|Flaming Pie - Front Cover||Flaming Pie - Rear Cover|
|Flaming Pie - Gatefold Inner|
|Flaming Pie - Promo Front Cover||Flaming Pie - Promo C.D.|
|Catalogue No.||PCSD 171
|Release date||5th May 1997|
|U.K. Album Chart Detail :||
|Detail :||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
The detail below explains where the term "Flaming Pie" came from, but to hear it actually spoken by John, and
The album cover is designed by The Team, with all photography by Linda.
I also have a PROMO C.D. of the entire album, which has a catalogue number CDP 8 56500 2.
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 Song We Were Singing||McCartney||Recording began 6th November 1995
Paul - lead vocal, harmony vocal, electric guitar, acoustic guitar, bass guitar, double bass, harmonium.
Jeff Lynne - harmony vocal, electric guitar, acoustic guitar, keyboard.
Written in Jamaica in early January 1995, this was the first number taped by Paul in his initial album sessions with
Jeff Lynne. Among the instruments Paul plays here is the standup bass originally owned by Bill Black and used on Elvis
Presley's earliest and greatest hits - including "Heartbreak Hotel", the recording that seized the soul and assaulted the
senses of a schoolboy Paul McCartney in 1956.
|The World Tonight||McCartney||Recording began 13th November 1995
Originally entitled, "I Saw You Sitting".
Paul - lead vocal, harmony vocal, drums, bass guitar, electric guitar, acoustic guitar, piano, percussion
Jeff Lynne - harmony vocal, electric guitar, acoustic guitar, keyboard
The second song from Paul's initial sessions (there were four in all) with Jeff Lynne took what had been an acoustic,
folk-tinged demo and imbued it with a progressively heavier treatment. "The World Tonight" was written while on holiday in
America in 1995 - of the 14 songs on Flaming Pie only the title track, "Somedays" and "Great Day" were composed in England,
for the muse tends to strike Paul most often when he's on holiday.
|If You Wanna||McCartney||Recording began 11th May 1995
Paul - lead vocal, drums, bass guitar, electric guitar, 12 string acoustic guitar
Steve Miller - harmony vocal, electric guitar, acoustic guitar
Having renewed their friendship - and musical kinship - working on "Young Boy", Paul and Steve Miller combined again, in
similar fashion, with this. The song was already a couple of years old at the point of recording, having been composed when
Paul's "New World Tour" reached Minneapolis, and a day off, in May 1993, which resulted in numerous hours inside a
skyscraper hotel room that extended its head into the clouds. Inspired by being in (still then The Artist Known As) Prince's
home city, Paul sat with a guitar and wrote a "driving across America" song.
|Somedays||McCartney||Recording began 1st November 1995
Paul - lead vocal, acoustic guitar, spanish guitar, bass guitar
At first, one session was all it took to commit "Somedays" on to tape, but Paul felt that it could be enhanced by an
arrangement. At this time he was occasionally meeting with George Martin at Abbey Road, sifting through unissued archive
Beatles recordings for the Anthology albums (and still nervous, 30 years on, that he would not be the cause of any musical
breakdowns ...), and Paul asked George if he would listen to "Somedays" and consider scoring it for an orchestra.
|Young Boy||McCartney||Recording began 22nd February 1995
Paul - lead vocal, drums, bass guitar, acoustic guitar, Hammond organ
Steve Miller - backing vocal, electric guitar, rhythm guitar
The emerging talent of young guitarist James McCartney had been prompting son-to-father questions about "early days".
Among the pieces re-played from the vinyl years had been 'My Dark Hour', recorded by Steve Miller and (hiding under the
pseudonymous surname Ramon) Paul McCartney in May 1969, after a Beatles Abbey Road session had broken up following a
business quabble. Listening again to 'My Dark Hour' Paul was minded to resume the double-act after a 25 year pause,
venturing out to Miller's studio in snowbound Idaho after the Beatles had completed 'Real Love'. The two musicians set to
work in the same manner as before, Paul drumming while Steve wound up the lead guitar. Paul and Steve then played guitar
tracks, Paul added bass and the lead vocal, and Steve contributed harmonies.
|Calico Skies||McCartney||Recorded 3rd September 1992
Paul - vocal, acoustic guitar, knee slap/percussion
While it wreaked havoc in the north-east US, the category-three storm Hurricane Bob that made landfall in August 1991
prompted Paul (then staying in Long Island) to sit with an acoustic guitar and write what he describes as "a gentle love
song that becomes a Sixties protest song". Paul invited George Martin to co-produce the piece, which - owing to its
instrumental simplicity - was started, finished and mixed within a single session. The earliest recording on Flaming Pie.
|Flaming Pie||McCartney||Recorded 27th February 1996
Paul - lead vocal, harmony vocal, piano, drums, bass guitar, electric guitar
Jeff Lynne - harmony vocal, electric guitar
The "pie" lyric that had arrived unto Paul on horseback fitted perfectly with some funky riffs he and Jeff Lynne had evolved
days earlier while waiting to overdub guitars onto 'Souvenir'. With lyric and music suddenly fashioned, 'Flaming Pie' was
recorded quickly - for, entirely appropriately, Paul suggested that the song be taped with the speed that the Beatles often
worked, cutting three songs in a day. Setting themselves a four hour deadline, the track came together with relative ease,
Paul singing live to his own piano accompaniment with Jeff on guitar before adding drums and bass, and then, guitars and
|Heaven On A Sunday||McCartney||Recording began 16th September 1996
Paul - lead vocal, backing vocals, drums, bass guitar, electric guitar and acoustic solo, acoustic guitar, Fender Rhodes, harpsichord, vibraphone, percussion
Jeff Lynne - backing vocals, acoustic guitar
James McCartney - electric guitar solo
Linda - backing vocals
Michael Thompson, Richard Bissill, Richard Watkins, John Pigneguy - French horns
Paul's son, 19 year old James makes his first guitar appearance on disc. Paul said, "I played the acoustic stuff and left
the Young Turk to play the hot electric stuff." When proud Dad suggested formal lessons, James's response, "Well you didn't,
Dad", echoed down the decades from 1950s Liverpool. Like father, like son. Or, as Paul puts it, "The saga continues..."
