Capitol Records Building
Alternative names	Capitol Records Tower Capitol Tower
General information
Type	Commercial offices
Location	1750 Vine Street Los Angeles CA 90028 United States
Coordinates	34°06′11″N 118°19′34″W / 34.103085°N 118.326189°W / 34.103085; -118.326189Coordinates: 34°06′11″N 118°19′34″W / 34.103085°N 118.326189°W / 34.103085; -118.326189
Construction started	1955
Completed	1956
Height
Antenna spire	46 m (151 ft)
Technical details
Floor count	13
Elevators	2
Design and construction
Owner	Argent Ventures
Architect	Welton Becket and Associates
Los Angeles Historic-Cultural Monument
Designated:	November 15, 2006
Reference #:	857
References
[1][2][3]

The Capitol Records Building, also known as the Capitol Records Tower, Hollywood Boulevard Commercial and Entertainment District, located in Hollywood, Los Angeles is a thirteen story tower designed by Welton Becket – and one of the city's landmarks. Construction was contracted by British company EMI soon after its 1955 acquisition of Capitol Records, with completion in April 1956. Located just north of the intersection of Hollywood and Vine and consolidating the West Coast operations of Capitol Records, the structure is home to the recording studios and echo chambers of Capitol Studios — and is on the List of Registered Historic Places in Los Angeles.

Design[link]

An aerial view of the Capitol Records Building

The wide curved awnings over windows on each story and the tall spike emerging from the top of the building coincidentally^[4] resembling a stack of records on a turntable. The rectangular ground floor is a separate structure, joined to the tower after completion. The tower incorporates 13 stories, to conform to the 150-foot (46 m) zoning height limit. Earthquake height restrictions were later lifted in 1964. The 13th floor of the tower is the "Executive Level" and is represented by an "E" in the building's two elevators.^{[citation needed]}

The blinking light atop the tower spells out the word "Hollywood" in Morse code, and has done so since the building's opening in 1956. This was an idea of Capitol's then president, Alan Livingston, who wanted to subtly advertise Capitol's status as the first record label with a base on the west coast. The switch was initially activated by Leila Morse, the granddaughter of Samuel Morse.^[4] In 1992 it was changed to read "Capitol 50" in honor of the label's fiftieth anniversary. It has since returned to spelling "Hollywood". A black and white graphic image of the building appeared on the albums of many Capitol recording artists, with the phrase, "From the Sound Capitol of the World".

Capitol Studios[link]

The building houses the Capitol Studios, a recording facility which includes an echo chamber engineered by guitarist Les Paul. It would also be known as "The House That Nat Built" due to the vast amounts of records and merchandise Nat "King" Cole sold for the company. The first album recorded in the tower was Frank Sinatra Conducts Tone Poems of Color.

In films[link]

• In the 1974 film Earthquake, a major quake is shown destroying the building (a feat accomplished by a nine-foot tall miniature).
• In the 1980 television series Galactica 1980 is shown being shot by cylon ships in a simulated attack on Los Angeles. A simple reuse of the Earthquake footage.
• In the 1984 film Against All Odds, The building is seen after the car race between Jeff Bridges and James Woods.
• In the 1990 film The Adventures of Ford Fairlane Major action scenes take place at the building. The building was also featured in the poster for the movie.
• In the 2004 film The Day After Tomorrow, in an homage to Earthquake, tornadoes destroy the building.
• In the 2008 film Hancock, John Hancock pierced a car with a group of robbers into the building.

In television[link]

• On Tiny Toon Adventures, the building is seen in the episode called Hollywood Plucky where Plucky Duck and Hamton Pig are walking in L.A. Exact same building in homage to Earthquake starring Charlton Heston.
• In Life After People, the building collapses after 175 years without maintance. The echo chambers underneath the buildings survive intact for many years after the main tower collapses.

Current disposition[link]

Seen from Hollywood and Vine, 1997

In September 2006, owner EMI announced that it had sold the tower and adjacent properties for $50 million to New York-based developer Argent Ventures. The studio currently claims that it is threatened by noise from construction of a condominium and underground parking lot by building firm Second Street Ventures that would have heavy equipment working within 18 feet (5.5 m) of its renowned underground echo chambers, which are themselves over 20 feet (6.1 m) below ground level.^[5] According to the CBS Evening News of July 31, 2008, the developers deny this, and Second Street Venture's co-owner David Jordon says they have arranged construction work outside the hours of Capitol's recording schedules, and that they have also arranged for soundproof materials to be placed between the underground parking lot and Capitol's underground echo chambers. A senior record producer in the recording industry, Al Schmitt, says it would be "heartbreaking" if it came to pass that the company could no longer use the echo chambers, which he says are, "the best in the business."

References[link]

External links[link]

Los Angeles portal

Wikimedia Commons has media related to: Capitol Records Building

• Capitol Records official website
• Capitol Studios official website

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Capitol Records is a major American record label, formerly located in Los Angeles, but as of 2011^[update] operating in New York City as part of Capitol Music Group. Its former headquarters building, the Capitol Tower, is a major landmark near the corner of Hollywood and Vine. It is a wholly owned subsidiary of EMI.

History[link]

1940s[link]

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The Capitol Records Company was founded by songwriter Johnny Mercer in 1942, with the financial help of fellow songwriter and film producer Buddy DeSylva and the business acumen of Glenn Wallichs (1910–1971), owner of Music City, at the time the biggest record store in Los Angeles.

Johnny Mercer first suggested the idea of starting a record company while he was golfing with Harold Arlen and Bobby Sherwood. He told them, "I’ve got this idea of starting a record company. I get so tired of listening to the way everyone treats music. I keep feeling they’re selling out. And I don’t like the way artists are treated either. Bing Crosby isn’t the only one who can make records. I don’t know, I think it would be fun." By 1941, Mercer was not only an experienced songwriter, but a singer with a number of records to his name. Mercer next suggested starting a record company to his friend Glenn Wallichs while Mercer was visiting Wallichs' record store. Wallichs responded, "Fine, you run the record company and find the artists,' and Mercer added, "and you run the business."

On February 2, 1942, they met with Buddy DeSylva at a Hollywood restaurant to ask if Paramount Pictures would invest in the new record company. On the Paramount deal DeSylva said no, but that he himself would, and he gave them a check for $15,000. On March 27 the three men got a statement notarized that they have applied to incorporate "Liberty Records" (later the name of a label which Capitol eventually acquired). In May they amended the application to change the name to Capitol Records. (citations for Feb. 2 to July 25, 1942, see individual day dates at #[1]

On April 6, 1942, Johnny Mercer supervised Capitol's first recording session, recording Martha Tilton singing 'Moon Dreams". On May 5, Bobby Sherwood and his orchestra recorded two tracks. On May 21, Freddie Slack and his orchestra recorded three tracks, one with just the orchestra, one with Ella Mae Morse—"Cow-Cow Boogie', and one with Mercer—"Air–Minded Executive".

