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Bill Harry.

"The Paul McCartney Encyclopedia"The Beatles 1963-1970


A number that Paul composed in Bermuda during the filming of Help!
He wrote it in the company of actor Brandon DeWilde. John was
possibly to make a contribution to it at a later date.
The song was actually included on the Rubber Soul album and was
recorded on 17 June and 11 November 1965.
See 'DeWilde, Brandon'.
Wait In The Dark
A number that Paul composed while on holiday with his family in
Jamaica in January 1995, although it remains unreleased.
Walker Art Gallery
The Walker Art Gallery in Liverpool was built in 1877.
Following Paul's 'Driving USA' Tour he returned to England to attend
the exhibition of his works at the Walker Art Gallery, which opened
on Friday 24 May 2002. He'd attended a private viewing, accompanied
by Heather, his bride-to-be, at the Gallery the previous day.
The exhibition included seventy paintings and sculptures that Paul
has created over a period of twenty years, including portraits of
Linda, John Lennon and Larry King, with a 1988 painting called The
Kiss showing Paul and Linda kissing. The King print is one of two
works incorporating digital photography. There were also some
sculptures made from driftwood. They came from his homes in Britain
and America and none of them were allowed for sale, although 25
signed copies of each of the three pictures in the exhibition were
sold at £1,000 each.
Paul commented, 'I felt that only people who'd gone to art college
were allowed to paint. A lot of the time all I want to do is paint.'

Paul's exhibition broke records at the gallery, whose previous

record was of 1,000 visitors a day for an exhibition of drawings by
Leonardo da Vinci. Prior to that the 'Art Of The Beatles' exhibition
which took place there from 4 May to 30 September 1984 attracted the
largest crowds in recent times.
Michael Simpson, the former curator of modern art at the Walker Art
Gallery, selected the works in the exhibition although by the time
of the exhibition he had moved to run the new Imperial War Museum in
Sadly, British critics in particular have been unkind to Paul's work
with one describing them as 'dreadful daubs defying description'.
Critic Brian Sewell wrote, 'His work has no merit. It is rubbish.
What is worse, the man thinks he is a genius. He will be walking on
water next,' while Robin Simon, editor of the British Art Journal
commented, 'I was shown examples of his work last year without
having any idea who had painted them - which is, of course, how one
should always review art. What I saw was a dog's dinner.'
However, there were some positive reviews. Phil Key was to write:
'McCartney paints in a semi-abstract fashion using a bright palette,
taking on several influences and often with his heart worn well on
his sleeve.
'They are works of emotion - lots of personal references abound -and
no more so than in works like The Kiss and Yellow Linda with Piano
... it is certainly an enjoyable show, nothing here to frighten the
horses and a lot of it is pure pleasure.'
Paul was in good company at the gallery. On the same floor as his
exhibition there was another new exhibition, 'Turner's Journey Of
The Imagination', with works of William Turner, Britain's finest
landscape painter.
Paul explained why he had chosen the Walker Art Gallery to hold his
exhibition. 'I feel comfortable here. I like Liverpool. Some people
kind of leave their home town and turn their backs on it, but it's
not the way it has been with me. I have a lot of family here. I like
to reach Liverpool off the motorway. I like the people. I like to
come back here. I feel a bit safe here.'
Walking In The Park With Eloise
A number that was originally composed by Paul's father James in the
early 1950s under the title 'Eloise', although it had never been
written down.
While Wings were recording in Nashville during June and July 1974,
Chet Atkins, who was working on the sessions, suggested that Paul
record it.
The session took place on 16 July 1974 at the Soundshop recording
studios and the musicians were Paul on bass, Denny Laine on acoustic
guitar, Geoff Britton on drums, Chet Atkins on electric guitar,
Floyd Cramer on piano, Bobby Thompson on banjo, Bill Puitt on
clarnet, Sheffield on trumpet and Dennis Good on trombone.
The number, 3 minutes and 7 seconds in length, was issuded under the
name the Country Hams in Britain on EMI 2220 on Friday October 1974
with 'Bridge Over The River Suite' as the flip. It was releasea jr.
America on Monday 2 December 1974 on EMI 3977.
When Paul made his appearance on Desert Island Discs he said that
the record was one of his all-time favourites, so EMI re-released it
on Wednesday 3 March 1982.
Walking Man
A James Taylor album issued by Warner's in 1974. Paul provided
backing vocals on the tracks 'Rock 'n' Roll Is Music Now' and 'Let
It All Fall Down'.
Walton Hospital
Situated at 107 Rice Lane, Liverpool. Paul was born here on 18 June
1942 in a private ward, the first child of Mary and James McCartney.
Paul's mother had once been a nursing sister in the hospital's
maternity unit.
A number lasting 3 minutes and 49 seconds on the Tug Of War album.
Among the musicians who backed Paul on the track were Denny Laine on
electric guitar and Adrian Shepherd on drums and percussion.
Warm And Beautiful
A number on the 1976 Wings At The Speed Of Sound album, which Paul
wrote for Linda. Two euphoniums were used on the track. Paul was to
re-arrange the number for Working Classical. It was 3 minutes and 12
seconds in length.
Water From The Wells Of Hope
An album by Johnny Cash, issued on Monday 19 September 1988. Paul
made a guest appearance on the album.
Waterfalls (cottage)
A two-bedroom cottage near Rye, Sussex that Paul and Linda bought in
June 1974 from Mr Jim Huggs for £40,000. The property included
acres of farmland and a number of animals and pets - 11 horses and
ponies, 10 sheep, 18 pheasants, ducks and hens, 3 dogs and an aviary
of budgerigars.
Waterfalls (promotional film)
The promotional film, filmed in June 1980, featured Olaf, a polar
bear from Chipperfields Circus. The animal (eight-foot high when
standing) was hired to appear in the video with Paul to promote the
'Waterfalls' single. The video was made inside an aircraft hanger
and one and a half tons of polystyrene was used as snow. The
promotional film was eventually shown twice on independent TV.
There were actually six promos made of the number, produced by Keef
& Co. One version was seen on the TV programme 'Meet Paul
McCartney'; another was screened on the ATV Saturday morning show
Tiswas on 14 June 1980. The promotional film was also due to be
shown on Top Of The Pops, but didn't appear due to a technician's
Waterfalls (single)
The title of a track that first appeared on McCartney II in May
1980. It was then issued as a single in Britain on Friday 14 June
1980 on Parlophone R6037 where it went to No. 7 in the charts. It
was issued in America on Tuesday 22 July on Columbia 1-11335 where
it struggled to reach No. 106. The picture sleeve on both sides of
the Atlantic featured a painting of a waterfall by Christian
Broutin; the back cover featured a photograph of Paul by Linda. The
flipside of the single was 'Check My Machine'. The single was issued
in Germany on Odeon 1C600-63969.
A number recorded during the London Town sessions, but not included
on the album. It was almost issued on the proposed Cold Cuts in 1981
and the 1987 release All The Best.
Watkins, Geraint Meurig Vaughan
A Welsh pianist, born in Abertridwr, South Wales on 5 February 1951
(although some reports say 2 February). After leaving Portsmouth Art
College he appeared with various groups including Juice In The
Loose, Red Beans And Rice and the Balham Alligators. He also became
an in-demand session musician, appearing with numerous major names.
On the Run Devil Run album he played piano on the tracks 'All Shook
Up', 'Lonesome Town' and 'Try Not To Cry'.
Paul's wealth not only comes from his records and concert tours, but
also from the four companies which he owns outright or has a stake
in, such as MPL Communications, MacLen, Macsolo and Apple.
In The Sunday Times Guide To The Richest 1000 People In Britain,
published on Sunday 7 April 2002, Paul came in at No. 34 with
million. They reckon that his companies made about £4.8 million
profit in the preceding year on sales of £17.1 million. They also

pointed out the £138 million that he inherited from Linda.

