bill harry_ the paul mccartney encyclopedia 20

8/14/2019 Bill Harry_ the Paul McCartney Encyclopedia 20

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Bill Harry. "The Paul McCartney Encyclopedia"The Beatles 1963-1970

BILL HARRY. THE PAUL MCCARTNEY ENCYCLOPEDIASacree SoireeA French television show. Paul and his band appeared on theprogramme on Wednesday 31 May 1989. In the show he appeared for 23minutes during which he performed 'My Brave Face' with the band and

was interviewed. George Martin was also on the show and 'BesameMucho' from the Decca auditions on New Year's Day 1962 was played.Saint PaulAnother American single inspired by the 'Paul is dead' rumours.Recorded by Terry Knight and issued in 1969 on Capitol 2506 with'Legend of William and Mary' on the flip.Saint Vincent Estate '89An Italian TV show on the RAI station. While promoting his newFlowers In The Dirt album, Paul and his group flew to Rome onThursday 15 June 1989 to appear on the programme, which took placeat the Teatro Delle Vittorie before a live audience. Paul and hisgroup also mimed to 'My Brave Face' and 'This One'.The programme was then screened on Friday 16 June 1989.

SallyA number composed by W Haines/H Leon/L Towers, which was muchassociated with Gracie Fields, the famous singer from Lancashire.Paul's version of the number, lasting 2 minutes and 3 seconds wasincluded on the Tripping The Live Fantastic album. It was recordedduring a soundcheck at Wembley Arena, London on 21 January 1990during the 1989/90 World Tour.Sally GA track which Paul wrote in Nashville in July 1974, inspired bycountry music singer Diane Gaffney and a visit to the red-lightdistrict 'Printer's Alley'. The number was recorded on Tuesday 9July 1974 between 6 p.m. and midnight at the Soundshop RecordingStudios. Paul invited a number of country music musicians to join

him on this country track including the pedal steel and slide guitarplayer Lloyd Green and Johnny Gimble, fiddle player with Bob Willisand the Texas Playboys.It was also the first Wings single to feature Geoff Britton andJimmy McCulloch.It was issued in Britain and America as the flipside of 'Junior'sFarm'. The British single was issued on Friday 25 October 1974 andthe American one on 4 November 1974.The single was re-released on Wednesday 5 February 1975 with 'SallyG' as the A-side. Paul commented, 'We flipped the single and Ithought it might seem like we were trying to fool the public, but itisn't. It's only to get a bit of exposure on that song. Otherwise,it just dies a death, and only the people who bought 'Junior's Farm'

get to hear 'Sally G'. I like to have hits, this is what I am makingrecords for.'It was also the last single to appear on the original Apple label.Same Time Next YearA song Paul wrote and recorded as the title track for the film SameTime Next Year in 1988, a movie that starred Alan Alda and EllenBurstyn. The number was rejected in favour of 'The Last Time I FeltLike This' by Marvin Hamlisch, because it was said that Paul'snumber 'gave away too much of the plot'. Paul's 'Same Time NextYear' was eventually issued on 5 February 1990 as a bonus track onthe CD and 12" vinyl singles of 'Put It There'.


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Paul recorded the number at Rak Studios on 5 May 1978, with LaurenceJuber making his first appearance as a member of Wings; it wasco-produced by Paul and Chris Thomas. The following day it wascompleted at Abbey Road Studios with a 68-piece string section, inan arrangement by Paul and Fiachra Trench.San Ferry AnneA number Paul wrote and recorded for the Wings At The Speed Of Soundalbum. It was 2 minutes and 6 seconds in length.

San Francisco BluesOriginally a single by Ramblin' Jack Elliott. During the MTVUnplugged, Robbie Mclntosh played it on slide guitar.San Remo Festival, ThePaul appeared at the annual San Remo Music Festival in Italy onSaturday 27 February 1988 when he featured as the headlineattraction and on stage performed 'Once Upon A Long Ago' and 'ListenTo What The Man Said' during a 14-minute spot. He lip-synched bothsongs for a television show. The appearance also gave him theopportunity of performing in public with his new band: HamishStuart, guitar/bass; Chris Whitten, drums; Gary Barnacle, saxophone;Andrew Chater, violin; and Linda McCartney on keyboards. GeorgeHarrison was also present at the festival and on Friday 26 February

received a 'Best Video Of The Year' award for 'When We Was Fab'.Saturday Night LiveAn American TV show on the NBC network.In a tongue-in-cheek manner, Lome Michaels had been making offersfor the Beatles to re-form and appear on the show.On Saturday 24 April 1976 Paul and Linda dropped in to see John andYoko at the Dakota apartments. John had been watching television andthey all saw Michaels make his offer once again, saying, 'Hi, I'mLome Michaels, the producer of Saturday Night. Right now we're beingseen by approximately twenty-two million viewers, but please allowme, if I may, to address myself to four very special people - John,Paul, George and Ringo: the Beatles.'Lately, there have been a lot of rumours to the effect that the

four of you might be getting back together. That would be great. Inmy book, the Beatles are the best thing that ever happened to music.It goes deeper than that, you're just not a musical group, you'repart of us, we grew up with you. It's for this reason that I'minviting you to come on our show.'Now, we've heard and read a lot about personality and legalconflicts that might prevent you guys from reuniting, that's none ofmy business. You guys will have to handle that. But it's also beensaid that no one has yet come up with enough money to satisfy you.Well, if it's money you want, there's no problem here. The NationalBroadcasting Company authorises me to authorise you a cheque for$3,000. Here, can you get a close-up of this?'Michaels holds the cheque up to the camera and it is made out to

'The Beatles'.'As you can see, verifiably, a cheque made out to you, the Beatles,for $3,000. All you have to do is sing three Beatle tunes. 'SheLoves You, Yeah, Yeah, Yeah'. That's $1,000 right there. You knowthe words, and it'll be easy. Like I said, this cheque is made outto 'The Beatles'. You divide it anyway you want. If you want to giveRingo less, that's up to you. I'd rather not get involved. I'msincere about this. If it helps you to reach a decision to reunitewell, it's a worthwhile investment. You have agents, you know whereI can be reached. Just think about it. OK? Thank you.'John said that they were amused by it and thought it would be funny


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if the two of them turned up at the studio. They almost took a cabto Saturday Night Live but decided they felt too tired. Paul andLinda left them while John and Yoko settled down to watch 'The TimeMachine' on television.Michaels repeated the offer on the Saturday 22 May 1976 edition ofthe show, upping the offer from $3,000 to $3,200.On the Saturday 2 October 1976 edition of the show he said, 'Hi, I'mLome Michaels. Several months ago I made a bona fide offer of $3,000

to the Beatles to perform on Saturday Night. For months there was noresponse and then about two weeks ago, I got a long-distance phonecall from Eric Idle, tonight's host, in London saying that if Iwould let him come over and host the show, he would bring theBeatles with him. Well, in my excitement, I agreed and foolishlysent him the cheque for $3,000. You see, he said the Beatles wantedthe money in advance so that they could buy some new clothes to wearon the show. Well, when I met Eric at the airport last Monday, Inoticed that he was alone. So I said, "Where are they, I mean theBeatles." He said that their new clothes weren't ready yet, so theywere going to catch a later flight. I still didn't think anythingwas wrong, until yesterday, when a telegram arrives saying, "Can'tcome now, Ringo's pants too long Stop Please send more money for

alterations Stop Signed the Beatles."'When I showed the telegram to Eric, he said he would call Londonimmediately and he did, and convinced John, Paul, George and Ringoto send over a film instead. Well, twenty minutes ago, the filmarrived from England. I just saw it and it's... quite good, onlyit's not the Beatles, it's the Rutles. Evidently, Eric had a badphone connection to London and, well, anyway ... it's halfwaythrough the show and Eric's already spent the $3,000, so ladies andgentlemen, here are the Rutles .., the fabulous Rutland sound,created by the fab four, Dirk, Stig, Nasty and Barry, who created amusical legend that will last a lunchtime.'Paul and Linda were guests on the programme on Saturday 17 May 1980.Billy Crystal, in the guise of a character of his invention called

Father Guido Sarducci, talked to them by satellite as they wereoutside the MPL offices in London. 'Sarducci' also sang a 'BeatlesMedley'. A clip of 'Coming Up' also received its American premiereon the show.During his New World Tour, Paul and his band appeared on the show onSaturday 13 February 1993. Paul initially chatted to Lome Michaelsabout the $3,000 offer Saturday Night Live made for a Beatlesreunion many years earlier. Paul and his band performed threenumbers, 'Biker Like An Icon', 'Get Out Of My Way' and 'Hey Jude'.Linda joined him on a spoof song 'I Love My Sweatshirt' and he alsoappeared in some comic sketches such as 'The Mimic' and was subjectto a spoof interview with Chris Farley.Saturday Shake Up

A children's TV show produced by Tyne-Tees Television. On Friday 7December 1979 Wings were interviewed for the show backstage at theCity Hall, Newcastle. It was added to clips from 'Old Siam Sir','Goodnight Tonight' and 'Wonderful Christmastime' to produce a24-minute segment, which was titled 'Flying With Wings' and screenedon Saturday 22 December 1979.Saturday SuperstoreA BBC 1 Saturday-morning show for youngsters, hosted by disc jockeyMike Read. Paul appeared on the show for forty minutes on Saturday 7December 1985 during which he participated in an audience phone-inand introduced two of his promotional videos - for 'Spies Like Us'


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and 'We All Stand Together'.He returned to the show on Saturday 13 December 1986 and wasinterviewed by Mike Read once again. Paul answered viewers questionsby phone and his appearance lasted for 28 minutes.Save The ChildA single issued by Angel/Capitol in the States on Tuesday 12November 1991, the first and only American single from the LiverpoolOratorio. In the UK it was the second single following 'The World

