One Hand Clapping – What’s new?

by Mike Carrera

If you thought you knew everything about the latest official audio release, think again, because here you will find surprises that no one else told you about, and it will also prepare you to enjoy it on the Big Screen. Good friend of the blog, Mike Carrera takes you through what’s new.

On the eve of the world premiere in cinemas of the video documentary directed by David Litchfield (officially available on DVD in the ‘Band On The Run Archive Collection‘ and ‘McCartney Archive Collection’) filmed in 1974 and planned to be shown in 1975; and having had a couple of months since the official audio release with a vast amount of the songs recorded during the sessions, we are going to take a look back and find out how much of the material is new and unreleased, what is missing, how much we already had on bootlegs, as well as the exclusive material from the film, which as far as we know, the version to be projected on the big screen could replace some of the original audio mixes with the 2024 versions that Giles prepared; our analysis refers to the mix from 1975.

Reviews shared recently on social media and databases available in various places includes vague information, which adds to the usual contradictions published in official releases such as the ‘Archive Collections’.

For example, the ‘One Hand Clapping’ 2024 booklet tells us that the sessions took place over nine days, but the press release on McCartney’s official website says that the project was recorded and filmed in only four; and yet in the Video Documentary we have filming done over six different days.

Three songs (“Jet”, “Junior’s Farm” and “Soily”) were re-recorded because the August session performances were unsatisfactory to Paul, and a new session was again filmed on October 9th, although many assume that what we see in the documentary (and the music video for “Junior’s Farm”, omitted from the film) was filmed in August. Even the ‘Archive Collection’ omits any indication of the October filming. The placement of the cameras and instruments like Linda’s keyboards or the drums, the amps, the settings of mics, booths, and of course the clothes of the whole band are completely different from the August sessions.

The official information from 2024, always questionable, gives us the following dates for the ‘One Hand Clapping’ sessions; we have added the days when there is film available:

August 24-25: Wings rehearsals.

August 26: Wings session and filming.

August 27: Wings session and filming.

August 28: Paul solo session and filming.

August 30: Paul solo session and ‘The Backyard’. Filming.

October 1 (listed as “August 29” in unofficial information): Saxophone and Orchestra overdub session. Filming.

October 8: Wings rehearsals for new takes of “Jet”, “Soily” and “Junior’s Farm”.

October 9: Wings session “Jet”, “Soily” and “Junior’s Farm”. Filming. Additional overdubs without filming.

The ‘Archives’ box sets themselves on three different releases (‘McCartney‘, ‘Band on The Run’ and ‘Venus and Mars’) give confusing dates for songs taken from these sessions (“Maybe I’m Amazed”, “Jet” and “Let Me Roll it” are listed as having been recorded on August 28th, when in fact they were recorded on the 26th; “Baby Face” as “November 1974” but was recorded in August, and “Country Dreamer” from ‘The Backyard’ as “August 24th” instead of the 30th as the EMI tape box from this session shows).

The tapes released on bootlegs featuring some of the ‘One Hand Clapping’ sessions come mostly from five Acetates with the rough mixes that Recording Engineer Geoff Emerick prepared for the band members (three with August sessions, one with The Backyard and one with the October 9th session). The most popular were released by the ‘Yellow Cat’ label on CD, but some of the tracks suffer from constant fade-outs; a more complete tape remains unreleased on CD. The 2024 audio mixes are far superior to any previous release (official and bootleg), however they are not the most complete in many cases, so bootlegs will be required for a fuller understanding of the sessions. Our review is not based on audio quality, but on content and length.

Disc 1

1. One Hand Clapping (02:14) FINAL MIX WITH OVERDUBS. NEW

The full take for the first time. It was reported to be a different take than the one available on bootlegs, which is incorrect. It has a guitar overdub (00:38- 00:50) that is not yet present on the previously circulated version. It also includes the handclap overdub session at the beginning as it appears in the film.

Also Available:

a) Raw Take. BOOTLEG ONLY

One minute and 28 seconds (there is a fade-out on the track). Includes 18-second of pre-take ambiance, as well as a different hand-clap count-in where Geoff Britton leads the beat with his hi-hat. Recorded August 26, 1974.

b) Unique mix from the documentary: Only 50 seconds long, includes a 19-second introduction with sound effects and a note from Paul’s bass.

