BILL HARRY. THE PAUL MCCARTNEY ENCYCLOPEDIA

Sacree Soiree

A French television show. Paul and his band appeared on the programme on Wednesday 31 May 1989. In the show he appeared for 23 minutes during which he performed 'My Brave Face' with the band and was interviewed. George Martin was also on the show and 'Besame Mucho' from the Decca auditions on New Year's Day 1962 was played.

Saint Paul

Another American single inspired by the 'Paul is dead' rumours. Recorded by Terry Knight and issued in 1969 on Capitol 2506 with 'Legend of William and Mary' on the flip.

Saint Vincent Estate '89

An Italian TV show on the RAI station. While promoting his new Flowers In The Dirt album, Paul and his group flew to Rome on Thursday 15 June 1989 to appear on the programme, which took place at the Teatro Delle Vittorie before a live audience. Paul and his group also mimed to 'My Brave Face' and 'This One'.

The programme was then screened on Friday 16 June 1989.

Sally

A number composed by W Haines/H Leon/L Towers, which was much associated with Gracie Fields, the famous singer from Lancashire. Paul's version of the number, lasting 2 minutes and 3 seconds was included on the Tripping The Live Fantastic album. It was recorded during a soundcheck at Wembley Arena, London on 21 January 1990 during the 1989/90 World Tour.

Sally G

A track which Paul wrote in Nashville in July 1974, inspired by country music singer Diane Gaffney and a visit to the red-light district 'Printer's Alley'. The number was recorded on Tuesday 9 July 1974 between 6 p.m. and midnight at the Soundshop Recording Studios. Paul invited a number of country music musicians to join him on this country track including the pedal steel and slide guitar player Lloyd Green and Johnny Gimble, fiddle player with Bob Willis and the Texas Playboys.

It was also the first Wings single to feature Geoff Britton and Jimmy McCulloch.

It was issued in Britain and America as the flipside of 'Junior's Farm'. The British single was issued on Friday 25 October 1974 and the American one on 4 November 1974.

The single was re-released on Wednesday 5 February 1975 with 'Sally G' as the A-side. Paul commented, 'We flipped the single and I thought it might seem like we were trying to fool the public, but it isn't. It's only to get a bit of exposure on that song. Otherwise, it just dies a death, and only the people who bought 'Junior's Farm' get to hear 'Sally G'. I like to have hits, this is what I am making records for.'

It was also the last single to appear on the original Apple label.

Same Time Next Year

A song Paul wrote and recorded as the title track for the film Same Time Next Year in 1988, a movie that starred Alan Alda and Ellen Burstyn. The number was rejected in favour of 'The Last Time I Felt Like This' by Marvin Hamlisch, because it was said that Paul's number 'gave away too much of the plot'. Paul's 'Same Time Next Year' was eventually issued on 5 February 1990 as a bonus track on the CD and 12" vinyl singles of 'Put It There'.

Paul recorded the number at Rak Studios on 5 May 1978, with Laurence Juber making his first appearance as a member of Wings; it was co-produced by Paul and Chris Thomas. The following day it was completed at Abbey Road Studios with a 68-piece string section, in an arrangement by Paul and Fiachra Trench.

San Ferry Anne

A number Paul wrote and recorded for the Wings At The Speed Of Sound album. It was 2 minutes and 6 seconds in length.

San Francisco Blues

Originally a single by Ramblin' Jack Elliott. During the MTV Unplugged, Robbie Mclntosh played it on slide guitar.

San Remo Festival, The

Paul appeared at the annual San Remo Music Festival in Italy on Saturday 27 February 1988 when he featured as the headline attraction and on stage performed 'Once Upon A Long Ago' and 'Listen To What The Man Said' during a 14-minute spot. He lip-synched both songs for a television show. The appearance also gave him the opportunity of performing in public with his new band: Hamish Stuart, guitar/bass; Chris Whitten, drums; Gary Barnacle, saxophone; Andrew Chater, violin; and Linda McCartney on keyboards. George Harrison was also present at the festival and on Friday 26 February received a 'Best Video Of The Year' award for 'When We Was Fab'.

Saturday Night Live

An American TV show on the NBC network.

In a tongue-in-cheek manner, Lome Michaels had been making offers for the Beatles to re-form and appear on the show.

On Saturday 24 April 1976 Paul and Linda dropped in to see John and Yoko at the Dakota apartments. John had been watching television and they all saw Michaels make his offer once again, saying, 'Hi, I'm Lome Michaels, the producer of Saturday Night. Right now we're being seen by approximately twenty-two million viewers, but please allow me, if I may, to address myself to four very special people - John, Paul, George and Ringo: the Beatles.

'Lately, there have been a lot of rumours to the effect that the four of you might be getting back together. That would be great. In my book, the Beatles are the best thing that ever happened to music. It goes deeper than that, you're just not a musical group, you're part of us, we grew up with you. It's for this reason that I'm inviting you to come on our show.

'Now, we've heard and read a lot about personality and legal conflicts that might prevent you guys from reuniting, that's none of my business. You guys will have to handle that. But it's also been said that no one has yet come up with enough money to satisfy you. Well, if it's money you want, there's no problem here. The National Broadcasting Company authorises me to authorise you a cheque for $3,000. Here, can you get a close-up of this?'

Michaels holds the cheque up to the camera and it is made out to 'The Beatles'.

'As you can see, verifiably, a cheque made out to you, the Beatles, for $3,000. All you have to do is sing three Beatle tunes. 'She Loves You, Yeah, Yeah, Yeah'. That's $1,000 right there. You know the words, and it'll be easy. Like I said, this cheque is made out to 'The Beatles'. You divide it anyway you want. If you want to give Ringo less, that's up to you. I'd rather not get involved. I'm sincere about this. If it helps you to reach a decision to reunite well, it's a worthwhile investment. You have agents, you know where I can be reached. Just think about it. OK? Thank you.'

John said that they were amused by it and thought it would be funny if the two of them turned up at the studio. They almost took a cab to Saturday Night Live but decided they felt too tired. Paul and Linda left them while John and Yoko settled down to watch 'The Time Machine' on television.

Michaels repeated the offer on the Saturday 22 May 1976 edition of the show, upping the offer from $3,000 to $3,200.

On the Saturday 2 October 1976 edition of the show he said, 'Hi, I'm Lome Michaels. Several months ago I made a bona fide offer of $3,000 to the Beatles to perform on Saturday Night. For months there was no response and then about two weeks ago, I got a long-distance phone call from Eric Idle, tonight's host, in London saying that if I would let him come over and host the show, he would bring the Beatles with him. Well, in my excitement, I agreed and foolishly sent him the cheque for $3,000. You see, he said the Beatles wanted the money in advance so that they could buy some new clothes to wear on the show. Well, when I met Eric at the airport last Monday, I noticed that he was alone. So I said, "Where are they, I mean the Beatles." He said that their new clothes weren't ready yet, so they were going to catch a later flight. I still didn't think anything was wrong, until yesterday, when a telegram arrives saying, "Can't come now, Ringo's pants too long Stop Please send more money for alterations Stop Signed the Beatles."

'When I showed the telegram to Eric, he said he would call London immediately and he did, and convinced John, Paul, George and Ringo to send over a film instead. Well, twenty minutes ago, the film arrived from England. I just saw it and it's... quite good, only it's not the Beatles, it's the Rutles. Evidently, Eric had a bad phone connection to London and, well, anyway ... it's halfway through the show and Eric's already spent the $3,000, so ladies and gentlemen, here are the Rutles .., the fabulous Rutland sound, created by the fab four, Dirk, Stig, Nasty and Barry, who created a musical legend that will last a lunchtime.'

Paul and Linda were guests on the programme on Saturday 17 May 1980. Billy Crystal, in the guise of a character of his invention called Father Guido Sarducci, talked to them by satellite as they were outside the MPL offices in London. 'Sarducci' also sang a 'Beatles Medley'. A clip of 'Coming Up' also received its American premiere on the show.

During his New World Tour, Paul and his band appeared on the show on Saturday 13 February 1993. Paul initially chatted to Lome Michaels about the $3,000 offer Saturday Night Live made for a Beatles reunion many years earlier. Paul and his band performed three numbers, 'Biker Like An Icon', 'Get Out Of My Way' and 'Hey Jude'. Linda joined him on a spoof song 'I Love My Sweatshirt' and he also appeared in some comic sketches such as 'The Mimic' and was subject to a spoof interview with Chris Farley.

Saturday Shake Up

A children's TV show produced by Tyne-Tees Television. On Friday 7 December 1979 Wings were interviewed for the show backstage at the

City Hall, Newcastle. It was added to clips from 'Old Siam Sir', 'Goodnight Tonight' and 'Wonderful Christmastime' to produce a 24-minute segment, which was titled 'Flying With Wings' and screened on Saturday 22 December 1979.

Saturday Superstore

A BBC 1 Saturday-morning show for youngsters, hosted by disc jockey Mike Read. Paul appeared on the show for forty minutes on Saturday 7 December 1985 during which he participated in an audience phone-in and introduced two of his promotional videos - for 'Spies Like Us' and 'We All Stand Together'.

He returned to the show on Saturday 13 December 1986 and was interviewed by Mike Read once again. Paul answered viewers questions by phone and his appearance lasted for 28 minutes.

Save The Child

A single issued by Angel/Capitol in the States on Tuesday 12 November 1991, the first and only American single from the Liverpool Oratorio. In the UK it was the second single following 'The World You're Coming Into'. 'Save The Child' was issued in three formats in the UK on Monday 18 November, with 'The Drinking Song' on the flip. They were the 7" vinyl version on KIRIS 2 or 2 04513 7, the compact disc on KIRICD 2 or 2 04513 2 and the cassette on KIRITC 2 or 2 04513 4.

Say Say Say (promotional film)

The promotional film for the video was directed by Bob Giraldi who had earlier directed a Michael Jackson promotional film for 'Beat It'.

The promotional film cost half a million dollars to produce and was filmed in Los Alamos, California between Tuesday 4 October and Friday 7 October 1983.

The promotional film was premiered on The Tube, a Channel 4 programme on Friday 28 October 1983.

Say Say Say (single)

A single by Paul McCartney and Michael Jackson, issued in America on Columbia/MPL 38-04 168 and in Britain on Parlophone R6062. It was released simultaneously in Britain and the US on Monday 3 October 1983. The number was produced by George Martin and was also included on the Pipes Of Peace album.

The 7" single was a four-minute version, with 'Ode To A Koala Bear' on the flipside. The 12" version, with a remix by 'Jellybean' Benitez, was nearly two minutes longer and, apart from 'Ode To A Koala Bear', also has a 7-minute instrumental version on the flipside.

The review in the music paper Melody Maker read: 'Ebony and Ivory back together in perfect harmony but for what? Mutual bank accounts?' The New Musical Express review read, 'Far closer to a Wingsoid rocker than anything that Jackson had attempted over the past few years - but still falls short of even the pitiful standard set by last year's collaboration.'

It was released in Germany on Odeon 1C006-1652527.

The number was included on a charity disc compilation, Let's Beat It, with proceeds donated to the TJ Martell Foundation for Leukemia in New York. It was issued on Monday 1 July 1985 by Epic Records on EPC 26345 and on cassette 40-26345.

Scene Special

A Granada Television show. Paul recorded an interview for the show on Wednesday 18 January 1967 that was transmitted on Thursday 7 March 1967. Paul discussed the 'underground' scene and Pink Floyd performed 'Interstellar Overdrive'.

Schwartz, Francie

A Pennsylvanian-born, New York City-educated brunette who arrived in Britain in 1968 seeking backers for a film script she had written. She took it along to the Apple office in Wigmore Street and Paul noticed her in the reception lounge. They chatted for a while and he said she could make herself useful in the Apple offices. She gave Paul her address in London and he came to see her one Monday morning.

She was to comment, 'He settled right into a chair with me on his lap. The kisses started ... and later we visited friends in the country and ran barefoot in the rain.'

The first time she and Paul made love was in her King's Road flat immediately after Mike McCartney's wedding. Paul had been to lunch there a week earlier.

The brief affair had begun while Paul was still courting Jane Asher, who was currently away on tour. According to stories of the time, Francie had become a regular visitor to Paul's Cavendish Avenue house when, about three weeks into the arrangement, Jane turned up. Her tour of the provinces with the Old Vic had ended ahead of schedule.

Margot Stevens, one of the Apple Scruffs (the group of fans who hung around the Beatles' homes, offices and recording studios), spotted Jane arriving in her car and pressed the Entryphone, warning Paul of her arrival. He didn't believe her. Jane, who had her own key, entered the house and found Francie dressed only in Paul's dressing gown. She left.

Later that evening her mother arrived in an estate car and took away some of Jane's belongings, while Paul was recording the White Album. Mrs Asher left a note for Paul and he was to tell Francie that he'd said to Mrs Asher, 'I've met someone who's offering something that Jane couldn't.'

She was watching TV with Paul, his father Jim and his wife Angie and stepdaughter Ruth the night Jane publicly announced their engagement was over.

Francie began living in Cavendish Avenue, doing the cooking, cleaning and entertaining house guests such as John and Yoko. She also attended recording sessions at Abbey Road.

Soon after, the fling with Francie was over and she wrote a piece in the News of the World newspaper, saying: 'He (Paul) hadn't formally ended his friendship with Jane Asher, so at first it was a secret.'

She returned to America where she sold the story of her affair to Rolling Stone magazine entitled 'Memories Of An Apple Girl'.

She then wrote a book called Body Count for Rolling Stone publishers Straight Arrow, concerning her various love affairs. She devoted a full chapter to her short affair with Paul, whom she described as: 'A little Medici prince pampered and laid on a satin pillow at a very early age.'

Scott, Tom

A horn player who has appeared on sessions for Paul, George Harrison and Ringo Starr. Scott provided the sax solo on 'Listen To What The Man Said'.

Scottish Exhibition And Conference Centre

The Glasgow venue for Paul's Saturday 23 June 1990 appearance on his 1989/90 World Tour. The concert, called 'Get Back To Glasgow', had originally been planned as an open-air show, but it was moved indoors when it was believed that the ticket sales were waning. However, the actual concert drew a capacity audience of 9,300. Paul performed 'Mull Of Kintyre' on this show for the only time on the entire tour and the Campbeltown Pipers accompanied him. A proportion of the proceeds for this show went to local charities, including the Yorkhill Children's Trust, Scottish Women's Aid, the Simon Community for the Homeless and the Scotcare charitable consortium.

Scouseology Awards

The Scouseology Awards are presented in Liverpool each year to people who have made a contribution to life on Merseyside. Whilst Paul was in Liverpool at the end of June 1991 for the premiere of Paul McCartney's Liverpool Oratorio at the Anglican Cathedral, Liverpool, he received the Scouseology award as 'Scouse Personality Of The Year'. Paul said, 'I'm chuffed. This means more to me than all these music paper awards. This is the people of Liverpool voting for me. This is Scousers saying, "You're OK, Масса." It is great to be back home and what a fantastic place the Cathedral is. To think I was nearly a choirboy here myself, but they turned me down.'

The awards, sponsored by Whitbread and the Liverpool Echo, were presented to Paul by Arthur Johnson, the Echo marketing manager and Phil Young of Scouse Promotions. Young was in the same class as Paul at the Joseph Williams County Primary School.

Although a prominent Liverpool figure is awarded a 'Scouse Of The Year' award at the annual events, Paul was given their highest accolade in 1997 when they gave him a 'Lifetime Achievement' award. Paul was unable to attend the event but sent a message of thanks.

Sea Dance

An instrumental track by Paul, which Wings recorded at the Sea Saint Studios in New Orleans in January 1975 during the Venus And Mars sessions. The track wasn't used.

Seaside Woman (film)

In 1980, a 34-minute animated film based on the song and made by Oscar Grillo was entered in the Cannes Film Festival. It won first prize in the Short Film Competition, and due to this success, A&M reissued the single on Friday 18 July 1980 on A&M AMS 7548. Director Oscar Grillo was awarded the Palme d'or du Festival international du film.