You're Coming Into'. 'Save The Child' was issued in three formats inthe UK on Monday 18 November, with 'The Drinking Song' on the flip.They were the 7" vinyl version on KIRIS 2 or 2 04513 7, the compactdisc on KIRICD 2 or 2 04513 2 and the cassette on KIRITC 2 or 204513 4.Say Say Say (promotional film)The promotional film for the video was directed by Bob Giraldi whohad earlier directed a Michael Jackson promotional film for 'BeatIt'.The promotional film cost half a million dollars to produce and wasfilmed in Los Alamos, California between Tuesday 4 October andFriday 7 October 1983.The promotional film was premiered on The Tube, a Channel 4

programme on Friday 28 October 1983.Say Say Say (single)A single by Paul McCartney and Michael Jackson, issued in America onColumbia/MPL 38-04 168 and in Britain on Parlophone R6062. It wasreleased simultaneously in Britain and the US on Monday 3 October1983. The number was produced by George Martin and was also includedon the Pipes Of Peace album.The 7" single was a four-minute version, with 'Ode To A Koala Bear'on the flipside. The 12" version, with a remix by 'Jellybean'Benitez, was nearly two minutes longer and, apart from 'Ode To AKoala Bear', also has a 7-minute instrumental version on theflipside.The review in the music paper Melody Maker read: 'Ebony and Ivory

back together in perfect harmony but for what? Mutual bankaccounts?' The New Musical Express review read, 'Far closer to aWingsoid rocker than anything that Jackson had attempted over thepast few years - but still falls short of even the pitiful standardset by last year's collaboration.'It was released in Germany on Odeon 1C006-1652527.The number was included on a charity disc compilation, Let's BeatIt, with proceeds donated to the TJ Martell Foundation for Leukemiain New York. It was issued on Monday 1 July 1985 by Epic Records onEPC 26345 and on cassette 40-26345.Scene SpecialA Granada Television show. Paul recorded an interview for the showon Wednesday 18 January 1967 that was transmitted on Thursday 7

March 1967. Paul discussed the 'underground' scene and Pink Floydperformed 'Interstellar Overdrive'.Schwartz, FrancieA Pennsylvanian-born, New York City-educated brunette who arrived inBritain in 1968 seeking backers for a film script she had written.She took it along to the Apple office in Wigmore Street and Paulnoticed her in the reception lounge. They chatted for a while and hesaid she could make herself useful in the Apple offices. She gavePaul her address in London and he came to see her one Mondaymorning.She was to comment, 'He settled right into a chair with me on his


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lap. The kisses started ... and later we visited friends in thecountry and ran barefoot in the rain.'The first time she and Paul made love was in her King's Road flatimmediately after Mike McCartney's wedding. Paul had been to lunchthere a week earlier.The brief affair had begun while Paul was still courting Jane Asher,who was currently away on tour. According to stories of the time,Francie had become a regular visitor to Paul's Cavendish Avenue

house when, about three weeks into the arrangement, Jane turned up.Her tour of the provinces with the Old Vic had ended ahead ofschedule.Margot Stevens, one of the Apple Scruffs (the group of fans who hungaround the Beatles' homes, offices and recording studios), spottedJane arriving in her car and pressed the Entryphone, warning Paul ofher arrival. He didn't believe her. Jane, who had her own key,entered the house and found Francie dressed only in Paul's dressinggown. She left.Later that evening her mother arrived in an estate car and took awaysome of Jane's belongings, while Paul was recording the White Album.Mrs Asher left a note for Paul and he was to tell Francie that he'dsaid to Mrs Asher, 'I've met someone who's offering something that

Jane couldn't.'She was watching TV with Paul, his father Jim and his wife Angie andstepdaughter Ruth the night Jane publicly announced their engagementwas over.Francie began living in Cavendish Avenue, doing the cooking,cleaning and entertaining house guests such as John and Yoko. Shealso attended recording sessions at Abbey Road.Soon after, the fling with Francie was over and she wrote a piece inthe News of the World newspaper, saying: 'He (Paul) hadn't formallyended his friendship with Jane Asher, so at first it was a secret.'She returned to America where she sold the story of her affair toRolling Stone magazine entitled 'Memories Of An Apple Girl'.She then wrote a book called Body Count for Rolling Stone publishers

Straight Arrow, concerning her various love affairs. She devoted afull chapter to her short affair with Paul, whom she described as:'A little Medici prince pampered and laid on a satin pillow at avery early age.'Scott, TomA horn player who has appeared on sessions for Paul, George Harrisonand Ringo Starr. Scott provided the sax solo on 'Listen To What TheMan Said'.Scottish Exhibition And Conference CentreThe Glasgow venue for Paul's Saturday 23 June 1990 appearance on his1989/90 World Tour. The concert, called 'Get Back To Glasgow', hadoriginally been planned as an open-air show, but it was movedindoors when it was believed that the ticket sales were waning.

However, the actual concert drew a capacity audience of 9,300. Paulperformed 'Mull Of Kintyre' on this show for the only time on theentire tour and the Campbeltown Pipers accompanied him. A proportionof the proceeds for this show went to local charities, including theYorkhill Children's Trust, Scottish Women's Aid, the Simon Communityfor the Homeless and the Scotcare charitable consortium.Scouseology AwardsThe Scouseology Awards are presented in Liverpool each year topeople who have made a contribution to life on Merseyside. WhilstPaul was in Liverpool at the end of June 1991 for the premiere ofPaul McCartney's Liverpool Oratorio at the Anglican Cathedral,


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Liverpool, he received the Scouseology award as 'Scouse PersonalityOf The Year'. Paul said, 'I'm chuffed. This means more to me thanall these music paper awards. This is the people of Liverpool votingfor me. This is Scousers saying, "You're OK, ." It is great tobe back home and what a fantastic place the Cathedral is. To think Iwas nearly a choirboy here myself, but they turned me down.'The awards, sponsored by Whitbread and the Liverpool Echo, werepresented to Paul by Arthur Johnson, the Echo marketing manager and

Phil Young of Scouse Promotions. Young was in the same class as Paulat the Joseph Williams County Primary School.Although a prominent Liverpool figure is awarded a 'Scouse Of TheYear' award at the annual events, Paul was given their highestaccolade in 1997 when they gave him a 'Lifetime Achievement' award.Paul was unable to attend the event but sent a message of thanks.Sea DanceAn instrumental track by Paul, which Wings recorded at the Sea SaintStudios in New Orleans in January 1975 during the Venus And Marssessions. The track wasn't used.Seaside Woman (film)In 1980, a 34-minute animated film based on the song and made byOscar Grillo was entered in the Cannes Film Festival. It won first

prize in the Short Film Competition, and due to this success, A&Mreissued the single on Friday 18 July 1980 on A&M AMS 7548. DirectorOscar Grillo was awarded the Palme d'or du Festival international dufilm.Seaside Woman (song)A reggae-inspired number written by Linda McCartney following a tripto Jamaica.She was inspired to write it following the controversy over herco-writing songs with Paul. Linda commented, 'We were getting suedby a publisher, saying that I was incapable of writing. So Paulsaid, "Get out and write a song." So I wrote "Seaside Woman", whichis a reggae number. So then I thought, "We need a B-side for it", sowe went in and recorded a number called "Oriental Goldfish", which

turned out so good that we thought, "Now we've got two A-sides", sonow we needed two B-sides.'She recorded it with backing from Wings members at AIR Studios on 27November 1972 and Paul produced the session. It was decided to usethe name Suzy and the Red Stripes in reference to the local Jamaicanbeer, Red Stripe and Suzy because Linda was referred to by that namein Jamaica because she liked a reggae version of the number 'SuziQ'. However, the single, although recorded in 1972, wasn't issueduntil 1977 when it was released in America on Tuesday 31 May 1977 onEpic 3-50403. The flipside was another joint McCartney composition,'Side To Seaside'. Epic was to re-release it in 1979 and 1980.In Britain it wasn't released until Wednesday 17 August 1979 onA&MAMS7461.

On 7 July 1986 EMI released it on 7" on EMI 5572 and 12" on 12 EMI5572 in a remix by engineer Alvin Clark. EMI produced a specialpromotional video for the release.It was released in Germany on EMI 1A 006-201352.Second Coming Of Suzanne, TheA film script by Michael Barry, son of American actor Gene Barry.British record producer Mickie Most at one time considered filmingthestory, which concerned Jesus Christ's return to Earth incontemporary times - as a woman! One of the plum roles was that ofLee Simons, a pop star poet - and Most wanted Paul for the part. A


