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An organisation originally called Rock Artists Against Drunk Driving, but has now become known as Recording Artists, Actors and Athletes Against Drunk Driving. RADD aims to increase the public's awareness of drunk driving during holiday periods, enlisting a large number of businesses in providing free rides home for drivers who have had just enough to drink to make them unfit to drive home.

Paul had appeared in the organisation's video 'Drive My Car' and also secured the use of 'Drive My Car' for RADD without them having to pay royalties. As a result they intended to present him with their 'Sterling Silver Founder's Award' at their awards dinner on 24 January 1997, but the dinner was postponed until May and then cancelled.

RADD finally caught up with Paul to present the award when he was in New York in November 1997 for the Carnegie Hall performance of Standing Stone. RADD Chairman David Niven Jr and its President Erin Meluso presented Paul with the award during the rehearsals at the Riverside Methodist Church. In addition to the award they presented him with a gift, a guitar custom-made by Line Luthier.

Paul then videotaped another commercial for them in which he begins singing 'Drive My Car' and then says, 'You can't drive my car or anyone else's if you've been drinking.'

The commercial was launched as a TV spot on Tuesday 25 November during 'National Drunk And Drugged Driving Prevention Month'.

Radio Gosh

A radio station at Great Ormond Street Children's Hospital in London. During October 1983 Paul volunteered to give the station an exclusive 40-minute interview, which was broadcast to the patients. He even recorded some jingles for them. At around the same time he recorded a one-hour special for the British Hospital Radio Association.

Radio Special Promo Mix

A CD, limited to 500 copies only, which was issued in Brazil in 1994 to tie-in with the release of the Paul Is Live video. It was issued on EMI 9951 360 and contained a live version of 'Biker Like An Icon' from 1993, the medley 'PS Love Me Do', 'The Long And Winding Road' from the Rio concert and 'Things We Said Today' from the 1991 Unplugged.


An Italian television station. Immediately prior to Paul's appearance at the Forum, Assage, near Milan, Italy on Thursday 18 February 1993, he was interviewed for the station by Andrea Barbato. The interview was broadcast on RAI TV at 5.30 p.m. on Sunday 28 February.

Barbato began: 'The Beatles changed our lives. What is it like having that responsibility?' Paul answered: 'Responsibility? It's a funny thing, but a good thing. I was lucky. It is a nice part of people's lives. I like playing music. The fact that people have grown up with my music is great.'

Highlights from the interview were:

Barbato: After eight years of triumph, the Beatles split up. What was the real cause of this separation?

Paul: Broadly speaking, it was a matter of business. At the beginning, we were friends, then as time passed, it became a business - we ended up having to spend our time discussing the financial aspect of things, and that's what split us apart.

Barbato: Is there any chance of a reunion with George and Ringo?

Paul: A documentary is being prepared in England, in ten parts. George, Ringo and I have been asked to record an instrumental piece for the soundtrack of the film. I think we're going to do it this year. But we aren't planning to get back together for a tour or anything like that, just for this soundtrack.

Barbato: How did you feel when you heard about John's death, and how do you remember him now?

Paul: I felt awful, as everyone did. I had been one of his best friends. It was a terrible shock. The killer was the most stupid man in the world - I still think that - there was no reason behind what he did. I have very good memories of John. I was lucky to have the chance to speak to him on the phone just before he died. We talked of everyday life, of problems at home, with the children. His son, Sean, was five years old. We talked about work, about money ... everyday things. John was wonderful.

Barbato: In your concerts you have the chance to see the youth of today, and compare them with the youth of the sixties. Is there much difference between them?

Paul: There isn't much difference, though they do dress differently. When we started out, we were very young too. Only John was married. There was a kind of romantic attachment with our fans, which lasted for a time - a crazy sort of time! Then people grew up and matured. The situation now is still wild during a big show, and the audiences are great. Today's young people look like parents did in the sixties, but I still love them so much.

Barbato: What do you teach your children, and are you afraid of spoiling them with all your money?

Paul: When Linda and I got married, she came from a rich family, whereas I came from a poor English family. She didn't like the way rich people brought up their children - lots of money, but not much love. So we tried to bring them up in an ordinary way. We didn't give them much money - just the same as their friends at school got from their parents. We didn't send them to Eton or somewhere like that, we kept them close to us. They are all growing up now, but they are down-to-earth, they have no problems speaking to anybody, they aren't haughty, they are open and get on well with people.

Barbato: Do you think that the environment is the major political problem in Europe these days?

Paul: I would say it's a world problem. We are the only animal that soils its own nest. We polluted the sea, and the air - we go to the beach and risk getting skin cancer. We have gone too far. We should take a few steps back from the edge. Politicians everywhere should immediately start trying to eliminate any kind of pollution, otherwise there won't be any world left for them to do their politics in.

Barbato: Do you think that songs have a political value and can change the world?

Paul: I think so. A song like "All You Need Is Love" gave everybody a lot of hope. "We Shall Overcome" was important for the human rights movement. "Give Peace A Chance" helped put a stop to the Vietnam war. It gives people something to think about, and to aim for. On my new album, there are a couple of protest songs: one of them is "Looking For Change", about animal experiments like making monkeys smoke until they die of cancer. We already know smoking is dangerous for our health, so these experiments aren't needed.

Barbato: If you could have three wishes, what would they be?

Paul: To have more wishes!

Barbato: Finally, Paul, how much longer do you think you'll keep on singing and performing?

Paul: I don't know. When I was eighteen, I used to say I will play until I'm twenty-four, then until I was thirty. When I was thirty, I said until I'm forty, and then fifty. Now I'm fifty, I plan to sing for ever!


A number Paul was said to have worked on during the day following John Lennon's murder. He'd co-composed the number with Denny Laine and Paddy Maloney played aeolian harp on it. This was one of the numbers performed at the Tug Of War rehearsals at Pugin's Hall, Tenterdon, Kent on 30 October 1980 and was one of seven songs recorded during the Tug Of War sessions that were not included on the album. It appeared as the B-side of 'Ebony And Ivory'.


The album was issued by Apple and featured a cover photograph by Linda of Paul holding a ram by the horns outside their home in Scotland. John Lennon was later to satirise this picture when he included a postcard inside the Imagine album of himself holding a pig by the ears. On the cover there is also a design spelling out 'Lily' (which means 'Linda I love you') and on the reverse of the sleeve is a picture of two beetles copulating.

Ram was Paul's second album since leaving the Beatles, issued in 1971. In Britain it was released on Friday 21 May on Apple PAS 10003, where it was to reach the No. 1 spot, and in the States on Monday 17 May on Apple SMAS 3375 where it got to No. 2, being held off the top spot by Carole King's Tapestry.

Paul recorded the album in New York between January and March. Sessions actually began on Monday 10 January at the former Columbia Studios of AScR.

The New York Philharmonic Orchestra was featured on the album, and Paul's backing musicians included Dave Spinozza and Hugh McCracken on guitars and Danny Seiwell on drums.

The album tracks were: 'Too Many People', 'Three Legs', 'Ram On', 'Dear Boy', 'Uncle Albert/Admiral Halsey', 'Smile Away', 'Heart Of The Country', 'Monkberry Moon Delight', 'Eat At Home', 'Long Haired Lady', 'Ram On' (reprise) and 'The Back Seat Of My Car'.

Paul was to comment, 'Linda was very present all the way through, we've been writing many more songs together and we're developing as a harmony team.'

Ram was the only Wings album that was officially attributed to both Paul and Linda.

Ram On

A track from the Ram album which, interestingly, features the use of a ukulele as the main instrument.

Ramon, Paul

The pseudonym Paul used when the Silver Beetles toured Scotland as a backing band to Johnny Gentle. Paul couldn't remember why he chose that particular surname, but he thought it was rather glamorous. So much so, that he was to use it again, many years later, when he recorded a track with the Steve Miller band, 'My Dark Hour', in 1969.

Ramone, Phil

An American child prodigy who began playing the violin at the age of three and who appeared on a Royal Command Performance before Queen Elizabeth II at the age of ten, Ramone was educated at the Julliard School of Music in New York and opened his independent recording studio, A&cR Recording, in New York in 1961.

He has recorded numerous major artists including Frank Sinatra, Barbra Streisand, Billy Joel, Paul Simon, Ringo Starr and Julian Lennon.

He first worked with Paul in September 1985 when he was one of the three producers of the 'Spies Like Us' single. The single was recorded over four nights at Paul's studio, the Mill, in Sussex. Ramone was there to aid with the mixing and after an eight-hour mixing session he left for Compass Point studios in Nassau to record Julian Lennon's 'The Secret Value Of Daydreaming'.

Over the years he has produced Paul on a number of occasions including 'Ram', 'Stranglehold', 'Only Love Remains', 'Spies Like Us'. 'Once Upon A Long Ago' and 'P.S. Love Me Do' in 1987.

Paul was with Ramone in Long Island shortly before the release of Press To Play and decided to go into the studio with him for some exploratory recordings. They began recording at New York's Power Station studios between Monday 25 August and Friday 29 August 1986 and completed 'Beautiful Night' and 'Loveliest Thing'. Paul was supported by two members of Billy Joel's backing band: Liberty Devitto on drums and David Brown on lead. The other musicians were noted New York session men David LeBolt on keyboards and Neil Jason on bass.

Ramone resumed recording Paul in England at Paul's home studio in Rye, Sussex in March 1987, completing the sessions in early July. The numbers recorded during this period, known as the 'Phil Ramone sessions' were 'Back On My Feet', 'Love Comes Tumbling Down', 'Once Upon A Long Ago', This One', 'Atlantic Ocean', 'Love Mix', 'Return To Pepperland', 'Sgt Pepper's Lonely Hearts Club Band', 'Big Day,' 'Christian Bop' and 'Peacocks'.