The magazine also referred to Heather Mills' comment, 'If I were
going to go out with anyone for their money, I would be with someone
a lot richer.' Such a quote has left her open to a great deal of
press comment.
We All Stand Together
The song which brought George Martin and Paul together again in the
recording studios. The number was penned for the soundtrack of a
short animated featurette 'Rupert and the Frog Song' about Rupert
Bear. Martin produced it in his AIR Studios on Friday 31 October and
Monday 3 November 1980. The King's Singers and the St Paul's Boys
Choir backed Paul.
'We All Stand Together' was eventually released in Britain on
Parlophone R6086 on Monday 5 November 1984 and rose to No. 3 in the
British charts. It was also issued in Germany on Parlophone IA
A cut-to-shape picture disc was also issued on Monday 3 December
1984 on Parlophone RP 6086.
The flipside was a humming version of the song, credited to Paul
McCartney and the Finchley Frogettes.
Incidentally, in the 1958 edition of the Rupert annual, there is a
picture of a frog conducting a frog orchestra with two cats and an
owl in the background.
Webb, Bernard
A pseudonym Paul used for the number 'Woman', which was recorded by
Peter and Gordon.
Paul was to comment, 'I tried to write a song under another name,
just to see if it was the Lennon and McCartney bit that sold our
songs. I called myself Bernard Webb and I was a student in Paris and
was very unavailable for interviews. Peter and Gordon made it a big
hit and then it came out that it was me. I realised that when I saw
a banner at a concert saying, "Long Live Bernard Webb".'
Webb, Peter
The director of the feature film Give My Regards To Broad Street.
David Puttnam had suggested to Paul that he should contact Peter,
who had only previously directed television commercials.
Commenting on Broad Street, Peter said: 'I liked the Runyonesque
feel and its irony, which I understand. It's a totally imaginary
story. What I've attempted to do is to make a film that is as
original as the music within it, and as inventive. There's a
mystical element in McCartney's music. The movie has a dreamlike
quality. Its strength is its simplicity.'
Webb had won several awards for his television commercials, which
includes ones for John Courage Ale, Ovaltine and Hovis.
The Yorkshire-born director said, T had worked with Paul six months
earlier on a different project, and I knew that there wouldn't be
any problem. Paul has a good visual sense and quite a grasp of
cinematic construction. There is none of that star stuff about him,
he respects professionalism. We never had any real arguments, but
there were naturally some disagreements. I lost some and I won some
as you would with anyone. Musically, I relied on him heavily, but
even there he was flexible. One song we were doing fell a little
short of what we wanted dramatically, and I told him. He went home
that weekend and wrote me another chorus.'
We Can Work It Out
It has been suggested that Jane Asher was once again Paul's
inspiration when he wrote this song. And John once again helped him
with the song's middle section.
The number had the distinction of being the very first Beatles
double A-side with 'Day Tripper' and it was issued in Britain on 3
December 1965 on Parlophone R5389, leaping straight to the top of
the charts. In America it was issued on 6 December 1965, where it
sold a million copies and also topped the charts.
It was included on A Collection Of Oldies (But Goldies), The Beatles
1962-1966, The Beatles Box, 20 Greatest Hits and the American album
Yesterday And Today. This is also a number that has been recorded by
dozens of different artists, including Dionne Warwick, George Burns,
Petula Clark, Deep Purple, Humble Pie, johnny Mathis, Melanie,
Johnny Nash, Sam &c Dave and Caterine Valente. Stevie Wonder had the
most successful version in 1971 when his single reached No. 9 in
America and No. 22 in Britain. The Beatles performed the song on
their British tour in 1965.
A live version of the number lasting 2 minutes and 40 seconds was
recorded at the East Rutherford concert, New Jersey on 11 June 1993
and included on the Paul Is Live album.
We Got Married
An initial version of this number was first co-produced by Paul and
David Foster on 1 December 1984. A version of this number, lasting 6
minutes and 38 seconds, was included on the Tripping The Live
Fantastic album. It was recorded live at Wembley Arena, London on 16
January 1990 during the 1989/90 World Tour.
Weep For Love
A Wings track recorded at Lympne Castle, Kent in 1979, which Denny
Laine included on his album Japanese Tears. Paul, Linda and Steve
Holly are heard singing in the background and there is a guitar solo
by Laurence Juber.
Welcome To The Soundcheck
A 42-second link from the sound check of a concert rehearsal, which
was included on the Paul Is Live album.
Weller, Paul
Weller, former leader of the Jam and Style Council, was once said in
the 1970s to be the greatest musical genius since Lennon and
McCartney. In 1995 for a time he also went out with Paul's daughter
Mary. He was estranged from his wife at the time.
Paul teamed up with Weller and Noel Gallagher of Oasis on 4 August
1995 at Abbey Road Studios to record 'Come Together' for a charity
album called Help, which was in aid of victims of the war in Bosnia.
The trio used the name the Mojo Filters.
'Come Together' was also issued as a single in three formats on 4
December 1995. These comprised a 7" on Go! Discs GOD 136 with 'A
Minute's Silence' by the Beautiful South on the flip; a cassette on
GODMC 136 with the same two tracks and a CD on GOSCD 136 with 'Is It
Me?' by Dodgy and 'In The Name Of The Father' by Black Grape.
Discussing recording with Paul McCartney, Weller said, 'He was
jamming all day with all of us, doing "Green Onions" and "Time Is
Tight", playing the drum kit, playing through one song he'd written
on the way up from his farm or whatever, we were jamming on that. At
one point that was going to go on the album. We ran out of time,
We Love You
A single by the Rolling Stones that was issued in Britain on Decca
F12654 on 18 August 1967, and in America on London 905 ten days
later. Paul and John Lennon provided backing vocals.
We're All Paul Bearers
Another American 'Paul is Dead' novelty disc issued in 1969 on
Viking 1004 by Zacharias and the Tree People. It featured 'We're all
Paul Bearers Pt 1� on the flip.
We're Open Tonight
A track on the Back To The Egg album, which Paul wrote in Scotland.
It was originally intended to be the title of the album, but Linda
suggested Back To The Egg.
Western Springs Stadium
The venue in Auckland, New Zealand where Paul paid his first visit
to New Zealand since 1964 when he performed a concert on Saturday 27
March 1993. Paul had arrived in New Zealand on Thursday 25 March and
rehearsed at the stadium the following day. He and Linda were
staying at a house called 'Waimanu' in Herne Bay, Auckland while the
band lodged at the Regent Hotel and the crew stayed at the Hyatt
Kingsgate Hotel. Paul also held a press conference at the venue. The
sole New Zealand artist on the concert was singer Annie Crummer, who
opened the show. When Paul introduced the band he sang 'Happy
Birthday' to Wix, as it was his birthday that day. His daughter Mary
was also on stage, videoing the crowd. His performance of 'Mull Of
Kintyre' saw him backed by the Continental Airlines Pipe Band.
Following their concert they held a party at the Regent Hotel until
3.30 a.m. It was their last concert of their Australasian Tour and
they returned to Britain the following day.
Wetten Dass
A celebrity game show on the German television channel ZDF. On 11
December 1999 Paul appeared on the programme discussing his early
days in Hamburg, recalling the times when the Beatles performed at
the Kaiserkeller, Top Ten and Star Club. He also plugged a new book
Hamburg Days by Klaus Voormann and Astrid Kirchher.
What Do We Really Know?
A number from Mike McCartney's 1974 album McGear which was produced
by Paul. Paul also wrote it and can be heard singing alongside Mike.

What It Is
A track from the Run Devil Run album lasting 2 minutes and 23
seconds. It was recorded at Abbey Road Studios on Thursday 4 March
1999 with Paul on lead vocal, bass guitar and electric guitar, Dave
Gilmour on electric guitar, Mick Green on electric guitar, Peter
Wingfield on piano and Ian Paice on drums.
It was his third original number on the album and he wrote it for
What's That You're Doing?
A song Paul co-wrote with Stevie Wonder. It took place during the
recording sessions at George Martin's AIR Studios on the Island of
Montserrat on Thursday 26 February 1981 for the 1982 Tug of War
album and was included on the finished album.
Stevie was one of the artists who'd agreed to contribute backing
vocals. They wrote the song together during a joint jam session.
Stevie and Paul both sang lead vocals on the finished version, which
was 6 minutes and 21 seconds in length. Paul, Linda and Eric Stewart
provided backing vocals.
Paul also played drums and later overdubbed bass, electric guitar
and vocals while Andy Mackay of Roxy Music provided the sax sound.
When I'm Sixty-Four
Paul originally conceived the basic idea for this song in the late
1950s, and was to say: 'I wrote the tune when I was about fifteen, I
think, on the piano at home.' He later said he'd written it when he
was sixteen. During 1966 he remembered the unfinished number and
added a new set of verses in honour of his father's 64th birthday,
which fell in June 1966. And it became the first number completed
for the Sgt Pepper album (as 'Penny Lane' and 'Strawberry Fields
Forever' had been taken off the album).
It was recorded at Abbey Road Studios on 6 Decemberl966 and overdubs
were added on 8, 20 and 21 December.
When asked to comment on the number in a Playboy interview, John
Lennon said, 'I would never even dream of writing a song like that.'

When The Night

A track on the Red Rose Speedway album lasting 3 minutes and 41
seconds. Paul sang lead vocal and played piano while Linda played
electric bass piano and provided harmonies. Denny Laine was on
acoustic guitar and harmonies, Henry McCullough on acoustic guitar
and harmonies and Denny Seiwell on drums and harmonies.
When We Was Fab
A George Harrison number, released on 30 January 1988. George
invited Paul to appear in his promotional film. However, Paul wasn't
available to appear in the video. He said, 'I suggested that he put
someone else in a walrus costume and tell everyone that it was me.
We've always had fun with the walrus thing. We don't lay many false
trails but the walrus has always been one of them.'
Whitten, Chris
A drummer, born in Wimbledon on 26 March 1959. He attended Leeds
College of Music and joined a band called Gary Boyle in December
1977. He then joined several other bands and backed various solo
artists before becoming a member of Paul McCartney and his Band in
The other outfits following Gary Boyle were the Shakers, Rank &
File, Mecca Band, Live Wire, Out, the Catch, the Waterboys and
Julian Cope.
In 1990 he said, 'I played in sort of punky rock bands before I did
this, and I thought, "McCartney, yeah, there will be some ballads,
it should be a fairly easy gig to breeze your way through." And I
end up thrashing me guts out every night.'
Whitten decided to leave Paul McCartney and his Band and later
toured with Dire Straits. Discussing his decision to leave Paul, he
said, 'I realised that I had been with McCartney for three years,
which is a long time. I'm a session player at heart, I love the
diversity of playing with all kinds of artist, in all kinds of
styles. Since the end of the tour was coming up, I decided the time
was right.'
Why Don't We Do It In The Road?
During the The Beatles double album sessions, Paul took Ringo aside
and recorded this rocker with him. Several years later John was to
say how disappointed he was that Paul hadn't consulted him and
George about recording the number with him. He was to say, 'I can't
speak for George, but I was always hurt when Paul would knock
something off without involving us.'
In 1981 Paul commented, 'There's only one incident I can think of
which John has publicly mentioned. It was when I went off with Ringo
and did "Why Don't We Do It In The Road?" It wasn't a deliberate
thing. John and George were tied up finishing something, and me and
Ringo were free, just hanging around, so I said to Ringo, "Let's go
and do this."
'I did hear John some time later singing it. He liked the song, and
I suppose he'd wanted to do it with me. It was a very John sort of
song anyway. That's why he liked it, I suppose. It was very John,
the idea of it, now me. I wrote it as a ricochet off John.
'Anyway, he did the same with "Revolution 9". He went off and made
that without me. No one ever says all that. John is now the nice guy
and I'm the bastard.'
In an interview regarding the various Beatles songs that had been
written John commented, 'That's Paul's. He even recorded it by
himself in another room. We came in and he'd made the whole record.
Him drumming. Him playing the piano. Him singing. Still, I can't
speak for George, but I was always hurt when Paul would knock
something off without involving us. But, that's just the way it was
The number was recorded at Abbey Road Studios on 9 October 1968 and
overdubs were added on 10 October. During the Let It Be sessions,
John jokingly inserted the line 'Why don't you put it on the toast?'
in between numbers.
Wickens, Paul 'Wix'
A keyboards player in the Paul McCartney band.
Born Paul Wickens in Brentwood, Essex on 27 March 1955, he has
always been known as 'Wix'.
Educated at St Paul's College, Gloucester, he originally had
ambitions to become a PE teacher but decided on becoming a musician
and formed a band called the Young Ones in 1977. In 1980 he joined
Kevin Coyne and appeared on four albums with the band.
Wix considers himself a studio musician and has worked with various
artists in recording studios. He has also been involved with a
number of bands, spending eighteen months with the Waterboys. He
toured America with U2 and also spent two and a half years playing
in a band led by Julian Cope.
Wix first became involved with Paul at the time of the recording of
the Russian album in July 1987. He then did some TV shows with Paul
for 'Once Upon A Long Ago' and then he began to work on the album
with Paul and Hamish Stuart and, as they needed some guitar work,
Robbie Mclntosh became involved halfway through the album.
Wide Prairie (album)
A posthumous solo album by Linda McCartney featuring sixteen tracks,
thirteen of them original songs by Linda that she'd recorded over a
period of years together with three of her favourite rock and roll
and R&B numbers. The tracks were recorded in England, America,
France and Jamaica between November 1972 and March 1998.
Paul produced the record on which their son James is also featured
playing lead guitar, and Paul also sang backing vocals and played a
variety of instruments.
The album was released in Britain by EMI on Monday 26 October 1998
and in America by Capitol on Tuesday 27 October 1998.
Paul was to say, 'A couple of years ago, a fan wrote to Linda saying
she had enjoyed "Seaside Woman" and asked if there were any more
tracks of her available. That letter made us decide to gather all
the music she had recorded through the years and put it on one
He pointed out that the title track had originally been intended for
a planned Cold Cuts album of his own. He said the number was about
'Linda's fantasy. Her passion for horses and riding started as a
gradual thing and remained with her all her life.' He said that 'I
Got Up' was 'typical of Linda's unwillingness to put up with other
people's bullshit. She hated worlds like "should" and "compromise".'
On the cover of the 1950s number 'Poison Ivy' he said, 'She had a
lasting affection for doo-wop music, having spent many hours under
the bedclothes with a transistor radio glued to her ear.' On the
track 'The Light Comes From Within', which was finished a month
before Linda's death, Paul said, 'This was Linda's answer to all the
people who had ever put her down, and that whole dumb male
chauvinist attitude, that to her had caused so much harm in our
society. God bless her ... my baby literally had the last word.'
The tracks were: 'Wide Prairie', 'New Orleans', 'The White Coated
Man', 'Love's Full Glory', 'I Got Up', 'The Light Comes From
Within', 'Mr Sandman', 'Seaside Woman', 'Oriental Nightfish',
'Endless Days', 'Poison Ivy', 'Cow' 'B-Side To Seaside',
'Sugartime', 'Cook Of The House' and 'Appaloosa'.
In his sleeve notes to the album, Paul wrote, 'During the last
couple of years of her life, we were required to make many trips up
to London for one treatment or another. We always put the journey
time to good use. She and I talked a lot about this album and the
lyrics to some songs were finished on such trips.'
Her friend Carla Lane penned the lyrics to two of Linda's songs,
'Cow' and 'The White Coated Man'. The first was about a cow that a
farmer was about to send to the abattoir and the second about a
little puppy who is in a cage and naively believes that the
vivisectionist in the white coat is his friend.
Carla was to comment: 'She worked at it until the end. She wanted to
get the record out no matter what she was going through. This is the
bravest album ever made.'
The single 'Wide Prairie' was issued in Britain as a single on
Monday 9 November 1998 and issued in America on Tuesday 10 November.

