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Earth Day For the Environment Concert

A concert held before an audience of 30,000 at the Hollywood Bowl, Los Angeles on Friday 16 April 1993. It took place during the third leg of Paul's North American tour. Paul performed an 85-minute set during which he gave an acoustic performance of 'Mother Nature's Son' and also added 'Blackbird' to the repertoire of this particular concert. Paul also announced, 'Your friend and mine, Ringo Starr,' and Ringo appeared on stage to participate in the chorus finale of 'Hey Jude'.

The repertoire of that particular performance was: 'Coming Up', 'Looking For Changes', 'Fixing A Hole', 'Band On The Run', 'All My Loving', 'We Can Work It Out', 'Hope Of Deliverance' (which was performed as a duet with kd lang), 'Mother Nature's Son', 'Blackbirds', 'Peace In The Neighbourhood', 'Off The Ground', 'Can't Buy Me Love', 'Magical Mystery Tour', 'C'mon People', 'Live And Let Die', 'Let It Be' and 'Hey Jude'.

£250,000 was raised from the concert and charities receiving donations from Paul's performance were Friends of the Earth, Greenpeace and People For the Ethical Treatment of Animals.

Earthrise - The Rainforest Album

An album issued to coincide with the Earth Summit. All the proceeds of the album were donated to the registered charity the Earth Love Fund, formed to provide aid to people trying to save the endangered rainforests.

Paul contributed his Flowers In The Dirt track 'How Many People?' to the album, which also had contributions from Ringo Starr and Julian Lennon.

Polygram issued the album in Britain on Monday 1 June 1992 on CD (Polygram 419-2), cassette (Polygram 515 419-4) and vinyl (Polygram 515 419-1). On the same day Weinerworld issued a compilation tape Earthrise - The Rainforest Video on WNR 2027. As Paul hadn't made a promotional film for 'How Many People?', scenes of forest destruction were shown.

The CD was reissued in Britain in 1994 and also in America for the first time on Rhino/Pyramid (R2 718030).

East Gate Farm

The 160-acre farm that Paul and Linda bought from Jim Higgs in 1978 for a fee in excess of £100,000. Situated near the village of Peasmarsh, near Rye in East Sussex, it is close to the two-bedroom cottage that they first moved into in that area in 1975.

In 1982 the couple had the farmhouse demolished and a five-bedroom house built on the site. There is also a swimming pool, stables and a paddock for their horses. The estate is called Waterfall and is surrounded by a six-foot fence, constructed in a way that makes it very difficult for any intruder to scale. There is also a 65-foot tower. These security measures prompted journalist Chris Hutchins to dub the property 'Paulditz'.

Paul, on the other hand, maintains that the fence was erected to prevent foxes from getting in to attack his pheasants and peacocks and that the tower enables the family to look over the surrounding countryside.

The cottage found an ideal use in 1983 when it became the setting for Linda's daughter Heather's 21st birthday party. More than a hundred local people were invited and a marquee was erected on the grounds. Fun Boy Three provided music and guests included Ringo Starr and Barbara Bach. The main food was vegetarian stew; there was ample red and white wine and the party continued until 5 a.m.

Eastman, Jay

Linda McCartney's nephew. In September 2001, Jay married Katama Guernsey and Paul and Heather attended the wedding. During the reception Paul played 'When The Saints Go Marching In' on a trumpet. He also sang 'The Very Thought Of You' and 'I Saw Her Standing There' to the newly weds.

Eat At Home

One of the tracks from the 1971 album Ram which was co-penned by Paul and Linda. Wings performed the number during their European tour. The single wasn't released in either Britain or America but it was issued as a single in Germany in August 1971 on Apple IC006-04864 and in France on Apple 2C006-04864M.

'Smile Away' was on the flip.

When asked about the number in 1975 Paul said that it was 'a plea for home-cooking - it's obscene'.