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story in the music press on Wednesday 9 September 1970 announcedthat Most had approached Paul about the role.Most said, 'Paul's a hard guy to contact, but Apple are trying toget him for me. The chances are if he likes the script, he'll do it.Paul once told me that every film script offered to the Beatles wasanother Help! and that he wanted to do something different. Thisfilm is different.'On Sunday 13 September 1970 Apple issued a statement that Paul would

not be appearing in the film.'The Second Coming Of Suzanne' was never made.Secret FriendThe flipside of the limited edition Temporary Secretary' issued as asingle in Britain only on 15 September 1980. At 10 minutes and 24seconds it was the longest song Paul ever recorded. It had beenproduced during the McCartney II sessions, but not included on thealbum.See, Joseph MelvilleLinda McCartney's first husband. Born in New York, he moved toTucson in 1960 after graduating from Princeton. He met Linda atArizona University when he took his master's degree in geology.Linda was studying art history. He married Linda Eastman in 1962 and

they had a daughter, Heather. Much of See's work involved travellingregularly while studying the indigenous people of Mexico and hebelieved the travelling contributed to the breakdown of hismarriage. Discussing the split, he said, 'I started becominginterested in native peoples, travel and seeing the geology of theworld and Linda started developing her photography and herappreciation of art. Slowly we began to spend more time apart.'The marriage foundered in 1964 and Linda later married Paul, whoadopted Heather.It's said that See was the inspiration for the character of Jo Jo inthe 1969 hit 'Get Back', penned by Paul. Paul refers to Jo Jo havingleft his home in Tucson, Arizona, for some California grass. Despitethis, Paul insists that Jo Jo was a fictional character and says

that a number of people have claimed to be Jo Jo, but that he had noparticular person in mind when he wrote it.See was devastated when Linda left him. He never remarried andremained fond of her until she died.He was known as Melville to his friends and he remained good friendswith the McCartneys over the years and began to get acquainted withhis daughter Heather again from 1990. Paul and Linda encouraged himto keep in contact with Heather, and he said, 'Linda once said wewere all a family. When you were around Paul and Linda you werehappy because they made people happy.'On Sunday 19 March 2000 he was found dead at his home in Tucson,from a self-inflicted shotgun wound. It was less than two yearsafter Linda's death from breast cancer. His friends said he had been

troubled for some time and Debra Zeller, an art historian who was aclose friend, commented, 'Linda's death hit him really hard. Hebegan to realise he was mortal too.'A number of newspapers reported that the verdict of suicide mighthave been a premature one as the police were treating the death assuspicious. Sheriff's Deputy Deanna Copus commented, 'It's stillvery much an open case - there are suspicious circumstances andhomicide police are still investigating.'See was 62 years old when he died.Seiwell, DennyAn American session drummer, born in Leighton, Pennsylvania, whose


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father had also been a drummer.At the age of seven Denny began to play snare in the local Boy'sOrchestra and was later to join the army as a bandsman.In the 1960s, on leaving the army, he moved to Chicago where heplayed jazz with various outfits before moving on to New York, wherehe also played in jazz clubs and did a lot of session work withartists such as James Brown and John Denver.Early in January 1971 Denny attended auditions for Wings in a New

York basement. Paul said that he found Denny 'lying on a mattressone day in the Bronx. You know how all these people pass them by inMidnight Cowboy? Well, we thought, we'd better not, so we pickedhim, put him on a drum kit, and he was all right!'Recalling the audition, Denny commented, 'A lot of the boys werereally put out at being asked to audition. Paul just asked me toplay, he didn't have a guitar, so I just sat and played. He had acertain look in his eyes. He was looking for more than a drummer, hewas looking for a certain attitude too. I just played. I always saythat if you can't get it on by yourself you can't get it on withanyone.'He got the job and recorded the Ram sessions between January andMarch 1971. Paul then asked him if he would be interested in joining

the band with him and Denny agreed.Together with his French wife Monique, he left New York to move intoPaul's farm to await the Wings formation. He and Monique were laterto buy a house in London and a farm in Scotland, just like Paul andLinda.Some say the official formation of Wings took place on 3 August 1971during the Wild Life sessions; others put it a month later whenStella was born, saying that Paul actually thought of the name'Wings' at this time.Denny recorded two Wings albums, Wild Life and Red Rose Speedway anddrummed on the singles 'Mary Had A Little Lamb', 'Hi-Hi-Hi' and'Give Ireland Back To The Irish'. He toured with the band in Britainand Europe in 1972 and 1973.

His reasons for leaving the group are not clear. When he phoned Paulto tell him he was quitting three hours before the band were due tofly out to Lagos, Nigeria, to record Band On The Run he gave hisreason as the fact that he did not want to go to Africa. He quit on30 August 1974, five days after Henry McCullough. McCullough said hewas unhappy with the band because he felt Linda didn't belong in it.Seiwell is also said to have been unhappy about Linda's involvement.

Send Me The HeartA track which Denny Laine co-wrote with Paul in Nashville in 1973and which was recorded with Buddy Emmens on steel guitar and Paul onbass. It was included on Denny Laine's album Japanese Tears.Sgt Pepper's Lonely Hearts Club Band (album sleeve)

Contrary to popular opinion, all the characters on the cover of theSgt Pepper album weren't personally chosen by the Beatles torepresent their heroes and influences. Robert Fraser and Peter Blakeasked each member of the Beatles to write down ten choices on apiece of paper. Ringo didn't bother to make any choices, Georgepicked mainly Indian gurus and a number of choices by John and Paulwere left out or vetoed. A great number of the seventy-pluscharacters were chosen by Fraser and Blake, so the cover isn'trepresentational of the Beatles' heroes after all.Paul chose Karlheinz Stockhausen. The composer couldn't be contactedas he was sailing in the Pacific, but his image was used anyway.


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Paul also added Fred Astaire to his list. Astaire had been one ofhis favourites when he was a child and he loved to watch Hollywoodmusicals at the cinema. One of his favourite songs was Astaire's'Cheek To Cheek'.Commenting on his early influences, Paul had said, 'I like theAstaire films they show on television. I think, wow, great, boy canthey dance. Boy, can they arrange tunes. They were only doing whatwe're doing now, but some of the time they were much better at it.'

Other choices by Paul included Brigitte Bardot and WilliamBurroughs.Sgt Pepper's Lonely Hearts Club Band (album)The suggestion for the front of sleeve came from Paul who said theycould show people, living or dead, who the Beatles respected. 'Wewant all our heroes together. If we believe this is a very specialalbum for us, we should have a lot of people who are special to uson the sleeve with us.He also said, 'Why don't we make the whole album as though thePepper band really existed, as though Sergeant Pepper was doing therecord?'Paul appeared to be the prime mover behind the album and John Lennonwas to say, 'He (Paul) said that he was trying to put some distance

between the Beatles and the public - and so there was this identityof Sergeant Pepper. Intellectually, that's the same thing he did bywriting "he loves you" instead of "I love you". That's just his wayof working.'Paul also thought of having the group wear Salvation Army uniforms,but was talked out of it and they eventually wore costumes made byMaurice Berman, the theatrical costumiers.Paul was not happy with press reports that he considered exaggeratedGeorge Martin's contribution and said, 'We got offended by this. Wedon't mind him helping us, it was great, but it's not his album,folks, you know!' The first song was Paul's 'When I'm Sixty-Four'.The Sgt Pepper Band was the Beatles' alter ego. Paul was to comment,'We were getting a little fed up of being the Beatles, because

everything we did had to be the Beatles, and I felt we were gettingtrapped in this whole idea of "what kind of songs does John do? Whatdoes George do? Paul does the ballads." It was all getting bloodypredictable. I said, "Why don't we pretend that we're another band?"That's what I did, it freed us to make those slightly more daringdecisions than you'd normally make.'Paul played some of the album tracks for Bob Dylan. Paul recalled,'He said "Oh, I get it, you don't want to be cute any more." Thatsummed it up, that was sort of what it was. The cute period hadended and it was now ... it started to be art.'Sgt Pepper's Lonely Hearts Club Band (film)An American movie, which was based on the Beatles' album andscreened in 1978. The film starred Peter Frampton and the Bee Gees.

The Robert Stigwood Organisation, who produced the film, originallyoffered Paul the leading role of Billy Shears, but he turned itdown.Sgt Pepper's Lonely Hearts Club Band (song)John Lennon was to say, 'Paul wrote it after a trip to America. Thewhole West Coast long-named group thing was coming in, you know,when people were no longer called the Beatles or the Crickets. Theywere suddenly called Fred And His Incredible Shrinking GratefulAirplanes. He got influenced by that and came up with the idea of usdoing us as somebody else. He was trying to put something betweenthe Beatles and the public. It took the "I" out of it some.'


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Their road manager at the time, Mai Evans, claimed to have had someinput in the song and was said to have received some of theroyalties.Mai commented, 'I stayed with him for four months and he has a musicroom at the top of his house with his multi-coloured piano and wewere up there a lot of the time. We wrote 'Sgt Pepper' and alsoanother song on the album, 'Fixing a hole'. When the album came out,I remember it very clearly, we were driving somewhere late at night.

There was Paul, Neil Aspinall and myself and the driver in the car,and Paul turned round to me and said, "Look Mai, do you mind if wedon't put your name on the song? You'll get your royalties and allthat, because Lennon and McCartney are the biggest things in ourlives. We are really a hot item and we don't want to make itLennon-McCartney-Evans. So, would you mind?" I didn't mind, becauseI was so in love with the group that it didn't matter to me, I knewmyself what had happened.'Paul commented, 'I was just thinking of words like Sergeant Pepperand Lonely Hearts Clubs, and they came together for no reason. But,after you've written it down, you start to think. "There's thisSergeant Pepper who has taught the band to play, and got them toplay, so that, at least, they found one number." They're a bit of a

brass band in a way, but also a bit of a rock band because they'vegot the San Francisco thing.'The number was recorded at Abbey Road on 1 April 1967.A version of this number, lasting 6 minutes and 23 seconds, wasincluded on the Tripping The Live Fantastic album. It was recordedlive on 23 November 1989 at the Great Western Forum, Los Angelesduring the 1989/90 World Tour.Shadow CycleA 21-minute short animation film based on the last musical scorewritten by Linda McCartney.Made by Klacto Animation for MPL, it is described as: 'A work oflove and emotional fantasy intertwined with the cycle of life anddeath, represented by the reflecting shadows of the characters as

they travel through their life's journey.'The film received its British premiere at the London Film Festivalin November 2001.John Harle orchestrated the music by Linda and Paul and Oscar Grillowrote the scenario. The latter also designed and directed the film.Shake A HandA track from the Run Devil Run album lasting 3 minutes and 52seconds. It was recorded at Abbey Road Studios on Tuesday 2 March1999 with Paul on lead vocal, bass guitar and electric guitar, DaveGilmour on electric guitar, Mick Green on electric guitar, PeteWingfield on piano and Hammond organ, and Ian Paice on drums. Duringthe Beatles' early trips to Hamburg they frequented a pool hallwhich had a jukebox in it and the Beatles used to play the records

and take down the words of the songs, as they couldn't afford to buyrecords at the time. They took down the words of this Little Richardrecord and it became one of Paul's favourites - although he neverdid buy the actual record.Shallow GraveA number, originally called 'Short Shallow Grave', which wasco-penned by Paul and Elvis Costello in 1991. The number was toappear on Elvis Costello's album All This Useless Beauty in 1996.She Came In Through The Bathroom WindowPaul wrote this song on 13 May 1968 while in New York.It first turned up on the Beatles Let It Be sessions on 22 January


