One of Paul's cousins. He devised crosswords for the now defunct Club Sandwich magazine. He also compiled crosswords for the Daily Telegraph, the Guardian and The Times newspapers. He died on 4 March 2002. He was 75 years old. Paul wrote to the Daily Telegraph thanking them for their obituary, saying, 'All of us in the family loved Bert and were very proud of his achievements.'
One of the most successful American television soap operas of all time. Produced by Lorimer Productions, Dallas was the saga of an oil-rich family called the Ewings who lived in a sprawling ranch called Southfork, situated on the outskirts of the Texas city of Dallas. In the 1980s, due to the popularity of another American soap opera, the Dallas spin-off Dynasty, the producers of Dallas began looking for internationally known celebrities to appear in the series. Late in 1984, they offered Paul McCartney almost one million pounds to make a series of appearances in the role of a wealthy British landowner, spread over eight episodes at £110,000 each. Paul declined saying that he didn't want to be separated from his children.
Quite frankly, if Paul wanted to be reduced to appearing in soap operas to make money, the Beatles might as well have appeared in a string of second-rate movies in the 1960s as Elvis did. No, the legend would surely have suffered a severe blow if Paul had actually accepted that Dallas role.
An American singer, a former member of the group Shalamar. He made his screen debut in Give My Regards To Broad Street and commented:
'That's all about Paul's real life versus his unconscious dream life. I play myself in one of the dream sequences.'
He appeared as the robot dancer prior to the 'Silly Love Song' sequence.
A 15-minute animated short directed by Geoff Dunbar, and produced by MPL's Juggler Films Company. It was premiered at the Cannes Film Festival in March 1992. The short was based on the works of French artist Honore Daumier, who lived from 1808 to 1879. Basically re-creating the drawings of Daumier, the animation was in six acts, telling the tale of an Everyman who is abused and discarded by a tyrannical system.
Paul and Linda had been working on the project for four years. Paul wrote and produced the musical score for the film, performing himself and recording it in December 1989. He also co-wrote the short with Dunbar and it was to win the top prize at the British Academy of Film And Television Arts in 1992.
David Frost At The Phonograph
A radio series on the BBC Light Programme. Paul was the show's guest and recorded the programme on Monday 1 August 1966 at Broadcasting House in London's West End. Frost interviewed him in Studio B14 and the programme was transmitted a few days later on Saturday 6 August from 12 noon to 1.30 p.m.
The series took one personality and interviewed them on various matters, in between playing specific records.
David Symonds Show, The
A BBC Radio One show hosted by disc jockey David Symonds. Symonds interviewed Paul for the show following the appearance by Wings at the New Theatre, Oxford on Saturday 12 May 1973. During the interview Symonds mentioned that his daughter referred to Paul as 'Paul McCarpet'.
An American composer, born in Brooklyn, New York on 28 October, 1936. He is married to Liverpool actress Joan Boht, the star of the sitcom Bread.
A classically-trained composer, Davis originally arrived in Britain in 1959 to appear at the Edinburgh Festival with a revue he'd co-written called Diversions. As a result he was offered a commission by Ned Sherrin to compose music for the TV series That Was The Week That Was. Other commissions poured in for radio, stage and film work and he settled in Britain in the early 1960s. He composed for the Royal Shakespeare Company, the National Theatre, worked with artists such as Laurence Olivier and John Gielgud, wrote the scores for films such as The French Lieutenant's Woman and for numerous other film and television productions.
He was even the musical director of the American made-for-TV film The Birth Of The Beatles.
Paul read an article about Carl in 1988 in which the composer said, 'If it moves, I can score it.' Paul was impressed.
A short time later, when Davis was conducting the Royal Liverpool Philharmonic Orchestra in a performance of his and Carla Lane's Pigeon's Progress, featuring his wife Joan, Paul and Linda sent a good luck message.
Brian Pidgeon, the general manager of the RLPO then had an idea that resulted in Davis approaching Paul on his behalf to write a composition for the 150th anniversary celebrations of the orchestra.
Paul and Carl were then officially commissioned to compose the work that became Paul McCartney's Liverpool Oratorio. The two sat down and spent hundreds of hours at their respective homes writing, scoring and re-scoring over a two-year period.
Although Paul had written around 400 recorded songs, he had no musical training, but Carl had studied in the classical tradition, which led Paul to comment, 'I prefer to think of my approach to music as primitive, rather like the primitive cave artists, who drew without training. Hopefully, the combination of Carl's classical training and my primitivism will result in a beautiful piece of music. That was always my intention.'
When he was asked how working with Carl differed from working with John Lennon, Paul replied, 'I bossed Carl around more than I bossed John.'
On Tuesday 12 May 1992 Davis was in America where he conducted the Boston Pops in a performance of Linda's Appaloosa and Paul's Meditation. The performance was filmed by PBS (Public Broadcasting Service) and screened in America in August of that year.
The meter maid who claims to have inspired Paul's song 'Lovely Rita.' She retired after nineteen years as a traffic warden on Wednesday 4 September 1985, when the media gave her story maximum coverage. She appeared on both BBC and ITV news programmes that evening, pictured walking across the Abbey Road zebra crossing and discussing how she gave Paul his ticket (although she called him Paul 'McCarthy' in the interviews).
In 1967 Miss Davis, who lived in St John's Wood before her death, was once giving Paul's car a ticket in Garden Road, when he turned up. She comments: 'He saw that my name was Meta and he laughed and said "That would make a nice jingle, I could use that." We chatted for a few minutes and then he drove off. I didn't think any more of it, but
later the song came out and although I knew the record was about me I never bought a copy.'
Paul didn't recognise her when, a few years later, she met him in the reception room of the local vet where she'd taken her cat. Paul was there with his dog and Meta says: 'We chatted about animals and he didn't recognise me out of uniform and I didn't tell him who I was.'
When the record was originally released in Australia it included Meta's name in the lyrics, but this was changed to Rita in other versions.
Day In The Life, A
A collaboration between Paul and John, but one in which they each wrote separate parts, John penning the beginning and end of the number and Paul composing the middle section.
Paul had already written some of the lyrics for another song, but decided to incorporate them into the number that John had been writing. There is a long chord at the end of the song that lasts for 42 seconds and it has been suggested that it was only intended to be heard by Martha, Paul's dog!
John's section was inspired by two separate items: the death in a car crash of Guinness heir Тага Browne, a friend of the Beatles, and a story that he'd read in the Daily Mail newspaper concerning holes in the roads in Blackburn, Lancashire.
Paul's rather cheery section, according to Stephen Norris, a former schoolmate who became Conservative MP for Oxford East, was based on a bus journey they used to take to school together. In a Daily Mirror interview in 1985, Norris commented: 'Everyone says that "A Day In The Life" was about drugs, but Paul always claimed it was about catching the bus to school. I agree. It's exactly what we used to do. "Went upstairs and had a smoke, somebody spoke and I went into a dream." That's just how I remember it. Getting sleepily out of bed, dragging a comb across your head, then going out and catching the bus, upstairs to the top deck like we all did, still not properly awake and having an untipped Woodbine.'
In fact, it was only ever John's part of the song that was said to be about drugs. The BBC banned it nonetheless. It has never been clear why they assumed a drug connection - one suggestion was that they thought the holes in the road referred to holes caused by a drug addict's hypodermic needle.
The number, which has a classical 'feel' and was recorded with 42 musicians from the London Philharmonic Orchestra, first appeared on Sgt Pepper and was also included on The Beatles 1967-1970 compilation.
Paul was to say, 'We were being influenced by avant-garde composers. For "A Day In The Life", I suggested we should write all but fifteen bars properly so that the orchestra could read it, but where the fifteen bars began we would give the musicians a simple direction: "Start on your lowest note and eventually, at the end of the fifteen bars,
be at your highest note." How they got there was up to them, but it all resulted in a crazy crescendo. It was interesting because the trumpet players, always famous for their fondness for lubricating substances, didn't care, so they'd be there at the note ahead of everyone. The strings all watched each other like little sheep: "Are you going up?" "Yes." "So am I." And they'd go up. "A little more?" "Yes." And they'd go up a little more, all very delicate and cosy, all going up together. You listen to those trumpets. They're just freaking out.'
Daytime Nighttime Suffering
A number penned by Paul that was 3 minutes and 19 seconds in length. It had been written over a weekend break and recorded in Replica Studios, situated in the basement of MPL. During the sessions Linda had stepped into the mike range and the sound of baby James McCartney giving a cry is heard.
The number was issued as the flipside to 'Goodnight Tonight' in March 1979.
One of the names, along with Turpentine that Paul considered calling the band he eventually named Wings.
De Doelen, Rotterdam
A venue in Rotterdam where Wings played the first of four concert dates in Holland during their 1972 European tour. A concert planned for Breda was cancelled due to poor ticket sales. The group travelled around Europe on a brightly painted double-decker bus (WNO 481).
The group's repertoire on the concerts were: 'Eat At Home', 'Smile Away', 'Bip Bop', 'Mumbo', '1882', 'I Would Only Smile', 'Give Ireland Back To The Irish', 'Blue Moon Of Kentucky', 'The Mess', 'Best Friend', 'Soily', 'I Am Your Singer', 'Seaside Woman', 'Henry's Blues', 'Say You Don't Mind', 'Wild Life', 'Mary Had A Little Lamb', 'My Love', 'Maybe I'm Amazed', 'Hi, Hi, Hi' and 'Long Tall Sally'.
