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Pull Harder On The Strings Of Your Martyr 2 GP4 Guitar Pro Tab

Pull Harder On The Strings Of Your Martyr 2 gp4 Guitar Pro Tab is free to download. Tablature file Pull Harder On The Strings Of Your Martyr 2 opens by means of the Guitar PRO program.


Pull Harder On The Strings Of Your Martyr 3 GP5 Guitar Pro Tab

Pull Harder On The Strings Of Your Martyr 3 gp5 Guitar Pro Tab is free to download. Tablature file Pull Harder On The Strings Of Your Martyr 3 opens by means of the Guitar PRO program.


The Hardest Part

7 -8 8 -7 -7
And the hard-est part

7 -8 -7 -7 7 -8 -6 -6
Was let-ting go, not tak-ing part

7 -8 8 -7 -7
Was the hard-est part

7 -8 8 -7 -7
And the stran-gest thing

7 -8 -7 -7 7 -8 -6 -6
Was wait-ing for that bell to ring

-7 7 -8 8 -7 -7
It was the stran-gest start

(CHORUS)

-6 -7 7 -6 5 6
I could feel it go down

-6 -7 7 -6 5 6 -5 5 -4
Bit-ter-sweet, I could taste in my mouth

-6 -7 7 -6 5 6
Sil-ver lin-ing the cloud

5 6 7 -4 -4 -4 -4 -4 -4 4 -6
Oh and I, I wish that I could work it out

7 -8 8 -7 -7
And the hard-est part

7 -8 -7 -7 7 -8 -6 -6
Was let-ting go, not tak-ing part

7 -8 8 -7 -7
You real-ly broke my heart

Verse 4 same as 2
And I tried to sing
But I couldn’t think of anything
And that was the hardest part

-6 -7 7 -6 5 6
I could feel it go down

-6 -7 7 5 6 -5 5 -4
You left the swee-test taste in my mouth

-6 -7 7 -6 5 6
Sil-ver lin-ing the clouds

5 6 7 5 6 7
Oh and I Oh and I

7 7 7 7 7 7 -7 -6b
I won-der what it’s all a-bout

7 7 7 7 7 7 -7 -6b
I won-der what it’s all a-bout

7 -7 -8 -8 8 -8 7
Ev-ry-thing I know is wrong

7 -7 7 -8 8 8 8 -9 -8 7
Ev-ry-thing I do, it just comes un-done

7 -7 7 -8 8 -8 7
ev-ry-thing is torn a-part

-7 -7 -7 -7 -7 -5b -5b
Oh and that’s the hard-est part

-7 -7 -7 -5b -4
That’s the hard-est part

-7 -7 -7 7 -5b -5b
Yeah that’s the hard-est part

-7 -7 -7 -5b -4
That’s the hard-est part

ENJOY!!!


Harden My Heart

Verse:
+5 +5 +5 +5 +5 +5 +5 +5 +5 +5 +5
Cry-in’ on the cor-ner wait’-in in the rain

-5 -4 -4 +4 -3 +4 -3 4-3 -3 -4
I swear I’ll ne-ver e-ver wait a-gain

-3″‘ +5 +5 +5 +5
You gave me your word

-4 +4 -3″‘ +4 -3″‘ +5 +4 -4 -3
But words from you are lies

+7-6 -6 +6 +5 -4 -4 +4
Dar- lin’ in my wild-est dreams

-4 +5 +4 +6 +6 -6
I ne-ver thought I’d go

+5 +5 +5 +5 +5 +5 -4 +4 +5 -4
But it’s time to let you know. Ooh.

Chorus:
-4 -4 -4 -3″‘-3″‘ -3″‘ -3″‘
I’m gon-na har-den my heart

+4 +4 +4 -3 -3 +4 +4 -3
I’m gon-na swal-low my tears

-3 -3 -3″‘ +4 -4 +5
I’m gon-na turn and leave

+6 +6 -6 -7 -6 -6
You here

Verse:
All of my life
I’ve been waitin’ in the rain
I’ve been waitin’ for a feeling
That never, ever came
It feels so close
But always disappears

Darlin’ in your wildest dreams
You never had a clue
But it’s time you got the news

Chorus:

Bridge (er sumthin’):
Darlin’ in my wildest dreams
I never thought I’d go
But it’s time to let you know

Repeat chorus and fade. (Or come up with a better ending. 🙂 )


Hard Rock Bottom Of Your Heart

HARD ROCK BOTTOM OF YOUR HEART!!
RANDY TRAVIS

HEY YALL ITS TIN MAN AGAIN
GIVIN YALL A COUNTRY CLASSIC
FROM ONE OF THE MOST ENDURING ARTISTS OF
ALL TIME!!!

YOUR GONNA NEED A E HARP TO PLAY THIS

DON’T FORGET TO VOTE AND ADD TO FAVOURITES!!!

4 -4 5 4 -4 -4 4 4 4 4
Since the day I was led to temp-ta-tion

4 5 5 -4 -4 -4 4 4 4
And in weak-ness did let your love down

4 5 5 -4 -4 -4 4 4 4 4
I have prayed that with time and com-pas-sion

4 4 4 -4
You’d come a-round

-5 -5 -6b -5 -5b -5b -5b 5 4 -5 -4
and I keep wait-ing for you to for-give me

4 -5 -6b -5 -5b -5b -5b 5 -4 -4
And you keep say-ing you can’t e-ven start

-5 -6b -5 -5b -5b -5b 5 5 5 -4 5 4
And I feel like a stone you have picked up and thrown

-5 -6b -5 -5b 5 -4 -4 5 5
To the hard rock bot-tom of your heart

-5 -6b -5 -5b 5 -4 4 4 4
To the hard rock bot-tom of your heart

4 5 5 4 -4 -4
Now this home that we have

-4 4 4 4 4
built is still stand-ing

4 5 5 -4 -4 -4 4 4 4
It’s foun-da-tion is on sol-id ground

4 5 5 -4 -4 -4 4 4 4 4
Do we roll up our sleeves and re-pair it

4 4 4 -4
Or burn it down

(CHORUS)

4 4 4 4 4 4
We can’t just block it out

4 4 4 4 4 4
We’ve got to talk it out

4 4 4 4 4 4 4 4
Un-til our hearts get back in touch

-5b -5b -5b -5b 5 -4 4
I need your love I miss it

-5b -5b -5b -5b 5 -4 4
I can’t go on like this is

4 -5b -5
Hurts too much

CHORUS TO END

5 5 5
whoo whoo whoo

ENJOY!!
THANK YOU THANK YOU THANK YOU VERY MUCH!!


Hard Hearted Hannah (The Vamp Of Savanah)

HARD HEARTED HANNAH (THE VAMP OF SAVANNAH)
RAY CHARLES

Hey Y’all its TIN MAN again giving you
Even more tabs!
This one is from a legend!!
May he now rest in peace!
Lets give it up for one of the original
COUNTRY Highwaymen!

YOUR GONNA NEED AN E FLAT HARP TO PLAY THIS!!

DON’T FORGET TO VOTE AND ADD TO FAVOURITES!!!

KEY Eb

VERSE 1

5 6 5 6 -6
In Old Sa-van-nah,

5 6 5 6 -6b
I said, Sa-van-nah,

5 6 5 6 -6b 7 -6b 6
The weath-er there is nice and warm,

4 -4 4 -4 4 5 6 6
The cli-mate’s are the South-ern brand,

4 -4 4 -4 4 5 6 6
But here’s what I don’t un-der-stand

5 6 5 6 -6b
They’ve got a gal there

5 6 5 6 -6b
A pret-ty gal there,

6 6 5
Who’s cold-er,

6 -6b 7 -6b 6
Than an Arc-tic Storm!

-6b -6b -6 -6 -6 -6 -6b 6
She’s got a heart just like a stone,

-6 6 -6b 6
E-ven ice-men,

5 -5 5 6
Leave her a-lone….

CHORUS

-5b 6 6 -6b -6b 6 -6b 6
They call her Hard heart-ed Han-nah,

6 -6b -6b 6 -6 -6b
The vamp of Sa-van-nah,

-4 5 -4 5 -6b -4
The mean-est gal in town

5 5 -4 5
Leath-er is tough,

-4 5 6 5 -4 5 6
But Han-nah’s heart is tough-er

7 7 4 4 -4 4 5 5 5 -4
She’s a gal who loves to see men suf-fer

6 -6b -6b 6 -6b 6
To tease ’em and thrill ’em,

3 -3b -3b 3 -2 -3b
To tor-ture and kill ’em

2 -2b -1 2 -1 1
Is her de-light they say.

4 -4 4 -4 4 -4 4 -4 4 5 5 4
I saw her at the sea-shore with a great big pan

-4 -4 5 -4 5 -4
There was Han-nah pour-ing

5 -4 5 -5b 6 6 5
wa-ter on a drown-ing man

-6b 7 7 -6b 7 -6b
She’s Hard heart-ed Han-nah,

-6b 7 7 -6b 6 5 -4 4
the vamp of Sa-van-nah G A

VERSE 2

You ought to see her
You ought to see her
Outside she’s just as soft as silk;
But socially she’s hard as nails,
She’s just a gal who hates the males!
And when she’s nasty
Oh when she’s nasty
She’s ‘bout as sweet as sour milk;
Nothing she likes better than
Feedin poisoned food to a man

CHORUS 2

They call her Hard heart-ed Han-nah,
The vamp of Sa-van-nah
The mean-est gal in town
Talk about your cold re-frig-er-at-ing mam-mas
Broth-er she’s a po-lar bears pa-jam-as
To tease ’em and thrill ’em,
to tor-ture and kill ’em
Is her de-light they say.
An ev-ning spent with Han-nah sit-ting on your knees
Is like trav-ling thru A-las-ka in your B.V.D.’s
She’s Hard Heart-ed Han-nah,
the vamp of Sa-van-nah G


Pull Harder On The Strings Of Your Martyr GP4 Guitar Pro Tab

Pull Harder On The Strings Of Your Martyr gp4 Guitar Pro Tab is free to download. Tablature file Pull Harder On The Strings Of Your Martyr opens by means of the Guitar PRO program.


Party Hard 2

Party Hard 2 gp3 Guitar Pro Tab is free to download. Tablature file Pedal Pointing 2 opens by means of the Guitar PRO program.


Hardest Part Is The Night GP4 Guitar Pro Tab

Hardest Part Is The Night gp4 Guitar Pro Tab is free to download. Tablature file Pedal Pointing 2 opens by means of the Guitar PRO program.


Hardest Part Is The Night GP4 Guitar Pro Tab

Hardest Part Is The Night gp4 Guitar Pro Tab is free to download. Tablature file Pedal Pointing 2 opens by means of the Guitar PRO program.


Party Hard

Party Hard gp3 Guitar Pro Tab is free to download. Tablature file Pedal Pointing 2 opens by means of the Guitar PRO program.


Lionel Bart

Lionel Bart (1 August 1930 – 3 April 1999) was a British writer and composer of pop music and musicals. He wrote Tommy Steele‘s “Rock with the Caveman” and was the sole creator of the musical Oliver! (1960). With Oliver! and his work alongside theatre director Joan Littlewood at Theatre Royal, Stratford East, he played an instrumental role in the 1960s birth of the British musical theatre scene after an era when American musicals had dominated the West End.

Best known for creating the book, music and lyrics for Oliver!, Bart was described by Andrew Lloyd Webber as “the father of the modern British musical”. In 1963 he won the Tony Award for Best Original Score for Oliver!, and the 1968 film version of the musical won a total of 6 Academy Awards including the Academy Award for Best Picture.

Some of his other compositions include the theme song to the James Bond film From Russia with Love, and the songs “Living Doll” by Cliff Richard, “Far Away” by Shirley Bassey, “Do You Mind?” (recorded by both Anthony Newley and Andy Williams), “Big Time” (a 1961 cover by Jack Jones of his “Fings Ain’t Wot They Used T’Be” show tune), “Easy Going Me” by Adam Faith, “Always You And Me” by Russ Conway, and several songs recorded by Tommy Steele (“A Handful of Songs”, “Butterfingers” and “Little White Bull”). By the mid 1960s he was as well known for his outlandish lifestyle, his celebrity friends, his excesses, and his parties as he was for his work.

[toc]

Early life

He was born Lionel Begleiter, the youngest of seven surviving children of Galician Jews, Yetta (née Darumstundler) and Morris Begleiter, a master tailor. He grew up in Stepney; his father worked in the area as a tailor in a garden shed. The family had escaped the pogroms against Jews by Ukrainian cossacks in Galicia.

As a young man he was an accomplished painter. When Bart was aged six, a teacher told his parents that he was a musical genius. His parents gave him an old violin, but he did not apply himself and the lessons stopped.

Songwriting

He started his songwriting career in amateur theatre, first at The International Youth Centre in 1952 where he and a friend wrote a revue together called IYC Revue 52. The following year the pair auditioned for a production of the Leonard Irwin play The Wages of Eve at London’s Unity Theatre. Shortly afterward Bart began composing songs for Unity Theatre productions, contributing material (including the title song) to its 1953 revue Turn It Up, and songs for its 1953 pantomime, an agitprop version of Cinderella. While at the Unity he was talent-spotted by Joan Littlewood, and so joined Theatre Workshop.[ He also wrote comedy songs for the Sunday lunchtime BBC radio programme The Billy Cotton Band Show.

He first gained widespread recognition through his pop songwriting, penning numerous hits for the stable of young male singers promoted by artist manager and music publisher Larry Parnes. Bart’s pop output in this period includes the hits “Living Doll” (written for Cliff Richard) and “Rock with the Cavemen”, “Handful of Songs”, “Butterfingers” and “Little White Bull” (all for Tommy Steele). During this period, Steele and Mike Pratt were his songwriting partners. He won three Ivor Novello Awards in 1957, a further four in 1958, and two in 1960. He wrote the theme song for the 1963 James Bond film From Russia with Love. His other hits include “Do You Mind?” (recorded by both Anthony Newley and Andy Williams), “Big Time” (a 1961 cover by Jack Jones of his Fings Ain’t Wot They Used T’Be show tune), “Easy Going Me” (Adam Faith), and “Always You And Me” (with Russ Conway).

Bart was also responsible for the discovery of two of Parnes’ biggest stars. It was on his recommendation that Parnes went to see singer Tommy Hicks, whom he signed and renamed Tommy Steele, and Bart also suggested that Parnes see singer Reg Smith, who was then performing at the Condor Club. Although Parnes missed his performance, he went round to Smith’s house and signed him up on the basis of Bart’s recommendation. Smith went on to score a number of UK hits under his new stage name Marty Wilde.

Twenty-seven years after it became a number one hit for Cliff Richard, “Living Doll” was re-recorded by The Young Ones and Richard for Comic Relief, and spent another three weeks at number one.

Musical theatre

Bart’s first professional musical was 1959’s Lock Up Your Daughters, based on the 18th-century play Rape upon Rape by Henry Fielding. Following that, Fings Ain’t Wot They Used T’Be produced by Joan Littlewood’s Theatre Workshop, was noted for encouraging the use of authentic Cockney accents on the London stage and bringing an end to censorship of British theatre. Oliver! (1960), based on Dickens’s Oliver Twist, was a major success.

The music for Oliver! was transcribed by Eric Rogers, who wrote and composed 21 scores for the Carry On films. Bart hummed the melodies and Rogers wrote the notes on his behalf as Bart could not read or write music.

In 1968 Oliver! was made into a movie starring Ron Moody, Oliver Reed and Shani Wallis that won several Oscars, including best film. It is estimated that around this time Bart was earning 16 pounds a minute from Oliver!

Bart’s next two musicals, Blitz! (1962) (from which came the song “Far Away”, a hit for Shirley Bassey) and Maggie May (1964) had successful and respectable West End runs (Blitz!, at the time London’s most expensive musical ever, had a run of 568 performances),[11] but Twang!! (1965), a musical based on the Robin Hood legend, was a flop and La Strada (1969), which opened on Broadway after the removal of most of Bart’s songs, closed after only one performance. By this time Bart was taking LSD and other drugs and was drinking heavily.

Bart used his personal finances to try to rescue his last two productions, selling his past and future rights to his work, including Oliver! which he sold to the entertainer Max Bygraves for £350 (Bygraves later[when?] sold them on for £250,000) to realise capital to finance the shows; Bart later estimated that this action lost him over £1 million.[ By 1972, Bart was bankrupt with debts of £73,000. A twenty-year period of depression and alcoholism ensued. He eventually stopped drinking, although the years of substance abuse seriously damaged his health, leaving him with diabetes and impaired liver function.

In May 1977, an autobiographical musical called Lionel! opened in the West End at the New London Theatre. It was loosely based on Bart’s early life as a child prodigy. Bart added some new songs for the show. The cast included Clarke Peters, Marion Montgomery and Adrienne Posta. The role of Lionel was shared by a young Todd Carty and theatre unknown Chris Nieto. The show closed after six weeks.

Later life

Bart continued writing songs and themes for films, but his only real success in his later years was “Happy Endings”, a song he wrote for a 1989 Abbey National advertising campaign, which featured Bart playing the piano and singing to children.

