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Nickname by which Paul is known and one which is frequently used in the musical press. He was given the nickname when he attended Liverpool Institute High School.

Madison Square Garden, New York

Wings appeared at Madison Square Garden on Monday 24 May and Tuesday 25 May 1976. The concerts had been announced on the radio and all 40,000 tickets were sold within 24 hours.

The Daily Mirror 'Pop Club' had flown a specially chartered plane from Britain with member of Wings Fun Club, who were present at both shows.

Following the Tuesday show there was a special party at the venue, although no press were allowed to attend due to the fact that Jackie Onassis stressed that she would only turn up if no press people were present. She was photographed backstage with Paul and Linda.

Paul gave four concerts at this venue during the final part of the first leg of his American tour, appearing there between 11 and 14 December 1989. All four concerts sold out rapidly, with around 18,000 seats at each concert. There were initially such large queues outside Madison Square Garden that the management decided to put the tickets on sale one hour earlier than announced.

On the Tuesday, Paul held a press conference. He commented, 'Some audiences fall right over. Here last night we had to work a bit harder. I noticed some pinstripe suits with the folded hands saying, "entertain me" and that's all right, we will. I don't read reviews because I always find the worst line. In LA they told me I had to read one because it was so great. And I was reading, and saying, "Uh-huh" and "Oh yeah" and then it said the low point of the show was "Ebony And Ivory". Every night since then I've worked the death out of that song.'

On the Thursday he introduced Linda as Gertrude Macgillicuddy rather than introducing her as Miss Gertrude Higgins. During the Friday night performance, as he put on his Hofner bass to play 'Get Back' he said, 'I picked up this new bass yesterday. You like it? It's the latest model.' After the show Paul and Linda went out with Dustin Hoffman and his wife.

There were numerous celebrities at the shows. During the first night members of the audience included James Taylor, Patricia Hearst Shaw, Robin Williams, Jane Pauley, Ralph Lauren and Paul 'Kiss' Stanley.

The following night celebrities included Billy Joel and Bill Murray.

There were a number of celebrities who commented favourably on the first leg of the tour, Paul's first for thirteen years. Jack Nicholson was to comment, 'It was one hell of a concert. I've never seen anything like it. McCartney is the ultimate professional. When I heard "Jet" and "Live And Let Die" in the same hour, I wanted to die.' Tom Hanks said, 'I was a Beatles fan but I never saw them live, so this was a chance I couldn't miss. "Back In The USSR" was the best number for me.'

Actress Meryl Streep said, 'I arrived with Tracy Ullman and we were on our feet all night long. I've never enjoyed a rock show so much,' while Raquel Welch commented, 'Paul may be forty-seven but he is still one of the sexiest men in rock. I loved every minute of the show. "Hey Jude" was out of this world.'

Fellow musicians were also out in force. Axl Rose summed it up, 'Fucking great!' while Chrissie Hynde said, 'When Paul played "The Long And Winding Road" I almost cried. What a show!' Lionel Ritchie said, 'I had a great, great time. Everyone loved the Beatles and it was such a thrill to hear their songs played live again. Paul is the greatest.' Stevie Wonder said, 'McCartney is and will always be the best in the business. The old songs like "Let It Be" and "Sgt Pepper" brought back some great memories.' Michael Jackson said, 'Wow! I had a good time. Paul is a great friend and his show proved that he is one of the world's best performers.'

Paul also appeared at Madison Square Garden in October 2001 in the tribute to the victims of the World Trade Center.

As part of his 19-city Driving USA Tour Paul appeared at Madison Square Garden on Friday 26 April 2002. He performed 21 songs by the Beatles and 10 songs by Wings. The biggest cheer of the night went to his rendition of 'Here Today', the song he wrote for John Lennon after John's murder. It had received the most reaction of any song during the brief tour. He also paid tribute to George Harrison by performing 'Something', played 'My Love' for Linda and also sang a song for his fiancee Heather Mills.

Prior to the show he was visited backstage by members of the New York Police Department who made him an honorary detective.


A track from the Driving Rain album. The number lasts for 3 minutes and 59 seconds and was recorded on 25 February 2001.

Magical Mystery Tour (TV special)

Paul always harboured the vision of becoming a film producer and made some avant garde films during the mid-1960s. He had also always wanted to produce a Beatles movie.

Paul first had the idea of creating a Beatles special when he travelled to Denver, Colorado to celebrate Jane's 21st birthday in April 1967.

On the plane back to Heathrow on 11 April he began working on the idea of 'Magical Mystery Tour' and songs he'd include in the film.

John Lennon was to comment, '"Magical Mystery Tour" was something Paul had worked out with Mai and he showed me what his idea was and this is how it went. It went round like this, the story and how he had it all... the production and everything. Paul had a tendency to come along and say well he's written these ten songs; let's record them now. And I'd say, "Well, give us a few days and I'll knock a few off," or something like that.'

Within a week of Brian Epstein's death, Paul arranged a meeting at his Cavendish Avenue home to discuss the project, saying that he wanted the project to be completed by the end of September and to have an album in the shops by Christmas. He did his best to convince the other members that they should get to work immediately on the project and showed them a drawing he'd made of the plan - circular, like a cake, it was divided into segments, each of which contained details of what they needed to do to make the film.

When Paul showed John the notes he had made and asked John for some ideas to expand them, John commented, 'What does he mean? I've never made a film! I don't know how to write a film script!'

Paul wanted the title 'Magical Mystery Tour', rather than John's tongue-in-the-cheek suggestion that it be called 'Leaving No Turn Unstoned'.

Once it had been agreed, Paul wanted the film to have a start date of 4 September; this was considered to be too soon, so 11 September was agreed upon.

The special was initially screened on BBC 2 on 26 December 1967, with an audience of 13 million, but it received virtually universal criticism. The Daily Mirror commented, 'If they were not the Beatles, the BBC would not have fallen for it.'

The following day, 27 December Paul said in an Evening Standard interview, 'We goofed, really. My dad brought the bad news into me this morning like the figure of doom. Perhaps the newspapers are right - perhaps we're right. We'll have to wait and see.' He also appeared on The Frost Programme that day to say, 'the film was badly received because people were looking for a plot - and there wasn't one.'

Paul also commented that if the film had been shown in colour as intended, rather than black and white, it might have made more sense.

The BBC repeated the show on BBC 2 on 8 January 1968, this time in colour.

Magneto And Titanium Man

A track on the Venus And Mars album.

Paul was to say, '"Magneto And Titanium Man" is about Marvel Comics. When we were on holiday in Jamiaca we'd go into the supermarket every Saturday, when they got a new stock of comics in. I didn't use to read comics from eleven onwards. I thought I'd grown out of them, but I came back to them a couple of years ago. The drawings are great. I think you'll find that in twenty years time some of the guys drawing them were little Picassos. I think it's very good. It's very clever how they do it.'


A Thames Television children's show networked to all ITV stations in Britain. Paul appeared on the programme with Mary Hopkin in a special insert called 'A Day In The Life Of Mary Hopkin' in which he played piano. The crew then filmed Mary at the Apple offices in Savile Row and at other locations, although Paul wasn't present then as he was at Abbey Road Studios recording. The filming took place during the day on Friday 6 September 1968 and was screened on Tuesday 10 September 1968. The Friday filming had been edited down to 3 minutes and 45 seconds and the Mary Hopkin spot took a total of 6 minutes of the show, during which she appeared live.

Magritte, Rene

Surrealist painter. Robert Fraser, who advised Paul on the acquisition of artworks, took him to Paris to meet Alexandre Iolas in 1966. Iolas acted as agent for Magritte and Paul was shown a number of Magritte's works. He chose two oils Cibria and The Countess of Monte Christo, which he bought.

Magritte died the following year, in August 1967. One of his last works was a painting Le Jeu de Mourre (The Guessing Game), which he completed in 1966. Fraser brought the painting to Paul's house in Cavendish Avenue and placed it on a table. Paul bought it. This was the work that inspired the Apple logo. It was a painting of a large apple and Paul suggested that the Beatles' new company use the apple sign as their logo.

Magritte's widow Georgette held a number of studio sales and at one of them Linda purchased Magritte's double-sided easel, some blank canvases, brushes, Magritte's palette, a small painting table and other items as a Christmas present for Paul.


A track on Laurence Juber's 1983 album Standard Time on which Paul plays bass guitar for the former Wings member.

Maitland Smith, Geoffrey

The man who acted as Paul's accountant in the late 1960s. In 1982, as chief executive of Sears Holdings, he expressed interest in buying Northern Songs for his company.

Major McCartney

A character played by Paul in a cameo scene in 'Magical Mystery Tour'.

Costume advisors must have been absent that day as he was actually wearing the uniform of a Colonel.

Paul sits at a desk in an army recruitment office with two little Union Jacks decorating the wall behind him. The scene was in fact created for Victor Spinetti who plays the recruiting sergeant.

Making Of My Brave Face, The

Title of a promotional video, filmed on Monday 10 April and Tuesday 11 April 1989 in Strawberry Fields in Liverpool. Paul made two videos at the time, directed by Roger Lunn. One was a straightforward promotional film in monochrome for 'My Brave Face' that featured the group performing the number, intercut with vintage archive clips and the second, which also included a colour film of the making of the promotional video, was called 'The Making Of My Brave Face'.

The promotional film was distributed to various European television stations from Wednesday 10 May 1989.

Making of Sgt Pepper, The

A television documentary first screened by ITV in Britain as a South Bank Show special on Sunday 14 June 1992. Paul, George and Ringo each participated and Paul was the first to shoot his contribution. This took place on Thursday 9 April 1992 at Abbey Road Studios where he joined George Martin and was filmed in Studios One and Two listening to some of the original four-track tapes and was interviewed discussing the album.

Soon after the ITV screening it was shown in America on the Disney cable channel on Sunday 27 September.

It was independently made by Isis Productions, the Really Useful Company, London Weekend Television and Walt Disney.

George Martin also wrote a book of the same title to accompany the documentary.

Mama's Little Girl

A number originally recorded at Olympic studios during the Red Rose Speedway sessions. It is credited as being co-produced by Paul and

Chris Thomas and was included as the flipside of the 'Put It There' single. A version was also included on Flowers In the Dirt - Special Edition and as a bonus track on the 1993 release of Wild Life.


A track, 4 minutes and 49 seconds in length, from the 1973 Wings album Band On The Run recorded in Lagos. During his trip to Nigeria, Paul noticed a phrase on a plaque that inspired him to think up the theme for the number. The title was adapted from the name of a hotel in Marrakech which Paul had stayed in. In Arabic the word means 'safe haven'.

A video of the number was produced by Jim Quick in July 1974, which has only appeared on The Dave Cash Radio Show on ITV Wales in 1975.

Man We Was Lonely

A track on Paul's 1970 debut album McCartney lasting 2 minutes and 55 seconds. He wrote the number during the actual recording sessions on 25 February 1970 and Linda joined him on the harmony. Paul played guitar, bass drum, bass and achieved a 'steel guitar' sound by playing a telecaster with a drum peg.

Man, The

A McCartney-Jackson collaboration. It was originally due to be released in Britain on Parlophone R 6066 on Monday 13 February 1984, with 'Blackpool' as the flip. There was also a 12" due for simultaneous release, with an instrumental version of the number on the flip and an extended remix of the number by an American disc jockey. Shortly prior to the release date, the single was cancelled.

It was eventually featured as the second track on the Pipes Of Peace album.

Many Years From Now

Paul's authorised biography, penned by Barry Miles, first published by Seeker & Warburg in 1997. Author Miles explained that the book intended to dispel some of the inaccuracies that were passed on from biography to biography, pointing out that the book particularly focussed on Paul in the 1960s when he was the only member of the Beatles living in London, the only one who was single and the one regularly attending theatre first nights, clubs and gallery openings. As a result Paul was also the first member of the Beatles to produce experimental music and avant garde films.

Paul lived with the Asher family for a time and reveals how fascinated he was by them. Also important to Paul's appreciation of the arts was Barry Miles himself who, in the 1960s, ran the Indica bookshop and gallery. One of his partners was John Dunbar, who was also an influence, as was gallery owner Robert Fraser.

Commenting on the book, Miles said, 'The idea is not to repeat what's been printed in other books, but to tell new stories, and to correct mistakes and inaccuracies which are often regarded as fact. This will be the inside story from Paul's point of view. The book will be discursive and anecdotal, a serious study of what I consider to be the Beatles' most exciting period, when Paul was living in London from 1965 to 1970.

'London at that time was rather like Paris in the 20s, only with musicians and singers at the centre of it all, rather than poets, writers and artists - and the Beatles, and Paul, were at the heart of that scene.'

He was also to say, 'This book will be surprisingly frank about the drug-taking the Beatles did, especially about Paul's friendship with Robert Fraser, the London art dealer whom Mick Jagger was arrested with in the 60s for possession.'

Maple Leaf Gardens

Venue in Toronto, Canada where Wings appeared during their 1975/76 tour on Sunday 9 May 1976. There had been rumours once again that the Beatles would turn up for a reunion at this concert which was, of course, nonsense - although George and Ringo were among the 18,000 strong audience.

Maracana Stadium

The largest stadium in the world, situated in Rio de Janeiro, Brazil. Promoters Mills and Mierneyer together with Rio de Janeiro Municipal Government and Raymond Ribero handed Paul a letter from the Mayor of Rio de Janeiro inviting Paul to Rio saying he would be made very welcome. Paul arrived from Miami on Monday 16 April 1990. He was scheduled to appear at the stadium on Thursday 19 and Saturday 21 April. Paul, Linda, James and Stella stayed at the Rio Palace Hotel. There were terrible storms, which resulted in some deaths, so the Thursday concert was postponed until the Friday. It was still raining on the day of the concert. There was a press reception during which Paul discussed various subjects including ecology, the rain forests and the Beatles.

It didn't rain on Saturday and among the attendees at the concert were famous actors, musicians and politicians.

The President of Brazil had sent Paul letters and gifts. Paul sent the President an autographed copy of 'Put It There' and Linda sent him an autographed copy of her cookbook.

At the concert, Paul said some words in Portuguese and introduced Linda in Portuguese.

The numbers performed on the show were; 'Figure Of Eight', 'Jet', 'Got To Get You Into My Life', 'Rough Ride', 'Band On The Run', 'We Got Married', 'Let 'Em In', 'The Long And Winding Road', 'Fool On The Hill', 'Sgt Pepper's Lonely Hearts Club Band (Reprise)', 'Good Day Sunshine', 'Can't Buy Me Love', 'Put It There', 'Things We Said Today',

'Eleanor Rigby', 'This One', 'My Brave Face', 'Back In The USSR', 'I Saw Her Standing There', 'Coming Up', 'Let It Be', 'Ain't That A Shame', 'Live And Let Die', 'Hey Jude', 'Yesterday', 'PS Love Me Do', 'Get Back', 'Golden Slumbers', 'Carry That Weight' and 'The End'.

The Guinness Book Of Records acknowledged that Paul's second show on 21 April 1990 had broken the world attendance record for a rock concert with 184,000 attendees.

On Monday 23 April, TV Globo screened 'Paul In Rio', featuring ten of the numbers performed at the Friday show.

Marsden, Gerry

The leader of Gerry 8t the Pacemakers, the first British band ever to have three No. 1 hits with their first three releases.

When 'Mull Of Kintyre' was released in 1977, Gerry was touring Australia and was appearing on a radio show when 'Mull Of Kintyre' was played. He was asked what he thought of the number and said, 'Well, I've never heard such a load of crap in my life. It won't be a hit. You're a mug, Paul, making that!'

When Gerry celebrated the twentieth anniversary of his recording career with a party at Stringfellows club in London in 1983, Paul, who was recording at the time, sent him a birthday cake.

When Gerry gathered together a group of recording artists to make a charity record for the relatives of those killed in the Bradford City Disaster (a fierce fire at a soccer club in which a number of spectators were killed), he gave them the name the Crowd and they re-recorded one of his No.l hits, 'You'll Never Walk Alone', which also reached the top of the charts following its release on 20 May 1985 on BRAD 1.

Paul was invited to participate and he recorded a 17-second message that appears on the flipside of the single, which is called 'Messages'. Gerry also recorded an album of Lennon and McCartney numbers that was released in England by K-Tel Records in 1986.

Gerry was also Paul's special guest on the TV special 'James Paul McCartney'.


The most famous of Paul's pets and the first real pet that he ever had. He acquired Martha when he moved into Cavendish Avenue from Ann Davis, a breeder in High Wycombe. This Old English sheepdog gained immortality when Paul used her name in the song 'Martha My Dear'. Martha was born in 1966 and died at the age of fifteen in August 1981 at Paul's farmhouse in Scotland.

Martha My Dear

A song by Paul in which the name of his sheepdog Martha was used, although the song is not about a dog, it's a love song. There was a solo vocal by Paul, although he is double-tracked.

Recording began at Trident Studios on 4 October 1968. When the Beatles started recording the track, Ringo bashed a hole in his new bass drum skin.

The number was featured on The Beatles White Album.

Martin, George

The Beatles' record producer for eight years.

Martin had joined the Parlophone label in 1952 and became label head in 1955. He remained with Parlophone until 1965 when he formed the Association of Independent Record Producers (AIR) with John Burgess, Peter Sullivan and Ron Richards. Although he'd officially left Parlophone, he continued to produce the Beatles right up to the Abbey Road album.

During the 1960s he also recorded Beatles material in his own right, contributing arrangements and orchestral and instrumental tracks to the soundtracks of A Hard Day's Night, Help! and Yellow Submarine. He released a number of instrumental singles and also two albums -Off The Beatles Track in August 1964 and The Beatle Girls in 1967, the latter featuring songs such as 'Eleanor Rigby' and 'Michelle'.

Paul had also asked George to help him on the theme music for the film The Family Way, in particular on the track 'Love In The Open Air'.

Although ten years were to pass between Abbey Road and Tug Of War, the album that Paul asked George to produce for him, Paul also called in George to help him when he composed the theme for the 1973 James Bond movie Live And Let Die. As a result George was asked to compose further background material for the soundtrack.

The team was also reunited on the Pipes Of Peace and Give My Regards To Broad Street albums.

Martin has been the subject of a This Is Your Life programme, has had his autobiography All You Need Is Ears published, and also edited the book Making Music in which he interviewed Paul about song-writing and playing the bass guitar.

Martin, Rose

A housekeeper employed by Paul in 1967. Her Christian name was the inspiration for the album title Red Rose Speedway.

Mary Had A Little Lamb (promotional films)

There were four clips of this particular song. Nicholas Ferguson, who had first met Paul when he was working on Ready. Steady. Go!, directed the first three.

The first promotional film had Wings performing in a barnyard setting, with a hen sitting on Paul's piano and with Linda cuddling a lamb. This was the promotional film that received the main plays and was featured on Top Of The Pops on Thursday 29 June 1972 and was later to turn up on 'Beatles Story', a programme on the Australian Channel 7 in 1974.

The second promotional film was known as the 'psychedelic' version due to the swirling patterns of vivid colours used in the background and the matching orange T-shirts and dungarees worn by Wings. This time the group weren't in a barnyard and no animals were present. It was included on The Flip Wilson Show in America on Thursday 12 October, with comedian Wilson introducing it with the words, 'Wings singing a different tune - Paul and wife Linda on bongos singing "Mary Had A Little Lamb". Go kill 'em, Paul.'

The third version had the group performing at the bottom of a hill with Paul at the piano, Linda sitting on a wall and playing bongos, Denny Laine lying on his back and the other members of Wings standing against a painted backdrop of a hill. This promotional film was featured on BBC l's The Basil Brush Show on Saturday 24 June.

The fourth clip of the number was actually taken from the ATV special 'James Paul McCartney' filmed on Saturday 10 March 1973 and featured Wings on an outside location with various little scenes -Linda riding a horse, Wings with a flock of sheep and so on.

Mary Had A Little Lamb (single)

The single that followed Paul's controversial 'Give Ireland Back To The Irish' was recorded at Olympic Studios, London in March 1972. It was issued as a single in Britain on Apple R5949 on Friday 12 May 1972 and in America on Apple 1851 on Monday 29 May. It reached the position of No. 6 in Britain and No. 28 in the US.

It was issued in Germany on EMI Electrola/Apple 1C600-050058.

Paul and Linda described it as 'A song for spring to make people happy'.

At the height of Beatlemania, people often said that there was so much adulation aimed at the Beatles that they could have a hit recording passages from the Bible or singing nursery rhymes. It looks as if Paul took them at their word with this adaptation of the familiar children's rhyme.

'Little Woman Love' was the flip.

Following the highly controversial single 'Give Ireland Back To The Irish', this seemingly lightweight number incurred heavy flack from the music press and Paul was later to admit: 'It wasn't a great record.'

In an interview he commented: 'It was written for one of our kids, whose name is Mary, and I just realised if I'd sang that, she'd understand. That's it with us, that's what you might expect from us - just anything. The quote that sums up that song for me is I read Pete Townshend saying that his daughter had to have a copy. I like to keep in with the five-year-olds!'

The track was to be included on For Our Children, a 20-track collection from Disney Records released on Disney 60616-2 on 28 May 1991. Proceeds from the album went to the Pediatric AIDS Foundation. Paul waived all royalties.

A version of Paul rehearsing the number on a piano is to be found on some bootleg albums. This arose from an interview Paul recorded for the radio station WRKO in New York in December 1971. The interview was conducted in the apartment offices of Paul's MPL Productions Ltd and broadcast on 12 January 1972. During the interview Paul discussed how he now considered Wings to be a proper band, Linda mentioned her own composition 'Seaside Woman' and there was talk of a forthcoming Wings tour.

Massey & Coggins

A Liverpool firm of electrical engineers.

Following the Beatles first trip to Hamburg in 1960, Paul, who had left school against the advice of his father, abandoning his idea of becoming a teacher, felt guilty about not getting a regular job and approached the Labour Exchange. Initially he worked temporarily for a parcels delivery service, being laid off after the Christmas rush. He was then sent to Massey & Coggins where he received a wage of £7 per week. He admits he was not very good at the job which consisted of him winding electrical coils all day long. While fellow labourers would complete between eight and fourteen coils per working day, Paul confessed he was lucky if he managed one and a half. One of his workmates called him 'Mantovani' because of his long hair, and his boredom with the job was such that after two months he didn't bother turning up one morning.


A version of this number, composed by Carl Perkins, lasting 3 minutes and 10 seconds, was included on the Tripping The Live Fantastic album. It was recorded live on 21 January 1990 at Wembley Arena, London during the 1989/90 World Tour.

Mattacks, Dave

A musician born in Edgeware, Middlesex in March 1948 who joined Fairport Convention in 1969, replacing Martin Lamble, who had been killed when the group's van crashed. He left and rejoined the group over a period of years. Mattacks became a freelance performer in 1978 and played on a number of tracks Paul recorded at Montserrat in early February 1981 for his Tug Of War album. He worked with Paul on other recordings, including the Pipes Of Peace album and performed on Paul's version of 'The Long And Winding Road' in Give My Regards To Broad Street and on the track 'We Got Married' for Flowers In The Dirt. He was also one of the musicians used on the recording of the Run Devil Run album.

Maxwell's Silver Hammer

Paul wrote this number in the late summer of 1968, originally for The Beatles double album, but it wasn't recorded then. The Beatles rehearsed it during the Let It Be sessions, but actual recording began on 9 July 1969 and it was included on the Abbey Road album.

This was the first session John played on immediately after his car crash in Scotland. Balance engineer on the session was Phil McDonald, who commented, 'We were all waiting for him and Yoko to arrive. Paul, George, Ringo downstairs and us upstairs. They didn't know what state he would be in. There was a definite "vibe" they were almost afraid of Lennon before he arrived, because they didn't know what he would be like. I got the feeling that the three of them were a little bit scared of him. When he did come in it was a relief, and they got together fairly well.'

John was very critical of this song.

He said, 'I hate it, 'cause all I remember is the track. He made us do it a hundred million times. He did everything to make it into a single and it never was and it never could've been, but he put guitar licks on it and he had somebody hitting iron pieces and we spent more money on that song than any of them in the whole album.'

Paul was to comment, '"Maxwell's Silver Hammer" was my analogy for when something goes wrong, out of the blue, as it so often does, and I was beginning to find that out at that time in my life. I wanted something symbolic of that, so, to me, it was some fictitious character called Maxwell with a silver hammer. I don't know why it was silver, it just sounded better than "Maxwell's Hammer".'

In the song he used the words, 'pataphysical science'. The word came from a drinking club in Paris which was called the Pataphysical Society.

Paul added moog synthesiser.

Maybe Baby

A cover of the Buddy Holly number, recorded in September 1999. Following a PETA performance Paul met Jeff Lynne at Capitol Records and they recorded the number in Los Angeles. Paul's version of the number was released on Virgin Records CDV 2916 on 5 June 2000 on the soundtrack of the British film Maybe Baby.

Maybe I'm Amazed (promotional film)

David Puttnam directed this promotional video of the Paul/Linda number, which featured a montage of Linda's still shots of Paul, herself and Heather. London Weekend Television took the unusual step of screening the promotional film at 6 p.m. on Sunday 19 April 1970. It was also screened that night on The Ed Sullivan Show in America. Charlie Jenkins produced it.

Maybe I'm Amazed (single)

Highly praised as the outstanding track on Paul's first album in 1970 and Paul's first major song written for Linda. Despite the encouraging airplays this particular track received, Paul decided not to issue it as a single at the time. It resurfaced in 1976 on the Wings Over America album. This later version was a live cut from their American tour and it was issued as a single in Britain on 4 February 1977 on Parlophone R6017 and in the US on Capitol 4385 on 7 February.

Capitol, in fact, issued a promotional 12" record for American radio stations that included four different versions of the number. It reached No. 27 in the British charts and No. 11 in the American.

The flipside was 'Soily'.

Rod Stewart and the Faces featured it on live concerts and recorded 'Maybe I'm Amazed' on Long Player, their 1971 album. Wings performed it on their European, world and both of the British tours. It was also one of the numbers included in the TV spectacular 'James Paul McCartney'.

The number was also reworked for inclusion on Working Classical.

The single was issued in Germany on Capitol 1C600-98701 and in France on Capitol 2C006-98701.

A version of this number, lasting 4 minutes and 41 seconds, was included on the Tripping The Live Fantastic album. It was recorded live at the Ahoy Sportpaleis in Rotterdam, Netherlands on 8 November 1989 during the 1989/90 World Tour.

American singer Carleen Anderson covered the number in 1998 and her version reached No. 12 in the US charts.

Mayles, Albert

A documentary film-maker who, together with his brother David, was commissioned by Granada Television in Britain to film the Beatles first visit to America in 1964. It resulted in 'What's Happening - The Beatles In the USA'. Another notable Mayles Brothers documentary was 'Gimme Shelter', filmed at the Rolling Stones concert at Altamont which brought a vicious end to the 1960s, as a brutal murder was captured on film.

David had died in 1987, but in 2000 Paul approached the 75-year-old Albert to ask him to film a documentary of his Concert For New York City at Madison Square Garden.


There was some internal wrangling at Apple concerning Paul's first solo album release. Paul had kept a relatively low profile while working on it at his Scottish farm, overdubbing instruments and using a Studer 4-track recorder. With the exception of some vocal help from Linda, it was a one-man album with Paul playing all the instruments: toy xylophone, electric and acoustic guitars, bass, drums, Mellotron and organ.