There have been various bootleg releases of recordings of this particular concert.
De Kooning, Willem
A Dutch artist based in New York. He and his wife, the painter Elaine De Kooning, lived at the Springs, East Hampton, close to the Long Island home of Linda's father, Lee, who was De Kooning's attorney. Paul first met him in the late 1970s. Paul also visited him in his studio in 1981 and Linda took a photograph of them together. The picture was used on the cover of the issue of Art News magazine in which Paul discussed De Kooning during an interview. He was to say, 'I saw him draw Linda and her brother and her two sisters, for a present to give to their dad on his sixtieth birthday. We went round to his studio and they knew him well enough to say, "Would you do us a quick drawing to give to Lee?" and he did.'
At one time, De Kooning offered Paul the pick of the paintings in his studio and Paul picked a modest work that he particularly liked.
It was obviously the influence of De Kooning that led Paul to work on his first oil painting while he was staying at Long Island.
A song Paul co-wrote with Linda for the Ram album. The song was about Paul finding Linda as an important part of his life, although John Lennon thought it might have been an attack in song against him. Paul was to use the song during memorial services to Linda in 1998.
A song written about John Lennon and included on the Wild Life album. Paul had been upset by all the disagreements and when John began to slag him off in public he considered his response. Instinctively he felt he shouldn't play tit for tat and begin to slag John off in public, so he wrote 'Dear John' as a message saying that they should 'lay the guns down, let's hang up our boxing gloves'. It was recorded in New York in April 1971.
Death Of Variety, The
A concept Paul had during the Apple days, prior to Allen Klein joining the company. He thought of organising something similar to a 'battle of the bands' at the Royal Albert Hall with a rock and roll orchestra competing with a classical orchestra. Paul approached Sir Lew Grade with the idea and also discussed it with Glyn Johns (see Johns, Glyn), but it didn't come to fruition. He eventually utilised part of the idea when he created the Rockestra, a collection of leading British guitarists and drummers.
Defeat of the Dog, The
One of two avant-garde films that Paul made in 1966; the other was called The Next Spring Then, Paul screened the films for journalist Patrick Skene Catling and they were mentioned in his article, which appeared in Punch magazine on 23 November 1966.
Catling commented: 'They were not like ordinary people's home movies. There were over-exposures, double-exposures, blinding orange lights, quick cuts from professional wrestling to a crowded car park to a close-up of a television weather map. There were long still shots of a grey cloudy sky and a wet, grey pavement, jumping Chinese ivory carvings and affectionate slow-motion studies of his sheepdog Martha and his cat. The accompanying music, on a record player and faultlessly synchronised, was by the Modern Jazz Quartet and Bach.'
Paul was also to show the films to Italian movie director Michaelangelo Antonioni. Both films were lost when Paul's Cavendish Avenue house was burgled.
Degree of Frost, A
Paul appeared on this BBC Television programme, hosted by David Frost, discussing his song writing. It was transmitted on Monday 18 May 1964 and repeated on Tuesday 1 September 1964.
Deliver Your Children
A London Town album track, 4 minutes and 17 seconds in length, which was co-written by Paul and Denny Laine in 1978. It was the flip-side of the June 1978 single 'I've Had Enough'.
Paul's American publicist and spokesman, who has acted as press agent for over thirty years. Apart from Paul, his clients have included Elton John, David Bowie and Rod Stewart.
Dera originally represented Paul as a member of the American branch of the public relations company Rogers 8t Cowan. He left Rogers & Cowan to form his own company Dera and Associates Public Relations in 1989 and Paul moved with him.
Desert Island Discs
A popular British radio show conceived by Roy Plumley, who died in 1985, which has run for more than fifty years.
The show's format is deceptively simple: celebrities are asked to imagine being stranded on a desert island and to select the records they would take with them. In between their choices being played, they discuss their lives and give reasons for their record selection.
Paul McCartney was the first and only ex-Beatle to appear on the show: on Saturday 30 January 1982, he became the 1,629th castaway. Each castaway selects eight records and also identifies one particular record that they would keep if they were only allowed a single disc. They also have to suggest a luxury item and a book they would want with them on a desert island.
Paul's eight selections were: 'Heartbreak Hotel' by Elvis Presley; 'Sweet Little Sixteen' by Chuck Berry; 'Courtly Dances From Gloriana' by the Julian Bream Consort; 'Be Bop A Lula' by Gene Vincent; 'Searchin", by the Coasters; 'Tutti Frutti' by Little Richard; 'Walking In The Park With Eloise' by the Country Hams and 'Beautiful Boy' by John Lennon. The last became his special selection. His luxury was a guitar and the book he picked was Linda's Pictures.
When Paul appeared the host was Michael Parkinson who appears on the cover of Band On The Run.
When Paul was on his way to the BBC to record the programme, Paul Massey, an 18-year-old news photographer, attempted to take photographs of Paul. Paul gave him a fierce shove that knocked him to the ground. Paul regretted the incident and apologised, saying, 'I'm sorry I blew my top, mate. I knew there was only one way to stop you taking pictures and that was to lay into you.'
During his conversations on the programme, Paul said that the Silver Beetles had never been paid for their appearance when they backed Johnny Gentle on a tour of Scotland. As a result, impresario Larry Parnes filed a suit against Paul and the BBC for slander. Eventually, the matter was resolved when a formal apology was read out on the programme by Roy Plumley prior to the 28 July 1984 edition, also pointing out that Paul's comment had been made as a joke.
Paul appeared on the American edition of Desert Island Discs whilst in Los Angeles on Sunday 25 November 1990.
Devour The Earth
A 20-minute video produced by the Vegetarian Society in 1995 when Paul and Linda were patrons. The video looked at the impact of meat-eating on the environment. Paul provided the voice-over for the video and bought a number of copies that he sent to friends such as Prince Charles.
Paul was to comment, 'I'm convinced that the vegetarian way is the way for the future for many people and Linda and I are pleased to be part of it.'
An American actor who appeared as the young boy in the classic Western Shane in 1953. Ten years later he appeared in another acclaimed film, Hud, with Paul Newman.
When the Beatles were filming Help! in the Bahamas, they stayed in a rented house and DeWilde was one of the visitors. He was fascinated when Paul began to compose the song 'Wait' in his presence.
DeWilde died in a car crash in June 1972 and Gram Parsons based his song 'In My Hour Of Darkness' on the actor.
Diary Of The Cannes Film Festival
An ITV television programme, hosted by American film critic Rex Reed. Reed interviewed Paul and Linda in Cannes while they were there for the screening of Seaside Woman on Friday 16 May 1980. The programme was sreened on Friday 18 July.
Reed asked Paul: 'Do you think there'll ever be the chance of another Lennon and McCartney song?'
Paul answered, 'Well, I wouldn't say there would be actually, 'cause the last time I spoke to John, I just happened to ask him about whether he was writing songs and stuff, just out of my curiosity, and he told me he was kind of finished doing that and that he's not really into that, which when you say it to people, they say, "Oh, it's a big disappointment," or "He must have gone crazy," but if you think about it, most of us do our jobs to arrive at a point where we no longer have to do our jobs and we can put our feet up and we can enjoy life for a change. I think John's probably reached that point.'
Didn't We Meet Somewhere Before?
A song recorded by Paul and Wings for the Ramones' film Rock V Roll High School. The number wasn't included on the soundtrack album of the film and is unavailable on disc.
147 Dinas Lane, Huyton, Liverpool
The address of Paul's Aunt Jin, where Paul's 21st birthday party was held in a marquee in the back garden on Tuesday 18 June 1963.
Paul had asked the Fourmost to play at the party and offered to pay them their normal performance fee, but they said they'd accept only fourpence halfpenny each - although they were never paid anything!
Other guests included the Shadows, who were currently appearing in Blackpool. Brian Bennett, Hank Marvin and Bruce Welch travelled from Blackpool by car and rendezvoused with Paul and Jane Asher outside the Empire Theatre, Liverpool and they all set off for Dinas Lane together.
During the course of the evening, John Lennon beat up Bob Wooler, the Cavern disc jockey. Wooler made a remark alluding that the recent trip John had made to Spain with manager Brian Epstein had been a 'Honeymoon'.
Billy J Kramer, one of the guests, said that John was very drunk and they had to pull him off Wooler, and that John had also tried to hit a girl.
'Another Day'/'Oh Woman, Oh Why'. UK Apple R5889, 19 February 1971. US Apple 1826, 22 February 1971.
'Eat At Home'/'Smile Away'. Issued in Germany on Apple IC006-04864 in August 1971 and in France on Apple 2C006-04864M.
'Uncle Albert-Admiral Halsey'/'Too Many People'. Credited to Paul and Linda McCartney, issued in America on Apple 1827 on 2 August 1971.
'Back Seat Of My CarV'Heart Of The Country' by Paul and Linda McCartney, issued in the UK on Apple R5914 on 13 August 1971.
'Give Ireland Back To The Irish'/'Give Ireland Back To The Irish' by Wings. Issued in the UK on Apple R5936 on 25 February 1972 and in America on Apple 1847 on 28 February 1972.