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1969, and eventually ended up as part of the Abbey Road medley,being recorded as one song with 'Polythene Pam' on 25 July 1969.The number was based on an incident when fans tried to break intohis home in St John's Wood and originally was simply called'Bathroom'. Paul initially wanted Joe Cocker to record the number,which he did, following the release of the Beatles' version.She Said YeahA song Paul chose to record for his Run Devil Run album. It was his

favourite Larry Williams number and ran for 2 minutes and 6 seconds.It was recorded at Abbey Road Studios on Friday 5 March 1999. Itfeatured Paul on lead vocal and bass guitar, Dave Gilmour onelectric guitar, Mick Green on electric guitar, Pete Wingfield onpiano and Ian Paice on drums.Paul remembered that he'd also interested Mick Jagger in the number,playing it to him one day in a music room - and Mick then went andrecorded the number with the Rolling Stones.She's A WomanPaul penned this rocker literally on the spot during a recordingsession on 8 October 1964, during the Beatles For Sale sessions andit was issued as the flipside of 'I Feel Fine' in Britain onParlophone R 5200 on 27 November 1964 and in America on Capitol 5327

on 23 November.John Lennon was to comment, 'That's Paul's with some contributionfrom me on lines, probably. We put in the words 'turns me on'. Wewere so excited to say 'turn me on' - you know, about marijuana andall that, using it as an expression.'The number wasn't included on Beatles For Sale and didn't turn up asa track on an official album release in Britain until 2 December1978 on Rarities. Rarities was a 'free' album included with TheBeatles Collection package, a boxed set of all twelve original EMIstudio albums, plus the additional Rarities. However, it wasincluded on theAmerican album Beatles '65 issued on Capitol ST 2228 on 15 December1964.

A stereo version was included on The Beatles Box issued by WorldRecords, a subsidiary of EMI on SM 701-SM 708 in December 1980. Aslightly longer stereo version was included in The BeatlesCollection issued on 14 on 7 December 1981, a boxed set of theBeatles EP collection.In America, Capitol reissued the 'If I Fell'/'She's A Woman' singleon Capitol Starline A-6286 on 30 November 1981.It was also included on the Past Masters. Volume One CD release,issued on Tuesday 8 March 1988.In addition to singing lead vocal, Paul also played piano on thetrack.The Beatles performed the song on their Christmas show in 1964 andon their subsequent tours. The number was included on Beatles At The

Hollywood Bowl and Beatles Rarities.The version included on Volume Two of The Beatles Live At The BBCwas a track taken from their Top Gear radio broadcast of 26 November1964.A concert version of the number was included as the final track onthe first half of the Beatles' Anthology 2.She's Given Up TalkingA track from the Driving Rain album. The number lasts for 4 minutesand 57 seconds and was recorded on 17 February 2001.She's Leaving HomePaul was inspired to write this number after reading a story in the


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national newspapers about a girl who had run away from home.He was to say, 'It's a much younger girl than Eleanor Rigby, but thesame sort of loneliness. That was a Daily Mirror story again. Thisgirl left home and her father said, "We gave her everything. I don'tknow why she left home." But he didn't give her that much, not whatshe wanted when she left home.'The story was actually in the Daily Mail newspaper on 27 February1967. The headline ran: 'A-Level Girl Dumps Car And Vanishes'.

It concerned a 17-year-old girl, Melanie , who had been studyingfor her A levels at Skinner's Grammar School in Stamford Hill,London. She then ran away from home leaving her car, diamonds and amink coat behind. Her father John commented, 'I cannot imaginewhy she should run away, she has everything here.'The Beatles recorded the number at Abbey Road on 17 March 1967 andoverdubbed the vocals on 20 March 1967. The Beatles didn't play onthe number. Paul and John sang it with a string backing: SheilaBromberg on harp; Erich Gruenberg, Derek Jacobs, Trevor Williams andJose Luis Garica on violins; John Underwood and Stephen Shingles onviolas; Dennis Vigay and Alan Dalziel on cellos; and Gordon Pearceon double bass.Paul asked George Martin to arrange the number for strings and harp,

but Martin had a recording session with Cilia Black scheduled. Paulwas eager to go ahead with the number and hired Mike Leander toarrange it. George Martin was to say, T couldn't understand why hewas so impatient all of a sudden. It obviously hadn't occurred tohim that I would be upset.' Paul said, 'He was busy, and I wasitching to get on with it. I was inspired. I think George had a lotof difficulty forgiving me for that. It hurt him; I didn't mean to.'

Arranger Mike Leander was to comment, 'This record will altereveryone's approach to record making. I have new thoughts myself nowevery time I go into the studio. Apart from my contribution, this isa work of art, but I am terrified of the next one.'People have claimed that 'the man from the motor trade' mentioned in

the lyrics referred to Terry Doran, a friend of the Beatles who wasa car salesman. Paul has denied this.She's My BabyA song for Linda, 3 minutes and 6 seconds in length, from the WingsAt The Speed Of Sound album. Paul re-arranged the number for Linda'smemorial services. He also re-recorded it for his Working Classicalalbum.Shears, BillyA make-believe character created for the Sgt Pepper project. On thealbum, Ringo was Billy Spears.The character was fleshed out by the many wild stories in the 'Paulis Dead' campaign of 1969. One American 'underground' paper, RatSubterranean News, ran a full-page story written by Lee Merrick and

proclaiming that Billy Shears had become a substitute for the deadPaul McCartney.Shrimpton, Stephen WalmsleyFormer managing director of MPL, who was Paul's right-hand man for atime. He joined the company in January 1980.Stephen was born in Melbourne, Australia, and joined EMI Australiain 1969 as national marketing and sales manager, eventually risingto the post of managing director in April 1974. He got to know Paulwhen he was in charge of the entire Wings product in Australia.Stephen intended to return to Australia after the filming of Give MyRegards To Broad Street - in which Australian actor Bryan Brown


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portrayed a character based on him - but Paul talked him intoremaining with the company, although he eventually resigned in 1986and moved to America to accept a senior position with WarnerBrothers in Los Angeles. His replacement, Bob Mercer, lasted barelya month.Silly Love SongsPaul wrote this number in reply to the criticism that he was writing'sentimental slush', saying, 'Originally, I wrote this song at about

the time when the kind of material I did was a bit out of favour,and you had Alice Cooper doing "No More Mr Nice Guy", and that kindof parody. I rather picked up a feeling in the air that ballads wereregarded as soppy and love as too sentimental.'I thought, so what's wrong with silly love songs? I was striking ablow for nice, sentimental love songs.'It was 5 minutes and 53 seconds in length and issued in Britain onCapitol R6014 on Friday 30 April 1976 and topped the charts and wasissued in the US on Capito! 4256 on Thursday 1 April 1976 where italso hit the No. 1 spot.'Cook Of The House' was on the flip.It was also released in Germany on Capitol 1C600-97683, in France onParlophone 2C006-97683 and in the USSR on Melodia C62 20413004.

Silvey, SusieName used by a strippogram girl who turned up at Paul's fortiethbirthday celebrations at Elstree Film Studios on Friday 18 June1982.Her appearance at the studios was totally unexpected.As she explained: 'I told a girlfriend I wanted to do a singingtelegram for him, but didn't know if I dared. She dared me to! So Itook all the gear along to the studio where Paul was making 'Take ItAway'. Just before lunch, I slipped into my fishnets, suspenders andblack-lace corset and covered it with a dress I could easily peeloff when the moment came. I was shaking like a leaf. As Paul startedto leave the set for lunch, I ran after him, and shouted "Paul!" Hespun around and as he did so, I took off my dress and stood there in

front on him in my gear, singing a special version of "All You NeedIs Love". Then I gave him a birthday congratulations telegram. Hethought it was amazing.'Simon Bates Show, TheA Radio One show hosted by Simon Bates. Paul and Linda appeared onthe show on Wednesday 1 May 1991. The couple actually phoned in tothe show after they'd heard Bates having an on-air tasting ofLinda's vegetarian foods and Bates had also been playing tracks fromPaul's forthcoming Unplugged - The Official Bootleg.Simon Mayo Show, TheA Radio One show hosted by Simon Mayo. Paul phoned up the programmeon Tuesday 15 December 1992 to talk about his new single. Paul hadtalked about the planned Beatles Anthology in New York on Friday 11

December and said, 'We've talked for years and years about doingthis thing - "One of these days we'll set the story straight and doit our way." I saw George yesterday in California and we're gettingtogether, you know, for this thing - so it's bringing us together.And there's a chance we might write a little bit of music for it. Soit's good. But rather than put huge pressure on us and say, "TheBeatles are re-forming!" and "Do they need Julian?" or "What do theyneed?" and all that stuff, it'll probably happen a lot morenaturally.' Because of this, Mayo asked Paul if he was gettingtogether with George and Ringo, but Paul was reluctant to addanything to what he'd said before.


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Simple As ThatThis was originally put down as a home demo in August 1980 under thetitle 'It's As Simple As That'. Paul then produced it following hisPress To Play sessions in 1985 as 'Simple As That'. It includedbacking vocals from Paul's kids - Mary, Stella and James - and wasoriginally released on the Phoenix House charity album TheAnti-Heroin Project - It's A Live-In World (AHP-LP) in November1986. It was also included on the 1993 EMI CD of Pipes Of Peace.

