McCartney 2 press day at Abbey Road 1980.

16 Responses to “McCartney 2 press day at Abbey Road 1980.”

  1. henry_the_horse says:

    The TG12345 Mk IV mixing desk was originally installed in Abbey Road Studio 3 in 1971. In 1974 it was moved to Studio 1, where it was upgraded to an SSL 4000E desk in December 1983.

    Press to Play sessions extended from March to May 1985 at McCartney’s Sussex Studio to October-December 1985 at McCartney’s Scottish Studio.

    The photographs seems to be not from Studio 1. And cannot be Press to Play sessions either, since that looks like Mike Hedge’s studio were the desk resided until 2011.

  2. mcarp555 says:

    A charming old 16-track antique. My first thought was that this might have been the Penthouse, but I don’t remember when Abbey Road opened that up.

  3. henry_the_horse says:

    Abbey Road Penthouse was added in the early 2000s.

  4. Henry, this pic Dates from May 1980 and is Abbey road.

  5. henry_the_horse says:

    I was not aware of Abbey Road having two Mk IV desks. I apologise for the mistake. I though that there were two Mk IV desks ever built, one for Abbey Road and one for Pathé Marconi Studios, France. Actually both are derived from the same design, but Pathé Marconi’s is called Mark Q for being quadraphonic. So, two designs: Mark Q and Mark IV, but two Mark IV desks built, making that a total of three consoles.

    Control Room 2 had a Mark IV until 1983 and the room wooden covered walls in the late 1970s. McCartney is being filmed there. The Mk IV desk is now owned by producer Michael Hedges.

    Control Room 1 had a Mk IV fitted with quadraphonic monitors from, was owned for some time by Kevin Augunas in Los Angeles, and is now in Prime Studios, Mils, Austria.

    Apologies again for not understanding the word play on “press to play”.

  6. It’s a brave man who mentions ‘Press to play’ in Miss Tammys presence

  7. mcarp555 says:

    “Press To Play” is probably the first album where it appeared that Macca’s gifts were beginning to falter. The single and some of the other tracks were fine, but I always felt it marked a noticeable decline in quality in both singing and writing (I especially didn’t like ‘Stranglehold’, and would skip over it when playing the record). From that point on, the uneven albums (‘Flowers’, ‘Off the Ground’, ‘Driving Rain’, ‘Chaos’, ‘New’, etc.) began to outnumber the better ones (‘Flaming ie’, ‘Run Devil Run’, ‘Memory Almost Full’). It’s a real turning point in his career. Some may go further back, to ‘Pipes of Peace’ or the new songs on the ‘Broad Street’ soundtrack, but ‘Press’ is I think the unambiguous moment when stopped pushing less and started coasting more.

  8. for me Red Rose Speedway started introducing alot of questions about the consistency of Paul’s albums moving forward.

  9. whoops. should have noted ‘Wild Life’ instead. how could i have forgotten such a clunker, wishful thinking i guess ?! :-)

  10. mcarp555 says:

    ‘Wild Life’ is a lot like Paul’s version of ‘Life With The Lions’ or ‘Electronic Sound’ – a phase each of them had to get through. I quite like ‘Speedway’ because it’s of that time when I first got into the band. All their ’73 solo albums are special to me for that reason. But if you look at the arc of albums from ‘Speedway’ through to ‘Pipes of Peace’, the vocals, arrangements and writing skills are more or less the same. Press was the first time we heard a more ‘formulaic’ sound from Paul. His last great album for me was ‘Flaming Pie’, which could have been done in that 1974-1981 period.

    His last four or five albums have been a lot like Ringo’s – play ’em once or twice, then file them away and go back to the old stuff.

  11. when defending some of his 70s albums paul recently said that the problem he had back then was balancing the time needed for both songs/recording *and* running Wings at the same time. well, maybe. but i think most of us can agree the problem all 4 of them had: how do you work with a former Beatle in the studio and tell him his songs stink? not easy. interesting around the time of Anthology how George said that John’s absense meant no one was around to tell Paul if he had a crappy song on his hands.

  12. mcarp555 says:

    I remember the great story about George Martin working with Paul on… I think it was “Pipes of Peace”:

    Martin: How many songs does Paul have ready?

    staffer: Around nine or so, I think he said.

    Martin: How many does he REALLY have?

    staffer: Three.

    Martin: Tell Paul to go away and write some more.

  13. henry_the_horse says:

    The Pipes of Peace sessions anecdote I remember was Martin told McCartney he would listen to his demos in the weekend and select the ones apt to record. On Monday he answered only 3 or 4 were acceptable. McCartney got offended because it looked like an audition. Martin said “This is what a producer does, Paul. Now, go and rewrite the other songs.

  14. Lizzie says:

    Interesting story, mcarp and henry, thanks for sharing. I can imagine how hard it must be to say no to Sir Paul… I would be scared!

  15. derek says:

    …just like ‘NEW’ — half the tracks are genuine songs, half are extended riffs, all highly enjoyable, but still just riffs. This is the pattern across much of his solo stuff.

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