Recordings began in December 1969 and other locations during the recordings were Abbey Road's Studio Two and Morgan Studios in Willesden.

Tension between Paul and the other Beatles was already in the air, particularly because of the Allen Klein affair, and this was unfortunately exacerbated by the release date that Paul wanted for the album. This roughly coincided with the Let It Be release and was also close to the release date of Ringo's debut album Sentimental journey. Paul felt that the Let It Be project had been around for some time and didn't see why he should alter his plans because of it. Ringo was sent to Paul's St John's Wood house to 'reason' with him. Ringo took two letters along, one from John, the other from George. Paul opened them and vented his anger on Ringo. Ringo was to say later: 'I could see the release date of his record had a gigantic emotional significance for him. Whether he was right or wrong, I felt that since he was our friend and since the date was of such immense significance to him, we should let him have his own way.'

It was decided that there should be a three-week gap between the release of McCartney and Let It Be and the release of Ringo's album was brought forward.

McCartney was issued on Apple PCS7102 on Friday 17 April 1970. It reached No. 2 in the British charts and No. 1 in the US charts, selling over two million copies.

Not content with showing the world that he was capable of working on a musical project without the other three, Paul was also at pains to put across his viewpoint about the entire Beatles situation as it stood. He prepared his own press release with members of the Apple staff, Peter Brown, Derek Taylor and Mavis Smith, issuing it in the form of a questionnaire to the Fleet Street papers, radio disc jockeys, and in a limited run on the inner sleeve of the album itself. It read:

Q: Why did you decide to make a solo album?

A: Because I got a Studer 4-track recording machine at home -practised on it (playing all instruments) - liked the results and decided to make it into an album.

Q: Were you influenced by John's adventures with the Plastic Ono Band, and Ringo's solo LP?

A: Sort of, but not really.

Q: Are all the songs by Paul McCartney alone?

A: Yes sir.

Q: Will they be so credited: McCartney?

A: It's a bit daft for them to be Lennon-McCartney-credited, so 'McCartney' it is.

Q: Did you enjoy working as a solo?

A: Very much. I only had me to ask for a decision, and I agreed with me. Remember Linda's on it too, so it's really a double act.

Q: What is Linda's contribution?

A: Strictly speaking she harmonises, but of course it's more than that because she is a shoulder to lean on, a second opinion, and a photographer of renown. More than all this, she believes in me -constantly.

Q: Where was the album recorded?

A: At home, at EMI (No. 2 studio) and at Morgan Studios (Willesden!).

Q: What is your home equipment (in some detail)?

A: Studer 4-track machine. I only had, however, one mike, and, as Mr Pender, Mr Sweatham and others only managed to take six months or so (slight delay), I worked without VU meters or a mixer, which meant that everything had to be listened to first (for distortion, etc ... ) then recorded. So the answer - Studer, one mike and nerve.

Q: Why did you choose to work in the studios you chose?

A: They were available. EMI is technically good, and Morgan is cosy.

Q: The album was not known about until it was nearly completed. Was this deliberate?

A: Yes, because normally an album is old before it comes out. (aside) Witness Get Back.

Q: Why?

A: I've always wanted to buy a Beatles album like 'people' do and be as surprised as they must be. So this was the next best thing. Linda and I are the only two who will be sick of it by the release date. We love it really.

Q: Are you able to describe the texture or the feel of the theme of the album in a few words?

A: Home, Family, Love.

Q: How long did it take to complete - from when to when?

A: From just before (I think) Christmas, until now. 'The Lovely Linda' was the first thing I recorded at home, and was originally to test the equipment. That was around Christmas.

Q: Assuming all the songs are new to the public, how new are they to you? Are they recent?

A: One was 1959 ('Hot As Sun'), two from India ('Junk', 'Teddy Boy'), and the rest are pretty recent. 'Valentine Day', 'Momma Miss America', and 'OO you' were ad-libbed on the spot.

Q: Which instruments have you played on the album?

A: Bass, drums, acoustic guitar, lead guitar, piano and organ-Mellotron, toy xylophone, bow and arrow.

Q: Have you played all these instruments on earlier recordings?

A: Yes - drums being the one that I would normally do.

Q: Why did you do all the instruments yourself?

A: I think I'm pretty good.

Q: Will Linda be heard on all future recordings?

A: Could be; we love singing together, and have plenty of opportunity for practice.

Q: Will Paul and Linda become a John and Yoko?

A: No, they will become a Paul and Linda.

Q: Are you pleased with your work?

A: Yes.

Q: Will the other Beatles receive the first copies?

A: Wait and see.

Q: What has recording alone taught you?

A: That to make your own decisions about what you do is easy and playing with yourself is difficult but satisfying.

Q: Who has done the artwork?

A: Linda has taken all the photos, and she and I designed the package.

Q: Is it true that neither Allen Klein nor ABKCO have been nor will be in any way involved with the production, manufacturing, distribution or promotion of this new album?

A: Not if I can help it.

Q: Did you miss the other Beatles and George Martin? Was there a moment eg, when you thought, 'wish Ringo was here for this break' ?

A: No.

Q: Assuming this is a very big hit album, will you do another?

A: Even if it isn't, I will continue to do what I want - when I want to.

Q: Are you planning a new album or single with the Beatles?

A: No.

Q: Is this album a rest away from the Beatles or the start of a solo career?

A: Time will tell. Being a solo album means it's 'the start of a solo career ...' and not being done with the Beatles means it's a rest. So it's both.

Q: Have you any plans for live appearances?

A: No.

Q: Is your break from the Beatles temporary or permanent, due to personal differences or musical ones?

A: Personal differences, business differences, musical differences, but most of all because I have a better time with my family. Temporary or permanent? I don't know.

Q: Do you see a time when Lennon-McCartney becomes an active songwriting partnership again?

A: No.

Q: What do you feel about John's peace effort? The Plastic Ono Band? Giving back the MBE? Yoko's influence? Yoko?

A: I love John and respect what he does - it doesn't give me any pleasure.

Q: Have you plans to produce any other artists?

A: No.

Q: Were there any of the songs on the album originally written with the Beatles in mind?

A: The older ones were. 'Junk' was intended for Abbey Road, but something happened. 'Teddy Boy' was for Get Back but something happened.

Q: Were you pleased with Abbey Road} Was it musically restricting?

A: It was a good album. (No. 1 for a long time.)

Q: What is your relationship with Klein?

A: It isn't -1 am not in contact with him, and he does not represent me in any way.

Q: What is your relationship with Apple?

A: It is the office of a company which I part-own with the other three Beatles. I don't go there because I don't like the offices or business, especially when I'm on holiday.

Q: Have you any plans to set up an independent production company?

A: McCartney Productions.

Q: What sort of music has influenced you on this album?

A: Light and loose.

Q: Are you writing more prolifically now? Or less so?

A: About the same. I have a queue waiting to be recorded.

Q: What are your plans now? A holiday? A musical? A movie? Retirement?

A: My only plan is to grow up.

Paul also prepared his own track-by-track commentary on the album:

'The Lovely Linda'. When the Studer 4-track was installed at home, this was the first song I recorded, to test the machine. On the first track was vocal and guitar, second - another acoustic guitar - then overdubbed hand slaps on a book, and finally bass.

Written in Scotland, the song is a trailer to the full song which will be recorded in the future.

That Would Be Something'. This song was written in Scotland in 1969 and recorded at home in London - mixed later at EMI (No. 2). I only had one mike, as the mixer and VU meters hadn't arrived (still haven't).

vocal, guitar

tom-tom and cymbal

electric guitar


'Valentine Day'. Recorded at home. Made up as I went along - acoustic guitar first, then drums (maybe drums were first).

Anyway - electric guitar and bass were added and the track is all instrumental. Mixed at EMI. This one and 'Momma Miss America' were ad-libbed, with more concern for testing the machine than anything else.

'Every Night' (Blues). This came from the first two lines, which I've had for years. They were added to in 1969 in Greece (Benitses) on holiday. This was recorded at EMI with:


acoustic guitar



lead guitar (acoustic)

harmony to the lead guitar

double-tracked vocal in parts

electric guitar (not used)


'Hot As Sun'. A song written in about 1958 or '59 or maybe earlier, when it was one of those songs that you play now and then. The middle was added in Morgan Studio, where the track was recorded recently.

acoustic guitar

electric guitar


rhythm guitar





'Glasses'. Wineglasses played at random and overdubbed on top of each other - the end is a section of a song called 'Suicide' – not yet completed.

'Junk'. Originally written in India, at Maharishi's camp, and completed bit by bit in London. Recorded vocal, two acoustic guitars, and bass at home, and later added to (bass drum, snare with brushes, and small xylophone and harmony) at Morgan.

'Oo You'. The first three tracks were recorded at home as an instrument that might someday become a song. This, like 'Man We Was Lonely', was given lyrics one day after lunch, just before we left for Morgan Studios, where it was finished that afternoon.

Vocals, electric guitar, tambourine, cow bell, and aerosol spray were added at Morgan, and it was mixed there.

On the mix, tape echo was used to move feedback from guitar from one side to another.

'Momma Miss America'. An instrumental recorded completely at home. Made up as I went along - first a sequence of chords, then a melody on top.

Piano, drums, acoustic guitar, electric guitar. Originally it was two pieces, but they ran into each other by accident and became one.

'Teddy Boy'. Another song started in India, and completed in Scotland and London, gradually. This one was recorded for the Get Back film, but later not used.

Recorded partly at home ... (guitar, voices and bass) ... and finished at Morgan.

Linda and I sing the backing harmonies on the chorus, and occasional oos.

'Singalong Junk'. This was take 1, for the vocal version, which was take 2, and a shorter version.

Guitars and piano and bass were put on at home, and the rest added at Morgan Studios.

The strings are Mellotron, and they were done at the same time as the electric guitar, bass drum, and sizzle cymbal. 'Maybe I'm Amazed'. Written in London, at the piano, with the second verse added slightly later, as if you cared. Recorded at EMI, No. 2 studio

1. piano

2. vocal

3. drums

4. bass

5. and vocal backing

6. and vocal backing

7. solo guitar

8. backing guitars

Linda and I are the vocal backing group. Mixed at EMI.

A movie was made, using Linda's slides and edited to this track.

'Kreen-Akrore'. There was a film on TV about the Kreen-Akrore Indians living in the Brazilian jungle, their lives, and how the white man is trying to change their way of life to his, so the next day, after lunch, I did some drumming. The idea behind it was to get the feeling of their hunt. So later piano, guitar and organ were added to the first section.

The second had a few tracks of voices (Linda and I) and the end had overdubbed breathing, going into organ, and two lead guitars in harmony.

Done at Morgan. Engineer, Robin Black.

The end of the first section has Linda and I doing animal noises (speeded up) and an arrow sound (done live with bow and arrow - the bow broke), then animals stampeding across a guitar case.

There are two drum tracks.

We built a fire in the studio but didn't use it (but used the sound of the twigs breaking).

At the time of release, Langdon Wiiner of Rolling Stone wrote: 'Its explicit and uniform message is that Paul McCartney, his wife Linda and family have found peace and happiness in a quiet home away from the city, and away from the hassles of the music business.'

Some years later, Roy Carr and Tony Tyler in The Beatles Illustrated Record were to comment: 'It is also extremely hastily made, and the very unpretentious qualities which McCartney tried to emphasise were badly misconstrued as ineptitude. Hindsight displays its charms.'

Generally, most reviewers considered 'Maybe I'm Amazed' as the outstanding track, although ten years were to elapse before it was issued as a single.

The album cover featured a photograph of a bowl and various cherries on a strip and a gatefold sleeve sported 23 of Linda's photographs of the McCartney family life.

McCartney was re-released in both album and cassette versions in Britain on Tuesday 17 April 1990 to celebrate the twentieth anniversary of the original release.

McCartney (promotional record)

This was a special 12" record pressing in white vinyl sent to radio stations in 1982 to coincide with the release of the 'Ebony And Ivory' single. Apart from 'Ebony And Ivory', two further tracks were included on the promotional disc: 'Ballroom Dancing' and 'The Pound Is Sinking'.

McCartney (TV special)

The title of an MPL/BBC co-production that was first transmitted on BBC 1 on Friday 29 August 1986.

Produced by David G Croft, it featured a lengthy interview with Paul at Studio Two, Abbey Road, conducted by Richard Skinner, filmed on Friday 18 July. Paul also conducted a guided tour of the Abbey Road Studios for the cameras. He discussed his post-Beatles career, beginning with the 1970 McCartney album, mentioned all his albums since, plus his reunion with George Martin for three of the albums, his formation of Wings and his various tours. He also performed 'Press', from his new album Press To Play and there was a clip from the unreleased film The Backyard.

The special was repeated on BBC 2 on Tuesday 30 December in an extended version lasting for 59 minutes and on Saturday 1 April 1989 it was released as a home video in Britain under the title 'The Paul McCartney Story' and on home video and laserdisc in America on Wednesday 21 June 1989.

See also 'Paul McCartney Story, The'.

McCartney, Florence

Paul's paternal grandmother who was born in the Everton district of Liverpool at 131 Breck Road on 2 June 1874. On 17 May 1896,

21-year-old Florence, nee Clegg, married Joseph McCartney at Christ Church in Kensington. She was known as Florrie and had seven children, two of whom died in early childhood. She died on VE day in 1945.

McCartney, Heather (stepdaughter)

She was born on 31 December 1963. Her mother was Linda, her father Melvin See. When Linda began staying with Paul in London, she used to phone her daughter, who was in New York, each night. Paul was also encouraged to talk to Heather on these occasions and he remembers the first time he spoke with her on the phone and was worried that she might not like him.

He said to her: 'Will you marry me?'

Heather said: 'I can't. You're too old!'

Paul then said: 'Well, maybe I should marry your mummy - that'd be good.'

Around October 1968 Linda was feeling guilty about leaving Heather in New York. Paul was aware of this and he suggested that they both travel there, since he wanted to see Heather and meet Linda's family.

It was during the two weeks he spent in New York that Paul began to develop a relationship with Heather at Linda's apartment on the tenth floor of 140 East 83rd Street. Heather was five years old at the time and Linda went off, leaving them together with Paul playing games and cooking for the little girl.

At the end of the visit, on 31 October, all three of them flew back to London. When Heather passed her A-level exams in November 1982, she asked her parents for a car.

Ringo, who was filming with Paul on Give My Regards To Broad Street at the time, talked Paul into buying her one, saying: 'Give the kid a break. All her friends have cars. It's not as if she wanted a BMW or a Roller. We're only talking about a Volkswagen.'

Like her sisters and brother, she attended local state schools and became independent at the age of twenty, paying her own bills (although Paul and Linda occasionally helped her out) and taking a variety of jobs, including washing up in kitchens and in a pub.

Soon after, she went to Mexico to visit her blood father, who has been a lifelong influence and his career as a geologist has given her a love for crystals, quartz and turquoise.

Heather is a potter, and the firm of Wedgwood once said she was 'one of Britain's most exciting new talents'. Her pottery work has been the subject of exhibitions in New York, Phoenix in Arizona, Tokyo, Paris and Sydney.

In October 1997 the British Council selected her to head a showcase launch in Los Angeles, opened by Princess Anne. At the time Heather described herself as a country person and said that there was no man in her life. She commented: 'Can't imagine I'd meet one who fits in with me. And Pm not the sort who can adapt.' Admitting to having had emotional troubles, she said: 'I was on a quest to find my own individuality. Living up to other people's expectations can cause such stresses.'

Commenting on her family, she said: 'They're all exceptionally talented people. My brother, James, is a very special person, a gentle soul, and a brilliant guitarist. He's going to have problems, like I have.'

Heather is also known as a gentle soul with a love for animals and seems rather reclusive. She is not married and has no steady relationship, although she used to go out with Billy Idol in the early 1980s. She has a home in the English countryside with her Airedale dog and two cats and grows organic vegetables. Her studio is two miles away from her home.

In 1996 a pottery exhibition of Heather's work was staged at the New York Department store Felissimo. It included three vases: the Sunflower {in yellow), the Crocus (in purple) and the Tulip (in blue). Paul and Linda attended the private opening in October. On Thursday, 7 January 1999, Paul joined Heather at the opening of an exhibition of her work at the America's Mart, Atlanta, Georgia. It was called the Heather McCartney Housewares Collection, and included candles, clocks, cushions and rugs in designs inspired during the time she spent with the Huichol and Tarahumara Indians.

Paul and Heather took part in a press conference and here are some of its edited highlights:

Paul: 'Good evening all. This is my daughter, Heather.'

Q: 'How do you guys feel?'

Paul: 'Fine.'

Heather: 'We feel welcomed, we're very comfortable, it's a special place here.'

Paul: 'And we are not at all nervous!'

Heather: 'No.'

Q: 'Heather, why did you choose Atlanta?'

Heather: 'It's a golden opportunity for me because all the exclusive interior designers launch their collections here and it's an opportunity to show what we've been working on for the past few months.'

Q: 'Paul, why did you want to be here with her?'

Paul: 'I'm a daughter supporter. That's who I am. And she's my big baby, you know, so she's got a big blow and she asked, so I thought, Come on, come ahead.'

Heather: 'And it's the home of the blues, I've been told.'

Q: 'Heather, is there any piece that your mother inspired?'

Heather: 'All of it.'

Q: 'Why so?'

Heather: 'That's inside us, the colour, the strength, compassion for this earth, that's everything that we are - all of us, you know -Mary, Stella, James and my dad, that's it.'

Q: 'Did you intentionally design the С moon logo into your logo?'

Heather: 'No. It was very lucky the way it all evolved. I was born on the Southwest of America and I've borrowed the indigenous sun symbol and I've united that with the colours that I gathered when I was in Mexico with the Huichols and Tarahumaras. And they are very special people and we need to help them. We need to watch after them - all the indigenous people.'

Q: 'What do you hope people take away from your collection when they see it and what do you hope they learn about you as a woman and an artist?'

Heather: 'The freshness and the use of colour; and the feel is lighter and that it makes people think in an instinctive way, just colour: colour very much.'

Q: 'Paul, when did you first realise that Heather had a talent for design?'

Paul: 'She's always been very talented that way. When she was very little she started off as a potter and made pots and such, and she's now moved into this interior-design world. She's been doing that for the last couple of years now, and I think she's brilliant -but, then again, I would, wouldn't I?'

Q: 'Paul, do you have a favourite design of Heather's?'

Paul: 'No, I really like it all, you know. This is quite new to me. Heather keeps it quite close to herself, you know, so I'm really experiencing this for the first time, like you are. But it looks fantastic'

Q: 'Heather, the business is based in London. Will there be a US base for your business?'

Heather: 'I don't know. We're very lucky that this is English and uniting America, because of the fact that I was born here, so there is a union between the two.'

Q: 'Why the Mexican/Spanish influence?'

Heather: 'I was very, very lucky. I went off with a close friend of mine and I didn't really know about all of this and I was in ceremonies with these people. They have nothing, but they'll give you anything that they have - they're very generous. I just saw all these colours, and everything is very intricate in ceremonies - it is very, very intricate and very fragile.'

Paul: 'Heather went to stay with the Huichol Indians so she kind of got first-hand knowledge of it all, so it's inspired a lot of it by now.'

Heather: 'And it's all symbolic, everything is symbolic, and there's a lot of ancestry to it.'

Q: 'Heather, in what ways has Paul inspired you?'

Heather: 'As a father, is what is most important to me. To help

me through everything that we're dealing with. That's really, that's what's important, to have a real daddy.'

Q: 'Paul, do you see yourself as a daddy?'

Paul: 'Yeah, man.'

Q: 'Paul, I understand before long you're going to be a "dandaddy!" '

Paul: 'Yeah, I'm going to be a granddaddy too.'

Q: 'Heather, I love your logo. How did you come up with that? It's beautiful.'

Heather: 'Again, I was very lucky. I very much work on my own and occasionally the energy is there and it was. The M is symbolic of a mountain and then, as you say, the crescent moon and the sea. It was very, very lucky the way it's all evolved. It's a golden opportunity for me.'

Q: 'It's been such a tough year for your family. Is it exciting, Paul, to see Heather and the other kids moving out in their own direction? It's probably a little bittersweet, too.'

Paul: 'You know, it is great. You know, it's been obviously a very difficult time for us, over this last year. But you know, we're drawing on the energies, as Heather says, and we're moving forward, you know. You've got to move forward, and so this is all really up stuff and very vibrant and what Linda would have liked. I know that.'

Q: 'Heather, how do you think this will help the Indians?'

Heather: 'To say that their ancestry and their symbols are important in our modern lives, that we can unite their ancient world with the modern world and that the two can be together.'

Paul: 'And bring attention to them, you know, that's what this is all about.'

Q: 'Are all the colours that you have here represented in the original art and artefacts that you drew upon?'

Heather: 'Yes, they were very bright. This is the sun symbol, the Southwestern sun symbol, and then all the colours. This is the lightning happening here and those colours are from Mexico, so the two are together. I haven't seen myself lucky having gone there over about ten years. The first time I went, the rivers were lean, it was glorious. The last time I went, the rivers were foul, polluted. Lumber - all I saw was lumber going out, timber, everything being cut. The people are having to go further and further into the canyons. They have nothing, they have no help and they have nothing.'

Paul: 'Until you came along.' Heather: 'Yes. We are here.'

Q: 'Will you donate a portion of your proceeds to the Indian tribes?'

Heather: 'The last exhibition that we had, we worked with an

organisation, an English organisation, called Survival, and they work only to support indigenous peoples. So they had a stand there, leaflets and their posters and everything, were there. So that's what we did. We invited them along to our exhibition.'

Heather was also to say: 'The Huichols have greatly influenced my work. When I first met them some years ago, they introduced me to many things, including the bold use of colour, which is evident in my new designs.

'The Huichols allowed me into the centre of their circle and revealed to me ceremonies that originated thousands of years ago. Drawing on this experience and launching my designs at this, the dawn of the third millennium, I aim to synergise the ancient and modern in this collection.'

Paul was asked how he felt to have two designers in the family, and answered: 'We never pushed them into anything when they were younger. They're all over twenty-one now, so they're ready to work themselves.'

Heather was asked if her mother had inspired any of her work. She said: 'Her strength, her passion, everything that we are, all of it is in Mary, Stella, James and me and my dad.'

Of Paul, she said: 'As a father, he's most important to me to help deal with everything we're dealing with. It's obviously been a very difficult time for us this past year; but, you know, we're drawing on our energies and we're moving forward.'

On 28 November 1999, in an interview in the Sunday Times, Heather said: 'When my mother died 19 months ago, I could see no reason for living any more. Today I am stronger, partly because her legacy lives with people. Now I, too, am campaigning.'

Another tragedy occurred on Sunday, 19 March 2000, when Melvin See, Heather's blood father, was found dead of self-inflicted shotgun wounds.

McCartney, Heather Mills (wife)

Heather was born in January 1967, the daughter of John and Beatrice Mills. She endured a penniless childhood in Washington, near Newcastle-under-Wear, with a violent father and absentee mother. She had two siblings: an older brother, Shane, and a younger sister, Fiona.

Her father, a former paratrooper, abused his wife and the children, beating up the mother, throwing the children against walls and through glass doors. Beatrice almost lost her leg when her husband, in an irate mood, crashed the car and wouldn't allow her injured limb to heal properly by causing her to work continually before she'd recovered from the injury.

In 1977, when Heather was nine, her mother ran away to London with an actor from the Crossroads television soap. They didn't hear from their mother and later discovered that her father had intercepted all her letters to the children.

'We came home from school one day to find the house empty,' Heather recalled. Three years later her father was jailed for fraud.

Heather then travelled to London with her sister to join her mother (who was working as a hospital psychologist) and her partner, Charles Stapley. Her mother told Heather to lie to the school authorities that she was having home tuition. At the age of thirteen she had a furious row with Charles and left home, beginning to sleep rough. She joined a funfair and slept in a caravan at night, existing on leftover hot dogs. Her fairground friend died of a drug overdose and she took to sleeping in Waterloo arches in a cardboard box.

This period lasted for four months. She decided to stop living rough following an incident: 'There was this stench and I realised my hair was soaked. A tramp was urinating on my head.' She went to Victoria station and paid 10 pence for a shower and found a job in a croissant shop.

Heather returned to the northeast when an aunt and uncle heard of her plight. They took her into their home and arranged for her to have a Saturday job at a jeweller's shop. She was furious when the owner accused her of stealing a Rolex watch, so in an act of revenge she stole a number of gold chains from him and sold them for £1,000 and bought a moped with the proceeds. She was arrested, jailed overnight and placed on probation.

Heather lost her virginity at sixteen and commented: 'Lovemaking was incredible. Sex was everything I'd ever dreamed of.'

She began to live with her boyfriend, Stephen, but became fed up with the domesticity and ran away to London again, recalling: 'I knew who I was and who I wanted to be and it wasn't a stay-at-home housewife. I dreamed not just of money now, but also of success, of new experiences. I dreamed of being the next prime minister, of being a TV presenter. I wanted to try everything life had to offer.'

After answering a newspaper advertisement, she became a showroom model and travelled to Delhi to try on dress samples before they were mass-produced.

She was modelling topless at the age of seventeen and the next year was running her own mode! agency, ExSell Management UK Ltd. Her friend Diane introduced her. to her brother Alfie Karmal, who sent photographs of Heather to the Daily Mirror 'Dream Girl' contest, resulting in her winning it.

Heather had started up a few small businesses, one that supplied self-adhesive breast supports for backless dresses, another that sold frozen yoghurt; but she sold both of them and for a time hung around rich Arabs such as Adnam Khashoggi.

A reconciliation with her mother began when Heather was 21, but her mother had an accident when a shopping trolley opened up her old leg wound, which wouldn't heal. This led to the formation of blood clots on her heart and lungs, resulting in her death at 45 in February 1989.

Another string to Heather's bow was television work, and she presented or produced a number of programmes, including That's Esther, Wish You Were Here and First Say.

On 6 May 1989, Heather married Alfie Karmal, who was now the sales director of a computer company, a middle-aged man who had children from a former marriage.

Karmal, who had showered her with gifts such as gold Cartier earrings and a £20,000 BMW car, said that he was disturbed by her temper tantrums and her difficulty telling the truth, and recalled: 'It got so bad that I told her I would not marry her unless she saw a shrink to stop the lies and curb her temper.'

Shortly before they were married she disappeared for three months with a man called George, then returned and married Karmal.

Two years later she had lost two babies through ectopic pregnancies. She went to northern Yugoslavia, fell in love with a Slovenian ski instructor called Milos and went to live with him, serving divorce papers on her husband.

On her return to England she became engaged to City bond dealer, Rafaelle Mincione, who she met at Stringfellow's.

She said: 'The intensity of our life was incredible. This was the man of my dreams and my soul mate.' Two weeks after their first meeting she was hit by a motorcycle.

Her accident occurred on 8 August 1993, in Kensington. She was with her boyfriend Rafael Mincione. They were about the cross the road when two police motorcycles sped past. They waited, and then people began to cross the road. As Heather stepped into the road a third police motorcycle came 'from out of nowhere' and she was hurled ten feet across the road. She recalled: 'My training shoe lay on the road, and inside was my left foot. What remained of my left leg pumped out blood.' She passed out and was taken by air ambulance to Mount Vernon Hospital, Northwood, where they failed to re-attach her foot. During a five-hour operation they had to remove more of her leg.