Eat the Rich

A British comedy film by Michael White Productions and the Comic Strip, which was premiered on Friday 23 October 1987. Paul and Linda made a brief cameo appearance in the movie, filming their scene at Moor House, Moor Park, near Rickmansworth, Herts on 4 March 1987. Also in the film were Lemmy of Motorhead, French and Saunders and Rik Mayall.

Ebony And Ivory

Paul's song about racial harmony on which he shared vocals with Stevie Wonder. The plea for racial harmony used the black and white keys of a piano to symbolise the way in which races can live together.

The two of them recorded the number at Air Studios on the island of Montserrat on Friday 27 February 1981 during the Tug Of War sessions.

Paul had been in his home studio in Scotland sitting at his piano when he remembered a title he'd had in his head for some years after hearing Spike Milligan using the black and white notes on the piano as an analogy of harmonious race relations.

Paul recalled, 'He'd said, "you know, it's a funny kind of thing -black notes, white notes, and you need to play the two to make harmony, folks".'

The song developed from there, with Paul visualising it being performed by a black artist, his first choice being Stevie Wonder, with the two of them sitting side by side at a piano. The arrangements were made and the recording took place at Montserrat with recording manager George Martin suggesting that Paul and Stevie do the number without additional musicians and singers.

The single was issued in Britain on Parlophone R6054 on Monday 29 March 1982 and topped the charts for three weeks from 24 April, giving Stevie his first British No. 1. The American release on Columbia 18-02860 was on Sunday 2 April and also went to No. 1. There was a 12" version of the number that was issued in the States on Columbia 44-02878 on Thursday 16 April 1982. The flipside was a number that Paul co-wrote with Denny Laine called 'Rainclouds'.

The number was also the last track on the Tug Of War album and was produced by George Martin.

It was released in Germany on 1C006-64749.

A version of this number, lasting 4 minutes and 1 second, was included on the Tripping The Live Fantastic album. It was recorded live at the Ahoy Sportpaleis in Rotterdam, Netherlands on 8 November 1989 during the 1989/90 World Tour.

Ecce Cor Meum

A classical composition by Paul, which received its world premiere on Saturday 10 November 2001 at the 800-seater Sheldonian Theatre, Magdalen College, Oxford.

Paul had visited the college in 1997 with his late wife Linda and had promised to write an oratorio especially for Magdalen College's new chapel.

'Ecce Cor Meum' means 'Behold My Heart' and the theme was that of finding love within music. It had been scored for a choir and small orchestra and was in four movements - 'Spiritus Spiritus', 'State of grace', 'Ecce Cor Meum' and 'Musica'.

Paul, accompanied by Heather Mills, was in the audience when the Magdalen College Choir, accompanied by a 23-piece orchestra conducted by Bill Ives, performed the choral piece, which lasts for 48 minutes.

After the performance Paul went on stage to thank the conductor and choir, joking that the choirboys should be in bed and the rest of the choir in the bar with him.


A BBC Radio London show. On Sunday 17 June 1984, Paul appeared on the show in a live interview conducted by Stuart Grundy. The interview was syndicated in America during October of that year as part of the promotion for the film Give My Regards To Broad Street.

Eddy, Duane

Famous rock guitarist, born in Corning, New York on 26 April 1938. His hits included 'Rebel Rouser', 'Shazam' and 'Peter Gunn'.

Duane recorded with Paul at Paul's Sussex studio on Wednesday 4 and Thursday 5 February 1987. He recorded a version of the Wings 'Rockestra Theme' for his Capitol album So Glad To See You Here. Paul produced the track and also played bass on it.

Edmunds, Dave

A musician and record producer who was born in Cardiff, Wales on 15 April, 1944. His first group was the Raiders in 1966 and over the years he appeared in a large number of different bands including the Human Beans, Love Sculpture and then had a solo hit with 'I Hear You Knocking' in 1970. He appeared in the film That'll Be The Day and formed a band called Rockpile in 1977. On 29 December 1979 the group appeared with Wings in the Concert For Kampuchea at the Odeon, Hammersmith.