Seaside Woman (song)

A reggae-inspired number written by Linda McCartney following a trip to Jamaica.

She was inspired to write it following the controversy over her co-writing songs with Paul. Linda commented, 'We were getting sued by a publisher, saying that I was incapable of writing. So Paul said, "Get out and write a song." So I wrote "Seaside Woman", which is a reggae number. So then I thought, "We need a B-side for it", so we went in and recorded a number called "Oriental Goldfish", which turned out so good that we thought, "Now we've got two A-sides", so now we needed two B-sides.'

She recorded it with backing from Wings members at AIR Studios on 27 November 1972 and Paul produced the session. It was decided to use the name Suzy and the Red Stripes in reference to the local Jamaican beer, Red Stripe and Suzy because Linda was referred to by that name in Jamaica because she liked a reggae version of the number 'Suzi Q'. However, the single, although recorded in 1972, wasn't issued until 1977 when it was released in America on Tuesday 31 May 1977 on Epic 3-50403. The flipside was another joint McCartney composition, 'Side To Seaside'. Epic was to re-release it in 1979 and 1980.

In Britain it wasn't released until Wednesday 17 August 1979 on A&MAMS7461.

On 7 July 1986 EMI released it on 7" on EMI 5572 and 12" on 12 EMI 5572 in a remix by engineer Alvin Clark. EMI produced a special promotional video for the release.

It was released in Germany on EMI 1A 006-201352.

Second Coming Of Suzanne, The

A film script by Michael Barry, son of American actor Gene Barry. British record producer Mickie Most at one time considered filming the

story, which concerned Jesus Christ's return to Earth in contemporary times - as a woman! One of the plum roles was that of Lee Simons, a pop star poet - and Most wanted Paul for the part. A story in the music press on Wednesday 9 September 1970 announced that Most had approached Paul about the role.

Most said, 'Paul's a hard guy to contact, but Apple are trying to get him for me. The chances are if he likes the script, he'll do it. Paul once told me that every film script offered to the Beatles was another Help! and that he wanted to do something different. This film is different.'

On Sunday 13 September 1970 Apple issued a statement that Paul would not be appearing in the film.

'The Second Coming Of Suzanne' was never made.

Secret Friend

The flipside of the limited edition Temporary Secretary' issued as a single in Britain only on 15 September 1980. At 10 minutes and 24 seconds it was the longest song Paul ever recorded. It had been produced during the McCartney II sessions, but not included on the album.

See, Joseph Melville

Linda McCartney's first husband. Born in New York, he moved to Tucson in 1960 after graduating from Princeton. He met Linda at Arizona University when he took his master's degree in geology. Linda was studying art history. He married Linda Eastman in 1962 and they had a daughter, Heather. Much of See's work involved travelling regularly while studying the indigenous people of Mexico and he believed the travelling contributed to the breakdown of his marriage. Discussing the split, he said, 'I started becoming interested in native peoples, travel and seeing the geology of the world and Linda started developing her photography and her appreciation of art. Slowly we began to spend more time apart.'

The marriage foundered in 1964 and Linda later married Paul, who adopted Heather.

It's said that See was the inspiration for the character of Jo Jo in the 1969 hit 'Get Back', penned by Paul. Paul refers to Jo Jo having left his home in Tucson, Arizona, for some California grass. Despite this, Paul insists that Jo Jo was a fictional character and says that a number of people have claimed to be Jo Jo, but that he had no particular person in mind when he wrote it.

See was devastated when Linda left him. He never remarried and remained fond of her until she died.

He was known as Melville to his friends and he remained good friends with the McCartneys over the years and began to get acquainted with his daughter Heather again from 1990. Paul and Linda encouraged him to keep in contact with Heather, and he said, 'Linda once said we were all a family. When you were around Paul and Linda you were happy because they made people happy.'

On Sunday 19 March 2000 he was found dead at his home in Tucson, from a self-inflicted shotgun wound. It was less than two years after Linda's death from breast cancer. His friends said he had been troubled for some time and Debra Zeller, an art historian who was a close friend, commented, 'Linda's death hit him really hard. He began to realise he was mortal too.'

A number of newspapers reported that the verdict of suicide might have been a premature one as the police were treating the death as suspicious. Sheriff's Deputy Deanna Copus commented, 'It's still very much an open case - there are suspicious circumstances and homicide police are still investigating.'

See was 62 years old when he died.

Seiwell, Denny

An American session drummer, born in Leighton, Pennsylvania, whose father had also been a drummer.

At the age of seven Denny began to play snare in the local Boy's Orchestra and was later to join the army as a bandsman.

In the 1960s, on leaving the army, he moved to Chicago where he played jazz with various outfits before moving on to New York, where he also played in jazz clubs and did a lot of session work with artists such as James Brown and John Denver.

Early in January 1971 Denny attended auditions for Wings in a New York basement. Paul said that he found Denny 'lying on a mattress one day in the Bronx. You know how all these people pass them by in Midnight Cowboy? Well, we thought, we'd better not, so we picked him, put him on a drum kit, and he was all right!'

Recalling the audition, Denny commented, 'A lot of the boys were really put out at being asked to audition. Paul just asked me to play, he didn't have a guitar, so I just sat and played. He had a certain look in his eyes. He was looking for more than a drummer, he was looking for a certain attitude too. I just played. I always say that if you can't get it on by yourself you can't get it on with anyone.'

He got the job and recorded the Ram sessions between January and March 1971. Paul then asked him if he would be interested in joining the band with him and Denny agreed.

Together with his French wife Monique, he left New York to move into Paul's farm to await the Wings formation. He and Monique were later to buy a house in London and a farm in Scotland, just like Paul and Linda.

Some say the official formation of Wings took place on 3 August 1971 during the Wild Life sessions; others put it a month later when Stella was born, saying that Paul actually thought of the name 'Wings' at this time.

Denny recorded two Wings albums, Wild Life and Red Rose Speedway and drummed on the singles 'Mary Had A Little Lamb', 'Hi-Hi-Hi' and 'Give Ireland Back To The Irish'. He toured with the band in Britain and Europe in 1972 and 1973.

His reasons for leaving the group are not clear. When he phoned Paul to tell him he was quitting three hours before the band were due to fly out to Lagos, Nigeria, to record Band On The Run he gave his reason as the fact that he did not want to go to Africa. He quit on 30 August 1974, five days after Henry McCullough. McCullough said he was unhappy with the band because he felt Linda didn't belong in it. Seiwell is also said to have been unhappy about Linda's involvement.

Send Me The Heart

A track which Denny Laine co-wrote with Paul in Nashville in 1973 and which was recorded with Buddy Emmens on steel guitar and Paul on bass. It was included on Denny Laine's album Japanese Tears.

Sgt Pepper's Lonely Hearts Club Band (album sleeve)

Contrary to popular opinion, all the characters on the cover of the Sgt Pepper album weren't personally chosen by the Beatles to represent their heroes and influences. Robert Fraser and Peter Blake asked each member of the Beatles to write down ten choices on a piece of paper. Ringo didn't bother to make any choices, George picked mainly Indian gurus and a number of choices by John and Paul were left out or vetoed. A great number of the seventy-plus characters were chosen by Fraser and Blake, so the cover isn't representational of the Beatles' heroes after all.

Paul chose Karlheinz Stockhausen. The composer couldn't be contacted as he was sailing in the Pacific, but his image was used anyway.

Paul also added Fred Astaire to his list. Astaire had been one of his favourites when he was a child and he loved to watch Hollywood musicals at the cinema. One of his favourite songs was Astaire's 'Cheek To Cheek'.

Commenting on his early influences, Paul had said, 'I like the Astaire films they show on television. I think, wow, great, boy can they dance. Boy, can they arrange tunes. They were only doing what we're doing now, but some of the time they were much better at it.'

Other choices by Paul included Brigitte Bardot and William Burroughs.

Sgt Pepper's Lonely Hearts Club Band (album)

The suggestion for the front of sleeve came from Paul who said they could show people, living or dead, who the Beatles respected. 'We want all our heroes together. If we believe this is a very special album for us, we should have a lot of people who are special to us on the sleeve with us.

He also said, 'Why don't we make the whole album as though the Pepper band really existed, as though Sergeant Pepper was doing the record?'

Paul appeared to be the prime mover behind the album and John Lennon was to say, 'He (Paul) said that he was trying to put some distance between the Beatles and the public - and so there was this identity of Sergeant Pepper. Intellectually, that's the same thing he did by writing "he loves you" instead of "I love you". That's just his way of working.'

Paul also thought of having the group wear Salvation Army uniforms, but was talked out of it and they eventually wore costumes made by Maurice Berman, the theatrical costumiers.

Paul was not happy with press reports that he considered exaggerated George Martin's contribution and said, 'We got offended by this. We don't mind him helping us, it was great, but it's not his album, folks, you know!' The first song was Paul's 'When I'm Sixty-Four'.

The Sgt Pepper Band was the Beatles' alter ego. Paul was to comment, 'We were getting a little fed up of being the Beatles, because everything we did had to be the Beatles, and I felt we were getting trapped in this whole idea of "what kind of songs does John do? What does George do? Paul does the ballads." It was all getting bloody predictable. I said, "Why don't we pretend that we're another band?" That's what I did, it freed us to make those slightly more daring decisions than you'd normally make.'

Paul played some of the album tracks for Bob Dylan. Paul recalled, 'He said "Oh, I get it, you don't want to be cute any more." That summed it up, that was sort of what it was. The cute period had ended and it was now ... it started to be art.'

Sgt Pepper's Lonely Hearts Club Band (film)

An American movie, which was based on the Beatles' album and screened in 1978. The film starred Peter Frampton and the Bee Gees. The Robert Stigwood Organisation, who produced the film, originally offered Paul the leading role of Billy Shears, but he turned it down.

Sgt Pepper's Lonely Hearts Club Band (song)

John Lennon was to say, 'Paul wrote it after a trip to America. The whole West Coast long-named group thing was coming in, you know, when people were no longer called the Beatles or the Crickets. They were suddenly called Fred And His Incredible Shrinking Grateful Airplanes. He got influenced by that and came up with the idea of us doing us as somebody else. He was trying to put something between the Beatles and the public. It took the "I" out of it some.'

Their road manager at the time, Mai Evans, claimed to have had some input in the song and was said to have received some of the royalties.

Mai commented, 'I stayed with him for four months and he has a music room at the top of his house with his multi-coloured piano and we were up there a lot of the time. We wrote 'Sgt Pepper' and also another song on the album, 'Fixing a hole'. When the album came out, I remember it very clearly, we were driving somewhere late at night. There was Paul, Neil Aspinall and myself and the driver in the car, and Paul turned round to me and said, "Look Mai, do you mind if we don't put your name on the song? You'll get your royalties and all that, because Lennon and McCartney are the biggest things in our lives. We are really a hot item and we don't want to make it Lennon-McCartney-Evans. So, would you mind?" I didn't mind, because I was so in love with the group that it didn't matter to me, I knew myself what had happened.'

Paul commented, 'I was just thinking of words like Sergeant Pepper and Lonely Hearts Clubs, and they came together for no reason. But, after you've written it down, you start to think. "There's this Sergeant Pepper who has taught the band to play, and got them to play, so that, at least, they found one number." They're a bit of a brass band in a way, but also a bit of a rock band because they've got the San Francisco thing.'

The number was recorded at Abbey Road on 1 April 1967.

A version of this number, lasting 6 minutes and 23 seconds, was included on the Tripping The Live Fantastic album. It was recorded live on 23 November 1989 at the Great Western Forum, Los Angeles during the 1989/90 World Tour.

Shadow Cycle

A 21-minute short animation film based on the last musical score written by Linda McCartney.

Made by Klacto Animation for MPL, it is described as: 'A work of love and emotional fantasy intertwined with the cycle of life and death, represented by the reflecting shadows of the characters as they travel through their life's journey.'

The film received its British premiere at the London Film Festival in November 2001.

John Harle orchestrated the music by Linda and Paul and Oscar Grillo wrote the scenario. The latter also designed and directed the film.

Shake A Hand

A track from the Run Devil Run album lasting 3 minutes and 52 seconds. It was recorded at Abbey Road Studios on Tuesday 2 March 1999 with Paul on lead vocal, bass guitar and electric guitar, Dave Gilmour on electric guitar, Mick Green on electric guitar, Pete Wingfield on piano and Hammond organ, and Ian Paice on drums. During the Beatles' early trips to Hamburg they frequented a pool hall which had a jukebox in it and the Beatles used to play the records and take down the words of the songs, as they couldn't afford to buy records at the time. They took down the words of this Little Richard record and it became one of Paul's favourites - although he never did buy the actual record.

Shallow Grave

A number, originally called 'Short Shallow Grave', which was co-penned by Paul and Elvis Costello in 1991. The number was to appear on Elvis Costello's album All This Useless Beauty in 1996.

She Came In Through The Bathroom Window

Paul wrote this song on 13 May 1968 while in New York.

It first turned up on the Beatles Let It Be sessions on 22 January 1969, and eventually ended up as part of the Abbey Road medley, being recorded as one song with 'Polythene Pam' on 25 July 1969.

The number was based on an incident when fans tried to break into his home in St John's Wood and originally was simply called 'Bathroom'. Paul initially wanted Joe Cocker to record the number, which he did, following the release of the Beatles' version.

She Said Yeah

A song Paul chose to record for his Run Devil Run album. It was his favourite Larry Williams number and ran for 2 minutes and 6 seconds. It was recorded at Abbey Road Studios on Friday 5 March 1999. It featured Paul on lead vocal and bass guitar, Dave Gilmour on electric guitar, Mick Green on electric guitar, Pete Wingfield on piano and Ian Paice on drums.

Paul remembered that he'd also interested Mick Jagger in the number, playing it to him one day in a music room - and Mick then went and recorded the number with the Rolling Stones.

She's A Woman

Paul penned this rocker literally on the spot during a recording session on 8 October 1964, during the Beatles For Sale sessions and it was issued as the flipside of 'I Feel Fine' in Britain on Parlophone R 5200 on 27 November 1964 and in America on Capitol 5327 on 23 November.

John Lennon was to comment, 'That's Paul's with some contribution from me on lines, probably. We put in the words 'turns me on'. We were so excited to say 'turn me on' - you know, about marijuana and all that, using it as an expression.'

The number wasn't included on Beatles For Sale and didn't turn up as a track on an official album release in Britain until 2 December 1978 on Rarities. Rarities was a 'free' album included with The Beatles Collection package, a boxed set of all twelve original EMI studio albums, plus the additional Rarities. However, it was included on the

American album Beatles '65 issued on Capitol ST 2228 on 15 December 1964.

A stereo version was included on The Beatles Box issued by World Records, a subsidiary of EMI on SM 701-SM 708 in December 1980. A slightly longer stereo version was included in The Beatles Collection issued on ВЕР 14 on 7 December 1981, a boxed set of the Beatles EP collection.

In America, Capitol reissued the 'If I Fell'/'She's A Woman' single on Capitol Starline A-6286 on 30 November 1981.

It was also included on the Past Masters. Volume One CD release, issued on Tuesday 8 March 1988.

In addition to singing lead vocal, Paul also played piano on the track.

The Beatles performed the song on their Christmas show in 1964 and on their subsequent tours. The number was included on Beatles At The Hollywood Bowl and Beatles Rarities.

The version included on Volume Two of The Beatles Live At The BBC was a track taken from their Top Gear radio broadcast of 26 November 1964.

A concert version of the number was included as the final track on the first half of the Beatles' Anthology 2.

She's Given Up Talking

A track from the Driving Rain album. The number lasts for 4 minutes and 57 seconds and was recorded on 17 February 2001.

She's Leaving Home

Paul was inspired to write this number after reading a story in the national newspapers about a girl who had run away from home.