Heather was said to have died four times in the wake of the accident.

When she woke up in hospital the doctor told her that it might affect her sex life, implying that few would want to make love to her. She said: 'I feel sorry for your wife if that's the only position you know.'

Selling her story to the News of the World, she said she and Mincione had made love in the hospital bed. Within weeks she discarded her crutches and was playing tennis, swimming and dancing. She then called off her wedding to Mincione 24 hours before she had the fitting for her £3,000 wedding dress.

Within days she was with Marcus Stapleton, a tennis tournament organiser, saying: 'We are madly, madly in love.' She then had a whirlwind but short romance with a New Zealander and then took up with Chris Terrill, a TV director. An August wedding was planned and Hello! magazine agreed to pay £40,000 to photograph the event. But Terrill called it off, saying she was 'too bossy'. One of the guests who were to have been invited to the wedding was Paul.

The police motorcyclist involved in the accident was Simon Osbourne. When he was cleared of careless driving he then launched a suit against Heather for damages for stress and injuries. As a result, in response to his suit, Heather went to court against Scotland Yard, who eventually agreed to an out-of-court settlement with her of £200,000.

Heather heads the Heather Mills Trust, a charity aiding those who have lost limbs in war areas. It was while she was being fitted for artificial limbs that she realised that earlier artificial limbs have to be abandoned because the stump shrinks over time, and she had the idea of collecting old ones and shipping them out to countries that needed them. The trust was soon helping more than 27,000 amputees in countries that included India and the former Yugoslavia.

She was also nominated for the Nobel Peace Prize in 1996 for her work in Bosnia. Heather has received more than twenty awards for her work and in 1999 the Royal Association for Disability and Rehabilitation also honoured her. Her other awards include the John Major Gold Award for Outstanding Achievement; the Times Human Achievement Award; the British Chamber of Commerce Outstanding Young Person of 1996 award; the 1999 People of the Year Award; the Cosmopolitan Human Achievement 2000 Award; the Pantene Spirit of Beauty Award; Woman of the Year - Blue Drop Group, Sicily; Redbook Mothers and Shakers Award 2001; the 2001 Victory Award by the National Rehabilitation Hospital, Washington, DC.

Heather's autobiography, Out on a Limb, written in collaboration with Pamela Churchill, was published on 6 June 1996.

Heather and Paul first met on Thursday May 20 1999 at the Pride of Britain Awards at the Dorchester Hotel, London, in which Heather was a presenter. Paul saw her present an award to Helen Smith, who had lost her hands and feet through meningitis.

Paul was there to present the Linda McCartney Award for Animal Welfare and had chosen Juliet Gellatley, founder of the vegetarian charity, Viva.

Heather and Paul had been in the lift shortly before the ceremony and Heather recalled: 'I got into a lift and just felt these eyes in my back. I turned round and saw him peeping around the corner. I said: "I think you're eyeing my bum." '

Later, Paul would say: 'I didn't even know Heather had a limb missing. I didn't know who she was, you see, and to see her running on stage, well, it's hard to believe she's disabled. I thought Heather's speech was great and it got me thinking.'

Heather recalled: 'He was up at the top table with Tony Blair and I only spoke to him for a moment when I made the presentation, but Paul told me later he really thought the work I was doing was important and he wanted to help.'

At a ceremony on 22 October Paul presented her with a cheque for £150,000 for her charity.

Heather would later say: 'I've never been offered such an enormous donation before and this time there was enough to set up a trust. It's an amazing thing for him to do. And it's all happened so quickly. He's changed the lives of hundreds of disabled people because of it. And he's changed my life, too.'

She had to catch a plane to Cambodia that day, where she was making a documentary about the victims of landmines. She'd gone with the TV producer Chris Terrill, whom she almost married.

After the charity meeting in which Heather had delivered a speech, Paul was impressed and said: 'So I found her telephone number - like you do - and rang her up and suggested we should talk about the charity and I realised I fancied her.'

On Heather's return from Cambodia she found several messages from Paul asking her to contact him. She was actually sitting with Terrill one Sunday afternoon waiting for their film to be shown when Paul rang. 'Hello, this is Paul McCartney. I've been trying to get hold of you about this charity you organise' he said.

She said: 'Are you near a television set? Switch it on, and call me back when you've seen the film.'

Paul watched the film and called her back.

During the next four weeks the two began to meet frequently to discuss how best to use the money Paul had donated and also to work on a single. By that time her romance with Terrill, which had lasted for only three months, was over.

The rumour of her romance with Paul began following a Guy Fawkes party at Paul's house in Sussex in November 1999.

At the time Paul had lent her his recording studio there to work on her charity single 'VOICE', launched later that month. When he'd given her £150,000 for the Heather Mills Health Trust, he said: 'Why don't you come to my Bonfire Night?'

It was at the party that people began to realise that the two felt strongly about each other. One of the guests would later comment: 'Paul's keen on Heather and she's keen on him. You just have to see them together to realise that.'

She was to say then: 'It's true we have a lot in common: the way we think, the things we do, liking children, playing music. It doesn't even bother me that he's much older than me. Not at all. We get on really well.'

When Heather was spotted the next morning walking the grounds of Paul's house with her dog Oliver, people assumed that the two had become lovers, although Heather said that following her acceptance of the invitation to the party: 'He has the party every year and it seemed the most natural thing in the world to do. So I stayed in his guesthouse.'

The couple went on a ten-day holiday to Parrot Cay in the Turks and Caicos Islands in February 2001, and, when the media began to question him on their relationship, he said: 'It started with us doing charity work together and then it moved on. We have been great friends for a while, but now we are an item. We have been on holiday together, which was wonderful. It's very early days for us and it's a wait-and-see situation. I find Heather a very impressive woman. She is incredibly committed and determined and I admire her greatly.'

In an interview with the Sunday Times, published on 1 April 2001, she said: 'Because I am going out with a very well-known person my reputation has gone down. The association has not been positive. Before I was "Heather the amazing survivor", or "Heather Mills, campaigner" or at least "Heather Mills, model". Now I am just Paul McCartney's girlfriend. If it gains attention for landmines, that's great.' She also said: 'They say every great man has a great woman behind him, and he had a great woman behind him for 30 years.'

While in a London restaurant in 2001 they alarmed the diners with a stand-up row. Later he commented: 'She's a bit bossy and she thinks she's cleverer than me.'

In July 2001 the couple were on holiday at the Sharrow Bay country house hotel in the English Lake District. During dinner on their last day at the hotel, Monday July 23 2001, Paul went down on one knee to propose. She wept and immediately said yes. Paul then presented her with a large sapphire and diamond ring, set in white gold, which he'd bought secretly in February when they were in Jaipur, India.

On Tuesday 24 July 2001 they travelled to London to break the news to his children, Stella, Mary, James and his adopted daughter Heather. They were said to be delighted. His office ran a short statement: 'Paul and Heather are pleased to announce their engagement. They are looking forward to being married "some time next year".

'Paul and Heather say they would like to thank their relatives and friends for all the great support they have shown them.

Paul was 59, Heather 33.

The couple talked briefly to the press outside the Cavendish Avenue house. Paul said: 'I'm still in shock. It's all happened all of a sudden. We're both very much in love and we're just looking forward to it all.' The photographers asked if he could kiss Heather for the cameras, but he said: 'We don't kiss on demand, we're spontaneous.' He ended by saying: 'I'm over the moon. We are very happy. We've had a good reception from friends, relatives and the media.'

Heather caused some raised eyebrows in December 2001 during an interview on the BBC Radio 4 programme The Choice. It was only months after Paul had been declared to be the richest man in pop with an estimated fortune of £713 million and she said: 'If I was going to go out with anyone for their money, it would be someone a lot richer.'

At the beginning of the week prior to the wedding, the British press were reporting some discord in the relationship, saying that the couple had been in an argument at the Turnberry Isle Resort and Club in Miami following Paul's final American show in Fort Lauderdale. It was rumoured that, during the furious row, Paul threw her £15,000 diamond and sapphire engagement ring out of the window. It was said that he asked the hotel staff to search for it and it was later delivered to his London home by one of the hotel employees.

One of the hotel's security guards said that Paul 'kept yelling that he wanted to call it off. The reports also suggested that Paul's daughter Stella was reluctant to welcome Heather into the family and hadn't spoken to her father for a month. It was alleged that a friend of hers had commented: 'She thinks Heather saw that Paul was vulnerable and pounced on him like a preying mantis.'

In fact, there have been many rumours regarding the relationship that 'friends' or 'associates' have suggested. One was that Paul had hoped that Stella would create Heather's wedding dress, that Mary would shoot the wedding pictures, that James would perform for the guests and that stepdaughter Heather would create a centrepiece for the banquet. None of these seem to have occurred.

Paul must have been aware of the family tension as he commented: 'A second marriage is hard for children. They find it difficult to think of me with another woman, but it's how it is and how it must be, and I think that, more than anything, they want me to be happy - and this is what makes me happy.'

He was also to say: They know this is my life and I will continue to live it the way I wish until I run out of time myself. My kids are all that's left to me of the love of my life, Linda, but they have to realise there's a point at which you do pick up and resume life. That's what I'm trying to do. Will I ever love anyone the way I loved Linda? Never, but there will be other loves that are just as special and, right now, Heather is very special.'

Heather's former husband Alfie Karmal was to say: 'She should have "Buyer beware" stamped on her forehead. I just hope for Paul's sake that it doesn't end in heartbreak like our marriage did.'

Heather was aware of the amount of criticism she was receiving from people from her past and the media and said, 'People say I am hardline. They either feel threatened by me or they admire me. Those that criticise tend to be those who do the least for others.'

There was massive press coverage building up to the wedding. One of the newspaper spreads made a comparison between Paul's two weddings. The later one was said to be the most expensive and extravagant show business wedding ever with the papers estimating the cost at £2.5m. London's Evening Standard pointed out that it was a world apart from his simple marriage to Linda 33 years before. Then, the wedding party retired to Paul's house for champagne and then went to the Ritz for lunch, while the 2002 wedding would see a vegetarian meal with an Indian theme served to 300 guests in two marquees erected beside a lake. At the 1969 wedding Linda wore a bright yellow maxicoat and a beige dress while Heather was to wear a £10,000 wedding dress. At the 1969 wedding Mike McCartney was best man and the only other people in attendance were Peter Brown and Mai Evans of Apple, a journalist, Paul's driver and Linda's daughter Heather. A host of international celebrities were invited to the 2002 nuptials. The 1969 wedding costs were between £1.75 and £4 at the register office, lunch for £2 per head and a ring that cost Paul £12. The 2002 wedding had an estimated cost of £2.5 million and the wedding ring cost £15,000. The 1969 civil ceremony lasted five minutes, the 2002 was extensive.

Shortly before the wedding, Heather had £50,000 worth of renovation work done on the £1 million house in Brighton, which Paul had bought for her. Paul had also converted a floor of the MPL offices in Soho as an apartment for the two of them and he was also spending £150,000 on 'panic rooms' in his Cavendish Avenue and Long Island homes.

The couple were married at the seventeenth-century Castle Leslie in County Monaghan, Ireland. It has a thousand acres of grounds and there was tight security with 45 security guards on horseback and 30 guards on foot.

On Monday 11 June 2002 parties were held at the castle until 4 a.m., when the families of Paul and Heather met for the first time to start the wedding celebrations. There were twelve McCartneys and twelve Millses, together with four members of Paul's recent 'Driving USA' tour. They all had a vegetarian meal and Paul's brother Mike toasted the couple before everyone joined in with Irish dancing. Paul also sang and played piano for the guests.

Heather retired early to her room in a separate wing of the castle. Geoff Baker explained: 'They are doing the traditional thing of sleeping in separate rooms while still sleeping under the same roof.

'Paul will be up bright and early regardless of the previous night's festivities - he's an early riser anyway; and remember, he's sleeping on his own so there will by no lying in together. Heather will be up really early, too, as she has so much to do, like any bride. All the talk of there being animosity between Heather and Paul's kids is nonsense - they just want them both to be blissfully happy.'

There were a total of 300 guests invited to the wedding, many of whom were given pink embossed invitations informing them to meet at Heathrow airport at 8.30 a.m. sharp. Two privately charted aircraft then left Heathrow at 11 a.m. with the guests, arriving in Belfast shortly before noon. They were then ferried by six coaches to Castle Leslie, about sixty miles away. Some guests had hired helicopters to fly them directly from the airport to the castle grounds. The guests included Ringo and Barbara Starr, Sir George and Lady Martin, Bob Geldof, Jools Holland, Chrissie Hynde, Sir Elton John, Eric Clapton, Sting, Lulu, Dave Gilmour, Twiggy and Mike Batt.

Paul commented: 'It is basically a family wedding for family and friends. It will be a lot of fun and we won't worry about the rain.

'There will be about ten people there you will have heard of. My mother was born in Monaghan, which is why we're having it here. We're just going to have a great time.'

Geoff Baker's official statement read: 'No expense has been spared. Paul has truly built a castle for his bride. Every girl would want to get married here. It is one of the most romantic places in the world.'

Baker also announced that they had turned down an offer of £1 million from OK! Magazine for the rights to photograph the wedding. They had also rejected an offer of £1.5 million from Hello! magazine. He said: 'Instead we are asking for a donation of £1,000 from newspapers to use a photo of Paul and Heather. That will go to Adopt A Minefield UK, which is Heather's charity, to help landmine victims and support mine clearance. The guests can get wedding presents from a list or give the money to the charity.'

The wedding took place in St Salvator's church in the castle grounds and the two marquees in which the reception was held were of white and gold, situated on the banks of a lake.

Paul had already persuaded Heather to become vegetarian and the wedding banquet was an Indian-inspired vegetarian buffet, prepared by Noel McNeel, the Castle Leslie chef.

There were 300 bottles of vintage Cristal and Laurent Perrier champagne at £180 a bottle, 150 bottles of Chardonnay, 100 bottles of Merlot and an untold amount of beer. A ten-piece band, Celtic Ragas, provided entertainment. Paul had also booked a thirteen-piece band from Englewood, New Jersey, whom he had first seen at the Miramax party in New York following the Concert for New York in 2001. The band, Soul Solution, hadn't been informed that they were to play at the wedding, believing they'd been booked for a corporate bash. They were told when they were flying across the Atlantic. The band performed a two-hour set with songs such as 'Let's Stay Together' and 'Simply The Best', along with their own number 'Here We Are'. When it was over, the singer, Greg Denard, said: 'I think it's only now hitting me. We played at Paul McCartney's wedding. We're professionals, we do a good show. We know how to play and how to conduct ourselves. Sir Paul was wonderful to us. He's very down to earth.'

After the wedding Paul and Heather stayed in the castle's Red Room. This was the room that was alleged to be haunted by the castle's former owner, Sir Norman Leslie, who had been killed in France during the first World War.

The day after the wedding the Daily Mail featured a colour cover of the newly weds with the headline, The new Lady McCartney signs a pre-NUPTIAL contract: Heather's £20m DEAL. The inside story related that Paul hadn't wanted to ask Heather for such a deal in case it upset her, but he changed his mind owing to pressure from Stella, who was opposed to the marriage. A friend of Stella commented: 'She said that she was pushing her father to get Heather to sign something for ages before the wedding because she was worried about him. She has made no secret of the fact that she despises Heather and she is angry that Heather has made little attempt to be friendly to towards her either.'

Following her marriage to Paul, Heather announced that she would be writing her second autobiography, to be called A Single Step. This would focus on her romance with Paul and her charity work.

There were some quite savage attacks on Heather in the British press following the wedding. In particular from Lynda Lee-Potter of the Daily Mail. In one of her columns headed Only Paul can save his feuding family now, she wrote: 'The bride is young and ruthless with a besotted husband' and pointed out that Paul had taken off Linda's wedding ring. She was also to write:

She wants Paul to love only her. She can't tolerate what she sees as competition and her stepchildren increasingly feel sidelined and peripheral in their father's world.

His houses, which were once their homes and full of Linda's vital presence, must feel like alien territory. They've lost their mother and now they're in danger of losing their father to his driven and bossy bride.

The Sunday Times on 16 June had Heather's former husband Alfie Karmal discussing his ex-wife and saying: 'She lived in a dream world, desperate for fame and fortune.'

Even her stepfather, Charles Stapley, made disparaging remarks about her to the tabloids.

Owing to such adverse coverage, Heather's family and friends rushed to her defence. Her sister Fiona arrived from Athens, declaring: 'For the record, my sister is a truly thoughtful, giving and loving person who has always devoted herself to others, whether that be via her charity works or simply helping her family and friends.'

A friend, David Nix, commented: 'I could relate countless good works that she has carried out mostly with no one knowing and also mostly out of her own finances.'

Members of various charities remarked on Heather's unstinting devotion to charities and her remarkable courage.

This is perhaps indicated in Heather's own philosophy: 'The overcoming of adversity, and ultimately denying it the rite of passage, has been a constant and perpetual motive throughout my life.'

On Thursday July 4 2002, at the invitation of Sarah, the Duchess of York, a friend of Heather's, Paul and Heather made their first public appearance following their marriage a month before at Carlton Television's the Britain's Brilliant Prodigies awards show to present some awards.

Heather revealed that she is to be known as Heather Mills McCartney and not Lady McCartney. A member of the television team commented: 'Heather has been known as Heather Mills McCartney throughout our dealings with her on the programme. We've been told that's what she wants to be known as now.'

When asked about their honeymoon in the Seychelles, Paul said: 'Thank you very much. We don't want to talk about that - we're going now.' And the couple left the hall, with Paul playfully slapping Heather's behind.

McCartney H

Paul's second solo album, issued in Britain ten years after his first, on 16 May 1980 on Parlophone PCTC 258. It was released in America on 21 May 1980 on Columbia FC 36511.

The album reached No. 1 in the British charts and No. 3 in the American.

As with the first album, Paul composed all the songs and played all the instruments himself. He took six weeks to record the album in 1979, starting in his Sussex farm, completing it at his Scottish farm and producing and engineering everything himself.

The tracks were: Side One: 'Coming Up', 'Temporary Secretary', 'On The Way', 'Waterfalls', 'Nobody Knows'. Side Two: 'Front Parlour', 'Summer's Day Song', 'Frozen Jap', 'Bogey Music', 'Darkroom', 'One Of These Days'.

The album spawned three hit singles: 'Coming Up', 'Waterfalls' and 'Temporary Secretary'.

The only song which had been written prior to the actual recording sessions was 'Waterfalls'.

McCartney Interview, The

A unique album which originally saw life as an interview for the American magazine Musician: Player & Listener.

The publication's managing editor, Vic Garbarini, travelled to London and held an extensive taped interview with Paul at MPL's Soho Square offices.

The interview initially appeared in print in 1980, in the August issue of the publication. Paul gave his permission for the tapes to be used on a special two-record promotional set by Columbia in the States to be sent to various radio stations for use by their disc jockeys. It worked so well that Columbia was able to issue an album of the edited interview on Columbia PC 36987 in December of that year in a limited issue of 57,000 copies.

The disc was, in fact, nominated for a 1982 Grammy Award in the 'Best Spoken Word, Documentary, or Drama Recording' category but this section was won by Orson Welles narrating the science-fiction classic Donovan's Brain.

In Britain EMI issued limited numbers of the album on Parlophone CHAT 1 on 23 February 1981 and deleted it the same day, a gimmick which created an immediate collectors' item.

The sleeve of the British and American releases both carried two photographs of Paul by Linda.

Paul touches on many topics in the interview: his decision to make a solo album; Stevie Wonder; his reaction to the critical reviews of Back To The Egg; the making of various Beatles albums, including Sgt Pepper, Abbey Road, Rubber Soul and The Beatles; his interest in the bass guitar; Wings' British university tour of 1972; the Beatles' American visit in February 1964; the break-up of the Beatles; British 'New Wave' music; and his 'Mary Had A Little Lamb' single. The track-by-track breakdown of subjects covered on the album is as follows:

Side One - McCartney II; Negative Criticism Of Beatles and Wings; His influences; Venus and Mars/Wild Life/Band on the Run; Musical direction/Ringo/George/'Hey Jude'; The White Album; 'Helter Skelter'; Abbey Road; Musical background/trumpet, guitar, piano/Learning bass in Hamburg; early Beatles mixes/Motown and Stax influences; The Sgt Pepper story/The Beach Boys; 'Pet Sounds'; Rubber Soul/Revolver; Fame and success/his and John's reactions; Stage fright during the Beatles and Wings; how Wings started; New Wave/early Beatles; and Creating the Beatles sound/ 'Love Me Do' and early songs.

McCartney, James (father)

Paul's father was born on 7 July 1902 at 8 Fishguard Street, Everton to Joseph and Florence McCartney. He had five sisters - Edith, Ann, Millie, Annie and Jin and two brothers, Jack and Joseph. Another brother Joe had died and a sister Alice had passed away at the age of eighteen months the year before James's birth.

In his early years he was reared in Solva Street in Everton, a tiny cobbled street of terraced houses.

He attended Steer Street School in Everton and while still at school was given employment at a local music hall, the Everton Theatre Royal, as a lampboy.

Paul was to say, 'He actually burned bits of lime for the limelights.'

Jim was hired to sell programmes before each performance. He would then collect discarded programmes at the end of the show and rush home so that his sister Millie could iron them out in time for the second show, then he'd sell them again, but this time pocketing the money.

The family had an old second-hand piano, originally from NEMS (the Epstein family store, North End Music Stores), which they had been given. It was installed in the McCartney's parlour and Jim taught himself to play, pounding out tunes he'd heard the night before at the music hall.

The family even had what they called 'pound nights' when friends or relatives would arrive for a singsong bringing along a pound of something or other such as sugar or tea.

At the age of ten Jim had broken his right eardrum falling off a wall, . but he continued with his love of music and taught himself to play chords.

He left school at the age of fourteen in 1916 for full-time employment at A Hannay & Company, Cotton Merchants, in Chapel Street, where he earned six shillings a week as a sample boy. At the age of 28 he was promoted to cotton salesman at the Cotton Exchange, earning £5 a week.

It was towards the end of the First World War that Jim started a swing band with his brother Jack on trombone to play at local functions. They called themselves the Masked Melody Makers and had a gimmick of wearing black harlequin masks. At one engagement the high temperature made the black dye trickle slowly down their faces, so they abandoned the masks and the name. They became Jim Mac's Jazz Band and wore dinner jackets with paper shirtfronts and cuffs. They were playing at dances, socials and occasionally in cinemas, and provided music at one cinema for the silent movie The Queen Of Sheba.

Tunes that Jim selected to play for the movie included 'Thanks For The Buggy Ride', played during the chariot scene and 'Horsey Keep Your Tail Up' for the Queen's deathbed sequence.

The band's repertoire included 'Birth Of The Blues', 'Some Of These Days', 'Chicago', 'Stairway To Paradise' and Jim's own composition 'Walking In The Park With Eloise'.

In addition to being pianist, Jim also began to play trumpet, but when his teeth gave out, he just performed on piano.

Jim loved a flutter and gambling once got him into trouble. When the family were now living in West Derby, he wanted to raise some money to send his mother on holiday, but had a dreadful losing streak and found himself heavily in debt.

When his boss Mr Hannay heard of it, instead of sacking him he loaned him enough money to pay off his debts and send his mother on a holiday to Devon. Jim then repaid the cash, saving the money by walking the five miles to work and back every working day for a full year.

World War Two saw the end of the band's engagements. The Cotton Exchange also closed down for the duration of the war and Jim went to work as a lathe operator at Napier's, the munitions factory that specialised in building the Sabre aircraft engine. Jim was 37 years old at the time, basically too old to be called up for military service, and he'd also been exempt from National Service due to his hearing disability.

One night he met Mary Mohin, a nursing sister at Walton Hospital, at his sister Jin's house and on 15 April 1941 the pair were married at St Swithin's Roman Catholic Chapel, Gill Moss, although Jim was agnostic. Jim was 38 while Mary was 31.

While working at Napier's he felt he should participate in some further work to help the war effort and became a volunteer fireman at night.

The couple's first son James Paul McCartney was born in Walton Hospital. To Jim's initial horror, 'he looked awful ... like a horrible piece of red meat,' he said, and went home where he broke down and cried.

They lived in furnished rooms at the time and when Mary put her baby son in a pram in the warm weather that summer, she was horrified to find his face coated with flecks of dust and insisted that they move house. Since Jim's work at Napier's was classified as work for the Air Ministry they were eligible to move into a government sponsored house and moved into 92 Broadway Avenue in Wallasey Village.

The job at Napier's came to an end and Jim began to work at the Liverpool Corporation cleansing department. The pay was notoriously low, so Mary had to return to work.

She stopped work again temporarily when the couple's second son Michael was born, but by that time they had moved to a prefab house in Roach Avenue on the Knowsley Estate.

Due to Mary's work, they were able to move again to 72 Western Avenue, Speke.

Since the war had ended Jim had left the cleansing department for his old job at the Cotton Exchange, although the pay remained poor at £6 a week.

The family then moved to 12 Ardwick Road and later settled down at 20 Forthlin Road.

Paul confirms that his father was a major influence on his life. 'Never overdo it. Have a drink, but don't be an alcoholic. Have a cigarette, but don't be a cancer case,' he told him.

He was also to say, 'My Dad was a pianist by ear and then a trumpeter until his teeth gave out. He was a good pianist, you know, but he would never teach me, because he felt that you should learn properly. It was a bit of a drag, because a lot of people have said that I do chords a lot like he used to do. I'm sure I picked it up over the years.'

At another time he commented, 'Dad used to play the cornet a lot, just for fun, at home. This was my earliest musical influence at, say, the age of five. This and the radio, listening to Luxembourg under the bedclothes, the Top Twenty Show on a Sunday night.'

Naturally, Jim was devastated when Mary died. 'I missed my wife -it knocked me for six when she died,' he said. 'The biggest headache was what sort of parent I was going to be.'

Milly and Jinny, two of his sisters, regularly came around the house to help out with the cleaning and his younger son Mike was to remark,

'He had to decide to be a father or a mother to his two growing lads. Luckily, he chose to be both, a very hard decision when you've got used to being the man around the house.'

When the Silver Beetles were given the opportunity to tour Scotland backing Johnny Gentle, Paul lied to his father.

On his return from Germany, Jim insisted that Paul get a job and he signed on at the labour exchange. He found work at a local firm, but soon gave it up.

Jim didn't think much of the Cavern and told Paul, 'You should have been paid danger money to go down there.' He was also suspicious of Brian Epstein at first, referring to him as 'a Jew boy'.

Early in the Beatles' career, Paul was to say, 'Dad always encouraged me to take up music. He likes our sound, I think - but sometimes says we're away from home a bit too much. He put up with my practice sessions for years which shows he's a brave man.'

Commenting on his father, Mike McCartney said, 'My dad taught me a lot of things; we both owe him a lot. He's a very good man, and he's a very stubborn man. He looks more like Paul than me, but I've got him inside me.

'Of course, it would have been easy for him to have gone off with other birds when Mum died, or to have gone out getting drunk every night. But he didn't. He stayed at home and looked after us.

