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United States news media and the Vietnam War
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The role of media in outbreaks of news played a vital role in dramatic shifts of opinion during the Vietnam War. In the beginning of the war, the U.S. media was not interested in covering stories out of Vietnam with only the most breaking news covered. After the death of civilians against President Ngo Dinh Diem of Vietnam, the U.S. media began to take more interest in the war. Journalists began arriving in Vietnam to be the first to cover any stories that emerged.
As the war went on, the U.S. media began to change its main source of information. Journalists began to focus more on research, interviews and analytical essays to obtain information instead of press conferences, official news releases and reports of official proceedings. With an increase in American households that obtained a television set, more and more citizens were able to keep up with the war. Although it was useful to have all information acquired during the war, the media played a huge role in what the American people saw and believed. Journalists that visited Vietnam during the war were not interested in the culture of Vietnam or any aspect of the way of life practiced in that area. Instead, they only focused on the negative and reinforced the American people with the worst of Vietnam. The media played the information to look like Vietnam was in the wrong and the only one at fault.
The United States government was painting one picture of the war, while the media was painting another. The government made the war to look more glorious and optimistic than reality. Once media's view on the war was accessible to citizens, they began to see a difference in the way the war was being portrayed. The media allowed the audience to see the reality of the war and what was going on politically. US citizens felt betrayed by their government for painting a wrongful picture of the war. The people felt they weren't being told the full truth, which ultimately led to an increase in public pressure to end the war.
Vietnam War
Contents
[hide]
1 Early days, 1960–1965
1.1 Ap Bac
1.2 Buddhist Crisis
1.3 Problems
2 Escalation, 1965–1967
3 The Tet Offensive, 1968
4 Withdrawal, 1969–1973
4.1 Changes
4.2 Last years
5 References
Early days, 1960–1965[edit]
Before the 1960s, The U.S. media had no interest in Vietnam. American journalists followed events only when breaking news happened in the region. Those who covered the beginning of the war in Vietnam were reporting only the rise of communism in the country. The official agencies that handled the press in Vietnam during the early years had little control over what the reporters wrote. The French colonial government set up a system of censorship, but correspondents who traveled to Singapore or Hong Kong said what they wanted.[1] American reporters who went to Vietnam at the beginning of the 1960s were reporting the story, while the government in America was telling them to get on the field.[citation needed]
During this period, what was published in the news reflected what America was most preoccupied with: communism and the Cold War. If one asks instead how the United States got into Vietnam, attention must be paid to the enormous strength of the Cold War consensus in the early 1960s shared by journalists and policymakers alike and to the great power of the administration to control the agenda and the framing of foreign affairs reporting.[2]
The first editorial about the rise of communism in Vietnam was published by The New York Times in January 1955. In the same way after the United States threw its weight behind Ngo Dinh Diem, who became South Vietnam’s president in 1955, journals in the United States ignored the new leader's despotic tendencies and instead highlighted his anticommunism.[1] The death of civilians in a coup against President Diem at the end of 1960 started to change how Vietnam was viewed by the media. As a result, the New York Times sent the first reporter to Saigon, the capital of South Vietnam. This was followed by other journalists arriving from Reuters, AFP, Time and Newsweek. The basic policy governing how the US mission in Saigon handled these reporters reflected the way the administration of President John F. Kennedy conceived of the American role in the war. Under that framework, the Americans' role in South Vietnam was only to render advice and support in that nation’s war against the Communists.[3]
Ap Bac[edit]
In January 1963, South Vietnamese forces engaged the communists at the Battle of Ap Bac. The reporting of what became a debacle for the South Vietnamese military and the condemnation heaped upon it by the Western press became a cause célèbre at the time.[4] Both the US mission and Washington condemned the reports and questioned the motives of the correspondents involved. The Kennedy administration then went on the offensive, bombarding news editors in the US with complaints concerning the accuracy of the reporting of the Saigon press corporations. The chain of events led to the interesting conundrum of American periodicals attacking the accuracy of their own on-the-spot reporters.[5] The correspondents, however, did not question the black-and-white assumptions of the time that the war was a part of the larger struggle between the free world and totalitarianism or whether the war was beyond America's ability to win. They perceived their issues with the Saigon government as a conflict over tactics, not principles; Diem's government and military were hindering a positive solution to the problem. According to the reporters, the solution was for the US to get rid of Diem or take over direct control of the war itself.[6]
Although the US mission was irate over the reporting of the battle, even the U.S. Public Information Office (PIO) in Saigon had to admit, from partial information on an emotional subject, the reporting was "two-thirds accurate" and that the correspondents had done quite respectably.[7] Ap Bac and the controversy surrounding it, however, marked a permanent divide in the relations between the official U.S. position and the news media in Vietnam. Before the battle, the media had criticized Diem and argued for more U.S. control of the war, but they were still agreeable to the position of the diplomats and the U.S. military assistance command. After it, correspondents became steadily more convinced that they (and, by extension, the American people) were being lied to and withdrew, embittered, into their own community.[8]
Buddhist Crisis[edit]
This situation was only exacerbated during the Buddhist Crisis of May 1963, when the Diem government considered the foreign press as its enemy and was unwilling to communicate its side of the story effectively.[9] While the top levels of the U.S. mission in Saigon were inordinately closemouthed around reporters during this period, others, especially those who disagreed with the policy of supporting Diem, were not. They leaked information from discussions with Diem to the press, embarrassing him and thwarting the embassy's vigorous efforts to win and end to the anti-Buddhist repressions.[10] Once again, however, despite occasional factual errors and conflict between the press and the embassy, most of the news commentaries were reasonably accurate. The U.S. Army's official history of military-media relations reported that "Although marred at times by rhetoric and mistaken facts, they often probed to the heart of the crisis."[11] During the Buddhist Crisis the number of correspondents in South Vietnam swelled from an original nucleus of eight to a contingent of over 60.
By 1964 the leadership of both the U.S. and South Vietnam had changed hands. President John F. Kennedy had been felled by an assassin's bullets and Diem had been murdered during a U.S.-backed military coup. Instead of paving the way for political stability, however, Diem's demise only unleashed a maelstrom of political unrest. Coup followed coup as South Vietnamese generals vied for power. There were seven governments in Saigon during 1964 - three between 16 August and 3 September alone. The war in South Vietnam ground on and the communists were making serious headway. Following the recommendations of an internal report, the new U.S. headquarters, the Military Assistance Command, Vietnam (MACV), made the decision that since news correspondents were "thoroughly knowledgeable" about the war, its Joint United States Public Affairs Office (JUSPAO) would attempt to woo reporters by providing them with "up to date, factual information on current operations and policies."[12]
Problems[edit]
Although Operation Candor was a welcome relief for correspondents, it did not halt the media's dubiousness concerning the efficacy of the Saigon government or further American involvement with it. Reporters had also become quite aware that all sides (the South Vietnamese and American governments, the U.S. mission, MACV, the Buddhists, and the communists) were trying to manipulate them.[13] It did not help matters that JUSPAO was also MACV's propaganda arm, a fact that was well known to news correspondents. The American public was also dissatisfied with the course of events in Vietnam. A January 1965 Gallup poll indicated that two out of three Americans agreed that the country would never form a stable government and that four out of five Americans felt that the communists were winning. Few, however, wanted a unilateral U.S. withdrawal and 50 percent believed that the U.S. was obliged to defend independent nations from communist aggression.[14]
At this early stage of the war (and continuing to its end) the South Vietnamese people themselves were viewed by the media with the condescension, contempt, and disdain that characterized the American attitude toward them. The media exhibited the "Cold War myopia, ethnocentrism, cultural bias, and racism embedded in American ideology."[15] American journalists arrived in Vietnam with almost no knowledge of its culture, history, society, or language, nor did they attempt to learn. This was due in part to the short 6-12 month period most newspeople spent on rotation in South Vietnam, providing little incentive for reporters to learn the language.[16] Although the U.S. Department of Defense offered a brief introductory course for journalists on the history and culture of Vietnam, few attended it.[17] Meanwhile, none of the networks trained their correspondents to understand military matters.[16] Although the "pacification" of South Vietnam's villages was the continuously touted supreme goal of the Saigon government, the U.S. Mission, MACV, and the media, there was little real discussion within the media as to why it was so difficult to convince the Vietnamese peasantry to join the side of the Saigon government.
As for the armed forces of the North Vietnamese and National Front for the Liberation of South Vietnam (NLF), American readers rarely encountered the argument that the communists were waging a war of reunification rather than "a campaign to further the interests of a communist conspiracy masterminded by the People's Republic of China and the Soviet Union."[18] The domino theory was utilized to justify the American intervention in order to prevent regional domination by China, overlooking centuries of hostility between the Vietnamese and the Chinese.[18] Throughout the war communist troops were continuously portrayed as "brutal, cruel, fanatic, sinister, untrustworthy, and warlike". Most depictions of [them] employed hateful imagery or reinforced racial stereotypes of the era associated with Asians."[19] Asian stereotypes extended to the American soldiers' view of their South Vietnamese allies too;[20] most effectively never met a South Vietnamese soldier or really knew the farmer and peasant in the field.[21] The media went so far as to follow the lead of the American military by refusing to refer to communist forces by their correct titles. NLF forces were referred to by the term Viet Cong (despite its wide usage, "Viet Cong", which means "Vietnamese Communist", is considered pejorative [22]) and northern troops of the People's Army of Vietnam as the North Vietnamese Army, or NVA.
