domingo, 19 de octubre de 2025

Paul McCartney & Stevie Wonder "Ebony And Ivory (Single & Video)"

"Ebony and Ivory" is a song that was released in 1982 as a single by Paul McCartney featuring Stevie Wonder. It was issued on 29 March that year as the lead single from McCartney's third solo album, Tug of War (1982). Written by McCartney, the song aligns the black and white keys of a piano keyboard with the theme of racial harmony. The single reached number one on both the UK and the US charts and was among the top-selling singles of 1982 in the US. During the apartheid era, the South African Broadcasting Corporation banned the song after Wonder dedicated his 1984 Academy Award for Best Original Song to Nelson Mandela.

McCartney and Wonder began recording "Ebony and Ivory" in Montserrat in early 1981. The single marked the first time that McCartney had released a duet with another major artist and anticipated his 1980s collaborations with Michael Jackson. The track also appears on McCartney compilations All the Best! (1987) and Pure McCartney (2016), and on the two-disc version of Wonder's The Definitive Collection (2002). In 2013, Billboard ranked it as the 69th-biggest hit of all-time on the Billboard Hot 100 charts.

McCartney wrote "Ebony and Ivory" at his farm in Scotland in 1978. He first rehearsed the song with Wings in 1979. The song uses the ebony (black) and ivory (white) keys on a piano as a metaphor for integration and racial harmony. The title was inspired by McCartney hearing Spike Milligan say, "Black notes, white notes, and you need to play the two to make harmony, folks!" The figure of speech is much older. It was popularised by James Aggrey in the 1920s, inspiring the title of the pan-African journal The Keys, but was in use from at least the 1840s.

While writing the song, McCartney envisaged singing it with a black male singer. He and Wonder recorded it together at George Martin's AIR Studios in Montserrat during sessions lasting from 27 February to 2 March 1981. McCartney then carried out overdubs on the track at AIR in London. Due to conflicting work schedules, McCartney and Wonder filmed their parts for the song's music video separately (as explained by McCartney in his commentary for The McCartney Years 3-DVD boxed set).

A video for the solo version was also made, which showed McCartney playing piano with a bright spotlight, and black men in prison, including one of them being uplifted by the song, dancing and listening to it in prison as well as in the studio. This version was directed by Barry Myers on 11 February 1982. That same day, McCartney filmed a promotional interview for the Tug of War album.

The B-side of the single, "Rainclouds", was written by McCartney and Denny Laine, though on early pressings of the single the song was credited only to McCartney. According to authors Chip Madinger and Mark Easter, "Rainclouds" is "perhaps most notorious" as the track that McCartney worked on during 9 December 1980, straight after hearing that John Lennon had been fatally shot in New York. When leaving AIR Studios in central London that evening, he said in response to a TV reporter's question about the murder: "drag, isn't it?" The footage was included in news broadcasts around the world and McCartney's apparent casualness, though masking his profound shock, earned condemnation from the press.

The "Ebony and Ivory" single was released on 29 March 1982 in both the UK and the United States. It marked the first time in McCartney's solo career that he had sung a duet with another major star. In this, McCartney and Wonder fitted a trend as duetting artists became commonplace throughout the 1980s, particularly in mainstream British pop.

The single spent seven weeks at number one on the Billboard Hot 100 in the US and it was the fourth-biggest hit there of 1982. Its commercial success was aided by the music video, with MTV having been launched the year before. The song was also number one in the UK and spent three weeks atop the Irish Singles Chart.

In the US, the single's run atop the chart was the longest of any of McCartney's post-Beatles works, and the second longest career-wise (behind the Beatles' "Hey Jude"). For Wonder, it was his longest-running chart-topper and made him the first solo artist to achieve a number-one single in the US over three consecutive decades. It marked the first time that any single released by any member of the Beatles placed on the Billboard R&B chart. It was McCartney's record 28th song to hit number one on the Billboard Hot 100.

In 2008, "Ebony and Ivory" was ranked at number 59 on Billboard's Hot 100 songs of all-time. It was ranked 69th on a similar list published by the magazine in 2013.

