01. Too Many People (Paul McCartney) - 4:10
02. 3 Legs (Paul McCartney) - 2:48
03. Ram On (Paul McCartney) - 2:28
04. Dear Boy (Paul & Linda McCartney) - 2:12
05. Uncle Albert/Admiral Halsey (Paul & Linda McCartney) - 4:55
06. Smile Away (Paul McCartney) - 3:52
07. Heart Of The Country (Paul & Linda McCartney) - 2:22
08. Monkberry Moon Delight (Paul & Linda McCartney) - 5:23
09. Eat At Home (Paul & Linda McCartney) - 3:21
10. Long Haired Lady (Paul & Linda McCartney) - 6:05
11. Ram On (Paul McCartney) - 0:55
12. Back Seat Of My Car (Paul McCartney) - 4:28

Personnel:
- Linda McCartney - keyboards, female vocals
- Paul McCartney - bass, guitar, keyboards, vocals
- Hugh McCracken - guitar
- Denny Seiwell - drums
- David Spinozza – guitar

After the breakup, Beatles fans expected major statements from the three chief songwriters in the Fab Four. John and George fulfilled those expectations -- Lennon with his lacerating, confessional John Lennon/Plastic Ono Band, Harrison with his triple-LP All Things Must Pass -- but Paul McCartney certainly didn't, turning toward the modest charms of McCartney, and then crediting his wife Linda as a full-fledged collaborator on its 1971 follow-up, Ram. Where McCartney was homemade, sounding deliberately ragged in parts, Ram had a fuller production yet retained that ramshackle feel, sounding as if it were recorded in a shack out back, not far from the farm where the cover photo of Paul holding the ram by the horns was taken. It's filled with songs that feel tossed off, filled with songs that are cheerfully, incessantly melodic; it turns the monumental symphonic sweep of Abbey Road into a cheeky slice of whimsy on the two-part suite "Uncle Albert/Admiral Halsey." All this made Ram an object of scorn and derision upon its release (and for years afterward, in fact), but in retrospect it looks like nothing so much as the first indie pop album, a record that celebrates small pleasures with big melodies, a record that's guileless and unembarrassed to be cutesy. But McCartney never was quite the sap of his reputation, and even here, on possibly his most precious record, there's some ripping rock & roll in the mock-apocalyptic goof "Monkberry Moon Delight," the joyfully noisy "Smile Away," where his feet can be smelled a mile away, and "Eat at Home," a rollicking, winking sex song. All three of these are songs filled with good humor, and their foundation in old-time rock & roll makes it easy to overlook how inventive these productions are, but on the more obviously tuneful and gentle numbers -- the ones that are more quintessentially McCartney-esque -- it's plain to see how imaginative and gorgeous the arrangements are, especially on the sad, soaring finale, "Back Seat of My Car," but even on its humble opposite, the sweet "Heart of the Country." These songs may not be self-styled major statements, but they are endearing and enduring, as is Ram itself, which seems like a more unique, exquisite pleasure with each passing year. ---Stephen Thomas Erlewine, AllMusic Review

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1 	–Paul McCartney & Wings 	Jet 	4:06
2 	–Paul McCartney & Wings 	Band On The Run 	5:10
3 	–Paul McCartney 	Coming Up 	3:50
4 	–Paul McCartney With Stevie Wonder 	Ebony And Ivory 	3:44
5 	–Wings 		Listen To What The Man Said 	3:54
6 	–Paul McCartney 	No More Lonely Nights 	4:39
7 	–Wings  	Silly Love Songs 	5:52
8 	–Wings  	Let 'Em In 	5:08
9 	–Wings  	C Moon 	4:33
10 	–Paul McCartney 	Pipes Of Peace 	3:24
11 	–Wings  	Live And Let Die 	3:10
12 	–Paul McCartney 	Another Day 	3:41
13 	–Paul McCartney 	Once Upon A Long Ago 	4:06
14 	–Michael Jackson & Paul McCartney 	Say Say Say	3:54
15 	–Paul McCartney & Wings 	My Love 	4:08
16 	–Paul McCartney & The Frog Chorus 	We All Stand Together 	4:23
17 	–Wings  	Mull Of Kintyre 	4:43