2. Jet (03:58) OCTOBER SESSION, FINAL MIX WITH OVERDUBS. NEW

It has been erroneously reported that this is the same take as the one on ‘Band on the Run Archive Collection’. For starters, this take was recorded almost a month and a half apart from the other one. This is the master version with final overdubs recorded on October 9th, 1974, adding Casey’s saxophone overdub done days before. The take from the ‘Archive Collection’ was recorded in August and is radically different not only in Paul’s lead vocal but in performance as well: the August take includes no synthesizer from the beginning; the October take starts with a cymbal crash by Geoff Britton, whereas the August take starts with hi-hat; only the October take ends with hi-hat rolls, etc. Although it appears to be the same version available on bootleg as well as in the film, it adds additional previously unheard synthesizer overdubs (02:18-02:22 or 03:38-03:42 to give two clear examples); and although Giles’ mix is more prominent than the bootleg, these “embellishments” are not present in any other version.

Also Available:

a) Outtake, August 1974. BOOTLEG AND BAND ON THE RUN ARCHIVE COLLECTION

This is the take from the August sessions that was selected “best” at the time, recorded on the 26th. It also includes Howie Casey’s saxophone overdub towards the end, used as well on the October take. Paul’s count-in was removed on the official release, so the bootleg is necessary.

b) Early Mix, October Session. BOOTLEG AND VIDEO DOCUMENTARY.

This is the same version recorded and filmed on October 9th, however, it still lacks the additional synth section. The documentary adds exclusive studio dialogue before and after the song recorded in August, however it does not come from the “Jet” session.

3. Soily (03:55) OCTOBER SESSION TAKE 7

One of the main flaws when trying to differentiate the various versions we have of this song during the ‘One Hand Clapping’ sessions, is to assume that what is shown in the documentary is in chronological order. Take 7 of “Soily” was recorded and filmed on October 9, 1974; at the end, the film overlays a three-second audio segment from the August session but on-screen, footage from October continues that does not sync with what we are seeing until the scene switches to the control room with footage from the August 27 session, and we see Wings listening to the original takes that were ultimately not used. Researchers and fans have reversed the dates of the filming for years.

This October take is available in the documentary as well as ‘Venus and Mars Archive Collection’ in a slower mix but with the full ending unfaded, unlike the bootleg or the official 2024 release. The bootleg adds 19 exclusive seconds at the beginning, including Paul saying “Take Seven“.

Also Available:

a) Outtake #1, Unedited, August Session. BOOTLEG ONLY.

The easiest way to tell the takes from the two different sessions apart is by the structure of the performance: Paul starts singing “People gathered here tonight” nine seconds into the August take, and in October the initial instrumental arrangement was modified and lengthened to 15 seconds before he started singing. This is one of two takes used to create a master take which was ultimately not used. It includes Britton’s drum mistake towards the end that we see the band comment on in the documentary. This unedited take is from a more recent appearance on bootlegs, from the Trevor Jones tapes.

b) Playback Outtake #1 control room. The documentary shows the group discussing the flaw at the end of the previous take and they decide to record a new one.

c) Playback Outtake #2 control room. Again, the documentary shows, as if it was an immediate sequence to the previous scene, the group listening to the end of the second take just recorded and Paul decides that an edit will be made, replacing the original end by using the new take. The second take is not in circulation in full except for the fragment heard towards the end.

d) Early Mix Master, August Session, Edit from Outtakes #1 and #2. BOOTLEG ONLY

The process that the documentary allowed us to see and hear, the bootlegs give us with the master created by Geoff Emerick from two different takes. Only the final part of the second take was added to correct the mistake in the drums, the rest is the first take without any editing.

4. C Moon/Little Woman Love (03:18)

The actual medley with Take One (“Little Woman Love/C Moon/Little Woman Love”) was cut for this release as well as the documentary, so the bootleg will remain necessary for the complete 5:39 source, which also includes a brief pre-rehearsal of “Little Woman Love”. On the official 2024 version you can hear Paul say at the end “Hey that was great..”, which comes from the end of Take Two as Paul talks to Engineer Geoff Emerick, shown more extensively and exclusively in the documentary. Recorded August 26, 1974.