'He's a brilliant salesman with a very fine business brain and he could have gone right to the top in business if he had played the rules like they are now, if he had wanted to kill. He knew that to be a good businessman you have to have that killer streak, and he just wasn't prepared to be like that. And it would have meant neglecting us, and he wasn't prepared to do that, either. He told us that you have to be prepared to kill if you are to get to the top, and if he'd been prepared to pay that price he could have got there. But he was not prepared to do that - and that is the big lesson he taught us. It has rubbed off on to both of us; neither of us has really got that killer streak.'

On 6 July 1964, following the premiere of A Hard Day's Night in London, it was the eve of Jim's birthday. While they attended the after-show party at the Dorchester Hotel, Jim was introduced to Princess Margaret. At midnight Paul said, 'Happy Birthday, Dad' and handed him a painting of a horse.

'Thank you, son, very nice,' Jim said, thinking, 'It's very nice, but couldn't he have done better than that,' when Paul revealed that the painting was of a £1,050 racehorse called Drake's Drum which he'd bought as his father's present.

Jim was delighted, 'You silly bugger,' he said.

Also in 1964, when Jim was 61 years old, Paul asked his father if he wanted to retire from his £10 a week job at the Cotton Exchange. He said he'd maintain him for the rest of his life and buy him a nice house in Heswall, 'across the water' from Liverpool. Jim was delighted.

1964 was also the year that Jim remarried. His bride was Angela Lucia Williams, a widow of Northwood, Kirby, who was 28 years younger than him and mother of a five-year-old daughter, Ruth.

They married on 24 November at St Bridget's Church in Carrog, North Wales. At the time Jim owned a house, 'Afon Rho' in Carrog and the vicar of the church was the Reverend D J Bevan, a former chap-Iain of Walton Hospital, Liverpool, where Paul and his brother Mike had been born and where Mary McCartney had worked.

Jim had been affected by arthritis for some time and for eight years before his death the attacks were crippling. He had to move into a bungalow and Paul bought 'Rembrandt', his house, back from him. Jim died at his home in Heswall on 13 March 1976. His final words were, 'I'll be with Mary soon.'

Jim was 73 years old. John Lennon, in New York, was one of the first people to hear of Jim's death and he was the one who actually phoned Paul to tell him the sad news.

The funeral took place on 22 March and Jim was cremated at Landican Cemetery.

Paul didn't attend his father's funeral. His brother Mike said, 'It was no coincidence that Paul was on the Continent at the time. Paul would never face that sort of thing.'

McCartney, James (son)

Born on 12 September 1977. He was delivered by Caesarean section and weighed six pounds and one ounce. Paul and Linda issued their official photograph of James eight days after his birth and Paul was able to comment, 'I'm over the moon! When I knew the baby was a boy I really flipped. I was waiting outside the door while he was being born. He has fair hair and looks like Linda. She's still a bit tired, but otherwise smashing. I don't know how she does it.'

On Monday 13 September 1993 James had a lucky escape while bodysurfing off the coast of east Sussex. He was celebrating his sixteenth birthday. His partners lost sight of him for forty minutes and a lifeboat and helicopter took part in a search. He was found drifting off the entrance to Rye Harbour. Paul rushed to the hospital and said, 'We are all distressed by this, and the most important thing is to get back and look after him.'

Linda was to say, 'It was scary for a parent. He was out there not even knowing we were all panicking. It was a panic, as you can imagine. But everything is well - his friends and everyone were great. I just count my blessings!'

There was some criticism about the air-lift rescue of James and a furious Paul was to say, 'After the sea rescue, some people said, "Oh, why's his bloody son got the helicopter?" I say, "What do you mean? My son's entitled just like your fucking son." Would they say, "Hang on, leave him because he's rich?" Would they say, "Hang on, check

his Barclaycard. Oh no, he's flush. Leave the bastard to drown?" It's not on!'

In May 1995 the 17-year-old James was involved in an accident on farmland near Peasmarsh.

He was driving his Land Rover when it hit a rut and overturned and James was trapped beneath it. His leg was caught beneath the three-and-a-half-ton vehicle for half an hour while a friend ran for help. Doctors, an ambulance and a fire crew rushed to the scene and the Land Rover was lifted by air bags. He was immediately treated for a broken ankle and then airlifted by helicopter to the Conquest Hospital, Hastings.

James has followed in his father's footsteps, taking up the guitar, and he co-wrote and performed on two tracks on the Driving Rain album, 'Spinning On An Axis' and 'Back In The Sunshine Again'. He played percussion on the first track and guitar on the second.

McCartney, Joan

One of Paul's aunties. When he appeared in Liverpool on 21 March 2001 to sign copies of his poetry book Blackbird Singing his Auntie Joan was waiting for him in the WH Smith branch in Church Street and hugged him as he entered. She said, 'It's always lovely to see him and I am always very proud. I've had a quick scan of his poems and they seem very good.'

McCartney, Joseph

Paul's fraternal grandfather, who was born on 23 November 1866. He was a tobacco cutter at Cope's in St Vincent Street. Joseph had played the E-flat bass in Cope's band and the Territorial Army Brass Band, and was also noted for his ability as a singer.

At the age of 29 he married Florence Clegg.

Joe encouraged his children to take music seriously and also to learn to play an instrument.

He died before Paul was born.

McCartney, Josh

The first son of Mike and Rowena McCartney who was born at Arrowe Park Hospital in the Wirral, Merseyside on 18 August 1983. At the time, the 22-year-old Rowena, a dress designer, was suffering from a rare disease that causes convulsions during pregnancy. Josh was born nine weeks prematurely and was immediately placed in an incubator and life-support machine. He weighed only 2lb 8oz at birth. Fortunately he battled for his life and put on weight, causing Mike to comment, 'He's absolutely marvellous - a real McFighter.'

Paul's nephew was also to enter a career as a musician and Josh became a drummer and in 2001 was performing with an indie band, the trio Trilby.

McCartney, Linda Louise (nee Eastman)

Linda was born in Scarsdale, New York State, on 24 September 1942. Her paternal grandparents fled from Russia and set up a little furniture store in New York. Her father, Leopold ('Lee'), the son of Mr and Mrs Louis Epstein, was poor, but won a scholarship to Harvard, graduating from the law school there in 1933. He eventually became a lawyer for prestigious clients such as Tennessee Williams and the artist Willem de Kooning.

Her mother, Louise Sara Linder Eastman, born in Cleveland on 9 November 1911, was the only child of Max and Stella Dreyfous Linder, who owned major department stores. She married Leopold Veil Epstein in 1937 and on the birth of their first child, John, changed the family name to Eastman. Linda was their next child, followed by Laura and then Louise Jr.

When Linda was a child, the songwriters Jack Lawrence and Ann Rochell composed a song, 'Linda', for her in 1948. Her father was a specialist in copyright law in the show business field and agreed to undertake some legal work for Lawrence in exchange for his writing a song dedicated to his six-year-old daughter. It was first recorded by Buddy Clark and then by Jan and Dean in 1963 and Jimmy Young and Dick James, the Beatles' music publisher, also recorded it.

Linda had a privileged upbringing, since her parents lived in Scarsdale, Westchester County, in upstate New York. They also owned a house in East Hampton and an apartment in Park Avenue. Many celebrity guests were invited to dinner parties at their home including the songwriter Hoagy Carmichael, the jazz legend Tommy Dorsey and the actor William Boyd, who portrayed Hopalong Cassidy on the silver screen.

Her education was also privileged, for she followed a period at Scarsdale High School by moving to the exclusive Sarah Lawrence School in nearby Bronzville.

When she graduated from Scarsdale High, her senior year entry in the yearbook noted that she belonged to Advertising Club 4, Chorus 1, 2, 3, 4 and Pep Club 3, 4. She was also described as 'strawberry blonde ... [with a] yen for men. Shetlandish.'

Linda loved music and commented: 'All my teen years were spent with an ear to the radio.' She would often play truant to attend concerts at the Paramount Theater in Brooklyn and recalled: 'They'd have twenty acts on, twenty-four hours a day. Alan Freed was the MC, but sometimes they'd get Fabian or Bobby Darin to MC. I remember seeing Chuck Berry sing "School Days" for the first time.'

She also remembered: 'At home in Scarsdale, New York, which was out in the countryside then, although it's a suburb now, I listened to the Alan Freed rock-'n'-roll show on the radio every night of the week, seven to ten. He never played a bad record. The Dells, the Doves, the Moonglows - I was into them all. I wasn't in a band but some of the girls used to sing doo-wop together for fun up in our school's music tower.'

Louise Eastman died in a plane crash on 1 March 1962 on an American Airlines flight from New York to Los Angeles. She and her husband had made a pact never to travel on a plane together in case an accident left their children orphans. It was a prophetic decision. Louise was 50 years old.

Linda was a fine-arts major at the University of Arizona, where she met Joseph Melvin ('Mel') See Jr. Linda felt that the traumatic effect of her mother's death precipitated a hasty marriage in 1962. She was to say: 'My mother died in a plane crash and I got married. It was a mistake.'

Linda and her new husband continued their studies at the University of Colorado and then moved to Tucson, Arizona, where she discovered she was pregnant. She gave birth to her first daughter, Heather, on 31 December 1962.

See became a geophysicist. Linda, who realised that the marriage wasn't working, said: 'When he graduated he wanted to go to Africa. I said, "Look, if I don't get on with you here I'm not going to Africa with you. I won't get on with you there." '

See went to Africa, still hoping that Linda would follow, but she wrote to him saying she was going to get a divorce.

It was while in Arizona that Linda studied art history at the University of Arizona. While she was there she began taking an interest in photography following a short course in the subject given by wheelchair-bound Hazel Archer at Tucson Art Center. Linda said: 'Arizona opened up my eyes to the wonder of light and colour.'

In an interview, Linda was to say: 'When my marriage broke up, I decided to get away from everything I had ever known before. I moved down to Tucson, staying with friends, studying photography at a local college and spending much of my time riding on the edge of the desert. For the first time I started going round with artists, actors and writers, and all that helped me to discover who I am. It changed my life, meeting so many interesting, intelligent people.'

Her divorce from Melvin See was finalised in June 1965, and the following year Linda reverted to her former name, Eastman. (Mel was to commit suicide in March 2000 at the age of 62, and it was rumoured that this was caused by the depression he suffered as a result of Linda's death.)

Linda and her daughter moved to New York to join her father and brother John and she became a receptionist with Town and Country magazine. When an invitation arrived to cover a Rolling Stones reception on the SS Sea Panther on the Hudson River, Linda snapped it up, grabbed her Pentax, jumped in a cab and went down to the boat. She said: 'I stood there on the quay with my long blonde hair and, I guess, a miniskirt. I must have caught the band's eye because a woman came down the gangway and said I was the only photographer they would allow on board. I got well into it, using black and white. Then back on the quay all the journalists came up and gave me their cards because they needed the pictures. I got them back from the lab and, lo! they were wonderful.

'After that I started to get a lot of work with bands like the Jimi Hendrix Experience, Lovin' Spoonful, the Doors, Jefferson Airplane, the Grateful Dead and the Beatles. One reason is, I was the cheapest photographer in town. Give me a credit and pay for the film and I'd do it.'

The Stones were No. 1 in the American charts with 'Paint It Black' that week of the Sea Panther reception, and Linda discovered she was the only photographer on board. The photographs established her reputation and she became friends with Mick Jagger and also with other British artists such as Eric Burdon of the Animals, while she continued taking photographs of the bands. When the Fillmore East opened in New York she was invited to become the official photographer for the venue. Linda wasn't actually paid any money for the job, but it gave her the opportunity to photograph a host of major stars, including Janis Joplin, Jim Morrison and Pete Townshend.

Discussing her method of work, she said: 'I've always liked to spend a day with someone if I'm going to take their photograph. If you have a really nice day, having lunch together, going to the zoo maybe, the pictures can't fail to turn out well'.

The first time she met the Beatles was at Shea Stadium in 1966. She recalled: 'It was John who interested me at the start. He was my Beatle hero. But when I met him the fascination faded fast and I found it was Paul I liked.'

The author J Marks was preparing a book to be called Rock and Other Four Letter Words, and, on his invitation, Linda flew to London to photograph some of the major groups. It was during that trip that she met Paul at a fashionable 'in' club.

Paul was to say in 1993: 'The night Linda and I met, I spotted her across a crowded club, and, although I would normally have been nervous chatting her up, I realised I had to. So when she passed our table I asked her to come with us to another club, and she said yes.

'I realise now that, if she had said no, we wouldn't have married, and our four beautiful children would not have blessed our lives. Pushiness worked for me that night!'

The club at which they met was the Bag O' Nails in Kingley Street and Linda was in the company of Chas Chandler of the Animals. Georgie Fame & the Blue Flames were performing that night.

Interestingly enough, Linda would later recall: 'I was quite shameless really. I was with somebody else at the Bag O' Nails Club in Soho to see Georgie Fame & the Blue Flames and I saw Paul at the other side of the room. He looked so beautiful that I made up my mind I would have to pick him up.'

Linda's photographs were much appreciated by the leading acts and Jimi Hendrix wanted her to shoot the cover of his Electric Ladyland album. He was disappointed when the record company rejected Linda's picture and used one of a group of naked girls instead.

Brian Epstein's assistant, Peter Brown, admired Linda's photographs and asked if he could buy some of her shots of Brian Jones of the Rolling Stones. Linda gave them to him as a present and he put her on the list of exclusive guests invited to the Sgt Pepper party Epstein was hosting at his home on 19 May 1969, where she met Paul for the second time.

In his book The Love You Make, Brown was to write:

The girl that turned up at Chapel Street that May nineteenth wasn't the same sloppily dressed girl I had seen in my office a few days before. She wore impeccably applied make-up, including long, fluttering false eyelashes. It wasn't long before she zeroed in on Paul. He watched as Linda sank to her knees in front of his chair and began snapping photos of him. Although she tried to manage otherwise, she left with all the other photographers.

The two met for the third time when Paul arrived in New York with John Lennon to promote Apple in May 1968. As there were so many people around when they saw each other again, she slipped a piece of paper in his hand. It had her phone number on it. Paul phoned her that evening and spent a few days with her, during which he babysat for Heather when Linda went to take some photographs at a gig.

Paul returned to London and a few weeks later invited Linda to join him on a business trip to Los Angeles. The couple spent a week together at the Beverly Hills hotel on Sunset Boulevard. Linda then returned to New York with Paul and an entourage, who included the Apple Records boss Ron Kass and Paul's childhood friend Ivan Vaughan. Paul then returned to London and Linda remained in New York.

Five months after Paul had split with Jane Asher, he asked Linda to join him in London. She recalled: 'I came over and we lived together for a while. Neither of us talked about marriage. We just loved each other and lived together. We liked each other a lot, so, being conventional people, one day I thought: OK, let's get married, we love each other, let's make it definite.'

The two of them had had their share of lovers and they sat down and discussed their past affairs together. Some years later, Paul said: 'You prove how much you love someone by confessing all that old stuff. Both Linda and I were ravers back then. But that's one of the reasons our marriage has worked. We had both sown our wild oats and gotten it out of our system. We got it all out before we were married.'

When they were married at Marylebone Register Office on 12 March 1969, Linda was 27 years old and four months pregnant. The previous day, she had rushed to the register office to give notice of their wedding plans, booking the ceremony for 9.45 a.m. the next day. That evening, Paul was recording the Liverpool singer Jackie Lomax performing 'Thumbing A Ride' and realised he'd forgotten to buy a ring. He managed to talk a jeweller into opening his shop specially that evening and he bought a plain gold ring for £12. Paul and Linda spent that night at his Cavendish Avenue house. On the morning of the wedding, the press began to gather outside Cavendish Avenue at 6 a.m. An hour later a group of fans stole Paul's mail and telegrams. The police then escorted Paul and Linda to the register office, where a crowd of about 300 had gathered.

Paul's best man was his brother Mike. Unfortunately, his train from Liverpool was delayed and he arrived an hour late. He rushed into the register office apologising: 'Forgive me, it wasn't my fault. Have you been done?' Since there were no other weddings booked for that morning, Paul was able to say: 'No, we've been waiting for you.'

Linda wore a yellow maxi-coat, a beige dress, brown stockings and buckled shoes. Paul wore a dark-grey suit, made by Dougie Millings, the former Beatles tailor, along with a lace shirt and a yellow tie to match Linda's coat.

Apart from Mike, the only other people present at the ceremony were Linda's daughter Heather, who was bridesmaid, Peter Brown and Mai Evans of Apple, Paul and Linda's driver Don Murfet and the journalist Mike Housego. No other members of the Beatles were present, owing to the fact that Paul was taking legal action to dissolve the group.

The magistrate, ER Sanders, and the superintendent registrar, JL Jeavons, performed the ceremony. The couple later received a blessing from the Rev. Noel Perry-Gore at St John's Wood Parish Church, with Paul commenting: 'I'm a lapsed Catholic, but I would like our marriage to be blessed in church.'

The party then moved to Cavendish Avenue, where the press had gathered, and Paul gave them champagne to sip and answered various questions.

Linda told them: 'No. I'm nothing to do with the Eastman-Kodak family.' Paul said: 'What? I've been done. Where's the money?'

Commenting on the marriage years later, Paul said: 'To the world, of course, she was a divorcee, which didn't seem right. People preferred Jane Asher. Jane Asher fitted. She was a better Fergie. Linda wasn't a very good Fergie for me and people generally tended to disapprove of my marrying a divorcee and an American. That wasn't too clever. None of that made a blind bit of difference. I actually just liked her, I still do, and that's all it's to do with.

'I mean, we got married in the craziest clothes when I look back on it. We didn't even bother to buy her a decent outfit.'

After the wedding, Paul and Linda then went on to the Ritz Hotel in Piccadilly to join their friends for their reception.

That evening Paul and Linda spent time in the recording studio where Paul finished the recording of Jackie Lomax's disc. Five days later they flew to New York to visit Linda's family.

Paul had taken Linda to see High Park Farm shortly before their wedding and they returned to the 180-acre Scottish farm to find some refuge. After they'd returned from New York, the female fans who'd hung around the Beatles' haunts began booing and hissing Linda, taunting her with remarks such as 'ugly face' and 'hairy legs'.

Linda said: 'I just wasn't ready for all of it. I married Paul because we loved one another and I didn't even think about the attacks that were going to be made on me. All I could do was just go on being myself and let people either take me or leave me.'

She would also recall: 'The girls went to war when I married Paul. Looking back I think I took on a battle when I should have just said that I understood, and tried to talk to them. But it was difficult. I had been a free woman in New York. When I married Paul I suddenly felt fenced in. We would go home at night and find about twenty girls outside who had been standing there for five years! They each felt as though they were Paul's wife. They would say: "I hate you. You're horrible. Why didn't he marry Jane Asher? At least we knew her." They painted nasty things all over our walls and played their radios real loud at night outside our house.'

Fans actually broke into the Cavendish Avenue house, stealing Linda's clothes and ripping up her photographs.

One of the first songs that Paul wrote after the couple were married was 'The Lovely Linda'. Another was 'Maybe I'm Amazed'. Both songs were included on his solo debut album McCartney.

Linda loved High Park Farm and said: 'The light in Scotland is the best light in the world for me. The incredible beauty in old rocks and moss, the sky, the changes in the weather. It's good.'

They were to remain there for a time with Heather, their new baby daughter Mary and the sheepdog Martha.

Paul and Linda would have two further children, Stella and James.

When Paul decided that he wanted to return to the active music scene by forming a new band, he wanted Linda to become part of it, even though she hadn't played a musical instrument since her schooldays. She protested, but Paul insisted. He told her he could teach her a few chords on the electric organ. Looking back on that, she would say: 'I really tried to persuade Paul that I didn't want to do it.'

Although Linda had loved the music scene, she had formerly eschewed learning an instrument and recalled: 'I was forced to learn piano and, like a lot of children forced to do something against their will, I rebelled against that, learned nothing and finally got away.'

When they appeared at their first university gig, Paul introduced the band and told the audience they were going to begin with a song called 'Wildlife'.

'One, two, three ...' he began. But nothing happened. Linda was supposed to begin the song with a few simple chords on the electric piano. 'I've forgotten the chords,' she told him.

'OK, Linda,' he said. 'Just put that finger on C, that one on F sharp, like this, that's right, and then you'll remember the rest.'

That evening Linda broke down and cried and she was aware that Henry McCullough and Denny Seiwell were unhappy with her being in the band.

Recalling the incident, Linda said: 'I cried. The first time when I hit the stage with Paul I was terribly nervous, that I cried. I didn't know what I was doing over there. I can remember the time when I had forgotten the intro of a song completely. Paul gave me a clue and then there was silence: I couldn't remember the music. He looked at me, but it was useless: I couldn't remember anything at all. Paul realised that something was wrong, so he came to my keyboard to show me the intro, but then he forgot the music as well and it became one big laugh.'

Paul told her: 'If you think of any group or musician, there has to be a time when they're learning. George Martin didn't want Ringo to play on our first Beatles record because he thought he wasn't good enough and Ringo must have felt like giving up then. But he stuck it out and pretty soon he became a great drummer.'

During the Wings tour in 1975 Linda was asked if she ever saw herself as a musician. She replied: 'Not even when I married Paul I didn't. If he hadn't said anything I wouldn't have done it. It was his idea - it wasn't like me saying: "Listen I can do this. I never tried to sing or play or anything."'

Linda wasn't initially happy about being a member of the band as her first calling was photography. In 1998 she was to comment: 'Playing in a band totally stopped me from being a working photographer; my career just stopped. Before that I was taking pictures for all sorts of magazines and I was also working on photographs for a book about rock 'n' roll . But I joined a band and all the time that I was in that band I would have been taking photographs. Photography was more important to me than music, but my husband and my family were more important to me than photography, and I was prepared to give up photography for them.'

On another occasion she said: 'When the Beatles broke up Paul said: "Let's you and me do a band." It was like a tennis pro asking me if I wanted a game. I said: "Well, I don't play an instrument. I love music, but I'm a photographer"; and he said: "Well, here's middle С on the piano - you can learn and then you can play keyboards." So I learned. Nobody taught me the keyboards. I just learned twelve bars; I taught myself. In Wings they said I sang out of tune - big deal! Most punks do and I love punk music. I don't like things to be perfect and beautiful. I like rough music, so I'm the rough edge.'

Paul was to say: 'It was OK for me to have her on stage. Linda is the innocence of the group. All the rest of us are seasoned musicians - and probably too seasoned. Linda has an innocent approach, which I like. It's like when you hear an artist say: "I wish I could paint like a child again." That's what she's got. That is very easily made fun of and if an artist does a naive drawing people say: "Ooh, he can't draw." But if you talk to an artist like Peter Blake he'll tell you how much great artists love the naivete of aboriginal paintings. Linda's inclusion was something to do with that. She was a mate. I wanted her on stage and so I thought: We'll have her on stage. "We didn't do badly. We took a lot of flak with Wings; but you look at the hits we had.'

Linda developed a growing authority as a musician during the world tours she embarked on with Paul. She also appeared in a cameo role in the popular BBC TV series Bread, scripted by her friend Carla Lane.

The only time Paul and Linda were ever parted during their years of marriage was the nine days that Paul spent in a Japanese jail.

In 1985 Paul recalled: 'Most people thought I was due to marry Jane Asher. I rather thought I was, too. But I just kept remembering Linda, this nice blonde American girl. I twisted her arm and finally she agreed to marry me. Linda was afraid it wouldn't work out. And I kept telling her: "Aw, come on, it'll be fine." I'm still telling her that.'

Of her life as a vegetarian, Linda would comment: 'I love cooking. I find it artistic and sensual. My kitchen is the sexiest, most creative room in the whole house - apart from my bedroom!'

Yet none of her dishes contain meat. She was to say: 'I want to convert people from demanding flesh on their plates. For every bit of meat they eat, an animal has been killed.'

For her efforts in promoting vegetarianism and animal welfare, she was presented with a Lifetime Achievement Award by PETA (People for the Ethical Treatment of Animals) in December 1991.

What aided Linda in her veggie ventures was TVP - textured vegetable protein. Linda pointed out: 'It looks, chews and tastes like meat, but it's made from soya bean or wheat.'

After her death, the Vegetarian Society announced: 'Her contribution to vegetarianism was tremendous. Linda had a passion and a desire to change people's attitudes. Her positive outlook and dedication to promoting a diet that would bring about the end of animal suffering was absolute.'

Linda had been successful in the publishing world with her books of photographs. Over the years they included Linda's Pictures, Sun Prints, Linda McCartney's Sixties, Roadworks and Wide Open.' Her photographs were exhibited in galleries in more than fifty countries around the world, including the Victoria and Albert Museum in London.

Linda also became a publishing phenomenon with her cookbooks.

In 1998 she published her book of vegetarian cooking, Linda's Home Cooking, which was to sell over 400,000 copies and become the world's biggest-selling vegetarian cookbook. This encouraged Linda to begin to produce her own range of healthy vegetarian dishes in 1991. On 16 May 1995 she opened a new £10 million factory in Fakenham, Norfolk, where her products were manufactured. When production began she sold over 100 million units and her dishes became the best-selling vegetarian deep-frozen foods in the United Kingdom. She began to market them on a worldwide basis and in 1994 her products were named 'Best New Meat' by the American food industry.

By the end of 1997 her vegetarian food company, MacVege Ltd, already successful in Britain, had expanded to six other European countries. Linda McCartney's Frozen Foods had also been available in America since October 1994 and included vegetarian lasagne and meatless beef stroganoff.

The managing director of MacVege was Tim Treharne, who helped Linda implement his ideas while he handled the business side of the company.

In 1997 Linda commented: 'I've taken profits from the sale of my food and used them to set up a food-development kitchen. In this development kitchen, we're making meals from Indian recipes, Chinese recipes and dishes from all over the world.'

Linda was not only a vegetarian, but also supported organisations such as Greenpeace, Friends of the Earth and the Council for the Protection of Rural England.

Sadly, what is arguably the most romantic marriage in rock-'n'-roll history became tragic.

On Saturday 9 December 1995 a routine scan revealed that Linda had a small malignant cancer on one of her breasts. Paul said: 'Linda had a scan at the Princess Grace Hospital in London and was found to have a small lump. She has had an operation to remove the lump, which was performed successfully. Luckily it was caught in time.

'Fighting breast cancer is something we've been keen to promote and we would urge anyone with a worry about this to check it out at an early examination with their doctor.'

Early in 1996 she began having chemotherapy sessions once or twice a week. By the summer of that year the McCartneys cancelled a holiday in the South of France with Ringo Starr because Linda was too ill to travel, although on 3 September Paul said: 'Linda is not seriously ill. She's recovering from cancer and doing incredibly well.' In October she visited Los Angeles for a high-dose chemotherapy treatment. By December 1996 it seemed as if her health was improving and she was pictured with cropped hair.

She had been having treatment, which seemed to have worked, but in March 1997 it was discovered that the cancer had also spread to her liver. She was unable to accompany Paul to Buckingham Palace when he received his knighthood on 11 March 1997.

Linda continued to fight against the cancer and on Wednesday October 15 1997 she was able to appear at her daughter Stella's fashion show. Linda declared herself 'fit and well' and applauded Stella, saying: 'We flew into Paris this morning and came straight here. Right now I'm feeling great. I'm looking forward to having lunch together as a family before we go back to London.' After the show Stella collapsed into her mother's arms and said: 'I'm so happy Mum and Dad could make it today.'