Wings: 
Paul McCartney (vocals, guitar, violin, recorder, keyboards, bass,
 drums, percussion, flageolet); 
Denny Laine (vocals, guitar, recorder, bass, flageolet, percussion); 
Joe English (vocals, harmonica, drums, percussion); 
Linda McCartney (vocals, keyboards, percussion); 
Jimmy McCulloch (guitar, percussion).

Technically, All the Best was the first compilation of McCartney's solo material, since Wings Greatest covered songs released under the Wings aegis. Well, there is considerable overlap between the two records -- no less than ten of that album's 12 songs are here, yet only the hard-rocking "Hi Hi Hi" is truly missed -- although the seven new songs do give this album a different character, for better or worse. With the U.S. version of All the Best, which has four different songs than its British counterpart, the balance shifts toward the positive, since it simply boasts a better selection of songs. Yes, "Once Upon a Long Ago," the single offered as bait on the British All the Best, isn't here, but it's not missed since two of the four songs exclusive to the American version are among McCartney's best solo singles ("Junior's Farm," "Uncle Albert/Admiral Halsey") and the other two are good adult contemporary easy listening (the previously non-LP "Goodnight Tonight," "With a Little Luck"). These songs add to the retrospective, although it's still not perfect -- such highlights as "Maybe I'm Amazed" and "Take It Away" really should have been included. However, as a cross section of McCartney's solo singles, this is very, very good. It may be a little heavy on the schmaltz at times, yet this is still mainstream pop craft of the highest order. ---Stephen Thomas Erlewine, AllMusic Review

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1-1 	Band On The Run 	5:13
1-2 	Jet 	4:08
1-3 	Bluebird 	3:23
1-4 	Mrs. Vandebilt 	4:41
1-5 	Let Me Roll It 	4:50
1-6 	Mamunia 	4:50
1-7 	No Words 	2:34
1-8 	Helen Wheels 	3:47
1-9 	Picasso's Last Words (Drink To Me) 	5:48
1-10 	Nineteen Hundred And Eighty Five 	5:28
2-1 	Paul McCartney (Dialogue Intro) / Band On The Run (Nicely Toasted Mix) 	1:13
2-2 	Band On The Run (Original) (Background) / Paul McCartney (Dialogue Link 1) 	2:17
2-3 	Band On The Run (Barn Rehearsal - 21st July 1989) 	4:59
2-4 	Paul McCartney (Dialogue Link 2) / Mamunia (Original) (Background) / Denny Laine (Dialogue) /
 Mamunia (Original) (Background) / Linda McCartney (Dialogue) / Paul McCartney (Dialogue Link 3) 	4:22
2-5 	Bluebird (Live-Version - Australia 1975) 	0:55
2-6 	Bluebird (Original) (Background) / Paul McCartney (Dialogue Link 4) 	0:23
2-7 	Paul McCartney (Dialogue Link 5) / No Words (Original) (Background) / Geoff Emerick (Dialogue) 	1:24
2-8 	No Words (Original) / Paul McCartney (Dialogue Link 6) / Tony Visconti (Dialogue) /
 Band On The Run (Original) (Illustration) / Tony Visconti (Dialogue) 	1:47
2-9 	Jet (Original From Picasso's Last Words) (Background) / Paul McCartney (Dialogue Link 7) /
 Jet (Original From Picasso's Last Words) (Background) / Al Coury (Dialogue) 	2:55
2-10 	Jet (Berlin Soundcheck - 3rd September 1993) 	3:51
2-11 	Paul McCartney (Dialogue Link 8) / Clive Arrowsmith (Dialogue) 	1:44
2-12 	Nineteen Hundred And Eighty Five (Original) (Background) / Paul McCartney (Dialogue Link 9) /
 James Coburn (Dialogue) / Paul McCartney (Dialogue Link 10) / John Conteh (Dialogue) 	2:24
2-13 	Mrs Vandebilt (Original) (Background) / Paul McCartney (Dialogue Link 11) / Kenny Lynch (Dialogue) 	2:10
2-14 	Let Me Roll It (Cardington Rehearsal - 5th February 1993) / Paul McCartney (Dialogue Link 12) 	3:52
2-15 	Paul McCartney (Dialogue Link 13) / Mrs Vandebilt (Background) / Michael Parkinson (Dialogue) /
 Linda McCartney (Band On The Run Photo Shoot) (Dialogue) / Michael Parkinson (Dialogue) 	2:25
2-16 	Helen Wheels (Crazed) / Paul McCartney (Dialogue Link 14) / Christopher Lee (Dialogue) 5:32
2-17 	Band On The Run (Strum Bit) / Paul McCartney (Dialogue Link 15) / Clement Freud (Dialogue) 1:01
2-18 	Picasso's Last Words (Original) (Background) / Paul McCartney (Dialogue Link 16) /
 Dustin Hoffman (Dialogue) 	4:22
2-19 	Picasso's Last Words (Drink To Me) (Acoustic Version)	1:11
2-20 	Band On The Run (Nicely Toasted Mix) / Paul McCartney (Dialogue Link 17)	0:42
2-21 	Band On The Run (Northern Comic Version)	0:36

