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'This song really contains only one swear word which, everyone has
pointed out, happens fourteen times. I was watching this film last
night on TV. The language in that ... forget my song! It was like
all the language you've ever heard. I don't like changing a song
once I've written it. It's like when the Stones were asked to sing
their 'Let's Spend The Night Together'. Harmless now, but that was
shocking once. 'A Day In The Life' was banned - and 'Give Ireland
Back To The Irish'.
'It's too much of a cop-out, I think, to change your song just
because somebody doesn't like it.
'Big boys like the BBC or MTV sure, they had to ban my song. They
may have some young listeners whose parents may be offended. My
kids, they weren't offended. I didn't have to explain to them. It's
a fact of modern life, going round swearing. I just wanted to
protest against certain political conditions, so removing that word
would be like removing the protest.'
He was then asked about 'Hope Of Deliverance'.
'This hope of deliverance is what you want to make it. It can take
on a different significance. If you're falling out with your husband
or your girlfriend, then you want deliverance from that situation.
If it's someone in your family becoming ill, then it's that. It's
really deliverance from whatever your own personal problem is that
you're going through. Deliverance from all our polluting earth? I
couldn't offer any answers on that, I'm as puzzled as we all are.
Don't know any real answer, just being optimistic. The only answer,
I think, is for people to openly communicate about it. Having faith
in young people, give them the information hoping they will be
sensible. That's my hope of deliverance for the future - a lot of
crossed fingers.'
He was asked about using Wings material in his stage act and
replied: 'The stuff I made with Wings has always received a lot of
criticism. People have always said this was, like, not a good period
for us. I don't believe that, but I'm afraid such a policy does have
its effect. If someone keeps telling you you're stupid, in the long
run, you tend to believe that. It's a pity. It now so happens that
the Wings material gets squeezed out between the new stuff and me
reliving the success of my Beatles songs.
'Still, there's "Live And Let Die", "Another Day" and "Let Me Roll
It". We don't miss it out completely. I used to desperately try
being different from the Beatles then, seeking for a new thing. Now,
I'm much more happy with the Beatles style, playing it back and I
enjoy singing it. The main change is that the words are a little bit
more involved with grown-up issues now. Where it used to be "she
loves you, yeah, yeah yeah", now that's changed to include a bit
more serious matter.'
Paul was then asked what he considered made a good song.
He said, 'I don't know what makes a good song. Luck, I think. Good
luck. Some of my best songs, they just wrote themselves. You can sit
down behind the piano, guitar in hand, for hours and maybe come up
with an average song.
'A song like "Hope Of Deliverance", I wrote that in like two or
three hours. I don't know how, but you can tell when you're writing,
it just feels good. What's the use of asking yourself "where is this
coming from?" I mean, if "Yesterday" was a song which I just woke up
with one morning, then stop asking. I don't know. It's coming from
some source above us - or below us. Who knows?'
He was then asked if he'd be doing some more shows in Germany.
'I hope so. They haven't fixed any further dates for Europe yet.
We're going to Australia first, then to America and after that, who
knows. But, yes, we will be coming back to other cities in Germany
soon. Berlin or Munich. Which ones exactly, that's still to be
decided.'
Figure of Eight
A single by Paul which was released in Britain on Parlophone R6235
on Monday 13 November 1989 where it reached No. 42 in the charts and
in the US on Capitol 4JM44489 (on cassette only, with both tracks in
a shorter version than the British release) on Wednesday 15 November
1989. It reached No. 92 in the American charts.
'Ou Est Le Soleil?' was on the flipside.
Paul had been releasing multiple versions of his singles releases
and there were no less than eight different 'Figure Of Eight'
singles issued in Britain, including three different CD versions.