In 1983 he appeared in Give My Regards To Broad Street as a member of Paul's band in the film, joining Ringo Starr and Chris Spedding on several live numbers which were included on the movie soundtrack.

In June 1983 he produced 'On The Wings Of A Nightingale' with the Everly Brothers, a number penned by Paul for the Everly Brothers' comeback and in June 1984 he produced the Everly Brothers' first studio album for eleven years.

Edmunds also joined Ringo Starr's All Starr Band for tours in 1992 and 2000. He was also musical director for 'The Lennon Tribute' concerts in Liverpool and Tokyo in 1990.

Edwards, Jack

The headmaster of Liverpool Institute when Paul was a pupil. He became the inspiration for 'The Headmaster's Song' in Liverpool Oratorio. He died at a nursing home in Formby on 8 January 1992. He was 95 years old.


A solo piano demo that Paul recorded in 1970. It lasts for approximately three and a half minutes and is one of the many unreleased numbers by Paul that has found its way onto bootleg releases.

Eight Days A Week

A song Paul and John composed at Kenwood, John's house in Weybridge. On occasion, Paul would journey there in a chauffeured car because he had lost his licence due to a speeding offence. At one time Paul asked the driver what kind of a week he had, had he been busy? 'Busy, I've been working eight days a week,' the driver told him. As soon as Paul arrived at John's house he related the expression to him as neither had heard it before. They decided it would be a good title for a song.

However, John didn't have much enthusiasm for it and was to say, '"Eight Days A Week" was never a good song. We struggled to record it and struggled to make it into a song. It was his initial effort, but I think we both worked on it. But it was lousy anyway.'

The number was included on the Beatles For Sale album and EP in Britain and was issued as a single in America.

Eleanor Rigby

The song was recorded on 28 and 29 April and 6 June 1966 and issued on Parlophone R5493 in Britain on 5 August and in America on Capitol 5715 on 8 August. The No. 1 single was a double A-side with 'Yellow Submarine', the second time they had issued a double A-side, and remained in the No. 1 position in Britain for four weeks and topped the American charts for six weeks.

'Eleanor Rigby' was also featured on the Revolver album, issued in Britain on the same day. A few months later, in December, it resurfaced on A Collection Of Beatles Oldies (But Goldies) and also appeared on several albums, including The Beatles 1962-1966 and The Beatles Box. It was re-released among a batch of singles to celebrate the group's twentieth anniversary, in 1982, of their first EMI record release.

The version found on Volume One of Anthology 2 was simply a backing track.

In an interview with the Sunday Times Paul revealed how the song came about. He said, 'I was sitting at the piano when I thought of it. Just like Jimmy Durante. The first few bars just came to me. And I got this name in my head - Daisy Hawkins, picks up the rice in the church where a wedding has been. I don't know why. I can hear a whole song in one chord. In fact, I think you can hear a whole song in one note, if you listen hard enough.

'I couldn't think of much more, so I put it away for a day. Then the name Father McCartney came to me - and all the lonely people. But I thought people would think it was supposed to be my dad, sitting knitting his socks. Dad's a happy lad. So I went through the telephone book and I got the name McKenzie. I was in Bristol when I decided Daisy Hawkins wasn't a good name. I walked round looking at the shops and saw the name Rigby. Then I took it down to John's house in Weybridge. We sat laughing, got stoned and finished it off. All of our songs come out of our imagination. There never was an Eleanor Rigby.'

It's not strictly true that all of the Lennon and McCartney songs came from the imagination; a number of them were autobiographical. Paul wrote songs relating to ups and downs in his romance with Jane Asher, John wrote about an affair of his in 'Norwegian Wood' and songs such as 'Penny Lane' and 'Strawberry Fields Forever' were about real places.

However, the genesis of this particular song does apply to Paul's words about a song coming from the imagination and that there never was an Eleanor Rigby.

