Paul McCartney And Wings - Wings At The Speed Of Sound (1976) + Bonus Tracks

 (U.K 1971 - 1981)

Paul McCartney and Wings, often billed simply as Wings, were a British rock band formed in 1971 in London by Paul McCartney, formerly of the Beatles, on vocals and bass, his wife Linda McCartney on keyboards, Denny Laine, formerly of the Moody Blues, on guitar and vocals, and Denny Seiwell on drums. They were noted for their commercial successes, musical eclecticism, and frequent personnel changes. They went through three lead guitarists and four drummers. The core trio of the McCartneys and Laine, however, remained intact throughout the group's existence.

Wings are one of the most successful acts the UK has ever produced, achieving no less than 14 US Top 10 hits and 12 Top 10 hits in the UK. Following 1973’s 'Band on the Run', the mid ’70s were a commercial heyday for Wings. 'Venus and Mars', the band’s fourth studio album was released in May 1975 ahead of the legendary Wings Over the World tour. Preceded by the US Number One single “Listen To What The Man Said,” Venus and Mars hit the Number One spot in the album charts on both sides of the Atlantic and went on to sell over 4 million copies worldwide to date.

Wings in 1976 (L–R): Joe English, Denny Laine, Linda McCartney, Jimmy McCulloch,
                                                             Paul McCartney

 'At the Speed of Sound' was recorded in the midst of the same tour and released in March 1976. In the US, it enjoyed the same chart success as its predecessor. Including the international smash hit single “Silly Love Songs,” the album went on to become Paul’s most successful American chart album spending seven consecutive weeks at Number One. In the UK it charted at Number Two, narrowly missing out on the top spot (and was the 4th best-selling album of 1976). It became McCartney’s most successful American chart album, spending seven nonconsecutive weeks at number 1 throughout the summer (and blocking the Beatles’ then-new compilation Rock ‘n’ Roll Music, which reached number 2). Sales to date exceed 3.5 million worldwide.

The album was recorded at Abbey Road in two different sessions: first sessions took place in August/September and October 1975, with work resuming in January–February 1976. During the playback of “Must Do Something About It”, Paul heard drummer Joe English sing the song and decided to have him take the lead vocal. In “Cook of the House”, McCartney handled double-bass, while “Silly Love Songs” was arranged in a disco-style, in a similar fashion to Al Green’s “Sha La La”

'Wings at the Speed of Sound' was released in late March 1976 and received somewhat lukewarm critical reviews. Rolling Stone’s reviewer saw this record as something of a concept album, describing it as “A Day with the McCartneys”. The introduction, “Let ‘Em In”, is sometimes perceived as an invitation for the listener to join the McCartneys on this fantasy day, with explanation of their philosophy (“Silly Love Songs”), a lunch break (“Cook of the House”), and a chance to get to know McCartney’s friends (Denny Laine in “The Note You Never Wrote”, Jimmy McCulloch in “Wino Junko”, etc.).

Much of the album’s success can be attributed to its two smash singles. “Silly Love Songs”, a response to his critics and one of McCartney’s biggest hits, followed the album in April, and became one of 1976’s biggest-selling singles. This was followed in July with “Let ‘Em In”, which also scaled the singles charts. Amid all this, Wings finally went to North America for the Wings Over America Tour, playing McCartney’s first shows there in ten years (after The Beatles’ last tour in 1966) to euphoric reaction; a few selections from 'Speed of Sound' were included.

The strangest thing about this album, is that despite coming right off the heels of Wingsʼ single most rock-oriented record - Band On The Run - and Wingsʼ single most arena-oriented rock tour, Wings At 'The Speed Of Sound' has a very quiet, almost homely vibe to it — as if they were intentionally (or subconsciously) offering us a musical antidote to the brash loudness of its predecessor. With the exception of ʽBeware My Loveʼ, there is not a single song here that would rock as hard as ʽRock Showʼ, ʽMedicine Jarʼ, or ʽLetting Goʼ.

Silly Love Songs Banner - In Front of Berlin Wall

Youʼd think that for a record that is known for being the most democratically structured Wings record ever, with all members of the band contributing to songwriting and lead singing, it could have been just a wee bit raunchier than this, but no way: even Jimmy McCulloch with his obligatory anti-drug statement is content to provide a quiet pop song rather than a loud rock anthem. 