On June 4, Capitol Records opened its first office in a second-floor room south of Sunset Boulevard. On the same day, Wallichs presented the first free record to a Los Angeles disc jockey named Peter Potter. Potter was so pleased Wallichs decided to give free records to other DJs, becoming the first in the business to do so.

On June 5, Paul Whiteman and his Orchestra recorded four sides for Capitol. On June 12, the orchestra recorded five more songs, including one side with Billie Holiday. On June 11, Tex Ritter recorded "(I Got Spurs That) Jingle Jangle Jingle" and "Goodbye My Little Cherokee" at his first Capitol recording session. They would become record #110.

On July 1, Capitol Records released its first nine records:

• 101—"I Found a New Baby"/"The General Jumped at Dawn"—Paul Whiteman and His Orchestra
• 102—"Cow-Cow Boogie" with Ella Mae Morse and Freddy Slack and His Orchestra/ "Here You Are"– Freddy Slack and His Orchestra
• 103—"Strip Polka"/"Air–Minded Executive"—both with vocals by Johnny Mercer
• 104—"Johnny Doughboy Found A Rose In Ireland"/ "Phil, The Fluters Ball" – both with vocals by Dennis Day
• 105—"The Angels Cried" – vocal Martha Tilton and The Mellowaires/I'll Remember April" – vocal Martha Tilton with Gordon Jenkins and his Orchestra
• 106—"He Wears A Pair Of Silver Wings" – vocal Connie Haines/"I’m Always Chasing Rainbows" – Gordon Jenkins and his Orchestra
• 107—"Elk's Parade"/"I Don't Know Why" – Bobby Sherwood and his Orchestra
• 108—"Serenade In Blue" – Martha Tilton with Paul Whiteman and his Orchestra/"(I've Got a Gal In) Kalamazoo" – The Mellowaires with Paul Whiteman and his Orchestra
• 109—"Windmill Under The Stars"/"Conchita Lopez" – Johnnie Johnston

By July 25, "Cow Cow Boogie" had gone to #1 on the hit parade. (see dates at #[2]

The earliest recording artists included co–owner Johnny Mercer, Margaret Whiting, Jo Stafford, Paul Whiteman, Martha Tilton, Ella Mae Morse, the Pied Pipers, and Paul Weston and His Orchestra. Capitol's first gold single was Morse's "Cow Cow Boogie" in 1942. Capitol's first record album was Capitol Presents Songs By Johnny Mercer, a three 78-rpm record set with recordings by Mercer, Stafford, and the Pied Pipers, all with Paul Weston's Orchestra.

The label's other 1940s artists included Les Baxter, Les Paul, Peggy Lee, Stan Kenton, Les Brown, western swing artists Tex Williams, Merle Travis and Wesley Tuttle, Benny Goodman and Nat King Cole.

Capitol was the first major West Coast label, competing with RCA-Victor, Columbia and Decca, all based in New York. In addition to its Los Angeles recording studio Capitol had a second studio in New York City, and on occasion sent mobile recording equipment to New Orleans, Louisiana and other cities (Nordskog, Sunset and Aamor preceded Capitol on the West Coast).

By 1946, Capitol had sold 42 million records and was established as one of the Big Six record labels. It was also that year that writer–producer Alan W. Livingston created Bozo the Clown for their new children's record library. Some notable music appreciation albums for children by Capitol during that era included Sparky's Magic Piano and Rusty in Orchestraville.

Capitol also developed a noted jazz line, including the Capitol Jazz Men, and issued the Miles Davis–led sessions called "Birth of the Cool".

Capitol released a few classical albums in the 1940s, some featuring a heavily embossed, leather-like cover. These appeared initially in the 78-rpm format, then on some of Capitol's early LPs (33-1/3 rpm) which first appeared in 1949. Among the recordings was a unique performance of the Brazilian composer Heitor Villa-Lobos' Choros No. 10 with a Los Angeles choral group and the Janssen Symphony Orchestra (1940–1952) conducted by Werner Janssen, Symphony No. 3 by Russian composer Reinhold Moritzovich Glière, and César Franck's Symphony in D minor with Willem Mengelberg and the Concertgebouw Orchestra.

In 1949, the Canadian branch was established and Capitol purchased the KHJ Studios on Melrose Avenue next to the Paramount Pictures lot in Hollywood. By the mid-1950s, Capitol had become a huge company, concentrating on popular music.

1950s[link]

The 1950s roster now included Nat King Cole, Frank Sinatra, Stan Kenton, Judy Garland, The Andrews Sisters, Jackie Gleason, Jane Froman, Wesley Tuttle, Ray Anthony, Andy Griffith, Shirley Bassey, Merle Travis, The Kingston Trio (who in 1960 would account for 20% of all record sales for Capitol), Dean Martin, The Four Freshmen, Al Martino, Dinah Shore and Nancy Wilson (actually signed in 1960 to Capitol). There were also some notable comedy recordings, including several by Stan Freberg and the Yiddish-dialect parodies of Mickey Katz. The label also began recording rock and roll acts such as The Jodimars and Gene Vincent.

Many children became familiar with Capitol Records through the release of a number of Bozo the Clown albums, which featured 78-rpm discs and full color booklets which the children could follow as they listened to the recorded stories. Although there were a series of Bozo the Clowns on various television stations, Capitol used the voice of Pinto Colvig, who was also the voice for Walt Disney's cartoon character Goofy.

In 1955, the British record company EMI acquired 96% of Capitol Records stock for $8.5 million. Soon afterward, EMI built a new studio at Hollywood and Vine to match its state-of-the-art Abbey Road Studios in London — see the Capitol Tower below. EMI's classical Angel Records label was merged into Capitol in 1957. Some classical recordings were issued in high fidelity and even stereophonic sound on the Capitol label by William Steinberg and the Pittsburgh Symphony Orchestra, Leopold Stokowski with various orchestras (including the Los Angeles Philharmonic Orchestra), and Sir Thomas Beecham and the Royal Philharmonic Orchestra, as well as light classical albums by Carmen Dragon and the Hollywood Bowl Orchestra and a series of albums of film music conducted by leading Hollywood composers such as Alfred Newman. Eventually, most of the classical recordings were re-released exclusively on the Angel and Seraphim labels in the U.S. EMI reissued many of the historic Capitol classical recordings on CD.

In 1959, with the advent of stereo, Capitol changed its LP label design from a large "dome logo" with a gray background, to a smaller "dome logo" in a silver oval with a black background and a colorband around the edge. At first, the oval was on the left side of the label, with a tapering vertical line extending from the top and bottom. Classical labels replaced the vertical line with the words "INCOMPARABLE HIGH-FIDELITY" and added the round "FDS-Full Dimensional Sound" shield. In the early 1960s, the oval was moved to the top of the label, and the colorband was slightly narrower. This design is familiar to Beatles fans.