Track listings:

7" single (R 6054)
  1. "Ebony and Ivory" – 3:41
  2. "Rainclouds" – 3:47
12" single (12R 6054)
  1. "Ebony and Ivory" – 3:41
  2. "Rainclouds" – 3:47
  3. "Ebony and Ivory" (Solo Version) – 3:41


Paul McCartney "Tug Of War (1993 Reissue, Remastered, UK, MPL/Parlophone, 0777 7 89266 2 7)"

Tug of War is the third solo studio album by the English musician Paul McCartney, released on 26 April 1982. It is his 11th album overall following the break up of the Beatles in 1970, his first album released after the dissolution of his band Wings the previous year, and his first album following the murder of his former songwriting partner John Lennon. The cover features an abstract oil painting by the artist Brian Clarke, a frequent McCartney collaborator, incorporating an overpainted transparency of a portrait of Paul taken by Linda McCartney.

Tug of War was produced by former Beatles producer George Martin and was a number-one hit in many countries, selling over one million copies in the United States in the year of its release. Some critics hailed it as a 'return to form' for McCartney, with Far Out declaring it his strongest work in 2022. The 2015 re-release, in a remastered deluxe edition, received a nomination for Best Boxed or Special Limited Edition Package at the 59th Annual Grammy Awards.

Following the release of the solo album McCartney II, McCartney's band Wings regrouped in July and October 1980 to rehearse several songs which later appeared on Tug of War and Pipes of Peace. Feeling the need for direction, McCartney called upon his former producer, George Martin, to begin recording a song written for the animated Rupert Bear character (to which McCartney acquired the film rights in 1970), titled "We All Stand Together", among others. The productive sessions continued until 9 December, the morning McCartney woke up to learn that his former songwriting partner and fellow ex-Beatle, John Lennon, had been murdered in New York City the previous night. Abandoning that day's session (in which he and Denny Laine were recording future B-side "Rainclouds") part-way through, both Martin and McCartney felt it was best to leave the project for the time being and start anew once they were ready.

In February 1981, two months after Lennon's death, McCartney resumed the sessions, recording that month with Stevie Wonder, Stanley Clarke, Carl Perkins and Ringo Starr, and laying down several songs in the process. The sessions were held at AIR Studios in Montserrat, in the Caribbean, and lasted from 3 February to 2 March, ending with "Ebony and Ivory" and "What's That You're Doing", two songs featuring Stevie Wonder. 10cc guitarist Eric Stewart also became a frequent collaborator of McCartney during this period. Further sessions were undertaken that summer at Martin's AIR Studios in Oxford Street, London. The sessions were so productive that several resulting tracks were held over for McCartney's next album, Pipes of Peace, which followed in 1983. The rest of 1981 was spent in a quiet fashion, with McCartney and Martin giving the finishing touches to the album.

In a contemporary review for Rolling Stone, music critic Stephen Holden hailed Tug of War as "the masterpiece everyone has always known Paul McCartney could make", and particularly admired its vivid music and consistent songwriting. In The Boston Phoenix, M. Howell felt that the album "is bouncy, joyful, sweet and melodic—things we expect from Paul McCartney. It's also frightened and fierce—things he’s not supposed to be. To say that Tug of War is a far better record than McCartney’s ever made is to slight it—Tug of War goes beyond anything that McCartney ever indicated he was capable of." Robert Palmer was less enthusiastic in his review for The New York Times, and found the album "exquisitely crafted though lyrically flawed", as he thought McCartney's lyrics were often "clichéd or mawkish", but that the album "at its best, is as finely crafted as his work with the Beatles".

In March 1982, McCartney's duet with Stevie Wonder, "Ebony and Ivory", was released to considerable commercial success, reaching number one in many countries. Tug of War followed in April, and similarly became a worldwide number one. The follow-up single, "Take It Away", reached the top ten in the United States. The album restored McCartney's critical reputation after what was viewed as a lean period for him. Tug of War was nominated for the "Album of the Year" Grammy in 1983. Wingspan author Mark Lewisohn thought it was a better album than Band on the Run.

