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Paul originally used to write letters to Bill Harry informing him of the Beatles activities. Bill used an excerpt from one of the letters in the 12 September 1962 issue of the Mersey Beat and titled it 'Hamburg'. It was Paul's observations on his first visit to the German city.

The first time we went to Hamburg we stayed four and a half months. It's a sort of blown-up Blackpool, but with strip clubs instead of waxworks: thousands of strip clubs, bars and pick-up joints, not very picturesque.

The first time it was pretty rough, but we all had a great time. The pay wasn't too fab, the digs weren't much good, and we had to play for quite a long time. The club was a small place called the Indra and was owned by the proprietor of the Kaiser Keller, where we also played.

One night we played at the Top Ten Club and all the customers from the Kaiser Keller came along. Since the Top Ten was a much better club we decided to accept the manager's offer and play there. Naturally, the manager of the Kaiser Keller didn't like it. One night prior to leaving his place, we accidentally singed a bit of cord on an old stone wall in the corridor, and he had the police on us. He'd told them that we'd tried to burn his place down, so they said: 'Leave please, thanks very much, but we don't want you to burn our German houses.' Funny, really, because we couldn't have burned the place if we had gallons of petrol - it was made of stone.

There was an article on the group in a German magazine. I didn't understand the article, but there was a large photograph of a South African Negro pushing the jungle down. I still don't quite know what he has to do with us, but I suppose it has some significance.

Hammell, John

Paul's chauffeur, a former road manager for Humble Pie. On Thursday 3 November 1994, when he was driving Paul to his home in Rye, Sussex in the dark blue, customised Mercedes, which cost £60,000, Hammill pulled over to the near side of the road to let a lorry pass. The lorry skidded on wet leaves coming down a hill and crashed into the side of the car. Paul and Hammill were unhurt, but there was extensive damage to the car.

Hammersmith Odeon

A major London concert venue that presented the Beatles' Christmas Concerts. Paul and Wings appeared there on Friday 25, Saturday 26 and Sunday 27 May 1973. The Sunday date was an additional date, entered into because the planned concert at the Hippodrome, Birmingham had been cancelled. They returned to the venue in 1975 during their World Tour to appear on Wednesday 17 and Thursday 18 September. Paul had commissioned a 30-second television commercial to promote the two dates, although they had already been sold out. A special party was held after the final concert with members of Queen, Pink Floyd, David Frost, Alice Cooper, Harry Nilsson, Ringo Starr and Lynsey De Paul.

The venue was used for the Concerts for Kampuchea on Saturday 29 December 1979 in which several leading musicians joined Wings in a 'Rockestra' encore.

Hands Of Love

The third part of a four-number 11-minute 15-second medley that closed the Red Rose Speedway album and was 2 minutes and 12 seconds in length. Paul sang lead vocal and played acoustic guitar. Linda provided vocal, Denny Laine electric guitar, Henry McCullough percussion and Denny Seiwell drums and percussion.


An instrumental by Paul and Eric Stewart recorded during the Press to Play sessions at Hog Hill Mill studios. The mixing was credited to 'Mac 'N' Matt', who were Paul and Matt Butler.

Hard Day's Night, A (film)

The Beatles' debut film has become a classic, which basically revolved around a fictional day in the life of the group. They arrive in London along with the mischievous grandfather John McCartney, played by actor Wilfred Brambell, famous for his role in the TV series Steptoe And Son.

Paul said: 'Wilfred Brambell was great. The only terrible thing for us was that Wilfred kept forgetting his lines. We couldn't believe it! You see we expected all the actors to be very professional and word perfect. We couldn't imagine that an actor like Wilfred could ever do a thing like forget his lines. So, we were very shocked and embarrassed by this.'

Paul's major contributions to the film soundtrack were 'And I Love Her', 'Things We Said Today' and 'Can't Buy Me Love'. He also co-wrote 'If I Fell', 'Tell Me Why' and 'I'll Cry Instead' with John.

Discussing how they first came to make the film, Paul commented, 'We'd only released a few singles and a couple of albums but we'd now reached the position where the Beatles were big enough for producers to approach us and ask if we'd like to make a full-length movie on our own terms. Not bad going for a bunch of scruffs who'd only recently come down south to London from Liverpool. We discussed this with Brian (Epstein) on a number of occasions and he asked if we had any ideas of our own. The only person we could think of was whoever made that The Running Jumping And Standing Still Film. Who did that? 'Cause it was brilliant!

'The thing was, we all really loved the Goons film so, right away, that was an indication of the kind of direction we were all interested in. It might look a bit dated now, but it was fabulous back then. Basically, it was just what we liked. We could relate to the humour wholeheartedly. Brian discovered that it had been made by Richard Lester and so we said, well he's all right by us.'

Paul's recollections in hindsight may not be entirely accurate. It's doubtful whether the Beatles came up with the idea of having Richard Lester direct their first movie.

Lester had recently directed the films Mouse On The Moon for producer Walter Shenson and it was Shenson who decided on hiring him for the Beatles movie. He did approach the Beatles for their agreement on the hiring of Lester and was to say that the main reason they had accepted him was because he had worked on The Running Jumping And Standing Still Film.

The film's scriptwriter, Alun Owen, had written a scene for Paul during the episode when members of the group set out individually to track down the missing Ringo. Paul filmed the scene with young actress Isla Blair, but the entire sequence ended up on the cutting-room floor because it was felt that Paul seemed too self-conscious in it.

The dialogue for the missing sequence is as follows:

Interior, Rehearsal Room

Paul goes into the room. The girl is in mid-flight. She is very young and lovely and completely engrossed in what she is doing. The room is absolutely empty except for Paul and herself. She is acting in the manner of an eighteenth-century coquette, or, to be precise, the voice English actresses use when they think they are being true to the costume period ... her youth however makes it all very charming.

GIRL: If I believed you, sir, I might do those things and walk those ways only to find myself on Problems Path. If I believed you, sir, I might like you or even love you, but I cannot believe you and all those urgings, pleadings and the like serve only as a proof that you will lie and lie again to gain your purpose with me.

She dances lightly away from an imaginary lover and as she turns she sees Paul who is as engrossed in the scene as she was.

GIRL: (surprised) Oh!

PAUL: (enthusiastically) Well ... go 'head, do the next bit.

GIRL: Go away! You've spoilt it.

PAUL: Who, me?

GIRL: Yes, you.

PAUL: Oh, sorry I spoke.

He makes no effort to go. He simply continues to look steadily at the girl; then he smiles at her. She is undecided what to do next.

GIRL: Are you supposed to be here?

PAUL: I've got you worried, haven't I?

GIRL: Of course not. I asked you who you are, that's all.

PAUL: No you didn't, you asked me, 'Was I supposed to be here?'

GIRL: It's the same thing.

PAUL: It isn't you know.

GIRL: Well, you've obviously no right to be here.

PAUL: Aah, that's more like it. Do I look like a trespasser, like?

GIRL: I'm warning you, they'll be back in a minute.

PAUL: D'you know something, 'they' don't worry me at all.

GIRL: They'll throw you out!

PAUL: Is that a gentle hint I won't be missed, like if I go?

GIRL: (haughtily) I want to go on rehearsing.

PAUL: Well, I'm not stopping you.

GIRL: (hotly) Don't be rude.

PAUL: You had the first go, not me. Anyroad, I only fancy listening to you ... that's all but if it worries you ... well...

GIRL: Of course it doesn't worry me, I can ... (she interrupts herself) ... Who are you?

PAUL: (smiling cheekily) Another worrier.

GIRL: (accusingly) You're from Liverpool, aren't you?

PAUL: (comically) How'd you guess?

GIRL: (seriously) Oh, it's the way you talk.

PAUL: (innocently) Is it... is it, really?

GIRL: (suspiciously) Are you pulling my leg?

PAUL: (looking her straight in the eye) Something like that.

GIRL: (unsure) I see ... (airily) do you like the play?

PAUL: Yeah ... I mean, sure, well, I took it at school but I only ever had boys or masters say those lines, like, sounds different in a girl (smiles to himself) Yeah, it's gear on a girl.

GIRL: Gear?

PAUL: Aye, the big hammer, smashing!

GIRL: Thank you.

PAUL: Don't mench ... well, why don't you give us a few more lines, like?

GIRL: (points) Oh, there isn't much point. Anyway, I was only doing it for myself.

PAUL: You don't half slam the door in people's faces, don't you? I mean, what about when you're playing the part, like, hundreds of people see you and ...

GIRL: (cutting in) I'm not...

PAUL: What?

GIRL: Playing the part.

PAUL: Oh, you're the understudy, sort of thing?

GIRL: (aggressively) I'm a walk-on in a fancy-dress scene. I just felt like doing those lines.

PAUL: Oh, I see. You are an actress though, aren't you?

GIRL: Yes.

PAUL: Aye, I knew you were.

GIRL: What's that mean?

PAUL: Well, the way you were spouting, like (he imitates her) 'I don't believe you, sir ...' and all that.

GIRL: I don't sound like that.

PAUL: Yes you do.

GIRL: Do I really?

PAUL: Yeah, it was gear.

GIRL: (dryly) The big hammer?

PAUL: (smiling) Oh aye, a sledge.

GIRL: But the way you did it then sounded so phoney.

PAUL: No ... I wouldn't say that... just like an actress ... you know.

He moves and stands about like an actress.

GIRL: But that's not like a real person at all.

PAUL: Aye well, actresses aren't like real people, are they?

GIRL: They ought to be.

PAUL: Oh, I don't know, anyroad up, they never are, are they?

GIRL: (teasingly) What are you?

PAUL: I'm in a group ... well ... there are four of us, we play and sing.

GIRL: I bet you don't sound like real people.

PAUL: We do, you know. We sound like us having a ball. It's fab.

GIRL: Is it really though?

PAUL: What?

GIRL: Is it really fab or are you just saying that to convince yourself?

PAUL: What of? Look, I wouldn't do it unless I was. I'm dead lucky 'cos I get paid for doing something I love doing. (He laughs and with a gesture takes in the whole studio.) All this and a jam butty too!

GIRL: I only enjoy acting for myself. I hate it when other people are let in.

PAUL: Why? I mean, which are you, scared or selfish?

GIRL: Why selfish?

PAUL: Well, you've got to have people to taste your treacle toffee.

She looks at him in surprise.

PAUL: No, hang on, I've not gone daft. You see, when I was little me mother let me make some treacle toffee one time in our back scullery. When I'd done she said to me, 'Go and give some to the other kids.' So I said I would but I thought to myself, 'She must think I'm soft.' Anyroad, I was eating away there but I wanted somebody else to know how good it was so in the end I wound up giving it all away ... but I didn't mind, cos I'd made the stuff in the first place. Well ... that's why you need other people ... an audience ... to taste your treacle toffee, like. Eh ... does that sound as thick-headed to you as it does to me?

GIRL: Not really but I'm probably not a toffee maker.

PAUL: Oh sorry.

GIRL: You are though, aren't you?

PAUL: Yeah.

GIRL: How would you do these lines of mine?

PAUL: Who, me? Oh, I'd make a giggle and it'd be all wrong ... funny, but all wrong.

GIRL: Yes, but how?

PAUL: Oh, definitely, it sticks out a mile, she's trying to get him to marry her but he doesn't want ... well ... I don't reckon any fella's ever wanted to get married, they just do it to keep the girlfriend quiet and by the time you've quietened her, she's the wife.

GIRL: That's not very romantic.

PAUL: Oh, I dunno, getting pulled for marriage when all you want's a bit of fun, I think that's very romantic and clever too. That's what, but girls are like that, clever and cunning. You've got to laugh.

He laughs.

GIRL: Well, it's nice to know you think we're clever.

PAUL: (grinning) And winning.

GIRL: And what do you think about it?

PAUL: Me? Oh, I don't have the time, I'm always running about with the lads ... no, we don't have the time.

GIRL: Pity.

PAUL: (not noticing the invitation) Aye, it is but as I say as you get by, it's all right, you know ... bask on, happy valley; when they let you stop. Anyroad, I'd better get back.

GIRL: Yes.

PAUL: (going) See you.

GIRL: Of course.

Paul stands at the doorway, shrugs, then goes out. After a moment the girl starts to act her speech. She is still using her actress voice.

GIRL: If I believe you, sire, I might do ... (she breaks off and smiles) ... clever and cunning ...

She starts again but this time she delivers the lines in a saucy teasing manner.

Paul pops his head back round the door.

PAUL: Treacle toffee ... wowee!

Recalling the scene, Paul said, 'There was a sequence that I was going to do and, to this day, whenever I go past the pub in Shepherd's Bush - on the corner by the old BBC TV Theatre -1 remember going in with Isla Blair and filming on the second floor.'

The venue was the Jack Billings School of Dancing.

'She was supposed to be the object of my desire or I was of hers -that was the idea behind this little scene-ette. I had to sort of wander around her with the camera going round and round in circles - all very sixties, all very French and I had to repeat these very quirky lines. We had a whole day of doing that, but it didn't work because it wasn't the kind of thing we would have done in everyday life. It was all a little bit too contrived.'