Simpsons, TheThe Simpsons cartoon series featured many Beatles references andseveral references to Paul. In Season Two an opening sequence to oneof the episodes featured a Paul McCartney gravestone, a parody ofthe 1960s 'Paul is Dead' rumours. In another episode, at Stanley andMartha Peterson's wedding, their vows include two lines from 'MarthaMy Dear'. In one of the episodes of Season Seven 'Golden Slumbers'is featured in Homer's dream sequence. Season Five has an episode inwhich one character reveals, 'My greatest achievement was gettingPaul McCartney out of Wings.'Paul and Linda agreed to appear in animated form in the Americancartoon and to provide their own voices in the episode 'Lisa TheVegetarian', first screened in the US on 15 October 1995. It was the

first episode of Season Seven and the two introduce Lisa tovegetarianism after a meeting at Apu's roof garden. When Lisa meetsthem she exclaims, 'Wow! Paul McCartney! I read about you in historyclass.'Singalong JunkAn instrumental version of Paul's number 'Junk', lasting 2 minutesand 34 seconds, which was included on Paul's 1970 album McCartney.He completed the recording at Morgan Studios in London playingelectric guitar, bass drum, sizzle cymbal and Mellotron.Single PigeonA track on the Red Rose Speedway album, recorded at Olympic Studiosand lasting 1 minute and 52 seconds. Paul sang lead vocal and playedpiano. Linda provided vocals, Denny Laine was on drums, Henry

McCullough on acoustic guitar and Denny Seiwell on bass.Sir Paul McCartney's LiverpoolAn album of Paul's compositions in a classical style by Quatuor LaFlute Enchantee Quartet, issued on ATM A Classique ACD 2 2137 in May2000. The album was suggested and authorised by Paul.It contained selections from The Family Way film score, theLiverpool Oratorio Suite, 'A Leaf and a classical arrangement of'Distractions', the track from Flowers In The Dirt.Quatuor La Flute Enchantee Quartet are four flute players fromQuebec, Canada.The project had its origin in 1995 when Michel Laverdiere firstinterviewed Paul regarding his interest in classical music. In 1997Laverdiere sent Paul a recording of Linda's 'Appaloosa' and Paul

suggested a recording of a transcription of the Oratorio. Theproject grew from there.75 Sir Thomas White Gardens, Everton, LiverpoolAddress in a tenement building which became Paul's third Liverpoolhome when his mother and father moved into a ground-floor flatthere. They left their house in Wallasey to be nearer the placewhere Jim McCartney had found a job as an inspector with theLiverpool Corporation cleansing department. The building has sincebeen demolished.Six ClockA track on the album Ringo penned by Paul and Linda McCartney. The


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album, produced by Richard Perry, was issued in America on AppleSWAL 3413 on 2 November 1973 and in America on Apple PCTC 252 on 9November 1973.The musicians were Ringo Starr on lead vocal and drums, PaulMcCartney on piano, synthesiser, background vocals and string andflute arrangements, Linda McCartney on background vocals, KlausVoormann on bass, and Vinio Poncia on acoustic guitar andpercussion.

Sixty MinutesAn American current affairs series produced for CBS Television. Paulappeared on the programme on Wednesday 24 October 2001, mainlydiscussing the 11 September World Trade Center tragedy.Paul was interviewed by veteran reporter Dan Rather.Commenting on the tragedy and the concert held to raise funds forthe families of the victims, Paul said, 'I wanted to do something.Like a lot of people, I felt helpless. I'm not a firefighter but mydad was in World War Two. He was a volunteer firefighter inLiverpool, which got a lot of heavy bombing.'He continued, 'My parents' generation went through World War Two, soI know how they dealt with it. And it was with humour, it was withcourage, it was with strength.'

He said, 'They had to have something to keep their courage up, sothey did. There was a lot of humour, a lot of music. And if it wasgood enough for them, I think it's good enough for us.'Earlier that week Rather took Paul back to the old studio where theBeatles had first recorded the Ed Sullivan Show in February 1964 andshowed him a tape of the original performance. Paul seemed bemused.'Good group. Wow. You had to take me back there, didn't you?' Hementioned how it didn't feel like that much time had passed, it'sone of those staggering things about life, you can just literallyseem a few years ago. And it isn't - it's a long time ago. But Ihave memories. Very exciting for us as Liverpool lads to come toAmerica and then to suddenly be involved in something like that. Areally big show. And then the reaction to it, I love. I still meet

people who say, "I know where I was, I was in our sitting room" andtheir dads invariably say, "Those are wigs. They're wearing wigs."You look at it now. It looks pretty short, it looks pretty tame.'Paul recalled the Shea Stadium appearance and the fact that thesound system wasn't very good. 'If we thought we were playing well,it was a little bit annoying, because the people who came to hearcouldn't hear us. If we were not in a very good mood, and notplaying very well, it was a blessing.'On the subject of grief, Paul said, 'All I can really say is that Ithink it's important to let it out, and not to hold it in. That wasreally the single most important thing I found. As a guy, you liketo think you're tough, you can take these things, and you can giveme your best shot. But, of course, when you lose someone it's not

really possible. You can put it inside yourself and hide it if youwant, but I don't think that's a good thing. So, for me, what Ifound was to talk to people. A lot. Not worry about crying like ababy sometimes if that's what you had to do. And not worried aboutwho was looking at you. And just really let it all out.'Discussing Linda he said, 'After Linda died I didn't really doanything. Some people said to me, "Get back to work. That's what youshould do, put yourself into work!" I just couldn't, I thought, "Idon't want to." Didn't seem like the thing to do. After I'd sort ofspent the year grieving, I said, "You know what? I'm really blessedto have thirty years with that girl. She's such an amazing woman.


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And it's not everyone has thirty great years of married life. So Ilooked at the positive aspects of it, tried to kind of rationaliseit. And felt that that helped me.'SkydomeA venue in Toronto, Canada where Paul appeared on Thursday 7December 1989. The show had originally been scheduled to take placeat the Maple Leaf Gardens, but was changed. Ringo Starr was a memberof the audience. On the day of the show, Paul held a press

conference.After he was introduced he was asked:Q: Paul, there have been a lot of problems with the sound system inthe Skydome. Have you done a sound check so far?Paul: No, we haven't done a sound check so far.Q: What do you think of the facility?Paul: I haven't actually had a look, but it looks good from theoutside. I'm sure it will be great, you know.Q: Paul, can you talk about your decision to be sponsored by Visaand why you went that way?Paul: Yeah, well, the thing is, as you probably know like all toursthese days use sponsors, right. I think like most big tours thissize are going to get sponsored by someone and really, all we were

doing was sticking out for a sponsor that we could kind of keep ourintegrity with, so that I didn't actually have to hold up anythingand say I recommend this. And it was put to me that the way theseparticular people were going to do it would be similar to thecampaign they did on the Olympics, which you didn't really get thefeeling that the Olympics were sponsoring the card company; it wasthe other way around. You felt like they were kind of promoting theOlympics - and I think when you see the campaign you won't everactually see me turn to the camera and say, 'Hey, don't go anywherewithout one of these.' It's not that kind of a deal.I mean, you know, I figure we're living in a capitalist society, youknow, all you guys are being paid, aren't you? You know, I don't see- suddenly out of this mist, suddenly this idea that you shouldn't

take money. Where's this idea come from? I mean even the communistsare kind of giving up on this idea now, and they seem to say, like,as if we never got paid in the sixties or something, or we neveraccepted money. We never did commercials, you know, and this is notme really doing a commercial. This is a commercial about the tourwith these people and they are underwriting the travel expenses. Ipersonally don't see anything wrong with it, I don't see anythingwrong even with the Stones' deal, which people think is a realsell-out, or the Who. I wouldn't personally do one of those beercommercials and stuff 'cause, you know, I'm not really intocommercials, I think on a tour of this size, I think it's allowed inour society to accept money.Q: Will this commercial be seen in Canada?

Paul: I'm not sure, I'm not really that into it, you know. The pointis, in the economics of a tour like this, just getting from place toplace is a big expense and so these days most people accept somekind of sponsorship. So we held out for one of the obvious ones andwe've gone with this one, which is, I think, when you see the actualcommercials, you'll agree there is no real sell-out.Q: Do you still feel strongly against using your music in othercommercials for other products?Paul: Yeah. I mean I see a difference here, you know, in this thing.I wish I had the commercial to show you and I haven't even seen itand stuff. I think there is a difference using songs like 'AH You


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Need Is Love' to kind of promote a product and, you know, using themsort of like in a movie or something. I think actually once they getidentified with a specific product, like all the things that peoplehave been doing for soft drinks, I think there is a difference andthat kind of commercial I wouldn't do.I was talking to someone yesterday. I have been offered a lot ofmoney to hold up a whisky bottle in Japan, you know, that I don'twant to do though, 'cause that is what I call a commercial. I think

if these people you are talking about, Visa, want to film us, filmthis show, the tour show, moments from the show, show me getting inand out of limos and then talk about their card without me everactually turning to the viewer and saying, 'Yes, this card ...' Infact, we are kind of religious about it, we do sound checks where weadvertise all the other cards!Q: Let's talk about recording studios themselves. Could you tell mehow you view recording from back in the Beatles days to now? I mean,is it more fun? You've spent thirty years in the studio.Paul: Well, the main difference is it used to be a lot quicker torecord, you know. We recorded the first Beatles album in a day fromten o'clock in the morning to ten o'clock at night. We did 'TwistAnd Shout' last because if we'd done it first we couldn't have done

any of the others, you know, John's voice would have gone. So youknow one day for an album was pretty fast. Now it takes one day toswitch on the machines, load the computer, find out where the on/offswitch is, that's the main difference, I think, it just takesforever now to record one song whereas you used to do a whole albumin a day. But the nearest I got to it recently was doing the Russianalbum. I did a lot of rock and roll songs. We did eighteen songs ina day and it was really good. I think it's more fun to record thatway, very spontaneous you know, and immediate. The other is like -God, it's like, honest it's terrible - you get this computerdowntime, the other great fun thing you get, you probably all get ittoo. It's like, 'take five hours, guys, we're just going to fix thecomputer,' which was introduced to make things cheaper and quicker.