There was a 7" version at 4 minutes and 1 second in length issued
with 'The Long and Winding Road', which was the live version from
the 'Put It There' video and 'The Loudest Thing'. This was released
in Britain on Monday 20 November 1989 on CDS Parlophone CD3R 6235 in
a gatefold edition. Another version issued in Britain on Monday 27
November 1989 on 3D3 Parlophone CD3R 6235 contained the 7" version
of 'Figure Of Eight' with a live version of 'Rough Ride' from the
'Put It There' video and 'Ou Est Le Soleil?' Another release that
day was in a standard jewel case on CDS Parlophone CDR 6235.
The single was also issued in Germany on CD3 Parlophone CDP 552
203653 3.
A version of this number lasting 5 minutes and 33 seconds was
included on the Tripping The Live Fantastic album. It was recorded
live at the Ahoy Sportpaleis in Rotterdam, Netherlands on 10
November 1989 during the 1989/90 World Tour.
Filmography
Paul has always been interested in films and was a regular
cinemagoer in his youth. He particularly remembers the time he went
to see The Blackboard Jungle with George Harrison.
Paul revealed details of eight of his favourite rock movies to
journalist Jan Etherington in a feature in the Saturday 13 October
1984 issue of the British magazine TV Times. The films were Rock
Around The Clock, The Girl Can't Help It, Loving You, A Hard Day's
Night, Gimme Shelter, Woodstock, Let The Good Times Roll and The
Song Remains The Same.
Of � Hard Day's Night, he commented: 'I hate to say it but when you
see the girls in their miniskirts and white floppy hats it does look
dated.'
Of Let The Good Times Roll: 'Chuck Berry was the main writing
influence on John and me - together with Buddy Holly.'
Of Gimme Shelter: 'It was made by the Maysles Brothers who made
Beatles In the USA in 1964.1 remember the Maysles well.'
And of The Girl Can't Help It: 'I think it was the best
rock-'n'-roll film ever made.'
Paul actually suggested What Little Old Manf as the title of the
Beatles debut film. This was in reference to Wilfred Brambell's
character, John McCartney, Paul's screen grandfather who was
referred to in an early sentence in the film as 'What little old
man?' The group settled on A Hard Day's Night.
Paul also suggested Where Did the Ringo? as the title of their
second film, which ended up with the title Help!
Over the years, Paul has not only appeared in various films, ranging
from features to documentaries to animated shorts, but has also
composed the scores, produced, directed and also contributed as a
writer.
Paul's filmography is:
A Hard Day's Night (1964).
Help! (1965).
The Next Spring Then (1966).
The Defeat Of The Dog (1966).
Yellow Submarine (1966).
The Family Way (composer) (1967).
Magical Mystery Tour (1967).
Let It Be (1969).
Live and Let Die (composer) (1973).
Empty Hand (producer) 1974.
Rockshow (1980).
The Cooler (1982).
Give My Regards To Broad Street (1984).
Rupert & The Frog Song (writer) (1985).
Daumier's Law (composer) (1992).
Grateful Dead (director) (1995).
Find A Way Somehow
A Denny Laine track which he originally featured on his 1973 album
Ahh ... Laine! A new version was recorded during the London Town
sessions with Laine on keyboards, Paul on bass, Jimmy McCulloch on
guitar and Joe English on drums. It was considered for the London
Town album but then rejected.
Finston Manor
A concert hall near Tenterton in Kent. Wings began two weeks of
rehearsals at the venue on Saturday 28 June 1980 and were filmed
rehearsing by a team from Day To Day, an ITV programme. They
returned to the venue on Thursday 2 October for recording sessions
for Hot Hits And Cold Cuts and Rupert The Bear, which lasted until
Saturday 25 October. They also recorded tracks, which were to appear
on forthcoming albums such as Tug Of War and Pipes Of Peace.