Although DVDs include missing scenes and additional material, this particular scene is likely to have been destroyed. In June 1970 director Richard Lester went to Twickenham Studios to look at the film's outtakes in the studio library and discovered that all the footage which hadn't been included in the original film had been destroyed due to the studio's policy of getting rid of such material five years after the completion of a film.

A Hard Day's Night received a Royal Film Premiere at the London Pavilion on Monday 6 July 1964 and was premiered in America on Wednesday 12 August 1964.

Hard Rock Cafe

Paul and Wings made a special live appearance at the cafe, a fashionable American-style venue situated in Piccadilly, London. On Sunday 18 March 1973, Paul and Wings played a one-hour set at the Hard Rock Cafe before two hundred guests, who paid £5 per head. The occasion was a charity show to raise money for Release, the London-based organisation that helps victims of drug abuse. At the time, Paul had been convicted of possessing cannabis only ten days previously.

Paul also hosted a private party there on Thursday 20 June 1991 to celebrate the launch of Linda's vegetarian burgers. Apart from Paul and Linda, Ringo and Barbara Starr were also in attendance.

On Friday 28 January 1994 Paul and Linda were at the Hard Rock again where Mike Myers presented them with a Hard Rock Foundation cheque for £25,000 from the proceeds of Linda's vegetarian burgers, which were on sale at the cafe.

Harris, Sally

Paul's second cousin. Paul acted as chauffeur for the day at her wedding to Kevin Murphy at Wallasey Town Hall on Friday 23 June 2000. He wore a charcoal-grey suit and blue and grey trainers.

Mike McCartney acted as official photographer at the ceremony and Mike's wife Rowena made the bride's pale gold wedding dress. Heather Mills was also in attendance.

Mike was to comment: 'It was a real family affair and lovely to see Sally on her big day. She looked beautiful in her dress and drew gasps from the crowd when she stepped out of the car. Paul hired a nice car for the day and drove Sally to the Town Hall. The only thing missing was a chauffeur's cap!'

Harrison, George

George was born on 24 February 1943 at 11.42 p.m. at 12 Arnold Grove, Wavertree, Liverpool 15. His parents were Harold and Louise Harrison.

In 1948 he began attending Dovedale Primary School, which John Lennon also attended. However, as John was three years ahead of him, George never met him there.

In 1949 the family moved to a new home at 25 Upton Grove, Speke.

In 1954 George enrolled at Liverpool Institute, where he was to meet Paul, who had started at the school the previous year. George recalled: 'It took from four o'clock to five to get home in the evening to the outskirts of the Speke estate and it was on that bus journey that I met Paul McCartney, because he, being at the same school, had the same uniform and was going the same way as I was so I started hanging out with him.'

George's mother first bought him a guitar for £3 in 1957 and that year he formed his first group, the Rebels, with his brother Pete and a friend called George Kelly. The group performed only one gig, at the British Legion club in Speke. George said: 'I remember the Rebels had a tea chest with a lot of gnomes around it. One of my brothers had a five-shilling [25 pence] guitar, which had the back off it. Apart from that it was all fine. Just my brother, some mates and me. I tried to lay down the law a bit, but they weren't having any of that.'

The next day George told Paul about the gig and they decided to practise together, with Paul joining George in the front room of the Harrison house, where they played their way through chord books. George recalled: 'Raul was very good with the harder chords, I must admit. After a time, though, we actually began playing real songs together, like "Don't You Rock Me Daddy-O" and "Besame Mucho".

'Paul knocked me out with his singing especially, although I remember him being a little embarrassed to really sing out, seeing as we were stuck right in the middle of my parents' place with the whole family walking about. He said he felt funny singing about love and such around my dad. We must have both been really a sight. I bet the others were just about pissing themselves trying not to laugh.'

Paul was to say: 'I knew George long before John and any of the others. They were all from Woolton, the posh district, and we hailed from the Allerton set, which was more working-class. George and I had got together to learn the guitar and we were chums, despite his tender years, as it seemed to me then. In fact George was only nine months younger than I was but to me George was always my little mate. But he could really play the guitar, particularly a piece called "Raunchy", which we all loved. If anyone could do something as good as that, it was generally good enough to get them in the group.'

Paul wanted George to become a member of the group, but it was up to the leader John Lennon to make the decision. Arguably, the day George Harrison became a Quarry Man was following a gig at Wilson Hall, Garston, on 6 February 1958. George joined Paul and John on the bus home. Paul recalled: 'George slipped quietly into one of the seats on the almost empty bus we were on, took out his guitar and went right into "Raunchy". Some days later I asked John: "Well, what do you think about George?" He gave it a second or two and then replied: "Yeah, man, he'd be great." And that was that. George was in and we were on our way.'

In the summer of that year, Paul and George hitchhiked to Wales. George remembered: 'We ran out of cash again, and Paul had the idea that we could sleep at the police station in one of the cells. Unfortunately the police refused but did suggest we could kip in the grandstand of the local football club. With great difficulty we climbed the wall surrounding the football ground, and with even greater difficulty got to sleep on the concrete steps of the grandstand. Just as day was breaking, I woke to see the caretaker standing over us. "What are you doing in my grandstand?" he demanded. "Sleeping," Paul croaked. "Well, you're not any more." We didn't need telling twice.'

It was also the summer that the Quarry Men made their first ever record at Percy Phillips's studio at 53 Kensington, Liverpool. The A-side was a version of Buddy Holly's 'That'll Be The Day' with John on lead vocal, and the other track was the first original number ever recorded by the group who were to evolve into the Beatles. It was called 'In Spite Of All The Danger' and was credited to Harrison-McCartney. So the first songwriting team was actually George and Paul!

Following the Quarry Men appearance at Woolton Village Club on 24 January 1959, the group seemed to disband. John and Paul got together at Paul's house to compose songs, but they had, to all intents and purposes, finished playing as a band. George then joined a group called the Les Stewart Quartet. This group was booked to become resident at a new club to be opened in West Derby Village called the Casbah, but Les Stewart refused to play there. Another member of the group, Ken Brown, who had originally obtained the residency for the band, asked George if he knew any other musicians. George contacted Paul and John and they obtained the Casbah residency, opening the club on 29 August 1959. This Quarry Men line-up comprised Paul, George, John and Ken Brown. They had no drummer, saying that 'the rhythm's in the guitars'.

On 10 October there was a dispute with Ken Brown and Paul, George and John walked out of the residency and continued as a trio, using various names such as Johnny &; the Moondogs. Stuart Sutcliffe joined them on bass guitar in January 1960.

They briefly toured Scotland as a backing band to the singer Johnny Gentle, and when their drummer, Tommy Moore, left them they found another drummer, Pete Best, to join them on their first trip abroad, a season in Hamburg beginning in August 1960.

Their initial residency in Hamburg was the Beatles' 'baptism of fire' and George was to recall: 'In my opinion our peak for playing live was Hamburg. At the time we weren't so famous, and people who came to see us were drawn in simply by our music and whatever atmosphere we managed to create. We got very tight as a band there. We were at four different clubs altogether in Germany. Originally we played the Indra, and, when that shut, we went over to the Kaiserkeller and then, later on, the Top Ten. Back in England, all the bands were getting into wearing matching ties and handkerchiefs, and were doing little dance routines like the Shadows. We were definitely not into that, so we just kept doing whatever we felt like.'

It was while they were playing at the Kaiserkeller that they were second on the bill to another Liverpool band, Rory Storm & the Hurricanes, whose drummer was Ringo Starr.

George was to say: 'I didn't like the look of Rory's drummer myself. He looked the nasty one with his little grey streak of hair. But the nasty one turned out to be Ringo, the nicest of them all.'

Because of his age, George was known as the 'baby of the Beatles' at the time. The police decided he was too young to play after the 10 o'clock curfew that existed for youngsters in the St Pauli district and he was forced to return to Liverpool, alone.

Although John Lennon got on with Pete Best, it was basically George and Paul who wanted to get rid of him and he was replaced by Ringo. Brian Epstein was to write about this in a letter to a friend, saying:

Didn't fit well as a drummer or a man. Beat too slow, or George thought so. I liked him though he could be moody. Friendly with John, but Paul and George didn't like him. I wasn't too happy about Ringo. I didn't want him, but then as now I trusted the Beatles' judgement.

Perhaps word got around that it was George in particular who insisted that Best leave, because, when the Beatles appeared at the Cavern with the crowd shouting 'Pete for ever, Ringo never!', George was given a black eye.

An interesting insight into George happened when Brian Epstein managed to secure the Beatles a recording contract in 1962, sending them a telegram: 'Congratulations boys. EMI requesting recording session. Please rehearse new material.' They sent postcards in reply. Paul wrote: 'Please wire £10,000 advance royalties.' John wrote: 'When are we going to be millionaires?' But George wrote: 'Please order four more guitars.'

During the Beatles' phenomena! career during the 1960s, George felt overshadowed by John and Paul. He was to say: 'The usual thing was that we'd do fourteen of their tunes and then they'd condescend to listen to one of mine.'

George introduced the sitar into Western music when he played it on 'Norwegian Wood'. He became intensely interested in Eastern philosophy and became involved with the Indian sitarist and composer Ravi Shankar and the Maharishi Mahesh Yogi (who introduced transcendental meditation into Western society), initially travelling to India in 1966 and continuing to visit there frequently over the years.

After mammoth success throughout the world, the Beatles ceased touring to concentrate on recording. However, George always seemed to have problems in placing his songs with the Beatles, owing to the dominance of Paul and John. He also had to suffer criticism from Paul about his ability as a guitarist.

Recalling the recording of 'Hey Jude', Paul said: 'I remember telling George not to play guitar on "Hey Jude". He wanted to echo riffs after the vocal phrases, which I didn't think was appropriate. He didn't see it like that, and it was a bit of a number for me to have to dare to tell George Harrison - who's one of the greats, I think - not to play guitar. It was like an insult.'

George walked out on the group at one point on 10 January 1969 during the filming of the 'Get Back' project, an incident that eventually emerged as the Let It Be film. There had been an argument in the studio canteen and George had walked out, saying he'd see the other Beatles around the clubs. He then drove to Liverpool.

The tension had already been witnessed during the filming of the recordings. At one point, during the recording of 'Two Of Us', Paul had been making comments to George, who turned to him and said: 'I'll play whatever you want me to play, or I won't play at all if you don't want me to play. Whatever it is that'll please you, I'll do it.'

George recalled: 'Paul and I were trying to have an argument and the crew carried on filming and recording us. Anyway, after one of those first mornings, I couldn't stand it. I decided: This is it; it's not fun any more; it's very unhappy being in this band; it's a lot of crap; thank you, I'm leaving.'

Ringo was to say: 'George had to leave because he thought Paul was dominating him. Well, he was because Michael Lindsay-Hogg liked Paul, I would think, more than the rest of us. So, it's like Paul's film, actually.'

On his return George insisted that he'd left because of Paul. He said: 'That period was the low of all time. In normal circumstances, I had not let his attitude bother me and, to get a peaceful life, I had always let him have his own way, even when it meant that songs, which I had composed, were not being recorded. In front of the cameras we were actually being filmed. Paul started to get at me about the way I was playing. Everybody had left at one time or another, but I left during "Let It Be". When I left, there's a scene where Paul and I are having an argument and we're trying to cover it up. Then, the next scene, I'm not there and Yoko's just screaming, doing her screeching number. Well, that's where I left, and I went home and wrote "Wah Wan". It'd given me a wah-wah, like I had such a headache with that whole argument. It was such a headache.'

George had actually agreed to return only if Paul would stop his plans to have them make a major live performance - and they settled for the Beatles' rooftop appearance on the Apple building.

Since the Beatles had stopped touring, George had been writing more and more songs. He'd been to the United States, where he'd played with other top musicians and appreciated how cooperative the atmosphere had been. He said: 'This cooperation contrasted drastically with the superior attitude which for years Paul had shown towards me musically. In normal circumstances I had not let this attitude bother me and to get a peaceful life I had always let him have his own way, even when this meant that songs, which I had composed, were not being recorded.

'When I came back from the United States ... I was in a very happy frame of mind, but I quickly discovered that I was up against the same old Paul. In front of the cameras, as we were actually being filmed, Paul started to "get at" me about the way I was playing.'

George also felt that not only did Paul criticise how he played his solos, but he was also resentful about George's compositions and the fact that he had become a fine songwriter and deserved more of his songs on Beatles recordings. John was to comment that the reason why Paul never liked the double album The Beatles was that George had three compositions on it. He said: 'He was always upset over it because on that one I did my music, he did his, and George did his. And first, he didn't like George having so many tracks, and second, he wanted it to be more of a group thing, which really means more Paul.'

Ringo was to observe: 'George was writing more. He wanted things to go his way, where, when we first started, they basically went John and Paul's way. George was finding his independence and wouldn't be dominated as much by Paul.'

