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McGear
Studio album by
Mike McGear
Released24 September 1974
RecordedJanuary – February 1974
26 April 1973 ("Leave It")
StudioStrawberry Studios, Stockport, England
GenreRock
Length43:30
LabelWarner Bros.
ProducerPaul McCartney
Mike McGear chronology
Woman
(1972) 		McGear
(1974)
Singles from McGear
  1. "Leave It"
    Released: 1974
  2. "Sea Breezes / Givin' Grease A Ride"
    Released: 1974
  3. "Simply Love You"
    Released: 1975
Professional ratings
Review scores
SourceRating
AllMusicStarStarStarStarHalf star[1]

McGear is the second and final solo album by English singer Mike McGear, released in 1974. The album is a collaboration between McGear and his brother Paul McCartney, who co-wrote and produced the record. All backing tracks on the album are performed by McCartney and his band Wings, occasionally accompanied by guest artists. Lead vocals are sung by McGear.

History

[edit]

Paul and Mike began planning for the album in July 1973.[2] After Mike left the music and poetry group Grimms during a tour after a fight with Liverpool Poet (and fellow member) Brian Patten, Paul suggested that Mike record a single with Wings to resurrect Mike's solo career.[3] Once the single "Leave It" was recorded at Abbey Road Studios, Paul sent the tape to his in-laws Lee and John Eastman to arrange for its release, but instead they suggested recording an entire album.[3] Mike said of the album that "the whole process was magical" and that the recording "was a truly collaborative process with my older brother."[3] The rest of the album was recorded at Strawberry Studios in Stockport, where Mike had recorded his previous solo album Woman.[4][3] McCartney used the album's sessions to audition possible members of Wings after the band's lead guitarist and drummer quit the year before.[5]

When Warner Brothers signed McGear and Badfinger with some fanfare, coinciding with McCartney's EMI contract nearing expiration, it was rumoured that Warner Brothers were trying to interest McCartney in signing with them.[citation needed]

The front cover shows Mike captured like Gulliver, surrounded by little people.[4] Included in the people are pictures of the band members and photos of other people from McGear's life, as well as a childhood picture of Paul and Mike.[3]

On the original release Paul McCartney is not credited as a musician or backing singer, although he performed both roles during the recordings.

Lead single "Leave It" reached No. 36 in the UK singles chart,[6] becoming the sole charting single by Mike McGear. The opening track on the album, "Sea Breezes", is a Roxy Music cover from their self-titled debut album.

Re-releases

[edit]

In 1991, McGear was re-released by Rykodisc in the U.S. with a previously unreleased version of the song "Dance The Do" as a bonus track (a different mix had been issued as a stand-alone single on UK Warner Bros).

In 1992, McGear was re-released by See For Miles Records in the U.K. with two bonus tracks, a different mix of "Dance The Do" and "Sweet Baby," which had been the B-side of the single "Leave It". The liner notes to that album quote Mike as saying that "Sweet Baby" had originally been named "All My Lovin'" but "some other group had already done one with that name". Both of these reissues quickly went out of print.

In 2019, Cherry Red Records produced a two-disc remastered reissue on its "Esoteric Records" imprint (which features an "ER" logo duplicative of the Warner Brothers "WB" logo), with one disc the same as the 1992 reissue, and the other disc a collection of alternate takes, outtakes, and a few other songs recorded by McGear between 1973 and 1980 (including his 1976 EMI single "Do Nothing All Day").[3]

Track listing

[edit]

All songs by Mike McGear, Paul McCartney and Linda McCartney except where noted.[7]

  1. "Sea Breezes" (Bryan Ferry) – 4:29
  2. "What Do We Really Know?" (P. McCartney, L. McCartney) – 3:47
  3. "Norton" – 2:35
  4. "Leave It" (P. McCartney, L. McCartney) – 3:44
  5. "Have You Got Problems?" – 6:16
  6. "The Casket" (P. McCartney, L. McCartney, Roger McGough) – 4:19
  7. "Rainbow Lady" – 3:26
  8. "Simply Love You" – 2:47
  9. "Givin' Grease a Ride" – 5:35
  10. "The Man Who Found God on the Moon" – 6:26

2019 reissue bonus tracks:
All songs by Mike McGear, except where noted.