Among the numbers they recorded were: 'Rainclouds', 'Average
Person', 'Keep Under Cover', 'Ebony And Ivory', 'Twenty Flight
Rock', 'Ballroom Dancing', 'Cage', 'Old Man Lovin", 'Sure To Fall',
'Movie Magg', 'Blue Moon Of Kentucky', 'Summertime', 'Good Rockin'
Tonight', 'Shake, Rattle And Roll', 'Cut Across Shorty', 'Stealin'
Back To My Same Old Used To Be', 'Singin' The Blues', 'Johnny B.
Goode', 'Dress Me Up As A Robber', 'The Pound Is Sinking', 'Sweetest
Little Person', 'Wanderlust' and 'Take It Away'.
Wings also jammed on a number of unreleased tracks, 'Take Her Back,
Jack', 'The Unbelievable Experience', 'Here's The Chord, Roy',
'Seems Like Old Times' and 'Boil Crisis'.
Fireman, The
Paul had made records using pseudonyms in the past, as with Percy
Thrillington, and an instrumental album by the Fireman was
eventually revealed as a duet with Paul and remix specialist Youth.
The project had taken over a year to make. Dance promoter Steve
Anderson had collaborated with Paul on the mix of 'Deliverance 12'.
Paul then decided to contact another studio technician known as
Youth, a former bass guitarist with Killing Joke who had become an
expert remixer and had helped to launch the careers of ambient dance
music artists such as the Orb and KLE Paul invited Youth to the
Mill, his home studio in East Sussex where he had been completing
Off The Ground. The original idea was to come up with several Off
The Ground 12" remixes, as Anderson had done with Deliverance. This
eventually developed over a period of time into a 77-minute CD that
they named Strawberries Oceans Ships Forest.
Paul decided to use the pseudonym the Fireman for himself and Youth,
and chose the name because his father had been a volunteer
firefighter during the Second World War.
The Fireman could be referred to as an ambient dance duo. The debut
album Strawberries Oceans Ships Forest was issued in Britain on
Monday 15 November 1993. The CD was issued on Parlophone CDPCSD 145,
the vinyl double album on PCSD 147 and the cassette on TCCD 145. The
tracks on the 77-minute release were: 'Transpiritual Stomp', 9
minutes, 1 second; 'Trans Luna Rising', 9 minutes, 9 seconds;
'Transcrystalline', 8 minutes, 39 seconds; 'Pure Trance', 8 minutes,
40 seconds; 'Arizona Light',
8 minutes, 39 seconds; 'Celtic Stomp', 8 minutes, 34 seconds;
'Strawberries, Oceans, Ships, Forest', 8 minutes, 37 seconds; '444',
7 minutes, 35 seconds and 'Sunrise', 8 minutes and 16 seconds.
Paul's company MPL had tried to keep Paul's involvement in the CD
secret and had sent a number of pre-release copies to various clubs
around Britain.
An MPL spokesperson was to say, 'We never thought we'd manage to
keep it a secret throughout its release. There was no danger of that
succeeding! But we didn't want people to pre-judge the album. We
didn't want anyone to run out and buy it just because it was Paul.
This was partly because we wanted to see how the album would stand
up on its own two feet, and partly because we didn't want anyone to
be disappointed. I think people who are generally fans of what Paul
does are unlikely, in the main, to appreciate this. On the other
hand, we didn't want people to write the entire project off simply
because Paul was behind it.
'We wanted dance audiences to listen to it with open minds, and to a
large extent that succeeded. We had very good responses from the
specialist DJs. They have been playing it, mixing it, and making
nice comments about it.'
In a Melody Maker review, Michael Bonner wrote, 'Paul McCartney has
discovered dance music - and the results are as staggeringly
brilliant as those which came from John Lydon's similar
road-to-Damascus-like conversion last year. Truly, we live in an age
of miracles.
'Eschewing the easy option of making a remix album, McCartney and
his collaborator, Youth, have chosen to follow the likes of Brian
Eno down a more experimental and cerebral path. They take a melody
and, with dextrous genre-hopping through ambient, trance and house,
evolve a number of breathtaking variations. Like snowflakes, each
song seems identical to the last, until closer inspection reveals
that it has its own unique shape.'