Personnel
* Paul McCartney – vocals, lead, rhythm, acoustic and bass guitars, drums, piano, keyboards, percussion.
* Linda McCartney – organ, keyboards, vocals
* Denny Laine – rhythm, lead, acoustic, flamenco and bass guitars, keyboards, percussion, vocals

Additional personnel
* Howie Casey – saxophone
*  Ginger Baker – percussion
* Remi Kabaka – percussion
* Tony Visconti – orchestrations
* Ian and Trevor – backing vocals
* Geoff Emerick – Producer and Sound Engineer

Sometimes, music fans have to ask themselves some very serious questions, things like "Do you really need another copy of this album?" If you're a Paul McCartney fan and the record is the Wings' classic Band on the Run, then the answer is probably, "Yes. Yes you do."

One of the things that is often mentioned as key to Band on the Run's success is the duress under which it was created. Still in legal battle over the dissolution of Apple, and coming off of disappointing reviews of his post-Beatles work, McCartney was looking to get away and record his next album with Wings in an exotic location. He chose studios in Lagos, Nigeria. Practically on the eve of departure for Africa, Wings' lead guitarist Henry McCullough and drummer Denny Seiwell quit the band. This left McCartney, his wife Linda and Denny Laine. The three, along with engineer Geoff Emerick, arrived in Lagos in August. Unprepared for the appalling studio conditions, not to mention the heat, the trio nevertheless persevered. They even endured a mugging at knife point in which the thieves stole the demo tapes, thereby forcing the band to record the entire album from memory. This probably contributes greatly to the spontaneous, energetic feeling that pervades the album. Despite the hardships of its recording process, Band on the Run went on to become a commercial and critical triumph It was number one on the US album chart three separate times, won a Grammy and sold more than 7 million copies worldwide.

The 2010 Band on the Run reissue is the first release in the Paul McCartney Archive Collection, and the remastered sound is superb. The sound on the previous, 25th Anniversary, remaster was pretty good, but this is noticeably superior. McCartney personally supervised the process, working with the same team who did the recent remastering of the Beatles' catalog at Abbey Road. Not being a technical expert, I can't give you the science behind it, but I can say that the sound is somehow deeper and rounder than on the 25th Anniversary Edition. Comparing the two side by side, there's a slightly thin sound to some tracks on the previous discs, a sense of narrowness or confinement. There's a greater depth to the Archive set, particularly to the bass lines, because this is McCartney, after all.