'Mary Had A Little Lamb'/'Little Woman Love', a Wings single issued in the UK on Apple R5949 on 12 May 1972 and in America on Apple 1851 on 29 May 1972.
'Hi, Hi, Hi'/'C Moon'. A Wings single issued in the UK on Apple R5973 on 1 December 1972 and in America on Apple 1857 on 4 December 1972.
'My LoveV'The Mess'. A Paul McCartney and Wings single issued in the UK on Apple R5985 on 23 March 1973 and in America on Apple 1861 on 9 April 1973.
'Live And Let DieV'I Lie Around'. A Wings single issued in the UK on 1 June 1973 on Apple 5987 and in the US on Apple 1863 on 18 July 1973.
'Helen Wheels'/'Country Dreamer' by Paul McCartney and Wings. Issued in the UK on Apple R5987 on Friday 26 October 1973 and in the US on Apple 1869 on Monday 12 November 1973.
'Mrs Vandebilt'/'Bluebird', a single by Paul McCartney and Wings, was issued in Germany on EMI Electrola/Apple 1 C006-05529 in January 1974 and also in Spain on Apple IJ006-05529 and France on Apple 2C006-05529.
'Jet'/'Let Me Roll It' by Paul McCartney and Wings, was released in the UK on Apple R5987 on Friday 15 February 1974 and in the US on Apple 1871 on Monday 18 February 1974.
'Band On The Run'/'Zoo Gang', a single by Paul McCartney and Wings, was issued in the UK on Apple R5997 on Friday 28 June 1974. It was also issued in Spain on Apple C006-09683.
'Band On The Run'/'Nineteen Hundred and Eighty Eight' by Paul McCartney and Wings was issued in America on Apple 1873 on 8 April 1974 where it reached the No. 1 position in the charts. It was also issued in Germany on EMI Electrola/Apple 1C006-05635 in June 1974.
'Walking In The Park With Eloise'/'Bridge Over The River Suite' by the Country Hams was issued in the UK on EMI 2220 on Friday 18 October 1974 and in the US on EMI 3977 on Monday 2 December 1974.
'Junior's Farm'/'Sally G' by Paul McCartney and Wings was issued in the UK on Apple R5999 on Friday 25 October 1974 and in America on Apple 1876 on Monday 4 November 1974.
'Listen To What The Man Said'/'Love In Song', a single by Wings which was issued in the UK on Capitol R6006 on Friday 16 May 1975 and in America on Capitol 4091 on Friday 23 May 1975.
'Letting Go'/'You Gave Me The Answer', a single by Wings that was issued in the UK on Capitol R6008 on Friday 5 September 1975 and in the US on Capitol 4145 on Monday 29 September 1975.
'Venus And Mars - Rockshow (medley)'/'Magneto & Titanium Man' was a Wings single issued in the UK on Capitol R6010 on 28 November 1976 and in the US on Capitol 4175 on 27 October 1975.
'Silly Love Songe'/'Cook Of The House'. A Wings single issued in the UK on Capitol R6014 on Friday 30 April 1976 and in the US on Capitol 4256 on Thursday 1 April 1976.
'Let 'Em In'/'Beware My Love', a Wings single, was released in the UK on Capitol R6015 on Friday 23 July 1976 and in America on Capitol 4293 on Monday 28 June 1976.
'Maybe I'm Amazed'/'Soily' was issued in Britain on Capitol R6017 on 4 February 1977 and in the US on Capitol 4385 on 7 February 1977.
'Uncle Albert/Admiral Halsey'/'Eat At Home' was issued in Britain on Regal Zonophone EMI 2594 on 22 April 1977.
'Seaside Woman,V'B Side To Seaside' by Suzy & the Red Stripes was released in America on Tuesday 31 May 1977 on Epic 3-50403.
'Mull Of Kintyre'/'Girls' School', by Wings, was issued in Britain on Capitol R6018 on Friday 11 November 1977 where it topped the charts and in the US on Capitol 4504 on Monday 14 November 1977 (the American version had the tracks reversed).
'With A Little Luck'/'Backwards Traveller - Cuff Link', was issued in the UK on Parlophone R6019 on Thursday 24 March 1978 and in the US on Capitol 4559 on Monday 20 March 1978.
'I've Had Enough'/'Deliver Your Children', a Wings single which was issued in the UK on Parlophone R6020 on Friday 16 June 1978 and in the US on Capitol 4594 on Monday 12 June 1978.
'London TownVTm Carrying' was issued in the UK on Parlophone R6021 on 11 August 1978 and in the US on Capitol 4625 on 21 August 1978.
'Goodnight Tonight'/'Daytime Nightime Suffering' was a Wings single issued in the UK on Parlophone R6023 on Friday 23 March 1979 and in the US on Columbia 3-109 39 on Thursday 15 March 1979. A 12" extended mix was issued in America on Monday 26 March 1979 and in the UK on Tuesday 3 April 1979.
'Old Siam Sir'/'Spin It Out', a single by Wings, was issued in the UK on Parlophone R6026 On Friday 1 June 1979.
'Getting Closer'/'Spin It On', a single by Wings that was issued in the US on Columbia 3-11 020 on Tuesday 5 June 1979.
'Seaside Woman'/'B Side To Seaside', a single by Suzy And The Red Stripes (Linda McCartney and Wings), was issued by A&cM Records on AMS 7461 on Wednesday 10 August 1979.
'Arrow Through Me'/'OId Siam Sir', a single by Wings, was issued in the US on Columbia 3-11070 on Tuesday 14 August 1979.
'Getting Closer'/'Baby's Request', a single by Wings, was issued in the UK on Parlophone R6027 on Thursday 16 August 1979.
'Wonderful Christmastime'/'Rudolph The Red Nosed Reggae', a single by Paul McCartney, was issued in the UK on Parlophone R6029 on Friday 16 November 1979 and in the US on Columbia 3-11162 on Tuesday 20 November 1979.
'Coming Up'/'Coming Up (Live At Glasgow)7'Lunch Box'/'Odd Sox' was a Paul McCartney single issued in the UK on Parlophone R6035 on Friday 11 April 1980 and in America on Columbia 1-11263 on Tuesday 15 April 1980.
'WaterfallsV'Check My Machine', a single by Paul McCartney, was issued in the UK on Parlophone R6037 on Friday 13 June 1980 and in America on Columbia 1-11335 1847 on Tuesday 22 July 1980.
'Seaside Woman'/'B-Side to Seaside' was issued in the UK on A&M AMS 7548 on 18 July 1980.
'Ebony And Ivory'/'Rainclouds' was a single by Paul McCartney and Stevie Wonder which was issued in the UK on Parlophone R6054 on Monday 29 March 1982 and in the US on Columbia 18-03018 on Monday 29 March 1982.
'Take It AwayVTll Give You A Ring', a single by Paul McCartney, was issued in the UK on Parlophone R6056 on Monday 21 June 1982 and in the US on Columbia 18-03018 on Saturday 3 July 1982.
'Tug Of War'/'Get It', a single by Paul McCartney, was issued in the UK on Parlophone R6057 on Monday 20 September 1982 and in the US on Columbia 38-03235 on Sunday 26 September 1982.
'Say Say Say'/'Ode To A Koala Bear', a single by Paul McCartney and Michael Jackson, was issued in the UK on Parlophone R6062 on Monday 3 October 1983 and in the US on Columbia 38-04168 on Monday 3 October 1983.
'Pipes Of Peace'/'So Bad', a single by Paul McCartney, was issued in Britain on Parlophone R6064 on Monday 5 December 1983. In America the A and B-sides were reversed when the single was issued on Columbia 39149 on the same day.
'No More Lonely Nights (ballad)V'No More Lonely Nights (playout version)' was issued in the UK on Parlophone E6080 on Monday 24 September 1984 and in the US on Columbia 38-04581 on Friday 5 October 1984.
'No More Lonely Nights (ballad)'/'No More Lonely Nights (Special Dance mix)' was issued in the UK on Parlophone 6080 on Monday 29 October 1984.
'We All Stand Together'/'We All Stand Together (humming version)', a single by Paul McCartney and the Frog Chorus which was issued in the UK on Parlophone R6086 on Monday 5 November 1984.
'We All Stand Together'/'We All Stand Together (humming version}' was issued in the UK on Parlophone RP 6086 on 3 December 1984.
'Spies Like Us'/'My Carnival' was a single by Paul McCartney issued in the UK on Parlophone R6118 on Monday 18 November 1985 and in the US on Capitol B-5537 on the same day.
'Spies Like UsV'CarnivaF, a shaped picture disc, was issued in the UK on Parlophone RP 6118 on 9 December 1985.
'Seaside Woman'/'B-Side to Seaside' was issued in Britain on EMI 5572 on 7 July 1986.
'Press'/'It's Not True', by Paul McCartney, was issued in the UK on Parlophone R6118 on Monday 14 July 1986 and in the US on Capitol B-5597 on the same day.
'Pretty Little Head (Remix)'/'Write Away' was issued in the UK on Parlophone R6145 on Monday 27 October 1986.
'Stranglehold'/'Angry (Remix)' was issued in the US on Capitol B-5636 on Wednesday 29 October 1986.