During the 1950s Capitol Records also introduced its series of "Hi-Q" production music LP's and tapes. Some television and film productions that made use of this extensive library included Gumby, Davey and Goliath, The Donna Reed Show, The Adventures of Ozzie and Harriet, and the earliest Hanna-Barbera cartoons.

Capitol released a number of soundtrack recordings in the 1950s, including the film versions of three Rodgers and Hammerstein musicals Oklahoma!, Carousel, and The King and I, as well as excerpts from Dimitri Tiomkin's music from Warner Bros.' Giant. All of these were later reissued on CD.

1960s[link]

45rpm Beatles single on Capitol

As the British music scene was heating up in 1963, Capitol, being an EMI label had first rights of refusal on all EMI artists. After initial resistance to issuing records by The Beatles who were signed to sister EMI label Parlophone, Capitol exercised its option in November, 1963, and helped usher in Beatlemania in 1964. (The Beatles' earliest US issues had been on the independent Vee-Jay label and the key "She Loves You" single on the small Swan label.) Capitol's producers significantly altered the content of the Beatles albums (see "Record Altering", below) and, believing the Beatles' recordings were sonically unsuited to the US market, not only added equalization to brighten the sound, but also piped the recordings through the famous Capitol echo chamber, located underneath the parking lots outside the Capitol Tower.

As part of this "first rights of refusal", Capitol passed on such EMI acts as Dave Clark Five, Gerry & The Pacemakers, The Hollies, and Manfred Mann (among others), all of which had their records issued on Canadian Capitol.

As Rock music's influence continued to grow in America, Capitol Records hired Artie Kornfeld, who later went on to co-create and produce the Woodstock Festival , as the vice president of Capitol Records in his early 20s, making him the youngest to hold the position and the first vice president of rock and roll ever.

Capitol also signed or became American distributors of albums by Badfinger, The Band, The Beach Boys, Grand Funk Railroad, If, Sandler and Young, Glen Campbell, Cathie Taylor, Steve Miller Band, People, Pink Floyd, Linda Ronstadt, The Human Beinz, Peter Tosh, and various solo albums by members of the Beatles.

The classic "swirl" 45 RPM label design, pictured to the right, first appeared in January, 1962. Originally yellow and orange, it had become yellow and red by the mid-1960s. It was brought back briefly 1979 to 1981 for use on 45s by the group The Knack. Before 1968, it also appeared on "Starline" label for reissues, albeit with light and dark green swirls replacing yellow and orange (or red) ones. (Several CD reissues, including an early-1990s version of the Beach Boys' "Pet Sounds," used the "swirl" label.)

In 1968, EMI increased its stake in Capitol Records to 98%; However that same year, Capitol merged with Audio Devices, Inc. A manufacturer of computer tape and recording to form a new holding company called Capitol Industries, Inc., reducing EMI's stake of the company to 68%.

In the summer of 1969, Capitol decided to modernize its logo and replaced its "dome logo" with a "C" logo incorporating a 45 rpm record design. The new logo would be on a light-green label on albums and a red & orange concentric-circle label on 45's. These became known as the "target" label. The target label for LP's had a red background for most albums released during or after May, 1971 until November, 1972, when both albums and 45's would have an orange label with the word "Capitol" printed at the bottom. (In 1971, Grand Funk Railroad became the first Capitol act to be given custom label designs for all its releases, beginning with the "E Pluribus Funk" album.) Budget albums had the same logos but with a yellow backdrop. (The "dome logo" did not disappear entirely: on many labels of this era it can be seen in the small print at the edge.) In 1978^{[citation needed]}, the "dome" design was brought back, with purple backgrounds for rock and pop releases, and red backgrounds for soul and disco. Budget albums had the same logo but a blue or green label. Between 1964 and 1970, Tower Records was a subsidiary label. Other short-lived subsidiary labels included Uptown, Crazy Horse and Sidewalk.

1970s[link]

In 1972, company changed its name to Capitol Industries-EMI, Inc. after EMI increased its holdings to 70.84%. By 1976, EMI purchased the remaining shares of the company. Throughout the seventies, Capitol launched two alternative labels: EMI America Records and EMI Manhattan Records. New artists included Helen Reddy, Anne Murray, Skylark (Canadian band), April Wine, Blondie, Burning Spear, Buzzcocks, David Bowie, Kim Carnes, Rosanne Cash, Max Webster, Natalie Cole, The Goose Creek Symphony, Sammy Hagar, John Hiatt, The Knack, Maze, Raspberries, Minnie Riperton, Diana Ross, Bob Seger, Sweet, The Specials, The Sylvers, Ten Wheel Drive, The Stranglers, Tavares, George Thorogood, Wings and The Persuasions. In 1977, EMI merged with THORN Electrical Industries to form Thorn EMI PLC. In 1979, Capitol was merged into the newly formed EMI Music Worldwide division^{[citation needed]}.

1980s[link]

Capitol added artists in a variety of genres during the 1980s: popular music groups and singers like Richard Marx, The Motels, Tina Turner, George Clinton, Crowded House, Peter Blakeley, Duran Duran (and spinoffs Arcadia and Power Station), Heart (band), Glass Tiger, Katrina & The Waves, Grace Jones, Lloyd Cole, Pet Shop Boys, Queen, Roxette, Brian Setzer, The Smithereens, Spandau Ballet, and Paul Westerberg; Punk/hard Rock groups such as Butthole Surfers, Concrete Blonde, Billy Idol, and the Red Hot Chili Peppers; thrash metal bands like Megadeth, Exodus and Rigor Mortis, heavy metal bands like Helix, W.A.S.P., Poison, Iron Maiden and Queensrÿche; rap groups like the Beastie Boys, King Tee, Mantronix; individuals like Mellow Man Ace, Robbie Robertson, Smooth Jazz artist Dave Koz, and Soul singer Freddie Jackson; and duo's like BeBe & CeCe Winans, and even a selective industrial/electronic artists such as Skinny Puppy. In 1983, the Beatles-era "colorband" label design was brought back, with white print, for both albums and 45's. The last label Capitol used on records was a return to the old purple design with the "dome logo"; after that, compact discs became the dominant format for recorded music. Since the advent of CD's, labels on the discs have varied greatly.