Q: Paul, what kind of music will you play ... ?Paul: Wait and see.Q: We know you're doing some Beatles songs.Paul: Yeah, we do sixteen Beatles songs, fifteen non-Beatles -mine,and a couple of rock-'n'-roll things.Q: You've given us years and years of music and I'm sure everybodyin here feels very dear to the music, I understand that next yearfor the first time you are going to co-write a book about yourself.Is it a deal with Pioneer Books?Paul: I'm not really sure which deal it is you're talking about.I've got a friend of mine from the sixties who recently approachedme, he wants to do a book on Alan Ginsberg and it would concentrateon the art rather than which toothpaste I use, you know, so that's

probably it.Q: Can I ask you what I read in a British magazine? It's calledTwenty Years On His Own, Pioneer Books, apparently co-written. Isthat bogus?Paul: Well, I don't know really and I'm not co-writing a book withanyone, so maybe it is bogus. These things do spring up you know.Q: Paul, on your last album you worked with six producers and oneperson you keep going back to is George Martin. What is it aboutGeorge Martin that he provides that you can't?Paul: I know his address! No, really, I love George Martin, he's amarvellous man. He's a great musician, we get on very well. I've


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known him a long time, so I can sit down and in half an hour we cankind of do something very constructive. I don't have to go throughmeeting him and getting to know him, checking out our chemistry andstuff, plus he's a great musician.Q: Paul, I realise that perhaps there's no other way to do this, butI'm just wondering if you could comment on venues of this size andthe fact that so many people walk away from these concerts thinkingthat they got ripped off because the sound was bad.

Paul: Well, I mean, I can't really tell you about that one tilltonight. I mean, I don't know. I don't like going to shows in thissize of hall normally so we'll have to see how we do on this. Ihaven't done one of these in quite a while. The last thing I did wasSeattle Kingdome, which went down very well, nobody, I don't think,complained. I've got a suspicion nobody's going to complain aftertonight, but I'm not going to count my chickens. I saw Genesis atWembley, the football stadium in England, and I couldn't tellwhether Phil Collins was on the stage or not. I think that's aproblem, you know, and also you suddenly found that you've come outand you're watching telly all evening, when you thought you weregoing to a concert and you're watching this big screen. I could havestayed at home and done that. I would have been warmer. But we're

trying to address those problems, we'll see. We've tried to make theshow good wherever we are, even if it's in a pub or a venue thissize. The idea is that the music should be good enough to satisfyyou, so we'll see how you feel tomorrow. I hope no one feels rippedoff.Q: Why are you coming and playing venues of this size?Paul: I'm not having to play venues this size. The promoter justsays, 'Would you like to play the Skydome?' and I say, 'Yes'. Well,you know, I'll play anything. Like I say, I'll play a little club ora little pub, or anything. If there's a venue there I normallyhaven't got anything against them and I'll say the Seattle Kingdomewas very good.Q: Songwriting. Apparently Elvis Costello is a big Beatles fan, I'm

told. When you worked with him on Flowers ...Paul: Yeah, he is a Beatles fan and also, I suspect, he is a Johnfan, you know. 'Cause often guys with glasses kind of identifiedwith John. Well, I mean, that's true, but he's similar to John in anumber of ways and it wasn't a deterrent, it was good to work withhim mainly just 'cause he's a good writer and he's got a very strongopinion, that's the main thing.Q: Why didn't he come on the tour?Paul: I don't know.Q: Did you ask him?Paul: No. Maybe that's why.Q: Paul, you support Friends Of The Earth. Could you tell us alittle bit about the environmental issues that are close to your

heart.Paul: Really, all that's happened with me is like a lot of people.Probably. Probably all the people in this room. This has been theyear when finally people have realised that, like, it's catching upwith us. I know about ten years ago some scientists produced a thingcalled 'Blueprint For Survival' where they warned about all thisglobal warming. But, I think, well the politicians will fix it up;our government will do something about it. But it never looked thisserious until this year when they actually told us there's a hole inthe sky. I think that's what got me. This hole in the ozone layer,that it's getting wider unless someone, you know, stops using CFCs


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and stuff. And then you go to places like LA and you see the smoghanging over and you think, you know, so all of these thingsbasically have led me to think about this tour. Either we just goaround the world having a bit of fun, making some money and makingmusic for the fans or, at the end of it all we come off it all andwe think, 'OK, there was a little bit more than that to it.' Sothat's when we decided to hook up with the Friends Of The Earth, andall I'm really doing is, I don't know that much about it, you know,

I'm a father of four, I want to go to a lake and I'd like it to beclean, please, so I can swim in it. I hate the idea that it's allcrap in it. Similarly, you go out to sunbathe, it used to be a greatthing to do, now you've got to put on block 79, you know, before yougo anywhere and I think it's crazy, you know. We're the only specieson earth as far as I can see that soils its own nest and we'regetting even more far out. So what I normally do in these pressconferences is ask, 'Will anyone who doesn't want to clean the worldand doesn't want to save the planet, please put his or her hand upnow,' and, you know, obviously no hands go up. So it's just commonsense to me and I've got a platform here with these concerts andpress conferences like this where I can actually get to talk toradio and TV and journalists and push home the fact that people like

Friends Of The Earth do want it cleaned up. They don't want spillslike Exxon - and if it spills they want it cleaned up, not halfcleaned up, like it was. So I mean, to me, it's nothing more thancommon sense.Q: It's been thirteen years since your Wings Over America tour andtwenty years since you performed some of the songs actually onstage. Have you ever forgotten any of the words?Paul: Ever? Better question - have I ever remembered them? Yeah,there's always, like, about a line a night. I go, 'Oh God, you know,I wish I ...' Yeah, there's a lot of words to remember in a two-hourshow, you know, and I must admit some of them elude me occasionally.It's funny, I was in Europe and the audience is there, I think thiswas in Spain, and I had two instances: one where I got it right and

one where they got it right, 'cause often they know it better thanme, 'cause they've heard these records and, like, they've beenlistening to them where maybe I haven't for the last twenty years.I'm not through yet, do you mind! Hang on, I'm telling a story here- whose life is it anyway? I'll tell you what, just quickly then,just very brief on this long-winded story I'm about to go on. Therewas this girl in the audience that I saw and I was doing 'I Saw HerStanding There' and I saw her saying, 'I'll never dance with anumber'. So I thought, right, well I've got that line, that's onefor me and I was doing that one right and I looked over here and Iwas doing, 'I'll never dance with another' and this other guy wasdoing, 'She'll never dance with another' - oops, he was right. Soyou know, it kind of works out about equal. Sorry, go ahead.

Q: Well, 'Motor Of Love' from Flowers In The Dirt, I hear that as areligious hymn. Were you trying to lend yourself to a differentaudience?Paul: No. I have this thing that I do which is kind ofquasi-religious. I did it in 'Let It Be' where I talk about MotherMary. In fact, the Mother Mary I'm talking about is my own mother,and that song happened because in the sixties one night I was a bitsort of freaked out, which happened often in the sixties, thosecrazy days, he said, admitting everything. But I was a bit sort offreaked out and I was having a dream and my mother came to me, shedied when I was fourteen, she came to me in this dream and said it


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was alright, and it really did make me feel a lot better when I wokeup. So I wrote the song, 'In my darkest hour Mother Mary comes tome'. So that was that one and that got interpreted as being a bitreligious, you know, you can take it that way if you want, it worksboth ways. And in this song 'Motor Of Love' that you're talkingabout, I talk about Heavenly Father. I'm actually talking about mydad, 'Heavenly Father look down from above'. My dad who hopefullywent up top when he died in '76. I do that, the word Father,

generally in my mind I'm talking about my father, but I recognisethe ambiguity.Q: I hear my church choir doing that.Paul: Well, that is the nice thing, that if anyone wants to put areligious meaning on it, I've no problem with that.Q: About Friends Of The Earth again. Is it just a platform to raiseawareness? Are they getting any money directly?Paul: Well, that's happened. Yeah, there are one or two people. Thecommercial firm you mentioned earlier which I don't really want togo on about 'cause I'm not really sponsoring these people, butthey've given a large donation. Part of their deal was to give alarge donation to Friends Of The Earth, and we'll be givingdonations at the end of the tour. Mainly, it is - like a guy in

Italy asked 'Paul, is it publicity or is it genuine?' I said it'sboth. It's publicity certainly, you can't say this isn't publicity,all these cameras here, but it is genuine. As I say, there's no onein this room who doesn't want it all cleaned up. I don't go on aboutit. I try not to preach. People get bored with people preaching, butI just do one announcement in the show and I just say to them, youknow, go home, have a little think about it. If you get a chance tovote, just tell your politicians you want to live in a clean world.That's really all I do, you know, but I think it makes a lot ofsense. I think you've got to have somebody saying it and withFriends Of The Earth, they haven't got enough exposure. They're alittle fringe group, you know, like Greenpeace has got moreexposure, so someone like me can command this kind of attention.

