Five Wings Soaring
Long bootlegged '74 session sees official release
For the initiated this project has mostly existed as a collection of poorly bootlegged video clips on YouTube. That is, unless, you ponied up for the 2010 archive release of Band On The Run, which included a polished DVD version of this 1974 documentary. But now Macca, ready to embark on yet another age-defying batch of live dates, has made these sessions official.
So across two LPs (or two CDs), One Hand Clapping finally comes out of the bootleg protection program with 26 tracks plus, if you pick up the version that comes with a bonus 7” EP, an extra six solo acoustic numbers . To some this could be considered peak Wings, a time when Paul was once again toppermost and really seemed like he was making a hardcore effort to make this appear like a real band – logo and all. So in the flush of success following his return from Lagos and the magnificent “Live and Let Die” single, that champagne feeling led him to ask editor turned director David Litchfield to film Wings rehearsing for some live gigs inside the familiar walls of number 3 Abbey Road.
That’s where we find the McCartney’s from the 26th through 30th of August along with stalwart Denny Laine, hot shot guitarist Jimmy McCulloch and drummer slash karate sensei Geoff Britton on drums.
Thing get in motion with the instrumental title track which gives way a little more than two minutes later to a hearty rendition of “Jet” that would have done Jellyfish proud. When they arrive at the solo, Linda McCartney digs into her Minimoog part as if she’d been playing one for far longer than the year or so it came into their orbit. It’s also the point in the film version where she gives a sassy nod to the camera as If to say “See? I told ya!”
The overdubbed ballads featuring strings are all tastefully rendered and with Geoff Emerick manning the board for these recordings everything is captured in fairly judicious detail. The only curious aspect to the sound is how overly present the room mics sometimes are in the mix when Paul is not playing the grand piano. It’s mostly noticeable on things like “Soily,” where the McCartney’s vocals and Britton’s drums have more of a club vibe to them than you might expect. But seeing as previous archival releases featured these cuts in a similar state, you’d have to assume that’s what Sir Paul wanted to convey.
Material-wise we get a lot of Band on The Run, recent singles and b-sides as well as some unreleased numbers that at the time were in the air. Solo piano bits from Paul, including the track he gave Peggy Lee (“Let’s Love”) and the long bootlegged “All Of You” are particularly nice editions. McCartney is clearing having fun with moments like “Power Cut,” which had been folded into the Red Rose Speedway medley and a version of “Let It Be” done on a celesta. Sure, he might have taken things a bit too far by flexing his Tin Pan Alley muscles on the tossed off version of “Baby Face,” but it’s completely in the spirit of the sessions. And of course, one of the bigger insights that leaps out from the collection is Paul’s renewed comfort performing Fab tracks of yesteryear. The naked piano version of "The Long and Winding Road” and “Lady Madonna” ring just as true here as when they first fell from his fingers. Denny Laine even gets a go revisiting past glories with an impassioned reading of “Go Now” from his stint in the Moody Blues.
Packaging-wise we still don’t get a gatefold, but the die cut inners which feature good quality colored paper are a nice touch. The plain white labels are designed to give the release that test pressing feel, but this pressing is another smooth and commendable job from Germany’s Optimal Media GmbH. The package was partially mixed by Steve Orchard at Paul’s Hog Hill Mill studio and this time around mastering duties fell to Abbey Road’s Alex Wharton. The 180g platters we received were perfectly flat and quiet, with a well-rounded sound that delivers muscular moments like Britton’s stomping drums on “Junior’s Farm,” epic brassy horns on the previously mentioned “Live and Let Die” and sparkling acoustic guitars on “Sally G.”
All versions of the release also contain a replica of the pamphlet that went off to television networks that might have been interested in picking up the program, but surprisingly enough, there were no takers. And that might speak to why McCartney thought to shelve the project for so many years – that it simply might not be up to snuff. But that’s far from the case. Musically it’s tight and packed with enough band vigor that could have made for a more than decent program with a bit of editing and context. 50 years on, and given the recent spate of Fab product out there, it’s a more than worthwhile pickup – something that would definitely win out in a cage match over that underdubbed Band On The Run release that you still might be contemplating.