He was to say, 'It's a much younger girl than Eleanor Rigby, but the same sort of loneliness. That was a Daily Mirror story again. This girl left home and her father said, "We gave her everything. I don't know why she left home." But he didn't give her that much, not what she wanted when she left home.'

The story was actually in the Daily Mail newspaper on 27 February 1967. The headline ran: 'A-Level Girl Dumps Car And Vanishes'.

It concerned a 17-year-old girl, Melanie Сое, who had been studying for her A levels at Skinner's Grammar School in Stamford Hill, London. She then ran away from home leaving her car, diamonds and a mink coat behind. Her father John Сое commented, 'I cannot imagine why she should run away, she has everything here.'

The Beatles recorded the number at Abbey Road on 17 March 1967 and overdubbed the vocals on 20 March 1967. The Beatles didn't play on the number. Paul and John sang it with a string backing: Sheila Bromberg on harp; Erich Gruenberg, Derek Jacobs, Trevor Williams and Jose Luis Garica on violins; John Underwood and Stephen Shingles on violas; Dennis Vigay and Alan Dalziel on cellos; and Gordon Pearce on double bass.

Paul asked George Martin to arrange the number for strings and harp, but Martin had a recording session with Cilia Black scheduled. Paul was eager to go ahead with the number and hired Mike Leander to arrange it. George Martin was to say, T couldn't understand why he was so impatient all of a sudden. It obviously hadn't occurred to him that I would be upset.' Paul said, 'He was busy, and I was itching to get on with it. I was inspired. I think George had a lot of difficulty forgiving me for that. It hurt him; I didn't mean to.'

Arranger Mike Leander was to comment, 'This record will alter everyone's approach to record making. I have new thoughts myself now every time I go into the studio. Apart from my contribution, this is a work of art, but I am terrified of the next one.'

People have claimed that 'the man from the motor trade' mentioned in the lyrics referred to Terry Doran, a friend of the Beatles who was a car salesman. Paul has denied this.

She's My Baby

A song for Linda, 3 minutes and 6 seconds in length, from the Wings At The Speed Of Sound album. Paul re-arranged the number for Linda's memorial services. He also re-recorded it for his Working Classical album.

Shears, Billy

A make-believe character created for the Sgt Pepper project. On the album, Ringo was Billy Spears.

The character was fleshed out by the many wild stories in the 'Paul is Dead' campaign of 1969. One American 'underground' paper, Rat Subterranean News, ran a full-page story written by Lee Merrick and proclaiming that Billy Shears had become a substitute for the dead Paul McCartney.

Shrimpton, Stephen Walmsley

Former managing director of MPL, who was Paul's right-hand man for a time. He joined the company in January 1980.

Stephen was born in Melbourne, Australia, and joined EMI Australia in 1969 as national marketing and sales manager, eventually rising to the post of managing director in April 1974. He got to know Paul when he was in charge of the entire Wings product in Australia.

Stephen intended to return to Australia after the filming of Give My Regards To Broad Street - in which Australian actor Bryan Brown portrayed a character based on him - but Paul talked him into remaining with the company, although he eventually resigned in 1986 and moved to America to accept a senior position with Warner Brothers in Los Angeles. His replacement, Bob Mercer, lasted barely a month.

Silly Love Songs

Paul wrote this number in reply to the criticism that he was writing 'sentimental slush', saying, 'Originally, I wrote this song at about the time when the kind of material I did was a bit out of favour, and you had Alice Cooper doing "No More Mr Nice Guy", and that kind of parody. I rather picked up a feeling in the air that ballads were regarded as soppy and love as too sentimental.

'I thought, so what's wrong with silly love songs? I was striking a blow for nice, sentimental love songs.'

It was 5 minutes and 53 seconds in length and issued in Britain on Capitol R6014 on Friday 30 April 1976 and topped the charts and was issued in the US on Capito! 4256 on Thursday 1 April 1976 where it also hit the No. 1 spot.

'Cook Of The House' was on the flip.

It was also released in Germany on Capitol 1C600-97683, in France on Parlophone 2C006-97683 and in the USSR on Melodia C62 20413004.

Silvey, Susie

Name used by a strippogram girl who turned up at Paul's fortieth birthday celebrations at Elstree Film Studios on Friday 18 June 1982.

Her appearance at the studios was totally unexpected.

As she explained: 'I told a girlfriend I wanted to do a singing telegram for him, but didn't know if I dared. She dared me to! So I took all the gear along to the studio where Paul was making 'Take It Away'. Just before lunch, I slipped into my fishnets, suspenders and black-lace corset and covered it with a dress I could easily peel off when the moment came. I was shaking like a leaf. As Paul started to leave the set for lunch, I ran after him, and shouted "Paul!" He spun around and as he did so, I took off my dress and stood there in front on him in my gear, singing a special version of "All You Need Is Love". Then I gave him a birthday congratulations telegram. He thought it was amazing.'

Simon Bates Show, The

A Radio One show hosted by Simon Bates. Paul and Linda appeared on the show on Wednesday 1 May 1991. The couple actually phoned in to the show after they'd heard Bates having an on-air tasting of Linda's vegetarian foods and Bates had also been playing tracks from Paul's forthcoming Unplugged - The Official Bootleg.

Simon Mayo Show, The

A Radio One show hosted by Simon Mayo. Paul phoned up the programme on Tuesday 15 December 1992 to talk about his new single. Paul had talked about the planned Beatles Anthology in New York on Friday 11 December and said, 'We've talked for years and years about doing this thing - "One of these days we'll set the story straight and do it our way." I saw George yesterday in California and we're getting together, you know, for this thing - so it's bringing us together. And there's a chance we might write a little bit of music for it. So it's good. But rather than put huge pressure on us and say, "The Beatles are re-forming!" and "Do they need Julian?" or "What do they need?" and all that stuff, it'll probably happen a lot more naturally.' Because of this, Mayo asked Paul if he was getting together with George and Ringo, but Paul was reluctant to add anything to what he'd said before.

Simple As That

This was originally put down as a home demo in August 1980 under the title 'It's As Simple As That'. Paul then produced it following his Press To Play sessions in 1985 as 'Simple As That'. It included backing vocals from Paul's kids - Mary, Stella and James - and was originally released on the Phoenix House charity album The Anti-Heroin Project - It's A Live-In World (AHP-LP) in November 1986. It was also included on the 1993 EMI CD of Pipes Of Peace.

Simpsons, The

The Simpsons cartoon series featured many Beatles references and several references to Paul. In Season Two an opening sequence to one of the episodes featured a Paul McCartney gravestone, a parody of the 1960s 'Paul is Dead' rumours. In another episode, at Stanley and Martha Peterson's wedding, their vows include two lines from 'Martha My Dear'. In one of the episodes of Season Seven 'Golden Slumbers' is featured in Homer's dream sequence. Season Five has an episode in which one character reveals, 'My greatest achievement was getting Paul McCartney out of Wings.'

Paul and Linda agreed to appear in animated form in the American cartoon and to provide their own voices in the episode 'Lisa The Vegetarian', first screened in the US on 15 October 1995. It was the first episode of Season Seven and the two introduce Lisa to vegetarianism after a meeting at Apu's roof garden. When Lisa meets them she exclaims, 'Wow! Paul McCartney! I read about you in history class.'

Singalong Junk

An instrumental version of Paul's number 'Junk', lasting 2 minutes and 34 seconds, which was included on Paul's 1970 album McCartney. He completed the recording at Morgan Studios in London playing electric guitar, bass drum, sizzle cymbal and Mellotron.

Single Pigeon

A track on the Red Rose Speedway album, recorded at Olympic Studios and lasting 1 minute and 52 seconds. Paul sang lead vocal and played piano. Linda provided vocals, Denny Laine was on drums, Henry McCullough on acoustic guitar and Denny Seiwell on bass.

Sir Paul McCartney's Liverpool

An album of Paul's compositions in a classical style by Quatuor La Flute Enchantee Quartet, issued on ATM A Classique ACD 2 2137 in May 2000. The album was suggested and authorised by Paul.

It contained selections from The Family Way film score, the Liverpool Oratorio Suite, 'A Leaf and a classical arrangement of 'Distractions', the track from Flowers In The Dirt.

Quatuor La Flute Enchantee Quartet are four flute players from Quebec, Canada.

The project had its origin in 1995 when Michel Laverdiere first interviewed Paul regarding his interest in classical music. In 1997 Laverdiere sent Paul a recording of Linda's 'Appaloosa' and Paul suggested a recording of a transcription of the Oratorio. The project grew from there.

75 Sir Thomas White Gardens, Everton, Liverpool

Address in a tenement building which became Paul's third Liverpool home when his mother and father moved into a ground-floor flat there. They left their house in Wallasey to be nearer the place where Jim McCartney had found a job as an inspector with the Liverpool Corporation cleansing department. The building has since been demolished.

Six О Clock

A track on the album Ringo penned by Paul and Linda McCartney. The album, produced by Richard Perry, was issued in America on Apple SWAL 3413 on 2 November 1973 and in America on Apple PCTC 252 on 9 November 1973.

The musicians were Ringo Starr on lead vocal and drums, Paul McCartney on piano, synthesiser, background vocals and string and flute arrangements, Linda McCartney on background vocals, Klaus Voormann on bass, and Vinio Poncia on acoustic guitar and percussion.

Sixty Minutes

An American current affairs series produced for CBS Television. Paul appeared on the programme on Wednesday 24 October 2001, mainly discussing the 11 September World Trade Center tragedy.

Paul was interviewed by veteran reporter Dan Rather.

Commenting on the tragedy and the concert held to raise funds for the families of the victims, Paul said, 'I wanted to do something. Like a lot of people, I felt helpless. I'm not a firefighter but my dad was in World War Two. He was a volunteer firefighter in Liverpool, which got a lot of heavy bombing.'

He continued, 'My parents' generation went through World War Two, so I know how they dealt with it. And it was with humour, it was with courage, it was with strength.'

He said, 'They had to have something to keep their courage up, so they did. There was a lot of humour, a lot of music. And if it was good enough for them, I think it's good enough for us.'

Earlier that week Rather took Paul back to the old studio where the Beatles had first recorded the Ed Sullivan Show in February 1964 and showed him a tape of the original performance. Paul seemed bemused. 'Good group. Wow. You had to take me back there, didn't you?' He mentioned how it didn't feel like that much time had passed, it's one of those staggering things about life, you can just literally seem a few years ago. And it isn't - it's a long time ago. But I have memories. Very exciting for us as Liverpool lads to come to America and then to suddenly be involved in something like that. A really big show. And then the reaction to it, I love. I still meet people who say, "I know where I was, I was in our sitting room" and their dads invariably say, "Those are wigs. They're wearing wigs." You look at it now. It looks pretty short, it looks pretty tame.'

Paul recalled the Shea Stadium appearance and the fact that the sound system wasn't very good. 'If we thought we were playing well, it was a little bit annoying, because the people who came to hear couldn't hear us. If we were not in a very good mood, and not playing very well, it was a blessing.'

On the subject of grief, Paul said, 'All I can really say is that I think it's important to let it out, and not to hold it in. That was really the single most important thing I found. As a guy, you like to think you're tough, you can take these things, and you can give me your best shot. But, of course, when you lose someone it's not really possible. You can put it inside yourself and hide it if you want, but I don't think that's a good thing. So, for me, what I found was to talk to people. A lot. Not worry about crying like a baby sometimes if that's what you had to do. And not worried about who was looking at you. And just really let it all out.'

Discussing Linda he said, 'After Linda died I didn't really do anything. Some people said to me, "Get back to work. That's what you should do, put yourself into work!" I just couldn't, I thought, "I don't want to." Didn't seem like the thing to do. After I'd sort of spent the year grieving, I said, "You know what? I'm really blessed to have thirty years with that girl. She's such an amazing woman. And it's not everyone has thirty great years of married life. So I looked at the positive aspects of it, tried to kind of rationalise it. And felt that that helped me.'

Skydome

A venue in Toronto, Canada where Paul appeared on Thursday 7 December 1989. The show had originally been scheduled to take place at the Maple Leaf Gardens, but was changed. Ringo Starr was a member of the audience. On the day of the show, Paul held a press conference.

After he was introduced he was asked:

Q: Paul, there have been a lot of problems with the sound system in the Skydome. Have you done a sound check so far?

Paul: No, we haven't done a sound check so far.

Q: What do you think of the facility?

Paul: I haven't actually had a look, but it looks good from the outside. I'm sure it will be great, you know.

Q: Paul, can you talk about your decision to be sponsored by Visa and why you went that way?

Paul: Yeah, well, the thing is, as you probably know like all tours these days use sponsors, right. I think like most big tours this size are going to get sponsored by someone and really, all we were doing was sticking out for a sponsor that we could kind of keep our integrity with, so that I didn't actually have to hold up anything and say I recommend this. And it was put to me that the way these particular people were going to do it would be similar to the campaign they did on the Olympics, which you didn't really get the feeling that the Olympics were sponsoring the card company; it was the other way around. You felt like they were kind of promoting the Olympics - and I think when you see the campaign you won't ever actually see me turn to the camera and say, 'Hey, don't go anywhere without one of these.' It's not that kind of a deal.

I mean, you know, I figure we're living in a capitalist society, you know, all you guys are being paid, aren't you? You know, I don't see - suddenly out of this mist, suddenly this idea that you shouldn't take money. Where's this idea come from? I mean even the communists are kind of giving up on this idea now, and they seem to say, like, as if we never got paid in the sixties or something, or we never accepted money. We never did commercials, you know, and this is not me really doing a commercial. This is a commercial about the tour with these people and they are underwriting the travel expenses. I personally don't see anything wrong with it, I don't see anything wrong even with the Stones' deal, which people think is a real sell-out, or the Who. I wouldn't personally do one of those beer commercials and stuff 'cause, you know, I'm not really into commercials, I think on a tour of this size, I think it's allowed in our society to accept money.

Q: Will this commercial be seen in Canada?

Paul: I'm not sure, I'm not really that into it, you know. The point is, in the economics of a tour like this, just getting from place to place is a big expense and so these days most people accept some kind of sponsorship. So we held out for one of the obvious ones and we've gone with this one, which is, I think, when you see the actual commercials, you'll agree there is no real sell-out.

Q: Do you still feel strongly against using your music in other commercials for other products?

Paul: Yeah. I mean I see a difference here, you know, in this thing. I wish I had the commercial to show you and I haven't even seen it and stuff. I think there is a difference using songs like 'AH You Need Is Love' to kind of promote a product and, you know, using them sort of like in a movie or something. I think actually once they get identified with a specific product, like all the things that people have been doing for soft drinks, I think there is a difference and that kind of commercial I wouldn't do.

I was talking to someone yesterday. I have been offered a lot of money to hold up a whisky bottle in Japan, you know, that I don't want to do though, 'cause that is what I call a commercial. I think if these people you are talking about, Visa, want to film us, film this show, the tour show, moments from the show, show me getting in and out of limos and then talk about their card without me ever actually turning to the viewer and saying, 'Yes, this card ...' In fact, we are kind of religious about it, we do sound checks where we advertise all the other cards!

Q: Let's talk about recording studios themselves. Could you tell me how you view recording from back in the Beatles days to now? I mean, is it more fun? You've spent thirty years in the studio.

Paul: Well, the main difference is it used to be a lot quicker to record, you know. We recorded the first Beatles album in a day from ten o'clock in the morning to ten o'clock at night. We did 'Twist And Shout' last because if we'd done it first we couldn't have done any of the others, you know, John's voice would have gone. So you know one day for an album was pretty fast. Now it takes one day to switch on the machines, load the computer, find out where the on/off switch is, that's the main difference, I think, it just takes forever now to record one song whereas you used to do a whole album in a day. But the nearest I got to it recently was doing the Russian album. I did a lot of rock and roll songs. We did eighteen songs in a day and it was really good. I think it's more fun to record that way, very spontaneous you know, and immediate. The other is like - God, it's like, honest it's terrible - you get this computer downtime, the other great fun thing you get, you probably all get it too. It's like, 'take five hours, guys, we're just going to fix the computer,' which was introduced to make things cheaper and quicker.