It's not for me I'm doing it, it's for us all.Q: Any chance of changing George's mind and having him work with youand Ringo?Paul: Well, I don't know. I hear George has sort of said there willnot be a Beatles reunion. I mean, as far as we're concerned, therecan't be a Beatles reunion because John died and that was theBeatles, you know. I don't think any of us would be interested insubstituting someone for John, even Julian, which has beensuggested. It wouldn't be the Beatles, it would be a group. It justwouldn't be the Beatles, there can't be a Beatles reunion. So Ithink that's probably what George is talking about, I've only heardthis second-hand through these press conferences, but there is afilm that we might get around to in a couple of years that we've

been meaning to do and there might possibly be some involvementthere where we play together - me, George and Ringo. Now we wouldn'tcall it a Beatles reunion, but you probably would.Q: Any possibility of turning these concerts into live album sets,like Wings Over America?Paul: Yeah, there is a distinct possibility, seeing as we'rerecording it every night. Yeah, I don't know when that would happenbut, you know, we are recording and the tapes go back to England andget mixed so maybe some time next year there might be.Q: Did you write a song about Friends Of The Earth?Paul: Yeah, I did have a think about that, yeah. I did start writing


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something along the lines of, 'I'm a Friend of the Earth', but Ididn't get far with it.Q: Can you say something about the nineties?Paul: Say something about the nineties? The nineties is going to bethe time when people finally realise we've got to clean this worldup and the nineties is going to be the time when we do it, in orderto have a clean twenty-first century. That's my wish, anyway, youknow. Optimistic?

Filming also took place at the concert and was included in the GetBack movie, released in September 1991. Executive producer wasCanadian-born Jake Eberts, who said that Skydome had been chosen asa location, 'because it's the first time on this tour he has playedto an audience of sixty thousand. We wanted an indoor location andto capture a large audience. In Europe, he played arenas seatingbetween six and ten thousand and in the US it's been mainly fifteenthousand-seaters.SMAA home demo recorded at Rude Studios in Scotland in 1978, by bothPaul and Linda.It was a punk-type song on which Linda sang and the lyrics werebased on the list of ingredients in the formula of the baby food SMA

that they'd been feeding to James. The demo was included in Part 10of the Oobu Joobu radio series.Smile AwayA track on the Ram album. It was also issued as a flipside of 'EatAt Home', although that particular single wasn't issued in eitherBritain or America. However, it was released as a single in variousother countries, including Japan and Germany.Smith, CissyThe brother of John Lennon's uncle, George Smith. He was a teacherat Liverpool Institute and taught Paul handwriting and English.So Glad To See You HereA number originally penned by Paul in 1979 for his Rockestra. OnWednesday 4 and Thursday 5 February 1987 Paul produced a version

with Duane Eddy for the American guitarist's new Capitol Recordsalbum, Duane Eddy. The recording took place at Paul's East Sussexstudio and Paul also played bass guitar. Other musicians performingon the recording were Jim Horn and Larry Knechtal.So Graham NortonGraham Norton is an Irish chat-show host on Channel 4. His popularSo Graham Norton show featured an appearance by Paul in May 2001when Channel 4 also screened the 'Wingspan' documentary.So Like CandyA number co-written by Paul and Elvis Costello (Declan McManus),featured on the 1991 Elvis Costello album Mighty Like A Rose. It wasalso issued on the 1999 Working Classical.Solters & Roskin

An American publicity firm who Paul originally hired to promote theAmerican leg of the Wings World Tour in 1975/76. However, when hediscovered that they also represented The International Committee ToReunite the Beatles', he fired them.Some People Never KnowThe first track on the second side of the Wild Life album. A lengthytrack at over six minutes, with lots of acoustic guitar work. Paulplayed bass guitar, guitars, keyboards and vocals, Linda addedvocals, Denny Laine played guitar and vocals and Denny Seiwellplayed drums. The number, produced by Paul and Linda, was engineeredby Tony Clark and Alan Parsons and ran for 6 minutes and 36 seconds.


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SomedaysA track from the Flaming Pie album, which Paul wrote in two hours.It was produced by Paul and Jeff Lynne and engineered by GeoffEmerick and Jan Jacobs with assistance from Keith Smith. Recordingbegan on 1 November 1995 with Paul singing lead vocal and playingacoustic guitar, Spanish guitar and bass guitar. There wasorchestral accompaniment, orchestrated by George Martin and

conducted by David Snell, which was added on 10 June 1996. The othermusicians were: Keith Pascoe, Jackie Hartley, Rita Manning and PeterManning on violins; Christian Kempen and Martin Loveday on cellos;Peter Lake and Levine Andrade on violas; Andy Findon on alto flute;Martin Parry and Michael Cox on flutes; Gary Kettel on percussion;Skaila Kanga on harp; and Roy Carter on oboe and cor anglais.Paul wrote it when he drove Linda to a photo session in Kent andsays, 'I knew that Linda would be about two hours doing the shoot,so I set myself a deadline to write a song in that time. And thiswas it. I wanted to finish it so that when Linda had finished andwould say, "What did you do? Did you get bored?" I could say, "Oh, Iwrote this song. Wanna hear it?" It's just a little game that Johnand I used to play, and I don't think it ever took us more than

three or so hours to write a song.'The number was also reworked and included on the 1999 CD WorkingClassical.Song We Were Singing, TheThe opening track on the Flaming Pie album and the first number thatPaul taped during his initial sessions for the album. It was pennedby Paul in Jamaica in January 1995 and lasted 3 minutes and 54seconds. The number was produced by Paul and Jeff Lynne andengineered by Geoff Emerick and Jan Jacobs with assistance fromKeith Smith.Recording began at Paul's studio in Sussex on 6 November 1995 andPaul sang lead vocal and harmony vocal and played electric guitar,acoustic guitar, bass guitar, double bass and harmonium, while Jeff

Lynne sang harmony vocal and played electric guitar, acoustic guitarand keyboard. The double bass Paul played was the one used by BillBlack, bass guitarist for Elvis Presley.Commenting on the track, Paul said, 'I was remembering the sixties,sitting around late at night, dossing, smoking, drinking wine,hanging out. We were taking a sip, seeing the world through a glass,talking about the cosmic solution. It's that time in your life whenyou get a chance for all that.'Songwriters, TheA series of eight BBC 1 TV programmes screened in the summer of1978, written by Tony Staveacre and directed by Keith Cheetham.Songwriters in the series included Noel Coward, Lionel Bart and TimRice and Andrew Lloyd Webber.

The 55-minute programme on 27 July 1978 featured 'Lennon andMcCartney'. It covered their career from their first meeting atWoolton village fete until the dissolution of their partnership. Theseries had been filmed in a small studio on a limited budget, butemployed colourful videotape effects and montages of album coversand photographs to good effect.The first part of the programme dealt with their early career inLiverpool and Hamburg and excerpts from Mersey Beat, Twilight OfThe Gods by Wilfred Mellers, the Daily Mirror and the EveningStandard were quoted.Unfortunately, the artists chosen to sing the Lennon and McCartney


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numbers were rather pedestrian and middle-of-the-road and includedSheila White, Vicki Brown, Peter Blake, Marti Webb and Paul Jones.South Bank Show, TheAn arts programme on London Weekend Television, hosted by MelvynBragg.Paul made his first appearance on the show on its debut screening onSunday 15 January 1978 when he was subjected to a detailed interviewthat spotlighted his songwriting career. It was titled 'Paul

McCartney: Songsmith'.The interview was actually filmed on Friday 2 December 1977 and Paulalso discussed a number of subjects ranging from his childhood tothe Beatles' success in America. Among the songs he chatted aboutwere 'Eleanor Rigby', 'Yesterday' and 'When I'm Sixty-Four'. Paulwas also shown recording the guitar and vocal parts to 'Mull OfKintyre', playing piano on 'I Lost My Little Girl' and he jammedwith Denny Laine on 'Lucille'.Paul played a piano impression he called 'Melvyn Bragg In TheParlour Having Tea', did short a cappella renderings of 'Too BadAbout Sorrows', 'Scrambled Egg' and 'Michelle' and whistled 'From MeTo You'. Various clips from performances were also shown in the30-minute programme.

Another special edition of the show on Sunday 14 October 1984devoted 48 minutes to the film Give My Regards To Broad Street andfeatured filmed interviews with Paul and George Martin during themaking of the movie and behind-the-scenes coverage of the recordingof the songs. His new versions of Beatles songs such as 'EleanorRigby', 'For No One' and 'Yesterday' were publicly broadcast for thefirst time.The show was also transmitted in America under the title 'The MakingOf Give My Regards To Broad Street'.SouvenirsA song Paul composed while on holiday in Jamaica. The bluesy numberwas recorded in February 1996 and included on the Flaming Pie album.The number lasted 3 minutes and 42 seconds and was penned by Paul,

produced by Paul and Jeff Lynne, and engineered by Geoff Emerick andJan Jacobs, assisted by Keith Smith.Recording began on 19 February 1996. Paul sang lead vocal, backingvocal and played drums, piano, harpsichord, acoustic guitar,electric guitar and bass guitar. Jeff Lynne provided backing vocaland played acoustic guitar, electric guitar and keyboard. KevinRobinson played trumpet, Chris 'Snake' Davis saxophone and DaveBishop baritone saxophone.Paul had originally cut a demo of this number when he was in Jamaicaand when they were about to record this he commented, 'I said toJeff, "Let's take this demo but instead of what we normally do -take all the information off and renew it, and wreck it - let's makesure that everything that's going on is at least as good and has the

flavour of the demo." This song's a little favourite of mine. I'mlooking forward, I hope, to an R&B singer doing it. I would haveloved it as a single, but I knew that no one on earth would everhave chosen it as a single.'Spector, PhilA legendary record producer, born Harvey Phillip Spector in theBronx, New York on 26 December 1940.At the age of seventeen he had his first chart-topping hit with themillion-seller 'To Know Him Is To Love Him', by the Teddy Bears. Hepenned the song and was a member of the group, although he was togain his fame as a record producer, noted for his distinctive 'wall


