Tuniver.se - Your music. Discovered.
Get TuneUp Companion!

Artist: Paul McCartney

Paul McCartney

Bio

Sir James Paul McCartney, MBE (born 18 June 1942), born in Liverpool, UK, is the most successful songwriter in the history of popular music. McCartney is a multiple Grammy Award- and Academy Award-winning English singer-songwriter, poet, composer, multi-instrumentalist, entrepreneur, record producer, film producer, painter, and animal rights and peace activist. He gained worldwide fame as a member of The Beatles, alongsie John Lennon, George Harrison, and Ringo Starr. McCartney and Lennon formed one of the most influential and successful songwriting partnerships and wrote some of the most popular songs in the history of rock music. After leaving The Beatles in 1970, McCartney launched a successful solo career and formed the band Wings with his first wife, Linda Eastman, and singer-songwriter Denny Laine. He has worked on film scores and classical and electronic music, released a large catalogue of songs as a solo artist, and taken part in projects to help international charities. McCartney is listed in Guinness World Records as the most successful musician and composer in popular music history, with 60 gold discs and sales of 100 million singles. His song "Yesterday" (credited to Lennon/McCartney, but composed entirely by McCartney) is listed as the most covered song in history—by over 3,500 artists so far—and has been played more than 7,000,000 times on American television and radio. Wings' 1977 single "Mull of Kintyre" became the first single to sell more than two million copies in the UK, and remains the UK's top selling non-charity single. According to britishhitsongwriters.com, he is the most successful songwriter in UK singles chart history, based on weeks that his compositions have spent on the chart. Following the death of his first wife Linda in 1998, McCartney married Heather Mills in 2002. They divorced in 2008. McCartney now has Nancy Shevell as his partner. McCartney practices meditation, sometimes still using the mantra that the Maharishi Mahesh Yogi gave him when The Beatles went to a transcendental meditation seminar in 1967. McCartney is an advocate for animal rights, vegetarianism, and music education; he is active in campaigns against landmines, seal hunting, and Third World debt. He is a keen football fan, supporting both Everton and Liverpool football clubs.
More at Last.fm

Concert Dates

No content available.

News

New (Deluxe Version) by Paul McCartney - ArtistDirect

View Original

10/14/2013
$16.99

View Original

Articles

Paul McCartney: Unplugged (The Official Bootleg) Rock and Roll Disc, Jul 1991

View Original

I HAVE A MENTAL image of Paul McCartney that I carry in my heart like a mother's locket. It's one of those moody black and white photos from the back cover of Rubber Soul - the one where an unsmiling Paul is looking down, a cigarette angling from his lips. That one image personifies Paul, the artist, for me - the guy who wrote some of rock and roll's most introspective and disquieting ballads.

View Original

But Paul McCartney the artist was long ago subsumed by Paul McCartney the Entertainer, and although he has managed to turn out some respectable entertainment in the last two decades (Tripping the Live Fantastic being a good example), he has produced pitifully little that could be justifiably called art.

When I heard that Paul McCartney was going to appear on MTV's Unplugged, I hoped against hope that he would show up in a black turtleneck sweater with just his acoustic guitar and a pack of cigarettes. I even hoped for low-key, shadowy lighting to further set the mood for his most accomplished acoustic pieces.

But my nostalgia is showing. What we got, of course, was Paulie, Mr. Show Biz Razzle Dazzle, your friendly neighborhood jollye olde superstar, his ball and chain (Linda, who looked more embalmed than usual), and his crack band doing lame covers like 'Be-Bop-A-Lula' and ruining classics like 'And I Love Her' with antiseptic rearrangements.

Knowing the Unplugged set would be widely bootlegged, Capitol Records has released a limited edition of it on compact disc, titled (surprise!) Unplugged. After listening to it, I feel as though Paulie has stabbed me in that soft spot I had for him. Although professional, the disc is anemic, bloodless, and terminally cute.

To today's MTV-weened youth, Paul McCartney must seem as hopelessly dated and corny and Steve and Edie seemed to me way back when. But even an avowed fan like me can be pushed just so far and my goodwill towards the cute Beatle has about run out.

A Hard Day's Surfin' Safari: When Brian Met Macca World Countdown News, Jan 1967

View Original

When Beatles press officer Derek Taylor swapped Swinging Britain for LA's Sunset Strip in 1965, he played a pivotal part in bringing the worlds of London and Los Angeles together, doing press for the Byrds, the Beach Boys and many other West Coast acts. (It was he who conceived the famous "Brian Wilson Is A Genius" campaign.)

View Original

Simultaneously, Taylor wrote about the LA scene for various publications, including ultra-groovy local rag World Countdown News. From that splendid if short-lived paper, here is his highly entertaining account of bringing two pop giants together in the spring of 1967.

BRIAN WILSON and Paul McCartney met each other through music darkly and then face to face in my house, and the first meeting was the easier because music is a more natural environment for a musicianly relationship than a living room.

There had been, for many years, a mutually warm admiration society between the Beach Boys and the Beatles – an exchange of exultation at each other's releases. The Beach Boys came first: they were formed in the schoolroom and their debut hit was in 1961, in the very week that the late Brian Epstein drew up his initial contract with the Beatles – and rhythm guitarist Al Jardine (one of the founder Beach Boys) recalls returning from a tour of Australia to find his country in the thrall of 'I Want To Hold Your Hand' by the unknown Beatles.

Britain discovered the Beach Boys on a European TV and promotional trip in 1964 – the same year that America fell for the Beatles – but the British response to the US group was an unworthy, "Well, OK... so you're the Beach Boys. We have our own homegrown scene going, but thanks anyway..."

