The Paul McCartney Project

Timeline More from year 2001
East Central One

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Track list

Disc 1


Wake Up and Make Love With Me

4:59 • Studio version


Sweet Gene Vincent

4:07 • Studio version


I'm Partial To Your Abracadabra

Written by Ian Dury, Chaz Jankel

3:31 • Studio versionA


My Old Man

3:13 • Studio version


Billericay Dickie

4:43 • Studio version


Clevor Trever

6:15 • Studio version


If I Was With A Woman

3:34 • Studio version



4:07 • Studio version


Plaistow Patricia

4:03 • Studio version


Blackmail Man

2:14 • Studio version


From Wikipedia:

New Boots and Panties!! is the debut album by Ian Dury, released in the UK on Stiff Records on 30 September 1977. Usually thought of as the first album by Ian Dury and the Blockheads (his backing band from 1977 to 1982), the album is credited solely to Dury as the Blockheads were not officially formed until Stiff’s ‘Live Stiffs’ package tour the month after the album’s release, and two members of the Blockheads do not play on the album. Although the album is often cited as one of the first classic UK punk albums, the record covers a diverse range of musical styles reflecting Dury’s influences and background in pub rock, taking in funk, disco, British music hall and early rock and roll, courtesy of Dury’s musical hero Gene Vincent. Dury’s lyrics also eschew the anti-establishment stance associated with punk music, preferring cheeky love songs or character stories based on the working-class people of the East End and Essex Estuary areas where he grew up. The songs are frequently ribald and profane, but also contain humour and affection for his characters.

From Billboard:

Physically handicapped since contracting polio at age seven, England’s Ian Dury—who died of cancer last year at 57—was one of the odder-looking chaps to emerge from the British New Wave when Stiff Records released his classic debut album, New Boots and Panties!, in 1977. But this cut-for-cut rerecording—featuring Sinéad O’Connor, Robbie Williams, Paul McCartney, Madness, Billy Bragg & the Blokes, Wreckless Eric, Catatonia’s Cerys Matthews, Feeder’s Grant Nicholas, Shane MacGowan, and Keith Allen, along with backing from Dury’s group the Blockheads—effectively recounts why he was also one of the era’s true originals. McCartney’s spirited version of “I’m Partial to Your Abracadabra” is a special surprise, and Bragg’s cover of the colorful cockney music-hall character sketch “Billericay Dickie” is another high point. Meriting mention, too, are Williams’ copy of Dury’s tribute to his rock’n’roll hero in “Sweet Gene Vincent” and O’Connor’s seductive tone on “Wake Up and Make Love With Me.” Proceeds from the album benefit the charity Cancer Bacup, which aided Dury at the end.—JB


If you love Ian Dury, you might not be able to explain why — his charms were that particular and idiosyncratic. Not inaccessible, though, since he had a big heart, a quick clever wit, and his own sense of style, all the more remarkable when you realize he was an old art school student-cum-teacher, stricken with polio at an early age, but never letting that keep him down. Anybody who witnessed the original Blockheads, either live or on illicit videos, will offer stunned, rapturous testimonials to the group’s unrestrained power, but on record, that faded into the background and Dury’s deft wordplay came to the front; not necessarily a bad thing, but the white disco that dominates his recordings might dissuade listeners who really come from the same vantage point as Dury. And that’s why this tribute may offer a greater good than the average tribute, since it captures the spirit of Dury’s distinctly British, wildly individual post-punk working-class poetry. This is still a very British record — hell, he was a star in the U.K. while a barely noticed novelty in the U.S., so why shouldn’t this not just be heavy on British celebrities, but have a British feel — yet they wind up capturing the wonderful weirdness of Dury’s body of work, particularly since most realize the joyous collequialisms and fun within his work. And there’s a great deal of variety here, whether it’s Billy Bragg capturing the off-kilter charm of Dury’s rhyme on “Billericay Dickie” or Paul McCartney’s pile-driving version of “I’m Partial to Your Abracadabra,” recorded, like many of these songs, with the Blockheads. This is a tribute in the very best sense, because it captures the feel of Dury’s records, but gives a personal spin from each artist — a personal touch that has a real love for the artist. Dury still remains an acquired taste, but this will help the doubters understand why people love this man.


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