  2. "Dance the Do" (McGear, P. McCartney, L. McCartney) – 3:53
  3. "Sweet Baby" (McGear, P. McCartney, L. McCartney) – 3:47
  4. "Sea Breezes" (Without Orchestra) (Bryan Ferry) – 4:36
  5. "Leave It" (Extended Version) (McGear, P. McCartney, L. McCartney) – 6:40
  6. "Dance The Do" (Rough 1st Mix) (McGear, P. McCartney, L. McCartney) – 3:50
  7. "What Do We Really Know?" (Monitor Mix) (P. McCartney, L. McCartney) – 3:49
  8. "Paddy Pipes 1" – 1:17
  9. "Do Nothing All Day" – 2:23
  10. "A To Z" – 3:20
  11. "Girls On The Avenue" (Richard Clapton) – 3:39
  12. "Paddy Pipes 2" – 0:37
  13. "All The Whales In The Ocean" – 4:36
  14. "Blowin’ In The Bay" – 2:30
  15. "Keep Cool (Version 1)" – 0:50
  16. "Keep Cool (Version 2)" – 0:45
  17. "I Just Want What You Got – Money!" – 3:31
  18. "Paddy Pipes 3" – 1:32
  19. "Viv Stanshall Sings" – 0:45
  20. "Let’s Turn The Radio On" – 3:07
  21. "Dance The Do Radio Ad 1" – 0:15
  22. "Dance The Do Radio Ad 2" – 1:02

Personnel

[edit]
  • Mike McGear – lead vocals
  • Paul McCartney – backing and harmony vocals, bass, guitars, piano, keyboards, synthesizers, drums (2019 reissue only)
  • Linda McCartney – backing and harmony vocals, keyboards, synthesizers
  • Denny Laine – backing and harmony vocals, guitars
  • Jimmy McCulloch – guitars
  • Gerry Conway – drums, percussion
  • Denny Seiwell – drums, percussion (on "Leave It")
  • Brian Jones – saxophones
  • Tony Coe – saxophones (on "Leave It")
  • Paddy Moloney – uilleann pipes (on "The Casket")
  • Derek Taylor – speaking voice (on "Norton")
  • Benna and Theran McCartney (Mike's daughters) – backing vocals (on "The Man Who Found God on the Moon")
  • The Halle Orchestra, arranged and conducted by Gerry Allison

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

McGear

View on Grokipedia
from Grokipedia
McGear is the second and final solo studio album by English musician Mike McGear, released in 1974 on Warner Bros. Records. The album represents a collaborative effort between McGear and his older brother, Paul McCartney, who served as producer, co-writer on several tracks, and performer alongside his band Wings. Recorded primarily at Strawberry Studios in Stockport, England—with one track, "Leave It," completed at Abbey Road Studios—it features a mix of pop and rock styles, marking a more serious departure from McGear's earlier comedic work with the Liverpool-based group Scaffold. The album's tracklist includes nine original songs, highlighted by the single "Leave It," which peaked at number 36 on the UK Singles Chart, and a cover of Bryan Ferry's "Sea Breezes." Key tracks such as "What Do We Really Know?" and "Rainbow Lady" showcase McGear's lead vocals backed by Wings members including , , and . Later reissues, such as the 1992 and 2019 editions, added bonus tracks including "Dance the Do" and "Sweet Baby." McGear received positive reviews for its melodic songcraft and familial synergy, though it achieved modest commercial success upon release.

