jueves, 21 de febrero de 2019

Which Beatle Had the Most No. 1 Hits as a Solo Artist?

Which Beatle Had the Most No. 1 Hits as a Solo Artist?
Eric Schaal
Cheat Sheet
February 19, 2019

While fans of The Beatles might have been distraught when the group broke up in 1970, they could follow each member of the Fab Four in his solo career.

In a sense, that gave them four albums for the price of one. Even if every one didn’t turn out like Revolver, you couldn’t argue with the output.

Soon enough, ex-Beatles were topping the charts with singles and albums as solo artists. Fans only had to wait until later in that first year, when George Harrison released his triple album, All Things Must Pass. Within those six sides was “My Sweet Lord,” the first track by an ex-Beatle to hit No. 1.

In the coming decades, Harrison would find himself on top of the charts with two more singles and as many albums. Paul McCartney, Ringo Starr, and John Lennon (the last) followed their old bandmate to the top of the Billboard Hot 100 in the coming years as well.

However, by the late 1970s, McCartney had taken his place as the hit-maker of the bunch. He never looked back.

Paul’s 9 No. 1 singles pace all Beatles as solo artists.

July 1968, London: Paul McCARTNEY, John LENNON and his wife Yoko ONO arrive at the opening of YELLOW SUBMARINE. | Keystone-France/Gamma-Keystone via Getty Images

Along with George’s three No. 1 singles, Ringo and John each had two apiece in the coming decade. But by then, Paul had already racked up seven chart-topping singles. The run began with “Uncle Albert/Admiral Halsey” (1971) and concluded with “Coming Up” (1980).

By himself, Paul had outdone the total of his three ex-bandmates in the 10 years after The Beatles parted ways. And he wasn’t done. Duets with Stevie Wonder (“Ebony and Ivory”) and Michael Jackson (“Say Say Say”) over the following three years would mark his eighth and ninth chart-toppers.

However, he didn’t have the last No. 1 single by a former Beatle. That honor belongs to George, whose rendition of “Got My Mind Set on You” peaked on top of the charts in January 1988. (Lennon passed away in 1980.)

If you go by No. 1 albums (on the Billboard 200), Paul also claims the title among former Beatles. Amazingly, his latest arrived in 2018.

Paul’s No. 1 albums (5) also lead the pack among ex-Beatles.

1967: John Lennon (1940-80), Paul McCartney, George Harrison (1943-2001) and Ringo Starr take a break while filming ‘The Magical Mystery Tour.’ | Jim Gray/Keystone/Getty Images

After All Things Must Pass, George’s Living in the Material World (1973) would be his second and final No. 1 record. (Harrison passed away in 2001.)

Following Imagine (1971) and Walls and Bridges (1974), Lennon’s final No. 1 album, Double Fantasy, was released two weeks before his death.

Ringo Starr never had a No. 1 album, but his Ringo did reach No. 2 in 1973, while Goodnight Vienna made it as high as No. 8 in 1975.

Paul’s run of No. 1 records began with McCartney (1971) and continued with Egypt Station, which topped the Billboard 200 in September 2018.

At the time of his death, Lennon’s three No. 1 records tied him with Paul for the lead. There’s no telling what he (or George) would have done in the coming decades had they survived.

But, as things stand, Paul McCartney has been the most successful recording artist of any ex-Beatle since the group split up nearly 50 years ago.

martes, 19 de febrero de 2019

Yoko Ono, John Lennon’s ‘Wedding Album’ to be Reissued

Yoko Ono, John Lennon’s ‘Wedding Album’ to be Reissued
LP’s re-release coincides with 50th anniversary of couple’s nuptials
FEBRUARY 18, 2019

John Lennon And His Wife Yoko Ono Pictured Arriving In Paris Following Their Wedding In Gibraltar In 1969. John Lennon And His Wife Yoko Ono Pictured Arriving In Paris Following Their Wedding In Gibraltar In 1969.
Yoko Ono and John Lennon's 'Wedding Album' will be reissued this spring.
Roxburgh/Daily Sketch/REX/Shutterstock

Yoko Ono and John Lennon’s Wedding Album will be reissued this spring. Originally released in 1969, it was the couple’s third collaborative LP. Announced on Monday, which marks Ono’s 86th birthday, Unfinished Music No. 3: Wedding Album will be released via Secretly Canadian in partnership with Chimera Music on March 22nd, two days after Ono and Lennon’s 50th wedding anniversary.
Crafted by graphic designer John Kosh, the original packaging housed a box that commemorated the couple’s nuptials – they were married on March 20th, 1969 in Gibraltar. Photographs, a copy of their marriage certificate, drawings culled by Ono and Lennon, and a picture of a slice of wedding cake were among the souvenirs that came with the album. The labels are offering a “faithful recreation” of the Wedding Album, which will be available on limited edition white-vinyl LP, CD and digitally.

The forthcoming reissue, which is available for pre-order, is one of several releases planned from Secretly Canadian and Chimera Music comprising Ono’s musical output from 1968 to 1985. They previously reissued 1971’s Fly and a pair of 1973 albums, Approximately Infinite Universe and Feeling The Space along with 1968’s Unfinished Music No. 1: Two Virgins, 1969’s Unfinished Music No. 2: Life With Lions and 1970’s Plastic Ono Band.

