Bass player

John Lennon (1981) : "Paul is one of the most innovative bass players ... half the stuff that's going on now is directly ripped off from his Beatles period."

Nice Quote by Ron Weisner

"Paul McCartney sparked the opposite experience.

"He was, without fail, a joy to work with — professional, energized and punctual," Weisner wrote. "From him I learned that you must persevere not only when things are at their worst, but also when they're at their best. I learned that it's possible to balance your show business with your personal life and remain at the top of your game in both. I learned that entertainment is a noble profession."

Read More At Investor's Business Daily: http://news.investors.com

Yellow

Baaaaaah

Help Meat Free Monday Make A NEW Video

To celebrate five years of Meat Free Monday the campaign is looking for your help to make a new fan video.

If you'd like to get involved, pick a line or two from Paul's song ‘Meat Free Monday’ (or pick every line if you want!) and take a photo of yourself with it. You could write the words on a piece of paper; draw them in the sand; make them out of fruit and veg; make something with the words on; do something on your computer – remember, the more creative your photo, the more chance you have of it being included. Feel free to involve friends, family and colleagues too! We will pick our favourites and turn them into a video for the song.

The lyrics are provided below (plus a few extra lines for when Paul isn't singing).

The video will be posted soon here on PaulMcCartney.com and at meatfreemondays.com...

WHAT TO DO:
1. Pick as many lines as you wish from the lyrics below – including (Intro), (Instrumental) and(Fade) – and take a photo of yourself with it (one line per photo, please!)
2. Post your photo on Instagram or Twitter using the hashtag #MeatFreeMonday or email the photo to mfm5years@gmail.com
3. Post your photo by midnight (BST) Friday 22 August

YOUR PHOTOS:
The selected photos will be used in a new promotional video for Meat Free Monday. Your photos should be either be landscape or square. No portrait photos, please!

MEAT FREE MONDAY LYRICS

(Intro)

Meat Free Monday
It’s a fun day
And it’s happening all around the world

Meat Free Monday
It’s a fun day
And it’s happening all around the world

Think about the future
How the world will be
If we don’t do something
We face calamity

Think of greenhouse gases
Melting polar ice
Ocean levels rising
Better not think twice

Meat Free Monday
It’s a fun day
And it’s happening all around the world

Meat Free Monday
It’s a fun day
And it’s happening all around the world

Think of too much livestock
Warming up the land
Gotta think of answers
Gotta have a plan

Think about the future
How the world will be
If we don’t do something
We face calamity

Meat Free Monday
It’s a fun day
And it’s happening all around the world

After Sunday
Meat Free Monday
And it’s happening all around the world

(Instrumental)

Meat Free Monday
It’s a fun day
And it’s happening all around the world

Meat Free Monday
It’s a fun day
And it’s happening all around the world

Meat Free Monday
It’s a fun day
And it’s happening all around the world  

(Fade)

paulmccartney.com

Johnny Depp on cigfiddle and Paul McCartney on winebox bass

Photographers

Daddy's Support

Beijing

When Legends Meet

Stella McCartney Spring 2015 Presentation in Tokyo,

Pretty in pink

Pose

Paul McCartney: The Long and Winding Q&A

An in-depth conversation about Sir Paul's latest dance-music experiments,
 why he has no plans to retire from touring, and what it was really like to be a Beatle

BySIMON VOZICK-LEVINSON

JULY 17, 2014 10:00 AM ET

In late May, when Paul McCartney canceled or postponed 12 dates on his 
Out There world tour – citing doctor's orders to rest up after being briefly 
hospitalized for a mystery virus in Tokyo – many fans were concerned. 
McCartney wasn't. "People say to me, 'Aw, that must have been terrible for you.' 
Well, no, actually," the former Beatle, 72, tellsRolling Stone. "No one ever tells me 
to rest! It was like summer holidays in school or something. I thought, 
'Yeah, I can get into that.'"

