You get TWO full-lengths & THREE prmo singles from
~ALL for ONE price!
Cds play PERFECT come in jewelcases w/all original inserts..
(1 of the cases has a notched spine/ 1 of the discs has a prmo initial written ontop of the CD/
'Memory' is STILL SEALED- BRAND NEW)
***DJ PRMO-SINGLES were NOT commercially available in these formats***
THE WORLD TONIGHT, 1997/ 3-tracks
contains: The World Tonight/ Looking For You/ Oobu Joobu -Part 1
FREEDOM, 2001/ 3-tracks
contains: Freedom (single mix)/ From A Lover To A Friend/ From A Love To A Friend (David Kahne remix 2)
FINE LINE, 2005/ 1-track
DRIVING RAIN, 2001/ 15-tracks
For Paul McCartney, Driving Rain completes the trilogy he began with Flaming Pie, in retrospect a warm tribute to his dying wife, and continued through the storming rock & roll of Run Devil Run. The first found Macca writing some of his most affecting songs while he returned to his musical standbys -- charming folk, layered pop, and amiable rock & roll. Then, with Run Devil Run, he retreated even further, finding his love for piledriving, uncompromising rock & roll. With those two extremes, he covered the bases with everything except one important thing -- he had yet to reclaim his art pop inclinations, something he does so subtly on Driving Rain. In a sense, it's a nice blend of the self-conscious Flowers in the Dirt and the organic, natural Flaming Pie, combining the craft of the former with the attitude of the latter. As such, it sounds fresh, particularly because McCartney has teamed up with young producers and backing bands that don't just allow him to follow his muse, they're eager to chase him when he extends a song to an abnormal length with a jam. This is not the homemade charm of Ram, nor the post-Abbey Road studio trickery of Red Rose Speedway or Band on the Run, but instead a seasoned professional finding a way to fuse his various influences in a record that is as proud of its melody as it is of its elasticity. As such, it's more self-conscious than its immediate predecessor and it's a little indulgent, but in a good way. When McCartney decides to indulge himself here, it's not with whimsy but with sheer musical muscle. As the record draws to a conclusion, he hauls out a bunch of inventive, winding jams that may be a little excessive, yet they're exciting because he hasn't tried something like this in years. He's grooving on making music again, just like he did on Flaming Pie and Run Devil Run. Driving Rain may not be as coherent as Pie, nor as relentless as Devil, but it's rich, layered, ambitious, and successful. Since becoming a solo artist, Paul McCartney has never delivered three records in a row so overstuffed with imagination, melody, and enthusiasm as he has in these three albums. Let's hope he can keep the streak going next time around.
AMG Pick 1 Listen Now! Lonely Road McCartney 3:16
AMG Pick 2 Listen Now! From a Lover to a Friend McCartney 3:48
3 Listen Now! She's Given Up Talking McCartney 4:57
4 Listen Now! Driving Rain McCartney 3:27
5 Listen Now! I Do McCartney 2:56
6 Listen Now! Tiny Bubble McCartney 4:21
7 Listen Now! Magic McCartney 3:58
8 Listen Now! Your Way McCartney 2:55
9 Listen Now! Spinning on an Axis McCartney 5:16
10 Listen Now! About You McCartney 2:54
11 Listen Now! Heather McCartney 3:25
12 Listen Now! Back in the Sunshine Again McCartney 4:22
13 Listen Now! Your Loving Flame McCartney 3:43
14 Listen Now! Riding into Jaipur McCartney 4:07
15 Listen Now! Rinse the Raindrops McCartney 10:12
MEMORY ALMOST FULL (Starbucks retail version -$15.95), 2007/ 13-tracks
Allusion to the digital world though it may be, there's a sweet,
elegiac undercurrent to the title of Paul McCartney's Memory Almost
Full, an acknowledgement that it was written and recorded when
McCartney was 64, the age he mythologized on Sgt. Pepper's Lonely
Hearts Club Band, released almost exactly 40 years before Memory.