'Only Love Remains (Remix)7'Tough On A Tightrope' was issued in the UK on Parlophone R6148 on Monday 1 December 1986 and in the US on Capitol B-5672 on Tuesday 17 January 1987.
'Long Tall Sally'/'I Saw Her Standing There' were live recordings of Paul performing at the Prince's Trust Concert on 20 June 1986. The single was issued in the UK as a free bonus with the album Prince's Trust Tenth Anniversary Birthday Party on A&M FREE 21 on Friday 24 April 1987.
'Once Upon A Long Ago'/'Back On My Feet' was a Paul McCartney single issued in the UK on Parlophone R6160 on Monday 16 November 1987.
'My Brave Face'/'Flying To My Home' was a single by Paul McCartney issued in the UK on Parlophone R6213 on Monday 8 May 1989 and in the US on Capitol B-44367 on Wednesday 10 May 1989.
'This One'/'The First Stone' was a single by Paul McCartney issued in the UK on Parlophone R6273 on Monday 17 July 1989 and in the US on cassette only on Capitol 4JM44438 on Wednesday 2 August 1989.
'This OneV'The Long And Winding Road' was issued in a limited edition in Britain on Parlophone RX 6223 on 24 July 1989.
'Figure Of Eight'/'Ou Est Le Soleil?', a single by Paul McCartney, was issued in the UK on Parlophone R6235 on 13 November 1989 and in the US on Capitol 4JM44489 (in cassette form only) on 15 November 1989.
'Party Party' was a one-sided single on vinyl on Parlophone R6238 that was issued as a bonus in a limited edition repackaging of the album Flowers In The Dirt (World Tour Pack) on Thursday 23 November 1989. It was issued in the US on Sunday 15 January 1990.
'Put It There'/'Mama's Little Girl' was a Paul McCartney single issued in the UK on Parlophone 6246 on Monday 5 February 1990 and in the US on Capitol 4JM44570 (in cassette form only) on Tuesday 1 May 1990.
'Birthday'/'Good Day Sunshine', a single by Paul McCartney, was released in the UK on Parlophone R6271 on Monday 8 October 1990 and in the US on Capitol 4JM44645 (in cassette version only) on Tuesday 16 October 1990.
'All My Trials'/'C Moon', a single by Paul McCartney, was issued in the UK on Parlophone R6278 on 26 November 1990.
'The Long And Winding RoadV'C Moon', a single by Paul McCartney, was issued in Germany on Parlophone 066-2041747 on Friday 4 January 1991.
'Hope Of Deliverance'/'Long Leather Coat' by Paul McCartney was issued as a single in the UK on Parlophone R6330 on Monday 28
December 1992 and in the US on Capitol 41CM0777 74490443 in a cassette version only on Monday 18 January 1993.
'C'mon People'/'I Can't Imagine' was a single by Paul McCartney issued in the UK on Parlophone R6338 on 22 February 1993 and in the US on Monday 12 July 1993.
'Off The Ground'/'Cosmically Conscious' was a single by Paul McCartney, and was issued in America only on Capitol S7-17318 on Monday 6 April 1993.
'Biker Like An Icon'/'Things We Said Today' was originally to be issued in the UK on Parlophone CDRDJ 63471 on Monday 26 April 1993 in a 7" vinyl format, cassette and CD. It was issued as a vinyl single on Capitol/CEMA on Tuesday 20 April 1993.
'Young Boy'/'Looking For You', a single by Paul McCartney, was issued in the UK on Parlophone R6462/7243 8 8378673 on Monday 28 April 1997. One version was a picture disc, another was a jukebox issue.
'The World TonightV'Used To Be Bad', a single by Paul McCartney, was issued in the UK on Parlophone RP6472 on Monday 7 July 1997.
'Beautiful NightVLove Came Tumbling Down', a single by Paul McCartney, was issued in the UK on Parlophone RP 6489 on 15 December 1997.
'No Other Baby'/'Brown Eyed Handsome Man' was a Paul McCartney single issued in the UK on Parlophone R6527 on 24 October 1999.
'Run Devil Run' was part of an 8-single box set issued in the UK on Parlophone 523 221 on Monday 6 December 1999.
The Family Way. Released on 6 January 1967 on Decca SKL 4847 (UK) and 12 June 1967 on London MS 82007(US).
McCartney. Released on 17 April 1970 on Apple PCS 7102 (UK) and 20 April 1970 on Apple STAO 3363 (US).
Ram. Released on 17 May 1971 on Apple 33 (UK)and 28 May 1971 Apple PAS 10003 (US).
Wings' Wild Life. Released on 7 December 1971 on Apple PCS 7142 (UK) and 7 December 1971 on Apple SW 3386 (US).
Red Rose Speedway. Released on 4 May 1973 on Apple PCTC 251 (UK) and 30 April 1973 on Apple SMAL 3409 (US).
Band On The Run. Released on 7 December 1973 on Apple PAS 10007 (UK) and 5 December 1973 on Apple SO 3415 (US).
Venus and Mars. Released on 30 May 1975 on Capitol PCTC 254 (UK) and 27 May 1975 Capitol SMAS 11419 (US).
Wings At The Speed Of Sound. Released on 26 March 1976 on Capitol PAS 10010 (UK) and 25 March 1976 on Capitol SW 11525 (US).
Wings Over America. Released on 10 December 1976 on Capitol PCSP 720 (UK) and 10 December 1976 on Capitol SWCO 11593 (US).
Thrillington. Released on 29 April 1977 (UK) on EMI EMC 3175 and 17 May 1977 on Capitol ST 11642 (US).
London Town. Released on 31 March 1978 on Parlophone PAS 10012 (UK) and 31 March 1978 on Capitol SW 11777 (US).
Wings Greatest. Released on 1 December 1978 on Parlophone PCTC 256 (UK) and 27 November 1978 on Capitol S00-11905 (US).
Back To The Egg. Released on 8 June 1979 on Parlophone PCTC 257 (UK) and 11 June 1979 on Columbia FC 36057 (US).
McCartney II. Released on 16 May on Parlophone PCTC 258 (UK) and 26 May 1980 on Columbia FC 36511 (US).
Tug Of War. Released on 26 April 1982 on Parlophone PCTC 259 (UK) and 26 April 1982 on Columbia TC 37462 (US).
Pipes Of Peace. Released on 3 October 1983 on Parlophone 12R 6062 (UK) and 10 October 1983 on Columbia 44-04169 (US).
Give My Regards To Broad Street. Released on 22 October 1984 on Parlophone EL 260 278 (UK) and on 13 October 1984 on Columbia SC 396 13 (US).
Press To Play. Released on 1 September 1986 on Parlophone PCSD 103 (UK) and 25 August 1986 on Capitol PJAS-12475 (US).
All The Best. Released on 2 November 1987 on Parlophone PMTV 1 (UK) and 1 December 1987 on Capitol CLW-48287 (US).
Choba В СССР. Released on 31 October 1988 on Melodia A60 00415 006 (USSR), 30 September 1991 on Parlophone PCSD 117 (UK) and 29 October 1991 on Capitol CDP 7 97615 2 (US).
Flowers In The Dirt. Released on 5 June 1989 on Parlophone PCSD 106 (UK) and 6 June 1989 on Capitol Cl-91653 (US).
Flowers In The Dirt - Special Edition. Released on 1 March 1990 on EMI TOCP 6118/6119 (UK).
Tripping The Live Fantastic. Released on 5 November 1990 on Parlophone PCST 73461-3 (UK) and 6 November 1990 on Capitol Cl-9 4778 (US).
Tripping The Live Fantastic - Highlights. Released on 19 November 1990 on Parlophone CDPCSD 114 (UK) and 20 November 1990 on Capitol CDP 7 95379 2 (US).
Unplugged (The Official Bootleg). Released on 20 May 1991 on Hispa Vox PCSD 116 (UK) and 4 June 1991 on Hispa Vox 7964 131 (US).
Paul McCartney's Liverpool Oratorio. Released on 7 October 1991 on EMI Classics LP PAUL 1 (UK) and 22 October 1991 on EMI Classics CDS 7 54371 2 (US).
Selections From Paul McCartney's Liverpool Oratorio. Released on 5 October 1992 on EMI Classics 7 54642 2 (UK).
Off The Ground. Released on 1 February 1993 on Parlophone PCSD 125 (UK) and 9 February 1993 on Capitol CDP 7 80362 2 (US).
Off The Ground-The Complete Works. Released autumn 1993 on Parlophone CDEQ 5010 (UK).
Paul Is Live. Released on 8 November 1993 on Parlophone PCSD 147 (UK) and 16 November 1993 on Capitol CDP 8 27704 2 (US).
Strawberries Oceans Shops Forest. Released on 15 November 1993 on Parlophone PCSD 145 (UK) and 22 February 1994 on Capitol CDP 8 27167 2 (US).
Flaming Pie. Released on 5 May 1997 on Parlophone PCSD 171 (UK) and 15 July 1997 on Capitol Cl 56500 1 (US).
Standing Stone. Released on 1 December 1997 on EMI Classics 5 56484 1 (UK) and 23 Septembe 1997 on EMI Classics 5 56484 2 (US).
Rushes. Released on 21 September 1998 on Hydra 4 97055 1 (UK) and 20 October 1998 on Hydra 4 97055 2 (US).