When it came to the recording of 'The Ballad of John and Yoko', only John and Paul appeared on the record. Ringo was filming The Magic Christian and George was disenchanted with being a Beatle and was recording the Radha Krishna Temple. He said: 'I feel as though all that is far behind me. It all seems so trivial, it doesn't matter any more, none of it. What I am interested in now is finding out the answers to the real questions. The things which really matter in life.'

After the Beatles split up, George became the first solo Beatle to top the charts with his No. 1 single 'My Sweet Lord' and chart-topping album All Things Must Pass.

With this success he felt vindicated and told Rolling Stone magazine: 'By the time AH Things Must Pass came, it was like being constipated for years, then finally you were allowed to go.'

In 1971 he organised the 'Concert For Bangla Desh', which was a triumph, and set the template for all other major rock-for-charity events that were to follow.

Fortunes seemed to change in 1974. His tour of the US and Canada was bashed by the critics and not well attended. His wife Pattie left him for his friend Eric Clapton. 'I'd rather she was with him than some dope,' George commented. Then, in 1976 he was ordered to pay £10 million in damages for 'subconsciously plagiarising' the Chiffons' hit 'He's So Fine' with 'My Sweet Lord'.

There was a positive side to his romantic life when he fell in love with Olivia Trinidad Arias, a secretary at the office of his record label Dark Horse. 'I fell for her immediately. I told her that I didn't want her doing all that typing,' he was to say.

Their son Dhani was born in August 1978 and the couple married the following month.

It was in 1978 that George instigated a move that virtually made him a saviour of the British film industry. He teamed up with an American investment banker, Denis O'Brien, to bail out the Monty Python film The Life of Brian. This led to the formation of Handmade Films, which was to produce a series of major British movies such as The Long Good Friday and Time Bandits. However, he wasn't so successful with Shanghai Surprise, which starred Madonna and her then husband Sean Penn.

George sold Handmade at a loss in 1994, but was later successful in suing his former partner O'Brien for $11 million after a lengthy lawsuit.

Following the murder of John in 1980, George retreated to his mansion Friar Park, saying: 'You don't know who's crackers and who isn't.' Which was prophetic when one considers the events of December 1999 {see below).

In 1987 he had a chart-topping single, 'Got My Mind Set On You', and later teamed up with Tom Petty, Bob Dylan, Roy Or bison and Jeff Lynne in the Traveling Wilburys, an outfit many compared, or preferred, to the Beatles.

With the constant demands of the press for the Beatles to re-form, George would say: 'Having played with other musicians, I don't even think the Beatles were that good. It's all a fantasy, this idea of putting the Beatles back together again. The only way it will happen is if we're all broke. Even then, I wouldn't relish playing with Paul. He's a fine bass player but he's sometimes overpowering. Ringo's got the best backbeat in the business and I'd join a band with John Lennon any day. But I wouldn't join a band with Paul McCartney. That's not personal: it's from a musician's point of view. The biggest break in my career was getting in the Beatles. The second biggest break since then was getting out of them.'

Discussing George with the journalist Chris Welch in 1975, Paul said: 'George is so straight. He's so straight and ordinary and so real. And he happens to believe in God. That's what's wrong with George, to most people's minds. He happens to believe in God, you know, which is a terrible crime and that's so mad. There's nothing freaky about George at all. Some people think he's freaky because he's grown a beard. All George is - he's a grown-up teenager, and he refuses to give in to the grown-up world. He won't do it - just because everyone says: "You're a freak. You're a recluse." '

Discussing George in 1986, Paul said: 'If we don't talk about Apple, then we get on like a house on fire. I had a great day the other day when George came down to visit me for the first time in billions of years; we had a really nice time. George was my original mate in the Beatles.'

In the late eighties, Paul had mentioned that he'd like to write some songs with George. When asked about this in 1990, George said: 'He's left it a bit late, is all I can say to that. I'm entrenched with Bob Dylan, Tom Petty and Jeff Lynne and I don't see any reason to go back to an old situation.'

George also felt the same way about any suggestion of reviving the Beatles and kept denying that a reunion would ever happen in his various interviews. When Paul was asked about a reunion in 1990 he said: 'What's it matter what I think about that? George has taken the liberty of answering that question with shocking regularity for you media guys. He's had a field day getting publicity from his negative responses. So, obviously, it's never going to happen, no matter what I think.'

In 1993 George attended one of Paul's concerts at Earls Court, London. Paul said: 'He came back afterwards and criticised the show in a sort of professional way. "A bit too long," George reckoned. Well, fuck you. And the old feelings came up. But George is a great guy. Even with old friends, this shit happens.'

In 1994 Paul mentioned the reunion sessions planned with George, Ringo and himself. He said: 'We're looking for a completely unpressurised situation to get together, because nobody wants to revive the Beatles. If we hate it the first day, then we'll just can it, nothing lost. But if we quite enjoy it, then we'll say, "See you tomorrow." It could be a laugh.

'I've never even tried writing with George before, so that's exciting. Still, there's no way we're going to get back together and just be all smiley-smiley. At one of our last meetings, my hackles started to rise because I was sort of being told what to do, and I've been solo for so long I'm not used to compromising. I mean, there's going to be some psychiatric crap from way back. We've all grown up, and we've been through a lot.'

When Paul, George and Ringo got together again to work on The Long and Winding Road, a documentary history of the band, George objected that the Beatles' history was being lumped under the title of one of Paul's songs and it was changed to Anthology.

In fact, Paul found that George resisted various of his ideas, including the use of Paul's 'Carnival Of Light' on the Beatles Anthology CD set. Paul commented: 'George doesn't like avant-garde music. It was considered for the Anthology album but he vetoed it.'

In the June 1997 issue of Mojo magazine, Paul was asked if he would consider collaborating with George. He said: 'When we were working together on "Free As A Bird", there were one or two little bits of tension, but it was actually cool for the record. For instance, I had a couple of ideas that he didn't like and he was right. I'm the first one to accept that, so that was OK.

'We did say then that we might work together, but the truth is, after "Real Love", I think George has some business problems. Er, it didn't do a lot for his moods over the last couple of years. He's been having a bit of a hard time; actually, he's not been that easy to get on with. I've rung him and maybe he hasn't rung back. No big deal. But when I ring Ringo, he rings back immediately; we're quite close that way. You know, I'll write George a letter and he might not reply to it. I don't think he means not to reply to it, but it makes me wonder whether he actually wants to do it or not. And if you're not sure, you back off a little. But I love him, he's a lovely guy and I would love to do it. It'd be fun, he's good.'

It was in July 1997 that a lump was discovered on George's neck. It initially seemed that radiation treatment for throat cancer had proved successful and in 1998 George said: 'I'm not going to die on you folks just yet.'

In December 1999 Michael Abram, a schizophrenic, viciously attacked George at his home in Friar Park. Abram had broken into the Harrisons' mansion and he attacked George, plunging a knife in and out of George's chest, puncturing his lung and narrowly missing his heart. George's wife Olivia saved her husband's life by smashing a lamp over Abram's head.

Then, in March 2001, George flew to the Mayo Clinic in Rochester, Minnesota, to have a cancerous growth removed from his lungs. The following month he underwent radiotherapy for a brain tumour.

As his health began to deteriorate, he moved to an Italian lakeside villa for a while until his wife Olivia arranged for him to have treatment at the Staten Island University Hospital.

In 2001, while Paul was in Italy during his Wingspan promotional tour he visited George, who told him that he was cheered by Paul's visit and had no plans to die. An aide commented: 'Paul really wanted to see how George was and thought it was an ideal opportunity for them to get together. It was quite a moving meeting for both of them.'

Paul visited George a few weeks before his death and held his hand for a couple of hours. Describing the visit on BBC Radio 1 on 13 December 2001, Paul said: 'The best thing for me was seeing him for a couple of hours and laughing and joking and holding his hand. Afterwards, I realised I'd never, ever held his hand. We'd been to school together and got on buses together and we didn't hold each other's hands. It was like a compensation; he was rubbing his thumb up and down my hand and it was very nice.'

The experimental treatment in New York didn't seem to be working and George and his family left for Los Angeles, where he undertook radiation treatment at UCLA Medical Center.

George died from cancer on 29 November 2001. He was 58 years old.

On George's death, Paul issued a statement:

We are all devastated by this news, it's deeply sad to lose such a beautiful guy. Luckily Heather and I saw George a couple of weeks ago and true to form he was laughing and joking.

George was a very brave man with a heart of gold but also someone who didn't suffer fools gladly. I'll always remember that without George it all wouldn't have been possible.

I'll miss him dearly and I'll always love him - he's my baby brother.

Paul attended a special tribute concert in George's memory that took place at the Empire Theatre, Liverpool, on Sunday 24 February 2002, with proceeds going to the Macmillan Cancer Relief charity. He spoke on stage, sharing his memories of George with the audience of 2,300 people, who included Heather Mills and Paul's brother Mike.

He said: 'It is always lovely to come back to my home town. I have so many memories - and, of course, a lot of them are of George.

'We go way back. We both used to live in Speke and he used to get on the bus one stop after me. We used to have half an hour on the bus to talk about guitars and music and stuff like that.

'He was a lovely bloke. He gave a lot to the world - his music, his spirituality. He was always a very strong man. I think he would have been delighted with this.'

Ralph McTell, Steve Harley and Pete Wylie were among the artists who appeared that night.


A BBC 1 television chat show hosted by Russell Harty. Paul made a pre-recorded interview that was included in the programme aired on Wednesday 14 December 1983.

Have You Got Problems?

Paul co-wrote this number with his brother Mike for the 1974 McGear album.

Haven't We Met Somewhere Before?

The number that Paul wrote for the Warren Beatty/Julie Christie film Heaven Can Wait. The song was rejected by Beatty, but was used as the opening song for the film Rock 'n' Roll High School, released in August 1979.

Hay-On-Wye Literary Festival

An annual British literary event. On Wednesday 30 May 2001, Paul read a selection of his poems to an audience of 1,300 people. He recited poems and song lyrics for ninety minutes, during which he seemed very self-assured and told anecdotes that amused the crowd, also giving a brief explanation regarding each of the poems.

The poems Paul read out included: 'In Liverpool', 'Dinner Tickets', 'Ivan', 'Jerk Of All Jerks', 'Masseuse Masseuse', 'Chasing The Cherry', 'City Park', 'Trouble Is', 'A Billion Bees In The Borage', 'Ami Alarm Call', 'Black Jacket' and 'Her Spirit'. He also recited an unpublished work. Then he recited the song lyrics, 'Here Today', 'Eleanor Rigby', 'Maxwell's Silver Hammer' and 'Why Don't We Do It In The Road?'. Then he answered questions from the audience.

Heart Of the Country

A track from the Ram album that was issued in Britain as a single with 'Back Seat of My Car', but it made little impact, only managing to reach No. 39 in the charts. The number was also featured on the 'James Paul McCartney' television special.

Paul produced a 16mm promotional film of this number in Scotland, along with a promotional film for '3 Legs'.

Heart That You Broke

A number that Wings recorded during their sessions in Nashville in 1974.


An unreleased song dedicated to his adopted daughter, which Paul wrote and recorded in 1968. During the sessions for Mary Hopkin's Postcard album, Paul sat around with Donovan and they both played each other songs on their acoustic guitars, including 'Heather' - which later appeared on bootleg albums.


A track from the 2001 Driving Rain album lasting 3 minutes and 26 seconds. Tracks from Paul's original demo tape were transferred to 16-track analogue on 2 March 2001. The song was Paul's tribute to the new love of his life, Heather Mills.

Heaven Can Wait

An Oscar-winning movie directed by and starring Warren Beatty. Paul composed a song specially for the film soundtrack entitled 'Haven't We Met Somewhere Before?' The number wasn't used then, but re-emerged later as the first number in the film Rock 'n' Roll High School.

Heaven On A Sunday

A track from the Flaming Pie album lasting 4 minutes and 27 seconds. It was produced by Paul and Jeff Ly nne and engineered by Geoff Emer ick and Jan Jacobs with assistance from Keith Smith. Recording began on 16 September 1996 and Paul sang lead and backing vocal and played drums, bass guitar, electric guitar, acoustic guitar, Fender Rhodes, harpsichord, vibraphone and percussion. Jeff Lynne sang backing vocal and played acoustic guitar. James McCartney played an electric guitar solo and Linda McCartney provided additional backing vocal.

Paul was to comment, 'I wrote this on holiday, and when I'm on holiday I like to sail - not a big boat, just a little Sunfish. It's a great relaxation for me, away from the high-profile stuff. That's often when I come up with that kind of song, relaxed, peaceful. I wrote it and was playing it at home. Linda was singing along with the chorus and it was getting nice.'