Julian Mendelsohn, John Hudson and James Guthrie did remixing of certain titles. Nigel Kennedy played on one of the tracks.

Ramones, The

An American band who took their name from Paul's alias.

The group formed in Forest Hills, New York in 1974 and their bass

guitarist Douglas Colvin suggested it. He called himself Dee Dee Ramone. Jeffrey Hyman, the group's lead vocalist, who became known as Joey Ramone, commented, 'When we met he was calling himself Dee Dee Ramone and he was a big fan of Paul McCartney. Paul used to check into hotel rooms under the alias of, like, Paul Ramon, so Dee Dee kind of adopted it as our surname to create a sense of unity. Then everyone could have their unique personality within their own thing almost like the Beatles kind of did to some degree.'

Ranachan Rock

An unreleased instrumental, recorded in 1978.

Ransome-Kuti, Fela

A radical Nigerian musician and political dissenter. When Paul travelled to Lagos, the Nigerian capital, to record Band On The Run, he went to listen to Ransome-Kuti and his band at the musician's own club. Ransome-Kuti had recently been released from jail.

Paul enjoyed his music very much but Ransome-Kuti made an unpleasant attack on Paul, accusing him of stealing from Nigerian musicians and coming to Lagos with the intention of exploiting black music.

Paul commented, '(He) accused us of stealing black African music. So I had to say, "Do us a favour, Fela, we do OK. We're all right as it is. We sell a couple of records here and there. African music is very nice - but you're welcome to it!" He did have a great band, though.'

In fact, Paul was later to tell Paul Gambaccini: 'They (the Nigerian musicians) are brilliant, it's incredible music down there. I think it will come to the fore. And I thought my visit would, if anything, help there, because it would draw attention to Lagos and people would say, "Oh, by the way, what's the music down there like?" and I'd say it was unbelievable. It is unbelievable. When I heard Fela Ransome-Kuti for the first time it made me cry, it was that good.'

Ransome-Kuti was actually the creator of Afro-Beat, a fusion of soul and jazz. He died of heart failure, brought about by AIDS, on Saturday 2 August 1997.


A French show screened on BBC 2. Paul pre-recorded an interview for the show in Paris on Thursday 3 December 1987. Antoines De Caunes, the French presenter, interviewed him for 42 minutes. During the interview Paul discussed his latest album Flowers In The Dirt, George's Handmade Films, the Nike commercial featuring the music of 'Revolution' and his recordings of rock-'n'-roll songs for Russian release.

Ten minutes of the interview was broadcast on Rapido the following day, Friday 4 December as part of a Beatles special.

BBC 2 transmitted the edition of Rapido with Paul's interview on Wednesday 10 May 1989. It was repeated on Saturday 13 May 1989.


An afternoon children's programme from Tyne-Tees Television, which was broadcast on the ITV network. Paul made a pre-recorded interview for the show to promote his latest release Pipes Of Peace, which was transmitted on Razzmatazz on Tuesday 13 December 1983.

Real Buddy Holly Story, The

A home video issued to coincide with the 1986 Buddy Holly Week, which was the fiftieth anniversary of Holly's birth.

The video utilised the BBC 2/MPL production of the Buddy Holly documentary screened on BBC 2's Arena programme on 12 September 1985. This time it included 25 minutes of extra footage, bringing its length to 90 minutes.

The video also utilised the Quarry Men recording of Holly's 'That'll Be The Day', from 1958.

It was issued in Britain by Picture Music International on VHS: MVN 99 1126 2 and on Beta: MXN 99 1126 4 on Tuesday 26 August

1986. Two audio videocassettes containing 28 Buddy Holly tracks were also part of the package.

The home video was issued in America on Monday 21 September 1987.

Real Love

'Real Love' was the second Beatles single issued in 1996 utilising tapes John Lennon had made during the 1970s. In the press release accompanying the single, Paul was to write, 'It was good fun doing it. Unlike "Free As A Bird", it had all the words and music and we were more like "sidemen" to John, which was joyful and I think we did a good job.'

The release also commented, 'The surviving Beatles decided to use as little state-of-the-art equipment as possible to give a timeless Beatles feel to the single. To enhance this effect, Paul McCartney used a stand-up double bass originally owned by Elvis Presley's bassist, the late Bill Black. Both Paul and George used six-string acoustic guitars to augment the electric instruments and Ringo used his Ludwig drum kit. The result is a bona fide organic Beatles single with ageless appeal.'

It was issued in Britain on Monday 4 March 1996 and caused controversy when Radio One decided not to put it on its playlist, effectively banning the single. They must not have considered that it had 'ageless appeal'. The station's press officer Polly Ravenscroft commented, 'We have played "Real Love" a few times, but no, it's not on the playlist.'

In response to the record not being played on Radio One, Paul wrote an 800-word article for the Daily Mirror which was published on 9 March 1996, 'Is Radio One saying that its judgement is better than almost all the British public? Is it saying that all the people who bought the record and yesterday put it at No. 4 in its first week don't know what they like? It's not just young people who pay the licence fee to pay Radio One's wages. People of all ages pay that fee, so how come they don't get a look-in? You can't put an age limit on good music'.

Other comments were, 'The Beatles don't need our new single "Real Love" to be a hit - it's not as if our careers depend on it. We've done all right over the years, and if Radio One feels that we should be banned now it's not exactly going to ruin us overnight.'

Ninety-one per cent of the Daily Mirror readers voted that they wanted to hear the single on the radio and the Mirror urged readers to ring or send a fax to Trevor Dann of Radio One, saying, 'Give Dann a hard day's night by telling him exactly what you think.'

Really Love You

A track on the Flaming Pie album. This was the first song to be credited to McCartney/Starr as it arose out of a jam session during the recording. Ringo was very surprised to discover the co-songwriting credit. It was produced by Paul and Jeff Lynne. The engineers were Geoff Emerick and Jan Jacobs assisted by Keith Smith. Recording began on 14 May 1996 and Paul sang lead vocals and backing vocals and played bass guitar, electric guitar and Wurlitzer piano. Jeff Lynne sang backing vocals and played electric guitar. Ringo Starr played drums.

Paul said, 'When I played it back to Ringo, he said, "It's relentless, it's relentless." He's a one with words.'

Red Rose Speedway

Wings' second album and Paul's fourth post-Beatles LP, issued in America on Apple SMAL 3409 on 30 April 1973 where it topped the charts for three weeks. It was issued in Britain on Apple PCTC 251 on 4 May and reached No. 4 in the UK charts.

The 12-track album, lasting 42 minutes and 22 seconds, was recorded in March and October 1972 at Morgan Studios, Olympic Studios, Trident Studios, Island Studios and Abbey Road Studios and credited to Paul McCartney and Wings. The other musicians were Linda McCartney, Denny Laine, Denny Seiwell and Henry McCullough. Paul produced it and the engineers included Alan Parsons, Richard Lush, Dixon Van Winkle, Tim Geeland, Glyn Johns and David Hentschel.

The original album was going to be a double one, but Paul was persuaded to abandon that idea. The album's title was inspired by the McCartney's housekeeper, Rose, and Paul is featured on the cover with a rose in his mouth and a gleaming Harley Davidson motorcyle in the background.

The gatefold sleeve featured lyrics to the songs and included a twelve-page booklet with photographs of Wings on the road and drawings and paintings by noted artists Alan Jones and Eduardo Paolozzi. The back cover of the album featured a message to Stevie Wonder in Braille: 'We love you'.

Tracks were: Side One: 'Big Barn Bed', 'My Love', 'Get On The Right Thing', 'One More Kiss', 'Little Lamb Dragonfly'. Side Two: 'Single Pigeon', 'When The Night', 'Loop {First Indian on the Moon)' and a medley made up of four unfinished songs: 'Hold Me Tight'/ 'Lazy Dynamite'/ 'Hands of Love'/ 'Power Cut'.

John Lennon said that this was the last of Paul's albums that he listened to.

Reeve, Christopher

An American actor who first came to fame as the star of the Superman films. He was involved in a tragic accident, which paralysed him, but his courage and refusal to knuckle under to the situation earned him international admiration. Paul wrote a letter to him:

Dear Christopher,

I am so glad to hear news of your continued recovery because you have always been someone rather special in our household. I refer particularly to the time when my son was quite young and we met you on a flight from London to America. When I told you he was a huge Superman fan, you were kind enough to give him a big wave when he turned around to look at you. That's the kind of thing that means a lot to soppy old parents like us, and something we won't forget in a hurry.

On behalf of the whole family, I send our very best wishes to you and your family, and hope that, with the help of a laugh or two from Robin Williams, your recovery will be a speedy one.

Best of luck and, once again, thanks for the simple gesture which meant so much.


Paul McCartney.

Paul also contributed a video message to the ABC TV programme 'Christopher Reeve: A Celebration Of Hope' on Sunday 1 March 1998. He also sent a new version of himself performing 'Calico Skies' from the Flaming Pie album.

Reggae Moon

A demo disc, which Paul recorded at his Scottish Rude Studios in 1978, part of which was aired on the Oobu Joobu radio series.


Paul and Mike's mother had been reared as a strict Roman Catholic. By marrying the Protestant Jim McCartney she broke faith with her religion, despite the fact that the wedding ceremony took place in St Swithin's Roman Catholic Church. Jim and Mary promised the priest that the two boys would be formally baptised into the Roman Catholic faith. They were also circumcised.

However, Jim McCartney prevailed by having the boys attend a secular school rather than a Roman Catholic one. They also attended a Church of England church rather than a Catholic church and Paul became a choirboy at St Barnabas' Church, near Penny Lane.