He received a special Ivor Novello Award for life achievement in 1986. In 1987, encouraged by long-time friend Barry Humphries, he travelled to Australia to attend the opening of a new production of Blitz!, which was then revived in London’s West End in 1990 by the National Youth Theatre of Great Britain to commemorate the 50th anniversary of the London blitz. Cameron Mackintosh, who owned half the rights to Oliver!, revived the musical at the London Palladium in 1994 in a version featuring rewrites by Bart. Mackintosh gave Bart a share of the production royalties. At the peak of his career, Bart was romantically linked in the media with singers Judy Garland and Alma Cogan,[  though he was in fact gay. His sexuality was known to friends and colleagues but he did not “come out” until a few years before his death.

Bart died at the Hammersmith Hospital in West London on 3 April 1999, of liver cancer. His funeral was held at Golders Green Crematorium. A memorial bench is dedicated to him in Kew Gardens.

A first workshop of a musical based on Bart’s life and using his songs, It’s a Fine Life, was staged in 2006 at the Queen’s Theatre, Hornchurch. The play, after substantial development and now titled More! was presented in concert at Theatre Royal Stratford East in 2015 featuring Neil McDermott as Bart, Jessica Hynes as Joan Littlewood and Sonny Jay as Charlene, as well as a special appearance by 1960s pop-star Grazina Frame, who was an original cast member from Bart’s Blitz!.


Richard Smallwood

Richard Smallwood (born November 30, 1948 in Atlanta, Georgia) is an American gospel artist who formed The Richard Smallwood Singers in 1977 in Washington, DC.

Education and career

Richard graduated c*m laude from Howard University with degrees in both vocal performance and piano, in addition to graduate work in the field of ethnomusicology. Smallwood was a member of The Celestials, the first gospel group on Howard University’s campus. That group was the first gospel act to appear at Switzerland’s Montreux Jazz Festival. Richard was also a founding member of Howard’s first gospel choir.

Smallwood’s recording career began in 1982 with the album The Richard Smallwood Singers. The album spent 87 weeks on Billboard’s Gospel chart. Its followup, Psalms was nominated for a Grammy. Two years later the album Textures was also nominated. Textures spawned the now-classic “Center Of My Joy” written by Richard Smallwood along with Bill and Gloria Gaither. He won his first Grammy, along with a Dove Award for his production on the Quincy Jones’ gospel project Handel’s Messiah: A Soulful Celebration.

His music has been recorded by artists such as Destiny’s Child, Yolanda Adams, Karen Clark-Sheard, and many more. He accompanied opera legend Leontyne Price at a White House Christmas celebration during the Reagan administration. Richard, with his current group Vision, has recorded several successful projects for Verity records. He finished his master’s degree in Divinity from Howard University in 2004 and was inducted into the Gospel Music Hall of Fame in 2006.

Smallwood’s next project was recorded live at the Hammerstein Ballroom at the Manhattan Center in New York. The concert features guests Kim Burrell on “Journey”, Kelly Price on “Morning’s Breaking,” Chaka Khan on “Precious Is Your Name,” as well as The Hawkins Family, Tramaine Hawkins, and the original roster of singers who comprised The Richard Smallwood Singers and Vision. Aretha Franklin and The Clark Sisters will contribute to additional studio tracks to appear on the album.

Among Smallwood’s most popular songs is Total Praise, composed in 1996 while he was experiencing sorrow in his life, and I Love the Lord, popularized by singer Whitney Houston in the film, The Preacher’s Wife.

Discography

Albums

with Union Temple Baptist Church Young Adult Choir
  • Look Up And Live (1974)
  • Give Us Peace (1976)
with Richard Smallwood Singers
  • Richard Smallwood Singers (Onyx/Benson Records, 1982)
  • Psalms (Onyx/Benson Records, 1984)
  • Textures (Word, 1987)
  • Vision (Word, 1988)
  • Portrait (Word, 1990)
  • Testimony (Sparrow, 1992)
  • Look up and live (Union Temple Young Adult Choir)
  • Live at Howard University (Sparrow, 1993)
with Vision
  • Adoration: Live in Atlanta (Verity, 1996)
  • Rejoice (Christmas Project) (Verity, 1997)
  • Healing: Live in Detroit (Verity, 1999)
  • Persuaded: Live in D.C. (Verity, 2001)
  • Journey: Live in New York (Verity, 2006)
  • Promises (Verity, 2011)
  • Anthology Live (Verity,2015)

Compilations

  • Gospel Greats (Benson, 1994)
  • Memorable Moments (Sparrow, 1999)
  • Praise & Worship Songs of Richard Smallwood With Vision (Verity, 2003)
  • Quintessential Collection (EMI Gospel, 2007)
  • “Center of My Joy” (Rhino/Shanachie, 2007)

Awards & recognitions

  • Inducted into the Gospel Music Hall of Fame on November 14, 2006 at the Richland Country Club in Nashville, TN.
  • Received Howard University Distinguished Achievement Award.

Grammy, Stellar & NAACP Image Award Nominations

  • 1984: Grammy Nomination, Best Soul Gospel Performance, Duo or Group – Richard Smallwood Singers: “Psalms”
  • 1988: Grammy Nomination, Best Soul Gospel Performance, Male – Richard Smallwood: “You Did It All”
  • 1990: Grammy Nomination, Best Soul Gospel Performance, Album-Richard Smallwood Singers: “Portrait’
  • 1991: Grammy Nomination, Best Contemporary Soul Gospel Performance, Album-Richard Smallwood Singers: “Testimony”
  • 1993: Grammy Nomination, Best Contemporary Soul Gospel Performance, Album-Richard Smallwood Singers: “Live”
  • 2001: Grammy Nomination, Best Traditional Soul Gospel Performance, Album-Richard Smallwood with Vision: “Persuaded: Live in DC”
  • 2001: NAACP Image Award Nomination for Best Gospel Artist, Traditional – Persuaded: Live in DC
  • 2003: Stellar Award Nomination for Artist Of The Year – Persuaded: Live in DC; Verity
  • 2003: Stellar Award Nomination for Song Of The Year – “My Everything (Praise Waiteth)”; Verity
  • 2003: Stellar Award Nomination for Choir Of The Year – Persuade: Live in DC
  • 2003: Stellar Award Nomination for Producer Of The Year – Persuaded: Live in DC
  • 2003: Stellar Award Nomination for Male Vocalist Of The Year – Persuaded: Live in DC
  • 2003: Stellar Award Nomination for CD Of The Year – Persuaded: Live in DC
  • 2003: Stellar Award Nomination for Traditional Male Vocalist of the Year – Persuaded: Live in DC
  • 2003: Stellar Award Nomination for Music Video of the Year – Persuaded: Live in DC

Stellar Award Wins

  • 1992: Stellar Award for Best Group/Duo – Contemporary – Testimony
  • 2000: Stellar Award for Choir of the Year – Healing – Live in Detroit
  • 2000: Stellar Award for Traditional Male Vocalist of the Year – Healing – Live in Detroit
  • 2000: Stellar Award for Traditional Choir of the Year – Healing – Live in Detroit
  • 2002: Stellar Award for Traditional CD of the Year – Persuaded – Live in DC
  • 2002: Stellar Award for Traditional Choir of the Year – Persuaded – Live in DC


Richard X

Richard Philips, better known by his stage name Richard X, is a British songwriter and music producer. Gaining attention as a pioneer of the bootleg craze, Richard X has earned success as a producer and remixer. He has helmed hit singles for artists including Annie, Kelis, Liberty X, Rachel Stevens and Sugababes. According to an early issue of the now defunct Popworld magazine, Philips’ alias comes from a postcard which was sealed with a kiss misinterpreted for the letter X.

Richard X is known for his “synthesised, grungy pop music”, which was inspired by bands such as The Human League and Kraftwerk. His original intention was to “reinvent” pop music by making records that are “deliberately unplayable”. Referring to his ‘Girls on Top’ bootlegs, Richard X says, “At the time it was inspired by anti the po-facedness of the electronica scene as much as anything. The production side, how it sounded – rough and spiky, electronic and modern – was what did it for me. Taking pop and putting it through a blender sound wise was the spirit of the times.”

History

2001–2004: Bootlegs and commercial breakthrough

Richard X started his career in the underground music scene creating popular bootlegs, which are “illegal, under the counter remixes which combined two existing records to make an entirely new song.” Under the pseudonym Girls on Top, Richard X released a series of vinyl-only underground singles. He says bootlegs were “escaping from that world of formatting – which the DJ culture and club culture relies on so much. They were supposed to be the future of pop music.”[1] His mashup “I Wanna Dance with Numbers” helped establish as the most common mashup template the combination of vocals from a female pop singer with a critically noteworthy song.

Island Records heard “We Don’t Give a Damn About Our Friends”, which was a mash-up of Adina Howard’s “Freak Like Me” and Gary Numan/Tubeway Army’s “Are ‘Friends’ Electric?”, and requested that Sugababes record it. Richard X said he was “very keen to do it as long as it remained what it was. It was raw, it was against the grain and it was still pop music.” Sugababes’ version of the song, which kept the Adina Howard title of “Freak Like Me”, was recorded in Richard X’s flat in Tooting. He said, “there was a loop, some handclaps, the Sugababes and a semi-broken synthesiser.”  Released as the first single from Sugababes’ second studio album Angels with Dirty Faces, it charted at number one on the UK Singles Chart, the first of many for the girl group.

As a result of the interest in Girls on Top and “Freak Like Me”, Richard X was signed to Virgin Records. He collaborated with pop group Liberty X to create “Being Nobody”, a mash-up of Chaka Khan’s “Ain’t Nobody” and The Human League’s “Being Boiled”. Richard X’s next release was “Finest Dreams” with Kelis, which was a reworking of The SOS Band and Alexander O’Neal’s “The Finest” with another The Human League song “The Things That Dreams Are Made Of”. Both the Liberty X and Kelis collaborations charted within the top ten, at number three and number eight respectively. Richard X released his debut album Richard X Presents His X-Factor Vol. 1 in August 2003. The album featured “Freak Like Me”, “Being Nobody”, “Finest Dreams” as well as collaborations with Annie, Jarvis Cocker, Javine Hylton, and Tiga, among others. Richard X described the album as “modern, alternative, future-pop”.

He also released Back to Mine Volume 17, as part of the long-running mix album series. His album included tracks by artists including Goldfrapp, Heaven 17, Jona Lewie, John Carpenter and Kelis.

2004–present: Production

After the mainstream success of his bootlegs, Richard X turned his attention to original compositions. In July 2004, pop singer Rachel Stevens released “Some Girls”, written by Richard X with Hannah Robinson. The song received critical acclaim and was another success for Richard X, charting at number two upon its release. Warp Records and Simon Fuller of 19 Entertainment contacted Richard X by email to ask that he give the song to Geri Halliwell or Stevens, respectively, to record. He agreed to have Stevens record the song after Richard Curtis asked about using the song for Sport Relief. When Halliwell found out that the writers were having Stevens record the song, she locked herself in her car in an attempt to change their minds, and she later wrote Richard X a love song. The aftermath of the decision for Stevens to record the song became the subject of another song written by Richard X and Robinson, “Me Plus One” from Annie’s 2004 album Anniemal. Annie’s album included another Richard X production, “Chewing Gum”, which remains her biggest hit to date. Pitchfork Media ranked the track at number eleven on its list of the Top 50 Singles of 2004. Stylus Magazine listed it tenth on its list of the top 40 singles of 2004. Richard X also produced her 2006 gap single “Crush”.

In 2004, Richard X worked with M.I.A. for her debut album Arular (2005). He co-wrote/produced “Amazon” and “10 Dollar”, as well as “Hombre” under the pseudonym Dwain ‘Willy’ Wilson III. The latter featured a drum pattern created from the sounds made by toys that M.I.A. had bought in India, augmented with sounds produced by objects such as pens and mobile phones. M.I.A. also appeared on Richard X’s remix of Ciara’s “Goodies”.

Richard X worked with Róisín Murphy and Sam Sparro on their albums Overpowered and Sam Sparro respectively. “Parallel Lives” appears on her second album Overpowered, while “Pandora” was used as a b-side. Richard X collaborated with Saint Etienne, co-writing and producing the 2009 single “Method of Modern Love”. He also worked with Annie again for her 2009 album Don’t Stop. He produced the singles “I Know UR Girlfriend Hates Me”, “Anthonio”, and “Songs Remind Me of You”. The latter dates back to 2006. Richard X also produced Annie’s cover of the Stacey Q song “Two of Hearts” for release as a digital download.

Richard X co-produced “Alive” for Goldfrapp’s 2010 album Head First and worked with Sophie Ellis-Bextor on her 2011 album Make a Scene, producing and co-writing “Magic” and the single “Starlight”. He also co-produced the entirety of Will Young’s album Echoes (2011), which debuted at number one on the UK Albums Chart.

In 2013, Richard X worked with Erasure (Andy Bell and Vince Clarke) on their anticipated 16th studio album for fall 2014 release, a 10-track record titled The Violet Flame.

Black Melody

Richard X created his own “production empire” Black Melody, which basically oversees all of his productions and remixes.

In October 2002, Richard X worked with The Human League members past and present to compile The Golden Hour of the Future, a collection of early recordings by The Human League and their predecessors The Future. The album was released via Black Melody and preceded by a limited edition 12″ promo EP titled “Dance Like a Star”.

In 2009, Richard X created the Pleasure Masters label for the sole purpose of releasing Annie’s “Anthonio”, which he co-wrote and produced, after her departure from Island Records.

Work ethic

Richard X has been approached to work with many artists, but stays selective. “It’s very much who tickles my fancy,” he told BBC News.  He has turned down a number of artists: “I am particular and probably turn down 90% of what I’m offered – I think it drives a few people around me mad. We try not to forget it’s art and not just a job.” He often works with people who are seen “as having similar ideals of creating innovative, forward thinking pop music”, according to HitQuarters. Richard X says, “It’s not so much a vision, more an ethos. I like the artist who stands alone or has the ideas that at first seem a little left of centre. Rather than chase a style, where you inevitably end up sounding second best, it’s easier to do something new. If the artist is attempting something new they are creating a benchmark rather than trying to reach one.”

He treats every song as a potential single. He says, “Each track has to stand alone. The song, the production and everything together. My reference point is always imagining finding it on a seven-inch [single] in a second hand shop when you were younger.”  Richard X cites this as a reason that he usually collaborates with artists on individual tracks: “I’ve always been about singles […] it’s bite sized, to the point, and let’s be honest with some of the artists out there you really don’t need to hear much beyond the hit.”

Richard X also prefers to co-write songs, rather than solely producing them.

 


Richard Rogers

Richard George Rogers, Baron Rogers of Riverside CH FRIBA FCSD FREng RA (born 23 July 1933) is an Italian-British architect noted for his modernist and functionalist designs in high-tech architecture.

Rogers is perhaps best known for his work on the Pompidou Centre in Paris, the Lloyd’s building and Millennium Dome both in London, the Senedd in Cardiff, and the European Court of Human Rights building in Strasbourg. He is a winner of the RIBA Gold Medal, the Thomas Jefferson Medal, the RIBA Stirling Prize, the Minerva Medal and Pritzker Prize. He is a Senior Partner at Rogers Stirk Harbour + Partners, previously known as the Richard Rogers Partnership.

Early life and career

Richard Rogers was born in Florence (Tuscany) in 1933 into an Anglo-Italian family. His father, William Nino Rogers (1906–1993), was the cousin of Italian architect Ernesto Nathan Rogers. His ancestors moved from Sunderland to Venice in about 1800, later settling in Trieste, Milan and Florence. In 1939 William Nino Rogers decided to come back to England. Upon moving to England, Richard Rogers went to St Johns School, Leatherhead. Rogers did not excel academically, which made him believe that he was “stupid because he could not read or memorize his school work” and as a consequence he stated that he became “very depressed”.[3] He wasn’t able to read until the age of 11, and it was not until after he had his first child that he realised that he was dyslexic. After leaving St Johns School, he undertook a foundation course at Epsom School of Art (now University for the Creative Arts) before going into National Service between 1951 and 1953. He then attended the Architectural Association School of Architecture in London, where he gained the Architectural Association’s Diploma (AA Dipl) from 1954 until 1959, subsequently graduating with a master’s degree (M Arch) from the Yale School of Architecture in 1962 on a Fulbright Scholarship. While studying at Yale, Rogers met fellow architecture student Norman Foster and planning student Su Brumwell.

After leaving Yale he joined Skidmore, Owings & Merrill in New York. On returning to England in 1963, he, Norman Foster and Brumwell set up architectural practice as Team 4 with Wendy Cheeseman (Brumwell later married Rogers, Cheeseman married Foster). Rogers and Foster earned a reputation for what was later termed by the media high-tech architecture.

By 1967, Team 4 had split up, but Rogers continued to collaborate with Su Rogers, along with John Young and Laurie Abbott. In early 1968 he was commissioned to design a house and studio for Humphrey Spender near Maldon, Essex, a glass cube framed with I-beams. He continued to develop his ideas of prefabrication and structural simplicity to design a Wimbledon house for his parents. This was based on ideas from his conceptual Zip-Up House, such as the use of standardized components based on refrigerator panels to make energy-efficient buildings.

Rogers subsequently joined forces with Italian architect Renzo Piano, a partnership that was to prove fruitful. His career leapt forward when he, Piano and Gianfranco Franchini won the design competition for the Pompidou Centre in July 1971, alongside a team from Ove Arup that included Irish engineer Peter Rice.