1990s[link]

Nineties acts include Selena, Los Tucanes de Tijuana, Blind Melon, Garth Brooks, Meredith Brooks, Coldplay, The Dandy Warhols, Dilated Peoples, Doves, Everclear, Foo Fighters, Geri Halliwell, Ice Cube, Idlewild, Jane's Addiction, The Jesus Lizard, Jimmy Eat World, Ras Kass, Kottonmouth Kings, Ben Lee, Less Than Jake, Luscious Jackson, Tara MacLean, Marcy Playground, Mazzy Star, MC Eiht, MC Hammer, MC Ren, The Moffatts, Moist, Liz Phair, Lisa Marie Presley, Radiohead, Bonnie Raitt, Snoop Dogg, Spearhead, Starsailor, STIR, Supergrass, Télépopmusik, Television, Richard Thompson, Butthole Surfers and Robbie Williams. The Ultra-Lounge series of compilation CDs appeared in 1996.

2000s[link]

In 2001, EMI merged the Capitol Records label with the Priority Records label. Capitol lost the deal to Viacom and it was no longer a subsidiary. The combined label manages rap artists including Cee-Lo, Ice Cube, Snoop Dogg, and C-Murder, Lil Romeo, and Lil Zane. Other first decade of the 21st century artists include Katy Perry (whose album, Teenage Dream is the most successful among others as it produced 6 #1 singles), J. Holiday, Jiggolo, LeToya (who had the first #1 album for the label since MC Hammer's 1990 Please Hammer Don't Hurt Em), Zay, Red Cafe, Aslyn, Auf Der Maur, Big Moe, Borialis, Chingy, The Decemberists, Dexter Freebish, From First to Last, The F-Ups, Faith Evans, Faultline, Fischerspooner, Interpol, Jonny Greenwood, Kudai, Ed Harcourt, Houston, Van Hunt, Javier, Mae, Matthew Jay, Methrone, Kylie Minogue, Dave Navarro, OK Go, Lisa Marie Presley, Relient K, Roscoe, RBD, Saosin, Squad Five-O, Otep, The Star Spangles, Steriogram, Supervision, Skye Sweetnam, The Vines, Yellowcard, Young Bleed, Young Life, Don Yute, Cherish, Shout Out Louds, Hurt, Corinne Bailey Rae, The Magic Numbers, Hedley, End of Fashion, Mims, Keith Urban and Morningwood.

In 2001, Robbie Williams released his smash jazz cover album Swing When You're Winning on the Capitol label (rather than his native Chrysalis Records) in tribute to his hero Frank Sinatra.

In 2006, the label signed a deal to distribute Fat Joe and his Terror Squad Entertainment. Around the same time, Capitol was able to sign New York phenom Mims. In this deal they also agreed to distribute his American King Music label. Around this time they were also able to add J. Holiday, the main artist for Music Line Group to the label as they have all become frequent collaborators. Now it seems that Capitol has gained ground on some of the more popular labels such as Def Jam, and Interscope Records with these signings. In 2007, they were able to strike up a distribution deal with The Game's The Black Wall Street Records and have signed former Bad Boy Records star Faith Evans. Jermaine Dupri and his So So Def Recordings label were briefly signed on to the label as a result of the Virgin Records merger. Dupri was the head of urban music for the label.

In February 2007, EMI announced the merger of Virgin Records and Capitol Records into the Capitol Music Group, and as part of this restructuring, hundreds of staff from multiple divisions were laid off and many artists were cut from the roster.^{[citation needed]} In September 2006, EMI announced that it had sold the tower and adjacent properties for $50 million to New York-based developer Argent Ventures. Capitol continues to use the building as its West Coast office.

Capitol Records has proceeded to sue Vimeo an online Video sharing website for audio copyright infringement. Capitol filed the claim after users were visibly lip-synching to some of their tracks. The full court filing is available here: http://newteevee.com/2009/12/15/vimeo-sued-over-lip-dubs

Broadway and Films[link]

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Capitol Records also released some of the most notable original cast albums and motion picture soundtrack albums ever made. Between 1955 and 1956, they released the soundtrack albums of three now-classic Rodgers and Hammerstein films, Oklahoma!, Carousel, and The King and I. All three films were respectively based on the Rodgers and Hammerstein smash hit stage musicals of the same name. The mono versions of the albums were all released the same year that the films were released. But the films had been made in then state-of-the-art stereophonic sound, and so, Capitol was able to release stereo albums of the three respective soundtracks after stereo LP's became a reality. However, the mono and stereo versions did not contain always identical material. Because stereo grooves took up more space at the time than mono grooves, the stereo versions of the soundtracks were always somewhat shorter than the mono ones. This was not much of a problem with Oklahoma!, because the album itself as then printed was relatively short, so all that was missing from the stereo version was a few seconds of the overture. With Carousel, however, half of the Carousel Waltz had to be lopped off for the stereo LP, and with The King and I, the instrumental bridge from the song Getting to Know You was completely removed from the stereo version of the album. These soundtrack albums (especially Oklahoma!) were bestsellers for Capitol for many years, until, in the 1990s, the rights to them were bought by Angel Records. Angel Records not only restored the portions which had been omitted from the stereo LPs and original CD issues, but, in 2001, issued new expanded editions which included all music which had been omitted from every previous edition of these soundtracks, bringing the playing time of each to well over an hour. All three albums continue to be best sellers to this day.

In 1957, Capitol Records issued the original cast album of The Music Man, starring Robert Preston, an album which became one of the biggest cast album sellers of all time, even after the highly successful film version of the show was released in 1962. Capitol was also responsible for the original cast and film soundtrack albums of Cole Porter's Can-Can and the original cast album of Stephen Sondheim's A Funny Thing Happened on the Way to the Forum. In 1962, Capitol issued a studio cast recording of the songs from Lionel Bart's Oliver!, in anticipation of its U.S. tour prior to its opening on Broadway.

In 1966, Capitol released the soundtrack album of the documentary tribute, John F. Kennedy: Years of Lightning, Day of Drums, a film made by the United States Information Agency, and originally not intended for general viewing. However, the quality of the film was considered so high that the public was eventually allowed to see it. The film featured the voice of Gregory Peck as narrator, with narration written and music composed by Bruce Herschensohn. The album was virtually a condensed version of the film — it included the narration as well as the music.

One spoken word album which was immensely successful for Capitol was that of the soundtrack of Franco Zeffirelli's smash film Romeo and Juliet, based on Shakespeare's play. The film became the highest grossing Shakespeare film for years, and the album was also a tremendous hit. It featured not only Nino Rota's score, but large chunks of Shakespeare's dialog. The success of this album in that pre-VHS era spurred Capitol to issue two other Romeo and Juliet albums — one a three-disk album containing the entire soundtrack of the film (dialog and music), and another album containing only Nino Rota's score.