When it was discovered that in the churchyard of St Peter's Church in Woolton there was a gravestone to an Eleanor Rigby, everyone assumed that that was where Paul got the name, although his explanation of the development of the song proves that this was not the case. The late Tom McKenzie, a Liverpool compere who was master of ceremonies on some Beatles gigs at the Memorial Hall, Norwich, believed that Father McKenzie referred to him and began calling himself Father McKenzie. He was also mistaken. This is a common mistake when people attempt to analyse Beatles songs too literally, expecting them to refer to particular people - some said that 'the man from the motor trade' referred to in Paul's 'She's Leaving Home' was Terry Doran, a former Beatles' associate who was a car dealer. Paul has denied this - and Judith Simonds of the Daily Express believed that 'Hey Jude' referred to her, but of course Paul began writing it with Julian Lennon in mind.

The Sun newspaper printed a story about the song in 1984, when it published a photograph of Tom McKenzie posing at the side of the gravestone and commented that Tom was also the Father McKenzie referred to. Yet Paul was adamant that the character was fictitious.

McKenzie died at the age of 75 in July 1991. Paul was to say, 'He was a funny old man. It's sad.'

If we refer once again to detailed comments Paul made about the song: 'It started off with sitting down at the piano and getting the first line of the melody, and playing around with words. I think it was "Miss Daisy Hawkins" originally; then it was her picking up the rice in a church after the wedding. That's how nearly all our songs start, with the first line just suggesting itself from books and newspapers.

'At first I thought it was a young Miss Daisy Hawkins, a bit like "Annabel Lee", but not so sexy; but then I saw I'd said she was picking up the rice in church so she had to be a cleaner; she had missed the wedding, and she was suddenly lonely. In fact she had missed it all - she was the spinster type.

'Jane (Asher) was in a play in Bristol then, and I was walking round the streets waiting for her to finish. I didn't really like "Daisy Hawkins" -1 wanted a name that was more real. The thought just came: "Eleanor Rigby picks up the rice and lives in a dream" - so there she was.

'The next thing was Father MacKenzie, and he was just as I had imagined him, lonely, darning his socks. We weren't sure if the song was going to go on. In the next verse we thought of a bin man, an old feller going through dustbins; but it got too involved - embarrassing. John and I wondered whether to have Eleanor Rigby and him have a thing going, but we really couldn't see how. When I played it to John, we decided to finish it.

'That was the point anyway. She didn't make it, she never made it with anyone, she didn't even look as if she was going to.'

Despite there being no link with people like Tom McKenzie or the St Peter's Church gravestone, the name 'Eleanor' was actually inspired by actress Eleanor Bron, who appeared in the film Help! with the Beatles. Paul said, 'I think Eleanor was from Eleanor Bron, the actress we worked with in the film.' He mentioned that the Beatles knew her well and that he'd seen her at Peter Cook's Establishment Club in Greek Street.

It's interesting that songwriter Lionel Bart also came up with an erroneous assertion that the name came from a gravestone.

He said, 'Paul has always thought that he came up with the name Eleanor because of having worked with Eleanor Bron in the film Help! but I am convinced that he took the name from a gravestone in a cemetery close to Wimbledon Common where we were both walking. The name on this gravestone was Eleanor Bygraves and Paul thought the name fitted the song. He then came back to my office and began playing it on my clavichord.'

There is no doubt that the song was Paul's and the actual input by John Lennon on this particular number was minute. Yet John was to claim several years later, 'I wrote a good half of the lyrics or more.' He persisted in the claim, telling Hit Parader magazine, 'I wrote a great deal of the lyrics, about seventy per cent.' Even in his interview in Playboy magazine he said, 'The first verse was his and the rest are basically mine.'

John's close friend Pete Shotton, who spent time with John at his Weybridge home, says, 'Though John was to take credit, in one of his last interviews, for most of the lyrics, my own recollection is that "Eleanor Rigby" was one Lennon-McCartney classic in which John's contribution was virtually nil.'

Paul was to say; 'I saw somewhere that (John) says he helped on "Eleanor Rigby". Yeah. About half a line.'