Image result for john lennon wedding album

lunes, 18 de febrero de 2019

Fans Of The Beatles Will Dig The Movie ‘Yesterday’ [Trailer]

Fans Of The Beatles Will Dig The Movie ‘Yesterday’ [Trailer]
by Jasmine Stone in Entertainment, Movies, Video
18 Feb 2019

It’s safe to say that pretty much everybody can name at least one Beatles song, and can probably hum the tune to a few more.
The Fab Four will go down in history as one of the most iconic and influential outfits of all time, but what if they had never existed.
Or rather, what if only one person in the entire world remembered them?
That’s the premise of Yesterday, a new movie directed by Danny Boyle, which looks like it could be a bit of fun.
A quick write-up below from GQ:
Written by Richard Curtis, the British king of high-concept plots, Yesterday stars Himesh Patel as the singer-songwriter who stumbles into a new world in which John, Paul, George, and Ringo never…met? Existed? It’s unclear right now.
He decides to kick off a songwriting career, rejigging the Beatles repertoire and passing it off as his own work, becoming hugely famous (and friends with Ed Sheeran) in the process.
Yes, Ed Sheeran does feature, and your man Himesh has a pretty decent voice:

Let’s just be thankful that Himesh didn’t bust out Ob-La-Di, Ob-La-Da.
Yesterday premieres in June of this year.




IN LEIDEN OP ZONDAG 7 april 2019.

The Beatles zijn al bijna 50 jaar "uit elkaar", maar nog steeds houdt hun muziek miljoenen over de hele wereld bezig en zijn de verkopen van hun oude platen (cd's) gigantisch. Elk jaar gaan er wereldwijd nog miljoenen over de toonbank !! En ook in de download lijsten staan de Beatles in de hoogste regionen!

De muziek van John Lennon, Paul McCartney, George Harrison & Ringo Starr mag ondertussen "klassiek" genoemd worden. Het nummer "Yesterday" werd zelfs verkozen tot "song van de (twintigste) eeuw".

49 jaar na het uiteenvallen van The Beatles, blijkt er nog steeds een grote belangstelling te bestaan voor alles wat de "fab four" gedaan hebben. En Paul McCartney en Ringo Starr spelen wereldwijd nog steeds voor uitverkochte zalen!

Beatles fans, verzamelaars en liefhebbers kunnen op zondag 7 april terecht in Scheltema Leiden aan de Marksteeg 1 (hoek Oude Singel) in Leiden (dicht bij station Leiden-Centraal en met ruime parkeergelegenheid in de buurt) waar, al voor de 40ste keer, "BEAT-MEET" plaats vindt.

Op deze Beatlesbeurs kunnen fans, liefhebbers en verzamelaars lekker snuffelen tussen de duizenden LP's, singletjes, CD's, DVD's, boeken, bladen,video's en memorabilia die te kijk, te koop of te ruil zijn. Er zijn standhouders uit binnen- en buitenland, dus het aanbod zal spectaculair zijn. Voor dit evenement komen bezoekers vanuit de hele wereld (zelfs vanuit Japan en de USA) naar Nederland!! Er zijn ook stands van de Beatles Fanclub en de Paul McCartney Fanclub. Beatles researcher en schrijver Kevin Roach uit Liverpool is onze gast en daarnaast is er live Beatles muziek van Xavier Baudet en Andrew Vroomans.  Aan het verdere programma wordt nog gewerkt.

Bezoekers kunnen tevens Beatles platen of memorabilia meenemen om te ruilen/verkopen of vrijblijvend te laten taxeren.

Deze dag wordt georganiseerd door Franck Leenheer in samenwerking met www.beatlesfanclub.nl, de best bezochte Nederlandstalige Beatles website.

"BEAT-MEET 2019" in Leiden is open van 11-16 uur. De entré bedraagt 5 Euro.

Beat-Meet 2019 mag je als Beatlesfan niet missen!

Voor meer informatie: Franck Leenheer 071-5131323.



The Beatles have been "apart" for nearly 50 years, but their music still keeps millions around the world and the sales of their old records (CDs) are huge. Every year there are still millions around the counter worldwide !! And also in the download lists the Beatles are in the highest regions!

The music of John Lennon, Paul McCartney, George Harrison and Ringo Starr may now be called "classical". The song "Yesterday" was even voted "song of the (twentieth) century".

49 years after the breakup of The Beatles, there is still a great interest in everything that the "fab four" have done. And Paul McCartney and Ringo Starr still play for sold-out venues all over the world!

Beatles fans, collectors and enthusiasts can visit Scheltema Leiden on the 7th of April at the Marksteeg 1 (corner Oude Singel) in Leiden (close to Leiden Central Station and with ample parking nearby) where, for the 40th time already, " BEAT-MEET "takes place.

At this Beatles fair, fans, enthusiasts and collectors can sniff around the thousands of LPs, singles, CDs, DVDs, books, magazines, videos and memorabilia that can be viewed, bought or exchanged. There are exhibitors from home and abroad, so the range will be spectacular. For this event visitors from all over the world (even from Japan and the USA) come to the Netherlands !! There are also stands of the Beatles Fan Club and the Paul McCartney Fan Club. Beatles researcher and writer Kevin Roach from Liverpool is our guest and there is also live Beatles music by Xavier Baudet and Andrew Vroomans. We are still working on the further program.