Although christened a Roman Catholic, Paul now lists himself as 'C of E'.


The five-bedroom house that Paul bought in July 1964 for £8,750. It was situated in Baskervyle Road, Heswall, Cheshire, overlooking the River Dee estuary and fifteen miles from Liverpool. The house even had its own wine cellar. A further £8,000 was spent on central heating, furnishing and decorations. The removal of furniture from Forthlin Road took place at midnight to escape the fans that gathered outside the house during the day.

Paul had bought the house ostensibly for his father Jim to live in, as Jim had retired as a cotton salesman that year. It would also be a home for his brother Mike, and Paul would be able to use it on his visits to Merseyside for his regular family reunions with aunties, uncles, cousins and other relatives.

Paul had discussed the move from 20 Forthlin Road with his father following his return from his American concert tour that year. Jim told him, 'I like the idea of Heswall, over the water, on the Wirral.'

It was stockbroker country and Jim had worked as a gardener there in his youth.

Paul spent as much money on improvements and renovations to the house as he'd spent on the purchase price and also chose the furniture, which included a grand piano.

After moving in, Mike was to say, 'Surrounded by all these rich trappings, we soon became accustomed to our new fairy bubble, and settled in with alarming ease. Dad and I were like two little Lord Fauntleroys in our ivory castle, as snug as two bugs in a rug.'

Paul also sent regular cheques for the upkeep of the house.

Paul and Jane Asher kept twin moped bikes at 'Rembrandt' and used to drive around the Wirral peninsula on them. One evening Paul decided to ride over to Bebington by himself to visit a cousin. Although it was a journey of only a few miles, Paul had an accident and smashed the bike into a kerb and was flung head over heels over the handlebars. He had a badly cut lip that needed stitches and a local doctor attended to the lip and also to some damage above one eye.

Remember Live Aid

A radio dramatisation of the famous 'Live Aid' charity extravaganza which was broadcast on BBC Radio Four on Saturday 15 July 1995, the tenth anniversary of the event. Actor Peter O'Meara played Bob Geldof and portrayed him trying to convince Paul that he should take part in the event. Paul played himself in his first dramatic role on radio.

Replica Studios

Paul obviously had great affection for EMI's No. 2 Studios at Abbey Road, where so many Beatles and Wings records had been made. However, he became frustrated when he discovered he couldn't record there late in 1978 because Cliff Richard had booked the studio for months to record his album Rock And Roll Juvenile. He decided to build an exact replica of Studio 2's mixing room in the basement of MPL's London offices, together with panelled walls for recording, hence the name Replica Studios.

The studios were completed in 1978, ready for Back To The Egg, part of which was recorded at Replica. Paul recorded there between December 1978 and February 1979 and after his album was completed Replica Studios was dismantled.

Respect For Animals

A charity aimed at discouraging people from wearing fur.

Jude Law and his wife Sadie Frost directed an advertisement for the charity that was screened nationwide in British cinemas in 2002 among the trailers for Ocean's Eleven. The all-star cast of the advert included Sir Paul and his daughter Stella, plus Mel С and George Michael.

Return Of The Saint

A projected film. In 1972 producer Anthony Spinner offered Paul the role of a rock star who is kidnapped. Paul was interested provided he could compose the music and also direct, but plans fell through and the film was never made.

Return To Pepperland

A tribute to Sgt Pepper, which Paul recorded, with Phil Ramone producing, in June 1987. The Sgt Pepper album was to be issued as a CD in June 1987. The song had originally been planned as a September 1987 release as an EP with 'Love Comes Tumbling Down' and 'Beautiful Night'. It was then considered as a bonus track for the CD single release of 'The World Tonight' in 1997, but was also dropped.


An unreleased instrumental number by Paul, which he recorded in Abbey Road Studios in 1975.

Revolution 9

A number penned by John Lennon and featured on The Beatles double album in November 1968. The number is over eight minutes in length and is experimental. John used thirty tape loops to provide an unusual effect.

He was to comment, 'All the things were made with loops, I had about thirty loops going. I fed them into one basic track and one loop, chopping it and making it go backwards and things like that to get the sound effects.'

The avant-garde number, which was mastered solely by John, was to become associated with the many 'clues' put forward to prove that Paul was dead.

In this instance, fans claimed that when the track was played backwards, the words 'Turn me on, dead man, turn me on, dead man,' could be heard - in their eyes yet another nait in Paul's coffin.

Rhone, Dorothy

A girl who attended Liverpool Institute for Girls at the same time Paul was at Liverpool Institute. She lived in the Childwall area of Liverpool and became Paul's first serious girlfriend. They went 'steady' for three years.

Dot, together with her sisters Anne and Barbara and brother Billie, lived with their parents and, together with their mother Jessie, had an unpleasant home life, owing to the fact that their father was an alcoholic.

Paul first met Dot in September 1959 at the Casbah Club in Hayman's Green, West Derby, Liverpool, where the Quarry Men had their first residency. The two became lovers in December of that year. Dot had been a virgin and the two had made love when Paul's father Jim and his brother Mike were absent from the house in Forthlin Road.

After leaving school, Dot had jobs as a chemist's assistant and a bank clerk. It was during her time as a bank clerk that she discovered she was pregnant. She informed her parents and Paul informed his father, who told Paul that they would have to get married. Abortions were not considered in those days. Jim McCartney began to make arrangements for the two to be married in a register office, but, three months into the pregnancy, Dot had a miscarriage and the wedding was cancelled.

Dot and Cynthia Powell, John Lennon's girlfriend, became close friends and they were both invited to Hamburg to join their boyfriends, who were performing at the Top Ten Club in April 1961. Cynthia stayed with Astrid Kirchherr, a friend of the Beatles, and Dot and Paul stayed on a houseboat owned by Rosa Hoffman, the 'toilet-frau' at the club where the group played.

Several months after the German trip, Cynthia invited Dot to move into a room next door to hers in a rented accommodation. While there, Paul told Dot that their affair was over.

Heartbroken, within a year she emigrated to Canada and a year later married a German businessman, Werner Becker.

Rhythm Of Life, The

A three-part BBC television series by George Martin about twentieth-century music that began on Monday 29 December 1997. In the third and final part of the series on Monday 5 January 1998, Paul was featured discussing his songwriting and providing examples with excerpts from 'I Lost My Little Girl' and 'Lady Madonna'.

Rice, Tim

Co-writer of Jesus Christ: Superstar, Evita and other hit stage musicals, who also became a radio and television celebrity, panellist and interviewer. In 1980 he interviewed Paul for the Independent Television network which was screened by Thames Television on Monday 4 August and by Granada TV on Monday 27 October. It was also featured on a number of TV channels around the world.

Richardson, Sir Ralph

A well-loved and much-respected British actor who was born in Cheltenham in 1903. He made his first major appearance on the London stage in 1926 in Yellow Sands and developed into one of Britain's leading film and theatre actors, receiving much acclaim for his many roles for the Old Vic Company.

His film career stretched from the 1930s to the 1980s and included dozens of movies ranging from Things To Come to Dr Zhivago.

Paul's film Give My Regards To Broad Street was Sir Ralph's last, as he died a few months after filming was completed.

Discussing how he first approached him, Paul commented: 'I've found out over the years that the best people in any field are the most approachable, so I wasn't nervous. I was a bit nervous about acting with him, but he was such a wonderful actor he made me look better. He did it all for me.'

Director Peter Webb was to add: 'Ralph's is a small role but so is that of the wizard in The Wizard OfOz. It's crucial. In the scenes they play together, Old Jim, in a sense, is Paul's inner voice telling him to have faith and continue the quest, Ralph quickly caught on to this element in the story, and it enabled him to develop the role as only a great actor can. He loved the part with its simple straightforward dialogue capable of being given subtle nuances. It was the kind of dialogue he liked'.

Discussing how he felt about appearing with Sir Ralph, Paul said: 'I was frightened to do it, because he's a big, famous, old British actor, and that's intimidating because a person's image does walk ahead of them. He made it easy. He had a twinkle in his eye all the time. I thought my script might not be to his liking, and I said, "Look, this isn't Shakespeare or Chekov, so we can change it if you like."'

Sir Ralph wouldn't have any of that, and he complimented Paul's script by saying, 'Thank you, dear boy, not a comma out of place.'

Sir Ralph's appearance is only brief. Paul, worried that his friend Harry has disappeared with the master tapes of his new recordings, knocks on Old Jim's door. Jim lives above a pub and opens the door, his pet monkey in his hands. He welcomes Paul into his room, which is full of old Picture Post magazines and a wireless set, a room still decorated in the style of the 1940s.

. When asked by Paul, Jim mentions that he'd seen Harry the previous evening in the pub - and he did have a large blue box with him. Old Jim advises: 'You're always running around. If you didn't run around so much you might get a better view of the world, you know/ After a short chat Paul leaves saying: 'Thanks all the same, Jim, I've got to be off.' With a twinkle in his eye, Jim replies: 'You've been off for years.'

Linda was able to take a photographic session with the actor and has a good set of shots of Paul and Sir Ralph together.


An American make of guitar. Paul bought a Sunburst Rickenbacker 4000 stereo bass guitar in America in 1965. It was a specially built model for left-handers. Paul used it mainly on recording sessions and didn't play it on stage until the Wings tours. The Dutch artists known collectively as the Fool painted a colourful design on the guitar. Paul also used the instrument in 'Magical Mystery Tour', on the 'Our World' television show and in the promotional video 'Hello Goodbye', recorded at the Saville Theatre. Paul later had the Fool design removed.