5. Maybe I’m Amazed (04:51)

The 2024 release is faster than the one released on ‘McCartney Archive Collection’, as well as a completely different mix with (unnecessary) echo added to Paul’s voice that is not present on the ‘Archive’, bootlegs or documentary versions, but is the same take with the orchestral overdub. Again the bootlegs have the fuller version (5:20) with pre and post dialogue. The documentary mix is different and allows us to hear an additional microphone with ambient sound capturing the voices of Denny Laine and Geoff Britton during the first piano notes and towards the end, with dialogue that is not audible on any other version, although the take itself is constantly interrupted by narration.

6. My Love (04:14) FINAL MIX. NEW

Features the orchestral overdub throughout the song, heard for the first time but is the same take used in the documentary or bootlegs, recorded August 26, 1974. Giles Martin’s mix removes Paul’s laugh towards the end and his “Yeeehh!” exclamation.

Also Available:

a) Early Mix. BOOTLEG ONLY

The same take in an alternate mix that lets you hear the orchestra only at the beginning for five seconds before fading. Includes additional seconds of the session before and after the take; Linda tells Geoff Emerick “I liked the first one better“. The version shown in the documentary is incomplete, but is this same mix without the orchestra.

7. Bluebird (03:26)

Previously available on ‘Band On The Run Archive Collection’ in a different mix. The Bootleg is the most complete source (03:49) with pre and post dialogue, recorded August 27, 1974 and one additional overdub.

Also Available:

a) The documentary exclusively shows the saxophone overdub session with Howie Casey; and uses footage from a later take than the one used as the master towards the end, with dialogue between Paul and Emerick not available elsewhere.

8. Let’s Love (01:07) NEW

This is the second of three different takes that Paul played at his solo piano session (“Cabaret” as he calls it), on August 28, 1974.

Also Available:

a) The documentary includes a short piano “Medley”, with “Let’s Love” (00:40), linked to an improvisation (“Sitting at the Piano” -00:38-, excluded from the official audio release) and “All Of You”.

b) The third take is the most complete (02:01) and is included on ‘Venus and Mars Archive Collection’.

9. All of You (02:04) PARTIALLY NEW

Is preceded by the improvisation “Sitting at the Piano” available only in the Documentary, which also includes this performance with the same length, but the official 2024 audio release gives us the version without narration.

10. I’ll Give You a Ring (02:02) PARTIALLY NEW

The last piece as part of the “Cabaret Medley” on piano, previously available in the documentary, is now two seconds longer during the final notes and the beginning is narration-free.

11. Band on the Run (05:19)

Take 6 was previously available on ‘Band on the Run Archive Collection’, the mix of which replicates the bootleg version straight from the acetates. The bootleg adds 35 exclusive seconds of the session before the take began. Giles Martin’s 2024 mix, while radically more powerful, removes some instrument sounds. The version closest to the mix Paul and Emerick wanted, with superior vocal clarity to the 2024 mix, is located on the ‘Archive Collection’. The 2024 release includes five seconds of additional dialogue towards the end, of which only one second is exclusive to this new collection (Paul shouting “Yeah!”), as the other four can be heard in the documentary mix at the end of “Jet”. Recorded August 27, 1974 with additional orchestral overdub.

Also Available:

a) Alternate Take. The documentary exclusively shows a completely different take (05:20) and without any orchestral overdub. The closest to the recording in its most intimate version, also recorded on August 27th.

12. Live and Let Die (03:24)

Take 3 was previously released officially in a different mix as part of the ‘In Laws’ Soundtrack. Three seconds longer at the beginning and four at the end on the bootleg with studio dialogue, however the 2024 mix is vastly superior and flawless. Recorded August 27, 1974 with additional overdub.

Also Available:

a) Orchestral overdub session shown only in the documentary. The performance is the same as Take 3 with nothing additional.

