{ "id": "paul-mccartney", "title": "Paul McCartney", "lang": "en", "source_lang": "en", "summary": "English musician and songwriter known for the Beatles, Wings, and a wide-ranging solo career.", "category": "arts", "subcategory": "music", "type": "person", "aliases": [ "James Paul McCartney", "Sir Paul McCartney", "Macca" ], "generated_at": "2026-10-15", "model": "pro/gpt-6.1-sol", "url": "https://aiwiki.page/en/paul-mccartney/", "translations": { "zh-Hans": { "url": "https://aiwiki.page/zh/paul-mccartney/", "json": "https://aiwiki.page/zh/paul-mccartney.json" } }, "sections": [ { "heading": "", "text": "Sir James Paul McCartney (born 18 June 1942) is an English singer, songwriter, multi-instrumentalist, and composer. He became internationally known as a member of the Beatles, sharing the group’s principal songwriting partnership with John Lennon and performing as its bass guitarist and one of its lead vocalists. His work helped establish the Beatles’ place in the development of popular music during the 1960s. (biography.com)\n\nMcCartney subsequently recorded independently and led Wings, extending his career through further songwriting partnerships, international touring, and work outside conventional pop and rock recording. His output encompasses orchestral and choral compositions, electronic experiments, and collaborations with performers from several generations. Recognition of his work includes induction into the Rock & Roll Hall of Fame both with the Beatles and individually, a knighthood, and the Library of Congress Gershwin Prize for Popular Song. (loc.gov)" }, { "heading": "Liverpool childhood and musical beginnings", "text": "James Paul McCartney was born on 18 June 1942 at Walton Hospital in Liverpool, England. His mother, Mary Patricia McCartney, née Mohin, worked as a nurse and midwife; his father, James, known as Jim, worked in the cotton trade. Paul and his younger brother, Michael, grew up in a working-class household, living in Speke before the family settled at 20 Forthlin Road in Allerton. After attending Stockton Wood Road Primary School and Joseph Williams Junior School, Paul passed the eleven-plus examination in 1953 and entered the Liverpool Institute, a boys’ grammar school. On 31 October 1956, when he was fourteen, Mary died following surgery for breast cancer. This bereavement later became a shared experience with John Lennon, whose mother, Julia, died in 1958. (beatlesbible.com)\n\nJim McCartney played trumpet and piano and had led Jim Mac’s Jazz Band in the 1920s. Music-making at home included family gatherings around the piano, giving Paul an early familiarity with popular songs and the older standards his father enjoyed. Jim encouraged both sons’ musical interests and urged Paul to take piano lessons, although Paul preferred learning by ear. His early musical education therefore combined listening, imitation and informal performance rather than sustained conservatoire-style training. The piano also became an instrument for composition: an early version of “When I’m Sixty-Four” originated during his adolescence. (beatlesbible.com)\n\nFor his fourteenth birthday in 1956, Jim gave him a trumpet. McCartney subsequently exchanged it for a guitar because he wanted to sing while accompanying himself. Naturally left-handed, he initially struggled with the conventional right-handed arrangement. Seeing a picture of the American singer Slim Whitman playing left-handed suggested a solution: he reversed the strings and held the instrument the other way round. On his Zenith acoustic guitar he wrote “I Lost My Little Girl,” one of his earliest compositions. Alongside the family’s older repertoire, American rock and roll provided new models, notably Elvis Presley and Little Richard, whose forceful singing McCartney imitated. (paulmccartney.com)\n\nOn 6 July 1957, the fifteen-year-old McCartney met the sixteen-year-old Lennon at St Peter’s Church in Woolton. Their mutual friend Ivan Vaughan introduced them in the church hall between appearances by Lennon’s group, the Quarrymen. The group belonged to the contemporary skiffle scene, although its repertoire also included rock and roll. McCartney demonstrated his ability by playing and singing Eddie Cochran’s “Twenty Flight Rock”; his knowledge of its chords and words helped impress Lennon. He also showed the musicians how to tune their instruments. An invitation to join followed, and McCartney accepted within weeks, entering the group as a guitarist rather than as the bass player he would later become. (stpetersheritagebydrdonna.com)\n\nMcCartney already knew George Harrison, a younger Liverpool Institute pupil whom he had met on the bus to school in 1954. Their shared interest in guitars brought Harrison into the Quarrymen’s circle, and McCartney advocated his inclusion in 1958. Harrison demonstrated his lead-guitar ability by playing the instrumental “Raunchy” on the upper deck of a Liverpool bus, helping overcome Lennon’s reservations about his youth. Meanwhile, Lennon and McCartney began writing together, using the McCartney family home at Forthlin Road when Jim was at work. These school friendships, informal rehearsals and domestic songwriting sessions preceded the professional career of the Beatles. (beatlesbible.com)" }, { "heading": "The Beatles: performance, recording, and creative development", "text": "McCartney’s early professional work with the Beatles centred on club engagements in Hamburg, beginning in 1960, and Liverpool’s Cavern Club. After Stuart Sutcliffe left in 1961, McCartney moved from guitar to bass guitar; that year the group also recorded in Hamburg as Tony Sheridan’s backing band. Ringo Starr replaced drummer Pete Best in August 1962, establishing the recording-era quartet of McCartney, John Lennon, George Harrison, and Starr. (en.wikipedia.org) Their work with producer George Martin at EMI connected this performing experience to a recording career: “Love Me Do” appeared on 5 October 1962, and ten tracks for their debut album, Please Please Me, were recorded on 11 February 1963. Its combination of original compositions and established stage material reflected their club repertoire. (thebeatles.com)\n\nThe Lennon–McCartney songwriting credit designated a shared attribution, not necessarily equal participation in each composition. Both supplied words and music, and their working methods ranged from writing together to revising one another’s substantially completed songs. Recalling “I Saw Her Standing There,” McCartney described bringing an opening lyric that Lennon helped improve; “Yesterday,” by contrast, was McCartney’s composition despite its joint credit. “A Day in the Life” later combined separately conceived sections by the two writers. These examples distinguish the published partnership from the particular contributions involved in creating individual songs. (paulmccartney.com)\n\n“Yesterday,” recorded in June 1965 and included on Help!, placed McCartney’s voice and acoustic guitar alongside a string quartet rather than the Beatles’ usual instrumental ensemble. Martin proposed the strings and developed the accompaniment with McCartney, whose initial reservations concerned an excessively lush orchestral sound. No other Beatle performed on the recording. (thebeatles.com) “Eleanor Rigby,” released on Revolver and as a double A-side with “Yellow Submarine” in August 1966, took the separation from the stage-band format further: its account of isolated fictional characters was supported by Martin’s string arrangement, using four violins, two violas, and two cellos rather than guitars, bass, and drums. (thebeatles.com)\n\nAfter the Beatles stopped touring in 1966, McCartney’s contributions increasingly involved the organization of studio projects as well as individual songs. His proposal that the group adopt an imaginary band identity helped frame Sgt. Pepper’s Lonely Hearts Club Band (1967), although the album did not sustain a single narrative throughout. Its title song and reprise supplied a performance framework around otherwise varied material. (thebeatles.com) The closing “A Day in the Life” joined Lennon’s principal verses to McCartney’s contrasting middle passage, with orchestral crescendos