun than most of them. Holly Days - happy days!
(allmusic.com/album/holly-days-mw0000538847)

01. Heartbeat (02:35)
02. Moondreams (02:41)
03. Rave On (01:54)
04. I'm Gonna Love You Too (02:17)
05. Fools Paradise (02:46)
06. Lonesome Tears (03:02)
07. It's So Easy / Listen to Me (03:47)
08. Look at Me (03:11)
09. Take Your Time (03:38)
10. I'm Lookin for Someone to Love (03:58)

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Sunday, October 5, 2025

The Fireman (Paul McCartney & Youth) - Electric Arguments (2008)

Year: 24 November 2008 (CD Nov 24, 2008)
Label: mpl communication ltd. (UK & Europe), tplp1003cd
Style: Experimental Rock, Alternative Rock, New Age
Country: England
Time: 63:11
Format: Flac Tracks 16/44,1 kHz
Size: 408 Mb

Paul McCartney (vocals, bass guitar) - Liverpool, England (18 June 1942). Youth - Martin Glover (bass, keyboards, vocals), Slough, Buckinghamshire, England (27 December 1960).
Ten years after Paul McCartney and Martin 'Youth' Glover (ex Killing Joke) released their last collaborative 'mystery disc' under the Fireman moniker (the dancey Rushes) they return. Any right-thinking musicologist may balk at the the wisdom of two bassists working together, but the pair's efforts have always borne interesting fruit. However, anyone expecting Electric Arguments to fit under the same 'experimental' or 'electronic' bracket as previous work may be surprised. Only Universal Here, Everlasting Now's collages are really mind-melting. Much like Eno and Byrne's recent reunion, this album defies expectations by featuring not only vocals and lyrics but, gasp, songs! In fact Electric Arguments is nothing less than a rather fine McCartney solo album, perhaps shoved out under the alias to show a certain label who's really boss. Whatever, it's a spry 13-track (and one hidden track) jaunt through styles a-plenty; from psychedelic folk to blues grit.
If there's any argument for calling this truly 'experimental' it's because the duo leave the endings rough as a badger's bottom and have a tendency to throw in some Mellotron, a touch of flanging to the voice, or play stuff...backwards. Wow. But this is Macca and he's on form, seemingly using the freedom of relative anonymity to stretch out, relax, turn on, tune in, drop out and make like a kid in a sonic sandbox, mixing it up and throwing some curveballs. Opener, Nothing Too Much Just Out Of Sight comes on like Zep meeting Beefheart, full of mealy-mouthed blues harp and Helter Skelter raging. Light From Your Lighthouse comes direct from Dylan and the Band's rootsy basement and Lifelong Passion's raga and synth mix may well be Paul's tribute to George Harrison.
Not everything convinces. Is This Love? meanders dangerously like a b-side. Sun Is Shining drones with bucolic good-naturedness but goes nowhere: Paul gets up sees the sun shining down etc etc. Lovers In A Dream ("...warmer than the sun" repeated over a trance burble) falls down a somewhat featureless hole between early Primal Scream and the Orb, while Dance 'Til We're High misses being Paul Oakenfold and instead ends up like Phil Spector.
No matter, this is a rather tasty little album that reminds us again who was the adventurous one in the Moptops. Thumbs aloft, indeed.
(bbc.co.uk/music/reviews/wjcz/) Review by Chris Jones. 2008

01. Nothing Too Much Just Out Of Sight (04:55)
02. Two Magpies (02:12)
03. Sing The Changes (03:43)
04. Travelling Light (05:05)
05. Highway (04:16)
06. Light From Your Lighthouse (02:31)
07. Sun Is Shining (05:11)
08. Dance 'Til We're High (03:37)
09. Lifelong Passion (04:48)
10. Is This Love? (05:51)
11. Lovers In A Dream (05:21)
12. Universal Here, Everlasting Now (05:05)
13. Don't Stop Running (10:30)

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