The album was issued in America on Tuesday 22 February 1994 on CD
and cassette on Capitol CAP 27167.
On Friday 2 October 1998 Paul appeared on a netcast on the Fireman
web site. He disguised himself in a ski mask and glasses, wore a
floppy yellow hat and headphones. Dressed completely in black, save
for a pair of white shoes, he played guitar, bass and keyboards and
sang alone with a live remix of some of the Rushes music. His real
identity became obvious when he gave the familiar ����� thumbs-up
sign.
There was also a ten-minute question and answer section. The Fireman
(Paul) was to answer questions sent online in advance. He sat on a
couch with the young woman who had appeared naked on the Rushes
sleeve, this time she was fully clothed, and handed her the answers,
which had been written down.
To the question asking when the Fireman would be appearing live, the
answer was: 'When the cosmic seasons are right.'
A question asked how the Fireman classified his music. The answer
was: 'Ambient dreams in rainbow arches describe the circles of the
Fireman.'
The question asking what was the significance of the naked woman on
the Rushes cover, brought the answer: 'The symbolism of the unknown
naked woman is an ancient mystery. We do not have her number.'
To the question asking what had inspired the album, the answer was:
'Night skies, flowing streams and whipped cream fire extinguishers.'
The question, 'How did the Fireman get his name?' earned the reply,
'The Fireman is no nickname - simply a warm place in the head!'
The netcast lasted for seventy minutes and ended with a slide
saying, 'The Fireman loves you.' It was repeated on Friday 30
October and Friday 20 November.
First Stone, The
Paul said an American television evangelist inspired this number. He
wouldn't name him, although it is likely that he was referring to
Jimmy Swaggart.
It was recorded during sessions at the Mill between April and July
1988 and Hamish Stuart helped Paul with the lyrics. Paul produced
and arranged the song and Geoff Emerick engineered it.
The number was chosen as the flipside of 'This One'. It was released
in Britain on Monday 17 July 1989 and in America on Wednesday 2
August 1989 (as a cassette single only).
Fixing A Hole
A track from the Sgt Pepper album on which Paul sings lead, in
addition to playing the harpsichord.
Paul was to comment: 'This song is just about the hole in the road
where the rain gets in; a good old analogy - the hole in your
make-up which let's the rain in and stops your mind from going where
it will. It's you interfering with things; as when someone walks up
to you and says, "I am the Son of God." And you say, "No you're not;
I'll crucify you," and you crucify him. Well that's life, but it is
not fixing a hole.
'It's about fans too: "See the people standing there/who disagree
and never win/and wonder why they don't get in/ Silly people, run
around/they worry me/and never ask why they don't get in my door."
If they only knew that the best way to get in is not to do that,
because obviously anyone who is really going to be straight and like
a real friend and a real person to us, is going to get in; but they
simply stand there and give off, "we are fans, don't let us in".
'Sometimes I invite them in, but it starts to be not really the
point in a way, because I invited one in, and the next day she was
in the Daily Mirror with her mother saying we were going to be
married. So we tell the fans, "forget it".
'If you're a junky sitting in a room fixing a hole then that's what
it will mean to you, but when I wrote it I meant if there's a crack
or the room is uncolourful, then I'll paint it.'
Perhaps the explanation is not as complicated as all that. Paul
wrote the song after repairing the roof on his Scottish farm. The
number was recorded on Thursday 9 February 1967 at Regent Sound
Studio in London and overdubbed on Tuesday 21 February at Abbey Road
Studios.
Paul was to tell Playboy magazine, 'The night we went to record
that, a guy turned up at my house who announced himself as Jesus. So
I took him to the session. You know, couldn't harm, I thought.
Introduced Jesus to the guys. Quite reasonable about it. But that
was it. Last we ever saw of Jesus.'