This building established Rogers’s trademark of exposing most of the building’s services (water, heating and ventilation ducts, and stairs) on the exterior, leaving the internal spaces uncluttered and open for visitors to the centre’s art exhibitions. This style, dubbed “Bowellism” by some critics, was not universally popular at the time the centre opened in 1977, but today the Pompidou Centre is a widely admired Parisian landmark. Rogers revisited this inside-out style with his design for London’s Lloyd’s building, completed in 1986 – another controversial design which has since become a famous and distinctive landmark in its own right.

Later career

After working with Piano, Rogers established the Richard Rogers Partnership along with Marco Goldschmied, Mike Davies and John Young in 1977. This became Rogers Stirk Harbour + Partners in 2007. The firm maintains offices in London, Shanghai and Sydney.

Rogers has devoted much of his later career to wider issues surrounding architecture, urbanism, sustainability and the ways in which cities are used. One early illustration of his thinking was an exhibition at the Royal Academy in 1986, entitled “London As It Could Be”, which also featured the work of James Stirling and Rogers’ former partner Norman Foster. This exhibition made public a series of proposals for transforming a large area of central London, subsequently dismissed as impractical by the city’s authorities.

In 1995, he became the first architect to deliver the BBC’s annual Reith Lectures. This series of five talks, titled Sustainable City, were later adapted into the book Cities for a Small Planet (Faber and Faber: London 1997, ISBN 0-571-17993-2). The BBC made these lectures available to the public for download in July 2011.

In 1998, he set up the Urban Task Force at the invitation of the British government, to help identify causes of urban decline and establish a vision of safety, vitality and beauty for Britain’s cities. This work resulted in a white paper, Towards an Urban Renaissance, outlining more than 100 recommendations for future city designers. Rogers also served for several years as chair of the Greater London Authority panel for Architecture and Urbanism. He has been chair of the board of Trustees of The Architecture Foundation. From 2001 to 2008 he was chief advisor on architecture and urbanism to Mayor of London Ken Livingstone; he was subsequently asked to continue his role as an advisor by new mayor Boris Johnson in 2008. He stood down from the post in October 2009. Rogers has also served as an advisor to two mayors of Barcelona on urban strategies.

Amidst this extra-curricular activity, Rogers has continued to create controversial and iconic works. Perhaps the most famous of these, the Millennium Dome, was designed by the Rogers practice in conjunction with engineering firm Buro Happold and completed in 1999. It was the subject of fierce political and public debate over the cost and contents of the exhibition it contained; the building itself cost £43 million.

In May 2006, Rogers’ practice was chosen as the architect of Tower 3 of the new World Trade Center in New York City, replacing the old World Trade Center which was destroyed in the September 11 attacks.

Some of Rogers’s recent plans have failed to get off the ground. The practice was appointed to design the replacement to the Central Library in the Eastside of Birmingham; however, his plan was shelved for financial reasons. City Park Gate, the area adjacent to the land the library would have stood on, is now being designed by Ken Shuttleworth’s Make Architects.


Paul McCartney

Sir James Paul McCartney CH MBE (born 18 June 1942) is an English singer, songwriter, musician, and record and film producer who gained worldwide fame as co-lead vocalist and bassist for the Beatles. His songwriting partnership with John Lennon remains the most successful in history.[4] After the group disbanded in 1970, he pursued a solo career and formed the band Wings with his first wife, Linda, and Denny Laine.

A self-taught musician, McCartney is proficient on bass, guitar, keyboards, and drums. He is known for his melodic approach to bass-playing (mainly playing with a plectrum), his versatile and wide tenor vocal range (spanning over four octaves), and his eclecticism (exploring styles ranging from pre-rock and roll pop to classical and electronica). McCartney began his career as a member of the Quarrymen in 1957, which evolved into the Beatles in 1960. Starting with the 1967 album Sgt. Pepper’s Lonely Hearts Club Band, he gradually became the Beatles’ de facto leader, providing the creative impetus for most of their music and film projects. His Beatles songs “And I Love Her” (1964), “Yesterday” (1965), “Eleanor Rigby” (1966) and “Blackbird” (1968) rank among the most covered songs in history.[5][6]

In 1970, McCartney debuted as a solo artist with the album McCartney. Throughout the 1970s, he led Wings, one of the most successful bands of the decade, with more than a dozen international top 10 singles and albums. McCartney resumed his solo career in 1980. Since 1989, he has toured consistently as a solo artist. In 1993, he formed the music duo the Fireman with Youth of Killing Joke. Beyond music, he has taken part in projects to promote international charities related to such subjects as animal rights, seal hunting, land mines, vegetarianism, poverty, and music education.

McCartney is one of the most successful composers and performers of all time. He has written or co-written 32 songs that have reached No. 1 on the Billboard Hot 100, and as of 2009, had sales of 25.5 million RIAA-certified units in the United States. His honours include two inductions into the Rock and Roll Hall of Fame (as a member of the Beatles in 1988 and as a solo artist in 1999), 18 Grammy Awards, an appointment as a Member of the Order of the British Empire in 1965, and a knighthood in 1997 for services to music. As of 2020, he is also one of the wealthiest musicians in the world, with an estimated fortune of £800 million.

Early life

James Paul McCartney was born on 18 June 1942 at Walton Hospital in the Walton area of Liverpool, where his mother, Mary Patricia (née Mohin), had qualified to practise as a nurse. His father, James (“Jim”) McCartney, was absent from his son’s birth due to his work as a volunteer firefighter during World War II.[8] McCartney has a younger brother named Michael and a stepsister named Ruth. The children were baptised in their mother’s Catholic faith, even though their father was a former Protestant who had turned agnostic. Religion was not emphasised in the household.[9]

McCartney attended Stockton Wood Road Primary School in Speke from 1947 until 1949, when he transferred to Joseph Williams Junior School in Belle Vale because of overcrowding at Stockton.[10] In 1953, he was one of only three students out of 90 to pass the 11-Plus exam, meaning he could attend the Liverpool Institute, a grammar school rather than a secondary modern school.[11] In 1954, he met schoolmate George Harrison on the bus from his suburban home in Speke. The two quickly became friends; McCartney later admitted: “I tended to talk down to him because he was a year younger.”

Career

1957–1960: The Quarrymen

At the age of fifteen on 6 July 1957, McCartney met John Lennon and his band, the Quarrymen, at the St Peter’s Church Hall fête in Woolton.[26] The Quarrymen played a mix of rock and roll and skiffle, a type of popular music with jazz, blues and folk influences.[27] Soon afterwards, the members of the band invited McCartney to join as a rhythm guitarist, and he formed a close working relationship with Lennon. Harrison joined in 1958 as lead guitarist, followed by Lennon’s art school friend Stuart Sutcliffe on bass, in 1960.[28] By May 1960, the band had tried several names, including Johnny and the Moondogs, Beatals and the Silver Beetles.[29] They adopted the name the Beatles in August 1960 and recruited drummer Pete Best shortly before a five-engagement residency in Hamburg.

1960–1970: The Beatles

In 1961, Sutcliffe left the band and McCartney reluctantly became their bass player.[31] While in Hamburg, they recorded professionally for the first time and were credited as the Beat Brothers, who were the backing band for English singer Tony Sheridan on the single “My Bonnie”.[32] This resulted in attention from Brian Epstein, who was a key figure in their subsequent development and success. He became their manager in January 1962.[33] Ringo Starr replaced Best in August, and the band had their first hit, “Love Me Do”, in October, becoming popular in the UK in 1963, and in the US a year later. The fan hysteria became known as “Beatlemania”, and the press sometimes referred to McCartney as the “cute Beatle”.[34][nb 2] McCartney co-wrote (with Lennon) several of their early hits, including “I Saw Her Standing There”, “She Loves You”, “I Want to Hold Your Hand” (1963) and “Can’t Buy Me Love” (1964).[36]

In August 1965, the Beatles released the McCartney composition “Yesterday”, featuring a string quartet. Included on the Help! LP, the song was the group’s first recorded use of classical music elements and their first recording that involved only a single band member.[37] “Yesterday” became one of the most covered songs in popular music history.[38] Later that year, during recording sessions for the album Rubber Soul, McCartney began to supplant Lennon as the dominant musical force in the band. Musicologist Ian MacDonald wrote, “from [1965] … [McCartney] would be in the ascendant not only as a songwriter, but also as instrumentalist, arranger, producer, and de facto musical director of the Beatles.”[39] Critics described Rubber Soul as a significant advance in the refinement and profundity of the band’s music and lyrics.[40] Considered a high point in the Beatles catalogue, both Lennon and McCartney said they had written the music for the song “In My Life”.[41] McCartney said of the album, “we’d had our cute period, and now it was time to expand.”[42] Recording engineer Norman Smith stated that the Rubber Soul sessions exposed indications of increasing contention within the band: “the clash between John and Paul was becoming obvious … [and] as far as Paul was concerned, George [Harrison] could do no right—Paul was absolutely finicky.”[43]

In 1966, the Beatles released the album Revolver. Featuring sophisticated lyrics, studio experimentation, and an expanded repertoire of musical genres ranging from innovative string arrangements to psychedelic rock, the album marked an artistic leap for the Beatles.[44] The first of three consecutive McCartney A-sides, the single “Paperback Writer” preceded the LP’s release.[45] The Beatles produced a short promotional film for the song, and another for its B-side, “Rain”. The films, described by Harrison as “the forerunner of videos”, aired on The Ed Sullivan Show and Top of the Pops in June 1966.[46] Revolver also included McCartney’s “Eleanor Rigby”, which featured a string octet. According to Gould, the song is “a neoclassical tour de force … a true hybrid, conforming to no recognizable style or genre of song”.[47] Except for some backing vocals, the song included only McCartney’s lead vocal and the strings arranged by producer George Martin.

The band gave their final commercial concert at the end of their 1966 US tour.[50] Later that year, McCartney completed his first musical project independently of the group—a film score for the UK production The Family Way. The score was a collaboration with Martin, who used two McCartney themes to write thirteen variations. The soundtrack failed to chart, but it won McCartney an Ivor Novello Award for Best Instrumental Theme.[51]

Upon the end of the Beatles’ performing career, McCartney sensed unease in the band and wanted them to maintain creative productivity. He pressed them to start a new project, which became Sgt. Pepper’s Lonely Hearts Club Band, widely regarded as rock’s first concept album.[52] McCartney was inspired to create a new persona for the group, to serve as a vehicle for experimentation and to demonstrate to their fans that they had musically matured. He invented the fictional band of the album’s title track.[53] As McCartney explained, “We were fed up with being the Beatles. We really hated that f*cking four little mop-top approach. We were not boys we were men … and [we] thought of ourselves as artists rather than just performers.”[54]

Starting in November 1966, the band adopted an experimental attitude during recording sessions for the album.[55] Their recording of “A Day in the Life” required a forty-piece orchestra, which Martin and McCartney took turns conducting.[56] The sessions produced the double A-side single “Strawberry Fields Forever”/”Penny Lane” in February 1967, and the LP followed in June.[35][nb 4] Based on an ink drawing by McCartney, the LP’s cover included a collage designed by pop artists Peter Blake and Jann Haworth, featuring the Beatles in costume as the Sgt. Pepper’s Lonely Hearts Club Band, standing with a host of celebrities.[58] The cover piqued a frenzy of analysis.Epstein’s death in August 1967 created a void, which left the Beatles perplexed and concerned about their future.[61] McCartney stepped in to fill that void and gradually became the de facto leader and business manager of the group that Lennon had once led.[62][dubious – discuss] In his first creative suggestion after this change of leadership, McCartney proposed that the band move forward on their plans to produce a film for television, which was to become Magical Mystery Tour. According to Beatles historian Mark Lewisohn, the project was “an administrative nightmare throughout”.[63] McCartney largely directed the film, which brought the group their first unfavourable critical response.[64] However, the film’s soundtrack was more successful. It was released in the UK as a six-track double extended play disc (EP), and as an identically titled LP in the US, filled out with five songs from the band’s recent singles.[35] The only Capitol compilation later included in the group’s official canon of studio albums, the Magical Mystery Tour LP achieved $8 million in sales within three weeks of its release, higher initial sales than any other Capitol LP up to that point.

The Beatles’ animated film Yellow Submarine, loosely based on the imaginary world evoked by McCartney’s 1966 composition, premiered in July 1968. Though critics admired the film for its visual style, humour and music, the soundtrack album issued six months later received a less enthusiastic response.[66] By late 1968, relations within the band were deteriorating. The tension grew during the recording of their eponymous double album, also known as the “White Album”.[67][nb 5] Matters worsened the following year during the Let It Be sessions, when a camera crew filmed McCartney lecturing the group: “We’ve been very negative since Mr. Epstein passed away … we were always fighting [his] discipline a bit, but it’s silly to fight that discipline if it’s our own”.[69]

In March 1969, McCartney married his first wife, Linda Eastman, and in August, the couple had their first child, Mary, named after his late mother.[70] Abbey Road was the band’s last recorded album, and Martin suggested “a continuously moving piece of music”, urging the group to think symphonically.[71] McCartney agreed, but Lennon did not. They eventually compromised, agreeing to McCartney’s suggestion: an LP featuring individual songs on side one, and a long medley on side two.[71] In October 1969, a rumour surfaced that McCartney had died in a car crash in 1966 and was replaced by a lookalike, but this was quickly refuted when a November Life magazine cover featured him and his family, accompanied by the caption “Paul is still with us”.[72]

McCartney was in the midst of business disagreements with his bandmates when he announced his departure from the group on 10 April 1970.[73] He filed a suit for the band’s formal dissolution on 31 December 1970, and in March 1971 the court appointed a receiver to oversee Apple’s finances. An English court legally dissolved the Beatles’ partnership on 9 January 1975, though sporadic lawsuits against their record company EMI, Klein, and each other persisted until 1989.

1970–1981: Wings

As the Beatles were breaking up in 1969–70, McCartney fell into a depression. His wife helped him pull out of that condition by praising his work as a songwriter and convincing him to continue writing and recording. In her honour, he wrote “Maybe I’m Amazed”, explaining that with the Beatles breaking up, “that was my feeling: Maybe I’m amazed at what’s going on … Maybe I’m a man and maybe you’re the only woman who could ever help me; Baby won’t you help me understand … Maybe I’m amazed at the way you pulled me out of time, hung me on the line, Maybe I’m amazed at the way I really need you.” He added that “every love song I write is for Linda.”[79][80]

In 1970, McCartney continued his musical career with his first solo release, McCartney, a US number-one album. Apart from some vocal contributions from Linda, McCartney is a one-man album, with McCartney providing compositions, instrumentation and vocals.[81][nb 8] In 1971, he collaborated with Linda and drummer Denny Seiwell on a second album, Ram. A UK number one and a US top five, Ram included the co-written US number-one hit single “Uncle Albert/Admiral Halsey”.[83] Later that year, ex-Moody Blues guitarist Denny Laine joined the McCartneys and Seiwell to form the band Wings. McCartney had this to say on the group’s formation: “Wings were always a difficult idea … any group having to follow [the Beatles’] success would have a hard job … I found myself in that very position. However, it was a choice between going on or finishing, and I loved music too much to think of stopping.”[84][nb 9] In September 1971, the McCartneys’ daughter Stella was born, named in honour of Linda’s grandmothers, both of whom were named Stella.[86]

Following the addition of guitarist Henry McCullough, Wings’ first concert tour began in 1972 with a debut performance in front of an audience of seven hundred at the University of Nottingham. Ten more gigs followed as they travelled across the UK in a van during an unannounced tour of universities, during which the band stayed in modest accommodation and received pay in coinage collected from students, while avoiding Beatles songs during their performances.[87] McCartney later said, “The main thing I didn’t want was to come on stage, faced with the whole torment of five rows of press people with little pads, all looking at me and saying, ‘Oh well, he is not as good as he was.’ So we decided to go out on that university tour which made me less nervous … by the end of that tour I felt ready for something else, so we went into Europe.”[88] During the seven-week, 25-show Wings Over Europe Tour, the band played almost solely Wings and McCartney solo material: the Little Richard cover “Long Tall Sally” was the only song that had previously been recorded by the Beatles. McCartney wanted the tour to avoid large venues; most of the small halls they played had capacities of fewer than 3,000 people.[89]

In March 1973, Wings achieved their first US number-one single, “My Love”, included on their second LP, Red Rose Speedway, a US number one and UK top five.[90][nb 10] McCartney’s collaboration with Linda and former Beatles producer Martin resulted in the song “Live and Let Die”, which was the theme song for the James Bond film of the same name. Nominated for an Academy Award, the song reached number two in the US and number nine in the UK. It also earned Martin a Grammy for his orchestral arrangement.[91] Music professor and author Vincent Benitez described the track as “symphonic rock at its best”.