Visitors can also bring Beatles records or memorabilia to exchange / sell or have them valued without obligation.

This day is organized by Franck Leenheer in collaboration with www.beatlesfanclub.nl, the most visited Dutch-speaking Beatles website.

"BEAT-MEET 2019" in Leiden is open from 11 am to 4 pm. The entrance is 5 Euro.

You can not miss Beat-Meet 2019 as Beatlesfan!

For more information: Franck Leenheer 071-5131323.

La imagen puede contener: una o varias personas y texto


EN LEIDEN EL DOMINGO 7 de abril de 2019.

Los Beatles han estado "separados" por casi 50 años, pero su música aún mantiene millones en todo el mundo y las ventas de sus viejos discos (CD) son enormes. ¡Cada año hay millones alrededor del mostrador en todo el mundo! ¡Y también en las listas de descarga, los Beatles están en los lugares más altos!

La música de John Lennon, Paul McCartney, George Harrison y Ringo Starr ahora puede llamarse "clásica". La canción "Yesterday" fue incluso votada como "canción del siglo veinte".

49 años después de la separación de The Beatles, todavía hay un gran interés en todo lo que han hecho los "fabulosos cuatro". ¡Y Paul McCartney y Ringo Starr aún tocan en lugares con entradas agotadas en todo el mundo!

"Los fanáticos, coleccionistas y entusiastas de los Beatles pueden visitar Scheltema Leiden el 7 de abril en la Marksteeg 1 (esquina Oude Singel) en Leiden (cerca de la Estación Central de Leiden y con un amplio estacionamiento cerca) donde, por 40ª vez," BEAT-MEET "tiene lugar.

En esta feria de los Beatles, los fanáticos, entusiastas y coleccionistas pueden hojear los miles de LP, singles, CD, DVD, libros, revistas, videos y recuerdos que se pueden ver, comprar o intercambiar. Hay expositores nacionales y extranjeros, por lo que la gama será espectacular. ¡Para este evento, visitantes de todo el mundo (incluso de Japón y Estados Unidos) vienen a los Países Bajos! También hay stands del Club de Fans de los Beatles y del Club de Fans de Paul McCartney. El investigador y escritor de los Beatles Kevin Roach de Liverpool es nuestro invitado y también hay música en vivo de los Beatles de Xavier Baudet y Andrew Vroomans. Todavía estamos trabajando en el programa adicional.

Los visitantes también pueden traer los registros o recuerdos de los Beatles para intercambiarlos o venderlos o hacer que se los valúe sin compromiso.

Este día es organizado por Franck Leenheer en colaboración con www.beatlesfanclub.nl, el sitio web más visitado de los Beatles de habla holandesa.

"BEAT-MEET 2019" en Leiden está abierto de 11 am a 4 pm. La entrada es de 5 euros.

¡No puedes perderte Beat-Meet 2019 como Beatlesfan!

Para más información: Franck Leenheer 071-5131323.

La imagen puede contener: 4 personas, personas sentadas e interior

viernes, 15 de febrero de 2019

Is Paul McCartney the Richest Rock Star of All Time?

Is Paul McCartney the Richest Rock Star of All Time?
Eric Schaal
February 10, 2019

If you do some simple math, you start to see the staggering wealth Paul McCartney accumulated over the years. Start with his earnings with The Beatles, in which McCartney was the primary songwriter along with John Lennon.

The band shattered records for concert ticket and album sales and stands as the best-selling artist in history. By worldwide sales, The Beatles have sold over 600 million albums. (More than 1.6 billion Beatles singles have been bought since the group debuted in 1963.)

After the end of The Beatles, McCartney kept touring and recording. Flashing forward to this decade, he made over $50 million for a single year’s work (2015).

Throw in an inheritance possibly worth $200 million — on top of a net worth of $500 million from the previous decade — and you’re looking at one of the richest people who’s ever played an instrument professionally.

In fact, McCartney, who turned 76 in June, may very well be the richest rock star who’s ever lived.

$350 million in earnings from 2010-16

Paul McCartney of The Beatles tries his luck on a slot machine in Las Vegas, 20 August 1964, during the band’s first US Tour. | Harry Benson/Daily Express/Hulton Archive/Getty Images

A 2016 report by Forbes highlighted the type of earnings McCartney brings in to this day. In the previous 12 months, he had earned $56.6 million from touring and album sales.

Racking up his take from the decade (2010-16), Forbes pegged McCartney’s earnings at $350 million pre-tax. That put him among the richest celebrities of the period on several occasions.

However, he’d been on his march to billionaire status a decade before. At the time of his wife Linda’s death in 2000, McCartney had an estimated net worth of $500 million.

The BBC declined to speculate on Linda’s estate value at the time (some said it exceeded $200 million), but the news service noted her food business alone was worth $60 million per year. (In 2019 dollars, that would be $87.5 million.)

Linda McCartney left her entire state to her husband and, because of her dual citizenship, Paul was able to receive it without paying any British tax. By the start of this decade, publications began estimating his net worth over $800 million. As of 2019, it’s increased to more than $1 billion.

McCartney’s net worth of $1.2 billion makes him the richest rock star ever.