Run Devil Run. Released on 4 October 1999 on Parlophone 5 223521 1 (UK) and 5 October 1999 on Capitol CDP 5 22351 2 (US).
Working Classical. Released on 6 December 1999 on EMI Classics 5 56897 1 (UK) and 19 October 1999 on EMI Classics CDQ 5 56897 2 (US).
Driving Rain. Released on 12 November 2001 on EMI 7243 5 35510 2 5 (UK) and 13 November 2001 on Capitol 7243 5 35510 25 (US).
A British television special that has been shown annually on BBC 1 in the UK during the Christmas/New Year holiday season for a great number of years. The show, hosted by British celebrities, features a selection of clips from Disney films, old and new, with a linking narrative from the celebrity. The 42-minute programme was recorded at Paul and Linda's house in Cavendish Avenue, St John's Wood, on Sunday 16 December 1973 with the two as hosts, surrounded by their children, Heather, Mary and Stella.
The programme was transmitted on Boxing Day, 26 December between 6.16 p.m. and 6.58 p.m.
There were clips from Pinocchio, Mary Poppins, Wild Geese Calling, Run Cougar Run, Bambi, The World's Greatest Athlete, 101 Dalmatians, Snow White & The Seven Dwarfs, Herbie and Robin Hood.
Incidentally, the Disney Channel's showing of 'Paul McCartney: Going Home' won the Ace Award (Cable TV's equivalent to the Emmy awards) for best musical special on 12 January 1992.
A number by Paul lasting 4 minutes and 47 seconds, which was included on the Flowers In The Dust album.
Do They Know It's Christmas?
A charity single recorded as part of the project to raise money for the starving people of Ethiopia. Paul recorded a message on the flipside of the record. He also participated in singing along with the song at the finale of the 'Live Aid' concert on Saturday 13 July 1985.
'Do They Know It's Christmas?' was the single that overtook his own 'Mull Of Kintyre' as Britain's biggest-selling single of all time.
A venue in London, where Paul chose to hold a press conference, primarily to announce details of his New World Tour and his 18th solo album release Off The Ground. The event took place on Friday 5 February 1993.
The initial press conference began at 6.30 p.m. and lasted for 25 minutes, with Paul's press agent Bernard Doherty hosting the questions.
They covered various subjects from the drug Ecstasy to Eastern Europe. He was also asked whether the Beatles would re-form and in which places he would be touring.
Paul was asked: 'Why did you decide to go back to your roots in recording Off The Ground'.
He replied: 'I was talking to the co-producer of this album, and I'd remembered that the easiest and most pleasant days I'd ever had in a recording studio were in the mid-Beatles period. John and I would go in with a couple of guitars, and play the song we'd written to the guys.
'In about an hour we'd have a pretty decent version of it. We'd then use that live take to build upon. And it was good to have this very strong foundation of a good take, rather than what can happen these days with little (makes an onomatopoeic sound imitating drum machine noises) and everyone saying, "Don't worry, it'll sound great when we mix it." With that you never get the feel as you're recording it. That was why I went back to the roots.'
Another journalist asked him, 'What can you tell us about the songs on the album written in partnership with Elvis Costello?'
Paul replied: 'Of the two songs with Elvis, one of them was a recent collaboration, 'Mistress And Maid', which was originally supposed to be a sexy title, slightly kinky - but it turned out to be a feminist title. The other one is 'The Lovers That Never Were' which is the first song we actually wrote together. But it wasn't that easy to record - on the last album we made a record of it but it wasn't too good. I like the song, so I brought it back for this album.'
He was also asked, 'Why do you keep pushing green issues on your albums?'
He replied: 'Look at all these people here today. If I just came here and said, "Hey, great", and it was all very frivolous, I feel like I would have wasted this occasion. I think people like to hear people standing up for things like human rights and ecology, and against some of the disasters that we've got in the world. So I'll keep pushing them. If the governments sort it out, then I'll sit down, because I don't really want this job. It's just that as I've got all this attention from the media, I feel like I ought to use it wisely rather than just fritter it away.'
Another question was: 'Can you comment upon Michael Jackson owning Northern Songs and your attempts to buy back the company?'
Paul replied: 'When John and I were kids, probably under the age of twenty, we were signed to a song deal. We didn't know that you could own songs. It was a surprise to us. We thought they were just in the air. We could see how you could own a house, but not a song. I think the publisher saw us coming. We got signed to a very old-fashioned deal -pretty much a slave deal, which I'm still under to this day.
'My argument is that it should have been varied a bit because we've been rather successful for the company! Michael was able to buy the company because it was just up for sale on the open market. And he had a lot of money after the record Thriller. And in actual fact I advised him to get into music publishing. And he said, "I'm going to buy your songs." And I said, "Good joke!" I thought he was joking! And then someone rang and said, "yeah, he's bought them." So that's that.'
Following the press conference Paul and his group then began a 'rehearsal' before an audience of 3,000 people, comprising media, members of his fan club and 25 winners of a Daily Mirror competition.
Paul performed for ninety minutes with five of the thirteen numbers from his forthcoming Off The Ground album with his band, which comprised Linda, Hamish Stuart, Robbie Mclntosh, Paul 'Wix' Wickens and Blair. He began with 'Drive My Car' and followed with 'Coming Up', 'Get Out Of My Way', 'Another Day', 'All My Loving', 'Let Me Roll It', 'Peace In The Neighbourhood', 'Off The Ground' and 'I Wanna Be Your Man'. Then, while the group left the stage, Robbie Mclntosh played a guitar solo. Then Paul and the rest of the group rejoined him for a series of acoustic numbers: 'Good Rockin' Tonight', 'We Can Work It Out', 'And I Love Her', 'Every Night', 'Hope Of Deliverance', 'Michelle', 'Biker Like An Icon', 'Here, There And Everywhere' and 'Yesterday'.
Then, from beneath the floor rose Paul's baby grand piano and the performance continued with 'My Love', 'Lady Madonna', 'Live And Let Die' and 'Let It Be'. The encore was 'Sgt Pepper's Lonely Hearts Club Band'.
Dom Sportova Hall
A venue in Zagreb, Yugoslavia where Paul appeared during his second 1976 European tour on Tuesday 21 September. This was the first show behind the 'Iron Curtain' by any member of the Beatles. Speaking on 'Tonight', a BBC documentary, Paul said that the appearance at the Dom Sportova Hall was 'the best show we've ever had'.
Don't Be Careless Love
A composition by Paul and Elvis Costello, 3 minutes and 17 seconds in length, which was included on the Flowers In The Dust album.
Don't Break The Promises
A number co-written by Paul and Eric Stewart during the time they were recording the Press to Play album, although it didn't appear on the finished album. The number was recorded by lOcc, who comprised Eric Stewart, Graham Gouldman, Kevin Godley and Lol Creme, in 1992 for their reunion album. This time the song included a credit for Gouldman, who had added to the number.
Don't Dig No Pakistanis
A number that was intended to be another of Paul's political statements in song. He initially wrote the lyrics using the tune of 'Get Back', He recorded it during the Let It Be sessions, but it was never released and eventually became 'Get Back'.
Don't Let It Bring You Down
Another song recorded in the Virgin Islands for the London Town album and another Paul McCartney/Denny Laine joint work. On the track both musicians play Irish whistles. It was 4 minutes and 34 seconds in length.
Don't Let The Sun Catch You Crying
A song composed by Joe Greene that was originally recorded by Ray Charles. Gerry &c the Pacemakers popularised the number. Paul's version, lasting 4 minutes and 31 seconds, is the last track on the Tripping The Live Fantastic album and was recorded during the sound-check at the Forum, Montreal, Canada on 9 December 1989 during the 1989/90 World Tour.
Paul's son-in-law, the husband of Paul's daughter Mary. He had been Mary's partner for three years before the marriage. Alistair is a TV producer and his projects for Paul included the documentary 'Wingspan' and Paul's solo project 'Anthology'.
Donald, Mary Alice McCartney
Paul and Linda McCartney's first child. She was born at the Marie Louise Hospital in London on Wednesday 28 August 1969 at 1.30 a.m. and weighed six pounds and eight ounces. Paul and Linda chose the hospital because it reflected the names of Mary's paternal and maternal grandmothers, Mary and Louise. In fact, Mary was named after Paul's mother who died of breast cancer when he was fourteen.
A picture of Mary appeared on the cover of Paul's first solo album McCartney.
Together with her sister Stella and younger brother James, she enjoyed an idyllic childhood on the family farm in Sussex. They were protected from publicity and Paul and Linda had ensured that despite their wealth and privileged position, their children would grow up to be 'ordinary'.
Rather than being steered towards academic careers, the children were encouraged in their artistic pursuits, resulting in Stella becoming a renowned fashion designer.
Mary began to work as her mother's personal photographic assistant in 1992. She studied her mother's techniques and supervised her photographic library. Yet she decided on a low-key approach to her career and enjoyed a degree of anonymity, even though she received an award and her photographs were displayed at the National Portrait Gallery.
Her boyfriends included musician Paul Weller and Giles Martin, son of George Martin.
She worked from MPL's Soho offices and her pictures have been featured in magazines around the world, including the Australian edition of Elle and the German edition of Vogue.
In April 1998, a few days after Mary had announced her plans to marry film director Alistair Donald, her mother died from breast cancer.