13. Nineteen Hundred and Eighty Five (05:47)

Without the “Band on the Run” coda towards the end in the same way as in the Documentary, however it is the same version as released on ‘Band on the Run Archive Collection’ or bootlegs (both adding the coda); but the bootleg adds a 20-second pre-rehearsal by Paul on piano as well as additional dialogue at the end. The first part with Paul and his piano was recorded after ‘The Backyard’ session, on August 30, 1974. The second part was also recorded and filmed on the same day, although McCartney decided to take off his blue (or green, as the poor quality of the surviving film would suggest) hoodie jacket. The second part uses the backing from the ‘Band On the Run’ album, and Paul doing a live vocal rendition. Two promotional videos using this footage were prepared but never aired. You can read more about them here: https://webgrafikk.com/blog/paul-mccartney-music-video-collection-1970-2021-part-1/

14. Baby Face (01:53)

The documentary features the most complete version of all (01:55), no fade-out and we can hear Linda exclaiming “Yeah” and Paul saying “Thank you!”; unfortunately, much of the performance is obscured by narration. Partially available in a too-slow mix on ‘Venus and Mars Archive Collection’ (mistakenly dated “November 1974”), omitting the false start. Recorded during Paul’s “Cabaret” session on August 28, 1974 and was the only one of all the ‘One Hand Clapping’ sessions to receive overdubs until 1975, courtesy of the Tuxedo Brass Band.

Disc 2

1. Let Me Roll It (04:27)

One of the many songs not shown in the film. Previously available without Paul’s count-in on ‘Band On the Run Archive Collection’, and complete on bootlegs (15 seconds extra before the start, rehearsing the guitar chords; and 15 additional seconds at the end of the take). Recorded August 26, 1974.

2. Blue Moon of Kentucky (03:03) PARTIALLY NEW

The “most popular” CD bootleg of these sessions includes a fadeout while we hear “And again“; the original acetate has no fadeout and Denny’s laughter can also be heard. The 2024 mix includes the entire ending plus an additional 8 seconds of Laine strumming his guitar. The bootleg includes an additional 3 seconds at the beginning of the session. Recorded August 27, 1974.

3. Power Cut (01:32) NEW

4. Love My Baby (01:12)

5. Let It Be (01:02) NEW

6. The Long and Winding Road/Lady Madonna (02:10) NEW

Different tracks that Paul recorded solo on August 28th, not only on piano but also on Hammond organ, Celesta or Harmonium. “Love My Baby” was officially released as a bonus download track in 2014, part of the promotion for ‘Venus and Mars Archive Collection’ from his official website.

7. Junior’s Farm 04:16 OCTOBER SESSION #1. NEW

Erroneously reported as a combination of an August and October take, this is a previously unheard new take recorded on October 9, 1974. The performance and some of the instruments used on the August session are different. Jimmy McCulloch’s solo on the two available takes from October (quite similar, but not identical) shows a vast evolution compared to the available August recording; here it’s introduced by Paul as “Take me down Jimmy”.

Also Available:

a) Outtake, August Session. BOOTLEG ONLY

Thanks to the acetates, we have a surviving take from the August 27, 1974 session, unsatisfactory to Paul. Jimmy’s solo is quite “rustic” compared to the October recordings. The main difference on this session is a prominent synthesizer by Linda during three sections, which was practically discarded in October.

b) October Session #2 BOOTLEG and MUSIC VIDEO

The second take we have from October was also recorded and filmed on the 9th. Paul introduces the solo as “Take me down James“. Omitted from the documentary however is available as the official promotional video for the song released in 1975 (read details here: https://webgrafikk.com/blog/paul-mccartney-music-video-collection-1970-2021-part-1/); and with the full introduction and extra seconds at the end, only on bootlegs.

8. Sally G 03:28 THE BACKYARD SESSION. NEW

One of the nice surprises of the 2024 set was the inclusion of at least one song from the second tape recorded during ‘The Backyard’ session on August 30, 1974, never heard before. The 25 minutes and 46 seconds long ‘Reel 1’ is available on bootleg in its entirety. ‘Reel 2’ is not in circulation in full but includes “Sally G” and possibly “Rock Island Line”, “Freight Train” and “Cumberland Gap”. Six tracks from Reel 1 were used for the official Limited Edition EP that was also released this year (“Blackpool”, “Blackbird Take 4”, “Country Dreamer” -previously available on ‘Band on the Run Archive Collection’-, “Twenty Flight Rock”, “Peggy Sue”, and “I’m Gonna Love You Too”). “Blackpool” and “I’m Gonna Love You Too” were included as hidden videos on ‘McCartney Years’ from 2007, “Peggy Sue” was featured in the 1986 TV special ‘McCartney’ or ‘The Paul McCartney Special’. The mini-documentary of this session will be shown for the first time in cinemas around the world in late September.

