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August 2013

August 29, 2013 -- WXRT Chicago

Exclusive: Paul McCartney Calls Terri Hemmert, Reveals 'New' Album

Sir Paul McCartney is back with something "New" from his new album, New.

Who else but XRT's Terri Hemmert debuted the song on the airwaves (and stream) of XRT at 11:30 this morning. But even Terri was taken aback when she received a call from Sir Paul himself today, to lend insight and provide some real excitement to the day's events!

What better way to celebrate XRT's New Music Thursday than by hearing New music from Paul?!

Hear Paul McCartney's chat with Terri right here:

Produced by Mark Ronson, the horn-driven pop song is reminiscent of Revolver-era Beatles. Hear the New song today during New Music Thursday.

Yes, it seems as if the former Beatle wants to make it abundantly clear that his 16th solo LP is comprised entirely of new material, marking his first such effort in six years. (McCartney s previous release, 2012 2s Kisses on the Bottom, featured reworked pop standards and covers.) New, the album, will be released in the US on October 15th (and elsewhere on the 14th).

Terri is the host of Breakfast with the Beatles on WXRT every Sunday at 8:00am CT.

August 29, 2013 --

Listen back to Paul McCartney's interview with WXPN's Helen Leicht

With the announcement of his brand new song called "New" and a forthcoming album of the same name,
Sir Paul McCartney called WXPN today for an interview with mid-day show host Helen Leicht; you can listen to an archive of the entire interview below.

Their conversation began by talking about New, which will see a U.S. release on Concord Records on Tuesday, October 15th.

McCartney recorded the new album with a team of heavy-hitting producers: Paul Epworth (known for his work with pop sensation Adele), Ethan Johns (he's recorded Ryan Adams, Ray LaMontagne and Kings of Leon), Mark Ronson (popular for his work with Amy Winehouse as well as his solo albums) and Giles Martin (who staged The Beatles' Love show). As McCartney explained in the interview:

"The idea was to go do one track for each one and decide who would be the best for the album. I ended up falling for them all. We had such a good time in different ways. Eathen would be a little more acoustically leaning, Mark would be a little more R&B. They each had a different approach, so I ended up working with them all."

Conversation turned to songwriting in general, and what keeps him at it. McCartney called it "an eternal fascination."

"It really is just down to the fact that I love it. If you said to me now that, okay, this afternoon, you're just going to sit down and write a song. That wouldn't depress me or frighten me, that would really excite me. I'd go 'Oh, yeah, great great great.'And then taking it into a recording studioand eventually you take it out on the road, and you play it for real people. That is the ultimate excitement. If you look at that whole line of stuff, it's pretty cool."

On revisiting his Beatles-era music when performing live, McCartney likened it to being somebody else reviewing a young man's work. "I'm listening to myself as a 24 year old. As I'm singing the songs, I'm reviewing the lyrics and thinking 'This kid wasn't bad!'" Some moments, like "Being for the Benefit of Mr. Kite," are downright challenging ("It's contrapuntal, man!"). When Leicht pointed out that today is the anniversary of The Beatles' final show in San Francisco's Candlestick Park, McCartney began to reminisce, but with a footing in the present.

"It is great to look at the old newsreels. You go, oh my God, is that really me? Obviously it was another time, and yes, we were younger. It was very exciting in its own way. The 60s were very exciting times, and I meet a lot of younger people who say 'Wow, I wish I'd been there.' I say 'Well, no, don't wish that, just be here now and enjoy this one, because there's plenty of cool stuff going on now.'"

LISTEN to WXPN Helen Leicht's interview with Paul McCartney in its entirety.

HEAR Paul's new single "New".

TO BUY PAUL'S "NEW" SINGLE ($1.29) AND/OR PRE-ORDER PAUL'S "NEW" ALBUM ($13.99) ON iTUNES (14 song Deluxe Edition)

August 29, 2013 -- Concord Music

What's New with Paul McCartney?

Paul McCartney has made some New music available.

It's available from here:

Speaking about the New track, Paul said: "We can do what we want, we can live as we choose."

This new track hints at things to come from Paul's forthcoming New album, set for release on October 14th in the UK (October 15th in the US). This will be his first album of brand New solo material in six years.

Paul's New album will include 12 new songs, which he worked on with new collaborators.

Paul's New song is produced by Mark Ronson.

More new details to follow in the coming weeks.



August 28, 2013 -- Macca Report News EXCLUSIVE!!! UPDATE!!

Paul's new single and album called "NEW" !!!

twitter account (@PaulMcCartney) has been busy tweeting 'one word' clues to the title of the album or single. They all seem to have one word in common, "NEW"...

"NEW" album cover

The first single from the album is to hit radio this week and the album will be released October 14th (UK) October (15 US).

The single will be available at midnight tonight on iTunes!!!


LISTEN to "NEW" (single)

NEW (© Paul McCartney)

Don't look at me, it's way too soon to see,
What's gonna be, don't look at me,
All my life I never knew, what I could be
What I could do, then we were new.

You came along, and made my life a song,
One lucky day, you came along,
Just in time, when I was searching for a ride,
You came along when we were new.

We can do what we want,
We can live as we choose,
You see there's no guarantee,
We've got nothing to lose.

Don't look at me, I can't deny the truth,
It's plain to see, don't look at me,
All my life, I never knew what I could be,
What I could do, when we were new.

We can do what we want,
We can live as we choose,
You see there's no guarantee,
We've got nothing to lose


Don't look at me, it's way to soon to see,
What's gonna be, don't look at me.
All my life, I never knew what I could be,
What I could do, when we were new.

When we were new,

When we were new,

Now we are new,
Do do do do do do do..."

August 28, 2013 --

Win Tickets To See Paul at iHeartRadio Music Festival in Las Vegas!

.com has teamed up with iHeartRadio to give US fans the chance to win a pair of tickets to the iHeartRadio Music Festival on the 20th-21st of September at the MGM Grand in Las Vegas.

The prize includes flights, accommodation and festival tickets for two people. Paul is set to appear on Saturday, September 21st, other artists confirmed to play include Katy Perry, Muse, Justin Timberlake and Elton John.

To be in with a chance of winning the tickets we want you to work out which album of Paul's is represented in the below word cloud (clue: the words are lyrics from the release). Once you' ve worked it out just upload a photograph of yourself to Twitter holding the album and using the hashtag #PaulHeartsRadio.

If you don't own the album then why not recreate the cover with your friends, take a photo of yourself with your collection of Paul memorabilia or maybe even a shot of yourself outside a local venue where you've seen Paul perform. We want to see you get creative!

We will pick our favourite photo from the entries and announce the winner here at on September 3rd at 10am (EST).

Don't forget to include the hashtag #PaulHeartsRadio so we can find your entries!

Please note this competition is only open to residents of the United States. For the full competition terms and conditions please click HERE!


August 28, 2013 -- Forbes

Abbey Roadkill?

"Could you post that on Amazon, please?" Is this the phrase that unites generations? At any rate, it's a phrase that makes clear that the baby-boom-centric world of customers and commerce ain't what it used to be. In fact, baby boom customers are steadily on their way to accepting the crowdsourced, expert-doubting, mass media-ignoring world that the Millennial (Gen-Y) generation already accepts as the norm in commerce.

Let me explain.

A baby-boomer dream came true recently for John Pizzarelli, a 50-ish guitar virtuoso:
Paul McCartney hired him to come to London and play guitar on Sir Paul's "Kisses On The Bottom" (I don't name 'em, I just report 'em) album of pre-rock standards. This, however, is where the boomer influence ends, and the changing shape of the customer grapevine takes over in this story. As it will in the shape of your business­now and forever.

Abbey Roadkill

Let's go back several years - to when Pizzarelli recorded an album of
Beatles songs rearranged for big band. For years (prior to playing with McCartney himself), Pizzarelli's beloved album has been languishing in a cesspool of contradictory online, crowdsourced reviews (as, of course, is the norm in Amazon land):

"[My album of Beatles covers] has the most disparate reviews [on Amazon]," Pizzarelli explains. "Some that say, 'John Pizzarelli is the greatest interpreter of these songs,'" but several were excruciatingly negative, including one review titled "Abbey Roadkill."

We Meet Sir Paul Himself (And He's No Match For Amazon)

The negative Amazon reviews gave Pizzarelli pause.  Pause enough to get him tremolo-ing in his musical boots about the inevitable meeting with Sir Paul himself.

"When I [finally got to London and] met Paul McCartney at the session he went, 'You made a Beatles CD,' and I went, 'Oh boy, here it comes,' and he said to me, 'It's very good,' and I was like, 'Oh, could you write that on Amazon, please?'"

August 28, 2013 -- The Province (Canada)

How uncle sent McCartney a meat message

My Uncle Duncan was among those who drove down to Regina for the
Paul McCartney concert. When I saw him three days later, he still was jacked up.

"I haven't had such a good time since my Scottish distillery tour in 1973," he pronounced. This was high praise indeed. The last leg of Uncle Duncan's 1973 Scottish distillery tour was a police escort to the airport.

The funny thing now was that Uncle Duncan, as far as I knew, is not a big McCartney fan. He never has paid much attention to popular music, except to ask that it be turned down or, better still, off.

What had possessed him, then, to go to the McCartney concert? "It was to fight injustice," he said.

It all started with a disturbing news report. Aside from being a celebrated entertainer, McCartney is a militant vegetarian and animal rights crusader. So devoted is he that his roadies on this tour reportedly are served exclusively vegetarian fare.

Uncle Duncan, when he learned of this, was aghast.

"McCartney can eat as much tofu as he likes," said Uncle Duncan, "but he shouldn't force it down other people's throats."

He could not let this stand. After a trip to the grocery store for supplies, Uncle Duncan made 12 loaves of baloney sandwiches, with mustard, lettuce and, not one, but two slices of Schneider's baloney in every sandwich. These he packed into a large cardboard box and transported to Mosaic Stadium in Regina.

He got into the stadium simply by claiming he was here with the sandwiches.

The attendant security guards were only too happy to partake. Once inside, Uncle Duncan distributed baloney sandwiches backstage to everyone wearing a tour T-shirt.

"They heard free baloney sandwiches and they swarmed me," Uncle Duncan recalled.

"And all this you did out of the goodness of your heart?" I asked him. "I had to cover expenses," he allowed. "Besides, $5 for a baloney sandwich is a very fair price if you have been subsisting for weeks entirely on lentil stew."

I did the arithmetic in my head. Twelve loaves of bread, at 10 sandwiches per loaf if you don't use the crusts, works out to 120 sandwiches. Multiply 120 by $5 and Uncle Duncan netted a healthy $600. As for expenses, sandwich supplies would not have cost him more than $100, plus maybe $200 for gas.

Tally it up, and he probably had cleared about $300 on his so-called mercy mission of meat.

He wanted to send McCartney a message. That's why he made the sandwiches with plenty of French's yellow mustard.

That's why he deliberately didn't bring any napkins. "The roadies had mustard smeared all over them," Uncle Duncan recalled.

"McCartney had to notice. He had to know it could only be the residue of unauthorized deli meats. It would have stuck in his craw."
Uncle Duncan dismissed my suggestion that the effort he had expended was out of proportion to this seemingly modest reward.

"Nonsense," he said. "I should have worn a cape."

August 24, 2013 -- Macca Report News EXCLUSIVE!!!
by Jorie Gracen and Sandy Lopez, (Macca Reporter)

Paul McCartney 'Out There' in Indy - Macca Report REVIEW

July 14: Bankers Life Fieldhouse - Indianapolis, IN

The band was staying at the Omni Hotel downtown near the Fieldhouse. Paul flew in the day of the show and arrived at Bankers Life Fieldhouse just before 5pm.

© PHOTO: Bob Longwith, Macca Reporter


1. Matchbox
2. Blue Suede Shoes
3. Magical Mystery Tour
4. Only Mama Knows
5. Birthday
6. C Moon
7. Don't Let The Sun Catch You Crying
8. It's So Easy
9. San Francisco Bay Blues
10. Midnight Special
11. Ram On
12. Bluebird
13. Lady Madonna (


About 150 people had VIP tickets for the sound check. Inside Bankers Life Fieldhouse the lobby was decorated with British flags and Union Jack umbrellas hung upside down. Outside the venue were banners and a giant 'Out There' painted poster on a building next to Bankers.

The sound check 'after party' had one of the tastiest selections of gourmet vegetarian food with not one, but two bars. The handlers were generous with drink tickets giving out more to those who asked. At previous VIP parties, people got one or two drink tickets. This VIP event was very well organized. Kudos to Annie at SLO and Shelly Lazar.

The soundcheckers were led into the arena about 45 minutes before Paul showed up and seated about 30 rows back. The stage lighting was much better at this sound check than at other arenas.

Paul arrived onstage at 5:01pm and walked up to the center microphone. He eyed the crowd and said, "Good afternoon, soundcheckers! Hello, Indianapolis! (singing) Indiana... I don't know it!" (Paul and band members hugged each other)

Paul shouts out to the sound tech, "Hey, Pablo! (Pablo Boothroyd)

Then he talks to the audience. "So, you can probably understand what the thing is. We're gonna check all our instruments, and THINGS and play a few songs."

MATCHBOX ­ Paul and band rock out on this song.

BLUE SUEDE SHOES ­ Paul straps on his bass and says, "This bass is more famous than I am!"

Paul turns around to look at Abe who is striking a cowbell, "How ya doing, Abe?"


ONLY MAMA KNOWS  ­ "Thank you , small but lively crowd!"

BIRTHDAY ­ "Any of you has a birthday today? Give us a, whoo-whoo ­ it's a whoo! OK, for the two of you that were born sometime this year. This is for you."

C MOON - A delightful version, with a touch of Reggae Rap in the middle-eight.

DON'T LET THE SUN CATCH YOU CRYING ­ "OK! Are you having fun? (reading signs) Really? 'Cruise along with you!' (then laughing and correcting himself) "It says 'can I sing along with you?' You can cruise along with me. Dah-dah-dah. (reading more signs) "Fans on the run! Good to see you!" (Congrats to Rick Glover!)

"Look at all these signs!!!

