Editing Back to the Egg (section)

====December 1978–February 1979: Replica Studio====
Towards the end of the year, Wings also carried out overdubs at the newly built Replica Studio, located at MPL's Soho Square offices.<ref name="Madinger & Easter pp 240-41" /> Frustrated at the impending unavailability of Abbey Road's Studio Two<ref name="Madinger & Easter p 241" /> – which studio owner and record company [[EMI]] needed for its other acts, besides Wings<ref name="Sounes p 348">Sounes, p. 348</ref> – McCartney had constructed an exact replica of Studio Two in the basement at MPL.<ref name="Badman p 227">Badman, p. 227</ref>{{refn|According to Madinger and Easter, McCartney had to make way for block-booked sessions for [[Cliff Richard]]'s new album, ''[[Rock 'n' Roll Juvenile]]'' (1979).<ref name="Madinger & Easter p 241" /> Doyle writes that the competing project was in fact an album by "EMI's new darling", [[Kate Bush]].<ref>Doyle, pp. 176–77</ref>|group="nb"}} Among the work done on ''Back to the Egg'' at Replica, the band replaced the final twenty seconds of "So Glad to See You Here" with what Madinger and Easter describe as "a [[reggae]]-styled [[Coda (music)|coda]]", containing the "We're Open Tonight" [[reprise]].<ref>Madinger and Easter, pp. 241, 245</ref>

Sessions continued there in January and February 1979.<ref>Badman, p. 229</ref> During that time, the band recorded a non-album single – the [[disco]]-styled "[[Goodnight Tonight]]", backed with "[[Daytime Nighttime Suffering]]" – as a release to coincide with the airing of the long-delayed<ref name="McGee p 127">McGee, p. 127</ref> ''Wings Over the World'' special.<ref>Madinger and Easter, pp. 246, 247</ref> While noting that McCartney and Laine's relationship was beginning to unravel at this point, Sounes compares the freshness of these new recordings with the drawn-out sessions for ''Back to the Egg'' and writes that the album "was now so overworked it might more aptly have been titled ''Over-Egged''".<ref>Sounes, pp. 347–48</ref> Impatient at the amount of time being spent in the recording studio, Laine publicly admitted that he was "desperate" to go out on tour.<ref>Doyle, p. 177</ref>