The 7″/Digital EP released in 2024 features an edited photo from the tape that recorded part of the event:

The full tracklist for ‘Reel 1’ is as follows:

Blackbird rehearsal/ Blackbird Takes 1-3/ Blackpool/ Blackbird Take 4/ Country Dreamer/ Twenty Flight Rock/ Peggy Sue/ I’m Gonna Love you Too/ Improvisation/ Great Day/ Sweet Little Sixteen/ Loving You/ We’re Gonna Move.

9. Tomorrow (02:11) NEW

Recorded solo at the piano on August 28, 1974.

10. Go Now (03:33) SECOND TAKE. NEW

Researchers reported weeks ago that it was the same take available on bootlegs for years, when in reality we have a second take completely different not only in performance (totally different guitar licks for example) but with Denny Laine singing around 50% different lyrics between one take and the other.

Here are just some examples aligning the two takes as close as possible to the speed and times of the take released this 2024 (“Take 1” is the one circulated on bootlegs and “Take 2” is the one officially released)

00:45-00:55

TAKE #1 “Cause how many times do I have to tell you, darlin’, darlin’,

I’m (pause) …still in love..(pause).. Still in love with youuuu now?”

TAKE #2 “Cause how many times do I have to tell you, darlin’,

I’m still in love with you now? Oh, oh, oh, oh”

01:22-01:27

TAKE #1 “Well don’t You even try-aay”

TAKE #2 “Yeah don’t You even traaayy-ya”

01:41-01:50

TAKE #1 “Oh I don’t wanna know why you don’t wanna stay”

TAKE #2 “Cause how many times do I have to tell you, darlin’, darlin’..”

02:51-02:58

TAKE #1 “I don’t want you to tell me what you intend to do now”

TAKE #2 “How many times do I have to tell you, darlin’….”

03:03-03:13

TAKE #1 “So how many times do I have to tell you, darlin’, darlin’…”

TAKE #2 “Cause one of these days I wanna tell you, do now”

Also Available:

a) First take. As mentioned, the take circulated on bootlegs is completely different, featuring 21 seconds prior to the performance where Denny practices his guitar and jokes that it will be “Take 99“. Both takes were recorded on August 27, 1974.

11. Wild Life (04:29) PARTIALLY NEW

Only the final part of this take (28 seconds) was available on bootleg. In 2024 we got the full take although almost two seconds were omitted at the end between this song and “Hi Hi Hi” which were recorded back to back. The unique segment on bootleg lets Denny Laine exclaim “aha” in a “sensual” tone and gives way to Paul’s count-in for the next song…

12. Hi, Hi, Hi (03:53) PARTIALLY NEW

Giles omits Denny’s expression, but gives us a never-heard-before minute and a half of the full take (the “short” version on bootlegs ends with an echo effect on the vocals repeating “Hi” multiple times as the tape is heard being rewound).

Also Available:

a) Acetate Mix. The bootleg version – taken directly from Emerick’s mixes – was, as we think, consciously cut to two minutes and twenty seconds with a repeat effect until fading at 02:50; possibly the way Paul wanted the never-released album to end. “Wild Life”/”Hi Hi Hi” were recorded on August 27, 1974.

The documentary offers more exclusive material not available anywhere else, unfortunately sometimes obscured by narration:

August 26:

-Denny Laine Improv on Piano

August 27:

-Jimmy McCulloch Improv on Drums

-Billy, Don’t Be A Hero (Wings jamming, Paul, Denny and Linda on vocals)

-Geoff Britton Improv on Drums

August 28:

Suicide (one of the big omissions on the new official collection); plus the ones already mentioned during this review.