The album was issued in the US on compact disc on 29 February 1984. In 1993, Tug of War was remastered and re-issued on CD as part of The Paul McCartney Collection series. There were no bonus tracks: "Rainclouds" and "I'll Give You a Ring", B-sides of "Ebony and Ivory" and "Take It Away", respectively, were omitted. In 2007, Tug of War was remastered and re-released on the iTunes Store adding a solo version of "Ebony and Ivory".

A further reissue of Tug of War was released on 2 October 2015, as part of the Paul McCartney Archive Collection. This edition included a remixed version of the album, along with the original mix, and a series of videos.

Track listing
All songs were written by Paul McCartney, except "What's That You're Doing?" co-written by Stevie Wonder.
  1. "Tug of War" – 4:22
  2. "Take It Away" – 4:14
  3. "Somebody Who Cares" – 3:19
  4. "What's That You're Doing?" (with Stevie Wonder) – 6:19
  5. "Here Today" – 2:27
  6. "Ballroom Dancing" – 4:07
  7. "The Pound Is Sinking" – 2:54
  8. "Wanderlust" – 3:49
  9. "Get It" (with Carl Perkins) – 2:29
  10. "Be What You See (Link)" – 0:34
  11. "Dress Me Up as a Robber" – 2:41
  12. "Ebony and Ivory" (with Stevie Wonder) – 3:46
Recording information:
George Martin – producer
Geoff Emerick – engineer
Jon Jacobs – assistant engineer
Mike Stavrou – assistant engineer
Alex Wharton – mastering
Hipgnosis – cover coordination
Sinc – cover coordination
YES – creative direction, design
Brian Clarke – cover painting
Linda McCartney – photography


























Paul McCartney And Wings "Band On The Run (1993 Reissue, Remastered, Holland, MPL/Parlophone, 0777 7 89240 2 9)"

Band on the Run is the third studio album by the British–American rock band Paul McCartney and Wings, released on 30 November 1973. It was McCartney's fifth album after leaving the Beatles in April 1970 and his final album on Apple Records. Although sales were modest initially, its commercial performance was aided by two hit singles – "Jet" and "Band on the Run" – such that it became the top-selling studio album of 1974 in the United Kingdom and Australia, in addition to revitalising McCartney's critical standing. It remains McCartney's most successful album and the most celebrated of his post-Beatles works.

The album was mostly recorded at EMI's studio in Lagos, Nigeria, as McCartney wanted to make an album in an exotic location. Shortly before departing for Lagos, drummer Denny Seiwell and guitarist Henry McCullough left the group. With no time to recruit replacements, McCartney went into the studio with just his wife Linda and Denny Laine. McCartney therefore played bass, drums, percussion and most of the lead guitar parts. The studio was of poor quality and conditions in Nigeria were tense and difficult; the McCartneys were robbed at knifepoint, losing a bag of song lyrics and demo tapes. After the band's return to England, final overdubs and further recording were carried out in London, mostly at AIR Studios.

Band on the Run has been reissued numerous times with bonus tracks, including in 1993 as part of The Paul McCartney Collection, in 1999 for its 25th anniversary, in 2010 as part of the Paul McCartney Archive Collection and in 2024 for its 50th anniversary.

By 1973, three years after the break-up of the Beatles, Paul McCartney had yet to regain his artistic credibility or find favour with music critics for his post-Beatles work. After completing a successful UK tour with his band Wings in July 1973, he planned their third album as a means to re-establish himself after the mixed reception given to Wild Life and Red Rose Speedway.

Keen to record outside the United Kingdom, McCartney asked EMI to send him a list of all their international recording studios. He selected Lagos in Nigeria and was attracted to the idea of recording in Africa. In August, the band – consisting of McCartney and his wife Linda, ex-Moody Blues guitarist and pianist Denny Laine, Henry McCullough on lead guitar, and Denny Seiwell on drums – started rehearsals for the new album at the McCartneys' Scottish farm. During one rehearsal session, McCullough and McCartney argued, and McCullough quit. Seiwell left a week later, the night before the band flew out to Nigeria. This left just McCartney, Linda and Laine to record in Lagos, assisted by former Beatles engineer Geoff Emerick. McCartney had chosen Lagos, as he felt it would be a glamorous location where he and the band could sun on the beach during the day and record at night; the reality, however, was that, after the end of a civil war in 1970, Nigeria was run by a military government, with corruption and disease commonplace.