After the departure of McCullough and Seiwell in 1973, the McCartneys and Laine recorded Band on the Run. The album was the first of seven platinum Wings LPs.[94] It was a US and UK number one, the band’s first to top the charts in both countries and the first ever to reach Billboard magazine’s charts on three separate occasions. One of the best-selling releases of the decade, it remained on the UK charts for 124 weeks. Rolling Stone named it one of the Best Albums of the Year for 1973, and in 1975, Paul McCartney and Wings won the Grammy Award for Best Pop Vocal Performance for the song “Band on the Run” and Geoff Emerick won the Grammy for Best Engineered Recording for the album.[95][nb 12] In 1974, Wings achieved a second US number-one single with the title track.[97] The album also included the top-ten hits “Jet” and “Helen Wheels”, and earned the 413th spot on Rolling Stone’s list of the 500 Greatest Albums of All Time.[98][nb 13]

Wings followed Band on the Run with the chart-topping albums Venus and Mars (1975) and Wings at the Speed of Sound (1976).[100][nb 14] In 1975, they began the fourteen-month Wings Over the World Tour, which included stops in the UK, Australia, Europe and the US. The tour marked the first time McCartney performed Beatles songs live with Wings, with five in the two-hour set list: “I’ve Just Seen a Face”, “Yesterday”, “Blackbird”, “Lady Madonna” and “The Long and Winding Road”.[102] Following the second European leg of the tour and extensive rehearsals in London, the group undertook an ambitious US arena tour that yielded the US number-one live triple LP Wings over America.[103]

In September 1977, the McCartneys had a third child, a son they named James. In November, the Wings song “Mull of Kintyre”, co-written with Laine, was quickly becoming one of the best-selling singles in UK chart history.[104] The most successful single of McCartney’s solo career, it achieved double the sales of the previous record holder, “She Loves You”, and went on to sell 2.5 million copies and hold the UK sales record until the 1984 charity single, “Do They Know It’s Christmas?”

London Town (1978) spawned a US number-one single (“With a Little Luck”), and continued Wings’ string of commercial successes, making the top five in both the US and the UK. Critical reception was unfavourable, and McCartney expressed disappointment with the album.[107][nb 16] Back to the Egg (1979) featured McCartney’s a*semblage of a rock supergroup dubbed “Rockestra” on two tracks. The band included Wings along with Pete Townshend, David Gilmour, Gary Brooker, John Paul Jones, John Bonham and others. Though certified platinum, critics panned the album.[109] Wings completed their final concert tour in 1979, with twenty shows in the UK that included the live debut of the Beatles songs “Got to Get You into My Life”, “The Fool on the Hill” and “Let it Be”.[110]

In 1980, McCartney released his second solo LP, the self-produced McCartney II, which peaked at number one in the UK and number three in the US. As with his first album, he composed and performed it alone.[111] The album contained the song “Coming Up”, the live version of which, recorded in Glasgow, Scotland, in 1979 by Wings, became the group’s last number-one hit.[112] By 1981, McCartney felt he had accomplished all he could creatively with Wings and decided he needed a change. The group discontinued in April 1981 after Laine quit following disagreements over royalties and salaries.

1982–1990

In 1982, McCartney collaborated with Stevie Wonder on the Martin-produced number-one hit “Ebony and Ivory”, included on McCartney’s Tug of War LP, and with Michael Jackson on “The Girl Is Mine” from Thriller.[117][nb 19] “Ebony and Ivory” was McCartney’s record 28th single to hit number one on the Billboard 100.[119] The following year, he and Jackson worked on “Say Say Say”, McCartney’s most recent US number one as of 2014. McCartney earned his latest UK number one as of 2014 with the title track of his LP release that year, “Pipes of Peace”.[120][nb 20]

In 1984, McCartney starred in the musical Give My Regards to Broad Street, a feature film he also wrote and produced which included Starr in an acting role. It was disparaged by critics: Variety described the film as “characterless, bloodless, and pointless”;[122] while Roger Ebert awarded it a single star, writing, “you can safely skip the movie and proceed directly to the soundtrack”.[123] The album fared much better, reaching number one in the UK and producing the US top-ten hit single “No More Lonely Nights”, featuring David Gilmour on lead guitar.[124] In 1985, Warner Brothers commissioned McCartney to write a song for the comedic feature film Spies Like Us. He composed and recorded the track in four days, with Phil Ramone co-producing.[125][nb 21] McCartney participated in Live Aid, performing “Let it Be”, but technical difficulties rendered his vocals and piano barely audible for the first two verses, punctuated by squeals of feedback. Equipment technicians resolved the problems and David Bowie, Alison Moyet, Pete Townshend and Bob Geldof joined McCartney on stage, receiving an enthusiastic crowd reaction.[127]

McCartney collaborated with Eric Stewart on Press to Play (1986), with Stewart co-writing more than half the songs on the LP.[128][nb 22] In 1988, McCartney released Снова в СССР, initially available only in the Soviet Union, which contained eighteen covers; recorded over the course of two days.[130] In 1989, he joined forces with fellow Merseysiders Gerry Marsden and Holly Johnson to record an updated version of “Ferry Cross the Mersey”, for the Hillsborough disaster appeal fund.[131][nb 23] That same year, he released Flowers in the Dirt; a collaborative effort with Elvis Costello that included musical contributions from Gilmour and Nicky Hopkins.[133][nb 24] McCartney then formed a band consisting of himself and Linda, with Hamish Stuart and Robbie McIntosh on guitars, Paul “Wix” Wickens on keyboards and Chris Whitten on drums.[135] In September 1989, they launched the Paul McCartney World Tour, his first in over a decade. During the tour, McCartney performed for the largest paying stadium audience in history on 21 April 1990, when 184,000 people attended his concert at Maracanã Stadium in Rio de Janeiro, Brazil.[136] That year, he released the triple album Tripping the Live Fantastic, which contained selected performances from the tour.

1991–1999

McCartney ventured into orchestral music in 1991 when the Royal Liverpool Philharmonic Society commissioned a musical piece by him to celebrate its sesquicentennial. He collaborated with composer Carl Davis, producing Liverpool Oratorio. The performance featured opera singers Kiri Te Kanawa, Sally Burgess, Jerry Hadley and Willard White with the Royal Liverpool Philharmonic Orchestra and the choir of Liverpool Cathedral.[140] Reviews were negative. The Guardian was especially critical, describing the music as “afraid of anything approaching a fast tempo”, and adding that the piece has “little awareness of the need for recurrent ideas that will bind the work into a whole”.[141] The paper published a letter McCartney submitted in response in which he noted several of the work’s faster tempos and added, “happily, history shows that many good pieces of music were not liked by the critics of the time so I am content to … let people judge for themselves the merits of the work.”[141] The New York Times was slightly more generous, stating, “There are moments of beauty and pleasure in this dramatic miscellany … the music’s innocent sincerity makes it difficult to be put off by its ambitions”.[142] Performed around the world after its London premiere, the Liverpool Oratorio reached number one on the UK classical chart, Music Week.[143]

In 1991, McCartney performed a selection of acoustic-only songs on MTV Unplugged and released a live album of the performance titled Unplugged (The Official Bootleg).[144][nb 27] During the 1990s, McCartney collaborated twice with Youth of Killing Joke as the musical duo “the Fireman”. The two released their first electronica album together, Strawberries Oceans Ships Forest, in 1993.[146] McCartney released the rock album Off the Ground in 1993.[147][nb 28] The subsequent New World Tour followed, which led to the release of the Paul Is Live album later that year.[149][nb 29][nb 30]

Starting in 1994, McCartney took a four-year break from his solo career to work on Apple’s Beatles Anthology project with Harrison, Starr and Martin. He recorded a radio series called Oobu Joobu in 1995 for the American network Westwood One, which he described as “widescreen radio”.[153] Also in 1995, Prince Charles presented him with an Honorary Fellowship of the Royal College of Music—”kind of amazing for somebody who doesn’t read a note of music”, commented McCartney.[154]

In 1997, McCartney released the rock album Flaming Pie. Starr appeared on drums and backing vocals in “Beautiful Night”.[155][nb 31] Later that year, he released the classical work Standing Stone, which topped the UK and US classical charts.[157] In 1998, he released Rushes, the second electronica album by the Fireman.[158] In 1999, McCartney released Run Devil Run.[159][nb 32] Recorded in one week, and featuring Ian Paice and David Gilmour, it was primarily an album of covers with three McCartney originals. He had been planning such an album for years, having been previously encouraged to do so by Linda, who had died of cancer in April 1998.[160]

McCartney did an unannounced performance at the benefit tribute, “Concert for Linda,” his wife of 29 years who died a year earlier. It was held at the Royal Albert Hall in London on 10 April 1999, and was organised by two of her close friends, Chrissie Hynde and Carla Lane. Also during 1999, he continued his experimentation with orchestral music on Working Classical.

2000–2009

In 2000, he released the electronica album Liverpool Sound Collage with Super Furry Animals and Youth, using the sound collage and musique concrète techniques that had fascinated him in the mid-1960s.[162] He contributed the song “Nova” to a tribute album of classical, choral music called A Garland for Linda (2000), dedicated to his late wife.[163]

Having witnessed the 11 September 2001 attacks from the JFK airport tarmac, McCartney was inspired to take a leading role in organising the Concert for New York City. His studio album release in November that year, Driving Rain, included the song “Freedom”, written in response to the attacks.[164][nb 33] The following year, McCartney went out on tour with a band that included guitarists Rusty Anderson and Brian Ray, accompanied by Paul “Wix” Wickens on keyboards and Abe Laboriel Jr. on drums.[166] They began the Driving World Tour in April 2002, which included stops in the US, Mexico and Japan. The tour resulted in the double live album Back in the US, released internationally in 2003 as Back in the World.[167][nb 34][nb 35] The tour earned a reported $126.2 million, an average of over $2 million per night, and Billboard named it the top tour of the year.[169] The group continues to play together; McCartney has played live with Brian Ray, Rusty Anderson, Abe Laboriel Jr. and Wix Wickens longer than he played live with the Beatles.[170]

In July 2002, McCartney married Heather Mills. In November, on the first anniversary of George Harrison’s death, McCartney performed at the Concert for George.[171] He participated in the National Football League’s Super Bowl, performing “Freedom” during the pre-game show for Super Bowl XXXVI in 2002 and headlining the halftime show at Super Bowl XXXIX in 2005.[172] The English College of Arms honoured McCartney in 2002 by granting him a coat of arms. His crest, featuring a Liver bird holding an acoustic guitar in its claw, reflects his background in Liverpool and his musical career. The shield includes four curved emblems which resemble beetles’ backs. The arms’ motto is Ecce Cor Meum, Latin for “Behold My Heart”.[173] In 2003, the McCartneys had a child, Beatrice Milly.

In July 2005, he performed at the Live 8 event in Hyde Park, London, opening the show with “Sgt. Pepper’s Lonely Hearts Club Band” (with U2) and closing it with “Drive My Car” (with George Michael), “Helter Skelter”, and “The Long and Winding Road”.[175][nb 36] In September, he released the rock album Chaos and Creation in the Backyard, for which he provided most of the instrumentation.[177][nb 37][nb 38] In 2006, McCartney released the classical work Ecce Cor Meum.[180][nb 39] The rock album Memory Almost Full followed in 2007.[181][nb 40] In 2008, he released his third Fireman album, Electric Arguments.[183][nb 41] Also in 2008, he performed at a concert in Liverpool to celebrate the city’s year as European Capital of Culture. In 2009, after a four-year break, he returned to touring and has since performed over 80 shows.[185] More than forty-five years after the Beatles first appeared on American television during The Ed Sullivan Show, he returned to the same New York theatre to perform on Late Show with David Letterman.[186] On 9 September 2009, EMI reissued the Beatles catalogue following a four-year digital remastering effort, releasing a music video game called The Beatles: Rock Band the same day.[187]

McCartney’s enduring fame has made him a popular choice to open new venues. In 2009, he played to three sold-out concerts at the newly built Citi Field, a venue constructed to replace Shea Stadium in Queens, New York. These performances yielded the double live album Good Evening New York City later that year.

2010–present

In 2010, McCartney opened the Consol Energy Center in Pittsburgh, Pennsylvania; it was his first concert in Pittsburgh since 1990 due to the old Civic Arena being deemed unsuitable for McCartney’s logistical needs.[189][nb 42] In July 2011, McCartney performed at two sold-out concerts at the new Yankee Stadium. A New York Times review of the first concert reported that McCartney was “not saying goodbye but touring stadiums and playing marathon concerts”.[191] McCartney was commissioned by the New York City Ballet, and in September 2011, he released his first score for dance, a collaboration with Peter Martins called Ocean’s Kingdom.[192] Also in 2011, McCartney married Nancy Shevell.[193] He released Kisses on the Bottom, a collection of standards, in February 2012, the same month that the National Academy of Recording Arts and Sciences honoured him as the MusiCares Person of the Year, two days prior to his performance at the 54th Annual Grammy Awards.[194]

McCartney remains one of the world’s top draws. He played to over 100,000 people during two performances in Mexico City in May, with the shows grossing nearly $6 million.[195][nb 43] In June 2012, McCartney closed Queen Elizabeth’s Diamond Jubilee Concert held outside Buckingham Palace, performing a set that included “Let It Be” and “Live and Let Die”.[197] He closed the opening ceremony of the 2012 Summer Olympics in London on 27 July, singing “The End” and “Hey Jude” and inviting the audience to join in on the coda.[198] Having donated his time, he received £1 from the Olympic organisers.[199]

On 12 December 2012, McCartney performed with three former members of Nirvana (Krist Novoselic, Dave Grohl, and Pat Smear) during the closing act of 12-12-12: The Concert for Sandy Relief, seen by approximately two billion people worldwide.[200] On 28 August 2013, McCartney released the title track of his upcoming studio album New, which came out in October 2013.[201] A primetime entertainment special was taped on 27 January 2014 at the Ed Sullivan Theater with a 9 February 2014 CBS airing. The show featured McCartney and Ringo Starr, and celebrated the legacy of the Beatles and their groundbreaking 1964 performance on The Ed Sullivan Show. The show, titled The Night That Changed America: A Grammy Salute to The Beatles, featured 22 classic Beatles songs as performed by various artists, including McCartney and Starr.[202]

On 19 May 2014, it was reported that McCartney was bedridden on doctor’s orders due to an unspecified virus, which forced him to cancel a sold-out concert tour of Japan that was scheduled to begin later in the week. The tour would have included a stop at the famed Budokan Hall. McCartney also had to move his June US dates to October, as part of his doctor’s order to rest to make a full recovery.[203] However, he resumed the tour with a high-energy three hour appearance in Albany, New York on 5 July 2014.[204] On 14 August 2014, McCartney performed in the final concert at Candlestick Park in San Francisco, California before its demolition. It was the same venue that the Beatles played their final concert in 1966.[205] In 2014, McCartney wrote and performed “Hope for the Future,” the ending song for the video game Destiny.[206][207] In November 2014, a 42-song tribute album titled The Art of McCartney was released, which features a wide range of artists covering McCartney’s solo and Beatles work.[208] Also that year, McCartney collaborated with American recording artist Kanye West on the single “Only One”, released on 31 December.[209] In January 2015, McCartney collaborated with West and Barbadian singer Rihanna on the single “FourFiveSeconds”.[210] They released a music video for the song in January[211] and performed it live at the 57th Annual Grammy Awards on 8 February 2015.[212] McCartney is a featured guest on West’s 2015 single “All Day”, which also features Theophilus London and Allan Kingdom.

In February 2015, McCartney appeared and performed with Paul Simon for the Saturday Night Live 40th Anniversary Special. McCartney and Simon performed the first verse of “I’ve Just Seen a Face” on acoustic guitars, and McCartney later performed “Maybe I’m Amazed”.[214] McCartney shared lead vocals on the Alice Cooper-led Hollywood Vampires supergroup’s cover of his song “Come and Get It”, which appears on their debut album, released on 11 September 2015.[215] On 10 June 2016, McCartney released the career-spanning collection Pure McCartney.[216] The set includes songs from throughout McCartney’s solo career and his work with Wings and the Fireman, and is available in three different formats (2-CD, 4-CD, 4-LP and Digital). The 4-CD version includes 67 tracks, the majority of which were top 40 hits.[217][218] McCartney appeared in the adventure film Pirates of the Caribbean: Dead Men Tell No Tales, which was released in 2017.[219]

In January 2017, McCartney filed a suit in United States district court against Sony/ATV Music Publishing seeking to reclaim ownership of his share of the Lennon–McCartney song catalogue beginning in 2018. Under US copyright law, for works published before 1978 the author can reclaim copyrights a*signed to a publisher after 56 years.[220][221] McCartney and Sony agreed to a confidential settlement in June 2017.[222][223] On 20 June 2018, McCartney released two songs, “I Don’t Know” and “Come On to Me”, from his album Egypt Station, which was released on 7 September through Capitol Records.[224] Egypt Station became McCartney’s first album in 36 years to top the Billboard 200, and his first to debut at number one.[225]

In October 2020, McCartney announced his new album McCartney III, which is set to be released on 11 December via Capitol Records.

Musicianship

McCartney was largely a self-taught musician, and his approach was described by musicologist Ian MacDonald as “by nature drawn to music’s formal aspects yet wholly untutored … [he] produced technically ‘finished’ work almost entirely by instinct, his harmonic judgement based mainly on perfect pitch and an acute pair of ears … [A] natural melodist—a creator of tunes capable of existing apart from their harmony”. McCartney commented, “I prefer to think of my approach to music as … rather like the primitive cave artists, who drew without training.”

Early influences

McCartney’s earliest musical influences include Elvis Presley, Little Richard, Buddy Holly, Carl Perkins, and Chuck Berry.[230] When asked why the Beatles did not include Presley on the Sgt. Pepper cover, McCartney replied, “Elvis was too important and too far above the rest even to mention … so we didn’t put him on the list because he was more than merely a … pop singer, he was Elvis the King.”[231] McCartney stated that for his bassline for “I Saw Her Standing There”, he directly quoted Berry’s “I’m Talking About You”.[232]

McCartney called Little Richard an idol, whose falsetto vocalisations inspired McCartney’s own vocal technique.[233] McCartney said he wrote “I’m Down” as a vehicle for his Little Richard impersonation.[234] In 1971, McCartney bought the publishing rights to Holly’s catalogue, and in 1976, on the fortieth anniversary of Holly’s birth, McCartney inaugurated the annual “Buddy Holly Week” in England. The festival has included guest performances by famous musicians, songwriting competitions, drawing contests and special events featuring performances by the Crickets.