Escalation, 1965–1967[edit]
From 40 in 1964, the press corps in South Vietnam had grown to 282 by January 1966. By August that number had jumped to 419. Of the 282 at the beginning of the year, only 110 were Americans. 67 were South Vietnamese, 26 Japanese, 24 British, 13 Korean, 11 French, and seven German. Of the Americans present, 72 were more than thirty-one years old, and 60 of them were over the age of thirty-six. The same was true of the 143 non-Americans.[23] Correspondents with valid accreditations had to show their credentials in order to receive a card that gave them access to military transportation and facilities. All other correspondents had to present a letter from their editors stating that they represented a bona-fide news-gathering organization which would take responsibility for their conduct. Freelance correspondents were required to produce a letter from one of their clients affirming that agency's willingness to purchase their work.[24]
The U.S. Mission and MACV also installed an "information czar", the U.S. Mission's Minister-Counselor for Public Affairs, Barry Zorthian, to advise Westmoreland on public affairs matters and who had theoretical responsibility under the ambassador for the development of all information policy. He maintained liaison between the embassy, MACV, and the press; publicized information to refute erroneous and misleading news stories; and sought to assist the Saigon correspondents in covering the side of the war most favorable to the policies of the U.S. government.[25] Zorthian possessed both experience with the media and a great deal of patience and tact while maintaining reasonably good relations with the press corps. Media correspondents were invited to attend nightly MACV briefings covering the day's events that became known as the Five O'Clock Follies, most correspondents considering these briefings to be a waste of time.[26] The Saigon bureau chiefs were also often invited to closed sessions at which presentations would be made by a briefing officer, the CIA station chief, or an official from the embassy who would present background or off-the-record information on upcoming military operations or Vietnamese political events.[27]
According to Daniel Hallin, the dramatic structure of the uncensored "living room war" as reported during 1965–1967 remained simple and traditional: "the forces of good were locked in battle once again with the forces of evil. What began to change in 1967 ... was the conviction that the forces of good would inevitably prevail."[28] During late 1967 MACV had also begun to disregard the decision it had made at the Honolulu Conference that the military should leave the justification of the war to elected officials in Washington. The military found itself drawn progressively into politics, to the point that it had become as involved in "selling" the war to the American public as the political appointees it served.[29] This change would have far-reaching detrimental effects.
The Tet Offensive, 1968[edit]
An American man and woman watching footage of the Vietnam War on television in their living room, February 1968
By 1968, America had officially been at war with Vietnam for four years, but U.S. involvement in Vietnamese affairs went back as far as the early 1950s, when France required aid from the U.S., as well as South Vietnam, essentially a puppet state of the U.S., in maintaining control over French Indochina, and public support of the war had begun to wane. In January 1968, Vietcong troops launched a surprise attack in South Vietnam, known as the Tet Offensive; one of the points of attack was the U.S. embassy at Saigon.[30] Though U.S. troops were able to fend off the Vietcong and ultimately prevailed militarily, this attack signaled a turning point in both U.S. troop morale and in public trust of the government's reports on the progress of the war, as many Americans had no idea that the Vietcong were capable of infiltrating American and South Vietnamese headquarters the way that they did. Many Americans were unaware of the extent of the brutality involved in the war, but the Tet Offensive changed that, and American television cameras were available firsthand to record footage of the bombing of cities and the execution of prisoners of war.[31]
Although admittance to North Vietnam by western correspondents was difficult, it was possible, especially when the authorities, who heavily oversaw and restricted any such visit saw an advantage in the situation. During a bombing halt in September 1967, Harrison E. Salisbury of the New York Times became the first correspondent from a major US newspaper to go to North Vietnam. His reporting of the bombing damage to civilian targets forced the Pentagon to admit that accidents and "collateral damage" had occurred during the bombing campaign. For his effort, Salisbury received heavy condemnation and criticism from his peers, the administration, and the Pentagon.[32] Other correspondents who later made the journey to North Vietnam included Mary McCarthy, Anthony Lewis, and Michael McLear from the Canadian Broadcasting Corporation and R. K. Karanjia from India, and Agence France Presse maintained a bureau there throughout the war.[33]
The highly dangerous task of reporting with the NLF and North Vietnamese forces in the South was left to Wilfred Burchett, an Australian who had begun reporting on the war in 1963. He freelanced for the Japanese Mainichi group, the British communist daily The Morning Star, and the American National Guardian. Burchett made no pretense of his communist sympathies, but his reporting of communist schools, arsenals, hospitals, administrative structure, and logistics made what Phillip Knightley called "intriguing reading."[33] Because he reported from the Communist side, Burchett was regarded by many in Australia as a traitor and was persona non grata with the Australian government, but he also possessed extraordinary information.[34] He was later joined by Madeleine Riffaud, of the French communist newspaper L'Humanité.
Perhaps the most famous image of the Tet Offensive, a photo that was taken by Eddie Adams, was the photograph that depicted a Vietnamese man being executed by the Southern Vietnamese General, General Nguyen Ngoc Loan. The photo shows the moment of death for the young man.[35] Adams won a prize for his iconic photo, which was said to be more influential than the video that was released of the same execution. The impact that the photos had on the American public was astounding. Support for the war plummeted, and though two hundred thousand troops were requested at the beginning of the Offensive, the request was denied.[36] Adams had another photo published that, while not making as big as an impact as his other photo, was certainly gruesome. The image depicted a soldier, who appears to be a child, dead and lying on the side of the road, with a group of civilians looking down at the body. It was published on May 5, 1968.[37]
The media's role in bringing a strikingly different depiction of the war into American homes than the government had done signaled a shift in where the American public lay its trust, increasingly toward media reports about the war and increasingly away from federal reports about the war. Many researchers now agree that "across the political spectrum, the relation between the media and the government during Vietnam was in fact one of conflict: the media contradicted the more positive view of the war officials sought to project, and for better or for worse it was the journalists' view that prevailed with the public, whose disenchantment forced an end to American involvement."[38]
Withdrawal, 1969–1973[edit]
Many Americans felt betrayed by the government for withholding or deliberately manipulating information about the progress of the war, and once they saw on their televisions and read in their newspapers firsthand a less optimistic version of the war than the government had painted, public pressure to withdraw American power from Vietnam mounted until the government yielded and began to withdraw troops under Nixon in July 1969 (though the last troops would not be withdrawn until 1973).[39] Additionally, a study authorized by the Trilateral Commission in 1975 to examine the "governability" of American democracy found that "the most notable new source of national power in 1970, as compared to 1950, was the national media," suggesting also that there was "considerable evidence to suggest that the development of television journalism contributed to the undermining of governmental authority." [40] Although this report was commissioned on the heels of the messy conflict of the war itself, the sentiment that the development of new journalistic media such as television supplanted governmental authority in attaining the support of the American public during the Vietnam War has been accepted and upheld by many scholars through present day.[41]
On 3 November 1969 President Richard M. Nixon made a televised speech laying out his policy toward Vietnam. He promised to continue to support the South Vietnamese government (through Vietnamization) and held out a plan for the withdrawal of American combat troops. This "silent majority" speech, not the Tet Offensive, marked the real watershed of the American involvement. In it, Nixon permanently altered the nature of the issue. "No longer was the question whether the United States was going to get out, but rather how and how fast."[42] Nixon's policy toward the media was to reduce as far as possible the American public's interest in and knowledge of the war in Vietnam. He began by sharply limiting the press's access to information within Vietnam itself.
Changes[edit]
The peace talks in Paris, the viability of South Vietnam, of its military and its government, and its effect on American disengagement, became the prime stories during this period for the news media. The reportage of the Tet/Khe Sanh period had been unique, and after it was over reportage settled back into its normal routines. According to Clarence Wyatt, the American disengagement was:
like watching a film running backward. American troops were leaving, until there were only a handful of advisers left. The communists were once again on the advance, spreading their influence closer and closer to the major cities. The South Vietnamese military was once again on the defensive, and the leadership of the nation was isolated and increasingly paranoid ... Nixon's goal, like Kennedy's, was for the press to have nothing to report.[43]
One of Ronald Haeberle's photos taken at My Lai which helped expose the massacre four years after it occurred
The gradual dissipation of American support for the war was apparent in changes in the source of news stories. The traditional sources - press conferences, official news releases, and reports of official proceedings were less utilized than ever before. Reporters were doing more research, conducting more interviews, and publishing more analytical essays.[44] There was also an increase in the number of American homes that acquired a television set which led to a rise in people gaining their knowledge of the war from television. The media never became "acutely critical ... but more sober, and more skeptical[45] It did not, however, examine or reexamine its basic assumptions about the nature of the war it had helped to propagate.[46] Never, for example, did historian Daniel Hallin hear an American correspondent or commentator utter the word imperialism in connection with the U.S. commitment on television. On those rare occasions when the underlying reasons for the American intervention were explicitly questioned, journalists continued to defend the honorableness of American motives.[47]
Television's image of the war, however, had been permanently altered: the "guts and glory" image of the pre-Tet period was gone forever.[48] For the most part, television remained a follower rather than a leader. According to Daniel Hallin, It was not until the collapse of consensus was well under way that coverage began to turn around; and when it did turn, it only turned so far. The later years of Vietnam were "a remarkable testimony to the restraining power of the routines and ideology of objective journalism ... 'advocacy journalism' made no real inroads into network television."[49]
As the American commitment waned there was an increasing media emphasis on Vietnamization, the South Vietnamese government, and casualties - both American and Vietnamese. There was also increasing coverage of the collapse of morale, interracial tensions, drug abuse, and disciplinary problems among American troops. These stories increased in number as U.S. soldiers "began to worry about being the last casualty in the lame-duck war."[50] The U.S. military resented the attention and at first refused to believe that the problems were as bad as correspondents portrayed them. The media demonstrated, however, "that the best reporters, by virtue of their many contacts, had a better grasp of the war's unmanageable human element than the policy makers supposedly in control."[51]
The next "big story" to come out of Vietnam occurred in May 1969 with the Battle of Hamburger Hill (Dong Ap Bia or Hill 937). The high number of American casualties (70 dead and 372 wounded) produced an unusual burst of explicit questioning of military tactics from correspondents in the field and from Congressmen in Washington.[52] After the battle's conclusion, major battles of attrition involving American ground forces became rare - as did commentaries from correspondents like those surrounding Hamburger Hill.[53]
News from two fronts: American soldier reading Stars and Stripes, the official U.S. armed forces newspaper, while in Cambodia
Tensions between the news media and the Nixon administration only increased as the war dragged on. In September and October 1969, members of the administration openly discussed methods by which the media could be coerced into docility. Possible methods included Internal Revenue Service audits, Justice Department antitrust lawsuits against major television networks and newspapers that could be accused of monopolistic business practices, and the monitoring incidents of "unfairness" by television broadcasters that would be turned over to the Federal Communications Commission for possible legal action.[54]
Last years[edit]
As the war lengthened and the withdrawals continued, the two sides became more and more antagonistic toward one another and they battled constantly over the issues of combat refusals and the drug and morale problems of American troops. Fatigue with the war and each other have been cited for this escalating antagonism.[55] Although MACV officially remained dedicated to providing evenly balanced public affairs information, the situation was exacerbated by the manpower drawdowns at the Public Affairs Office itself.
