New

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Paul McCartney
New
Hear Music
HRM-34845-02
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1.   Save Us
(Paul McCartney and Paul Epworth)
Produced by Paul Epworth
Paul McCartney - Vocals, Guitar, Bass
Paul Epworth - Drums
Recorded at Wolf Tone Studios, Air Studios, Henson Recording Studios and Hog Hill Mill

2.   Alligator
(Paul McCartney)
Produced by Mark Ronson
Paul McCartney - Vocals, Guitar, Bass, Glockenspiel, Percussion, Synthesizer, Celeste, Play-Me-A-Song Book
Rusty Anderson - Guitar
Brian Ray - Guitar
Paul ‘Wix’ Wickens - Keyboards
Abe Laboriel JNR - Drums
Recorded at Avatar Studios, Henson Recording Studios, Air Studios and Hog Hill Mill

3.   On My Way To Work
(Paul McCartney)
Produced by Giles Martin
Paul McCartney - Vocals, Guitar, Ciguitar, Bass, Piano, Drums
Rusty Anderson - Guitar
Brian Ray - Guitar
Paul ‘Wix’ Wickens - Guitar, Piano, Accordion
Toby Pitman - Programming
Cathy Thompson - Violin
Laura Melhuish - Violin
Patrick Kiernan - Violin
Nina Foster - Violin
Peter Lale - Viola
Rachel Robson - Viola
Caroline Dale - Cello
Katherine Jenkinson - Cello
Chris Worsey - Cello
Richard Pryce - Bass
Steve McManus - Bass
Recorded at Hog Hill Mill, Abbey Road Studios and Henson Recording Studios

4.   Queenie Eye
(Paul McCartney and Paul Epworth)
Produced by Paul Epworth
Paul McCartney - Vocals, Guitar, Lap Steel Guitar, Bass, Piano, Moog, Synthesizer, Mellotron, Tambourine
Paul Epworth - Drums
Recorded at Air Studios, Henson Recording Studios, and Hog Hill Mill

5.   Early Days
(Paul McCartney)
Produced by Ethan Johns with additional production by Giles Martin
Paul McCartney - Vocals, Guitar, Bill Black Bass, Harmonium, Percussion
Ethan Johns - Drums, Percussion
Rusty Anderson - Guitar
Brian Ray - Dulcimer
Abe Laboriel JNR - Backing Vocals
Recorded at Henson Recording Studios, and Hog Hill Mill

6.   New
(Paul McCartney)
Produced by Mark Ronson with additional production by Giles Martin
Paul McCartney - Vocals, Bass, Harpsichord, Piano, Mellotron, Wurlitzer, Conga Drums,   Maracas, Bouzouki with pencils
Rusty Anderson - Guitar, Bouzouki with pencils, Backing Vocals
Brian Ray - Guitar, Backing Vocals
Abe Laboriel JNR - Drums, Backing Vocals
Paul ‘Wix’ Wickens - Backing Vocals
Steve Sidwell - Trumpet
Jamie Talbot - Tenor Saxophone
Dave Bishop - Baritone Saxophone
Recorded at Avatar Studios, Henson Recording Studios, Air Studios and Hog Hill Mill

7.   Appreciate
(Paul McCartney)
Produced by Giles Martin
Paul McCartney - Vocals, Guitar, Ciguitar, Keyboards, Drum
Rusty Anderson - Guitar, Bouzouki, Backing Vocals
Brian Ray - Guitar, Baritone Guitar, Backing Vocals
Abe Laboriel JNR - Drums, Backing Vocals
Toby Pitman - Programming
Recorded at Hog Hill Mill and Henson Recording Studios

8.   Everybody Out There
(Paul McCartney)
Produced by Giles Martin
Paul McCartney - Vocals, Bass, Guitar, Keyboards, Piano, Mellotron
Rusty Anderson - Guitar
Brian Ray - Guitar
Abe Laboriel JNR - Drums
Toby Pitman - Programming, Keyboards
Giles Martin - Foot Stamp
McCartney Family Chorus
Cathy Thompson - Violin
Patrick Kiernan - Violin
Nina Foster - Violin
Laura Melhuish - Violin
Peter Lale - Viola
Rachel Robson - Viola
Caroline Dale - Cello
Katherine Jenkinson - Cello
Chris Worsey - Cello
Steve McManus - Bass
Richard Pryce - Bass
Eliza Marshall - Alto Flute
Anna Noakes - Alto Flute
Recorded at Air Studios, Abbey Road Studios, Hog Hill Mill, and Henson Recording Studios

9.   Hosanna
(Paul McCartney)
Produced by Ethan Johns
Paul McCartney - Vocals, Guitar, Bass, Tape Loops
Ethan Johns - iPad Tambora App
Recorded at Abbey Road Studios, Air Studios, and Henson Recording Studios

