*******************************************************************************
                  Paul McCartney - Wingspan (Hits & History)
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CD: Paul McCartney - Wingspan 1 - Hits
      Digital Remasters 2001
      2001 MPL Communications Ltd./Inc. under exclusive licence to EMI 
      Records Ltd. YEAR: 2001

01. Listen To What The Man Said    [0:03:57.02]
02. Band On The Run    [0:05:13.05]
03. Another Day    [0:03:43.13]
04. Live and let die    [0:03:12.57]
05. Jet    [0:04:08.48]
06. My Love    [0:04:08.40]
07. Silly love song    [0:05:55.05]
08. Pipes Of Peace    [0:03:26.67]
09. C Moon    [0:04:35.20]
10. Hi Hi Hi    [0:03:09.28]
11. Let 'Em In    [0:05:10.55]
12. Goodnight Tonight    [0:04:21.47]
13. Junior's Farm (DJ Edit)    [0:03:03.70]
14. Mull Of Kintyre    [0:04:45.73]
15. Uncle Albert - Admiral Halsey    [0:04:50.67]
16. With a Little Luck (DJ Edit)    [0:03:13.50]
17. Coming Up (Live)    [0:03:51.20]
18. No More Lonely Nights    [0:04:47.23]


CD: Paul McCartney - Wingspan- Hits & History (Disc 2)

01. Let Me Roll It    [0:04:51.65]
02. The Lovely Linda    [0:00:45.60]
03. Daytime Nightime Suffering    [0:03:23.52]
04. Maybe I'm Amazed    [0:03:52.55]
05. Helen Wheels    [0:03:46.48]
06. Bluebird    [0:03:26.05]
07. Heart Of The Country    [0:02:24.67]
08. Every Night    [0:02:34.60]
09. Take It Away    [0:04:05.30]
10. Junk    [0:01:57.03]
11. Man We Was Lonely    [0:02:59.60]
12. Venus And Mars & Rockshow    [0:03:46.07]
13. Back Seat Of My Car    [0:04:29.68]
14. Rockestra Theme    [0:02:37.12]
15. Girlfriend    [0:04:44.05]
16. Waterfalls    [0:03:24.48]
17. Tomorrow    [0:03:27.20]
18. Too Many People    [0:04:12.47]
19. Call Me Back Again    [0:04:59.43]
20. Tug Of War    [0:04:04.40]
21. Bip Bop & Hey Diddle    [0:03:36.52]
22. No More Lonely Nights (Playout Version)    [0:03:55.30]


-------------------------------------------------------------------------------
                              THE ALLMUSIC REVIEW
-------------------------------------------------------------------------------