The album was infact critically reviewed in RAM magazine (Edition #33) in 1976 by Steve Clarke for its democratic struture, and even went as far as to title the article 'Two Hoots For Macca's Democracy'. A transcript of the review is provided below:

Two Hoots For Macca's Democracy

WINGS AT THE SPEED OF SOUND

Since The Beatles break-up only two McCartney/Wings albums have entirely impressed me - 'Band On The Run' and 'McCartney' itself, his first post-Beatles album.

McCartney was made entirely on his ownsome and, given the limitations he imposed on himself, it worked perfectly, even including one classic McCartney song in "Maybe I'm Amazed", while cuts like "Every Night" and "Junk" would stand out like the proverbial sore thumb if included on this LP.

Yes everybody, McCartney has made another duff album, although as Wings At The Speed Of Sound's rapid acceleration up the charts demonstrates, not too many people seem aware of this.

That old saying, 'If it's McCartney, it's Gotta Be Good', still stands firm. And Macca probably sells more records than the rest of the ex-Beatles put together, although the recent competition has not been all that high. Wings At The Speed Of Sound is the first democratic Wings album - it's no longer Paul McCartney and Wings, just plain Wings, and everybody in the group gets to sing a song, guitarist Jimmy McCulloch and Denny Laine each having one of their own numbers on it.

Now that's a bad move for a start. lt's easy to criticise McCartney's songs and arrangements on this album, but his singing and bass playing is as peerless as ever.

In fact, vocally he's at the top of his form, using the different shadings of his voice to best possible advantage.

So, Democracy aside, it's crazy to have other people sing your songs when you can sing them so much better yourself. It's just about understandable letting the wife sing a track (and the less said about Linda's track on this LP the better), cause he's so much in love with her, but to have McCulloch, drummer Joe English and Laine have a go is simply not on when they're so obviously inferior singers to Paul himself - especially McCulloch and English.

Two songs stand out as being better than the rest. "Beware My Love" and "Silly Love Songs". The former is by far the best out of the two. It's a juxtaposition of one or two separate ideas, and doesn't have that much sense of completeness as a song, starting out from just a harmonium phrase over which is added acoustic strumming. The two McCartneys sing the first verse, before Paul is let loose to scream rock 'n' roll style.

The band play well and the sound is perfectly clear and uncluttered. Yet often, on this album McCartney will add brass or strings, sometimes both, which are completely unnecessary.

The lyrics to "Beware My Love" are inaudible. If they're anything like the ones that aren't, that's probably just as well.

Over to "Silly Love Songs", which isn't half as bad as the title implies. He sings it beautifully, high pitched and pure. It's uptempo with a rather slight melody.

Too frequently the songs sound like filters, and this isn't the old days when McCartney's fillers were better than most of the music being produced at the time.

The opening "Let 'Em In" lacks any real development as a song and once again in my opinion the orchestral woodwind is right out of context. "The Note You Never Wrote" is the McCartney song which Laine sings. lt's a soft stop-start ballad. MOR-ish, but bctter arranged. McCulloch playing a decent upper register blues-rock solo.

The following "She's My Baby" lacks form as a song. It's as if McCartney should have taken more time to refine his initial idea. And I could go on.

I've a theory that McCartney has a faulty perspective of his own talent. He doesn't always know the difference between a good idea and a bad one. And when he's got a good one, he doesn't always know what to do with it.

Like so many other Major Artists, he must find it difficult to get an honest opinion from his camp-followers. It must be a real buzz for the musicians who're playing with Wings to be playing with an ex-Beatle and I can't imagine any of them having it in them to criticise him. [by Steve Clarke]

This post consists of FLACs ripped from CD (1993 Edition) and includes full album artwork for both vinyl and CD media.  This particular release comes with 3 additional tracks that were not on the LP, but were released as singles in 1974.  Namely, the rare singles "Walking in the Park with Eloise" / "Bridge On The River Suite" released under the pseudonym 'The Country Hams' and another, "Sally G" (the B-Side to their non-album single Junior's Farm).