Paul went on the Internet on 17 December 1999 to discuss the album,

saying that his favourite song was 'The Light Comes From Within'. He
said, 'Because of the feisty way Linda hits back at her critics and
detractors. I also love the ballads "Endless Days" and "Love's Full
Glory". And for other reasons to do with animal welfare I love "The
White Coated Man".'
He also said that 'Love's Full Glory' 'wasn't a surprise for a
special occasion. It was true that after I'd written "My Love",
Linda liked the idea of working on a follow-up. She wasn't playing a
piano, but a mini-Moog. She had a wonderful melody on there.'
Paul also explained how Linda composed the song 'Endless Days'.
'She worked on the song in her own session and brought it in. There
it was, done without my participation. I think it's a sweet song. A
bit emotional for me, that is.'
He also revealed that there was one more song by Linda that hadn't
seen the light of day, which he might make a recording of.
Discussing the controversial lyrics of 'The Light Comes From
Within', he said, 'Those lyrics are full of tongue-in-cheek anger.
Yeah, they were in response to a long string of slights. In the
early days, a lot of people were jealous. People were upset when she
joined Wings -they thought we should have had "stars" and not "my
old lady" on stage.'
Wide Prairie {V\\m)
Shortly before Linda died of breast cancer she collaborated on a
short animated film with Oscar Grillo called Wide Prairie. It
received its world premiere at the Edinburgh Film Festival on
Wednesday 19 August 1998 on the same bill as The Horse Whisperers.
The film was based on a song that Linda had written and recorded.
Grillo was to comment, 'It was so evocative. Beautiful images. She
rode at night and felt the stars and open sky were so close she was
riding in the skies.'
The film was a surreal animated tale about a woman who longs to
escape the drudgery of everyday life by riding horses with her
Sheila Whitaker, the former director of the London Film Festival
called the film 'beautiful' and said, 'It's a song that Linda
performed in a country and western style and it's about family,
freedom of the range and all that kind of thing. And it's great fun.

'The animation visualises the song and it is very nice, very warm -
and it makes you come out feeling good basically. It's about six
minutes long and it's very well animated.'
Wild Honey Pie
A recording Paul made during The Beatles double album recording
sessions. The song had its origins at a singalong at the Maharishi's
ashram in India and Paul was the only member of the Beatles on the
John, George and Ringo weren't around when Paul recorded this brief
number at Abbey Road Studios.
Paul sang, played guitar and bass drum and also double-tracked. At
only 53 seconds in length, it is the shortest cut on The Beatles
White Album. When Paul had originally penned the song in India, he
had never really intended recording it. However, both Jane Asher and
Pattie Harrison liked it and encouraged him to record it. He
commented: 'This was just a fragment of an instrumental which we
weren't sure about, but Pattie liked it very much so we decided to
leave it on the album.'
It's not to be confused with another number by Paul, recorded later
the same year, called 'Honey Pie'.
Wild Life (album)
The first Wings album. It was issued in Britain on Apple PCS 7142 on
3 December 1971 where it reached the position of No. 11 in the
charts. In America it came out on Apple SW 3386 on 7 December,
reached. No 10 in the charts and achieved Gold Disc status.
Paul had written the material for the album with Linda, and then
decided to form a group that they could take on the road and
selected Denny Laine and Denny Seiwell as the basis of the
four-piece Wings.
Paul said, 'Denny (Laine) came round to see me and we played
something together, just rehearsing, and it sounded great. We had a
very short rehearsal time. We just banged out a few chords and
played what we wanted.'
He also commented, 'It's very simple stuff on the album. Tony Clarke
engineered it for us, and we told him we wanted it fat and funky.'
The entire album was recorded in the studios in a three-day period
during August 1971, which left the group open to criticism for the
haste in which it was recorded.
The only song that Paul and Linda didn't pen was 'Love Is Strange',
which had provided the Everly Brothers with a hit in 1965. The
tracks on the album were: 'Mumbo', 'Bip Bop', 'Love Is Strange',
'Wild Life', 'Some People Never Know', 'I Am Your Singer',
'Tomorrow' and 'Dear Friend'.
Responding to critics, Paul was to say, 'When Wild Life came out,
all the critics said that it was rubbish, so I started thinking like
them that it was rubbish. But when I heard it later, I really liked
it and I still think it's quite good. OK, I didn't make the biggest
blockbuster of all time. But I don't think you need that all the
time. We did Wild Life very quickly. You see, Wild Life was inspired
by Dylan, because we heard that he'd just been in the studios and he
just took one week to do an album. So we came in and thought,
"Great, we'll do it a bit like that and we'll try to get just the
spontaneous stuff down and not to be too careful with this one." So
it came out like that and a few people thought that we could have
tried a bit harder, but I'd like to see them do it.'
Linda was to say, 'We've put the rock songs on one side and the slow
ones on the other. That's so you can play it at parties. When you
want to dance you play Side One, when you want to croon you play
Side Two.'
Although the album was completed rapidly in Abbey Road Studios in
August, it wasn't released until December. Paul was not pleased with
Allen Klein's control of Apple and didn't want the album issued by
Apple. However, the company had the right to release it and it was
issued by them, although it was the first Beatles-related album not
to sport the famous Apple Granny Smith logo.
Wild Life (song)
The title track of Wings' debut album that the group began to
perform live in 1972. Paul said he was inspired to write the song
following a visit to a game park in Ambosali, near Nairobi on a
safari holiday in November 1966. He recalled it as place 'where the
animals have the right of way over you'.
Wild Prairie Maid
A number recorded by Linda McCartney and Wings during a session in
Paris in 1974. They used the pseudonym Suzy and the Red Stripes.
Williams, Angie
Paul's stepmother. Angela Williams was a widow who married Jim
McCartney on 24 November 1964. She was 34 years old and Jim was 62.
Jim proposed on the couple's third meeting and Angela was initially
hesitant as she had a four-year-old daughter, Ruth, and Jim was more
than 25 years her senior.
They settled in the McCartney home 'Rembrandt' in Hoylake on the
Wirral, the house that Paul had bought.
Following Jim's death, Angie attempted to make a living for herself
by setting up a pop-group agency in Liverpool, but Paul was angry at
her use of the family name. In 1981 she moved south with her
daughter and reverted to the surname Williams.
That same year she told her 'story' in a series of articles ghosted
by Tony Barrow, the Beatles' former PR. The articles appeared in the
Sun newspaper and were highly critical of Paul and his attitude
towards her, causing further estrangement between them.
Angie later sold Paul's birth certificate and a furious Paul told
the Sunday Mirror in November 1995 that by doing so she had betrayed
his father.
Angie told the same newspaper, 'We don't exist. Paul has written us
out of his life. It's heartbreaking. I write and send Christmas
cards, but never receive a reply.'
At the time Angie was living in Nashville. She said, 'I got on fine
with Paul at the beginning and he loved Ruth. Paul was twenty-two
then and she was like a new toy for him. Ruth was four when I
married Jim. We changed her name to McCartney by deed poll.'
She said that Jim had received a £7,000 a year allowance from
but after Jim's death in March 1976 - 'Zilch. Nothing.'
They were hit by hard times and Angie and her daughter moved to
America. She sold the birth certificate in America but claimed it
was only a copy.
She added, 'I have always regretted selling the birth certificate,
but it put a Christmas turkey on the table, and it was about the
only thing I had to sell at that stage. I know that I have done some
silly things in my life, but I'd just like to say to Paul that it's
time to heal the hurt now for the sake of his father.'
In answer, Paul said, 'She was my dad's second wife, and after he
died, she fell out with me and all our Liverpool family. She then
sold my birth certificate, which I didn't think you could do, and
she sold a story to the newspapers - and here she is running to the
newspapers again.
'I might say that she sold my birth certificate without saying
anything to me or letting me know that she was putting it up for
sale at auction. So some bugger has got my birth certificate now,
and I don't know who that is. I consider that to be an act of
betrayal towards my father. I'm no different from any other member
of the human race, and we all know people like this. As far as I'm
concerned it's all over between us and that is the opinion of the
rest of our family. I don't wish Angie and Ruth ill, but I and the
family generally consider that she married my dad for money and
she's just in it for the money.'
Williams, Elizabeth
Paul's great-grandmother. She married James McCartney in 1864.
Wilson, Brian
Brian Wilson, born on 20 June 1942, was the leader and composer for
the Beach Boys and Paul admired his work and was particularly
enthusiastic about the album Pet Sounds.
Paul and Linda visited Brian on his 34th birthday on 20 June 1976 at
his brother Carl's beachside home. Some footage of the visit was
included on the 1985 documentary 'The Beach Boys: An American Band'.