McCartney says the time off from the road let him catch up on all kinds of pursuits
 that his heavy touring schedule might have otherwise made difficult.
 "I just took it really easy at home in England," he says. 
"My son-in-law had a film script – plenty of time to read that. 
I started jogging a bit. The weather was great, so that was cool. And then I went into 
my recording studio and did some music that I didn't have to do, some experimental stuff. 
That was a really nice musical awakening, and it made me feel better."

The day after his triumphant return to the stage in Albany, New York,
 McCartney called RS for a wide-ranging, hour-long conversation. 
He talked about how he spent his time off from the road – including those 
studio experiments and a trip to Ibiza with wife Nancy Shevell – and shared memories 
of going to rock shows as a boy in 1950s Liverpool, what people get wrong about
 John Lennon, and much more. 

Tell us more about the music you were working on
.I have a studio about 20 minutes away from where I live, and sometimes 
I'll go in and work on my computer. Even though I'm not really a computer guy,
 I have a music program that I've worked on for years, called Cubase. It's incredibly 
addictive – I'll just sit there for six hours, until someone has to nudge me and say, 
"Go home now." Normally I work on my orchestral side on that, but someone said to me,
 "You know what? That's not technically an orchestral program.
 It's more of a pop program." So when I had some time to do nothing,
 I went in and said, "Great. I'll start on a dance track or something."

I also got a sequencer, which I was revisiting from years ago. I did an album called
 McCartney II [in 1980],where I had experimented with sequencers and synths
 in their early days. I wanted to get back into that, but I really hadn't had much time before.
 So I hooked that up with Cubase. It was really cool. I'd get the BPM on the sequencer,
 match it on the computer, put some drums in from the computer, put that all down onto
 Pro Tools, and screw it all up – because it was for nothing.

Over a week, I did a couple of tracks, and that reawakened my musical taste buds.
 I was really happy with those. They were just funky little experimental things, 
instrumentals. The first one I did was kind of African, so I gave it the working title
 "Mombasa." The next one was faster, and that one I called "Botswana." It was a good week.
 It was funny, I was talking to Joe Walsh about this. He said, "Yeah, man, that's the best
 – when it's for nothing and it's not important and it's just experimental, 
you have the most fun. It's really good for your soul, that stuff.' And I agree.
 It was very freeing.

Do you listen to much dance music these days?
You know, I listen to it on the radio.I have a friend who, for years now, 
has done a compilation for me of dance tracks and new releases. I play them
 while I'm cooking or in the car, and just see what interests me, see who's 
doing what. I'll have tracks like Pharrell's "Happy" way before it's broken 
onto the scene, and say, "Oh, that's a pretty catchy one. That's going to be a hit."
 I hear a lot of dance music that way.

Funnily enough, one part of this rest program was, I said to Nancy,
 "Hey, we can take a holiday! A real holiday, where we go away." So we went away
 to Ibiza. Obviously, there's a lot of dance music there. We didn't exactly go clubbing, 
but there's plenty of it about. It's in the air in that place. The house we rented didn't
 have a good sound system, so I said, "Excuse me, we're in Ibiza. I've really got to be
 able to hire a sound system." So I found the right guys, and they showed up and got
 me a really great little system. We were saying, "We could rent this house out one evening
 for 600 people, and we could have a rave." [Laughs] We didn't do it, but I was playing 
that music that I'd done in the studio, and it sounded pretty good.

Do you have any plans to go back to the studio and record more?
Yeah, I've got a lot of songs that I've written, and some that I need to finish. 
There's no fixed date, but at the back of my mind, I'll be wanting to clear a few
 months for me to write up the most likely of the songs that I've got on the boil and 
figure out how I want to record them and what I want to do with them. But I haven't
 booked any studio time. It's all there as fun for the future.