Linda also rallied enough to be present at the Standing Stone premiere at the Royal Albert Hall in November 1997.

In her last interview Linda felt that she'd won her battle; and, of her relationship with Paul, she said: 'We're like boyfriend and girlfriend again, like love-struck teenagers, enjoying life at the Scottish farm. I've always thought life is to be lived. I know that Paul and I are coming up to our thirtieth wedding anniversary, but some days it feels like we have just got together and I love that. I love it when there's a power cut, no light, no heat and I'm having to cook over an open fire while Paul serenades me on guitar. I love that simple life.

'Yeah, I'm back. Now the kids have flown the nest it's meant that Paul and I have become like boyfriend and girlfriend again. We're doing those little things together that you do when you're first dating -going to the theatre or just walking hand in hand through the fields. How many married couples of thirty years' standing do you know who walk about holding hands? In some ways we haven't grown up. I guess it must be love!

'When Paul was knighted he said at the time it was great because he got to make his girlfriend a lady. But nobody called me Lady Linda or Lady McCartney. I'm still just Linda and he's Paul. Sure, it's a great honour for Paul and I'm proud of him. But it doesn't seem real that my boyfriend is a knight - although he's always been a hero. We're enjoying life, but then we always have. I have always said that life is to be lived. I know a lot of people say that but I really do mean it. I'm busier now than I've ever been.

'My intention is to develop meat-free versions of every food we currently get from animals. All my life I have cared for animals. I'm aiming to save the bacon of a lot of pigs right now. One of the secret projects I've been working on is to develop meat-free bacon that cooks and tastes like the real thing. That will be a real treat for Paul: he's always said that's one of the things you miss most when you give up meat - a bacon buttie!'

In the last two years of her life Linda compiled her third vegetarian cookbook, Linda McCartney On Tour, took photographs for two further exhibitions of her photography, produced a short animated film and worked on finishing her solo album, Wide Prairie.

There were sixteen tracks on the album, thirteen written by Linda herself and three that were cover versions of R&B and reggae numbers. Writing in the sleeve notes, Paul comments: 'The sweet innocence of this song made many of our friends decide to "go veggie". Linda has done more than anyone else to bring vegetarianism into the dietary mainstream of our society.'

Linda wrote two of the numbers in collaboration with Carla Lane, who said: 'She worked at it until the end. She wanted to get this record out no matter what she was going through. This is the bravest album ever made.'

The two numbers they wrote together were 'Cow' and 'The White Coated Man'. Six of the songs on the album were in defence of animals and one number, 'The Light From Within', saw her lashing at the critics who carped at her beliefs. Paul said: 'It was her answer to all the people who had ever put her down and that whole dumb male-chauvinist attitude that to her had caused so much harm in our society. God bless her, my little baby literally had the last word.'

When asked how she coped with those critics who wrote about her, she answered: 'By not caring about it. Critics can destroy artists; I read criticisms about people I love and think: Have we met the same person? I know that a lot of my critics have never met me even though they write as if they know me. I am too busy living life to really get hung up about what they say.'

Shortly before she died she was having treatment at the Sloane Kettering Cancer Center in New York. The centre practises an experimental new treatment called 'aggressive high-dose chemotherapy'.

Linda died at 5.04 a.m. on Friday 17 April 1998 at the ranch in Arizona that she and Paul bought in 1979. Of the last hours, her friend Carla Lane reported that Paul 'got into bed with her and lay with her and said everything was going to be all right. He held her and talked to her through the night.' Paul was to tell friends: 'There was no better way for her to go.'

Mary, Stella and James had remained with Linda throughout the night, but her eldest daughter Heather arrived minutes too late.

Linda was 56 years old at the time of her death and was cremated within hours. There had been reports that she had died in Santa Barbara, although the death was not registered in the Santa Barbara district. This resulted in officials from the Santa Barbara coroner's office investigating as to why no death certificate had been filed and no cremation permit sought. It was then revealed that the death had occurred in Arizona and the Santa Barbara story had been concocted to allow the family to grieve in private.

Paul brought Linda's ashes home and scattered part of them in the countryside near their home in Peasmarch, East Sussex. Stella, James, Mary and Heather accompanied him. He retained some of the ashes to keep by him, saying: 'She will always be with me. I have the little urn and she is here with me now.'

Paul also made an official statement:

This is a total heartbreak for my family and I. Linda was, and still is, the love of my life, and the past two years we spent battling her disease have been a nightmare.

She never complained and always hoped to be able to conquer it. It was not to be.

Our beautiful children - Heather, Mary, Stella and James - have been an incredible strength during this time, and she lives on in all of them.

The courage she showed to fight for her cause of vegetarianism and animal welfare was unbelievable. How many women can you think of who would single-handedly take on opponents like the Meat and Livestock Commission, risk being laughed at, and yet succeed?

People who didn't know her well, because she was a very private person, only ever saw the tip of the iceberg. She was the kindest woman I have ever met, the most innocent.

All animals to her were like Disney characters and worthy of love and respect. She was the toughest woman who didn't give a damn what other people thought. She found it hard to be impressed by the fact that she was Lady McCartney. When asked whether people called her Lady McCartney, she said: 'Somebody once did - I think.'

I am privileged to have been her lover for 30 years, and in all that time, except for one enforced absence, we never spent a single night apart. When people asked why, we would say - 'What for?'

As a photographer there are few to rival her. Her photographs show an intense honesty, a rare eye for beauty.

As a mother she was the best. We have always said that all we wanted for the kids was that they would grow up to have good hearts, and they have.

Our family is so close that her passing has left a huge hole in our lives. We will never get over it, but I think we will come to accept it.

The tributes she would have liked best would be for people to go vegetarian, which, with the vast variety of foods available these days, is much easier than many people think. She got into the food business for one reason only, to save animals from the cruel treatment our society and traditions force upon them.

Anyone less likely to be a businesswoman I can't think of, yet she worked tirelessly for the rights of animals, and became a food tycoon. When told a rival firm had copied one of her products, all she would say was, 'Great, now I can retire.' She wasn't in it for the money.

In the end, she went quickly with very little discomfort, and surrounded by her loved ones.

The kids and I were there when she crossed over. They each were able to tell her how much they loved her.

Finally, I said to her, 'You're up on your beautiful appaloosa stallion; it's a fine spring day, we're riding through the woods. The bluebells are all out, and the sky is clear blue.'

I had barely got to the end of the sentence, when she closed her eyes and gently slipped away.

She was unique and the world is a better place for having known her. Her message of love will live on in our hearts forever.

I love you Linda.

George Harrison paid tribute to Linda: 'Linda will be missed not only by Paul, her children and brother John, but by all of us who knew and loved her. She was a dear person with a passionate love of nature and its creatures and, in her passing, has earned the peace she sought in life. God bless her.'

Ringo paid their tribute, saying: 'Both Barbara and I would like to say how sorry we are. We were privileged to have known her. Her positive courage throughout her illness was truly inspiring. We send all our love to Paul, Heather, Mary, Stella and James. It was a blessing that she was in our lives.'

Denny Laine was to say: 'Her endless love for nature and God's creatures was a guiding light for even a hardened rocker like me who just went with the flow and never really had any radical principles. She was always an inspiration to both Paul and myself as musicians - she loved everything about art and creativity, and mainly because she told the truth. This is a quality that few except her close friends gave her credit for and I enjoyed her wit and sense of humour so much I feel sorry for the many that never really knew her. She never relented and she deserves a place in history as a saint, and not just as Paul's wife who happened to be in a band called Wings.'

The British Prime Minister, Tony Blair, praised Linda for her 'tremendous contribution to British life. Cherie and I are very saddened for Paul and all his family. Linda showed extraordinary courage throughout her illness.' Tim Angel, chairman of the British Film Academy Awards said: 'Paul and Linda had strong and loyal connections to the film industry and I know that everyone here, from Sean Connery to Sigourney Weaver, was left simply speechless when they were told Linda had died.'

Sir George Martin commented: 'We have lost a good friend who was a very special person.'

Yoko Ono said: 'I'm very saddened. I've spoken to Linda over the past year and she seemed to be her usual powerful self. I can't believe it.'

Carl Davis said: 'I'm totally shocked. We knew Linda had been ill, but it's terrible news. It was Linda who first encouraged Paul to do the oratorio. I used to call her my good fairy. She was very committed to the causes she was interested in. She introduced Paul to things he wouldn't have dreamed of doing before he met her. I will always remember her as a very warm motherly figure. She will be missed by everyone who knew her.'

The Times published details of Linda's will:

Linda Louise McCartney of Tucson, Arizona, US, left estate valued at £3,884,731 net. She left her estate to a trust fund, the net income of which is to be paid at least quarterly to her husband, James Paul McCartney, for as long as he lives and then to her children, Heather, Mary, Stella and James.

The first memorial service for Linda was held in London on Monday 8 June 1998 with a congregation of 700 gathered inside St Martin-in-the Fields church in Trafalgar Square, London. More than 4,000 people had gathered outside in the cold and rain, comprising not only fans but also animal protesters, who were paying tribute to Linda's dedication to animal rights.

Paul arrived with Stella, Mary, Heather and James, Ringo with Barbara and George with Olivia and Dhani.

Among the church congregation were Spike Milligan, Sting and Trudi Styler, Neil Tennant, Elton John and David Furnish, Billy Joel, Peter Gabriel, Dave Gilmour, John Thaw and Sheila Hancock, David Bailey, Joanna Lumley, Kevin Godley, Tracey Ullman, Marie Helvin, Michael Parkinson, Carla Lane, Pete Townshend, George Martin and Ken Townsend.

The walls of the church were decorated with photographs of Linda, which Paul had selected.

The ninety-minute service began at 8.30 p.m. and, prior to the ceremony, Paul gave a ten-minute speech about Linda, telling how they first met. 'I'm privileged to have been her lover for thirty years,' he said. 'Except for one enforced absence, we never spent a single night apart.' He described her as 'the first lady of animals', telling of her being a champion for animal rights, and he then led in and up the aisle two Shetland ponies, Schoo and Tinsel, which he'd given to Linda as a Christmas present.

The service then began with a pipe solo of 'Mull Of Kintyre' from Jim McGeachy, who was pipe major of the Campbeltown Pipe Band. He had performed on the original Wings recording.

The Rev. Clare Herbert welcomed the congregation and led them in the hymn 'All Things Bright and Beautiful'.

Ken Townsend, the former head of Abbey Road Studios, then gave an address and was followed by the Brodsky Quartet, who performed four songs that Paul had written specially for Linda: 'The Lovely Linda', 'You Gave Me The Answer', 'Maybe I'm Amazed' and 'Warm And Beautiful'.

The actress Joanna Lumley, herself an animal-rights supporter, then read the moving poem 'Death Is Nothing At All' by Henry Scott Holland, who'd been a Canon of St Paul's Cathedral in the nineteenth century. The line 'I have only slipped into the next room' touched many.

Students of the Liverpool Institute of the Performing Arts (LIPA) performed the next songs. They sang Paul's number 'Blackbird', followed by the gospel song 'His Eye Is On The Sparrow.'

Brian Clarke, a friend of Linda's, next addressed the congregation. The Brodsky Quartet then returned to perform another selection of songs that were special to Paul and Linda: 'Golden Girl', 'Dear Boy', 'Calico Skies' and 'My Love'. David Bailey then read a Spike Milligan poem called 'Lyric'.

Linda's close friend Carla Lane, an active animal-rights campaigner, then paid tribute to Linda as a person and also to her support of animal rights in an address called 'For Linda from the People in the Square'. This was mainly addressed to the thousands of animal-rights supporters outside in Trafalgar Square and she said: 'Cranks, they called us. But you took the path where no one had gone; you promised them a voice and you held their terror close ... Lady Linda, we cannot see you but we can still hear you.' The entire congregation then sang 'Let It Be'.

Pete Townshend next made an address in which he pointed out the long and loving relationship between Paul and Linda.

The LIPA students then received support from the St Martin-in-the Fields choir when they performed 'Celebration' from Standing Stone.

A prayer was followed by an address from Paul, who said: 'She was my girlfriend. I've lost my girlfriend and it's very sad. I still can't believe it but I have to, because it's true.' He also said: 'I thought of her after she died as a diamond - she was as great as them all.'

The service ended with a performance of 'Linda', a song written by Jack Lawrence for Linda when she was a little girl.

The second memorial service took place at the Riverside Church, Riverside Drive, New York on 22 June 1998.

A spokesman for Paul said: 'It was something that had been in the back of Paul's mind for a while, because of Lin coming from New York. There were a lot of people over there who couldn't get to the first one.'

In the church they brought in Linda's favourite Appaloosa stallion, Blankit.

Friends attending the service included Chrissie Hynde, Paul Simon, Ralph Lauren, Twiggy, Neil Young, Diane Sawyer, Mike Nicols.

Twiggy read a poem by William Cooper, and then the Harlem Boys' Choir sang 'Blackbird' and 'His Eye Is On the Sparrow'. The Loma Mar string quartet performed 'The Lovely Linda' and 'My Love' and the congregation sang 'Let It Be'.

There were 45,000 flowers in the church and eight blown-up colour photographs of Linda displayed.

Paul told the congregation: 'It's a very sad time for all of us, but she wouldn't want it to be sad, but to count our blessings, as there are so many of them. We have four gorgeous kids and she lives on in all of them, and through them she's here. I was so lucky to be the one she chose.

'She was a friend, a beautiful friend to so many people. You know I love her and you all love her, too - that's why we're here tonight.'

The main thrust in newspaper reports the following day was that Yoko Ono and Sean Ono Lennon hadn't been invited, with her spokesman saying: 'She was saddened by it.'

In October 1998, to promote Linda's solo album, Wide Prairie, Paul discussed Linda, who had left Christmas presents for all the members of her family, which she'd bought and wrapped before her death.

He said: 'Somehow Lin's spirit is helping me see my way through the days. It hurts, but that's the way of life.

'I've said to a lot of my friends: "Remember, you've got a finite amount of seconds left on the planet and the next time you're going to argue with your missus, think of Linda."

'I've had my finite amount of seconds with her and it's really, really difficult to be without my best friend.'

Another tribute took place at the Royal Albert Hall, London, on Saturday April 10 1999. It was a concert called Here, There and Everywhere: A Concert for Linda. All profits were donated to Animaline.

The artists appearing were Des'ree, the Duke String Quartet, Eddie Izzard, Elvis Costello, George Michael, Heather Small, Johnny Marr, Ladysmith Black Mambazo, Lynden David Hall, Marianne Faithfull, Neil Finn, Sinead O'Connor, the Pretenders and Tom Jones.

In an interview in the Guardian on 11 September 2000 Paul said: 'People say time is a healer, and time heals by erasing. That is a sad fact. When Linda died, all of us in the family expected her to walk in the door, and we don't now.'

On Monday 12 October 1998 Linda was honoured at the 43rd Woman of the Year lunch at the Savoy Hotel, London, with an 'empty-chair' tribute. Paul sent each of the guests a floral tribute with the message, 'Linda would have been chuffed at this honour. It is a shame that us blokes can't go.'

Paul found it very hard to cope with Linda's death. In an article in the Daily Mail he said: 'I got a counsellor because I knew that I would need some help. He was great, particularly in helping me get rid of my guilt. Whenever anyone you care about dies, you wish you'd been perfect all the time you were with them. That made me feel very guilty after Linda died. The guilt's a real bugger. But then I thought, hang on a minute. We're just human. That was the beautiful thing about our marriage. We were just a boyfriend and girlfriend having babies.'

He also confessed that he didn't let Linda know that the treatment she was having didn't work. 'I knew a week or so before she died. I was the only one who knew. One of the doctors said she ought to be told, but I didn't want to tell her because I didn't think she'd want to know.'

Paul noted her courage and said: 'It was amazingly difficult, but Lin was really strong. We had many laughs during the two and a half years that she was going through treatment.'

Two days before her death, Linda and Paul went riding. He said: 'She was a bit tired, but riding had always been one of those things with us. The crowning moment was when this big rattlesnake stretched across the track. We just looked at it and felt awed. Like it was some sort of magic sign.'

Linda was too tired to get out of bed the next day. Paul said: 'I joked and said: "You just fancy a lie in." The doctors had warned me that she would slip into a coma. I went to bed that night with her and though things looked kind of serious, but I kept hoping. Thank the Lord, she went into a coma as they had predicted.'

The coma lasted only a day and Paul recalled: 'It was as if she was so smart that something in her said, "We can't lick this one. Let's get the hell out of here, quick." And she didn't hang about. In her last moments she got very peaceful.'

Linda participated in the following films and videos: Crickets, My Love Is Bigger Than A Cadillac, Get Back, Give My Regards To Broad Street, Going Home, In The World Tonight, The Making Of Flaming Pie, Knebworth, The Event, Let It Be, Liverpool Oratorio, Movin' On, Once Upon A Video, Paul Is Live In Concert, Put It There, Buddy Holly Special, Rockshow, Oriental Nightfish, Seaside Woman, Standing Stone.

Her books include: Home Cooking, Light Lunches, Linda McCartney on Tour, Linda's Kitchen, Linda's Pictures, Linda's Summer Kitchen, Main courses. Photographs, Roadworks, Sixties and Sunprints.

McCartney, Mary (daughter)

See 'Donald, Mary Alice McCartney'.

McCartney, Mary Patricia (mother)

The former Mary Patricia Mohin, the daughter of Owen Mohin, a coal merchant, was born at 2 Third Avenue, Fazarkerley on 29 September 1909. Her mother was Mary Teresa Mohin, nee Danher.

Mary had an elder brother, Wilf, and a younger brother and sister, Bill and Agnes. Agnes died at the age of two. Mary's mother also died giving birth in January 1919 and the baby died with her.

Mary became a nurse at Alder Hey Hospital at the age of fourteen. When her father remarried, Mary couldn't get on with Rose, her stepmother, and she moved out of the family home at the age of eighteen and settled in with other relatives.

Mary was to become a nursing sister at the age of 24 after she'd moved to Walton Hospital.

Mike McCartney recalls that her patients knew his mother as 'the Angel'.

It was while Mary was a nurse at Walton Hospital that she was acquainted with Jim's sister Jin, who had recently been married to Harry Harris, and she dropped by to see them at the McCartney family home in 11 Scargreen Avenue, West Derby where she met Jim McCartney. There was a Luftwaffe air raid that night, so Mary and Jim spent the evening huddled together downstairs in the house.

On 15 April 1941 she married James McCartney at St Swithins Roman Catholic Chapel in Gill Moss, Liverpool. Mary was 31 years old while James was 38. The couple moved into furnished rooms at Sunbury Road, Anfield, which was Paul's first home.

Mary gave birth to her first son, James Paul McCartney, on 18 June 1942 and was given a private ward at Walton Hospital due to the fact that she'd previously been the sister in charge of the maternity section. The baby was named after his father, great-grandfather and great-great-grandfather.

She gave up her job for a time and gave birth to her second son, Peter Michael McCartney, on 7 January 1944. The family then moved to a 'prefab' bungalow in Roach Avenue, Knowsley.

Because Mary was a Catholic, both her sons were baptised as Catholics, but they weren't sent to Catholic schools.

Due to the family's limited finances as Jim's job was not a well-paid one, Mary returned to her profession and became a part-time health visitor. She then became a domiciliary midwife, which meant that the family were given a council house at a nominal rent. Initially this was at 72 Western Avenue, Speke.

Paul was to say, 'My mum was the upwardly mobile force. She was always moving us to a better address; originally we had to go out to the sticks of Liverpool because of her work as a midwife. Roads were unmade but the midwife's house came free. So economically it was a good idea. She always wanted to move out of rough areas.'

He also said, 'I had a broad scouse accent, talking real broad like the rest of the kids round our way. She told me off about it.'

Paul remembered that his mum whistled a lot and recalled, 'That's one of my fond memories of my mum. You don't hear many women whistling. She was quite musical.'

She also travelled to her duties (she was on call 24 hours a day) by bicycle in her navy-blue uniform and hat as the family couldn't afford a car.

Mary had aspirations for her sons, wanting them to move up in life and she encouraged Paul to speak properly, which resulted in him not having a strong Liverpool accent. She also had dreams of Paul becoming a doctor.

Due to Mary's job, the family were able to move into Forthlin Road in the Ailerton area in 1955, which was much nearer to Liverpool centre than Speke.

In the summer of 1955 she began experiencing pains in her chest and started taking large doses of BiSodol, which was merely an antacid powder. The following summer her 12-year-old son Michael came into the bedroom and found her crying. When he asked her what the matter was, she said, 'Nothing, love.'

Breast cancer was diagnosed and she was taken to the Northern Hospital, where she underwent a mastectomy operation, which actually exacerbated the condition. When Paul, Mike and their father went to visit her in hospital they were startled by her appearance. Paul said that it was 'a huge shock to us, suddenly she was ill, we were very young'. Paul and Mike then went to stay with their Uncle Joe and Auntie Joan.

Mary was to tell her sister-in-law, 'I would have liked to have seen the boys grow up.'

On 31 October 1956 when the boys woke up to get ready for school, Joan told them, 'Love, your mum's dead.'

Mary was 47 years old; Paul was 14 and Mike 12.

On 3 November 1956 Mary was buried at Yew Tree Cemetery in Finch Lane, Huyton.

On hearing of his mother's death, Paul cried himself to sleep and prayed for her to come back. He described them as: 'Daft prayers, you know, if you bring her back I'll be very, very good for always. I thought, it just shows how stupid religion is. See, the prayers didn't work when I really needed them.'

But his mother's death caused Paul to find solace in a guitar his father had recently bought for him as his brother Mike recalls. 'It was just after Mother's death that it started. It became an obsession. It took over his whole life. You lose a mother - and you find a guitar.'

Paul was to pay tribute to her in 'Let It Be' with the reference to 'mother Mary' and in 'Lady Madonna' when he sings about 'children at her feet'. Mike McCartney also paid tribute when he placed a photograph of her on the cover of his first solo album.

Paul's first daughter Mary was also named after his mother.

In 1984, during a television interview, Paul discussed his mother's death. 'I was fourteen. It's a very difficult age, fourteen, because you are growing up and you're getting your act together. So it was a tough time to have something as devastating as that happen. I think I probably covered a lot of it up at the time, as you would, a fourteen-year-old boy.'

McCartney On McCartney (documentary)

A television documentary produced by Ardent Productions and originally screened on the Biography Channel. It was to receive a larger audience when it was screened on Channel 5 on 28 May 2002.

It basically revolved around Paul, sitting by a piano and discussing the history of the Beatles, covering mainly the years 1957 to 1970. It featured interviews with various people who knew Paul, including Pete Best, Bill Harry, Bob Wooler, Brian Wilson, Julia Baird, Klaus Voormann, Tony Barrow, George Martin, Alistair Taylor, Donovan, Steve Miller and Peter Asher.

Brian Wilson recalled the 'Vegetables' recording session and Miller said that the Beatles' songs were the most important body of work ever recorded.

At the end of the programme, Paul admitted that he'd secretly wished that the Beatles had got together again at the end of the 1970s.

McCartney On McCartney (radio)

A series of eight one-hour radio programmes in which Mike Read interviewed Paul. McCartney On McCartney was produced by Paul Williams and recorded in a tiny studio in Eastbourne. Paul was to put the record straight about many events in his life including his meeting with John Lennon, his romance with Jane Asher, Brian Epstein's death, the formation of Wings, his marriage to Linda, the incident when he was mugged in Lagos and the failure of his movie Give My Regards To Broad Street.

Paul was to give his reasons for such an in-depth interview by commenting, 'Twenty years after the Beatles all the little stories become legendary; they tend to be distorted, so that you find yourself reading stories as told by the friend of a man who once worked at the Cavern, or something. Suddenly you find that you want it to go down more truthfully, for people like your own children, as well as for general edification.'

He added, 'In a way it's a bit like being on a psychiatrist's couch, except that I'm not paying them.'

The eight-part series began broadcasting on Saturday 25 March 1989 and ran to Saturday 13 May 1989. Each programme was also repeated on the Thursday following the Saturday broadcast.

An edited version of the series was also broadcast in America between Saturday 27 May and Monday 29 May, Memorial Day weekend.

The series was also repeated in Britain on 25-28 December 1989 and 1-4 January 1990.

Discussing the fact that people tended to have the misconception that he only wrote 'the sentimental stuff, he explained, 'Occasionally I have to say, now look fellas, "Helter Skelter" was fairly hard, "Give Ireland Back To The Irish" was pretty activist, but they just notice the record after it, which was "Mary Had A Little Lamb". You can't blame them for forming an opinion, but I think it's best that I should try to correct it.'

Discussing John Lennon, he said, 'When I think of him now, it's the little things I remember, all the inconsequential things, not the big ones.

'I have a recollection of arguing with John, and of getting fairly hot under the collar about some Beatle thing, and he swore at me and I must have looked a bit dismayed. He had his round glasses on, and he took them off and said: "It's only me." Then he put the glasses back up, and it was Mr Front again.

'When we were in Switzerland doing the ski sequences for Help!, I remember, it was that nice bit of the evening when you take your ski boots off and feel the lead weights falling from your feet, and we had a tape of, I think it was Revolver or Rubber Soul. The way the side was sequenced there were two songs of John's and two songs of mine, which were nice and maybe sentimental.

"We were listening to them in this twin bedroom at the hotel and, again symbolically, the glasses were lowered, the defences lowered, and he said: "I probably like your songs better than mine, you know." End of subject.'

He was also to add: 'You see, the whole thing about the John that I grew up with was that he'd had a tragic life, being left by his father when he was three, then his mum being knocked over and killed by a drunken policeman at sixteen, right in front of the house where he was staying with his maiden aunts. His mother was living in sin with this guy, a waiter whom we used to call Twitchy. A waiter! John was enough of a snob to say, a waiter, come on love ... at least his dad had been a sailor. You could hold your head up.

'John was very civil, but he loved his mum. She was a dish, very beautiful, with red hair, and she played the ukulele. How many women do you know who do that? I've got a cousin who's the same. I was eleven, right? I had a mum and dad - till I was fourteen, then my mother died, and that brought John and me closer together. Our mothers died within a couple of years of each other, so that was something we had against the world. It was part of our bond.

'Teenage lads are cruel. We used to have this thing, when people said "How's your mum then?," we'd say, "Oh, she died," and we'd know that we were kind of embarrassing them with it, and we'd watch them squirm. This is how real life is, isn't it?'

McCartney, Peter Michael

Paul's younger brother. He is a multi-talented solo performer, photographer and author who was born at 10 a.m. on 7 January 1944 at Walton Hospital, Liverpool.

He recalled, 'Although Paul and I were baptised Catholics (and circumcised Jewishly) our parents preferred a non-Catholic education. Paul and I would sag from school to swim nude in the Mersey.'

Paul and Mike's father Jim recalled the relationship between the two brothers:

Michael and Paul did everything together, especially anything that they were told specifically not to do. As children they were inseparable. Wherever one went so did the other. I remember that amongst their friends they were known as the 'Nurk Twins', but I never did find out why. I believe that John and Paul used the name for one of their first playing dates.

Paul was eighteen months older than Michael so naturally, he was the leader. I remember that he always seemed to know exactly what he wanted and usually knew how to get it. He didn't moan or nag in any way, but persuaded us in the nicest possible manner. I think he was a born diplomat.