The Easter Offensive of 1972, a conventional North Vietnamese invasion of South Vietnam was generally depicted by MACV and Washington as a "true test" of the policy of Vietnamization. It was also readily apparent to the media that American airpower had saved the day. The press reported heavily on the "mixed" capabilities of the South Vietnamese defense and on the retaliatory U.S. bombing effort in North Vietnam, Operation Linebacker.[56] Secretary of Defense Melvin Laird declined to criticize the negative reporting of the press, which he described as "generally balanced."[57]
By the end of 1971 the number of accredited American correspondents had declined to fewer than 200. By September 1973 that number had dwindled to only 59. As the war became more and more a South Vietnamese affair, the Saigon government tried to silence unofficial news sources, tightening its information guidelines and stringently punishing any who violated them. Even as the Easter Offensive waned, President Nguyễn Văn Thiệu passed a martial law decree that made circulating news or images "detrimental to the national security" a criminal offense.[58]
With the breakdown of peace negotiations with Hanoi, President Nixon launched Operation Linebacker II, an extensive aerial campaign by B-52 bombers and tactical aircraft that began on 16 December 1972. Nixon, in an effort to conceal the fact that the talks had broken down, ordered that the public explanation for the bombing be linked to "a possible enemy offensive in the South."[59] With no information flowing from the White House, the Pentagon, or MACV, North Vietnam's propaganda was all that correspondents had to go on and it was extensively reported by the media. The American people, however, were unconvinced. According to a Harris poll, fewer than 50 percent agreed that it was "inhuman and immoral for the U.S. to have bombed Hanoi's civilian center" and an impressive 71 percent believed "what we did in bombing Hanoi was no worse than what the communists have done in the Vietnam War."[60] Following the campaign Hanoi returned to the negotiating table and (after some wrangling with the Saigon government) the Paris Peace Accords were signed on 27 January 1973. For the United States, the Vietnam War was over.
References[edit]
^ Jump up to: a b William M. Hammond, Reporting Vietnam: Media & Military at War (United States of America: University Press of Kansas, 1998),1
Jump up ^ Daniel C. Hallin, The Uncensored War: The Media and Vietnam (New York: Oxford University Press, 1986), 9
Jump up ^ William M. Hammond, Reporting Vietnam: Media & Military at War (United States of America: University Press of Kansas, 1998), 2
Jump up ^ Landers, p. 43. See also Wyatt, pgs. 105-110.
Jump up ^ Knightly, pgs. 416 & 417.
Jump up ^ Hammond, 1962–1968, p. 35.
Jump up ^ Hammond, 1962–1968, p. 36.
Jump up ^ Douglas Kinnard, The War Managers. Hanover NH: University Press of New England, 1977, pgs 126 & 127. See also Wyatt, p. 109.
Jump up ^ Diem's beliefs and accusations against the press, however, had little basis in fact. Of 33 stories with Vietnam datelines appearing in the New York Times in the four months preceding the crisis, only three could have been said to have dealt primarily with South Vietnamese politics. None dealt with the non-communist opposition to the Diem regime. These four months were typical. Hallin, Uncensored War, p. 45.
Jump up ^ Hammond, 1962–1968, p. 44.
Jump up ^ Hammond, 1962–1968, p. 46.
Jump up ^ Hammond, 1962–1968, p. 75.
Jump up ^ Hammond, 1962–1968, p. 102.
Jump up ^ Hammond, 1962–1968, p. 124.
Jump up ^ Landers, p. 228.
^ Jump up to: a b Venanzi
Jump up ^ Landers, p. 236.
^ Jump up to: a b Landers, p. 254.
Jump up ^ Landers, p. 256.
Jump up ^ Bowden, p. 175.
Jump up ^ Bowden, p. 177.
Jump up ^ Leslie
Jump up ^ Hammond, 1962–1968, p. 197. These numbers, however, were deceiving. Fully half of those accredited were not reporters but were instead technicians, secretaries, drivers, translators, and wives.
Jump up ^ Hammond, 1962–1968, p. 234.
Jump up ^ Hammond, 1968–1973, p. 5.
Jump up ^ Knightley
Jump up ^ Ron Stienmann, Inside Television's First War. Columbia MO: University of Missouri Press, 2002, p. 33.
Jump up ^ Hallin, Uncensored War, p. 158.
Jump up ^ Hammond, 1962–1968, p. 387.
Jump up ^ "55c. The Tet Offensive." http://www.ushistory.org/us/55c/asp
Jump up ^ Moise, Edwin. "The Tet Offensive and its Aftermath." http://www.clemson.edu/caah/history/Faculty/Pages/EdMoise/viet8.html
Jump up ^ Knightley, p. 457 & 458.
^ Jump up to: a b Knightley, p. 458.
Jump up ^ Bowden, p. 187.
Jump up ^ [1]
Jump up ^ http://www.ushistory.org/us/55c.asp
Jump up ^ http://www.npr.org/templates/story/story.php?storyId=102112403
Jump up ^ Hallin, Daniel. The Uncensored War: the Media and Vietnam.
Jump up ^ "Vietnam War Timeline." http://history1900s.about.com/od/vietnamwar/a/vietnamtimeline.htm
Jump up ^ Hallin, Daniel. "The Media, the War in Vietnam, and Political Support: a Critique of the Thesis of an Oppositional Media."
Jump up ^ Hallin, Daniel. The Uncensored War: the Media and Vietnam, 3.
Jump up ^ Wyatt, p. 192.
Jump up ^ Wyatt, pgs. 198 & 199.
Jump up ^ Hammond, 1968–1973, p. 102.
Jump up ^ Hallin, Media Conference.
Jump up ^ Hallin, Uncensored War, p. 210.
Jump up ^ Hallin, Uncensored War, p. 208.
Jump up ^ Hallin, Uncensored War, p. 174.
Jump up ^ Hallin, Uncensored War, p. 163.
Jump up ^ Hallin, Uncensored War, p. 179.
Jump up ^ Hammond, 1968–1973, p. 215.
Jump up ^ Samuel Zaffiri, Hamburger Hill. Novato CA: Presidio Press, 1988, p. 272.
Jump up ^ Landers, pgs. 191 & 102.
Jump up ^ Hammond, 1968–1973, pgs. 161 & 231.
Jump up ^ Hammond, 1968–1973, p. 141.
Jump up ^ Hammond, 1968–1973, pgs. 525-589.
Jump up ^ Hammond, 1968–1973, p. 548.
Jump up ^ Wyatt, p. 206.
Jump up ^ Hammond, 1968–1973, p. 603.
Jump up ^ Hammond, 1968–1973, p. 610.
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Band on the Run
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For the title song from the album, see Band on the Run (song).
Band on the Run
Studio album by Paul McCartney and Wings
Released
5 December 1973 (US)
7 December 1973 (UK)
Recorded
August–October 1973
Studio
EMI Studios and ARC Studio, Lagos, Nigeria; AIR Studios and Kingsway Recorders, London[1]
Genre
Rock
Length
41:08 (UK version)
44:17 (US version)
Label
Apple
Producer
Paul McCartney
Paul McCartney and Wings chronology
Red Rose Speedway
(1973)Red Rose Speedway1973 Band on the Run
(1973) Venus and Mars
(1975)Venus and Mars1975
Singles from Band on the Run
"Jet"
Released: 28 January 1974
"Mrs. Vandebilt (Continental Europe and Australia only)"
Released: January 1974
"Band on the Run"
Released: 8 April 1974
Band on the Run is the third studio album by Paul McCartney and Wings, released in December 1973. It marked the fifth album by Paul McCartney since his departure from the Beatles in April 1970. Although sales were modest initially, its commercial performance was aided by two hit singles – "Jet" and "Band on the Run" – such that it became the top-selling studio album of 1974 in the United Kingdom and Australia; in addition to revitalising McCartney's critical standing. It remains McCartney's most successful album and the most celebrated of his post-Beatles works.
The majority of Band on the Run was recorded at EMI's studio in Lagos, Nigeria, as McCartney wanted to make an album in an exotic locale. Shortly before departing for Lagos, however, drummer Denny Seiwell and guitarist Henry McCullough left the group; with no time to recruit replacements, McCartney went into the studio with just his wife Linda and Denny Laine, doubling on drums, percussion and most of the lead guitar parts himself as well as bass.[2] On arriving, it was discovered that the studio was below standard, and conditions in Nigeria were tense and difficult; the McCartneys were robbed at knifepoint, during which a bag containing unfinished song lyrics and demo tapes was taken. After the band's return to England, final overdubs and further recording were carried out in London, mostly at AIR Studios.