Certainly, McCartney has mortality on the mind, but this isn't an
entirely unusual occurrence for him in this third act of his solo
career. Ever since his wife Linda's death from cancer in 1998, he's
been dancing around the subject, peppering Flaming Pie with longing
looks back, grieving by throwing himself into the past on the covers
album Run Devil Run, slowly coming to terms with his status as the old
guard on the carefully ruminative Chaos and Creation in the Backyard.
But if that previous record was precise, bearing all the hallmarks of
meticulous producer Nigel Godrich, Memory Almost Full is startlingly
bright and frequently lively, an album that embraces McCartney's
unerring gift for melody. Yet for as pop as it is, this is not an album
made with any illusion that Paul will soon have a succession of hit
singles: it's an art-pop album, not unlike either of the McCartney
albums. Sometimes this is reflected in the construction —- the quick
succession of short songs at the end, uncannily (and quite
deliberately) sounding like a suite — sometimes in the lyrics, but the
remarkable thing is that McCartney never sounds self-consciously
pretentious here, as if he's striving to make a major statement.
Rather, he's quietly taking stock of his life and loves, his work and
achievements. Unlike latter-day efforts by Johnny Cash or the murky
Daniel Lanois-produced albums by Bob Dylan, mortality haunts the album,
but there's no fetishization of death. Instead, McCartney marvels at
his life — explicitly so in the disarmingly guileless "That Was Me,"
where he enthuses about his role in a stage play in grammar school with
the same vigor as he boasts about playing the Cavern Club with the
Beatles — and realizes that when he reaches "The End of the End," he
doesn't want anything more than the fond old stories of his life to be
This matter-of-fact acknowledgement that he's in the last
act of his life hangs over this album, but his penchant for nostalgia —
this is the man who wrote the sepia-toned music hall shuffle "Your
Mother Should Know" before he was 30, after all — has lost its
rose-tinted streak. Where he once romanticized days gone by, McCartney
now admits that we're merely living with "The Ever Present Past," just
like how although we live in the present, we still wear "Vintage
Clothes." He's no longer pining for the past, since he knows where the
present is heading, yet he seems disarmingly grateful for where his
journey has taken him and what it has meant for him, to the extent that
he slings no arrows at his second wife, Heather Mills, he only offers
her "Gratitude." Given the nastiness of the coverage of his recent
divorce, Paul might be spinning his eternal optimism a bit hard on this
song, but it isn't forced or saccharine — it fits alongside the
clear-eyed sentiment of the rest of Memory Almost Full. It rings true
to the open-heartedness of his music, and the album delivers some of
McCartney's best latter-day music. Memory Almost Full is so melodic and
memorable, it's easy to take for granted his skill as a craftsman,
particularly here when it feels so natural and unforced, even when it
takes left turns, which it thankfully does more than once. Best of all,
this is the rare pop meditation on mortality that doesn't present
itself as a major statement, yet it is thematically and musically
coherent, slowly working its way under your skin and lodging its way
into your cluttered memory. On the surface, it's bright and accessible,
as easy to enjoy as the best of Paul's solo albums, but it lingers in
the heart and mind in a way uncommon to the rest of his work, and to
many other latter-day albums from his peers as well.
1. Dance Tonight
2. Ever Present Past
3. See Your Sunshine
4. Only Mama Knows
5. You Tell Me
6. Mr. Bellamy
8. Vintage Clothes
9. That Was Me
10. Feet in the Clouds
11. House of Wax
12. End of the End, The
13. Nod Your Head
***BTW- I am offering more classic rock CDs in my other listings... ***
(note: plastic jewelcases are intact and are mailed securely-
please understand that unforeseen rigors of the post office may -rarely- result in some unfortunate cracks
for which I cannot be held responsible for)
Regarding the artist:
Out of all the former Beatles, Paul McCartney by far had the most successful solo career, maintaining a constant presence in the British and American charts during the '70s and '80s. In America alone, he had nine number one singles and seven number one albums during the first 12 years of his solo career. Although he sold records, McCartney never attained much critical respect, especially when compared to his former partner John Lennon. Then again, he pursued a different path than Lennon, deciding early on that he wanted to be in a rock band. Within a year after the Beatles' breakup, McCartney had formed Wings with his wife Linda, and the group remained active for the next ten years, racking up a string of hit albums, singles, and tours in the meantime. By the late '70s, many critics were taking potshots at McCartney's effortlessly melodic songcraft, but that didn't stop the public from buying his records. His sales didn't slow considerably until the late '80s, and he retaliated with his first full-scale tour since the '70s, which was a considerable success. During the '90s, McCartney recorded less frequently, concentrating on projects like his first classical recording, a techno album, and the Beatles' Anthology.