Q: Paul, what kind of music will you play ... ?

Paul: Wait and see.

Q: We know you're doing some Beatles songs.

Paul: Yeah, we do sixteen Beatles songs, fifteen non-Beatles -mine, and a couple of rock-'n'-roll things.

Q: You've given us years and years of music and I'm sure everybody in here feels very dear to the music, I understand that next year for the first time you are going to co-write a book about yourself. Is it a deal with Pioneer Books?

Paul: I'm not really sure which deal it is you're talking about. I've got a friend of mine from the sixties who recently approached me, he wants to do a book on Alan Ginsberg and it would concentrate on the art rather than which toothpaste I use, you know, so that's probably it.

Q: Can I ask you what I read in a British magazine? It's called Twenty Years On His Own, Pioneer Books, apparently co-written. Is that bogus?

Paul: Well, I don't know really and I'm not co-writing a book with anyone, so maybe it is bogus. These things do spring up you know.

Q: Paul, on your last album you worked with six producers and one person you keep going back to is George Martin. What is it about George Martin that he provides that you can't?

Paul: I know his address! No, really, I love George Martin, he's a marvellous man. He's a great musician, we get on very well. I've known him a long time, so I can sit down and in half an hour we can kind of do something very constructive. I don't have to go through meeting him and getting to know him, checking out our chemistry and stuff, plus he's a great musician.

Q: Paul, I realise that perhaps there's no other way to do this, but I'm just wondering if you could comment on venues of this size and the fact that so many people walk away from these concerts thinking that they got ripped off because the sound was bad.

Paul: Well, I mean, I can't really tell you about that one till tonight. I mean, I don't know. I don't like going to shows in this size of hall normally so we'll have to see how we do on this. I haven't done one of these in quite a while. The last thing I did was Seattle Kingdome, which went down very well, nobody, I don't think, complained. I've got a suspicion nobody's going to complain after tonight, but I'm not going to count my chickens. I saw Genesis at Wembley, the football stadium in England, and I couldn't tell whether Phil Collins was on the stage or not. I think that's a problem, you know, and also you suddenly found that you've come out and you're watching telly all evening, when you thought you were going to a concert and you're watching this big screen. I could have stayed at home and done that. I would have been warmer. But we're trying to address those problems, we'll see. We've tried to make the show good wherever we are, even if it's in a pub or a venue this size. The idea is that the music should be good enough to satisfy you, so we'll see how you feel tomorrow. I hope no one feels ripped off.

Q: Why are you coming and playing venues of this size?

Paul: I'm not having to play venues this size. The promoter just says, 'Would you like to play the Skydome?' and I say, 'Yes'. Well, you know, I'll play anything. Like I say, I'll play a little club or a little pub, or anything. If there's a venue there I normally haven't got anything against them and I'll say the Seattle Kingdome was very good.

Q: Songwriting. Apparently Elvis Costello is a big Beatles fan, I'm told. When you worked with him on Flowers ...

Paul: Yeah, he is a Beatles fan and also, I suspect, he is a John fan, you know. 'Cause often guys with glasses kind of identified with John. Well, I mean, that's true, but he's similar to John in a number of ways and it wasn't a deterrent, it was good to work with him mainly just 'cause he's a good writer and he's got a very strong opinion, that's the main thing.

Q: Why didn't he come on the tour?

Paul: I don't know.

Q: Did you ask him?

Paul: No. Maybe that's why.

Q: Paul, you support Friends Of The Earth. Could you tell us a little bit about the environmental issues that are close to your heart.

Paul: Really, all that's happened with me is like a lot of people. Probably. Probably all the people in this room. This has been the year when finally people have realised that, like, it's catching up with us. I know about ten years ago some scientists produced a thing called 'Blueprint For Survival' where they warned about all this global warming. But, I think, well the politicians will fix it up; our government will do something about it. But it never looked this serious until this year when they actually told us there's a hole in the sky. I think that's what got me. This hole in the ozone layer, that it's getting wider unless someone, you know, stops using CFCs and stuff. And then you go to places like LA and you see the smog hanging over and you think, you know, so all of these things basically have led me to think about this tour. Either we just go around the world having a bit of fun, making some money and making music for the fans or, at the end of it all we come off it all and we think, 'OK, there was a little bit more than that to it.' So that's when we decided to hook up with the Friends Of The Earth, and all I'm really doing is, I don't know that much about it, you know, I'm a father of four, I want to go to a lake and I'd like it to be clean, please, so I can swim in it. I hate the idea that it's all crap in it. Similarly, you go out to sunbathe, it used to be a great thing to do, now you've got to put on block 79, you know, before you go anywhere and I think it's crazy, you know. We're the only species on earth as far as I can see that soils its own nest and we're getting even more far out. So what I normally do in these press conferences is ask, 'Will anyone who doesn't want to clean the world and doesn't want to save the planet, please put his or her hand up now,' and, you know, obviously no hands go up. So it's just common sense to me and I've got a platform here with these concerts and press conferences like this where I can actually get to talk to radio and TV and journalists and push home the fact that people like Friends Of The Earth do want it cleaned up. They don't want spills like Exxon - and if it spills they want it cleaned up, not half cleaned up, like it was. So I mean, to me, it's nothing more than common sense.

Q: It's been thirteen years since your Wings Over America tour and twenty years since you performed some of the songs actually on stage. Have you ever forgotten any of the words?

Paul: Ever? Better question - have I ever remembered them? Yeah, there's always, like, about a line a night. I go, 'Oh God, you know, I wish I ...' Yeah, there's a lot of words to remember in a two-hour show, you know, and I must admit some of them elude me occasionally. It's funny, I was in Europe and the audience is there, I think this was in Spain, and I had two instances: one where I got it right and one where they got it right, 'cause often they know it better than me, 'cause they've heard these records and, like, they've been listening to them where maybe I haven't for the last twenty years.

I'm not through yet, do you mind! Hang on, I'm telling a story here - whose life is it anyway? I'll tell you what, just quickly then, just very brief on this long-winded story I'm about to go on. There was this girl in the audience that I saw and I was doing 'I Saw Her Standing There' and I saw her saying, 'I'll never dance with a number'. So I thought, right, well I've got that line, that's one for me and I was doing that one right and I looked over here and I was doing, 'I'll never dance with another' and this other guy was doing, 'She'll never dance with another' - oops, he was right. So you know, it kind of works out about equal. Sorry, go ahead.

Q: Well, 'Motor Of Love' from Flowers In The Dirt, I hear that as a religious hymn. Were you trying to lend yourself to a different audience?

Paul: No. I have this thing that I do which is kind of quasi-religious. I did it in 'Let It Be' where I talk about Mother Mary. In fact, the Mother Mary I'm talking about is my own mother, and that song happened because in the sixties one night I was a bit sort of freaked out, which happened often in the sixties, those crazy days, he said, admitting everything. But I was a bit sort of freaked out and I was having a dream and my mother came to me, she died when I was fourteen, she came to me in this dream and said it was alright, and it really did make me feel a lot better when I woke up. So I wrote the song, 'In my darkest hour Mother Mary comes to me'. So that was that one and that got interpreted as being a bit religious, you know, you can take it that way if you want, it works both ways. And in this song 'Motor Of Love' that you're talking about, I talk about Heavenly Father. I'm actually talking about my dad, 'Heavenly Father look down from above'. My dad who hopefully went up top when he died in '76. I do that, the word Father, generally in my mind I'm talking about my father, but I recognise the ambiguity.

Q: I hear my church choir doing that.

Paul: Well, that is the nice thing, that if anyone wants to put a religious meaning on it, I've no problem with that.

Q: About Friends Of The Earth again. Is it just a platform to raise awareness? Are they getting any money directly?

Paul: Well, that's happened. Yeah, there are one or two people. The commercial firm you mentioned earlier which I don't really want to go on about 'cause I'm not really sponsoring these people, but they've given a large donation. Part of their deal was to give a large donation to Friends Of The Earth, and we'll be giving donations at the end of the tour. Mainly, it is - like a guy in Italy asked 'Paul, is it publicity or is it genuine?' I said it's both. It's publicity certainly, you can't say this isn't publicity, all these cameras here, but it is genuine. As I say, there's no one in this room who doesn't want it all cleaned up. I don't go on about it. I try not to preach. People get bored with people preaching, but I just do one announcement in the show and I just say to them, you know, go home, have a little think about it. If you get a chance to vote, just tell your politicians you want to live in a clean world. That's really all I do, you know, but I think it makes a lot of sense. I think you've got to have somebody saying it and with Friends Of The Earth, they haven't got enough exposure. They're a little fringe group, you know, like Greenpeace has got more exposure, so someone like me can command this kind of attention. It's not for me I'm doing it, it's for us all.

Q: Any chance of changing George's mind and having him work with you and Ringo?

Paul: Well, I don't know. I hear George has sort of said there will not be a Beatles reunion. I mean, as far as we're concerned, there can't be a Beatles reunion because John died and that was the Beatles, you know. I don't think any of us would be interested in substituting someone for John, even Julian, which has been suggested. It wouldn't be the Beatles, it would be a group. It just wouldn't be the Beatles, there can't be a Beatles reunion. So I think that's probably what George is talking about, I've only heard this second-hand through these press conferences, but there is a film that we might get around to in a couple of years that we've been meaning to do and there might possibly be some involvement there where we play together - me, George and Ringo. Now we wouldn't call it a Beatles reunion, but you probably would.

Q: Any possibility of turning these concerts into live album sets, like Wings Over America?

Paul: Yeah, there is a distinct possibility, seeing as we're recording it every night. Yeah, I don't know when that would happen but, you know, we are recording and the tapes go back to England and get mixed so maybe some time next year there might be.

Q: Did you write a song about Friends Of The Earth?

Paul: Yeah, I did have a think about that, yeah. I did start writing something along the lines of, 'I'm a Friend of the Earth', but I didn't get far with it.

Q: Can you say something about the nineties?

Paul: Say something about the nineties? The nineties is going to be the time when people finally realise we've got to clean this world up and the nineties is going to be the time when we do it, in order to have a clean twenty-first century. That's my wish, anyway, you know. Optimistic?

Filming also took place at the concert and was included in the Get Back movie, released in September 1991. Executive producer was Canadian-born Jake Eberts, who said that Skydome had been chosen as a location, 'because it's the first time on this tour he has played to an audience of sixty thousand. We wanted an indoor location and to capture a large audience. In Europe, he played arenas seating between six and ten thousand and in the US it's been mainly fifteen thousand-seaters.

SMA

A home demo recorded at Rude Studios in Scotland in 1978, by both Paul and Linda.

It was a punk-type song on which Linda sang and the lyrics were based on the list of ingredients in the formula of the baby food SMA that they'd been feeding to James. The demo was included in Part 10 of the Oobu Joobu radio series.

Smile Away

A track on the Ram album. It was also issued as a flipside of 'Eat At Home', although that particular single wasn't issued in either Britain or America. However, it was released as a single in various other countries, including Japan and Germany.

Smith, Cissy

The brother of John Lennon's uncle, George Smith. He was a teacher at Liverpool Institute and taught Paul handwriting and English.

So Glad To See You Here

A number originally penned by Paul in 1979 for his Rockestra. On Wednesday 4 and Thursday 5 February 1987 Paul produced a version with Duane Eddy for the American guitarist's new Capitol Records album, Duane Eddy. The recording took place at Paul's East Sussex studio and Paul also played bass guitar. Other musicians performing on the recording were Jim Horn and Larry Knechtal.

So Graham Norton

Graham Norton is an Irish chat-show host on Channel 4. His popular So Graham Norton show featured an appearance by Paul in May 2001 when Channel 4 also screened the 'Wingspan' documentary.

So Like Candy

A number co-written by Paul and Elvis Costello (Declan McManus), featured on the 1991 Elvis Costello album Mighty Like A Rose. It was also issued on the 1999 Working Classical.

Solters & Roskin

An American publicity firm who Paul originally hired to promote the American leg of the Wings World Tour in 1975/76. However, when he discovered that they also represented The International Committee To Reunite the Beatles', he fired them.

Some People Never Know

The first track on the second side of the Wild Life album. A lengthy track at over six minutes, with lots of acoustic guitar work. Paul played bass guitar, guitars, keyboards and vocals, Linda added vocals, Denny Laine played guitar and vocals and Denny Seiwell played drums. The number, produced by Paul and Linda, was engineered by Tony Clark and Alan Parsons and ran for 6 minutes and 36 seconds.

Somedays

A track from the Flaming Pie album, which Paul wrote in two hours. It was produced by Paul and Jeff Lynne and engineered by Geoff Emerick and Jan Jacobs with assistance from Keith Smith. Recording began on 1 November 1995 with Paul singing lead vocal and playing acoustic guitar, Spanish guitar and bass guitar. There was orchestral accompaniment, orchestrated by George Martin and conducted by David Snell, which was added on 10 June 1996. The other musicians were: Keith Pascoe, Jackie Hartley, Rita Manning and Peter Manning on violins; Christian Kempen and Martin Loveday on cellos; Peter Lake and Levine Andrade on violas; Andy Findon on alto flute; Martin Parry and Michael Cox on flutes; Gary Kettel on percussion; Skaila Kanga on harp; and Roy Carter on oboe and cor anglais.

Paul wrote it when he drove Linda to a photo session in Kent and says, 'I knew that Linda would be about two hours doing the shoot, so I set myself a deadline to write a song in that time. And this was it. I wanted to finish it so that when Linda had finished and would say, "What did you do? Did you get bored?" I could say, "Oh, I wrote this song. Wanna hear it?" It's just a little game that John and I used to play, and I don't think it ever took us more than three or so hours to write a song.'

The number was also reworked and included on the 1999 CD Working Classical.

Song We Were Singing, The

The opening track on the Flaming Pie album and the first number that Paul taped during his initial sessions for the album. It was penned by Paul in Jamaica in January 1995 and lasted 3 minutes and 54 seconds. The number was produced by Paul and Jeff Lynne and engineered by Geoff Emerick and Jan Jacobs with assistance from Keith Smith.

Recording began at Paul's studio in Sussex on 6 November 1995 and Paul sang lead vocal and harmony vocal and played electric guitar, acoustic guitar, bass guitar, double bass and harmonium, while Jeff Lynne sang harmony vocal and played electric guitar, acoustic guitar and keyboard. The double bass Paul played was the one used by Bill Black, bass guitarist for Elvis Presley.

Commenting on the track, Paul said, 'I was remembering the sixties, sitting around late at night, dossing, smoking, drinking wine, hanging out. We were taking a sip, seeing the world through a glass, talking about the cosmic solution. It's that time in your life when you get a chance for all that.'

Songwriters, The

A series of eight BBC 1 TV programmes screened in the summer of 1978, written by Tony Staveacre and directed by Keith Cheetham.

Songwriters in the series included Noel Coward, Lionel Bart and Tim Rice and Andrew Lloyd Webber.

The 55-minute programme on 27 July 1978 featured 'Lennon and McCartney'. It covered their career from their first meeting at Woolton village fete until the dissolution of their partnership. The series had been filmed in a small studio on a limited budget, but employed colourful videotape effects and montages of album covers and photographs to good effect.

The first part of the programme dealt with their early career in Liverpool and Hamburg and excerpts from Mersey Beat, Twilight Of

The Gods by Wilfred Mellers, the Daily Mirror and the Evening Standard were quoted.

Unfortunately, the artists chosen to sing the Lennon and McCartney numbers were rather pedestrian and middle-of-the-road and included Sheila White, Vicki Brown, Peter Blake, Marti Webb and Paul Jones.

South Bank Show, The

An arts programme on London Weekend Television, hosted by Melvyn Bragg.