Review	by Stephen Thomas Erlewine

Paul McCartney always got the short end of the stick when he was in the Beatles 
and again in the '70s, as he and his erstwhile partner John Lennon pursued solo 
careers. McCartney was attacked for his virtues -- for his melodicism and his 
domesticity, along with his desire to form a real touring band following the 
Beatles. None of these were celebrated at the time, but he moved many, many 
records and sold countless concert tickets, which only hardened opposition 
toward him. But, in retrospect, McCartney's albums make for the most fascinating 
body of work among any of the ex-Beatles, and really among any of his peers. 
Yes, there were pitfalls among the heights, but that's part of what makes his 
career so fascinating -- each record is distinctive, and even if the songs 
themselves are shallow, at least lyrically, the melodic skill and studio savvy 
behind each are hard not to admire. This may require a bit of conversion, and if 
you're not up to trudging through his individual works, even such masterworks as 
Ram (truly the roots of homemade pop), the double-disc set Wingspan is ideal. 
McCartney has had a number of career overviews before, including such seemingly 
comprehensive discs as All the Best, but those were plagued by vaguely haphazard 
sequencing. This is nearly perfectly executed, dividing McCartney's career 
between the "hits" and "history," with the latter being devoted to album tracks 
that are acknowledged classics, yet never were singles. Now, it's true that this 
isn't completely comprehensive -- some will notice that superstar duets with 
Stevie Wonder and Michael Jackson are missing, and others will wonder where such 
terrific latter-day singles as "Press" are or why such charting hits as "So Bad" 
are bypassed, or why album tracks like "Ballroom Dancing" are absent -- but 
nothing has come as close to capturing the quirky brilliance of McCartney's solo 
career, how it balanced whimsical pop with unabashedly sentimental romantic 
ballads, piledriving rockers, and anything in between. And what makes Wingspan 
so impressive is how the "History" disc fills in the gaps that "Hits" leaves, 
whether it's on the tremendous "Maybe I'm Amazed" (one of the very best songs he 
ever wrote), the charming "Junk," the clever "Take It Away," or such absolutely 
stunning miniatures as "Heart of the Country," an effortless folk-pop tune that 
ranks among his very best songs. That's why Wingspan isn't just a good hits 
collection -- it's a convincing argument that McCartney's solo recordings are a 
rich, idiosyncratic body of work of their own merits. Ram, Red Rose Speedway, 
and London Town all have their merits, but if you need to be converted, this is 
where to start. 


-------------------------------------------------------------------------------
                             SOME WIKIPEDIA INFO
-------------------------------------------------------------------------------

Wingspan: Hits and History is a greatest hits compilation album by Paul 
McCartney featuring material spanning his first solo album McCartney in 1970 to 
the 1984 Give My Regards To Broad Street movie soundtrack. This set is 
officially credited to Paul McCartney, although the bulk of the music included 
was performed by McCartney's former band Wings.

American and British editions of the album vary slightly, as the UK edition 
contains the studio version of "Coming Up," while the U.S. edition contains 
"Coming Up (Live at Glasgow)," which had reached number one on the Billboard 
singles chart. The Japanese version of the album also includes "Eat at Home," 
which had been issued as a 1971 single in the non-English-speaking world, as a 
bonus cut on the "Hits" disc.

History

McCartney was involved in 15 albums during this period: five solo albums; one 
album with his wife Linda; and nine albums with Wings (including a greatest hits 
compilation). Wingspan features songs from each of those albums, as well as a 
few singles that had not been included on Wings Greatest.

Wings was active from 1971 to 1980, but this set also includes material from 
McCartney's albums from earlier (1970-71) and later (1980-84) years. It does 
not, however, include any of McCartney's well-known collaborations with Stevie 
Wonder or Michael Jackson, which took place during the latter period.

The album is separated into two distinct sets: a "Hits" component which 
highlights commercially successful material, while "History" showcases less 
generally known McCartney favourites from the same period. On the U.S. release, 
14 of the 18 songs on "Hits" were performed by Wings, but only 9 of the 22 songs 
on "History" are by Wings.

Released in 2001 in conjunction with a prime time TV documentary simply called 
Wingspan, the associated soundtrack was a commercial success, reaching #5 in the 
UK and #2 in the US. The album was eventually certified Double Platinum by RIAA. 
A DVD release of the documentary, which dealt with McCartney's relationship with 
Linda Eastman and their eventual marriage, the traumatic final year of the 
Beatles' career and his own role in their breakup, and the story of Wings' 
formation and career through the 1970s toward their final dissolution in 1980, 
was produced by Mary McCartney, who also interviewed her father in the film.