Like Lennon and George Harrison, Paul McCartney began exploring creative avenues outside the Beatles during the late '60s, but where his bandmates released their own experimental records, McCartney confined himself to writing and production for other artists, with the exception of his 1966 soundtrack to The Family Way. Following his marriage to Linda Eastman on March 12, 1969, McCartney began working at his home studio on his first solo album. He released the record, McCartney, in April 1970, two weeks before the Beatles' Let It Be was scheduled to hit the stores. Prior to the album's release, he announced that the Beatles were breaking up, which was against the wishes of the other members. As a result, the tensions between him and the other three members, particularly Harrison and Lennon, increased and he earned the ill will of many critics. Nevertheless, McCartney became a hit, spending three weeks at the top of the American charts. Early in 1971, he returned with "Another Day," which became his first hit single as a solo artist. It was followed several months later by Ram, another home-made collection, this time featuring the contributions of his wife Linda.
By the end of 1971, the McCartneys had formed Wings, which was intended to be a full-fledged recording and touring band. Former Moody Blues guitarist Denny Laine and drummer Denny Seiwell became the group's other members, and Wings released their first album, Wild Life, in December 1971. Wild Life was greeted with poor reviews and was a relative flop. McCartney and Wings, which now featured former Grease Band guitarist Henry McCullough, spent 1972 as a working band, releasing three singles -- the protest "Give Ireland Back to the Irish," the reggae-fied "Mary Had a Little Lamb" and the rocking "Hi Hi Hi" -- in England. Red Rose Speedway followed in the spring of 1973, and while it received weak reviews, it became his second American number one album. Later in 1973, Wings embarked on their first British tour, at the conclusion of which McCullough and Seiwell left the band. Prior to their departure, the McCartney's theme to the James Bond movie Live and Let Die became a Top Ten hit in the U.S. and U.K.. That summer, the remaining Wings proceeded to record a new album in Nigeria. Released late in 1973, Band on the Run, was simultaneously McCartney's best-reviewed album and his most successful, spending four weeks at the top of the U.S. charts and eventually going triple platinum.
Following the success of Band on the Run, McCartney formed a new version of Wings with guitarist Jimmy McCulloch and drummer Geoff Britton. The new lineup was showcased on the 1974 British single "Junior's Farm" and the 1975 hit album Venus and Mars. At the Speed of Sound followed in 1976, and it was the first Wings record to feature songwriting contributions by the other bandmembers. Nevertheless, the album became a monster success on the basis of two McCartney songs, "Silly Love Songs" and "Let 'Em In." Wings supported the album with their first international tour which broke many attendance records and was captured on the live triple-album Wings Over America (1976). After the tour was completed, Wings rested a bit during 1977, as McCartney released an instrumental version of Ram under the name Thrillington and produced Denny Laine's solo album, Holly Days. Later that year, Wings released "Mull of Kintyre," which became the biggest-selling British single of all time, selling over two million copies. Wings followed "Mull of Kintyre" with London Town in 1978, which became another platinum record. After its release, McCulloch left the band to join the re-formed Small Faces and Wings released Back to the Egg in 1979. Though the record went platinum, it failed to produce any big hits. Early in 1980, McCartney was arrested for marijuana possession at the beginning of a Japanese tour; he was imprisoned for ten days and then released, without any charges being pressed.