Bass guitar

Best known for primarily using a plectrum or pick, McCartney occasionally plays fingerstyle.[236] He does not use slapping techniques.[237] He was strongly influenced by Motown artists, in particular James Jamerson, whom McCartney called a hero for his melodic style. He was also influenced by Brian Wilson, as he commented: “because he went to very unusual places”.[238] Another favourite bassist of his is Stanley Clarke.[239] McCartney’s skill as a bass player has been acknowledged by bassists including Sting, Dr. Dre bassist Mike Elizondo, and Colin Moulding of XTC.

During McCartney’s early years with the Beatles, he primarily used a Höfner 500/1 bass, although from 1965, he favoured his Rickenbacker 4001S for recording. While typically using Vox amplifiers, by 1967, he had also begun using a Fender Bassman for amplification.[242] During the late 1980s and early 1990s, he used a Wal 5-String, which he said made him play more thick-sounding basslines, in contrast to the much lighter Höfner, which inspired him to play more sensitively, something he considers fundamental to his playing style.[237] He changed back to the Höfner around 1990 for that reason.[237] He uses Mesa Boogie bass amplifiers while performing live.[243]

MacDonald identified “She’s a Woman” as the turning point when McCartney’s bass playing began to evolve dramatically, and Beatles biographer Chris Ingham singled out Rubber Soul as the moment when McCartney’s playing exhibited significant progress, particularly on “The Word”.[244] Bacon and Morgan agreed, calling McCartney’s groove on the track “a high point in pop bass playing and … the first proof on a recording of his serious technical ability on the instrument.”[245] MacDonald inferred the influence of James Brown’s “Papa’s Got a Brand New Bag” and Wilson Pickett’s “In the Midnight Hour”, American soul tracks from which McCartney absorbed elements and drew inspiration as he “delivered his most spontaneous bass-part to date”.[246]

Bacon and Morgan described his bassline for the Beatles song “Rain” as “an astonishing piece of playing … [McCartney] thinking in terms of both rhythm and ‘lead bass’ … [choosing] the area of the neck … he correctly perceives will give him clarity for melody without rendering his sound too thin for groove.”[247] MacDonald identified the influence of Indian classical music in “exotic melismas in the bass part” on “Rain” and described the playing as “so inventive that it threatens to overwhelm the track”.[248] By contrast, he recognised McCartney’s bass part on the Harrison-composed “Something” as creative but overly busy and “too fussily extemporised”.[249] McCartney identified Sgt. Pepper’s Lonely Hearts Club Band as containing his strongest and most inventive bass playing, particularly on “Lucy in the Sky with Diamonds”.

Acoustic guitar

McCartney primarily flatpicks while playing acoustic guitar, though he also uses elements of fingerpicking.[251] Examples of his acoustic guitar playing on Beatles tracks include “Yesterday”, “I’m Looking Through You”, “Michelle”, “Blackbird”, “I Will”, “Mother Nature’s Son” and “Rocky Raccoon”.[252] McCartney singled out “Blackbird” as a personal favourite and described his technique for the guitar part in the following way: “I got my own little sort of cheating way of [fingerpicking] … I’m actually sort of pulling two strings at a time … I was trying to emulate those folk players.”[251] He employed a similar technique for “Jenny Wren”.[253] He played an Epiphone Texan on many of his acoustic recordings, but also used a Martin D-28.

Electric guitar

McCartney played lead guitar on several Beatles recordings, including what MacDonald described as a “fiercely angular slide guitar solo” on “Drive My Car”, which McCartney played on an Epiphone Casino. McCartney said of the instrument: “if I had to pick one electric guitar it would be this.”[256] He contributed what MacDonald described as “a startling guitar solo” on the Harrison composition “Taxman” and the “shrieking” guitar on “Sgt. Pepper’s Lonely Hearts Club Band” and “Helter Skelter”. MacDonald also praised McCartney’s “coruscating pseudo-Indian” guitar solo on “Good Morning Good Morning”.[257] McCartney also played lead guitar on “Another Girl”.[258]

During his years with Wings, McCartney tended to leave electric guitar work to other group members,[259] though he played most of the lead guitar on Band on the Run.[260] In 1990, when asked who his favourite guitar players were he included Eddie Van Halen, Eric Clapton and David Gilmour, stating, “but I still like Hendrix the best”.[251] He has primarily used a Gibson Les Paul for electric work, particularly during live performances.

Vocals

McCartney is known for his belting power, versatility and wide tenor vocal range, spanning over four octaves.[261][262] He was ranked the 11th greatest singer of all time by Rolling Stone,[263] voted the 8th greatest singer ever by NME readers[264] and number 10 by Music Radar readers in the list of “the 30 greatest lead singers of all time”.[265] Over the years, McCartney has been named a significant vocal influence by Chris Cornell,[266] Billy Joel,[267] Steven Tyler,[268] Brad Delp,[269] and Axl Rose.[270]

McCartney’s vocals have crossed several music genres throughout his career. On “Call Me Back Again”, according to Benitez, “McCartney shines as a bluesy solo vocalist”, while MacDonald called “I’m Down” “a rock-and-roll classic” that “illustrates McCartney’s vocal and stylistic versatility”.[271] MacDonald described “Helter Skelter” as an early attempt at heavy metal, and “Hey Jude” as a “pop/rock hybrid”, pointing out McCartney’s “use of gospel-style melismas” in the song and his “pseudo-soul shrieking in the fade-out”.[272] Benitez identified “Hope of Deliverance” and “Put It There” as examples of McCartney’s folk music efforts while musicologist Walter Everett considered “When I’m Sixty-Four” and “Honey Pie” attempts at vaudeville.[273] MacDonald praised the “swinging beat” of the Beatles’ twenty-four bar blues song, “She’s a Woman” as “the most extreme sound they had manufactured to date”, with McCartney’s voice “at the edge, squeezed to the upper limit of his chest register and threatening to crack at any moment.”[274] MacDonald described “I’ve Got a Feeling” as a “raunchy, mid-tempo rocker” with a “robust and soulful” vocal performance and “Back in the U.S.S.R.” as “the last of [the Beatles’] up-tempo rockers”, McCartney’s “belting” vocals among his best since “Drive My Car”, recorded three years earlier.[275]

McCartney also teasingly tried out classical singing, namely singing various renditions of “Besame Mucho” with the Beatles. He continued experimenting with various musical and vocal styles throughout his post-Beatles career.[276][277][278][text–source integrity?] “Monkberry Moon Delight” was described by Pitchfork’s Jayson Greene as “an absolutely unhinged vocal take, Paul gulping and sobbing right next to your inner ear”, adding that “it could be a latter-day Tom Waits performance”.

Keyboards

McCartney played piano on several Beatles songs, including “She’s a Woman”, “For No One”, “A Day in the Life”, “Hello, Goodbye”, “Lady Madonna”, “Hey Jude”, “Martha My Dear”, “Let It Be” and “The Long and Winding Road”.[280] MacDonald considered the piano part in “Lady Madonna” as reminiscent of Fats Domino, and “Let It Be” as having a gospel rhythm.[281] MacDonald called McCartney’s Mellotron intro on “Strawberry Fields Forever” an integral feature of the song’s character.[282] McCartney played a Moog synthesizer on the Beatles song “Maxwell’s Silver Hammer” and the Wings track “Loup (1st Indian on the Moon)”.[283] Ingham described the Wings songs “With a Little Luck” and “London Town” as being “full of the most sensitive pop synthesizer touches”.

Drums

McCartney played drums on the Beatles’ songs “Back in the U.S.S.R.”, “Dear Prudence”, “Martha My Dear”, “Wild Honey Pie” and “The Ballad of John and Yoko”.[285] He also played all the drum parts on his first and second solo albums McCartney and McCartney II, as well as on the Wings album Band on the Run and most of the drums on his solo LP Chaos and Creation in the Backyard.[286] His other drumming contributions include Paul Jones’ rendition of “And the Sun Will Shine” (1968),[287] Steve Miller Band’s 1969 tracks “Celebration Song” and “My Dark Hour”,[288][289] and “Sunday Rain” from the Foo Fighters’ 2017 album Concrete and Gold.

Tape loops

In the mid-1960s, when visiting artist friend John Dunbar’s flat in London, McCartney brought tapes he had compiled at then-girlfriend Jane Asher’s home. They included mixes of various songs, musical pieces and comments made by McCartney that Dick James made into a demo for him.[291] Heavily influenced by American avant-garde musician John Cage, McCartney made tape loops by recording voices, guitars and bongos on a Brenell tape recorder and splicing the various loops. He referred to the finished product as “electronic symphonies”.[292] He reversed the tapes, sped them up, and slowed them down to create the desired effects, some of which the Beatles later used on the songs “Tomorrow Never Knows” and “The Fool on the Hill”.

Personal life

Creative outlets

While at school during the 1950s, McCartney thrived at art a*signments, often earning top accolades for his visual work. However, his lack of discipline negatively affected his academic grades, preventing him from earning admission to art college.[294] During the 1960s, he delved into the visual arts, explored experimental cinema, and regularly attended film, theatrical and classical music performances. His first contact with the London avant-garde scene was through artist John Dunbar, who introduced McCartney to art dealer Robert Fraser.[295] At Fraser’s flat he first learned about art appreciation and met Andy Warhol, Claes Oldenburg, Peter Blake, and Richard Hamilton.[296] McCartney later purchased works by Magritte, whose painting of an apple had inspired the Apple Records logo.[297] McCartney became involved in the renovation and publicising of the Indica Gallery in Mason’s Yard, London, which Barry Miles had co-founded and where Lennon first met Yoko Ono. Miles also co-founded International Times, an underground paper that McCartney helped to start with direct financial support and by providing interviews to attract advertiser income. Miles later wrote McCartney’s official biography, Many Years from Now (1997).[298]

McCartney became interested in painting after watching artist Willem de Kooning work in de Kooning’s Long Island studio.[299] McCartney took up painting in 1983, and he first exhibited his work in Siegen, Germany, in 1999. The 70-painting show featured portraits of Lennon, Andy Warhol and David Bowie.[300] Though initially reluctant to display his paintings publicly, McCartney chose the gallery because events organiser Wolfgang Suttner showed genuine interest in McCartney’s art.[301] In September 2000, the first UK exhibition of McCartney’s paintings opened, featuring 500 canvases at the Arnolfini Gallery in Bristol, England.[302] In October 2000, McCartney’s art debuted in his hometown of Liverpool. McCartney said, “I’ve been offered an exhibition of my paintings at the Walker Art Gallery … where John and I used to spend many a pleasant afternoon. So I’m really excited about it. I didn’t tell anybody I painted for 15 years but now I’m out of the closet”.[303] McCartney is lead patron of the Liverpool Institute for Performing Arts, a school in the building formerly occupied by the Liverpool Institute for Boys.[304]

When McCartney was a child, his mother read him poems and encouraged him to read books. His father invited Paul and his brother Michael to solve crosswords with him, to increase their “word power”, as McCartney said.[305] In 2001, McCartney published Blackbird Singing, a volume of poems and lyrics to his songs for which he gave readings in Liverpool and New York City.[306] In the foreword of the book, he explains: “When I was a teenager … I had an overwhelming desire to have a poem published in the school magazine. I wrote something deep and meaningful—which was promptly rejected—and I suppose I have been trying to get my own back ever since”.[307] His first children’s book was published by Faber & Faber in 2005, High in the Clouds: An Urban Furry Tail, a collaboration with writer Philip Ardagh and animator Geoff Dunbar. Featuring a squirrel whose woodland home is razed by developers, it had been scripted and sketched by McCartney and Dunbar over several years, as an animated film. The Observer labelled it an “anti-capitalist children’s book”.[308] In 2018, he wrote the children’s book Hey Grandude! together with illustrator Kathryn Durst, which was published by Random House Books in September 2019. The book is about a grandpa and his three grandchildren with a magic compass on an adventure.

In 1981, McCartney asked Geoff Dunbar to direct a short animated film called Rupert and the Frog Song; McCartney was the writer and producer, and he also added some of the character voices.[311] His song “We All Stand Together” from the film’s soundtrack reached No. 3 in the UK Singles Chart. In 1992, he worked with Dunbar on an animated film about the work of French artist Honoré Daumier, which won them a BAFTA award.[312] In 2004, they worked together on the animated short film Tropic Island Hum.[313] The accompanying single, “Tropic Island Hum”/”We All Stand Together”, reached number 21 in the UK.[314]

McCartney also produced and hosted The Real Buddy Holly Story, a 1985 documentary featuring interviews with Keith Richards, Phil and Don Everly, the Holly family, and others.[315] In 1995, he made a guest appearance on the Simpsons episode “Lisa the Vegetarian” and directed a short documentary about the Grateful Dead.

Business

Since the Rich List began in 1989, McCartney has been the UK’s wealthiest musician, with an estimated fortune of £730 million in 2015.[317] In addition to an interest in Apple Corps and MPL Communications, an umbrella company for his business interests, he owns a significant music publishing catalogue, with access to over 25,000 copyrights, including the publishing rights to the musicals Guys and Dolls, A Chorus Line, Annie and Grease.[318] He earned £40 million in 2003, the highest income that year within media professions in the UK.[319] This rose to £48.5 million by 2005.[320] McCartney’s 18-date On the Run Tour grossed £37 million in 2012.[321]

McCartney signed his first recording contract, as a member of the Beatles, with Parlophone Records, an EMI subsidiary, in June 1962. In the United States, the Beatles recordings were distributed by EMI subsidiary Capitol Records. The Beatles re-signed with EMI for another nine years in 1967. After forming their own record label, Apple Records, in 1968, the Beatles’ recordings would be released through Apple although the masters were still owned by EMI.[35] Following the break-up of the Beatles, McCartney’s music continued to be released by Apple Records under the Beatles’ 1967 recording contract with EMI which ran until 1976. Following the formal dissolution of the Beatles’ partnership in 1975, McCartney re-signed with EMI worldwide and Capitol in the US, Canada and Japan, acquiring ownership of his solo catalogue from EMI as part of the deal. In 1979, McCartney signed with Columbia Records in the US and Canada—reportedly receiving the industry’s most lucrative recording contract to date, while remaining with EMI for distribution throughout the rest of the world.[322] As part of the deal, CBS offered McCartney ownership of Frank Music, publisher of the catalogue of American songwriter Frank Loesser. McCartney’s album sales were below CBS’ expectations and reportedly the company lost at least $9 million on the contract.[323] McCartney returned to Capitol in the US in 1985, remaining with EMI until 2006.[324] In 2007, McCartney signed with Hear Music, becoming the label’s first artist. He remains there as of 2012’s Kisses on the Bottom.[325]

In 1963, Dick James established Northern Songs to publish the songs of Lennon–McCartney.[326] McCartney initially owned 20% of Northern Songs, which became 15% after a public stock offering in 1965. In 1969, James sold a controlling interest in Northern Songs to Lew Grade’s Associated Television (ATV) after which McCartney and John Lennon sold their remaining shares although they remained under contract to ATV until 1973. In 1972, McCartney re-signed with ATV for seven years in a joint publishing agreement between ATV and McCartney Music. Since 1979, MPL Communications has published McCartney’s songs.

McCartney and Yoko Ono attempted to purchase the Northern Songs catalogue in 1981, but Grade declined their offer. Soon afterward, ATV Music’s parent company, Associated Communications Corp., was acquired in a takeover by businessman Robert Holmes à Court, who later sold ATV Music to Michael Jackson in 1985. McCartney has criticised Jackson’s purchase and handling of Northern Songs over the years. In 1995, Jackson merged his catalogue with Sony for a reported £59,052,000 ($95 million), establishing Sony/ATV Music Publishing, in which he retained half-ownership.[327] Northern Songs was formally dissolved in 1995, and absorbed into the Sony/ATV catalogue.[328] McCartney receives writers’ royalties which together are 33⅓ percent of total commercial proceeds in the US, and which vary elsewhere between 50 and 55 percent.[329] Two of the Beatles’ earliest songs—”Love Me Do” and “P.S. I Love You”—were published by an EMI subsidiary, Ardmore & Beechwood, before signing with James. McCartney acquired their publishing rights from Ardmore in 1978, and they are the only two Beatles songs owned by MPL Communications.