"This is your hometown? It's mine too! Not many people know I was really born here, and then SHIPPED to Liverpool. Just really quickly. In time for my birth to be registered. Yeah!" 

IT'S SO EASY ­ "Thank you. Thank you very much!"

SAN FRANCISCO BAY BLUES ­ "Thank you for your sympathy. Much appreciated... Whoo!"

MIDNIGHT SPECIAL ­ "This is a song about a train. This train ran past a jailhouse. The legend had it, that if the light from the train shone on you, you would be released from the jailhouse!"

RAM ON ­ Paul picks up his ukulele. "Ukulele!!! I kelele. He, she, it, kalele's! (Laughs at his own joke) Yaaah! We heard recently that the actress Keira Knightley, who played in many things, got married and this was her wedding song."

Abe proceeded to test each of his cymbals, striking them to the left and then right in a steady rhythm prompting Paul to comment. "Testing cymbals. He's got a way with his cymbals, you know."

"It's my new technique." Abe quipped.

The crowd cheered the Cymbal Meister with Paul urging us for more.

"Thank you, yes. Can we get a litte applause for that cymbal show? A simple melody from Sinbad the sailor. That's VERY nice! I'm into it!"

Abe stood and bowed to acknowledge the cheers, with Paul telling us, "DON'T encourage HIM!!!"


­ Paul noodles on the piano for awhile, trying out synth sounds and says, "It's OK." Then he plays an abbreviated version of the song.

"Yeah, OK! Thank you! You OK? Got everything then, Pab? Faaccce, yes... right!

Thank you everyone for coming along to our sound check. Hoped you enjoyed yourselves. We certainly did, and we'll see you tonight when I BELIEVE we're gonna be joined by some more people! We'll see you then!"

The sound check ended at 6pm.


July 14: Bankers Life Fieldhouse - Indianapolis, IN


1. Eight Days A Week
2. Junior's Farm
3. All My Loving
4. Listen To What The Man Said
5. Let Me Roll It/Foxy Lady coda
6. Paperback Writer
7. My Valentine
8. Nineteen Hundred And Eighty-Five
9. The Long And Winding Road
10. Maybe I'm Amazed
11. I've Just Seen A Face
12. We Can Work It Out
13. Another Day
14. And I Love Her
15. Blackbird
16. Here Today
17. Your Mother Should Know
18. Lady Madonna
19. All Together Now
20. Lovely Rita
21. Mrs. Vandebilt
22. Eleanor Rigby
23. Being For The Benefit Of Mr. Kite!
24. Something
25. Ob-La-Di, Ob-La-Da
26. Band On The Run
27. Back In The USSR
28. Let It Be
29. Live And Let Die
30. Hey Jude

31. Day Tripper
32. Hi Hi Hi
33. I Saw Her Standing There

34. Yesterday
35. Helter Skelter
36. Golden Slumbers/Carry That Weight/The End

CONCERT REPORT - Bankers Life Fieldhouse - Indianapolis, IN - July 14, 2013

Paul bounced on stage at 8:30pm to a thunderous applauses with most of the audience standing.

Macca strolled across the stage, pointing at fans in the first couple of rows and gave them a 'you are so HOT' gesture' with his hand.

EIGHT DAYS A WEEK ­ At the end of the song, Paul did a 180-degree pivot showing off his long jacket.

JUNIOR'S FARM ­ Paul looked at his hand when he sang the line ,"I looked at his hand."

After the song, Paul yelled, "Hey, Indianapolis! I think we are gonna have a party here tonight Oh, yeah. Great! Good to be back!"

ALL MY LOVING ­ Paul finished the song and said, "Thank you! Oh man, these events are so cool. You know, I'd like to take a moment to just drink it in for myself." The crowd goes wild as he pauses near the right side of the stage and peers out.

"Hey, this one's for the Wings fans!"

LISTEN TO WHAT THE MAN SAID ­ After this song he hoisted the 'iconic' Hofner up in the air and pointed to it. (the crowd was digging this)

Then Paul took off his long coat and women screamed for him to take off more. He politely said, "Thank you. That is the one and only wardrobe change of the evening!"

LET ME ROLL IT/FOXY LADY CODA ­ "Hey, listen. Thank you for this brilliant welcome. It's a beautiful thing."

During the song Paul skillfully unbuttoned his collar, with his right hand, without missing a note!

"That last little bit there... " Paul explained the coda at the end of "Let Me Roll It," (Foxy Lady) and Jimi Hendrix.

"We use to release records on a Thursday..." (Sgt. Pepper's Lonely Hearts Club Band album release day, Thursday, June 1, 1967) "and on Saturday, Hendrix played the Sgt. Pepper's album." (Hendrix's show was actually on Sunday, June 4th, 1967 at London's Saville Theatre and George Harrison was there).

PAPERBACK WRITER ­ Paul continued with the story about Hendrix asking for Clapton or anybody in the audience to help tune his guitar. The reason? Hendrix had a Bigsby lever (whammy bar) on his guitar and when depressed, it would bend the pitch of the strings, causing the guitar to go out of tune.

"The reason I've got this one out here..." Paul explained why he is playing the 1964 Epiphone Casino, which has a Bigsby and more notably ­ the guitar was used to record "Paperback Writer."

At the very end of the song Paul went over to his VOX amp to try and get feedback from his guitar. Paul finished the song and thanked the audience, "Thank you. Alright!!!"

MY VALENTINE ­ "A little while ago I was on holiday. It was raining all the time there. I kind of apologized to my wife Nancy and said 'I'm sorry.' She said, 'It's okay. We'll have a good time.' So I wrote this next song for Nancy. She's here tonight. This one's for you, Nance!" (people cheer)

NINETEEN HUNDRED AND EIGHTY-FIVE ­ "OK, this is one for the Wings fans!" Paul held up his hands to make the "Wings Sign."


MAYBE IM AMAZED ­ "I wrote this next one for Linda." (audience cheers)

During the beginning of the song, Paul was noticeably choked up with emotion. Every time Paul does this song, Wix tries very hard to distract him by making silly gestures. If you get a chance to see Paul in concert and he does this song, watch the interaction between him and Wix.

"You're a great crowd ­ thank you!"


Paul acknowledged the party atmosphere erupting from fans feeling no pain. "I thought we were gonna have a bit of a party, you HOO-SEE-ERS, you!" (trying to say Hoosiers) The audience giggles at his mispronunciation.


ANOTHER DAY ­ Paul began his introduction to "Another Day." "And this is another one that we haven't done 'til this tour, YEAH!!!"

Macca gets side-tracked watching people going crazy in the audience and decides to check their well-being. "How you doing up at the back there? (points to the nosebleed section) How 'bout the people at the sides here? How about this side? How about you?" (points to the middle section in front of the stage) Every section checks in by screaming and cheering wildly as they raise their hands ­ many with cell phones attached.

He continues, "During the show, we're gonna be doing a couple of songs that we've never done before in Indiana ­ we've never done, 'til this tour. So here you go, first time, tonight, for YOU!" Paul finally plays the song.

After the song he starts reading signs in the audience.

"Yeah, you know what? (Paul peers out into the audience to look at the signs) At these things people bring along signs and they hold them up. And you're trying to remember your chords, and remember your words, and us singing it right! So your mind says, 'Don't read the signs!' Then there's another bit of your mind that says, 'you GOTTA read 'em'! (grimaces) Some of them I don't GET!! I mean, what's this one? (reads the sign) 'We stole your goat joke!' That's ABE'S goat joke. (shrugs) I STILL don't get it! (Paul reads another sign) 'Please sign my butt!' (he looks at the sign holder) "Come on! Let's have a look at it?" (audience giggles)


BLACKBIRD ­ Paul gets on the platform and eyes the fans in the front row who squeal. He does his usual intro to the song about America's civil rights struggle in the '60s. "Another story I tell, back in the '60's..." Paul explained that he wanted to write a song for people going through the civil rights struggle that would give them hope and "help them a little bit to get through it."

After the song he mentioned that many people told him that when they learned to play guitar, they learned that song.

"You know what I like about doing that song? I run into so many people 'round the world, who tried to learn it on guitar. How many people tried to learn 'Blackbird' on guitar?" (many hands in the air and people cheering) "Well, you all got it WRONG!" quips Paul. (people laugh) "That's amazing for me! Imagine THAT? Come ON! (more cheering) Thank you for trying to learn it."

HERE TODAY ­ Paul introduced the song as an imaginary conversation with John Lennon. He encouraged people not to wait if have something to say because it could be too late.

Macca finished the song and told the audience, "If you're thinking of saying it. SAY IT NOW!" A split second later, a woman cried out, "PAUL I LOVE YOU!!!" Paul immediately answered back, "I LOVE YOU TOO!!!"

YOUR MOTHER SHOULD KNOW ­ When the song ended, Paul acknowledged a sign held by a pregnant woman, which he read aloud. "I saw a sign in the audience, 'This mother-to-be should know!' CONGRATULATIONS!"

LADY MADONNA ­ He finished the song and said, "Thank you, cheers!" 

ALL TOGETHER NOW ­ "This is another of the songs we've never done before this tour. So first time in Indianapolis. First time in Indiana. First time for you!"

LOVELY RITA ­ "OK this is a song off Sgt. Pepper's album. This is another one we haven't done. First time!"

But before he starts the song, he decides to check his audiences' short-term memory with a "repeat after me."

"Everybody say, 'YEAH!!!" (audience repeats) "Everybody say OKAY!!! (audience repeats) Everybody say AWWLRIGHT!!! (audience repeats) Everybody say Yo, Yo, Yo, Yo, Yo!" (audience repeats)

Paul continued, trying to make it harder for the audience to repeat what he says. This time he raised and lowered the vocal scale as he said the nonsense words, "Yo, yo, yo, yo, yo!" (the audience repeats with no problem) Paul grunted, "arnh, arnh, arnh,arnh!" (the audience grunts back) Macca shoots back with a hearty, "HA,HA,HA, HA!" (the audience repeats) Paul decides it's over and ends it with a mock-angry "That's enuff of that!" and launches into "Mrs Vandebilt."

 Paul and band did a lot of bouncing up and down during this one. Macca even kicked up his Beatles boots.

"Yeah, we played a show in the Ukraine a few years ago." Paul said the song was the Ukraine fans' favorite. It was an Indy audience favorite too with fans kicking their heels up and screaming, "HO! HEY HO!"

ELEANOR RIGBY ­ For this song, Rusty and Abe came up to the front singing backing vocals. The only instruments played during the song; Wix on keyboards and Paul on guitar.

BEING FOR THE BENEFIT OF MR. KITE! ­ Paul introduced one of the highlights of the show. This song has the best lighting effects and graphics. "SSSSSoooo, this next song is another one from Sgt. Pepper's. And this one we've never done, EVER, until this tour. We just recorded it and never played it. And we'll play it for you tonight!"

SOMETHING ­ "I know that a lot of you know that George Harrison was a really good ukulele player. So let's hear it for George! (people scream) Paul holds up the ukulele and says, "This uke was a gift from George. A Gibson! He was actually in a fan club for a guy called George Formby. He was very popular in the 1940's, our parents' generation. And George was in the (George Formby) fan club. He used to go to the fan club meetings up in Blackpool (England) and there'd be sixty of them sitting around playing 'ching, ching, a-ching ching' (Paul demonstrates on the uke) and HE was in the middle of them ALL! (audience laughter) I told him, 'I've learned one of your songs on the ukulele.' So we played it together then and we'll play it for you now."

After the song and the thunderous applause, Paul acknowledged with, "Thanks, folks! Thank you, and thank you George for writing that one!" (audience cheers)

OB-LA-DI, OB-LA-DA ­ "OK, in the middle of this next song, there's a bit where we'd like you to sing on your own. So I'll say, 'OK now YOU! And you will sing most gloriously!"

When the song finished he praised the audience with "Most glorious!!!"


BACK IN THE USSR ­ At the end of the song, Paul ran over to Abe, who leaned over the drums and they both clasped each others hands, locking their fingers together. They held on for several seconds before they let go.

"Oh, yeah, back in the USSR! You know for years, we'd been wanting to go there, just to play that song to them, you know. And we did eventually get it. We were invited to be the first rock 'n' roll group to play in Red Square! So, that was really quite engaging. It was a great show. The Ruskies were really rocking!"

LET IT BE ­ For this song, the audience raised their smartphone equipped simulated lighters. Check that out at your next Paul concert. Take a look around and see what Paul sees.

LIVE AND LET DIE ­ This has to be the most spectacular indoor fireworks show ever at a concert. And for those of us who have seen Paul's shows, you know just when to duck, close your eyes, and put your fingers in your ears. He does notice and makes a point to mimic us after the song!

­ Paul conducts the usual sing-along, striking some comedic poses when 'the men" and "the ladies" sing. Flashing on the screen behind him are fans singing along.

At the song's finish the band gathered for their bows and Paul made some silly muscleman poses, which cracked Abe up. Paul walked across the stage and saw a sign that said, "Give me a hug." He paused to hug himself a few times as he pointed to the sign.


Paul came running out like a schoolboy waving the American flag. He made sure to wave it over people in the front row as he moved from one side of the stage to another. Abe had a tiny black-and-white pirate flag. Wix had the British flag and Brian had the Indiana state flag.

Macca said, "This is soooo, cool! Thank you! I take it you'd like some more." (screams and yells of "YEAH!")


"Oh, you like to rock in Indiana! Alright! OK! Let's get high on life!"


"Oh, yeah, oh, yeah! We're rocking! We're rolling! We're stompin'! We're strolling. We're poppin'!"

I SAW HER STANDING THERE ­ Paul shouts out the famous countdown, "One, two, three, FOUR!!!" and blasts into the song.
Not too many people were left alive after this highly-charged version of The Beatles classic. The ones left standing were deliriously happy including Macca who once again bought the house down! He took off the Hofner and playfully swung it like a baseball bat.

The band took their bows once more and left the stage.


YESTERDAY ­ Out comes Paul and Wix for the Macca's signature song, played on the same guitar (right-handed 1964 Epiphone Texan) he strummed on The Ed Sullivan show, August 14th, 1965.

Paul finished the song, acknowledged the thunderous applause and rested the guitar on his shoulder. He walked over to John Hammel waiting to exchange the Epiphone for the Hofner. They two had a 'mock fight' over the guitars and Paul of course won.