I've always enjoyed listening to this album, especially the powerful ballad "Beware My Love", and enjoyed the diversity that the other songs and band members brought to the table. It's a Fun album (almost tongue in cheek at times), so I say 'losen up critics' and accept the album for what it is, just good plain fun.

Track List:

01 Let 'Em In 5:10

02 The Note You Never Wrote   4:22

03 She's My Baby 3:06

04 Beware My Love   6:28

05 Wino Junko   5:19

06 Silly Love Songs   5:53

07 Cook Of The House  2:38

08 Time To Hide 4:34

09 Must Do Something About It   3:39

10 San Ferry Anne 2:06

11 Warm And Beautiful 3:13

12 Walking In The Park With Eloise (Bonus Track) 3:08

13 Bridge Over The River Suite (Bonus Track)  3:08

14 Sally G (Bonus Track) 3:40 

Wings were:

Paul McCartney - vocals, bass

Denny Laine – vocals, acoustic/electric/bass guitars, piano, harmonica

Jimmy McCulloch – vocals, acoustic/electric/bass guitars

Joe English – vocals, drums, percussion

Linda McCartney - Keyboards, Vocals

Additional musicians:

Tony Dorsey – trombone

Thaddeus Richard – saxophone, clarinet, flute

Steve Howard – trumpet, flugelhorn

Howie Casey – saxophone

George Tidwell – trumpet

Wings Link (332Mb)

Paul McCartney - Live Unlicensed (1993) Bootleg

(U.K 1957 - Current)
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This bootleg was recorded live in USA 1993 during McCartney's New World Tour, 1993
In 1993, Paul McCartney and his band embarked upon The New World Tour, spanning almost the entire year and almost the entire globe. This tour featured a controversial pre-concert film (starting in the U.S leg of the tour), which was shown before all of the concerts and had graphic animal test footage in the film. This film can be seen on the "Paul is Live In Concert on the New World Tour" video.
It was the third and last time Paul McCartney toured Australia. A proposed further tour to Australia in 2002 was cancelled after the Bali Bombings.
This was to be McCartney's last tour for nine years, after his wife and band member, Linda McCartney, was diagnosed with breast cancer in 1995, and died in 1998 at the age of 56.

The tour was intended to promote McCartney's album Off the Ground. Despite having released three albums of live material in the space of the previous three years (Tripping the Live Fantastic, Tripping the Live Fantastic: Highlights!, and Unplugged), the tour was followed by Paul Is Live, consisting of material from 'The New World Tour'. The release was not embraced by record-buyers, becoming McCartney's lowest-selling live album. [extract from wikipedia]

1993 World Tour / Off The Ground
There are some entertainers who regard touring as absolute hell, but Paul McCartney isn't one of them. Within weeks of winding down from his turn-of-the-decade circuit of the planet, he was thinking aloud about doing it all again. Though it wasn't to happen until 1993, he ordered the wheels to crank into motion.
As expected, the next expedition was to be on hold until it could be tied in with an album and plethora of singles, and, when it was actually in motion, Paul Is Live (as opposed to Paul Is Dead), an in-concert package in time for Christmas. These products were to be in as many formats as the traffic would allow - 7/12inch vinyl, cassette, picture sleeves, gatefold sleeves, CD, remixes and with or without posters, postcards, tour itinerary and bonus tracks. Such were the hidden costs for the truly dedicated, whether there from the beginning or 'Flowers In The Dirt' latecomers, for whom every new McCartney release remains a special event.

The 1993 album, 'Off The Ground', was, however, less special than usual. It was telegraphed by "Hope Of Deliverance", an instance of blinded-by-science production almost-but-not-quite smothering a mediocre song that died a death, even with Paul, Linda and the boys in the band miming it on Top Of The Pops. Though Liverpool poet Adrian Mitchell had been requested to give it and the rest of the Off The Ground libretto a once-over, "Hope Of Deliverance" was a fair indication of what was to come in a collection that was unfettered by the objectivity of an Eric Stewart or Elvis Costello, apart from the latter's "Mistress And Maid" - which sounded like a 'Flowers In The Dirt' leftover - and a "Lovers That Never Were" that was enjoyable enough, but not up to Costello's reading on his own "Mighty Like A Rose" in 1991.