It was McCartney's last album released on Apple Records.

The band and their entourage arrived in Lagos on 30 August 1973, returning to London late on 22 September. EMI's studio, located on Wharf Road in the suburb of Apapa, was ramshackle and under-equipped. The control desk was faulty and there was only one tape machine, a Studer 8-track. The band rented houses near the airport in Ikeja, an hour away from the studio. McCartney, Linda, and their three children stayed in one, while Laine, his wife JoJo, Emerick, and Wings' two roadies stayed in another.

The group established a routine of recording during the week and playing tourist on the weekends. McCartney temporarily joined a local country club, where he spent most mornings. The band was driven to the studio in the early afternoon, and recording would last into the late evening or early morning. To compensate for the departed band members, McCartney played, in addition to his contributions on bass guitar, the drum and lead guitar parts, with Laine playing rhythm guitar and Linda adding keyboards. The first track they recorded at Apapa was "Mamunia", the title for which McCartney appropriated from the name of a hotel in Marrakesh where Wings had stayed in April 1973.

Several of the songs on Band on the Run reflect themes of escape and freedom, while the structure of the album recalled the Beatles' Sgt. Pepper's Lonely Hearts Club Band and Abbey Road. The song "Band on the Run" was partly inspired by a remark George Harrison had made during one of the many business meetings the Beatles attended in 1969 in an effort to address the problems afflicting their Apple Corps enterprise. Four years later, the album's creation coincided with what author Peter Doggett terms McCartney's "moral victory in the debate over Allen Klein", as Harrison, John Lennon, and Ringo Starr now became embroiled in litigation against Klein – the business manager they had appointed to run Apple in 1969, despite strong opposition from McCartney. Doggett writes that McCartney was perhaps liberated creatively by this recent development, resulting in Band on the Run bearing "a frothy self-confidence that was reminiscent of the Beatles at their most productive".

Aside from the challenges presented by the substandard studio, various incidents plagued Wings' stay in Lagos. While out walking one night against advice, McCartney and Linda were robbed at knifepoint. The assailants made off with all of their valuables, and even stole a bag containing a notebook full of handwritten lyrics and songs, and cassettes containing demos for songs to be recorded. On another occasion, McCartney was overdubbing a vocal track when he began gasping for air. According to Emerick: "Within seconds, [McCartney] turned as white as a sheet, explaining to us in a croaking voice that he couldn't catch his breath. We decided to take him outside for some fresh air ... [but] once he was exposed to the blazing heat he felt even worse and began keeling over, finally fainting dead away at our feet. Linda began screaming hysterically; she was convinced that he was having a heart attack ... The official diagnosis was that he had suffered a bronchial spasm brought on by too much smoking." Another incident was the confrontation with local Afrobeat pioneer and political activist Fela Kuti, who publicly accused the band of being in Africa to exploit and steal African music after their visit to his club. Kuti went to the studio to confront McCartney, who played their songs for him to show that they contained no local influence. Later on, drummer and former Cream member Ginger Baker invited Wings to record their entire album at his ARC Studio in Ikeja. McCartney agreed to go there for one day, and the song "Picasso's Last Words (Drink to Me)" was recorded at ARC, with Baker himself shaking a tin can filled with gravel on the track.

Recording for the majority of the album's basic tracks, together with initial overdubbing, was completed after six weeks in Nigeria. Wings hosted a beach barbecue to celebrate the end of recording, and on 23 September 1973 they flew back to England, where they were met by fans and journalists. Upon returning to London, the McCartneys received a letter from EMI dated before the band had left England warning them to not go to Lagos due to an outbreak of cholera.