The Archive Collection's Band on the Run Special Edition, which is the basis for this review, features two CDs and one DVD. The first disc is the remastered album with its original nine tracks (this is also available separately as the Standard Edition). Listeners may not be able to pinpoint any differences during the title track, but at some point during the irrepressible joy that is "Jet", even non-audiophiles with recognize that this sounds bloody fantastic. All of the rockers sound great, but the softer tracks like "Bluebird" benefit, as well. There are several details and flourishes in the arrangements that I swear I'd never noticed before, but I won't go quite so far as to say this is like hearing the album for the first time. However, it may be similar to finally hearing something on good equipment, that you'd always listened to on your old car stereo cassette player before. ---popmatters.com

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1. Fine Line 
2. How Kind of You 
3. Jenny Wren 
4. At the Mercy 
5. Friends to Go 
6. English Tea 
7. Too Much Rain 
8. A Certain Softness 		play
9. Riding to Vanity Fair 
10. Follow Me 
11. Promise to You Girl         	play
12. This Never Happened Before 
13. Anyway

Personnel: 
Paul McCartney (vocals, acoustic guitar, electric guitar, 12-string guitar, 
classical guitar, autoharp, cello, melodica, recorder, flugelhorn, grand piano, 
spinet, electric piano, harmonium, Moog synthesizer, bass guitar, drums, 
cymbals, maracas, shaker, tambourine, triangle, tubular bells, percussion); 
Paul McCartney (piano, Wurlitzer piano, glockenspiel); 
Nigel Godrich (acoustic guitar, piano, loops); 
Abe Laboriel, Jr. (tambourine, wood block, percussion); 
Rusty Anderson, Brian Ray (acoustic guitar); 
Jason Falkner (electric guitar, classical guitar); 
Millenia Ensemble (strings, brass); 
Los Angeles Music Players (strings); 
Pedro Eustache (duduk); 
James Gadson (drums); 
Joey Waronker (bass drum, bongos, shaker).

This is the first time since, ooh, 1978's London Town that a Paul McCartney album been genuinely awaited. That's not to say the listener hasn't been surprised and delighted by the contents of many of his records since then. When they have been good (Flaming Pie, Flowers In The Dirt), they have bordered on exemplary; when they have been less good (Press To Play, Off The Ground) they have bordered on the execrable. But, throughout, there is always something there to remind us of Pauly's shimmering majesty. Now, we all know McCartney doesn't need to work, but his endless drive to be cutting edge makes him all the more endearing. He's Paul bloody McCartney, after all.

2001's Driving Rain was a fine rock album despite it's awful sleeve. What truly killed it was mixing eulogies to his recently deceased wife with ones to his new partner. It felt a little, er, hasty. And he'd forgot, in the main, to pack the tunes. Oh, and 9/11 happened on its release date too. No wonder it only spent a solitary week in the chart.

Since then, McCartney has reconnected with his live audience and has gone back to playing virtually everything himself in the studio. In working with Radiohead/Beck producer Nigel Godrich, McCartney actually sounds somewhat stretched.

So what does it sound like? Very, very good. He still finds it essential to play the chart game hence opener "Fine Line", the weakest track on the 14-track collection. But "Riding To Vanity Fair", "Too Much Rain", "Anyway" and "How Kind Of You" are full of subtle nuances, killer hooks and sweet surprises. They really do rank among his very best work. And "Jenny Wren" nods to "Blackbird" too.