Background

Mike McGear's career

Peter Michael McCartney, known professionally as Mike McGear, was born on 7 January 1944 at Walton General Hospital in , , to parents Jim and Mary McCartney. As the younger brother of by 18 months, he attended the Liverpool Institute school, two years behind his sibling, and began working at age 17 as an apprentice tailor before transitioning to a hairdressing . In his early teens, McGear became involved in the local music scene as a roadie and photographer for , the skiffle group led by that included his brother Paul, capturing some of the earliest color photographs of during performances in 1958. This exposure to live music and his photographic documentation provided him with an insider's perspective on the emerging sound, though he did not perform with the group. McGear formed the comedy, poetry, and music trio in 1963 alongside poet and comedian John Gorman, adopting the stage name "Mike McGear"—after briefly considering "Mike Blank"—to distance himself from his brother's rising fame and avoid perceptions of . The group's style blended humorous songs, satirical sketches, and spoken-word , gaining traction through television appearances and recordings on Records. Their breakthrough came with the 1967 single "Thank U Very Much," followed by their biggest hit, "Lily the Pink," which topped the UK Singles Chart in December 1968 and became a million-selling Christmas number one. disbanded amicably in 1972 after a decade of performances and releases that established them as a key act in the British countercultural scene. In 1970, McGear joined the fringe theatre collective Grimms (an acronym derived from the surnames of its founders: Gorman, Roberts, Innes, McGough, McGear, and Stanshall), a group that merged elements of rock, , , and in chaotic, satirical stage shows. His contributions emphasized comedic timing and musical interludes, drawing on his experience to enhance the troupe's anarchic performances at venues like the Philharmonic Hall. McGear left Grimms in July 1973 amid internal tensions during a tour, seeking greater focus on his own songwriting and recording endeavors. Transitioning to a solo career, McGear released his debut single "Little Children" in 1972 on , marking his shift toward more personal, pop-oriented material independent of group dynamics. This move was influenced by his brother Paul's encouragement to pursue individual projects, though McGear remained committed to forging his artistic path without relying on familial connections.

Album conception

Planning for the McGear album began in July 1973, shortly after Mike McGear's departure from the comedy and poetry group , which occurred during a tour following a heated altercation with poet Brian Patten. This exit left McGear at a career crossroads, prompting initial ideas for a solo project that emphasized pop-rock elements over his prior comedic inclinations, aiming to establish a more serious musical identity while retaining a lighter, humorous tone influenced by his background in groups like . McGear soon approached his brother Paul McCartney to serve as producer and collaborator, leveraging Paul's recent success with Wings' Band on the Run. Paul agreed, deciding to utilize Wings as the backing band, which at the time was a reduced trio following the departures of drummer Denny Seiwell and guitarist Henry McCullough earlier in 1973; the collaboration also provided an opportunity to audition potential new members amid these lineup changes, with Denny Laine already established on guitar. The creative goals centered on crafting versatile tracks that showcased McGear's vocal range, including the selection of a cover of Roxy Music's "Sea Breezes" to highlight adaptability beyond original material. As a precursor, the single "Leave It"—recorded on 26 April 1973 at Abbey Road Studios and co-written by Paul and Linda McCartney—was released in May 1974, peaking at No. 36 on the UK Singles Chart and signaling the project's pop-oriented direction. Pre-production involved songwriting sessions throughout 1973, where McGear contributed ideas drawn from his earlier work, refined through collaboration with Paul and Linda to blend novelty, harmony, and emotional depth. The choice of in for the upcoming recordings stemmed from its affordability, creative atmosphere, and familiarity, as McGear had previously used the facility for his 1972 debut album Woman; its proximity to the McCartneys' home in further facilitated the process.