The audience is still on a high from the last song as Paul says, "I'm getting the idea that you wanna keep on rockin'." (screams and cheers)

"Alright, YOU asked for it !"

HELTER SKELTER ­ A high energy, screaming rocker about a spiral-shaped playground slide, lyrically masked with innuendos. This song always brings out the head-bangers.

Paul dashes over to the grand piano and grabs the microphone, "Hey thank you! Listen, you've been a fantastic audience tonight. You really welcomed us. Thanks a lot!! But there does come a time when we've gotta go. (audience boos in protest) Macca stands his ground and agrees to disagree, "Yeah, oh yeah!" (louder boos and protests)

He gains control and says, "Alright, but to bring you a big show like this, we've got a lot of people, you can imagine, working here..." (he talked about the many people behind the scenes that make the show possible)

"So I wanna give a big thanks to the BESTcrew on the planet! (people applaud and cheer) And I want to thank this fantastic band of mine, Abe, Wix, Brian, Rusty. (more applause and cheers)

"We say this every time, but it's true. Most of all, we want to thank YOU! That was QUITE some party!" (deafening roar from the crowd)


The band took their bows and slowly exited while Paul lingered waving to the crowd, "Hey Indianapolis! You have been FANTASTIC!!! We thank you SO much. I'll tell you what, WE'LL SEE YA NEXT TIME!!!"

Paul left the stage at 11:15 pm as the confetti exploded into the air.

August 19, 2013 -- San Francisco Chronicle

Paul McCartney sets sights on Candlestick's last bow

Sir Paul McCartney
has tossed up the possibility of headlining one last concert at Candlestick Park - where The Beatles played their final gig for a paying crowd in 1966 - before the stadium's date with the wrecking ball.

No one was more stunned than Mayor Ed Lee when McCartney floated the idea as he was about to take the stage at his recent Outside Lands festival appearance.

"And it was him who made the suggestion," Lee said. "Believe me, it wasn't something I, or anyone else, was expecting."

It all began when Lee - with about a half hour to kill - decided to check out how things were going at the festival in Golden Gate Park the evening of Aug. 10.

Lee was talking with Outside Lands promoter Gregg Perloff, who asked if he had a couple of minutes to meet with McCartney before the singer went on.

"Ah, Mayor Lee, what an honor," McCartney said. "I understand you are the first Asian mayor of the city."

"Thank you," Lee replied, "but I'm not sure it's quite as glamorous as being knighted."

Sir Paul put his thumb and forefinger almost together and said, "It's that much more."

The ice properly broken, city salesman Lee launched into the success of Outside Lands, then slid into another upcoming significant event - the end of Candlestick, and how the city was putting together photos and film footage to honor the Beatles' final concert.

"Oh, kind of like Shea Stadium," McCartney said, referring to the old New York ballpark where the Beatles played two of their most famous shows. "That sounds fantastic."

"Then," Lee said, "he looks at me and Phil Ginsburg" - general manager of the Recreation and Park Department - "and says, 'Well, if you are going to tear down the stadium next year, we should think about us doing the last concert there.' "

As Lee's and everyone else's jaw dropped, McCartney added, "You know my agent. Why don't we follow up with him?"

McCartney did this once before - at Shea Stadium, just before it was demolished in 2009. Then he and Billy Joel helped break in Citi Field, the New York Mets' replacement stadium.

If the Stick show does come together, it would be full circle from Aug. 29, 1966, when the Beatles played to a crowd of about 25,000 - well short of the stadium's pre-expansion capacity of 42,000.

Tickets went for $4.50 and $6.50, and the Beatles played for about 30 minutes.

When McCartney hit the stage at Outside Lands, an estimated 65,000 were on hand - at $75 to $105 a head. Over the three-day festival, the Recreation and Park Department netted $2.2 million.

A McCartney farewell show would grab international headlines - but it's only one of the many ideas in the works for turning the Candlestick tear-down into a boon for Rec and Park.

August 19, 2013 -- New York Post

Macca Sighting In NY

Sir Paul McCartney
on the dance floor at Elaina Scotto's wedding to Brooklyn Nets CEO Brett Yormark at the Wolffer Estate in Sagaponack, NY on Friday (August 16th).


New York Daily News


The best part about Paul McCartney attending Brooklyn Nets CEO Brett Yormark's wedding to Elaina Scotto over the weekend, was the impromptu live performance he gave the crowd.

"When he walked in they were playing 'Let It Be,' " one guest tells us.

"The band gave Paul the mic and he couldn't have been nicer. He got up and sang a medley of pop songs, none his own."

Our source adds that the
Beatle also posed for pics with whomever asked.

August 19, 2013 -- Daily Express (UK)

No hard day's write, Paul

National treasure
Sir Paul McCartney has turned down £5 million ($7.8 million) to write his autobiography on the grounds that he doesn't have the time and that enough has been written about him already.

What a shame: a
Beatles-eye view of the Swinging Sixties would be an entertaining one indeed.

Still his decision does confirm what we always knew - that Sir Paul always wanted to be a singer rather than a paperback writer.

August 18, 2013 -- Macca Report News EXCLUSIVE!!!
by Jorie Gracen and Sandy Lopez, (Macca Reporter)

Paul McCartney Rocks Miller Park - July 16: Milwaukee, WI - Macca Report REVIEW

Paul McCartney
played to a sold-out crowd of 44,000 at Miller Park breaking an attendance record for the largest attendance for a non-baseball event in Miller Park history.

The last time Paul played Milwaukee was in 2005 at the indoor Bradley Center. The time before that was, September 21st, 2002 again at the Bradley. Twenty years ago in 1993, he played a rainy County Stadium on June 2nd.

Paul flew directly to Milwaukee and flew out after the concert. The band arrived a day earlier and stayed at the Pfister Hotel where fans gathered in hopes of seeing Paul. The band signed autographs before they left for the stadium. (Fox6 Video)

Click to Watch Video

Fans waited outside in the sweltering heat to wait for Paul's SUV. Macca arrived, just after 5 pm with a police escort and waved to fans from the car, while talking on a cell phone to a local radio station. The entourage of vehicles stopped at the ramp entrance to the loading dock, so fans got to see a little more of Paul, before he disappeared into the underground entrance.


1. Honey Don't
2. Honey Hush
3. Milwaukee Jam
4. Flaming Pie
5. Penny Lane
6. Magical Mystery Tour
7. C Moon
8. Whole Lotta Shakin' Goin' On
9. San Francisco Bay Blues
10. Things We Said Today
11. Every Night
12. It's So Easy
13. Here Today
14. Midnight Special
15. Something
16. Bluebird (abbreviated)
17. Lady Madonna (


About 150 people had VIP tickets for the soundcheck. It was a very hot and humid day in Milwaukee with temperatures in the 90's. The soundcheckers waited outside for about an hour before they were let in at 3:45 pm. Miller Park's roof was open so there was no relief from the weather and inside the stadium it was even hotter.

Once inside, the soundcheckers were allowed to do their merchandise shopping while they waited.

Around 4:30 pm the soundcheckers were ushered by handlers to the field and led to a area that was about 30 plus rows away from the stage. The band was already there.
Abe was especially friendly greeting the soundcheckers. Both Brian and Rusty waved. Wix was at the keyboards, setting up the sequence. The band had a 20-minute warm-up jam prior to Paul's arrival.

Paul finally arrived on stage at 5:12 pm wearing Aviator sunglasses, which he took off after a song or two.

Throughout the sound check drank a mystery drink from a Fuji water bottle. It appeared to be a mixture of water, gatorade?, orange juice? and vitamins? At previous sound checks he followed the same routine with several bottles of the mixture consumed prior to the concert.

Paul approached the center microphone and addressed the crowd. "Good afternoon, soundcheckers! Okay, so you know what it is. We're gonna just do little bits and pieces and check, and that, and hope you have a bit of fun while we're doing it. Hey, Pablo! You alright? Keith tells me there are some sort of R.F. issues? ...and we'll see if we can sort it out."

HONEY DON'T ­ Macca blasted into the song with energy that revived the heat weary crowd.

HONEY HUSH ­ The pace continued with Paul wailing, "Come into this house, stop all your yakety-yak!"

Huge applause errupts from the soundcheckers. Paul is pleased and jokes, "Thank you. Thank you for that sympathy involved there... It's a bit cold here, innit? Turn the heat up! Shew! Well, well, well, well well..." Macca was beginning to sweat.

MILWAUKEE JAM ­ With Paul singing, "Everybody if you want me... I'm in Milwaukee... I'm making it up now...")

FLAMING PIE  ­ Begins with a false start, then a restart with the song played all the way through.

PENNY LANE ­ Paul thanks the audience after the song and sees a sign from a girl named Danielle and reads it.

"Danielle...(mutters under his breath) She's just 17, I know what you mean, will not dance with another.

"Where, is she?" He spots her and says, "You were just 17 and you wouldn't dance with another? Okay, well, I know what you mean..."

MAGICAL MYSTERY TOUR ­ Paul finishes the song and says, "Thank you! Yeah, it's TOO hot!!! We should all just go home and sit on someone's porch. On second thought, let's do a show instead. I saw the promoter applauding!"

C MOON ­ Once again Paul shows the crowd his appreciation.

"Thank you, small, but appreciative crowd! Thank you for your lovely support. Bee-bah, boo-dah, bee-bee-bah, doo-dah!"

WHOLE LOTTA SHAKIN' GOIN' ON ­ "Thank you! A little rock 'n' roll. Oh, yeah." (looks out into the crowd)

"Hi, Chicago, fans! (Paul conducts his crowd survey)

"How many people here from MILWAUKEE? (lots of screeming and hands held up)

"And then, how many people here from CHICAGO? (double the amount of cheers and hands held up)

"People NOT from Milwaukee or Chicago? (smaller amount of cheers and hands held up)

"How many people from Edinburgh in Scotland?" (no response)

Paul addresses the techs at the sound board just behind the group of soundcheckers. He seems concerned about the R.F. problem related to a wireless transmitter.

"I know, it's coming and going, innit? It's useful, yeah. Radio frequencies, yeah? What can ya do...? We should go direct. I'll just try this, yeah? I mean, it's only gonna affect the radio-mic, yeah? Is that true? Oh, its some on the cable now. You notice that? On the lead? Yeah. Is that the only guitar? I think I'll do it in one minute... It'll take five minutes, on his translator? He doesn't speak English?"

After stage tech addresses, Pablo Boothroyd at the sound board through the mic, Paul says in mock surprise,"He DOES speak English! He learned it on the sly from old Beatles records! So we'll just try it with this, for now, yeah? We'll sort it out." (giggles from the audience)

Then Paul proceeds to explain to the crowd what the situation is about.

"What's going on here ...puzzling soundcheckers, is that radio frequencies... we use radio-like (wireless) instead of the lead (connected by a cord). And the radio frequencies are being interfered with by ALIENS from another planet! Don't worry, they're friendly and WE'RE worried!"

SAN FRANCISCO BAY BLUES ­ Paul runs through the song and it appears it went well.

"OK, the guys think they've resolved it! (people cheer) Yeah, big cheers for the guys! It's a bit funny, but promising. It'll work out. We'll do the whole show a capella! Yeah! Turn all the lights off!"

Then Paul demonstrated off-mic singing by standing away from the mic and singing faintly, "Fly me to the moon!" then back to the mic. "See? It would be something a little different." (audience laughs their approval)

THINGS WE SAID TODAY ­ The audience applauds at the song's end. Paul responds with, "Thank you! Thank you very much folks. Thank you.

"Was that any better, Pab? Yeah? Was that happening the same for me? Oh yeah, it sounds a bit different for me." 

Wix begins noodling bits of Mozart's "Rondo Alla Turca" on the keyboards while waiting for the R.F. situation to resolve.

Macca asks Pablo, "How are the guys on the video screens with this R.F.? Oh yeah?" 

EVERY NIGHT ­ The song sounded superb as were the ones played before. From an audience point of view the R.F. problem was not noticeable.

IT'S SO EASY ­ Paul threw in a couple of new lyrics, singing, "It's so cheesy."

Paul asks, "Is Flo around? Florence? Where is Flo at, man ? I need you! Flo should be required for sound checks... bah-dah, bee-dee, be-dah, eee... Take it up. I'm gonna try the R.F. and see it if makes any difference."

Paul gets on the platform as it rises up. He looks out into the audience and sees nurses. "Hi nurses! I see two nurses there with little hats. Just 'cos you've got little hats with red crosses on, doesn't mean you're nurses are you?"

The nurses, who really are nurses, yell to Paul that they are.

"Really? OK, good. My mum was a nurse, so we like nurses. Nurses are good for us. Ok, so we'll try and go sing. See what happens here in a minute. Pab? Hey, Flo?

"Remember I told you about the aliens? (points skyward) Yeah, man!" (audience laughs)

HERE TODAY ­ Paul proceeds to strum the chords to "Here Today" as he sings, "'Oh yeah, yeah, yeah," while asking, "are you hearing me okay?" and humming to the melody.

"OK, it doesn't make any difference. Flo! Trumpet! 

"Ee-hee-hee, OK! (looks up and yells) Not THIS time, ALIEN!!!" as a noisy helicopter flies over.

"That seems OK, Scottie?" Paul slaps a beat on his guitar for a while until the sound techs are satisfied that situation has resolved.

Paul continues with the sound check and introduces the next song.

MIDNIGHT SPECIAL ­ The clouds have now parted and the sun is blazing on the stage. Paul puts on the 12-string and his Aviator sunglasses.

"This song is about a train and legend has it... " then he tells the story about the song.

SOMETHING ­ He finishes the song with applause.

BLUEBIRD ­ Paul dons the 1964 Epiphone Texan "Yesterday" guitar and people start to cheer very loudly. Confused to their reaction he asks, "What did I do? Oh, this guitar?" (more cheers)

LADY MADONNA ­ Paul plays an intro instrumental of the ethereal Mass-sage Music which consists of various synth sounds played on the Magic Piano followed by a plethora of arpeggios and repeating notes as he says "Gotta tune!"

"Lady Madonna" was an abbreviated version.