10.   I Can Bet
(Paul McCartney)
Produced by Giles Martin
Paul McCartney - Vocals, Bass, Guitar, Moog, Wurlitzer, Drums, Percussion, Tape Loops
Rusty Anderson - Guitar
Paul ‘Wix’ Wickens - Hammond Organ
Toby Pitman - Programming
Recorded at Air Studios and Henson Recording Studios

11.   Looking At Her
(Paul McCartney)
Produced by Giles Martin
Paul McCartney - Vocals, Guitar, Bass, Mellotron, Moog, Drums, Percussion
Rusty Anderson - Guitar
Toby Pitman - Programming, Keyboards
Recorded at Hog Hill Mil and Henson Recording Studios

12.   Road
(Paul McCartney and Paul Epworth)
Produced by Paul Epworth
Paul McCartney - Vocals, Piano, Keyboards, Celeste, Percussion
Paul Epworth - Drums
Recorded at Hog Hill Mill, Air Studios, and Henson Recording Studios

13.   Turned Out
(Paul McCartney)
Produced by Ethan Johns with additional production by Giles Martin
Paul McCartney - Vocals, Guitar, Bass, Drums, Keyboards, Synthesizer, Tubular Bells, Percussion
Ethan Johns - Guitar
Rusty Anderson - Guitar
Brian Ray - Guitar
Abe Laboriel JNR - Drums, Backing Vocals
Recorded at Abbey Road Studios, Hog Hill Mill, and Henson Recording Studios

14.   Get Me Out Of Here
(Paul McCartney)
Produced by Giles Martin
Paul McCartney - Vocals, Guitar, Ngoni, Washboard and Thimbles
Rusty Anderson - Water bottle
Brian Ray - Conga Drums, Backing Vocals
Abe Laboriel JNR - Djembe Drum, Bass Drum, Backing Vocals
Recorded at Air Studios and Henson Recording Studios
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All tracks published by MPL Communications Inc/LTD, Except Tracks 1, 4 and 12 published by MPL Communications Inc/LTD and EMI Music Publishing LTD.
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Produced by Paul Epworth, Ethan Johns, Giles Martin and Mark Ronson.
Executive Producers: Paul McCartney and Giles Martin
Recorded at Henson Recording Studios, Los Angeles; Avatar Studios, New York; Abbey Road Studios, London; Air Studios, London; Wolf Tone Studios, London; Hog Hill Mill, East Sussex.

Engineered by Sam Okell for Giles Martin; Matt Wiggins for Paul Epworth; Dom Monks for Ethan Johns; Al O’Connell and Josh Blair for Mark Ronson; Matty Green at Henson Recording Studios; Steve Orchard at Hog Hill Mill. Assisted by Eddie Klein and Jamie Kirkham at Hog Hill Mill; Chris Bolster, Seb Truman, Gordon Davidson and Iain Berryman at Abbey Road Studios; Tom Bailey, Laurence Anslow, John Prestage and Adam Miller at Air Studios; Robert Mallory and Tyler Hartman at Avatar Studios; Nicolas Essig, Kevin Mills and Bill Rahko at Henson Recording Studios. Studios co-ordinated at Faryal Ganjehei at Henson Recording Studios; Tino Passante at Avatar Studios; Colette Barber at Abbey Road Studios; Alison Burton at Air Studios.

Technical Manager: Keith Smith. Arranger: Ben Foster. Programmer: Toby Pitman. Copyist: Dave Foster. Mixed by Mark ‘Spike’ Stent. Mixed at the Mixsuite, UK; Henson Recording Studios, Los Angeles; Hog Hill Mill, East Sussex.
Assisted by Geoff Swan and Kevin Mills.

Mastered by Ted Jensen.
Mastered at Sterling Sound, New York.
Co-ordinated by Stephanie Geny-Bikialo.

Cover: Inspired by Dan Flavin with special thanks to Stephen Flavin.
Logo and Cover Concept: Rebecca and Mike.
Consultancy and Design: Yes.
Cover Image: Ben IB.
Photography: Mary McCartney, MJ Kim, Jamie Kirkham and stills from footage by John Hammel.
Production consultant: Roger Huggett.
Project Manager: Scott Rodger.
MPL Production team: Lisa Power, Maggie Agard, Kat Holder, Rebecca Church, Claudia Schmid, Jodie Murgatroyd, Steve Ithell, Richard Miller and Jess Whiteley.
A&R: Nancy Jeffries.