-------------------------------------------------------------------------------
          SOME ALLMUSIC REVIEWS, ON INDIVIDUAL TRACKS CONTAINED HERE
-------------------------------------------------------------------------------

ANOTHER DAY     by Scott Janovitz

Paul McCartney's first solo single, 1971's "Another Day," remains among his best 
post- Beatles work. As a legal maneuver to keep royalties coming into his 
household while his own affairs with Apple and Northern Songs were tied up, the 
always business savvy McCartney credited his wife, Linda McCartney, with co-
writing his songs. While for the most part this was simply a loophole, on 
"Another Day" Linda earns her pay, delivering her finest supporting performance 
on any of her husband's records. Of course, the show is Paul's, and the raw 
material here is undeniably of the highest quality. "Another Day" features the 
best of what he is capable of: an incredibly catchy melody; an organic, acoustic 
arrangement; complex and well-orchestrated harmonies; and an active, melodic 
bass line. And again, lyrically, this type of song is where he shines. It's a 
picture of seemingly average life, about a woman who gets up everyday and goes 
to work. But McCartney is able to expose the darkness underneath the surface of 
this life, describing her hopes and disappointments and, ultimately, her 
breakdown. It is one of McCartney's gifts, like a pop Rodgers & Hammerstein, to 
be able to match the music to the change in lyrical tone within the same song, 
making it sound seamless and natural. "Another Day" bounces along with the 
cheery banality of the woman's routine before making sharp detours into menacing 
territory as he describes her sadness and her highs and lows as "the man of her 
dreams" appears. But he apparently uses her and leaves her again in despair. 
Dramatic swells and releases mark this event: "And he comes, and he stays/But he 
leaves the next day/So sad." This is also the point where Linda's contribution 
comes to the fore. Her harmony on this latter line matches Paul's lead vocal in 
presence, and the passionate swell in volume is truly the selling point of the 
song. She sings well throughout the song (parts no doubt arranged by Paul), but 
perhaps the importance of her part here is not just her complete commitment to 
it, but also the fact of the female voice being identifiable with the song's 
subject character. Paul pleads, "Ah, stay/Don't stand her up," but it's Linda, 
becoming the character and doubling the plea, who injects reality into the 
moment. The tone of her voice as it changes from a falsetto background voice to 
a prominent, full voice is distressingly and perfectly sad. The culmination of 
the song is the woman's breakdown: "As she posts another letter to the sound of 
five/People gather round her as she finds it hard to stay alive." McCartney then 
leaves this scene to refrain. Just the hint of it is enough to convey the 
despair of her life. Earlier, he indicates this impending breakdown in a 
mirroring verse as he says, "At the office where the papers grow she takes a 
break/Drinks another coffee as she finds it hard to stay awake." This betrays 
the foreignness of this office setting to McCartney himself ("at the office 
where the papers grow") and thus, to the character he's created, who has 
difficulty surviving there when it's all she lives for (since the rest of her 
life is so unrewarding). However, the final verse is a repetition of the first 
verse, describing her getting up and going to work again, indicating that it's a 
cycle she will not break out of. Nothing has changed for her, and therefore, 
nothing will. 



GOODNIGHT TONIGHT 	by Donald A. Guarisco

With this 1979 hit, Wings joined fellow British rockers like the Kinks and the 
Rolling Stones in experimenting with the disco trend on "Goodnight Tonight." 
Some rock fans turned up their nose at it as a result but a close listen to the 
song reveals it is not the sell-out that these fans claimed. In fact, "Goodnight 
Tonight" is a good example of Paul McCartney’s ability to incorporate the sounds 
of the day into his usual blend of pop and rock elements without ever losing his 
unique musical personality. The lyrics have a low-key charm not usually present 
in disco songs as they present a would-be romeo trying to talk his date out of 
going home before he can work his magic: "Don’t be too tired for love/Don’t let 
it end/Don’t say goodnight to love/It will never happen again/Don’t say it, 
Don’t say it/Say anything but don’t say goodnight tonight." The music has a 
surprisingly jazzy edge to it as it pairs elegant verses full of wistful melodic 
twists to a chorus that delivers its hooks in a swinging style. Wings’ recording 
of "Goodnight Tonight" into a fusion of rock and disco elements: steady drumming 
and a percolating bass line give it a dance-friendly flair but these elements 
are balanced with some hard-rocking twin guitar work (including an amusing solo 
break where two guitars ‘answer’ each other in call-and-response fashion) and 
mellow electric piano work. McCartney keeps this sonic brew afloat with a slick 
vocal that affects a silky croon on the verses but shifts into a bluesy wail for 
the chorus. The result had enough of a solid beat for the discos but enough pop 
and rock elements to please non-disco fans and it became a top-five hit as a 
result. McCartney also produced a 12-inch version of "Goodnight Tonight" 
especially for dance clubs. Today, the song remains a favorite because its solid 
hooks and adventurous arrangement have made it strong enough to outlive the 
disco backlash. 