This track was a family affair, with three McCartneys present. On the presence of his son James, Paul said, 'I thought it would be a nice idea to play with him, as he's getting really good on guitar. When you've been in a band with someone for twenty years, you read them and they read you. I thought, "Well, I haven't been in a band with James for all those years, but I've known him for all those years. I've heard him play and he's heard me play. We've got so much in common that I bet we could do it."'

Helen Wheels

A single, 3 minutes and 44 seconds in length, issued in Britain on Friday 26 October 1973 on Apple R5987 and in America on Monday 12 November on Apple 1869.

'Country Dreamer' was featured on the flipside.

The number went to No. 12 in the British charts and No. 10 in the American.

Paul's Land Rover inspired the title of the song, which was about a trip from Scotland to London in the vehicle. (Hell On Wheels! - get it?). 'Helen Wheels' was included on the American album Band on the Run, but not the British version.

It was released in Germany on EMI Electrola/Apple 1C006-05486.


A celebrity magazine, published in Britain. In January 2002 they conducted an online poll to discover their readers' 'Favourite Veteran Rocker'. Paul topped the poll with 27,000 votes. Coming in second was Tom Jones with 24,000 votes.

Hello Goodbye

A number penned by Paul that was recorded by the Beatles at Abbey Road on Monday 2 October 1967. It was released as a single in Britain on Saturday 25 November 1967 and topped the charts. It also topped the charts in America following its release there on Wednesday 29 November.

John Lennon's 'I Am The Walrus' was the flipside and John resented the fact that his number had been relegated to the B-side.

Alistair Taylor disputes Paul's sole authorship.

He claims that when Jane Asher had left Paul, Paul used to phone him saying that he was fed up and wanted Alistair to come round to his Cavendish Avenue house to keep him company.

Alistair says, 'So, this night we were sitting, and he said to me, "Have you ever thought about writing music?" So I said, "Good grief, no." So he said, "It's dead easy. Anybody can write a song." So I said, "Oh, come on, Paul. Don't be silly. If that were the case, everybody would be writing." He said, "Come on, we'll write a song."

'In his dining room, he had this old, hand-carved harmonium, you know, a little organ, that you pumped to get the air into it, with big pedals at the bottom. He lifted the lid off this and said, "Right, you get on that end, and I'll get on this end." I was at the treble end, and he was at the bass end. And, as we were peddling like mad, he said, "What I want you to do is hit any note, any note at all. Don't worry about what ones; just hit notes with both hands, as you feel like it. I'll do the same this end, and I'm going to shout out a word, and I want you to shout out the opposite word. That's all, and then we'll write a song."

'So I said, "Yes, all right." We started this, and we got the rhythm going, just banging the keys. Then he shouted "White"', and I shouted, "Black", and so it went on. "Come", "Go", "Hello", "Goodbye", we did a few more, and it lasted about five minutes. Then we packed up. He said, "There you go, we've got a song." Several weeks later, he came waltzing into the office and he said, "Here's our new single." He put it down on the desk, and I looked at it. It was "Hello Goodbye", a song written by Taylor-McCartney. I am, in fact, the co-writer of the song.' However, when the Beatles first began recording the number, the title was actually 'Hello Hello'.

Hello Goodbye (promos)

Paul directed three promotional films for this single on Friday 10 November 1967. They were filmed at the Saville Theatre, with the Beatles wearing their Sgt Pepper uniforms on the first of the promos. Girls wearing Hawaiian-style grass skirts and garlands also appeared on stage with them.

Due to a ban implemented by the Musician's Union on Friday 10 June 1966, which prevented artists lip-syncing to their records on British TV shows, the film could only be shown outside the UK.


A charity album in aid of the 'War Child' charity to aid children in Bosnia. At Abbey Road Studios on Monday 4 September 1995 Paul recorded the track 'Come Together' for the album, along with Paul Weller and the Mojo Filters and Noel Gallagher. The album was issued on Monday 11 September and a single featuring the track was issued on Go-Discs on Monday 4 December.

Discussing the session, which was completed in an afternoon, Paul commented, 'It reminded me a little of the Beatles' recordings, although with more drugs and booze!'

A documentary on the recording of the album was made and the session featuring Paul was also filmed and shown on Channel 4 on Saturday 10 September 1995.

Helter Skelter

A strong rock-'n'-roll track composed by Paul which, when it was first recorded at Abbey Road Studios on 18 July 1968 was 25 minutes long. The number was recorded on an eight-track machine that EMI had just installed at Abbey Road. The track was for The Beatles double album and the album version was recorded on 9 September 1968 with an overdub added the following day. Brian Gibson, a technical engineer on the session, was to comment, 'The version on the album was out of control. They were completely out of their heads that night. But, as usual, a blind eye was turned to what the Beatles did in the studio. Everyone knew what substances they were taking, but they were really a law unto themselves in the studio.'

Paul had been inspired to write the number after he'd read an interview by Pete Townshend in Melody Maker. He commented, 'He said the Who had made some track that was the loudest, most raucous rock 'n' roll, the dirtiest thing they'd ever done. It made me think, "Right.

Got to do it." I like that kind of geeking up. And we decided to do the loudest, nastiest, sweatiest rock number we could. That was "Helter Skelter".'

At the end of the number Ringo screamed, 'I got blisters on my fingers!'

'Helter Skelter' was one of the numbers Charles Manson claimed had inspired him to send his acolytes out to murder people. At the murder scene at Rosemary and Leno LaBianca's house, the title 'Helter Skelter' was smeared in blood along the wall, along with 'Revolution No. 9'.

At his trial, Manson garbled, 'Like, Helter Skelter is a nightclub. Helter Skelter means confusion. Literally, it doesn't mean any war with anyone. It doesn't mean that those people are going to kill other people. It only means what it means. Helter Skelter is confusion. Confusion is coming down fast, you can call it what you wish. It's not my conspiracy, it is not my music. I hear what it relates. It says, "Rise!" It says, "Kill!" Why blame it on me? I didn't write the music. I am not the person who projected it into your social consciousness.'

Manson seemed completely ignorant of the fact that Helter Skelter refers to an amusement ride in Britain.

Her Majesty

The closing track on the Abbey Road album and the shortest Beatles track on record at 23 seconds in length. Paul composed the number in tribute to Queen Elizabeth II and copies of the album were sent to Buckingham Palace. Paul played acoustic guitar and sang solo on the number.

Paul had quickly recorded the number at Twickenham one morning before the other members of the Beatles had arrived. When it was placed between 'Mean Mr Mustard' and 'Polythene Pam' as part of a medley, Paul wasn't happy with it and ordered it to be scrapped. Since the engineer John Kurlander had been instructed never to throw anything away that had been recorded at a Beatles session, he cut the song from the master tape of the medley and placed it on the end, following twenty seconds of silence. Paul was pleased with the effect and the song remained on the album.

Paul sang the number before Queen Elizabeth II during the Golden Jubilee concert at Buckingham Palace on 3 June 2002.

Here Today

A ballad, featured on the April 1982 Tug Of War album that Paul wrote as his tribute to John Lennon. On it, Paul sings and plays acoustic guitar. Jack Rothstein and Bernard Partridge on violins, Ian Jewel on viola and Keith Harvey on cello provided the backing.

Paul was to comment: 'One of the feelings you always have when someone close to you dies like that is that you wish you could have seen him the day before to square everything up and make sure he knew how much you really cared. The song is about saying to John: "Do we really have to keep this sort of thing up?" but we never got around to doing it. I guess we never felt any urgency about it. We were behaving like we were going to live forever ... I was kind of crying when I wrote it.'

Paul included the number on his 'Driving USA' tour and said it had received the biggest reaction of any song on the tour. He said, 'I think a lot of the audience didn't know the song so it's kind of cool when they hear it for the first time. I'm rediscovering it myself. I hadn't sung it live ever until this tour. It's quite emotional - it's a reaffirmation of how much I love him.'

Here, There And Everywhere (concert)

A Linda McCartney tribute concert held at the Royal Albert Hall on Saturday 10 April 1999. The backdrops to various songs comprised a series of slides of Linda's photographs.

The concert had been organised by Linda's friend, singer Chrissie Hynde, who opened the show with her group the Pretenders performing 'Message Of Love', which was dedicated to Linda.

Johnny Marr sang 'Meat Is Murder' and was followed by Lyden David Hall performing 'Here, There And Everywhere', backed by a string quartet, the Duke Quartet. He also sang 'Abraham, Martin And John' and 'Foxy Lady'. Des'ree performed 'Blackbird' with the Duke Quartet and was joined by Ladysmith Black Mambazo on a medley of 'Amazing Grace' and 'Nearer My God To Thee'.

Sinead O'Connor sang 'I Believe In You' followed by Neil Finn with 'She Goes On' and 'Don't Dream It's Over'. The first half closed with a rendition of 'Wonderful World' by Heather Small of M People.

After a 20-minute interval the Pretenders opened the second half backing Johnny Marr on 'Back In the Chain Gang'. Next to take the stage was Tom Jones, who performed 'She's A Woman', 'The Green, Green Grass Of Home' and 'When A Man Loves A Women'. Paul had made a request to Jones that he sing 'The Green, Green Grass Of Home'. On his last song he was joined by Chrissie Hynde, Sinead O' Connor and Des'ree.

Marianne Faithfull next appeared performing 'Vagabond Way' and Johnny Marr joined her, providing backing for her rendition of 'As Tears Go By'. Chrissie Hynde then sang 'I Wish You Love'.

The following artist was Elvis Costello who told the audience how kind Linda had been to him when he first began writing songs with Paul. He then performed a number written by Paul called 'Warm and Beautiful' on which he was backed by Steve Nieve on piano and the Duke Quartet. He said, 'It's one of the most beautiful songs that Paul ever wrote for Linda.'

Elvis then performed 'That Day Is Done' and '(What's So Funny 'bout) Peace, Love And Understanding'.

George Michael then appeared and sang 'Eleanor Rigby' and 'The Long And Winding Road', backed by the Duke Quartet. Other performers joined him for a rousing rendition of 'Faith'.

Compere Eddie Izzard then introduced Paul.

Paul told the audience that when he'd first been approached by Chrissie Hynde to take part in the show, he didn't know if he could, but promised to try. When he noticed the response of the fans to Linda's death he was so moved that he decided on taking part. He thanked the other acts and said, 'Linda'd probably, if she knew this was going on, she'd say, "What? For me?" She was a very unassuming lady.' He then added, 'She's with us, she's loving it.'

Next he said, 'This is a song which Linda and I used to listen to. I was in Liverpool, she was in New York. We both listened to it in the fifties.' He then performed the Ricky Nelson number 'Lonesome Town', backed by the Pretenders. He followed with 'All My Loving'.

When he performed 'Let It Be', Hynde, Costello and Des'ree joined him. He then thanked the audience and left the stage.

The concert was broadcast on BBC Radio 2 on Saturday 17 April 1999 and was screened on Sunday 18 April 1999 on BBC television at 10.35 in the evening. Kevin Godley directed it.

Here, There And Everywhere (song)

One of Paul's favourite songs. He said, 'This one was pretty much mine, written sitting by John's pool. Often I would wait half an hour while he would do something - like get up. So I was sitting there tootling around in E on the guitar.'

John was to say, 'Paul's song completely, and one of my favourite songs of the Beatles.'

The number was included on the Revolver album in 1966 and on the Love Songs compilation in 1967. Paul re-recorded the number for Give My Regards To Broad Street.

It was said that the song was inspired by the Beach Boys' 'God Only Knows' and was recorded at Abbey Road Studios on 14 June 1966 with overdubs added on 16 and 17 June. When Paul recorded it, he was to admit that he decided to sing it in the studio in the style of Marianne Faithfull.

A live version of the number lasting 2 minutes and 30 seconds, recorded at Paramalla in Sydney Australia on 22 March 1993, was included on the Paul Is Live album.

Hewson, Richard

A conductor and arranger who was commissioned by Paul to work on some of his projects. He'd orchestrated 'Those Were The Days', 'Goodbye' and 'Let My Name Be Sorrow' for Mary Hopkin's Postcards album and he'd also arranged the James Taylor album for Apple. In addition, he'd arranged The Long And Winding Road' and 'I Me Mine' for the Phil Spector version of the Let It Be album.

In May 1971 Paul contacted him to commission him to conduct and orchestrate an instrumental version of the Ram album, which hadn't been released at the time. When the album was eventually released several years later, Hewson was surprised to find his work credited to Percy Thrills' Thrillington.

Hey Diddle

A number recorded during the Ram sessions which has found its way onto bootleg releases and is also referred to as 'Hey Diddle Diddle'. While trying to add percussion sounds at a later date, Paul used an ashtray. He also made home recordings of the number in Campbeltown, Scotland, along with 'Bip Bop' in June 1971.

Hey Hey

An instrumental, which Paul co-wrote with bass guitarist Stanley Clarke, which was included on the Pipes Of Peace album.

Hey Jude

John Lennon was to say, '"Hey Jude" is Paul's. It's one of his masterpieces.'