Apart from the backing vocals, Paul was the only member of the group featured on the track, accompanied by a string section that had been arranged by George Martin. The session musicians comprised four violins, two violas and two cellos.

The number was animated in a marvellous scene in the film Yellow Submarine.

'Eleanor Rigby' has also become one of the most popular Beatles songs to be recorded by other acts with over two hundred recorded versions, including those by Diana Ross &c the Supremes, Paul Anka, Frankie Valli, Aretha Franklin, the Four Tops, Johnny Mathis and Vanilla Fudge.

Incidentally, Paul was delighted when poet Allan Ginsberg told him that 'Eleanor Rigby' was one hell of a poem.

A version of this number lasting 2 minutes and 36 seconds was included on the Tripping The Live Fantastic album. It was recorded live at the Worcester Centrum, Worcester, Massachusetts on 8 February 1990 during the 1989/90 World Tour.

'Eleanor Rigby' was inducted into the Recording Academy Hall of Fame in February 2002.


A single by Grapefruit. Despite being discovered by Terry Doran, head of Apple Music, the group's releases were issued by RCA. For their 1968 single 'Elevator', Paul produced a promotional film of the group. He took them to Hyde Park and filmed a three-minute sequence.

Ellis, Richard

One of the photographers used by Paul when Wings were still extant. Ellis took the shots that appeared on the covers of the albums Red Rose Speedway, Wings At The Speed Of Sound (he also took the photo used as a poster and included with the LP) and Wings Over America.

Emerick, Geoff

A recording engineer and producer, born in 1946. He first began his studio career as a disc cutter and started work at EMI in 1962. He was twenty years old when Norman Smith took him on as second engineer for Beatles recordings, which mainly meant that he operated the tape machines. His first session as second engineer was on 'She Loves You' and he graduated to first engineer on the Revolver album when Norman Smith was promoted to the position of producer. His final work with the Beatles was on the Abbey Road album.

He has won Grammy awards for 'Best Engineered Recording' for Sgt Pepper's Lonely Hearts Club Band, Abbey Road and Band On the Run.

Geoff has been engineer or producer on a number of Paul's records, including the albums Band On the Run, Venus And Mars, London Town, Tug Of War, Pipes Of Peace, Flowers In The Dirt, Paul Is Live, Flaming Pie and Paul also phoned him up to ask him to work with him on the MTV acoustic project Unplugged.

He also produced albums by a variety of artists including Ringo Starr, Elvis Costello, Badfinger and Cheap Trick.

Paul was best man at the wedding of Emerick to Nicole Graham at the register office in Rye, East Sussex in early January 1989.

Tragically, Geoff's wife died of cancer. When Geoff and Paul were engaged in the studio sessions for Wide Prairie, they both expressed their grief, sometimes crying at the console and sometimes laughing while listening to Linda's tapes and remembering her.

Paul said, 'He lost his wife to cancer, too. So the pair of us were just crying on the console. But then we'd listen to Linda's spirit and we'd laugh and remember her. So it was the "Tears and Laughter" sessions'

Emotional Moments

A number also referred to as 'Cage'. Paul made a demo of the song at his Rude Studio in Campbeltown in 1978, using drums, keyboard and electric guitar. It was considered for Back To The Egg, but rejected.

Empire Ballroom

A large ballroom situated below ground level in Leicester Square, London, and part of the Moss Empire group. On Monday 8 November 1971 Paul invited a thousand guests to the ballroom to celebrate the release of Wings' first album Wild Life. Guests were requested to wear conventional dress and the tone of the affair was similar to that of a typical night at the Empire, with music by the Ray McVay Band, entertainment from the Peggy Spencer Formation Dancing Team and guests able to buy their own drinks over the bar.

Among the celebrity guests were Elton John, John Entwistle, Keith Moon, Ronnie Lane, Ronnie Wood, Kenny Jones, Ian McLagen and Jimmy Page.

