PAUL McCARTNEY. 2020 (1997)
FLAMING PIE. 3LP (EU, GERMANY)
MPL – 00602508617720,
Capitol Records – 00602508617720,
Universal Music Group – 00602508617720
Barcode (Text): 6 02508 61772 0
Other (Cat # LP1): 00602508617621
Other (Cat # LP2): 00602508617638
Other (Cat # LP3): 00602508617645
Other (inside Book): PMC. FP. Book1
Matrix / Runout (Side A): BK00120-01 A1 +I? 0861762
MILES ABBEY ROAD SPEED. ROOM 30
Matrix / Runout (Side B): BK00120-01 B1 -I? 0861762
MILES ABBEY ROAD SPEED. ROOM 30
Matrix / Runout (Side C): BK00120-02 C1 ?I? 0861763
MILES ABBEY ROAD SPEED. ROOM 30
Matrix / Runout (Side D): BK00120-02 D1 ?I? 0861763
MILES ABBEY ROAD SPEED. ROOM 30
Matrix / Runout (Side E): BK00194-01 A1 VI 0861764
Matrix / Runout (Side F): BK00194-01 B1 0861764 IS
Box Set, Stereo, 33 1/3,
2 x Vinyl, LP, Album, Reissue, Remastered, 180 Gram
Vinyl, LP, 180 Gram
Country: Worldwide, Germany,
Записан / Выпущен: 05. 09.1992, 22. 02 — 11.05.1995;
01.11.1995 — 14.02.1997 гг. / 31.07.2020 г.
Жанр,стиль: Rock, Pop, Pop Rock,
mp3 320 кбит/сек. 241 Mb
Продолжительность: 53:39 + 35:00 (01:28:39)
TRACKLIST:
ВОСПРОИЗВЕСТИ ВСЁ
LP1: Remastered Album - 25:49
SIDE ONE:
01. The Song We Were Singing - 03:55
Written in Jamaica in early January 1995, ‘The Song We Were Singing’ 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 1950. “I was remembering the Sixties; sitting around late at night, dossing, smoking pipes, drinking wine... jawing, talking about the cosmic solution. It was what we were all doing... all that “What about... wow!’ It’s that time in your life when you got a chance for all that.”
Writer Paul McCartney
Paul McCartney lead vocal, harmony vocal, electric guitar, acoustic guitar,bass guitar, double bass, harmonium
Jeff Lynne harmony vocal, electric guitar, acoustic guitar, keyboard
Producers Jeff Lynne/Paul McCartney
Engineers Geoff Emerick/Jon Jacobs, assisted by Keith Smith
Digital sequencing Marc Mann
Studio location Sussex, England, Recording began 6 November 1995
02. The World Tonight - 04:06
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.
“The lyrics were just gathering thoughts. Like ‘l go back so far, I'm in: front of me’ — | don’t know where that came from, but if I’d been writing with John he would have gone ‘OK, leave that one in; we don't know what it means but we do know what It means.’
Writer Paul McCartney
Paul McCartney lead vocal, harmony vocal, drums, bass guitar, electric guitar, acoustic guitar, piano, percussion
Jeff Lynne harmony vocal, electric guitar, acoustic guitar, keyboard
Producers Jeff Lynne/Paul McCartney
Engineers Geoff Emerick/Jon Jacobs, assisted by Keith Smith
Studio location Sussex, England, Recording began 13 November 1995
03. If You Wanna - 04:39
Having renewed their friendship — and musical kinship - working on ‘Young Boy’, Paul and Steve Miller combined again, in similar fashion, with If You Wanna’. The song was already a couple of years old at the point of recording, having been composed when Paul McCartney'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.
“I wanted to write something that would reflect America, for when you're driving across the desert on that big road with the flat horizon. I'll take you for a ride in my Cadillac... I'll take you to The Coast for a holiday... When they say The Coast, they don’t mean Blackpool.”
Writer Paul McCartney
Paul McCartney lead vocal, drums, bass guitar, electric guitar, 12 string acoustic guitar
Steve Miller harmony vocal, electric guitar, acoustic guitar
Producer Paul McCartney
Engineers Geoff Emerick/Jon Jacobs, assisted by Kerth Smith
Studio location Sussex, England, Recording began 11 May 1995
SIDE TWO:
04. Somedays - 04:15
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. “I see you haven't lost your touch!”
was the considered response; a 14-piece ensemble overdubbed their contribution on 10 June 1996.
“I'd driven Linda to a photo session for one of her cookery assignments. Knowing she'd be about two hours, | set myself a deadline to write a song in that time — so that when she'd finished and would say ‘Did you get bored? What did you do?’, I could say ‘Oh. I wrote this song. Wanna hear it?”