Flaming Pie (album)
Paul's first studio album in almost five years, following Off The
Ground. He was to comment, 'I wanted to have some fun and not sweat
it. That's been the spirit of making this record. You've got to have
a laugh, because it's just an album. So I called up a bunch of
friends and family and we just got on and did it. And we had fun
making it. Hopefully you'll hear that in the songs.'
It was recorded over a period of four years at various locations
-Paul's own studio in East Sussex, George Martin's AIR Studio in
London and Steve Miller's studio in Sun Valley, Idaho and is 53
minutes and 46 seconds in length.
Geoff Emerick and Jan Jacobs, assisted by Keith Smith, engineered
the album and recording began on 6 November 1995. It was produced by
Paul, Jeff Lynne and George Martin and sported a cover photograph of
Paul by Linda McCartney. There was a 24-page booklet enclosed with
personal notes about the tracks from Paul and photographs by Linda.
Flaming Pie was issued in Britain on Monday 5 May 1997 and topped
the charts. The British release was in three formats: LP on
Parlophone PCSD 171, cassette on TCPCSD 171 and CD CDPCSD 171. It
was issued in America on Tuesday 20 May 1997 on Capitol CDP 8
56500-2 and reached No. 2 in the charts. Flaming Pie remained in the
US charts for 18 weeks.
The album broke Paul's own world record for gold discs by getting
his 81st, which went gold both sides of the Atlantic, taking only
three days to pass the 500,000 sales mark in America.
Paul commented, 'None of the fourteen songs were written with an
album in mind. They were written for my own pleasure.'
The tracks were: 'The Songs We Were Singing', 'The World Tonight',
'If You Wanna', 'Somedays', 'Young Boy', 'Calico Skies', 'Flaming
Pie', 'Heaven On A Sunday', 'Used To Be Bad', 'Souvenirs', 'Little
Willow', 'Really Love You', 'Beautiful Night' and 'Great Day'.
To coincide with the 5 May release in Britain BBC Radio 2 presented
a Flaming Pie radio special that day.
The Times commented on the album: 'this is the sound of rock 'n'
roll with its teeth in a glass of water by its bedside.' The
Independent On Sunday described it as 'woeful stuff, saying, 'what
is effectively a bunch of mash notes to the wife, jams with old
friends and family members and throwaway doodles of songs mostly
written on his holidays.'
Commenting on the negative reviews in the Daily Express, Paul said,
'I really don't give a shit if this album is a hit or not. I've been
saying that and I mean it. Sure, everyone likes to have a hit - but
not at the expense of having fun.'
On 17 May 1997 Paul went on to the internet 'live' for a
question-and-answer session held at the Bishopgate Memorial Hall,
London before an audience of a thousand as part of the Flaming Pie
campaign. The event was screened live on VH-I, the music cable
channel. Prior to the session taking place there were 2,476,092
questions put forward. This would have taken Paul almost two years
to answer. He said, 'It's an awful lot to ask of anyone. I don't
think we'll get through all the questions - but we'll give it a go.'
Drummer Dave Lovelady told journalist Spencer Leigh: 'Paul liked the
way we could mimic instruments with our voices, our "mouth music",
if you like. Brian O'Hara was a trumpet and we were the trombones.
We used it on "Rosetta" and the Beatles did the same thing on "Lady
Madonna". There were proper instruments on our record as well. 1 was
playing the piano at the session, but Brian O'Hara told me to play
it badly. I soon found out why. Paul said, "Look, I'll do the piano
bit", and so he ended up playing on the record.'
Sadly, Brian �' ���� committed suicide in 2000.
4th Of July
A single by John Christie, written by Paul and Linda and produced by
Dave Clark. It was issued in Britain on 28 June 1974 on Polydor
2058-496 and in America on 1 July 1974 on Capitol 3928. The flipside
was 'Old Enough To Know Better, Young Enough To Cry'. Dave Clark had
asked Paul if he could provide him with a number for Christie to
record and Paul sent him a home demo of the song.