Riding Into Jaipur

A track from the Driving Rain album. It is 4 minutes and 8 seconds in length and was recorded on 16 February 2001. The number was issued as the B-side to the single 'From A Lover To A Friend' on 29 October 2001.

Rinse The Raindrops

The closing track of the Driving Rain album - and the longest at 10 minutes and 8 seconds. The number was recorded on 19 February 2001.

Roach Avenue

An area of Liverpool on the Knowsley Estate that became Paul's third home when his family moved there for a short time immediately after Mike McCartney was born in 1944.

Robber's Ball

A number recorded at Lympne Castle in May 1979, which had originally started out as a jam session with Laurence Juber. Paul penned the lyrics in ten minutes and it was recorded with Paul on drums and Juber on guitar.

Robbie's Bit (Thanks Chet)

A number by Robbie Mclntosh lasting 1 minute and 56 seconds that was recorded live at the Blockbuster Pavilion, Charlotte. It was included on the Paul Is Live album.

Robbins, Betty

Paul's cousin, who was twelve years older than him. When Paul and his brother Mike were very young, Betty, more familiarly referred to as Bett, often looked after the two youngsters in the little terraced house in Boaler Street, next door to the shop where her mother ran a sewing repairs business. Since the terraced house had no garden, they all often had to stay indoors for several hours at a time and Bett used to entertain them with music. She had a banjolele, which she used to play for them. She was to show Paul how she played and would say that if he put his fingers into the instrument's triangle he got a D-seventh on that one chord. She then taught him three basic chords of two songs, 'The Man From Arizona' and 'Has Anybody Seen My Gal'. She next taught him 'Ragtime Cowboy Joe'.

Bett also had a record collection that interested Paul, particularly records by Peggy Lee. Other records Bett had which Paul enjoyed included 'All The Things You Are' by Frank Sinatra, 'Star Eyes' by Al Martino, 'The Folks Who Live On The Hill' by Peggy Lee and 'Laura' by the Woody Herman Orchestra. He also loved the Beauty And The Beat album by Peggy Lee and George Shearing.

Bett also played him some light classical music such as Peer Gynt Suite, Scheherazade, Holberg Suite and La Calinda.

It was Bett who gave Paul Peggy Lee's versions of 'Fever' and "Til There Was You', which he included in the Beatles act and sang on the With The Beatles album.

Bett was married to comedian Mike Robbins and the two of them became Redcoats at Butlin's holiday camp in Pwhelli. It was Mike who encouraged Paul and Mike McCartney to get on stage in a talent contest at Butlin's in 1957.

The couple were then to run a pub called the Fox and Hounds, where Paul and John visited in 1960. They helped in the bar and played an acoustic set on Saturday night and Sunday afternoon as the Nerk Twins, playing numbers such as 'The World Is Waiting For The Sunrise' (a hit for Les Paul and Mary Ford). Mike paid them £5 each, which was a lot of money in those days.

Bett and Mike later became publicans of the Bow Bells on Ryde, the Isle of Wight and Paul and John also visited them there. The trip was said to have inspired the number 'Ticket To Ride'.

Robbins, Jane

The sculptress daughter of Paul's cousin. In 2000 Paul commissioned Jane to create a life-size statue of Linda cradling a dog in her arms. The

statue was originally to have been placed in the Linda McCartney Memorial Gardens near the Mull of Kintyre. The £20,000 bronze statue was completed but for some reason it was decided not to place it in the gardens.

Discussing her commission, Jane said, 'I went to see Paul about another matter when he asked if I could do it. I knew Linda and the sort of person she was, so I am in a good position to produce something that Paul's going to be pleased with.'

Bobbins, Kate

Paul's cousin, who has become a recording artist in her own right and has occasionally guested as a backing vocalist on some of Paul's records.

Paul took a hand early in her career and produced her recording 'Tomorrow', the song from the musical Annie, which was part of his own MPL publishing catalogue.

The single was released in Britain on Anchor ANC 1054 on 30 June 1978, but was unsuccessful.

Her biggest hit was 'More Than In Love', a song featured on the television soap opera Crossroads, which brought her to a No. 2 position in the British charts when the single was issued on RCA in May 1981.

Kate was to have more success as a television celebrity, comedienne and impressionist.

In 1994 she presented a slot, 'Tiny Tots', on GMTV. She is the mother of two girls and a boy.

Robert F Kennedy Memorial Stadium

The Washington DC venue where Paul appeared on Wednesday 4 July and Friday 6 July 1990 during the final leg of his world tour. A combined audience of 91,892 attended the shows. Paul and his party arrived early at the venue on 4 July, Independence Day, to enable Paul to watch the semi-final of the football World Cup in his dressing room - a satellite dish had been ordered specially. There were only slight changes to the tour repertoire, with Paul dropping the Lennon medley and singing 'Happy Birthday' as a tribute to 4 July, America's 214th birthday. On the 6 July show Paul omitted 'Happy Birthday' and performed the Lennon medley - he also told the audience that Washington had been the scene of the Beatles' first American concert.

A special reception was also held, attended by Paul and Linda, costing $250, with funds going to Friends Of The Earth.

The Hard Rock Cafe in Washington celebrated National Secretaries Day with a contest in which ten secretaries tossed typewriters from a second-floor balcony onto a target labelled 'Boss'. Four tickets to Paul's concert went to the winner.

Rock & Roll Remembers

A syndicated American radio series, hosted by Dick Clark. A four-hour programme dedicated to Paul was syndicated in this series between Friday 17 October and Sunday 19 October 1986.

Rock n' Roll Hall of Fame

The Beatles were inducted into the 'Rock 'n' Roll Hall of Fame as a group in 1988.

The event took place on Wednesday 20 January at the Grand Ballroom in the Waldorf-Astoria, New York.

It was the third annual induction ceremony and the choices for induction into the Hall of Fame were the Beatles, the Beach Boys, Bob Dylan, the Supremes, the Drifters and Berry Gordy Jr.

George Harrison and Ringo Starr were in attendance, as was Yoko Ono with Julian and Sean Lennon. Among the other artists present were Little Richard, Elton John, Bruce Springsteen, Ben E King, Paul Simon and Mick Jagger.

Paul was conspicuous by his absence and a fax, sent from MPL was read out: 'After twenty years the Beatles still have some business differences which I had hoped would have been settled by now. Unfortunately, they haven't been, so I would feel like a complete hypocrite waving and smiling with them at a fake reunion.'

When the Beach Boys were being inducted, Mike Love attacked Paul by saying, 'Paul McCartney couldn't be here tonight because he's in a lawsuit with Ringo and Yoko. He sent a telegram to a high-priced attorney who's sitting out there. Now, that's a bummer because we're talking about harmony, right? And it's a shame Ms Ross can't make it, right? The Beach Boys did a hundred and eighty performances last year. I'd like to see the mop-tops top that!'

When George Harrison spoke he said, 'I don't have too much to say because I'm the quiet Beatle. It's too bad Paul's not here because he's the one who's had the speech in his pocket. We all know why John's not here: we know he'd be here. It's really hard to stand here representing the Beatles. It's what's left, I'm afraid. We all loved John very much and we love Paul very much.'

When a representative of Rogers & Cowan, Paul's press agency, was asked if they had been anticipating his arrival, she said, 'Paul decided months ago that he wasn't coming. He was damned if he came and damned if he didn't. He couldn't win either way. Don't quote me, but Paul is not going to let himself be roped into any Beatles reunion. Especially not while Yoko is going around acting like the Fourth Beatle. No siree. Paul only does what Paul damn well wants to. He is the Chief Beatle, after all.'

John Lennon, as a solo artist, was inducted into the Rock 'n' Roll Hall Of Fame at the Waldorf-Astoria on Wednesday 19 January 1994. Yoko Ono attended the event with Sean and Paul was pictured hugging Yoko.

Paul and Linda entered with Bruce Springsteen and his wife and were joined at their table by Eric Clapton, Yoko Ono, Sean Lennon and John F Kennedy Jr.

Paul made the induction speech for John and, in a press conference following the event, announced that the three surviving Beatles were to go into the recording studio to make a record together. He also said, 'It's a privilege to come along and do this. John, no matter what people thought of him from minute to minute, was a very, very beautiful person. And it's an honour to be able to do this with Yoko and Sean. It's just a lot of fun and it's a privilege, 'cause he was some serious dude. Asked why had picked 'Beautiful Boy' as his favourite song by John, he said, 'Well, you know, I've got kids and I know that emotion, and I think John captured it perfectly in that song.'

When he was asked if he found his 'Dear John' letter difficult to write, he said, 'It was wonderful. It wasn't hard at all. I mean, the thing is, you must remember, I'm a Number One John Lennon fan and I love him to this day. I always did love him. Even when we were bitching and going through our problems, which we all went through - and even though Yoko and I, you know, for a long time were bitching at each other.' Yoko interrupted him then to say, 'I didn't know that.' Paul continued, 'Hmmm. Maybe we weren't bitching at each other! But we still know that the man we're talking about tonight, the man who's been honoured tonight, was a seriously incredible dude.'

Later that evening Paul visited Yoko at the Dakota and she gave him four of John's home demo discs for the planned recording of a new Beatles single.

Paul's induction speech went as follows:

Dear John,

I remember when we first met at Woolton, at the village fete. It was a beautiful summer day and I walked in there and saw you on stage. And you were singing 'Come Go With Me' by the Del-Vikings. But you didn't know the words so you made them up ... 'Come go with me to the penitentiary.' It's not in the lyrics.

I remember writing our first songs together. We used to go to my house, my dad's home, and we used to smoke Typhoo tea with the pipe my dad kept in a drawer. It didn't do much for us but it got us on the road. We wanted to be famous.