Writer Paul McCartney
Orchestration George Martin, Paul McCartney lead vocal, acoustic guitar, Spanish guitar, bass guitar
Producer Paul McCartney
Engineers Geoff Emerick/Jon Jacobs, assisted by Keith Smith
Orchestral session engineer Geoff Emerick, assisted by Geoff Foster
Studio location Sussex, England; orchestra recorded at AIR Lyndhurst, London, England, Recording began 1 November 1995,
Conductor David Snell; Violins Keith Pascoe, Jackie Hartley, Rita Manning, Peter Manning;
Celli Christian Kampen, Martin Loveday; Violas Peter Lale, Levine Andrade; Alto flute
Andy Findon; Flutes Martin Parry, Michael Cox; Percussion Gary Kettel; Harp Skaila
Kanga; Oboe/cor anglais Roy Carter
05. Young Boy - 03:55
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 1909, after a Beatles Abbey Road session had broken up following a business squabble. 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.
“This was another written against the clock. | wrote it in the time that it took Linda to cook a lunch for a feature In The New York Times. It was great to renew my Sixties friendship with Steve Miller; working with Steve again was like falling back into an old habit.”
Writer Paul McCartney
Paul McCartney lead vocal, drums, bass guitar, acoustic guitar, Hammond organ
Steve Miller backing vocal, electric guitar, rhythm guitar
Producer Paul McCartney
Engineers Geoff Emerick/Jon Jacobs, assisted by Keith Smith/Frank Farrell
Studio location Idaho, USA, Recording began 22 February 1995
06. Calico Skies - 02:32
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. “Bob, the hurricane, knocked out all the power; it was all candlelight,
cooking on a woodfire. Very primitive, but we like that enforced
simplicity. I couldn't play records, so I made up little acoustic pieces. This was one of them — it’s a primitive little powercut memory.’
Writer Paul McCartney
Paul McCartney vocal, acoustic guitar, knee slap/percussion
Producers Paul McCartney/George Martin, Engineer Bob Kraushaar
Studio location Sussex, England, Recorded 3 September 1992
07. Flaming Pie - 02:30
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 on to ‘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 harmony vocals. “John joked that the name Beatles came in a vision from a man on a flaming pie, coming unto us... you are Beatles with an I was riding with my missus, thinking of lyrics, searching for a rhyme with ‘sky’...‘bye’... ‘cry’...'pie’. The story came back and i thought ‘Ooo, flaming pie”
Writer Paul McCartney
Paul McCartney lead vocal, harmony vocal, piano, drums, bass guitar, electric guitar
Jeff Lynne harmony vocal, electric guitar
Producers Paul McCartney/Jeff Lynne
Engineers Geoff Emerick/Jon Jacobs, assisted by Keith Smith
Studio location Sussex, England, Recorded 27 February 1996
LP2: Remastered Album - 27:51
SIDE THREE:
08. Heaven On A Sunday - 04:27
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...”
“I was out sailing in a small boat; just me, the sail, the wind. Peaceful.
Like Heaven on a Sunday. That opening line led me through the song.
I thought It'd be nice to play with James, my son, so we traded phrases. Lovely to do.’
Writer Paul McCartney
Paul McCartney 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 McCartney backing vocals
Michael Thompson, Richard Bissill, Richard Watkins, John Pigneguy French Horn
Producers Paul McCartney/Jeff Lynne
Engineers Geoff Emerick/Jon Jacobs, assisted by Keith Smith
Studio location Sussex, England, Recording began 16 September 1996
09. Used To Be Bad - 04:12
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.
“This was just a jam, really. Steve whacked out these blues riffs, I got on the drums and we just went for it — a duet, sung on one mike. We did the vocal in one take.”
Writers Steve Miller/Paul McCartney
Paul McCartney lead vocal, drums, bass guitar
Steve Miller lead vocal, electric guitar
Producer Paul McCartney
Engineers Geoff Emerick/Jon Jacobs, assisted by Keith Smith
Studio location Sussex, England, Recorded 5 May 1995
10. Souvenir - 3:40
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.
I had a sort of Wilson Pickett, R&B number in mind with this. I could imagine some soul guy really getting to grips with it. It’s a favourite of mine and |’m looking forward, hopefully, to some R&B singer doing It.”