HELEN WHEELS 	by Donald A. Guarisco

Man critics and pop fans wrote Paul McCartney off as a mere purveyor of sugary 
pop in the 1970's due to hits like "Silly Love Songs" but a close look at his 
work from this era reveals he also recorded several bracing rockers. One of the 
best was "Helen Wheels," a raucous 1973 single that was added to American 
pressings of Band On The Run. The lyrics were inspired by Paul McCartney’s land 
rover and pay homage to Chuck Berry’s travelling-themed rockers like "The 
Promised Land" as they describe a trip from Scotland to England on the M-6 
motorway: "M6, south down to Liverpool/Where they play the west coast 
sound/Sailor Sam, he came from Birmingham/But he never will be found." This 
narrative is pumped up by an exciting melody that builds from swinging, 
breathlessly paced verses into a shout-along chorus that underlines the phrase 
"Helen - hell on wheels" with go-for-broke enthusiasm. McCartney raises the 
excitement level even higher on his recording of "Helen Wheels" with a gutsy 
arrangement that marries snarling electric guitars to a shuffling, ska-styled 
beat. McCartney wails over the top of this driving sound with an abandon 
reminiscent of his early Beatles, adding the ideal final touch to make it a fun 
rocker. As a result, "Helen Wheels" became a top-10 hit for McCartney. It did 
simarly well around the world and stands alongside "Jet" and "Junior’s Farm" as 
one of McCartney’s finest rockers from this era. 


BLUEBIRD  	by Donald A. Guarisco

Many pop fans consider Band On The Run to be the gem of Paul McCartney’s solo 
catalog because of the high amount of craftsmanship that distinguishes each of 
its songs. Indeed, even the album’s simplest tracks benefit from the intensive 
amount of work put into the album - a case in point is "Bluebird," a simple bit 
of acoustic pop that overflows with hooks thanks to a slick arrangement. The 
lyrics are simple but charming as the song’s narrator compares his powers of 
romance to that of the title bird: "Late at night when the wind is still/I’ll 
come flying through your door/And you’ll know what love is for/I’m a bluebird." 
The music backing up this light scenario is surprisingly sophisticated, pairing 
hypnotically drawn-out verses that spiral down in a jazzy style with a 
percolating chorus built around the rhythmic chant of "I’m a bluebird." Paul 
McCartney’s recording of "Bluebird" mixes some island music stylings into its 
jazzy pop sound: The instrumental break is dominated by a smoky saxophone solo 
but gently strummed acoustic guitars and calypso-styled percussion anchor the 
track, giving it the feel of a beach campfire singalong. McCartney tops it off 
with a charmingly crooned lead vocal that is supported by hypnotic harmonies 
from Linda McCartney and Denny Laine on the chant-heavy chorus. The end result 
is a delightful, breezy pop tune that provides a gentle respite from the harder 
rocking numbers on the first side of Band On The Run. "Bluebird" remains a 
favorite with McCartney fans today thanks to its gentle but insidiously catchy 
style. 