Paul McCartney performs on stage during “12-12-12 ~ The Concert For Sandy Relief” December 12, 2012 at Madison Square Garden in New York. | Don Emmert/AFP/Getty Images

If you looked at the list of richest musicians of all time a few years back, you’d find Broadway composer Andrew Lloyd Webber ($1.2 billion) at the top. However, McCartney’s relentless touring and nonstop royalties have pushed him into billionaire territory.

As of 2019, estimates peg his net worth at $1.2 billion. Since Lloyd Webber is no rocker, there is no doubt that McCartney is the richest rock star who ever lived. (He may have surpassed Webber as the richest musician, anyway.)

Would John Lennon have given him a run for his money had he lived? Since we don’t know how much recording and touring Lennon would have done, it ‘s impossible to say. But we know for sure Paul McCartney has made every year count.

jueves, 14 de febrero de 2019

'Egypt Station - Traveller’s Edition' New Box Set



'Egypt Station - Traveller’s Edition' New Box Set

'Egypt Station - Traveller’s Edition' New Box Set
Strictly Limited Deluxe Edition of 3,000
To Be Released 10th May
Paul has confirmed the release of the Egypt Station - Traveller’s Edition box set out 10th May via Capitol Records. This strictly limited deluxe edition of the #1 album Egypt Station will be a one-time-only pressing limited to 3,000 numbered cases. The Traveller’s Edition arrives in a vintage style suitcase and contains exclusive previously unreleased tracks, hidden rarities and all the essentials needed on your journey to Egypt Station and beyond.
Fans who sign up HERE by 6pm PT / 9pm ET 14th February | 2am GMT 15th February will be emailed a unique link for access to the pre-order. 
Pre-order begins Friday 15th February at 6am PT / 9am ET / 2pm GMTDue to the limited quantity of this edition, sales will be on a first come, first served basis.
Egypt Station - Traveller’s Edition contains:
• Limited Edition Concertina Tri-Fold Deluxe 180G Vinyl Double Black Disc Pressing of Egypt Station
• Exclusive Limited Edition Bonus 180G Vinyl Pressing of Egypt Station II  in "Night Scene” blue, featuring three previously unreleased tracks — ‘Frank Sinatra’s Party’, ‘Sixty Second Street’ and extended cut of Egypt Station single ‘Who Cares’ — as well as four live performances of Egypt Station tracks taken from Abbey Road Studios, The Cavern Club, LIPA and Paul’s iconic performance at Grand Central Station
• Limited Edition Egypt Station Concertina CD
• Exclusive Limited Edition collector’s Egypt Station Blue Cassette
• HD Audio of all tracks upon shipment
• Additional rare performance footage hidden inside
Special Features:
• Luxury vintage-style embossed Egypt Station artwork suitcase
• An exclusive copy of a handwritten note from Paul
• Fold out, vintage-style Egypt Station illustrated map suitable for framing
• Travel memorabilia including "travel itinerary", postcards, baggage tickets and first class ticket
• Egypt Station luggage stickers
• Travel journal featuring copies of Paul’s handwritten lyrics
• Two Egypt Station lithographs of Paul’s paintings
• 500+ piece jigsaw puzzle
• Egypt Station playing cards
• And additional hidden surprises and rarities...
Egypt Station
1. Opening Station
2. I Don’t Know
3. Come On To Me
4. Happy With You
5. Who Cares
6. Fuh You
7. Confidante
8. People Want Peace
9. Hand In Hand
10. Dominoes
11. Back In Brazil
12. Do It Now
13. Caesar Rock
14. Despite Repeated Warnings
15. Station II
16. Hunt You Down/Naked/Clink

Egypt Station II
1. Frank Sinatra’s Party
2. Sixty Second Street
3. Who Cares (Full Length)
4. Come On To Me (Live At Abbey Road Studios)
5. Fuh You (Live At The Cavern Club)
6. Confidante (Live At LIPA)
7. Who Cares (Live At Grand Central Station)

Also included:
1. Get Started
2. Nothing For Free
3. Get Enough

martes, 12 de febrero de 2019

In and Out of Wings: Denny Seiwell On His Friendship with Paul McCartney

In and Out of Wings: Denny Seiwell On His Friendship with Paul McCartney and Wings’ Underrated 1971-1973 Era
By Jeff Slate 
on February 12, 2019

In and Out of Wings: Denny Seiwell On His Friendship with Paul McCartney and Wings’ Underrated 1971-1973 Era