Paul made his first appearance on the show on its debut screening on Sunday 15 January 1978 when he was subjected to a detailed interview that spotlighted his songwriting career. It was titled 'Paul McCartney: Songsmith'.

The interview was actually filmed on Friday 2 December 1977 and Paul also discussed a number of subjects ranging from his childhood to the Beatles' success in America. Among the songs he chatted about were 'Eleanor Rigby', 'Yesterday' and 'When I'm Sixty-Four'. Paul was also shown recording the guitar and vocal parts to 'Mull Of Kintyre', playing piano on 'I Lost My Little Girl' and he jammed with Denny Laine on 'Lucille'.

Paul played a piano impression he called 'Melvyn Bragg In The Parlour Having Tea', did short a cappella renderings of 'Too Bad About Sorrows', 'Scrambled Egg' and 'Michelle' and whistled 'From Me To You'. Various clips from performances were also shown in the 30-minute programme.

Another special edition of the show on Sunday 14 October 1984 devoted 48 minutes to the film Give My Regards To Broad Street and featured filmed interviews with Paul and George Martin during the making of the movie and behind-the-scenes coverage of the recording of the songs. His new versions of Beatles songs such as 'Eleanor Rigby', 'For No One' and 'Yesterday' were publicly broadcast for the first time.

The show was also transmitted in America under the title 'The Making Of Give My Regards To Broad Street'.

Souvenirs

A song Paul composed while on holiday in Jamaica. The bluesy number was recorded in February 1996 and included on the Flaming Pie album. The number lasted 3 minutes and 42 seconds and was penned by Paul, produced by Paul and Jeff Lynne, and engineered by Geoff Emerick and Jan Jacobs, assisted by Keith Smith.

Recording began on 19 February 1996. Paul sang lead vocal, backing vocal and played drums, piano, harpsichord, acoustic guitar, electric guitar and bass guitar. Jeff Lynne provided backing vocal and played acoustic guitar, electric guitar and keyboard. Kevin Robinson played trumpet, Chris 'Snake' Davis saxophone and Dave Bishop baritone saxophone.

Paul had originally cut a demo of this number when he was in Jamaica and when they were about to record this he commented, 'I said to Jeff, "Let's take this demo but instead of what we normally do - take all the information off and renew it, and wreck it - let's make sure that everything that's going on is at least as good and has the flavour of the demo." This song's a little favourite of mine. I'm looking forward, I hope, to an R&B singer doing it. I would have loved it as a single, but I knew that no one on earth would ever have chosen it as a single.'

Spector, Phil

A legendary record producer, born Harvey Phillip Spector in the Bronx, New York on 26 December 1940.

At the age of seventeen he had his first chart-topping hit with the million-seller 'To Know Him Is To Love Him', by the Teddy Bears. He penned the song and was a member of the group, although he was to gain his fame as a record producer, noted for his distinctive 'wall of sound', which was the use of a massive sound using many musicians and instruments - keyboards, choirs, strings, percussion, guitars and so on.

He also produced a string of hits by a variety of groups such as the Crystals, Ronettes and Righteous Brothers, including 'He's A Rebel', 'Da Doo Ron Ron', 'Then He Kissed Me', 'Baby I Love You' and 'You've Lost That Lovin' Feelin".

Regarded as something of an eccentric figure, as some geniuses are, he retired from the music industry for a while in frustration at the lack of American success of his production of 'River Deep, Mountain High' by Ike 8c Tina Turner.

Spector had had an earlier social association with the Beatles and John Lennon asked him to produce 'Instant Karma' for him.

At the time the Beatles had hours and hours of tapes from the Get Back sessions, a projected album of that title, which they were undecided what to do with. John, together with George Harrison and Allen Klein, then commissioned Spector to make an album from the tapes, although they didn't let Paul know about their decision.

On 23 March 1970 Spector moved into Abbey Road Studios, initially working from Room Four, to remix the tapes.

Spector also commissioned a number of arrangers to add to some of the tapes and gave Richard Hewson the tapes of Paul's 'The Long And Winding Road' and George's 'I, Me, Mine'. Spector instructed him, 'I want it orchestrated with a massive orchestra.'

Hewson recalled, 'So I lined up an orchestra with what I thought was a massive orchestra. All through the night, Spector kept ringing up saying, "Let's have some more violins. Let's have three harps instead of one," and all that.'

Recording began at seven in the evening of Wednesday 1 April 1970. Ringo played drums at this session, which is noted as the one in which he was the last member of the Beatles to play at the last Beatles recording session.

Apart from Ringo, the mass of musicians included eighteen violins, four violas, four cellos, a harp, three trumpets, three trombones, two guitars and fourteen singers.

Hewson said, 'There were so many musicians in the end that we couldn't get them all in! We actually, literally, had to shut the door and say that's enough.'

The musicians began to become annoyed at the antics of the eccentric producer, who kept making them play the parts over and over again. Hewson recalls, 'He kept going, "Let's have another take." He didn't even want to listen to the playback; he just wanted to play it over and over again. The guys were saying, "We played it. We can't play it any better." It wasn't that difficult music for those guys. They're brilliant musicians. The first reading through is pretty well perfect, and the second one is right on. Eventually, after the tenth time, they got fed up and left.'

Ringo continued to play. Hewson said, 'He was very cheery, and he didn't seem to mind. He kept drumming every time we took a tape.'

This production was actually contrary to what Paul had in mind for the album as a whole, to keep the whole thing simple, as if the Beatles had played the album live.

In particular, this was his vision of 'The Long And Winding Road'.

Paul presented his point of view in an interview in the London Evening Standard on 24 April 1970 when he expressed his distaste at what Spector had done to the numbers.

He said, 'The album was finished a year ago, but a few months ago American record producer Phil Spector was called in by John Lennon to tidy up some of the tracks. But a few weeks ago, I was sent a remixed version of my song 'The Long And Winding Road' with harps, horns, an orchestra, and a woman's chorus added. No one had asked me what I thought. I couldn't believe it. The record came with a note from Allen Klein saying he thought the changes were necessary. I don't blame Phil Spector for doing it, but it just goes to show that it's no good me sitting here thinking I'm in control because obviously I'm not. Anyway, I've sent Klein a letter asking for some things to be altered, but I haven't received an answer yet.'

Paul never received an answer.

When Paul was at the Q Awards at the Park Lane Hotel in London to receive a Best Songwriter Award for Flaming Pie on Tuesday 4 November 1997, there was also a special award for Phil Spector. When Spector got up to make a speech, Paul walked out, presumably because he has never forgiven him for what he did to 'The Long And Winding Road'.

Speedy Prompt Delivery Service

The Liverpool firm where Paul worked for a fortnight in December 1960 following his return from the first Hamburg trip. His father had

suggested that he find himself a job so he went to the local office of the labour exchange and was given a job for the firm, which he called SPD, spending his time as second man in the back of a lorry delivering parcels, mainly in the area of the Liverpool docks.

Paul told Hunter Davies in The Beatles: The Authorised Biography: 'I used to sit on the back of the lorry and helped to carry parcels. I was so buggered sometimes. I fell asleep in the lorry when we went to places like Chester. I was with them about two weeks and felt very worldly having a job and a few quid in me pocket. But I got laid off. The Christmas period was over and there wasn't so much work.'

Spies Like Us (promotional film)

Director John Landis decided on an Abbey Road cover spoof for the promotional film, which he also directed. Paul told him, 'If you're going to do it as a parody of the album cover, you might as well get a few of the in-jokes in there. So there's the Volkswagen with "28IF" there. Dan took his shoes off for the shot on the crossing, all that stuff.' The promotional film opens with Paul arriving at Abbey Road Studios on a bike, disguised in glasses and a thin moustache. A truck pulls up with Dan Aykroyd in the back. Another Paul, this time disguised with a bowler hat and handlebar moustache, drives up in a limo while Chevy Chase, in deerstalker hat and Inverness cape, alights from a bus.

Inside the studio a figure in a Prince Charles mask takes it off to reveal he is Paul. Three different Pauls, each in different outfits, begin to play guitar, bass and drums while Aykroyd is at the studio console and Chase on keyboards. They are then joined by two blondes who are also in the film - Vanessa Angel and Donna Dixon (who is married to Dan Aykroyd). The promotional film was also intercut with scenes from the film.

Spies Like Us (song)

Spies Like Us was a spy-spoof feature film starring Dan Aykroyd and Chevy Chase. Director John Landis has asked Paul to write a theme for Spies Like Us. After he'd been shown rough footage from the film, which he liked, Paul wrote and recorded the number in a week.

He said, 'John Landis rang me and said he wanted an up-tempo rock-'n'-rolly thing.' Paul added, 'I thought I might have done a Bondy song - the 75-piece orchestra, more melodic, with maybe an Eastern touch, the known ingredients for a "spy" type of song. I think one of the fun things about what I'm doing now is varying those things a bit.'

Paul's eponymous song is only heard on the closing sequences of the movie, but the single was released in Britain on Parlophone R6118 on Monday 18 November 1985. The flipside was the Wings recording of 'My Carnival', previously unreleased although recorded in New Orleans as far back as 1975. There was also a three-track 12" single issued on Monday 2 December on 12R 6118 which contained 'Spies Like Us (Party Mix)', 'Spies like Us (Alternative Mix)' and 'My Carnival'. A 7" picture disc on RP 6118 was also issued. The record proved to be a Top Ten chart entry in the States (Capitol B-5436), when it became the first release under Paul's new contract with Capitol and, taking in the 65 entries with the Beatles, became Paul's 100th single to enter the Billboard 100 chart, although it only reached No. 13 in the British charts. A promotional video was released which included footage from the movie and shots of Paul in various disguises at Abbey Road Studios.

Dan Aykroyd and Chevy Chase also appeared in the Abbey Road sequence on Paul's video.

Paul, who recorded the number in September 1985, played all the instruments on 'Spies Like Us', with the exception of the synthesiser, which was played by Eddie Rayner of Split Enz. The backing vocals were by Linda, Kate Robbins, Ruby James and Eric Stewart.

It was produced by Paul, Hugh Padgham and Phil Ramone.

Musicians on 'My Carnival' were Paul, Linda, Denny Laine, Jimmy McCullough, Joe English, George Porter and Benny Spellman.

Paul's recording of the title song was not included on the soundtrack album, which consisted solely of Elmer Bernstein's music score.

It was released in Germany on Parlophone 1C006-2009407.

Like a number of Paul's singles, there was a plethora of different variations. A 12" picture disc was issued on Parlophone 12 RP 6118 on Tuesday 2 December 1986 and a 7" version, cut to shape, was issued on Parlophone RP 6118 a week later.

Spike

An album by Elvis Costello, issued in Britain on the Warner Brothers label as an album on 6 February 1989 on WX 238. There was also a cassette (W 238C) and a compact disc (925848-2).

There were two tracks on the album co-written by Paul and Costello. They were 'Veronica' and 'Pads, Paws and Claws'.

Spin It On

A song written by Paul which was issued as the flipside of 'Old Siam Sir' in Britain on 1 June 1979 and as the flipside of 'Getting Closer' in America on 5 June. A few days later it appeared as the fourth track of a Back To The Egg TV special and Wings performed the number as part of their repertoire on their British tour in 1979.

Spinetti, Victor

A British comic actor who appeared in more Beatles movies than anyone else, apart from the Beatles themselves.

Victor became a close friend of the group and appeared in a small cameo role in Paul's video of 'London Town'.

The two of them took part in the 'recruiting scene' in 'Magical Mystery Tour'.

Victor had been asked to become a member of the actual tour party but he was appearing in a play at the time. However, he managed to get enough time off to appear in this scene, in which the character he plays is based on his role in the film Oh, What A Lovely War!

Spinning On An Axis

A track from the Driving Rain album lasting 5 minutes and 16 seconds. It was recorded on 21 February 2001.

Spinozza, Dave

A New York session musician, one of several hired by Paul to play on the Ram album. Paul was impressed with his work and offered him a job in Wings, but Spinozza turned him down, content to remain a session musician.

Spiral

A piano piece composed by Paul which made its debut in the Standing Stone programme at the Royal Albert Hall, London on 14 October 1997. Composer Richard Rodney Bennett provided the orchestral arrangements. Paul was to say, 'I felt frightened that, as a composer, he might take over. I knew I had to do the work myself and get my ideas on to the computer, so that the piece was me. Then I could relax and allow other people to point out where "me" hadn't worked or where maybe "me" could be improved.'

Spirit Of Ranachan Studio

A studio Paul used on his land in Campbeltown, Scotland. It is not to be confused with his Rude Studio. It was a barn that Paul converted into a studio using the Rak Records 24-track mobile unit.

Spirits Of Ancient Egypt

A number from the Venus And Mars album, which Wings performed during their Wings Over America tour with Denny Laine on lead vocals.

The song had its inspiration in 1974 when Paul was dining with Chet Atkins in Nashville. Atkins suggested to Paul that he read a book about the Great Pyramids, which motivated Paul into writing the song.

Spud

In 1997 a pop group of 16-year-olds from Ealing called Spud were spotted in a London club by Julian Temple, who was to direct the video of 'Beautiful Night'. He invited them to take part in the video.

The boys were currently studying for their A levels at Drayton Manor High School. Guitarist Gareth Johnson was to comment.

'We've been gigging around London for the past six months and now we're playing with Paul and Ringo. Talk about dreams coming true.'

The four-piece outfit spent a day filming at the Nightingale Estate, Hackney with Paul and Linda, in the sequence where Paul is standing in the forecourt of a tower block as 40 TV sets were thrown out of the 18th-floor window to crash all around him.

The group were also filmed playing with Ringo.

St John's

One of the American Virgin Islands where Paul and Wings went to record in the summer of 1977. While moored there they were fined. Paul explained, 'It's a National Park. One of the rules is you must not play amplified music. I think they meant trannies. But we had a whole thing going. You could hear it for miles. We got fined fifteen dollars.'

St Swithin's

A Roman Catholic church in the Gill Moss area of West Derby in Liverpool. Paul's father James was married to his mother Mary at the church on 15 April 1941. At the time Paul's dad, who was a cotton salesman, was 39, and had been living at 58 Fieldton Road, West Derby.

Standing Stone (album)

Standing Stone, Paul's second major classical work, was released on EMI Classics {CDC 5564842) on Monday 6 October 1997. The full title is Standing Stone - A Symphonic Poem. Lawrence Foster conducted the 300-piece London Symphony Orchestra. It was released in America in November and held the No. 1 spot in the Billboard classical chart for nine weeks.

Paul was to comment, 'It's not actually a symphony. It's a symphonic poem. Symphonies are in four parts, but they tend not to have a story. Once it has a story, it tends to be called a tone poem. But a lot of people would think that it was just a poem if you called it a tone poem, so symphonic poem suggests that there's some music in it.'

Paul was more specific in the booklet which was enclosed with the CD, relating how he'd spent much of the past four years composing his second large-scale classical work. He comments, 'Unlike the Liverpool Oratorio, which features prominent roles for four solo singers, Standing Stone relies entirely on colours and effects drawn from orchestral and choral forces. With no soloists to propel the "story" and to help keep me on track throughout the writing of about 75 minutes of music, I wrote a poem in which I try to describe the way Celtic man might have wondered about the origins of life and the mystery of human existence.'

Standing Stone (orchestral work)

A symphonic poem by Paul, which marked EMI Records' centenary and was premiered at the Royal Albert Hall on Tuesday 14 October 1997, where it received a standing ovation following the 75-minute performance. The evening's performance was in aid of the Music Sound Foundation.

Richard Lyttleton, the president of EMI Classics, had originally commissioned the four-movement work in 1993.

Paul was to say that the origin of the Standing Stone poem came about following the death of his friend Ivan Vaughan from Parkinson's Disease. He said, '"Jive with Ive, the ace on the bass" was his intro when we played together. Ivan was very important to me. Poetry seemed the right way to express what I felt about his death. Later, I decided to write an epic poem that would serve as the framework for Standing Stone. I realised that I wasn't going to write a symphonic work where you take a theme and develop it throughout a movement, partly because I simply didn't know how to do that.'