Now you're back on the road, on a tour that's been rolling for more than
 a year. What keeps you going?
Well, I'm always reminded of when I was a kid and I used to go to shows. 
This was pre-pre-pre-Beatles. I was just a little kid in Liverpool with no money,
 and I'd be saving up forever. It'd be really good if the show satisfied me – 
and it really pissed me off if it didn't. So I have this thing, which is that these people 
have paid money. They're not necessarily all going be that flush, so let's give them a 
good night out. Let's have a party. Let's make it a fiesta kind of thing, so everyone goes
 home and thinks, "Yeah, I didn't mind spending that money." That's the philosophy
 behind a lot of what I do.

One of the first concerts I ever went to was a Bill Haley concert. I was so young,
 I was still in short trousers. I was about 13 or something. It was rock & 
roll coming to Liverpool, and I was so excited. I saved up, got this ticket, 
went to the Liverpool Odeon – and the whole first half wasn't Bill Haley! 
It was this other guy who, years later, I learned was a promoter who had his 
own band. Mind you, the second half, when Bill opened from behind the curtains
 with, "One, two, three o' clock, four o'clock rock," and did "Rock Around the Clock,"
 which is almost the birth of rock & roll – okay, that was exciting. 
The curtains opened and they're all there in these crazy tartan jackets. That was worth it.
 But I was always pissed off about the opening act, thinking I got cheated.
 And I once bought a Little Richard record where he was only one track on the
 album. It was this other thing, the Buck Ram Orchestra.

So we were always very conscious about that [in the Beatles]. I remember talking 
to Phil Spector in the early days. Phil used to say to us, "You guys, you put too 
much value on. You put an A side, and you put a good song on the B side!" 
There had been a song called "Sally Go Round the Roses," an early thing, 
and on the other side they'd put "Sing Along With Sally Go Round the Roses"
 – just the backing track. And we'd say, "Aw, Phil, you can't do that, man. 
They paid good money for this. We would feel cheated by that." And he said,
 "Nah, you can do that. It's cool." That became actually the big Beatle policy. It was 
always to put a really serious B side on there – so you got "Strawberry Fields"
 with "Penny Lane," and people now talk about that. That was a factor of the Beatles'
 success, I think. It was always a killer B side, which people often thought was 
as good or better than the A side. That was really from the same thing of giving 
value for money, which George Martin used to call "VFM."

Last night, you switched up your usual set a little – you played 
"On My Way to Work," from your most recent album, without even
 warning your band. Do you ever feel like doing more of that, just
 tearing up the set list and playing whatever you like?
Yeah, we occasionally do that, just for the fun of it. But it's not like I'm Phish,
 you know. Certainly, there's a load of people in the audience 
that would want us to do that, but I have to be a bit conscious that there's a
 load of people that wouldn't. Last night at the show, I said, "I know what you think
 of new numbers." Because when we do the old numbers – something like
 "And I Love Her" – I see all the phones come out.
 You see all the little lights, ding-ding-ding-ding-ding, like Disneyland. 
And why did you just get your phone out? "Because it's my old favorite."
 That's reality. And like me and the Bill Haley concert, I don't want to cheat those
 people. So we mix it up occasionally, but mainly we hope we're pleasing the
 various facets in the audience.

People say, "But why do you care, man?" Someone like Bob Dyla
n doesn't necessarily care – he'll just do what he wants, and that's cool. 
I say, "Yeah, but I have these memories that haunt me of these concerts
 that I went to and these records that I bought." I don't want those people 
in my audience thinking, "Hey, we came for big hits, and you played a bunch of shit.

Your friend Eric Clapton recently said he's thinking about retiring from touring.
 Does that idea have any appeal to you? 

Obviously, when you get to a certain age, it's going to be on the cards. 
I had a manager once who advised me to retire when I was 50. He said
, "You know, I'm not sure it's seemly for a 50-year-old guy to keep on trying." 
I thought about it for a second and thought, "Nah." When will you give up? 
When will it give out? Who knows? But the margin has been stretched these days. 
The Stones go out now, and I go to their show and I think, "It doesn't matter 
that they're old gits. They can play great." And I talk to young kids who say exactly 
the same thing: "They play good." 