I remember the visits to your mum's house. Julia was a very handsome woman, very beautiful woman. She had long red hair and she played a ukulele. I'd never seen a woman that could do that. And I remember having to tell you the guitar chords because you used to play the ukulele chords.

And then on your twenty-first birthday you got one hundred pounds off one of your rich relatives up in Edinburgh, so we decided we'd go to Spain. So we hitchhiked out of Liverpool, got

as far as Paris, and decided to stop there for a week. And eventually got our hair cut by a fellow named Jurgen and that ended up being the 'Beatle haircut'.

I remember introducing you to my mate George, my schoolmate, and getting him into the band by playing 'Raunchy' on the top deck of a bus. You were impressed. And we met Ringo, who'd been working the whole season at Butlin's camp - he was a seasoned professional - but the beard had to go, and it did.

Later on we got a gig at the Cavern club in Liverpool which was officially a blues club. We didn't really know any blues numbers. We loved the blues but we didn't know any blues numbers, so we had announcements like 'Ladies and gentlemen, this is a great "Big" Bill Broonzy number called "Wake Up Little Susie". And they kept passing up little notes, 'This is not the blues, this is not the blues. This is pop.' But we kept on going.

And then we ended up touring. It was a bloke called Larry Parnes who gave us our first tour. I remember we all changed names for that tour. I changed mine to Paul Ramon, George became Carl Harrison and, although people think you didn't really change your name, I seem to remember you were Long John Silver for the duration of that tour.

We'd been in a van touring later and we'd have the kind of night where the windscreen would break. We would be on the motorway going back to Liverpool. It was freezing so we had to lie on top of each other in the back of the van creating a Beatle sandwich. We got to know each other. These were the days we got to know each other.

We got to Hamburg and met the likes of Little Richard, Gene Vincent... I remember Little Richard inviting us back to his hotel. He was looking at Ringo's ring and said 'I love that ring.' He said, 'I've got a ring like that. I could give you a ring like that.' So we all went back to the hotel with him - we never got the ring.

We went back with Gene Vincent to his hotel room once. All was going fine until he reached in his bedside drawer and pulled out a gun. We said, 'Er, we've got to go, Gene, we've got to go.' We got out quick.

And then came the USA - New York City - where we met up with Phil Spector, the Ronettes, Supremes, our heroes, our heroines. And then later in LA we met up with Elvis Presley for one great evening. We saw the boy on his home territory. He was the first person I ever saw with a remote control on a TV. Boy! He was a hero, man.

And then later, Ed Sullivan. We'd wanted to be famous, now we were getting really famous. I mean imagine meeting Mitzi Gaynor in Miami!

Later, after that, recording at Abbey Road. I still remember doing 'Love Me Do'. You officially had the vocal 'Love me do' but because you played the harmonica, George Martin suddenly said in the middle of the session, 'Will Paul sing the line "Love me do"?', the crucial line. I can still hear it to this day - you would go 'Whaaa whaa', and I'd go 'Loove me doo-oo'. Nerves, man.

I remember doing the vocal to 'Kansas City' - well, I couldn't quite get it, because it's hard to do that stuff. You know, screaming out the top of your head. You came down from the control room and took me to one side and said, 'You can do it, you've just got to scream, you can do it.' So, thank you. Thank you for that. I did it.

I remember writing 'A Day In The Life' with you, and the little look we gave each other when we wrote the line 'I'd love to turn you on.' We kind of knew what we were doing, you know. A sneaky little look.

After that there was this girl called Yoko. Yoko Ono. She showed up at my house one day. It was John Cage's birthday and she said she wanted to get hold of manuscripts of various composers to give to him, and she wanted one from me and you. So I said, 'Well, it's OK by me, but you'll have to go to John.' And she did.

After that I set up a couple of Brunnell recording machines we used to have and you stayed up all night and recorded 'Two Virgins'. But you took the cover yourselves - nothing to do with me.

And then, after that there were the phone calls to you. The joy for me after all the business shit that we'd gone through was that we were actually getting back together and communicating once again. And the joy as you told me about how you were baking bread now. And how you were playing with your little baby, Sean. That was great for me because it gave me something to hold on to.

So now, years on, here we are. All these people. Here we are, assembled to thank you for everything that you mean to all of us.

This letter comes with love, from your friend Paul.

John Lennon, you've made it. Tonight you are in the Rock 'n' Roll Hall of Fame.

God bless you.

Paul was then inducted into the Rock V Roll Hall of Fame himself at the fourteenth annual ceremony of the event at New York's Waldorf-Astoria Hotel on Monday 15 March 1999.

When he was first informed, Paul said, T am very excited and honoured. Rock 'n' roll has played a huge part in my life and in that of my lovely Linda - so this one's for her.'

Paul dedicated his award to his late wife, saying, 'I love New York because New York gave me Linda! This one's for you, baby!' He also said to the organisers, 'You've got John and me in this - what about George and Ringo?' This referred to the fact that although the Beatles were inducted in 1988, only John and Paul of the Beatles had been inducted as solo artists.

Other inductees that day were Sir George Martin, the late Dusty Springfield, Billy Joel, Bruce Springsteen and Curtis Mayfield.

Neil Young inducted Paul, saying, 'Out he stepped from the shadow of the Beatles, and there he was. It kind of blew my mind.'

Eric Clapton, Bono and Bruce Springsteen then joined Paul on stage as they performed 'Let It Be', followed by rock standards such as 'Blue Suede Shoes' and 'What'd I Say'.

Paul's daughter Stella had accompanied him and sported a T-shirt reading 'About f***ing time!'

The following year Paul was the presenter at the induction of former Apple signing James Taylor at the Waldorf-Astoria event on 6 March.

Paul, who sat at Taylor's table, was to say:

OK, well, I haven't got any big long speech, you'll probably be glad to hear. I'm just gonna remember a couple of things from way way ago in the sixties when we were starting a new record label called Apple. Before it was a computer. And we were looking for talent. So we sent out this message, come all ye talented ones unto us. And they ... well, a few of them did. A lot of others came along with it, too. But it was a great time, it was a crazy time, and my friend Peter Asher one day came to the office, and he showed up and he said, 'I've got this guy from New York.' You know, 'Go on, come on, let's have a listen,' you know. And for once, it was someone really great. Which I must say we didn't really expect.

But it was this kind of haunting guy who could really play the guitar. And really sing beautifully. And, as I found out later, he'd been through a lot of troubles just recently, and he'd pulled himself out of them all, and he'd come over from New York, straightened himself out and got to England. And we were just lucky to run into him; he was lucky to run into us, I suppose. He started singing and it was just so beautiful that right there and then we said, 'OK, he's on Apple.' And so he was one of our very first artists on Apple.

So, as I say, I'm not going to go on too much about him except to say that I love him. And he's a really beautiful guy. We had a lot of good times back then ... I think! And I'm just very honoured this evening to induct him into the rhythm 'n' blues, rock 'n' roll, ballad, jazz, slow foxtrot award here tonight. And you know, you gotta do all those categories 'cause we all know you can't really call it one thing. Rock 'n' roll is too sort of slim for what's been going on tonight. So, it's too deep, you know? Especially I think, the trouble ... really, you can't put it into words. It's what Eric and Robbie just did and what James is about to do. And what Bonnie did and Melissa, is really why we're all in it, you know, we're not really words people, we're singers, man. And players. So I just want to thank everyone who voted for him and it's my honour to induct him, but first of all, we're gonna have a look at the clip ...

A video clip of James Taylor's was screened and Paul continued: 'Yes, James! OK, so I'm proud of this guy ... so I'd like to now induct James Taylor into the Rock 'n' Roll Hall of Fame.'

Rock Around The World

Title of a radio interview Paul gave to disc jockey Alan Freeman, which was syndicated on Friday 11 and Saturday 19 April 1975. During the programme Paul sang a few songs a cappella. One was the first verse of 'Suicide', a number he was actually to send to Frank Sinatra. The others were the Vikings' hit 'Come Go With Me', which the Quarry Men used to perform, and the Bill Justis hit 'Raunchy', which allegedly was the number which helped George Harrison become a member of the Quarry Men.

Rock For Kampuchea

A television production of the 1979 Hammersmith Odeon 'Concerts For The People Of Kampuchea'. Excerpts from Paul and Wings' performance were included in the special, which premiered in Britain on the ITV network on Sunday 4 January 1981. Three Wings performances were featured: 'Got To Get You Into My Life', 'Every Night' and 'Coming Up', together with three Rockestra numbers, 'Lucille', 'Let It Be' and 'The Rockestra Theme'.


'Rocker' was the name Paul gave to this brief jamming session by the Beatles during the Get Back sessions. It was also known as 'Instrumental 42'. Glyn Jones included it in his version of the Get Back recordings, but Phil Spector left it out when he used the tapes to prepare Let It Be.

Rockestra, The

A rock orchestra created by Paul. It was originally used for two numbers on the Back To The Egg album, 'The Rockestra Theme' and 'So Glad To See You'. Paul invited a host of noted rock musicians to join Wings and their brass section at Abbey Road Studios on Tuesday 3 October 1978 to make the recordings.

The line-up of musicians was: Pete Townshend (of the Who), Dave Gilmour (of Pink Floyd), Hank Marvin (of the Shadows), Laurence Juber and Denny Laine on guitars; Ronnie Laine (formerly with the Small Faces), John Paul Jones (of Led Zeppelin) and Bruce Thomas (of Elvis Costello's Attractions) on bass; Tony Ashton (of Ashton, Gardner & Dyke), Gary Brooker (of Procol Harum) and Linda McCartney on keyboards; John Bonham (of Led Zeppelin), Kenny Jones (of the Small Faces) and Steve Holly on drums; Morris Pert, Speedy Acquaye and Tony Carr on percussion; and Thaddeus Richard, Tony Dorsey, Howie Casey and Steve Howard on brass. During the sessions a special film of the occasion was taken for posterity, intended for showing as a television item. Director Barry Chattington was in charge of the film crew, who were using five 35mm Panavision cameras. Paul was to edit the 80,000 feet of film taken that day into 5,500 feet, which made a 40-minute film called Rockestra. However, the film was never released, although a 15-minute excerpt was screened on Monday 11 June at the Back To The Egg launch party.

