Paul McCartney - The Lost McCartney Album (2CD) Disc 1 1 Front Parlour 5:10 2 Frozen Jap 5:35 3 All You Horse Riders 3:16 4 Blue Sway 6:36 5 Temporary Secretary 3:08 6 On The Way 3:35 7 Mr. H Atom 2:21 8 Summer's Day Song 3:21 9 You Know I'll Get You Baby 3:48 10 Bogey Wobble 3:37 Disc 2 1 Darkroom 3:43 2 One Of These Days 3:30 3 Secret Friend 10:07 4 Bogey Music 3:30 5 Check My Machine 8:43 6 Waterfalls 4:38 7 Nobody Knows 2:46 8 Coming Up 5:50 Liners Notes: Paul McCartney most assuredly has the largest catalog of unreleased songs of all the ex-Beatles, and perhaps more than most well-known rock stars (with the possible exception of Frank Zappa). Some of these tracks have surfaced on a few "collector's albums" such as the superb Cold Cuts. Virtually unknown until now, however, is another lost McCartney project, the album that you hold in your hands, the original version of the 1980 LP McCartney II a two record, 18-track, 81-minute set. The version of this album that you're all familiar with was Paul's first totally solo release in a decade. Recorded at home with little or no artistic or technical help, many of its tracks lapse into an experimental mode with the use of synthesizers and electronicall- induced vocal tricks. The album was perceived as something of an oddball project, but it nevertheless managed to peak at #3 in Billboard, Cashbox & Record World, not to mention hitting #1 in England's New Musical Express. This version, the album's originally conceived format, differs markedly from the already issued product. It contains a number of unreleased songs, original versions of a couple of songs that only found their way to B-sides, and different versions or mixes of most of the tracks that were subsequently released. Frankly, had this version of the album been released it is doubtful that it would have been very well-received or its concept even understood. Three of its first four tracks are instrumentals and the only vocal on side one appears in the form of a semi-voice-over narration. The album plays for nearly 20 minutes before a "proper" McCartney vocal performance takes place ("Temporary Secretary"). Considering the battery McCartney has frequently taken in the critical press, it's almost nightmarish to imagine what sort of reception this thing would have received. What follows is a track-by-track break-down of the album with comparisons to the already released versions of particular songs where appropriate. Disc One "Front Parlour" (5:06)--This instrumental was remixed and cut to 3:31 for it's eventual release. 'Frozen Jap" (5:30)-- Also destined to be remixed and considerably cut (to 3:38) was this second instrumental track. "All You Horseriders" (3:45) and `Blue Sway" (6:04)--Ncither of these songs were released and have never even been bootlegged (or even heard of. apparently). Although they we listed together on the handwritten label notes to the original test pressings of this album, this is not a true medley but rather two distinct songs with a crossfade between the end of the first and the beginning of the second. The first is said to have been initially done by McCartney in the mid-70's for a home-made film called The Backyard, which remains unreleased. The version on this album however is most definately am entirely different recording because all of the McCartney II tracks were done during one group of sessions at Paul's home in summer of 1979. In any event, "Houseriders" is perhaps McCartney's very worst song, the absolute nadir of his available recording legacy. So it's no surprise that the track was dropped from the final line-up. On this cut Paul is heard shouting instructions to horseriders over a syncopated horsetrot that is in fact merely a bane excercise, in synthesized noodling. The end result is bound to leave you, the unwary listener, chomping at the bit. "Blue Sway" is not so noxious, but neither is it very memorable. It might function well as music to wallpaper your living room by; or perhaps it could be construed as an ahead-of-its-time precursor to that modern day Muzak known as New Age Music. Although the song is largely instrumental some vocals can be heard way back in the mix during the second half of the song. This track brings to a close the most "difficult" side of the album. The music on subsequent sides is considerably more, shall we say, accessible. Temporary Secretary" (3:05)--Catchy or annoying. depending on your taste, this was a hit in England in a slightly slowed-down version lasting 3:13. "On The Way" (3:27)--Again, just a minor variation in length from the released version which runs 3:36 "Mr. H. Atom" (2:17)--Another totally unreleased song. Linda sings lead on the continually repeated chorus of "Mr. H. Atom lives in a flat on the male side of town." The "H" stands for hydrogen, and Paul's spoken recitation during the song is his speculations on the differences between the number of atoms required to determine the gender outcome of us humans. Or something like that. "Summers's Day Song" (3:16)--Unlike the released version which was a vocal number, this edition is an instrumental. "You Know I'll Get You Baby" (3:45)--Another unreleased track with minimalist lyrics, layered with vocal multi-tracking and other studio trickery. "Bogey Wobble" (3:14)--The last of this album's completely unreleased tracks is yet another instrumental, heavy in the effects department. Apparently it's meant as some sort of companion piece to "Bogey Music". Disc Two "Darkroom" (3:38)--Considerably longer here in its original form than the 2:18 version that finally appeared. The mix is different, too. "One Of These Days" (3:26)-- One of the more straightforward tracks of this collection, it runs eight seconds shorter than the common release. "Secret Friend" (10:05)--McCartney's most extreme venture into the experimental, and the longest track he ever committed to wax. A slightly longer version was released (in England only) as the B-side of the 12-inch 'Temporary Secretary" single. "Bogey Music" (3:17)--Again, a slightly shorter running time than its released counterpart which clocks in at 3:25. "Check My Machine" (8:39)-- The first track Paul recorded during these immortal sessions, it was drastically shortened and completly reedited and remixed for it's eventual emergence as the B-side of the single "Waterfalls". Compare this version's length to the scant 5:44 of the released specimen. On this version, the "Hi George, 'Morning Terry" opening is eliminated as the track begins with the shouting followed by the slowed-down tape of Mel Blanc doing the Barney Rubble character reciting the "Sticks And Stone" rhyme. "Waterfalls" ("I Need Love") (4:29)--Except for the slight difference in length due to slowing down the master tape (the released version is 4:42) there is little difference between the released version and this one. Strangely enough, another version exists with an electric piano intro. It's the one heard on the promo film to this song and was subsequently issued on a collector's LP called Suitable For Framing back in the early 80's. The song's original title appears on the original test pressing. "Nobody Knows" (2:44) Another track that went basically unchanged as the album changed its form. 'Coming Up" (5:26) Oddly, the song that opened the released McCartney II was used to close the unreleased McCartney II. However the two versions are considerably different. To make the song 3:51 in length some verses and choruses were eliminated and the whole thing was remixed. Thus ends McCartney's most serious foray into vinyl excess. If nothing else, this album would have dispelled some of Paul's overcommercial image and the simple-minded pigeonholing of John Lemon as the Beatle with avant-garde instincts and McCartney as merely the manufacturer of vacuous pop tunes. (On the other hand it might have led to McCartney being pigeonholed as the purveyor of vacuous avant guide tunes). In truth, Paul's range has been pretty broad during his solo years, but regardless of which artistic course he has followed he has rarely been treated with much kindness by critics. Now that his fans have an opputunity to hear this entire album they will be better able to judge its merits, or lack therof, for themselves. Amen.