Although Paul was a typical tearaway, ragamuffin, he was very close to Mike. I always remember one incident when they were caught stealing apples. Paul, Mike and another boy went scrumping from a farm in Speke. They were only twelve and ten at the time, and they called the place Chinese Farm, although I don't know why.

Apparently they were just about to climb the trees when the farmer appeared. They all ran away, but Paul got stuck and Mike went back to help. The first thing I knew about it was when the farmer rang me up and told me that my two sons were locked up in his barn. I went along to the farm to see him and he was very reasonable about it, so we decided to scare the boys a bit before we let them off. We stood outside the barn door and said things like, 'Do you think they'll get a long sentence?' or 'Shall we just spank them now and not tell the police?' When we thought they had had enough, we opened the barn door to let them out only to find we'd been completely wasting our time. The two boys trotted out and greeted me with, 'Hello Dad, about time you got here.' I was really amazed that both of them seemed so completely unconcerned by the whole proceedings.

When I talked to them afterwards, I found that because they didn't actually steal any apples, they considered that they had done nothing wrong and therefore were not worried. I did the usual thing and sent them to bed without any supper, although at the time I didn't think it would do the slightest good. I believe that a few years later, they did realise that they had done wrong.

Both Mike and Paul attended Stock wood Road Infants School and were then moved to Joseph Williams Primary School in Gateacre. In 1957 the two boys were members of the Nineteenth City Boy Scouts and went on summer camps with them. On their second camp trip Mike had his arm broken in an accident.

At the age of thirteen, while at Butlin's holiday camp in Filey, Yorkshire, Mike was dragged on stage by Paul to duet 'Bye Bye Love' and had stage fright.

Paul recalled, 'We went to stay with our parents at Butlin's and one of my cousins-in-law was one of the camp's redcoat entertainers. He called us up to do a turn during one of these talent shows. Looking back, it must have been a put-up job - I had my guitar with me. I probably asked him to get me up with my brother who had just recovered from breaking his arm and looked all pale. He had his arm in a big sling.'

They didn't win anything, as they were both ineligible due to their tender age.

Paul was very protective of his brother, ensuring that no one bullied him. Paul's own pranks, however, often caused Mike some pain; such as the time Paul dangled him by his ankles above the back door of the yard of their house. When Mike wanted to be let down, Paul did so literally, letting go of him, leaving Mike to fall face down on the concrete, breaking several of his teeth!

Mike then attended Paul's grammar school the Liverpool Institute, although his ambition was to become an artist, but he was turned down when he applied to the Liverpool College of Art, because of the introduction of new rules that made it mandatory to have five General Certificate of Education passes.

On leaving the grammar school, he trained as an apprentice hairdresser, with Jimmy Tarbuck and Lewis Collins (Tarbuck became a leading comedian and Collins starred as Bodie in The Professionals) and in 1962 became involved with the Merseyside Arts Festival, along with Roger McGough (then a teacher) and John Gorman (then a post office engineer). After the event the trio continued as 'The Liverpool One Fat Lady All Electric Show', performing poetry and satirical sketches at local clubs.

In 1963 the three of them, Mike, Roger and John were approached to provide material for Granada TV's Gazette. They then changed their name to Scaffold - and Mike changed his surname to McGear, coming to the decision in his Uncle Bill's pub The Eagle Hotel in Paradise Street, Liverpool. He had been billed at the Merseyside Arts Festival as Michael Blank and considered the names Mike Dangerfield (from JP Donlevy's 'Ginger Man') and Mike McFab. He felt that Mike McGear sounded Irish. Mike changed his name to McGear when he was eighteen and adopted it for eighteen years before reverting back to Mike McCartney.

The name Scaffold came from Roget's Thesaurus - and they'd also noticed a Miles Davis album of that name which had recently been released.

Brian Epstein's company NEMS Enterprises briefly managed the trio and George Martin became their recording manager, issuing singles on Parlophone such as '2 Day's Monday' and 'Three Blind Jellyfish'.

Their first top five hit, which was Prime Minister Harold Wilson's favourite song, was 'Thank U Very Much', written by Mike. He said the inspiration for the song came from a Nikon camera given to him one birthday by Paul. As he couldn't play any instruments, he composed the song by humming into a tape recorder. During the recording session at Abbey Road Studios, Paul dropped by and suggested to Mike that he leave out reference to the 'Aintree Iron' as it was too oblique. When the record reached No. 5 in the charts Paul phoned Mike and admitted that he'd been wrong.

Incidentally, Mike also became a noted photographer. His father lent him a Kodak box camera and the first photograph he took was of Paul outside the Butlin's hot-dog corner in Pwllheli, North Wales. When Paul returned from Hamburg he brought back a Rollei Magic for Mike. His first published photographs appeared in Mersey Beat under the pseudonym Francis Michael and at the turn of the twenty-first century his photographs were being exhibited at the National Portrait Gallery in London. His photographic exhibition 'Mike Mac's White and Blacks' was staged at the Walker Art Gallery, Liverpool and the Jill Youngblood Gallery, Los Angeles. The exhibition then opened at the Photographer's Gallery in London in November 1968 to tie in with his book Mike Mac's Black And Whites, Plus One Colour, published by Aurum Press. His exhibition was to tour Britain and Japan in 1987.

On 7 June 1968 Mike married Angela Fishwick at a ceremony in Wales, with Paul and Jane Asher in attendance, and set up home in a dream cottage in Little Heswall, Cheshire they called 'Sunset', which was a present from the family. Mike was also best man at Paul's wedding to Linda, although the ceremony had to be delayed because Mike was late.

The Scaffold's follow-up to 'Thank U Very Much' was 'Lily The Pink' which reached the top of the British charts and stayed there for five weeks. This led to an amusing incident. Paul and Mike were walking down a street in London when an excited girl shrieked, 'Oooh, look. There's Mike McGear!'

Although they could have had their pick of major venues once they had hit the top of the charts, they decided to appear for a month at Ronnie Scott's Jazz Club, along with Stan Getz.

The Scaffold had their own children's television show Score With The Scaffold, they sang the theme tune to the popular Liver Birds TV series and composed music for feature films including Alf Garnett's All The Way Up and the horror film Burke And Hare.

They also appeared at the Bitter End in New York and appeared on network television shows hosted by Merv Griffin and David Frost. The Scaffold also hosted the centenary at the Royal Albert Hall and performed before the Queen and various Royal Family members.

Between 1967 and 1974 Scaffold made around twenty recordings, including 'Do You Remember', 'Gin Gan Goolie' and 'Liverpool Lou',

Producer David Puttnam approached Mike to play the lead in The Virgin Soldiers. Mike turned it down because he didn't like the idea of his daughters seeing him in the sex scenes.

Following Mike's solo debut album Woman in 1972, Paul decided to produce Mike's second album McGear, commenting, 'It's a singing thing because he's quit comedy for the moment. We're going to do it at Strawberry Studios in Stockport. We'll play it by ear, it's Mike's album.'

This had been inspired originally when Mike had visited Paul in London and the two of them had written 'Leave It' together. Lee Eastman heard the song, liked it and suggested, 'Why are you stopping here? This is good. Don't stop here.'

In 1974 Paul also produced the Scaffold's Top Ten single 'Liverpool Lou'.

On 9 February 1973 his latest group Grimms released their eponymous debut album in Britain. Mike had penned 'Jellied Eels' for the LP.

His second album with Grimms was Rockin' Duck, released on 5 October 1973. On it he penned the track 'Take It While You Can'.

On 25 May 1973 he reformed the Scaffold and released the album Fresh Liver on which he co-wrote seven of the songs.

Mike divorced Angela Fishwick on St George's Day 1979. At the time he still lived in 'Sunset' in Heswell, with his three daughters, Abbi, Benna and Theran.

In 1985 he embarked on a speaking tour of American colleges. His presentation was called 'Mike McCartney Reflects' and began with a general history of Liverpool, illustrated by lots of his own personal photographs and also closely followed the text of his book Thank V Very Much (called The Macs in America).

1987 proved a busy year for Mike, who was working on a children's book The Kingdom Rhymes (his first children's book had been called Roger Bear). He was commissioned to take photographs of Liverpool and the east coast of Scotland by 3i (Investment In Industry) and in November flew to America to launch the Penguin book of his photographs. He had an exhibition at the Howard Greenberg Photofind Gallery in SoHo, New Vork and appeared on several television shows, including the Larry King Talk Show, Sony a Live In LA and the CBS Today show.

He had further photographic exhibitions the following year in Washington and New York and in December 1988 flew to Florida to open his first Silk Screen Exhibition.

At one time he planned to write a cookbook, Auntie Jin's Liverpool Cookbook. His books included Thank U Very Much, published in 1981 and Remember: The Recollections And Photographs Of Michael McCartney, published in 1992.

In 1990 he produced a 47-minute video 'Mike McCartney's Alternative Liverpool', issued by Skyline/MMcC Ltd. The video includes a rare interview with Ivan Vaughan, the promotional film of the Scaffold's 'Thank U Very Much' and some music from the McGear album. Mike has also acted as recording manager to Liverpool groups. He was appointed to the Board of Management for the Institute of Popular Music at Liverpool University and continues to work on books, animation and photography.

Mike's son Josh became drummer with an indie trio called Trilby.

Here is a selected discography of Mike's recordings:


'2 Days Monday'/'Three Blind Jellyfish'. Parlophone R 5443, May 1966.

'Goodnight Batman'/'Long Strong Black Pudding'. Parlophone R5548, December 1966.

'Thank U Very Much'/'Ide В The First'. Parlophone R 6543, November 1967.

'Do You RememberPV'Carry On Krow'. Parlophone R5679, March 1968.

'1-2-3'/'Today'. Parlophone R5703, June 1968.

'Lily The PinkV'Buttons Of Your Mind'. Parlophone R5734, October 1968.

'Charity BubblesV'Goose'. Parlophone R5784, June 1969.

'Gin Gan Goolie'/'Liverbirds'. Parlophone R 5812, October 1969.

'All The Way Up'/'Please Sorry'. Parlophone R 5847, June 1970.

'BusdreamsVIf I Could Start All Over Again'. Parlophone R 5866, October 1970.

'Do The Albert'/'Commercial Break'. October 1971.

'Liverpool Lou'/'Ten Years After On Strawberry Jam'. Warner Bros К 16400, May 1974.

'Leave ItV'Sweet Baby'. Warner Bros К 16446, September 1974.

'Mummy Won't Be Home For ChristmasV'The Wind Is Blowing'. Warner Bros К 16488,

'Sea Breezes'/'Givin' Grease A Ride'. Warner Bros К 16520, February 1975.

'Leaving Of LiverpooP/'Pack Of Cards'. Warner Bros К 16521, March 1975.

'Dance The Do'/'Norton'. Warner Bros К 16521, July 1975.

'Simply Love You'/'What Do We Really Know?' Warner Bros K, November 1975.

'Doing Nothing All DayV'A to Z\ EMI 2485, June 1976.

'The Womble BashersV'Womble Bashers Wock'. Virgin VS 154, June 1976.

'Wouldn't It Be Funny If I Didn't Have A Nose?7'Mr Noselighter'. Bronze BRO 33, October 1976.

'How D'You Do'/'Paper Underpants'. Bronze BRO 39, April 1977.

'All The Whales In The Ocean'/'I Juz Want What You Got: Money'. Carrere CAR 144, May 1980.

'No Lar Di Dar (Is Lady Di)VGod Bless The Gracious Queen'. CONN 29781, July 1981.

The releases on Parlophone and Bronze were with the trio Scaffold, as were the Warner Bros titles on К 16400, 16488 and 16521. The Virgin single was under the name the Bashers and all the others were credited to Mike McGear.


McGough & McGear. Parlophone PCS 7047, May 1968. The Scaffold. Parlophone PCS 7051, July 1968. L The P. Parlophone PCS 7077, May 1969. Woman. Island ILPS 9191, April 1972. Grimms. Island HELP 11, February 1973. Fresh Liver. Island ILPS 9234, May 1973. Rockin' Duck. Island ILPS 9248, October 1973. McGear. Warner Bros К 56051, September 1974. Sold Out. Warner Bros К , February 1975.

McCartney, Rowena

Nee Home, the second wife of Paul's brother Mike.

Rowena, a dress designer, was 21 when she married the 38-year-old Mike at St Barnabas Church in Penny Lane, Liverpool, on Saturday 29 May 1982. Over six hundred fans gathered outside the church in the morning and waited for Mike to arrive at 2.30 p.m. and Rowena about ten minutes later.

Paul was Best Man, dressed in casual style with grey jacket, blue trousers and white sneakers, and there were five bridesmaids: Mike's three daughters (Benna, 13, Theran, 11, and Abbi, 8) and Rowena's two sisters.

The Rev. Harrington, who conducted the ceremony, recalled when Paul was a choirboy at the church and commented: 'He used to sit up there in the choirbox, making some kind of noise.'

After the ceremony the wedding party left the church and headed for Hoylake for the reception. Later, Mike and Rowena flew to Malta for their honeymoon.

McCartney, Ruth

Paul's stepsister. She was born and raised in Liverpool. She began studying singing and dancing at the age of four, began learning the piano at the age of seven and the guitar at the age of twelve.

Her name had been Ruth Williams when her widowed mother, 34-year-old Angela Williams, married Paul's father, 62-year-old Jim McCartney on 24 November 1964. Ruth was five years old at the time, was given the McCartney surname and went to live at the McCartney home in the Wirral, Cheshire.

Paul had always had an affinity with children and bought her a pet dog, which she called Hamish, when she suffered a broken leg. She also grazed her knees so often that Paul referred to her as 'Scabby'.

When she was nine years old she was playing the piano one day, but her efforts to perform the traditional hymn 'Golden Slumbers' wasn't going well and she asked Paul if he could read music. Paul couldn't, but he was intrigued by the number and composed his own lyrics to one of the verses. As a result he recorded the number and it appeared on the Abbey Road album.

Ruth spent twelve years with the McCartney family, but the situation changed when Jim McCartney died.

She attempted a career in show business and led a dance trio called Talent, but they were unsuccessful and in 1981 she moved to King's Lynn with her mother and worked as a salesgirl in Debenham's store.

Unfortunately, relations with Paul soured when her mother sold his birth certificate and there has been no communication between them since.

However, Ruth went on to become a highly successful singer, songwriter and businesswoman.

As a singer she toured Russia nine times, with over a million people buying tickets for her concerts, although she donated most of the proceeds to a fund for Armenian refugees. Her East European appearances took in Russia, Lithuania, Armenia, Uzbekistan, Turkmenistan and Siberia. Ruth has lived in Sydney, London, Liverpool, Munich, Moscow, Hollywood, Nashville and Los Angeles.

While in Australia in 1982 she met David Skinner and they penned a single for Tina Cross called 'New Blood', which reached No. 17 in the Australian charts.

She relocated to Los Angeles in 1983 and formed a writing partnership with Barry Cotting and they have penned numbers for several feature films. She settled in Hollywood in 1983 with her husband Martin Nethercutt, her mother Angie and her four cats. She wrote a song for Randy Crawford which became a gold single.

She later married Dieter Bockmeier in Germany in 1990. A Russian documentary 'Picture Of Ruth' was screened on Russian television in January 1998.

In 1992 she released an album on BMG Jupiter / Will Always Remember You.

In 1995 she issued a cassette, Ruth McCartney, in Russia featuring ten songs, most of them co-written by Ruth and musicians from Nashville. They included numbers such as 'Kidnap Your Heart', 'Russian Nights', 'Swimming Pool Music' and 'Overnight Success'. One of the numbers on the cassette was 'The Casket', penned by Mike McCartney and Roger McGough and featured on Mike's 1973 album NlcGear.

She is also Artist Relations advisor and CEO of McCartney Music &c Media Inc, founded in Nashville in 1995.

Currently she is working on a book called In My Life with Dan Altieri.

McCartney, Stella Nina

Paul's second daughter was born on Monday 13 September 1971 at King's College Hospital, London. It was a difficult pregnancy as Stella was three months premature and, as with the birth of Mary, Paul moved into Linda's room, sleeping on a camp bed. There were some complications and Stella was delivered by Caesarean section. She weighed five pounds nine ounces and was named in honour of Linda's grandmothers, Stella Epstein and Stella Dryfoos.

Stella's birth gave rise to the name Wings.

Paul was not allowed into the operating theatre and sat outside. He recalled, 'I sat next door in my little green apron praying like mad ... the name Wings just came into my head.'

He was also to say, 'Our baby was in intensive care, so rather than just sitting round twiddling my thumbs, I was thinking of hopeful names for a new group, and somehow this uplifting idea of Wings came to me at exactly that time. It just sounded right.'

Linda confirmed it, saying that Paul had been thinking of 'the wings of angels'.

Like many children of famous personalities, Stella has had to put up with the pressure of being accused of living off a famous name. She was to comment, 'I'm so sick of this "my parents" thing. It's not my fault. It's been that way my whole life. When I would do a good drawing in primary school, it was because my dad was famous. Or if I got a part in a school play, it was because Dad was a Beatle. What do I do? Do I become a smack-head and live off my parents' fortune, or do I have my own life?'

Stella had always had ambitions of becoming a fashion designer and at the age of sixteen Paul and Linda sent her to Paris during the summer to help couturier Christian LaCroix in the preparations for his show. After four days of running errands she commented, 'I'm not sure I want to be a designer now. It's so much work. I never imagined it like that.'

In June 1995 at the age of 22 Stella was one of 72 young designers to display their designs at the Central St Martin's College student fashion show at the Business Design Centre in Islington, London. Her clothes were paraded on the catwalk by a clutch of supermodels - Kate Moss, Naomi Campbell and Yasmin LeBon - during a two-hour fashion parade.

Paul and Linda were in the audience and Paul commented, 'I am the proudest dad in the world. I thought it was brilliant. Stella has come a long way since she first started out.'

In 1997 Stella secured a £100,000 per year job as head designer at the Paris fashion house, Chloe, only 18 months after she left St Martin's School of Art.

On the occasion of her fashion show on Wednesday 14 October 1998, Stella said, 'This collection is dedicated to my mum. She was everything. Also to my dad, brother and sisters, who have kept me strong. Everything. Always, Stella.' Paul, together with his son James, Barbara Bach and Lee Starkey, were in attendance at the show during which models walked along the catwalk to the tune of 'Hey Jude'. Barbara was wearing one of Stella's suits, Paul wore a suit from Edward Saxton, the Savile Row tailor where Stella had been an apprentice and James had a new shaved-head look.

Commenting about Stella's designs, Paul said, 'I am very proud of her because she is a serious English designer more than holding her own at the heart of Paris fashion. It is beautiful, just beautiful. It's a credit to the family. We are seeing real clothes for real women to look really good in.'

When Paul attended Stella's fifth fashion show for the house of Chloe on 6 October 1999 at the Petite Palais in Paris he noted how skimpy the outfits were and was to comment, it's hot, sexy and chic. It will make all the men sweat. Stella means "star", and she is. I'm very, very proud of her.'

The show was called 'She's A Woman' and Stella dedicated it to 'my family, friends and my beautiful mum'. On 18 February 2000, Stella was named glamour designer of the year at the London Fashion Awards. On 1 March 2000 at the opera in Paris she unveiled her new collection with her father in the audience, also in attendance were Jerry Seinfeld and Sean Lennon. Sean commented: i'm so proud of Stella. I think it's just great how she has managed to carve out her own separate career. She's ever so talented and I'm pleased she has done so well.'

Stella became a millionairess in her own right and an Al celebrity.

Stella's close friends include Madonna, Gwyneth Paltrow, Liv Tyler and Kate Moss and she designed Madonna's wedding dress in 2000.

On 30 May 2001 she gave a lecture called 'An Evening With Stella McCartney' at the BP Lecture Theatre in the British Museum in London.

In June 2001 Stella left her job as chief designer at Chloe to join the Gucci Empire, where she was given her own label. Between 1997 and 2001 when she worked at the once-ailing Chloe label, she quadrupled their profits.

In August of that year her name was romantically linked with Alasdair Willis, publisher of Wallpaper magazine. Her name had previously been linked with several other young men, including Lenny Kravitz.

In November 2001 she bought a farm at Bishampton, Worcestershire for £1.3 million.

April 2002 saw media attention surrounding her £4 million house in Notting Hill. Neighbours were concerned about a ramshackle structure she had erected on the roof and her plans to entertain friends on the roof. The Daily Mail reported: 'She plans to do a great deal of entertaining on the roof in the coming summer months, and has been boasting of plans to dance naked and take a shower in the open-air cubicle provided.

'But wealthy neighbours have failed to be impressed by the prospect of 30-year-old Miss McCartney cavorting in the altogether and have flooded Westminster Council with complaints.'

McCartney Today

An American television special screened by NBC on Friday 18 June and Sunday 20 June 1982. The 90-minute show was to celebrate Paul's fortieth birthday.

McCartney Wide Prairie Show, The

An Internet broadcast, on Thursday 17 December 1998, marking Paul's only public appearance in 1998, the year of Linda's death. The one-hour exclusive show had Paul fielding questions from fans from around the world. His spokesman commented, 'Paul is not exactly an Internet buff, but he is very excited, and a bit nervous. He chose the format over several TV offers because he wants to go directly to the fans without the use of an interviewer.'

In addition to answering questions, Paul discussed the making of Wide Prairie, previewed video clips and showed his favourite pictures of Linda.

McCulloch, Jimmy

A young guitarist who had a brief, but glorious, spell with Wings.

Jimmy was born in Glasgow on 4 June 1953. At the age of thirteen he joined a band called One In A Million. He was sixteen when he performed on a No. 1 record, 'Something In The Air' by Thundercap Newman. For a short time he was a guitarist in John Mayall's band, following in the footsteps of such musicians as Eric Clapton and Jeff Beck. After the tragic electrocution on stage of Les Harvey (also a Glaswegian), Jimmy replaced him in Stone The Crows. In 1973 he joined the band Blue, managed by Robert Stigwood.

Jimmy had originally met Paul when he first played with Paul, Linda, Denny Laine and Davy Lutton in Paris in 1972, backing Linda on the record 'Seaside Woman'. He next met Paul in 1974 when he was hired to play on Mike McCartney's album McGear, which Paul was producing. Paul then asked him to join in on some recording sessions with Wings in Nashville in June 1974, and Jimmy became a member of the band.

He recorded on Venus And Mars, Wings At The Speed Of Sound, Wings Over America, London Town and on the single 'Junior's Farm'. He also appeared on tour with the band.

Following his appearances on the British gigs, Linda McCartney commented: 'Jimmy is great and I think he'll improve a lot, he'll get better and better and really get his own style.' He went on the 1975/76 World Tour and also on the 1977 tour of America. The American tour had originally been set to begin in either May or June 1976, but Jimmy dislocated his left hand after a concert in Paris and the US trip was postponed.

Two numbers which Jimmy co-wrote with Colin Allen, a former member of Stone the Crows, were included in Wings' repertoire. 'Medicine Jar' appears on Venus And Mars and Wings Over America. Jimmy provided lead vocals for the number and performed it on the world tour. 'Wino Junkie', said to be a nickname for himself, and like 'Medicine Jar' about drugs, was included on the 1976 album Wings At The Speed Of Sound.

Jimmy drank a lot and was often abrasive and argumentative with people. He argued frequently with Geoff Britton, until the latter left the band. There were even rumours of arguments between him and Paul. Jimmy finally left Wings on 8 September 1977, joining the Small Faces for a short time, until he formed his own band, the Dukes.

When he hadn't turned up for rehearsals on two consecutive days, his brother Jack visited Jimmy's Maida Vale flat and found his body on the floor. An open verdict was recorded on his death, although the pathologist reported that he had traces of cannabis, alcohol and morphine in his body. Yet there were some mysterious circumstances. The flat contained no evidence of drink or drugs, there was no money to be found and a security chain on the door had been broken.

Jack was to comment, 'I'm sure someone was in the flat after my brother died and I'd like to find out who he was.'

The mystery has never been solved.

McCullough, Henry

An Irish guitarist who was a member of Wings for almost two years.

His career began with the Skyrocket Showband, one of the many 'showbands' popular in Ireland. He then joined the rock group Jean & the Gents before becoming a member of Eire Apparent in 1967. The group began to play in England and were spotted at London's UFO Club by Chas Chandler, who was manager of Jimi Hendrix at the time. The group's road manager was Dave Robinson {later to launch the successful Stiff Records) and their PR was Bill Harry.

They played a number of gigs with Jimi Hendrix, but the group never achieved the success they deserved. Henry moved on to Sweeny's Men and then Joe Cocker's Grease Band. He was already friendly with Denny Laine, but it was Paul's road manager who informed him that Paul was holding auditions for a new lead guitarist. Henry auditioned on a Tuesday, and was asked to return to audition again the following Thursday. Later Paul rang him to ask him to join the band, in time to contribute to Wings' first single, appropriately 'Give Ireland Back To The Irish'.

Discussing this chain of events in New Musical Express, Henry revealed, 'In fact it was Paul's roadie who rang, saying do you fancy sitting in? After the Grease Band I didn't know what the hell was going on so I went down and had a play. That was Tuesday and afterwards things were left at that - nothing was said. Then I had another call on Thursday to go down again and afterwards Paul said, "Do you want to join our group?" Although I knew Denny Laine, I'd never met McCartney before. Once I got used to seeing him there in person, he turned out to be a great bloke, I guess I was a bit nervous but I had a couple of pints of Guinness before I went along the first time. That helped.

'McCartney wants to play everything. Surely that's the point of music - to have enough different material to play in audiences of twelve-year-olds or old age pensioners. Paul just wants to play the whole lot - heavy numbers, rock numbers, everything.'

Henry toured with Wings in Europe in 1972 and in the UK in 1973. He can also be heard on the 1973 album Red Rose Speedway. However, at the end of the year, just before the recording of Band On The Run, he quit the band.

In an interview with Paul Gambaccini, Paul commented, 'Henry McCullough came to a head one day when I asked him to play something he really didn't fancy playing. We all got a bit choked about it, and he rang up later and said he was leaving. I said, "Well, OK". That's how it happened. You know with the kind of music we play, a guitarist has got to be a bit adaptable. It was just one of those things.'

Henry told the press that he had quit because he and Paul didn't see eye to eye musically and that he considered Linda an amateur and wasn't too happy with her being in the band.

He later signed with George Harrison's record company, Dark Horse records. Over the years he provided backing for many artists, including Donovan, Joe Cocker, Marianne Faithfull, Leon Russell and Ronnie Laine.

The Melody Maker once described McCullough as: 'The eternal drifter, wandering from gig to gig, following his nose with his guitar to pay the rent. The future's never too clear when you talk to Henry, and his past is a blurred trail of events.'

In the early 1980s he had an accident with a knife that severed the tendons in his playing hand and he retired to Ireland for several years. He eventually recovered and was able to perform again.

McDonald, Arthur

Paul's first grandchild, born on Saturday 3 April 1999 to his daughter Mary and her husband Alastair McDonald. Paul immediately drove from his farmhouse to be by his daughter's side and see his 7 lb grandson. Sadly, Linda never saw her first grandchild, as she'd died the vtar previously.