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of sound', which was the use of a massive sound using many musiciansand instruments - keyboards, choirs, strings, percussion, guitarsand so on.He also produced a string of hits by a variety of groups such as theCrystals, Ronettes and Righteous Brothers, including 'He's A Rebel','Da Doo Ron Ron', 'Then He Kissed Me', 'Baby I Love You' and 'You'veLost That Lovin' Feelin".Regarded as something of an eccentric figure, as some geniuses are,

he retired from the music industry for a while in frustration at thelack of American success of his production of 'River Deep, MountainHigh' by Ike 8c Tina Turner.Spector had had an earlier social association with the Beatles andJohn Lennon asked him to produce 'Instant Karma' for him.At the time the Beatles had hours and hours of tapes from the GetBack sessions, a projected album of that title, which they wereundecided what to do with. John, together with George Harrison andAllen Klein, then commissioned Spector to make an album from thetapes, although they didn't let Paul know about their decision.On 23 March 1970 Spector moved into Abbey Road Studios, initiallyworking from Room Four, to remix the tapes.Spector also commissioned a number of arrangers to add to some of

the tapes and gave Richard Hewson the tapes of Paul's 'The Long AndWinding Road' and George's 'I, Me, Mine'. Spector instructed him, 'Iwant it orchestrated with a massive orchestra.'Hewson recalled, 'So I lined up an orchestra with what I thought wasa massive orchestra. All through the night, Spector kept ringing upsaying, "Let's have some more violins. Let's have three harpsinstead of one," and all that.'Recording began at seven in the evening of Wednesday 1 April 1970.Ringo played drums at this session, which is noted as the one inwhich he was the last member of the Beatles to play at the lastBeatles recording session.Apart from Ringo, the mass of musicians included eighteen violins,four violas, four cellos, a harp, three trumpets, three trombones,

two guitars and fourteen singers.Hewson said, 'There were so many musicians in the end that wecouldn't get them all in! We actually, literally, had to shut thedoor and say that's enough.'The musicians began to become annoyed at the antics of the eccentricproducer, who kept making them play the parts over and over again.Hewson recalls, 'He kept going, "Let's have another take." He didn'teven want to listen to the playback; he just wanted to play it overand over again. The guys were saying, "We played it. We can't playit any better." It wasn't that difficult music for those guys.They're brilliant musicians. The first reading through is prettywell perfect, and the second one is right on. Eventually, after thetenth time, they got fed up and left.'

Ringo continued to play. Hewson said, 'He was very cheery, and hedidn't seem to mind. He kept drumming every time we took a tape.'This production was actually contrary to what Paul had in mind forthe album as a whole, to keep the whole thing simple, as if theBeatles had played the album live.In particular, this was his vision of 'The Long And Winding Road'.Paul presented his point of view in an interview in the LondonEvening Standard on 24 April 1970 when he expressed his distaste atwhat Spector had done to the numbers.He said, 'The album was finished a year ago, but a few months agoAmerican record producer Phil Spector was called in by John Lennon


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to tidy up some of the tracks. But a few weeks ago, I was sent aremixed version of my song 'The Long And Winding Road' with harps,horns, an orchestra, and a woman's chorus added. No one had asked mewhat I thought. I couldn't believe it. The record came with a notefrom Allen Klein saying he thought the changes were necessary. Idon't blame Phil Spector for doing it, but it just goes to show thatit's no good me sitting here thinking I'm in control becauseobviously I'm not. Anyway, I've sent Klein a letter asking for some

things to be altered, but I haven't received an answer yet.'Paul never received an answer.When Paul was at the Q Awards at the Park Lane Hotel in London toreceive a Best Songwriter Award for Flaming Pie on Tuesday 4November 1997, there was also a special award for Phil Spector. WhenSpector got up to make a speech, Paul walked out, presumably becausehe has never forgiven him for what he did to 'The Long And WindingRoad'.Speedy Prompt Delivery ServiceThe Liverpool firm where Paul worked for a fortnight in December1960 following his return from the first Hamburg trip. His fatherhadsuggested that he find himself a job so he went to the local office

of the labour exchange and was given a job for the firm, which hecalled SPD, spending his time as second man in the back of a lorrydelivering parcels, mainly in the area of the Liverpool docks.Paul told Hunter Davies in The Beatles: The Authorised Biography: 'Iused to sit on the back of the lorry and helped to carry parcels. Iwas so buggered sometimes. I fell asleep in the lorry when we wentto places like Chester. I was with them about two weeks and feltvery worldly having a job and a few quid in me pocket. But I gotlaid off. The Christmas period was over and there wasn't so muchwork.'Spies Like Us (promotional film)Director John Landis decided on an Abbey Road cover spoof for thepromotional film, which he also directed. Paul told him, 'If you're

going to do it as a parody of the album cover, you might as well geta few of the in-jokes in there. So there's the Volkswagen with"28IF" there. Dan took his shoes off for the shot on the crossing,all that stuff.' The promotional film opens with Paul arriving atAbbey Road Studios on a bike, disguised in glasses and a thinmoustache. A truck pulls up with Dan Aykroyd in the back. AnotherPaul, this time disguised with a bowler hat and handlebar moustache,drives up in a limo while Chevy Chase, in deerstalker hat andInverness cape, alights from a bus.Inside the studio a figure in a Prince Charles mask takes it off toreveal he is Paul. Three different Pauls, each in different outfits,begin to play guitar, bass and drums while Aykroyd is at the studioconsole and Chase on keyboards. They are then joined by two blondes

who are also in the film - Vanessa Angel and Donna Dixon (who ismarried to Dan Aykroyd). The promotional film was also intercut withscenes from the film.Spies Like Us (song)Spies Like Us was a spy-spoof feature film starring Dan Aykroyd andChevy Chase. Director John Landis has asked Paul to write a themefor Spies Like Us. After he'd been shown rough footage from thefilm, which he liked, Paul wrote and recorded the number in a week.He said, 'John Landis rang me and said he wanted an up-temporock-'n'-rolly thing.' Paul added, 'I thought I might have done aBondy song - the 75-piece orchestra, more melodic, with maybe an


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Eastern touch, the known ingredients for a "spy" type of song. Ithink one of the fun things about what I'm doing now is varyingthose things a bit.'Paul's eponymous song is only heard on the closing sequences of themovie, but the single was released in Britain on Parlophone R6118 onMonday 18 November 1985. The flipside was the Wings recording of 'MyCarnival', previously unreleased although recorded in New Orleans asfar back as 1975. There was also a three-track 12" single issued on

Monday 2 December on 12R 6118 which contained 'Spies Like Us (PartyMix)', 'Spies like Us (Alternative Mix)' and 'My Carnival'. A 7"picture disc on RP 6118 was also issued. The record proved to be aTop Ten chart entry in the States (Capitol B-5436), when it becamethe first release under Paul's new contract with Capitol and, takingin the 65 entries with the Beatles, became Paul's 100th single toenter the Billboard 100 chart, although it only reached No. 13 inthe British charts. A promotional video was released which includedfootage from the movie and shots of Paul in various disguises atAbbey Road Studios.Dan Aykroyd and Chevy Chase also appeared in the Abbey Road sequenceon Paul's video.Paul, who recorded the number in September 1985, played all the

instruments on 'Spies Like Us', with the exception of thesynthesiser, which was played by Eddie Rayner of Split Enz. Thebacking vocals were by Linda, Kate Robbins, Ruby James and EricStewart.It was produced by Paul, Hugh Padgham and Phil Ramone.Musicians on 'My Carnival' were Paul, Linda, Denny Laine, JimmyMcCullough, Joe English, George Porter and Benny Spellman.Paul's recording of the title song was not included on thesoundtrack album, which consisted solely of Elmer Bernstein's musicscore.It was released in Germany on Parlophone 1C006-2009407.Like a number of Paul's singles, there was a plethora of differentvariations. A 12" picture disc was issued on Parlophone 12 RP 6118

on Tuesday 2 December 1986 and a 7" version, cut to shape, wasissued on Parlophone RP 6118 a week later.SpikeAn album by Elvis Costello, issued in Britain on the Warner Brotherslabel as an album on 6 February 1989 on WX 238. There was also acassette (W 238C) and a compact disc (925848-2).There were two tracks on the album co-written by Paul and Costello.They were 'Veronica' and 'Pads, Paws and Claws'.Spin It OnA song written by Paul which was issued as the flipside of 'Old SiamSir' in Britain on 1 June 1979 and as the flipside of 'GettingCloser' in America on 5 June. A few days later it appeared as thefourth track of a Back To The Egg TV special and Wings performed the

number as part of their repertoire on their British tour in 1979.Spinetti, VictorA British comic actor who appeared in more Beatles movies thananyone else, apart from the Beatles themselves.Victor became a close friend of the group and appeared in a smallcameo role in Paul's video of 'London Town'.The two of them took part in the 'recruiting scene' in 'MagicalMystery Tour'.Victor had been asked to become a member of the actual tour partybut he was appearing in a play at the time. However, he managed toget enough time off to appear in this scene, in which the character


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he plays is based on his role in the film Oh, What A Lovely War!Spinning On An AxisA track from the Driving Rain album lasting 5 minutes and 16seconds. It was recorded on 21 February 2001.Spinozza, DaveA New York session musician, one of several hired by Paul to play onthe Ram album. Paul was impressed with his work and offered him ajob in Wings, but Spinozza turned him down, content to remain a

session musician.SpiralA piano piece composed by Paul which made its debut in the StandingStone programme at the Royal Albert Hall, London on 14 October 1997.Composer Richard Rodney Bennett provided the orchestralarrangements. Paul was to say, 'I felt frightened that, as acomposer, he might take over. I knew I had to do the work myself andget my ideas on to the computer, so that the piece was me. Then Icould relax and allow other people to point out where "me" hadn'tworked or where maybe "me" could be improved.'Spirit Of Ranachan StudioA studio Paul used on his land in Campbeltown, Scotland. It is notto be confused with his Rude Studio. It was a barn that Paul

converted into a studio using the Rak Records 24-track mo

bill harry_ the paul mccartney encyclopedia 20

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