recorded by forty musicians. (thebeatles.com) On Abbey Road (1969), McCartney and Martin helped assemble the second-side medley from songs and fragments by both principal writers, connecting separate pieces into an extended sequence rather than treating every composition as an isolated track. (en.wikipedia.org)\n\nThe final projects overlapped rather than following their eventual release order. The January 1969 Get Back sessions began with the intention of rehearsing new material for live performance and culminated in the rooftop appearance at Apple’s London headquarters. Much of this material remained unreleased while the group made Abbey Road, issued on 26 September 1969. McCartney, Harrison, and Starr subsequently recorded Harrison’s “I Me Mine” on 3 January 1970 without Lennon. Phil Spector then reworked the earlier recordings for Let It Be, adding orchestral and choral accompaniment to “The Long and Winding Road”; the album appeared on 8 May 1970. (thebeatles.com)\n\nThe group’s dissolution involved creative disagreements and disputes over business management, particularly Allen Klein’s role. Lennon privately communicated his departure in September 1969. McCartney’s questionnaire accompanying his first solo album became public in April 1970 and indicated that he did not envisage renewed Lennon–McCartney collaboration; contemporary reporting treated it as confirmation of the split. (en.wikipedia.org) The public announcement was distinct from the partnership’s legal unwinding: McCartney filed for its dissolution on 31 December 1970. (en.wikipedia.org)" }, { "heading": "Independent recording and Wings, 1970–1981", "text": "McCartney, released in Britain on 17 April 1970, established a recording approach distinct from his work with the Beatles: McCartney played every instrument and sang the principal vocals, with Linda McCartney contributing harmonies. Work began with a four-track recorder in his London home, and the album combined short instrumental pieces with developed songs such as “Every Night” and “Maybe I’m Amazed.” Ram, released in May 1971, instead employed a studio ensemble, including drummer Denny Seiwell and guitarists Hugh McCracken and David Spinozza. Credited jointly to Paul and Linda McCartney, it also named both as producers and credited them together as writers of six of its twelve tracks. Linda’s vocal harmonies were an important component of the arrangements. (paulmccartney.com)\n\nMcCartney formed Wings in 1971 with Linda on keyboards and vocals, former Moody Blues member Denny Laine on guitar and vocals, and Seiwell on drums. Paul, Linda, and Laine remained its core throughout successive personnel changes; Wings was a continuing band rather than the collective name for every post-Beatles McCartney release. Its debut, Wild Life (December 1971), was deliberately recorded quickly, over approximately two weeks, with the opening “Mumbo” captured in one take. Guitarist Henry McCullough joined in 1972 and participated in the more extended sessions for Red Rose Speedway (1973). An initial double-album plan was reduced to a single LP containing “My Love,” whose guitar solo was played by McCullough. (paulmccartney.com)\n\nWings also recorded material outside its studio albums. “Live and Let Die,” released in June 1973 as the theme for the James Bond film, reunited McCartney with George Martin, who produced the recording and arranged its orchestral passages. Later that year, McCullough and Seiwell left before sessions began in Lagos, Nigeria, for Band on the Run. The remaining trio—Paul, Linda, and Laine—completed the album with engineer Geoff Emerick. Released in December 1973, it included “Jet,” “Let Me Roll It,” and the title track; it reached number one in the United States on three separate occasions and became Britain’s best-selling studio album of 1974. (paulmccartney.com)\n\nGuitarist Jimmy McCulloch and drummer Geoff Britton joined in 1974; Joe English replaced Britton during the sessions for Venus and Mars (1975), recorded in New Orleans and Los Angeles. The resulting five-member lineup also made Wings at the Speed of Sound (1976) at Abbey Road. Although McCartney supplied most of its songs, every member sang lead on at least one track: Linda performed “Cook of the House,” Laine “Time to Hide,” and English “Must Do Something About It.” The album also contained “Silly Love Songs” and “Let ’Em In.” In November 1977, Wings released “Mull of Kintyre,” co-written by McCartney and Laine and featuring the Campbeltown Pipe Band. It became the British Christmas number-one single and the first single to exceed two million UK sales. (paulmccartney.com)\n\nMcCulloch and English departed during the period of London Town (1978), part of which was recorded in the Virgin Islands. Guitarist Laurence Juber and drummer Steve Holley joined the core trio for Back to the Egg (1979), co-produced by McCartney and Chris Thomas. Its expanded “Rockestra” sessions included Pete Townshend, David Gilmour, John Paul Jones, and John Bonham. Separately, McCartney recorded McCartney II at home in summer 1979, performing all instruments himself, with additional vocals by Linda. Released on 16 May 1980 under his own name, its electronic experiments included “Coming Up” and “Temporary Secretary.” Its release did not immediately dissolve Wings: the band rehearsed again later in 1980 and ended in 1981. (paulmccartney.com)" }, { "heading": "Solo recordings and collaborations after Wings", "text": "Tug of War, released on 26 April 1982, reunited McCartney with producer George Martin. Its sessions combined McCartney’s multi-instrumental performances with contributions from musicians including Stevie Wonder, Ringo Starr and Carl Perkins; “Here Today” commemorated John Lennon. Wonder’s participation illustrates the distinction between performing and composing: he sang the duet “Ebony and Ivory,” written by McCartney alone, but shared the songwriting credit for “What’s That You’re Doing?” Pipes of Peace, released on 31 October 1983 and also produced by Martin, incorporated material begun during the earlier album’s sessions. Michael Jackson both co-wrote and sang “Say Say Say” and “The Man”; these were songwriting collaborations rather than guest vocal appearances on McCartney compositions. (paulmccartney.com)\n\nIn 1987 McCartney began writing with Elvis Costello, recording acoustic demonstrations of their songs before developing band arrangements. Four co-written compositions appeared on Flowers in the Dirt, released on 5 June 1989: “My Brave Face,” “You Want Her Too,” “Don’t Be Careless Love” and “That Day Is Done.” The album’s production involved several collaborators, including Mitchell Froom, Trevor Horn and Steve Lipson, rather than presenting the McCartney–Costello demonstrations unchanged. Their joint compositions subsequently appeared in both artists’ catalogues: Costello recorded “Veronica” for Spike (1989), while McCartney included “Mistress and Maid” and “The Lovers That Never Were” on Off the Ground (1993). The partnership thus supplied material across several releases, not a jointly credited album. (paulmccartney.com)\n\nFlaming Pie, released on 5 May 1997, followed McCartney’s involvement in the Beatles’ Anthology project. Its production brought together McCartney, Jeff Lynne and Martin, with instrumental contributions from Steve Miller, Starr and McCartney’s son James. McCartney described revisiting the Beatles’ work as a stimulus to the album’s comparatively spontaneous recording approach. Chaos and Creation in the Backyard, released on 12 September 2005, instead placed production in Nigel Godrich’s hands. Memory Almost Full, released on 4 June 2007, was produced by David Kahne. Although issued later, its recording had begun in autumn 2003, before the Godrich project, and resumed afterward; release order therefore does not represent a simple sequence of separate recording periods. (paulmccartney.com)\n\nNew, released on 14 October 2013, distributed production among Paul Epworth, Ethan Johns, Giles Martin and Mark Ronson. The arrangement allowed different working methods within one album, including compositions developed through studio jamming with Epworth. Egypt Station, released on 7 September 