Recording

Sessions

The recording sessions for McGear primarily took place from January to February 1974 at in , , spanning approximately six weeks. These sessions marked the first full solo album effort by Mike McGear, with his brother producing and contributing significantly to the instrumentation. An earlier single, "Leave It," had been recorded on 26 April 1973 at in , featuring initial contributions from Wings members like drummer . The sessions adopted an informal and familial atmosphere, with daily work often running from late afternoon into the early morning hours, fostering a relaxed creative environment shared with the resident band . utilized the project to test the cohesion of Wings' evolving lineup, incorporating guitarist —who joined the band shortly after—and bassist , alongside drummer . was a constant presence, contributing keyboards and backing vocals, while the brothers McCartney emphasized harmonious interplay reminiscent of their childhood singing together. This dynamic allowed for spontaneous experimentation, including overdubs of vocals and instruments, as well as the integration of brass and strings arranged by Gerry Allison. Key recording events highlighted the collaborative spirit, such as the early 1974 involvement of Orchestra for orchestral backings and an solo, adding a symphonic layer to select tracks. Guest musician of contributed uilleann pipes to "The Casket," enhancing its eclectic texture during the Strawberry sessions. Notable visits, including an unannounced drop-in by , further infused the proceedings with an air of camaraderie, though occasional disruptions like McCulloch's intoxication tested the group's focus. Throughout, the emphasis remained on balancing McGear's lead vocals within Wings' robust sound, achieved through layered harmonies and live-feel takes.

Production

The album McGear received full production credit to Paul McGear, a pseudonym used by Paul McCartney due to contractual obligations with Apple Records, allowing him to oversee the project under Warner Bros. Paul's approach emphasized a polished pop-rock sound, drawing from his recent Wings work to create a cohesive, energetic aesthetic that highlighted Mike McGear's vocal range and whimsical style. As a multi-instrumentalist, Paul contributed bass, guitar, and keyboards throughout, guiding the arrangements to evoke the layered, melodic drive of Wings' output while adapting to the project's humorous tone. Arrangement choices incorporated orchestral elements to add depth and texture, with strings and handled by arranger Gerry Allison, who conducted the Halle Orchestra for specific tracks such as the bonus cut "Dance The Do." A dedicated section enhanced the upbeat tracks, while experimental touches included performed by of and layers from Linda McGear (Linda McCartney), blending traditional and modern sounds to underscore the album's eclectic pop sensibility. These decisions reflected Paul's intent to balance rock foundations with orchestral flourishes, creating dynamic contrasts akin to the "light and shade" philosophy in his contemporaneous Wings album . Post-recording mixing occurred at in , where Paul took a hands-on role in editing for overall cohesion, ensuring the blend of original compositions and covers—like the reimagined track "Sea Breezes"—showcased McGear's versatility without overpowering his lead vocals. The sessions creatively navigated 8-track recording limitations through careful layering of vocals and instruments, a technique influenced by Paul's recent experiences producing Band on the Run, which prioritized multi-tracked harmonies and efficient studio use to achieve a full, professional sound.

Release

Promotion

The album McGear was released on 24 September 1974 by Warner Bros. Records in the . The initial single, "Leave It", was promoted through radio and press coverage, including a promotional film featuring Mike McGear backed by Wings, which aired on British television programs such as ITV in 1974. Promotional activities were restrained, with no extensive touring scheduled, as McGear expressed a preference for studio-based creative work over live performances, deeming full-scale gigs impractical without the full Wings lineup. Instead, efforts centered on television appearances and media interviews, such as a promotional spot at Liverpool's Everyman Theatre tied to the "Leave It" single. Press coverage highlighted the family collaboration— including production and contributions from brother Paul McCartney and Wings members—while downplaying overt "McCartney" branding to sidestep perceptions of nepotism and emphasize McGear's independent artistic path. These interviews also tied into McGear's prior work with the comedy-poetry group Scaffold and the ensemble Grimms, positioning the album as an evolution of his established humorous, eclectic style. The album's artwork, designed by McGear himself, featured a whimsical cover photograph depicting him bound like Gulliver in Lilliput, surrounded by tiny black-and-white images of band members, family, and associates, set against the River Mersey. The inner sleeve included that underscored the record's lighthearted and playful tone, aligning with its satirical and comedic elements. Subsequent singles like "Sea Breezes" b/w "Givin' Grease a Ride" received minimal additional promotion, with the campaign overall prioritizing McGear's emergence as a solo artist over aggressive commercial push.