However, as Capitol was to be later accused of doing with Beatles albums, there was some tampering with the Years of Lightning and Romeo and Juliet albums. Extra music was added to some scenes which, in the actual film, contained little or no music, such as the duel between Romeo and Tybalt. Presumably this was done to show off the score — and at the end of both the abridged and complete versions of the Romeo albums, the end credits music was omitted, especially unfortunate since virtually all of the film's credits were saved for the end of the picture.

Capitol tried to strike gold again with another spoken word album, one made from the 1970 film Cromwell, starring Richard Harris and Alec Guinness, but in this case, both film and album were not successful.

The influence of the Romeo and Juliet album spread to other record companies for a brief while. Columbia Records issued an album of dialog and music excerpts from the successful 1970 Dustin Hoffman film, Little Big Man, and 20th Century Fox Records included George C. Scott's opening and closing speeches, as well as Jerry Goldsmith's score, in their soundtrack album made from the film Patton.

Record altering[link]

Capitol has been criticised many times for the heavy modification of albums being released in other countries before being released in the USA by Capitol. Possibly most infamous is the company's creation of "new" albums by The Beatles. This began with Capitol's release of Meet the Beatles!, the first album by the group to be released by Capitol in the USA. It was quite literally the British album With the Beatles, with five tracks ("Money", "You've Really Got A Hold On Me", "Devil In Her Heart", "Please Mister Postman", and "Roll Over Beethoven") removed in favor of both sides of the band's first American hit single, which consisted of "I Want To Hold Your Hand" and "I Saw Her Standing There." They also added on the British version of the single's B-Side, "This Boy." Also notable is the issuing of "duophonic" stereo releases of some recordings where the original master was monophonic. Capitol engineers split the single master monaural track into two, boosted the bass on the right channel, boosted treble on the left channel and add a split-second delay between channels to produce a "fake stereo" release. This Duophonic process meant that the Beatles' American fans would often hear a slightly different song from that heard by the rest of the world.^[1]

When With the Beatles was initially released in Brazil by EMI-Odeon, as well as in Canada, the title was at first modified to Beatlemania.

This trend continued through the Beatles' American discography, until the albums had little relation to their original British counterparts. The Beatles' albums were finally released unmodified starting with Sgt. Pepper's Lonely Hearts Club Band. This was thanks to a renegotiation of the Beatles' complicated management and recording contracts. Tired of the way Capitol in the US and other companies around the world were issuing their work in almost unrecognizable pieces, beginning in 1967, they had full approval of all album titles and cover art, track listing and running order, worldwide. Their first order of business was to stop the issuing of 45 RPM singles featuring tracks taken from their albums. Instead they would issue non-album tracks as singles in between album releases. This policy changed in late 1969 when a severe cash crunch hit the Beatles company, Apple Corps., and the band was forced (at the urgent behest of new manager Allen B. Klein) to issue a single immediately in conjunction with the Abbey Road album ("Something"/"Come Together") in order to pay bills. Four months later Apple allowed Capitol Records to issue the singles compilation Hey Jude (aka The Beatles Again) to keep cash flowing to the company.

This continued with other bands:

• Pink Floyd's first album, The Piper at the Gates of Dawn (on the Tower label), had several tracks removed in favor of their first hit single "See Emily Play". This was criticized because the removed tracks combined ("Flaming", "Bike", and "Astronomy Domine") were much longer than "Emily", making the removal of the three completely unnecessary for reasons of running time.

• Iron Maiden's first two albums, Iron Maiden and Killers, had additional tracks as opposed to their UK counterparts. Iron Maiden's 1980 self-titled debut was released in the US a few months after its UK release with the track "Sanctuary" added on. Its follow-up, 1981's Killers, was also released a few months after later in the US after its initial UK release with the track "Twilight Zone" added to the album.

• Megadeth's "Risk" album was littered with samples and guitar pieces which Dave Mustaine never authorized, causing him to release one final album on Capitol, Capitol Punishment, and then move on to a new label Sanctuary Records. As of right now, Megadeth's future with Capitol seems very bright, as they have released all their Remastered discs and their most recent Greatest Hits albums with Capitol. After leaving Sanctuary Records, it was rumoured that Megadeth would return to Capitol, but the rumor turned out to be untrue as Megadeth have recently signed with Roadrunner Records.

The company has also had a history of making mistakes with album releases; the American release of Klaatu's debut album 3:47 EST had several spelling errors on the track list, and later Capitol pressings of CD versions of Klaatu's albums suffered severe quality problems. The poor sound quality of Duran Duran's May 1982 release Rio (on Capitol subsidiary Harvest), contributed to the lag in initial sales, until a remixed version of the album was released in November.

The Capitol Records Building[link]

The Capitol Records Tower in Hollywood, with mural by Richard Wyatt titled Hollywood Jazz featuring prominent jazz artists Charlie Parker, Miles Davis, Ella Fitzgerald, Nat King Cole, Billie Holiday and Duke Ellington.

The Capitol Records Tower is one of the most distinctive landmarks in Hollywood. The 13-story earthquake-resistant tower, designed by Welton Becket, was the world's first circular office building, and is home to several recording studios. Although not originally specifically designed as such,^[2] the wide curved awnings over windows on each story and the tall spike emerging from the top of the building combine to give it the appearance of a stack of vinyl 45s on a turntable.

The construction of the building was ordered by British company EMI soon after its 1955 acquisition of Capitol Records, and was completed in April 1956. The building is located just north of the intersection of Hollywood and Vine and is the center of the consolidated West Coast operations of Capitol Records—and was nicknamed "The House That Nat Built" to recognize the enormous financial contributions of Capitol star Nat "King" Cole. The rectangular ground floor is a separate structure, joined to the tower after it was completed.

In mid-2008, a controversy erupted over a plan to build a condominium complex next door, igniting fears that the building's legendary acoustic properties (specifically its renowned underground echo chambers) would be compromised.

The blinking light atop the tower spells out the phrase "Hollywood" in Morse code, and has done so since the building's opening in 1956. This was an idea of Capitol's then president, Alan Livingston, who wanted to subtly advertise Capitol's status as the first record label with a base on the west coast. The switch activating the light was thrown by Leila Morse, Samuel Morse's granddaughter.^[2] In 1992 it was changed to read "Capitol 50" in honor of the label's fiftieth anniversary. It has since returned to spelling "Hollywood".

In the 1974 disaster blockbuster film Earthquake, the tower was shown collapsing during a massive tremor. Thirty years later, in an homage to Earthquake^{[citation needed]}, the tower was again depicted as being destroyed, this time by a massive tornado, in The Day After Tomorrow.

In September 2006, owner EMI announced that it had sold the tower and adjacent properties for $50 million to New York-based developer Argent Ventures.^[3] Coordinates: 34°06′11″N 118°19′34″W / 34.103085°N 118.326189°W / 34.103085; -118.326189

Capitol Studios[link]

Capitol's recording studios were designed by guitarist and sound expert Les Paul^{[citation needed]} to minimize noise and vibration, a newly important goal in the high-fidelity sound era.