Chaos and Creation In The Backyard is a better album than anyone could reasonably expect from a 63-year-old who helped remould not just world popular music but world popular culture, as well. He's Paul bloody McCartney, after all. ---Daryl Easlea, bbc.co.uk

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01. A Love For You
02. My Carnival
03. Waterspout
04. Mama’s Little Girl		play
05. Night Out
06. Robber’s Ball
07. Cage
08. Did We Meet Somewhere Before?
09. Hey Diddle
10. Tragedy
11. Best Friend (Live)
12. Same Time Next Lear		play

Cold Cuts is probably the best known of the unissued McCartney projects. With a canon of unreleased music rivaled by few other artists, Paul required an outlet for this material. The original concept was the release of a two record set comprising a disc full of hits - Hot Hits, and a second disc of leftovers, B-sides and unreleased material - Kold Kutz. Over the years, three finished lineups of the unreleased material have surfaced, each stronger than its precursor. The first collection was compiled c.1978 and ran roughly sixty minutes, gathering material from 1971 to the present. Due to record company pressure for product, this project was not completed, and Wings Greatest was sent to satisfy the Christmas market.

Now known simply as Cold Cuts, the project was once again taken off the shelf following the Back To The Egg sessions. The Linda and Denny vocal spotlights were trimmed along with the instrumental material in favor of Paul's more commercial offerings. The final version to surface hails from the end of 1980 and consists of the same twelve tracks, albeit in a different sequence. It came about after Paul's self-imposed exile earlier in the year, when he pulled the remaining members of Wings together in October of 1980 to once again polish up the old tracks. A listen to these recordings begs the question "why weren't these released!", as most of them are superior to their contemporary relatives. Unfortunately, in the wake of John Lennon's death, the project was shelved again.

In late 1987, additional production work was undertaken at Air Studios in London, by Paul, co-producer Chris Thomas and engineer Bill Price. The mixes of 'Mama's Little Girl' and 'Same Time Next Year' which appeared on the 'Put It There' single in February 1990, are from these sessions.

The set presented here is the 1980 version, known by collectors as the "No Baloney" lineup, in reference to the cover artwork used on its unofficial vinyl release towards the end of 1986. Pegboy is proud to present this material from the best available source. Enjoy! ---discogs.com

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Disc 1
1. Drive My Car 2:36
2. Jet 4:19
3. Only Mama Knows 3:38
4. Flaming Pie 2:24
5. Got To Get You Into My Life 2:50
6. Let Me Roll It 5:49
7. Highway 3:56
8. The Long And Winding Road 3:36
9. My Love 3:55
10.Blackbird 2:41
11.Here Today 2:27
12.Dance Tonight 2:58
13.Calico Skies 2:35
14.Mrs. Vandebilt 4:39
15.Eleanor Ridby 2:22
16.Sing The Changes 4:13
17.Band On The Run 5:25

Disc 2
1. Back In The USSR 3:12
2. Im Down 2:19
3. Something 4:03
4. Ive Got A Feeling 5:48
5. Paperback Writer 3:25
6. A Day In The Life / Give Peace A Chance 5:42
7. Let It Be 3:54
8. Live And Let Die 3:12
9. Hey Jude 7:22
10.Day Tripper 3:10
11.Lady Madonna 2:30
12.I Saw Her Standing There 3:09
13.Yesterday 2:13
14.Helter Skelter 3:47
15.Get Back 4:11
16.Sgt. Peppers Lonely Hears Club Band / The End 4:38

Bass – Brian Ray
Drums – Abe Laboriel Jr.
Guitar – Rusty Anderson
Keyboards – Paul 'Wix' Wickens
Vocals, Guitar [Guitars, Bass Guitar] – Paul McCartney 

It's probably fair to say that, for non-baseball fans, Shea Stadium is associated more with The Beatles’ record-breaking 1965 gig there than the exploits of Mike Piazza and the rest of the New York Mets. When the historic venue closed in 2008 with a gig by Billy Joel, Paul McCartney flew in especially to sing with him.

When Citi Field, the Met's recession-defying new stadium, announced its first musical act, it wasn't tremendously surprising that McCartney was going to be declaring the building open. In July 2009, Britain's greatest living musician (heck, person) entertained 120,000 New Yorkers with a career-straddling set of Beatles classics, Wings favourites (both of them) and solo tracks.