Paul and Linda attended the Beach Boys concert in Anaheim,

California on Saturday 10 July 1976. The concert was something
special as Brian was appearing live on stage with the group for the
first time in twelve years. Other celebrities in the audience
included Jan and Dean, Tony Kaye, Rod Stewart, Leo Sayer and Jesse
Ed Davis.
A conversation between Wilson and Paul was heard in the Oobu Joobu
radio series in 1995. Producer Eddy Pumer commented, 'Brian goes on
about how he just flipped over the lyrics of "The Long And Winding
Road" and then he sings a bit of "Hey Jude", and starts messing with
it. Paul does a scat of "California Girls", too. They mess around
with three or four songs, including "She's Leaving Home".'
Paul inducted Brian Wilson into the Songwriter's Hall of Fame in a
ceremony in New York City on Thursday 15 June 2000. He said:
I'm very honoured to be here as a songwriter. I've always loved the
fact that I am. Tonight, I'm even prouder. I think one of the things
when you first write a song and it comes out of you, there's a magic
moment when you just think 'Oh, yeah. Wow. That's it. I've done it.'

And so many people, the great writers and performers here tonight,
know that moment. Another great moment is when you realise the
effect it has on other people. I think a lot of the great writers
here tonight have had people come up to them and say, 'You saved my
life, man.' You know, 'I was going through college and it was hell,
but I heard your stuff, you know.'
I'd have a headache and I'd put on a certain record and (Paul makes
a sound) no headache at the end of the record. And the person I'm
going to honour, induct him into this great Hall of Fame tonight,
has had that effect on me many times.
In the sixties particularly, he wrote some music, when I played it,
it made me cry. And I don't quite know why. It wasn't necessarily
the words or the music ... there was just something so deep in it
that there's only certain pieces of music can do this to me. Just
reaching down in me and I think it's a sign of great genius to be
able to do that with a bunch of words and a bunch of notes.
And I would take, in later years, I would take my kids aside, and
say, 'Listen to this bit of music here.' And they would watch my
crying, and they understood. They're at an age now where they're
ready to cry at that stuff.
So there you go, that's why I'm here tonight ... to honour this
particular gentleman who I have so much respect for. I think,
personally, he's one of your great American geniuses, so I feel
honoured as a fellow songwriter and as a fellow bass player ... yo
dude ... just to be part of this whole thing.
You know, all the writers here, I just get thrilled and this man, he
deserves to be in the Hall of Fame, that's for sure. So thank you,
sir, for everything you've done for me, for making me cry, for
having that 'thing' you can do with your music. You just put those
notes and those harmonies together, stick a couple of words over the
top of it and you've got me. Any day. Ladies and gentlemen, Brian
On 13 June 2001 Paul turned up at the Greek Theater, Los Angeles for
the Brian Wilson and Paul Simon Concert. Brian introduced Paul to
the audience, stating that the next song 'God Only Knows' was one of
Paul's favourite songs. Paul also took to the stage to sing 'I've
Just Seen A Face' with Paul Simon.
57 Wimpole Street, London
The home of Jane Asher's family. It had five bedrooms, four
reception rooms, five bathrooms and two kitchens. The Asher family
moved into the premises in 1957 from a flat in nearby Portland
Paul moved in during November 1963. He'd been sharing a flat in
Green Street, Mayfair with the other members of the group, and
happened to mention to Jane's mother that he didn't like it there.
She suggested that he move into their five-storey house, saying,
'Why don't you stay here for a little while.' Paul later commented,
'Margaret Asher cooked, I liked the family - and I hadn't been happy
in Green Street because I was used to a family situation.'
Paul settled in a small room at the top of the house, which he
described as 'a bit of an artist's garret, right next to Peter
Asher's room. It was one of those huge Wimpole Street houses and
Jane lived a couple of floors down, next to her mum and dad.'
Paul's room contained a bed, an easy chair, a record player, a small
piano and overlooked the rear of the house. It was self-contained as
it had its own bathroom. Peter Asher was in the bedroom next door
and Jane and her sister Claire in the rooms below on the next floor.