Paul was to say: 'I asked the fellow who was going to do the film if he could film it like they film wildlife. You know, they sit back off wildlife and just observe it and they just let it go on with its own thing and when you try and film our session it's a bit like the same sort of thing. If everyone notices the cameras and lights, they all freeze up and won't talk naturally and they all get embarrassed. So they put all the cameras behind a big wall and no one could see the cameras and a lot of them didn't even know it was being filmed.' Then he joked, 'John Bonham had no idea it was filmed - in fact he is suing us!'

The Rockestra was to be gathered together for one special surprise appearance. Dr Kurt Waldheim, Secretary General of the United Nations, had contacted Paul regarding the tragedy in Kampuchea, where millions of people were starving. As a result, 'The Concerts For The People Of Kampuchea' were organised at the Hammersmith Odeon, London, in December 1979.

Paul and Wings appeared on the bill on Saturday 29 December, with Elvis Costello &c the Attractions and Dave Edmunds and Nick Lowe in Rockpile. At the end of the Wings set the Rockestra took to the stage. Musicians included Pete Townshend, Dave Edmunds, James Honeyman-Scott, Billy Bremner, John Bruce Thomas, Gary Brooker, John Bonham, John Paul Jones, Kenny Jones, Bruce Thomas, Rockpile and Robert Plant.

They performed 'The Rockestra Theme', 'Lucille', with Paul on lead vocals, 'Let It Be' on which Pete Townshend had an exceptional solo “pot and 'Rockestra Theme' again.

There was much anticipation aroused by the concert due to persistent rumours that the Beatles would be re-forming for a special appearance that evening.

The concerts were filmed for television and were screened in certain FTV regions on Sunday 4 January 1981 in 'Rock For Kampuchea', an edited version of highlights from the four concerts. There was also an atixim issued in America on Atlantic K60153 on Monday 30 March and in Britain on Friday 3 April 1981 that featured Paul, Wings

and the Rockestra. Apart from the three Rockestra numbers from the concert, the album included Wings performing 'Got To Get You Into My Life', 'Every Night' and 'Coming Up'.


A radio show broadcast on KLOS-FM in Los Angeles. Paul appeared live for ninety minutes on the show on Monday 29 May 1989.

Paul appeared on the show again on Friday 26 October 1990. During the interview he also played an acoustic version of 'Matchbox'.


Paul's first feature-length film produced for the cinema. Lasting 102 minutes, it featured the Wings concert at the Kings Dome, Seattle on 10 June 1976. An audience of 67,000 people watched the concert. Some numbers were edited in from film of other locations on the tour.

Altogether there were twenty-three numbers in the film, a further six having been edited out of the finished print.

Songs included 'Venus And Mars', 'Yesterday', 'Band On The Run', 'Let Me Roll It', 'The Long And Winding Road', 'Maybe I'm Amazed', 'Jet' and 'Bluebird'.

The film was made by Paul's company MPL and edited by Robin Clark and Paul Stein. The amplification system used during the film was capable of generating 15,000 watts.

The movie was premiered at New York's Ziegfield Theater on Wednesday 26 November 1980, but the European Charity Premiere at the Dominion Theatre, Tottenham Court Road, London, proved to be the star-studded event. It took place on Wednesday 8 April 1981, was attended by Paul and was graced by the Earl and Countess of Snowdon. The charity premiere was in aid of the Snowdon Award Scheme for Physically Handicapped Students and was attended by a host of stars including comedian Billy Connolly, musicians Mike Oldfield, Steve Harley, Phil Lynott, Eric Stewart and Gary Glitter, Trevor Eve {who portrayed Paul in the stage play John, Paul, George, Ringo... and Bert) and luminaries from the world of politics, fashion and theatre.

Rockshow was distributed in Britain by Miracle International and in America by Miramax Films.

It then became available on home video in Dolby stereo sound on Thorn EMI on Monday 12 October 1981 on VHS TVD 90 03342 and Betamax- TXB90 0334 4, although the tracks 'Call Me Back Again', 'Lady Madonna', 'The Long And Winding Road', 'Picasso's Last Words', 'Blackbird' and 'My Love' were omitted from the home video versions.

Rocky Raccoon

A number by Paul from The Beatles double album, which is a mock-country song that Paul attempts to sing in a Southern accent. It tells the tale of young Rocky from the hills of Dakota whose girlfriend Lily McGill runs off with a nasty character, Danny. The track includes the sound of saloon gunfire.

The number was written during the sojourn at the Maharishi's ashram in Rishikesh, India and Paul had the inspiration when he, John Lennon and Donovan Leitch were playing their guitars on the roof of one of the ashram buildings.

The Western-style song had an original working title of 'Rocky Sassoon'. Paul had some assistance from Donovan and John, although John was to comment, 'Paul wrote it, couldn't you guess? Would I go to all that trouble about Gideon's Bible and all that stuff.'

The song was recorded at Abbey Road Studios in one complete session on 15 August 1968. A version was also included on the Beatles' Anthology 3 CD in October 1996.

Roddenberry, Gene

The creator of Star Trek and several other science-fiction series.

In November 1976 Paul got together with Roddenberry to work on a science-fiction musical film starring Wings. Roddenberry had approached Paul while he was recording at Abbey Road Studios. The proposed musical about an invasion from space was intended as a vehicle in which the group could show their acting as well as their musical talents and an announcement about the project was given to the press. Unfortunately, nothing came of it.

Rode All Night

A rough version of this number was recorded during the Ram sessions and the refrain was later incorporated into 'Giddy', a number given to Roger Daltrey.


A Spanish composer. For the annual Proms in 1996, the BBC Proms '96 programme included a free CD in which 21 celebrities had voiced their appreciation of a classical composer. Paul had selected Rodrigo.

He commented, 'When I was a teenager, my father gave me a trumpet for my birthday. I tried to master it because he himself had played trumpet at an early age, and he taught me a little. I realised that it was going to be difficult for me to sing with this thing stuck in my mouth so I asked if he minded if I traded it in for a guitar. Which I did. I think that first guitar, a Zenith, started my love of the instrument. A piece like Rodrigo's Guitar Concerto is therefore a very special piece of music to me, and I think to hear it performed on 12 August at the Royal Albert Hall is going to be a very special evening indeed.

'The composer of the piece, Rodrigo, was born in Spain around about the time my father was born in Liverpool, and when the Concerto de Aranjuez was being premiered it was around the time I was being born in Liverpool - a couple of years before. I think this is a very beautiful piece of music. Its melody has always stuck with me, particularly the slower movement, which is quite famous. It's a very haunting melody, and although it's simple, the whole piece, it's very memorable. So there's one to remember: Rodrigo, John Williams, the Albert Hall, the Proms - a great institution.'

Rose, Charlie

An American talk-show host. Charlie Rose interviewed Paul for the 92nd Street YMHA Concert at Kaufmann Concert Hall, 1395 Lexington Avenue, New York on Tuesday 24 April 2001. The event, with tickets at $20 each, was sold out in advance, so a satellite feed was set up.


An old jazz standard composed by Earl 'Fatha' Hines and Henri Woods that Paul rediscovered. He called Brian O'Hara of the Fourmost and suggested it be their next single for CBS. He also offered to produce the single for them.

'Rosetta' was released on Friday 21 February 1969 on CBS 4041, with 'Just Like Before' on the flip. Mike McCartney plugged the disc and Bill Harry acted as PR.

Sadly, it never made the charts.

Rough Ride

A track from the Flowers In The Dirt album, originally recorded in October 1984.

A version of this number lasting 4 minutes and 49 seconds was included on the Tripping The Live Fantastic album. It was recorded live at the Palais Omnisport de Bercy in Paris on 10 October 1989 during the 1989/90 World Tour.

Paul was to say it was 'me trying to be Big Bill Broonzy'. He added, 'I'd seen a blues programme, and I thought, well these guys do a song and it's all one chord, two verses and a little guitar riff. That's all I had and it grew from nothing.'

Royal Court Theatre

A Liverpool theatre which saw the launch of Wings' 1979 UK tour with a free concert on 23 November with new group members Laurence Juber and Steve Holly.

The theatre had been threatened with closure due to financial problems earlier that year and Paul had donated £5,000 to the venue. At the city council a motion by Conservative members to thank Paul for his generosity was voted down by the Labour councillors. One of them was Roy Stoddard, who commented, 'I don't see why Paul McCartney should be singled out for special praise. The Beatles could have given a million and not missed it. They made their millions and we have not seen them since.'

The free concert was held in honour of Paul's former school, the Liverpool Institute. Pupils and staff were invited and Paul was to say: 'It's my way of saying "Thank you" for some very happy years. Everyone seems to knock their schooldays but for me they have fond memories.'

Wings also played to full houses at the Royal Court for the next three days.

Regarding the ungenerous comments by Roy Stoddard: this was actually typical of Liverpool councillors, particularly Labour, who had been lambasting the Beatles for years and refusing permission for a variety of tributes ranging from statues to street names. Eventually they had to bow to the inevitable and such tributes have become beneficial to the city's tourist industry.