The Beatles spent two days rehearsing the number at Abbey Road Studios in July 1968 and on the second day they were filmed for the film documentary Music! They then moved to Trident Studios to begin recording the next day and on the day following they employed the services of a 36-piece orchestra.

Paul said that the song began life as 'Hey Jules' and was a message of encouragement to Julian Lennon at a time when his father and mother had parted the ways.

Paul was driving to Weybridge to visit Cynthia and Julian when he began singing 'Hey Jules'. He recalled, 'I happened to be driving out to see Cynthia. It was just after John and she had broken up, and I was quite a mate with Julian. He's a nice kid. I was going out in my car, just vaguely singing this song, and it was like "Hey Jules". It was just this thing, you know. "Don't make it bad, take a sad song ..." And then I thought a better name was Jude. A bit more country and western for me. I finished it all up in Cavendish and I was in the music room upstairs when John and Yoko came to visit and they were right behind me over my right shoulder, standing up, listening to it as I played it to them.'

George Harrison wanted to answer each of Paul's vocal lines with an electric guitar, but Paul vetoed it - and they were still arguing about it while making the Let It Be film. Paul commented, 'I remember on "Hey Jude" telling George not to play guitar. He wanted to echo riffs after the vocal phrases, which I didn't think was appropriate. He didn't see it like that, and it was a bit of a number for me to have to dare to tell George Harrison - who was one of the greats - not to play. It was like an insult. But that's how we did a lot of our stuff.'

The single was issued in both Britain and America on Monday 26 August 1968 and topped the charts for three weeks. In the United States it topped the charts for nine weeks.

It was also a No. 1 hit in Belgium, Denmark, Holland, Ireland, Malaysia, New Zealand, Norway, Singapore, Sweden and West Germany.

The number was the first Beatles release on the Apple label and was also the group's longest single, at 7 minutes and 11 seconds in length. The fade to it took three minutes. Paul commented, 'We liked the end. We liked it going on. The DJs can always fade it down if they want to. If you get fed up with it, you can always turn it over. You don't always have to sit through it. A lot of people enjoy every second of the end and there really isn't much repetition in it.'

The Apple boutique had closed, but Paul went to the shop and whitewashed the name 'Hey Jude' on the windows to promote the single. Neighbouring shopkeepers then objected, thinking it referred to Juden and was an anti-Jewish slogan. Before an explanation could be given a brick was thrown through the window.

Julian Lennon bought Paul's recording notes for 'Hey Jude' for £25,000 at Sotheby's rock-'n'-roll memorabilia auction held at the Hard Rock Cafe in September 1996.

Another version of this number, lasting 8 minutes and 4 seconds was included on the Tripping The Live Fantastic album. It was recorded live at Riverfront Coliseum, Cincinnati, Ohio on 12 February 1990 during the 1989/90 World Tour.

Paul had to apply to the High Court in April 2002 to prevent the auction house Christie's from selling the handwritten lyrics to 'Hey Jude'. Paul's representative stated that the lyrics were either stolen during one of several burglaries at Paul's house or had been taken by someone working for him.

The single sheet from a notebook had been put forward by a Frenchman Florent Tessier, who said he'd bought them in Portobello Road for £10 in the early seventies.

Hi, Hi, Hi (promotional film)

Two videos of this number and 'C Moon' were filmed at the Southampton Studios of Southern ITV by Steve Turner. Although shot in video they were transferred to 16mm film for international distribution.

Hi, Hi, Hi (single)

A single issued by Wings in Britain on Apple R5973 on Friday 1 December 1972. Paul co-wrote the number with Linda, and they also jointly composed the B-side 'C Moon'. It reached No. 3 in the charts.

BBC Radios One and Two banned 'Hi, Hi, Hi' declaring the lyrics were sexually suggestive.

Rodney Collins, a publicity officer at the BBC, commented on the band at the time, saying: 'The ban has nothing to do with drugs. We thought the record unfit for broadcasting because of the lyrics. Part of it goes: "I want you to lie on the bed and get you ready for my body gun and do it, do it, do it to you". While another part goes: "Like a rabbit I'm going to grab it and do it till the night is done".'

The BBC and Collins seemingly hadn't listened to the lyrics properly. Paul and Linda had written 'get ready for my polygon', not 'get you ready for my body gun'.

Paul explained, 'We wrote "Hi, Hi, Hi" in Spain, because we had this tour coming up. Purposely as a nice easy rocker. It's basically a rock and roll thing written on three rock and roll chords to give us something aside from the rest of our material. The general reaction is that "Hi, Hi, Hi" is a kind of strong side, but the reason we made it a double A is that "C Moon" is one of those songs that catches up on you after a while. I can hear "C Moon" in a year's time, people saying, "Yeah, I like that one." There's things to listen to on that one, put it on headphones and it's quite a trip.'

Most disc jockeys played 'C Moon' instead and the single reached No. 3 in the British charts despite the ban.

It was issued in the States on Apple 1857 on Monday 4 December and reached No. 10 in the charts.

'Hi, Hi, Hi' was included on Wings Greatest album and a live version of it was also featured in the UK version of the 'James Paul McCartney' TV special and in the repertoires of the 1972 European, the 1973 British and the 1975/76 world tours.

It was also released in Germany on EMI Electrola/Apple 1C006-05208 and in France on Apple 2C006-05208.

Higgins, Gertrude

The name that Paul sometimes used to introduce Linda on stage during the 1989/90 World Tour.

High Park Farm

At the height of their romance, Jane Asher recommended to Paul that he invest in a farm that they could use as a retreat. In June 1966 they went to view High Park Farm in Scotland.

Farmer's wife Janet Brown, who had lived there since 1947, commented: 'Our farm has been up for sale for a while now but what a surprise my husband and I had when we saw the famous pair - Paul told me that it had always been his ambition to own a farm in Scotland.'

Paul said, 'It's desolate, very desolate. It's two hundred acres in a valley and thirty miles from Ireland. It's in Scotland, but I mean it's just off the coast of Ireland, it's nice. It's cold, very cold in winter and gets lots of snow. Anyway, I didn't really pick Scotland, it's just that I wanted a farm and I said to my accountant, "What's happening with my money," and he said, "Well, the best thing you can do is buy a house." I mean, he's thinking about the safety of the money because if you put it in other things, it sort of goes. I told him I'd like it with a bit of land and would he look out for me. And he found this farm in Scotland, which was cheap. It's nice and quiet. What I'm going to do is let the trees grow on it, because it's very desolate at the moment, and build a small house on it and go there for a couple of months in the yean'

Paul purchased the farm and Jane helped him to furnish it. The farm comprised 183 acres near Machrihanish, the nearest town being Campbeltown. The affair with Jane over, Paul continued to enjoy relaxing at the faraway retreat, which was greeted with equal enthusiasm by Linda when the couple were married.

The area was too bleak and hilly for cows, so Paul bought sheep, almost two hundred of them. However, he couldn't bear the thought of killing them and rarely sent any to market, allowing them to breed. For some time Paul sheared the sheep himself with hand shears, sending the wool to the Wool Marketing Board.

The couple also grew lots of vegetables on the farm and stabled horses such as Drake's Drum, Honor and Cinnamon, along with ponies Coconut, Cookie and Sugarfoot.

Paul took to the farming life and Linda once bought him a tractor as a Christmas present.


A BBC radio Overseas Service programme. When the Beatles arrived at Broadcasting House to record for a new BBC radio show Top Gear on Tuesday 14 July 1964, Michael Smee interviewed Paul for Highlight. The interview lasted for thirteen minutes but only five minutes and forty five seconds of it was used when the programme was broadcast on Saturday 18 July. It was repeated on the Home Service on Tuesday 22 December in a longer version lasting eleven minutes and eleven seconds under the title 'A Beatle's eye View'.


A London-based design firm who specialise in music-related work and have been responsible for hundreds of critically acclaimed album sleeves.

Aubrey Powell (nicknamed 'Po') and Storm Thorgerson covered the Wings 1976 tour of America and put together a book Hands Across The Water.

Storm and Gordon House designed the sleeve of Band On The Run. The company won Music Week's Album Cover of the Year Award in 1975 for Venus and Mars. The photograph of Wings used in the centrefold of the sleeve was taken by Aubrey Powell, and the graphics for the cover and inner sleeve were supplied by George Hardie.

Other covers designed by the company include Wings At The Speed Of Sound, Wings Over America, Thrillington, Back To The Egg and Tug Of War. They also assisted Paul with the design and finished artwork for the London Town and Wings Greatest albums.

Hiroshima Sky Is Always Blue

A number written by Yoko Ono as a memorial to the fiftieth anniversary of the dropping of the atomic bomb on Hiroshima.

The lyrics basically consisted of the title words being repeated in different ways.

The recording was initially said to have healed the rift between Paul and Yoko when it was recorded at Paul's own studio at his home in Rye.

Yoko and Sean spent a weekend at the McCartneys' home and on Saturday 11 March 1995 Yoko and Sean performed alongside Paul while Linda accompanied them on organ. Paul's three daughters, Mary, Stella and Heather, played percussion and son James played guitar.

Paul presented Yoko with the master tape and was later to comment on the number, describing it as 'Quite strange. Lovely strange.' He also said, 'It was a cool way to cement our friendship. We've been through so much shit over the years that inevitably people look at these things and suspect some ulterior motive. It isn't like that any more.'

Paul played the Bill Black double bass and his studio included the Mellotron used on 'Strawberry Fields Forever' and the harmonium used on 'We Can Work It Out'. Paul said, 'I showed Sean an old electric spinet that we used on the old Beatle track "Because", which John had sung on. Then he sat down and started to play it. So I said, "Hey, do you fancy making a track?"'

The song received its premiere on the programme Good Morning Japan on NHK-TV on Sunday 6 August 1995, alongside a ten-minute interview with Yoko.

The number was a seven-minute piece.

Hoffman, Dustin

The acclaimed American actor, known for his roles in films such as The Graduate, Midnight Cowboy, Kramer Versus Kramer and Tootsie.

While Paul and Linda were on holiday in Jamaica they were staying in a house just outside Montego Bay. They read in the Jamaican newspaper the Daily Gleaner that Dustin Hoffman and Steve McQueen were in town filming Papillon. Paul thought it would be great to meet them and Linda phoned Hoffman's wife Annie suggesting they meet for dinner. Annie invited them to their house.

Dustin began asking Paul about songwriting and Paul described his creative processes in writing a song. When they returned to the house a few days later, Hoffman told Paul he'd seen something in Time magazine about Picasso and it struck him that it would be ideal if set to music.

The article told how Picasso had said, 'Drink to me, drink to my health, you know I can't drink anymore.' He then did some painting, went to bed at three in the morning and died in his sleep.

Dustin said to Paul that they were Picasso's last words, could he do something with them.

Paul had a guitar with him at the time and began singing 'Drink to me, drink to my health' and Hoffman leapt out of his chair and shouted 'Annie! Annie! The most incredible thing! He's doing it! It's coming out!'

The result was the song 'Picasso's Last Words'.

Hog Hill

The name of a windmill that Paul bought in 1982, in Icklesham, quite close to his house in Peasmarsh, East Sussex.

Hold Me

A number on the Red Rose Speedway album that formed the beginning on an 11-minute and 15-second medley closing the album, preceding three other tunes. It was 2 minutes and 24 seconds in length. Paul sang lead vocal and played piano and bass. Linda provided background vocal, Denny Laine played electric guitar and background vocal, Henry McCullough electric guitar and background vocal and Denny Seiwell drums and background vocal.

Hotly Days

The tribute album to Buddy Holly made by Paul and Denny Laine at Paul's Rude Studios in Scotland.

Denny sang lead vocals, Paul produced, played guitar and drums and provided backing vocals with Linda.

The album was issued in 1977 in Britain on EMI 781 on 6 May and in America on Capitol ST 11588(LP) on 19 May.

The tracks were: 'Heartbeat', 'Moondreams', 'Rave On', Tra Gonna Love You Too', 'Fool's Paradise', 'Lonesome Tears', 'It's So Easy', 'Listen To Me', 'Look At Me', 'Take Your Time' and 'I'm Looking For Someone To Love'.

Holly, Buddy

American singer/songwriter, born Charles Harden Holley in Lubbock, Texas on 7 September 1936.

The Quarry Men and the Beatles included several of his numbers in their repertoire, including 'It's So Easy', 'Maybe Baby', 'Peggy Sue', 'That'll Be The Day', 'Think It Over', 'Words Of Love' and 'Crying, Waiting, Hoping'.

John and Paul saw Buddy Holly & the Crickets at the Philharmonic Hall, Liverpool on 20 March 1958.

When the group were considering a new name early in 1960, Stuart Sutcliffe suggested they find a name like Buddy Holly's backing group the Crickets. They thought of various insects and Sutcliffe suggested Beetles. There were variations over a matter of months - Beatals, Silver Beats, Silver Beetles, Silver Beatles (with John Lennon adding the 'A') and finally, the Beatles.