McDonald, Phil

A recording engineer who worked with Paul on Wings Over America. Phil was used to working with Paul, having been an engineer on Abbey Road. He also engineered six George Harrison and two John Lennon albums.


Title of a solo album by Mike McGear, the pseudonym of Paul's brother Mike McCartney, a former member of the British hit group the Scaffold.

Paul produced the album, which was recorded between January and May 1974. It was issued in Britain on Friday 27 September 1974 on Warner Brothers К 56051 and in America on Monday 14 October 1974 on Warner Brothers BS 2825.

The tracks were: Side One: 'Sea Breezes', 'What Do We Really Know?', 'Leave It', 'Have You Got Problems?'. Side Two: 'The Casket', 'Rainbow Lady', 'Simply Love You', 'Givin' Grease A Ride', 'The Man Who Found God On The Moon'.

Paul composed the numbers 'What Do We Really Know?' and 'Leave It'. He also co-wrote 'Have You Got Problems?', 'Rainbow Lady', 'Simply Love You' and 'The Man Who Found God On The Moon' with Mike. He co-wrote 'The Casket' with Roger McGough, also a former Scaffold member.

In addition to producing the album, Paul also played a number of instruments in addition to co-mixing it with Mike and engineer Peter Tattersall. He is also pictured on the cover sleeve. Other figures featured on the cover include Jim and Mary McCartney, Mike's two daughters, a baby Paul, Linda, Pete Strawberry, Brian Jones from the Liverpool band the Undertakers, Robert Doogle, an announcer, Paddy Maloney, Denny Seiwell, Paul and Mike, Kevin Godley and Lol Creme of lOcc, Denny Laine, Jimmy McCracken, Melvin Edwards who cut the album and engineers from Strawberry Studios.

lOcc played on the track 'The Man Who Found God On The Moon' and 'Givin' Grease A Ride', although they used the alias the Gysmo Orchestra.

A single from the album, 'Sea Breeze'/'Givin' Grease A Ride', was released in Britain on Friday 7 February 1975 on Warner Brothers К 16520.

The album was issued as a CD for the first time on Monday 24 September 1990 when Rykodisc issued it in America, with 'Dance The Do' as a bonus track. It was issued in Britain as a CD on 6 April 1992 on the See For Miles label on SEECD 329, with two bonus tracks, 'Dance The Do' and 'Sweet Baby', both compositions co-written by Mike and Paul.

McGivern, Maggie

One of Paul's former girlfriends. She revealed details of their affair in an article in the Daily Mail on 12 April 1997. She claimed that her

relationship with Paul began in 1966 when she was working as a nanny for Marianne Faithfull and John Dunbar. Paul was a friend of the couple and regularly visited their flat where he met Maggie on a number of occasions. This developed into a secret love affair lasting for three years, occurring during the period Paul was engaged to Jane Asher. After Jane found Paul in bed with Francie Schwartz and ended their engagement in the summer of 1968, Paul asked Maggie to accompany him on a trip to Sardinia. She says that while they were there Paul discussed marriage with her, but she was unsure whether to accept. They continued to see each other, but after Paul met Linda they drifted apart.

Maggie had an affair with Denny Laine and later married Mel Collins.

McGough And McGear

An album by Roger McGough and Mike McGear, recorded in January 1968. Paul produced it. The album was issued in Britain on Friday 17 May 1968 on Parlophone PCS 7047. It was re-released in Britain on Monday 10 April 1989, the album on Parlophone PCS 7332 and the cassette on Parlophone TC-PCS 7332. A mid-price compact disc of the album was also available on Parlophone CDP 7 91877 2.

The tracks were: Side One: 'So Much', 'Little Bit Of Heaven', 'Basement Flat', from Frink (a book of poems by McGough), 'A Life In The Day Of and 'Summer With Monika', 'Prologue', 'Introducing: Moanin", 'Anji', 'Epilogue'. Side Two: 'Come Close And Sleep Now', 'Yellow Book', 'House In My Head', 'Mr Tickle', 'Living Room', 'Do You Remember?', 'Please Don't Run Too Fast' and 'Ex Art Student'.

At a small press lunch, a select number of journalists were presented with the album and also a typed press release from Derek Taylor which read:


Thank you for coming to lunch.

It is very nice of you and we are your friends.

Now then, what do you want to know about it all?

'Oh well of course' you may say.

'How do we know what we want to know; surely you would be the best judge of that. After all is said and done, what is there to know?'

It is so much a case of guessing, for there's no knowing what anyone would want to know.


Let us guess.

Eyes down.

Our father, all the eights, 88 ...

We are already confusing the issue.

This approach is what the psychiatrists call 'maze making' or 'problem posing' or 'crisis creating' brought about in order to find a solution, or an exit line.

Now ... some names ...

Jane and Mrs Asher ... William I Bennet (WIB) ... Spencer Davis (is) ... Barry Fantoni ... Mike Hart ... Jimi Hendrix ... Vera Kantrovitch ... Gary Leeds ... Dave Mason and Carol ... MIKE McGEAR ... ROGER McGOUGH ... John Mayall ... Paul McCartney ... John Mitchell ... Zoot... Graham Nash ... Viv Prince (yes) ... Andy Roberts ... Prince 'Stash' de Rola ... Paul Samwell-Smith ... Martin Wilkinson ...

What have they in common? What have they not? They are all beautiful. The two in capital letters are here today. They made the album. You have in your hand or adjacent. They are in the Scaffold (the capital letters were mine not theirs. McGear and Me Gough have no egos).

The other people are friends. Friends. Friends who all contributed to the album in one way or many or all or a little.

At any rate they all went into the recording session and sang or played or beat some tangible thing or simply waved their arms to create in the air some benign (we mean, of course, benign) turbulence.

McGear and McGough are from Liverpool poetic and funny, concerned and open ...

Well listen, we are all here together now aren't we? In circumstances such as these, who needs a press release?

Have we no tongues to speak.

You are kind.

Thank you.


McGough, Roger

Liverpool-born poet who was educated at St Mary's College and the University of Hull. He became a member of the Scaffold, along with Mike McGear and Roger Gorman.

In January 1968 Paul produced an album by Roger and Paul's brother Mike called McGough And McGear. In 1964, when Paul produced the McGear album, he co-composed the number 'The Casket' with Roger.

Roger, who contributed to the script of the Yellow Submarine movie, although he was not credited, was to become one of Britain's major poets with numerous books to his credit, including Summer with Monika, Blazing Fruit and Defying Gravity.

McGough, Thelma

Nee Pickles. Thelma was a former student at Liverpool College of Art. Whilst there she became one of John Lennon's early girlfriends and was privy to some of the John and Paul rehearsals in Menlove Avenue.

John had poor eyesight and wore glasses at the time, but when he went out with Thelma he wouldn't wear them. When they went to the cinema to see Elvis Presley in Love Me Tender, he couldn't actually see what was happening on the screen and had to ask Thelma to tell him.

Soon after the recording of 'Love Me Do' she began dating Paul. She later married Roger McGough, a Liverpool poet who was a member of Scaffold with Mike McGear. They later split up.

Thelma became a TV producer and produced Cilia Black's Blind Date before leaving England to settle in New Zealand.

Mclntosh, Robbie

A musician who appeared in Paul's band from 1989 to 1993.

Robbie was born on 25 October 1957 and in 1975 he joined his first group, 70% Proof. The following year he joined the Foster Brothers, an outfit which lasted for eighteen months. When they disbanded he was disillusioned and began driving a lorry for a building supplies company, but music still obsessed him and he joined a band called Night. His next group, Chris Thompson &; the Islands, had a keyboards player called Wix, who was later to also become a member of Paul's band.

During this time, Robbie also did a lot of session work for artists who included Kirsty MacColl, Marilyn, Tears For Fears, Haysi Fantayzee and the Inspirational Choir of the First Church of the Living God.

In September 1982 he joined the Pretenders, a spell which lasted until late 1987. It was Chrissie Hynde who recommended him to Paul. On leaving the Pretenders he became involved in some session work, also played with Custer's Last Blues Band and a year had passed since leaving the Pretenders and joining Paul.

When Mclntosh joined Paul's band, Chrissie said, 'That was Robbie's dream come true, because he knew every Beatles song. His lifestyle also fits in well with Paul's, because he's a country person and loves to ride horses. It's really worked out for him ... the bastard!'

After leaving Paul's band he resumed session work with numerous artists including Paul Young, Rod Stewart and Joe Cocker. He later released a blues-country-rock album Emotional Bends and also issued an album of guitar instrumentals, which was only available on the Internet.

McKenzie, John

A Scottish film director who was responsible for a series of critically acclaimed TV plays and movies from 1967 when he made his directorial debut with a BBC Wednesday night play 'Voices In The Park'. His films include One Brief Summer, Unman, Wittering & Zigo and The Long Good Friday (which George Harrison had a hand in distributing).

He was hired by Paul to direct the video film for the single 'Take It Away', based on a treatment written by Paul. The film took five days to shoot from Friday 18 June 1982 at EMI's Elstree Studios in Hertfordshire.

On the first day of filming there was a celebratory party hailing Paul's fortieth birthday. Among the guests were Ringo and his wife Barbara, George Martin, Steve Gadd and Eric Stewart.

A telegram from Cilia Black was read out. It read: 'If life begins at forty, what the 'ell 'ave you been doing all these years?'

McMillan, Keith

Videofilm director. He made the 'Ebony And Ivory' promotional video in which Paul and Stevie Wonder are featured on piano. The two stars were not filmed simultaneously. Keith filmed Paul in London and then flew to Los Angeles to complete the Stevie Wonder section, then merged the two on the completed film.

McPeake, Family, The

An Irish band from Belfast that performed at the 'Magical Mystery Tour' party at the Royal Lancaster Hotel on Thursday 21 December 1967.

Paul had seen them perform on television and was so enthusiastic that when he arrived at Apple the following day he commented, 'They're fantastic, too much. There's an old guy, two younger guys and a girl. They play this incredible fairy music on some weird pipes. I've never heard anything like it, it just blew my mind.'

He then instructed Alistair Taylor to contact them and book them for the party.

McQuickly, Dirk

Dirk was the Paul figure in the Beatles TV spoof 'The Rutles', which was later released on a videocassette as 'All You Need Is Cash'. Eric Idle portrayed Dirk. In the lampoon, when the Rutles split up he joins a group called the Punk Floyd.

Mean Fiddler

A rock music venue in the London district of Harlesden where Paul and his band gave a live performance on Friday 10 May 1991 as part of a six-venue 'Surprise Gigs' tour to promote Unplugged - The Official Bootleg.

When news of the appearance was announced on Capitol Radio, all tickets to the 600-capacity venue were sold within an hour.

He made his second appearance at the Mean Fiddler on Friday 20 November 1992 when he was filmed for a television special, 'A Carlton New Year', due to be screened on New Year's Day. Carlton had received the television franchise previously held by Thames Television.

Meet Paul McCartney

An MPL programme, 25 minutes in length, which was produced to promote Paul's McCartney II album. The 'Coming Up' clip, videoed in March 1980, was used and the rest was filmed at Trilion studios in Soho on Monday 19 May, opening with an interview with Paul conducted by Tim Rice. A promotional film for 'Waterfalls' was also shown. Perhaps to recall the recent Japanese drug bust for which Paul was jailed, there was a short sketch in which actor Victor Spinetti, dressed as a punk rocker, handcuffs Paul and takes him away, although the sketch was dropped from the televised showings.

It was shown in the Thames TV region on Thursday 7 August 1980 and the Granada region on Monday 27 October 1980.

Mellow Yellow

A single by Donovan, issued in Britain on Pye 7N-17267 on 13 January 1967 and in America on Epic BN 26239 on 30 January 1967. Paul can be heard on the backing vocal. Donovan was to comment, 'I went to the Beatles' Yellow Submarine session and helped a little with the lyrics. Then Paul came to the session for my "Mellow Yellow" single. In the middle of the take, he suddenly yelled out, "Mellow Yellow!" and it's still there on the single somewhere.'

Melody Maker

A British musical weekly, which ceased publication in 2000.

During the period when Ray Coleman edited the publication, Paul and John used it to cross swords. In an interview published in November 1971 Paul discussed the Beatles break-up, John, and Yoko and John's song 'How Do You Sleep?' The feature infuriated John who wrote a letter to the Melody Maker insisting that it be published in its entirety, taking the opportunity once again to slag Paul off.

Mess, The

The B-side of 'My Love' released on 23 March 1973. The number is a live recording from a performance at the Congresgebouw in Holland which took place on 21 August 1971 during Wings' European tour. The number was also featured on their British University tour in 1972, their British tour of 1973 and in the 'James Paul McCartney' television special.

Meters, The

A band hired by Paul to play at a party he organised for the press in New Orleans in February 1975 during the recording of Venus And Mars. He rehired them the following month when he threw another party aboard the Queen Mary. The ship was docked at Long Beach in California and the occasion was the completion of the album. George Harrison was among the star-studded array of guests, as were Dean Martin, Bob Dylan, Ryan O' Neal, Cher, Carole King, Micky Dolenz and Michael Jackson.

MGM Grand

Venue in Las Vegas where Paul appeared on Saturday 6 April 2002 as part of his 'Driving USA' tour.

Paul was paid a staggering $4 million to play at the venue. This was mainly due to the fact that his appearance was to replace the cancelled world heavyweight fight between Lennox Lewis and Mike Tyson, which the State authorities had banned and which had been transferred to a New York venue.

Tickets at the 15,000-seater venue were priced at $250 each.

The appearance made Paul the highest paid British performer of all time, during which he earned an estimated £500 per second.


A number by Paul, although John helped him with the bridge. Paul had originally composed the tune while he was still at Liverpool Institute. The track was featured on the Rubber Soul album and within a month of the LP's release there were more than twenty different cover versions of the song, with the Overlanders and David &c Jonathan both reaching the British charts with their singles.

When Ivan Vaughan and his wife Jan were visiting Paul at the Ashers' house in Wimpole Street Paul asked Jan, who taught French, if she could help him with some lyrics. He asked her for some French words to rhyme with Michelle and she said lma belle', and she helped him with the other French words included in the song. Some years later Paul sent her a cheque for her help with the number.

A live version lasting 2 minutes and 57 seconds and recorded on 26 May at Boulder, Colorado, was included on the Paul Is Live album.

Mighty Like A Rose

An Elvis Costello album released in Britain on 13 May 1991 on Warner WX419. The cassette version was on WX419C and the CD on 7599 265752. The album featured two songs that Costello co-wrote with Paul, 'So Like Candy' and 'Playboy To A Man'. It was issued in America on cassette (Warner Bros 4-26575) and CD (2-26575).

Mike Yarwood Christmas Show, The

Paul and Wings appeared in this British TV show on Christmas Day 1977, performing 'Mull Of Kintyre', backed by the Campbeltown Pipes Band. Filming took place on Saturday 10 December at the BBC TV Theatre in Shepherd's Bush. They also appeared in a comedy sketch with Yarwood, a leading impressionist, in a routine in which he acted as Dennis Healey, then chancellor of the exchequer.

Miller, Steve

An American rock guitarist born in Milwaukee, Wisconsin on 5 October 1943. His single 'The Joker' topped the charts on both sides of the Atlantic.

On Friday 9 May 1969 the Beatles were booked to record at Olympia Studios, Barnes. John, George and Ringo began to argue with Paul about Allen Klein who wanted them to sign a management agreement immediately. Paul wanted time to get advice about it. He also felt that Klein should only get 15 per cent and not the 20 per cent that he demanded. The other three Beatles supported Klein and said he should have 20 per cent; they then told Paul to 'fuck off!' and left the studio without completing the session.

Steve Miller was in Olympia recording that night and Paul bumped into him. Paul asked if he could drum for him and became a guest on Miller's track 'My Dark Hour'.

They kept in touch and Paul phoned him early in 1995 inviting him to join him in recording a few tunes. On Wednesday 17 May Paul, Linda, their son James and engineer Geoff Emerick flew to Miller's Sun Valley Studio where they began recording, mainly with Paul and Steve playing standards on acoustic guitars, until Tuesday 23 May. Paul then invited Steve to join him at his own studios in Sussex where they spent from Thursday 25 May until Wednesday 31 May recording six new songs, which included original numbers by both Paul and Miller, who both took turns singing lead. Paul was also to play various instruments including bass, drums, guitar and piano. Among the numbers penned by Paul that they recorded were 'Used To Be Bad', 'Broomstick' and 'If You Wanna'.

Miller was to comment, 'People don't know the real Paul McCartney. The man is a great blues artist and he can play jazz with the best of them.'

He also said, 'Paul, in one session, wrote a song in about five minutes. He even had my parts laid out for me. He is a genius. There has never been anyone else like him. I was thrilled to be working with a Beatle. Paul is very relaxed, yet was also professional and quite focussed.'

Milligan, Spike

A British comedian and former member of the Goons. In 1981 he asked if Paul and George Harrison could contribute to a fund to set up a sanctuary for otters in Gloucestershire. They chipped in with £800 each.

Paul had once taken Jane Asher to see Spike in Son Of Oblomov on 8 March 1964. Spike also inspired Paul to write 'Ebony And Ivory'.

In mid-1995, when the three remaining Beatles were recording at Paul's studio, near Milligan's house, they decided to pay him a visit.

When they turned up at his door he refused to see them, shouting to his wife, 'tell them to fuck off!'

At the Q Awards on Tuesday 4 November 1997, Spike presented Paul with an award as 'Best Songwriter' for Flaming Pie. He said, 'In my case he gave me £25,000 to restore the Elephant Oak in Kensington Gardens. If he did nothing else, he wrote 'Yesterday'. Mind you, I wrote 'Ying Tong Yiddle I Po’.’

Paul said, 'This means a lot because there is a lot of competition out there, a lot of brilliant music being made at the moment. And I want to thank Spike for being older than me.'

Spike died on 27 February 2002. He was 83 years of age.

Millings, Dougie

A London tailor who made the Beatles collarless suits in 1963. He also appeared as the Beatles personal tailor in A Hard Day's Night.

Millings made the special costumes for Paul's 1972 Wings tour as well as the special outfits used in the photography shoot for the Band On The Run album cover.

He died on 20 September 2001 at the age of 88.

Million Miles

A number penned by Paul and included on the 1979 Back To The Egg album and the flipside of the 'After The Ball' single. On it, Paul plays the concertina.

Mills, Heather

See McCartney, Heather Mills.

Mine For Me

This song had its origin during a press conference in Oxford on Saturday 12 May 1973 when Paul was asked why he had written 'Six O'Clock' for Ringo Starr's Ringo album. Paul replied, T would do it for any friend. I would do it for Rod Stewart if he rang up.' As a result Rod Stewart did ring Paul up and Paul wrote 'Mine for Me'.

At another time, when asked why he wrote the song for Rod, he said, 'It was just the result of another drunken night, I suppose! It's nice to write for someone like Rod, because he's got such a distinctive voice. You can hear him singing it as you are doing it. Certain people ... well, they are just a bit boring, and you write boring songs for them.'

Paul, along with Linda, sang the number with Rod Stewart during a concert by Stewart at the Odeon Theatre, Lewisham on Wednesday 27 November 1974. Paul admitted that he'd only gone along to watch and never intended to sing, but Rod called him and Linda on stage. Their appearance with Rod was filmed and shown on the programme Midnight Special on 25 April 1975.

Stewart had included the track on his Smiler album, issued in Britain on 27 September 1974 on Mercury 9104-001 and in America on 7 October 1974 on Mercury SRM 1-1017. He then issued it as a single. It was issued in America on 4 November 1974 on Mercury 73636, with 'Farewell' on the flip.

Mirror Mirror

A 1995 album by lOcc. Paul is featured on two of the tracks. 'Yvonne's The One' is a number he co-wrote with Eric Stewart, who he collaborated with on his Press To Play album. Eric was a founder of lOcc. On the other track, 'Code Of Silence', Paul plays strings, Rhodes piano, percussion and contributes frog and insect noises.

Mistress And Maid

A number co-written by Paul and Elvis Costello, which was included on the Off The Ground album.

Mitchell, Adrian

A British poet and journalist, born in London in 1932. Mitchell first met Paul in January 1963 when he became the first journalist to interview the Beatles for a national newspaper. The interview appeared in his column in the Daily Mail on 1 February 1963.

He said, 'I went back to write about them whenever my paper would give me the space. Paul was interested that I was a published poet and novelist, so I came to know him best. We maintained a friendship that became closer over the years, especially when our families met.'

In 1991, when Paul, Linda and their band were appearing at Cliffs Pavilion, Southend on Friday 9 July 1991 as part of their Unplugged tour, they backed Mitchell on stage, performing four of his poems.

The poems were 'Song In Space', 'I Like That Stuff', 'Maybe Maytime' and 'Hot Pursuit'. For the musical backing to 'I Like That Stuff, Paul played an instrumental version of 'Junk'. The final poem was about rhythm and blues star James Brown.

Mitchell was able to return the favour in 1995 when he was poetry editor of the New Statesman. He published five of Paul's poems.

It was Linda who originally suggested to Mitchell that he edit a collection of Paul's poems and he eventually did so in 2001 when Faber & Faber published Paul McCartney Poems and Lyrics 1965-1999. It was also Mitchell who suggested that Paul juxtapose the poems with his song lyrics.

Mitchell has had several books of poems published and has given more than a thousand performances of his poems around the world.

Mohin, Owen

Paul's maternal grandfather. He was born in Tullynamalrow in 1880 and married Mary Danher of Toxteth, Liverpool in 1905.

Momma Miss America

A track on Paul's debut album McCartney lasting 4 minutes and 3 seconds. Paul recorded the number at home and played piano, drums, acoustic guitar and electric guitar. The original title was 'Rock 'n' Roll Springtime'. The instrumental is included in the soundtrack of the 1996 film Jerry Maguire.

Money, Zoot

A British musician, real name George Bruno, who established himself on the London scene in 1964 with his Big Roll Band which had the hit single 'Big Time Operator' in 1966.

The band became Dantalion's Chariot in 1967, but Zoot had no great success on the music scene so he became an actor and also appeared in a number of TV commercials.

He worked with Paul on the McGough And McGear album and also worked with Mike McCartney in the group Grimms.

In April 1977 he teamed up with Paul, Denny Laine and Vivian Stanshall to record with Mike McCartney. A number of tracks were cut at the sessions, but they remain unreleased.

In 1980 Paul suggested that Zoot did an album of MPL numbers. Zoot said, 'I leaped at the chance. There was a list of songs as long as Oxford Street. I picked out those I'd fancied and Paul paid for the session. Also, Paul helped to design the sleeve.'

The album Mr Money was issued in Britain on Magic Moon Records Lune 1 on Monday 15 September 1980, and a single 'The Two Of Us'/'Ain't Nothin' Shakin' But The Bacon' was also issued on Friday 5 June 1981 on Magic Moon Records Mach 6.

Monkberry Moon Delight

A track on the Ram album. Perhaps inspired by Screamin' Jay Hawkins's 'Love Potion No. 9' because 'monk' berry means 'milk' and 'moon delight' is a fantasy drink. In fact, Hawkins actually recorded Paul's 'Monkberry Moon Delight' on his 1979 album Screamin' The Blues and Paul included Hawkins's version of the number in the soundtrack played before his 1993 concerts. Also included were other versions of his songs by different artists, including 'Live And Let Die' by Guns N' Roses, 'My Love' by Junior Walker, and 'Let 'Em In' by Shinehead.

Hawkins died at the age of seventy on 12 February 2000 due to an internal haemorrhage.


The Caribbean island where George Martin built his AIR Studios in 1978, although it wasn't until Paul had recorded there that the stars began to flock to the place. Paul and Linda recorded Tug Of War there in February 1981.

Paul commented, 'I wanted to work with George again. We hadn't worked together since Beatle days and it was something I had wanted to do for ages. I suppose I could have done that in London, but wouldn't you rather go to a paradise island if you had a choice?'

Paul arrived with Linda and his four children on 1 February and was soon followed by Ringo Starr, Carl Perkins and Stevie Wonder, who were guesting on the album.

Stevie was so impressed with Montserrat that he composed a number about the island and spent his last night there listening to a steel band at the only local club bar, the Agouti.

During sessions from Monday 2 February until Tuesday 3 March Paul recorded 'Somebody Who Cares', 'The Pound Is Sinking', 4Hey Hey' and 'Rainclouds'.

Morse Moose And The Grey Goose

At 6 minutes and 27 seconds, the longest track on the London Town album. During Wings' recording sessions in the Virgin Islands, Paul and Denny Laine were fooling around, Paul poking away at an electric piano and Denny thumping on a standard piano. They enjoyed the unusual sound, which Paul likened to Morse code, and began to write a song around it which they completed in London.

Mother Nature's Son

One of the songs Paul began composing during his sojourn in India.

It was recorded after John, George and Ringo had gone home, so Paul recorded it playing acoustic guitar at around three o'clock in the morning of 9 August 1968. Brass backing was added later and the number appeared on The Beatles White Album.

Engineer Ken Scott was to comment: 'Paul was downstairs going through the arrangement with George Martin and the brass players. Everything was great, everyone was in great spirits. It felt really good. Suddenly, halfway through, John and Ringo walked in and you could cut the atmosphere with a knife. An instant change. It was like that for ten minutes and then as soon as they left it felt great again. It was very bizarre.'

Paul was to say, '"Mother Nature's Son" was inspired by a lecture given by the Maharishi, but mostly written in Liverpool when we got back. The same lecture inspired John to write "I'm Just A Child Of Nature".'

Mother's Pride

Trade name of a loaf of bread produced in Britain. Dusty Springfield was among the pop stars who had appeared in the Mother's Pride television commercials and Paul and Wings were hired to appear in 1974. Paul wrote and recorded a Mother's Pride jingle, but the jingle and the TV spot with Wings were never aired due to a bread strike which had halted production at the time the TV spots were due to go out.

Move Over Busker

A number from the Press To Play album, lasting 4 minutes and 5 seconds, which had started life with the title 'Move Over Buster'.

Movie Magg

A track from the Run Devil Run album lasting 2 minutes and 12 seconds. It was penned by Carl Perkins and recorded at Abbey Road Studios on Tuesday 2 March 1999 with Paul on lead vocal, acoustic guitar and bass guitar, Dave Gilmour on electric guitar, Mick Green on electric guitar and Ian Paice on drums.

Paul had become friends with Perkins, who told him amusing stories about the songs he wrote. This song, as described to Paul by Perkins, was about him trying to take his girlfriend Maggie to the movies on a horse called Becky. The horse turned out to be a mule and they both rode to the movies on Becky's back.


An hour-long behind-the-scenes documentary directed by Aubrey Powell, which began with the working title 'What It Takes'. The documentary covered Paul's recordings of Off The Ground at Abbey Road Studios; the special-effects work undertaken at Industrial Light and Magic Studios in Los Angeles for the 'Off The Ground' single; Kevin Godley's work on the 'C'mon People' video; Paul and Linda visiting Linda's exhibition in Los Angeles; Paul performing with Angelo Badalamenti, the soundtrack composer, and a 52-piece orchestra; Paul rehearsing with his band; Paul working with photographer Clive Arrowsmith and sculptor Eduardo Paolozzi.