She married Alistair six months later on Saturday 26 September at a twelfth-century church near to the family home in Peasmarsh, near Rye, East Sussex. The Rev. Christopher Hopkins conducted the 40-minute ceremony. Mary and her TV producer fiance Alistair Donald had intended getting married in the same register office as her parents, the Marylebone Register Office. She had moved the date of her wedding to early summer 1998 in order for her mother to be present, but Linda died in April. They abandoned the idea of a Marylebone wedding and were married at St Peter and St Paul Church in Peasmarch. Mary was 29 years old at the time. The guests, who numbered almost a hundred, were transported to the church in two coaches. Paul and Mary drove up to the church in an antique blue Rolls Royce.
Mary wore a strapless rose-coloured dress made of linen with trimmed cream antique lace, designed by her sister Stella, and Stella and Heather both wore mint-green dresses. James was dressed in a brown suit, Paul in a grey suit and Alistair in a beige one.
Paul took her into the church along a path scattered with petals.
In April 1999 Mary gave birth to a son, Arthur, Paul's first grandchild. Paul was to say: 'He's brought a lot of joy into the family. A grandchild immediately ennobles a lot of people. He makes me into a granddad, he makes my son into an uncle and he makes my daughter into an auntie. He's really lovely, we're all really proud of him - he's a good looking boy.'
It was while Mary was engaged in fund-raising work for the charity Breast Cancer Care that she first met the British Prime Minister's wife Cherie Blair in 1999. As a result, Mary was personally chosen by Mrs Blair to take photographs of her new baby, Leo, in May 2000.
Mary was thirty years old at the time and was to say: 'They (Tony and Cherie Blair) thought it would be nice to have a female photographer for these pictures and I was very complimented to be asked to take them. Leo was only 38 hours old when I took the pictures. He's a lovely baby and a gentle little soul.'
Publication fees for the photographs went to Breast Cancer Care and Sargent Cancer Care for Children.
Paul was obviously proud of the honour paid to Mary and commented, 'I'm really proud of Mary. It's a great tribute to her talent. Her mother would, to say the least, have been incredibly proud of her - and she probably is.'
She was the official photographer for the Brit Awards at Earls Court, London on 26 February 2001.
Mary was attacked and mugged in June 2002 near her home in Maida Vale. She was two months pregnant at the time when two attackers grabbed her from behind and covered her mouth to stifle her screams while one of them pulled out her diamond earrings and ripped off her engagement ring and watch.
After the attack she was taken to hospital for precautionary checks on her unborn child.
A friend commented, 'Mary never dresses in flash clothes or expensive jewellery. She likes the fact that she can walk around unrecognised. She had always avoided the public eye.'
A singer/songwriter, born in Glasgow, who enjoyed a series of chart successes.
Paul made a guest appearance on Donovan's 'Atlantis' single playing tambourine and providing some backing vocals. He'd also dropped into the studio during Donovan's recording of 'Mellow Yellow'. A fifteen-minute session between the two artists, also from 1968, has been captured for all time on an American bootleg album No. 3 Abbey Road, NW8. The interlude was taken from a studio warm-up between Donovan and Paul and in their book The End Of The Beatles, authors Castleman and Podrazik mention that the two stars sat down together with acoustic guitars and exchanged songs-in-the-works, with Paul offering 'Blackbird' and 'Heather' and Donovan selecting numbers from what eventually became the album HMS Donovan.
In February 1968 it was announced that Donovan had written a script for a film to be made by Ingmar Bergman and that Paul had agreed to make a guest appearance in it. However, the film was never made.
The leader of the Wings horn section during the 1975/76 World Tour. The trombonist first worked for Paul in New Orleans during the recording of Venus and Mars. Paul asked him to lead the horn section for his next tour and Tony chose Steve Howard on trumpet and flugel-horn, Thaddeus Richard on soprano and alto saxophones, clarinet and flute, and Howie Casey on tenor saxophone. He played trombone in addition to writing the arrangements.
A racehorse that Paul bought for £1,200 as a present for his father's 62nd birthday on Monday 6 July 1964.
During that evening there was a private party following the premiere of A Hard Day's Night at the London Pavilion, attended by Princess Margaret and the Beatles. It was during the party that Paul told his father of the present. He was to say, 'My father likes a flutter - he is one of the world's greatest armchair punters.'
The horse came second on its very first race after the purchase. The most exciting moment occurred on Saturday 26 March 1966 when both Paul and his father were at Liverpool's famous Aintree Racecourse to watch Drake's Drum win the Hylton Plate, coming in at 20-1. Paul was particularly pleased at the pride his father felt, leading the horse into the winner's enclosure. In later years, Paul retired the horse to his High Park Farm in Scotland.
A theatre in Dramen, Norway. Immediately prior to his official world tour, Paul held a special pre-tour concert at the venue on Tuesday 26 September 1989.
Paul and his band performed 'Figure Of Eight', 'Jet', 'Rough Ride', 'Got To Get You Into My Life', 'Band On The Run', 'Ebony And Ivory', 'We Got Married', 'Maybe I'm Amazed', 'The Long And Winding Road', 'The Fool On The Hill', 'Sgt Pepper's Lonely Hearts Club Band', 'Good Day Sunshine', 'Can't Buy Me Love', 'Put It There', 'Things We Said Today', 'Eleanor Rigby', 'Back In The USSR', 'I Saw Her Standing There', 'This One', 'My Brave Face', 'Twenty Flight Rock', 'Coming Up', 'Let It Be', 'Live And Let Die', 'Hey Jude' and 'Get Back'. For the encore he performed 'Golden Slumbers', 'Carry That Weight' and 'The End'.
The first number by the Beatles to be performed on the radio. Paul sang lead vocal on this song during their radio debut on Teenager's Turn on 8 March 1962. A few weeks earlier Roy Orbison had released his version of the Cindy Walker penned number and other artists who had recorded it included Del Shannon and Bruce Channel.
Paul revealed the nature of his dreams to journalist Alan Smith in July 1966, including a recent dream of his in which he was queuing up at the Labour Exchange to collect his dole money. His dreams sometimes included visions of violent death, plane crashes, various disasters, dreams of him being pursued. He also recalled that before the success of the Beatles he constantly had dreams of being on holidays.
Drive My Car
The opening track on the Rubber Soul album.
Paul said, 'I arrived at the studio with this fairly good tune, but it had crappy lyrics, like: "I can give you diamond rings, I can give you golden rings, I can give you anything," and John said, "Oh!" He didn't like them and we had a deep sad moment. So, I said to him, "I'll tell you what, let's have a cup of tea and a ciggie and we'll just relax for a minute." After that we just jollied up and I said, "I'll tell you what then, how about this girl in LA who wants a chauffeur?"'
George Harrison was to comment, 'We laid the track because, what Paul would do, if he had written a song, he'd learn all the parts for himself and then come into the studio and say, "Do this." He'd never give you the opportunity to come up with something. But, on "Drive My Car", I just played the line, which is really like a lick off "Respect", you know, the Otis Redding version. I played that line on the guitar and Paul laid that with me on bass. We laid the track down like that.'
The Beatles recorded the number on Wednesday 13 October 1965.
'Drive My Car' was also included on the 'Nowhere Man' EP, the compilations The Beatles 1962-1966 and Rock 'n' Roll Music and the American album Yesterday And Today.
A live version of the number lasting 2 minutes and 33 seconds, which was recorded in Kansas City on 31 May 1993, was included as a track on the Paul Is Live album.
Driving Rain (album)
A 15-track album released in Britain on Monday 12 November 2001 and in America on Tuesday 13 November 2001. It was Paul's first album of new songs in four years and he recorded it at Henson Studios in Los Angeles between March and July 2001 with a new band comprising three American musicians, Rusty Anderson, guitar, Gabe Dixon, keyboards and Abe Loboriel, drums. He also worked with a new producer David Kahne, who'd produced numerous major artists ranging from Tony Bennett to the Bangles. During the sessions he recorded 22 new songs, 15 of which were included on the album.
To keep the music fresh the album was recorded in two weeks and Paul said, 'We didn't fuss about it. I didn't even tell the producer or any of the guys what we were going to do until the morning of the day we were going to do it. Nobody knew what I was going to pull out of the hat. I just said, "OK, guys, what do you think of this one? Let's go do it."'
He had originally used the provisional title Blue Skies.
Paul was to comment: 'One of the things that began when we were doing Run Devil Run, the rock and roll album, was me remembering that I'm mainly the bass player. Talking about the old way the Beatles used to record brought that back to me. So although I've played a bit of guitar and stuff on the occasional track, I've basically been the bass player. That's my role. It's simple and satisfying. I sing and I play bass.'
He also explained the system of recording he employed, which was like the Beatles' recording technique and didn't include rehearsing. It was the method he'd employed with Run Devil Run.
'We did the same thing with this album; we came into the studio on Monday morning, I'd show them a song, and we'd start doing it. We recorded eighteen tracks in the first two weeks in February, and then I went back to LA in June and recorded another couple of tracks and mixed the album. So making the whole album from beginning to end has taken about five weeks. That's still pretty good going, but that is the kind of work rate we'd do in the Beatles.'
The cover of the album depicts Paul at a urinal in a photograph taken by him using a miniature camera built into his Casio watch.