2018, was recorded in Los Angeles, London and Sussex, principally with Greg Kurstin; “Fuh You” was produced by Ryan Tedder. McCartney conceived its sequence as a journey, using the short “Opening Station” and “Station II” pieces to frame songs as successive destinations. (paulmccartney.com)\n\nMcCartney III, released on 18 December 2020, returned to the largely self-performed and self-produced format associated with McCartney (1970) and McCartney II (1980). Recorded in Sussex during pandemic restrictions, it generally began with live takes of McCartney singing while playing guitar or piano, followed by overdubbed bass, drums and other parts. It also incorporated the previously unreleased “When Winter Comes,” recorded in the early 1990s with Martin as co-producer, linking an older performance to newly recorded material. (paulmccartney.com)\n\nThe Boys of Dungeon Lane, released on 29 May 2026, was made with producer Andrew Watt over approximately five years, in sessions alternating between Los Angeles and Sussex around McCartney’s touring commitments. Their initial work produced the opening song, “As You Lie There,” with McCartney playing most of its instruments. The album combined love songs with recollections of his Liverpool childhood and early friendships with Lennon and George Harrison; its title came from a lyric in “Days We Left Behind.” (paulmccartney.com)" }, { "heading": "Songwriting, singing, and instrumental practice", "text": "McCartney’s melodies often combine direct, singable phrases with harmonic movement that complicates their apparent simplicity. In “Yesterday” (1965), the opening major-key phrase moves through chords leading towards the relative minor before returning to the tonic; the contrasting middle section begins with a higher, more questioning melodic gesture. The recording’s restrained vocal, acoustic guitar and string quartet leave these changes exposed rather than embedding them in a full-band arrangement. This description of the finished composition is distinct from McCartney’s account of its origin: he has described waking with the melody already in mind, before developing the final words. The recording itself also developed in stages, with George Martin’s string arrangement overdubbed onto McCartney’s voice-and-guitar performance on 17 June 1965. (playournotes.com)\n\n“Eleanor Rigby” (1966) illustrates a different relationship between melody, harmony and narrative. Its accompaniment largely alternates between E minor and C major, while the melody introduces a raised sixth against the minor-key setting. Musicologist Alan W. Pollack identifies a Dorian element in this melodic language and describes the song’s syncopated, rising-and-falling gestures as contributing to its anxious character. The lyrics construct isolation through concrete actions: Eleanor clears wedding rice, while Father McKenzie prepares an unheard sermon and repairs his socks. Their separate stories meet only at her funeral. The repeated questions about lonely people interrupt these miniature scenes, turning individual characters into the subject of a broader refrain; Martin’s eight-part string ensemble supplies the accompaniment without the Beatles’ usual guitar–bass–drums texture. (icce.rug.nl)\n\nHis bass guitar playing similarly treats an accompanying part as a potential independent melody. In a 1994 interview with Tony Bacon, McCartney explained that the line in “Lucy in the Sky with Diamonds” connected chord changes through moving figures rather than simply repeating roots. Such parts function contrapuntally while retaining a strong rhythmic role; he also acknowledged the extra coordination required to sing against them. He named James Jamerson and Brian Wilson as important influences. Instrument choice affected articulation and sound: he valued the violin-shaped Höfner’s lightness, but used a Rickenbacker extensively around Sgt. Pepper, recalling its more reliable tuning. He played with both fingers and a pick, noting that the latter provided an audible attack that recording engineers could bring forward in the mix. (the-paulmccartney-project.com)\n\nHis singing ranges from the comparatively smooth, intimate delivery of “Yesterday” to the grainy attacks and sustained, forceful high phrases of “Oh! Darling” (1969). These recordings demonstrate contrasting uses of vocal texture, not merely differences in volume. His instrumental contributions also extend beyond bass: the exposed acoustic accompaniment of “Yesterday” contrasts with his electric-guitar solo on George Harrison’s “Taxman” (1966), recorded alongside his bass part. Piano, guitar and drums could become interlocking components of an arrangement rather than fixed roles assigned to separate performers. (thebeatles.com)\n\nHome recording and overdubbing allowed him to construct those relationships sequentially. For McCartney (1970), he installed a Studer four-track recorder at his London home, plugged directly into the machine and estimated recording levels; additional work took place at professional studios. He performed the instruments himself, with Linda contributing harmonies. The working method remained adaptable rather than mechanically uniform: McCartney III (2020) was largely built from simultaneous performances of voice with guitar or piano, followed by added bass, drums and other parts. Engineer Steve Orchard and technical manager Keith Smith described sessions that began as the documentation and development of accumulated ideas, becoming an album only as the recordings took shape. (cdn.penguin.co.uk)" }, { "heading": "Concert performance and touring", "text": "Wings began performing on a deliberately modest scale. On 9 February 1972, the group played a lunchtime concert at the University of Nottingham, charging 40 pence admission and dividing the proceeds among its members. Further university appearances and a European tour that summer allowed McCartney to establish a performing identity outside the Beatles. By contrast, the 1975–1976 Wings Over the World tour used a substantial touring production: its initial equipment shipment included twelve and a half tons of amplification, lighting, mixing equipment, and instruments. The concerts combined Wings material and selected Beatles songs with featured performances by Denny Laine and Jimmy McCulloch. A seated acoustic sequence at the front of the stage interrupted the amplified rock presentation, creating a smaller-scale ensemble setting within the larger show. (paulmccartney.com)\n\nThe triple live album Wings over America, released in December 1976, documented the American concerts rather than the entire geographical itinerary. Compiled from approximately 90 hours of recordings made at several shows, it was mixed to resemble a continuous performance. Its opening sequence, “Venus and Mars”/“Rock Show”/“Jet,” emphasized Wings’ contemporary repertoire; “Lady Madonna” and “The Long and Winding Road” brought Beatles compositions into the programme. The acoustic passage included “Bluebird,” “I’ve Just Seen a Face,” “Blackbird,” and “Yesterday.” McCartney’s credited roles—vocals, bass, piano, and acoustic guitar—also indicate how changes of instrument helped organize the concert into contrasting sections. (paulmccartney.com)\n\nMcCartney returned to extensive touring on 26 September 1989, beginning a world tour that continued through July 1990, his first major touring undertaking since 1979. The ensemble included Linda McCartney, guitarists Robbie McIntosh and Hamish Stuart, keyboard player Paul “Wix” Wickens, and drummer Chris Whitten. Promoting Flowers in the Dirt while giving Beatles songs a substantially larger place than on the Wings tours, the programme established a career-spanning approach rather than separating his former group’s work from subsequent recordings. Audience participation could alter the performance itself: at the Liverpool concert, the crowd continued singing “Give Peace a Chance” after the musicians stopped, prompting McCartney to resume it. (en.wikipedia.org)\n\nThe 1991 MTV Unplugged appearance offered a different performance discipline. Acoustic instruments were captured with microphones rather than connected directly to amplifiers; McCartney later explained