Eddie Roderick was another councillor who, in January 1984, following press coverage of Paul's drug charge in Barbados, wanted the offer that had been made to Paul of the Freedom of the City to be withdrawn. Roderick said, 'He has brought shame on the city.' His request fell on deaf ears and Paul received the honour on 28 November 1984 in a ceremony held before the premiere of Give My Regards To Broad Street.

Royal Iris

The famous Liverpool ferryboat that was available for dances and parties and proved to be a popular showboat on the Mersey. When Paul made his appearance in Liverpool with Wings in November 1979, he took the group for a thirty-minute cruise on the boat at a cost of £150. He was to comment that the Beatles 'played in the salon of the Royal Iris for a fiver each - and we weren't asked back!'

He was joking, of course, because they appeared on the Royal Iris on four different occasions.

The ferry was taken out of service and ended up moored at Greenwich, London.

Royal Rock Show, The

A Radio Luxembourg series hosted by disc jockey Tony Prince, who interviewed Linda McCartney at Elstree Studios in March 1976. The interview was broadcast on Saturday 20 March between 11 p.m. and midnight.

Linda mentioned the new Wings album of the time, Wings At The Speed Of Sound, and discussed the problems of travelling extensively on a two-month tour with her children, coping as a wife, mother and musician. She said she was pleased with the education that her children were receiving: 'Heather is very worldly, just having gone with us everywhere we've gone.'

She mentioned that her children were just ordinary kids: 'They're not affected, posh or anything.'

Discussing photography, she reiterated that she was no relation to the Eastman-Kodak family, and said that she usually only carried one camera around with her, always loaded. She discussed her father and his profession in New York, pointing out that Paul had wanted him to look after his personal business affairs, but that he'd never attempted to get involved in managing the Beatles.

She discussed her diaries, in particular the Nashville diary and her diary of Polaroid photographs, then mentioned her forthcoming book Linda's Pictures.

Prince then led her into details of her background and how she became a photographer. She recalled seeing Paul for the first time at the Bag Of Nails club in London and their first dates, then discussed the track about her on the new album, 'Cook Of The House'.

She told of her struggles to develop her musical ability and the criticisms she received in the early stages. Like any normal couple they had their 'barnies', she said, and mentioned the recent Scandinavian tour and the trouble they'd had in finding drummers for Wings. For the future she wanted Paul and herself to become involved in some films and television work and liked the idea of acting in movies.

Linda was asked about the superstars who were leaving England because of the swingeing taxes introduced by Harold Wilson's government and though she thought it was silly of the government to drive so many people away, she maintained she and Paul would remain in England, 'because I don't believe money should rule your life. I like England and Scotland.'

She mentioned that the people in the music industry stimulated work and brought a lot of money into England, but with the new tax regulations a lot of this would be lost to America.

Linda admitted liking the English countryside - and the people: 'they're very sort of ordinary people, rather than laid-back people. I'm normally a laid-back person myself.'

On nights off Paul and Linda would watch telly, have a good meal and put their feet up, she said, and mentioned that when they were at their farm in Scotland, 'we listen to music, watch telly, paint a bit, draw a bit. Just talk. Go out for a walk.' They still discussed the Beatles, she said, and had just phoned John Lennon a few days previously; John and Paul were mates but George and Ringo weren't seeing eye to eye. Of her relationship with Yoko, she commented, 'Oh, I get on with her great! Much to people's surprise. I think she is really a nice, good person ... she's not pushy or anything.'

Royal Variety Command Performance

Paul appeared on the Royal Variety Command Performance at the Theatre Royal, Drury Lane, London on Monday 24 November 1986. It was 23 years earlier that Paul had performed at a Royal Command Performance with the Beatles.

Highlights of the show were screened on BBC TV on Saturday 29 November. In the royal box was Queen Elizabeth the Queen Mother, the Duchess of York, Princess Alexandra, the Hon Mrs Angus Ogilvy and the Hon Angus Ogilvy.

Paul was introduced on stage by David Frost and he sat at a grand piano and sang 'Only Love Remains', backed by Linda McCartney and Tessa Niles on vocals, Eric Stewart on acoustic guitar, Jamie Talbot on saxophone, Graham Ward on drums, Preston Heymen on percussion and Nick Glennie-Smith on synthesiser.

Rude Studios

The name Paul gave to the studios he had built on his farm on the grounds of Kintyre in Campbeltown, Scotland. It had a four-track recorder and was described as 'a wood-lined, tin-roofed shack'. It was here, in 1975, that he produced and recorded Holly Days. He later changed the name to Spirit of Ranachan Studios, which was situated in a larger barn.

Dock Sweetenham had prepared the studio in the mid-1970s as a small four-track studio.

During 1977 Paul recorded numerous demos here, including ones for numbers such as 'Suicide', 'Love Awake', 'Winter Rose', 'The Pound Is Sinking', 'Dress Me Up As A Robber', 'Twelve Of The Clock', 'Down San Francisco Way', 'Giddy', 'Girls' School', 'With A Little Luck', 'Purple Afternoon', 'London Town', 'Cafe On The Left Bank', 'Famous Groupies', 'Children Children', 'Girlfriend' and 'Don't Let It Bring You Down'.

Rudolph The Red-Nosed Reggae

A number, which Paul recorded at Abbey Road Studios in 1975. He recalled that he was 'just recording some crazy music for some far-out film some fellow was doing.' During a break in the session, Paul began talking to the deliveryman from a music rental company he'd hired. He discovered that the man could play the fiddle and asked him to get his instrument and join in with him on the session for the 'Rudolph' number. After the session the man disappeared without giving his name to Paul. The number ended up as the flipside of 'Wonderful Christmastime' in 1979. Later, the identity of the fiddler was established: his name was Bob Loveday.

Run Devil Run (album)

Paul was to say, This album is something I've wanted to do for years, and Linda was always very keen that I should do it. So I thought it would be the right thing to do.'

Run Devil Run was released in the US on Tuesday 5 October 1999 on Capitol CDP 5-22351-2 and in Britain on Monday 4 October. Chris Thomas and Paul produced it at Abbey Road Studios between 1 March and 5 May 1999. Geoff Emerick and Paul Hicks were the engineers. Dave Fine took the cover photograph. Musicians included: Paul McCartney on electric guitar, bass guitar, percussion and vocals; Ian Pake on drums and percussion; Peter Wingfield on organ; Dave Gilmour on electric guitar, steel guitar and backing vocals; Mick Green on electric guitar; Chris Hall on accordion; and Dave Mattacks on drums, percussion, piano and Wurlitzer.

Ian Paice was to comment, 'Paul wanted to make the album the same way that the Beatles cut their early records. So he went to the same studio, Number Two at Abbey Road, and he followed exactly the same routine. The rule was that we got there at 10 a.m., like the Beatles used to, and have a cup of tea. Then we'd start work at ten-thirty, stop for lunch at 1 p.m.; and then work through to five-thirty, when we went home. We did that for five days, and in that time we recorded twenty tracks.'

The tracks were: 'Blue Jean Bop' (originally recorded by Gene Vincent), 'She Said Yeah' (previously recorded by the Animals and the Rolling Stones), 'All Shook Up' (recorded by Elvis Presley), 'Run Devil Run' (one of Paul's own numbers), 'No Other Baby' (recorded by Chad And Jeremy), 'Try Not To Cry' (a McCartney original), 'Movie Magg' (previously recorded by Carl Perkins), 'Brown Eyed Handsome Man' (the Buddy Holly classic), 'What It Is' (another composition by Paul), 'Coquette' (recorded by Fats Domino), 'I Got Stung' (recorded by Elvis Presley), 'Honey Hush' (recorded by Joe Turner), 'Shake A Hand' (recorded by Faye Adams) and 'Let's Have A Party' (recorded by Wanda Jackson).

There was a special limited edition boxed set of eight singles from Run Devil Run issued in Britain and Germany on Parlophone 523 221 on Monday 6 December 1999.

They were: 'Blue Jean BopV'She Said Yeah' on Parlophone 5232301. 'All Shook Up'/'Run Devil Run' on Parlophone 5232311. 'No Other Baby'/'Lonesome Town' on Parlophone 5232321. 'Try Not to CryV'Movie Magg' on Parlophone 5232331. 'Brown Eyed Handsome Man'/'What It Is' on Parlophone 5232341. 'Coquette'/'I Got Stung' on Parlophone 5232351. 'Honey Hush'/'Shake A Hand' on Parlophone 5232361 and 'Party'/'Fabulous' on Parlophone 5232371.

Parlophone also issued a 7,000 limited edition box set of 7" singles from the Run Devil Run album on 7 December 1999 on Parlophone TPM 701A.

Strictly for promotional use, Parlophone also issued a 7" single of 'Run Devil Run'/'Blue Jean Bop' on RDR 003.

Run Devil Run (song)

An original rock-'n'-roll song by Paul that he penned on the suggestion of co-producer Chris Thomas when they were discussing the album of

rock-'n'-roll covers, which eventually adopted the title Run Devil Run. The number lasted 2 minutes and 37 seconds. It was recorded at Abbey Road Studios on Wednesday 3 March 1999 and featured Paul on lead vocal and bass guitar, Dave Gilmour on electric guitar and lap steel guitar, Mick Green on electric guitar, Peter Wingfield on piano and Ian Pake on drums.

Paul recalled that he was in Atlanta with his son James when he came across a voodoo shop in which a bottle of bath salts in the window display was called 'Run Devil Run'. He remembered that when he was trying to think of a title for a song while on holiday.

Rupert And The Frog Song

A home video cassette with the full title 'Paul McCartney's Rupert And The Frog Song'. It was issued in Britain by Virgin Video in November 1985 on WC (VHS and Beta).

The 15-minute animation of the Rupert story is the main item in the 25-minute video, which also features the short films Seaside Woman and The Oriental Nightfish.