Paul's animal rights protest number, "Looking For Changes", was all very worthy too in its speaking up for the voiceless, but, both musically and lyrically, it was one that could have been shelved without much hardship. Yet "Biker Like An Icon", the third single, did not bely Paul's description of it as "a good little rocky song", though meaning did not take precedent over phonetics.
With no blues getting bluer, 'Off The Ground' was the product of a satisfied mind. Polished and mostly unobjectionable, it was never expected to be astounding - by marginal McCartney enthusiasts anyway - but it sufficed because skillful arrangements and technological advances can help conceal ordinary-sounding songs in need of editing. It nudged the Top 20 in the USA where Beatlemania was always more virulent than anywhere else, and those afflicted bought Paul's records out of habit to complete the set like Buffalo Bill annuals. Over here, too many didn't want to like 'Off The Ground', especially during a period when Elvis Costello wasn't cool either, having strayed too far with The Juliet Letters from the punk rocker he'd never been.

Never mind. As it had been in 1989, the press could slag off Paul's records; latter-day punks could denigrate him as one more bourgeois liberal with inert conservative tendencies and hippies disregard him as a fully paid-up subscriber to what Neil in BBC TV's The Young Ones sit-com called "the Breadhead Conspiracy", but there he was again, running through his best-loved songs for the people who loved them - and him - best of all at the Melbourne Cricket Ground (Australia), Louisiana Superdome, Munich's Olympiahalle and further packed-out stadia designed originally for championship sport.
This time round, there were more Beatles numbers than ever from a portfolio that bulged with more crowd-pleasers than could be crammed into any evening with Paul McCartney, but ticket-holders understood, and were sad rather than angry if he didn't do their favourite. They'd seen it all before anyhow - him pop-eyed at the central microphone with a guitar or seated on a stage-left podium at a piano, the cynosure of perhaps a 100,000 eyes and maybe four sweaty spotlights. Having a high old time up there, he accommodated appropriate gestures and facial expressions as well as off-mike mouthings and momentary eye contacts that probably meant nothing, but made the heart of the recipient - or someone who imagined he or she was - feel like it would burst through its rib-cage.

As always, the mood was light, friendly, but what would have happened had the main set ended with politely brief clapping instead of the foot-stomping and howling approval that brought Paul back on for the encores of 'Band On The Run', 'I Saw Her Standing There' and, finally, everyone blasting up chorus after da-da chorus of 'Hey Jude'?
At last, he'd made a peace between his past and present situation. For form's sake, he stuck in tracks from whatever current album the onlookers may have heard or wouldn't ever hear between the timeless hits. Yet, however slickly predictable his stage show was becoming, he would prove to have much in common in his way with David Bowie, Jeff Beck, Van Morrison and other advocates of the artistic virtues of sweating over something new while Elton John, Phil Collins, Stevie Wonder and like Swinging Sixties contemporaries continued cranking out increasingly more run-of-the-mill albums [extract from "Paul McCartney", by Alan Clayson. Sanctuary Publishing. 2003  p228-230]
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Blair Cunningham, Robbie McIntosh, Linda & Paul McCartney, Wix Wickens, Hamish Stuart

 Reviews of the Australian leg of the 1993 tour have described a boom (more like a "cherry picker") that was used during the show. During Sgt.Pepper, Paul and Robbie stepped onto the approximately 4 ft. by 6 ft. platform and were lifted out over the audience. The old MMT piano "rose up" in front of the stage at Paul's command, stopping just to the right of his "position" on the stage. A grand piano, also used, was tilted forward so even the close rows could see Macca when he sat at it.
The grand finale was Hey Jude. As usual it was a sing-along, with Macca exhorting each side, then the middle of the audience to do the "Sha Na Na, Na Na Na Na" bit.
Then the whole band climbed onto the cherry picker platform, which swung all the way out to the 12th row. Linda picked up a red bag and began throwing rose petals into the audience as the platform
moved out to the left, then back to the right side of the stage. [extract from beatlefan.net]
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1993 Ticket