Among the songs he composed in the Wimpole Street house were 'I Want
To Hold Your Hand' and 'Yesterday'.
Winedark Open Sea
A track from the Off The Ground album, penned by Paul and lasting 5
minutes and 25 seconds.
Wingfield, Pete
A British pianist who became part of Paul McCartney And Friends in
1999, participating in the recording of the Run Devil Run album and
making live appearances such as the famous 'Live At The Cavern Club'
Pete was born in Kiphook, Hampshire on 7 May 1948 and formed his
first band, Jellybread, while still at Sussex University. During his
career he has appeared on numerous recordings for a variety of
artists including the Hollies, BB King, Freddie King, Nazareth,
Chris Rea, the Everly Brothers and Elton John.
Wings (band)
After the birth of Stella in September 1971, Paul was saying, 'I
can't wait to get back on stage again. Television and recording are
not enough. I want to do concerts again and get back to playing live
for the fans and I want Linda to be there on stage beside me.'
He thought of the name Wings while waiting outside the operating
theatre at King's College Hospital for Stella's birth.
Paul decided to form a backing group and initially wanted to start
up in a small way, appearing at colleges. He commented, 'You don't
fight Cassius Clay on your first time out.' He was also to say,
'Don't ever call me ex-Beatle McCartney again. The Beatles were my
old job.'
Discussing the origin of the name, he said, 'We were thinking of all
sorts of names. We had a new group and we had to think of a name. We
had a letter from an old gentleman in Scotland which said, "Dear
Paul, I see you are looking for a name for your group. I'd like to
suggest 'the Dazzlers'." So we were nearly the Dazzlers, with the
big sequinned jackets. But we thought, "No, we need something a
little more earthy," so we thought of Turpentine. But I wrote to the
guy in Scotland and told him that and he wrote back, "I don't think
you'll be calling yourselves Turpentine because that's something
used to clean paint off," so we thought of Wings.
'I thought of the name Wings when Linda was in hospital having
Stella and I had persuaded the hospital to let me have a camp bed in
her room to be with her. I wanted something that would become a
catch phrase like the Beatles. You know, people would say things
like, "We've got beetles in the kitchen," and there would be some
crack about it being us. Anyway, I was thinking for some reason of
wings of a dove, wings of angels, wings of birds, wings of a plane.
So I said to Linda, "How about Wings?" It was at a time when most
people would be thinking about a name for a child, and there we were
talking about a pop group.'
He said, 'The whole idea behind Wings was to get a touring band, so
that we were just like a band, instead of the whole Beatles myth.'
The first new member was Denny Laine, former member of the Moody
Blues. Next in line was an American session drummer Denny Seiwell,
who had recorded with Paul on his second album Ram. Paul also asked
Hugh McCracken and David Spinozza, who had also been involved in
performing on the Ram album, but they both turned him down. All
three musicians were successful session men, but Seiwell decided to
take up the offer.
Linda was the fourth member. When there were questions about Linda's
being in his band Paul said, 'Sod 'em, it's my band and I'll have
who I want in it.' Linda said, 'It was good copy at the time to slag
everything. It never really brought me down much.'
Discussing their early work together, he said, 'Linda did kind of
appear out of nowhere and to most people she was just some chick. I
just figure she was the main help for me on albums at the time. She
was there every day helping on harmonies and all that stuff.'
The group then went into the recording studios in August 1971 where
they recorded Wings' debut album Wild Life, issued in December.
Wild Life received a critical mauling in the media - although it did
enter the Top Ten on both sides of the Atlantic. Paul was to
comment, 'I don't care if people don't like it ... I like it. I've
got an awful lot to live up to, that's the problem. But I know I'm
good. If I'm in the right mood I can write a solid gold hit.'
A launch party was held for the album at the Majestic Ballroom,
London and there was also a press conference at Abbey Road Studios
where Paul told the media that the album had been made in two weeks
and most of the tracks recorded in one or two takes. He said the
object was to achieve a 'live' feel to the album.
When Paul decided that the group should go on the road, performing
at small gigs, he decided he needed another guitar player and
recruited Henry McCullough, former member of Joe Cocker's Grease
Band. His first recording as a member of Wings took place on 1
February 1972 when Wings recorded 'Give Ireland Back To The Irish',
a debut single which created a great deal of controversy following
the events of 'Bloody Sunday'.
A week after the recording session, on Tuesday morning, 8 February
1972, Paul, Linda, Heather and Mary McCartney, Denny Laine, Denny
Seiwell and Henry McCullough left London by car and caravan,
travelling in a small truck with instruments and amplifiers. They
turned off the Ml at Hatherton because Paul thought it sounded tike
Heather. They arrived at Ashby de la Zouch, but found no village
hall was available and ended up in Nottingham. They'd had no
destination in mind. McCullough then remembered a year he was with
the Grease Band and they had performed at Nottingham University, so
they drove to the campus and Paul said to the first two students he
met, 'How's about us giving you a concert here tomorrow?'
At midday next day they were on stage performing in one of the
college halls. It was Paul's first in front of a live audience since
Candlestick Park in August 1966.
The posters, hurriedly written, had announced, simply: 'Today! Guest
group - Paul McCartney and Wings! Admission 50p.
The numbers they played were: 'Lucille', 'Long Tall Sally', 'Blue
Moon Of Kentucky', plus tracks from Wild Life such as 'Some People
Never Know', 'My Love', 'The Mess I'm In', 'Henry's Blues' and
'Seaside Woman'. They gave a ninety-minute performance and had a
ten-minute break in between.
'Henry's Blues' was a showcase for McCullough and 'Seaside Woman'
was eventually issued as a single in 1977 under the name Suzy &C the
Red Stripes.
The next day they appeared at York, then Hull, Newcastle, Lancaster,
Leeds (played at the Town Hall), Sheffield, Manchester, Birmingham,
Swansea and Oxford.
The Birmingham University paper Redbrick reported, 'It took a moment
before the audience realised it was really them. The McCartney aura
filled the stage, with all eyes on him.'
Paul said, 'I felt very much alone. For all of thirteen or fourteen
years I'd been in a group, with my mates - four of us who'd been
firm friends since schooldays. Now I had something to prove and I
had to do it on my own, I had to do everything without their help.
'When the Beatles broke up, it was a little difficult, it was like a
messy divorce and I didn't want to do anything that might seem to be
associated with the ex-wife, so to speak, so I avoided doing
material I'd done earlier with the group.'
It was obvious after the university gigs that the group needed far
more rehearsals before embarking on a proper tour and they began
rehearsing at Emerson, Lake & Palmer's Manticore Studios, situated
in a former Odeon cinema in Fulham.
The group's next single was 'Mary Had A Little Lamb'.
During the summer of 1972 Paul decided that Wings should tour Europe
in a double-decker bus, although they encountered problems in Sweden
when they were busted for smoking cannabis - fortunately only
receiving a fine.
The tour lasted for seven weeks and took in twenty-six cities.
They had already begun work on their next album following the
university tour, but completed most of the recordings during October
and the sessions also resulted in their next single, 'Hi, Hi, Hi7 'C
Moon', released in December 1972.
The second album was Red Rose Speedway, issued in 1973, with the
album being credited to Paul McCartney and Wings. The same month saw
the release of the single 'My Love'/'The Mess'. The album topped the
American charts and was promoted in Britain via a tour and the TV
screening of the 'James Paul McCartney' special.
In May 1973 they began their first tour of Britain as headliners,
with Brinsley Schwarz as a support band. With the exception of 'Long
Tall Sally' and Denny Laine featuring on 'Go Now', the repertoire
comprised virtually all Wings material.
In the meantime, the Wings theme for the new James Bond film 'Live
And Let Die' was issued as a single in June.
When Paul was anxious to get into the studios to record his next
album, EMI studios were booked, so he decided to travel to Nigeria
to record in the EMI studios there. On the eve of departure,
McCullough and Seiwell decided to leave the band. McCullough said he
left because of Linda. 'I wouldn't have Linda in the band. She
doesn't have a musical head on her.' Paul, Linda and Denny Laine
arrived in Lagos, with Wings reduced to a trio, with Paul playing on
bass, guitar, drums and synthesiser. The result was the acclaimed
Band On The Run album, which was issued in April 1974 and reached
the top on both sides of the Atlantic and became Wings' first
platinum disc.
By this time Paul had hired a new drummer, Geoff Britton, and had
found a replacement for McCullough in Jimmy McCuIloch, a former
member of Thunderclap Newman and Stone the Crows.
In the meantime new singles had been issued, 'Helen WheelsV'Country
Dreamer' in November 1973, 'Jet'/'Let Me Roll It' in February 1974
and 'Band On The Run'/'Nineteen Hundred And Eighty-Five' in April
In early Wings interviews, Paul had said that he wouldn't be able to
tour America due to his drug busts, but he finally received his
American visa in December 1973.
In June 1974 the band travelled to Nashville for their first
American recording sessions, which resulted in two singles, both
issued later that year - 'Junior's FarmV'Sally G' {in November) and
'Walking In The Park With Eloise'/'Bridge Over The River Suite'
(December). 'Eloise', which had been based on a song by Paul's
father Jim McCartney, was issued under the name the Country Hams.
For the sessions, Paul recruited two famous country artists, Chet
Atkins and Floyd Cramer.
On their return to England they began rehearsing for their first
world tour, with their rehearsals being filmed for a documentary
'One Hand Clapping', which wasn't actually released.
There were tensions in the band between Britton and McCuIloch and by
the time they arrived in New Orleans for more recording sessions in
January 1975, Britton left, to be replaced by Joe English (this
meant that McCullough was replaced by McCuIloch and Britton was
replaced by English!).
This was the line-up that recorded the next two Wings albums: Venus
And Mars, issued in 1975 and Wings At The Speed Of Sound issued in
The albums gave some of the other members the opportunity to shine.
Laine sang lead on three vocals, including one he had penned
himself, 'Time To Hide', while McCuIloch also performed two lead
vocals on numbers he had co-written with Colin Allen. English sang
lead on 'Must Do Something About It' and Linda tackled lead vocals
on 'Cook Of The House'.
In the meantime, singles issued included 'Listen To What The Man
Said'/'Love in Song' in May 1975 and 'Letting Go'/'You Gave Me The
Answer' in September.
Their world tour kicked off in Britain in September 1975 and
continued in Australia during November. There was a break for a few
months while they completed the Wings At The Speed Of Sound sessions
and the tour resumed in March 1976 with European dates. When Wings
appeared in Denmark, Paul and Linda took Heather, Mary and Stella
with them and turned up at the Palace and said, 'Hello, we're the
McCartneys and we've come to see the Queen.' Unfortunately, she
wasn't in the palace that day!
In May the tour hit the United States and was to result in the album
Wings Over America, although it was to prove the group's only tour
of the States. It was during this tour that Paul introduced five
Beatles numbers into the repertoire. They followed it up with a
brief tour of Britain and Europe.
They had been disappointed with the problems relating to a proposed
tour of Japan. Despite the fact that the Japanese embassy had signed
their visas and David Bailey was making a film of Wings' Japanese
visit, the Japanese Minister of Justice said that Wings could not
tour the country due to Paul's record of drug convictions. Paul
commented, 'I suppose he'd say it was my fault for having smoked
some of the deadly weed.'
A proposed tour of America also had to be cancelled. After the group
had performed a concert in Paris, McCulloch had an accident and
broke a finger on his left hand and was unable to play for several
Other Wings singles were 'Venus and Mars'/'RockshowV'Magneto And
Titanium Man' issued in October 1975, 'Silly Love Songs'/'Cook Of
The House' issued in April 1976, 'Let 'Em In'/'Beware My Love' in
June 1976 and 'Maybe I'm Amazed'/'Soily' in February 1977.
During 1977 the Suzi &c the Red Stripes single 'Seaside Woman' was
released (in May), along with Denny Laine's album Holly Days,
produced by Paul.
The Wings Over America album was issued in 1977 and in May the group
travelled to the Virgin Islands where they were to begin recording
in a mobile studio on the boat the Fair Carol.
By September Jimmy McCulloch, who had been showing some
disenchantment with the group, left, intending to join the Small
Faces. He was unsuccessful and was found dead two years later on 27
September 1979 of a suspected drug overdose.
Joe English had also become somewhat unsettled and he also left
Wings to join a band called Sea Level and later to become involved
in Christian music.
The double A-side 'Mull Of Kintyre'/'Girls' School' was issued early
in November 1977 with 'Mull Of Kintyre' becoming the big British
Christmas chart-topper, while 'Girls' School' was the A-side issued,
not very successfully, in America.
In January 1978 Paul and Linda, together with Denny Laine, returned
to the recording studio to complete their new album London Town,
which was issued in May, along with the single 'With A Little
LuckV'Backwards Traveller'/'Cuff Link'.
During the sessions, two new musicians were added to the line-up,
guitarist Laurence Juber and drummer Steve Holly. By the spring they
were both officially members of Wings.
In June 1978 the group began recording at Paul's Campbeltown studio,
the Spirit of Ranachan. The same month a new single i've Had
Enough'/'Deliver Your Children' was released. A further single
'London Town'/'I'm Carrying' was issued in August 1978.
The album sessions continued at Lympne Castle in Kent in September
and on 3 October Wings became part of 'Rockestra', a rock orchestra
formed by Paul for recordings at Abbey Road. Members included Howie
Casey, Pete Townshend, Ronnie Lane, John Paul Jones, Kenney Jones,
John Bonham, Ray Cooper, Gary Brooker and Dave Gilmour.
The 'Rockestra' tracks were 'So Glad To See You Here' and 'Rockestra
As a new album hadn't been completed, EMI issued a compilation,
Wings Greatest including ten hit singles plus 'Another Day' and
'Uncle Albert/Admiral Halsey'.
In March 1979 the television documentary 'Wings Over The World' was
screened, together with a single 'Goodnight Tonight'/'Daytime
Nighttime Suffering'.
The release was on a different label from either Capitol or Apple
-Columbia, who issued the single in both a 7" and 12" format.
In May the new album Back To The Egg was issued, which Paul
co-produced with Chris Thomas.
June saw the single 'Getting Closer' issued in America and 'Old Siam
Sir' in Britain, with 'Spin It On' as the flip.
In August 1979 'Getting Closer'/'Baby's Request' was issued in
Britain and 'Arrow Through Me'/'Old Siam Sir' in America.
On 23 November Wings began their final tour in Liverpool and
performed a free concert in aid of Paul's old school, Liverpool
Twelve days after the last date on the tour, Wings appeared at the
Odeon, Hammersmith to participate in the Concert For Kampuchea, amid
unsubstantiated rumours that the Beatles would be making an
appearance. However, Paul did put together a 'Rockestra', which
included Robert Plant, James Honeyman-Scott and Dave Edmunds.
In January 1980 Wings flew to Japan for the beginning of a second
world tour, but Paul was arrested at the airport for possession of
marijuana and spent nine days in jail, while the concerts, which had
all sold out, were then cancelled.
Due to the cancellation, Wings literally disintegrated. Juber and
Holly left for London and Denny Laine went to Cannes, signed a new
record deal and issued a single called 'Japanese Tears', exploiting
the situation of Paul's arrest.
On his return home, Paul completed a solo album and single. The
single, 'Coming Up', topped the American charts and entered the
British Top Ten. Later in the year the animated film Seaside Woman
was released and won first prize in the short film category at the
Cannes Film Festival and the 'Rockshow' concert film was also
In July Paul worked with Ringo Starr on Ringo's album Stop And Smell
The Roses and Linda, Laurence Juber and Howie Casey were brought in
for the three tracks which Paul produced.
There was a brief reunion of Wings in October to work on a projected
collection of Paul's to be called Cold Cuts, which was never
released because it was pre-empted by a bootleg version.
In 1980 Paul began sessions for his next album, which initially
looked like a Wings album as Linda, Denny Laine, Laurence Juber and
Steve Holly joined him. However, George Martin, who was producing
the album, talked Paul into dispensing with the idea of a Wings
album, so Steve Holly and Laurence Juber left.
Wings were wound up on 27 April 1981.
In 2001 when Paul announced he was going to tour again he was asked
if he would ever re-form Wings. He said, 'You can't re-form Wings
for the same reason that you can't re-form the Beatles, because a
very important member of each band wouldn't be there. With the
Beatles it is John, and with Wings it is Linda.'
Wings - The Birth Of A Band
Following Wings' British tour in 1975 BBC Radio One dedicated an
entire show to the group on Sunday 5 October. Entitled 'Wings - the
Birth of a Band' it was part of the Insight series and was
transmitted at 5 p.m. Paul was interviewed by Paul Gambaccini.
Wings At The Speed Of Sound
An album, recorded in January and February 1976 that was first
issued in Britain on Parlophone PAS 10010 on Friday 9 April 1976 and
in America on Capitol SW 11525 on Thursday 25 March 1976. Paul
produced it and the engineer was Pete Henderson.
It got to No. 1 in both the UK and US charts. This was despite
problems in Los Angeles relating to airplay. The album was premiered
in America on WNEW, a New York station and the Los Angeles station
KHJ-FM played it 24 hours before the other Los Angeles stations
received their copy. This caused some pique with the other stations,
a number of which refused to play the album.
Tracks on the album were: 'Let 'Em In', 'The Note You Never Wrote',
'She's My Baby', 'Beware My Love', 'Wino Junko', 'Silly Love Songs',
'Cook Of The House', 'Time To Hide', 'Must Do Something About It',
'San Ferry Anne' and 'Warm And Beautiful'.
Each member of Wings was given the opportunity to take lead vocals.
Denny Laine was lead vocalist on 'The Note You Never Wrote' and
'Time To Hide'; Jimmy McCulloch sang his own composition 'Wino
Junko'; Linda sang 'Cook Of The House' and Joe English was lead
vocalist on 'Must Do Something About It'.
The horn section on the album included Tony Dorsey on trombone,
Howie Casey on saxophone, Steve Howard on trumpet and flugelhorn,
and Thadeus Richard on saxophones, clarinet and flute.
The re-release in 1993 featured three bonus tracks: 'Walking In The
Park With Eloise', 'Bridge Over The River Suite' and 'Sally G'.
On Friday 19 March 1976, prior to a short European tour, Paul held a
press conference at his London offices where he answered questions
about some of the album's tracks.
Q: What is the origin of the doorbell used to introduce 'Let 'Em In'
Paul: Well, as it happens, it is our actual doorbell which our
drummer bought us, so it has a group significance, and it seemed a
good introduction to the album.
Q: What was the origin of 'Cook Of The House'?
Paul: Well, we were in Adelaide and rented a house to stay at rather
than a hotel, and after the gig each night, Linda and I would get
dropped off and sit up in the kitchen and have a late-night bite.
They had these pots of sage and onion - all the condiments of the
season - that's a joke that, condiments of the season. Well all this
stuff was lined up and it was a kind of freak song and I took
everything I saw and tried to work it into a song. Every line in the
song was actually in the kitchen.
Q: What were the sizzling noises heard in the introduction?
Paul: We went round to our house with the mobile unit and Linda
decided to cook a meal and get cooking sounds recorded and then fed
the meal to us and the engineers. We all had a laugh and a drink.
The mobile was outside the house and we just ran wires into the
kitchen. Take one. Bacon frying. The first British cooking on
record. There are chips at the end, which is great because it sounds
like applause. If you get any questions you can tell them it was an
E-flat bacon pan and Selmer chips.
Wings Fun Club
A fan club that was launched in the early 1970s and continued
despite the demise of the group Wings. For the enrolment fee a
member received an introductory package, including a membership
card, a set of postcards, two posters, some back issues of the
magazine Club Sandwich and a year's subscription to the magazine.
There were also numerous club offers available to members, including
a range of merchandise such as books, tracksuits, calendars,
photographs, sheet music, magazines and T-shirts. The magazine was
suspended after Linda's death.
Wings Greatest
With this album, Paul became the last member of the former Beatles
to issue a compilation album. It was issued in America on Wednesday
November on Capitol S00-1905 and in Britain on Wednesday 1 December
1978 on Parlophone PCTC 256. Two of the numbers, 'Another Day' and
'Uncle Albert/Admiral Halsey' weren't even Wings singles, but
recordings by Paul and Linda. Five of the numbers had reached No. 1
in America and all but one of the numbers had reached the Top 10.
The number that failed to make a dent in the American charts was
'Mull Of Kintyre'.
The tracks were: Side One: 'Another Day', 'Silly Love Songs', 'Live
And Let Die', 'Junior's Farm', 'With A Little Luck' and 'Band On The
Run'. Side Two: 'Uncle Albert/Admiral Halsey', 'Hi, Hi, Hi', 'Let
'Em In', 'My Love', 'Jet' and 'Mull Of Kintyre'.
The album reached No. 5 in the UK charts and Number 29 in the US.
Angus Forbes photographed the statue featured on the cover in
To coincide with the British release, Paul had a 30-second
television commercial issued. A man in a bath sings 'Mull Of
Kintyre' out of tune, a chef sings 'Silly Love Songs' in a
restaurant, two secretaries sing 'Jet' and a dustman sitting in his
truck sings 'Band On The Run' with Paul, Linda and Denny driving up
alongside him and Paul saying, 'You're a bit flat, mate,' and the
driver replying, 'Funny, I only checked them this morning.'
Wings Live In The Studio
An EP that was proposed but never released. On Monday 9 September
1974 at Abbey Road Studios, a six-track acetate was made of previous
recordings from Thursday 15 August for the documentary film 'One
Hand Clapping'. The numbers were: 'Jet', 'Let Me Roll It', 'Junior's
Farm', 'My Love', 'Little Woman LoveV'C Moon'/'Little Woman' (a
medley) and 'Maybe I'm Amazed'.
Wings Over America
A triple album set, produced by Paul, which was recorded live in
America between 3 May and 23 June 1976 during the Wings tour of
It was released on both sides of the Atlantic on 10 December 1976,
in America on Capitol SWCO 11593 and in Britain on Capitol PCSP 720.