Paul comes to the center microphone to address the audience. "Thank you. I think that's us done. Are you done with us Pab? Yeah? And the guitar, the acoustic, that's alright? Yeah? OK, good. Thank you soundcheckers for coming along. See you later when we will be joined by even MORE people. See ya!"

The sound check ended at 6:33 pm lasting an hour and 21 minutes making it one of the longest sound checks.


July 16: Milwaukee, WI - Miller Park (Fox6 Video)


1. Eight Days A Week
2. Junior's Farm
3. All My Loving
4. Listen To What The Man Said
5. Let Me Roll It/Foxy Lady coda
6. Paperback Writer
7. My Valentine
8. Nineteen Hundred And Eighty-Five
9. The Long And Winding Road
10. Maybe I'm Amazed
11. I've Just Seen A Face
12. We Can Work It Out
13. Another Day
14. And I Love Her
15. Blackbird
16. Here Today
17. Your Mother Should Know
18. Lady Madonna
19. All Together Now
20. Lovely Rita
21. Mrs. Vandebilt
22. Eleanor Rigby
23. Being For The Benefit Of Mr. Kite!
24. Something
25. Ob-La-Di, Ob-La-Da
26. Band On The Run
27. Back In The USSR
28. Let It Be
29. Live And Let Die
30. Hey Jude

31. Day Tripper
32. Hi Hi Hi
33. Get Back

34. Yesterday
35. Helter Skelter
36. Golden Slumbers/Carry That Weight/The End


Since the sound check took so long, the gates weren't opened until just before 7 pm. Normally they would open at 6 pm. Fans had to stand outside and suffer the scorchfffing heat.

Inside a live DJ with a turntable setup began playing Macca/Beatles mash-ups around 7pm as the crowd filtered in. There were only two ways to get down to the field from the top of the stadium. There were several levels of stairs to climb down and at every point someone was checking for wristbands and tickets. That caused congestion and frustration for people unable to reach their seats in time for the show. When the show ended it was just as bad, with two exits from the field that allowed four people at a time through, while thousands waited to get out.

At 8 pm the DJ left and video screens at either side of the stage lit up. Photos and videos of Paul, Wings, The Beatles, family, friends and fans were projected. The rolling slide show was accompanied by more mash-ups and covers of McCartney songs. At 8:44 pm "The End" played and the iconic Hofner, looming larger than life, flashed across the screens signaling McCartney's entrance as the lights dimmed.

Macca arrived on stage at 8:45 pm with the crowd jumping to their feet and emitting a thunderous roar as he strolled casually across the stage waving to his admirers.

EIGHT DAYS A WEEK ­ The crowd went wild. Macca was in excellent voice and let it rip with the energy of a 20-year-old!

­ After the song, Paul shouted, "HEY, MILWAUKEEI!! We're gonna have good time tonight! I can feel it. Are YOU ready?"

ALL MY LOVING ­ Paul finished the song and took a moment to 'drink it all in."

"Oh, boy this is something. Tell you what ­ what I like to do in events as cool as this, I like to take a minute for me to drink it all in. OK?" (people cheered)

LISTEN TO WHAT THE MAN SAID ­ "OK, this one's for the Wings fans!"

Macca finishes the song and takes off his jacket as women scream for more. He jokes about the heat, "I'm glad I wore me overcoat! OK! Oh, YEAH!"


After the song Paul says, "Thank you, thank you! Cheers! OK, that last little bit we did there was a tribute to the late, great Jimi Hendrix." Paul continues with the story about Hendrix opening his show back in the '60's with, "Sgt Pepper's Lonely Hearts Club Band" two days after the Beatles released the album.

­ Paul switches to his vintage Epiphone Casino electric guitar that he originally played on The Beatles recording of the song. At the end of the song he thrusts his guitar up against his amp to create a Hendrix-like feedback.

Paul finishes the song and thanks the audience, "OK, thank you! I've got a feeling we're gonna have a good time tonight!"

MY VALENTINE ­ Paul introduces the song: "A couple of years ago I was on holiday with my wife Nancy. We'd gone away to get some sunshine in Morocco, and it rained every day. It rained every single day, and I said to her, 'I'm sorry about this, baby' and she said, 'doesn't matter, it's okay.' So I wrote this next song based on that. She's here tonight. This is for you, Nance!" (people cheer for Nancy)

NINETEEN HUNDRED AND EIGHTY-FIVE ­ "This next song is for the Wings fans again!"

THE LONG AND WINDING ROAD ­ "Thank you, thank you very much ­ alright!"

MAYBE IM AMAZED ­ "I wrote this next one for Linda." (audience cheers)

Paul got very emotional during this song, straining to get the words out. The audience responded with cheers and tears.

"Thank you. Hey listen, thanks for this brilliant welcome you've given us in Milwaukee, yeah!"


"Having a good time?" (roar of approval from the crowd)


ANOTHER DAY ­ "OK, we're gonna do a couple of songs tonight through the set that we've never done before. This is one that we only just started doing on this tour, and this is the first time here in Milwaukee!" (Paul actually performed this song on June 2nd, 1993 in Milwaukee at County Stadium during the New World Tour).

Paul finished the song to applause. "Thank you! OK, let's do a survey here. How many people FROM Milwaukee here tonight? (many loud cheers)  

"How many people from Chicago? (many more loud cheers and the Milwaukeans retaliate with boos)

Paul snickers, "Yeah, I thought it might get that reaction!

"How many people not from Milwaukee OR Chicago?" (many loud cheers)

"Oh, yeah! Well, welcome every one of you! I tell you something too ­ all of you here tonight ­ you have a house record!" (Paul broke an attendance record for the largest attendance at Miller Park for a concert.)

AND I LOVE HER ­ Ends the song to cheers and screams. "Thank you very much, folks!"

BLACKBIRD ­ Paul steps out on the platform and eyes the fans up front who begin to squeal.

"OK, one of the stories I tell..." Paul talks about civil rights struggle in America back in the '60's and why he wrote the song.

After the song he says, "Thank you very much!

"One of the things I like about doing that song... (pauses to look down at the crowd from the platform)

"How many people here have tried to learn it?" (people raise their hands and scream)

"Well, you ALL got it WRONG!!! (Macca laughs) Well that's amazing for me!"  

HERE TODAY ­ Paul introduces the song he wrote for John and and says it's about an imaginary conversation. He raises his hand and shouts, "Let's hear it for John!" (a long, thunderous applause follows)

Paul struggles, teary-eyed as he sings the song. Fans weep as well. The platform slowly lowers. He finishes the song and reminds people, "Well as I said before, next time you wanna say something nice to someone, JUST SAY IT!!!"

YOUR MOTHER SHOULD KNOW ­ This song incorporates the scene from "Magical Mystery Tour" on the screen behind the band.

LADY MADONNA ­ The 'Magic Piano' is rolled out. Paul sits down and launches into the song.

ALL TOGETHER NOW ­ "Thank you. This is another song that we've never done in Milwaukee before, EVER! And we're doing it especially for you tonight!"

LOVELY RITA ­ "OK, that was one of our more intellectually challenging songs..." joked Paul. "This is another one from Sgt. Peppers'... This is one that we have never done until this tour. For YOU, tonight."

He finishes and surveys the audience. "OK, hey, how you doing up at the back there? (points to the back of the stadium and the audience there screams)

"How 'bout you people at the sides? (he points to the side and they scream)

"How about this side? (points to the other side and they scream)

Finally he points to the section at the front of the stage and says, "And how about you?" followed by more squeals and screams.

MRS. VANDEBILT ­ Paul and band really kicked up their heels on this one. The audience could barely keep up.

Paul mentioned the Ukraine story after the song and said, "Yeah, we did a show in the Ukraine. So if you ever go to the Ukraine, just say this to them, 'Ho, hey ho!' (waves his arms back and forth) They'll know what you mean..." (giggles from the crowd)

­ A beautiful rendition featuring Rusty and Abe, without instruments, singing background vocals up front at the mics. Wix does a superb job of playing this very difficult song on keyboards.

Paul is pleased with the reaction to "...Rigby" and says, "Thank you, thank you good people! Eee-HAH!"

"OK! Here is another one now that is also off the Sgt. Pepper album. And, this is one we haven't done since we recorded it, until this tour. Here we go! FOR YOU!!!"

BEING FOR THE BENEFIT OF MR. KITE! ­ Spectacular light show during this song, but unfortunately since the roof was open, the dazzling lazer show that is normally projected on the ceiling, got lost in space.

SOMETHING ­ Paul did his usual introduction with "Now, I think a lot of you probably
know that George Harrison was a great ukulele player... (raises hand) Let's hear it for George!" (cheers)

After the song Paul said, "Thank you, and thank you George, for writing that one!" (more cheers)

Paul intoduces the next song which is a mandatory singalong. "OK, in this next song, there is a bit in the middle that we'd like to you sing... and I know you will sing most gloriously for us."

OB-LA-DI, OB-LA-DA ­ The audience actually did a good job on this one.


BACK IN THE USSR ­ At the song's end, Paul struck a pose with his Hofner held high in the air and ran over to Abe who leaned over on the drums and they touched each other's thumbs. Then he spoke to the audience and said, "Thank you! Back in the USSR! Thank you!" Then he told the Red Square Russian story. "Yeah, you know we had an opportunity a few years back..."

LET IT BE ­ After the song he stood up and blew a kiss to the crowd.

LIVE AND LET DIE ­ The usual stage pyrotechnics included spectacular fireworks launched behind the stage shooting way up into the air. Those fireworks were repeated at the end of the show.

­ Paul did his usual, "and now just the men... just the fellas" slapping his knee and pretending to spit and doing muscle man poses. He did a nice figure of eight with his hands to outline the shape of the women as they sang "so sweetly" the "Nah-nah-nahs."

After the song the band gathered together for their bows along with some silly dancing before they left the stage.


Brian came out holding the Wisconsin flag. Wix carried the British flag and Paul came out waving the American flag. He shouted, "Well, you're some audience tonight! Thank you! We HAD to come back!" Then he launched into a smoldering version of "Day Tripper."

DAY TRIPPER ­  At the song's finish, Paul said, "Yeah, you little rockers, you! (sign in the audience ­ "You BIG rocker, you!")

He asks the audience, "You wanna get high on life?" (they scream without hesitation, "YEAH!)


Macca leads the audience in a, "repeat after me" session. And they do so.

"Everybody say, Oh, YEAH! Everybody say, AWWL-RIGHT! Everybody say, WHOO-hoo! (much WHOO-hooing!)

"Everybody say, WHOA, WHOA, YEAH, YEAH!!!

"Everybody say, YEAH, yeah, yeah, yeah, yeah, yeah... WHOOO-OOP!! (points up) Woo-oop!! (points down) HA HA HA HA HA HA!!!

Paul shouts, "That's enuff of that! Here we go!"

GET BACK ­ Paul finished with extended "woo-hooing" before asking the audience, "You wanna get back? Do YOU WANNA GET BACK?"

The band took their bows. This time they held hands, bowed and then all jumped back one step at the same time.


Paul came out to thunderous applause and said, "YOU are TOO much! YOU are over the top! You are FANTASTIC! Oh, YEAH!!!"

YESTERDAY ­ When the song ended there was applause and cheers as Paul strung his guitar over his shoulder and walked over to John Hammel. He handed the guitar to Hammel and had a mock fight over it. Then Hammel handed Paul the Hofner.

Paul shouted to the audience,
"I do believe you wanna to keep rocking!!! (audience roars)

"OK! YOU asked for it!"

HELTER SKELTER ­ A raucous head banging version, that got everyone on their feet and ultimately exhausted except for Paul.

Macca walked over to the grand piano and yelled, "Whoa, yeah, WHOO!!! And then bowed.

"Hey listen! This has been heartwarming in more ways than one! And you've been a really fantastic audience. Thank YOU! Couldn't have given us a better welcome, but the time does come when we do have to go. (audience boos)

"Yeah? It coincides with the time that YOU have to go, as well. (more booing)

"But I just wanted to say a couple of things. To bring you a show like this...." He thanks the crew.

"And I want to especially thank this incredible band of mine. (audience cheers)

"Oh yeah!!! And we always like to end by saying, who we really want to thank is, YOU! (pointing) And YOU! And YOU! And YOU!

"Thanks SO much! We LOVE ya!"

GOLDEN SLUMBERS/CARRY THAT WEIGHT/THE END ­ The band takes their bows at the end of the song and Paul comes out front to say, "Hey, listen, Milwaukee, you were fantastic! We love ya! I'll tell you what, we'll see ya next time!"

Paul quickly left the stage (at 11:32 pm) as the red, white and blue confetti fell on the crowd. Fireworks exploded into space from behind the stage. No items were signed or people brought up to the stage during the sound check or concert.


Milwaukee AV Club (published July 17, 2013)

Some questions (and answers) for last night's Paul McCartney show at Miller Park

At this point, writing about a Paul McCartney show is like writing about, well, The Beatles. There's not a whole lot left to say. So instead of running through the man's résumé (he was in The Beatles, and then Wings) and using the phrase "living legend" for the eight-billionth time, let's cut to some pertinent questions and answers regarding his sold-old show Tuesday night at Miller Park:

How did he sound?
Pretty damn terrific. McCartney is 71, though you wouldn't know it from his voice. For the most part, Macca can still hit the falsetto "ooohs" and the throat-shredding screams that were his bread and butter a half-century ago. If the chore of playing "Hey Jude" one...more...time has taken its toll on McCartney's keen sense of showmanship, it wasn't apparent Tuesday night. His four-piece band, meanwhile, was spot-on, turning in faithful renditions of everything from opener "Eight Days A Week" to "Maybe I'm Amazed." Nearly every song was performed in its original key, and every one sounded exactly as you remembered it. At a Paul McCartney show, that's a good thing.