Commercial performance

McGear achieved modest commercial success upon its release. The "Leave It" peaked at No. 36 on the UK Singles Chart, spending four weeks in the Top 75, marking Mike McGear's only charting single as a solo artist. The album itself did not enter the . In the United States, the album received limited distribution through Warner Bros. Records under catalog number BS 2825, but it failed to chart or achieve notable sales. No official sales figures or certifications were reported for the initial release in either the UK or US markets. Internationally, the album saw availability in Europe via Warner Bros. Records, though specific chart or sales data remain scarce. Over time, the album developed a cult following among fans of 1970s British rock, further amplified by a 2019 remastered reissue from Esoteric Recordings that included bonus tracks and expanded packaging, and recognition of its 50th anniversary in 2024 through interviews and media coverage.

Reception

Initial reviews

Upon its release in September 1974, McGear received limited coverage from the music press, reflecting its status as a overshadowed by Paul McCartney's concurrent success with Wings. In the UK, reactions were mixed, with critics praising the polished production by Paul McCartney and the vibrant energy contributed by Wings, though some noted that Mike McGear's vocals appeared overshadowed by his brother's dominant style. Humorous elements in the songwriting were highlighted as uneven, contributing to an overall sense of inconsistency. International coverage was even sparser, particularly in the , where the album garnered few dedicated reviews and was generally viewed as derivative of Paul McCartney's aesthetic. One contemporary assessment in New Zealand's Rip It Up magazine praised the songs for their lyrical quality, noting they avoided the banality often found in McCartney's work, and highlighted tracks like "Norton" and "The Man Who Found God on the Moon" as bright hopes for Liverpudlian music. Specific praise emerged for the cover of Roxy Music's "Sea Breezes," appreciated for its atmospheric reinterpretation amid the album's pop leanings. Notable comments singled out tracks like "Leave It"—the , which charted at number 36 in the UK—as exemplifying catchy pop craftsmanship. This underscores a middling but not dismissive reception. Public and fan response showed positivity through word-of-mouth in Liverpool's local scene, where McGear's ties to the city's musical heritage lent familiarity. However, the project was often viewed through the lens of familial ties and Paul's overshadowing fame, positioning it more as a family endeavor than a standalone effort. This underperformance relative to expectations for a McCartney-produced may have tempered the tone of contemporary critiques.

Retrospective assessment

In subsequent decades, McGear has received a positive reevaluation from music critics, especially following the 2019 deluxe reissue by , which highlighted its status as an overlooked treasure in the McCartney family catalog. Publications have lauded it as a "hidden gem" and an "underrated Wings side project," crediting the album's strong songcraft and vibrant production—driven by Paul McCartney's involvement and Wings' contributions—for its enduring charm. For instance, a 2019 Salon retrospective described the record as sparkling with Mike McGear's brilliant sense of and musical eccentricity, blending humor with top-tier musicianship to create a refreshing artifact. Similarly, The Avocado's analysis positioned it as "The Great Lost Wings Album," praising its melodic strength and underground appeal among McCartney devotees. Louder Than War echoed this sentiment, calling it an "outstanding" pop effort that demonstrates the brothers' collaborative synergy. Biographies of have further contextualized McGear as a notable example of familial , illustrating the McCartneys' creative amid the music scene. In The McCartney Legacy: Volume 2 (1974–80), authors Allan Kozinn and Adrian Sinclair highlight the album as a key lesser-known project co-written and produced by Paul, emphasizing its role in exploring structures infused with playful elements. This perspective appreciates the record's innovative fusion of pop experimentation, where McGear's Scaffold-influenced whimsy meets Paul's refined rock production, marking it as a transitional work in his oeuvre. Fans and collectors, especially within and Wings communities, regard McGear with cult reverence, often debating its artistic merit independent of familial ties. On platforms like , it holds an average user rating of 3.2 out of 5, signaling solid niche admiration for its eclectic, melodic qualities. Enthusiasts frequently counter critiques by pointing to McGear's distinct lyrical voice and compositional input, viewing the as a bridge from his Scaffold-era humor to more polished familial endeavors, with ongoing appreciation evident in its persistent fanbase as of . In , marking the album's 50th anniversary, Mike McGear discussed its creation in interviews, noting the "amazing reaction" at release and its enduring familial synergy.