The studios feature 10-inch-thick (250 mm) concrete exterior walls, surrounding a one-inch air gap, surrounding an inner wall that floats on layers of rubber and cork — all in an effort to provide complete sound isolation.^[4]

The facility also features echo chambers: subterranean concrete bunkers allowing engineers to add real physical reverberation during the recording process. The eight chambers are located 30 feet underground, and are trapezoidal-shaped with 10-inch concrete walls and 12-inch-thick (300 mm) concrete ceilings. The chambers feature speakers on one side and microphones on the other, permitting an echo effect lasting up to five seconds.

Studios A and B can be combined for the recording of orchestral music and symphonic film soundtracks. The first album recorded in the tower was Frank Sinatra Conducts Tone Poems of Color

International operations[link]

Canada[link]

Capitol Records of Canada was established in 1949 by independent businessman W. Lockwood Miller. Capitol Records broke with Miller's company and formed Capitol Record Distributors of Canada Limited in 1954. EMI acquired this company when it acquired Capitol Records. The company was renamed back to Capitol Records of Canada Ltd in 1958 after Miller's rights to the name expired. In 1959, Capitol of Canada picked up distribution rights for sister EMI labels Angel Records, Pathe Records, Odeon Records and Parlophone Records.^[5] In 1957, Paul White joined Capitol of Canada and in 1960 established an A&R department independent of the American company to promote talent for the Canadian market.^[6] They include home grown Canadian talent (of which Anne Murray is one of the more famous examples) as well as EMI artists from other countries. Canada-only issues bore 6000 series catalog numbers for LPs and 72000 series catalog numbers for singles. Capitol Canada issues of American Capitol recordings bore the same catalog numbers as their American counterparts. Beginning in 1962, Capitol of Canada issued albums by British artists such as Cliff Richard, Helen Shapiro and Frank Ifield. They said yes to The Beatles from day one, even though the American company turned them down during most of 1963. By 1967, they were also distributing non-EMI labels such as Disneyland Records, Buena Vista Records, 20th Century Fox Records and Pickwick Records.^[7] The company was renamed Capitol Records-EMI of Canada in 1974 then adopted its present name, EMI Music Canada, in 1993.^[8][9][10]

In 1982, Capitol Records-EMI of Canada developed the "SDR", or Super Dynamic Range, process of duplicating their cassette releases, which resulted in higher-quality audio. SDR was later adopted by Capitol's American operations that same year and renamed "XDR" (eXtended Dynamic Range). SDR/XDR cassette releases are most noted for the short burst of tones ascending in frequency at the beginning and end of the cassette before and after the program material, the tones being a part of the process.

The current headquarters for EMI Music Canada, which operates the Capitol label, are located in Toronto, Ontario.

The Canadian branch of Capitol won two Juno Awards in 1971, the leading music awards in that country. One Juno was for "Top Record Company" and the other was for "Top Promotional Company".

Latin America[link]

EMI Latin / EMI Televisa Music artists are distributed in The United States under Capitol Latin, a Capitol Records division.

Taiwan[link]

Capitol Music Taiwan was established in 2006. It is home to several artists who are megastars in the Chinese music industry. They include Jolin Tsai (蔡依林), Stefanie Sun (孫燕姿), Zhang Hui Mei (張惠妹), Stanley Huang (黄立行) and Show Luo (羅志祥). Even though artistes are signed on with this label, the albums are still released under EMI Music Taiwan. The label is the label with the highest sales among all labels in Taiwan between 2006 and 2008.

In 2008, EMI Music Taiwan is acquired by Paco Wong's Gold Label Records and reformed as Gold Typhoon Entertainment Limited (金牌大風). The name is in reference to Jolin's Love Exercise album released after the acquisition.^{[citation needed]} However the label of "Capitol Music" is not part of Gold Typhoon.

See also[link]

• List of record labels
• Capitol Music Group
• List of Capitol Records artists

References[link]

External links[link]

Wikimedia Commons has media related to: Capitol Records

• Capitol Records
• Capitol Records, Inc. v. Naxos of America, Inc. legal case
• Capitol of Canada official site
• A history of Capitol Records
• 3D model of the Capitol Tower for use in Google Earth
• The Judy Garland Online Discography "Capitol Records" pages.
• Capitol Records's channel on YouTube
• Capitol Records Myspace page.
• Capitol of Canada 72000 series singles discography
• Capitol of Canada 6000 series LP discography
• Swirl Daze – The 1960s Capitol Singles Discography

Sir Paul McCartney MBE, Hon RAM, FRCM
McCartney performing in England, 2010
Background information
Birth name	James Paul McCartney
Born	(1942-06-18) 18 June 1942 (age 70) Liverpool, England, UK
Genres	Rock, pop, classical, electronica
Occupations	Musician, composer, music producer, film producer, businessman
Instruments	Vocals, bass guitar, guitar, keyboards, drums, ukulele, mandolin, recorder
Years active	1957–present
Labels	Hear, Apple, Parlophone, Capitol, Columbia, Concord, EMI, One Little Indian, Vee-Jay
Associated acts	The Quarrymen, The Beatles, Wings, The Fireman, Linda McCartney, Denny Laine
Website	www.paulmccartney.com
Notable instruments
Höfner 500/1 Rickenbacker 4001S Epiphone Texan Gibson Les Paul Epiphone Casino Martin D-28

Sir James Paul McCartney, MBE, Hon RAM, FRCM (born 18 June 1942) is an English musician, singer-songwriter and composer. Formerly of the Beatles (1960–1970) and Wings (1971–1981), he has been described by Guinness World Records as "The Most Successful Composer and Recording Artist of All Time", with 60 gold discs and sales of over 100 million albums and 100 million singles.^[1] With John Lennon, George Harrison, and Ringo Starr, he gained worldwide fame as a member of the Beatles, and with Lennon formed one of the most celebrated songwriting partnerships of the 20th century. After leaving the Beatles, he began a solo career and later formed the band Wings with his first wife, Linda Eastman, and singer-songwriter Denny Laine.

According to the BBC, his Beatles song "Yesterday" has been covered by over 2,200 artists—more than any other song. Wings' 1977 release, "Mull of Kintyre", became one of the best-selling singles ever in the UK, and he is "the most successful songwriter" in UK chart history, according to Guinness.^[2] As a songwriter or co-writer, he is included on thirty-one number one titles on the Billboard Hot 100, and as of 2012 he has sold over 15.5 million RIAA certified units in the United States.