that turning toward the drummer could take his guitar away from its microphone and reduce its audibility. Arrangements used acoustic guitars, acoustic bass, piano, accordion, and percussion, with musicians exchanging functions: McCartney played drums while Stuart sang Bill Withers’s “Ain’t No Sunshine.” Released as Unplugged (The Official Bootleg), the performance placed early rock-and-roll covers beside Beatles songs, solo compositions, and “I Lost My Little Girl,” written when McCartney was fourteen. (the-paulmccartney-project.com)\n\nLater arena, stadium, and festival concerts retained this alternation between intimate passages and full-band spectacle. The Got Back production used Wickens, guitarists Rusty Anderson and Brian Ray, and drummer Abe Laboriel Jr., supplemented by the Hot City Horns. Large screens supported presentation across expansive venues, while “Live and Let Die” incorporated explosions and lasers. At Glastonbury Festival on 25 June 2022, the touring programme also accommodated guests: Dave Grohl joined “I Saw Her Standing There” and “Band on the Run,” and Bruce Springsteen performed “Glory Days” and “I Wanna Be Your Man.” (theo2.co.uk)\n\nArchival audiovisual material introduced a separate kind of contribution. For “I’ve Got a Feeling,” performed on Got Back and at Glastonbury in 2022, Peter Jackson supplied isolated vocals and footage of John Lennon from the Beatles’ rooftop performance of 30 January 1969. McCartney and his band played live alongside this fixed recording, with Lennon appearing on the screens. McCartney described having to follow Lennon’s recorded timing when their vocal parts overlapped. The sequence remained in the Paris concerts of December 2024: its apparent duet depended on synchronized archival playback, not a newly created Lennon performance or live participation. (abc.net.au)" }, { "heading": "Classical composition and experimental projects", "text": "Liverpool Oratorio, jointly composed by McCartney and Carl Davis, was commissioned by the Royal Liverpool Philharmonic Society for its 150th-anniversary celebrations. It premiered at Liverpool Cathedral on 28 June 1991, conducted by Davis, with soloists including Kiri Te Kanawa and Jerry Hadley, the Royal Liverpool Philharmonic Choir, and cathedral choristers. Its eight movements—“War,” “School,” “Crypt,” “Father,” “Wedding,” “Work,” “Crises,” and “Peace”—organize a loosely autobiographical narrative rather than a literal account of McCartney’s life. Shanty, sung by Hadley, is born in wartime Liverpool in 1942; his subsequent experiences encompass education, bereavement, marriage to Mary Dee, employment, and a marital crisis. The oratorio uses orchestral passages, solo voices, and choruses to carry this fictional life story. (paulmccartney.com)\n\nStanding Stone (1997) developed a different large-scale form, drawing on an extended poem by McCartney rather than a narrative libretto assigned to named solo characters. The recording features the London Symphony Orchestra and London Symphony Chorus under Lawrence Foster; its musical associates included Richard Rodney Bennett, John Harle, David Matthews, and Steve Lodder. (paulmccartney.com) Working Classical (1999), by contrast, combines orchestral pieces with chamber music, performed by the London Symphony Orchestra and Loma Mar Quartet. Arrangers included Bennett and Jonathan Tunick. Alongside pieces such as “Spiral” and “Tuesday,” it recasts existing songs—including “My Love,” “Maybe I’m Amazed,” and “The Lovely Linda”—as instrumental music, making arrangement and changes of ensemble central to the project. (paulmccartney.com)\n\nEcce Cor Meum (“Behold My Heart”) originated in a commission from Magdalen College, Oxford, associated with its new concert hall. An initial version received a preview performance in November 2001 by the college choir under Bill Ives. The 2006 recording presents four choral movements and an intervening “Lament,” using McCartney’s English and Latin texts. Conducted by Gavin Greenaway, it features soprano Kate Royal, the Academy of St Martin in the Fields, London Voices, and boys from the Magdalen and King’s College choirs. (paulmccartney.com) Ocean’s Kingdom (2011) was instead commissioned for ballet by New York City Ballet, with choreography by Peter Martins. Its four-movement orchestral recording was performed by the London Classical Orchestra under John Wilson, with John Fraser producing. (paulmccartney.com)\n\nMcCartney’s parallel work in electronic music included the Fireman, his partnership with producer Youth. Strawberries Oceans Ships Forest (1993) emerged from a proposed remix of Off the Ground: Youth suggested dismantling the album into samples and constructing new mixes from those components, and McCartney joined him in the studio. Rushes (1998) placed greater emphasis on ambient textures, extended melodies, and relaxed grooves, with guitars less prominent and McCartney’s vocals almost absent. (loc.gov)\n\nThe Fireman’s Electric Arguments (2008) shifted toward vocal songs while retaining an improvised working method. Its thirteen tracks were recorded in thirteen working days spread across nearly a year. McCartney described the decision to include vocals as a step toward song form, with lyrics developed during the sessions rather than supplied as completed texts beforehand. Unlike the earlier releases’ deliberately obscure presentation, the artwork explicitly identified McCartney and Youth; both received production credits. (paulmccartney.com)\n\nLiverpool Sound Collage (2000) answered Peter Blake’s request for music accompanying his About Collage exhibition at Tate Liverpool. McCartney assembled street interviews, sounds of the Mersey, and recording outtakes from the Beatles dating from 1965–1969. Youth and Super Furry Animals contributed to the resulting collage, with McCartney credited as producer. (paulmccartney.com) Twin Freaks (2005) was a separate collaboration with DJ and producer Freelance Hellraiser, Roy Kerr. Following Kerr’s sets of remixed McCartney recordings on the 2004 European tour, the double-vinyl album presented twelve reworkings of catalogue material. Its credits distinguish McCartney as executive producer from Kerr as producer, rather than identifying it as another Fireman recording. (paulmccartney.com)" }, { "heading": "Film, books, painting, and photography", "text": "McCartney’s work in film has included composing, screenwriting, production and acting, sometimes within the same project. For Roy Boulting’s The Family Way (1966), he supplied melodic themes, including “Love in the Open Air,” which George Martin developed into an orchestral score. Martin’s arranging and conducting were therefore distinct from McCartney’s contribution as composer; the soundtrack album followed in January 1967. (the-paulmccartney-project.com) In the animated short Rupert and the Frog Song (1984), McCartney was the writer and producer, voiced Rupert, and supplied “We All Stand Together”; Geoff Dunbar directed the animation. (paulmccartney.com) That year he also wrote and starred in Give My Regards to Broad Street, directed by Peter Webb and produced by Andros Epaminondas. Its fictional day in his life centres on missing recording tapes, with musical sequences combining older songs and new material. The accompanying album, produced by Martin, included “No More Lonely Nights.” (en.wikipedia.org)\n\nHis books have served different literary purposes. Blackbird Singing: Poems and Lyrics, 1965–1999 (2001), edited by the poet Adrian Mitchell, brought together song texts and writing presented as poetry rather than as musical performance. McCartney discussed the collection and read from his work at New York’s 92nd Street Y in April 2001. (librarycatalog.sps.edu) Hey Grandude!, published on 5 September 2019 and illustrated by Kathryn Durst, is a children’s picture book about an adventurous grandfather and his four grandchildren. Its illustrated fictional narrative differs from both the poetry collection and his later commentary on songwriting. (penguin.com.au)\n\nThe Lyrics: 1956 to the Present, published on 2 November 2021, was edited and introduced by Paul Muldoon. The original two-volume edition treats 154 songs, ranging