In 2000, Q magazine placed it at number 75 in its list of the "100 Greatest British Albums Ever". In 2012, Band on the Run was voted 418th on Rolling Stone's revised list of "The 500 Greatest Albums of All Time".[3] A contemporary review by Jon Landau in Rolling Stone described the album as "with the possible exception of John Lennon's Plastic Ono Band, the finest record yet released by any of the four musicians who were once called the Beatles".[4] It was McCartney's last album issued on the Apple record label.
Contents
[hide]
1 Background
2 Recording
3 Cover artwork
4 Release
5 Critical reception
6 Commercial performance
7 Legacy
8 Tape formats
9 Reissues
9.1 1999
9.2 2010
10 Track listing
10.1 1973 original release
10.2 1993 The Paul McCartney Collection reissue
10.3 1999 25th Anniversary Edition reissue
10.4 2010 Paul McCartney Archive Collection reissue
11 Personnel
12 Accolades
12.1 Grammy Awards
13 Charts
13.1 Original release
13.2 1999 reissue
13.3 Year-end charts
13.4 Certifications
14 References
Background[edit]
Paul thought, I've got to do it, either I give up and cut my throat or [I] get my magic back.[5]
– Linda McCartney to Sounds magazine
By 1973, having been the one to announce the break-up of the Beatles three years before, Paul McCartney had yet to regain his artistic credibility or find favour with music critics for his post-Beatles work.[6][7] After completing a successful UK tour with his band Wings, in July 1973,[8] he planned their third album as a means to re-establish himself after the mixed reception given to Wild Life and Red Rose Speedway.[9][10]
Keen to record outside the United Kingdom, McCartney asked EMI to send him a list of all their international recording studios. He selected Lagos in Nigeria and was taken with the idea of recording in Africa. In August, the band – consisting of McCartney and his wife Linda, ex-Moody Blues guitarist and pianist Denny Laine, Henry McCullough on lead guitar, and Denny Seiwell on drums – started rehearsals for the new album at the McCartneys' Scottish farm. During one rehearsal session, McCullough and McCartney argued, and McCullough quit.[11] Seiwell left a week later, the night before the band flew out to Nigeria.[12] This left just the core of the band – Paul, Linda and Denny Laine – to record in Lagos, assisted by former Beatles engineer Geoff Emerick. McCartney had chosen Lagos, as he felt it would be a glamorous location where he and the band could sun on the beach during the day and record at night; the reality, however, was that after the end of a civil war in 1970 Nigeria was run by a military government, with corruption and disease commonplace.[13][14]
Recording[edit]
The band and their entourage arrived in Lagos on 9 August 1973.[1] EMI's studio, located on Wharf Road in the suburb of Apapa, was ramshackle and underequipped. The control desk was faulty and there was only one tape machine, a Studer 8-track. The band rented houses near the airport in Ikeja, an hour away from the studio. Paul, Linda and their three children stayed in one, while Laine, his wife JoJo, Emerick, and Wings' two roadies stayed in another.
The group established a routine of recording during the week and playing tourist on the weekends. Paul temporarily joined a local country club, where he would spend most mornings. The band would be driven to the studio in the early afternoon where recording would last into the late evening and sometimes early morning. To make up for the departed band members, Paul would play drums and lead guitar parts with Denny playing rhythm guitar and Linda adding keyboards.[2] The first track they recorded at Apapa was "Mamunia",[15] the title for which McCartney appropriated from the name of a hotel in Marrakesh where Wings had stayed in April 1973.[16]
It's a collection of songs and the basic idea about the band on the run is a kind of prison escape. At the beginning of the album, the guy is stuck inside four walls and breaks out. There is a thread, but not a concept.[15]
– Paul McCartney
Several of the songs on Band on the Run reflect themes of escape and freedom,[17] while the structure of the album recalled the Beatles' Sgt. Pepper's Lonely Hearts Club Band and Abbey Road.[18] The song "Band on the Run" was partly inspired by a remark George Harrison had made during one of the many business meetings the Beatles attended in 1969,[15] in an effort to address the problems afflicting their Apple Corps enterprise. Four years later, the album's creation coincided with what author Peter Doggett terms McCartney's "moral victory in the debate over Allen Klein", as Harrison, John Lennon and Ringo Starr now became embroiled in litigation against Klein[19] – the business manager they had appointed to run Apple in 1969, despite strong opposition from McCartney.[20] Doggett suggests that McCartney was perhaps liberated creatively by this recent development, resulting in Band on the Run bearing "a frothy self-confidence that was reminiscent of the Beatles at their most productive".[21]
Aside from the challenges presented by the primitive studio, various incidents plagued Wings' Lagos stay. While out walking one night against advice, Paul and Linda were robbed at knifepoint. The assailants made away with all of their valuables and even stole a bag containing a notebook full of handwritten lyrics and songs, and cassettes containing demos for songs to be recorded.[6] On another occasion, Paul was laying down a vocal track when he began gasping for air. According to Emerick: "Within seconds, [Paul] turned as white as a sheet, explaining to us in a croaking voice that he couldn't catch his breath. We decided to take him outside for some fresh air ... [but] once he was exposed to the blazing heat he felt even worse and began keeling over, finally fainting dead away at our feet. Linda began screaming hysterically; she was convinced that he was having a heart attack ... The official diagnosis was that he had suffered a bronchial spasm brought on by too much smoking."[22] Another incident was the confrontation with local Afrobeat pioneer and political activist Fela Kuti, who publicly accused the band of being in Africa to exploit and steal African music after their visit to his club. Kuti even went to the studio to confront McCartney, who played their songs for him proving that they contained no local influence whatsoever. Later on, drummer and former Cream member Ginger Baker invited Wings to record their entire album at his place, ARC Studio in Ikeja. Though not wanting the invitation, Paul agreed to go there for one day. The song "Picasso's Last Words (Drink to Me)" was recorded at ARC, with Baker contributing a percussive tin of gravel.
[Paul and I] made the album as though we weren't in a band, as though we were just two producers/musicians.[23]
– Denny Laine
Recording for the majority of the album's basic tracks, together with initial overdubbing, was completed after six weeks in Nigeria.[24] After hosting a beach barbecue to celebrate the end of recording,[22] Wings flew back to England on 23 September 1973[25] where they were met by fans and journalists.[1] In October, two weeks after the band's return to London, work began at George Martin's AIR Studios on transferring many of the eight-track recordings to sixteen-track.[24] The song "Jet", named after one of the McCartneys' Labrador puppies, was recorded in its entirety at AIR.[26][27] Paul, Laine and Linda carried out further overdubs on the Lagos recordings during this period; all the orchestral arrangements for the album were taped at AIR in a single day, conducted by Tony Visconti.[24] Visconti was given three days to write arrangements for the whole album, including the 60-person orchestra for the title track. Visconti said that the arrangements were collaborations with McCartney, and was surprised he was not correctly credited with his work until the 25th anniversary reissue.[28] Another contributor was saxophonist Howie Casey, who overdubbed solos on "Bluebird" and "Mrs. Vanderbilt",[15] and would go on to become Wings' regular horn player.[29] Final mixing on the album was completed over three days at London's Kingsway Studios in early November.[1]
"Helen Wheels" was released as a non-album single in late October, and would go on to become a top 10 hit in America the following January.[30] For commercial reasons, Capitol Records, the US distributor for Apple Records, asked to include "Helen Wheels" on the album. McCartney agreed although it was never his intention to include the track.[31] While "Helen Wheels" is not included on UK versions of the Band on the Run CD (except as a bonus cut on the 1993 "The Paul McCartney Collection" edition of the CD), it has always appeared on US editions of the CD starting with the initial Columbia Records release in 1984. Early versions of the Capitol release fail to list "Helen Wheels" on the label or the CD insert, making the song a "hidden track". Upon returning to London, the McCartneys received a warning letter from EMI to not go to Lagos by any means due to an outbreak of cholera.[32]
Cover artwork[edit]
The album cover photograph was taken at Osterley Park, west London, on 28 October 1973 by photographer Clive Arrowsmith.[24] It depicts Paul, Linda and Denny plus six other well-known people dressed as convicts caught in the spotlight of a prison searchlight.[33] They are Michael Parkinson, chat-show host and journalist; Kenny Lynch, actor, comedian and singer; James Coburn, actor; Clement Freud, politician, columnist, gourmet and raconteur; Christopher Lee, actor; and John Conteh, a boxer who later became World Light-Heavyweight champion.[33] Arrowsmith detailed that the eventual cover was one of the four he found acceptable in the 24 attempts he took. The spotlight's low potency meant everyone had to stand still for two seconds for proper exposure, which was made difficult by the photographed reportedly being in a "substance haze" following a party held by Paul, making it harder for them to hold the pose. The golden hue of the picture is due to Arrowsmith using a regular daytime film instead of a Tungsten film, which would be better suited for night-time photographs.[34]
Release[edit]
Apple Records issued Band on the Run on 5 December 1973 in America (as Apple SO 3415),[35] with the UK release following two days later[36] (as Apple PAS 10007).[37] Rather than the band promote the album on radio and television or with a tour, McCartney undertook a series of magazine interviews, most notably with Paul Gambaccini for Rolling Stone.[38] The conversations with Gambaccini took place at various locations from September 1973 onwards[39] and combined to form, in the words of authors Chip Madinger and Mark Easter, "a remarkably forthcoming interview in comparison to the 'thumbs-aloft' profiles usually allowed by [McCartney]".[38]
Critical reception[edit]
Professional ratings
Review scores
Source
Rating
AllMusic [9]
Christgau's Record Guide C+[40]
Mojo [41]
MusicHound Rock 4/5[42]
PopMatters [43]
Record Collector [44]
Rolling Stone [45]
The Rolling Stone Album Guide [46]
Uncut [47]
Virgin Encyclopedia of Popular Music [48]
Upon release, Band on the Run received mostly favourable reviews. Author Robert Rodriguez writes that, after the disappointment of McCartney's previous work since the Beatles, "It was exactly the record fans and critics had long hoped he would make …"[49]
In a combined review for Starr's concurrently released Ringo album, Charles Shaar Murray of the NME wrote: "The ex-Beatle least likely to re-establish his credibility and lead the field has pulled it off with a positive master-stroke of an album entitled Band On The Run." In addition to praising McCartney for using synthesizer "like an instrument, and not like an electric whoopee cushion", Shaar Murray concluded: "Band On The Run is a great album. If anybody ever puts down McCartney in your presence, bust him in the snoot and play him this. He will thank you for it afterwards."[50]
Writing in The New York Times, Loraine Alterman considered the album to be "bursting with a great deal of compelling music even if the lyrics at times make as much sense as that cover photo" and admired the "fascinating range of sounds" offered in the title track, as well as the "lovely, romantic aura" of "Bluebird". While noting the importance of studio production on the overall effect, Alterman wrote: "McCartney has managed to make the complexities of multi-track recording sound as natural and fresh as tomorrow."[51] Jon Landau of Rolling Stone described the album as "with the possible exception of John Lennon's Plastic Ono Band, the finest record yet released by any of the four musicians who were once called the Beatles".[4]
Not all critics were as impressed. Writing for his Consumer Guide column in The Village Voice, Robert Christgau wrote: "I originally underrated what many consider McCartney's definitive post-Beatles statement, but not as much as its admirers overrate it. Pop masterpiece? This? Sure it's a relief after the vagaries of Wild Life and Red Rose Speedway." He did however praise the title track and the "Afro-soul" introduction to "Mamunia", calling them "the high points."[52] Christgau ultimately awarded the album a C+ rating, indicating "a not disreputable performance, most likely a failed experiment or a pleasant piece of hackwork."