It was three years later, on the foaming tip of the crest of the tidal wave of Pet Sounds whipped to a fury by the gale of 'Good Vibrations', that the Beach Boys swamped Britain and the rest of Europe with such a flood of success that, in London's New Musical Express, voters decided the American group should replace the Beatles as "Top World Group".

Influence On Each Other

During the years between 'Surfin' Safari' and Revolver, Lennon/McCartney and Wilson watched the development of each group's work with increasing interest and with – so musical people tell me –substantial influence on each other's experimentation. A long time ago, Lennon commented in print that "Wilson is a bloody genius who uses voices like instruments" and Wilson, for his part, freely conceded that it was the critical acclaim accorded Rubber Soul that had spurred him to reach a new plateau with Pet Sounds – a climb, which though Beatle-inspired, did not tempt him to use their footholds, steal their guidelines nor filch any of their deft shortcuts. Why should he? He ?had enough of his own.

I had left the Beatles before Rubber Soul and had joined the Beach Boys at Pet Sounds time, and there were moments when I sensed the unspoken "Mirror, mirror on the wall, who is the fairest of us all?"

But apart from conversational slips of the tongue, which may have been Freudian or simply phonetic – "Beach Boys" sometimes came out as "Beatles" or vice versa – I managed to steer a course in representing the Californian fivesome which took me safely along the narrow road from Beatle Friendship to Beach Boys Loyalty, twin townships in which there were signs of incipient rivalry.

Some members of the groups had met on the road in 1965, somewhere in the North West where the tours coincided. But the meeting had been one of those scrambling handshake-scenes in a dressing-room physically inadequate to accommodate a duo of dwarfs, let alone two man-sized rock 'n roll groups with Fenders, Rickenbackers, Gibsons, practice amps, cops, bouncers, promoters, boxes of fan mail and piled up trays of half-chewed hamburgers.

Against such clutter there bad been, therefore, little real rapport and in any case, Brian Wilson was not around at the meeting.

They Meet Again

A year later, however, after Pet Sounds and before Revolver – is it not strange how one measures history in albums, yet not so strange as measurement in wars – it became clear that a summit of some sort was timely and meaningful.

So when the Beatles came to Los Angeles in 1966 for the last-but-one concert in their lovingly remembered career, I created a domestic climate in which composer might collide with composer without harrassment or pain.

Paul was the first to arrive, in the best of humour. Brian Wilson called, Paul took the call and said "come on over", and Brian did, with brother Carl and their wives.

The lights were low in the house, the Los Angeles basin twinkled blue, red-gold and silver, and we had Glenn Miller's Latest Hits softly on the record player. "Hi" said Brian and the Wilsons. "Hello" said Paul and added: "Well, you're Brian Wilson and I'm Paul McCartney so let's get that out of the way and have a good time." Brian laughed and said, "Would you like to hear a dub?"

He played the extraordinarily fascinating 'Good Vibrations' and it impressed Paul, who asked for the dub "as a souvenir". Brian said he'd rather not part with it. He wasn't completely happy with the sound. Oh well. It didn't matter that much.

We talked for a couple of hours, joined by David Crosby of the Byrds and by George Harrison. It wasn't a bad meeting but it wasn't the answer. Paul and Brian knew that and I did too.

Thus in the spring of this year when Paul returned as a "private citizen" to LA we decided to do the meeting again – this time in a recording studio. I took Paul to Sound Recorders in Hollywood, and this time a real bond was formed between the Englishman and the American – a bond that will not readily become unsealed. Brian was at his most active and energetic as a producer that night, and it was a fine three-hour music involvement.

And Now to Capitol

The record under production was 'Vegetables', then planned as a single, now to be an album track on Smiley Smile, the Beach Boys' new album – the first LP to be released on the Brother Records label distributed through Capitol.

I cannot see the fact of Capitol's continuing to keep the Beach Boys and the Beatles as signed artists as a coincidence, for there is nothing coincidental about competitive commerce. After all, the Beatles entered America on Vee-Jay and the Beach Boys did not start on Capitol but on a label called Candix. Also, of course, the group and Capitol have only recently emerged (emotionally unharmed) from a lawsuit instigated by the Beach Boys against the label.

I cannot say what it is that Capitol has to offer the two groups, for a record label is many things to many people, but whatever Capitol represents as a company it must be worthy and valuable for the Beatles to have re-signed with them for something like nine years, and the Beach Boys are – despite their new Brother Records family front – still in business with Capitol.

Auctions

No content available.

No content available.

No content available.

Top Albums

Back in the World (disc 2) cover art

Back in the World (disc 2)

Buy Amazon.com     Buy iTunes    

more
less
All The Best cover art

All The Best

Buy Amazon.com     Buy iTunes    

more
less
Memory Almost Full cover art

Memory Almost Full

Buy Amazon.com     Buy iTunes    

more
less
more
less
more
less

Top Songs

Maybe I'm Amazed cover art

Maybe I'm Amazed

Buy Amazon.com     Buy iTunes    

Live and Let Die cover art

Live and Let Die

Buy Amazon.com     Buy iTunes    

Dance Tonight cover art

Dance Tonight

Buy Amazon.com     Buy iTunes    

Band on the Run cover art

Band on the Run

Buy Amazon.com     Buy iTunes    

Wonderful Christmastime cover art

Wonderful Christmastime

Buy Amazon.com     Buy iTunes    

Every Night cover art

Every Night

Buy Amazon.com     Buy iTunes    

Jet cover art

Jet

Buy Amazon.com     Buy iTunes    

Video

No content available.

Recommended Albums

more
less
more
less
more
less
Thumbnail for Ringo

Ringo by Ringo Starr

Buy Amazon.com     Buy iTunes    

more
less