Empty Hand

Produced by Paul and directed by David Litchfield, this short film was the first project from McCartney Productions, Paul's film company, in 1977. It was a 32-minute documentary featuring the current Wings drummer George Britton, who was a karate expert, at the Amateur Karate Championships where he appeared with the British Amateur Karate Association team.

The filming took place on Saturday 30 November at the Michael Sobell Sports Centre, Islington, London. Britton fought in two bouts, losing the first and winning the second. Paul also wrote incidental music for the documentary.

End, The

A number by Paul included on the Abbey Road album, which only lasted for a minute. It was recorded at Abbey Road on 23 July 1969 and John Lennon was to comment, 'That's Paul again, the unfinished song, right? He had a line in it, "The love you take is equal to the love you make," which is a very cosmic, philosophical line. Which again proves that if he wants to, he can think.'

The number includes the only recorded drum solo by Ringo as a Beatle, which led Paul to comment, 'We could never persuade Ringo to do a solo. The only thing we ever persuaded him to do was that rumble in "The End" on Abbey Road. He said, "I hate solos".'

English, Joe

It was ironic that drummer Geoff Britton was replaced by an American drummer called Joe English in the Wings line-up.

Joe was born in Rochester, New York on 7 February 1949 and became a rock drummer at the age of eighteen when he joined a band called the Jam Factory. For six years the band toured America numerous times supporting acts of the calibre of Jimi Hendrix, Janis Joplin and the Grateful Dead, until they split up in 1973. The demise of the group marked a dark period in Joe's life during which his wife left him, taking their two children with her. He didn't have any gigs and was completely broke.

'I was on the bottom,' he said. He managed to get through his bad patch with encouragement from a girlfriend called Dayle and had settled in Georgia where he found regular work as a session musician.

When Geoff Britton left Wings during the Venus and Mars sessions, Tony Dorsey, leader of Paul's horn section, recommended Joe. At the time he was rehearsing with Bonnie Bramlett and intended touring with her, but when he received the offer from Paul he found a replacement for the tour and immediately went to New Orleans to record on Venus and Mars.

The album was mixed at the Wally Heider Studio in Los Angeles, and it was on the way there that Paul asked Joe if he'd like to become a member of Wings. He was delighted to accept.

Britton stayed with the band until late in 1977 and quit after completing part of the London Town sessions. He'd also contributed to the albums Wings At The Speed Of Sound (on which he sang lead vocals on the track 'Must Do Something About That') and Wings Over America and had joined the world tour. During Wings' appearances at the Omni in Atlanta (18-19 May 1976), Paul introduced Joe from the stage saying he was 'from just down the road in Juliette, Georgia'.

When he left the group, Joe stated, 'I enjoyed being in Wings and I learned a lot, but I got tired of the months and months sitting in recording studios. I wanted to come home and see if I could make it as Joe English and not off Paul McCartney.'

He told the American Beatlefan magazine that he liked Linda but didn't consider her a good musician or vocalist and that Denny Laine tended to sing off-key. He also commented: 'I was continually promised a share of the record royalties, but I never received any,' although he qualified the statement by adding that he was very well paid when he was with the band.

After leaving Wings (1975-77) he joined the group Tall Dogs, and later Sea Level. In 1981 he had become a born-again Christian and was living in Nashville where he issued his first gospel album Lights In The World on Refuge Records.

Entertainment Centre

A venue in Sydney, Australia where Paul performed concerts on the second leg of his world tour on Tuesday 16, Wednesday 17 and Saturday 20 March 1993.

TCN 9, the Sydney TV station, which screened highlights from the shows, filmed his Tuesday and Wednesday performances. During the sound check on the Tuesday Paul performed 'Get Out Of The Rain' and also part of the Paul Simon song 'Fifty Ways To Leave Your Lover'. Paul was also visited backstage by Australian actor Bryan Brown who portrayed Paul's manager in the film Give My Regards To Broad Street.

During his performance of 'Mull Of Kintyre' the Blackwood Pipe Band joined Paul on stage.

