Track Listing

1. Be-Bop-A-Lula
2. I Lost My Little Girl
3. Here, There and Everywhere
4. Blue Moon of Kentucky
5. We Can Work It Out
6. San Francisco Bay Blues
7. I've Just Seen a Face
8. Every Night
9. She's a Woman
10. Hi-Heel Sneakers
11. And I Love Her
12. That Would Be Something
13. Blackbird
14. Ain't No Sunshine
15. Good Rocking Tonight
16. Singing the Blues
17. Junk

Product Details

• Amazon Sales Rank: #21840 in Music
• Published on: 1999
• Released on: 1992-01-01
• Number of discs: 1
• Formats: Import, Live
• Dimensions: .22 pounds

Album Description
His 1991 album for the Parlophone label. Contains 17 tracks,including solo hits, Beatles classics and covers of golden oldies. Contains 'Here There And Everywhere', 'We Can Work It Out' and 'Be-Bop-A-Lula'. The full title is 'Unplugged (The Official Bootleg)'.

Customer Reviews

Between silly love songs and the Standing Stones
...the "cute" ex-Beatle decided to do a MTV "Unplugged" gig. So, instead of turning it into a TV commercial for his most recent releases, he decided instead to turn it into an opportunity to do a change-of-pace set. One thing not all that many people know about Sir Paul nowadays is that his earliest years in the Fab Four saw him and John Lennon playing a Brit variant of rockabilly. As in what Setzer and the Stray Cats were up to before he became the Crown Prince Of New Swing. If you ever read reviews describing the Beatles as Everly Brothers-influenced, that's what they were talking about. What they don't say is that for a couple of dudes who were urban rather than rural working class (and brought up nowhere near the Appalachians), they weren't too shabby at the sound created by "rocking hillbillies" Elvis, Carl Perkins, Johnny Cash amd Jerry Lee Lewis. In this set, McCartney proved that he was still able to hack it, some thirty years later. He also includes Beatles classics with the older standards--after all, they do belong. Even down to "We Can Work It Out", which he begins by singing the last verse in place of the first. With a self-effacing laugh, he waves the band down and starts over--he's not about to pretend he didn't blow it. Not content with that, he leaves the song in the broadcast version, screwup and all. Hell, why not a bit of comic relief? That's what "Unplugged" always been about anyway--just do the damn gig, imperfections and all. Unfortunately they seem to have trimmed that false start from this album. Even so, with that type of fun-loving informality, along with vintage rockabilly material done in a way its creators would approve of, you still can't miss with this set.

The Best "Unplugged" album
This is one of Paul's best shows. He is loose, informal, talks to the audience, forgets song lyrics, and is, as always, in top form. There is a great atmosphere to this show, and Paul plays songs that had never been played before, including "I Lost My Little Girl," the first one he ever wrote when he was 14. All the other performers who did "Unplugged" sets seemed to take it very seriously, but not Paul.

Paul has always sounded best live -- and this one tops them all.
I've always thought that Paul was a pretty good composer, an excellent arranger, and a fine singer and bass player. But I've also always felt (and even more so after seeing him live) that Paul McCartney lives to perform. He's truly at home onstage, and puts 110% into his performances, as evidenced in his 1976 offering, "Wings Over America."

"Unplugged: The Official Bootleg" captures a totally different side of McCartney live. Instead of approximating the arena-rock experience (which is difficult to do on a record), you're treated to an intimate, informal performance -- almost as if Paul & Co. were performing in your own living room.

Yes, Bubba, you're right. This isn't a "real" bootleg. It was released within weeks of the MTV Unplugged performance, specifically designed to beat the bootleggers to market. Paul's original idea was that it would be a "real" bootleg, manufactured at a plant other than Capitol's, and distributed underground through the same means as real bootlegs.

Obviously, Capitol/Parlophone didn't like that idea, and so Paul compromised, limiting production to 250,000 copies in the US and another 250,000 in the UK. Those 250,000 copies US sold out in the first week, peaking at #14 in Billboard (not too shabby), then dropping off because there weren't any more copies to be sold. Until now, only Japan has continued to produce the CD, and now, thankfully, it seems to be back in production again Stateside.

I bought the CD on the day of release in 1991 (I didn't even own a CD player yet), and the VINYL LP (yes, really!) two days later. It's the CD I pull out when I want to "introduce" naysayers to McCartney.