Writer Paul McCartney
Paul McCartney lead vocal, backing vocal, drums, piano,harpsichord, acoustic guitar, electric guitar, bass guitar
Jeff Lynne backing vocal, acoustic guitar, electric gurtar, keyboard
Kevin Robinson trumpet, Chris ‘Snake’ Davis saxophone, Dave Bishop baritone saxophone
Producers Jeff Lynne/Paul McCartney
Engineers Geoff Emerick/Jon Jacobs, assisted by Keith Smith
Studio location Sussex, England, Recording began |9 February 1996
SIDE FOUR:
11. Little Willow - 02:57
‘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. “I wanted to somehow convey how much I thought of her For herand her kids. It certainly is heartfelt and | hope it will help a bit.”
Writer Paul McCartney
Paul McCartney lead vocal, backing vocal, bass guitar, acoustic guitar, Spanish guitar,
electric guitar, piano, harpsichord, harmonium, Mellotron, percussion effects
Jeff Lynne backing vocal, electric spinet harpsichord
Producers Paul McCartney/Jeff Lynne
Engineers Geoff Emerick/Jon Jacobs, assisted by Keith Smith
Studio location Sussex, England, Recording began 2! November 1995
12. Really Love You - 05:18
The day after Ringo and Paul recorded ‘Beautiful Night’ the pair returned to the studio and began a jam session, Paul plucking his Héfner 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 RGB 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. “Doing ‘Beautiful Night’ with Ringo wasn't enough. | wanted more fun. So we jammed. The actor's worst dream is being on stage not knowing what play he’s in — doing this vocal was like that, you can go anywhere. You've got to clear your mind — and play bass — let your head go and ad-lib it all”
Writers Paul McCartney/Richard Starkey
Paul McCartney lead vocal, backing vocal, bass guitar, electric guitar, Wurlitzer piano
Jeff Lynne backing vocal, electric guitar, Ringo Starr drums,
Producers Paul McCartney/Jeff Lynne
Engineers Geoff Emerick/Jon Jacobs, assisted by Keith Smith
Studio location Sussex, England, Recording began 14 May 1996
13. Beautiful Night - 05:10
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 ‘keal 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.“I unearthed this old song for when Ringo was coming, changed a few lyrics and tt was really like the old days, | realised that we hadn't done this for so long, but tt was very comfortable. And it was still there.’
Writer Paul McCartney
Orchestration George Martin
Paul McCartney 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 percussionLinda McCartney backing vocals
Producers Paul McCartney/Jeff Lynne, Engineers Geoff Emerick/Jon Jacobs, assisted by Keith Smith
Orchestral session engineers Geoff Emerick/Jon Jacobs/Peter Cobbin, assisted by Paul Hicks
Studio location Sussex, England; orchestra recorded at Abbey Road London, England, Recording began 13 May 1996
Conductor David Snell; Trumpets John Barclay, Andrew Crowley, Mark Bennett;
Trombones Richard Edwards, Andy Fawbert; Horns Michael Thompson, Richard Watkins, Nigel Black; Violins Marcia Crayford, Adrian Levine, Belinda Bunt, Bernard Partridge, Jackie Hartley, Keith Pascoe, David Woodcock, Roger Garland, Julian Tear,
Briony Shaw, Rita Manning, Jeremy Williams, David Ogden, Bogustav Kostecki, Maciej Rakowski, Jonathan Rees; Violas Robert Smissen, Stephen Tees, Levine Andrade, Philip
Dukes, lvo Van Der Werff, Graeme Scott; Celli Anthony Pleeth, Stephen Orton, Martin Loveday, Robert Bailey; Double bass Chris Laurence, Robin McGee; Flute Susan Milan; Oboe David Theodore
14. Great Day - 02:09
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.
“It's just a little upbeat song of hope — to the point and in the spirit of this whole album.”
Writer Paul McCartney
Paul McCartney vocal, acoustic guitar, leg slap/percussion
Linda McCartney backing vocals
Producers Paul McCartney/George Martin, Engineer Bob Kraushaar
Studio location Sussex, England, Recorded 3 September 1992
This reissue is dedicated to Linda, George Martin and Geoff Emerick
Published by MPL Communications Ltd, administered by
MPL Communications Inc except side
four track 12 published by MPL Communications Ltd administered by MPL Communications Inc and Startling Music Ltd and side four
track 13 published by MPL Communications Inc. Remaster
(P) 2020 MPL Communications Ltd under exclusive license to UMG Recordings, Inc.