He has composed film scores, classical and electronic music, and released a large catalogue of songs as a solo artist. He has taken part in projects to help international charities, and has been an advocate for animal rights, vegetarianism, and music education; he has been active in campaigns against landmines and seal hunting, and supported efforts such as Make Poverty History. His company MPL Communications owns the copyrights to more than 25,000 songs, including those written by Buddy Holly, as well as the publishing rights to the musicals Guys and Dolls, A Chorus Line, and Grease. He is one of the UK's wealthiest people, with an estimated fortune of £475 million in 2010. He has been married three times and is the father of five children.

Childhood[link]

McCartney was born in Walton Hospital in Liverpool England, where his mother, Mary (née Mohin), had twelve years earlier, "satisfied her state registry requirements" for nursing, writes Beatles biographer Bob Spitz.^[3] His father James, or "Jim" McCartney, was absent at his son's birth due to his work as a volunteer fire fighter during World War II.^[3] McCartney has one brother, Michael, born 7 January 1944, and though they were baptised in their mother's Roman Catholic faith, "religion did not play a part in their upbringing" according to biographer Barry Miles, as McCartney's father was a Protestant turned agnostic.^[4]

In 1947 he began attending Stockton Wood Road Primary School, by 1952 Joseph Williams Junior School,^[5] where he passed the 11-plus exam in 1953 with three others out of ninety examinees, thus gaining admission to the Liverpool Institute.^[6] However, when he took his A-level exams at age nineteen, he passed only one subject – Art.^[7] In 1954, while taking the bus from his home in the suburb of Speke to the Institute, he met George Harrison,^[8] who had also passed the exam, meaning they could both go to a grammar school rather than a secondary modern school, which the majority of pupils attended until they were eligible to work.^[9]

20 Forthlin Road now attracts large numbers of tourists.

In 1955 the McCartneys moved to 20 Forthlin Road in Allerton, where they lived through 1964.^[10] Paul was the first member of his family to own a car and his mother rode a bicycle to houses where she worked as a midwife; he describes an early memory of her leaving at "about three in the morning" the "streets ... thick with snow".^[11] On 31 October 1956, when he was fourteen, his mother died of an embolism after a mastectomy operation to stop the spread of her breast cancer.^[12] The loss of his mother at fourteen was later a point of relation with John Lennon, whose mother Julia also died when he was young, after being struck by a car when he was seventeen.^[13]

McCartney's father was a trumpet player and pianist who had led Jim Mac's Jazz Band in the 1920s and encouraged his son to be musical. He kept an upright piano in the front room that he purchased from Epstein's North End Music Stores.^[14] His father, Joe McCartney, played an E-flat tuba.^[15] Jim McCartney used to point out the bass parts in songs on the radio, and often took his son to local brass band concerts.^[16] Jim gave his son a nickel-plated trumpet for his fourteenth birthday,^[17] but when rock and roll became popular on Radio Luxembourg,^[18] Paul traded it for a £15 Framus Zenith (model 17) acoustic guitar, realising it would be too difficult to sing, "with a trumpet stuck in your mouth."^[17] Being left-handed, he found right-handed guitars difficult to play, but when he saw a poster advertising a Slim Whitman concert, he realised that Whitman played left-handed with his right-handed guitar strung the opposite way. He then restrung his guitar and after some adjustments, found it easier to play.^[17] McCartney wrote his first song ("I Lost My Little Girl") on the Zenith, and an early tune which became, "When I'm Sixty-Four", on the piano, for which, despite his father's advice, he took only a couple of lessons for, preferring instead he says, to learn "by ear."^[14] He was heavily influenced by American rhythm and blues music, and has stated that Little Richard was his idol when he was in school. The first song he ever sang on a stage in public was "Long Tall Sally", at a Butlins holiday camp talent competition.^[19]

Musical career[link]

1957–1960: The Quarrymen[link]

McCartney met Lennon and the Quarrymen at the St. Peter's Church Hall fête in Woolton on 6 July 1957, when he was fifteen years old.^[20] He joined the group soon after, and formed a close working relationship with Lennon. Harrison joined in 1958 as lead guitarist, followed in 1960 by Lennon's art school friend, Stuart Sutcliffe on bass.^[21] By May 1960, they had tried several new names, including "Johnny and the Moondogs" and "the Silver Beetles", playing a tour of Scotland under that name with Johnny Gentle. They changed the name of the group to "the Beatles" in mid-August 1960 and recruited Pete Best on drums prior to the first of what would be five engagements in Hamburg, Germany.^[22]

1960–1970: The Beatles[link]

McCartney (left) in 1964 with Beatles bandmates Harrison and Lennon

From August 1960 the Beatles were booked by Allan Williams to perform in Hamburg, and during their extended stays there over the next two years, they performed as the resident group at two of Bruno Koschmider's clubs, the Indra, then the Kaiserkeller, and upon returns to Liverpool, at the Cavern Club.^[23] In 1961 Sutcliffe left the band, and McCartney reluctantly became their bass player.^[24] The Beatles recorded their first published music in Hamburg, performing as the backing band for Tony Sheridan on the single "My Bonnie".^[25] The recording would later bring them to the attention of a key figure in their subsequent development and commercial success, Brian Epstein, who became their manager in January 1962.^[26] Epstein eventually negotiated a record contract for the group with Parlophone in May of that year.^[27] After replacing Best with Ringo Starr in August, they became increasingly popular in the UK during 1963 and in the US in 1964, in a frenzied adolation that became known as "Beatlemania",^[28] during which McCartney was dubbed, "the cute Beatle", according to Miles.^[29] In 1965 they were each appointed as a Member of the Order of the British Empire (MBE).^[30]

After the recording of the Beatles hit "Yesterday" (1965), McCartney contacted the BBC Radiophonic Workshop in Maida Vale London, to ask if they would record an electronic version of the song, but he never followed up.^[31] When visiting artist John Dunbar's flat in London, he would bring along tapes he had compiled at then girlfriend Jane Asher's home,^[32] mixes of various songs, musical pieces and comments made by McCartney that Dick James made into a demo for him.^[33] Heavily influenced by American avant-garde musician John Cage, he made tape loops by recording voices, guitars, and bongos on a Brenell tape recorder, and splicing the various loops together. He reversed the tapes, sped them up, and slowed them down to create the effects he wanted, some of which were later used on Beatles' recordings, such as "Tomorrow Never Knows" (1966). He referred to the tapes as "electronic symphonies".^[34] In 1966 he rented a ground floor and basement flat from Starr at 34 Montagu Square, to be used as a small studio for spoken-word recordings by poets, writers (including William S. Burroughs) and avant-garde musicians.^[35] The Beatles' Apple Records then launched a sub-label, Zapple with Miles as its manager, ostensibly to release recordings of a similar aesthetic, although few releases would ultimately come of the endeavour as Apple and the Beatles slid into business and personal difficulties.^[35] After touring almost non-stop for a period of nearly four years, and giving more than 1,400 live performances internationally,^[36] the group gave their final commercial concert at the end of their 1966 US tour.^[37]