Drummer Denny Seiwell discusses his time with Paul McCartney and Wings, his friendship with McCartney over the years and much more … 
When The Beatles imploded, Paul McCartney, by all accounts, was shattered. Without a band, or the friends that had traveled that remarkable road together with him, he retreated with his new wife Linda to his Scottish farm, with its barebones living quarters, and, depressed, he drank himself into a stupor.
“I think I was just trying to escape in my own mind,” McCartney said in 2012. “I had the freedom to have just have a drink whenever I fancied it. I over did it, basically, I got to a point where Linda had to say ‘look, you should cool it’.”
He released the homespun McCartney, recorded largely at his London home (though the best bits, like the instant classic “Maybe I’m Amazed,” were recorded at Abbey Road Studios), but, although it’s now considered a classic, it was met with derision by both the public at large and his bandmates.
Still, it got him working.
By the autumn of 1970, McCartney was finding his legs as a solo artist. He decamped to New York City, where he lived a modest and largely anonymous existence, and began work on what would become his first true artistic statement outside The Beatles, RAM.
Although McCartney had planned to use at least three drummers on the album, he clicked with session drummer Denny Seiwell, and, after the sessions were complete, asked Seiwell to join him back in England to help form a new band, Wings (or Paul McCartney and Wings, as it’s sometimes stylized).
The albums Seiwell made with McCartney as a member — along with former Moody Blues singer and guitarist Denny Laine, and Joe Cocker alum Henry McCullough (who passed away in 2016) — were recently released as part of McCartney’s long-running, Grammy-winning Archive Series. 1971’s half-baked but charming Wild Life, and 1973s Red Rose Speedway, which included the chart-topper “My Love” and that was originally intended to be a double album, have been expanded to include alternate mixes, outtakes and loads of videos from the era. (The real draw is the box set Wings 1971-1973, which includes both box sets, as well as a stunning live album from Wings’ 1972 European tour. It’s sold-out at press time, but rumors abound that a second run of the limited edition set will be released soon.)