Album remastered by Alex Wharton at Abbey Road Studios, London
Remastered album vinyl cut at half speed by Miles Showell at Abbey Road Studios, London
Executive Producer: Paul McCartney
Project Manager: Scott Rodger
All photography by Linda McCartney
Creative Direction and Design: YES
Original Album Design: The Team
Original Album Sleevenotes by Mark Lewisohn and Geoff Baker
Big thanks to Ringo Starr, Jeff Lynne, Steve Miller, Geoff Wonfor, Jon Jacobs, Nick Clark, Alan Crowder, John Hammel, Roger Huggett, Eddie Klein, Mary McCartney, Stella McCartney, Robby Montgomery, Zoé Norfolk, Rick Ward, Keith Smith, Louise Morris, Lee Eastman, Stuart Bell, Steve Martin, Sheila Macdonald, Richard Ewbank, all at MPL, all at Universal Music and my beautiful family
LP3: Home Recordings - 35:00
SIDE A:
01. THE GONG: WH WERE STINGING - 05:23
Writer Paul McCartney. Paul McCartney: vocal, acoustic guitar
From Paul McCartney’s home cassette recordings, circa 1994
02. THE WORLD TONIGHT - 02:24
Writer Paul McCartney. Paul McCartney: vocal, acoustic guitar
From Paul McCartney’s home cassette recordings, June 1993
03. IF YOU WANNA - 02:58
Writer Paul McCartney. Paul McCartney: vocal, acoustic guitar
From Paul McCartney’s home cassette recordings, June 1993
04. SOMEDAYS - 04:13
Writer Paul McCartney. Paul McCartney: vocal, acoustic guitar
From Paul McCartney’s home cassette recordings, March 1994
05. YOUNG BOY - 02:20
Writer Paul McCartney. Paul McCartney: vocal, acoustic guitar
From Paul McCartney’s home cassette recordings, circa 1994
SIDE B:
06. CALICO SKIES - 02:29
Writer Paul McCartney. Paul McCartney: vocal, acoustic guitar, whistling, percussion
From Paul McCartney’s home cassette recordings, June 1993
07. FLAMING PIE - 01:39
Writer Paul McCartney. Paul McCartney: vocal, piano
From Paul McCartney’s home cassette recordings, undated
08. SOUVENIR - 02:53
Writer Paul McCartney. Paul McCartney: vocal, acoustic guitar
From Paul McCartney’s home cassette recordings, circa 1994
09. LITTLE WILLOW - 02:25
Writer Paul McCartney. Paul McCartney: vocal, acoustic guitar
From Paul McCartney’s home cassette recordings, circa 1995
10. BEAUTIFUL NIGHT (1995 Demo) - 04:25
Writer Paul McCartney. Paul McCartney: vocal, piano
Engineers: Eddie Klein assisted by Keith Smith
Studio location: Sussex, England. Recorded: 10 July 1995
11. GREAT DAY - 03:28
From Paul McCartney’s home cassette recordings, June 1993
Published by MPL Communications Ltd, administered by MPL Communications Inc except side two track 10 published by MPL Communicatic
(P) 2020 MPL Communications Ltd under exclusive license to UMG Recordings, Inc
Mastered by Alex Wharton at Abbey Road Studios, London +
Vinyl cut by Alex Wharton at Abbey Road Studios, London
Flaming Pie («Горящий пирог») — десятый сольный студийный альбом Пола Маккартни, выпущенный в 1997 году. Это первый студийный альбом Маккартни, после его предыдущего студийного альбома Off the Ground, вышедшего в 1993 году; эти четыре года Маккартни в основном был занят работой над проектом Антология The Beatles. В аннотации к альбому Маккартни писал: «(Антология) напомнила мне о стандартах, которых мы придерживались во времена The Beatles; стандартах того, как мы работали над песнями. Так что создание этого альбома шло по „освежённому“ этими воспоминаниями о прошлом курсу».
Начиная с февраля 1995, Маккартни сотрудничал с Джеффом Линном — ведущим вокалистом и гитаристом группы Electric Light Orchestra, страстным поклонником The Beatles. Линн ранее работал с двумя другими битлами — с Джорджем Харрисоном над его альбомом 1987 года Cloud Nine; также оба, Харрисон и Линн, были участниками супергруппы The Traveling Wilburys; с Ринго Старром над песнями из его альбома 1992 года Time Takes Time. Также Линн при работе над Антологией The Beatles был сопродюсером записи песен Леннона «Free as a Bird» и «Real Love». Остро чувствуя необходимость записать что-то «чистое» и «простое» — и несложное в производстве — Маккартни на нерегулярных сессиях в течение двух лет записал весь альбом; к этой работе он кроме Линна привлёк также Стива Миллера, бессменного звукорежиссёра и продюсера The Beatles Джорджа Мартина, Ринго Старра и своего сына Джеймса Маккартни, который сыграл на соло-гитаре в песне «Heaven on a Sunday». Песни «Calico Skies» и «Great Day» были взяты из сессий звукозаписи 1992 года, они были записаны ещё до выхода альбома Off the Ground.