In October, two weeks after the band's return to London, work began at George Martin's AIR Studios to transfer many of the eight-track recordings made in Nigeria to sixteen-track. "Jet", named after one of the McCartney children's ponies, was recorded in its entirety at AIR. The McCartneys and Laine carried out further overdubs on the Lagos recordings during this period; all of the orchestral arrangements for the album were taped at AIR in a single day, conducted by Tony Visconti. Visconti was given three days to write the arrangements, including for the 60-piece orchestra on the title track. He said the arrangements were collaborations with McCartney, and was surprised he was not correctly credited for his work until the 25th anniversary reissue of the album. Another contributor was saxophonist Howie Casey, who overdubbed solos on "Bluebird", "Mrs. Vandebilt", and "Jet", and would go on to become Wings' regular horn player. On 8 October, Remi Kabaka, a musician coming from Nigeria, although born in Ghana, added a set of percussion on "Bluebird". During the sessions at AIR, Geoff Emerick blamed his assistant for not noticing that a pile of oxide was falling onto the tapes. In an interview with Luca Perasi, featured in the book Paul McCartney & Wings: Band on the Run. The Story of a Classic Album, assistant Pete Swettenham explained the reason behind the misunderstanding. Final mixing of the album was completed over three days at London's Kingsway Studios in early November.

The album cover photograph was taken in Osterley Park, West London, on 28 October 1973 by photographer Clive Arrowsmith from a concept by Hipgnosis and McCartney. It depicts the McCartneys, Laine, and six other well-known people dressed as convicts and posed as though caught by a prison searchlight. The six celebrities are: Michael Parkinson, Kenny Lynch, James Coburn, Clement Freud, Christopher Lee, and John Conteh. Arrowsmith said the photo used for the cover was one of four he found acceptable out of the 24 pictures he took during the session. The spotlight's low potency meant everyone had to stand still for two seconds for proper exposure, which was made difficult by the photographer and subjects reportedly being in a "substance haze" following a party held by Paul McCartney. The golden hue of the picture comes from Arrowsmith’s use of daylight film instead of nighttime Tungsten film, which would have been more typical for the setting.

Apple Records issued Band on the Run in the UK on 30 November (as Apple PAS 10007),[35] and in the U.S. on 5 December (as Apple SO 3415). Rather than having the band promote the album on radio and television or with a tour, McCartney undertook a series of magazine interviews, most notably with Paul Gambaccini for Rolling Stone. The conversations with Gambaccini took place at various locations from September 1973 onward, and combined to form, in the words of authors Chip Madinger and Mark Easter, "a remarkably forthcoming interview in comparison to the 'thumbs-aloft' profiles usually allowed by [McCartney]".

"Helen Wheels" was released as a non-album single in late October 1973, and became a top 10 hit in America the following January. For commercial reasons, Capitol Records, the US distributor for Apple Records, asked to include "Helen Wheels" on the album. McCartney agreed, although it was never his intention to include the track. While "Helen Wheels" is not included on CD editions of Band on the Run in the UK (except as a bonus track on the 1993 "The Paul McCartney Collection" edition of the album), it has often appeared on CD releases of the album in the US and Canada, starting with the initial Columbia Records release in 1984. Early versions of the Capitol release fail to list "Helen Wheels" on the label or the CD insert, making the song a "hidden track".

Initially, the album did not sell especially well, with the record-buying public wary after Wings' preceding releases. On the UK Albums Chart, Band on the Run climbed to number 9 on 22 December, remaining there for a second week before dropping to number 13. On America's Billboard Top LPs & Tape chart, it peaked at number 7 on 2 February 1974, and then spent the next six weeks in the lower reaches of the top ten. The album went on to achieve considerable success, however, thanks to the popularity of the two singles culled from it: "Jet" and the title track. Writing in 1981, Bob Woffinden described Band on the Run as the first Beatles-related release to be "planned with a marketing strategy", as Capitol Records now assumed a fully active role in promoting the album following the removal of Klein's ABKCO Industries as managers of Apple. Although McCartney had been reluctant to issue album tracks as singles, the public's apparent lack of interest in Band on the Run led him to agree to the recommendations of Capitol's head of marketing, Al Coury, who had similarly pushed for the inclusion of "Helen Wheels" on the album's American release. McCartney therefore authorised single edits of the two A-sides taken from the album.

