the beatles paul mccartney lp FLAMING PIE UK 1ST MINT

	£		57
	$		76

UK 1ST PRESS MASTERDISC COPY EARLIEST PRESS POSSIBLE 

PAUL MCCARTNEY UK 1ST PRESS LP FLAMING PIE

vinyl is IN MINT CONDITION WITH NO SIGNS OF PLAY AT ALL  

SIDE 1 DEAD WAX pcsd171-A-01-1-1   6 O,CLOCK MASTERDISC 'D'

SIDE 1 DEAD WAX pscd 171-b-01-1-1  7 O,CLOCK MASTERDISC 'D'

INNER LYRIC SLEEVE MINT,

GATEFOLD COVER MINT.

This is a stunning, Mint record that has amazing minimal signs of use, it is quite probable that this album has only ever been played once or twice if that! The whole surface of the disc has a lovely clean shiny appearance, displaying a pure deep gloss that can only be achieved on barely handled records.The labels are clean and the spindle area has virtually no wear whatsoever, there are absolutely no traces that this record has ever been played. The high definition

crystal clear sound that only comes from brand new records. There really is nothing other than CRYSTAL CLEAR SOUND!COVER TYPE

Glossy gatefold sleeve with one side opening and card inner sleeve which are both in perfect mint condition

This is a fantastically well looked after, heavy duty sleeve it has to be given a grade of Near Mint. The sleeve displays no un-splitting and remains fully intact. The artwork still looks sensational and has not been defaced with any writing or sticker removal, this is an exceptionally well cared for sleeve. The edges are all un-scuffed and the spine has remained in perfect mint condition,

Paul's twenty-sixth "solo" album release.

This release is described by many as Paul`s most Beatlesque album in 30 years, and with much critical acclaim it enters the chart at it`s peak position (and Paul`s highest for 8 years) of number two. It is kept of the top slot by "Tellin' Stories" by the Charlatans.

The album cover is designed by The Team, with all photography by Linda.
The inner sleeve is one of the best and completely informative examples, with lyrics, comments by Paul and Mark Lewisohn/Geoff Baker, and details of the musicians and recording sessions.

Paul's Foreword From The Inner Gatefold

"I came off the back of The Beatles Anthology with an urge to do some new music. The Anthology was very good for me because it reminded me of the Beatles standards and the standards that we reached with the songs. So in a way it was a refresher course that set the framework for this album.

Watching the Anthology also reminded me of the time that we didn't take to make an album and of the fun we had when we did one. The Beatles were not a serious group ...

So I wanted to try get back into some of that, to have some fun and not sweat it. That's been the spirit of making this album. You've got to have a laugh, because it's just an album. So I called up a bunch of friends and family and we just got on and did it.

And we had fun making it. Hopefully you'll hear that in the songs

paul

 

Beginning in February 1995, McCartney teamed up with Jeff Lynne, Electric Light Orchestra lead singer and guitarist and an ardent Beatles fan who had previously worked with George Harrison on his 1987 album Cloud Nine, while both were members of The Traveling Wilburys, and who had also co-produced "Free As A Bird" and "Real Love" for the Anthology project. With a keen sense to produce something pure and easy — and without indulging in elaborate productions — McCartney sporadically recorded the entire album in a space of two years, working not only with Lynne, but with Steve Miller, George Martin, Ringo Starr and his own son, James McCartney, who plays lead guitar on "Heaven on a Sunday". "Calico Skies" and "Great Day" both hailed from a 1992 session, recorded even before Off the Ground had come out.

The title Flaming Pie (also given to one of the album's songs) is a reference to a humorous story John Lennon told journalists in 1961 on the origin of The Beatles' name when they became newly famous: "I had a vision that a man came unto us on a flaming pie, and he said, 'You are Beatles with an A.' And so we were." The album itself definitively has a Beatles flair to it; "The Song We Were Singing" was written about the Lennon/McCartney writing team.

This is a stunning, Near Mint record that has amazing minimal signs of use, it is quite probable that this album has only ever been played once or twice if that! The whole surface of the disc has a lovely clean shiny appearance, displaying a pure deep gloss that can only be achieved on barely handled records. The labels are clean and the spindle area has virtually no wear whatsoever, there are absolutely no traces that this record has ever been played. The high definition

crystal clear sound that only comes from brand new records. There really is nothing other than CRYSTAL CLEAR SOUND!COVER TYPE

Glossy gatefold sleeve with one side opening and card inner sleeve which are both in perfect mint condition

This is a fantastically well looked after, heavy duty sleeve it has to be given a grade of  Mint. The sleeve displays no un-splitting and remains fully intact. The artwork still looks sensational and has not been defaced with any writing or sticker removal, this is an exceptionally well cared for sleeve. The edges are all un-scuffed and the spine has remained in perfect mint condition,

All songs written by Paul McCartney, except where noted. Tracks 3, 5 and 9 were recorded solely by McCartney and Steve Miller.

"The Song We Were Singing" – 3:55

"The World Tonight" – 4:06

"If You Wanna" – 4:38

"Somedays" – 4:15

Orchestration by George Martin

"Young Boy" – 3:54

"Calico Skies" – 2:32

"Flaming Pie" – 2:30

"Heaven on a Sunday" – 4:27

Lead guitar performed by son James McCartney

"Used to Be Bad" (Miller, McCartney) – 4:12

"Souvenir" – 3:41

"Little Willow" – 2:58

A tribute to the memory of Maureen Starkey

"Really Love You" (McCartney, Richard Starkey) – 5:18

The day after Ringo and Paul recorded "Beautiful Night", the two improvised a jam session with Jeff Lynne resulting in this song.

"Beautiful Night" – 5:09

The first collaboration on the album with Ringo Starr (drums, backing vocal, and additional percussion), with an orchestration by George Martin.

"Great Day" – 2:09

Written in the early 1970s

 

 

 

 

 

 

 

.