I think that's the deciding factor. It would be a pity if Eric retires,
 because, shit, he really plays good! But he's that kind of guy, Eric.
 I can see him saying, "I'm going to retire." He's kind of a homebody in essence.
 We've talked about this before. I remember him joking about how 
I stand up for the whole show. He said, "I sit down." That's a blues player thing. 
But he's just too good a player. I would say to him, "Yeah, by all means, sit down, Eric.
 But don't retire."

A lot of people get fed up with life on the road, particularly when you've
 got a really nice home life. But for me, I want it all. I've got a great home life, 
and I've got a great life on the road – it's not like we're on a Greyhound bus 
anymore – and the audiences are just so warm, and the feedback is so good.
 People say to me, "Don't you get tired?" It's a three-hour show, and I'm on 
stage every second. I keep thinking the laws of logic ought to apply and 
I ought to be really tired – but I'm invigorated. There's something about
 it that just gives me energy. And there's always a day off after it, which is 
more than we used to have.

Mind you, you look at the Beatles' set lists, really early days, it's half an hour 
– 35 minutes if we were feeling good, 25 if we were annoyed. [Laughs] It is, man. 
I used to do half lead vocal, John would do half, so that's, like, 15 minutes each;
 then George would do something, Ringo would do something, so that's even less than
 15 minutes. And you were way younger, so, physically, it was nowhere near
 the strain on you. But things have just grown like this, and I'm happy with it. 
I like being with the band. I love playing. I play a lot more lead guitar than 
I used to. I'm still learning, and that feels good. I was saying to someone the other
 day that one of the very first gigs we did – I don't even think we were the Beatles, 
it was the Quarrymen – one the very first times I ever played with John, we did a 
very early gig at a thing called a Co-Op Hall, and I had a lead solo in one of the 
songs and I totally froze. My moment had come, and I really played the crappiest solo
 ever. I said, "That's it. I'm never going to play lead guitar again." It was just too 
nerve-wracking onstage. So for years, I just became rhythm guitar and bass player
 and played a bit of piano, do a bit of this, that and the other. But nowadays, I play
 lead guitar, and that's the thing that draws me forward. I enjoy it. So, yeah, that means
 the answer to "Are you going to retire?" is "When I feel like it." But that's not today.

You just released a music video for your song "Early Days," where 
the chorus goes, "They can't take it from me if they tried/I lived
 through those early days." What are you singing about there?

Revisionism. It's about revisionism, really. I know my memory has got
 chips in it that still can go exactly back to two guys sitting in a room trying 
to write "I Saw Her Standing There" or "One After 909." I can see that very
 clearly still, and I can see every minute of John and I writing together, playing
 together, recording together. I still have very vivid memories of all of that.
 It's not like it fades. Since John died so tragically, there's been a lot of 
revisionism, and it's very difficult to go against it, because you can't say, 
"Well, no, wait a minute, man. I did that." Because then people go, "Oh, yeah
, well, that's really nice. That's walking on a dead man's grave." You get a bit 
sensitive to that, and you just think, "You know what? Forget it. I know what I did.
 A lot of people know what I did. John knows what I did. Maybe I should just leave
 it, not worry about it." It took a little while to get to that.

I know that I have every memory still intact, and they don't, as I say 
in the last verse, 'cause they weren't there. I think you'll find this in most bands,
 but in the Beatles' case, it's got to be worse than any case. For instance, 
I was on holiday once, and there was this little girl on the beach, little
 American kid. She says, "Hi, there. I've just been doing a Beatles a
ppreciation class in school." I said, "Wow, that's great." I think, "I know, 
I'll be really cool here. I'll tell her a little inside story." So I go on about how something happened, and it was a fun story – and she looks at me, she says, "No, that's not true. 
We covered that in the Beatles appreciation class." I'm going, "Oh, fuck." There's no way out, man! They're teaching this stuff now.