Drugs

McCartney first used drugs in the Beatles’ Hamburg days when they often used Preludin to maintain their energy while performing for long periods.[331] Bob Dylan introduced them to marijuana in a New York hotel room in 1964; McCartney recalls getting “very high” and “giggling uncontrollably”.[332] His use of the drug soon became habitual, and according to Miles, McCartney wrote the lyrics “another kind of mind” in “Got to Get You into My Life” specifically as a reference to cannabis.[333] During the filming of Help!, McCartney occasionally smoked a joint in the car on the way to the studio during filming, and often forgot his lines.[334] Director Richard Lester overheard two physically attractive women trying to persuade McCartney to use heroin, but he refused.[334] Introduced to cocaine by Robert Fraser, McCartney used the drug regularly during the recording of Sgt. Pepper’s Lonely Hearts Club Band, and for about a year in total but stopped because of his dislike of the unpleasant melancholy he felt afterwards.[335]

Initially reluctant to try LSD, McCartney eventually did so in late 1966, and took his second “acid trip” in March 1967 with Lennon after a Sgt. Pepper studio session.[336] He later became the first Beatle to discuss the drug publicly, declaring: “It opened my eyes … [and] made me a better, more honest, more tolerant member of society.”[337] He made his attitude about cannabis public in 1967, when he, along with the other Beatles and Epstein, added his name to a July advertisement in The Times, which called for its legalisation, the release of those imprisoned for possession, and research into marijuana’s medical uses.[338]

In 1972, a Swedish court fined McCartney £1,000 for cannabis possession. Soon after, Scottish police found marijuana plants growing on his farm, leading to his 1973 conviction for illegal cultivation and a £100 fine. As a result of his drug convictions, the US government repeatedly denied him a visa until December 1973.[339] Arrested again for marijuana possession in 1975 in Los Angeles, Linda took the blame, and the court soon dismissed the charges. In January 1980, when Wings flew to Tokyo for a tour of Japan, customs officials found approximately 8 ounces (200 g) of cannabis in his luggage. They arrested McCartney and brought him to a local jail while the Japanese government decided what to do. After ten days, they released and deported him without charge.[340] In 1984, while McCartney was on holiday in Barbados, authorities arrested him for possession of marijuana and fined him $200.[341] Upon his return to England, he stated: “cannabis is … less harmful than rum punch, whiskey, nicotine and glue, all of which are perfectly legal … I don’t think … I was doing anyone any harm whatsoever.”[342] In 1997, he spoke out in support of decriminalisation of the drug: “People are smoking pot anyway and to make them criminals is wrong.”[295] He did, however, decide to quit cannabis in 2015, citing a desire to set a good example for his grandchildren.

Vegetarianism and activism

Since 1975, McCartney has been a vegetarian.[344][345] He and his wife Linda were vegetarians for most of their 29-year marriage. They decided to stop consuming meat after Paul saw lambs in a field as they were eating a meal of lamb. Soon after, the couple became outspoken animal rights activists.[346] In his first interview after Linda’s death, he promised to continue working for animal rights, and in 1999, he spent £3,000,000 to ensure Linda McCartney Foods remained free of genetically engineered ingredients.[347] In 1995, he narrated the documentary Devour the Earth, written by Tony Wardle.[348] McCartney is a supporter of the animal-rights organisation People for the Ethical Treatment of Animals. He has appeared in the group’s campaigns, and in 2009, McCartney narrated a video for them titled “Glass Walls”, which was harshly critical of slaughterhouses, the meat industry, and their effect on animal welfare.[349][350][351] McCartney has also supported campaigns headed by the Humane Society of the United States, Humane Society International, World Animal Protection, and the David Shepherd Wildlife Foundation.[352][353]

Following McCartney’s marriage to Mills, he joined her in a campaign against land mines, becoming a patron of Adopt-A-Minefield.[354] In a 2003 meeting at the Kremlin with Vladimir Putin, ahead of a concert in Red Square, McCartney and Mills urged Russia to join the anti-landmine campaign.[355] In 2006, the McCartneys travelled to Prince Edward Island to raise international awareness of seal hunting. The couple debated with Danny Williams, Newfoundland’s then Premier, on Larry King Live, stating that fishermen should stop hunting seals and start seal-watching businesses instead.[356] McCartney also supports the Make Poverty History campaign.[357]

McCartney has participated in several charity recordings and performances, including the Concerts for the People of Kampuchea, Ferry Aid, Band Aid, Live Aid, Live 8, and the recording of “Ferry Cross the Mersey”.[358] In 2004, he donated a song to an album to aid the “US Campaign for Burma”, in support of Burmese Nobel Prize winner Aung San Suu Kyi. In 2008, he donated a song to Aid Still Required’s CD, organised as an effort to raise funds to a*sist with the recovery from the devastation caused in Southeast Asia by the 2004 tsunami.[359]

In 2009, McCartney wrote to Tenzin Gyatso, the 14th Dalai Lama, asking him why he was not a vegetarian. As McCartney explained, “He wrote back very kindly, saying, ‘my doctors tell me that I must eat meat’. And I wrote back again, saying, you know, I don’t think that’s right … I think he’s now being told … that he can get his protein somewhere else … It just doesn’t seem right—the Dalai Lama, on the one hand, saying, ‘Hey guys, don’t harm sentient beings … Oh, and by the way, I’m having a steak.’”[360] In 2012, McCartney joined the anti-fracking campaign Artists Against Fracking.[361]

Save the Arctic is a campaign to protect the Arctic and an international outcry and a renewed focus concern on oil development in the Arctic, attracting the support of more than five million people. This includes McCartney, Archbishop Desmond Tutu and 11 Nobel Peace Prize winners.[362][363] In 2015, following British prime minister David Cameron’s decision to give Members of Parliament a free vote on amending the law against fox hunting, McCartney was quoted: “The people of Britain are behind this Tory government on many things but the vast majority of us will be against them if hunting is reintroduced. It is cruel and unnecessary and will lose them support from ordinary people and animal lovers like myself.”[364] During the 2019–20 coronavirus pandemic, McCartney called for Chinese wet markets (which sell live animals including wild ones) to be banned. He expressed concern over both the health impacts of the practice as well as its cruelty to animals.

Meditation

In August 1967, McCartney met Maharishi Mahesh Yogi at the London Hilton and later went to Bangor in North Wales to attend a weekend initiation conference, where he and the other Beatles learned the basics of Transcendental Meditation.[366] He said, “The whole meditation experience was very good and I still use the mantra … I find it soothing.”[367] In 2009, McCartney and Starr headlined a benefit concert at Radio City Music Hall, raising three million dollars for the David Lynch Foundation to fund instruction in Transcendental Meditation for at-risk youth.

Football

McCartney has publicly professed support for Everton and has also shown favour for Liverpool.[369] In 2008, he ended speculation about his allegiance when he said: “Here’s the deal: my father was born in Everton, my family are officially Evertonians, so if it comes down to a derby match or an FA Cup final between the two, I would have to support Everton. But after a concert at Wembley Arena I got a bit of a friendship with Kenny Dalglish, who had been to the gig and I thought ‘You know what? I am just going to support them both because it’s all Liverpool.’”[

Relationships

Girlfriends

Dot Rhone

McCartney’s first serious girlfriend in Liverpool was Dot Rhone, whom he met at the Casbah club in 1959.[371] According to Spitz, Rhone felt that McCartney had a compulsion to control situations. He often chose clothes and makeup for her, encouraging her to grow her hair out like Brigitte Bardot’s, and at least once insisting she have it restyled, to disappointing effect.[372] When McCartney first went to Hamburg with the Beatles, he wrote to Rhone regularly, and she accompanied Cynthia Lennon to Hamburg when they played there again in 1962.[373] The couple had a two-and-a-half-year relationship, and were due to marry until Rhone’s miscarriage. According to Spitz, McCartney, now “free of obligation”, ended the engagement.

Jane Asher

McCartney first met British actress Jane Asher on 18 April 1963 when a photographer asked them to pose at a Beatles performance at the Royal Albert Hall in London.[375] The two began a relationship, and in November of that year he took up residence with Asher at her parents’ home at 57 Wimpole Street, London.[376] They had lived there for more than two years before the couple moved to McCartney’s own home in St. John’s Wood in March 1966.[377] He wrote several songs while living at the Ashers’, including “Yesterday”, “And I Love Her”, “You Won’t See Me” and “I’m Looking Through You”, the latter three having been inspired by their romance.[378] They had a five-year relationship and planned to marry, but Asher broke off the engagement after she discovered he had become involved with Francie Schwartz,[379] an American screenwriter who moved to London at age 23 thinking she could sell a script to the Beatles. She met McCartney and he invited her to move into his London house, where events ensued that possibly broke up him and Asher.

Wives

Linda Eastman

Linda Eastman was a music fan who once commented, “all my teen years were spent with an ear to the radio.”[381] At times, she played hooky to see artists such as Fabian, Bobby Darin and Chuck Berry.[381] She became a popular photographer with several rock groups, including the Jimi Hendrix Experience, the Grateful Dead, the Doors and the Beatles, whom she first met at Shea Stadium in 1966. She commented, “It was John who interested me at the start. He was my Beatle hero. But when I met him the fascination faded fast, and I found it was Paul I liked.”[382] The pair first met properly in 1967 at a Georgie Fame concert at The Bag O’Nails club, during her UK a*signment to photograph rock musicians in London. As Paul remembers, “The night Linda and I met, I spotted her across a crowded club, and although I would normally have been nervous chatting her up, I realised I had to … Pushiness worked for me that night!”[383] Linda said this about their meeting: “I was quite shameless really. I was with somebody else [that night] … and I saw Paul at the other side of the room. He looked so beautiful that I made up my mind I would have to pick him up.”[382] The pair married in March 1969. About their relationship, Paul said, “We had a lot of fun together … just the nature of how we aren’t, our favourite thing really is to just hang, to have fun. And Linda’s very big on just following the moment.”[384] He added, “We were crazy. We had a big argument the night before we got married, and it was nearly called off … [it’s] miraculous that we made it. But we did.”[385]

After the break-up of the Beatles, the two collaborated musically and formed Wings in 1971.[386] They faced derision from some fans and critics, who questioned her inclusion. She was nervous about performing with Paul, who explained, “she conquered those nerves, got on with it and was really gutsy.”[387] Paul defended her musical ability: “I taught Linda the basics of the keyboard … She took a couple of lessons and learned some bluesy things … she did very well and made it look easier than it was … The critics would say, ‘She’s not really playing’ or ‘Look at her—she’s playing with one finger.’ But what they didn’t know is that sometimes she was playing a thing called a Minimoog, which could only be played with one finger. It was monophonic.”[387] He went on to say, “We thought we were in it for the fun … it was just something we wanted to do, so if we got it wrong—big deal. We didn’t have to justify ourselves.”[387] Former Wings guitarist McCullough said of collaborating with Linda, “trying to get things together with a learner in the group didn’t work as far as I was concerned.”[388]

They had four children—Linda’s daughter Heather (legally adopted by Paul), Mary, Stella and James—and remained married until Linda’s death from breast cancer at age 56 in 1998.[389] After Linda died, Paul said, “I got a counsellor because I knew that I would need some help. He was great, particularly in helping me get rid of my guilt [about wishing I’d been] perfect all the time … a real bugger. But then I thought, hang on a minute. We’re just human. That was the beautiful thing about our marriage. We were just a boyfriend and girlfriend having babies.”

Heather Mills

In 2002, McCartney married Heather Mills, a former model and anti-landmine campaigner.[391] In 2003, the couple had a child, Beatrice Milly, named in honour of Mills’s late mother and one of McCartney’s aunts.[174] They separated in April 2006 and divorced acrimoniously in March 2008.[392] In 2004, he commented on media animosity toward his partners: “[the British public] didn’t like me giving up on Jane Asher … I married [Linda], a New York divorcee with a child, and at the time they didn’t like that”.

Nancy Shevell

McCartney married New Yorker Nancy Shevell in a civil ceremony at Marylebone Town Hall, London, on 9 October 2011. The wedding was a modest event attended by a group of about 30 relatives and friends.[193] The couple had been together since November 2007.[394] Shevell is vice president of a family-owned transportation conglomerate which owns New England Motor Freight.[395] She is a former member of the board of the New York area’s Metropolitan Transportation Authority.[396] Shevell is about 18 years younger than McCartney.[397] They had known each other for about 20 years prior to marrying, having met because both had homes in the Hamptons.

Beatles

John Lennon

Though McCartney had a strained relationship with Lennon, they briefly became close again in early 1974, and played music together on one occasion.[398] In later years, the two grew apart.[399] McCartney often phoned Lennon, but was apprehensive about the reception he would receive. During one call, Lennon told him, “You’re all pizza and fairytales!”[400] In an effort to avoid talking only about business, they often spoke of cats, babies, or baking bread.[401]

On 24 April 1976, McCartney and Lennon were watching an episode of Saturday Night Live at Lennon’s home in the Dakota when Lorne Michaels made a $3,000 cash offer for the Beatles to reunite. While they seriously considered going to the SNL studio a few blocks away, they decided it was too late. This was their last time together.[402] VH1 fictionalised this event in the 2000 television film Two of Us.[403] McCartney’s last telephone call to Lennon, days before Lennon and Ono released Double Fantasy, was friendly: “[It is] a consoling factor for me, because I do feel it was sad that we never actually sat down and straightened our differences out. But fortunately for me, the last phone conversation I ever had with him was really great, and we didn’t have any kind of blow-up”, he said.

Reaction to Lennon’s murder

On 9 December 1980, McCartney followed the news that Lennon had been murdered the previous night; Lennon’s death created a media frenzy around the surviving members of the band.[406] McCartney was leaving an Oxford Street recording studio that evening when he was surrounded by reporters who asked him for his reaction; he responded: “It’s a drag”. The press quickly criticised him for what appeared to be a superficial response.[407] He later explained, “When John was killed somebody stuck a microphone at me and said: ‘What do you think about it?’ I said, ‘It’s a dra-a-ag’ and meant it with every inch of melancholy I could muster. When you put that in print it says, ‘McCartney in London today when asked for a comment on his dead friend said, “It’s a drag”.’ It seemed a very flippant comment to make.”[407] He described his first exchange with Ono after the murder, and his last conversation with Lennon:

 

I talked to Yoko the day after he was killed, and the first thing she said was, “John was really fond of you.” The last telephone conversation I had with him we were still the best of mates. He was always a very warm guy, John. His bluff was all on the surface. He used to take his glasses down, those granny glasses, and say, “it’s only me.” They were like a wall you know? A shield. Those are the moments I treasure.

In 1983, McCartney said: “I would not have been as typically human and standoffish as I was if I knew John was going to die. I would have made more of an effort to try and get behind his ‘mask’ and have a better relationship with him.”[407] He said that he went home that night, watched the news on television with his children and cried most of the evening. In 1997, he said that Lennon’s death made the remaining ex-Beatles nervous that they might also be murdered.[408] He told Mojo magazine in 2002 that Lennon was his greatest hero.[409] In 1981, McCartney sang backup on Harrison’s tribute to Lennon, “All Those Years Ago”, which featured Starr on drums.[410] McCartney released “Here Today” in 1982, a song Everett described as “a haunting tribute” to McCartney’s friendship with Lennon

George Harrison

Discussing his relationship with McCartney, Harrison said: “Paul would always help along when you’d done his ten songs—then when he got ’round to doing one of my songs, he would help. It was silly. It was very selfish, actually … There were a lot of tracks, though, where I played bass … because what Paul would do—if he’d written a song, he’d learn all the parts for Paul and then come in the studio and say (sometimes he was very difficult): ‘Do this’. He’d never give you the opportunity to come out with something.”[412]

After Harrison’s death in November 2001, McCartney said he was “a lovely guy and a very brave man who had a wonderful sense of humour”. He went on to say: “We grew up together and we just had so many beautiful times together – that’s what I am going to remember. I’ll always love him, he’s my baby brother.”[413] On the first anniversary of his death, McCartney played Harrison’s “Something” on a ukulele at the Concert for George; he would perform this rendition of the song on many subsequent solo tours.[414] He also performed “For You Blue” and “All Things Must Pass”, and played the piano on Eric Clapton’s rendition of “While My Guitar Gently Weeps”.

Ringo Starr

During a recording session for The Beatles in 1968, the two got into an argument over McCartney’s critique of Starr’s drum part for “Back in the U.S.S.R.”, which contributed to Starr temporarily leaving the band.[416] Starr later commented on working with McCartney: “Paul is the greatest bass player in the world. But he is also very determined … [to] get his own way … [thus] musical disagreements inevitably arose from time to time.”[417]

McCartney and Starr collaborated on several post-Beatles projects, starting in 1973 when McCartney contributed instrumentation and backing vocals for “Six O’Clock”, a song McCartney wrote for Starr’s album Ringo.[418] McCartney played a kazoo solo on “You’re Sixteen” from the same album.[419] Starr appeared (as a fictional version of himself) in McCartney’s 1984 film Give My Regards to Broad Street, and played drums on most tracks of the soundtrack album, which includes re-recordings of several McCartney-penned Beatles songs. Starr played drums and sang backing vocals on “Beautiful Night” from McCartney’s 1997 album Flaming Pie. The pair collaborated again in 1998, on Starr’s Vertical Man, which featured McCartney’s backing vocals on three songs, and instrumentation on one.[420] In 2009, the pair performed “With a Little Help from My Friends” at a benefit concert for the David Lynch Foundation.[421] They collaborated on Starr’s album Y Not in 2010. McCartney played bass on “Peace Dream”, and sang a duet with Starr on “Walk with You”.[422] On 7 July 2010, Starr was performing at Radio City Music Hall in New York with his All-Starr Band in a concert celebrating his seventieth birthday. After the encores, McCartney made a surprise appearance, performing the Beatles’ song “Birthday” with Starr’s band.[423] On 26 January 2014, McCartney and Starr performed “Queenie Eye” from McCartney’s new album New at the 56th Annual Grammy Awards.[424] McCartney inducted Starr into the Rock and Roll Hall of Fame in April 2015, and played bass on his 2017 album Give More Love. On 16 December 2018, Starr and Ronnie Wood joined McCartney onstage to perform “Get Back” at his concert at London’s O2 Arena. Starr also made an appearance on the final day of McCartney’s Freshen Up tour in July 2019, performing “Sgt. Pepper’s Lonely Hearts Club Band (Reprise)” and “Helter Skelter”.