"Jet" was issued as a single in America on 28 January with "Mamunia" as the B-side, although "Let Me Roll It", which was the B-side of the UK release, replaced "Mamunia" on 15 February. The single's success provided new impetus for the album, which hit number 2 in the UK at the end of March and topped Billboard's listings on 13 April. Apple issued "Band on the Run" as a single in America on 8 April, backed by "Nineteen Hundred and Eighty-Five"; the UK release followed on 28 June, with the non-album instrumental "Zoo Gang" as the B-side. Due to the popularity of "Band on the Run", the album returned to number 1 on the Billboard chart on 8 June, when the single simultaneously topped the Hot 100. In Britain, the album finally hit number 1 on 27 July, and it stayed there for seven consecutive weeks. On the alternative UK listings compiled by Melody Maker, Band on the Run remained in the top ten from 26 January through 23 November 1974. During that time, its chart performance similarly reflected the popularity of the two singles, with the album spending three weeks at number 2 in April, and six weeks at number 1 throughout August and the first week of September.

The album topped the Billboard chart on three separate occasions during 1974, and was the top selling album of that year in Australia and Canada.In Britain, it came second in the year-end standings, behind the compilation The Singles: 1969–1973 by the Carpenters. Through this success with Wings, McCartney established himself as the most commercially successful of the four former Beatles. Author Robert Rodriguez views the album's arrival at number 1 in America in April 1974 as the moment when McCartney usurped George Harrison as the "ex-Beatle Most Likely to Succeed", and the beginning of a period of public acclaim that reached its zenith with the Wings Over America Tour in 1976.

Band on the Run was eventually certified triple platinum by the Recording Industry Association of America (RIAA) and would go on to sell 9 million copies worldwide, becoming EMI's top selling album of the 1970s in the UK. Its continued success through 1974 was also beneficial in allowing Wings to recruit a new guitarist and drummer, and to integrate them into the band before beginning new recordings.

Tracklist:
  1. Band On The Run
  2. Jet
  3. Bluebird
  4. Mrs Vandebilt
  5. Let Me Roll It
  6. Mamunia
  7. No Words
  8. Picasso's Last Words (Drink To Me)
  9. Nineteen Hundred And Eighty Five
  10. Helen Wheels
  11. Country Dreamer
Released in a regular jewel case with a 16-page booklet.

On back inlay:
UK: CDPMCOL 5
Printed in Holland

Please note there will be a 10 second break between original and bonus tracks.

Tracks 10 and 11 are bonus tracks.


























Original Motion Picture Soundtrack "Grease (2008 Reissue, Remastered, 30th Anniversary Limited Deluxe Edition, Polydor/Universal, 9809773)"

Grease: The Original Soundtrack from the Motion Picture is the original motion picture soundtrack for the 1978 film Grease. It was originally released by RSO Records and subsequently re-issued by Polydor Records between 1984 and 1991. It has sold over 30 million copies worldwide, making it one of the best-selling albums of all time, also ranking amongst the biggest selling soundtrack albums of all time. The song "You're the One That I Want" was a U.S. and UK No. 1 for stars John Travolta and Olivia Newton-John.

Besides performers John Travolta and Olivia Newton-John, the album also featured songs by rock and roll revival group Sha Na Na as well as the hit song "Grease", a tune written by Barry Gibb (of the Bee Gees) and sung by Frankie Valli (of The Four Seasons) that was an additional U.S. No. 1.

The soundtrack was released on April 14, 1978, two months ahead of the film's release. As with most musicals of the period, the vocal takes recorded for the album release–and in some cases the instrumental background as well–do not lock to picture but were recorded during entirely different soundtrack sessions often months prior or subsequent to the performances used for lip sync in the film.

The cover gives credit to, and prominently features, the two stars of the film—John Travolta and Olivia Newton-John—although they only appear on seven of the 24 tracks. Sha Na Na performed many of the 1950s numbers in the film, the recordings of which also appear on the soundtrack. Stockard Channing sings lead on two of the tracks; the two tracks remain her only significant contribution to recorded popular music to date. The title track is featured twice on the soundtrack and performed by Frankie Valli, who had no other connection with the film.