Side One opened with a medley, then comprised: 'Venus And Mars',
'Rock Show', 'Jet', 'Let Me Roll It', 'Spirits Of Ancient Egypt' and
'Medicine Jar'. Side Two: 'Maybe I'm Amazed', 'Call Me Back Again',
'Lady Madonna', 'The Long And Winding Road' and 'Live And Let Die'.
Side Three: a medley, 'Picasso's Last Words', 'Richard Corey',
'Bluebird', 'I've Just Seen A Face', 'Blackbird' and 'Yesterday'.
Side Four: 'You Gave Me The Answer', 'Magneto And Titanium Man', 'Go
Now', 'My Love', 'Listen To What The Man Said'. Side Five: 'Let 'Em
In', 'Time To Hide', 'Silly Love Songs' and 'Beware My Love'. Side
Six: 'Letting Go', 'Band On The Run', 'Hi, Hi, Hi' and 'Soily'.
Ninety hours of recordings on 24-track had been made during the
course of the tours and these were edited at Abbey Road Studios by
Phil McDonald, Jack Maxson, Mark Vigars and Tom Walsh.
Wings Over The World
A 90-minute TV film of Wings' 1975/76 tour made by Jack Priestley,
who also worked on the film of the band's final appearance, called
'The Last Waltz'.
The MPL-produced film included interviews with the McCartney family
at home, and scenes from Scotland, Australia and America.
Subtitled 'Paul McCartney Sings His Greatest Hits', it included the
numbers 'The Long And Winding Road', 'Yesterday', 'Maybe I'm
Amazed', 'Silly Love Songs', 'Let 'Em In', 'Band On The Run' and
'Live And Let Die'. It was originally screened in America as a CBS
TV special at 11.30 p.m. on Friday 16 March 1978 and repeated on
Friday 6 April 1979. A shorter version, at 75 minutes, was screened
in Britain on BBC 2 on Sunday 8 April 1978 and repeated on BBC 1 on
Monday 24 December.
A forty-track, two-disc retrospective of Wings' recording career,
issued in Britain on 7 May 2001 and in America the following day.
The collection contained seventeen million-selling singles and
twenty-four tracks from nine No. 1 albums. It was issued in three
versions: a double CD, four LPs and 2 cassettes.
The compilation was issued to coincide with the two-hour broadcast
in America of an ABC TV special of the same name on 11 May, which
was also broadcast in the UK on Channel Four on Saturday 19 May.
The two discs were called Hits and History (catalogue No. 5328762).
Disc One, Hits, is 73 minutes and 37 seconds in length. The tracks
are: 'Listen To What The Man Said', 'Band On The Run', 'Another
Day', 'Live And Let Die', 'Jet', 'My Love', 'Silly Love Songs',
'Pipes Of Peace', 'C Moon', 'Hi, Hi, Hi', 'Let 'Em In', 'Goodnight
Tonight', 'Junior's Farm' (DJ edit), 'Coming Up', 'No More Lonely
Disc Two, History, is 77 minutes and 29 seconds in length. The
tracks are: 'Let Me Roll It', 'The Lovely Linda', 'Daytime Nighttime
Suffering', 'Maybe I'm Amazed', 'Helen Wheels', 'Bluebird', 'Heart
Of The Country', 'Every Night', 'Take It Away', 'Junk', 'Man We Was
Lonely', 'Venus And Mars', 'Rock Show' (single edit), 'Back Seat Of
My Car', 'Rockestra Theme', 'Girlfriend', 'Waterfalls', 'Tomorrow',
'Too Many People', 'Call Me Back Again', 'Tug Of War', 'Bip Bop -Hey
Diddle', 'No More Lonely Nights' (play out version).
The four-album set has the catalogue No. 5328501.
'Wingspan, earned Paul his 21st American gold disc since leaving the
Beatles in 1970. This includes 11 as a solo artist and 10 with
Wingspan (TV special)
A two-hour television special that made its debut on the TV network
ABC in the US on 11 May 2001. The documentary was produced and
directed by Paul's daughter Mary and her husband Alistair Donald,
who had been working on the project for the previous three years.
He was to say, 'Making "Wingspan" initially involved months of
searching through archives and collections around the world to
compile the best footage, photographs, and audio available. We
discovered a lot of excellent, rare and never-seen material. I
wanted to have Paul tell us the story of Wings as the on-screen
link. This meant that not only could he give the footage an
authoritative perspective, but also that he could provide Linda's
view, which is essential, as the story of Wings is equally the story
of a marriage and a family.'
To coincide with the TV special was the release of a two-CD set with
forty songs by Wings on 8 May.
Commenting on the film, Paul said, 'I always thought you could not
follow the Beatles. "Wingspan" is the story and soundtrack of how we
set about to do it.'
Paul's spokesman Geoff Baker said that the film shows 'the trauma of
the break-up of the Beatles and how that led to the brink of a
breakdown. And for the first time, Paul has revealed his experiences
in prison - when he was jailed in Tokyo in 1980 on possession of
Discussing the idea behind the back-to-basics band, Baker also said,
'Instead of arriving at stadium concerts in police-escorted
limousines, the members of Wings drove themselves to small halls
unannounced and uninvited and were paid for their impromptu gigs in
fifty-pence pieces.'
Wino Junko
A number penned by McCullough/Allen, with Jimmy McCullough on lead
vocal, which was a track on the Wings At The Speed Of Sound album.
Winter Rose
This number was among several demos made at Paul's Rude Studios in
1977. He recorded the number again at the Spirit of Ranachan studio
in July 1978 and Paul would place it with 'Love Awake' as a medley
on the Back To The Egg album. Paul recorded the Black Dyke Mills
Band on the track 'Winter Rose' at Abbey Road Studios on Sunday 1
April 1979.
With A Little Help From My Friends
A track from the Sgt Pepper's Lonely Hearts Club album. Paul said
he'd write something for Ringo. The working title was 'Bad Finger
Boogie'. He worked on it with John at Weybridge, a part of the
song-writing process that was witnessed by the Beatles' biographer
Hunter Davies, although it's generally credited that Paul wrote most
of the song.
The number was recorded at Abbey Road on 29 and 30 March 1967.
Joe Cocker also recorded a version of the number and topped the
British charts with it in November 1968 in what people regard as the
best version of the number. Ritchie Haven was also one of many other
artists to record the song and prior to performing it at one concert
he described it as 'my favourite song in the whole universe'.
Although the working title 'Bad Finger Boogie' was abandoned, the
name Badfinger was given to Apple group the Iveys.
With A Little Luck (single)
A song that Paul wrote in Scotland, originally began recording
during a Wings trip to the Virgin Islands in 1977, and completed at
a recording session in London.
It was first issued in America on Capitol 4559 on Monday 20 March
1978 and rose to the No. 1 position. It didn't fare so spectacularly
in Britain when it was issued on Parlophone R 6019 on Thursday 23
March, although it climbed to the No. 7 position.
The flipside was a medley, comprising 'Backwards Traveller' and
'Cuff Link', the latter originally called 'Off-The-Cuff-Link'. Paul
plays drums on the track.
The number was also featured on London Town, released later the same
month, and on Wings Greatest, issued on 1 December 1978.
The number was played at the end of the Farrah Fawcett feature film
It was issued in Germany on EMI Electrola 1C600-60639.
With A Little Luck (promotional film)
The promotional film for this London Town track was filmed before an
audience of fifty fans on 24 March 1987 at Twickenham Studios,
directed by Michael Lindsay Hogg. It was to see the introduction of
a guest drummer Steve Holly, who was then to become a member of
Without Wails
A Channel 4 arts programme. Paul appeared in a special edition of
the show subtitled 'This Is Tomorrow' on Sunday 21 June 1992. The
programme looked at the career of artist Richard Hamilton who had
worked with Paul on the designs for The Beatles double album sleeve
and the accompanying collage poster.
A BBC 1 TV show hosted by Irish disc jockey Terry Wogan. Paul
appeared on Wogan on Friday 1 August 1986. The show was live and was
filmed at the BBC Television Theatre, Shepherd's Bush, London. Paul
was interviewed for fifteen minutes and a clip of him performing
'Press' was also screened. The promotional film of 'Press' had been
filmed by Philip Davey at Abbey Road Studios on Friday 18 July 1986.