The soundtrack to the documentary included seven tracks from the Off The Ground album, together with new versions of 'Penny Lane' and 'I Wanna Be Your Man'. It featured a live excerpt of a 'Live And Let Die' performance; a studio rehearsal of 'Drive My Car'; the filming of the video of 'C'Mon People'; a studio rehearsal of 'Penny Lane'; the promotional film of 'Off The Ground', a live rehearsal of 'Twenty Flight Rock', a live rehearsal of 'Looking For Changes'; the filming of the video of 'Hope Of Deliverance'; a live version of 'Get Out Of My Way' and a live version of 'Biker Like An Icon'.

With a name change to 'Movin' On' and pruned down to only 27 minutes, it was premiered on Channel 4 in Britain on Sunday 18 April 1993 and on the Fox Television network in America on Thursday 10 June 1993, with slightly different footage from the British version. The full-length version was aired in Germany later that year.

The MPI home video was issued in America on 26 July 1993.

MPL Communications

An abbreviation of McCartney Productions Limited. Paul had originally formed a company called Adagrove Limited on 12 February 1969, which was then changed to McCartney Productions. On Wednesday 7 April 1976 McCartney Productions changed its name to MPL Communications Ltd.

It was originally established as a management company for Paul and Linda's projects including songwriting, recordings, books, films and videos. The company secured several music catalogues and by 1997 owned the copyrights to 25,000 songs.

It was first established at 12-13 Greek Street in 1976 in a small two-roomed office above the Cucaracha Mexican restaurant and later moved to 1 Soho Square. The company initially had one office there, but gradually took over the entire building on the advice of Lee Eastman. The bullet-proof glass windows cost £2,000 and a replica of Abbey Road's Studio Two was built in the basement.

MPL is involved in various activities although the main bulk of its millions comes from the vast music publishing catalogue which Paul has been purchasing over the years.

The first music catalogue they bought was that of EH Morris, who owned the songs of Buddy Holly.

In 2000 MPL acquired 28 per cent of Mills Music Trust, which owns the rights to songs by Duke Ellington and other jazz artists.

MPL already owns the music from hit musicals such as Guys And Dolls, Grease, La Cage Aux Folles, Bye Bye Birdie, Mame, Hello Dolly!, The Music Man and A Chorus Line. It also owns classic numbers such as 'Unchained Melody', 'Autumn Leaves', 'Tenderly', 'Stormy Weather' and 'After You've Gone' and Four Seasons classics such as 'Walk Like A Man', 'Sherry' and 'Big Girls Don't Cry'.

The company is generally more interested in obtaining catalogues rather than individual songs.

The only Beatles numbers MPL owns are 'Love Me Do' and 'PS I Love You'.

Paul also purchased the music catalogues of songwriters and composers such as Scott Joplin and Ira Gershwin.

MPL has seventeen different companies responsible for song publishing, films, tours and video. Affiliated MPL companies include Arko Music, Barwin Music, Claridge Music, Conley Music, Desilu Music, Edwin H Morris & Company, Frank Music, Frank Music dt Meredith Willson Music, Harwin Music, Jerryco Music, Morley Music, Remsen Music, Winmore Music and Wren Music.

In 2002 it was revealed that Paul had an apartment refitted on the гор floor of the offices in Soho that he used as a one-bedroom hideaway after being hounded by fans and the press at his other homes. The flat has an estimated value of £1.5 million.

A friend of Paul's commented, 'The flat has proved convenient since the paparazzi think he's just going into the offices to work late.'

Although not a record company, MPL has issued several discs, mainly to advertising and entertainment companies. MPL 1 was a 7"

disc called 'We Moved', informing clients of the change of address from 12-13 Greek Street to 1 Soho Square. MPL 2 was a 7" disc called 'Buddy Holly Week America '83' with six Holly numbers on it.

Other releases have included Galaxy Of Songs, Wow Mom, Listen To This, MPVs Treasury Of Songs - The Standards, MPL's Treasury Of Songs: The Rock V Roll Classics and The MPL 25th Anniversary Collection.

MPL Presents

A hand-numbered box set of seven albums, only 25 of which were produced. Paul decided to produce this limited-edition set, which could be auctioned for chanty, in 1979.

Paul had originally decided that the box set should contain all his solo and Wings albums up to that date, a total of eleven. He also wished them to be presented in a card box with the title MPL Presents, on the box cover. However, he had forgotten that some of his albums had gate-fold sleeves which, because of their thickness, would mean that the box that had been designed couldn't accommodate them all.

As a result Paul rethought what he would include and decided on seven albums from his solo career: Ram, Red Rose Speedway, Wings At The Speed Of Sound, Wings Over America, London Town, Wings Greatest and Back To The Egg.

Mr H Atom

One of several numbers Paul recorded in July 1979 during sessions for McCartney II, which weren't used on the album.

Mr Sandman

The backing track for this number was recorded at the Black Ark studios in Kingston, Jamaica, destined for a solo album by Linda, who added her vocal track at Rude Studios in Scotland in August 1977. The tune had originally provided the Chordettes with a No. 1 hit in January 1955 and it was included on the Wide Prairie album.

Mrs Vanderbilt

A single by Paul McCartney and Wings, 4 minutes and 37 seconds in length, which was included on the Band On The Run album. It was issued as a single in Europe with 'Bluebird' on the flip.

The single was released in Germany on EMI Electrola/Apple 1C600-05529, in France on Apple 2C006-05529 and in Spain on Apple 1J006-05529.

MSN Webchat

On 9 May 2002, while appearing in Dallas, Texas, during his 'Driving USA' tour, Paul agreed to participate in a question-and-answer session online.

HOST: 'Welcome to MSN Live. Paul joins us tonight live from the sound check in Dallas.'

PAUL: 'Thanks. Lovely to be here, virtually and really.'

HOST: 'Paul, since you are about to go on stage, let's talk about your tour.'

QUESTION: 'What exactly was the pre-concert show, and where did the idea come from?'

PAUL: 'Originally we were thinking of having a support act, but it gets difficult because you have to move their stuff off stage and yours on. So I thought of having the audience come in rather than have them feeling like an auditorium. Then it turned into having them seem like they didn't know how they got there. Then I worked with Youth, and that was it basically. It just gets the audience in and gets them into the atmosphere.

QUESTION: 'Are you planning any other live dates in the UK in the near future and if so do you know where?'

PAUL: 'There are no plans at the moment, but I'm looking into taking the band to Britain, but I don't have any dates yet.'

QUESTION: 'Do you think you will record more songs with Ringo, possibly including more unreleased songs by Lennon or Harrison, like "Real Love"?'

PAUL: 'I don't know about that. It's an interesting idea. When we did "Free As A Bird" and "Real Love" there was another track under consideration for us to work on but we didn't get around to it, so I wonder if there will be a chance in the future. I wouldn't mind doing it.'

QUESTION: 'Songs become relevant to people at a particular time and place in their lives. What song is relevant to you at the moment? What do you play on the acoustic when alone?'

PAUL: 'When I'm touring I don't really find myself sitting around playing acoustic, because you're doing so much in the day that time off is time off. I really just play whatever comes into my mind. It could be an old song that I learned when I first learned guitar, or something new, or someone else's song. Or I'm writing a song when I have time off. I play nothing in particular and just see if an interesting idea comes out of that. It just depends on the mood you're in. I like doing it and always have one with me, but on tour I don't always use it that much.'

QUESTION: 'Do you have any plans to release a DVD music video collection?'

PAUL: 'That's one of those things that have been cooking for a while. Often something gets in the way of it. There's been talk of a DVD or live record of this tour, so that would mean the DVD would be put into next year. I would love to do them and look at them back to back. So I would like that for myself so one day we'll get around to that. But, like I said, there may be a DVD from this tour coming at the end of the year.'

HOST: 'So many of your fans here seem to go to one show after another.'

PAUL: 'I love that. It's a tribute, really. Sometimes when you go to see someone you get enough. But I love when they can't get enough. And that's a tribute to the band and to us. I do think that the people on the tour with us say you can watch the show more than once and always see something new.'

QUESTION: 'Your version of "Something" on your current tour is beautiful. Did you talk to George about covering his song?'

PAUL: 'As I say on stage, what happened was, I actually played it for George, kind of half a joke after dinner. I'd been sitting around and playing around with it on the ukulele. I found myself singing it, so I didn't say to George that I was going to sing it on stage because I didn't know I was going to. But I played it for him and he got a laugh from that.'

QUESTION: 'Will Paul like to do Today, a sequel to his famous Yesterday anthology?'

PAUL: 'I did a song called "Tomorrow" and "Yesterday" so the next should be "Today".

QUESTION: 'What is your favourite genre of book and your favourite author? Great concert in Boston. Thank you.'

PAUL: 'Thanks for the compliment. You know I think the kind of book I enjoy most is sort of old novels by Dickens, Wilkie Collins or Thomas Hardy because they transform you out of this world. I love the descriptions and characters of Dickens. I just get immersed in them. I don't read them all in one go, but I enjoy being transported to a different place and time.'

QUESTION: 'Hi, Paul. Your concert at the Garden in NYC was awesome. My husband works for the NYC fire dept and this concert was the best for all of us.'

PAUL: 'Oh, yeah. There was no doubt about it. The Concert for New York was a high spot in our year and we were all very proud of it because of the coming together, standing and being counted, and the emotion of the evening. So, if we had to do it again, I would do it.'

HOST: 'If you had to do it all over again, would you do it the same way?'

PAUL: 'It was a very special concert for us. I think it was great to assist in lifting the spirits of New Yorkers and Americans, especially firefighters and Port Authority.'

HOST: 'Paul, best of luck with the tour and thanks for being here tonight on MSN Live.'

PAUL: 'I just want to say thank you for being so wonderful and your support. Not just on the tour, but me personally. Thank you for the good vibes that you've been sending me. So from the dressing room here in Dallas from me, my fiancee Heather, Sir George Martin, we send our best wishes to everyone around the world.'

Mull of Kintyre

For a number of years this was Britain's biggest selling single ever, taking over the honours from 1963's 'She Loves You' until finally overtaken itself in 1984 by the Band Aid single 'Do They Know It's Christmas?'

It was originally issued as a double A-side with 'Girls' School' in Britain on Capitol R6018 on Friday 11 November 1977 and swiftly became the most rapid-selling single in Britain, passing its millionth pressing a month later in December.

'Mull Of Kintyre' was recorded in August 1977 at Paul's 'Spirit of Ranachan' house in Scotland with the RAK mobile recording unit brought up from London.

Discussing the number with Chris Welch of the Melody Maker, Paul commented, 'It's Scottish. It sounds so different from the songs we did on the boat (referring to the boat charted for the recording of the London Town album), we thought it should be a single and it sounds very Christmassy and New Yeary. It's kind of a "glass of ale in your hand, leaning up against the bar" tune. We had the local pipe band join in and we took a mobile studio up to Scotland and put the equipment in an old barn. We had the Campbeltown Band and they were great -just pipes and drums. It was interesting writing for them. You can't write any old tune, because they can't play every note in a normal scale. It's a double A-side.'

On Friday 23 December this millionth pressing was purchased by David Ackroyd who discovered a slip in the sleeve with a message from EMI informing him that he had won a Christmas hamper, to be presented by Denny Laine. He also received a specially pressed gold disc.

Denny had helped Paul with the song's composition in 1976. The title referred to a point on the southern tip of the Kintyre peninsula, near Paul's farm in Campeltown. At the time of the release, Wings comprised Paul, Linda and Denny, who made a promotional film at the Mull featuring the Campbeltown Pipe Band, a 21-piece group of bagpipers who also performed on the record.

It was issued in Germany on Capitol 1C600-60154 and in France on 2C006-60154.

In America the single was issued on Capitol 4504 on Monday 14 November but failed to make anything resembling the impact that it had in Britain. In fact, the single promoted in America was 'Girls' School', a number that Paul referred to as 'pornographic St Trinians'. St Trinians was the famous anarchic girls' school created by cartoonist Ronald Searle and featured in several British comedy films.

With 'Girls' School' as the A-side it reached No. 33 in the American charts.

In the 'Wingspan' television documentary, first screened in May 2001, Paul was to make further references to the remote Mull of Kintyre itself, saying that the peninsula helped save him from a nervous breakdown after the Beatles broke up.

He said, 'When the Beatles finished at the end of the sixties, it was such a shock to my system.

'Suddenly I was feeling totally redundant. I felt washed up and it was a very traumatic time.

i'd lost the framework for my whole working life. I just didn't know what to do. I started staying up all night and staying in bed all day. There didn't seem any point in getting out of bed.

'I stopped shaving. I started drinking Scotch and I sort of went a little crazy for a few weeks. Looking back, I guess I nearly had a breakdown.

'I just had to get out of London and get in the mist and mountains, just to walk round and get some air and get away from this trauma.'

He found that the privacy and isolation in Scotland restored his self-confidence and led him to writing the number.

'I wasn't trying to write a big hit, I just wanted to write a love song to the area really,' he said.

During an interview with Steve Meyer, a national promotions manager for Capitol Records, it was pointed out that the record didn't have much success in America.

Paul explained, 'No. You have to remember, it's a record about a place that is totally alien to almost ninety-five per cent of the people in the US. They don't know what it is or what it means or anything. We had calls from radio stations asking us what it meant. What is "Mull Of Kintyre"? Then you have to say it's a place in Scotland and Paul vacations there etc., etc. He wrote this song out of love for the place. And over there, the English know what it is. It would be like writing a song about Yellowstone Park or the Grand Canyon here, and having someone in Europe not know what it means. Geography has a lot to do with it, and the melody really had a lot to do with it. But we did have about eighty per cent of all the radio stations in the US playing the record. It did respectable in the charts, but it didn't have the same meaning to the American people that it did over in England.'


A song that Paul co-wrote with Linda. It was the opening track on the first Wings album, Wild Life, issued in December 1971, and the number consisted of a string of nonsense words. No doubt a lot of mumbo jumbo.

Paul explained, 'Tony Clarke engineered it for us, and we told him we wanted it fat and funky. "Mumbo" just bombed along. We took it on the first take.'

Mumbo Link

An instrumental track from the Wild Life album, although it was unnamed on the initial release. It was missing from the Columbia album release in 1985 but included and credited when Wild Life was issued on CD in 1988.

Murphy, Eddie

Popular film actor, who also makes records. His album It's Alright, released on Motown 374636354-2/4 in 1993, featured Paul on the track 'Yeah', which was a one-word-lyric tune. The album also contained a version of 'Good Day Sunshine'.

Murphy had asked Paul to appear on the all-charity track 'Yeah', which was also issued as a single and proceeds of which were to go to an educational trust. Other artists on the track included Bon Jovi, Stevie Wonder, Patti Labelle, Michael Jackson and Aretha Franklin.

Murphy had said that he was inspired to make the record after watching Yellow Submarine on video.

Paul agreed to appear on the track if Murphy agreed to become a vegetarian for a week - which he did.

Commenting on Paul, Murphy said, 'So many people who amass a great deal of wealth and get really famous destroy themselves. This cat has everything, and he could have gone down any road. But he wound up on his feet, with a beautiful family, still making beautiful music. That really inspired me.'

Music For Montserrat

The title of a benefit concert held at the Royal Albert Hall on Monday 15 September 1997. George Martin had organised it in order to raise money for the residents of the island of Montserrat that had recently been devastated by volcanic activity. Martin had established a studio on the island and many British artists had recorded there, including Paul.

George Martin was to announce, 'I am delighted that we look set to raise so much money for the long-suffering people of Montserrat. I am very grateful to all the wonderful musicians who will perform in the concert. I'm going to Montserrat in the next few weeks to see for myself where the money raised should be spent to the best effect.'

Paul performed a solo acoustic version of 'Yesterday' and was then joined by Mark Knopfler, Eric Clapton and Phil Collins to perform "Golden Slumbers', 'Carry That Weight' and 'The End'. He then sang 'Hey Jude', duetting on the piano with Elton John, and then all the other musicians, who included Sting, Carl Perkins and Midge Ure, loined them on stage in a rendition of 'Kansas City'/'Hey Hey Hey'.

Sky Box Office, the pay-to-view TV channel, filmed a 2-hour 15-minute programme of the event that was broadcast each day from Tuesday 16 to Friday 19 September.

During rehearsals Sky's Tania Bria interviewed Paul and the interview was also broadcast with screenings of the concert. Here is a brief transcript:

Tania: How did you get involved in the concert?

Paul: I was on holiday and George Martin rang me up and said, 'Have you heard what's happening on Montserrat?' I said, 'Yes, I've seen the stuff on television about the volcano and it looks serious.' He said, 'Yes, it is, and I'm trying to put together a concert.' He let me know who was on the bill - the guys he'd approached - and I said, 'Yeah, I'll do it.' And that was it.

Tania: Everyone seems so enthusiastic about Montserrat and memories of recording there. Do you feel the same way, Paul?

Paul: Yeah, it's beautiful. I had a great time recording there. It's a beautiful island. The people are lovely, and of course, then there was no threat from the volcano at all. I recorded there with Stevie Wonder, we had a great time. We did 'Ebony and Ivory' together and Carl Perkins was there too. I recorded with some good friends and we had a nice stay out there.

Tania: What was so special about the island do you reckon?

Paul: Well, for me it was the opportunity to enjoy a Caribbean island and a recording studio. George had a really fine studio, which is now under ash, I believe. It was a combination of having a holiday and recording during the day and, after having a swim, waltz in and do some music. It was a nice laid-back feeling for everyone.

Tania: Was it pretty relaxed? Would the local people leave you alone?

Paul: It was really good. I always get left alone on a Caribbean island pretty much which is great for me because some places I get no privacy. Those islands are great really. There was a nice lady. We were down a market and I had longer hair then. She said, 'Are you American?' On learning that I am British she said, 'Ah, you're a subject like us!' I was just a subject, that's all I am.

Tania: Mark Knopfler and Jimmy Buffet said they went to a nightclub there. It seems a small place to have one.

Paul: They've got some jumping little places there - yeah.

Tania: What about the concert - are you excited by it?

Paul: Yes, I've seen these guys in the corridors at recording studios, or at festivals you may cross when you go on and they come off. I know them all very well - most of them anyway. But we've never really worked together. Apart from 'While My Guitar Gently Weeps', he played on that Beatle record, I've never worked with Eric. Elton I've never done anything with and Sting and the rest of them ... Mark. I've seen them, we've had cups of tea together, but not much more, so it's exciting to play together.

An edited ninety minutes of the show was included on a video/CD package of the show that was released the following year, also called 'Music For Montserrat'. Paul is seen performing 'Yesterday', 'Hey Jude', 'Golden Slumbers' and 'Kansas City'. The 3-track CD issued with the video included Paul's rendition of 'Hey Jude'.

Music Lives On, The

The film made its debut on Saturday 8 September 1984 on Channel Four in Britain and MTV in America. Unadvertised, it was slipped in on the tail-end of the evening's programmes at 12.40 a.m. (so, strictly speaking, Saturday morning), following 'The Making Of The Company Of Wolves'.

It was Buddy Holly Week and MPL Communications produced the fourteen-minute documentary as a tribute to Buddy Holly.

It begins with a black-and-white film of Buddy Holly and the Crickets performing 'Oh Boy'. Buddy's mother, Mrs Ella Holly, then relates how he thought his fame wouldn't last. A group of Buddy Holly fans dressed in colourful teddy boy costumes then wax enthusiastic, followed by Scottish comedian Billy Connolly talking about the durability of Holly's music.

A black-and-white film of couples jiving and jitterbugging to 'Brown Eyed Handsome Man' is followed by Buddy's brother Travis showing off a guitar that Buddy bought in 1951, a second-hand instrument and one of the first of many guitars. He mentions that he only taught Buddy to play a few chords.

More archive film of a performance of 'Peggy Sue' is followed by Ella talking about his early career playing locally at high school and graduation dances, then going to Norman Petty's studio in Clovis.

A still photograph of Buddy with the tune of 'Think It Over' in the background is followed by Ella mentioning that she wrote a song herself, which Buddy performed. The number was 'Maybe Baby'. The Crickets are seen performing the number at one of Paul's Buddy Holly Week concerts.

Buddy's other brother Larry talks about the number 'That'll Be The Day' and how Buddy, being flat broke, called New York to enquire about how the song was doing. He was told it was getting airplay and would sell a million, so he asked if he could have a cheque for $500.

Archive film of Buddy performing 'That'll Be The Day' is followed by his widow Maria Elena Holly mentioning that he'd been talking about expanding his career, producing other artists, seeking new talent, and recording with artists such as Paul Anka and Phil Everly.

Don Everly and Albert Lee are seen performing 'Bye Bye Love' at Paul's Hollywood concert.

There is a monochrome wedding photograph and Maria mentions the songs 'It Doesn't Matter Anymore', 'True Love Ways' and 'Raining In My Heart'.

Denny Laine then performs 'Raining In My Heart'.

Roy Orbison is interviewed and mentions that Buddy was a kindred soul and that they had a friendly rivalry.

Paul McCartney next appears performing 'It's So Easy To Fall In Love'. Then he performs 'Bo Diddley' with the Crickets (Sonny Curtis, Joe Maudlin, Jerry Allison), Don Everly and Denny Laine; both numbers were from the show at the Odeon, Hammersmith on Friday 14 September 1979. Bo Diddley briefly utters the sentence, 'God bless rock and roll,' and Maria Elena mentions that her favourite song was 'True Love Ways'. The number is played as a photograph of Buddy appears on the screen and the credits roll.

The film was also screened in America by MTV on Saturday 8 September 1984.

Must Do Something About It

A number recorded during the Wings At The Speed Of Sound sessions. Once the backing track had been laid down, Paul had the idea of getting Joe English to sing lead vocal on it. It is the only lead vocal by English on a Wings album. Paul, in fact, decided to give each member of the group the opportunity to sing on the 1976 album. It was 3 minutes and 39 seconds in length.

My Brave Face (promotional film)

A first promotional film of this number, directed by Roger Lunn, took place at Strawberry Fields, Liverpool on Monday 10 and Tuesday 11 April 1989. Apart from filming Paul and his group performing, there was archive footage included taken from the MPL archives. Paul also commissioned another promotional film of the same song which he called 'The Making Of My Brave Face'.

My Brave Face (song)

One of four songs Paul wrote with Elvis Costello (who is credited under his real name, Declan MacManus) for the album Flowers In The Dirt. Paul describes it as basically about a man who has been left by his woman and starts off the song in a happy frame of mind because he has his freedom - and then after a time, with the woman gone, he doesn't feel too happy about having to wash the dishes. Paul said that in a way it was a love song, but it's about someone who is not too pleased and he has to put on a brave face.

The single was released in Britain on Parlophone R6213 on Monday 8 May 1989 where it reached No. 18 in the charts and in the US on Capitol B-44367 on Wednesday 10 May 1989 where it reached the position of No. 25.

There were actually three other releases available apart from the 7". They were a 12" on Parlophone 12R 6213, a compact disc on CDR 6213 and a cassette on TCR 6213. The 12", CD and cassette versions included two bonus tracks, 'I'm Gonna Be A Wheel Someday' and 'Ain't That A Shame'.

'Flying To My Home', a number composed by Paul, was on the flip.

Neil Dorfsman and Mitchell Froom produced it.

A version of this number, composed by Paul and Elvis Costello, lasting 3 minutes and 8 seconds, was included on the Tripping The Live Fantastic album. It was recorded live at the Wembley Arena on 19 January 1990 during the 1989/90 World Tour.

My Carnival

A single recorded during the Venus And Mars album sessions at Sea Saint Studios in New Orleans on 12 February 1975. It was intended to issue it on the planned Cold Cuts album, but that album was never released. Instead, 'My Carnival' wound up as the flipside of 'Spies Like Us', issued in 1985.

The number was inspired by a boat trip down the Mississippi on the Voyager, which Paul and Linda undertook on their visit to the Mardi Gras Festival, where they performed on stage with the Tuxedo Jazz Band. It was also inspired by a Professor Longhair number 'Mardi Gras In New Orleans'.

Apart from Paul and Linda, those participating in the recording included Jimmy McCulloch, Joe English, Gene Porter, Benny Spellman and the Meters.

My Dark Hour

A single issued by the Steve Miller Band and released in the US on Capitol 2520 on Monday 16 June 1969 and in Britain on Capitol CL 15604 on Friday 18 July 1969. It was re-released in Britain on 25 February 1972 on Capitol CL 15712.

'My Dark Hour' was recorded at Olympic Sound Studios in London on Friday 9 May 1969. Paul played drums, bass guitar and sang backing vocals, and used his old pseudonym Paul Ramon for the session. The track was also included on the band's album Brave New World, issued on 16 June 1969 on Capitol SKAO 184 in America and in Britain on 10 October 1969 on Capitol E-ST 184. It resurfaced on the Steve Miller Band double album Anthology, issued in America on 6 November 1972 on Capitol SVBB 11114 and in Britain on 9 February 1973 on Capitol E-ST SP12.

My Little Girl

Sometimes called 'I Lost My Little Girl'. The first song that Paul ever wrote.

My Love

This Wings single was issued on Apple R5985 in the UK on Friday 23 March 1973. Although it was a studio cut, the flipside 'The Mess' was

taped during Wings' French concerts in August 1972. The single reached No. 9 in the British charts. It was issued on Apple 1861 in America on Monday 9 April and topped the charts for four weeks, becoming Wings' first chart-topper.

'My Love' was recorded during the preparation of Red Rose Speedway and is included on the album. It's also on Wings Greatest. The song was included in the repertoire of Wings' 1972 tour of Europe, the British tour of 1973 and the world tour in 1975/76.

Commenting on his writing of the number, Paul said, 'I just sat down at the piano and wrote a love song, and that's the kind of tune that came out and it worked, luckily. I can't really say much more about it than that. If we had a computer monitoring my every thought and getting it down, I'd be able to tell you, but it happens too quickly. It's like, what makes a dog bark? You can analyse it. Roughly speaking, it's a bit like that. Roowf!'

The number became the first of his songs that Paul owned outright following the end of the 1963 Northern Songs contract.

Wings taped an appearance for Top Of The Pops performing the number on 4 April 1973 and a promotional film was also shot.

The single was also issued in Germany on EMI Electrola/Apple 1C600-05301 and in France on Apple 2C006-05301.

A live version of the number, lasting 4 minutes and 7 seconds, was recorded in San Antonio, Texas on 29 May 1993 and included on the Paul Is Live album.

My Love Is Bigger Than A Cadillac

A film about Buddy Holly's backing band the Crickets which was first aired on American television in two parts on 5 and 11 August 1990. It was also released as a home video in Britain in October. Paul makes a brief appearance in the film.

Myers, Mike

Actor/comedian, born in Scarborough, Canada on 25 May 1963. His parents had immigrated to Canada from Liverpool, England. He became a star of of Saturday Night Live with creations such as Wayne Campbell who was successfully translated to the big screen in Wayne's World. Myers also became successful with movies such as Austin Powers.

Paul and Linda attended the premiere of Wayne's World II at the Empire, Leicester Square, London on Friday 28 January 1993 and the northern premiere at the Cannon Cinema, Lime Street Liverpool the following day. Mike Myers, the star of the film, was in attendance at both events, which were held on behalf of LIPA and raised a total of £35,000 for Paul's project.

Following the Leicester Square event, Myers was also at the Hard Rock Cafe in Piccadilly with Paul and Linda and presented them with a Hard Rock cheque for £25,000 for the sales of Linda's veggie burgers.

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