Rolling Stone named Band on the Run one of the Best Albums of the Year for 1973.[53]
Commercial performance[edit]
The commercial reception was unspectacular initially, with the record-buying public wary after Wings' preceding releases.[54][55] On the UK Albums Chart, Band on the Run climbed to number 9 on 22 December,[56] remaining there for a second week before dropping to number 13.[57] On America's Billboard Top LPs & Tape chart, it peaked at number 7 on 2 February 1974 and then spent the next six weeks in the lower reaches of the top ten.[58] The album went on to achieve considerable success, however, thanks to the popularity of the two singles culled from it – "Jet" and the title track.[5][24] Writing in 1981, Bob Woffinden described Band on the Run as the first Beatles-related release to be "planned with a marketing strategy",[54] as Capitol Records now assumed a fully active role in promoting the album following the removal of Klein's ABKCO Industries as managers of Apple. Although McCartney had been reluctant to issue album tracks as singles,[59] the public's apparent disinterest in Band on the Run led to him ceding to the recommendations of Capitol's head of marketing, Al Coury,[60] who had similarly pushed for the inclusion of "Helen Wheels". McCartney therefore authorised single edits for the two new A-sides.[27]
"Jet" was issued on 28 January in America, with "Mamunia" as the B-side for the single's initial pressings, although this was soon replaced by "Let Me Roll It", which was the B-side for the UK release, on 15 February.[61] The single's success provided new impetus for the album,[62][63] which hit number 2 in the UK at the end of March[64] and topped Billboard's listings on 13 April.[58] Apple issued "Band on the Run" on 8 April in America, backed by "Nineteen Hundred and Eighty-Five";[65] the UK release followed on 28 June, with the non-album instrumental "Zoo Gang" as the B-side.[66] Due to the popularity of "Band on the Run",[24] the album returned to number 1 on Billboard on 8 June, when the single simultaneously topped the Hot 100.[67] In Britain, the album finally hit number 1 on 27 July,[68] for the first of seven consecutive weeks at the top.[69][70] On the alternative UK listings compiled by Melody Maker, Band on the Run remained in the top ten from 26 January through to 23 November 1974. During that time, its chart performance similarly reflected the popularity of the two singles, with the album spending three weeks at number 2 in April, and six weeks at number 1 throughout August and the first week of September.[71]
The album topped the Billboard chart on three separate occasions during 1974,[58] and was the top selling album of that year in Australia[72] and Canada.[73] In Britain, it came second in the year-end standings, behind the compilation The Singles: 1969–1973 by the Carpenters.[74] Through this success with Wings, McCartney established himself as the most commercially successful of the four former Beatles.[21][54] Rodriguez views the album's arrival at number 1 on Billboard, in April 1974, as the moment when McCartney usurped George Harrison as the "ex-Beatle Most Likely to Succeed", so beginning a period of public acclaim that reached its zenith with the Wings Over America Tour in 1976.[75]
Band on the Run was eventually certified triple platinum by the Recording Industry Association of America; it would go on to sell 6 million copies worldwide[65] and become EMI's top selling album of the 1970s in the UK.[54] Its continued success through 1974 was also beneficial in allowing Wings to recruit a new guitarist and drummer, and to integrate them into the band before beginning new recordings.
Legacy[edit]
The album continues to be mainly regarded positively. Though in Erlwine's retrospective AllMusic review he feels that while some songs are excellent and the album overall is enjoyable, it is more showmanship than content.[9] The Rolling Stone reviewer of the 30th Anniversary Deluxe Edition feels that "the real action still lies in the original LP's revved-up pleasures".[45] Writing for Mojo magazine in 2011, John Harris included Band on the Run among "the trilogy of truly essential post-Beatles solo albums", along with Harrison's All Things Must Pass and Lennon's Plastic Ono Band.[76]
In 2000 Q magazine placed it at number 75 in its list of the "100 Greatest British Albums Ever". In 2012, Band on the Run was voted 418th on Rolling Stone's revised list of "The 500 Greatest Albums of All Time".[3] The album was also included in the book 1001 Albums You Must Hear Before You Die.[77]
Tape formats[edit]
As with all albums released contemporaneously by the EMI/Capitol empire, Band on the Run was released, in addition to the vinyl LP, on cassette and 8-Track cartridge in all territories in which they operated.
The US 8-track tape version of this album is one of the few 8-tracks that is arranged just like the vinyl album, albeit with the song "Bluebird" divided into two parts. The UK 8-track however, as was usually the case, had a re-arranged running order. This did at least enable the UK edition to avoid dividing any tracks. Band on the Run was also released in quadrophonic in both the US and UK.
Reissues[edit]
In 1993, Band on the Run was remastered and reissued on CD as part of the Paul McCartney Collection series with "Helen Wheels" and its B-side, "Country Dreamer", as bonus tracks. In 1996, it was released on 5.1 Music Disc. In May 2007, the album was made available through the iTunes Store.
1999[edit]
Band on the Run: 25th Anniversary Edition, a special extended edition of the album, was released in 1999 to coincide with twenty-five years after the album began to take off in March 1974 after a slow start.[78] On this version, "Helen Wheels" appeared as track 8, between "No Words" and "Picasso's Last Words (Drink to Me)", as it had been positioned on the original US release. The package includes an extra disc of live renditions of songs throughout the years, as well as brief new renditions by McCartney. Spoken testimonials are also included from McCartney himself, late wife Linda (to whom this retrospective release is dedicated), Laine, Dustin Hoffman (the inspiration behind "Picasso's Last Words"), and the celebrity faces on the cover, including James Coburn, who was in Britain at the time filming The Internecine Project, and Christopher Lee.
2010[edit]
The album was reissued by Hear Music/Concord Music Group on 2 November 2010 as the first release in the Paul McCartney Archive Collection.[79] It was released in multiple formats:[80]
A single CD featuring the original UK version of the album
A 2-CD/1-DVD Special Edition which includes a CD and a DVD of bonus material in addition to the original album
A 2-CD/2-DVD Special Edition sold only at Best Buy which includes a CD and two DVDs of bonus material in addition to the original album
A 3-CD/1-DVD Deluxe Edition which has the aforementioned material as well as an audio documentary originally produced for the album's 25th Anniversary release. It comes with a 120-page hardbound containing photos by Linda McCartney and Clive Arrowsmith, a history of the album and additional material
A 2-Disc Vinyl Edition containing the same audio material as the Special Edition
A (Record Store Day 2010 exclusive) vinyl single of "Band On The Run" and "Nineteen Hundred And Eighty-Five" [81]
High Resolution 24bit 96 kHz with no dynamic range compression[82] limited and unlimited audio versions of all 18 songs on the remastered album and bonus audio disc.
Track listing[edit]
All songs written by Paul and Linda McCartney, except "No Words" by Paul McCartney and Denny Laine.[83]
1973 original release[edit]
Side one
"Band on the Run" – 5:12
"Jet" – 4:09
"Bluebird" – 3:23
"Mrs. Vandebilt" – 4:40
"Let Me Roll It" – 4:51
Side two
"Mamunia" – 4:51
"No Words" – 2:35
"Helen Wheels" – 3:44 (additional track only on the US release)
"Picasso's Last Words (Drink to Me)" – 5:49
"Nineteen Hundred and Eighty-Five" – 5:28
1993 The Paul McCartney Collection reissue[edit]
"Band on the Run" – 5:12
"Jet" – 4:09
"Bluebird" – 3:23
"Mrs. Vandebilt" – 4:40
"Let Me Roll It" – 4:51
"Mamunia" – 4:51
"No Words" – 2:35
"Picasso's Last Words (Drink to Me)" – 5:49
"Nineteen Hundred and Eighty-Five" – 5:28
"Helen Wheels" – 3:44 (additional track to the original UK release)
"Country Dreamer" – 3:07 (additional track to the original UK release)
1999 25th Anniversary Edition reissue[edit]
Tracks 1–10 per the original US release.