Paul acquired Buddy Holly's song publishing in 1971. It was Lee Eastman, Linda's father, who was responsible. Paul commented, 'He said originally, "If you are going to invest, do it in something you know. If you invest in building computers or something, you could lose a fortune. Wouldn't you rather be in music? Stay in music." I said yeah, I'd much rather do that. So he asked me what kind of music I liked and that first name I said was Buddy Holly. Lee got on to the man who owned Buddy Holly's stuff and bought it for me because the Buddy Holly stuff was up for sale. Norman Petty just happened to be selling it. EMI was interested in it. Chappells was interested in it, Allen Klein was interested in it and I think, secretly, that's what got me interested. I had always said I liked Buddy, he was one of my big influences when I started writing. When it came up for sale, I had to spend my money somehow and I thought, "Well, I'd rather have that than anything else." Not so much to be greedy, but to just, kind of, be able to look after those songs and do stuff for them, because it's stuff that I'm really interested in.'

Paul has been particularly upset that the Beatles song catalogue is owned by others and was particularly galled when Michael Jackson allowed Lennon and McCartney compositions to be used for television commercials. When he saw that George Harrison's composition 'Something' had been used in a TV ad for Chrysler, he said, 'The other day I saw "Something", George's song, in a car ad and I thought, Eww, yuck! That's in bad taste.'

Yet Paul could be accused of doing the same himself by allowing Buddy Holly's 'Oh Boy!' to be reworked as 'Oh Buick!' in a car commercial.

When quizzed on this, he commented, 'It's very difficult because I do feel differently in both cases. As far as the Beatles' stuff is concerned, in actual fact what has happened is some people have used it without the right to use it. People who haven't got the right have been giving away the right. So it's a different affair with the Buddy Holly stuff, where I do have the right to let people use it because we're the publishers of that. But the most difficult question is whether you should use songs for commercials. I haven't made up my mind where I stand.'

On Tuesday 7 September 1976 Paul launched the first of his annual Buddy Holly Weeks on the fortieth anniversary of Buddy's birth. That day Paul and Linda hosted a party with Holly's manager Norman Petty as the guest of honour. Petty presented Paul with a pair of cufflinks that Buddy had worn on the plane on the day of his crash. The luncheon was attended by numerous show business celebrities who included Freddie Mercury of Queen, Eric Clapton and Pattie Boyd, Steve Harley of Cockney Rebel, lOcc and Roger Daltrey. On Thursday 9 September there was a Buddy Holly Night at the Lyceum, London featuring Mike Berry & the Outlaws, Flight 56 and Flying Saucers. Paul also released three Buddy Holly maxi-singles that week.

On Wednesday 14 September 1977 Paul hired the Gaumont State Theatre in Kilburn for the celebration before an audience of rock stars and rock 'n' rollers. On stage were the line-up of Crickets who backed Holly on 'That'll Be The Day' - Jerry Allison, Sonny Curtis and Joe Mauldin. Among the audience were Mick Jagger and Ronnie Wood of the Rolling Stones, Kevin Godley and Lol Creme of lOcc, Eric Clapton and Denny Laine.

In 1978 Paul and Linda hosted their third Buddy Holly Week with several guests who included Mary Hopkin, George Melly, Carl Perkins, the Monkees and David Frost.

Friday 14 September 1979 saw Paul presenting a free Crickets concert at which Wings turned up at the Odeon, Hammersmith. Denny Laine sang 'Raining In My Heart' with Don Everly of the Everiy Brothers, Paul sang 'It's So Easy' and everyone joined in for the finale, 'Bo Diddley'. Guests in the audience included Christopher Reeve, David Frost, Kevin Godley, Victor Spinetti, Alan Freeman, Micky Dolenz and Ronnie Laine. The event was captured on videotape to be used in the MPL documentary 'The Music Lives On' which was eventually screened on 8 September 1984.

In 1980 Paul didn't hold a Buddy Holly Week although he appeared on a 'Buddy Holly Special' aired by Capitol Radio in London.

Tuesday 7 September 1982 saw the launch of Buddy Holly Week with a Buddy Holly Rock 'n' Roll Championship at the Lyceum, London. Among Paul and Linda's guests were Ringo and Barbara Starr.

The 1983 week was a low-key one due to the fact that Paul had been involved in a number of projects. It ran from Tuesday 6 September to Monday 12 September, although Paul and Linda did host the event. However, Buddy Holly Week was to be celebrated in America and MPL manufactured an EP which was sent to America, catalogue number MPL 2. It was a 7" record entitled 'Buddy Holly Week America '83' and contained the tracks: Side One: 'Peggy Sue', 'Rave On'. Side Two: 'Maybe Baby', 'That'll Be the Day', 'Heartbeat'. The record came with a press pack and a message from Paul:

'Welcome to America's first "Buddy Holly Week". In England "Buddy Holly Week" has been a regular feature on the rock calendar since 1976. It all began when I organised a party to celebrate what would have been Buddy Holly's fortieth birthday on 7 September 1976. Actually, it really began in Liverpool in 1957 when I first heard Buddy Holly's "Peggy Sue". I was fifteen years old and like millions of others a great fan of Buddy's records. Over the years it seems ironic that Buddy has been more popular in England than his home country, which is why this year we have decided to inaugurate America's first "Buddy Holly Week". Since the beginning it has been great to see so many young fans enjoying the same sort of music their parents did. It is hard to believe that it is nearly a quarter of a century old, but the great thing about Buddy Holly - the great thing about rock 'n' roll - is that it is timeless. Some people say that rock 'n' roll died with Buddy Holly. Rock 'n' roll dead? That'll be the day. Enjoy yourselves. Paul McCartney, 1983.'

The 1984 Buddy Holly Week ran from 8 to 14 September with MPL having run a nationwide competition for drawings, sketches and paintings of Buddy. The seven best entries judged by Paul and artists Humphrey Ocean and David Oxtoby were to be used as sleeve designs on MCA Records limited edition releases of Holly singles. The top hundred designs were also displayed throughout the week at the Hamilton Gallery, Carlos Place, Mayfair, London.

Wednesday 11 September 1985 saw Paul and Linda hosting a luncheon for thirty guests. The following day BBC's Arena programme screened the MPL special 'Buddy Holly'.

Paul and Linda hosted their lunchtime party on the tenth anniversary of Buddy Holly Week on Wednesday 10 September 1986 at'the Break For The Border, a Tex-Mex restaurant off Charing Cross Road, London. Guests included boxer Frank Bruno, George Martin, Dave Edmunds, Eric Stewart, Alvin Stardust and Bill and Virginia Harry.

In 1987 Paul launched a songwriting competition in which a song had to be written in the Holly style. The first prize was £1,000, plus the chance of having the song recorded by an established artist. The winner was Jim Imray who composed a song called 'Got The T-Shirt'. Paul held his annual private party at the Dolphin Brasserie in Pimlico, London on Wednesday 9 September with guests who included disc jockey Tony Prince, Alvin Stardust and Mick Green, all of whom joined Paul on stage in the performance of three numbers, 'What'd I Say', 'Mean Woman Blues' and 'Twenty Flight Rock'. Members of the invited audience included Twiggy, Joan Collins, Adam Faith and Jonathan Ross.

On 7 September 1988, Paul celebrated Buddy Holly Week with a lunchtime party at Stefano's in Holborn with the Crickets playing a set which included 'T-Shirt', the number produced by Paul, who joined them on stage. Guests at the event included Linda McCartney, Chrissie Hynde, Mike Berry, Tony Prince, Mike Read and Bill and Virginia Harry.

On Thursday 7 September 1989, Paul and Linda hosted their Buddy Holly party at the Talk Of The Town in Parker Street, London.

The 1990 Buddy Holly Week took place in New York City on 4 September at the Lone Star Cafe, with the Mayor of New York in attendance. It was held there primarily to promote the opening of the musical Buddy. Former Wings drummer Steve Holly was present, as was Tony Visconti and his wife May Pang and Buddy's widow Maria Elena.

Everyone who turned up was given a pair of Buddy Holly-style glasses, without lenses. The cast of Buddy, led by Paul Hipp, who portrayed Holly, began the entertainment, followed by the Crickets, Tommy Alsup, Ricky Van Shelton, Steve Forbet, Joe Ely, Henry Gross and Pat Dinizio of the Smithereens and Max Weinberg and Gary Tallent. Then Paul took the stage for a 25-minute jam session, backed by Dave Edmunds, Ely, Van Shelton, Hipp, Tallent, Weinberg, Joe В Mauldin and Jerry Allison, beginning with 'Rave On'. Paul then said, 'Here's another well-known Buddy Holly tune: "Lucille"',' and they performed the Little Richard number, followed by 'Oh Boy'.

1991 saw Paul and Linda return to a venue that had been used for their first Buddy Holly party in 1976 when they hosted a lunchtime party at the Orangery in Holland Park on 13 September.

Paul once again hired a London restaurant and invited 300 people from the music business to join him at lunchtime on Wednesday 9 September 1992. An album sponsored by MPL called Buddy's Buddies was also promoted which featured 25 tracks of Holly numbers performed by a variety of artists, who included Blondie, the Crickets, Blind Faith, Steeleye Span, Paul Anka and Mud - although Paul didn't appear on the album. It was issued by Connoisseur Collection.

Paul performed 'Rave On' and 'Oh Boy', backed by Big Jim Sullivan, with Willie Austin (vocals), Andy Crossheart (bass) and Malcolm Mortimer (drums). Gary Glitter also joined him on stage. Paul returned to the stage shortly after to perform 'Mean Woman Blues' and 'Shake Rattle and Roll', accompanied by Gary Glitter, Leo Sayer and Allan Clarke of the Hollies on vocals with Mick Green on guitar, Henry Spinetti and Blair Cunningham on drums and percussion and Linda McCartney, Chrissie Hynde, Hamish Macintosh, and Tony Prince on backing vocals.

The 1993 Buddy Holly Week saw the final of the 'Rock 'n' Roll Brain Of Britain' trivia contest. This was held on the stage of the Buddy musical at the Victoria Palace Theatre, London on 9 September. Paul attended the event and MPL had flown in Bobby Vee from America to present the winner with a prize of £1,000.

The 19th Buddy Holly Week event took place on 7 September 1994 at Deals restaurant, London. Awards were given for the competition, which comprised making a promotional video to a Buddy Holly song. Advertising executive Graham Fink won this.

The twentieth event on 7 September 1995 took place at the Shepherd's Bush Empire which ended in Paul joining the other artists on stage - they included Carl Perkins, the Crickets featuring Sonny Curtis, Bobby Vee, Mike Berry and disc jockey Tony Prince - in a finale of 'Rave On'.

The 1996 Buddy Holly Week celebration featured a competition to find the best British singer of a Buddy Holly song, with a £5,000 prize for the winner, £2,000 for the runner-up and £1,000 for the third-placed singer. The annual luncheon took place at the Texas Embassy Cantina in London on 11 September. Paul got on stage to join in on one number.

Paul wrote the foreword to A Poem For Buddy, a book of poems about Buddy Holly, published by Stride Publications in 1997. The book comprised the fifty best entries from a competition marking MPL's 1997 Buddy Holly Week.

Paul was to write, 'Years ago, we inaugurated Buddy Holly Week as a doff of the cap to the memory of the great man and his great music. Over the years this has become the platform for many wonderful and wacky ways of marking that memory. We'd had competitions for sing-a-likes and look-a-likes, we've had a Paint a Buddy Painting and contests to write a song in his style, and now we've done poetry inspired by Buddy. Good golly, it's Holly.'

Wednesday 9 September 1998 saw Paul attend the National Rock V Roll Dance Championship at the Empire Ballroom, Leicester Square, London, which was the culmination of the annual Buddy Holly Week.

Paul was present in New York on Tuesday 7 September 1999 for the special event of his Buddy Holly Week. That year it was a roller-skating dance party at the Roseland Ballroom, New York called 'The Buddy Holly Rock 'n' Roller Dance Party'. The three hours of music included the Crickets, led by Sonny Curtis, Nanci Griffith, Bobby Vee and Stan Perkins, son of Carl Perkins.

Disc jockey Cousin Brucie announced, 'What you've been waiting for is about to happen,' and Paul came on stage to join the Crickets. He said, T wasn't even supposed to be doing this, you know,' but he felt he should do something because the spirit of Buddy Holly lived on, he mentioned. 'We didn't rehearse a thing,' he added, before performing 'Rave On' with the Crickets. He only performed the one number and was followed by Bobby Vee who sang his hits such as 'Devil Or Angel' and some Holly numbers. The Crickets performed 'Oh Boy', 'Maybe Baby' and 'Everyday' and were joined by country folk singer Nanci Griffith who sang 'Well All Right'.

In September 2001 Paul had intended to attend a special reception in London for Elena Marie Holly who had flown into London to attend the Buddy stage show at the Aldwych Theatre, but he was stranded in New York when the disaster of the Twin Towers occurred.