48 Hours
A weekly CBS Television News programme. Although the programme is
normally sixty minutes in length, it was expanded to a 90-minute
edition of the programme, devoted to Paul, on Thursday 25 January
1990. The show included onstage footage from his December 1989
concerts in Chicago, plus an exclusive backstage interview with
Paul. Donna Dees of 48 Hours commented, 'We're all Beatles fans -
and McCartney fans - on the show. So we're doing everything the best
we can. We have so much music that we're having some trouble with
licensing fees. We have to be careful about review tapes getting
out, so there won't be a bootleg album before the show airs.'
Initially, the programme's anchorman Dan Rather was scheduled to do
the interview with Paul on 2 December 1989, but he had to report on
the Malta Summit instead, although he did visit Paul backstage at
Madison Square Garden and discussed a number of serious topics with
him, although their conversation wasn't filmed.
Replacing Rather was Bernard Goldberg, who interviewed Paul and
Linda.
Rather was to say that he was pleased with the way it worked out.
'I'm from a time and place - if Hank Williams didn't sing it, I
didn't know it.'
48 Hours With McCartney
A television special on Paul which first appeared as an MTV
rocku-mentary special on Paul's career in 1989 and the following
year it was repeated and included film of his tour.
Fraser, Robert Hugh
An art dealer, born in London in August 1937, who Paul met in the
spring of 1966 at John Dunbar and Marianne Faithfull's flat in
Lennox Gardens. He was an old Etonian and a heroin addict who opened
his gallery at 69 Duke Street in August 1962 and had a nearby
apartment at 20 Mount Street.
Through Fraser Paul met Andy Warhol, Claes Oldenberg, Richard
Hamilton and Peter Blake.
Paul began to frequent Fraser's gallery and often dropped into his
flat for discussions about art and to meet some of the artists
Fraser represented, as well as a variety of other talented people
including author Terry Southern, Italian director Michaelangelo
Antonioni and American comedian Sid Caesar. Fraser's knowledge of
the arts was to boost Paul's appreciation in such a way that in his
autobiography Many Years From Now, he wrote, 'The most formative
influence on me was Robert Fraser. Obviously the other Beatles were
very important, but the most formative art influence for me was
Robert.'
In fact, Paul sought Fraser's advice as consultant regarding the
sleeve of the Sgt Pepper album. Simon Posthuma and Marijke Koger of
the Fool had already prepared a centrefold design. Fraser told the
Beatles that it was no good. Fraser drafted in artist Peter Blake
and the classic sleeve was brought to life.
Fraser was at Keith Richards house during the famous drug bust in
1967, when Marianne Faithfull was caught wearing only a fur rug,
having just had a bath. When the police raided the premises Fraser
fled through the garden and two policemen chased and caught him,
discovering he was in possession of heroin.
In May 1967 he appeared in court, along with Mick Jagger and Keith
Richards.
The three were then put on trial at Chichester Crown Court on Monday
27 June. Richards was sentenced to a year in prison; Jagger was
sentenced to three months and Fraser to six months. Jagger and
Richards were released on bail and eventually appealed and were
never interred, while Fraser was sent to Wormwood Scrubs.
Fraser was to die of AIDS-related pneumonia and meningitis in
January 1986. A biography of him called Groovy Bob: The Life And
Times Of Robert Fraser, penned by Harriet Vyner, was published in
October 1999.
Free As A Bird
The Beatles 28th official single which became their first new single
in 25 years when it was issued in Britain on 4 December 1995 on
two-track 7", cassette and four-track CD and released in America the
following day.
John originally wrote it in 1977 and the 1995 release was recorded
at Paul's Sussex studios during February and March 1994.