This post consists of MP3's (320kps) ripped from my AMCOS Unlicensed CD which represents only 50% of the full setlist that McCartney played on his 1993 Tour. Full album artwork (the usual generic quality) is included along with alternative covers from equivalent bootleg releases (see below). The quality of the recording is damn good (Soundboard for sure) and the only regret is that the 3 encore tracks ("Band On The Run", "I Saw Here Standing There" and "Hey Jude") are not on this release.
With the exception of "Biker Like An Icon" (which is a piece of crap) the track list is great with the highlights being "My Love" and "Sgt Peppers".
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Track Listing
01 - Michelle
02 - Hope Of Deliverance
03 - Looking For Changes
04 - Fixing A Hole
05 - Twenty Flight Rock
06 - Biker Like An Icon
07 - My Love
08 - Penny Lane
09 - Off The Ground
10 - I Wanna Be Your Man
11 - Get Out Of My Way
12 - Sgt Pepper's Lonely Hearts Club Band
13 - Lady Madonna
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Touring Band:
Paul McCartney – lead vocals, guitars (acoustic, electric and bass), piano, drums
Linda McCartney – backing vocals, keyboards, percussion, autoharp
Hamish Stuart – backing vocals, guitars (acoustic, electric, acoustic bass and electric bass)
Robbie McIntosh – backing vocals, guitars (electric and acoustic)
Paul "Wix" Wickens – backing vocals, keyboards, accordion, acoustic guitar, percussion
Blair Cunningham – drums, percussion
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Paul McCartney Unlicensed Live Link (113Mb) New Link 11/02/2024
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Paul McCartney - Unauthorised Live Vol.1 (1993) __Ex. Bootleg

(U.K 1957-Current)
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Beatles legend and Wing's main man Paul McCartney will remain indelibly etched into the annals of time. The humanitarian, bassist and vocalist has traversed six decades, performing in some of the world's biggest and best venues, at historic moments (Band Aid), McCartney is a one-of-a-kind performer, fully deserving his place in the Rock and Roll Hall of Fame. The 72-year-old Liverpudlian is entirely at ease on stage – he's essentially lived there for the best portion of his life – his catalogue is studded with megaton hits. Bond theme “Live And Let Die” (replete with flamethrowers when performed at festivals), Stevie Wonder duet “Ebony and Ivory”, “Coming Up” and “Jet” are non-Beatles bangers, but he frequently performs legendary cuts like “Let It Be”, “Back In The USSR” and “Hey Jude” at the end of his sets.

How thoroughly immense is it watching a genuine Beatle lead a rousing chorus of “Naa naa naa nanananaaaaa?" Though arguably not as elastic as he once was – don't expect too many backflips – he's still a consummate entertainer. His voice has aged, but he still smashes every note, and his fretwork's not diminished a smidgen. It's rare you get to see a legend in the flesh, but grab any chance to witness McCartney, and you'll not regret it.

Based on the track listing of this bootleg, I am fairly certain that this recording came from "The Paul McCartney World Tour" which started 26 September 1989 and finished on 29 July 1990. In total, McCartney played 104 shows. In fact, I'm almost certain this bootleg recording comes from the Alsterdorfer Sporthalle, in Hamburg, West-Germany on Oct 3 1989. The vinyl bootleg for this concert was called "Friends Of The Earth" and I have featured the cover below.

While the tour coincided with the release of his 'Flowers in the Dirt' album, it was thematically more about him finally embracing his Beatles past, including for the first time, in any of his tours, a substantial number of Beatles songs in the set list. 
The Paul McCartney World Tour was his first major tour outing in ten years, since Wings UK Tour 1979, and his first appearances in North America in thirteen years, since the 1976 Wings Over America Tour. It was also his first tour under his solo name.

The year was 1989 and Paul McCartney hadn't been on the road since the 1975/1976 'Wings Over the World' tour.
Paul McCartney began planning a new album and a world tour – something he had not done since the Wings days over a decade earlier. Step one would be to get together a band that he could work well with and take on tour. He recruited Hamish Stuart, formerly with the Average White Band and guitarist Robbie McIntosh, who he knew from The Pretenders. Paul ‘Wix’ Wickens from the early eighties band Woodhead Monroe was hired on to assist Paul’s wife Linda with keyboards and session drummer Chris Whitten completed the line up.
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Naturally, Paul wanted a really solid album to tour and given the somewhat disappointing chart performance of his previous album, Press To Play, felt it was important to top that one with his next release. To this end, Paul spent the better part of 18 months prior, in and out of the studio perfecting what was to become 'Flowers In The Dirt'. Along with his new band, Paul invited a couple other musician friends to make guest appearances. Pink Floyd’s David Gilmour plays on the track “We Got Married.” Elvis Costello, with whom he had been collaborating, co-wrote four of the songs on the album with Paul, including the lead single “My Brave Face.” He also plays keyboards on the record and duets the lead vocal with Paul on their collaboration “You Want Her Too.”