When Sam Taylor did her film [Nowhere Boy], she brought the 
script round and we chatted about it. She's a very good friend. And I said
, "Well, Sam, that's not really true. John didn't really ride on the top of the double-decker
 bus." She said, "No, but it's a great scene." I mean, the character of Mimi,
 John's aunt, I said to her, "She really wasn't how she's written in the script.
 She's written as a very vitriolic, mean old bitch, and she wasn't at all."
 She was just some woman who was given charge of the responsibility of
 bringing up John Lennon, and it was not an easy job, you know? She was
 trying her best. She was kind of strict, but it was with a twinkle in her eye. I said, 
"I used to go around there and write with John, and she was okay. You've got to c
hange that." Some of the things she did change, but in the end we agreed that this is
 not a documentary, this is a film, and so she made inferences that weren't there. 
Like, this whole idea of the first song we recorded, "In Spite of All the Danger," 
being John's ode to his mother. That's not true, but in a film, it works better. 
I remember the session, and I remember all the circumstances around that – a
nd we wrote it together. It did not appear to be an angst-ridden ode. We were 
copying American stuff that we were listening to. 
American songs were about danger, that's why we put it in. But, for
 Sam, it worked much better in the film as an angst-ridden ballad.

To get back to my original point, that's the kind of thing that happens in films,
 but these books that are written about the meaning of songs, like Revolution in the Head
 – I read through that. It's a kind of toilet book, a good book to just dip into. 
And I'll come across, "McCartney wrote that in answer to Lennon's acerbic this,"
 and I go, "Well, that's not true." But it's going down as history. That is already
 known as a very highly respected tome, and I say, "Yeah, well, okay." This is
 a fact of my life. These facts are going down as some sort of musical history 
about the Beatles. There are millions of them, and I know for a fact that a lot 
of them are incorrect.

I can see how that would be frustrating.

Well, it used to be frustrating. I've got over it. It's okay. "Early Days
" has a smattering of that, but the main thing is it's a memory song. It's me 
remembering walking down the street, dressed in black, with the guitars across 
our back. I can picture the exact street. It was a place called Menlove Avenue. [Pauses] Someone's going to read significance into that: Paul and John 
on Menlove Avenue. Come onnnnnnn. That's what it's like with the Beatles.
 Everything was fucking significant, you know? Which is okay, but when you 
were a part of the reality, it just wasn't like that. It was much more normal.

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The Zenith Model 17: 60 years later

This could happen to you!

Sir Paul McCartney and Warren Buffett snapped on bench by Omaha teenagers

Pop legend and billionaire feature in ultimate impromptu photo while enjoying a break

To grab a picture alongside Warren Buffett is impressive, to get the billionaire and Sir Paul McCartney in the same shot is astonishing.

However four teenagers in Omaha, Nebraska struck lucky after being tipped off that Paul McCartney had been enjoying an ice cream at a local parlour.

The four boys – Tom White, Jacob Murray, Drew Tvrdy and Luke Koester – leapt into a car and drove to the eCreamery store as quickly as they could.

“I was at home in the house when my friend saw an instagram of Paul eating an ice cream,” Tom White, 16, told the Telegraph.

“Drew grabbed his guitar and Luke a vinyl album and we went as fast as we could to the bench where they were sitting.

"Paul couldn’t sign the guitar or the vinyl, but he was very nice.”

But the pop star, who has been recovering after being admitted into hospital because of a virus infection, raised no objection when Jacob, 16, took a photo of Tom in front of the bench, where he was sitting alongside Warren Buffett.

According to Luke, the two men could not have been more friendly.

“Paul asked if Drew played guitar, which he said was pretty cool.

“They were very nice.”

The encounter lasted about five minutes before a car appeared and drove the two men away.

http://www.telegraph.co.uk