Nicaragua 45 Paul

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ODEON 01-0565 - ANOTHER DAY / OH WOMAN OH WHY Apple print on labels A-side title wide lettering, B-side subtitle in lowercases A-side title narrow lettering, B-side subtitle in capitals No star on A-side, both subtitles in capitals ODEON 01-0602 - UNCLE ALBERT - ADMIRAL HALSEY / TOO MANY PEOPLE Apple print on labels B-side title in lowercases Paul & Linda McCartney in B-side title in capitals Paul & Linda McCartney in B-side title in capitals capitals lowercases APPLE 01-0685 - HI, HI, HI / C MOON APPLE 01-0690 - MY LOVE / THE MESS Silver lettering, Paul McCartney & Wings Silver lettering, Paul McCartney y Wings Black lettering Silver lettering, paul mccartney in lowercases, & WINGS print APPLE 01-0699 - LIVE AND LET DIE / I LIE AROUND Without Hecho en Nicaragua print on B-side With Hecho en Nicaragua print on B-side APPLE 01-0733 - HELEN WHEELS / COUNTRY DREAMER & printed before Wings & printed after McCartney APPLE 01-0750 - JET / LET ME ROLL IT paul mccartney starting with lowercases Paul McCartney starting with capitals APPLE 01-0761 - BAND ON THE RUN / NO WORDS Cover without thumb-tab on top Cover with thumb-tab on top Release numbers on Misprint Paul Release numbers on Correct print Paul left side of labels McCarenty on B-side right side of labels with M- McCartney on B-side 10007-1 and (P) 1974 print underneath Release numbers on Correct print Paul Composers credits without brackets, right side of labels without McCartney on B-side credits on left side of labels in 7 lines M-10007-1 and (P) 1974 print underneath APPLE 01-0762 - MRS. VANDEBILT / BLUEBIRD 01-0762 print on left 01-0762 print on right (P) 1974 print on right Subfix M-10007-2 (P) 1974 print on left (P) 1974 print on right Subfix M-LP-10007-2 APPLE 01-0809 - JUNIOR'S FARM [Edited Version] / JUNIOR'S FARM [Full Version] Possibly a promo release, no promo markings on the labels, however .

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In Plain Sight: Aspects of Developmental Process in Sally Beamish’S Seafarer Trilogy
In Plain Sight: Aspects of Developmental Process in Sally Beamish’s Seafarer Trilogy Richard E. McGregor University of Cumbria For a composer who has been described as being ‘at the top of her game and the pinnacle of her profession’, there is currently a complete lack of critical anal- ysis of Sally Beamish’s compositional style and technique.1 Interviews and re- views content themselves with a more or less descriptive approach, while prais- ing her ear for orchestral colour, particularly her affinity with string instruments or with voices. The former is usually explained by reference to her years as an ensemble player with, for example, Lontano and the Raphael Ensemble, while the latter is related back to the fact that her father was an amateur singer, and an aunt had a number of professional singing engagements. There are only so many times that a biography can be repeated, and Beamish is in good company with other well-respected composers such as James MacMillan who suffered for many years from the curse of the biography without analytical content. Interviewed by the author on two occasions, Beamish gave some tentative clues as to the origins of her compositional technique. In 2000 she responded to a question about pre-planning of composition with a hint of late-Stravinskian procedure: I do use [motifs] in a serial type of way with a series of transpositions so that I do make a note square with a 5 note motif and I transpose it and put them all on top of each other and then I have harmonies as well going down.2 Interviewed again during the 2012 Musica Scotica conference in Glasgow, she was somewhat more forthcoming as to the origin and nature of this working method: [Oliver Knussen] showed me a way of manipulating notes.
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