Holly, Steve

The drummer who replaced Joe English in Wings in 1978 on the recommendation of Denny Laine. He appeared on the album Back To The Egg and on the Concerts For Kampuchea at the Odeon, Hammersmith. Steve had previously worked with artists such as Elton John and Kiki Dee and has appeared on albums for several artists including Elton John and Julian Lennon.

Interestingly, when he was a kid he saved up his pocket money and bought his first ever record, 'Sgt Pepper's Lonely Hearts Club Band'.

Hollywood Bowl

Paul appeared at the Hollywood Bowl on Friday 16 April 1993 before an audience of 30,000 and performed an 85-minute set. Ringo Starr was in the audience and came on stage to join in the finale of 'Hey Jude'. Paul also performed an acoustic version of 'Mother Nature's Son' and duetted with k.d. lang on 'Hope Of Deliverance'.

His full repertoire for the concert was: 'Coming Up', 'Looking For Changes', 'Fixing A Hole', 'Band On The Run', 'AH My Loving', 'We Can Work It Out', 'Hope Of Deliverance', 'Mother Nature's Son', 'Blackbird', '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'.

The occasion was the Earth Day For The Environment Concert. Paul's contribution went to the charities People for the Ethical Treatment of Animals, Greenpeace and Friends of the Earth. Prior to the concert he attended a press conference.

The American branch of the VH-1 music channel held an 'Earth Day' concert programme on Thursday 22 April in which they screened Paul's renditions of 'We Can Work It Out', 'Hope Of Deliverance' and 'Hey Jude'. Excerpts were also shown in the Carlton and Meridian ITV regions in England on 30 April 1993 with excerpts from Paul's press conference and clips of his performance.

Honey Hush

A track from the Run Devil Run album lasting 2 minutes and 36 seconds. It was penned by Big Joe Turner and recorded at Abbey Road Studios on Tuesday 2 March 1999 with Paul on lead vocal and bass guitar, Dave Gilmour on electric guitar, Mick Green on electric guitar, Pete Wingfield on piano and Ian Pake on drums.

Paul first heard the original Johnny Burnette recording when he stayed overnight at Stuart Sutcliffe's flat in Gambier Terrace.

Honey Pie

A song penned by Paul about a girl from the North of England who becomes a movie star. The Beatles began recording it on 1 October 1968 with overdubbing on 2 and 4 October at Trident Studios, with a brass arrangement scored by George Martin.

The night they started working on it, Jim Webb popped into the studio. Paul sings vocal and plays piano, John is on electric guitar and George is playing bass again. There were also fifteen session musicians whose contribution was scored by George Martin.

It was included on The Beatles double album.

The number had a 1920s flavour and the sound of scratches from an old 78 rpm were added to the beginning of the record to add to the period atmosphere.

Paul was to comment, 'My dad's always played fruity old songs like this, and I like them. I would have liked to have been a 1920s writer because I like that top hat and tails thing.'

Paul's original demo was included on the Anthology 3 CD.

Honorary Consul, The

A film starring Richard Gere and Michael Caine, based on a Graham Greene novel of the same name. John McKenzie, director of Paul's 'Take It Away' video, directed the movie and Paul was commissioned to compose the title music. Paul produced an instrumental theme for the film and it was issued as a single by guitarist John Williams under the title 'Paul McCartney's Theme From The Honorary Consul' on 13 December 1983 on Island IS/155. The film's name was changed to Beyond The Limit in America.


In 1981 Paul received the prestigious 'International Achievement Award' from the Songwriter's Hall of Fame in America.

Paul received the 'Freedom of the City' in Liverpool on Wednesday 28 November 1984. On Wednesday 7 March 1984 Liverpool City council passed a resolution that each surviving member of the Beatles be given the Honorary Freedom of the City, the highest honour they could bestow to an individual. Paul was the only member to formally accept.

The ceremony took place in the Picton Library, William Brown Street, Liverpool.

On 12 July 1988 he was awarded an Honorary Doctorate from Sussex University.

On Tuesday 19 December 1989 Paul received a Unique Achievement Award from the Performing Rights Society at a presentation at Claridges Hotel in London.

In June 1993 Paul was honoured at the first Annual Earth Day International Awards. He was presented with an award for his efforts to raise public consciousness over environmental issues.

Paul was honoured with a fellowship of the Royal College of Music for his distinguished services to music. The ceremony took place at the Royal College of Music in London on Wednesday 8 November 1995 when Prince Charles, President of the College, presented Paul with the award. Other recipients had been Placido Domingo and Yehudi Menuhin. Paul said, 'For a street arab from Liverpool it isn't that bad at all.'

In December 1996 it was announced in the Honours List that Paul would receive a knighthood.

The investiture ceremony took place at Buckingham Palace, London on Tuesday 11 March 1997. There were 1,000 fans outside the palace as Paul arrived to be knighted by Queen Elizabeth II. He spent two and a half hours inside the Palace, accompanied by his three children, Mary, Stella and James. Linda was too ill to attend. When Paul left, the fans outside had been singing 'A Hard Day's Night' and 'Hey Jude'. When they saw him they began to sing 'Yesterday', with the title altered to 'Yes Sir Day'.

Paul commented, 'This is the best day of my life. To come from a terraced house in Liverpool to this house is quite a journey and I am immensely proud.

'I would never have dreamed of this day. If we had that thought when we started out in Liverpool it would have been laughed at as a complete joke. Today is fantastic, there is a blue sky and it's springtime. My mum and dad would have been extremely proud today and perhaps they are.'

In 1999 Paul was named 'The Greatest Composer Of The Last 1,000 Years' in a BBC poll, beating Mozart, Bach and Beethoven.

On 25 May 2000 Paul was honoured with a Fellowship at the annual Ivor Novello Songwriting Awards at the Grosvenor House Hotel in London, in recognition of his four decades in the music business. It was the 45th year of the awards.

The Fellowship was awarded by the British Academy of Composers and Songwriters (BACS) and Paul received a minute-long standing ovation. BACS Chairman Guy Fletcher referred to Paul as 'an exemplary role model for young people the world over'.

Paul was to say, 'I remember coming here the very first time with my mates John, George and Ringo and looking back then, it was just fantastic to be part of this whole songwriting thing. It was always just the greatest award, the greatest thing to get for songwriters and it still is many years later.'

Before an audience, which included Elton John, Travis and the Pet Shop Boys, he recalled how touched he was watching Mozart composing in the film Amadeus. He said, 'I remember tears welling up and thinking, "I'm one of them. I'm in that tradition." Maybe not like Mozart, but I'm in that tradition. Everyone who's had a hit is so proud to be part of it.'

Paul had previously won Ivor Novello awards for 'Michelle', 'Yellow Submarine' and 'Yesterday'.

On 23 September 2000 Paul attended the 16th Annual TEC (Technical Excellence & Creativity) Awards at the Regal Biltmore in Los Angeles. He received the Les Paul Award from legendary guitarist Les Paul himself. This particular award recognised 'individuals who have set the highest standards in the creative application of recording technology'.

Also in September at the annual GQ Magazine 'Men of the Year' award ceremony at the Royal Opera House, London, Paul received a 'Lifetime Achievement Award'. He commented, 'It's a bit like getting an old git's prize, I was going to say in my speech, but I didn't think it would have gone down well.'

On 26 April 2002, backstage at Madison Square Garden, New York, he was made an honorary detective by the New York Police Department.

Hope Of Deliverance (promotional film)

The promotional film of 'Hope Of Deliverance' was directed by Warren Hewlitt and filmed at Island Studios, Acton, London on 21 November 1992.

The film was to prove controversial due to the fact that Paul paid £20,000 to 350 New Age travellers to appear in the video.

They were allegedly from a mid-Wales group of travellers who were said to have damaged farms in Wales, uprooting fences, ruining grass with excrement and setting their dogs on sheep. One farmer claimed they had caused £20,000 worth of damage to his farmland.

Hewlitt was to say, 'They see Paul as just another hippie and they like the vegetarian and green life style he promotes.'

Tory MP David Amess was to describe the payment to the travellers as 'a disgraceful waste of money'. He also said, T can think of many better uses for his spare cash than paying people who live in a disgusting manner and leave rubbish everywhere.'

Paul said, 'I like the fact that these kids are harking back to the values of the sixties.'

A set with the appearance of a forest setting had been built in the studio and members of Paul's fan club were also present. However, fans complained at the treatment they received, being separated from the New Age travellers and feeling that they received rather cavalier treatment compared to that of the travellers. They also mentioned that they signed release forms for which they received nothing, while the travellers received £25 for each release form they signed.

Hope Of Deliverance (single)

A track from the Off The Ground album, penned by Paul and 3 minutes and 20 seconds in length.

A single was released on Parlophone R 6330 on Monday 28 December 1992. 'Long Leather Coat' was on the flipside. In addition to the vinyl and cassette release, there was also a CD single on CDR 6330 with the extra tracks 'Big Boys Bickering' and 'Kicked Around No More'. It was released in the US on Tuesday 18 January 1993 on Capitol 4KM0777 in a cassette version only.

The single was released in France on EMI France 8804542.

Andy Morahan directed the 'Hope Of Deliverance' promotional film.

There was also a maxi-single, produced by Paul and Julian Mendelsohn,

which was issued in America on Capitol 7-15 950-2 on Tuesday 18 January 1993. It was 15 minutes and 49 seconds in length and featured four tracks: 'Hope of Deliverance', 'Big Boys Bickering', 'Long Leather Coat' (co-written with Linda) and 'Kicked Around No More'.

СЕМА, the special markets label from Capitol, issued a limited edition of 22,000 in America on Capitol/CEMA 56964.

A live recording of the number lasting 3 minutes and 33 seconds, which was recorded live at East Rutherford, New Jersey on 11 June 1993, was included on the Paul Is Live album.

Hopkin, Mary

A Welsh singer born in Pontardawe, South Wales on 3 May 1950 who was spotted on Hughie Green's television talent show Opportunity Knocks by Twiggy.

Paul was to comment, 'I heard of Mary Hopkin first in Liverpool. Twiggy and Justin had come up in their new car and we were eating our pudding, later that evening, and we talked about Opportunity Knocks and discovery shows in general and I wondered whether anyone really got discovered, I mean really discovered in discovery shows. Then, Twiggy said she had seen a great girl singer on Opportunity Knocks.

'When I got back to London next day, several other people mentioned her, so it began to look as if Mary really was something. So, I got her phone number from the television station and rang her at home in Pontardawe, somewhere in Wales, and this beautiful little Welsh voice came on the phone, and I said, "This is Apple Records here. Would you be interested in coming down here to record for us?" She said, "Well... er ... would you like to speak to my mother?" And then, her mother came on the line and we had a chat and two further conversations, and, later that week, Mary and her mum came to London.'

They all had lunch together and then went on to Dick James's Studios in New Oxford Street, situated above a branch of the Midland Bank, for Mary to audition.

She performed five numbers before one of her guitar strings snapped and she was unable to continue. Paul was delighted with her and remembered a song that would suit her. It was called 'Those Were The Days'.

Paul was to recall, 'A long time earlier, maybe a couple of years ago, I'd first heard 'Those Were The Days' when the American singers, Gene Raskin and Francesca, sang it in the Blue Angel in London and I had always remembered it. I'd tried to get someone to record it because it was good. I'd hoped that the Moody Blues might do it, but it didn't really work out and later, in India, I played it to Donovan who loved it, but didn't get around to doing it. We rang Essex Music, the publishers of the song, but they didn't know anything about it other than that they owned the song.'

Mary herself recalled, 'There was only ever one song in mind for the first single. I didn't record anything else. Paul sang it to me in the office and I recorded it straightaway. I thought it was a bit too pop, you know, in the way that he sang it, but it was nice. Paul has been so nice and kind to me all along in producing my record. He knew exactly what to do. He worked very hard. I was frightened of recording, and I kept saying, "I can't do it," and he kept telling me, "Of course you can.

Paul produced Mary singing the Gene Raskin song 'Those Were The Days' in English, Italian, Spanish, French and German.

The English version was issued in America on Monday 26 August 1968 on Apple 1801 and in Britain on Friday 30 August 1968 on Apple 2 with Pete Seeger's 'Turn! Turn! Turn!' on the flipside. '£“ Aquellos Dias' was the Spanish language version of 'Those Were The Days', issued in Spain on Friday 25 October 1968 on Apple 3 with Pete Seeger's 'Turn! Turn! Turn!' on the flip. lQuelli Erand Giorn? was the Italian version, issued on Saturday 5 October 1968 on Apple 2 with 'Turn! Turn! Turn!' on the flip. The French version was 'Le temps des Fleurs' issued on Odeon FO-131 on Friday 25 October 1968 and the German version was 'Anjenem Tag' issued on Odeon O-23910 also on Friday 25 October 1968.

