Methinks Paul needed a couple extra million $ for tip money so they upped the price. Uber Eats during coronavirus will set you back some serious coin in The Hamptons I've heard.
You nailed it - not a good value for money. I'm at an age where it's not as painful to make these purchases as it once was, but I'm also at an age where I'm wondering how much longer I'm going to continue to make these purchases. This is one of the few times I wish these had a "The Nice Price" sticker.
Il couldn't have said it better. It is exactly what i feel about it. Edit : unfortunately i barely heard about the album at the time of its release and it seems that it didn't sell that well then. I don't remember the promotion of it. In France it was basically Pascal Obispo and Oasis jours....
Maybe they should have just pushed this box to 2021 and LT/BTTE to 2022 so that prices would be more in touch with reality
Cloud Nine was George's first album in seven years, buoyed by not only "Got My Mind Set On You" but "When We Was Fab." It was big news that George was back — especially at a time when The Beatles were coming to CD. By comparison, Paul was coming off a disappointing album – Press to Play – and was flogging a compilation that (a) didn't have the new track and (b) lots of repetition from a cheaper earlier one. It's not without noting that Paul felt CHOBA B CCCP only got its high praise because it was hard to get… even he was feeling he wasn't going to get much of a fair shake. Well, another big thing to remember is that in the mid-80s, critics really pushed the idea of music needing to mean something – especially in the wake of Live Aid. In the 80s, Tug Of War was followed by: the album which really emphasized how wishy-washy his music was instead of how musically strong he could be (Pipes Of Peace), a soundtrack to a mediocre film that remade Beatles songs for no apparent reason (Broad Street), an album that sounds like he was trying to get the modern sound and just not getting it – again (Press to Play), that compilation listed above (All the Best!), a covers album that was unavailable in North America except through odd channels (CHOBA B CCCP), an album that emphasized him working with someone else to get back to quality (Flowers in the Dirt), and a live album that was flat because it was too close to the originals with a crowd sound behind it (Tripping the Live Fantastic). There are two things I wonder: If Denny Laine had stayed on and Tug Of War were a Wings album, would he have pushed for more of a Wings sound in later albums instead of eschewing it as he did over the next few, and If Broad Street and Press to Play had been better received, would we maybe have seen a tour before Flowers in the Dirt that was more representative of his solo material — especially if Wings were still there. It's almost as if the World Tour were driven by the need to respond to what sold (Beatles, Wings' Greatest) versus what did not (everything else). I completely agree. I think that's why he speaks of it most as going back to the way The Beatles did things: they would come in with song ideas and let themselves explore without the pressure, and didn't feel the need to always made things a big production — as witness by Sgt. Pepper, some of the tracks on The Beatles and Paul's own intent behind Get Back. I also think that the timing of the LP is perfect. It comes out in the wake of Anthology and has a track that's about the wistfulness of memory ("The Songs We Were Singing"), a line John would have approved of (in "The World Tonight"), a tribute to Mo ("Little Willow"), plus Ringo there, George Martin there, and some clear McCartney-esque touches that bring the whole album together. Instead of trying to capture the new sound – as he seemed to be with London Town, Back to the Egg or Press to Play – or the producer's sound mixed in – like with Press to Play, parts of Flowers in the Dirt, etc. – here is an album that's intending to be Paul sounding like Paul… something we hadn't had for decades. I find it really fascinating that Paul does Rushes and Standing Stone at the same time, both pieces that let him explore his own musical interests in larger context, and then follows up with smaller classical pieces on Working Classical and his favourite rock songs of the past with Run Devil Run — it's almost as if Flaming Pie and the continued success of his classical work freed him up to follow his passions without worry. Then comes Wingspan and the itch to tour, so he forms a new band for Driving Rain — but he stops thinking of the whole album as a tour launcher and instead picks select songs. Compare the percentage that he rehearses in 1989 and 1992 to what comes in 2001 onwards and it's almost as if Paul has an idea of what he needs for touring and what he needs to satisfy his own musical curiosity. Flaming Pie is definitely a watershed album and I am really glad we have this coming as an Archive. I just wish it had come after the other two pairs, as both the end of Wings and that middle 80s bit offer so much potential of 'what if's that inform how this one happened to become what it did.
Or you can think of this way: Releasing it now, when there's very little competition, versus Christmas allows for a longer span in which to sell the set, The increased cost of shipping – Brexit? – printing, etc. plus the additional licensing (TFI) has upped the cost, which in turn has upped the retail, The number of copies may be lower for the standard deluxe as a result of this action – meaning costs are spread out less – and The speed at which Red Rose Speedway sold indicates there is likely an equal demand for more McCartney product at potentially a higher cost. When the dust settles and they see the numbers, that will indicate if this was the right move or not. The outcry on the super deluxe isn't stopping everyone from buying one (or multiple copies of it). As for the reasons of today's market, there's only so long Capitol wants to sit on the product that's already been produced. And people are starved for new content. We're experiencing a depression with mass unemployment, but in those types of times sales of entertainment product actually seems to rise because no one wants to deal with reality these days.
I may not be the first, but allow me to give you a warm welcome to the forum, Ralph. Apparently you’ve only posted a handful of times, but the clever humor content/post has me amused already. And you have a great username. Long may you spit!
Hey @Sargon, did you track down the McCartney “Destiny” project? That one slipped by 99% of the members here, if you can believe it. I know it’s a bit OT, but hopefully a member or two might post over in that associated thread: Music Of The Spheres: co-written by Paul McCartney
I confess that aye missed that one too. (Penalty box!) Bu-bu-but, I DO have 3 sealed Ocean's Kingdom!?! (No substitutions please!) - the Waiter
I'm surprised that there hasn't been a recent count of sales on McCartneys releases. Would a review show large or small gains for albums that have seen Archive Editions released? Have the archive releases pushed any of the "gold" records into platinum range? Red Rose Speedway shows it went gold in May of 1973 ... anything since then??
There's still exclusive digital downloads from Paul's site for buyers. We don't know what those are yet.
Thank you for your kind words and warm welcome. While I am housebroken, I'll work on keeping the spitting to a minimum!
But RIAA will award platinum status to releases prior to 1976, if they are asked to do a new accounting of sales by the record company, etc. ... yes?
Yes. Otherwise no albums released prior to 1976 would be certified as platinum. No Beatles albums, no Dark Side Of The Moon, no Tapestry, no early Led Zep albums, etc. For example: ‘The BEATLES’ (‘White Album’) Makes Music History with 24X Platinum Certification - RIAA
That's a tough decision between the lesser of those 2 evils. Might have to go with the Drivel Rain because the Flaming Pile is already ruining my appetite for dinner ...
Yes, good value. I think the strategy was to give most of the music to everyone at a reasonable price but charge crazy high prices to those who want every single song plus the dvd in the super deluxe box set. I'm not sure which camp I fall into yet. If you are willing to do only digital you can download most of the songs off iTunes including Ooboo Joobu for $24. You only miss the two hidden tracks and Ballad of the Skeleton.
Astute observation. This is why Paul teamed up with Youth to do the Fireman albums. Totally hip. Paul likes to stay hip, fresh and current.
I guess we are all different. I have almost an exact opposite feeling. I would much rather have all the Macca fans be able to go into a store and drop $15-$20 and get a "Over Europe" than for just a couple thousand to have it. Even if there weren't limited items it wouldn't make me not like collecting. And I have a lot of rare items. We would all still have very different collections. But to each their own.