Epaminondas, Andros

A London-born Greek-Cypriot, Andros gained his experience in the film world with Stanley Kubrick on such films as A Clockwork Orange, Barry Lyndon and The Shining. He worked for Kubrick for eleven years and has said that he did 'everything from scouting locations to organising the money for doing the washing up'.

Paul made him producer of Give My Regards To Broad Street and was to say: 'Andros took a lot of slagging-off during production. People were always coming up to me and saying, "that bastard Andros, he's so tight-fisted". He was the scapegoat because he's little and Greek and he took it all in his stride. What better whipping boy? But I tell you, I look at the budget now and I'm glad to have been involved with him.'

Epstein, Brian

The Beatles' first manager, born in Liverpool on 19 September 1934. He first heard about the Beatles in the pages of Mersey Beat, the newspaper he stocked from July 1961 and for which he wrote record reviews. After visiting the Cavern during a lunchtime session on 9 November 1961 to see the group, he decided to sign them up and arranged for them to meet him at his office on 3 December 1961.

Epstein was punctilious and he was very irked when Paul turned up late for the meeting. George Harrison apologised saying, 'Sorry Mr Epstein. He's just been having a bath.' Epstein was not amused. 'This is disgraceful. He is going to be very late.'

'Late,' said George, 'but very clean.'

In 1961, when asked about the individual Beatles, Brian's comments on Paul were that he was 'probably the most changed Beatle. He's mellowed in character and thought. A fascinating character and a very loyal person. Doesn't like changes very much. He, probably more than the others, finds it more difficult to accept that he is playing to a cross-section of the public and not just to teenagers, or sub-teenagers, whom he feels are the Beatles' audience.'

In 1964 he commented, 'Paul can be temperamental and moody and difficult to deal with but I know him very well and he me. This means that we compromise on our clash of personalities. He is a great one for not wishing to hear about things, and if he doesn't want to know he switches himself off, puts one booted foot across his knee and pretends to read a newspaper.'

Brian also considered that Paul was very musical and his voice was more melodic than John's, commenting, 'Also, and this is vital to me, he has a great loyalty to the other Beatles and to the organisation around him. Therefore, I ignore his moods and hold him in high esteem. I would not care to lose him as a friend.'

Of the relationship between Brian and Paul, Beatles press agent Tony Barrow was to comment, 'Paul learned to conduct himself quickly and Brian felt overpowered. He recognised Paul as very forceful and was, on a personal basis, a little scared and uncertain of him. Paul was very much a social climber in those days. He liked to learn the etiquette of life from Brian.'

In June 1967, when the story that Paul had admitted to taking LSD was about to be published in the British press, Paul phoned Brian the evening before the story appeared to tell him. Epstein had a sleepless night and then decided he would back Paul and also admit to taking LSD himself. He said, 'There were several reasons for this. One was certainly to make things easier for Paul. People don't particularly enjoy being lone wolves and I didn't feel like being dishonest and covering up, especially as I believe that an awful lot of good has come from hallucinatory drugs.'

On hearing of Brian's death on 27 August 1967, Paul said, 'This is a great shock. I am terribly upset.'

In 1997, when he heard that the Beatles Store in Liverpool planned a plaque to Brian Epstein, Paul sent a message: 'This event will ensure that Brian will be remembered for many years to come by people he cared about so much - his fellow Scousers. Having known and loved him, I feel I can say on his behalf, to the people of Liverpool, thank you very much.'

Equinox Club

A club in London's Leicester Square. On Thursday 30 September 1999 Paul made a special public appearance to promote his Run Devil Run album. He talked to the audience and presented them with a short behind-the-scenes film of the making of the album. He also had a ques-tion-and-answer session with the audience during which he admitted that there was a 'final' Beatles song in the vaults which hadn't been released yet. He was also presented with original 45s of two of the numbers he covered on the album, 'No Other Baby' by the Vipers and 'Shake a Hand' by Little Richard.