Альбом Flaming Pie является последним, в записи которого участвовала (в том числе пела) жена Пола Линда Маккартни, скончавшаяся от рака молочной железы в 1998. Название альбома (а также одной из песен в нём) Flaming Pie (горящий пирог) было отсылкой к шуточной истории, рассказанной Джоном Ленноном журналистам в 1961 году — о том, откуда взялось название группы «The Beatles»: «Мне было видение, что перед нами появился человек на пылающем пироге, и он сказал: „Вы будете Beatles через A.“ И стало так.» (Эта байка отсылает к английскому писателю, близкому к битникам, Ройстону Эллису, который утверждал, что в стиле типично «битниковской» игры со словами подсказал вариант названия для группы (изменить «Beetles» на «Beatles») и рассказывал, как он взорвал куриный пирог, который пытался приготовить.) Альбом полон «битловского» духа; песня «The Song We Were Singing» (Песня, которую мы пели) повествует об авторском дуэте Леннон — Маккартни.
Альбом Flaming Pie вышел в свет 5 мая 1997. Реакция критиков была очень положительной; таких благоприятных отзывов на сольные альбомы Маккартни не было с 1982 года, со времени выхода альбома Tug of War. Продажи альбома тоже были даже лучше тех, на которые Маккартни надеялся. При добавившихся к прежним поклонникам юных слушателях, появившихся благодаря выпуску «Антологии», и ожиданиях публики, подогретых отличными рецензиями, Flaming Pie дебютировал в чарте альбомов Великобритании на 2-м месте в мае 1997 — самом лучшем начальном месте в чарте со времён альбома Flowers in the Dirt восемью годами раньше. Попасть на 1-е место в чарте альбому помешал лишь альбом Spice группы Spice Girls.
В США реакция также была очень положительной. Альбом дебютировал в чарте на 2-м месте (лучшее место альбомов Маккартни в американском чарте со времён альбома Tug of War); в первую неделю было продано 121 тысяча экземпляров альбома; снова впереди был лишь альбом Spice, которых было продано за эту же неделю на 16 тысяч больше. Как в Великобритании, так и в США альбом был признан «лучшим дебютантом в чарте», а также сертифицирован как «золотой».
В других странах реакция на альбом была чуть хуже, чем на Off the Ground, однако в Греции альбом попал на 1-е место в чарте и был сертифицирован как «золотой» в Норвегии. Согласно системе маркетинговых исследований Nielsen SoundScan, за период до июня 2007 альбом был продан по всему миру в количестве более 1,5 миллиона экземпляров. Синглы «Young Boy», «The World Tonight» и «Beautiful Night» стали в Великобритании хитами, все они попали в список 40 лучших по итогам продаж. В США единственным синглом, попавшим в 30 лучших чарта синглов журнала Billboard, стал «The World Tonight». Для продвижения и рекламы альбома Маккартни провёл онлайн чат через Интернет; это событие попало в Книгу рекордов Гиннесса за наибольшее количество людей, одновременно присутствовавших в чате. Гастрольный тур в поддержку альбома не проводился.
Многие поклонники считают Flaming Pie одним из лучших сольных альбомов Маккартни. Альбом был номинирован как «Лучший альбом года» на премию «Грэмми», но премию получил Боб Дилан за альбом Time Out of Mind.
Песни «Young Boy» и «The World Tonight» звучат в фильме-комедии День отца (режиссёр Айван Райтман, 1997). Песня «Great Day» звучит в фильме Приколисты (режиссёр Джадд Апатоу, 2009) на начальных титрах; на ограниченный период песня была также доступна для свободного скачивания с официального сайта Маккартни paulmccartney.com. The half-speed remastered album appears in a gatefold sleeve with bespoke black card inner sleeves, includes a 16 page booklet, with lyrics and track info, and A5 size 'certificate' with information on the half-speed mastering process. The home recordings LP appears in a non-gatefold sleeve with a bespoke red card inner sleeve and insert with the track listing, as well as a sticker applied to the back cover with copyright information. Both records are housed in an outer slipcase with a paper slip (similar to a Japanese "obi") which wraps around the spine.
(P) &(C) MPL Communications Ltd.
Licensed to UMG Recordings, Inc.
Distributed by Universal Music Enterprises
Pressed by Optimal Media GmbH – BK00120, Optimal Media GmbH – BK00194
Published by MPL Communications Ltd., MPL Communications Inc.
Recorded at Air Lyndhurst Studios, Abbey Road Studios
Lacquer Cut at Abbey Road Studios
Оцифровка: azazu2009 (rutracker.org)
СПАСИБО!!!
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