What did he play?
Pretty much everything you'd expect. "The Long And Winding Road"? Of course. "Lady Madonna"? You bet. "Live And Let Die" and "Hey Jude"? Duh. McCartney's show ran for nearly three hours, and he dutifully touched on nearly every Beatles ("Eleanor Rigby") and Wings ("Band On The Run") staple known to man. Only one new song, "My Valentine" (from last year's Kisses On The Bottom, and dedicated to wife Nancy Shevell, who was in the audience), made the set list. Other highlights in a show comprised of nothing but highlights included "All My Loving," "Your Mother Should Know," "And I Love Her," "Mrs. Vanderbilt," and two encores that included "Day Tripper," "Hi, Hi, Hi," "Get Back," "Yesterday," "Helter Skelter," and the final "Golden Slumbers/Carry That Weight/The End" movement from Abbey Road. Only at a Paul McCartney show would "I've Just Seen A Face" and "We Can Work It Out" qualify as mid-set filler.

Were there any surprises?
Quite a few, actually. McCartney has been mining more than a few gems for his current "Out There" tour, playing a handful of songs live for the first time. His first solo single, "Another Day," made the cut, as did a faithfully trippy rendition of "Being For The Benefit Of Mr. Kite" (the only primarily Lennon-sung song McCartney would tackle throughout the night). Another Sgt. Pepper track, "Lovely Rita," made a surprise appearance, as did-get this-the delightfully dopey "All Together Now," from the much-maligned Yellow Submarine soundtrack. ("One of our more intellectual songs," McCartney joked.)

Did he dedicate something to John and George?
Yup. McCartney played the lovely "Here Today" for Lennon ("Let's hear it for John!") and a moving, ukulele-fied version of "Something" for Harrison ("Let's hear it for George!")

Did the show start "about 45 minutes late," as FOX 6 claimed?
No. Like every other show on this tour, a 40-minute, vertically scrolling video slideshow covering McCartney's entire life began at showtime-in this case, 8 p.m. McCartney himself took the stage around 8:45, and played until 11:30 p.m.

How ridiculous were the pyrotechnics during "Live And Let Die"?

How hot was it in Miller Park?
Very, very.

How expensive were T-shirts?
$40 for S-XL, $45 for XXL. People who complained about the high prices were likely the same folks who couldn't believe Miller Park was charging $30 for parking.

Was the whole thing worth it?
Yes. It's not every day you get to see a living legend (damn, so close) in the flesh. Beyond the thrill of seeing one of the f*cking Beatles live, McCartney put on a monster-sized show that played to every seat in Miller Park. "How about this...we'll see you next time!" McCartney shouted after he finished running through one of the most celebrated catalogs in pop music history. That's the kind of optimism people paid to see, and the kind of promise someone like McCartney can keep.

Milwaukee Journal (published July 17, 2013)

Paul McCartney still keeps it fresh for himself, crowd

Paul McCartney
did not play "When I'm Sixty-Four" at a sold-out Miller Park Tuesday night.

He's 71 now. He's already been there, done that.

Some may wonder why he still keeps working at this point in his life and career. If any man has any right to phone it in, to simply call it a day, certainly it's McCartney, one of the greatest musical contributors of all time.

But he keeps going, probably because, like the ancient electric guitar he strummed Tuesday night during "Paperback Writer," the very same one he said he used to record that song in 1966, he still rocks.

For his fifth Milwaukee concert in five decades (including a lone Beatles gig in '64, and a rainy Milwaukee County Stadium show two decades ago this year), McCartney treated the crowd of 43,000 to 44,000, the largest attendance for a non-baseball event in Miller Park history, to 36 songs and nearly three hours of material. Songs spanned from those Beatles gems like "Eight Days a Week" to high-flying Wings tunes like "Hi, Hi, Hi" to a lovely new original, "My Valentine," released last year.

The set list for the most part mirrored what McCartney and his four backing musicians have been playing this summer on what's been called the Out There tour.

But there were enough new elements to probably keep it interesting for a seasoned performer like McCartney, including a handful of songs - including "Another Day" and the playfully simple "All Together Now" - McCartney said weren't performed before this tour. Among those, the highlight was certainly "Sgt. Pepper's" standout "Being for the Benefit of Mr. Kite!," its mind-bending, warped circus melodies brought to life by keyboardist Paul Wickens.

Among old favorites, "And I Love Her" was reinterpreted with Latin sway, while Wings track "Let Me Roll It" rolled into a blistering psychedelic rock freakout loosely centered around Jimi Hendrix's famous "Foxy Lady" riff. And McCartney interjected the show with enough personal touches to make it occasionally seem like he was merely playing for tens of thousands of close friends - like when he used a Gibson ukulele George Harrison gave him to start off the late Beatle's stunning "Something."

Understandably, McCartney wasn't the most physical of performers. Bouncing on his tiptoes for "Mrs. Vandebilt" was the extent of physical exertion. (Although in the sweltering humidity, McCartney's hair became a frizzled mess, sweat stains spread so wide they practically engulfed his shirt. Hey, he is human after all.)

But McCartney's voice has been impeccably preserved, given his age and the wear he's inevitably had to put it through. And he played with the eagerness of a man performing his very first big show, and the gratitude of an artist playing his very last. Before performing "Maybe I'm Amazed," McCartney dedicated the song to his late first wife Linda. Who knows how many times he's played it, how many times he's dedicated it to her. And yet the expression on his face, as he hit those slightly cracked yells and pretty little coos, it was a look of pure, unadulterated love. To convey that passion at this stage, that's nothing short of remarkable.

It was with that same conviction - and of course the aid of brilliant songs - that McCartney turned the most packed concert crowd in Miller Park history into one of restrained admiration for beautiful performances of "Blackbird" and "Here Today" (a conversation to music McCartney wished he had with John Lennon before he was killed). And he did it alone, with his voice and acoustic guitar.

The music throughout the night was so absorbing that a sudden barrage of lasers, shooting flames and fireworks above the ballpark rooftop for "Live and Let Die" was jarring enough to practically induce a heart attack. (Humorously, guitarist Rusty Anderson collapsed, and McCartney covered his ears like a skittish old man.)

But when the smoke literally cleared for "Hey Jude," there occurred a moment, maybe the moment, that likely keeps McCartney in the game, as he united thousands around the simple pleasure of singing some na na nas. But there was love in those nas, in the evening's songs, in the crowd and in the eyes of McCartney himself. So really, why would he want to give any of this up?
The Takeaways

McCartney sweetly dedicated "My Valentine" to his wife Nancy Shevell, who was in attendance Tuesday, saying the song was written as it rained while they were on vacation together in Morocco.

Besides McCartney and the band, a tip of the hat has to go to the video production crew. This was probably the most gorgeously shot live concert I've ever been to, with McCartney at times literally glowing, larger than life, from behind a piano.

Funniest banter of the night: "How many people tried to learn 'Blackbird' on guitar? Well, you've all got it wrong."

Biz Journal Milwaukee (published July 17, 2013)

Transported by Paul McCartney at Miller Park

I was sweating and screaming with the 44,000 other fans at
Paul McCartney's sold-out concert at Miller Park Tuesday night and trying to take a few pictures for this website. And I couldn't have been happier.

A last-minute purchase of an obstructed seat ticket behind the home plate area yielded an experience I'll likely never forget.

The hot temperatures and high humidity didn't dampen anyone's spirits out in the parking lot before the show as pre-concert tailgating got the party started. Umbrellas dotted the scene for shade, not rain, and T-shirts from other McCartney tours and Beatles memorabilia were proudly displayed by folks young and old.

A woman in my line to get into the gates of Miller Park was dressed '60s style, a la "Mad Men," and a man parked close to the gate was rocking out to Beatles tunes from his car stereo that kept us all entertained.

While the lines were long and winding, the mood of the perspiration-drenched attendees was ebullient.

The crush for merchandise inside the concessions area showed that hefty price tags didn't deter many from purchasing that prized T-shirt. I bought one.

Surrounding me and dancing in Section 118 were others who didn't mind having a few visual obstructions for the chance to experience the 71-year-rocker with an impish smile, a youthful enthusiasm and a voice still vibrant and strong.

Even though I grew up with The Beatles, I won't pretend to be a student of McCartney's music or the history of John, Paul, George and Ringo as some of my friends are. I'm sure they experienced the concert with even more fervor and a heightened sense of satisfaction.

But I know what I heard Tuesday night and the memories associated with many of the old songs like "Hey Jude" and newer McCartney material like "My Valentine" soared through the clear night sky. And when it came time to sing along I did, right in tune with thousands of others in the crowd. A guy next to me, who looked like he might be in a band of his own, sang harmony.

With McCartney finally spent after encores that seemed to keep coming, offered as a thank you to Milwaukee's packed throng, everyone headed for the exits. But many lingered, savoring what they had just seen and heard.

Yesterday, any troubles seemed so far away. Thanks Sir Paul.

Express (published July 17, 2013)

Paul McCartney @ Miller Park - July 16, 2013

Paul McCartney is worried about death, he doesn't show it. Where many of his contemporaries have turned somber on their late-career works, earning easy five stars from Rolling Stone with grayscale albums about their mortality, McCartney has opted for a lighter approach. His recent records, 2007's pleasantly poppy Memory Almost Full and the nostalgic 2012 standards collection Kisses on the Bottom, have been downright happy, as fits McCartney's chipper public image. Meanwhile, the man continues to defy age. While rock's other elder statesmen have worn and withered, McCartney remains eternally young, smooth of both skin and voice, ready to roll out of bed and onto the "Saturday Night Live" set looking game at a moment's notice. He's 71, yet he still hides his forehead behind a thick, boyish mop of hair.

But death has touched McCartney, as the setlist of the former Beatles' current Out There tour reminded the crowd often Tuesday night. He dedicated several songs to late loved ones and acquaintances: "Maybe I'm Amazed" to his first wife, Linda; "Something" to its songwriter, George Harrison (playing the opening of the song on ukulele Harrison gifted him); and "Here Today" to the bandmate he never got to say goodbye to, John Lennon. He wrote that song as an imaginary conversation with his former songwriting partner, he explained to the crowd, imparting some take-away advice: "Next time you want to say something nice about someone, just say it."

Of course, McCartney never let the mood stay too heavy for too long. This was, after all, a summertime concert at a ballpark, which coincidentally ran about the length of a ball game, so Sir Paul and his four-piece band kept up the momentum by tapping the more rocking corners of the Beatles and Wings songbooks: "Get Back," "We Can Work It Out," "Back in the U.S.S.R." and "Helter Skelter." The crowd danced in the aisles to "Obla Di Obla Da," cheered wildly for the pyrotechnic blasts of "Live and Let Die," and sang in unison to the finale of "Hey Jude," while McCartney drank it all up. He was constantly holding poses, pointing at the crowd or raising his guitar, as if auditioning images for concert posters or album covers. And if his stage banter at times felt overly rehearsed-he introduced one of his stories as "One of the stories I tell"-it hardly mattered. For three sweaty hours and two encores, fans got to bask in the presence of a legend who seemed genuinely glad to be there, and who still commands the star power to drive a crowd of nearly 44,000 giddy with the smallest gesture.

August 15, 2013 -- Macca Report News (VIDEO NEWS CBC)

Regina, Canada - Mosaic Stadium - August 14, 2013 (Thanks to Dana Koch, Macca Reporter) (
Radio Station CJME audio Interview)


1. Blue Suede Shoes
2. Honey Don't
3. Jet
4. Drive My Car
5. C-Moon
6. Let 'Em In
7. San Francisco Bay Blues
8. Things We Said Today
9. Midnight Special
10 Ram On (with a ukulele solo at the end)
11. Bluebird
12. Celebration (small sample on the Magic Piano)
13. Lady Madonna

There were about 90 soundcheckers. A woman was called up at the end for a hug.

Soundcheckers were escorted out after the sound check so Paul, his band and the City of Regina Pipe Band could rehearse "Mull of Kintrye." "Mull" was rehearsed three times with the pipe band.


1. Eight Days A Week
2. Junior's Farm
3. All My Loving
4. Listen To What The Man Said
5. Let Me Roll It/Foxy Lady coda
6. Paperback Writer
7. My Valentine
8. Nineteen Hundred And Eighty-Five
9. The Long And Winding Road
10. Maybe I'm Amazed
11. I've Just Seen A Face
12. We Can Work It Out
13. Another Day
14. And I Love Her
15. Blackbird
16. Here Today
17. Your Mother Should Know
18. Lady Madonna
19. All Together Now
20. Lovely Rita
21. Mrs. Vandebilt
22. Eleanor Rigby
23. Being For The Benefit Of Mr. Kite!
24. Something
25. Ob-La-Di, Ob-La-Da
26. Band On The Run
27. Back In The USSR
28. Let It Be
29. Live And Let Die
30. Hey Jude

Encore One
31. Day Tripper
32. Hi Hi Hi
33. Get Back

Encore Two
34. Yesterday
35. Mull Of Kintrye (City of Regina Pipe Band)
36. Helter Skelter
37. Golden Slumbers/Carry That Weight/The End

August 15, 2013 -- Leader Post (Regina, Canada)

Paul McCartney concert a 'once in a lifetime' experience

With a little help from a friend,
Beatles superfan Patty Trent celebrated her 50th birthday at a concert she undoubtedly will never forget.

The duo travelled all the way from Boise, Idaho, this week to join a sell-out crowd of over 40,000 people at the
Paul McCartney show at Mosaic Stadium on Wednesday night.

Born July 30, 1963 (the day The Beatles recorded All My Loving), Trent's passion for the iconic band runs deep.

"It just brings back the memories of my childhood, which are perfect," said Trent, whose older brother introduced her to Beatles music when she was four years old. "So it's not so deep in the sense of a movement or politically, it's more the nostalgia that it makes me feel when I hear it."

Having seen McCartney perform in Seattle last month, she was prepared the show might not start on time. As in the past, Wednesday's concert began about an hour late at 9 p.m. The crowd waited patiently, though, doing the wave before greeting McCartney with a loud roar when he took the stage and opened with the 1964 Beatles hit Eight Days A Week.

Weeks before the rock legend took Regina by storm, Haylee Hyde, 21, was in Edmonton browsing for tickets. One look at those waiting in line to take their seats Wednesday proves the 71-year-old McCartney has multi-generational appeal.

Holding a poster in line Wednesday that read "Today Is My 21 Birthday Please Sign Me," and sporting a black The Beatles tattoo on her right foot, Hyde drove the 6-hours from Edmonton to see McCartney for the second time in less than a year. She and her boyfriend, Katlen, showed up before 5 p.m. to be near the front of the line.