Anyone who saw McCartney's on his huge Back in the World tour will know what to expect from his modern show. The band, featuring Rusty Anderson, Brian Ray and Abe Laboriel Jr, is wildly accomplished, giving a slick stadium-rock edge to tracks that, when The Beatles played Shea, would have been barely heard through the stadium's PA. But that's not always a great thing, as some period studio shakiness is lost. But it's always a joy to hear a real Beatle singing real Beatles songs, and during I'm Down some video trickery even allows Macca to duet with John and George, as they play the same song at the 1965 Shea show.

There are tributes to old pals past – Here Today for John and Something for George ("I played this to George, and I'm not sure he was very impressed"). Even if you've seen him do these things ten times before, it's still nearly enough to bring a tear to your eye.

As the undying thirst for Beatles media proves, these songs are both for everyone and timeless – just look at the diversity of attendees captured enthralled on the DVD. And then look at the last ten selections of this mammoth 33-song set: that kind of closing chapter to a show doesn't need words here telling you how great it is.

Always incredibly hard-working, McCartney never relents here – his patter isn't cool, but it absolutely doesn't matter, as he could turn up and play on a washboard and it'd still be worth 20 quid. Good Evening… is a wonderful souvenir for those who were there or who've seen his tour over the last few months, and a perfectly pleasant second-hand experience for those who weren't. ---Will Dean, BBC Review

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1. Coming Up
2. Temporary Secretary
3. On the Way
4. Waterfalls
5. Nobody Knows		play
6. Front Parlour
7. Summer's Day Song
8. Frozen Jap
9. Bogey Music
10. Darkroom
11. One of These Days
12. Check My Machine
13. Secret Friend
14. Goodnight Tonight

Paul McCartney - vocals, instruments
Linda McCartney - vocal harmonies

Entitled McCartney II because its one-man band approach mirrors that of his first solo album, Paul McCartney's first record since the breakup of Wings was greeted upon its release as a return to form, especially since its synth-heavy arrangements seemed to represent his acceptance of new wave. In retrospect, the record is muddled and confused, nowhere more so than on the frazzled sequencing of "Temporary Secretary," where McCartney spits out ridiculous lyrics with a self-consciously atonal melody over gurgling synths. Things rarely get worse than that, and occasionally, as in the effortless hooks of "Coming Up," the record is quite enjoyable. Nevertheless, the majority of McCartney II is forced, and its lack of memorable melodies is accentuated by the stiff electronics, which were not innovative at the time and are even more awkward in the present. At least McCartney II finds Paul in an adventurous state of mind, which is a relief after years of formulaic pop. In some ways, the fact that he was trying was more relevant than the fact that the experiments failed. ---Stephen Thomas Erlewine, AllMusic Review

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1 	Dance Tonight 	2:54
2 	Ever Present Past 	2:57
3 	See Your Sunshine 	3:20
4 	Only Mama Knows 	4:17
5 	You Tell Me 	3:15
6 	Mr Bellamy 	3:39
7 	Gratitude 	3:19
8 	Vintage Clothes 	2:22
9 	That Was Me 	2:38
10 	Feet In The Clouds 	3:24
11  House of Wax 	4:59	play
12  The End Of The End 		 2:57
13  Nod Your Head 	1:58	play

Bonus CD
1 	In Private 	2:09
2 	Why So Blue 	3:12
3 	222 	3:39
4 	Paul Talks About The Music Of Memory Almost Full 	26:04

Personnel: 
Rusty Anderson (guitar); 
Paul "Wix" Wickens (keyboards); 
Brian Ray (bass guitar); 
Abe Laboriel, Jr. (drums).