|Used To Be Bad||Miller-McCartney||Recorded 5th May 1995
Paul - lead vocal, drums, bass guitar Steve Miller - lead vocal, electric guitar
Having enjoyed 'Young Boy' Steve Miller was keen to extend the collaboration, wanting to get Paul singing some
"Texas blues". As a consequence, he arrived at their second set of sessions with dozens of guitar riffs. This prompted
Paul to climb behind the drum kit and the pair played away for some time, kicking around ideas, until Miller began adding
words to the jam, utilising blues lines like "I used to be bad but I don't have to be bad no more". Once the piece had
gelled Paul overdubbed bass and Steve added some solos before they traded the vocal lines.
|Souvenir||McCartney||Recording began 19th February 1996
Paul - lead vocal, backing vocal, drums, piano, harpsichord, acoustic guitar, electric guitar, bass guitar
Jeff Lynne - backing vocal, acoustic guitar, electric guitar, keyboard
Kevin Robinson - trumpet
Chris 'Snake' Davis - saxophone
Dave Bishop - baritone saxophone
Written during a relaxing holiday in Jamaica in January 1995, the later studio recording of 'Souvenir' saw Paul anxious to
replicate the easy atmosphere of his original demo, which carried the additional sounds of a ringing telephone and tropical
downpour. So the demo was laid into the multi-track tape as a guide for the studio recording and each element of the
original was carefully listened to and replicated. The 78-rpm-like coda was added after Jeff and Paul saw co-engineer
Jon Jacobs carrying a key-fob with a built-in sound sampler. The end vocal effect was added using this as the medium.
|Little Willow||McCartney||Recording began 21st November 1995
Paul - lead vocal, backing vocal, bass guitar, acoustic guitar, Spanish guitar, electric guitar, piano, harpsichord, harmonium, mellotron, percussion effects
Jeff Lynne - backing vocal, electric spinette harpsichord
'Little Willow' was written after Paul learned of the death of a dear friend. He created the song not only as an immediate
personal response to the sadness but, hopefully, as a salve for his late friend's children. The studio recording, begun ten
months later (on the day that The Beatles Anthology 1, with 'Free As A Bird', was released), is an eloquent combination of
voice and instrumentation, Paul's work being augmented by Jeff Lynne.
|Really Love You||McCartney-Starkey||Recording began 14th May 1996
Paul - lead vocal, backing vocal, bass guitar, electric guitar, Wurlitzer piano
Jeff Lynne - backing vocal, electric guitar
Ringo Starr - drums
The day after Ringo and Paul recorded 'Beautiful Night' the pair returned to the studio and began a jam session, Paul
plucking his Hofner Violin bass, Ringo beating the drums and Jeff Lynne playing guitar. Three pieces evolved inside half an
hour, 'Really Love You' best charting the desired R&B groove, with Paul adding an off-the-cuff vocal. Credited to
McCartney/Starkey - a first-ever credit for a released tune - the jam was completed by some guitar and vocal overdubs and
mixed after Ringo had returned home. Played to him over the telephone by Paul, Ringo's response - "It's relentless!" -
remains the best description of the finished result.
|Beautiful Night||McCartney||Recording began 13th May 1996
Paul - lead vocal, backing vocal, bass guitar, electric guitar, acoustic guitar, piano, Wurlitzer piano, Hammond organ, additional percussion
Jeff Lynne backing vocal, electric guitar, acoustic guitar
Ringo Starr drums, backing vocal at end, additional percussion
Linda - backing vocals
Working on the Anthology prompted Paul to suggest that he and Ringo renew a collaboration not experienced for ten years.
'Beautiful Night' was a decade old itself, and a recording made in New York had been on the shelf, unused, since 1986. With
Paul at the piano and Ringo on drums (playing, incidentally, a replica arrangement of his own kit, which Paul had bought and
modelled on Ringo's set up after the 'Real Love sessions) the song came together comfortably. Wanting to play some guitar on
the end, Paul also introduced a new element to his composition, the uptempo finale. Finally, the recording was enhanced by
an orchestral arrangement scored by George Martin and overdubbed at Abbey Road on St Valentine's Day 1997.
|Great Day||McCartney||Recorded 3rd September 1992
Paul - vocal, acoustic guitar, leg slap/percussion
Linda - backing vocals
Seeking a short, simple song to close Flaming Pie, Paul McCartney has searched back 25 years to find 'Great Day', an
acoustic number that he and Linda used to perform "sitting around the kitchen or when the children were dancing". The
candlelit evenings in Long Island, enforced by Hurricane Bob in August 1991, not only led Paul to write 'Calico Skies' but
also found him plucking this one from the memory vault. So, a year later, in the same session that he recorded his new
number with George Martin, Paul also committed 'Great Day' to tape for the first time (despite its years), not changing a
hair of the arrangement or lyric.
31st July 2020 - Flaming Pie - The Paul McCartney Archive Collection is released (Seven discs - 5 CD/2 DVD + extras)
©2001 JPGR's Beatles Pages. All Rights Reserved.