[show]Disc 2 bonus material
No.
Title
Length
1. "Paul McCartney (Dialogue Intro)/Band on the Run (Nicely Toasted Mix)" 1:12
2. "Band on the Run (Original)/Paul McCartney (Dialogue link 1)" 2:17
3. "Band on the Run (Barn Rehearsal – 21 July 1989)" 4:59
4. "Paul McCartney (Dialogue link 2)/Mamunia (Original)/Denny Laine (Dialogue)/Mamunia (Original)/Linda McCartney (Dialogue)/Paul McCartney (Dialogue link 3)" 4:23
5. "Bluebird (Live version – Australia 1975)" 0:55
6. "Bluebird (Original)/Paul McCartney (Dialogue link 4)" 0:23
7. "Paul McCartney (Dialogue link 5) /No Words (Original)/Geoff Emerick (Dialogue)" 1:24
8. "No Words (Original)/Paul McCartney (Dialogue link 6)/Tony Visconti (Dialogue)/Band on the Run (original)/Tony Visconti (Dialogue)" 1:47
9. "Jet (Original from Picasso's Last Words)/Paul McCartney (Dialogue Link 7)/Jet (Original from Picasso's Last Words)/Al Coury (Dialogue)" 2:55
10. "Jet (Berlin Soundcheck – 3 September 1993)" 3:52
11. "Paul McCartney (Dialogue link 8)/Clive Arrowsmith (Dialogue)" 1:44
12. "Nineteen Hundred And Eighty Five (Original)/Paul McCartney (Dialogue link 9)/James Coburn (Dialogue)/Paul McCartney (Dialogue link 10)/John Conteh (Dialogue)" 3:24
13. "Mrs. Vandebilt (original) / Paul McCartney (Dialogue link 11) / Kenny Lynch (Dialogue)" 2:10
14. "Let Me Roll It (Cardington Rehearsal – 5 February 1993)"/Paul McCartney (Dialogue link 12)" 3:52
15. "Paul McCartney (Dialogue link 13) /Mrs. Vandebilt (Background)/Michael Parkinson (Dialogue)/Linda McCartney (Band on the Run Photo Shoot) (Dialogue)/Michael Parkinson (Dialogue)" 2:25
16. "Helen Wheels (Crazed)/Paul McCartney (Dialogue link 14)/Christopher Lee (Dialogue)" 5:32
17. "Band on the Run (Strum Bit)/Paul McCartney (Dialogue link 15)/Clement Freud (Dialogue)" 1:01
18. "Picasso's Last Words (Original)/Paul McCartney (Dialogue link 16)/Dustin Hoffman (Dialogue)" 4:22
19. "Picasso's Last Words (Drink To Me) (Acoustic version)" 1:11
20. "Band on the Run (Nicely Toasted Mix)/Paul McCartney (Dialogue Link 17)" 0:42
21. "Band on the Run (Northern Comic Version)" 0:37
2010 Paul McCartney Archive Collection reissue[edit]
Tracks 1–9 per the original UK release.
Supplementary discs (Special and Deluxe editions) [show]
Disc 2: Bonus Tracks (Special, Vinyl and Deluxe editions)
"Helen Wheels" – 3:46
"Country Dreamer" – 3:08
"Bluebird" (from One Hand Clapping) – 3:27
"Jet" (from One Hand Clapping) – 3:56
"Let Me Roll It" (from One Hand Clapping) – 4:23
"Band on the Run" (from One Hand Clapping) – 5:13
"Nineteen Hundred and Eighty Five" (from One Hand Clapping) – 5:58
"Country Dreamer" (from One Hand Clapping) – 2:14
"Zoo Gang" – 2:01
Disc 3 (Deluxe Edition) This disc contains an audio documentary of the album, originally released in 1999 as Disc 2 of the 25th Anniversary Edition reissue.
DVD (Special and Deluxe editions)
"Band on the Run" (music video)
"Mamunia" (music video)
Album promo
"Helen Wheels" (music video)
Wings in Lagos
Osterley Park
One Hand Clapping
Track listing:
One Hand Clapping Theme
"Jet"
"Soily"
"C Moon"
"Little Woman Love"
"Maybe I'm Amazed"
"My Love"
"Bluebird"
"Let's Love" (previously unreleased)
"All of You" (previously unreleased)
"I'll Give You a Ring"
"Band on the Run"
"Live and Let Die"
"Nineteen Hundred and Eighty Five"
"Baby Face"
Bonus DVD (Special Edition sold only at Best Buy) Best Buy's version of the new "Band on the Run" reissue adds a fourth disc with a bonus DVD to the 2 CD/1 DVD version package.
Band on the Run 2010 EPK
"Jet" – taken from Good Evening, New York City
"Mrs. Vandebilt" – taken from Good Evening, New York City
"Band on the Run" – taken from Good Evening, New York City
Personnel[edit]
Band members
Paul McCartney – vocals; acoustic, electric and bass guitars; piano; drums and percussion
Linda McCartney – keyboards and vocals
Denny Laine – vocals; acoustic, electric and bass guitars; keyboards; percussion
Additional personnel
Howie Casey – saxophone
Ginger Baker – percussion
Remi Kabaka – percussion
Tony Visconti – orchestrations
Ian Horn and Trevor Jones – backing vocals
Geoff Emerick – producer and sound engineer
Steve Howard – Horns
Accolades[edit]
Grammy Awards[edit]
Year
Nominee/work
Award
Result
1975 Paul McCartney and Wings / Band on the Run Album of the Year[84] Nominated
Geoff Emerick / Band on the Run Best Engineered Non-Classical Album Won
Charts[edit]
Original release[edit]
Chart (1973–75)
Position
Australian Kent Music Report[72]
1
Belgium Albums Chart[85]
4
Canadian RPM Albums Chart[86]
1
Dutch Mega Albums Chart[87]
5
Japanese Oricon LPs Chart[88]
11
Norwegian VG-lista Albums Chart[89]
1
Spanish Albums Chart[90]
1
Swedish Albums Chart[91]
5
UK Albums Chart[70]
1
US Billboard 200[92]
1
West German Media Control Albums Chart[93]
15
1999 reissue[edit]
Chart (1999)
Position
Japanese Albums Chart[94]
56
UK Albums Chart[95]
69
US Top Pop Catalog Albums[96]
1
Chart (2010)
Position
Belgian Albums Chart (Flanders)[97]
89
Belgian Albums Chart (Wallonia)[98]
96
Dutch Albums Chart[87]
34
European Top 100 Albums[99]
46
Japanese Albums Chart[100]
25
Spanish Albums Chart[101]
47
UK Albums Chart[70]
17
US Top Pop Catalog Albums[102]
3
US Billboard 200[103]
29
Year-end charts[edit]
Chart (1974)
Position
Australian Albums Chart[72]
1
Canadian Albums Chart[73]
1
UK Albums Chart[74]
2
US Billboard Year-End
3
Chart (1974)
Position
Australian Albums Chart[72]
86
Certifications[edit]
Region
Certification
Certified units/Sales
Australia (ARIA)[104]
Gold 35,000^
Canada (Music Canada)[105]
Platinum 100,000^
France (SNEP)[106]
Gold 100,000*
United Kingdom (BPI)[107]
Platinum 300,000^
United Kingdom (BPI)[108]
Remastered Edition
Silver 60,000^
United States (RIAA)[109]
3× Platinum 3,000,000^
*sales figures based on certification alone
^shipments figures based on certification alone
References[edit]
^ Jump up to: a b c d Spizer, p. 172.
^ Jump up to: a b James E. Perone (17 Oct 2012). The Album: A Guide to Pop Music's Most Provocative, Influential, and Important Creations. ABC-CLIO. p. 585.
^ Jump up to: a b "500 Greatest Albums of All Time: Paul McCartney and Wings, 'Band On The Run'". Rolling Stone. Retrieved 2012-08-10.
^ Jump up to: a b Jon Landau (31 January 1974). "Band on the Run". Rolling Stone (153). Archived from the original on 2 June 2007. Retrieved 13 June 2006. Posted on 21 January 1997.
^ Jump up to: a b Schaffner, p. 165.
^ Jump up to: a b Ghosh, Palash (16 July 2013). "Band On The Run: 40 Years Ago, Paul McCartney Saved His Career With An Album Made Under Duress In Nigeria". International Business Times. Retrieved 11 January 2016.
Jump up ^ Ingham, Chris (2005). "Introduction: Ten Years After". In Hunt, Chris (ed.). NME Originals: Beatles – The Solo Years 1970–1980. London: IPC Ignite!. p. 14. CS1 maint: Extra text: editors list (link)
Jump up ^ Doggett, p. 208.
^ Jump up to: a b c Stephen Thomas Erlewine. Band on the Run at AllMusic. Retrieved 4 November 2004.
Jump up ^ Cruickshank, Noah (14 January 2014). "With Band On The Run, Paul McCartney escaped The Beatles' shadow". The A.V. Club. Retrieved 3 January 2016.
Jump up ^ McGee, Garry (1 Jan 2003). Band on the Run: A History of Paul McCartney and Wings. Rowman & Littlefield. p. 48.
Jump up ^ Perasi, Luca (2013). Paul McCartney: Recording Sessions (1969-2013). A Journey Through Paul McCartney's Songs After The Beatles. (First ed.). Milan: L.I.L.Y. Publishing. p. 101. ISBN 8890912219. |access-date= requires |url= (help)
Jump up ^ James E. Perone (17 Oct 2012). The Album: A Guide to Pop Music's Most Provocative, Influential, and Important Creations. ABC-CLIO. p. 584.