The entirety of the score written by Jim Jacobs and Warren Casey for the Broadway musical was included on the soundtrack and/or in the film, with the exception of two songs: "Shakin' at the High School Hop" (originally composed to open Act II of the musical) and "All Choked Up" (the song originally written into the spot where the film used "You're the One that I Want") were both left out of both the film and the soundtrack. Not all of the songs were included in the film; songs cut from the film were performed on the soundtrack by Louis St. Louis and Cidny (then Cindy) Bullens or converted to instrumentals. Songs in the musical that were not performed by Rizzo, Danny, Sandy, the Teen Angel, or Johnny Casino & the Gamblers were given to those characters or to St. Louis and Bullens; these included Sandy's original feature number "It's Raining on Prom Night" (given to Bullens and used as a jukebox background song), Marty's "Freddy, My Love" (given to Bullens), Doody's "Those Magic Changes" (given to Johnny Casino & the Gamblers), Kenickie's "Greased Lightnin'" (given to Danny), and both of the songs originally attributed to a character named Roger that was written out of the film, "Mooning" and "Rock'n'Roll Party Queen" (both given to St. Louis; "Mooning" was replaced in function in the film by the 1930s standard "Blue Moon," performed by the Gamblers). Rizzo's 11 o'clock number "There Are Worse Things I Could Do" was only kept in the film at Channing's fervent insistence, as she felt the song (and the storyline behind it) was necessary to prevent Rizzo from becoming a one-dimensional caricature.

The most successful songs from the soundtrack were written specifically for the film. They included the Billboard number-one hits "Grease", "You're the One That I Want" and the Academy Award-nominated "Hopelessly Devoted to You". In the UK, the album proved even more successful where "You're the One That I Want" and "Summer Nights" (a song carried over from the original musical) reached No.1 for nine and seven weeks respectively, while "Grease", "Hopelessly Devoted to You" and "Sandy" all became top three hits. The soundtrack album hit the top of the charts in the US during the summer of 1978, replacing The Rolling Stones' Some Girls. In the UK, it remained at the top of the charts for 13 consecutive weeks. As of 2011, "You're the One That I Want" and "Summer Nights" are still among the 20 best-selling singles of all time in the UK (at Nos. 6 and 19 respectively). "Greased Lightnin'," another carryover from the stage version, was also released as a single, reaching the top 20 in the UK but narrowly missing the top 40 in the U.S. in part because of the lyrical content not being permitted on U.S. radio.

Two of the bass players who recorded on the Grease soundtrack were members of Toto. One of these, David Hungate, also performed on Newton-John's album Totally Hot with Toto guitarist Steve Lukather. Other musicians on the soundtrack had previously worked with Elton John, Steely Dan, Bee Gees and others. The Grease album, as well as the soundtrack for the film, were recorded and mixed by David J. Holman.

The album has sold over 6.1 million copies in the U.S. in the SoundScan era (beginning 1991) in addition to the 8 million shipped in the years 1978–1984.

In their review, Billboard stated that "RSO follows its record breaking Saturday Night Fever soundtrack with another apparent smash film track. The double pocket set contains 24 cuts of original Broadway material as well as new material written specifically for this contemporized version. Olivia Newton-John and John Travolta shine with their best vocal efforts, especially Newton-John on the rapidly rising single 'You're The One That I Want.'"

Cashbox noted that "the former Broadway hit sounds like a winner on vinyl, too. With great vocals from stars Olivia Newton-John and John Travolta and help from Sha-Na-Na, Frankie Valli and Peter Frampton, this 2- LP set should slide to the top of the pop chart. One hit single is already out, and more will follow."

Stephen Thomas Erlewine of AllMusic retrospectively rated the soundtrack four-and-a-half stars. He stated that "the originals hold up better than the '50s tunes" due in large part to Sha Na Na's workmanlike performances of the latter. Erlewine added however that the original songs "are so giddily enjoyable that everything works". He also said that "the sleek pop production the movie's soundtrack boasts and the cast's enthusiastic performances go a long way in making this Grease the definitive Grease." The album was nominated for Album of the Year at the 21st Annual Grammy Awards.