The theme is basically that of the history of life on earth via the ancient standing stones of the Celts. It relates the tale of an early man who sails on a crystal ship to a distant land where the inhabitants welcome him and he saves them from invaders and falls in love.

Paul was aided in this ambitious work by a number of people, including Steve Lodder, a jazz musician who wrote down the initial keyboard sketches on cassette tapes. Paul then used an electronic keyboard linked to a computer with software that translated what he played into printed music. The computer print-outs were then put into readable form by composer David Matthews.

Other help came from saxophonist John Harle. Paul commented, 'He advised me on the architecture of the piece, helping me shape the sketches I'd made. He also made sense of the second movement's 'Lost at sea' section, translating what was on the computer into recognisable notation, and worked on the 'Trance' section in the third movement.'

The 300-piece London Symphony Orchestra and Chorus, conducted by Lawrence Foster, performed the work.

The performance was in two parts and prior to the staging of the symphony, four other classical pieces by Paul were performed. They were Stately Horn_y played by the Michael Thompson Horn Quartet, Inebriation by the Brodsky Quartet and A Leaf and Spiral, both performed by the London Symphony Orchestra.

Paul and Linda were in the front row of the stalls and at the end of the performance Paul went on stage to be greeted by thunderous applause. Also in the audience was Ringo Starr.

The American premiere took place at Carnegie Hall in New York on Wednesday 19 November 1997 and a live webcast was broadcast at 9 p.m., sponsored by Mercedes Benz.

The proceeds from this concert were donated to the Save The Music Foundation and the Liverpool Institute of Performing Arts.

The live webcast featured an interview and also allowed questions that had been submitted in advance. The concert and interview was broadcast by National Public Radio on over 350 radiuo station throughout America.

The National Public Radio interview was recorded during rehearsals at New York's Riverside Church and was broadcast shortly before the performance. Also, immediately before the concert, Martin Goldsmith interviewed Paul in Carnegie Hall.

Standing Stone was performed by the Orchestra of St Luke's and the New York Choral Artists.

Stardust

An evergreen number by the late Hoagy Carmichael. Paul arranged the number for Ringo for his 1970 album Sentimental Journey.

Starr, Ringo

Richard Starkey was born in the front bedroom of a tiny terraced house at 9 Madryn Street, the Dingle, Liverpool on 7 July 1940.

His father was Richard Starkey, his mother Elsie (nee Gleave), who was one of fourteen children. Both parents worked in a bakery. Father and son were sometimes referred to as 'Big Ritchie' and 'Little Ritchie', although the father-son relationship wasn't to last and Richard Starkey left his wife and son in 1943. He did visit his son Ritchie at the children's hospital in Myrtle Street and Ritchie recalled: 'He came once to see me in hospital with a little notebook to ask me if I wanted anything.'

Ritchie Jr's early life was plagued by ill health, which severely affected his education.

Soon after his parents had divorced, he moved with his mother into another terraced house at the nearby No. 9 Admiral Grove and began to attend St Silas's Infant School. He was six years old when he suffered a severe stomach ailment. He recalls: 'I felt an awful stab of pain. I remember sweating and being frightened for a while.' The little boy was rushed to the Children's Infirmary in Myrtle Street with a ruptured appendix, which developed into peritonitis, and he was taken into the special care unit, where he sank into a coma for two months.

He returned to school the following year, where some of the other pupils dubbed him 'Lazarus'.

In 1953 his mother remarried, to a painter and decorator called Harry Graves, whom Ritchie referred to as 'my stepladder'. It was Harry who bought Ritchie his first drum kit during a visit to Romford. It cost him almost £10 and he lugged it to Liverpool on the train.

The youth moved on to Dingle Vale Secondary School when he was eleven years old, but was still absent for long periods owing to various illnesses, and wasn't allowed to take the Eleven-Plus exam. As a result he became the only member of the Beatles not to be educated at a grammar school.

In 1953, Harry took his wife and stepson to visit his parents in Romford and Ritchie was caught in a thunderstorm, having refused to wear a raincoat, and caught a chill, which developed into pleurisy.

Once again, he returned to the Myrtle Street Hospital. The pleurisy had affected his lungs so much that he was sent to Heswall Children's Hospital in the Wirral, where he remained for almost two years.

On leaving school, he needed to get a job, so he returned to Dingle Vale to receive a certificate confirming that he'd left the school. 'They didn't even remember I'd been there,' he recalled.

For a while he worked as a delivery boy with British Rail, but he failed the medical and was seeking another job two months later, ending up as a barman on a Mersey ferry. Finally, his stepfather manager to secure him a job at HH Hunt &C Sons as an apprentice engineer.

Although he possessed a drum kit, Ritchie had no dreams of becoming a musician. He was to recall: 'I remember by mum saying a neighbour was in a band and why didn't I have a go? I thought it was a jazz group, I was mad on jazz. When it turned out to be a silver band, playing in the park and sticking to the marches and all that, I chucked it in. I lasted just one night.'

Ritchie became friends with a fellow worker, Eddie Miles, and, together with three other apprentices, they formed the Eddie Clayton Skiffle Group. The line-up was Eddie Miles on guitar/vocals (he called himself Eddie Clayton because he thought it sounded better than his real name), Ritchie Starkey on drums, Roy Trafford on tea-chest bass, John Dougherty on washboard and Frank Walsh on guitar. Ritchie's grandfather lent him £50 to buy a new drum kit and the group made their debut at the Peel Street Labour Club.

When the group disbanded in 1958, Ritchie joined the Darktown Skiffle Group. It was during this time that he met up with a group leader called Rory Storm, who told him he was looking for a drummer.

Rory, whose real name was Alan Caldwell, led a band called the Raving Texans. Ritchie decided to join them and made his debut with the group on 25 March 1959 at the Mardi Gras in Mount Pleasant.

The group then had various name changes until they settled on Rory Storm &C the Hurricanes. The line-up of the group was Rory Storm (vocals), Johnny Byrne (rhythm guitar), Charles O'Brien (lead guitar), Wally Eymond (bass guitar/vocals) and Ritchie Starkey (drums). It remained that way until August 1962, when Ritchie became a member of the Beatles.

Despite changing the name from the Raving Texans, Rory was obviously still fond of a Western theme - at the time there were numerous Western series on television. He decided to call Byrne Johnny Guitar, after the title of the 1954 Joan Crawford Western; Ritchie became Ringo Starr; and Charles was renamed Ту after Ту Hardin, star of the Bronco series. Rory also thought that Lou Walters was a more suitable name for Wally.

The group also changed from a skiffle band to a rock 'n' roll, band which caused problems at the Cavern Club, where rock 'n' roll was banned. In January 1960 the group were still including a number of skiffle songs in their repertoire and appeared at the Cavern on a bill with the Cy Laurie Jazz Band on Sunday 2 January, and the following Saturday were appearing there again supporting the Saints Jazz Band and Terry Lightfoot's New Orleans Jazz Band.

On Sunday January 10 Ray McFall began his Liverpool Jazz Festival in an attempt to put Liverpool and jazz on the map. During that week top trad bands such as that of Acker Bilk appeared, together with modern jazz outfits, country-music bands and skiffle groups. When Rory Storm &c the Hurricanes appeared again on Sunday 17 January, on a bill with Micky Ashman's Jazz Band and the Swinging Bluegenes, they began their set with 'Cumberland Gap'. Then they decided to switch to a rock-'n'-roll set and played 'Whole Lotta Shakin' Goin' On'. The jazz fans became furious and started pelting the group with copper coins. The Hurricanes continued the show but were drowned out by a booing audience. When they came off stage, a furious McFall fined them six shillings (30 pence) for daring to play rock-'n'-roll music. The group were able to collect all the coins from the stage, which more than compensated for the fine.

The group appeared at the Liverpool Stadium on 3 May 1960 on a bill with Gene Vincent. This was the show that aroused Larry Parnes's interest in Liverpool groups and led to the Wyvern Club auditions. In the audience were John Lennon, Stuart Sutcliffe and Pete Best. Best remembered being particularly impressed by the showmanship displayed by Rory Storm and the group.

The auditions at the Wyvern Club were set up ostensibly for Parnes to find a Liverpool band to back Billy Fury. The Hurricanes didn't audition because they already had a lead singer, Rory Storm, although Rory turned up at the auditions, not to perform, but just to have his photo taken with Billy Fury! It would have been interesting if the Hurricanes had auditioned because Ringo had been in the same class as Billy Fury at St Silas's.

In May the group were offered a summer season at Butlin's in Pwllheli in the Rock 'n' Calypso Ballroom, from July to September.

Despite the Butlin's offer of £25 each per week, some members of the group had to consider the risks they were taking in becoming fully professional. Ritchie was the most reluctant member: he was an apprentice at Henry Hunt's, making school climbing frames at the time. He didn't want to go to Butlin's, but Rory decided to persuade him.

It was during this period that Rory insisted that Ringo have his own five-minute spot, 'Starrtime', during which he sang numbers such as the Shirelles' 'Boys' and 'Alley Oop'.

At Butlin's, the act began to shape up far more professionally and they were playing for sixteen hours a week.

There was a write-up on Ritchie's appearance with the group published in the South Liverpool Weekly News on 25 August 1960. Under the heading Richard realises a boyhood ambition, it read:

Richard Starkey always wanted to be a drummer. From when he was a small boy he was always tapping his fingers.

He has been in hospital twice, and has had 12 operations, several of them major ones.

When he came out last time after two years spent mostly in bed, he looked around for something to do - and started his fingers tapping again.

So he saved up and spent £10 on a second hand drum kit and set about teaching himself to play.

After two months' hard practice he joined a group. And now, with a new drum kit costing £125, he is entertaining hundreds of teenagers at a Pwllheli (North Wales) holiday camp as a member of Rory Storm's Hurricanes.

All five of them Liverpool lads are packing the camp's rock and calypso ballroom each evening for three-hour jive sessions.

Working a 16 hour week they spend their spare time joining in all the fun of the camp, swimming, sport and sunbathing.

'It's was good as a holiday - and we get paid for it,' said 20-years-old Richard - he lives in Admiral Grove, Dingle - during a break in the rock session.

His suntanned face broke into a smile as he added: 'It's fabulous.'

Richard - he plays under the name Ringo Starr - is the second ex-pupil of St. Silas C. of E. School, Dingle, to make a professional career in rock and roll.

The first - Ronnie Wycherley, now carving a niche for himself as Billy Fury.

It is the group's biggest contract so far: before they filled dates at Liverpool jazz clubs and had a spot in a rock show at Liverpool Stadium in May, which starred Gene Vincent and was to have featured Eddie Cochran. But he was killed a few days before.

Led by ex-cotton sampleman Rory Storm (his real name is Alan Caldwell) whose home is at 54 Broadgreen Road, Stoneycroft, the group has been playing together for just 10 months.

The other members - Lou Walters, 22 (bass guitar and vocal), Ту Brian, 19 (lead guitarist), Johnny Guitar, 20 (rhythm guitar and vocal), and Richard, all belonged to other groups before that.

When they finish their 13-week engagement at Pwllheli in a few days, the lads plan a holiday in London.

And later they hope to go on the Continent to seek dates there.

Said Richard: 'There is too much competition here. Rock and roll is beginning to wane.'

He added: 'But I like the life. I certainly don't want to give it up.'

A local coffee-bar owner, Allan Williams, had taken a group called Derry Wilkie &£ the Seniors down to the 2 I's coffee bar in Soho, where they were allowed to play. They were spotted by the Hamburg club owner Bruno Koschmeider, who earlier that year had visited the 2 I's and booked some local musicians, who were to form a group and call themselves the Jets, for his club, the Kaiserkeller. He was now seeking a group to replace them and was impressed by the Seniors and, in particular, the dynamism of their lead singer, Derry Wilkie.

As the British rock-'n'-roll groups were proving so popular, Koshmeider contacted Williams for another band to appear at his club, beginning in August 1960. Williams sought Rory Storm & the Hurricanes, but they were already booked for their summer season in Butlin's. He next approached Gerry Marsden, leader of Gerry & the Pacemakers, who turned him down. In desperation he asked the Beatles, who agreed.

When the Beatles arrived, with their new drummer Pete Best, they were shuttled off to a poky little former strip joint at the bottom end of the Grosse Freiheit called the Indra. Koshmeider told them to 'mach shau\ as Derry Wilkie, an amazing showman, was doing at the Kaiserkeller.

Owing to noise complaints, the police told Koshmeider he had to stop the rock-'n'-roll shows at the Indra and move the Beatles down to the Kaiserkeller.

In October 1960 the Hurricanes, having finished their Butlin's season, were off to Hamburg, replacing Derry & the Seniors at the Kaiserkeller. They were paid more than either the Seniors or the Beatles.

They were also billed above the Beatles and alternated with them on the daily twelve-hour stretch, which the groups had to play. So each band did 90 minutes on and 90 minutes off.

It was during this eight-week season, that Allan Williams was so impressed with Lou Walters's voice that he offered to pay for the Hurricanes to make a disc. On Saturday 18 October 1960, the recording session took place at the Akoustik Studio. Three of Wally's ballads were recorded: 'Fever,' 'September Song' and 'Summertime'. John, Paul and George played on 'Summertime' and it was the first time that John, Paul, George and Ringo actually performed together.

The events substantiate the evidence that Allan Williams never actually managed the Beatles. The coffee-bar owner did act as their agent, but never actually managed them. If he did, why were the Hurricanes his first choice for Hamburg? Why would he pay for the Hurricanes to make a record, but refuse to pay for the Beatles to make one? If he was booking groups into the Kaiserkeller why would he allow the Hurricanes to be billed above the Beatles?

It was in Germany that George Harrison referred to Ringo as 'the nasty one with his little grey streak of hair'.

Journalists have often thought that the Beatles first met Ringo in Hamburg. This isn't so, as Rory and Ringo were often to be found hanging around the Jacaranda club at the same time as John Lennon and со., and were a well-known outfit in Liverpool.

At one time Ringo considered joining the Seniors, but on 30 December 1961 he left for Germany to back Tony Sheridan at the Top Ten Club in Hamburg, enticed by the lure of a large fee, a flat and the use of a car. However, he found Sheridan's eccentric style of performing too hard to cope with (he'd often change songs in the middle of a performance without telling his backing band) and returned to the Hurricanes. While he was absent from the group, Derek Fell from the Blackpool group the Executioners replaced him.

Ringo was also becoming disenchanted with Liverpool and his role as a musician and wrote to the Chamber of Commerce in Houston, Texas, in search of a job.

During the Skegness season, Ringo received a letter from Kingsize Taylor offering him £20 a week if he would join them in Germany as a replacement for Dave Lovelady, who was leaving the group to complete his studies. Ringo agreed. Then, one day, John Lennon and Paul McCartney turned up at the camp and offered Ringo £25 a week if he'd join them. The extra £5 sealed it and Ringo agreed to become a Beatle as from August 1962.

Johnny Guitar says that John and Paul turned up at ten one morning and knocked on their caravan door, saying they wanted Ringo to join them. Rory told them that the Hurricanes couldn't work without a drummer and they hadn't finished their season. Paul told him that Brian Epstein had said they could have Pete Best. Rory went to Liverpool but Pete Best was too upset. Rory then returned to Skegness and used relief drummers.

Ringo made his debut with the Beatles on Saturday 18 August 1962 at the Horticultural Society dance at Hulme Hall, Port Sunlight. He'd spent two hours rehearsing with the group. The following day the Beatles were at the Cavern, where the mood was initially ugly, with the audience shouting 'Pete for ever, Ringo never!' and George Harrison being given a black eye. However, by the end of the gig that night, it seemed that the audience had accepted Ringo.