When the three surviving Beatles were working on the Anthology
project, it was decided to approach Yoko Ono to see if any of John
Lennon's home demo tapes could be utilised into a new Beatles
single, with the participation of Paul, George and Ringo.
When Paul visited New York in January 1994 to make the induction
speech for John Lennon's entry into the Rock And Roll Hall Of Fame,
Yoko gave him four of John's demo tapes: 'Free As A Bird', 'Real
Love', 'Girls And Boys' and 'Grow Old With Me'.
Yoko claimed that it was George Harrison and Neil Aspinall who had
originally approached her with the idea of adding new vocals and
instrumentation to John's demo tapes. She commented, 'People have
said it was all agreed when Paul came over to New York to induct
John into the Rock And Roll Hall Of Fame, but it was all settled
before then. I just used that occasion to hand over the tapes
personally to Paul.'
John had recorded at least three demos of 'Free As A Bird', although
the demo Paul was given was unfinished and he wrote fairly extensive
additional lyrics.
Paul was to say, 'We took the attitude that John had gone on holiday
saying, "I finished all the tracks on my album except this one. I'm
sorry that I can't make the last session but I leave it to you guys
to finish it off. Do what you'd normally do. Don't get fussy; just
do your normal thing. I trust you." So we fixed the timing and then
added some bits. John hadn't filled in the middle-eight section of
the demo so we wrote a new section for that, which, in fact, was one
of the reasons for choosing the song: it allowed us some input.'
Paul discussed the recording in a telephone interview with WNEW-FM,
New York on 15 March 1995 and said that the beginning was originally
just John on piano and his voice on mono tape. Then George added
some guitar and they all did harmonies. Ringo said, 'It sounds like
the bloody Beatles.'
Paul did admit that there were some arguments during the recording
of 'Free As A Bird' and said, 'George Harrison and I competed on who
actually had the better lyrics to the unfinished Lennon song.'
Freedom
A song Paul composed for his appearance at the 'Concert For New York
City'.
He said that Heather inspired him to write the number, commenting,
'We were watching President Bush talking on TV about the attack on
our freedom and she said it'd be good to write something about it.'
Paul also commented, 'Immediately after the disaster, I wrote this
song about our right to live in freedom against any who would attack
that right. The attacks on New York were an attack on that freedom,
and we have to make a stand against threats like that. We are not
going to buckle under to threats from anyone, and all of us here are
united in our desire to make this a show of solidarity. Freedom is
our right and we are pulling together tomorrow in defence of it.'
After performing 'Freedom' at the concert, Paul remained in New York
and recorded a studio version of the number, accompanied by Eric
Clapton on guitar. The number was then added as a bonus track to the
Driving Rain CD.
The first CD single release from Driving Rain was issued on 29
October 2001 on Parlophone CDRS 6565 with 'From A Lover To A Friend'
and two David Kahne remixes of 'Freedom'. A second CD single
followed this on Parlophone CDRS 6567 on 5 November 2001, which
featured only one David Kahne remix. On 13 November 'Freedom' and
'From A Lover To A Friend' was issued as a double A-side in America.
With a playing time of 12 minutes 52 seconds it featured 'Freedom
(studio mix)' and 'From A Lover To A Friend'. The B-side featured
'From A Lover To A Friend (David Kahne Remix 2)', produced by David
Kahne and was issued on Capitol 5-50291-2.
All the profits from the singles were donated to the families of the
New York Firemen and Police who were killed in the disaster.
Freeze Frame
An album by Godley and Creme, issued in Britain by Polydor on Friday
30 November 1979 and in America on Monday 21 January 1980. Paul made
a guest appearance on the album, providing backing vocal on the
track 'Get Well Soon'. It was re-issued as a CD on Polydor 831555 2
on 10 May 1991.
From A Lover To A Friend
The first track from the Driving Rain album. The number lasts for 3
minutes and 45 seconds. It was recorded at the Henson Recording
Studio in Los Angeles on 20 February 2001. David Kahne produced it
and the engineer was Mark Dearnley.