Jump up ^ Hall, Russell (14 Dec 2013). "Band on the Run: The Harrowing Story Behind Wings’ Classic Album". gibson.com.
^ Jump up to: a b c d Spizer, p. 174.
Jump up ^ Madinger and Easter, p. 189.
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^ Jump up to: a b Emerick 2006
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^ Jump up to: a b Madinger and Easter, p. 188.
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Jump up ^ "Band on The Run – The Great ‘Wrong Film’ Debacle". Clive Arrowsmith. January 13, 2014. Retrieved July 12, 2016.
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Jump up ^ Castleman and Podrazik, p. 372.
^ Jump up to: a b Madinger and Easter, p. 187.
Jump up ^ Gambaccini, Paul (31 January 1974). "The Rolling Stone Interview: Paul McCartney". Rolling Stone. Available at Rock's Backpages (subscription required).
Jump up ^ Robert Christgau. "Paul McCartney: Band on the Run > Consumer Guide Album". robertchristgau.com. Retrieved 2 February 2009.
Jump up ^ Bennett, Ross (December 2010). "Paul McCartney & Wings Band On The Run". Mojo. p. 123.
Jump up ^ Graff & Durchholz 1999, p. 730.
Jump up ^ Christel, Loar (4 November 2010). "Paul McCartney & Wings: Band on the Run (Special Edition)". PopMatters. Retrieved 15 May 2015.
Jump up ^ Staunton, Terry (December 2010). "Paul McCartney & Wings – Band On The Run". Record Collector (Xmas 2010/issue 383). p. 87. Retrieved 10 November 2014.
^ Jump up to: a b Rob Sheffield (25 November 2010). "Paul's Hard Rocking Solo Peak". Rolling Stone (1118). p. 80.
Jump up ^ "Paul McCartney: Album Guide". rollingstone.com. Archived from the original on 4 July 2014. Retrieved 1 January 2015.
Jump up ^ "Paul McCartney / Wings Band on the Run CD Album". CD Universe/Muze. Retrieved 2 August 2014.
Jump up ^ "Paul McCartney and Wings Band on the Run". Acclaimed Music. Retrieved 10 November 2014.
Jump up ^ Rodriguez, p. 160.
Jump up ^ Shaar Murray, Charles (19 January 1974). "Paul McCartney: Band On The Run/Ringo Starr: Ringo". NME. p. 12. Available at Rock's Backpages (subscription required).
Jump up ^ Alterman, Loraine (2 December 1973). "Wings: Band On The Run (Apple)". New York Times. Available at Rock's Backpages (subscription required).
Jump up ^ "Robert Christgau: Album: Paul McCartney: Band on the Run". www.robertchristgau.com. Retrieved 2016-03-05.
Jump up ^ "Rolling Stone Music Awards '73" Rolling Stone 17 January 1974: 11
^ Jump up to: a b c d Woffinden, p. 81.
Jump up ^ Spizer, p. 179.
Jump up ^ "Your charts for 22nd December 1973" > "Albums". Official Charts Company. Archived from the original on 3 January 2015. Retrieved 3 January 2015.
Jump up ^ "Paul McCartney: Chart Action (UK)". nifty.com. Retrieved 3 January 2015.
^ Jump up to: a b c Castelman and Podrazik, p. 364.
Jump up ^ Rodriguez, p. 262.
Jump up ^ Spizer, pp. 179–80.
Jump up ^ Madinger and Easter, pp. 189, 590, 594.
Jump up ^ Rodriguez, pp. 262–63.
Jump up ^ Spizer, p. 180.
Jump up ^ "Your charts for 30th March 1974" > "Albums". Official Charts Company. Retrieved 3 January 2015.
^ Jump up to: a b Badman, p. 123.
Jump up ^ Spizer, p. 185.
Jump up ^ Castleman and Podrazik, pp. 354, 365.
Jump up ^ "Your charts for 27th July 1974" > "Albums". Official Charts Company. Archived from the original on 3 January 2015. Retrieved 3 January 2015.
Jump up ^ "Number 1 albums of the 1970s". everyHit.com. Retrieved 3 January 2015.
^ Jump up to: a b c "Chart Stats Paul McCartney & Wings – Band on the Run" (PHP). The Official Charts Company. Retrieved 2011-08-31.
Jump up ^ Castleman and Podrazik, pp. 342–43.
^ Jump up to: a b c d Kent 1993
^ Jump up to: a b "RPM Top 100 Albums of 1974". RPM. Retrieved 3 October 2011.
^ Jump up to: a b "The Official UK Charts Company: ALBUM CHART HISTORY". Archived from the original on 17 December 2007. Retrieved 17 December 2007.
Jump up ^ Rodriguez, pp. 159, 263.
Jump up ^ Harris, John (November 2011). "Beware of Darkness". Mojo. p. 82.
Jump up ^ Robert Dimery; Michael Lydon (7 February 2006). 1001 Albums You Must Hear Before You Die: Revised and Updated Edition. Universe. ISBN 0-7893-1371-5.
Jump up ^ Chart Stats.com 21 Mar. - 27 Mar. 1999
Jump up ^ "Paul McCartney & Wings: 'Band on the Run' to be Reissued November 2 – Indie Music Reviews – Indie Music News". Gravy and Biscuits. 16 September 2010. Archived from the original on 23 November 2010. Retrieved 7 August 2011.
Jump up ^ "Paul McCartney and Wings – Band on the Run". Paulmccartney.com. 5 May 2011. Archived from the original on 22 July 2011. Retrieved 17 August 2011.
Jump up ^ "Paul McCartney – Band On The Run (Vinyl)". BeatlesBlogger.com. 26 October 2010. Retrieved 26 October 2010.
Jump up ^ "Paul McCartney Band on the Run / Hi-Res Digital Download [Uncompressed] Pop HDtracks high resolution audiophile music downloads". HDtracks.com. 4 December 1999. Retrieved 10 August 2012.
Jump up ^ Band on the Run: 25th Anniversary Edition (Booklet). Paul McCartney & Wings. Parlophone/MPL Communications. 1999. p. 2. 4 99176 2/7243 4 99176 2 0.
Jump up ^ "GRAMMYs' Best Albums 1970–1979". grammy.org. Archived from the original on 4 March 2014. Retrieved 1 May 2014.
Jump up ^ Billboard Hits of the World. Billboard. 14 June 1975. p. 48. Retrieved 3 January 2015.
Jump up ^ "Top Albums/CDs - Volume 21, No. 17" (PHP). RPM. 15 June 1974. Retrieved 18 December 2013.
^ Jump up to: a b "dutchcharts.nl Paul McCartney & Wings – Band on the Run" (ASP). dutchcharts.nl (in Dutch). MegaCharts. Retrieved 9 May 2012.
Jump up ^ Oricon Entertainment 2006
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Jump up ^ "Swedish Charts 1972–1975 (in PDF-files)" (PDF) (in Swedish). Hitsallertijden. Archived from the original (PDF) on 23 March 2012. Retrieved 1 May 2014.
Jump up ^ "allmusic ((( Band on the Run > Charts & Awards > Billboard Albums )))". allmusic.com. Retrieved 1 May 2014.
Jump up ^ "Album Search: Wings: Band on the Run" (in German). Media Control. Retrieved 1 May 2014.
Jump up ^ "ポール・マッカートニー-リリース-ORICON STYLE-ミュージック". Oricon Style (in Japanese). oricon.co.jp. Archived from the original on 18 February 2013. Retrieved 1 May 2014.
Jump up ^ "Paul McCartney – Chart trajectories on the UK Albums Chart". October 2006. Retrieved 30 January 2010.
Jump up ^ "TLC Delivers for a Third Week". Billboard. Retrieved 22 December 2010.
Jump up ^ "ultratop.be – Paul McCartney & Wings – Band on The Run". Retrieved 1 May 2014.
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Jump up ^ http://www.billboard.com/#/charts/european-albums?tag=relcharts
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Jump up ^ "spanishcharts.com – Paul McCartney & Wings – Band on The Run". Retrieved 1 May 2014.
Jump up ^ "COUNTRY TIME ATOP CHART; MARGINS GET SMALLER". Billboard.biz. 20 November 2010. Archived from the original on 22 December 2010. Retrieved 1 December 2010.
Jump up ^ Keith Caulfield and Silvio Pietroluongo (ed.). "Chart Moves: Taylor Swift, Michael Jackson, Sugarland, Rihanna, Tim McGraw and more". Billboard.biz. Retrieved 22 December 2010.
Jump up ^ "ARIA Gold Record Award". PMC Archive. Retrieved 12 August 2017.
Jump up ^ "Canadian album certifications – Paul McCartney – Band on the Run". Music Canada.
Jump up ^ "French album certifications – Paul McCartney – Band on the Run" (in French). Syndicat National de l'Édition Phonographique.
Jump up ^ "British album certifications – Wings – Band on the Run". British Phonographic Industry. Enter Band on the Run in the search field and then press Enter.
Jump up ^ "British album certifications – Wings – Band on the Run". British Phonographic Industry. Enter Band on the Run in the search field and then press Enter.
Jump up ^ "American album certifications – Wings – Band on the Run". Recording Industry Association of America. If necessary, click Advanced, then click Format, then select Album, then click SEARCH
Sources
Badman, Keith (2001). The Beatles Diary Volume 2: After the Break-Up 1970–2001. London: Omnibus Press. ISBN 978-0-7119-8307-6.
Castleman, Harry; Podrazik, Walter J. (1976). All Together Now: The First Complete Beatles Discography 1961–1975. New York, NY: Ballantine Books. ISBN 0-345-25680-8.
Doggett, Peter (2011). You Never Give Me Your Money: The Beatles After the Breakup. New York, NY: It Books. ISBN 978-0-06-177418-8.