Paul, together with Linda, also recorded another Wogan show on

Thursday 19 November 1987, which was broadcast the following day.
The appearance lasted for 36 minutes during which Paul performed
'Jet' and 'Listen To What The Man Said'. A promotional film of 'Once
Upon A Long Ago' was also screened. Following the performance,
Russian journalist Artemy Troitsky interviewed Paul.
Paul also appeared on Wogan on Friday 14 December 1990. Wogan
introduced Paul:
Wogan: Wherever they wander, the great and the good, they end up
back at Shepherd's Bush. This man has come back from a world tour
that started in Oslo before 5,000 and finished in Chicago before
55,000. In between, there were 184,000 at the Maracana Stadium in
Rio. A slightly smaller but select group here - for 'All My Trials'
- Paul McCartney.
Paul and the band performed 'All My Trials' and then Paul joined
Wogan: Well, that was some score - 184,000 people at Maracana.
Paul: Yeah, at least that.
Wogan: Weren't you terrified standing there?
Paul: I thought it was going to look like miles and miles and miles
of people, but because it's a little compact stadium it didn't
actually look like that many people - but, yes, it was terrifying.
Wogan: Now this latest single of yours - bit of a storm in a teacup
over this, isn't there?
Paul: Yes, it became like, sort of, a political thing. In actual
fact, we just started off liking the song and then put a video to it
and suddenly it seemed to have a more powerful message because we
used things like homeless people in the video to show the trials and
then the timing was right when Maggie got dumped. Remember that,
which we couldn't have possibly known about as, you know, you plan
these things weeks in advance. So the left-wing newspaper got hold
of it and ran it and then the right-wing newspaper countered it, and
then Jonathan King climbed aboard and all hell broke loose.
Wogan: Doesn't it make you wonder why you bother?
Paul: No, Terry. It's funny, you know. Some people said to me,
'Look, you've got a lot of money; you're disqualified from talking
about the homeless, because you're well off. Which I think is mad,
you know. Probably the more money you've got, the more you've got to
talk about the homeless, I would have thought.
Wogan: Money of course is not the answer, is it - flinging money at
Paul: Actually, yes, but I mean flinging a little bit of publicity
at it, I don't think hurts, really, because the alternative is to
ignore it.
Wogan: You're still winning awards. Did I see you'd just won an
award for having the best teeth or something?
Paul: No, it was a good behaviour award from Wandsworth.
Wogan: This week there were two awards.
Paul: Yes, this big crowd in Rio and in America we were the top
box-office thing. But I'm playing it down, Terry.
Wogan: Are you?
Paul: Modestly he said, well, yes we did win it. Yes it was
marvellous at this venerable age of mine to be still winning awards.

Wogan: Did it change your attitude a bit and make you say: 'I'm
going to tour every ten minutes from now on'?
Paul: Well, maybe once a year, maybe not ten minutes. I thought when
we started the tour that I'd be totally knackered at the end of it
and that I'd hate audiences forever. In fact, I think I ended up a
bit fitter at the end of the tour than when we started and so, yeah,
we're thinking of doing it in maybe a year's time.
Wogan: You said in your programme for the tour, you rediscovered the
Beatles songs in a sense - the ones that you had written and you
were able to bring the audience in as well on all those
participation songs. Did that make a difference to your concert, did
you feel it gave it something else?
Paul: Yeah, it was good. When the Beatles broke up, all of us didn't
want to deal with the Beatles music because it was kind of painful
reminders of what had gone down. But enough water had gone under the
bridge, so I felt it was time to bring them out and unpack them and
I realised that I hadn't done quite a few of them ever, you know,
because the Beatles weren't touring. Songs like 'Hey Jude' and 'Sgt
Pepper' I'd never actually sung to an audience. So that was quite a
Wogan: You're about to work with Carl Davis on this symphony thing
as well?
Paul: I'm not about to, I've been working about a year with the man.

Wogan: Anything happening?

Paul: Yeah, we've been working like loonies for about a year now.
It's for the Royal Liverpool Philharmonic Orchestra. They've
commissioned me to write a piece for their 150th anniversary, so
some very old people in that orchestra! So it was a great
opportunity for me, because I've kind of flirted with that stuff
with 'Yesterday' and 'Eleanor Rigby' and things like that. I like so
called classical instruments. But this is a really big challenge.
This is like the whole bit, it's an oratorio for the whole
orchestra, the whole chorus: oratorio. You're wondering what it is,
aren't you, Terry?
Wogan: I thought it was a character in Hamlet.
Paul: No, the fellow who shot Moby Dick.
Wogan: We were talking about families earlier and you're a family
man. Would you agree with that, about keeping your distance from
your family? I know everyone has their own ideas.
Paul: I hate to tell you this, but I wasn't listening.
Wogan: Oh great.
Paul: Oh, that's marvellous. Invite him on the show and he doesn't
even listen.
Wogan: Don't pay any attention. They were saying ...
Paul: What were they saying, Terry?
Wogan: They were saying that the secret of a happy family Christmas
was not necessarily ...
Paul: Don't go!
Wogan: No, get together for dinner or lunch, but possibly have a
cigar outside in the garden afterwards on your own.
Paul: Yes, I think that's right in some families, you know.
Occasionally you need your space. I'm very lucky I've got a very
close family. I think it's time for a lot of people and occasionally
me, but I'm very lucky I've got a very close family. I quite like
having the kids around and I hear the theme music, so thank you very
much, Terry Wogan, it's been lovely having you on my programme
tonight. Over to you, Tel.
Wogan: Thank you. I'm very glad to get the chance to wish you all
goodnight. Thanks to everybody and thank you for joining us. Hope
you enjoyed the programme.
(The Maggie referred to was Margaret Thatcher who had just been
ousted as prime minister and the reference to 'families' was part of
a discussion by earlier guests Jamie Lee Curtis and John Cleese.)
Wogan With Sue Lawley
Immediately following a European promotional tour for his new album
Flowers In The Dirt, Paul appeared on this show on Friday 19 May
1989. Sue Lawley was deputising for the usual host Terry Wogan on
the chat show, although Paul wasn't the subject of an interview, but
performed 'My Brave Face' and 'Figure Of Eight' from the album.
Woman (song)
A number that Paul wrote for Peter and Gordon. It was the A-side of
their single, issued in America on 10 January 1966 on Capitol 5579,
and in Britain on 11 February 1966 on Columbia DB 7834. The flipside
was 'Wrong From The Start'. The number was also included on the
duo's album of the same name, issued in March of that year. Paul
used the pseudonym Bernard Webb when he wrote the song because he
was interested to see if a number of his could be successful without
using the McCartney name. Webb was said to be an aspiring songwriter
and a student in Paris. Paul also used the pseudonym A Smith in
connection with the single.
When it reached the charts Paul admitted that he'd written it.
'Woman' reached No. 14 in the American charts and No. 18 in Britain.