Composition and credits

Track listing

The original 1974 release of McGear featured 10 tracks divided across two sides of vinyl, with a total running time of 43:30.
No.TitleWriter(s)Length
Side one
1."Sea Breezes" (cover of song)4:52
2."What Do We Really Know?", 3:28
3."Norton"Mike McGear, 2:35
4."Leave It"Mike McGear, , Richard Groszmann3:44
5."Have You Got Problems"Mike McGear, 6:16
Side two
6."The Casket", 4:19
7."Rainbow Lady"Mike McGear, 3:26
8."Simply Love You"Mike McGear, 2:47
9."Givin' Grease a Ride"Mike McGear, 5:35
10."The Man Who Found God on the Moon"Mike McGear, 6:26
The 2019 remastered and expanded edition includes the original 10 tracks on disc one, plus two bonus tracks ("Sweet Baby" and " the Do", recorded during the album's 1973–1974 sessions), and a second disc with 19 additional outtakes and rarities such as "Sea Breezes (Without Orchestra)," "Leave It (Extended Version)," and "Do Nothing All Day," for a total of 31 audio tracks across the CDs.

Personnel

The album McGear features lead vocals by Mike McGear throughout, with contributing bass, guitar, keyboards, backing and harmony vocals, and serving as the primary producer. provided keyboards and backing vocals. Members of Wings formed the core backing band, including on guitar and backing vocals, on guitar, and drummers and across various tracks (with also contributing drums on select sessions). Guest artists included of on for "The Casket," a brass section featuring on and , on , and other horns, as well as the Halle Orchestra providing strings arranged and conducted by Gerry Allison. Technical roles were handled primarily under Paul's production oversight, with engineering at , , led by Peter Tattersall and assisted by .

Legacy

Re-releases

The first CD reissue of McGear came in 1991 from Rykodisc in the United States, appending a previously unreleased bonus track, "Dance The Do," recorded during the 1973 sessions at Strawberry Studios. This edition expanded the original 10-track album to 11 tracks without altering the artwork or sequencing of the core material. In 1992, See For Miles Records issued a UK CD version that incorporated two bonus tracks: a different mix of "Dance The Do" alongside "Sweet Baby," the B-side to the 1974 "Leave It" single. These additions brought the total to 12 tracks, maintaining the original album's track order while inserting the extras strategically. The most comprehensive re-release arrived in 2019 from ' Esoteric Recordings imprint, presented as a 2-CD + DVD deluxe edition with the original album remastered from the rediscovered master tapes at . This version featured 21 bonus tracks across the second disc, including 13 previously unreleased outtakes, alternate mixes, B-sides, and non-album singles spanning 1973 to 1980, such as "Sea Breezes (Without Orchestra)," "Leave It (Extended Version)," "Do Nothing All Day," and "Let's Turn the Radio On." The package included written by Mike McGear himself, an illustrated booklet, and transfers, alongside a DVD with interviews and the 1974 promotional film for "Leave It"; audio enhancements emphasized expanded for improved clarity and . A companion vinyl LP reissue was also released simultaneously, faithfully replicating the original artwork with no major alterations across editions. Following this, the remastered content became available on digital streaming platforms, broadening accessibility. This expanded set contributed to renewed interest in the album's retrospective appreciation.