Started before and completed after the downbeat-yet-still-satisfying Chaos And Creation In The Backyard, Memory Almost Full is a perfect capture of Paul McCartney, the pop star. With a huge sweep of his musical past at his fingertips and fully aware that he is the most newsworthy he's been for years, McCartney returns with the first album in his career for a company other than EMI. What we have is clean, clear, upbeat McCartney, referencing virtually every part of his 45 years as a recording artist with some very strong song writing (although 'Mr Bellamy' actually manages to sound like 10cc). 'See Your Sunshine' has that lovely summer feel that evokes 'Arrow Through Me' or 'Heaven On A Sunday'; 'Gratitude' could have been on the White Album. 'That Was Me' fully acknowledges his Fab past. He strolls back to the medley of Abbey Road to close, climaxing with the moving 'House Of Wax' before writing his own funeral song in 'End Of The End'.

When you see Paul McCartney in concert, there is that moment when you see his old footage behind him and you are amazed that it's the same guy there in front of you. Memory Almost Full has the same effect - unashamedly nostalgic and not without its flaws, it still sounds very much of the now, something that a Macca album hasn't done in a while. ---Daryl Easlea, BBC Review

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01 - Intro-Rockestra (Paul on Piano)
02 - EMI Studio's Music Gallery (Various Artists)
03 - Obscure & Oblique (Pete Townshend)-Introductions
04 - Tuning And Testing
05 - Rockestra (Paul's Demo)						play
06 - Rokestra (Pre-recorded Demo)
07 - Rockestra (Guitar Practicing)
08 - Rokestra (Drums Practicing)
09 - Rockestra (Riffs And More Drums)
10 - Rockestra (Full Version For A Laugh)
11 - So Glad To See You Here (Paul's Demonstration)
12 - So Glad To See You Here (Practicing)			play
13 - So Glad To See You Here(Full Version)
14 - After The Ball (Video Version)
15 - So Glad To See You Here-Rockestra (Rough Vocal Version)
16 - Outro-Rockestra Tune

Wow! How many legends can you spot in this line-up?

The Rockestra line up featured Paul McCartney, Wings, David Gilmour, Hank Marvin, Pete Townshend, Kenny Jones, John Bonham, John Paul Jones, Ray Cooper and more. How often do you get a Beatle, Led Zeppelin, The Who and Pink Floyd together? Recorded in October 1978, which was a month after the death of Keith Moon, this song was released on the last studio Wings album Back To The Egg in 1979. It was also played live at the Concerts for the People of Kampuchea, which was a series of concerts featuring Queen, The Clash, The Pretenders, The Who, Elvis Costello, Wings, and many more artists. This took place at the Hammersmith Odeon in London, England during December 1979 to raise money for the victims of war-torn Cambodia and was the last live show from Wings. Refer to the related posts section below to check out this live account in London.

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1. Ain’t That A Shame
2. Blue Suede Shoes
3. Sweet Little Sixteen
4. Lucille
5. Crackin’ Up
6. Twenty Flight Rock
7. That’s Alright Mama
8. All Shook Up
9. Peggy Sue
10. Bring It On Home To Me
11. I’m Gonna Be a Wheel Someday
12. Ferry Cross The Mersey
13. Honey Don’t
14. Just Because

As a performing group, the Beatles began by playing old rock favorites, for dancing, to tough audiences in Liverpool and Hamburg. When they began writing seriously, they discovered that they couldn’t compose in the early American rock tradition. So when they needed something crude, harsh and joyfully loud to round out an album, they borrowed songs originally done by Chuck Berry, Little Richard, Carl Perkins, Larry Williams or someone from Motown. (Paul McCartney finally ended the custom by writing a perfect Little Richard song himself, one that not only worked in its own right, but poked a little fun at the style and at the Beatles as well — the marvelous “I’m Down.”)

When the Beatles cut old rock ‘n’ roll, they were recording music still in their performing repertoire, and besides, they never thought of the music as old. The Beatles never sounded intimidated by their idols. They never interpreted old rock; they simply played it as well and as joyfully as they knew how. ---rollingstone.com

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