JUNK 	by Donald A. Guarisco

Paul McCartney’s self-titled solo debut was taken to task during its initial 
release by pop critics and fans alike for lacking the slick studio polish that 
had come to define his work with the Beatles. Time has been kind to its low-key, 
homespun sound, which suits the intimate feeling of its songs nicely. One of its 
finest moments is "Junk," a melancholy charmer of a ballad that has become a 
cult favorite with McCartney fans. McCartney penned this song while he was still 
in the Beatles, around the time they underwent their short-lived retreat with 
the Maharishi Mahesh Yogi. The lyrics capture the wistful mood of a junkyard by 
alternating cheeky descriptions of its contents ("Parachutes, army 
boots/Sleeping bags for two/Sentimental jamboree") with a chorus that poignantly 
illustrates what its like for the items in the junkyard ("Buy, buy, says the 
sign in the shop window/why, why, says the junk in the yard"). McCartney draws 
out the wistful tone of this narrative by pairing gentle verses that lope along 
in soulful but slightly sad style with a chorus that is built on an ascending-
note hook that accentuates its emotional ache. Paul McCartney gives the song a 
hushed, intimate sound on his recording of "Junk," anchoring it on one of his 
typically fluid and melodic bass lines as he layers on gentle acoustic guitars 
and bells to create an elegant but subtle sound. McCartney tops it off with a 
softly crooned vocal that captures its wistful mood nicely. "Junk" was never 
issued as a single but remains a favorite with Paul McCartney fans and has been 
covered by Cilla Black and John Denver. McCartney also later reworked "Junk" in 
an orchestral style for his Working Classical album. 


VENUS AND MARS/ROCK SHOW  	by Donald A. Guarisco

This energetic song started Venus And Mars off with a bang thanks to its 
combination of fiery rock and a crafty arrangement. The lyrics evoke the mood of 
excitement that comes with attending a rock concert in a colorful style that 
namedrops Wings’ frequent touring haunts: "If there’s a rock show at the 
Concertgebow/They got long hair at the Madison Square/You’ve got rock and roll 
at the Hollywood Bowl/We’ll be there, ooh yeah." The music starts in a gentle 
folky style to underline the fan’s pre-show perspective of the "Venus And Mars" 
part but quickly moves into a gutsier style for the "Rock Show" part that grafts 
hard-swinging verses to a punchy chorus that utilizes a staccato, sing-along 
style. Paul McCartney gives this twisty tune the kind of big-production 
arrangement it needs on his recording of "Venus And Mars/Rock Show": it starts 
off with soft acoustic guitars and airy synthesizer lines that soon give way to 
a stomping rocker full of surging guitar riffs and pounding piano licks. 
McCartney also works in a fun bridge where the band affects a reggae beat while 
he camps it up in a mock- Marc Bolan "glam" style and a trick ending where the 
song gives way to a synth-drenched instrumental coda. All these bits of ear 
candy helped "Venus And Mars/Rock Show" become a #12 hit on the pop charts and a 
favored set opener on McCartney’s mid-1970's Wings tours. It remains a favorite 
with McCartney fans and an excellent example of his skills as an arranger. 


TUG OF WAR  	by Matthew Greenwald

Cut and released in 1982, the title track from the Tug of War album opened the 
set with a clear message, that being the muse hadn't left Paul McCartney; it 
apparently had only been sleeping. Utilizing the game listed in the title, Macca 
uses this metaphor brilliantly to illustrate the struggle between people, both 
lovers and strangers. It's pure poetry, and one of his finest lyrics since his 
Beatles efforts. Musically, the song begins with a simple, folk-based melody, 
somewhat reminiscent of his Rubber Soul and Band on the Run days. Morphing into 
a military cadence, the song builds with intense emotion and force, culminating 
in a fabulous fade out. A brilliant beginning to a brilliant album. 