The video became the No. 1 hit that Christmas and Britain's best-selling music video up until then, selling 200,000 copies during the year. Paul picked up the award for 'Best Selling Video Of The Year' at the British Video Awards on Thursday 16 October 1986; it received the BAFTA as 'Best Animated Short Film'; and the theme song won the Ivor Novello Award as 'Best Film Theme Or Song of 1984'.

Geoff Dun bar directed the film for MPL Communications and Paul provided the voice of Rupert with other vocal contributions coming from Windsor Davies and June Whitfield. In the story Rupert sets out on a hike and encounters a tree full of butterflies. He then follows some frogs into a 'frogs only' cavern and witnesses a performance by the frog chorus. Rupert then saves the frog king and queen by warning them as an owl swoops down on them. He then returns home to tell his mother of his adventure.

Paul is credited with writing the storyline although Alan F Murray, a University of Edinburgh professor, says that the storyline was loosely based on 'Rupert And The Water Lily', which first appeared in the 1958 Rupert annual and features an Alfred Bestall picture of a frog chorus.

Rupert Bear

A popular British children's character created for the Daily Express newspaper by Mary Tourtel in 1920.

He is a white bear who walks upright and wears a red cardigan, checked yellow trousers with scarf to match and white boots. He lives in Bear Cottage on Nutwood Common with his parents, Mr and Mrs Bear.

Rupert Bear annuals regularly sell in the region of 175,000 copies per year, and over 50 million have been sold worldwide. The strip has been running in the Daily Express newspaper for decades. Rupert is also the mascot of the Muscular Dystrophy campaign in Britain.

Paul used to read Rupert Bear annuals as a child and rediscovered the character when he started reading the stories to his stepdaughter Heather. In April 1970 one of the first things Paul did on leaving the Beatles was to buy the film rights to Rupert. His new company McCartney Productions Ltd handled it.

Paul says that he thinks of Rupert as a twelve-year-old boy and at the time commented, 'I've bought up the film rights for Rupert The Bear, the cartoon character from the Daily Express. As a kid I loved that strip - I've still got all the old Rupert annuals at home.'

He originally began to develop the idea of an eight-minute featurette of Rupert with animator Oscar Grillo and actually penned about eleven songs for a full-length animated movie.

In 1980 he recorded 'We All Stand Together' at AIR Studios. George Martin produced the sessions on 31 October and 3 November. A 38-piece orchestra, the St Paul's Choir and the Kings Singers, backed Paul.

He completed a script himself called 'Rupert And The Frog Chorus' and worked with Geoff Dunbar, an award-winning British designer who actually animated the final project. This turned into a 13-minute film, which Geoff also directed.

In the story Rupert leaves Bear Cottage one morning and sets off on a walk. On the way he encounters a tree full of butterflies. He discovers a waterfall, finds a secret passage and witnesses a huge gathering of frogs. He is enchanted as they begin to sing and their king and queen arise out of a cascade. Two mischievous black cats and a large owl upset the magical moment. The congregation scatters but they are unharmed by the interlopers. Rupert returns home to tell his mother of the adventure.

The cartoon was a great success when it was included on the bill with Give My Regards To Broad Street and Paul's single 'We All Stand Together' was a chart hit.

In the programme 'The Rupert Bear Story', first broadcast on Channel 4 television in Britain on 8 December 1982, Paul described his nostalgic feelings for Rupert. Hosted by Terry Jones, the programme paid tribute to 89-year-old Alfred Bestall, the artist who drew Rupert's adventures from 1935-1965. He recalled how he was reading Rupert to Heather 'and as I was going through the story I kept sort of thinking "Wow! this is amazing you know. I never really realised there was this in it." Because I knew in this image we'd got from our youth I kept seeing all these little glass bubbles with just one little lever so that they looked timeless ... very modern.'

He was recalling images of Rupert flying around the world in a little glass ball.

Other people in the documentary included Sir Hugh Casson, President of the Royal Academy; Dr John Rae, headmaster of Westminster School; artist Anthony Green; and architect Richard Rogers.

In 1987, when Paul was recording the original soundtrack demos, he recorded his original storyline for a Rupert feature film:

Once upon a time there was a young bear called Rupert. He lived with his mother and father in the village of Nutwood.

One day he's exploring in the woods when he's surprised by a black-winged stallion leading a herd of white flying horses.

They tell Rupert of a secret mission that the King of the Birds has for him and the stallion says they've been sent to take him to the King. So Rupert sits on the leader's back and off they gallop.

After a long run they leap off the edge of a high cliff and start to climb towards the clouds. As the huge clouds part, they see the palace of the King of the Birds.

The King explains that the North wind has gone out of control and is about to freeze the whole world over. Rupert agrees to help and flies away carried by a giant bird. But they meet icy winds which freeze the bird's wings over and he has to drop Rupert, who manages to parachute down near a tropical island.

After a celebration with the natives where Rupert meets Sailor Sam, they set off the next day across the sea. A great storm blows up and their small boat is tossed by giant waves. They're washed up on the shore and are taken by friends home to Nutwood.

After a visit by Dr Lion, Rupert begins to feel better and one day he goes for a walk in the countryside, whistling in the meadow.

Rupert now decides to carry on with his mission and with the help of the Professor he sets off in a special flying bubble to seek the advice of the Wise Goat of the mountains. After many adventures, he meets Jack Frost, but they're both buried by a massive avalanche of snow and ice. The friendly South wind rescues them and after a fierce battle they and all their helpers defeat the North wind.

The balance between the winds is restored and Rupert and his friends say goodbye and return home for tea.

On 5 September 1988, while appearing on the BBC 2 programme DEFII he recalled, 'A long time ago I used to read my daughter Rupert at bedtime. One of the stories had him in a glass ball and there was just one little control. I thought, this is like Star Wars, it's amazing.'

Paul also mentioned Rupert in his 1990 tour programme when he wrote, 'I ended up going down to see Sir Max Aitken who was head of the Daily Express at the time, in his big office down in Fleet street, and said, "Look Max, baby, we've got to keep Rupert in England because if the Yanks get hold of him ... they'll make him talk like Winnie the Pooh and he'll be a little American Rupert." So I said, "You've got to let someone like me do it." I gave him all the big spiel and he was impressed ... so that was how we got the animation rights to do Rupert.'

Paul had been eager to see a feature film of his original story and commissioned various writers, including Terry Jones and Willis Hall to complete the scripts, but he never got round to doing the film.

Canada's Nelvana produced a 65-episode animated series in 1991-96, which was syndicated to 28 countries. Unfortunately, unlike Paul's 'Rupert And The Frog Song', which maintained Rupert's Englishness, the Nelvana cartoons Americanised Rupert and his friends and gave them mid-Atlantic accents.

Rupert The Bear

An unreleased soundtrack for a projected animated feature film of Rupert The Bear that has appeared on various bootleg albums such as Rupert The Bear. Paul recorded it at the Spirit of Ranachan Studio in Campbeltown, Scotland with Wings in July 1978.

There were twelve numbers recorded: 'Rupert's Song' (version one), 'Tippi Tippi Toes' (parents' theme), 'Flying Horses', 'When The Wind Is Blowing', 'The Palace Of The King Of The Birds', 'Sunshine, Sometime', 'Sea/Cornish Wafer', 'Storm', 'Nutwood Scene', 'Walking In The Meadow', 'Sea Melody', 'Rupert's Song' (version two).


The Fireman, Paul's secret project with producer Youth, released a new album Rushes on Hydra Records, a new EMI label established specially for this release, on Monday 21 September 1998. It was Paul's first new work since Linda's death.

The press handout read, in part: 'The Fireman brings bison for trancing in the streets. The Fireman understands darsh walls and emerdeen sky. Do you? The Fireman knows a lemon's peal. And the power of the equinox.'

The CD cover sported a full-frontal female nude, with a zodiac design overlay.

The track listing was: 'Watercolour Guitars', 5 minutes 48 seconds; 'Paloverde', 11 minutes 57 seconds; 'Auraveda', 12 minutes 49 seconds; 'Fluid', 11 minutes 20 seconds; 'Appletree Cinnabar Amber', 7 minutes 12 seconds; 'Bison', 2 minutes 40 seconds; 'Watercolour Rush', 1 minute 44 seconds; 'Fluid', 11 minutes 19 seconds; and 'Bison', 7 minutes 55 seconds.

Russell, Willy

The award-winning Liverpool playwright whose first major stage play John, George, Paul, Ringo ... and Bert won the Evening Standard award as comedy of the year. Russell also received an award for Blood

Brothers and penned several other television plays based in Liverpool, some, like Educating Rita and Shirley Valentine being adapted into motion pictures.

Paul commissioned him to write a film script for a movie tentatively titled Band On The Run. Willy completed the project, but the film was never made.

Rye Memorial Care Centre

A hospital in Paul's locality in East Sussex, which was built largely as a result of his efforts.

In 1990 there was an announcement that the town hospital, which had been built during the First World War, was to be closed. Paul and Linda became involved in a campaign to prevent the closure or build an alternative. The need for the hospital in the area became apparent when a 16-year-old asthma patient died before he could reach the nearest available hospital following the closure.

Paul and Linda lobbied officials of the National Health Service, the local authority, social services and even marched through the town centre to protest at the closure.

He used a considerable donation from his £110,000 prize from the Royal Academy of Music in Sweden to help towards the building fund of the new centre, which eventually cost £5 million.

Paul and Linda joined 150 building workers and VIPs for the topping-off ceremony on Thursday 6 April 1995 when the final brick was placed on the new centre, which opened that summer.

The new mini-hospital contained 25 beds and a day-care centre.

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