The tracks were: 'Lonely Road (Nu Nu)', 'From A Lover To A Friend', 'She Given Up Talking', 'Driving Rain', 'I Do', 'Tiny Bubble', 'It Must Have Been Magic', 'Your Way', 'Spinning On An Axis', 'About You', 'Heather', 'Back In The Sunshine Again', 'Loving Flame', 'Riding Into Jaipur' and 'Rinse The Raindrops'.
Driving Rain (single)
The title track from the Driving Rain album, lasting 3 minutes and 26 seconds. It was recorded on 27 February 2001.
Paul's flirtations with drugs began, as far as anyone can tell, with mild 'uppers' such as purple hearts, in Liverpool. In Hamburg, the Beatles were known to take similar stimulants, such as Preludin and Captogen, which could be obtained in local chemist's shops without a prescription, but which they used to buy from Rosa, the lavatory attendant at the Kaiserkeller and, later on, the Top Ten club.
Singer Bob Dylan introduced the Beatles to marijuana in 1964 and at the time Paul was quoted as saying: 'I'm thinking for the first time, really thinking.'
However, it was for his use of LSD that Paul first hit the headlines in connection with drugs. LSD or 'acid' is a chemical hallucinogenic and Paul was to admit that he'd taken it in an interview that appeared in Life magazine in America on 16 June 1967. This created such a furore that Paul was interviewed on the subject for a TV news programme broadcast on 19 June. The same day the Daily Mirror also published an interview in which Paul discussed taking LSD. The confession led to Evangelist Billy Graham declaring he would pray for Paul's salvation! The interview on television went as follows:
Q: Paul, how often have you taken LSD?
A: Er, four times.
Q: And where did you get it from?
A: Well, you know, I mean, if I was to say where I got it from, you know, it's illegal and everything, it's silly to say that so I'd rather not say it.
Q: Don't you believe that this was a matter which you should have kept private?
A: Well, the thing is, you know, that I was asked a question by a newspaper and the decision was whether to tell a lie or tell the truth, you know. I decided to tell him the truth but I didn't really want to say anything because if I'd had my way I wouldn't have told anyone because I'm not trying to spread the word about this but the man from the newspaper is the man from the mass medium. I'll keep it a personal thing if he does too, you know, if he keeps it quiet. But he wanted to spread it so it's his responsibility for spreading it. Not mine.
Q: But you're a public figure and you said it in the first place. You must have known that it would make the newspapers.
A: Yes, but to say it, you know, is only to tell the truth. I'm telling the truth. I don't know what everyone is so angry about.
Q: Well, do you think you have encouraged your fans to take drugs?
A: I don't think it will make any difference, you know, I don't think my fans are going to take drugs just because I did. But the thing is that's not the point anyway. I was asked whether I had or not and from then on the whole bit about how far it's going to encourage is up to the newspapers and up to you, you know, on television. I mean you're spreading this now at this moment. This is going into all the homes in Britain and I'd rather it didn't, you know. But you're asking me the question and if you want me to be honest, I'll be honest.
Q: But as a public figure, surely you've got a responsibility not to say any ...
A: No, it's you who've got the responsibility not to spread this now. You know I'm quite prepared to keep it as a very personal thing if you will too. If you'll shut up about it, I will!
However, it was his association with cannabis that continued to dog him. In August 1972, during the Wings tour of Europe, Paul found himself in trouble when the group appeared in Sweden. As soon as Wings had finished their set at the Scandinavian Hall, Gothenberg, the police stepped in and cut off the PA system. They were waiting to question Paul, Linda and Denny Seiwell and took them to the local police headquarters, together with Paul's secretary Rebecca Hinds.
Customs officers had apparently intercepted seven ounces of marijuana that had been sent from London addressed to Paul.
A senior police officer commented: 'We told them we had found the cannabis in a letter and at first they said they knew nothing about it. But after we had questioned them for about three hours they confessed and told the truth. McCartney, his wife and Seiwell told us they smoked hash every day. They said they were almost addicted to it. They said they had made arrangements to have drugs posted to them each day they played in different countries so they wouldn't have to take any drugs through the customs themselves.'
John Morris, the tour operator, said, 'Paul, Linda and Denny did admit to the Swedish police that they used hash. At first they denied it but the police gave them a rough time and started threatening all sorts of things. The police said they would bar the group from leaving the country unless they confessed.'
Gothenberg's public prosecutor, Lennart Angelin, released them after a preliminary fine of £1,000. He said: 'They were not arrested since it was obvious that they were going to use the cannabis for themselves and not pass it on.'
Paul, Linda and Denny were fined on 12 August 1972. Not too long after the Swedish incident a police constable, Norman McPhee, set off to Paul's two farms in Campbeltown ostensibly to check the security in Paul and Linda's absence. McPhee had been on a drugs identification course in Glasgow and when he visited High Park, one of Paul's farms, for some reason he checked one of the greenhouses where he said he became suspicious of some plants. He returned to his station, later to return to the farm with six other policemen. A thorough search turned up no further evidence and in December Paul was charged on three counts, including those of possessing cannabis and cultivating cannabis plants. Paul was asked to appear in court the following year, in March 1973. The hearing took place on Monday 8 March and the court was told that in September 1972 a crime prevention officer had gone to the farm to check that it was secure. He had noticed some plants in the greenhouse with the tomatoes and had returned to the station to consult a reference book. To the charge of knowingly cultivating the plants, Paul pleaded guilty. To the two other charges of possessing cannabis he pleaded not guilty - and the charges were dropped. His lawyer told the court how Paul had received the seeds in the post and, being interested in horticulture, had planted them. The Sheriff, convicting him on the first count, commented, 'I take into account that you are a public figure of considerable interest, particularly to young people, and I must deal with you accordingly. The fine will be £100.'
Paul said: 'I was planning on writing a few songs in jail. You have to be careful. I look on it like Prohibition but you have to recognise the law. I think the law should be changed - make it like the law of homosexuality with consenting adults in private. I don't think cannabis is as dangerous as drink. I'm dead against hard drugs.'
Due to the various drug convictions, Paul had been repeatedly refused an American visa, but was finally given one in December 1973.
The next drugs affair happened in 1975. Wings had begun recording Venus And Mars in America between January and April. They were using the Sea Saint Studios in New Orleans and the Wally Heider Studios in Los Angeles. One night, shortly after midnight, on their way home from the Wally Heider Studios to Malibu, the trouble began. It was Monday 3 March and Paul was driving a silver Lincoln Continental with Linda at his side and their three children in the back seat.
Driving along Santa Monica Boulevard, Paul failed to stop for a red light and a Highway Patrol motorcyclist flagged him down. The motorcyclist approached their vehicle and said that he smelled a strange substance as he put his head inside the car. He then found a smouldering joint on the floor and discovered a small amount of marijuana, between 16 and 18.5 grams, in Linda's purse. Linda immediately admitted that the joint had been hers and that Paul had no part in it. They were taken to West Los Angeles police station and Paul was told he was free to take the children home. Linda was detained for two hours before bail was arranged; in April she was taken to court after being charged with possession. In May, the judge, Brian Cuhan, said that he would be prepared to have the charges dropped if Linda agreed to have six sessions with a psychiatrist. She said she would and the case was dismissed. The judge also agreed that she could have the sessions in London. The arrangement was not unusual, as a Los Angeles police officer commented: 'After six months instruction by approved counsellors, first offence drug charges - like that facing Mrs McCartney - are usually dropped.'
Paul was later to comment: 'The only really unfortunate thing about it is that it starts to get you a reputation as a kind of druggie. It's really only a minor offence. It isn't something we take too seriously, and of course the press image is really far worse. We're not serious drug addicts or anything. The fact is that it's illegal, and if a thing's illegal you're liable to get caught doing it.'
A year later, Paul's convictions were to catch up with him. As part of the Wings World Tour of 1976, Paul intended to make appearances in Japan. These would be his first performances there for ten years, since the Beatles appeared at the Budo Kan Hall in Tokyo in July 1966.
All arrangements had been made and tickets for all the concerts had been sold out in advance, lavish programmes had been printed, but just as Paul and company were due to fly from Australia to Japan, they were told that Paul's visa had been cancelled at the last minute by Japan's Minister of Justice due to Paul's drug convictions in Sweden and Scotland in 1972 and 1973 respectively.
However, this incident was to prove minor in comparison with their next, horrific experience in Japan.
Wings had finally confirmed that they would be allowed to tour the world's second biggest record market and were to appear at eleven concerts in Japan in January 1980. Once again, all the tickets were sold out well in advance. All the main equipment for the tour had been sent on ahead to Japan and Paul, Linda and the children had gone to New York for Christmas to visit Linda's family. They set off from the Big Apple on a 14-hour flight to Tokyo with just their personal baggage. As they went through Customs at Narita airport, they were asked to open their luggage. In the first case opened there was a polythene bag which, when examined, was found to contain almost half a pound of marijuana.
Jo Jo Laine was to say: 'Linda had left twenty Thai sticks of grass in her make-up bags ... Paul took the rap.'
The Customs officials called the police and Paul was led away handcuffed. Narcotics officers questioned him and after five hours of interrogation he admitted that he had smoked pot for eleven years and had obtained the grass that had been found in his bag from a friend in America. Linda and the three children were taken to a hotel in Tokyo and the tour was cancelled, disappointing the 100,000 who had been lucky enough to obtain tickets.