'Woman' was also the opening track on Peter and Gordon's album
Woman, issued in America on 7 March 1966 on Capitol ST 2477, and on
their British album Peter and Gordon, issued on 17 June 1966 on
Columbia SCX 6045, and also on The Best Of Peter And Gordon, issued
in America on 5 July 1966 on Capitol Starline ST 2549. It was the
flipside of Peter and Gordon's 'I Don't Want To See You Again'
single, also penned by Paul, issued in America on 1 May 1967 on
Capitol Starline 6155.
Woman was also the title of a 16-track album by Paul's brother Mike.
It was issued in Britain on Island ILPS 9191 on 21 April 1972. Mike
produced it himself and co-wrote most of the songs with Roger
McGough. The cover of the album features a photograph of Mary
McCartney, mother of Paul and Mike.
The number is not to be confused with a John Lennon song of the same
Paul mentioned that the Beatles had actually done a version of the
number. He said, 'We did a much better one, the first time we did
it. The first time we ever did it, we did it very dry. It was little
with about eight violins. It really sounded like a string quartet,
you know. We were very fussy at the time. We thought, "This was the
one", but we just chucked it and jacked it in, and let them go and
do it again. It got turned into a mammoth Peter and Gordon
treatment; only Gordon couldn't get the high notes. It was a great
song, though. I wonder if Peter has still got our original thing?'
Wonder, Stevie
Stevie was blind when he was born in Saginaw, Michigan on 13 May
He was twelve years old when he signed with Motown and his single
'Fingertips' topped the US charts.
On the back cover of Paul's Red Rose Speedway album is the Braille
message to Stevie: 'We love you.'
When Paul gathered together some famous guest artists to record on
the island of Montserrat, Stevie accepted his invitation to record
'Ebony And Ivory'. Paul had wanted to do the number with a black
artist and Stevie was his first choice. They recorded the song the
day after Stevie arrived on the island with Paul playing piano and
bass, Stevie on drums and synthesiser, and both of them sharing the
Paul was to say, 'I'm a hero for life with the locals for taking
Stevie to the island. They were quite interested in me, but not very
excited. But Stevie Wonder! It was pandemonium. He is like a god to
As a thank you to Paul, Stevie penned a song about the island.
'Ebony And Ivory' provided Stevie with his first British
chart-topper. However, Motown Records refused to allow Stevie to
receive full billing on the release and the credit had to read Paul
McCartney with Stevie Wonder rather than Paul McCartney and Stevie
Wonderful Christmastime
A single issued in Britain on Parlophone R 6029 on Friday 16
November 1979 and in America on Columbia 1-11162 on Tuesday 20
November 1979.
The Christmas number, written and produced by Paul, was the first
single that was credited solely to Paul McCartney since the release
of 'Another Day' in 1971.
It failed to make a dent in the American charts. However, the single
reached the position of No. 7 in Britain.
The flipside was 'Rudolph the Red-Nosed Reggae'. This was a number
originally penned by John David Marks and recorded by Gene Autry in
Paul performed the number on stage during the Wings British tour of
1979 when artificial snow added to the effect. Imprinted on the
record itself are two messages. On 'Wonderful Christmastime' there
are the words 'Lift a glass to ... Xmas '79'; and on the flip: 'Love
from Rudi! Xmas '79'.
Paul was also to tell a story relating to the violinist playing on
the B-side. When Paul was rehearsing the number in June 1975 a
violin was delivered to the studio. Paul then decided that the
violin should be used on the track. He asked the man who delivered
the instrument whether he would play it and the man agreed. After
the session the man left without leaving his name and all initial
attempts by Paul to find him and give him his session fee failed.
However MPL finally tracked him down and he received a cheque for
his contribution.
The picture sleeve features a picture of Paul in a Santa Claus hat
but sans beard.
The single was also issued in Germany on Odeon 1C600-63435.
Working Classical
See Paul McCartney's Working Classical.
World Tonight, The (documentary)
An MPL documentary on the making of Paul's Flaming Pie album,
directed by Geoff Wonfor. It received its world premiere in America
on VH-1 on Friday 16 May 1997 and its European premiere in Britain
on the ITV network on Sunday 18 May 1997.
The documentary was issued on home video on the PNE label on 6
October 1997.
World Tonight, The (single)
A track from the Flaming Pie album composed by Paul during a holiday
in America in 1995. At 4 minutes and 6 seconds in length, it was the
second single to be released from the album and was issued in
Britain on Parlophone RP 6472 on Monday 7 July 1997. 'Born To Be
Bad' was on the flip. It was also the first single to be released
from the album in America.
There were two CDs and a 7" picture disc released. The picture disc
on Parlophone RP 6472 had 'Used To Be Bad' on the flip. The first
CD, CD1 on CDRS 6472 also contained 'Used To Be Bad' and 'Oobu Joobu
Part Three'. 'Oobu Joobu Part Three' contained 'Intro Chat', 'Oobu
Joobu Main Theme', 'Squid', 'Paul McCartney Talks About The World
Tonight', 'Link' and 'Oobu Joobu Main Theme'. CD2 on CDR 6472
included 'Really Love' and 'Oobu Joobu Part Four'. 'Oobu Joobu Part
Four' contained 'Intro Chat', 'Oobu Joobu Main Theme', 'Link',
'Don't Break The Promise', 'Paul McCartney Talks About Reggae
Music', 'Link' and 'Oobu Joobu Main Theme'.
The maxi-single issued in America on 6 May 1997 on Capitol 8-58650-2
had the tracks 'The World Tonight', 'Looking for You' and 'Oobu
Joobu Part One'.
Paul originally wrote the number during a holiday he was taking in
1995. He was to comment, 'The lyrics were just gathering thoughts.
Like 'I go back so far, I'm in front of me' - I don't know where
that came from, but if I'd been writing with John he would have gone
"OK. Leave that one in, we don't know what it means but we do know
what it means".'
It was co-produced by Paul and Jeff Lynne and engineered by Geoff
Emerick and Jan Jacobs, assisted by Keith Smith.
Recording began on 13 November 1995 with Paul on lead vocal, vocal
harmony and drums, bass guitar, electric guitar, acoustic guitar,
piano and percussion. Jeff Lynne provided harmony vocal and electric
guitar, acoustic guitar and keyboard.
Paul was also to say, 'It's got a bit of a tougher riff on it.
Actually, there's a bit more of my heavier guitar on this album.
When Linda and I first met, she'd say, "I didn't know you played
heavy guitar like that, I love that." But I've always done quite a
bit of that for myself.
'So when it came to this album Linda said, "Really play guitar,
don't just get someone to play it." It's a little naive, my guitar
style, it's not amazingly technical. It's a bit like Neil Young. In
fact, I still haven't done the guitar as much as she wanted. But
next album ...'
It was rumoured that there was a secret message on this recording,
that if you played it backwards between 2.38 and 2.41 the words
'Save the animals fur, Linda Eastman' could be heard.
World You're Coming Into, The
A CD single issued in 1991 featuring Kiri �� Kanawa performing
excerpts from the Liverpool Oratorio composed by Paul McCartney and
Carl Davis. There were three tracks, the first two from 'Movement 7
- Crises'. They were 'Introduction - Allegro Molto' and 'The World
You're Coming Into', with Kiri �� Kanawa (soprano) and Jeremy Budd
(treble). Track three, 'Tres Conejus' was from 'Movement 2 - School'
and featured Sally Burgess (mezzo-soprano), Jerry Hadley (tenor) and
Willard White (bass). Backing was by the Royal Liverpool
Philharmonic Orchestra, conducted by Carl Davis.
World Without Love
A number Paul wrote in the Forthlin Road house when he was only
sixteen. He originally offered it to Billy J Kramer, who turned it
down. He then gave it to Peter and Gordon after slightly altering
the lyrics. The single was released in the UK on Friday 28 February
1964 on Columbia DB 7225 and reached the No. 1 position in May,
knocking 'Can't Buy Me Love' off the top. It was issued in America
on 27 April 1964 on Capitol 5175 and reached No.l in America in
The New Musical Express review of the single read: 'Here's a disc
which could easily register, if only because of its Beatle
associations. A nostalgic medium-pacer, it's not one of John and
Paul's greatest songs, but it's still quite effective. And a
powerful Geoff Love backing, with thudding beat and added organ,
deserves full marks.'
It was re-released in America on 15 December 1965 on Capitol
Starline 6076 and was also the opening track on the album Woman,
issued in America on 7 March 1966 on Capitol ST 2477 and on Peter
And Gordon, an album issued in Britain on 17 June 1966 on Columbia
SCX 6045 and also on The Best Of Peter And Gordon, issued in America
on 5 July 1966 on Capitol Starline ST 2549.
It was also included on the double album Alan Freeman's History Of
Pop Vol 2, issued in Britain on 29 March 1974 on Arcade ADEP 9/10.
Wright, Maggie
A young British actress who appeared as Paul's girlfriend, Maggie
the Lovely Starlet, in 'Magical Mystery Tour'.