Seiwell sat down with Rock Cellar to discuss connecting with McCartney during the Ram sessions, the new box sets, the impact his days with McCartney has had on nearly everything he’s done since, and what the former Beatle taught him, about not only music, but life in general.
Rock Cellar: On your new album, you’ve reworked some of Paul’s songs, and, with your trio, you’ve put your own spin on them. Laurence Juber has done a similar thing, where he’s paying homage to the work he did in Wings, like you, but also has found his own voice for the songs. It’s bold, but you have a pretty good relationship with Paul, don’t you?
Denny Seiwell: Oh, excellent, yeah. We talk all the time. I’m probably the only guy from the pack that knows Paul’s phone number, and texts with him, and all of that. Yeah. I can reach him any time I need to.
Image result for paul mccartney denny seiwell
Rock Cellar: I’ve got to ask, as a fan as well as a journalist: what do you guys talk about?
Denny Seiwell: Most of the time we talk about the old days, how much fun it was. How much different it was than today. But it was truly … we were a happy bunch of young maniacs just running around without a gig, without a hotel, without anything, just going out and having fun, being in a new band.
Rock Cellar: Has the idea of performing together ever come up?
Denny Seiwell: Years ago, right after Linda passed away, actually, I was working with an organization in L.A. called R.A.D.D. — Recording Artists, Actors, and Athletes Against Drunk Driving, and they asked me if I would ask Paul about doing something that would benefit Linda’s food company and what have you. And he said, “Well, if they want to fly you over, come on. Let’s hang out a little bit.”
So we flew over, and Paul sent a car. We went down to the studio and we spent the day with him down at the Hog Hill. And we talked about it. And he was kind of keen on the idea, and he said, “Go ahead and start talking to some of the guys. Let’s see what we can put together. Just see who’s interested and what we might be able to do.”
So I started working on it, and then I heard back from him. He said, “You know, doing a Wings reunion without Linda would be like doing a Beatles reunion without John.” So that was the end of that idea.
Rock Cellar: Has he heard your version of “Live and Let Die”? Or any of the songs you’ve done, and has he weighed in on what he thinks of them?
Denny Seiwell: Oh, yeah. Oh, absolutely. He loved everything. The first record we did, five are McCartney’s tunes out of the 10 or 11 that are on the record. It was our guitar player’s idea. He said, “You’re best known for that stuff. A good song’s a good song. Why don’t we take some McCartney tunes and just revamp them up for the jazz trio and see what we come up with?” It took very little time, and it was a lot of fun.
We still perform a lot of those — “Bip Bop” and “Coming Up” and a bunch of tunes. And for this record, I didn’t want to go overboard and do a bunch of McCartney tunes. We really wanted to showcase the trio. But I thought, why not pay homage by doing the track that I’m best known for, which is “Live and Let Die”? So it was a no-brainer to figure out a way that we could do “Live and Let Die” as a trio, a jazz-organ trio piece. And it was a lot of fun, and we still love playing that. I mean, the fans really love it when we get out there and play live, so I sent that to him. I told him we did it, and he wanted to hear it. So I sent it over immediately.
And he said, “Man, that’s very cool. I love the way you treated the song.”
Rock Cellar: That’s nice. The seal of approval has to feel pretty good at this point.
Denny Seiwell: Oh, yeah. Oh, yeah. Big time. Well, Paul always encouraged me. Because we had such a beautiful working relationship during RAM, that’s why he called me to form Wings with him. We just had something that you can’t put a label on, actually. It’s just a look, a feeling, a vibe. We always had this beautiful thing together, and so he’s really happy for me.
Rock Cellar: Do you think it was — and that was where I wanted to start — what do you think it was that happened during those RAM sessions? He was apparently going to use several drummers, but he ended up just using you. I mean, he could’ve done the drums himself, for that matter. But he ended up using you, and then he ended up calling you again. It couldn’t have been just musical. It had to have been your personality; you had to have clicked personally as well.
Denny Seiwell: Yeah. There were a few elements in there, sure. There would be a few elements in there. He made us play up to another level that we didn’t know that we had in us. Because the songs were so well-crafted and beautifully done. As session guys, sometimes you go in there and it’s, I hate to use this term, but sometimes it’s just polishing a turd.
But when we started hearing the songs that Paul would bring in each day, we all said, “Wow. This is another level. It can’t be getting any better than this.” And they always did.
But it was just such a challenge musically, and also knowing … I believe in the back of my heart I knew this music was going to be around for a while, so it was very important to come up with the right parts. But still, we never spent more than a day on a track. And it was a matter of hours.
We’d run through the songs, find an arrangement that worked, find parts, and we’d start recording. It didn’t take a whole lot of time to do it once we knew what we were doing. And he encouraged us to come up with our own parts. The only time through RAM that he asked me to find something different than the part that I’d come up with was “Uncle Albert/Admiral Halsey.” He just wanted something that was more sparse, and not a regular beat, and that kind of went along with the vocal, broken up. So that was great fun. He wanted me to challenge myself to find something that fit the beginning of the song a little more. So it was great fun. I just loved that record.