Legacy

Achievements

McCartney was inducted into the Rock and Roll Hall of Fame in 1988 as a member of the Beatles and again as a solo artist in 1999. In 1979, the Guinness Book of World Records recognised McCartney as the “most honored composer and performer in music”, with 60 gold discs (43 with the Beatles, 17 with Wings) and, as a member of the Beatles, sales of over 100 million singles and 100 million albums, and as the “most successful song writer”, he wrote jointly or solo 43 songs which sold one million or more records between 1962 and 1978.[426] In 2009, Guinness World Records again recognised McCartney as the “most successful songwriter” having written or co-written 188 charted records in the United Kingdom, of which 91 reached the top 10 and 33 made it to number one.

McCartney has written, or co-written, 32 number-one singles on the Billboard Hot 100: twenty with the Beatles; seven solo or with Wings; one as a co-writer of “A World Without Love”, a number-one single for Peter and Gordon; one as a co-writer on Elton John’s cover of “Lucy in the Sky with Diamonds”; one as a co-writer on Stars on 45’s “Medley”; one as a co-writer with Michael Jackson on “Say Say Say”; and one as writer on “Ebony and Ivory” performed with Stevie Wonder.[428] As of 2009, he has 15.5 million RIAA certified units in the United States as a solo artist plus another 10 million with Wings.[429]

Credited with more number ones in the UK than any other artist, McCartney has participated in twenty-four chart topping singles: seventeen with the Beatles, one solo, and one each with Wings, Stevie Wonder, Ferry Aid, Band Aid, Band Aid 20 and “The Christians et al.”[430][nb 44] He is the only artist to reach the UK number one as a soloist (“Pipes of Peace”), duo (“Ebony and Ivory” with Wonder), trio (“Mull of Kintyre”, Wings), quartet (“She Loves You”, the Beatles), quintet (“Get Back”, the Beatles with Billy Preston) and as part of a musical ensemble for charity (Ferry Aid).[432]

“Yesterday” is one of the most covered songs in history with more than 2,200 recorded versions, and according to the BBC, “the track is the only one by a UK writer to have been aired more than seven million times on American TV and radio and is third in the all-time list … [and] is the most played song by a British writer [last] century in the US”.[433] His 1968 Beatles composition “Hey Jude” achieved the highest sales in the UK that year and topped the US charts for nine weeks, which is longer than any other Beatles single. It was also the longest single released by the band and, at seven minutes eleven seconds, was at that time the longest number one.[434] “Hey Jude” is the best-selling Beatles single, achieving sales of over five million copies soon after its release.[435][nb 45]

In July 2005, McCartney’s performance of “Sgt. Pepper’s Lonely Hearts Club Band” with U2 at Live 8 became the fastest-released single in history. Available within forty-five minutes of its recording, hours later it had achieved number one on the UK Official Download Chart.

Awards and honours

  • 1971: Academy Award winner (as a member of the Beatles)
  • 18-time Grammy Award winner:
    • Nine as a member of the Beatles
    • Six as a solo artist
    • Two as a member of Wings
    • One as part of a joint collaboration
  • Two-time inductee – Rock and Roll Hall of Fame:
    • Class of 1988 as a member of the Beatles
    • Class of 1999 as a solo artist
  • 1965: Member of the Order of the British Empire
  • 1988: Honorary Doctor of the University degree from University of Sussex
  • 1997: Knighted by Queen Elizabeth II for services to music
  • 2000: Fellowship into the British Academy of Songwriters, Composers and Authors
  • 2008: BRIT Award for Outstanding Contribution to Music
  • 2008: Honorary Doctor of Music degree from Yale University
  • 2010: Gershwin Prize for his contributions to popular music
  • 2010: Kennedy Center Honors
  • 2012: Star on the Hollywood Walk of Fame
  • 2012: Légion d’Honneur for his services to music
  • 2012: MusiCares Person of the Year
  • 2015: 4148 McCartney, asteroid named after him by the (International Astronomical Union’s Minor Planet Center)
  • 2017: Appointed Member of the Order of the Companions of Honour (CH) in the 2017 Birthday Honours for services to music

 


Breaking Up Is Hard To Do

By Howard Greenfield & Neil Sedaka
Neil Sedaka, Shelly Fabares
Key: F

1 4 4 4 4 4 4
You tell me that you’re leav-ing
4 -5* 4 4 -3* 4
I can’t be-lieve it’s true,
-3 -3 -3 -3 -3 -1 -2 -3 3
Girl, there’s just no liv-ing with-out you
4 4 4 4 4 4 -5 -3*
Don’t take your love a-way from me
4 4 4 4 4 4 6 5 -3*
Don’t you leave my heart in mis-er-y
-3 -3 -3 -3 -3 -3 -3
‘If you go then I’ll be blue
-3 -3 -3 -3 -2 -5 5
Break-ing up is hard to do

5 5 5 5 5 5 -5 -3*
Re-mem-ber when you held me tight
5 5 5 5 5 -6 5 -3*
And you kissed me all through the night
-3 -3 -3 -3 -3 3 -2
Think of all that we’ve been through
-3 -3 3 3 -2 2-1 -2
Break-ing up is hard to do

1 -2 3 3* -3* 4 -3* 4 4 -3*
They say that break-ing up is hard to do
-3* 4 3 -1 -3* -3* 4 -3*
Now I know I know that it’s true
-3* -3*-2* 3* -3* 4* -3* 3*
Don’t say that this is the end
-2 -2 -2 -2* 3 3*
In-stead of break-ing up
3* -3 -3* 4 4 -3* -3 -3 -3 3
I wish that we were mak-ing up a-gain

4 6-5 5 5 5 -6 5 -3*4
I beg of you, don’t say good-bye
4 4 4 4 4 4 4 -3* -3*
Can’t we give our love a brand new try?
-33-2 -3 -3 -33-2 -3 -3 3 -2
Yeah, come on babe, let’s start a-new
3 -3* -3* -3 -3 -2 3 -2
‘Cause break-ing up is hard to do

They say that breaking up is hard to do
Now I know I know that it’s true
Don’t say that this is the end
Instead of breaking up I wish that we were making up again

I beg of you
Don’t say goodbye
Can’t we give our love another try?
Come on baby, let’s start anew
Since breaking up is hard to do


Cold, Cold Heart (chromatic)

By Hank Williams
Key: F

4 4 -3* -3* -3 -3
I tried so hard my dear
3 3 -2 -2 1 -1 1 2
to show that you’re my ev’-ry dream
6 6 -5 -5 4 4 -4 -3*
Yet you’re a-fraid each thing I do
-1 2 -3* -3 3* -3
is just some e-vil scheme.
4 4 -3* -3* -3 -3 3 3
A mem-‘ry from your lone-some past
-2 -3 -3 -3* 4 -5
keeps us so far a-part

6 6 -5 -5 4 4 -4 -3*
Why can’t I free your doubt-ful mind
-1 2 -3* -3 3 -2
and melt your cold, cold heart
4 4 -3* -3* -3 -3 3 3
An-oth-er love be-fore my time
-2 -2 1 -1 1 2
made your heart sad and blue
6 6 -5 -5 4 4 -4 -3*
And so my heart is pay-ing now
-1 2 -3* -3 3* -3
for things I did-n’t do
4 4 -3* -3* -3 -3 3 3
In an-ger un-kind words are said
-2 -3 -3 -3* 4 -5
that make the tear-drops start
6 6 -5 -5 4 4 -4 -3*
Why can’t I free your doubt-ful mind
-1 2 -3* -3 3 (-33)-2
and melt your cold, cold heart.

( ) means grace note


Cold Cold Heart (For Tarzan)

Cold Cold Heart Hank Williams

Hey Y’all its Tin Man again giving you one of Country
Music’s big hits and a legendary classic
Tarzan has requested I do this so
TYLER! THIS ONE’S DEDICATED TO YOU!!!!

YOUR GONNA NEED a F HARP TO PLAY THIS!

DON’T FORGET TO VOTE AND ADD TO FAVOURITES!

6 6 -5 -5 5 5
I tried so hard my dear

-4 -4 4 4 3 3 3 -3
to show that you’re my ev’-ry dream

-7 -7 -6 -6 6 6 -5 -5
Yet you’re a-fraid each thing I do

-3 -3 -5 5 -4 5 6 6 -5 -5 5
is just some e-vil scheme a mem-‘ry from your

5 -4 -4 4 5 5 -5 6 -6
lone-some past keeps us so far a-part

-7 -7 -6 -6 6 6 -5 -5
Why can’t I free your doubt-ful mind

-3 -3 -5 5 -4 4
and melt your cold, cold heart

6 6 -5 -5 5 5 -4 -4
An-oth-er love be-fore my time

4 4 3 3 3 -3
made your heart sad and blue

-7 -7 -6 -6 6 6 -5 -5
And so my heart is pay-ing now

-3 -3 -5 5 -4 5
for things I did-n’t do

6 6 -5 -5 5 5 -4 -4
In an-ger un-kind words are said

4 5 5 -5 6 -6
that make the tear-drops start

-7 -7 -6 -6 6 6 -5 -5
Why can’t I free your doubt-ful mind

-3 -3 -5 5 -4 4
and melt your cold, cold heart!!


Cold Cold Heart

Originally by Hank Williams
But better know by the public by Norah Jones

6 6 -5 -5 5 5
I tried so hard, my dear,
-4 -4 4 4 3
to show that you’re my
3 3 -3
ev’-ry dream,
-7 -7 -6 -6
Yet you’re a-fraid
6 6 -5 -5
each thing I do
-3 -3 -5 5 -4 5
is just some e-vil scheme;
6 6 -5 -5 5
A mem-‘ry from your
5 -4 -4
lone-some past
4 5 5 -5 6 -6
keeps us so far a-part,
-7 -7 -6 -6 6
Why can’t I free your
6 -5 -5
doubt-ful mind
-3 -3 -5 5 -4 4
and melt your cold, cold heart.
6 6 -5 -5 5 5 -4 -4
An-oth-er love be-fore my time
4 4 3 3 3 -3
made your heart sad and blue,
-7 -7 -6 -6 6 6 -5 -5
And so my heart is pay-ing now
-3 -3 -5 5 -4 5
for things I did-n’t do.
6 6 -5 -5 5
In an-ger, un-kind
5 -4 -4
words are said
4 5 5 -5 6 -6
that make the tear-drops start,
-7 -7 -6 -6 6
Why can’t I free your
6 -5 -5
doubt-ful mind
-3 -3 -5 5 -4 4
and melt your cold, cold heart.


Honey Part 2

5 6 5 6 5 -6 6 6
She wrecked the car and she was sad,

5 6 5 6 5 -6 6 6
And so afraid that I’d be mad,

5 -4 5 -5
But what the heck.

-4 -5 -4 -5 -4 6 -5 5
Though I pretended hard to be,

-4 -5 -4 -5 -4 6 -5 5
Guess you could say she saw through me,

-4 4 -4 5
And hugged my neck.

5 6 5 6 5 -6 6 6
I came home unexpectedly,

5 6 5 6 5 -6 6 6
And found her cryin’ needlessly,

5 5 -4 -4 5 5 -5
In the middle of the day.

-4 -5 -4 -5 -4 6 -5 -5
And it was in the early Spring,

-4 -5 -4 -5 -4 6 -5 5
When flowers bloom and robins sing,

-4 4 -4 5
She went away.

4 4 -4 5 5 -4
And honey, I miss you,

-3 -3 4 -4 4
And I’m bein’ good,

4 4 4 -4 5 5 -4
And I’d love to be with you,

-3 -3 4 -4 4
If only I could.

6 5 6 5 -6 6 6
One day while I was not at home,

5 6 5 6 5 -6 6 6
While she was there and all alone,

5 -4 5 -5
The angels came.

-4 -5 -4 -5 -4 6 -5 5
Now all I have are memories,

-4 -5 -4 -5 -4 6 -5 5
Of Honey And I wake up nights,

-4 4 -4 5
And call her name.

6 5 6 5 -6 6 6
Now my life’s an empty stage,

5 6 5 6 5 -6 6 6
Where Honey lived and Honey played,

5 -4 5 -5
And love grew up.

-4 -5 -4 -5 -4 6 -5 -5
A small cloud passes overhead,

-4 -5 -4 -5 -4 6 -5 5
And cries down on the flower bed,

-4 4 -4 5
That Honey loved.

FADE OUT
5 6 5 6 5 -6 6 6
And see the tree how big it’s grown,
5 6 5 6 5 -6 6 6
But friend it hasn’t been too long,
5 -4 5 -5
It wasn’t big.
-5 -5 -4 -5 -4 6 -5 5
I laughed at her and she got mad,
-4 -5 -4 -5 -4 6 -5 5
The first day that she planted it,
-4 4 -4 5
Was just a twig.


Heartbreaker (chromatic)

Led Zeppelin
Key: A

|-3 4 -5-5*63|-3-3-3-34 -5-5*63| (4X)

-7 -7 7 -7 7 -7 -7 8
Hey fel-las have you heard the news?
7 7 7 7 7 7 7 -7
You know that An-nie’s back in town?
7 7 -7 -7 -7 8 8 8
It won’t take long just watch and see
-7 7 -7 7 -7 7 8 7 -7 7
How the fel-las lay their mon-ey down.
7 -7 7 -7 -7 7 -7 -7 7 8
Her style is new but the face is the same
7 7 7 7 -7 -7 -77
As it was so long a- go
7 -7 -7 8 7 7 -7 -7
But from her eyes a dif-f’rent smile
7 7 7 7 7 -77-7
Like that of one who knows.

|-3-5 -3 -5 -3-7|

-7 -7 7 -7 7 -7 -7 8
It’s been ten years and may-be more
7 7 7 7 7 7 -7
Since I first set eyes on you;
7 7 -7 -7 -7 8 8 8
The best years of my life gone by
-7 7 -7 7 8 7 -7 7
Here I am a-lone and blue.
7 -7 7 -7 -7 7 -7 -7 8
Some peo-ple cry and some peo-ple die
7 7 7 7 -7 -7 -7 7
By the wick-ed ways of love;
7 -7 -7 8 7 7 -7 -7 -7
But I’ll just keep on roll-in’ a-long
7 7 7 7 7 7 7 -77-7
With the grace of the Lord a-bove.

|-3-5 -3 -5 -3-7|

5 5 -5* -5* -6 -6 7
Peo-ple talk-in’ all a-round
-3* -4 5 5 -5* -5* -6
’bout the way you left me flat,
5 5 -5* -6 -5* 7 -6 -5*
I don’t care what the peo-ple say,
-3* 5 5 5 -5* 5 5
I know where their jive is at.

|5 -5* -6-6*7-3* |5555-5* -6-6*7-3*|

-5 -5 -5 -6 -6 7 7 -7
One thing I do have on my mind,
5 5 5* -5 -5 -6 -6 -77
if you can clar-i-fy please do,
6 6 6 6 7 7
It’s the way you call me
7 -7 -7 -7 -8
An-oth-er guy’s name
-5 -5 6 6 6 -8 -8 -8-7
when I try to make love to you!

|5 -5* -6-6*7-3* |5555-5* -6-6*7-3*|

7 7 7 7 7 7 -7
Work so hard I can’t un-wind,
7 7 -7 -7 -7
Get some mon-ey saved;
7 7 7 7 7 7 7 -7
A-buse my love a thous-and times,
-6* 7 7 -7 -7 -77
How-ev-er hard I try.
7 7 7 7 7 7 -7
Heart-break-er, your time has come,
-7 7 -7 -7 -7 8
Can’t take your e-vil ways;
7 7 -7 8 -7 -7
Go a-way, heart-break-er.

|-3-5 -3-5 -3-7|-3 5 -5-5*63|
|-3-3-3-35 -5-5*63|-3 5-5-5*63|


Heartbreaker

The correct words (tabbed) do not fit
quite right with the attached midi.
(edit): The midi’s gone. I attached a You Tube vid.

The time signature for this song is 3 / 4.

It isn’t right, but here’s a decent
Intro:

-3 (-3 -4)
1 /8 note Play a pattern similar to the
Pattern in the midi: Ya know-
That lively part. (twice)

3 (3 4)
Play same pattern as above.

(-1 -2) (1 2)
6 quarter notes. 5 beats or so.

(-3 -4) (4 5)
Hold for 3 beats. 1 /8 note, quarter rest.

(-3 -4) (4 5)
As above.

(3 4)(-3 -4) (3 4)(-3 -4)
As above.

(-1 -2)
Hold for 3 beats or so.