from early compositions through the Beatles, Wings and McCartney’s solo work. Arranged alphabetically rather than chronologically, its entries combine lyrics with McCartney’s recollections of their circumstances, people and places, alongside manuscripts, letters and photographs from his archive. The songs thus provide the organizing framework for autobiographical commentary, rather than forming a continuous life narrative or simply a collection of verse. (paulmccartney.com)\n\nMcCartney took up painting in the early 1980s, encouraged by his acquaintance with Willem de Kooning, and first publicly exhibited his paintings in Siegen, Germany, in 1999. (ourmidland.com) The Art of Paul McCartney, held at Liverpool’s Walker Art Gallery from 24 May to 4 August 2002, brought together paintings, sculpture and photographs. Exhibited works included the abstracts Boxer Lips, Brains on Fire and Sea God, and the portrait Yellow Linda With Piano. These subjects document both his use of colour and abstraction and his incorporation of family imagery into his visual work. (ourmidland.com)\n\nHis early photography became the subject of 1964: Eyes of the Storm, published on 13 June 2023, and the associated exhibition Paul McCartney Photographs 1963–64: Eyes of the Storm, shown at London’s National Portrait Gallery from 28 June to 1 October 2023. The photographs were taken by Paul himself—not Linda or Mary McCartney—and include portraits of his bandmates, self-portraits and scenes of travel and public attention. (npg.org.uk) Selected from nearly a thousand images rediscovered in his archive in 2020, they trace Liverpool, London, Paris, New York, Washington, D.C., and Miami during late 1963 and early 1964. The book combines his photographs and reflections with essays by Jill Lepore, Nicholas Cullinan and Rosie Broadley, while the exhibition presented more than 250 photographs from this period. (paulmccartney.com)" }, { "heading": "Music publishing and stewardship of recorded work", "text": "McCartney’s MPL Communications, established in 1969, combines administration of his post-Beatles compositions with publishing interests in other writers’ work. Its represented repertoire includes songs by Buddy Holly, Carl Perkins, Frank Loesser and Jerry Herman, and its catalogue services support searches and licensing for audiovisual and other uses. Music publishing concerns the underlying composition—music and lyrics—rather than necessarily the recording through which listeners know it. These are separate forms of copyright: control of a song’s publishing does not itself confer ownership of the Beatles’ recorded performance, and acquisition of publishing rights does not change the song’s creative authorship. (en.wikipedia.org)\n\nMost Lennon–McCartney songs were published through Northern Songs, founded in 1963 by Dick James, Brian Epstein, John Lennon and McCartney. In 1969 James and his business partner sold their holdings to Associated Television, which secured control; Lennon and McCartney subsequently sold their remaining shares. Michael Jackson acquired ATV Music in 1985, and its catalogue became part of Sony/ATV when Jackson and Sony formed their publishing joint venture in 1995. These corporate transactions transferred publishing interests, not the Lennon–McCartney songwriting credit or ownership of particular Beatles master recordings. (en.wikipedia.org)\n\nMcCartney later sought to recover his own United States copyright interests through statutory termination of earlier grants. His January 2017 lawsuit against Sony/ATV sought confirmation that termination notices, scheduled to begin taking effect in October 2018, would operate without breaching the publishing agreements. The parties reached a confidential settlement in June 2017. The publicly disclosed settlement did not establish a blanket worldwide return of the entire Lennon–McCartney catalogue, nor did the proceedings concern ownership of Beatles master recordings. (thewrap.com)\n\nHis recorded catalogue has been revisited through the Paul McCartney Archive Collection, launched with Band on the Run in November 2010. Editions combine remastered albums with supplementary recordings and historical documentation. The 2020 Flaming Pie deluxe edition, for example, contained five CDs and two DVDs: alongside the album remastered at Abbey Road were 32 bonus audio tracks, including home demos, alternative studio recordings, rough mixes and B-sides. Its documentary material included In the World Tonight, while a 128-page book assembled photographs, interviews, handwritten lyrics and studio notes. This presentation distinguishes an album’s original released form from stages in its production. Outside the series, One Hand Clapping appeared as a standalone, newly mixed live-in-studio album in June 2024, drawn from Wings’ August 1974 Abbey Road sessions. (en.wikipedia.org)\n\nMcCartney also participated in the Beatles’ collective archival projects. He and Ringo Starr worked with George Martin at Abbey Road on Anthology 1 in May 1995; the Anthology albums brought demos, broadcasts, live performances and studio outtakes into the official catalogue. A different undertaking within the same project involved completing Lennon’s home demos: McCartney, George Harrison and Starr added performances to “Free as a Bird” and “Real Love,” released in 1995 and 1996 respectively. These were newly constructed Beatles recordings incorporating historical material, rather than simply remastered recordings from the group’s original career. (thebeatles.com)\n\n“Now and Then,” released on 2 November 2023 and produced by McCartney and Giles Martin, extended that approach. Its source was Lennon’s late-1970s voice-and-piano demo, attempted during the 1995 reunion sessions but left unfinished. Audio-separation technology developed by Peter Jackson’s team isolated Lennon’s existing vocal from the piano; it did not generate a replacement performance. Completion resumed in 2022, combining Harrison’s 1995 guitars with new drums from Starr and bass, piano and guitar from McCartney. McCartney also contributed a slide-guitar solo and helped arrange the strings with Martin and Ben Foster. The finished recording therefore contains performances made decades apart, with restoration enabling their combination rather than representing a simultaneous reunion. (thebeatles.com)" }, { "heading": "Family and personal life", "text": "McCartney married the American photographer Linda Eastman on 12 March 1969 at Marylebone Register Office in London. They had met in 1967 at the Bag O’Nails club, when Linda was already working professionally as a photographer of musicians. She had a daughter, Heather, from her previous marriage, whom McCartney subsequently adopted. Paul and Linda had three children together: Mary, born in 1969; Stella, born in 1971; and James, born in 1977. Heather McCartney is therefore his adopted daughter, distinct from Heather Mills, his second wife. (lindamccartney.com)\n\nLinda’s place in McCartney’s life combined family responsibilities with continuing creative work. Following the breakup of the Beatles, the couple spent time with their children at his farmhouse in Scotland, where he also developed recording facilities. Their domestic life remained closely connected with his performing career: Linda played keyboards and sang in Wings, and the children accompanied their parents on tour. Her photographs documented both family life and musical work, rather than functioning solely as publicity portraits. Ram (1971), credited jointly to Paul and Linda McCartney, was a particularly explicit expression of their professional partnership. (apnews.com)\n\nTheir marriage lasted twenty-nine years, until Linda died of breast cancer on 17 April 1998, aged fifty-six. Her photographic work and recordings continued to be published after her death; Paul compiled her posthumous album Wide Prairie, released later in 1998. Their children also developed publicly documented creative careers: Mary became a photographer, Stella a fashion designer, and James a musician. These activities were separate from, although sometimes intersected with, their father’s work. (lindamccartney.com)\n\nMcCartney’s second marriage, to