Hyde said music today does not come close to the poetry former Beatles
McCartney, John Lennon, George Harrison and Ringo Starr wrote.

"Throughout high school, that's all I did. I didn't hang out with friends - I stayed home and listened to The Beatles," explained Hyde, who dropped her vacation plans when she learned McCartney would be completing his North American tour in Regina. "They were kind of my rock. They have a song for every mood."

Rob Robertson, also from Edmonton, has seen McCartney before, too. He flew in to the Queen City anyway, eager to listen to one of his favourite singers again.

Robertson is something of a travelling concert-goer, having visited Vancouver, Toronto, Lloydminster and now Regina, on top of countless other cities. He said he has seen Led Zeppelin and David Bowie each four times, and Bob Dylan and The Rolling Stones each five times.

"I see all of the shows wherever I can," he explained. "Love my music, love rock and roll. I've seen over 300 shows. I'm 58 years old. I've seen them all. You only live once."

Gearing up for the anticipated three-hour performance, Tom Pastuch and his sister Gerri Mills joined the queue that stretched down 9th Avenue more than two hours before the concert began. Many streets around Mosaic Stadium were closed as far as Dewdney Avenue to accommodate the tens of thousands of concert-goers waiting to get into the stadium.

Missing McCartney was not an option for Pastuch, who attended AC/DC, Bon Jovi and The Rolling Stones here as well. Scoring second-row tickets was a small price to pay to experience a night with a living legend, he added.

"It's phenomenal to get these bands coming to the city, and it helps acknowledge us in Canada," the Reginan said while waiting in line. "I'm really looking forward to this. He'll never come here again. This is once in a lifetime."

August 15, 2013 -- News Talk 980 CJME (VIDEO CTV NEWS)

Paul McCartney interviewed by News Talk Radio before Mosaic show

Says he's "excited to meet a bunch of new people".

As many as 40,000 fans are piling into Mosaic Stadium this evening and
Paul McCartney says he's excited to see every last one of them.

Sir Paul called into to CJME's The Green Zone this afternoon as he was making his way to the venue and said he's thrilled to play somewhere new.

"I've been all over Canada, and played in a lot of places but I haven't played Regina before," he said. "So it's exciting to meet a new bunch of people."

Regina is the last stop on McCartney's "Out There" tour. He says the songs he's chosen for his three-hour show bring him back to performing in his younger days.

"Every time I play them, I get to re-examine them," he said. "I get to look at them from my point of view now and I'm really looking at a kid in his twenties writing this stuff," he said, adding that the songs bring back memories of when they were written and performed.

CJME's Jamie Nye asked McCartney how he feels about younger generations enjoying his music over the decades. He said it's great to see young faces in the crowd but sometimes it's slightly embarrassing for him.

"I've got kids older than these kids and some of the girls are really good looking," he joked. "I'm not allowed to look at them the way I used to look at them."

Fans called in to CJME earlier in the afternoon to say they spotted McCartney taking a bike ride around Wascana Lake with a few people on his tour. He said he enjoyed the exercise and said Regina was a beautiful city.

"Usually you come to a city and you're in and out...but the lovely thing is if you have a little can grab a couple of bikes, grab a couple of mates and have a ride around the lake," he said, adding he was pleased to spot a few people wearing his tour t-shirts.

"A couple of t-shirts spotted me, which was also nice," he said.

You can hear the full interview on CJME's the Green Zone here.

August 15, 2013 --

Paul To Appear At iHeartRadio Music Festival

has announced that he will be appearing at this year's iHeartRadio Music Festival. The festival will be held over the weekend of 20th / 21st September and covers 15 acres of the MGM Grand Garden Arena in Las Vegas. Paul is set to appear on Saturday, September 21st.

Tickets for the festival are already sold out but US fans can still win them through their local radio stations. To find out how to win tickets click

Other acts confirmed to appear at the festival include Katy Perry, Muse, Justin Timberlake and Elton John.

For more information on the festival head to their website

August 15, 2013 -- Rolling Stone

Paul McCartney Producer Previews 'Revelatory' New Album
Ethan Johns on working with the Beatle and what's next for his own solo career

Early last year, Ethan Johns got a special request from
Paul McCartney. "I got a call saying, 'Would you like to go into the studio with Paul?'" recalls the English producer. "And of course I said, 'I would love to!'"

McCartney was in the process of auditioning producers for his 16th solo studio LP, due out this fall. He called Johns because he liked his work with Kings of Leon. "It was very low-key," says Johns (whose father is Beatles, Stones and Who producer Glyn Johns). "[The idea was,] 'Let's just go and hang out for a few days, play some music, have a bit of fun and see what we come up with.'"

McCartney and Johns hit it off immediately after meeting up at London's AIR Studios, where they cut a ballad called "Hosannah" to analog tape using vintage instruments. "The first day we had was remarkable," says Johns. "He walked in with this incredible song, we threw up a couple of microphones and within four hours, we had this great track. I think we did an edit between the first two takes. It had an incredible feel ­ a really evocative piece of music, a very interesting lyric, and the performance was great. Then we started to experiment with it, and I put a bunch of psychedelic strangeness on it. You have fun. 'Oh, try this! Do that!' It's just very inspiring to be around."

Johns was impressed by how open McCartney was to collaborating. "The first thing he said was, 'What do you feel like doing?'" Johns says. "I could have said, 'Let's spend the day making percussion loops with drum machines,' and he would have been, 'Great! Let's do that!' I don't think he ever said 'No,' which is kind of the mark of who he is as an artist, really. He's always up for trying something new."

They continued working together one-on-one at Abbey Road Studios, where McCartney laid down guitar, bass, drums and keyboard parts (again recording to tape); Johns contributed guitar, keys and drums. "It was revelatory for me, recording Paul in that space having listened to the sound of those Beatles records," says the producer. "He plugged in his bass, I put a microphone in front of it, walked upstairs into the control room, pushed the fader up, and [that sound] came out of the speakers immediately. I didn't have to do anything! It was a pretty major light bulb for me. People get so fixated on the equipment and the gear, and those things are important ­ but ultimately, the bass sound on Revolver is Paul. Paul could be playing anything and he will get that sound."

Johns and McCartney recorded a total of four new songs over the three to four weeks they spent in the studio. It remains to be seen how many of those songs will end up on the final album, which has no confirmed title or release date; over the past year-plus, McCartney has also cut potential tracks with producers including Mark Ronson, Adele hitmaker Paul Epworth and Giles Martin (son of Beatles producer George Martin).

August 15, 2013 -- Belfast Telegraph (IE)

McCartney could get Beatles rights

Sir Paul McCartney
could be set to get his hands back on the rights to The Beatles' songbook.

According to music site Fader, Macca will be able to reclaim the rights for his songs in around five years' time, half of which had been bought up by Michael Jackson.

Sony/ATV Music Publishing own the rest of the rights, but thanks to the US Copyright Act of 1976 which returns the rights of pre-1976 songs to their writers after 56 years, Paul could be poised to regain the hits Jacko bought up.

The 71-year-old would get control of his 1962 compositions in 2018 and those from 1970 in 2026.

Sir Paul's new album has had the help of some big name producers according to The Sun, including Mark Ronson, The Beatles producer George Martin's son Giles, Paul Epworth who works with Adele, and Kings Of Leon collaborator Ethan Johns.

A source said: "Macca's team are very excited about the album. They hope it will take him back to the top of the pop charts. The people working with him certainly know how to do that."

The first single is said to be on its way soon, with the album due out before the end of the year.

August 14, 2013 -- Edmonton Journal

St. Albert musician graduated from Liverpool Performing Arts school

St. Albert musician Robert Mulder, fourth from left, with Sir Paul McCartney
after a songwriting session at the Liverpool Institute of Performing Arts

The first time you meet Paul McCartney, there are a few things St. Albert musician Robert Mulder wants you to know.

1) You'll be nervous, but it's only natural. McCartney, after all, is revered by tens of millions of adoring Beatles fans.

2) Sir Paul appears different in person than he does onstage. He's more soft-spoken - kind of like a friendly uncle.

3) The experience will seem surreal.

Three months later, Mulder is still awed by the rare opportunity he was granted: a half-hour, one-on-one mentoring session with the rock 'n' roll legend himself. It's one of the major perks of studying at the Liverpool Institute for Performing Arts, the university co-founded by McCartney in 1996.

"To be honest, it was kind of hard to look at him while I was playing these songs that I had spent so long trying to practise," Mulder says on the phone from Liverpool. "To hear him singing along and tapping his foot was amazing and something I'm never going to forget."

The session was "short, but very intense," says the 22-year-old. Besides getting feedback on his songs and the music video for his single, Mulder was able to chat with McCartney for about 15 minutes. And what exactly does one talk about with Sir Paul?

"I spent some time discussing with him just how to deal with fans, how to deal with paparazzi, how to deal with having a family and when you're on the road and just trying to balance everything out," Mulder says. "I think I was certainly nervous, but I think I was just more preoccupied with my song choice and what I was going to play for him."

And there's more. Mulder encountered McCartney a second time at his graduation ceremony in July. The two shook hands and quickly chatted onstage before McCartney decorated him with a commemorative pin.

But his two run-ins with McCartney aren't the only things Mulder is pinching himself about. His acceptance into the Liverpool Institute was a feat of its own - and highlights the singer-songwriter's potential.

Only four per cent of those who apply are accepted at the institute, once the site of McCartney's high school. But Mulder hedged his bets, wanting to focus on songwriting rather than the traditional musical education offered in Canadian universities (including Grant MacEwan University, which the Liverpool Institute representatives tour each year). Mulder was one of two students not enrolled at Grant MacEwan to gain admission to the institute.

It turns out that flying overseas and living in a foreign setting was the kick-start Mulder needed to pen his songs.

"I think it's hard to write stuff of substance without having really lived. And when I say lived, without having really made a lot of blunders and tried different things out.

"From my personal experience, it's very hard to write when things are going well and when you've got a bit of a plateau. I think my ideas are more visceral when it comes from a really strong emotion, and usually those emotions come from some sort of distress."

He is expanding those songwriting skills through his band, HighFields, which blends folk, rock and indie alternative music. He draws on the diversity of its members, who hail from South Africa, Singapore and Norway. They've recently released a single called The Chase (Oh Lord!), which has received airplay on BBC Radio 1 and was nominated for a Liverpool Music Award.

Although he's heading back to Edmonton this month, Mulder certainly won't be abandoning his English connection. He plans to apply for a visa to revisit the country that has birthed his career, and his idol's.

"England is a very small country and it's a small music scene and things get around fast. I'm just trying to bridge the two cultures and spread who I am and what I'm doing with as many people as possible."

And through it all, Mulder hopes to get by with a little help from his friend.

"When I meet Paul again, I'm not sure. It's a small enough industry that I'm sure we'll cross paths again. And hopefully, the next time, I'll have something more to show."

August 14, 2013 -- Macca Report News (VIDEO)

More about the 2013 LIPA Graduation

David Stark and Rowena Morgan with Paul

From David Stark (LIPA Companion) and owner of SongLink:

Memorable day (July 26) as Macca inducted a worthy and distinguished bunch of new LIPA Companions, plus BASCA's Rowena Morgan as Honoured Friend (wonderful speech!), while this year's SongLink Prizes went to Robert Mulder of superb band Highfields; and pop/dance writer/artist Lauren Flynn & her co-writer Dag Holtan-Hartwig.

Sir Paul McCartney with LIPA's founding principal and chief executive Mark Featherstone-Witty (right) and the six luminaries
(left To Right) Zenon Schoepe, Andy Hayles, Seymour Stein, Mark Ronson, Stephen Mear and Rowena Morgan
who were installed at the Liverpool Institute for Performing Arts ceremony at The Philharmonic Hall, Liverpool.

August 14, 2013 -- Macca Report News

Investors Group Field
- August 12 - Winnipeg, Canada

SOUND CHECK SETLIST - Winnipeg - August 12, 2013 (Thanks to Dana Koch, Macca Reporter)

1. Matchbox
2. Flaming Pie
3. Magical Mystery Tour
4. Birthday (for Macca's publicist ) Soundcheckers join in to sing happy birthday.
5. Let 'em In
6. C-moon
7. Things We Said Today
8. Every Night
9. Midnight Special
10. Leaning On A Lampost (George Formby ukulele song)
11. Bluebird
12. Lady Madonna

There were about 45 soundcheckers who were led out after "Lady Madonna" so Paul could rehearse "Mull of Kintrye" with the City of Winnipeg Police Pipe Band. "Mull" was rehearsed twice with the pipe band.


1. Eight Days A Week
2. Junior's Farm
3. All My Loving
4. Listen To What The Man Said
5. Let Me Roll It/Foxy Lady coda
6. Paperback Writer
7. My Valentine
8. Nineteen Hundred And Eighty-Five
9. The Long And Winding Road
10. Maybe I'm Amazed
11. I've Just Seen A Face
12. We Can Work It Out
13. Another Day
14. And I Love Her
15. Blackbird
16. Here Today
17. Your Mother Should Know
18. Lady Madonna
19. All Together Now
20. Lovely Rita
21. Mrs. Vandebilt
22. Eleanor Rigby
23. Being For The Benefit Of Mr. Kite!
24. Something
25. Ob-La-Di, Ob-La-Da
26. Band On The Run
27. Back In The USSR
28. Let It Be
29. Live And Let Die
30. Hey Jude

Encore One
31. Day Tripper
32. Hi Hi Hi
33. Get Back

Encore Two
34. Yesterday
35. Mull Of Kintrye (City of Winnipeg Police Pipe Band)
36. Helter Skelter
37. Golden Slumbers/Carry That Weight/The End

VIDEO - Paul leaves hotel in Winnipeg
VIDEO - CBC News clip "Eight Days A Week"
VIDEO - WFPtv - News clip "All My Loving"

August 14, 2013 -- Brandon Sun (Canada)

McCartney's stage simple, songs sensational (Winnipeg)

'BLACKBIRD singing in the dead of night," Paul McCartney croons, and his voice wavers high and thin as darkness falls on Investors Group Field.