'Flowers In The Dirt' was finally released on June 5, 1989 in the UK and the following day in the US. It was not long before it was the #1 album on the Record Retailer charts in Britain. On the Billboard charts in America it peaked at number 21, a marked improvement over Press To Play which had peaked at #30 in 1986. Aside from the lead-off hit single “My Brave Face,” there were several other single releases from the album to include “This One,” “Figure Of Eight,” “Où Est Le Soleil?,” and “Put It There.” [extract from thebeatlesrarity.com]
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This post consists of an MP3 (320kps) rip taken from my Australian JOKER Bootleg CD, released in 1993. Like all of these JOKER releases, the music is good quality but the covers are crap. Therefore, I have also included the alternative artwork for the vinyl equivalent called "Friends Of The Earth".  For another bootleg recording from the McCartney World Tour, see a this previous post on my blog.
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Track Listing

01 - Figure Of Eight
02 - Jet
03 - Got To Get You Into My Life
04 - Band On The Run
05 - We Got Married
06 - Let 'Em In
07 - The Long And Winding Road
08 - The Fool On The Hill
09 - Sgt Peppers Lonely Hearts Club Band
10 - Good Day Sunshine
11 - Can't Buy Me Love
12 - Put It There
13 - Things We Said Today
14 - Eleanor Rigby
15 - This One
16 - This Brave Face

17 - Back In The USSR
18 - I Saw Her Standing There

Band Members:
Paul McCartney (Bass, Guitar, Piano)
Linda McCartney (Keyboards)
Hamish Stuart (Guitar, Bass)
Robbie McIntosh (Guitar)
Paul WIX Wickens (Keyboards)
Chris Whitten (Drums)

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Paul McCartney Link (171Mb) New Link 09/04/2020
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Paul McCartney - Live Unapproved (1993) Bootleg

(U.K 1957-Current)
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After the Beatles disbanded in 1970, all four launched solo careers. George, after tremendous initial success, gradually retired from the scene, as did Ringo who concentrated first upon a film career, then took life easy, content to be a jet-set celebrity. John, living in the USA, had an uneven solo career before leaving the music business to become a house-husband; he had just released a comeback album, Double Fantasy, when he was murdered. Paul McCartney however, remained in the public eye. He fulfilled his ambition to go back on the road by forming Wings and playing surprise gigs at university dances. Before long Wings grew into a fully-fledged rock band of the seventies variety, undertaking enormous stadium tours of the United States, selling millions of records and ensuring that a new generation of fans grew up who would know Paul more as a former member of Wings than of the Beatles.