Escorts, The

A popular Liverpool band who never quite made the major league. They comprised Terry Sylvester (guitar), John Kinrade (guitar), Mike Gregory (bass) and Pete Clarke (drums).

Paul took an interest in the band and produced their single 'From Head to Toe'/'Night Time', issued in Britain on Columbia DB 8061 on 18 November 1966, but it fared no better than their previous releases. Paul also played tambourine on the A-side.

Elvis Costello recorded both numbers in the 1980s.

The Escorts disbanded towards the end of the 1960s and Terry and Mike joined the Swinging Bluejeans for a time, then Terry later became a member of the Hollies.

Incidentally, their first Liverpool residency in 1962 arose as a result of a helping hand from Ringo Starr.

Evening With Adrian Mitchell, Willy Russell and Very Good Friends, An

An event that took place before an audience of 400 at the Everyman Theatre in Liverpool on Wednesday 21 March 2001.

The Oxford Union, the Royal National Theatre and the Los Angeles Festival of Books had offered Paul readings of his new book Blackbird Singing. He said: 'If I'm going to do this, I want to do it in Liverpool first.'

It also allowed him to pay tribute to Liverpool poet/painter Adrian Henri who had died a few months previously.

Only three poets had been advertised for the reading - Tom Pickard, Willy Russell and Adrian Mitchell. Paul Bell of the Everyman commented, 'Paul wanted a group of people who wanted to see poetry - not him.'

Paul was on stage for thirty minutes and was introduced by Adrian Mitchell, who had aided Paul in the editing of Blackbird Singing.

He told the audience that he'd first become interested in poetry when his English teacher at Liverpool Institute had told him about the 'dirty bits' in Geoffrey Chaucer's poems.

Paul recited 'Ivan', 'In Liverpool', 'Jerk Of All Jerks', 'Maxwell's Silver Hammer', 'Day With George', 'City Park', 'Black Jacket', 'Dinner Tickets', 'Masseur', 'A Billion Bees In The Borage', 'Tchaica', 'Why Don't We Do It In The Road?' and 'Without You'.

At the end of the evening Paul, Mitchell, Russell and Pickard each read a line from Adrian Henri's poem 'Without You'.

Evening With Paul McCartney, An

Title of a fundraising event in aid of the Royal College of Music which took place at St James's Palace, St James's, London SWI on Thursday 23 March 1995.

Admission was limited to 300 invited guests and although the admission was free, the guests were expected to make their own donations to the College of approximately £250 each.

Also present at the event was the College's patron, Prince Charles.

The occasion marked the debut of A Leaf, an eight-minute piece for solo piano. Paul introduced the number and a former member of the College, 22-year-old Russian pianist Anya Alexeyev, performed it. Paul sang three numbers, 'For No One', 'Yesterday' and 'Lady Madonna', backed by the Brodsky Quartet. Michael Thompson guested on French horn, Paul then sang a duet with Elvis Costello on 'Mistress And Maid', co-written by them both, and Costello then performed four of his own songs. The Brodsky Quartet next played a brief recital that included 'Ticket to Ride'. Also performing were baritone Willard White and mezzo-soprano Sally Burgess, who had performed on Liverpool Oratorio and sang selections from it.


An area of Liverpool where Paul's grandparents lived. They moved several times within Everton, from their original home in Fishguard Street where Paul's father was born to Lloyd Street and Salva Street before eventually moving out of the area to Scargreen Avenue in West Derby.

Every Night

A number which Paul originally performed in January 1969 during rehearsals for the Get Back project, although it wasn't completed at the time. Later that year, while on holiday in Greece, he completed the lyrics, recorded it and finally mixed the track at Abbey Road Studios on 22 and 24 February before including it on his solo McCartney album.

The number lasted 2 minutes and 29 seconds, with Paul playing the various instruments himself and double-tracking part of the vocal track. He also performed it on the Wings tour of Britain in 1979, and in the same year Phoebe Snow recorded it, giving her a minor hit.

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