Although there had been comments about his looks - and it was once said, 'Why get an ugly-looking cat when you can get a good-looking one' - he did seem to fit in with the group and, under instructions from Epstein, shaved off his beard. The silver streak in his hair vanished and the local hairdresser at Home Brothers gave him a Beatle cut. He initially didn't consider himself a Beatle because of his looks and once said: 'I have a face which makes people laugh.' While he was a member of Rory Storm 6c the Hurricanes, looks didn't seem to matter, but in the Beatles there were three handsome guitarists. Ringo, however, was redeemed by his sense of humour, natural warmth and general air of friendliness.

Feelings were mixed about the two drummers. Pete had been the most popular member of the Beatles in Liverpool, but Ringo had been well known as a member of Rory Storm &: the Hurricanes. Now, sans Best, local audiences were concentrating on the three guitarists/vocalists Lennon, McCartney and Harrison.

There was actually nothing wrong with Best's drumming, as Paul McCartney was to admit decades later in his Wingspan documentary. Another local singer, Billy Kramer, was also to comment: 'I didn't think the Beatles were any better with Ringo Starr. I never doubted his ability as a drummer but I thought they were a lot more raw and raucous with Pete.'

Paul and Ringo generally got on well together, although Ringo once described Paul as 'pleasantly insincere'.

They also used to holiday together and Ringo was to comment: 'Paul and I went to Corfu for a week, and then to Athens. We were living in chalets. We used to get up about ten in the morning and go sunbathing. After a few days we travelled around a bit, to the island of Rhodes, then back to Athens. We had a great time at the hotel we stayed at there. We couldn't understand a word of the songs the hotel band were playing, so on the last night Paul and I did a few rockers like "What'd I Say?" Then we went round to a local bar with some people we knew and did the same act again!'

The Beatles decided to feature Ringo singing at least one song on each Beatles album. When Paul was discussing writing the number 'With A Little Help From My Friends' for Ringo, he commented: 'It was a challenge for us because we actually had to write in a key for Ringo and you had to be a little tongue-in-cheek. Ringo liked kids a lot; he was very good with kids. In this case, it was a slightly more mature song, which I always liked very much.'

The vocals Ringo performed on Beatles albums included 'Boys' on Please Please Me, T Wanna Be Your Man' on Meet The Beatles, 'Honey Don't' on Beatles For Sale, 'Act Naturally' on Help!, 'What Goes On' on Rubber Soul, 'Yellow Submarine' on Revolver, 'With A Little Help From My Friends' on Sgt Pepper's Lonely Hearts Club Band, 'Don't Pass Me By' on The Beatles and 'Octopus's Garden' on Abbey Road.

In 1963 Paul said: 'We're thinking about Ringo doing some dancing on stage. It would only be for certain numbers, but it's an idea we're working on. We all mess around on drums a bit and we could take his place now and again. Mind you, we could never be as good as Ringo. He's the best drummer we've ever had. We hear rumours that he's leaving, but there's absolutely no truth in them.'

Once, when Paul tried to talk to Ringo during one of Ringo's moments of depression, he said: 'Don't you tell me what's going on inside my head.'

When the Beatles made their initial impact in America, Ringo emerged as one of the most popular members of the group, as evidenced by the number of tribute records that were released: 'Ringo', 'Ringo Beat', 'Ringo Bells', 'Ringo Boy', 'Ringo Comes To Town', 'Ringo - Deer', 'Ringo Did It', 'Ringo For President', 'Ringo, I Love you', 'Ringo, I Want To Know Your Secret', 'Ringo Dingo', 'Ringo, Ringo Little Star', 'Ringo's Dog', 'Ringo's Jerk', 'Ringo's Walk' and 'R (Is for Ringo)'.

Ringo married Maureen Cox on 11 February 1965 and the couple would have three children: Zak, Jason and Lee. The pair were divorced in July 1973 and Maureen died after being diagnosed with leukaemia on Friday 30 December 1994, He went on to marry the actress Barbara Bach, with whom he appeared in the film Caveman on 27 April 1981.

There was disharmony during the recording of The Beatles (the one that was commonly known as the White Album). Apple's Pete Brown recalls Ringo spending most of the time in the studio playing cards with Neil Aspinall and Mai Evans, and commented: 'It was a poorly kept secret among Beatle intimates that after Ringo left the studio Paul would often dub in the drum tracks himself. When Ringo returned to the studio the next day he would pretend not to notice that it was not his playing.'

On Thursday 22 August 1968 Paul told Ringo off for not getting his drum part right on 'Back In The USSR'. Paul said: 'I'm sure it pissed Ringo off when he couldn't quite get the drums to "Back In The USSR" and I sat in. It's very weird to know that you can do a thing someone else is having trouble with. If you get down and do it, just bluff right through it, you think: What the hell! At least I'm helping. Then the paranoia comes in: But I'm going to show him up! I was very sensitive to that.'

Ringo walked out on the group. Later, he recalled: 'I felt I was playing like shit. And those three were really getting on. I had this feeling that nobody loved me; I felt horrible. So I said to myself: "What am I doing here? Those three are getting along so well and I'm not even playing well." That was madness, so I went away on holiday to sort things out. I don't know, maybe I was just paranoid. To play in a band you have to trust each other.'

Ringo returned to the recording studio on Thursday 5 December 1968 and found that Paul had placed bouquets of flowers over his drum kit. He recalled: 'When I came back everything was all right again. Paul is the greatest bass player in the world. But he is also very determined: he goes on and on to see if he can get his own way. While that may be a virtue it did mean that musical disagreements inevitably arose from time to time.'

Ringo was to appear in numerous films and television specials and series. The films included A Hard Day's Night, Help!, Candy (1968); The Magic Christian (1969); Weekend of Champions (1970); Blindman (1971); 200 Motels (1971); Born To Boogie (1972); Son of Dracula (1972); That'll Be The Day (1973); Harry and Ringo's Night Out (1974); Lisztomania (1975); Sextette(1978); The Last Waltz (1978); The Kids Are Alright (1979); Caveman (1981; The Cooler (1982); Give My Regards To Broad Street (1984). His TV specials included Ringo (1978) and he appeared in a miniseries, Princess Daisy. with his wife Barbara.

When Allen Klein entered the scene, Ringo sided with John and George, despite warnings they'd received from previous clients of his. Ringo commented that Klein was 'a powerful man and also, no matter what anyone says, he's fair'.

Owing to advice that the only way he could rid himself of Klein was to call for the dissolution of the Beatles, Paul decided to apply to the High Court. He also recorded a solo album and then found that Klein didn't want it released at a time that might clash with the Beatles' Let It Be album.

In February 1970 Ringo arrived at Paul's Cavendish Avenue house and spoke into the intercom.

Inside, Paul greeted him, although he was obviously aware of why he was there. It was obviously to persuade him to hold back the release of his solo album McCartney. Ringo handed him two letters, one from John, one from George, which they wanted him to read. Ringo also told him that Allen Klein had said he couldn't put out the solo album yet because Let It Be was due to be released in May.

Paul was furious and turned on Ringo. 'This is the last straw. If you drag me down, I'll drag you down,' he shouted.

Ringo was to recall, 'To my dismay, he went completely out of control, shouting at me, prodding his fingers towards my face, saying "I'll finish you all now", and "you'll pay". He told me to put my coat on and get out.

'While I thought Paul had behaved a bit like a spoiled child, I could see the release date of his record had a gigantic emotional significance for him. Whether he was right or wrong to be so emotional, 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.'

During his solo years, Ringo had various ex-Beatles write or perform with him on his albums. Paul and Linda wrote 'Six О Clock' for him to record on his 1973 album Ringo and the number featured Paul on piano and synthesiser. For Ringo's Stop And Smell The Roses album in 1981 Paul produced the numbers 'Private Property', 'Attention' and 'Sure To Fall'. Paul also provided bass, piano and percussion sounds. Paul had written both 'Private Property' and 'Attention' and he, Linda, Sheila Casey and Lezlee Livrano Price provided backing vocals on all three tracks. At Paul's suggestion they also made a short promotional film called The Cooler, which was entered in the Short Film category at the Cannes Film Festival in May 1982.

In 1989 Ringo formed his first All-Starr Band and has been touring regularly ever since with various different All-Starr Band personnel.

In 1995 Ringo teamed up with Paul and George once again to work on the Anthology project and he was to work again with Paul on the Flaming Pie album.

Stars In Their Lives

An ITV show in which Heather Mills appeared on Sunday 22 October 2000. The programme discussed Heather's charity work. During the last ten minutes of the show Heather and Paul publicly declared their love for each other and discussed their relationship for the first time -and also gave each other an on-air kiss.

Discussing their first meeting, Paul said, 'When I saw her at that award show I thought, "Wow, she looks great." A very beautiful, true fine woman. That was the first impression and then when I heard her speak, I was very impressed. So I found out her telephone number and rang her up and said, "We should talk about some charity stuff".' Heather then said: 'I couldn't believe it. I was a bit naive, actually, and I just thought here's a guy who does a lot of work for charity. I thought he was very cute but it didn't enter my head that he fancied me. At the end of one of the last meetings, I got into a lift and just felt these eyes in my back. I turned round and saw him peeping. I said, "I think you're eyeing up my bum".' On TV, Paul answered, 'I was.' Heather continued, saying, 'I love him.' Paul said, 'On national telly?' Heather replied, 'You started it. I was going to say nothing tonight about it.' Then Paul admitted, 'Yeah, I love her.' Heather described how they were together at Halloween when Paul had carved twenty pumpkins with smiley faces. She said, 'I just started crying that he'd done this for me. That was the icing on the cake. He's the most romantic man I've ever met.'

Stella May Day

An instrumental by Paul which he recorded and produced on 1 May 1995 at Hog Hill Mill for a presentation at his daughter Stella's fashion graduation show at Central St Martin's School of Art. The final show took place at the Business Design Centre, Islington and Paul wrote 'Stella May Day' especially for this show. The guitar instrumental was played over the PA system as Naomi Campbell, Kate Moss and Yasmin le Bon modelled Stella's designs.

Step Inside Love

A number Paul wrote specially as the theme tune of Cilia Black's television series, Cilia. During the recording of 'I Will' at Abbey Road on Monday 16 September 1968, Paul, playing an acoustic guitar, performed a brief version of the number for his fellow Beatles. This recording was to surface on the Beatles Anthology 3, released in October 1996. Paul made a demo for Cilia at his St John's Wood home and gave it to her. Cilia then recorded it at Abbey Road Studios on 28 February 1968 and it was rush-released as a single on Parlophone R5674 on 9 March 1968, with 'I Couldn't Take My Eyes Off You' on the flipside, and reached No. 8 in the British charts. It was the third number by Paul that Cilia had recorded.

It wasn't actually released until the series was almost over because Paul had written it at the last moment.

Cilia commented, 'I recorded "Step Inside Love", Paul McCartney's theme of my BBC TV series, and it was released on 9 March 1968. Paul used to write simple songs, but they were difficult to arrange and get the sound you wanted. On the first recording Paul played it on guitar, but the key didn't suit me - and I had to have it taken up. Then the second version was disappointing. I just couldn't get my teeth into it. But we did a great recording in the end.'

Cilia was also to say that Paul was upset when she sang the song live on her television show and forgot the lyrics. She commented: 'Paul thought the producers had made me change the words and he wasn't happy over that. Actually I was so nervous I was making them up as I went along!'

It was issued in America on Bell 726 on 6 May 1968.

In July 1997 a three-CD retrospective 1963-1973: The Abbey Road Decade was issued on EMI Zonophone (8 57053 2). This contained a number of versions of the song, including a demo with a vocal by Cilia and acoustic guitar backing by Paul, the original single by Cilia and an Italian version.

Steve Wright Show, The

A Radio One show hosted by disc jockey Steve Wright. Paul turned up out of the blue on Wednesday 13 June 1990 and took part in the show during which he was interviewed by Wright, played acoustic versions of 'Matchbox' and 'Bluebird' and even read weather and traffic reports. Wright also played the medley 'PS Love Me Do' which had been recorded at Paul's live performance at the Tokyo Dome earlier that year.

Stevens, Joe

An American photographer who Paul hired in 1972 to document the Wings tour of Europe. The New Yorker had been living in London working for various 'underground' publications. Due to difficulties with obtaining a work permit for him, he was nicknamed Captain Snaps and a company called Women's Tango Lessons Ltd was formed to collect the profits from the sale of the photographs, which were then to be divided between Paul, Linda and Stevens.

Captain Snaps once mentioned how Paul did not want to hear any talk of the Beatles at the time, saying, 'I think he'd been almost braindamaged for a while from having been Paul of the Beatles.'

Stewart, Eric

A guitarist born in Manchester on 20 January 1945 who was originally a member of the Mindbenders and later joined lOcc.

Eric played on some tracks on the Tug Of War album and was then asked to play on the Pipes Of Peace sessions. He was also featured on the Give My Regards To Broad Street album and appeared in the film.

In an interview with the Dutch fanzine Beatles Unlimited, Eric discussed how he was first asked to play on the Tug Of War sessions: 'I meet Paul fairly often and we've known each other ever since way back when he was with the Beatles and I was with the Mindbenders. We used to play at the Cavern together. We used to play the same kind of music, American R&B, and we're both from the North, we have the same accent, the same sense of humour.

'After I had a car accident a while back, Paul phoned me up to see if I was all right. I said I was, but in fact I was still rather messed up and still had to use drugs and all that. But Paul asked me if I felt like playing on his new LP so I said, "Great!"'

When he was a member of lOcc Eric played on Mike McGear's solo album McGear on the tracks 'The Man Who Found God On The Moon' and 'Givin' Grease A Ride'. Paul produced the album and that was when Eric and he renewed their acquaintance.

lOcc disbanded in 1983, but the members: Eric, Graham Gouldman, Kevin Godley and Lol Creme, recorded a reunion album. It contained a song part-composed by Paul, 'Don't Break The Promises', which was originally co-written by Paul and Stewart during the Press To Play period in 1985/86, but not included on the album. Gouldman later contributed to the number, as it is a shared three-man copyright.

For the Press To Play album, Paul and Stewart wrote six of the tracks together. He was only the third person Paul had written with since the break-up of the Beatles, the other two being Linda and Denny Laine.

In the summer of 1986 it was reported that he had been asked to tour with Paul, but Paul stated that he and Stewart had fallen out over the fact that he hadn't let Stewart produce an album.

Stockton Wood Road Primary School

A large primary school built in the Speke area of Liverpool after the war. It was close to where Paul and his younger brother lived at the time and was the first primary school they attended, with Mike enrolling one year after Paul. The headmistress was to comment that Paul was a quiet young man and a quick learner. Within a short time the school had taken on so many pupils that, at over 1,500, it had the largest primary school enrolment in Britain.

Paul and Michael moved on to the Joseph Williams Primary School because of the overcrowding.

In 1993, when Paul discovered that burglars had ransacked the school, both he and his brother Mike donated signed copies of their books to raise money in an auction to replace stolen toys. Paul's signed copy was of his Paul McCartney: Composer and Artist book.

Stop And Smell The Roses

An album by Ringo Starr. When he began recording it at the Superbear recording studios situated 2,700 feet up a mountain, close to Nice on the French Riviera, between Friday 11 July and Monday 21 July 1981, he was joined for the initial sessions by Paul and Linda, who brought their children along. At the time the album went under the working title of Can't Fight Lightning. Paul produced four of the album tracks and also penned two of the numbers for Ringo, 'Private Property' and 'Attention'. Other musicians present were Lloyd Green on steel guitar, Laurence Juber on guitar, Howie Casey on sax and Sheila Casey and Linda on backing vocals. The engineer was Peter Henderson.

While there, Paul, Linda and Juber recorded one of Linda's songs 'Love's Full Glory', although it wasn't released.

Stop And Smell The Roses was issued in America on Boardwalk NBI 33246 on Monday 26 October 1981 and in Britain on RCA LP 6022 on Saturday 21 November 1981. There were ten tracks with compositions and production credits being shared by Paul, George, Harry Nilsson, Ron Wood, Stephen Stills and Ringo.