Many Years From Now 1997

Throughout the seventies and eighties, Paul released dozen of albums, first of all with Wings, then as solo projects. After John's death he stopped touring, and spent thirteen years off the road, though the hit records kept coming. In the nineties he did two more world tours, once again breaking attendance records, and this time playing many of the songs he wrote for the Beatles. Interest in Beatles still remained high, and with the release of the three Anthology double-CDs of out-takes and unreleased songs, the group once again shot to number one on the charts, twenty-five years after disbanding. A television documentary series was screened all over the world and released as a boxed set of eight videos. It was if the Beatles had never been away: the magazines and newspapers were filled with interviews with the surviving members and the instantly recognisable faces of their youth flickered across television screen once more. They had become a British institution. [extract from Paul McCartney: Many Years From Now by Barry Miles, Published by Seeker and Warburg, 1997 - p599-600]
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Based on the track listing of this bootleg, I am fairly certain that this recording came from "The Paul McCartney World Tour" which started 26 September 1989 and finished on 29 July 1990. In total, McCartney played 104 shows.
The Paul McCartney World Tour was his first major tour outing in ten years, since Wings UK Tour 1979, and his first appearances in North America in thirteen years, since the 1976 Wings Over America Tour. It was also his first tour under his solo name.
While the tour coincided with the release of his 'Flowers in the Dirt' album, it was thematically more about him finally embracing his Beatles past, including for the first time, in any of his tours, a substantial number of Beatles songs in the set list.
The tour was documented by the 1990 live albums 'Tripping the Live Fantastic',  'Tripping the Live Fantastic: Highlights!', and the 1991 film 'Get Back'. The album 'Tripping The Live' fantastic entered the Music Week Top 75 on 17 November 1990 and peaked at number 17, leaving the charts after eleven weeks. It peaked at #10  on the NME chart. A one-hour tour documentary was also aired on Channel 4 TV in the UK, called "From Rio to Liverpool" [extract from wikipedia]
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The 1989 Paul McCartney World Tour was the first time Paul had played the US since Wings Over America in 1976. He took the road with a new band; Paul Wix Wickens (on keyboards and piano) Robbie McIntosh (guitar, once of the Pretenders) Hamish Stewart (guitar, formerly of the Average White Band) Chris Whitten on drums and of course Linda McCartney (keyboards) whom Paul would always introduce as Gertrude Higgins. The 1989/1990 Tour had 104 Tour dates, 45 in the United States, 6 in the New York area. A free 98 page Tour booklet was given out at each show with profiles of the band, Paul’s career & Tour stats.

Paul sported long hair and wasn't afraid to play Beatles songs, like in his Wings days. The Tour began in September in Norway, after rolling through Sweden, Spain, Europe and the Netherlands; it hit Los Angeles on November 23, for five nights. Passing through Chicago and Canada, it arrived in New York at Madison Square Garden for four sold out shows on December 11th, 12th 14th & 15th. The tour resumed after the holidays with 18 shows in England including 12 nights at Wembley arena. The Tour came back to the to the US for large Stadium shows throughout the summer. I attended another Giants Stadium show in July 1990. The Tour ended in Chicago on July 29, 1990.
Paul had just released the Flowers in the Dirt album, that June. It was his best work since 1982s Tug of War, the album went gold but only peaked at #21 on the charts. The single My Brave Face got a lot of rock radio airplay and reached #25 in the US Top 40. George Martin did some work on the album, as did Elvis Costello and David Gilmour. Other notable songs on the album were Figure of Eight (which usually opened shows on the Tour); Put It There and Rough Ride. The tour was documented by a live double album Tripping the Live Fantastic, and the 1991 film Get Back.
During the Tour Paul had added a John Lennon tribute doing a medley of Strawberry Fields/ Help / Give Peace A Chance. He also did Maybe I’m Amazed and Matchbox at some shows. [extract from centrefieldmaz.com]
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As mentioned, I have not been able to find any other recording that matches this one based on the song listing and order, but suspect this bootleg is simply an extract from one of manyother bootlegs taken from the 1989-90 World Tour. Although the quality of the recording is excellent, I found the atmosphere of the concert to be alittle dull with the McCartney crew simply going through the motions and Paul really not trying to connect with the audience. Nevertheless, the inclusion of many Beatles tunes makes this bootleg special, especially if you haven't heard 'Tripping the Live Fantastic' release.
The post consists of MP3 ripped from CD at 320kps and includes full album artwork, typically sporting the generic MOJO design.

Track Listing
01 - Rough Ride
02 - Let 'Em In
03 - Band On The Run
04 - Go To Get You Into My Life
05 - The Long And Winding Road
06 - Fool On The Hill
07 - Can't Buy Me Love
08 - I Saw Her Standing There
09 - Seargent Pepper's Lonely Hearts Club Band
10 - Good Day Sunshine
11 - Put It There
12 - Things We Said Today
13 - Eleanor Rigby
14 - My Brave Face
15 - Back InThe USSR
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The Band
Paul McCartney – lead vocals, acoustic, electric and bass guitars, piano, keyboards
Linda McCartney – backing vocals, keyboards, percussion
Hamish Stuart – backing vocals, acoustic, electric and bass guitars
Robbie McIntosh – backing vocals, electric guitar
Paul "Wix" Wickens – backing vocals, keyboards
Chris Whitten – drums, percussion
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Paul McCartney Link (134Mb)