Paul produced Mary's debut album Postcard. He also thought of the title, designed the cover and wrote out the featured postcards on the reverse of the sleeve, which listed the songs on the album. It had an eclectic mix of songs, including three written by Donovan. Paul also suggested one of the tracks, 'The Honeymoon Song', which the Beatles used to perform at the Cavern. Linda took the cover photograph. Paul plays guitar on the three tracks penned by Donovan -'Lord Of The Reedy River', 'Happiness Runs (Pebble And The Man)' and 'Voyage Of The Moon'. Other tracks were Harry Nilsson's 'The Puppy Song'; 'Young Love', a pop song from the 1950s; 'Inchworm', a song from the Danny Kaye musical Hans Christian Anderson; George Gershwin's 'Someone To Watch Over Me'; 'Love Is The Sweetest Thing', 'Y Blodyn Gwyn', 'Lullabye Of The Leaves', 'Prince En Avignon', 'The Game' and 'There's No Business Like Show Business'. For the American release, the Gershwin number was dropped in favour of the inclusion of 'Those Were The Days'. Paul had written some new arrangements to standards such as 'There's No Business Like Show Business',

The album was issued in Britain on Friday 21 February 1969 on Apple SAPCOR 5 and in America on Monday 3 March 1969 on Apple ST 3351. It reached No. 28 in the American charts.

Incidentally, on a postcard Paul sent to Derek Taylor, he referred to Mary as 'Hairy Mopkin'.

The next release, which Paul produced, were two singles issued on Friday 7 March 1969. The first was in the Italian language and issued in Italy on Apple 7. It was 'Lontano Dagli OccM with The Game' on the flip. The second was in French and issued in France on Apple 9. It was Prince en Avignon1 with 'The Game' on the flip.

Paul produced her next single 'Goodbye'/'Sparrow'. 'Goodbye' was a number Paul composed and Bernard Gallagher and Graham Lyle wrote the flipside. This was issued in Britain on Apple 10 on Friday 28 March 1969 and in America on Apple 1806 on Monday 7 April 1969. It reached No. 2 in the British charts.

Paul's next production for Mary was 'Que Sera Sera (Whatever Will Be Will Be)', the Jay Livingston and Ray Evans number that Paul rearranged. The flipside was another Gallagher and Lyle composition, 'Fields Of St Etienne.' This single was issued in France on Friday 19 September 1969 on Apple 16 and in America on Monday 15 June 1970 on Apple 1823. It was Paul's last production for Mary.

Mickie Most then took over the production of Mary's singles, although the next release 'Temma Harbour' had Paul's production of 'Lontano Dagli Occbi" on the flip.

Following Mickie Most, Tony Visconti began to produce her records. Mary had announced in March 1972 that she would not remain with Apple, so the final release on the label was a compilation of her previous recordings, her album Those Were The Days, which was issued in America onMonday 25 September 1972 on SW 3395 and in Britain on 24 November 1972 on SAPCOR 23, the tracks produced by Paul being: 'Those Were The Days', lQue Sera Sera1, 'Fields Of St Etienne', 'Sparrow', 'Lontana Dagli Occhi' and 'Goodbye'.

The album was reissued as a CD in 1994 with a revised running order chosen by Mary, which also included some tracks from her 1971 album Earth Song - Ocean Song.

For the Apple press reception for Mary, the Post Office Tower in London was hired in February 1969 and each of the guests was given an apple as they entered the reception suite.

Mary married producer Tony Visconti and had a son Morgan and daughter, Jessica. After her divorce from Visconti she joined Sundance and Oasis, the latter a middle of the road group with Peter Skellern, Julian Lloyd Webber, Bill Lovelady and Mitch Dalton. She also provided backing vocals for Thin Lizzie's 'Dear Lord' and David Bowie's 'Sound and Vision'.

Commenting on her role as a backing singer she said, 'I enjoyed working like that rather than on my own stuff because I still found my public image nauseating. I had no motivation to return.'

Incidentally, Visconti was then to marry John Lennon's former lover, May Pang, although that marriage also became estranged.

In August 1970 Mary was made a Bard at the Welsh Eisteddfod for her skills as 'an interpreter of contemporary folk music'.

Mary has appeared as a back-up vocalist on records by David Bowie, Ralph McTell and Tom Paxton, although she was uncredited.

In 1972 she recorded 'Summertime Summertime' with Visconti under the name Hobby Horse.

On 27 February 27 1976, Mary sang in a new style with her single of the Edith Piaf number, 'If You Love Me'/'Tell Me Now'.

As a tribute to her fiftieth birthday on Wednesday 3 May 2000, Channel Four Wales, S4C, screened the documentary 'Mary Hopkin' at 8.15 p.m. on Monday 1 May 2000.

In 2001 Mary had a small part in the film Very Annie Mary.

Hopkins, Nicky

One of Britain's former leading session musicians, who appeared on 14 Rolling Stone albums, plus albums by Rod Stewart, the Who, the Jeff Beck Group, Jefferson Airplane and numerous other artists.

When he played on Paul's Flowers In The Dirt album, he became the only session musician to appear on studio recordings by all four of the individual members of the Beatles in addition to recording with the Beatles as a group.

Hopkins first met the Beatles in Hamburg, Germany in 1962 when he was a member of Cliff Bennett &C the Rebel Rousers at the Star Club. His first recording session with the Rolling Stones was on the single 'We Love You' on which Paul and John provided the backing vocals.

In 1968 he was asked to play piano on the Beatles recording of Revolution. He was to join George Harrison and Ringo Starr on Jackie Lomax's album This Is What You Want in 1969 and in 1971 played on John Lennon's Imagine album and on the single 'Happy Xmas (War Is Over)'. He also played with Harrison and Starr on Harry Nilsson's Son Of Schmilsson in 1972 and Lennon's Sometime In New York City and Ringo's Living In The Material World.

George Harrison also played guitar on Hopkins' own album Tin Man Was A Dreamer.

Other albums he appeared on by ex-Beatles included Goodnight Vienna, Dark Horse, Walls And Bridges and Extra Texture.

Hopkins performed on 'That Day Is Done' on the Flowers In The Dirt album.

He died in Nashville on 6 September 1995. He was fifty years old.

Horn, Trevor

A record producer, born in Hertfordshire, England on 15 July 1949. He founded the Buggies and then began to record dozens of major names including ABC, Yes, Frankie Goes To Hollywood, Rod Stewart, Simple Minds and Tina Turner. One of the world's most successful record producers, he was voted 'Producer Of the Year' by Rolling Stone magazine in 1983.

Paul worked with him early in 1988 when Horn produced the Flowers In The Dirt album, including the numbers lOu Est Le SoleilV and 'Figure Of Eight'.

Home, Nicky

A British disc jockey. He interviewed Paul in his 'Nicky Home's Music Slot' on the Thames At Six news programme on Monday 19 May 1980 and on his Capitol Radio show Mummy's Weekly on Friday 23 May 1980.

Hot As Sun

An instrumental, 1 minute and 28 seconds in length, which Paul used on his McCartney album. Paul recorded the number at Morgan Studios and played acoustic guitar, electric guitar, drums, organ, bass, maracas and bongos.

He'd originally begun composing the tune in the late 1950s and there was a brief appearance of the number during the Let It Be sessions, when Paul ad-libbed a few lines. It was never developed as a number for the Beatles although lyricist Tim Rice added a complete set of lyrics to the number and it was issued as a single by Noosha Fox on Earlobe Records (ELB-S-105) on Friday 24 July 1982. The Tim Rice lyrics were also used on Elaine Paige's cover version on her Hot As Sun album, issued by WEA (K58385) on Tuesday 2 November 1982. The sleeve notes on Elaine's album claimed that Paul had written the number especially for her, but he actually wrote it in 1958/59.

On the McCartney album the number segued into 'Glasses' and ended with a chorus of a song called 'Suicide' which Paul had originally penned with Frank Sinatra in mind.

Hotel In Benidorm

A number lasting 2 minutes recorded during the sound check before the concert at Boulder, Colorado on 28 May 1993 and included on the Paul Is Live album.

Hour With Paul McCartney, An

A feature on Paul included in the American CBS TV show Entertainment This Week in August 1986. It was an interview, which Paul recorded at his London offices in Soho Square.

How Do You Sleep?

A track on John Lennon's Imagine album, which was an attack on Paul. John listened to Paul's album Ram and believed that Paul was taking digs at himself and Yoko in the songs 'Too Many People' and 'Dear Boy'.

Adding insult to injury, John had included a picture of himself fondling a pig, similar to the pose on the cover of Ram of Paul holding a sheep. Another slight was the fact that George Harrison also played on the number.

Paul was upset when he read about the number in Melody Maker and John's references to Paul's songwriting being 'rubbish'. He commented, 'I never came back at him, not at all, but I can't hide my anger about all the things he said at the time about "Muzak" and Engelbert Humperdinck. I was in Scotland when I read this in Melody Maker. I was depressed for days. When you think about it, I've done nothing really to him, compared to what he said about me. John is the nice guy and I'm the bastard! It's repeated all the time. But what did I do to John? OK, let's try to analyse this. Now, John was hurt. So, what was he hurt by? What was the single biggest thing we could find in all our research that hurt John? Well, the biggest thing I could find was that I told the world that the Beatles were finished. But I don't think that's so hurtful.'

When Paul gave an interview to Melody Maker in November of that year he commented on John's reference in 'How Do You Sleep?' that the only decent number Paul had ever written was 'Yesterday'.

Paul said that it was silly of John to make such a reference. 'So what if I live with straights? I like straights. I have straight babies. It doesn't affect him. He says the only thing I did was "Yesterday". He knows that's wrong. He knows and I know it's not true.'

However Absurd

The final track on the August 1986 Press To Play album, lasting 4 minutes and 58 seconds. It was co-written by Paul and Eric Stewart.

Hunky Dory

The English name for the Japanese television programme Yoru No Hit Studio. On Wednesday 7 June 1989, before an audience of members of the Wings Fun Club, Paul performed a satellite link-up to the programme from Twickenham Film Studios in Middlesex. Apart from miming to 'This One' and 'My Brave Face' he also gave an interview.


An EMI label that issued Paul's two Fireman albums, Strawberries Oceans Ships Forest in 1993 and Rushes in 1998 and also Liverpool Sound Collage in 2000.

Hynde, Chrissie

Chrissie Hynde, a close friend of the McCartneys and an active animal rights campaigner.

Chrissie was born in Akron, Ohio on 7 September 1951 and moved to London in 1970. She helped form the Pretenders in 1978, two former members of which - Robbie Mclntosh and Blair Cunningham -were to back Paul in groups he formed.

At the time she had her first baby, Chrissie had never met Paul and Linda and was surprised when she received a present for the baby and some baby clothes with the note: 'Love - Paul and Linda and the kids.' A month later, Paul was in the next studio to where Chrissie was recording and she walked in and thanked him for the present. A few weeks later she met Linda for the first time. The year was 1983.

She became a close friend and she persuaded Linda that she should become a spokesperson for animal rights.

In 1998 Chrissie had an idea for a pose she wanted for the photograph of her forthcoming album Viva el Amor. She believed Linda was too ill for her to approach and, knowing that Mary had become a photographer like her mother, asked Mary if she could take the shot. The next thing was a call from Linda making arrangements for the photo shoot, which took place at Linda's home studio in Rye. It was the last photograph Linda took.

It was Chrissie who read out a eulogy at Linda's New York memorial on 21 June 1998, saying:

Linda McCartney was a pal and an ally

She wasn't an avant-garde intellectual bully

And she sure wasn't here for the fame or the money

She didn't cry 'Peace!' in a room full of furs

She thought animals' skins were theirs, and not hers.

When Chrissie first moved to Britain she was former journalist with the New Musical Express, although she never interviewed Paul when she worked on the paper. However she has interviewed Paul a number of times over the years. She conducted an interview with Paul, which was published in USA Weekend on Sunday 1 November 1998. During the interview he mentioned why he did not invite Yoko Ono to Linda's American memorial service. 'We decided to stay true to Linda's spirit and only invite her nearest and dearest friends. Seeing as Yoko wasn't one of those, we didn't invite her. People who were maybe doing it out of duty weren't asked. Everyone who went remarked that there were so many friends there and it was such a warm atmosphere. Everyone who spoke, spoke from the heart, genuinely. Linda would have hated anything else.'

Chrissie also organised the Royal Albert Hall tribute to Linda, 'Here, There And Everywhere - A Concert For Linda' on Saturday 10 April 1999.

In September 1998 Chrissie asked Paul to help her organise a series of concerts in 1999 to promote animal rights. Paul said, 'Good animal activists around the world might think, "Oh, God, we've lost a very powerful voice when we lost Linda." Well, we have. But my voice is there now, and I'm going to try to use it. We are going to keep up her good work.' But after a while he told the Sun newspaper, 'I might not be able to get up on stage again. I don't know whether I can go up there and sing, thinking about Linda. If I can manage it, then I will. But I've said that if I can't do it, Chrissie'll just have to forgive me.'

In September 2001, at the annual PETA gala, Paul presented the 'Linda McCartney Award' to Chrissie.

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