Tracklist:

Disc 1: Grease Remastered
  1. Frankie Valli – Grease 3:25
  2. John Travolta & Olivia Newton-John – Summer Nights 3:36
  3. Olivia Newton-John – Hopelessly Devoted To You 3:05
  4. John Travolta & Olivia Newton-John – You're The One That I Want 2:49
  5. John Travolta – Sandy 2:35
  6. Frankie Avalon – Beauty School Dropout 3:59
  7. Stockard Channing – Look At Me, I'm Sandra Dee 1:40
  8. John Travolta – Greased Lightnin' 3:14
  9. Cindy Bullens – It's Raining On Prom Night 2:52
  10. Alone At The Drive-In-Movie (Instrumental) 2:23
  11. Sha-Na-Na – Blue Moon 2:25
  12. Sha-Na-Na – Rock 'N' Roll Is Here To Stay 2:02
  13. Sha-Na-Na – Those Magic Changes 2:18
  14. Sha-Na-Na – Hound Dog 1:25
  15. Sha-Na-Na – Born To Hand Jive 4:39
  16. Sha-Na-Na – Tears On My Pillow 2:03
  17. Louis St. Louis & Cindy Bullens – Mooning 2:15
  18. Cindy Bullens – Freddy My Love 2:48
  19. Louis St. Louis – Rock 'N' Roll Party Queen 2:11
  20. Stockard Channing – There Are Worse Things I Could Do 2:23
  21. Olivia Newton-John – Look At Me, I'm Sandra Dee (Reprise) 1:30
  22. John Travolta, Olivia Newton-John & Cast – We Go Together (Interpolating: A) Which Doctor (Bagdasarian), B) Who Put The Bomp (In The Bomp, Bomp, Bomp, Bomp)) 2:59
  23. Love Is A Many Splendored Thing (Instrumental) 1:23
  24. Frankie Valli– Grease (Reprise) 3:24

Disc 2: Grease Bonus Disc
  1. Grease (Instrumental) 3:23
  2. Summer Nights (Sing-A-Long Version) 3:34
  3. Hopelessly Devoted To You (Sing-A-Long Version) 3:03
  4. You're The One That I Want (Sing-A-Long Version) 2:32
  5. Sandy (Sing-A-Long Version) 2:30
  6. John Travolta – Greased Lightnin' (Single Version) 3:20
  7. Rydell Fight Song (Previously Unreleased Instrumental) 0:20
  8. Greased Up And Ready To Go (Previously Unreleased Instrumental) 4:49
  9. Olivia Newton-John & John Travolta – Grease Megamix 4:48
  10. Olivia Newton-John & John Travolta – Grease Dream Mix 3:45
  11. John Travolta & Olivia Newton-John – Summer Nights (Martian Remix) 3:37
  12. John Travolta & Olivia Newton-John – You're The One That I Want (Martian Remix) 3:25
All selections except "Grease" arranged by: John Farrar, Michael Gibson, Louis St. Louis
Strings on "Summer Nights" arranged by Ben Lanzarone
Horns and Strings on "Greased Lightnin'" and "Born to Hand Jive" arranged by Michael Melvoin
Karl Richardson – engineer ("Grease")
Recorded at: Filmways/Wally Heider Recording Studios, Hollywood
United Western Studios, Hollywood
Hollywood Sound Recorders, Hollywood
Engineered by: David J. Holman, Jay Lewis, EirBilly Joel Wangberg, Michael Carneval, Karl Richardson ("Grease")
All selections mixed and re-mixed by David J. Holman at Filmways/Wally Heider Recording Studios, Hollywood (Except "Grease")
Produced by: Louis St. Louis and John Farrar; Barry Gibb, Albhy Galuten and Karl Richardson ("Grease")
Album mastered at A&M Records by Bernie Grundman
Art direction: Glenn Ross
Album design: Tim Bryant/George Corsillo
Photography: Alan Pappe/Lee Gross Assoc., Inc.
Background photos: Ron Slenzak