The man is rising skyward now, about 90 minutes into this stop on the Out There tour that stretches to almost three hours, he knows these tickets didn't come cheap. He is standing on a platform that rises slowly away from the front of the stage, coming to rest about 20 feet above the fans on the floor. The star is alone, for this one, just a legend and his guitar. Its strings quiver and glint as they catch just enough of the light.

From the concourse, if you squint a little, you can still see the outline of a young man with a mop-top boppin' on a Rickenbacker, but only faintly. Sir Paul has survived to grow past that, the shadow of his legend chased longer by the light of these golden years. He is timeless, which does not mean ageless. He is 71 years old.

"You were only waiting for this moment to be free..."

Oh, you know, Winnipeg has been waiting, we haven't seen him for 20 years. The promoter of that last show is now the mayor of Winnipeg, but the gig "seems like yesterday," McCartney will say. And doesn't everyone here believe in that?

Pause the record, spin it backward, start it again at 6:38 p.m. Sound check at Investors Group Field ran late, the opening of the gates was delayed, and so great masses of people shuffle in streams that snake down Chancellor Matheson Drive, that radiate over plots of grass that dot the university site, that rest against the hoods of cars in the parking lots beyond.

Merchandise tents have sprung up even outside the stadium, and they are thronged with lines. In these lines, fans clutch cash, point furiously at any of two dozen T-shirt designs. They are young men with beards and Lennon glasses and gnarled guitarist fingers. They are silver-haired women in denim jackets and heavy gold necklaces. They are men in McCartney shirts from the 1990s, 1980s, before, maybe they pulled it out of a keepsake drawer where it was once carefully folded and stored.

Most of all, they are here huddled in groups that span generations, Baby Boom grown-ups laughing giddy with their twentysomething sons and daughters. They have lived in McCartney's music together, passed it down like the family cabin, so warm when you breathe it in and sweet with last decade's smoke, and so familiar. And the sunrise still floods its windows, though they are old.

"Bon soir, monsieurs et madames," McCartney says, just over seven minutes in, the show began precisely at 8:30 p.m. On the dot as they say, on the nose. "Oh, hi guys. I think we're going to have a little bit of fun here this evening."

So that's it then, just a gathering of a man and his 31,200 closest friends. There was no opening act. When it was time for the show to start, McCartney just walked onstage, his band following behind. He was draped in a long navy jacket and black trousers, with the heels of his boots peeking beneath the hem.

He held up his hand, issued a wave typically seen on kings, and then he stepped to the microphone and he started to sing. We all started to sing. "Hold me, love me," he went, we went, all the people in this brushed silver shell went. "...Eight days a week."

The experience is styled in bright simplicity. There is little onstage that isn't necessary for McCartney and his band to perform, just video screens looming behind and beside them. When McCartney tosses off his navy jacket about 15 minutes in, he quips that it's the only costume change in the show, somewhere in the floor seats a man applauds. "Yes, yes, let the music speak for itself," the fan calls.

Even if McCartney had thought to dress flashy -- well, there is no time for that. The music flows over Investors Group Field so quickly, it streams up over the canopy and scampers off into the sunset, out to where people without tickets are hanging on the hoods of their cars.

"This song is for the Wings fans," or "I wrote this for my wife, Nancy." Or, at one point, "I wrote this song for Linda."

We are at the latter now, the 10th song in this marathon show, and McCartney's fingers are dancing over grand piano keys. Maybe I'm Amazed is a love song, but in the climax his forever boyish voice howls, hoarse with memory of the love who died in 1998.

The tour, it layers songs on songs and sing-alongs on even more familiar ones. When the darkness fully descends, lights are dancing over McCartney's head, and he's rocking now, shoulders shaking with each strum and riff and melody. He picks up a ukulele. "George Harrison was a really good ukulele player," McCartney says, and the crowd issues up a memorial cheer. "Actually, he gave me this ukulele."

The song was Something, and McCartney played it then, and the crowd shimmied and swayed and a moment later things really got going, as one of the most famous of old Beatles bops started up and the party began in earnest. Everyone sang, again, and the place came alive.

"Ob-la-di, ob-la-da, life goes on..."

And the show goes on. The main set closed on Hey Jude, the anthem of every generation since it was written, and then there was one encore, and then a second: he opened that one with Yesterday, just McCartney and his guitar and his voice a jewel here, and the crowd is still singing.

Then he pauses to bring a little something special: he likes playing in Canada, he says, because of all the Scottish people here. And as his band launches into the boozy Celtic rhythms of Mull of Kintyre, the entire Winnipeg Police Service pipe band marches out onstage, drums booming and pipes piercing the air, this seems a treat for the Winnipeg show.

When they finish, they bow, and tens of thousands of people can't stop cheering. "We're getting the feeling you want to keep rocking," McCartney says with a wink, and slams into the chords of Helter Skelter, riding its rawness to take the show home.

August 14, 2013 -- Winnipeg Free Press (Canada)

Winnipeg pipe band surprises by taking stage with McCartney

Paul McCartney
dazzled a sold-out crowd of 31,200 fans at Investors Group Field with a touch of Winnipeg flavor on Monday night. The Winnipeg Police Pipe Band joined McCartney for a song late into his set.

During McCartney's second encore, the Winnipeg Police Pipe Band joined the 71-year-old Beatle on stage to perform Wings' song Mull of Kintyre. The members stood around Sir Paul and his band as they performed the song during the surprise appearance.

Promoters of the show hinted there would be some kind of local connection during McCartney's nearly three-hour set which included over 30 songs.

August 14, 2013 -- Winnipeg Free Press (Canada)

Sir Paul given Key to City

Sir Paul McCartney
is the latest recipient of the Key to the City. The 71-year-old Beatle received the key from Mayor Sam Katz before taking the stage at sold-out Investors Group Field on Monday night.

"We are thrilled to present Sir Paul with the Key to the City," said Mayor Katz. "Not only have his songs touched generations of music fans, his many years of working with charitable organizations has set a tremendous example of caring and humanity for us all."

McCartney is considered one of the world's most successful musicians of all time. On top of his success as an artist, McCartney is also known for his philanthropy and activism working with organizations to bring awareness to animal rights, vegetarianism, musical therapy and education, and participating in benefit concerts.

In 1997, McCartney received his knighthood from Queen Elizabeth II for his service to the music industry.

August 14, 2013 -- News Talk 980 CJME (Canada)

McCartney crew can't eat meat while preparing for show
Rocker requests only vegetarian meals during set-up

A whole lot of burly stage workers at Mosaic Stadium (Regina, Canada) are on a strict diet this week, thanks to
Paul McCartney.

The former Beatle and rock legend is playing an outdoor show at the stadium Wednesday night. McCartney has long been known as a staunch vegan and a vehement supporter of animal rights, even travelling with his wife to northern Canada to protest seal hunting practices in 2006.

As part of the deal to bring McCartney here everyone who is working on the staging for the show is getting a taste of how he lives -- literally. Evraz Place Vice-President Neil Donnelly says the workers are being served vegetarian meals at Sir Paul's order.

"I think the bigger you get the more you want things done your way," he concedes. "So if it means traveling with your own folks to take care of that they can do that."

Donnelly says so far the workers have enjoyed the meals.

"Obviously there's a few jokes flying around about people ordering pizza," he laughs.

An Evraz executive later clarified that the Mosaic concessions will still be selling their standard fare, including meat products, though that hasn't been the case in the past at some venues.

August 14, 2013 -- Macca Report News

Outside Lands Music Festival - August 9, 2013 - Golden Gate Park - San Francisco

CONCERT SETLIST - Outside Lands Music Festival - August 9, 2013 - Golden Gate Park - San Francisco

1. Eight Days A Week
2. Junior's Farm
3. Magical Mystery Tour
4. Listen To What The Man Said
5. Let Me Roll It/Foxy Lady coda
6. Paperback Writer
7. My Valentine
8. Nineteen Hundred And Eighty-Five
9. The Long And Winding Road
10. Maybe I'm Amazed
11. I've Just Seen A Face
12. San Francisco Bay Blues (dedicates it to Shelley Lazar)
13. We Can Work It Out
14. Another Day
15. And I Love Her
16. Blackbird
17. Here Today
18. Your Mother Should Know
19. Lady Madonna
20. All Together Now
21. Lovely Rita
22. Mrs. Vandebilt
23. Eleanor Rigby
24. Being For The Benefit Of Mr. Kite!
25. Something
26. Ob-La-Di, Ob-La-Da
27. Band On The Run
28. Back In The USSR
29. Let It Be
30. Live And Let Die
31. Hey Jude

Encore One
32. Day Tripper
33. Hi Hi Hi
34. Get Back

Encore Two
Yesterday (with Kronos Quartet)
36. Helter Skelter
37. Golden Slumbers/Carry That Weight/The End


Seeing Paul at a music festival was worth spending money for the ticket and facing public transportation challenges. One might worry that Paul's performance wouldn't be the same as one of his own personal concerts, which I have been lucky to attend in the past. It wasn't. This performance showcased an incredible energy from Paul that I have not experienced before.

When he entered the stage singing "Eight Days a Week", the crowd just gasped in awe and yelled in a deafening roar. There were so many people seeing him for the first time. The night was overcast and there was a forest of trees surrounding the crowd. Lights and lazers from the stage lit the sky and the trees with shades of pinks, purples and turquoise blues. It was definitely a Magical Mystery Tour!

Paul asked during the concert how many lived in San Francisco, how many lived in America, but not in San Francisco, and how many didn't live in America. He welcomed the many international people in the crowd.

Three songs were added that he hadn't sang at concerts in San Francisco before and a few tunes that drew the crowd in to sing along with him and his band. People were singing at the top of their lungs.

Macca looked young and had endless energy. He played for almost three hours and the crowd was transfixed listening to The Beatles, Wings, and songs from his solo catalog of music. It was definitely the best I have seen him perform and no doubt a new experience for him as well. For the crowd it was "Festival Paul". We were all together having a great party at a once in a lifetime concert with Paul.

August 13, 2013 -- San Francisco Weekly

Paul McCartney Shines at Outside Lands, 8/9/13

Outside Lands Festival

Better than: Breakfast with the Beatles

At Golden Gate Park, tens of thousands of people sang along to songs that are, in pop terms, ancient. The words, the melodies, and the voice carrying them arrived like a burst of long-captive air -- familiar, yet revelatory. Soul-stirring, even. These were Beatles songs, sung by Paul McCartney, who for the first night of Outside Lands 2013 took a sold-out San Francisco audience back to one of pop music's original supernovas, and let us bask in its incredible warmth for the best part of three hours.

At 71, Sir Paul can still sing, still play, and still charm (as two lucky, sign-waving ladies found out -- more on that later); just imagine impeccable, straightforward versions of "Hey Jude," "Back in the U.S.S.R.," "Daytripper," "Let It Be," "Get Back," "Eleanor Rigby," "Yesterday," "Something," "Blackbird," "Lady Madonna," "Helter Skelter," a bunch more Beatles and solo favorites, and "Live and Let Die" punctuated by gratuitous fireworks. Imagine that, and you've got a decent approximation of how it went.

So the question of whether or not it was a "good" show almost doesn't apply -- Paul McCartney playing Beatles songs was good in a way that no other show could be. (Inevitable nitpicking aside, of course.)

It is both tragic and convenient that the Beatles singer we're left with is the puppy dog-eyed, flirtatious, entertainer side of the leading duo. McCartney excels at the festival kind of spectacle, chatting up a polo field of probably more than thirty thousand people as if it were a half dozen friends in his living room. ("This is so cool, I've gotta just take a minute to drink it all in for myself, okay?," he asked early in the set, as if we might say no.) He is such a good showman that you forget he's being a showman.

His musical feel-good moments were absurdly effective. "Ob-La-Di Ob-La-Da" felt like a zillion adults shouting along to the soundtrack of their very first memory formation. (I think it's a stupid song, and yet even I couldn't help but sing along and shimmy to it.) His "Helter Skelter" was a slow-mo strafe of heavy-blues gunfire, loose and shambolic and yet perfectly targeted -- one of the very best of the night. "Band on the Run" fought against
Wings skeptics with crisp, proggy turns, before settling into that golden lope we all know too well. Sir Paul began unfolding George Harrison's No. 1 hit "Something" with a ukulele, then let his band fall into place one instrument at a time, building up to a bittersweet guitar solo that Rusty Anderson ladled out faithfully. A thundering version of Wings' "Let Me Roll It" melted into a loose jam on the "Foxy Lady" riff, and ended with a story about Jimi Hendrix.

Much has been made about the songs Paul is playing on this Out There tour that he hasn't played before. But while "Lovely Rita" and "Being for the Benefit of Mr. Kite" and a couple others were curiosities, they weren't among the better tunes of the show. Other decisions were odd, too: Paul brought out Kronos Quartet for the encore's "Yesterday," but not for "Eleanor Rigby," where the live strings really would've helped. ("Rigby" was pretty great anyway, but it could've been so much better.) The inevitable padding of later Paul solo tunes was expected, and mostly fine. But, sorry Paul, "We're Going to Get High High High" does not belong in an all-Beatles encore between "Day Tripper" and "Get Back." It just doesn't. (WTF????!!!!)

And yet who are we to whine about lesser crumbs from this magnificent table? As if we hadn't heard enough greatness before, the night closed with a big chunk of the Abbey Road medley: "Golden Slumbers" into "Carry That Weight" into "The End" -- a trio of songs that's nearly 44 years old. Though released before Let It Be, Abbey Road was the last album the Beatles recorded, and thus its end is their end, the final burst of creative energy from the most important rock band of all time. It came out of Paul and Co. last night like a big, bright, bittersweet flash, an explosion of long ago just now arriving in San Francisco via the still-young voice of one of its architects. That light in the sky will always be out there, but last night Paul McCartney shined on it on Golden Gate Park. It's hard to imagine Outside Lands 2013 getting much brighter.

Paul giving teary fan a potential tattoo with a Sharpie

Paul the charmer: After noting that two young ladies in the crowd held signs asking Paul to give them their first tattoo, the Beatle brought them onstage, and signed their wrists -- while hugging them from the back, of course. His proximity drew a few "ooohs" from the crowd, but Macca feigned innocence: "It was the only way to get the angle!" he chirped.

