theme of a working band, getting back on the road ... or 'back to the egg' (or protective shell) of touring." In the original LP format, the two album sides were labelled with the egg-related titles "Sunny Side Up" and "Over Easy". "Sunny Side Up" The album's opening song is "Reception", an instrumental, in which McCartney attempted to capture the effect of turning a radio dial and finding "about four stations at once". The track features a guitar-controlled synthesizer (played by Juber) over a funk-inspired bassline, and spoken voices, including a reading of part of "The Poodle and the Pug", from Vivian Ellis's opera Big Ben (1946). A brief segment from the track "The Broadcast", which appears later on Back to the Egg, is previewed in this opening piece. The next three songs – "Getting Closer", "We're Open Tonight" and "Spin It On" – adhere to the proposed album-wide concept. Writing in Melody Maker in June 1979, Mark Williams interpreted "Reception" as representing a radio being tuned in a car, whereby "the occupant is on his way to a gig, hence 'Getting Closer' [to the venue] and, upon arrival, 'We're Open Tonight'". The notion of live performance is then reflected in the sequencing of what Madinger and Easter term "heavier rock tracks such as 'Spin It On'". McCartney had recorded a piano demo for "Getting Closer" in 1974, at which point the song had a slower tempo. Author and Mojo contributor Tom Doyle describes Wings' version as "power-popping" and reminiscent of the English band Squeeze. The mellow "We're Open Tonight" was written at the McCartneys' farm in Campbeltown, Scotland, and was the album's title track until Linda suggested Back to the Egg. Another song composed in Scotland, the fast-tempo "Spin It On" was an obvious acknowledgment of punk and new wave; author Vincent Benitez terms it "McCartney-esque whimsy on punk steroids". Laine's composition "Again and Again and Again" similarly has "echoes of the Clash", according to McCartney biographer Howard Sounes. This song was originally two separate pieces, which Laine combined on McCartney's recommendation. Although credited to McCartney alone, "Old Siam, Sir" marked "the most collective band involvement" as regards songwriting, Madinger and Easter suggest. Similar in style to "Spin It On", the song features a keyboard riff written by Linda and a Holley-composed middle eight; in addition, Laine helped McCartney complete the composition, an early version of which the previous