Rock Cellar: I think one of the cool things that’s happened in the last couple of months is that Wild Life is being reassessed by older fans, and a younger generation is being exposed to it, too, who’ve probably mostly never heard it before. A lot of casual fans have never heard it before, for that matter. I’ve always had a soft spot for that record. You know, I’m a little bit younger, and I came of age kind of during the punk era, and I always found Wild Life to be kind of a cool, punky record when I was first buying albums.
Plus, I got it used for a dollar. [Laughter.] And — the gestation of the band was happening. Did you have that same feeling that this was going to last, or was it a little more rough and ready? Did you even know they were going to be masters, and an album?
Denny Seiwell: Oh, sure. We knew exactly what was going on. This is what was interesting about this time: you have a different hat on a different head for doing session work. And now, you put on the band hat. “Okay, now I’m a member of a rock and roll band.” You think differently. You approach the music differently. And so, before we went in to record it, we’d just rehearsed up in Scotland. I don’t know how long we were there. Not forever, for sure. And when we went in to Abbey Road to record Wild Life, it was supposed to be an absolutely raw, fresh, first look at a new band.
I know that, geez, I think five of those eight songs were first takes; the rhythm tracks were first takes. You know, we would get in there and just get the sounds right, and then … give it a shot! And we’d all say, ‘Wow. That was great!’ I mean, here’s Paul and I working, as usual, you know, we had that hookup of bass and drums, and now Denny Laine, who’d play the rhythm part. And then we took some time after that to put on guitar parts, and harmonies, and all that, because we did spend a little more time on overdubs. But the basic tracks were done very simply. We, tried to get that freshness of first takes.
Rock Cellar: You touched on something that I want to ask you about. You know, the songs on RAM were … it wasn’t like they were Beatles songs, but they were very similar to his style he’d been writing in for a while. Whereas on Wild Life, and beyond, in Wings, he’s one of the few people I can think of who has successfully changed his style of songwriting several times during the course of his career. As a songwriter, or as a musician, you develop the tools, and crutches sometimes, that you go to, to create things. And then you just go back to them over and over. Whereas, in Wings, it was almost as though his songwriting style took a complete left turn, and he was writing almost as though it was like a different guy.
Denny Seiwell: Yeah. Very true. Although, if you listen to a song like “Tomorrow,” that was veryRAM. That could’ve been done during the RAM time. So yeah, he did. But like “Love Is Strange,” we were all fascinated with reggae music, so we wanted to do something with that reggae flair. And we were all so interested in the song, that he thought, let’s turn that around and see if we can make something different out of it. So he was bold.
Also, one of the biggest problems we had as early Wings, was knowing that we were going to go out and perform as a band. We needed more rockers, rather than a lot of “Blackbirds” or “Mama’s Little Girls,” or stuff like that. So there was the opportunity for him to write with a specific thing in mind: That we’re going to be able to perform this live. That’s where “Soily” and “The Mess” come from. He was trying to come up with rockers, so we would have more of what we would need in a live situation.
Rock Cellar: And was there any discussion of doing Beatles songs? I know you did “Twenty Flight Rock,” and you did “Long Tall Sally,” but you stayed away from Beatles stuff. Was there a conversation about that, or did it just never happen?
Denny Seiwell: No. We knew that he was going through a tumultuous time with the breakup of the Beatles. But he never brought it into the band. We were not aware of what was going on –although sometimes, with his moods, you could see that it wasn’t easy, what he was going through — but it had to be done. So we didn’t do any Beatles material other than “Long Tall Sally,” at the end of show. But I mean, geez, that’s a no-brainer. Yeah, the Beatles did it, but it’s just a good show-closer! So yeah, it was a real interesting time. I kind of feel as though I was there at the best and the worst times.
Rock Cellar: Yeah. I bet that’s true. The college tour has been pretty well documented.
Well, not recordings of it, but it’s been written about a lot. But what I found was really was that in the super deluxe box, there’s the live disc. And the live disc, which is from a little bit later — from the European tour — the band is almost like an English blues band. It’s a little Peter Green; it’s a little Joe Cocker’s Mad Dogs and Englishmen band. It’s a funkier band than probably most people realize Wings ever were. Talk about those shows and that era — ’72, ’73 — that live era.
Denny Seiwell: Well, we did the University Tour, and Paul said, ‘Well. We’re going to go out and do it now! We’re going to do a tour of Europe. And we’re going to travel around in an old English double-decker bus.’ And so we rehearsed. We actually found an old theater down off the Fulham Road that Emerson, Lake & Palmer had bought, and it was empty — there were no chairs in it, even — but it had a nice large stage. And so we went in there to prepare for the European tour. We spent a couple of weeks a month rehearsing, getting ready to get out there and do the European tour. So it was tenuous in the very beginning, because we had all of these ideas, like a 70-millimeter screen behind us, and this, and that, but coming up with the right set list that would cover all the bases that an artist like McCartney would have to cover was hard enough!
And then he didn’t want it to be a McCartney show, either. He wanted it to be a Wings show. He wanted us to be known to the public just like George, John, Ringo, and Paul were. Four individuals. So we did tons of press. We’d be up at the press office doing interviews and doing all kinds of things, because he really wanted the world to know each and every one of us just like the Beatles were known.