Stranglehold

This was the first number Paul and Eric Stewart wrote together and it was the opening track on the Press To Play album, lasting 3 minutes and 36 seconds. Recording began at Paul's Hog Hill Mill studio in April 1985 with Paul, Eric and session drummer Jerry Marotta.

On Wednesday 29 October 1986 the 'Stranglehold' single was issued on Capitol B-5636 with 'Angry (remix)' on the flip. Paul and Eric Stewart wrote both sides. The video for 'Stranglehold', directed by Bob Giraldi, was released a month later.

On the same day a different Масса single was issued in Britain, 'Pretty Little Head', a remix by Larry Alexander.

A music video of the number was filmed in Nogales, Arizona in October 1986 in a derelict restaurant, the Halfway Station. Musicians included Duane Sciaqua on guitar, Jerry Marotta on drums, Lenni Pickett on baritone, Neil Jason on bass, Alex Foster on baritone and Stan Harrison on alto. Apart from performing 'Stranglehold', the group also jammed on several numbers, including 'Fortune Teller', 'Tequila', 'Cactus Club' and 'Love Is Strange'.

Stuart, Hamish

A guitarist, born in Glasgow on 8 October 1949. He joined a band called the Webb at school when he was twelve years old and has been

a performer ever since. During the late 1960s the bands he played in included the In-Crowd.

Stuart moved down to London as vocalist with a band called the Scots of St James, but returned to Glasgow after a few months to join Dream Police. He then became a guitarist rather than a lead singer. The band recorded three singles for Decca and built up a following with regular appearances at the Marquee, but disbanded due to their lack of success on record.

The next band he formed was called Berserk Crocodiles, which lasted until he formed the Average White Band in May 1972 and made twelve albums with the group. The Average White Band disbanded in 1982 and Hamish became a session musician performing on records for over two-dozen artists ranging from Aretha Franklin to Diana Ross. He also wrote a number of hit songs for artists who included the Temptations and Diana Ross.

In 1987, while he was in a band called Easy Pieces, he was invited to Paul's studio in Sussex where he met up with Paul, Nicky Hopkins and Chris Whitten. During the session a McCartney/Stuart composition resulted, 'The First Stone'.

Hamish was then invited to join Paul's sessions with Elvis Costello and then spent the next six years performing with Paul's band, appearing on two world tours and on albums such as Tripping The Live Fantastic, Flowers In The Dirt and Off The Ground. He was also to play on Linda's tribute album, Wide Prairie.

After leaving Paul, he formed his own outfit, the Hamish Stuart Band, appearing on the London club circuit and releasing his first solo album Sooner Or Later in September 1999.

Subiaco Oval

Venue in Perth, Australia where Paul appeared on Friday 5 March 1993 when opening the Australasian arm of his New World Tour. His band comprised himself, Linda, Blair Cunningham, Robbie Mclntosh, Hamish Stuart and Paul 'Wix' Wickens. His basic repertoire comprised 'Drive My Car', 'Coming Up', 'Get Out Of My Way', 'Another Day', 'All My Loving', 'Let Me Roll It', 'Peace In The Neighbourhood', 'Off The Ground', T Wanna Be Your Man' and 'Can't Buy Me Love'. There was an acoustic set with 'Robbie's Bit', 'Good Rockin' Tonight', 'We Can Work It Out', 'Every Night', 'And I Love Her', 'Hope Of Deliverance', 'Michelle', 'Biker Like An Icon', 'Here, There And Everywhere', 'Yesterday', 'My Love', 'Lady Madonna', 'Live And Let Die', 'Let It Be', 'Magical Mystery Tour', 'C'Mon People', 'The Long And Winding Road', 'Paperback Writer', 'Fixing A Hole', 'Penny Lane' and 'Sgt Pepper's Lonely Hearts Club Band'. Encores were 'Band On The Run', 'I Saw Her Standing There', 'Mull Of Kintyre' and 'Hey Jude'. The ABC TV Channel and Channel 9 both screened part of the 'Live And Let Die' performance the following day.

Sugartime

A track originally recorded on 20 June 1977 at the Black Ark studios in Kingston, Jamaica as part of Paul's idea of having Linda release a solo album. The number had been penned by Odis Echols and Charlie Phillips and had originally been a chart hit for the McGuire sisters in March 1958. Linda added her vocals to the track at Rude Studios in Scotland in August 1977 and the number was first heard on the radio series Oobu Joobu. Following Linda's death, Paul did further work on the track on 7 July 1998 at his Hog Hill studio and it was included on Linda's posthumous album 'Wide Prairie' in 1998.

Suicide

In the days before the Beatles were successful, Paul originally wrote this number with Frank Sinatra in mind. He said that he wrote it in bed just before dropping off to sleep. He always had a pencil and paper by the side of his bed and says that he has the ability to write in the dark. He was later to regard the number as 'horrible'.

Then, when the Beatles were recording at Abbey Road, Frank Sinatra phoned and asked to speak to Paul. Sinatra asked him if he had a song for him. Paul quickly made a demo of 'Suicide' and sent it to him. Apparently, Sinatra thought Paul was taking the mickey and said, 'Is this guy having me on?'

A few seconds of the song were heard on the McCartney album and other snippets are to be found on bootleg recordings.

In 1993 Paul was to comment, 'Before rock 'n' roll, for John and I, our accolade would have been to write for Sinatra. For the first couple of years we just thought like that. Then rock 'n' roll came in and blew everything out of its way! There was life before rock 'n' roll, and there was a lot of music I like there. Cole Porter and people like that are still great favourites of mine.'

In 1994 Paul turned down the opportunity of appearing on Frank Sinatra's Duets album.

Sullivan Stadium, Foxboro

A venue near Boston, Massachusetts. On Tuesday 24 July 1990 Paul appeared there during his World Tour and was interviewed backstage by the Boston station WBCN. On Wednesday 25 July 1990 an additional performance was held at this venue, with invitations limited to an audience of 800. Paul and the band mimed to the recording of a Philadelphia show to allow close-up shots to be filmed for the planned concert film, 'Get Back'.

Summit, The (album)

A charity album in aid of the 'Year Of The Child', issued in Britain on K-Tel NE 1067 on Friday 11 January 1980. Various artists contributed tracks to the album and Paul's contribution was his recording of 'Jet'.

Summit, The (venue)

A venue in Houston, Texas where Wings appeared on Tuesday 4 May during the American leg of their Wings World Tour 1975/76.

During the concert a piece of scaffolding fell onto the stage, narrowly missing Paul, but injuring his roadie Trevor Jones who was taken to hospital and given thirteen stitches.

10 Sunbury Road, Anfield, Liverpool

Paul's first home where he was brought to following his birth at Walton Hospital.

Sunday Beatle

A special supplement of the Sunday Mirror in Sydney, Australia. In June 1963 it ran a special competition to link up with Paul's 22nd birthday, in conjunction with the Sydney Daily Mirror, and offered the 'chance of a lifetime'.

Under the headline 'You ... Could Go To Paul's Birthday Party', the competition announced that a selection of girls between the ages of sixteen and twenty-two could win the opportunity of attending Paul's birthday party on Thursday 18 June at the Sheraton Hotel, Sydney. Initially, the girls had to submit a fifty-word essay on the theme: 'Why I Would Like To Be A Guest At A Beatle's Birthday Party'. There were 10,000 entries and the finalists had to attend an interview at the hotel before a panel of judges who included Derek Taylor, Irish comedian Dave Allen, editor of the Sunday Mirror Hugh Bingham and Leicester Warburton and Blanch d'Alpuget, also from the Sunday Mirror.

There were seventeen winners and fifteen runners-up. The latter were invited to meet the Beatles after their concert on the Friday evening.

The girls invited to Paul's Thursday bash were: Glennys Smith; Jenny Lamb; Sandra Linklater; Caroline Styles; Ines Truse; Evelyn Mac; Patricia Thompson; Christine Buetter; Claire Hogben; Caroline Keirs; Carmel Stratton; Anne-Marie Alexander; Marcia McAmeny; Delphine Dockerill; Jannette Carroll; Nancy Haddow and Sandra Stevenson.

Jannette Carroll, who was only sixteen at the time, commented: 'As we were leaving Paul shook all our hands and by this time I was even braver so I said, "I'm not used to shaking boys' hands on their birthday," and offered him my cheek. He very gently took my chin, turned my face around and gave me a beautiful kiss right on the lips. I know it sounds corny, but for about two weeks I washed every part of my face but my lips.'

The party took place around midnight, after their show was over, and as the Beatles entered the room, Paul was heard to say, 'Ее, it's a proper do, isn't it?'

Sunshine, Sometime

A number Paul wrote for his Rupert Bear project, surprisingly more than a decade before he produced his animated movie. He penned the number and recorded it during the Ram sessions.

Rupert Bear had been a childhood favourite of Paul's and he had suggested in 1968 that it should be a Beatles project and was to comment they should have done a Rupert The Bear film instead of Yellow Submarine.

He'd bought the rights to the character in April 1970 only days after the Beatles had dissolved and began to write songs for the project straight away.

Super Furry Animals

A band from Wales, formed in Cardiff 1993, who comprise Gruff Rhys, vocals, guitar; Dafydd Ieuan, drums, vocals; Cian Ciaran, keyboards, vocals; Guto Pryce, bass; and Huw Bunford, guitars, vocals, cello.

Paul first met the group in February 2000 at the NME Brat Awards when he accepted a prize of 'Best Band Ever' on behalf of the Beatles. Cian told Paul to give him a call if he wanted anything remixing.

Paul did and they first collaborated on Liverpool Sound Collage, along with Youth. The album was made specially for Peter Blake's 'About Collage' exhibition at the Tate Liverpool and was nominated for a Grammy in 2001 for 'Best Alternative Musical Album'.

Paul can also be heard munching celery on a track of the Super Furry Animals album Rings Around The World, released in 2001. Discussing Paul's participation in an interview with the NME, Gruff Rhys commented, 'He's on the record chewing celery in time to the rhythm of "Receptacle For The Respectable". That's a song in four parts, it goes from sixties harmony pop to early seventies glam rock in the Bacharach balladry, then goes death metal. It's not an obvious single.'

Superbowl

Paul performed along with 500 young people at the 36th Superbowl, the climax of the American Football season, at the Louisiana Stadium in New Orleans on 3 February 2002.

This was a further performance in aid of the families of the firemen and policemen who were killed on 11 September 2001. Paul commented, 'As a sports fan I am thrilled to have the opportunity to be involved in the Superbowl and as a musician I am honoured to add my voice to the message of tribute that this year's Superbowl will carry.'

The Superbowl was watched by an audience of 150 million in America and 800 million further people throughout the world.

The Superbowl pre-game entertainment was extended from one hour to three hours under the title 'Heroes, Hope and Homeland' and was a strongly patriotic presentation, beginning with the Boston Pops Orchestra and including performers such as No Doubt and the Barenaked Ladies. Paul appeared at the finale and was preceded by performances of 'America The Beautiful' and 'The Star Spangled Banner'.

Sure To Fall (In Love With You)

A number penned by Carl Perkins, Quinton Claunch and William Cantrell, recorded by Perkins and issued in 1956 on Sun 235.

Paul produced Ringo Starr's version of the number on Ringo's 1981 album Stop And Smell The Roses.

Sutcliffe, Stuart

The Beatles' original bass guitarist, who was born in Edinburgh on 23 June 1940. In 1956, at the age of sixteen, he became a student at Liverpool College of Art, where Bill Harry introduced John Lennon to him. Stuart's best friend was Rod Murray, with whom he shared a flat initially in Percy Street and then in Gambier Terrace. John felt his group needed a bass guitarist and offered both Stuart and Rod the position. Having little money, they couldn't afford a guitar, so Rod began making one. Stuart had entered one of his paintings in the John Moores Exhibition and, when John Moores himself bought it, Stuart obtained a guitar on hire purchase when he placed a deposit on a Hofner President at Frank Hessy's music store.

It was Stuart who suggested the name 'Beetles' because he felt they should choose the name of an insect as Buddy Holly's backing group the Crickets had done.

When the Beatles made their debut in Hamburg in 1960 they initially played at a club called the Indra. At one time the club owner, Bruno Koschmeider, took Stuart from the Beatles to include him in a group with Howie Casey at the Kaiserkeller. When the Beatles attracted a crowd of artistic students to their performances, it was generally Stuart who made a mark on them, and one of the students, Astrid Kirchherr, fell in love with him. As a result, when the Beatles returned to Liverpool, Stuart remained in Hamburg for a time with Astrid. He returned to Liverpool in late February and then joined the Beatles at their March season at the Top Ten Club in Hamburg.

Stuart had enrolled at the State High School of Art Instruction in Hamburg and was living at Astrid's home. It seemed that his passion for art was becoming more important to him than his being a member of the Beatles.

There was also, arguably, some friction between Stuart and Paul, as Paul wanted to take over as the group's bass player.

During their Top Ten season they performed with Tony Sheridan, which produced a slight problem: there were too many guitarists in the group - so Paul played piano.

The drummer Pete Best found that Paul was beginning to niggle Stuart, particularly regarding his relationship with Astrid, and remembers that it ended in fisticuffs.

He says that Paul kept winding Stuart up. 'On this particular night Astrid was there and Paul said something. I don't actually know what the remark was because Paul was playing piano on the other side of the drum rostrum. Stu took his bass off and it wasn't with a view to giving it to anyone. He put it down and, the next thing, the two of them were swinging at one another.' Stuart left soon after that.

Following a fall down the attic steps of Astrid's home, Stuart began to experience headaches and died on Tuesday 10 April 1962.

Over the years, probably originating from inaccurate information in Allan Williams's book The Man Who Gave the Beatles Away_y people who had never seen him or heard him play began to write in books and articles that he was a lousy bass guitarist.

Yet, when he had originally stayed behind in Hamburg when his fellow Beatles returned to Liverpool in December 1960, George Harrison wrote to him: 'Come home sooner, as if we get a new bass player for the time being, it will be crummy, as he will have to learn everything. It's no good with Paul playing bass, we've decided, that is if he had some kind of bass and amp to play on.'

In a 1964 interview in Beat Instrumental in which he was discussing guitars, Paul said: 'I believe that playing an ordinary guitar first and then transferring to bass has made me a better bass player because it loosened up my fingers. NOT that I'm suggesting that EVERY bass player should learn on ordinary guitar. Stuart Sutcliffe certainly didn't, and he was a great bass man.'

Pauline Sutcliffe, his younger sister, was to tell Bill Harry: 'According to Stuart's letters and conversations with him he thought he was progressing quite well and loved it and thought he was quite innovative as a bass player. He thought himself good enough to do session work after he left them and - I've got letters - he was asked to be in other groups.'

Klaus Voormann, who was once considered as a replacement for Paul in the Beatles, took up the bass guitar because Stuart, whom he regarded as his favourite bass player, inspired him.

Suzy and the Red Stripes

Name given to some recording and animated projects surrounding Linda McCartney, which originated in November 1972 when Paul and Wings used the title while recording 'Seaside Woman' at AIR Studios in London. Linda had been called 'Suzy' when they were in Jamaica because she loved the reggae version of 'Suzy Q'. The Red Stripe referred to Jamaican beer.

Further Suzy and the Red Stripes sessions took place in Paris in November 1973 with Paul, Linda, Denny Laine, Jimmy McCulloch and Davey Lutton.

Sweet Baby

A track recorded at Strawberry Studios in Stockport, Cheshire during the McGear sessions, which Paul produced. It was omitted from the McGear album but used as the flipside of the first single from the album, 'Leave It' (Warner Bros К 16446). It was also included as a bonus track when McGear was later issued as a CD on the See For Miles label. The song had originally been called 'All My Lovin" and had been recorded by Mike with Paul on acoustic guitar and Linda on keyboards. The number had been inspired by the birth of Mike's daughter Abbi. The song was retitled as it was obviously too close to Paul's 'All My Loving'.