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                               EAC LOG EXTRACT
-------------------------------------------------------------------------------
Exact Audio Copy V0.99 prebeta 4 from 23. January 2008

EAC extraction logfile from 17. July 2009, 22:09

Paul McCartney / Wingspan 1 - Hits

Used drive  : HL-DT-STDVD-RAM GSA-H55N   Adapter: 0  ID: 0

Read mode               : Secure
Utilize accurate stream : Yes
Defeat audio cache      : Yes
Make use of C2 pointers : No

Read offset correction                      : 102
Overread into Lead-In and Lead-Out          : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks   : No
Null samples used in CRC calculations       : Yes
Used interface                              : Installed external ASPI interface
Gap handling                                : Appended to previous track

Used output format              : User Defined Encoder
Selected bitrate                : 1024 kBit/s
Quality                         : High
Add ID3 tag                     : No
Command line compressor         : F:Archivos de programaExact Audio 
CopyFLACFLAC.EXE
Additional command line options : -8 -V -T "ARTIST=%a" -T "TITLE=%t" -T 
"ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=%e" %s -o 
%d



-------------------------------------------------------------------------------

Exact Audio Copy V0.99 prebeta 4 from 23. January 2008

EAC extraction logfile from 17. July 2009, 23:49

Paul McCartney / Wingspan- Hits & History (Disc 2)

Used drive  : HL-DT-STDVD-RAM GSA-H55N   Adapter: 0  ID: 0

Read mode               : Secure
Utilize accurate stream : Yes
Defeat audio cache      : Yes
Make use of C2 pointers : No

Read offset correction                      : 102
Overread into Lead-In and Lead-Out          : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks   : No
Null samples used in CRC calculations       : Yes
Used interface                              : Installed external ASPI interface
Gap handling                                : Not detected, thus appended to 
previous track

Used output format              : User Defined Encoder
Selected bitrate                : 1024 kBit/s
Quality                         : High
Add ID3 tag                     : No
Command line compressor         : F:Archivos de programaExact Audio 
CopyFLACFLAC.EXE
Additional command line options : -8 -V -T "ARTIST=%a" -T "TITLE=%t" -T 
"ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=%e" %s -o 
%d




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                                ACCURIP REPORT
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[Verification date: 18/07/2009 12:14:57]
[Disc ID: 00315362-0291a6ac-f711b712]
Track	[ CRC    ] Status
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 12	[55a1a988] (53/78) Accurately ripped as in pressing(s) #1
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 17	[3954c8ba] (53/76) Accurately ripped as in pressing(s) #1
 18	[f4f0228f] (53/75) Accurately ripped as in pressing(s) #1

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[Verification date: 18/07/2009 12:10:21]
[Disc ID: 0039f0cd-03a8938d-41122616]
Track	[ CRC    ] Status
 01	[f72bc7ab] (53/213) Accurately ripped as in pressing(s) #2
 02	[4b54928e] (51/210) Accurately ripped as in pressing(s) #2
 03	[2703615e] (51/205) Accurately ripped as in pressing(s) #2
 04	[5f3013a3] (50/212) Accurately ripped as in pressing(s) #2
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 22	[88307684] (52/200) Accurately ripped as in pressing(s) #2

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                      IMPORTANT: PLEASE READ (A REQUEST)
-------------------------------------------------------------------------------

It's usual to post comments only to complain about a torrent which doesn't work 
in your configuration.  It's normal, after a few hours/days downloading and 
expecting a release, to feel deceived if it doesn't work properly, and 
expressing this is legitimate.

I've often found one comment (negative) on a movie/CD downloaded by 2000+ 
people, and since that single negative feedback, people simply stop downloading 
and therefore, sharing.  But a few times it was due not to the torrent itself, 
but to some issues on the downloader side (not updated codecs, misused 
tools...), and that's unfair for the person who took the time to share it for
free.

IF YOU FIND THIS RELEASE DESERVES TO BE RECOMMENDED TO OTHERS, HELP BY DROPPING 
A LINE AFTER YOU'VE CHECKED IT.  This way, You'll help in keeping the torrent 
alive, almost as much as keeping it in your HDD until a 1:1 ratio is
reached.

Thanks

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