Rock Cellar: I’m glad that that live disc is included, because you guys were a shit-hot band. But beyond that, you’re right, even in the music and banter, there are individual personalities there. People have dismissed Wings as Paul’s backing band, and yet you and Denny and Henry certainly were really world-class players who could have played with anyone, really. You had your pick as of who to work with as much as he did. I think that gets lost a little bit, because, I mean obviously, he’s Paul McCartney. So, for the casual fan, that narrative makes sense. But I think, for anybody who knows anything about music, those recordings are of great players playing great songs. And so it wasn’t just a pickup band of people to back him up.
Denny Seiwell: No.
Rock Cellar: He chose those people for specific roles, didn’t he?
Denny Seiwell: Yes. We lived together as a family. We rehearsed. We had fun. I don’t believe he’s having the kind of fun we had. You can’t manage an empire like Paul does and go out with this whole big thing that he’s got, and have the kind of fun that we had on the road. It was really tremendous.
Rock Cellar: There’s a looseness about him, too. It’s a little bit anarchic. And with all the drama of The Beatles that he’s trying to deal with in his other life, I guess, it’s almost like a different person that you were working with, than this guy now who’s a living legend who has now sustained this career for 50-plus years. So it’s a very different. I mean, things were very tenuous. He was striking out on his own, like we talked about, writing in a completely different style, playing with new people for the first time in his life.
Denny Seiwell: Right. You know, you have to remember that everything that we did as Wings was going to be compared to the last time people heard the Beatles. That was quite a heavy load to take on. I love the way he handled it, though. He didn’t make it seem like a heavy load. We didn’t feel like we were under a heavy load. We were just like four guys and a girl in a new band, and we all loved each other very much, man. We just hung out in Scotland, we hung out in the house, we hung out at the studio. We had fun, until the 3:30 in the morning mix came along, you know. But it was really all fun. And we knew that what we were doing was going to be noticed.
We weren’t some garage band that’s going to make 15 records before getting a record deal. So there was a degree of responsibility there, and we all knew that what we did had to be relevant and had to be as good as we could do it. And so everybody gave their best.
Rock Cellar: I think what I love most about it, in listening to it with 2019 ears, as opposed to when I was younger, is that on the live disc, especially, and on the two-album version of Red Rose Speedway, there’s a hunger there that I think …
Denny Seiwell: Exactly.
Rock Cellar: It comes across. You don’t think of Paul McCartney as hungry!
Denny Seiwell: Couldn’t have said it better myself.
Rock Cellar: You don’t think of Paul as a hungry guy, and yet you all sound like you’re really going for it, him included. He doesn’t know that “My Love” is going to become a standard. He’s just a slightly beaten down, hungry guy with a good song. So I think that’s what comes cross. Talk about the two-disc version of Red Rose Speedway. Because, for me, that is — along with the live disc — the real draw of the box sets. Do you remember making all those songs, developing the running order, and the thinking behind it?
Denny Seiwell: Very much so. Well, when we started it, I think we just started recording like we did with RAM: We’re going to do a bunch of tracks; more than we need. And we were breaking out of recording everything at Abbey Road at that time, too. All of a sudden, we started working over at Olympic Studios, and we brought Glyn Johns in, who would kind of co-produce with Paul. Not producing, totally. Glyn was one of the very best engineers that I’ve ever worked with. He got a drum sound on me that was just astronomical.
But it didn’t work out with Glyn, production-wise, simply because Paul had a better handle on what he wanted. He’s such a fabulous producer, anyway; always was. So some of the ideas clashed, and that didn’t work out so much. But we did a batch of tracks over there that were very, very, unique; I think we did “C Moon,” and “Mama’s Little Girl.”
I don’t know how many tracks were recorded there, but it was a breath of fresh air for the band, actually, playing in a different studio, with a different vibe, different everything. And we also did some tracking at Trident Studios. And Morgan. I think we might’ve done “Give Ireland Back to the Irish” over at Morgan Studios. So, we were hopping around, but still having a lot of fun. And by the end of that tracking, or that recording session time, we had a bunch of tunes, figuring that we were going to them all out.
You know, ‘”Wow, let’s just put this out as a double album.” And so it was always being planned as a double album. We didn’t know how we were going to sequence it, but we were thinking that we were going to record a double album’s worth material. And at the last minute, EMI just decided that we should nix the idea of the double record and just do a single album. We were too new of a band for a double album, I guess. Maybe that was their thinking. But when Paul brought that in to us, we were like, “Okay. That’s fine. Let’s pick the best that we’ve got. Songs that will flow in and out of each other. And come up with a good sequence of a single album.” Interestingly enough, before that decision was made to go from a double to a single album, we had mastered up the double album. And Paul gave me acetates from EMI. Four acetates, one for each side.
And it had all of the tracks. The original double album. He said, “Go home and listen to these, and see if we have to work on any of this stuff again.” So, I took them home and listened, and we talked about stuff and everything. He just never asked for them back. And when I left the band, I left with those acetates.
Rock Cellar: A true collector’s item.
Denny Seiwell: Oh, tell me about it. And me, like a schmuck, the first time I did one of the Beatles Fests, they asked me if I could bring down some memorabilia, because the fans would just love it, and it would be something that they could sell at an auction. And I just looked, and thought, “I don’t know what I want to give them.” And I took one of the four acetates down, and sold it for practically nothing. Someone got the acetate that had “My Love” on it. And so that’s floating around out there in the universe. And I have the other three stashed away in a vault somewhere. I’ve been trying to locate them.
It was at L.A. Beatlefest and I believe it was some guys from Riverside, California, or something, really some old, hippie, long-bearded brothers that bought it in the auction. So I’ve been trying to find it. If it ever sticks its head up, I’ll pay a handsome price to complete that set again, just for my own archives.
Rock Cellar: You’re breaking my heart over here, I’ve got to tell you.
Denny Seiwell: Yeah. Well, my heart too. But on my list of top ten dumb things I’ve ever done, that’s not even in the top ten.
Rock Cellar: That’s another interview, then.
Denny Seiwell: Yeah.
Rock Cellar: So, things got started to take off — “My Love” took off, Red Rose Speedwaydid well. There were signs that the band was going to have legs. Were you routining the songs for Band on the Run? Did you hear them? What was going on and how did it all fall apart?
Denny Seiwell: Paul played my drum parts on Band on the Run, because we had rehearsed that up at the farm in Scotland. And somewhere in the universe, there’s a two-track tape of our rehearsals, which are so much better than the record. We were a band at the time. And that’s where the beginning of the end occurred, at those Scottish rehearsals at the barn.
One day, Paul just pushed Henry in a corner, trying to make him play the same solo on “My Love” all the time, and the same solo, the same parts on the songs that would be on Band on the Run. He said, about the “My Love” solo, “This is iconic, you’ve got to just repeat this part.” And Henry was so organic and everything, that he didn’t go along with it. And he left the band. And when he left the band, I pleaded with Paul to replace Henry — which would be hard to do — but to replace him with a guitar player, and put back the album — put back Band on the Run — for a month, and rehearse with a new guy and break him in. So we can go down there as a band and record it, because it had grown into something pretty fantastic, but he wasn’t into that idea.
And there were some other problems. He had to sue the other three Beatles, so there was court receivership on all the money. And so the money was real tight in the band. It was very tight. Needlessly so, I think. And it was wearing on us, the situations that were occurring, when we were doing so well, yet we were living like a garage band. I mean, I was making one-tenth of the money I used to make in New York doing sessions. And living that way, too! It was wearing on us, and it’s one of my only regrets in life, actually, is that I didn’t sit Paul down and talk to him about that particular thing, to see if we could work out some sort of agreement.
Because the original agreement was that we were all part owners of this band. Shareholders. And because of the Apple Corps case and everything, that was impossible. We had no contract, or even written agreements. And that was main reason for the decision I made to leave when I did. That, and the fact that we wouldn’t be a band anymore, without Henry. I regret doing it that way. And for years we didn’t speak. And then I saw him again in ’93, when they played L.A. I just out of the blue said to my wife, “Come on. Let’s drive down to Anaheim. We’ll go backstage, ask security to see if he’ll let us in. And if he doesn’t, we’ll take a little drive and we’ll come home and forget about it.”
We get down there, and I tell the security, I say, “I’m the guy who started the band with him. Would you let him know that we’re here?” We were very close, you know. My wife used to take care of the kids for them sometimes. We went on tour and all. So in thirty seconds, the guy comes back in a golf cart. He says, “Hop on, man.” And he led us to the dressing room and we had a great reunion. All the kids were there, and they loved seeing Monique again. That night, Linda gave me the home phone number, and their contact info. And we said, “We should stay in touch.”
And then after that, that show, we spent a lot of time together, talking and stuff. Then Linda died. We went over to see him. Well, we went to the memorial in New York, and we went to the house to see how he was doing without Linda. And then, Wingspan came out, and I helped him with someWingspan stuff. So we remained close, but the relationship was really dead for many years; we didn’t talk. So I was glad to have him back in my life. There’s just so much that went on in those early days that’s just a major part of my life.
Rock Cellar: It’s funny, it’s almost as though, when you talk about the record and the songs, and when we talk about your relationship, it’s like it’s two different guys for you. That you have this relationship with this guy named Paul, and you were in a band with Paul McCartney. It’s as though you separate them out because you have a real affection for him in a way that us outsiders can’t probably relate to.
Denny Seiwell: Absolutely. Every time we talk on the phone, he says, “Make sure you give Monique a big, sloppy, wet kiss.”