Publishing and Copyright: Dave Bogart and Patricia O’Hearn. With thanks to Ethan, Giles, Mark, Paul, Wix, Rusty, Brian, Abe, John Hammel, Keith Smith, Louise Morris, Eddie Klein, Jamie Kirkham, Marie Weston, Lee Eastman, Stuart Bell, Steve Martin...Everyone at Abbey Road Studios, Air Studios, Avatar Studios, Henson Recording Studios. All at MPL LTD and MPL Inc...Not forgetting all the members of my beautiful family.
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Dear you, sorry I didn’t get back sooner. Been busy. New songs needed to be recorded. Some came after dropping off my youngest daughter at school. With a cup of tea in one hand and a guitar in the other I would delve into the black hole of music, and a few hours later, greet the arrival of a new song. Some came as late night inspirations when I played my dad’s old piano, which he had bought from Brian Epstein’s dad’s shop in Liverpool. Others emerged in the recording studio over improvised instrumental layers--hot off the skillet. A couple of them arrived as I was sitting around on holiday, strumming in the cool air conditioned room as the sun beat down outside. Once I had the songs I started to wonder who to do them with. I looked around for producers whose work I admired, and arranged to meet them, the idea being that one of them would stick out, and we would do the rest of the songs together. In fact, I enjoyed working with all of them for various reasons, and ended up with four producers. My only worry was that the recordings might not fit together, but I realised that not only would the fact that I was singing hold them together but the tracks of Beatle albums were often extremely different from each other that worked ok! First, I met up with Paul Epworth, whose studio at that time was above a shop on a London street. He told me that he already had an idea which he thought we could improvise on. He looked at one of the guitars in the studio and said: “I wonder what secrets that guitar is holding for us to find?” I started banging out something on the piano while Paul sat in on the drum kit. The guitar gave up a riff and pretty soon we had the beginnings of the opening track “Save Us”. We went on to record ‘Queenie Eye’ which I had based on the refrain from a traditional street game that I played as a kid in Liverpool. Another day we used a similar technique to come with ‘Road’. Next I hooked up with Ethan Johns, the song of my friend Glyn Johns, who I had worked with on Beatles and Wings recordings. Ethan, a full bearded Glastonbury man was easy to get along with and I got a feeling that his style suited my more acoustic songs. We went to Abbey Road Studios and fairly swiftly put down a take of ‘Hosanna’. Later, in my studio in Sussex, we recorded ‘Early Days’ a song based on my reminiscences of formative times with John before The Beatles, when we were first starting out. It was good to work with young producers whose approaches were so different. Their aims were the same but the variety of their work methods kept the recordings fresh and energetic. Together we finished more tracks than appear on the album. They will, no doubt, show up somewhere sooner or later. Mark Ronson, a snappy dresser and great producer, was someone I knew as a friend, but had never worked with. He had DJ’d at Nancy’s and my wedding. He kept us bopping til the early hours of the morning, so I already liked his vibe, and of course, I knew and loved his recordings with Amy Winehouse and others. We met up at my Sussex studio and started with a song that I wrote that morning in anticipation of our first session together. We went on to record ‘New’ and ‘Alligator’, then finished them off in New York’s Avatar Studios. Like the other producers I worked with the energy in the studio was strong and exceedingly enjoyable. As the son of George Martin, our great Beatles’ producer Giles Martin was someone I was already pretty familiar with. I had known him since he was a ‘twinkle in the eye’ and watched him grow up, seeing him emerge as someone who did a lot of the hard graft on The Beatles’ Love album. We worked together on music for the Olympic games, and had recorded a song for the upcoming Bungie video game. I asked him if he would like to work on some of my new songs. He agreed, so we went into Air Lyndhurst Studios in North London and laid down ‘On My Way To Work’, ‘Everybody Out There’ and ‘I Can Bet’. Next we took all the tracks out to Los Angeles where we had two rooms at Henson Studios and made final mixes of everything watched over at the front gate by Kermit the Frog. In one room Mark ‘Spike’ Stent was set up to mix the tracks. We were along the corridor in another studio, making sure the music was totally ready for Spike to mix. As soon as we were happy with the track we would take it to the mix room to be cooked. After we had listened to what Spike had done and made any necessary tweaks we returned to the other room and finished another song. Sometimes, in the case ‘Appreciate’ and ‘Looking At Her’ we would write and record new offerings for Spike’s oven to bake. The buzz was intense and that period had an atmosphere to it that was positively electric. Then came the phase when a lot of hard decisions had to be made. What to include and what to leave off the album. What order the tracks would run in. Our management team now knew what we had decided. When we had everything in place, the recordings went off to Sterling Sound in New York to be mastered for your delight. We put a lot of energy and effort into making this album. Hard work? No, not at all. We don’t work music, we play it! Cheers to you. Love, Paul.
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® & © Copyright owned by MPL Communications Inc/LTD under exclusive license to Concord Music Group, Inc., 100 N. Crescent Drive, Beverly Hills, CA 90210. Hear Music is a licensed trademark of Starbucks US Brands, LLC in the USA and Starbucks Corporation outside the USA. All Rights Reserved. Unauthorized duplication is a violation of applicable laws. Printed in the USA. HRM-34845-02.
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www.paulmccartney.com