Paul sang lead vocal and played bass, guitars and piano. Rusty
Anderson provided backing vocals and played guitars, Abe Laboriel Jr
provided backing vocals and played drums and percussion, Gabe Dixon
provided backing vocals and played keyboards and David Kahne
provided programming, orchestra samples, synth and guitar.
It was the first single issued from the album and released globally
on Monday 29 October 2001 as a charity single. In Britain it was
issued on Parlophone R 6567 and CDR 6567 and TCR 6567. It reached
No. 45 in the charts with a two-week chart life.
The record was the 53rd single to be issued under the 'Paul
McCartney' name.
All proceeds from the sale of the record went to help the families
of the firemen who died in the attacks on New York's World Trade
Center on 11 September 2001. More than 300 men from the fire service
went missing, believed buried under the rubble of the buildings.
Paul commented, 'I have great admiration for the courage those guys
showed. I hope that the sales of this new single will help raise
money for the firemen and their families.'
The number was also used in the Tom Cruise film Vanilla Sky and the
album's producer David Kahne commented, 'His voice is very emotional
in that song. It starts kind of quietly but has a great "Come
Together "-type bass line in the bridge. He sings, "How can I walk
when I can't find my way?" and there's a really good sound he makes.
It has a sadness to it, but it's actually a real hopeful song.'
From A Window
A number penned by Paul, which was recorded by Billy J Kramer and
the Dakotas in May 1964. It was issued in Britain on Parlophone R
5156 on 17 July 1964 with 'Second To None' as the flipside.
From Rio To Liverpool
A 50-minute television documentary which was a behind-the-scenes
look at Paul's 1990 world tour, featuring interviews and live
footage from concerts in Rio, Philadelphia and Glasgow, with an
emphasis on the 'Get Back To Liverpool' concert at the King's Dock,
Liverpool.
It was first broadcast on Channel Four in Britain on Monday 17
December 1990.
The documentary received its American premiere on the Disney Channel
on Sunday 13 October 1991, where it had undergone a name change to
'Paul McCartney: Going Home'. The Disney Channel repeated it three
further times that month on Saturday 19, Friday 25 and Wednesday 30
October.
Frost, David
A television celebrity who first rose to fame in the early 1960s
with the satirical show That Was The Week That Was. Frost became a
prominent TV interviewer and hosted several of his own shows on both
sides of the Atlantic.
Paul made his first solo television appearance on � Degree Of Frost
when he taped an appearance before a live audience at BBC Television
Centre, White City on Wednesday 15 April 1964. The show was
transmitted on Wednesday 18 May 1964.
At one time Frost had a BBC radio programme, David Frost At The
Phonograph on which Paul appeared on Saturday 6 August 1966.
Paul also appeared on The Frost Programme in Britain on Wednesday 27
December 1967, during which he discussed the critical reaction to
Magical Mystery Tour. He told Frost: 'People were looking for a
plot, but there wasn't one.'
On Sunday 16 June 1968 Paul filmed a one-hour interview with Frost
for David Frost Presents, recorded in England, but specifically for
an American audience, which was transmitted in the States on Sunday
23 February 1969. During the show comedian Frankie Howerd also
interviewed Paul and Paul introduced his protegee Mary Hopkin, who
performed two numbers.
Frozen Jap
A composition by Paul, 3 minutes and 35 seconds in length, which was
included on the McCartney II album.
Fukuoka Dome Stadium
An indoor baseball stadium in Japan, which opened in 1992. Paul
appeared in two concerts there as part of his New World Tour in
1993. The first was held on Thursday 18 November, although the venue
was not completely sold out, as there were a few thousand empty
seats. The following concert on Friday 19 November did attract a
capacity audi-
ence.
Paul and his party left for Los Angeles the following afternoon and
Paul told reporters at the airport, 'Sayonara. Mata kimasu'