Paul was told that he could be in jail for up to twenty days before being charged. He was initially shocked when Albert Marshall, the British Vice-Consul visited him on the first night. Paul believed the situation was a storm in a teacup until Marshall told him otherwise. Paul recapped: 'I thought, fantastic, good old consul, he is going to get me out. He just sat down and said, "Well, it could be eight years, you know".'
As he was not Japanese, Paul was allowed coffee and bread rather than the usual rice and green tea given to detainees. He had to sleep on a mat on the floor, Japanese style, and was awakened by a guard at 6 a.m. each morning. He also had to retire to bed each night at 8 p.m., was only allowed half an hour of exercise in his cell each day and was denied access to his guitar and writing material.
In all, Paul was to spend ten days in the Japanese prison. Linda was first able to visit him on the fifth day and told him that she was worried he might be sentenced to three months. She saw him again on the eighth day (she made three visits in all) when her lawyer brother John accompanied her. Linda brought Paul a cheese sandwich, some fruit and science-fiction books. Paul had been allowed a change of clothes and some blankets, but it was a week before he was able to take a bath. He was offered the option of bathing alone or in the communal prison bathhouse. He chose the latter. He commented: 'Life in jail isn't so bad. The prison wasn't the rat-infested hole I thought it was going to be. For the first few days I was worrying all the time. For eight days I didn't see any daylight at all. I had to eat seaweed and onion soup for breakfast. I shared a bath with a man who was in for murder and all because I didn't think.'
He also commented: 'At first I thought it was barbaric that they put handcuffs on me twice a day when I went to see the investigators. There seemed to be a different lot each time. I had made a confession on the night I was arrested and apologised for breaking Japanese law but they still wanted to know everything. I had to go through my whole life story, school, father's name, income, even my medal from the Queen. Perhaps they decided to deport me because I was totally frank with them.'
Paul was deported, carted off from prison directly to the airport, still in handcuffs and surrounded by twelve policemen.
Linda was to say that Paul had been released because of a loophole in the law - since his visa had been taken from him at the airport on arrival he was, in fact, an illegal alien. The Japanese authorities said that they released him because he showed signs of repentance. In fact, he did seem to repent his actions to reporters on his flight back home, via Anchorage, Alaska and Amsterdam, Holland.
On the plane to Alaska he told the press: 'I have been a fool. What I did was incredibly dumb. My God, how stupid I have been. I had just come from America and I still had the American attitude that marijuana isn't too bad. I didn't appreciate how strict the Japanese are about it. I was really scared thinking I might be in prison for so long. I've made up my mind. I've been smoking marijuana for more than eleven years and I'm never going to touch the stuff again.'
Despite this declaration, Paul again made the headlines after being busted in Barbados.
Paul, Linda, James and Stella had been staying at a luxury nineteenth-century villa on the holiday island. On the evening of Saturday 14 January 1984 three police cars arrived at the villa. Drug squad officers produced a search warrant and discovered 10 grams of marijuana. Alan Long, the local police inspector, commented, 'We received a tip-off that they were in possession of marijuana. Four uniformed officers went round to the McCartneys' holiday villa with a search warrant. Mr McCartney freely admitted his guilt and accompanied the officers to the police station.'
At the police headquarters in Bridgetown, the capital, they were questioned for two hours. Their passports, together with £1,000 in cash, were confiscated when they were released on bail for the sum of £1,400.
Paul and Linda were ordered to appear at Holetown Magistrate's Court the next day, where they both pleaded guilty to the charge.
Their defence attorney, David Simmons, told the magistrate: 'The male accused is of considerable international standing. He is a very talented and creative person. People who have this talent sometimes
need inspiration. I'm instructed that Mr McCartney and his wife obtained the vegetable matter from someone on Holetown Beach. They are not pushers.'
The Assistant Police Commissioner, Keith Whittaker, commented: 'The law is for everybody on the island - and that includes McCartney. We are treating this as a very serious case. I don't know if he'd be welcome here again,'
Police inspector Alan Long also commented, 'By their example the McCartneys are encouraging our young people to use drugs.'
Judge Haynes Blackman fined them 200 Barbados dollars each.
When he left the court, Paul said, 'I've got absolutely no grudges and no complaints. It was a small amount of cannabis and I intended to use it, but the police came to my place and I gave them 10 grams of cannabis. Linda had another small carton of cannabis in her handbag.'
When they arrived back in London on Tuesday 17 January Paul made a statement to the press at Heathrow Airport, commenting, 'This substance cannabis is a whole lot less harmful than rum punch, whisky, nicotine and glue, all of which are perfectly legal. I would like to see it decriminalised because I don't think, in the privacy of my own room, I was doing anyone any harm whatsoever.'
Paul and Linda then went to board a private aircraft when they were asked to return to the airport Customs hall where they were questioned and some marijuana was discovered in Linda's handbag. She was arrested but released on unconditional bail and was required to appear at Uxbridge Magistrate's Court on Tuesday 24 January.
The hearing lasted thirteen minutes during which Linda pleaded guilty to illegally importing 4.9 grams of marijuana. Mr Edwin Glasgow, Linda's defence counsel appealed to the magistrates, 'Linda is genuinely sorry, and wishes to make a genuine apology. I urge the court not to make an example of her just because she is famous. Linda is a thoughtful, likeable woman who has done far more for other people than those who sneer at her.'
She was fined £75.
The two busts so close together caused a furore in the British press, with many people airing their views on both sides of the marijuana question.
Paul's brother Mike, coming to their defence, said: 'As kids, Paul and I were taught moderation and toleration by my dad. Other people could do with the same lesson. The idea that marijuana leads to heroin is rubbish. It's like saying a few drinks makes you an alcoholic' Gerry Marsden, leader of Gerry and the Pacemakers, commented, 'Paul has said too much really. In any case I don't agree with him.' He added, 'Kids tend to do whatever people they admire are doing. He should set an example whether he wants to or not.'
In the edition of London's Time Out magazine, published on Friday 27 January 1984 there was a feature by Paul in which he expounded his reasons why he considered that cannabis should be legalised.
Denny Laine has made several statements in some newspaper articles regarding Paul's use of cannabis, claiming that Paul and Linda got through two ounces of cannabis each day, the equivalent of £1,000 worth of marijuana per week. He also claimed that they had once smuggled a small amount through customs in the hood of baby James's coat.
In an interview with New Statesman magazine in 1997, Paul commented about marijuana stating that he supported decriminalisa-tion. He said, 'People are smoking pot anyway and to make them criminals is wrong. You're filling up all the jails and yet it's when you're in jail that you really become a criminal. That's where you learn all the tricks. When I was jailed in Japan, there was no rehabilitation. They just stuck me in a box for nine days. Decriminalisation would take the sting out of the issue.'
Several national newspapers in Britian picked up his comments. Labour MP, Lin Golding, a member of the Commons Drugs Misuse Group commented, 'I've never seen a shred of evidence to suggest it would be safe to legalise cannabis. Soft drugs tempt youngsters to try other harder drugs. It could be very damaging to educate children about drugs.'
A British animation specialist. He co-wrote a script with Paul for the Rupert Bear film and collaborated with Paul on other animated film ventures such as Rupert And The Frog Song, Daumier's Law and Tuesday.
A man who had a part to play in Paul's cultural education in London in the mid-1960s, particularly during the time that Paul was residing at the Ashers' house in Wimpole Street.
Dunbar was married to Marianne Faithfull and the couple lived at 20 Lennox Gardens where Paul and Jane were often invited. The couple were introduced to various people from the world of the arts and it was Dunbar who introduced Paul to Robert Fraser, the art gallery owner.
It was Dunbar, together with Peter Asher and Barry Miles, who opened Indica, the art gallery/bookshop, to which Paul provided some financial backing - and he was actually the bookstore's first customer.
Dunbar was also a link in the romance between John Lennon and Yoko Ono. It was Dunbar who organised Yoko's exhibition 'Unfinished Paintings and Objects' at the gallery.
A former head teacher at Liverpool Institute who was originally educated at Cambridge University, his tutor being F R Leavis. When
Paul was attending the Institute, Durband was his sixth-form English teacher. Paul claimed that he was the only teacher he liked and mentioned that he told the boys about books such as Lady Chatterley's Lover and Chaucer's The Miller's Tale, pointing out that they weren't dirty books but examples of good literature.
He was one of those unique teachers who actually made a difference to the lives of their pupils. He died in September 1994 at the age of 67.
A plaque was unveiled in his memory at the Everyman Theatre in Liverpool in a ceremony attended by playwright Willy Russell, whose plays were first presented at the theatre and who said that Durband was an 'extraordinary man'.
Durband was a board member of the Everyman Theatre and is credited with putting the theatre on the map. Paul was unable to attend the ceremony but said that he had always remembered Durband for his wit and wisdom.
Russell said, 'He was an inspiration to me; he was an inspiration to so, so many people.'
Another former pupil, Brian Jacques, who became a successful children's author, commented, 'I wouldn't be here if it wasn't for Alan Durband. He was always interested in people and in talent. I gave him my first ever manuscript in a plastic Tesco bag. He went away and sent it to a publisher. He believed in me. He believed in passion.'
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