Wings embarked on a British tour in the spring of 1980 before McCartney recorded McCartney II, which was a one-man band effort like his solo debut. The following year, Denny Laine left Wings because McCartney didn't want to tour in the wake of John Lennon's assassination; in doing so, he effectively broke up Wings. McCartney entered the studio later that year with Beatles producer George Martin to make Tug of War. Released in the spring of 1982, Tug of War received the best reviews of any McCartney record since Band on the Run and spawned the number one single "Ebony and Ivory," a duet with Stevie Wonder that became McCartney's biggest American hit. In 1983, McCartney sang on "The Girl Is Mine," the first single from Michael Jackson's blockbuster album Thriller. In return, Jackson dueted with McCartney on "Say Say Say," the first single from Paul's 1983 album Pipes of Peace and the last number one single of his career. The relationship between Jackson and McCartney soured considerably when Jackson bought the publishing rights to the Beatles songs from underneath McCartney in 1985.
McCartney directed his first feature film in 1984 with Give My Regards to Broad Street. While the soundtrack, which featured new songs and re-recorded Beatles tunes, was a hit, generating the hit single "No More Lonely Nights," the film was a flop, earning terrible reviews. The following year he had his last American Top Ten with the theme to the Chevy Chase/Dan Aykroyd comedy Spies Like Us. Press to Play (1986) received some strong reviews but the album was a flop. In 1988, he recorded a collection of rock & roll oldies called Choba B CCCP for release in the USSR; it was given official release in the US and UK in 1991. For 1989's Flowers in the Dirt, McCartney co-wrote several songs with Elvis Costello; the pair also wrote songs for Costello's Spike, including the hit "Veronica." Flowers in the Dirt received the strongest reviews of any McCartney release since Tug of War and was supported by an extensive international tour, which was captured on the live double-album Tripping the Live Fantastic (1990). For the tour, McCartney hired guitarist Robbie McIntosh and bassist Hamish Stuart, who would form the core of his band through the remainder of the '90s.
Early in 1991, McCartney released another live album in the form of Unplugged, which was taken from his appearance on MTV's acoustic concert program of the same name; it was the first Unplugged album to be released. Later that year, he unveiled Liverpool Oratorio, his first classical work. Another pop album, Off the Ground, followed in 1993, but the album failed to generate any big hits, despite McCartney's successful supporting tour. Following the completion of the "New World" tour, he released another live album, Paul Is Live, in December of 1993. In 1994, he released an ambient techno album under the pseudonym the Fireman. McCartney premiered his second classical piece, "The Leaf," early in 1995, and then began hosting a Westwood One radio series called Oobu Joobu. But his primary activity in 1995, as well as 1996, was the Beatles' Anthology, which encompassed a lengthy video documentary of the band and the multi-volume release of Beatles outtakes and rarities. After Anthology was completed, he released Flaming Pie in the summer of 1997. A low-key, largely acoustic affair that had the some of the same charm of his debut, Flaming Pie was given the strongest reviews McCartney had received in years and was a modest commercial success, debuting at number two on the U.S. and U.K. charts; it was his highest American chart placing since he left the Beatles. Flaming Pie certainly benefited from the success of Anthology, as did McCartney himself -- only a few months before the release of the album in 1997, he received a Knightship.
On April 17, 1998, Linda McCartney died after a three-year struggle with breast cancer. A grieving Paul kept a low profile in the months to follow, but finally returned in the fall of 1999 with Run Devil Run, a collection primarily including cover songs. The electronica-based Liverpool Sound Collage followed a year later, and the pop album Driving Rain -- a successor, of sorts, to Flaming Pie -- coming a year after that. The live album Back in the U.S. appeared in America in 2002 with the slightly different, international edition Back in the World following soon after. McCartney's next studio project included sessions with super-producer Nigel Godrich, the results of which appeared on the mellow Chaos and Creation in the Back Yard, released in late 2008
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