Song:
5 6 -6 6 -6 6 -7
Once I had a lit-tle girl

-4 6 -4 6 -7 7 -7 7 -7 -6
Some-times I think a- bout her

-4 -6 -6
But, bud-dy

6 5 6 6 6 5 6 5 -4
She’s not real-ly there

5 – 6 -6 6 -7
When mem-‘ries do call

5 -7 5 -7 -6 6 5 -7 -6
I just, I just can’t live with-out her

5 -6 -6 6 -6
But tryin’ all the time

5 6 6 6 -5 6 -6 6
Is so hard to bear

Chorus
-6 -6 -7 -6 -6 -7
Heart break-er, can’t take her

-6 -6 -7 -7 -6 6 -7
Heart break-er, bring-in’ me down

-6 -6 -7 -6 -6 -7
Heart break-er, can’t take her

-6 -6 -7 -7 -6 6 -7
Heart break-er, bring-in’ me down

5 6 -6 6 -6 6 -7
I don’t cry no more

-6 -7 -6 6 -7 7 -7 -6
I live while I’m fly- in’

5 -5 5 -6
But I’ll think back

-7 -7 8 -7 -6 -6
And you can hear me say

Chorus

Guitar (Just the easy part)

5 6 -6 6 5
Dotted 1/8,1/16. Dotted 1/8, 1/16. 4 beats

Rest, then repeat above line, Rest

Only one more rest in this passage:

5 6 -6 6 5
Same as above, except “5” is 2 beats, followed by:

6 -6 6 -7
1/4 1/4 1/4 3 beats

-7 -6 6 -6 6 -7 8
1/4 Dotted 1/8, 1/16 Dotted 1/8, 1/16 1/4 1/4

Here’s that rest (Quarter rest), then:

8 8′ -7 8 8
Four quarter notes and a half note.

8 -8 -7 8 8
Four quarter notes and a half note.

And now, 5 bars of tough stuff.
Heck with it. Let’s jump ahead to:

-7 -7
1/4 1/2

-7 -6 6 -6 6 -7
1 / 4 (2 sets of dotted 1/8, 1/16) 1/2

10′ -10 9 9′
3 quarter notes and a half note

-9 8 8′ -7
3 quarter notes and 5 beats

For easier reading,
I’ll write that passage again,
but this time without the text:

5 6 -6 6 5 (repeat)

5 6 -6 6 5 6 -6 6 -7

-7 -6 6 -6 6 -7 8 (1/4 rest)

8 8′ -7 8 8 8 -8 -7 8 8

-7 -7 -7 -6 6 -6 6 -7

10′ -10 9 9′
-9 8 8′ -7

Chorus
Well, we’re supposed to play
another chorus and a half, now, but
how ’bout we just play a half
chorus here, then finish the song
with some guitar that was played
during a chorus?

Guitar
8 8 8 9′
These are dotted half notes.

9′ 8 -8 9′ 9′ 8 -8 10
3 quarters half 3 quarters half

10 -10 9 -10 9 10
1 / 4 (2 sets of dotted 1/8, 1/16) Half

10 -10 9 9′
3 quarters 4 beats

9 9′ 9 9′ 8
4 1/8 notes. Hold it as long as ya wanna.

Here it is without the text:

8 8 8 9′ 9′ 8 -8 9′ 9′ 8 -8 10

10 -10 9 -10 9 10

10 -10 9 9′ 9 9′ 9 9′ 8

By the way: Those “10s” are really
Supposed to be “10’s”, but.., well..hmmm.


Heart On My Sleeve

5 6 5 -6 6 5 6 -6 6 5 6
I wear my heart on my sleeve I`m not afraid
6 6 -5 5 -5 -5 6 -5 5 -5
to say what I mean, I mean what I say,
-6 6 5 6 -6 6 5 6 6 6 -5 5 -5
Set myself up Let myself down I may be a fool
-5 6 -5 5 -5 6 b5-4 4 b-7 -6 6 6
to spread it around but I~~~ just want to let
-5 6 5
you know
-4 -4 -4 4 b-7 -6 6 6 6 5 6 5
Sometimes I find it so hard not to show
6 5 5 -4 4 -4 -6 -6 6 -6 6 6 b-7-6 6
So I sigh and I let my feelings go Ooh

I wear my heart on my sleeve Don`t count the cost
if I can`t live in love then surely I`ve lost
Oh you tend to get burned Tend to get bruised
But it`s my life the way that I choose and I~~~
just want to let you know sometimes I find it so
hard not to show
-4 -4 4 -6-6 6 -6 6 6
don`t sigh baby you`re not alone
6 5 6 -6 6 6 6
I wear my heart on my sleeve
5 6 5 6 -5 -5 -5
I wear my heart on my sleeve
5 6 5 -6 6 5 6
I wear my heart on my sleeve
5 6 5 6 -5 -5 -5
I wear my heart on my sleeve
-4 -4 6 5 -6 6 6 6
Oh I wear my heart on your sleeve
6 6 6 -5 5 -5
wear my heart on your sleeve


Heart Of Stone

-9 -9 -9 -9 8 7 7 -7 -6
There’ve been so many girls that I’ve known
-6 -7 7 8 7 -8 6 -6 -7 7 -6 6
I’ve made so many cry and still I wonder why
8 8 8 8 -8 8
Here comes the little girl
-8 8 8 8 8 8 -8 8
I see her walking down the street
-8 8 8 -8 8
She’s all by herself
-6 6 -6 -6 6 -6
Trying so hard to please
8 -8 8 -9 -8 7
But, she’ll never break,
-9 -8 7 -9 -8 7 -9 -9 9
never break, never break, never break
6 7 7 -6
This heart of stone
8 -8 7 -6 7 7 -6 6
Oh, no, no, this heart of stone
8 -9 -9 -9 -9 8 8 7 7 -7 -7 -6
What’s different about her? I don’t really know
-6 -7 7 8 7 -8 6 -6 -7 7 -6 6
No matter how I try I just can’t make her cry
8 -8 8 -9 -8 7 -9 -8 7 -9 -8 7 -9 -9 9
But she’ll never break, never break, never break, never break
6 7 7 -6
This heart of stone
8 -8 7 -6 7 7 -6 6
Oh, no, no, this heart of stone
-9 -9 -9 -9 8 7 7 -7 -6
Don’t keep on looking that some old way
-6 -7 7 8 7 -8 6 -6 -7 7 -6 6
If you try acting sad, you’ll only make me glad
8 8 8 8 8 -8 8
Better listen little girl
-8 8 8 8 8 8 -8 8
You go on walking down the street
-8 8 8 -8 8 -6 6 -6 -6 6 -6
I ain’t got no love, I ain’t the kind to meet
8 -8 8 -9 -8 7 -9 -8 7 -9 -8 7 -9 -9 9
But you’ll never break, never break, never break, never break
6 7 7 -6
This heart of stone
8 -8 7 -6 7 -6 7 -6 7 7 -6
Oh, no, no, you’ll never break this heart of stone
-6 7 -6 7 -6 7 7 -6
You’ll never break this heart of stone


Heart Of Stone

for C Harp – in they key of C

-6 -6 -6 -6 6 6
There’ve been so man–y
5 5 -4 -3
girls that I’ve known
-3 -4 5 6 5 -5
I’ve made so many cry
3 -3 -4 5 -3 3
and still I wonder why
6 6 6 6 -5 6
Here comes the little girl
-5 6 6 6 6 6 -5 6
I see her walking down the street
-5 6 6 -5 6
She’s all by herself
-3 3 -3 -3 3 -3
Trying so hard to please
4 -5 6 -6 -5 5 -6 -5 5 -6 -5 5 -6 <-6 7 But-, she'll never break, never break, never break, never break 3 5 5 -4 This heart of stone 6 -5 5 Oh, no, no, -3 5 5 -3 3 This heart of stone6 -6 -6 -6 -6 6 6 What's different a--bout her? 5 5 -4 <-3 -3 I don't really know -3 -4 5 6 5 -5 No matter how I try 3 -3 -4 5 -3 3 I just can't make her cry 4 -5 6 -6 -5 5 -6 -5 5 -6 -5 5 -6 <-6 7 But-, she'll never break, never break, never break, never break 3 5 5 -4 This heart of stone 6 -5 Oh, no, 5 -3 -3 5 5 -3 3 no, no, this heart of stoneDon't keep on looking that some old way If you try acting sad, you'll only make me glad Better listen little girl You go on walking down the street I ain't got no love, I ain't the kind to meet 'Cause you'll never break, never break, never break, never break This heart of stone Oh, no, no, you'll never break this heart of stone darlin No, no, this heart of stone You'll never break it darlin You won't break this heart of stone Oh no no no You better go You better go home Cause you'll, you'll never break this heart of stone


Heart Breaker

Verse 1

4 4 4 4 4 -3 4 -4 4 4
I have to say it and it’s hard for me
5 5 -4 -4 4 4 4
You got me cryin’ – like I
5 5 -4 -4 4 4
Thought I would never be
4 4 4 4 4 5 5 -5 5 -4 4
Love is believin’ – but you let me down~~~
4 4 4 4 3 3 3 -3b 3 3
How can I love you – when you – aint around

Chorus

4 4 4 4 4 4 4 -4 -3 3
Why do you have to be a heart breaker ?
5 5 5 5 5 5 5 5 -5 -5 -4
Is it a lesson that I never knew ~~~~
4 5 -4 -6 6 -5 5 -4 6 -5 5 -4
I got to get out of the spell that I’m under
-3b 4 -4 -3 -4 -3 3 -3
My love for you ~~~~~~~~~~~~~~~
4 4 4 4 4 4 4 -4 -3 3
Why do you have to be a heart breaker ?
5 5 5 5 5 5 5 6 -5 5 -4
When I was bein’ what you want me to be
5 -4 -6 6 -5 5 -4 6 -5 5 -4
Sud-den-ly ev’ry thing, I ev-er wanted
-3b 4 -4 -3 -3b 3
Has passed me by ~~~~~~
-3 4 -3 -3b
This world may end
4 -3 -3b 3 -2 2
Not you and I ~~~~~~

Verse 2

4 4 4 4 4 4 4 -4 4 3
My love is stronger than the universe
6 4 4 5 6 6 -6
My soul is cryin’ for you
5 5 5 4 6 5 4
And that can not be reversed
4 4 4 4 5 5 -5 5 -4 4
You made the rules – and you could not see~~
4 4 4 4 -3b 3 3 -3b -3b 3
You made a life~~~ out of hurt-in’ me
5 -4 6 5 -4 4 -4
Out of my mind – I am held
6 -5 5 -4 4 -4 3
By the pow-er of you love
4 -4 5 5 5 5 -3b 4
Tell me why do we try ~~~~~~ ?
6 -5 5 -5 5 -4 5 -4 4 -4
Why should we say~~~ good~~~bye ~~~~~~ ?

Chorus

4 4 4 4 4 4 4 -4 -3 3
Why do you have to be a heart breaker ?
5 5 5 5 5 5 5 5 -5 -5 -4
Is it a lesson that I never knew ~~~~
4 5 -4 -6 6 -5 5 -4 6 -5 5 -4
I got to get out of the spell that I’m under
-3b 4 -4 -3 -4 -3 3 -3
My love for you ~~~~~~~~~~~~~~~
4 4 4 4 4 4 4 -4 -3 3
Why do you have to be a heart breaker ?
5 5 5 5 5 5 5 6 -5 5 -4
When I was bein’ what you want me to be
5 -4 -6 6 -5 5 -4 6 -5 5 -4
Sud-den-ly ev’ry thing, I ev-er wanted
-3b 4 -4 -3 -3b 3
Has passed me by ~~~~~~
-3 4 -3 -3b
This world may end
4 -3 -3b 3 -2 2
Not you and I ~~~~~~

Repeat Chorus ad lib to fade


Heart And Soul (Rap)

By: Carol Ann Decker & Ronald Rogers
T’Pau
Key: C

6 -5 6 6 6 6-56-55
More than an o-cean, ooh
7 -6 6 -56-55
Keeps us a- part.
7-6 7 -6 7 -7 7 6 5 5 -6 6 6
Ooh, I feel a tear-ing in half of my heart.
8 8 -7 7 8 -7 7
Leav-in you ain�t eas-y now
7 8 8 -7 7 8 -7 7
But lov-ing you�s the hard-er part.
7 8 8 -7 7 8 -7 7
You nev-er want me for my-self,
7 8 8 8 8
And I’ve need-ed you
8 8 -9 -9 -9 -8-77
right from the ver-y start.

7 -7 7 -7 7 -7 8
Oh, won’t you e-ven try to:
8 8 8 8 -7 7 8 -7 7
Give a lit-tle bit of heart and soul.
8 8 8 8 -7 7 8 7 -7 7
Give a lit-tle bit of love to grow.
8 8 8 8 -7 7 8 -7 7
Give a lit-tle bit of heart and soul,
8 8 8 -7* -7 -7* -7 -6
And don’t you try to beg for more.
-6 -6 -6 -6 -6 -7 8 8
Give a sign now I need to know.
8 8 8 -7 -7 7 6 -7 7
A lit-tle bit of heart and soul.

6 -5 6 6 6 6-56-55
More than an o-cean, ooh
7 -6 6 -56-55
Keeps us a- part.
7-6 7 -6 7 -7 7 6 5 5 -6 6 6
Ooh, I feel a tear-ing in half of my heart.
8 8 -7 7 8 -7 7
Leav-in you ain’t eas-y now
7 8 8 -7 7 8 -7 7
But lov-ing you’s the hard-er part.
7 8 8 -7 7 8 -7 7
You nev-er want me for my-self,
7 8 8 8 8
And I’ve need-ed you
8 8 -9 -9 -9 -8-77
right from the ver-y start.

7 -7 7 -7 7 -7 8
Oh, won’t you e-ven try to:
8 8 8 8 -7 7 8 -7 7
Give a lit-tle bit of heart and soul.
8 8 8 8 -7 7 8 7 -7 7
Give a lit-tle bit of love to grow.
8 8 8 8 -7 7 8 -7 7
Give a lit-tle bit of heart and soul,
8 8 8 -7* -7 -7* -7 -6
And don’t you try to beg for more.
-6 -6 -6 -6 -6 -7 8 8
Give a sign now I need to know.
8 8 8 -7 -7 7 6 -7 7
A lit-tle bit of heart and soul.

6 -5 6 6 5 -5
Some-how I lost my way,
-6 -6 -6 6 -6 7 -7 7 7
Look-ing to see some-thing in your eyes.
5 -5 -5 -5 6 -5 6 5
But love will nev-er com-pro-mise.
5 -5 -5 7 7 -8 -8 -9 -9 10-99
Now this is the pol-i-tics of life, yeah

8 8 8 8 -7 7 8 -7 7
Give a lit-tle bit of heart and soul.
8 8 8 8 -7 7 8 7 -7 7
Give a lit-tle bit of love to grow.
8 8 8 8 -7 7 8 -7 7
Give a lit-tle bit of heart and soul,
8 8 8 -7* -7 -7* -7 -6
And don’t you try to beg for more.
-6 -6 -6 -6 -6 -7 8 8
Give a sign now I need to know.
8 8 8 -7 -7 7 6 -7 7
A lit-tle bit of heart and soul.


Heart

By: Richard Adler, Jerry Ross
From: “Damn Yankees”
Key: F

1 -3* -3 -3* 4
You’ve got-ta have heart
-5 5 -5 5 -5 5 -3
All you real-ly need is heart
-5 5 -5 5 -3 3*
When the odds are say-in’
-3 -2 -2 -2
you’ll nev-er win
-3 -2 -2 -2 3 -3
That’s when the grin should start

1 -3* -3 -3* 4
You’ve got-ta have hope
-5 5 -5 5 -5 5 -3
Must-n’t sit a-round and mope
-5 5 -5 5 -3 3* -3 -2 -2 -2
Noth-in’s half as bad as it may ap-pear
-3 -2 -2 -2 1* -2
Wait-‘ll next year and hope

-2 3 -3 3 -2 1 -1* -1*
When your luck is bat-tin’ ze-ro
-2 3 -3 3 -2 -1* -1
Get your chin up off the floor
3 -3 -4 -3 3 -2*-2 -2
Mis-ter you can be a he-ro
3 -3 -4 -3 3 -2 2
You can o-pen an-y door,
1 1 1 -1 1 1 1 -1 1
there’s noth-in’ to it but to do it
1 -3* -3 -3* 4
You’ve got-ta have heart
-5 5 -5 5 -5 5 -3
Miles ‘n’ miles ‘n’ miles of heart
-5 5 -5 5 -3 3* -3 -2 -2 -2
Oh, it’s fine to be a gen-ius of course
3 -3 -2 -2 -2 3 -2 3 -3
But keep that old horse be-fore the cart
-5 5 -5 5 -5 -6
First you’ve got-ta have heart


Its Been A Hard Days Night

5 -5 5 6 6 6 6 6 -5 6 -7 6 -5 6 -5 5
It’s been a hard day’s night, and I been work-ing like a dog—–

5 -5 5 6 6 6 6 6 -5 6 -7 6 -5 6 -5 5
It’s been a hard day’s night, I should be sleep-ing like a
log—–

7 7 7 7 -7 -7 -6 7 7 7 -8 -8 7 -7
But when I get home to you, I find the things that you do

5 -5 5 6 5 -5 6
Will make me feel al-l-right

5 -5 5 6 6 6 6 6 -5 6 -7 6 6 -5 6 -5 5
You know I work all day, to get you mon-ey to buy you things—

-5 5 6 6 6 6 6 6 6 6 6 6 6 -7 -7 6
-5 6 -5 5
And it’s worth it just to hear you say, you’re gon-na to give me,
ev-‘ry-thing—

7 7 7 7 7 -7 -7 7 7 7 -8 -8 7 -7
So why on earth should I moan, ’cause when I get you a-lone

5 -5 5 6 5 -5 5
You know I feel al-l-right

6 -7 7 7 -7 -6 -6 -7 7 -8 -8 -8
When I’m home feel-ing you hold-ing me tight, tight,yeah

5 -5 5 6 5 -5 5 5 -5 5 6 5 -5 5
You know I feel al-l-right, You know I feel al-l-right