the former model and campaigner Heather Mills, took place on 11 June 2002 at Castle Leslie in County Monaghan, Ireland. Their daughter, Beatrice, was born in 2003, bringing his number of children to five. The couple announced their separation on 17 May 2006, and divorce proceedings followed. A financial judgment was delivered in March 2008; on 12 May 2008, the High Court granted a decree nisi, a preliminary divorce decree distinct from the financial settlement. (beatlesbible.com)\n\nOn 9 October 2011, McCartney married the American businesswoman Nancy Shevell in a civil ceremony at Old Marylebone Town Hall, the same venue as his first wedding. The ceremony included members of his family: Stella designed Shevell’s wedding dress, and Beatrice served as a flower girl. His brother Mike and former Beatles bandmate Ringo Starr were among those attending. (abc.net.au)" }, { "heading": "Public advocacy and arts education", "text": "McCartney’s public advocacy for vegetarianism has included charity performances, campaign films and appearances in popular entertainment. In 1995, he and Linda McCartney appeared as themselves in “Lisa the Vegetarian,” an episode of The Simpsons. They agreed to participate on the condition that Lisa remain vegetarian in subsequent episodes, rather than abandon the decision at the story’s conclusion. In a family statement published in 2016, Paul, Mary and Stella McCartney identified Linda as the inspiration for their adoption of vegetarianism. Their public promotion of meat-free food continued through support for her recipes and food brand. (paulmccartney.com)\n\nHis animal-welfare campaigning has included work with People for the Ethical Treatment of Animals (PETA). On 18 September 1999, he performed at the organization’s “Party of the Century” at Paramount Studios in Los Angeles, playing six songs from Run Devil Run with musicians including David Gilmour and Ian Paice. He also narrated and appeared in PETA’s Glass Walls, publicized on his website in August 2010. The film used footage of animal farming, transport, slaughterhouses and fishing to advance the organization’s case against consuming animal products. These activities combined musical fundraising with explicitly persuasive audiovisual campaigning. (paulmccartney.com)\n\nIn 2009, Paul, Mary and Stella McCartney launched Meat Free Monday, a not-for-profit campaign encouraging at least one meat-free day each week. The organization describes its environmental aims as raising awareness of meat production’s effects, conserving natural resources and helping slow climate change. Its public materials present a weekly change in eating habits as an accessible starting point, rather than requiring participants to become fully vegetarian. On 3 November 2017, ahead of the COP23 climate conference, it released One Day a Week. Narrated by McCartney, the film featured Mary and Stella, Woody Harrelson and Emma Stone; it was largely funded by Bloomberg Philanthropies and produced with Yann Arthus-Bertrand’s Hope Production. Its soundtrack included music from Standing Stone and McCartney’s previously unreleased “Botswana.” (paulmccartney.com)\n\nMcCartney’s principal institutional contribution to arts education was co-founding the Liverpool Institute for Performing Arts (LIPA) with educator Mark Featherstone-Witty. George Martin introduced the two men, bringing together Featherstone-Witty’s plans for a performing-arts institution and McCartney’s interest in preserving his former school, the Liverpool Institute for Boys, which had closed in 1985. Following a £20 million redevelopment, LIPA admitted its first students in January 1996 and was formally opened by Queen Elizabeth II that June. Martin also helped shape its collaborative teaching ethos, encouraging students to understand the work of practitioners in disciplines alongside their own. (lipa.ac.uk)\n\nMcCartney’s involvement extended beyond founding patronage to mentoring selected songwriting students and participating in student question-and-answer sessions. LIPA documented the continuation of his annual songwriting mentorship online during the COVID-19 pandemic, together with an online discussion involving students and staff. He returned for graduation ceremonies on 25 and 26 July 2022, when the institution brought together the graduating cohorts of 2020, 2021 and 2022 after the earlier in-person ceremonies had been postponed. (lipa.ac.uk)" }, { "heading": "Honours and documented cultural influence", "text": "McCartney’s British honours distinguish recognition received alongside his bandmates from awards for his individual career. In 1965, all four members of the Beatles were appointed Members of the Order of the British Empire (MBE); they received their insignia from Queen Elizabeth II at Buckingham Palace on 26 October. These were four personal appointments, rather than an honour conferred on the band as a corporate body. McCartney’s subsequent knighthood was individual: the Queen knighted him at Buckingham Palace on 11 March 1997 for services to music. The MBE and knighthood were separate distinctions, not interchangeable descriptions of the same award. (thebeatles.com)\n\nHis two inductions into the Rock & Roll Hall of Fame likewise recognized different bodies of work. The Beatles entered in 1988 in the Performer category, with Mick Jagger delivering their induction speech. McCartney entered individually in 1999, also in the Performer category, introduced by Neil Young. The latter induction recognized his post-Beatles work, including Wings and his solo career; it was not a second induction of the Beatles or a separate induction of Wings. (rockhall.com)\n\nIn 2010, McCartney became the third recipient of the Library of Congress Gershwin Prize for Popular Song. Librarian of Congress James H. Billington selected him in November 2009, and President Barack Obama presented the prize in the White House’s East Room on 2 June 2010. The Library described the prize as recognizing a body of songwriting that crosses musical styles and brings diverse listeners together. Associated events demonstrated the range of his repertoire: at the Library on 1 June, pianist Lang Lang performed “A Leaf,” while McCartney performed “Yesterday” and “Blackbird.” The White House tribute featured, among others, Stevie Wonder, Elvis Costello, Emmylou Harris and Herbie Hancock, and reached a television audience through PBS on 28 July. (loc.gov)\n\nOther performers’ recordings provide concrete evidence of the songs’ circulation beyond McCartney’s own performances. The 2014 tribute album The Art of McCartney, produced by Ralph Sall, brought together material from the Beatles, Wings and solo catalogues. Its recordings included Willie Nelson’s “Yesterday,” Bob Dylan’s “Things We Said Today,” Brian Wilson’s “Wanderlust,” Smokey Robinson’s “So Bad” and the Cure’s “Hello Goodbye,” featuring James McCartney on keyboards. These examples document adoption across country, rock and soul repertoires without requiring a claim that every participating artist derived a particular compositional technique from McCartney. (the-paulmccartney-project.com)\n\nCommercial records measure a different aspect of reception and require dates, territories and clearly defined artist credits. In the United States, Egypt Station entered the Billboard 200 at number one in September 2018 with 153,000 equivalent album units; that figure is not a count solely of purchased albums. In the United Kingdom, McCartney III became the Christmas number-one album in December 2020, his first solo chart-topper there since 1989. Neither result adds a Beatles or Wings release to his individual total. Certifications are another measure: the Recording Industry Association of America’s 2018 account of its programme specified thresholds of 500,000 units for Gold and one million for Platinum, with eligible sales and streams contributing to awards. Such recording-based measures remain distinct from songwriting credits, which can also attach to recordings issued under another performer’s name. (paulmccartney.com)" } ], "links": [ "the-beatles", "music", "john-lennon", "elvis-presley", "london", "film", "united-states", "michael-jackson", "rhythm", "ballet", "poetry", "painting", "photography", "copyright", "climate-change", "education", "queen-elizabeth-ii" ], "sources": [ { "title": "Paul McCartney profile – his life and work | The Beatles Bible", "url": "https://www.beatlesbible.com/people/paul-mccartney/biography/" }, { "title": "Paul McCartney", "url": "https://en.wikipedia.org/wiki/Paul_McCartney" }, { "title": "Paul McCartney — You Gave Me The Answer - Becoming A Musician", "url": "https://www.paulmccartney.com/news/you-gave-me-the-answer-becoming-a-musician" }, { "title": "Paul McCartney — Timeline — 2010", "url": "https://www.paulmccartney.com/timeline/2010" }, { "title": "St. Peter’s Church Walking Tour", "url": "https://stpetersheritagebydrdonna.com/wp-content/uploads/2018/07/st-peters-church-walking-tour.pdf" }, { "title": "The Beatles — St Peters Church, Woolton", "url": "https://www.stpeters-woolton.org.uk/the-beatles" }, { "title": "John Lennon meets Paul McCartney for the first time", "url": "https://www.history.com/this-day-in-history/July-6/john-meets-paul-for-the-first-time" }, { "title": "The Beatles", "url": "https://en.wikipedia.org/wiki/The_Beatles" }, { "title": "The McCartneys at 20 Forthlin Road", "url": "https://shop.nationaltrust.org.uk/the-mccartneys-at-20-forthlin-road.html" }, { "title": "The Beatles in Hamburg", "url": "https://en.wikipedia.org/wiki/The_Beatles_in_Hamburg" }, { "title": "Red and blue timeline", "url": "https://www.thebeatles.com/red-and-blue-timeline" }, { "title": "Paul and Lily Cole Discuss 'Hope For The Future' - Full Transcript", "url": "https://www.paulmccartney.com/news/paul-and-lily-cole-discuss-hope-for-the-future-full-transcript" }, { "title": "Yesterday", "url": "https://www.thebeatles.com/yesterday-0" }, { "title": "Yesterday", "url": "https://www.thebeatles.com/yesterday" }, { "title": "A Day In The Life", "url": "https://www.thebeatles.com/day-life" }, { "title": "A Day In The Life", "url": "https://www.thebeatles.com/day-life-0" }, { "title": "Eleanor Rigby", "url": "https://www.thebeatles.com/eleanor-rigby-0" }, { "title": "Eleanor Rigby", "url": "https://en.wikipedia.org/wiki/Eleanor_Rigby" }, { "title": "Paul McCartney Sgt. Pepper Exclusive: “It Was A Risk!”", "url": "https://www.thebeatles.com/paul-mccartney-sgt-pepper-exclusive-it-was-risk" }, { "title": "Abbey Road", "url": "https://en.wikipedia.org/wiki/Abbey_Road" }, { "title": "Paul McCartney | McCartney", "url": "https://www.paulmccartney.com/discography/albums/mccartney" }, { "title": "Paul McCartney | RAM", "url": "https://www.paulmccartney.com/discography/albums/ram" }, { "title": "Paul McCartney | News | Wings - Meet The Band", "url": "https://www.paulmccartney.com/news/wings-meet-the-band" }, { "title": "Paul McCartney | Wild Life", "url": "https://www.paulmccartney.com/discography/albums/wild-life" }, { "title": "Paul McCartney | Red Rose Speedway", "url": "https://www.paulmccartney.com/discography/albums/red-rose-speedway" }, { "title": "Paul McCartney | Live and Let Die", "url": "https://www.paulmccartney.com/discography/singles/live-and-let-die" }, { "title": "Live and Let Die (song)", "url": "https://en.wikipedia.org/wiki/Live_and_Let_Die_%28song%29" }, { "title": "Paul McCartney | Band on the Run", "url": "https://www.paulmccartney.com/discography/albums/band-on-the-run" }, { "title": "Paul McCartney | Venus And Mars", "url": "https://www.paulmccartney.com/discography/albums/venus-and-mars" }, { "title": "Paul McCartney | At The Speed Of Sound", "url": "https://www.paulmccartney.com/discography/albums/wings-at-the-speed-of-sound" }, { "title": "Paul McCartney | Mull of Kintyre", "url": "https://www.paulmccartney.com/discography/singles/mull-of-kintyre" }, { "title": "Paul McCartney | London Town", "url": "https://www.paulmccartney.com/discography/albums/london-town" }, { "title": "Paul McCartney | Tug Of War", "url": "https://www.paulmccartney.com/discography/albums/tug-of-war" }, { "title": "Paul McCartney Archive Collection: Tug of War", "url": "https://static.qobuz.com/goodies/43/000078934.pdf" }, { "title": "Paul McCartney | Pipes Of Peace", "url": "https://www.paulmccartney.com/discography/albums/pipes-of-peace" }, { "title": "Paul McCartney | News | 'That Demo Is Done' - A 'Flowers In The Dirt' Audio Trip", "url": "https://www.paulmccartney.com/news/that-demo-is-done-a-flowers-in-the-dirt-audio-trip" }, { "title": "Paul McCartney | Flowers In The Dirt", "url": "https://www.paulmccartney.com/discography/albums/flowers-in-the-dirt" }, { "title": "WHEN A BEATLE WROTE WITH ELVIS", "url": "https://elviscostello.com/news/when-a-beatle-wrote-with-elvis/" }, { "title": "Paul McCartney | Flaming Pie", "url": "https://www.paulmccartney.com/discography/albums/flaming-pie" }, { "title": "Paul McCartney | Chaos And Creation In The Backyard", "url": "https://www.paulmccartney.com/discography/albums/chaos-and-creation-in-the-backyard" }, { "title": "Paul McCartney | Memory Almost Full", "url": "https://www.paulmccartney.com/discography/albums/memory-almost-full" }, { "title": "Paul McCartney | NEW", "url": "https://www.paulmccartney.com/discography/albums/new" }, { "title": "Paul McCartney | Egypt Station", "url": "https://www.paulmccartney.com/discography/albums/egypt-station" }, { "title": "Paul McCartney | News | UPDATED: McCartney III - The New Studio Album Out December 18", "url": "https://www.paulmccartney.com/news/updated-mccartney-iii-the-new-studio-album-out-december-18" }, { "title": "Yesterday: Vocal and Guitar Score", "url": "https://playournotes.com/de/noten/yesterday/676/noten-und-liedtekst-fur-gesang-mit-gitarrenbegleitung.pdf" }, { "title": "Paul Celebrates 50th London Show and 'Yesterday' Anniversary", "url": "https://www.paulmccartney.com/news/paul-celebrates-50th-london-show-and-yesterday-anniversary" }, { "title": "The Beatles Anthology", "url": "https://www.thebeatles.com/beatles-anthology-0" }, { "title": "Eleanor Rigby", "url": "https://www.thebeatles.com/eleanor-rigby" }, { "title": "Paul McCartney on his favourite basses, key lines and influential players", "url": "https://www.the-paulmccartney-project.com/interview/paul-mccartney-on-his-favourite-basses-key-lines-and-influential-players/" }, { "title": "Oh! Darling", "url": "https://www.thebeatles.com/oh-darling" }, { "title": "Announcing Revolver Special Editions", "url": "https://www.thebeatles.com/announcing-revolver-special-editions" }, { "title": "The Making of McCartney", "url": "https://cdn.penguin.co.uk/dam-assets/books/9780241758571/9780241758571-sample.pdf" }, { "title": "McCartney III - CD", "url": "https://shop.paulmccartney.com/products/mccartney-iii-cd" }, { "title": "Exclusive: The making of McCartney III - \"Once he’s in the vibe, he doesn’t want to stop\"", "url": "https://www.musicradar.com/news/exclusive-recording-mccartney-iii" }, { "title": "Paul McCartney | Tour | Wings University Tour", "url": "https://www.paulmccartney.com/live/wings-university-tour" }, { "title": "Paul McCartney | Tour | Wings Over Europe Tour", "url": "https://www.paulmccartney.com/live/wings-over-europe-tour" }, { "title": "Paul McCartney | Tour | Wings Over The World", "url": "https://www.paulmccartney.com/live/wings-over-the-world" }, { "title": "Paul McCartney | Wings Over America", "url": "https://www.paulmccartney.com/discography/albums/wings-over-america" }, { "title": "The Paul McCartney World Tour", "url": "https://en.wikipedia.org/wiki/The_Paul_McCartney_World_Tour" }, { "title": "Paul McCartney | Tour | The Paul McCartney World Tour", "url": "https://www.paulmccartney.com/live/the-paul-mccartney-world-tour" }, { "title": "Unplugged (The Official Bootleg) • Official live by Paul McCartney", "url": "https://www.the-paulmccartney-project.com/album/unplugged-the-official-bootleg/" }, { "title": "Paul McCartney | Unplugged (The Official Bootleg)", "url": "https://www.paulmccartney.com/discography/albums/unplugged-the-official-bootleg" }, { "title": "Paul McCartney | News | Penned on the Run: ‘GOT BACK’ Tour 2022 Part 3", "url": "https://www.paulmccartney.com/news/penned-on-the-run-got-back-tour-2022-part-3" }, { "title": "Paul McCartney | Tour | Glastonbury", "url": "https://www.paulmccartney.com/live/glastonbury" }, { "title": "Paul McCartney | News | For Whom The Bell Tells: Summer 2022", "url": "https://www.paulmccartney.com/news/for-whom-the-bell-tells-summer-2022" }, { "title": "Paul McCartney's Liverpool Oratorio", "url": "https://www.paulmccartney.com/media/films/paul-mccartneys-liverpool-oratorio" }, { "title": "Liverpool Oratorio — Tour", "url": "https://www.paulmccartney.com/live/liverpool-oratorio" }, { "title": "Liverpool Oratorio", "url": "https://www.paulmccartney.com/discography/albums/liverpool-oratorio" }, { "title": "Paul McCartney's Liverpool Oratorio", "url": "https://en.wikipedia.org/wiki/Paul_McCartney%27s_Liverpool_Oratorio" }, { "title": "Standing Stone", "url": "https://www.paulmccartney.com/discography/albums/standing-stone" }, { "title": "Working Classical", "url": "https://www.paulmccartney.com/discography/albums/working-classical" }, { "title": "McCartney: Working Classical", "url": "https://classical.music.apple.com/se/album/1452648079" }, { "title": "Ecce Cor Meum", "url": "https://www.paulmccartney.com/discography/albums/ecce-cor-meum" }, { "title": "Ecce Cor Meum at Carnegie Hall", "url": "https://www.paulmccartney.com/news/ecce-cor-meum-at-carnegie-hall" }, { "title": "Ocean's Kingdom", "url": "https://www.paulmccartney.com/discography/albums/oceans-kingdom" }, { "title": "‘Ocean's Kingdom’ Tops The Classical Charts", "url": "https://www.paulmccartney.com/news/oceans-kingdom-tops-the-classical-charts" }, { "title": "\"The Family Way\" sessions", "url": "https://www.the-paulmccartney-project.com/session/the-family-way-sessions/" }, { "title": "The Family Way (soundtrack)", "url": "https://en.wikipedia.org/wiki/The_Family_Way_%28soundtrack%29" }, { "title": "Watch the YouTube premiere of ‘Rupert and the Frog Song’", "url": "https://www.paulmccartney.com/news/watch-the-youtube-premiere-of-rupert-and-the-frog-song" }, { "title": "Give My Regards to Broad Street (film)", "url": "https://en.wikipedia.org/wiki/Give_My_Regards_to_Broad_Street_%28film%29" }, { "title": "Give My Regards To Broad Street", "url": "https://www.paulmccartney.com/discography/albums/give-my-regards-to-broad-street" }, { "title": "Paul McCartney: Blackbird Singing", "url": "https://www.youtube.com/watch?v=lHFKEIYEcZw" }, { "title": "Hey Grandude!", "url": "https://www.penguin.com.au/books/hey-grandude-9780241375655" }, { "title": "‘THE LYRICS: 1956 to the Present’ — Out Now!", "url": "https://www.paulmccartney.com/news/the-lyrics-1956-to-the-present-out-now" }, { "title": "Gallery Previews McCartney Exhibit", "url": "https://www.ourmidland.com/news/article/Gallery-Previews-McCartney-Exhibit-7093215.php" }, { "title": "MPL Communications", "url": "https://en.wikipedia.org/wiki/MPL_Communications" }, { "title": "Music Licensing for Film, TV, Web, CDs, Performance and Merchandising", "url": "https://www.mplcommunications.com/" }, { "title": "Musical Compositions and Sound Recordings", "url": "https://www.copyright.gov/register/pa-sr.html" }, { "title": "Northern Songs", "url": "https://en.wikipedia.org/wiki/Northern_Songs" }, { "title": "Sony and Jackson Estate Reach Agreement for Sony to Acquire Remaining Half of Sony/ATV Music Publishing", "url": "https://www.sony.com/en/SonyInfo/News/Press/201603/16-0315E/index.html" }, { "title": "Paul McCartney Settles Lawsuit Against Sony Over Beatles Copyrights", "url": "https://www.thewrap.com/paul-mccartney-settles-lawsuit-against-sony-over-beatles-copyrights/" }, { "title": "McCartney v. Sony/ATV: Complaint, 18 January 2017", "url": "https://brokeandbroker.com/PDF/McCartneySDNYComplaint.pdf" }, { "title": "Band on the Run", "url": "https://en.wikipedia.org/wiki/Band_on_the_Run" }, { "title": "Flaming Pie (Archive Collection)", "url": "https://www.paulmccartney.com/discography/albums/flaming-pie-archive-collection" }, { "title": "'One Hand Clapping' — The Live Studio Album by Paul McCartney and Wings, Out Now!", "url": "https://www.paulmccartney.com/news/one-hand-clapping-the-live-studio-album-by-paul-mccartney-and-wings-out-14th-june" }, { "title": "22nd May, 1995 — Paul McCartney, Ringo Starr and George Martin begin work on Anthology 1 at Abbey Road Studios", "url": "https://www.thebeatles.com/22nd-may-1995-paul-mccartney-ringo-starr-and-george-martin-begin-work-anthology-1-abbey-road" }, { "title": "Biography - LindaMcCartney.com", "url": "https://www.lindamccartney.com/biography/" }, { "title": "McCartney, Linda (1941–1998)", "url": "https://www.encyclopedia.com/women/encyclopedias-almanacs-transcripts-and-maps/mccartney-linda-1941-1998" }, { "title": "Chronology - LindaMcCartney.com", "url": "https://www.lindamccartney.com/chronology/" }, { "title": "Paul McCartney marries Heather Mills", "url": "https://www.beatlesbible.com/2002/06/11/paul-mccartney-marries-heather-mills/" }, { "title": "Paul McCartney: Biography, Musician, The Beatles, Grammy Winner", "url": "https://www.biography.com/musicians/paul-mccartney" }, { "title": "Paul McCartney and Heather Mills split", "url": "https://www.theguardian.com/uk/2006/may/17/arts.artsnews" }, { "title": "Judge ends McCartney-Mills marriage", "url": "https://www.irishtimes.com/news/judge-ends-mccartney-mills-marriage-1.822613" }, { "title": "McCartney weds for third time", "url": "https://www.abc.net.au/news/2011-10-10/mccartney-weds-third-time/3457778" }, { "title": "9 October 2011: Sir Paul McCartney marries Nancy Shevell", "url": "https://www.beatlesbible.com/2011/10/09/sir-paul-mccartney-marries-nancy-shevell/" }, { "title": "Linda McCartney’s Celebrates 25 Years", "url": "https://www.paulmccartney.com/news/linda-mccartneys-celebrates-25-years" }, { "title": "PETA Party Of The Century", "url": "https://www.paulmccartney.com/live/peta-party-of-the-century" }, { "title": "“If slaughterhouses had glass walls, everyone would be vegetarian.”", "url": "https://www.paulmccartney.com/news/if-slaughterhouses-had-glass-walls-everyone-would-be-vegetarian" }, { "title": "You Gave Me The Answer - Meat Free Monday Asks...", "url": "https://www.paulmccartney.com/news/you-gave-me-the-answer-meat-free-monday-asks" }, { "title": "McCartney family launches new film ‘One Day a Week’", "url": "https://www.paulmccartney.com/news/mccartney-family-launches-new-film-one-day-a-week" }, { "title": "Our Story - Liverpool Institute for Performing Arts", "url": "https://lipa.ac.uk/about-us/our-story/" }, { "title": "LIPA pays tribute to Sir George Martin", "url": "https://lipa.ac.uk/news/lipa-pays-tribute-to-sir-george-martin/" }, { "title": "The music doesn’t end when you graduate.", "url": "https://lipa.ac.uk/media/g0dhst2v/lipa-brochure-aw-2024.pdf" }, { "title": "Paul McCartney gets back to LIPA for first graduation ceremonies in three years", "url": "https://lipa.ac.uk/news/paul-mccartney-gets-back-to-lipa-for-first-graduation-ceremonies-in-three-years/" }, { "title": "26 October, 1965 - The Beatles Collect Their MBEs at Buckingham Palace", "url": "https://www.thebeatles.com/26-october-1965-beatles-collect-their-mbes-buckingham-palace" }, { "title": "Paul McCartney: Timeline, 1990", "url": "https://www.paulmccartney.com/timeline/1990" }, { "title": "Paul McCartney knighted | March 11, 1997 | HISTORY", "url": "https://www.history.com/this-day-in-history/march-11/paul-mccartney-knighted" }, { "title": "The Beatles | Rock & Roll Hall of Fame", "url": "https://rockhall.com/inductees/beatles/" }, { "title": "Paul McCartney | Rock & Roll Hall of Fame", "url": "https://rockhall.com/inductees/paul-mccartney/" }, { "title": "Live at the Library", "url": "https://www.loc.gov/loc/lcib/1009/concert.html" }, { "title": "“The Art Of McCartney” tribute album announced", "url": "https://www.the-paulmccartney-project.com/2014/09/the-art-of-mccartney-tribute-album-announced/" }, { "title": "'Egypt Station' Arrives At #1", "url": "https://www.paulmccartney.com/news/egypt-station-arrives-at-1" }, { "title": "Paul McCartney secures first Number 1 solo album in 31 years: “Thank you to everyone”", "url": "https://www.officialcharts.com/chart-news/paul-mccartney-secures-first-number-1-solo-album-in-31-years-thank-you-to-everyone-__32021/" }, { "title": "Gold & Platinum Turns 60!", "url": "https://www.riaa.com/goldandplatinum60/" } ], "license": "https://creativecommons.org/licenses/by/4.0/" }