Cultural impact

The McGear album stands as a notable example of familial collaboration within the McCartney family, highlighting the creative synergy between brothers Paul and Mike McGear (born Peter Michael McCartney), with Paul serving as producer, co-writer on most tracks, and performer alongside Wings members and . This project extended to include contributions from on backing vocals and synthesizer, as well as Mike's daughters providing vocals on "The Man Who Found God on the Moon," underscoring a multi-generational family effort in 1970s rock production. In broader music , it is often referenced as an underappreciated endeavor, bridging Paul's post-Beatles solo work and Mike's prior comedic outings with , though overshadowed by the former's fame. The album's use of the pseudonym "McGear" reflects discussions on in , as Mike adopted it to distance himself from perceptions of relying on his brother's , allowing the work to be evaluated on its own merits amid the era's family-influenced projects. This parallels other pseudonym-driven releases in Paul's catalog, such as elements of whimsy and experimentation seen in his 1971 album RAM, though McGear emphasizes Mike's distinct British humor and vocal style. Its broader significance lies in illustrating the challenges of artistic independence within famous lineages, contributing to ongoing conversations about legacy and in the music industry. Over time, McGear has achieved cult status among dedicated McCartney enthusiasts, praised as an underrated gem for its quirky charm and collaborative spirit, with growing appreciation evident in recent reflections like Mike's 2024 interview marking the album's 50th anniversary. It has appeared in media explorations of Mike's career, including the 2016 YouTube documentary-style interview The Mike McGear McCartney Story, which delves into his musical path and family ties. Within Liverpool's music scene revivals, the album resonates as a local artifact, tying into Mike's roots in early 1960s groups like The Liverpool One Fat Lady All Electric Show and reinforcing the city's enduring Merseybeat heritage. Reissues, such as the 2019 expanded edition with bonus tracks and a promo video DVD, have enhanced its accessibility for newer generations, fostering renewed interest in this niche corner of rock history.

References

  1. https://www.the-paulmccartney-project.com/album/mcgear/
  2. https://www.allmusic.com/album/mcgear-mw0000311611
  3. https://www.the-paulmccartney-project.com/artist/mike-mcgear/
  4. https://pleasekillme.com/mike-mccartney/
  5. https://www.genesis-publications.com/news/8th-march-1958-george-plays-with-the-quarrymen
  6. https://superdeluxeedition.com/interview/mike-mccartney-talks-to-sde-about-the-reissue-of-his-1974-album-mcgear/
  7. https://www.bear-family.com/scaffold/
  8. https://www.the-paulmccartney-project.com/artist/the-scaffold/
  9. https://dangerousminds.net/comments/grimms_the_most_incredible_70s_supergroup_youve_probably_never_heard_of/
  10. http://www.iankitching.me.uk/music/scaffold/history.html
  11. https://faroutmagazine.co.uk/album-paul-mccartney-wrote-with-brother/
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  13. https://rockcellarmagazine.com/mike-mccartney-interview-mcgear-50th-anniversary-paul-mccartney/
  14. https://songfacts.com/facts/roxy-music/sea-breezes
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  26. https://jpgr.co.uk/col_k56051.html
  27. https://www.roughtrade.com/product/mike-mcgear/mcgear-remastered-edition
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  30. https://louderthanwar.com/mike-mcgear-mcgear-album-review/
  31. https://www.harpercollins.com/products/the-mccartney-legacy-allan-kozinnadrian-sinclair
  32. https://rateyourmusic.com/release/album/mike-mcgear/mcgear-1/
  33. https://superdeluxeedition.com/news/mike-mcgear-mcgear-deluxe-reissue/
  34. https://www.the-paulmccartney-project.com/album/mcgear-2019/
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  36. https://www.discogs.com/release/9064425-Mike-McGear-McGear
  37. https://www.amazon.com/Mcgear-MICHAEL-MCGEAR/dp/B07QRN45XX
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  39. https://www.culturesonar.com/mcgear-two-mccartneys-no-waiting/
  40. https://www.youtube.com/watch?v=p-7z5Oe5YXQ
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