August 13, 2013 -- Rolling Stone

Outside Lands Kicks Off With Fireworks From Paul McCartney

But the biggest fireworks at Outside Lands' opening ceremony ­ literally and figuratively ­ came with the day's anchor act,
The Beatles' Paul McCartney. Some fans found the performance cathartic. Some cried. Others had wide smiles from start to finish. Nearly everyone understood the weight of Sir Paul tearing soulfully through Beatles and Wings numbers with the conviction of the person who wrote those songs ­ "Blackbird," "Paperback Writer," "Hey Jude," "Eleanor Rigby," "Let It Be," and so on and so forth ­ which, individually and collectively, helped shape our very idea of rock & roll.

"This is so cool," McCartney told the audience. "I just have to take a minute to take it all in myself, okay?" He was talking about the act of performing music in San Francisco's Golden Gate Park, but the Beatles have their own history with San Francisco, having performed their last full concert ­ ever ­ at the city's Candlestick Park back in 1966.

McCartney has lost none of the charm that he had back then, entertaining the crowd with stories about Jimi Hendrix, dedicating songs to the loves of his life, and even bringing on stage two fans who held signs asking him to autograph their bodies so that they could get it tattooed. He obliged.

Of course, San Francisco being what it is, McCartney paused at one point to reflect on a long-standing local tradition at rock shows, which dates back to when the Grateful Dead performed for free in the same field: "It's a strange smell I'm smelling," he said coyly. "Something wonderful."

McCartney was also the second act of the day to employ the local Kronos Quartet, using them to augment "Yesterday" in a rendition that moved virtually every single person in the field, including security guards and food vendors.

Fireworks erupted from behind the stage for "Live and Let Die" and again following McCartney's final bow. Indeed, it seemed fitting. It was a particularly good start to a particularly good festival.

August 8, 2013 -- Macca Report News

More 'Out There' dates for the US?

tour rumors circulating are saying that Paul might be planning 5 more US shows (September/October) before he heads to Japan (and possibly Australia) in November. Places that could see a Macca concert? Southern California. Stay tuned...

August 8, 2013 -- Daily Mail (UK)

Surely you could afford a bigger boat? Windswept Paul McCartney sets sail in a dinghy in the Hampton

A windswept Paul McCartney was seen sailing out into the Long Island Sound in a very small boat, accompanied by one of his daughter's friends.

The Beatles star appeared to be teaching his young companion how to manoeuvre the vessel during a holiday in the Hamptons in New York with Beatrice, 9.

The tiny boat, which featured multi-coloured sails, had just enough room for the 71-year-old and the young boy.

Paul looked like he was in full holiday mode in floral-print shorts, pale blue T-shirt and baseball cap, for his excursion.

Despite his fatherly duties, the singer managed to squeeze in an outfit change earlier in the day, after taking his daughter sailing.

He swapped a pair of long shorts and a dark green T-shirt for more colourful attire before he set sail again.

The father-of-five, who is regularly seen in the area after buying a home in the Hamptons, was eager to head back out on the boat to catch the stronger winds.

Paul, who looked to be having a great time out at sea, soon returned to beach to join Beatrice who was playing in the sand.

The baseball cap is clearly an important accessory for the Liverpudlian rocker, who was spotted wearing the same one last week while out shopping with his wife, Nancy Shevell, nearby.

However he teamed it with a pair of chinos, blue shirt and brown, open-toed shoes.

Nancy flashed just enough leg as she strolled around alongside her spouse, checking out the wares in an art gallery and local bookshop.

The American businesswoman teamed the denim skirt with a loose floral top, bright pink cardigan and flip flops, with a straw hat and floral bag.

August 7, 2013 -- East Village Radio

Another Bend in Paul McCartney's Winding Road; Thoughts on Macca's NYC Listening Session (July 17)

It should be no surprise to anyone that Paul McCartney's been very busy in recent years; his work ethic is well known. But for anyone wondering what he's been up to lately, it's likely we'll be seeing the fruits of his labors with the new album headed our way this October. With a little help from his friends-producers Paul Epworth, Mark Ronson, Ethan Johns and Giles Martin-Paul has turned out twenty-one new songs, and it's anyone's guess if any more are still in the making. Most of the finished tracks were laid down at his home studio in Sussex, some were recorded at Abbey Road and still others were done here in New York at Hell's Kitchen's Avatar Studios, where last night his manager, Scott Rodger, auditioned rough mixes of five new tunes.

The songs still have no titles; nor does the album, for that matter. According to Scott, these random samples of what has been completed so far were not played in any precise order or selected for any particular reason. Nevertheless, what he wished to make clear in his preface to the listening session was his opinion that the music ultimately to be included on this forthcoming album is Paul's "best work since the late '70s".

The sound through the monitors was somewhat indistinct, but in the selections we heard, what came through clearly was a confident, cohesive style reminiscent of the beautiful songs we grew up with. Paul's signature descending bass line is still thumping along, while the guitar tone packs gritty and muscle; his voice still flies up and down the scale with staccato quips and simple moral messages that come across like brotherly advice. Culling elements from past masters, such as Penny Lane, Come and Get It, or even the contributions he made to
John Lennon's Free as a Bird, Paul McCartney has brought into bold relief the influence he's had on so many other artists, from ELO to Squeeze to Tears for Fears.

Manager Scott Rodger made the point that two of the producers involved with this latest project are sons of producers Paul has worked with in the past: Giles Martin, whose father, George, was present for some of the Beatles' greatest achievements; and Ethan Johns, whose father, Glyn, brought to life music by the Beatles and the Who. It is as if Paul has completed a circle, Rodger remarked. He concluded the brief listening session with the observation that if we were to make a tally of all the work Paul has completed with the
Beatles, Wings, and on his own, as well as the oratorios he has composed in recent years, we would come up with no less than 53 albums' worth of music. Which gives rise to the question, do we need another McCartney album? Need may not be the right verb; enjoy is more like it.

August 7, 2013 --

BOOTLEG FILES 489: "James Paul McCartney" (1973 TV special starring the once-cute Beatle).

LAST SEEN: The production can be found on YouTube.


REASON FOR BOOTLEG STATUS: Sir Paul has never made this available for commercial release.

CHANCES OF SEEING A COMMERCIAL DVD RELEASE: Somewhat unlikely, but who knows?

Back in early 1973, Paul McCartney was experiencing a new peak in his post-Beatles career. His song "My Love" reached the top of the U.S. music charts, and he was tapped to offer the first rock music theme song for James Bond film "Live and Let Die." But McCartney also faced problems. Sir Lew Grade, who controlled half of the publishing royalties for McCartney's songs, was threatening the star with legal action for the somewhat questionable crediting of his wife Linda as co-writer of the tunes. In order to avoid a court showdown, McCartney agreed to star in a one-shot special for Grade's ATV in return for Linda receiving songwriting royalties.

But the resulting special TV special, "James Paul McCartney," was something of a mess. "James Paul McCartney" was divided into 11 segments that were either wrapped around a single tune or a skein of songs. The bulk of the production was shot in controlled environments, with applause tracks occasionally added later; a single segment was taped before a live audience. Although McCartney presented the special as being a collaborative effort with his new band Wings, the focus was almost entirely on him and Linda.

The opening segment of the special was more than a bit peculiar: the Wings team performed "Big Barn Bed" with their backs to the camera while standing before a wall of video screens featuring images of applauding audiences. The viewer only gets to see the performers when there is a switch to a close-up of each person. The individual members of the band are identified with on-screen text that offers trivial data (favorite color, weight, etc.).

The second segment only features Paul and Linda. She is taking photographs of her husband while he provides acoustic versions of two Beatles songs ("Blackbird" and "Michelle") and two Wings songs ("Bluebird" and "Heart of the Country"). Neither McCartney seems particularly enthused in this segment: she goes through her photography with a blank expression and he seems indifferent to the charade.

The third segment is a music video, shot in a pastoral setting, which is tied to McCartney's much-derided "Mary Had a Little Lamb." The other Wings members return, but most of the focus involves a surplus number of sheep that surround the band. Linda rocks on a tree swing while banging a tambourine, and she later rides a white horse; Paul follows her on a white pony.

The fourth segment puts the band back in a studio, but the camera is mostly in close-up on McCartney as he sings "Little Woman Love" and "C Moon." Again, McCartney does not appear to be enthused about his performance. When the camera finally pulls back, a full orchestra is revealed ­ and these musicians offer the lush backing to the hit tune "My Love." An applause track caps the sequence, although it is obvious that there is no studio audience present during this number.

The fifth segment provides an abbreviated version of McCartney's weird 1971 hit "Uncle Albert/Admiral Halsey." Only the first half of the song is featured, with a surreal music video presentation that has no connection to the "Uncle Albert" lyrics. It is unclear why the "Admiral Halsey" section was dropped.

The sixth segment brings McCartney to Liverpool, where he hangs out with his family and their neighbors/friends at a large pub. The happy locals break into spontaneous sing-alongs of old tunes including "April Showers" and "You Are My Sunshine." Linda is with them and she appears to be enjoying herself immensely; Paul, however, appears slightly bored, though he manages to chat in a cordial manner with those seated around him.

The seventh segment is among the worst things that McCartney ever accomplished: a Busby Berkeley mish-mash that harkens back to the uncoordinated finale of "Magical Mystery Tour." In this number, McCartney wears a pink tuxedo and a fake mustache while dozens of dancers wear a gender-splitting costume (half of the costume is a male tuxedo with short dark hair, while the other half is a glittery gown with long blonde hair ­ sort of like Fred and Ginger spliced together into a single body). The choreography and direction is scattershot and McCartney (who cannot walk in musical rhythm, let along dance) lumbers about. "Gotta Sing, Gotta Dance" is the song performed by McCartney, and a loud applause track at the end of the number fills the void left by baffled viewers.

McCartney is back in his element with the eight segment, which offers clips from "Live and Let Die" along with a performance of the song in a studio. During the number, a man dressed like a spy sneaks about the studio and ultimately blows up the band.

The ninth segment has British pedestrians being stopped and asked to sing their favorite Beatles songs. This is the only genuinely charming spot in the production, as these happy Brits offers distinctive interpretations of the golden oldies. Never mind that lyrics get scrambled or songs are performed in the wrong tempo ­ these real people are having the fun that McCartney never displayed in the earlier segments.

For the tenth segment, McCartney finally begins to show signs of relaxation. This is the sequence involving a live audience, and Wings is in full throttle with rocking renditions of "The Mess," "Maybe I'm Amazed" and "Long Tall Sally." (The latter song was replaced with "Hi Hi Hi" for the British broadcast.) This is also the only time in the production outside of the first segment that Wings exists as a real band, with everyone getting camera time.

For the eleventh and final segment, McCartney offers an acoustic take on "Yesterday." It was a bit odd that McCartney would close the special by harkening back to his Beatles days rather than offering new music.

ABC broadcast the special on April 16. 1973. Although it was very highly anticipated ­ McCartney received a cover story on TV Guide ­ the reviews were dreadful. The New York Times dismissed it as "a series of disconnected routines strung together with commercials for Chevrolet." The Washington Post was nastier, taking Linda to task as not being her husband's artistic equal. "Mrs. McCartney's previous careers do not qualify her to perform in public," according to the Post's critic.

British audiences saw the special one month later, and the U.K. critics were also negative, with the music newspaper Melody Maker slamming it as "overblown and silly." Even today, the special is viewed harshly ­ McCartney biographer Kenneth Womack charitably refers to as "a bit of ill-advised schmaltz."

After its initial broadcast, "James Paul McCartney" vanished from public view. Bootleg copies have floated about for years among McCartney's fans, but the special has never been made available for commercial home entertainment release. For McCartney addicts that never experienced this production, the entire show is on YouTube in a decent second generation dupe.

McCartney never showed fondness for this special, later dismissing it as "just another gig." Whether he will ever get around to bringing "James Paul McCartney" back for re-release is hard to say ­ his 1980 concert film "Rockshow" was recently brought back for a restored theatrical and DVD/Blu-ray release, so perhaps this detour into television might get a digital clean-up. And if not, well ob la di, ob la da, life goes on.

August 2, 2013 -- New York Daily News

Paul McCartney makes lifelong dream come true for beloved city official stricken with cancer

Sir Paul reached out to Susan Kupferman as she was dying of cancer, Mayor Bloomberg reveals

Paul McCartney
made a lifelong dream come true for a dying Beatles fan who had been an admired official at City Hall.

One fourth of the world's greatest rock band reached out to Susan Kupferman when she was in the final stages of cancer, a grateful Mayor Bloomberg revealed Friday.

McCartney called the terminally ill woman - who had left city government to become a top official at the MTA - when she was in the hospital.

Kupferman and McCartney's wife - former MTA board member Nancy Shevell - were friends.

"I wasn't on the call but I'm telling you, Sir Paul called," an impressed Bloomberg said Friday on his weekly appearance on John Gambling's WOR-AM radio show.

Bloomberg - whose admiration for the rock legend is well-known - now has even more respect for McCartney.

"He is a great guy," he said.

Kupferman's still grieving family appreciated McCartney's act of kindness.

"When we were kids, we were all Beatles fans," Kupferman's sister - who asked not to be named - tearfully told the Daily News on Friday.

Kupferman spent her life serving the public in various roles in city and state government and at the MTA.

She worked as the director of the Mayor's Office of Operations, as president of MTA Bridges and Tunnels and as the MTA's chief operating officer.

At the time of her death, on June 26, she was senior advisor to the MTA's chairman. She was 54.

At the time of her death, Bloomberg said, "As anyone at City Hall could attest, she was as likeable as she was dedicated and hard-working - which is to say she was well-loved and enormously respected."

If you think Wings deserves to be nominated for the Rock and Roll Hall of Fame...

Should WINGS be nominated into the Rock and Roll Hall of Fame? There's a debate amongst Beatles/Paul McCartney fans whether Wings is covered by Paul's induction into the Rock and Roll Hall of Fame as a "solo artist." Does Wings qualify as a band and are they worthy with a string of number one hits during the '70s? Should its band members be recognized for their contributions?


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July 2013

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Jorie Gracen