Emerick, Geoff; Massey, Howard (2006). Here, There and Everywhere: My Life Recording the Music of the Beatles. Penguin Group US. ISBN 978-1-101-21824-2.
Graff, Gary; Durchholz, Daniel (eds) (1999). MusicHound Rock: The Essential Album Guide. Farmington Hills, MI: Visible Ink Press. ISBN 1-57859-061-2. CS1 maint: Extra text: authors list (link)
Kent, David (1993). Australian Chart Book 1970–1992. St Ives, NSW: Australian Chart Book. ISBN 0-646-11917-6.
McGee, Garry (2003). Band on the Run: A History of Paul McCartney and Wings. Lanham, MD: Rowman & Littlefield. ISBN 978-0-87833-304-2.
Madinger, Chip; Easter, Mark (2000). Eight Arms to Hold You: The Solo Beatles Compendium. Chesterfield, MO: 44.1 Productions. ISBN 0-615-11724-4.
Oricon Album Chart Book: Complete Edition 1970–2005. Roppongi, Tokyo: Oricon Entertainment. 2006. ISBN 4-87131-077-9.
Perasi, Luca (2013). Paul McCartney: Recording Sessions (1969–2013). [S.l.]: L.I.L.Y. Publishing. ISBN 978-88-909122-1-4.
Rodriguez, Robert (2010). Fab Four FAQ 2.0: The Beatles' Solo Years, 1970–1980. Milwaukee, WI: Backbeat Books. ISBN 978-1-4165-9093-4.
Schaffner, Nicholas (1978). The Beatles Forever. New York, NY: McGraw-Hill. ISBN 0-07-055087-5.
Sounes, Howard (2010). Fab: An Intimate Life of Paul McCartney. London: HarperCollins. ISBN 978-0-00-723705-0.
Spizer, Bruce (2005). The Beatles Solo on Apple Records. Orleans, LA: 498 Productions. ISBN 0-9662649-5-9.
Woffinden, Bob (1981). The Beatles Apart. London: Proteus. ISBN 0-906071-89-5.
[show]
Chart succession
Preceded by
Goats Head Soup by The Rolling Stones Norwegian VG-lista number-one album
05/1974 – 11/1974 (7 weeks) Succeeded by
Burn by Deep Purple
Preceded by
John Denver's Greatest Hits by John Denver Billboard 200 number-one album
13–19 April 1974
8–21 June 1974
6–12 July 1974 Succeeded by
Chicago VII by Chicago
Preceded by
Goodbye Yellow Brick Road by Elton John Australian Kent Music Report number-one album
8 April – 19 May 1974
29 July – 4 August 1974 Succeeded by
Tubular Bells by Mike Oldfield
Preceded by
The Sting (soundtrack) by Various artists Canadian RPM Chart number-one album
15 June 1974 Succeeded by
Sundown by Gordon Lightfoot
Preceded by
Caribou by Elton John UK number one album
27 July 1974 – 13 September 1974 Succeeded by
Hergest Ridge by Mike Oldfield
[show]
v
t
e
Wings
Paul McCartney
Linda McCartney
Denny Laine
Denny Seiwell
Henry McCullough
Jimmy McCulloch
Geoff Britton
Joe English
Laurence Juber
Steve Holley
Studio albums
Wild Life (1971)
Red Rose Speedway (1973)
Band on the Run (1973)
Venus and Mars (1975)
Wings at the Speed of Sound (1976)
London Town (1978)
Back to the Egg (1979)
Live albums
Wings over America (1976)
Compilation albums
Wings Greatest (1978)
Cold Cuts (unreleased)
Wingspan: Hits and History (2001)
Singles
1972
"Give Ireland Back to the Irish"
"Mary Had a Little Lamb" / "Little Woman Love"
"Hi, Hi, Hi" / "C Moon"
1973
"My Love" / "The Mess"
"Live and Let Die" / "I Lie Around"
"Helen Wheels" / "Country Dreamer"
"Mrs. Vandebilt" / "Bluebird"
"Jet" / "Mamunia" (early US pressings)
"Jet" / "Let Me Roll It"
1974
"Band on the Run" / "Zoo Gang" (UK)
"Band on the Run" / "Nineteen Hundred and Eighty-Five" (US)
"Walking in the Park with Eloise" / "Bridge Over the River Suite" (as The Country Hams)
"Junior's Farm" / "Sally G"
1975
"Listen to What the Man Said" / "Love in Song"
"Letting Go" / "You Gave Me the Answer"
"Venus and Mars/Rock Show" / "Magneto and Titanium Man"
1976
"Silly Love Songs" / "Cook of the House"
"Let 'Em In" / "Beware My Love"
1977
"Maybe I'm Amazed" (live) / "Soily" (live)
"Seaside Woman" / "B Side to Seaside" (as Suzy and the Red Stripes)
"Mull of Kintyre" / "Girls' School"
1978
"With a Little Luck" / "Backwards Traveller"/"Cuff Link"
"I've Had Enough" / "Deliver Your Children"
"London Town" / "I'm Carrying"
1979
"Goodnight Tonight" / "Daytime Nighttime Suffering"
"Old Siam, Sir" / "Spin It On"
"Getting Closer" / "Spin It On" (US)
"Getting Closer" / "Baby's Request" (UK)
"Arrow Through Me" / "Old Siam, Sir" (US)
"Rockestra Theme" / "Old Siam, Sir" (Europe)
1980
"Coming Up (Live at Glasgow)" / "Lunch Box"/"Odd Sox"
Tours
Wings University Tour (1972)
Wings Over Europe Tour (1972)
Wings 1973 UK Tour (May 1973)
Wings Over the World tour (1975-1976)
Wings UK Tour 1979 (1979)
Concerts for the People of Kampuchea (1979)
Filmography
Wings Over the World (1979)
Concert for Kampuchea (1980)
Rockshow (1980)
Back to the Egg (1981)
Wingspan – An Intimate Portrait (2001)
Related articles
Discography
Songs
The Beatles
Ginger Baker's Air Force
Japanese Tears
The Moody Blues
Standard Time
Suzy and the Red Stripes
Small Faces
The Oriental Nightfish
Book
Category
[show]
v
t
e
Paul McCartney
Paul "Wix" Wickens
Rusty Anderson
Brian Ray
Abe Laboriel, Jr.
Linda McCartney
Hamish Stuart
Robbie McIntosh
Chris Whitten
Blair Cunningham
Studio albums
McCartney
Ram (with Linda McCartney)
McCartney II
Tug of War
Pipes of Peace
Give My Regards to Broad Street
Press to Play
Снова в СССР
Flowers in the Dirt
Off the Ground
Flaming Pie
Run Devil Run
Driving Rain
Chaos and Creation in the Backyard
Memory Almost Full
Kisses on the Bottom
New
with Wings
Wild Life
Red Rose Speedway
Band on the Run
Venus and Mars
Wings at the Speed of Sound
London Town
Back to the Egg
Classical
The Family Way
Thrillington
Paul McCartney's Liverpool Oratorio
Standing Stone
Working Classical
Ecce Cor Meum
Ocean's Kingdom
Electronica
Strawberries Oceans Ships Forest (The Fireman)
Rushes (The Fireman)
Liverpool Sound Collage
Twin Freaks
Electric Arguments (The Fireman)
Live albums
Wings over America
Tripping the Live Fantastic
Unplugged (The Official Bootleg)
Paul Is Live
Back in the U.S.
Back in the World Live
iTunes Festival: London
Amoeba's Secret
Good Evening New York City
Live in Los Angeles
iTunes Live from Capitol Studios
Compilations
Wings Greatest
Cold Cuts (unreleased)
All the Best!
The Paul McCartney Collection
Costello Album (bootleg)
Wingspan: Hits and History
Pure McCartney
Tours
Wings University Tour
Wings Over Europe Tour
Wings 1973 UK Tour
Wings Over the World tour
Wings UK Tour 1979
The Paul McCartney World Tour
The New World Tour
Driving World Tour
Back in the World
2004 Summer Tour
The 'US' Tour
Summer Live '09
Good Evening Europe Tour
Up and Coming Tour
On the Run
Out There
One on One
Filmography
A Hard Day's Night (1964)
Help! (1965)
Magical Mystery Tour (1967)
Yellow Submarine (1968)
Let It Be (1970)
James Paul McCartney (1973)
Wings Over the World (1979)
Rockestra (unreleased) (1979)
Concert for Kampuchea (1980)
Rockshow (1980)
Back to the Egg (1981)
Give My Regards to Broad Street (1984)
Put It There (1990)
Get Back (1991)
Paul Is Live (1993)
In the World Tonight (1997)
Live at the Cavern Club (1999)
Wingspan (2001)
Back in the U.S. (2002)
Paul McCartney in Red Square (2005)
Between Chaos and Creation (2005)
Chaos and Creation at Abbey Road (2005)
The Space Within US (2006)
The McCartney Years (2007)
Good Evening New York City (2009)
The Love We Make (2011)
Related
Articles
Discography
Song list
Awards
Music contributions and appearances
Paul McCartney concerts
Maxi-singles
Paul McCartney: Many Years from Now
MPL Communications
Oobu Joobu
Paul is dead
"Lisa the Vegetarian"
People/Artists
The Quarrymen
The Beatles
Wings
Heather Mills
Personal relationships
Albums
Wide Prairie
A Garland for Linda
Paul McCartney's Glastonbury Groove
Let Us in Americana: The Music of Paul McCartney
A Toot and a Snore in '74
The Art of McCartney
Book
Category
Retrieved from "https://en.wikipedia.org/w/index.php?title=Band_on_the_Run&oldid=807067649"
Categories:
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Articles with hAudio microformats
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Number-one albums of 1974 (USA)

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