They continued to work in the recording studio and before their break-up in 1970 produced what some critics consider to be their finest material, including the innovative and widely influential albums Revolver (1966), Sgt. Pepper's Lonely Hearts Club Band (1967), The Beatles (1968) and Abbey Road (1969).^[38] Between 1963 and 1970 the group released twenty-two UK singles and twelve LPs, of which seventeen of the singles and eleven of the LPs became number ones.^[39] The band topped the US Billboard Hot 100 twenty times, and recorded fourteen number one albums.^[40] Lennon and McCartney became one of the most celebrated songwriting partnerships of the 20th century.^[41] McCartney's contributions to the band's hit song's include: "Can't Buy Me Love" (1964), "Yesterday" (1965), Paperback Writer" and "Eleanor Rigby" (1966), "Hello, Goodbye" (1967), "Hey Jude" (1968), "Get Back (1969)", "Let It Be" and "The Long and Winding Road" (1970).^[42]

In March 1969 he married Linda Eastman, whom he first met in May 1967. The couple had their first child together, Mary, named after Paul's late mother, in August 1969.^[43] In October 1969 a rumour surfaced that McCartney had died in a car crash, but it was quickly proven false when a November Life magazine cover featured him and his family with the caption, "Paul is Still With Us."^[44]

1970–1981: Wings[link]

McCartney during a Wings concert, 1976

After the Beatles break-up in 1970 McCartney continued his musical career, releasing his first solo album, McCartney, in 1970, which contained the stand-out track "Maybe I'm Amazed", written for Linda.^[45] With the exception of some vocal contributions from her, it is a "one-man album with Paul playing all the instruments" himself, writes Beatles biographer Bill Harry.^[46] In 1971 Paul collaborated with Linda on a second album, Ram, a UK number one which included the co-written US number one hit song, "Uncle Albert/Admiral Halsey".^[47] Later that year, the pair were joined by ex-Moody Blues guitarist Denny Laine and drummer Denny Seiwell to form the group Wings, and release their first album together, Wild Life. In September 1971 the McCartney family added a second child, Stella, named in honour of Linda's grandmothers.^[48]

In 1973 McCartney wrote Wings' first US number one, "My Love", included on their second LP, Red Rose Speedway, and his collaboration with Linda and former Beatles' producer George Martin resulted in the James Bond theme song and Wings hit, "Live and Let Die", which was nominated for an Oscar, and earned Martin a Grammy for his orchestral arrangement.^[49] In 1974 Paul wrote a second US number one for Wings, "Band on the Run"; the acclaimed album of the same name, Wings' third, was a massive success that became their first platinum LP.^[50] They followed with the chart topping LPs, Venus and Mars (1975) and Wings at the Speed of Sound (1976).^[51] In September 1977 a third child was born to the McCartneys, a son they named James,^[52] and in November, the Wings song "Mull of Kintyre" was fast becoming "the best-selling single in UK history", writes Beatles biographer Peter Doggett.^[53] Achieving double the sales of the previous record holder, "She Loves You", the track would go on to sell 2.5 million copies, and hold the UK sales record until the 1984 charity single, "Do They Know It's Christmas?".^[54] In 1977 he released Thrillington, an orchestral arrangement of Ram, under the pseudonym Percy "Thrills" Thrillington^[55], with a cover designed by Hipgnosis.^[56]

While London Town (1978) and Back to the Egg (1979) passed with little critical or commercial notice,^[57] the latter involved McCartney's collaboration with a rock supergroup dubbed, "the Rockestra", though credited to Wings, that included Pete Townshend, David Gilmour, Gary Brooker, John Paul Jones, and John Bonham.^[58] Active through 1981, Wings produced seven studio albums, five of which topped the US charts,^[59] as well as their live triple LP, Wings over America,^[60] one of few live albums ever to achieve the top spot in America.^[61] They also recorded six US number one singles including, "Listen to What the Man Said", "Silly Love Songs, "With a Little Luck", and "Coming Up".^[62]

1982–1989[link]

In 1980 he released his second solo LP, the self-produced McCartney II, and as with his first, he composed all the music and performed the instrumentation himself. The album contained the hit songs "Coming Up", "Waterfalls", and "Temporary Secretary".^[63] In 1982 he 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.^[64] The following year he worked with Jackson on the US number one, "Say Say Say", and he earned a UK number one with the title track of his LP release that year, "Pipes of Peace".^[65]

In 1984 he wrote, produced, and starred in the feature film Give My Regards to Broad Street, a musical which "was savagely panned by the critics" according to Harry; and described by Variety as: "Characterless, bloodless, and pointless."^[66] Roger Ebert awarded the film a single star and wrote, "you can safely skip the movie and proceed directly to the sound track",^[67] which fared much better, reaching number one in the UK, and producing the hit single, "No More Lonely Nights", featuring Gilmour on lead guitar.^[68]

He collaborated with Eric Stewart on Press to Play (1986), who co-wrote more than half the songs on the LP, and in 1988, McCartney released Снова в СССР, a Russia-only title that contained eighteen covers which he recorded over the course of two days.^[69] In 1989 he joined forces with fellow Merseysiders including Gerry Marsden of Gerry and the Pacemakers and Holly Johnson of Frankie Goes to Hollywood to record a new version of "Ferry Cross the Mersey", originally recorded twenty-five years earlier by Gerry and the Pacemakers, to generate money for the appeal fund of the Hillsborough disaster, which occurred in April that year when ninety-five Liverpool F.C. fans died as a result of their injuries. The recording was a number one hit in the UK.^[70] In 1989 he released Flowers in the Dirt, a collaborative effort with Elvis Costello which included musical contributions from Gilmour and Nicky Hopkins.^[71]

1990–2000[link]

In 1990 he released the triple LP, Tripping the Live Fantastic, which contained select performances from The Paul McCartney World Tour, his first in over a decade.^[72] The following year he ventured into orchestral music, when the Royal Liverpool Philharmonic Society commissioned a musical piece by him to celebrate its sesquicentennial. He collaborated with Carl Davis to release Liverpool Oratorio; involving opera singers Dame Kiri Te Kanawa, Sally Burgess, Jerry Hadley and Willard White, with the Royal Liverpool Philharmonic Orchestra and the choir of Liverpool Cathedral.^[73] The Guardian was critical of the work stating that the music is, "afraid of anything approaching a fast tempo", and the piece has "little awareness of the need for recurrent ideas that will bind the work into a whole".^[74] In response, McCartney wrote a defensive letter to the paper, which they published, where he states: "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."^[74]

During the 1990s he twice collaborated with Youth of Killing Joke under the alias the Fireman, and released the electronica albums: Strawberries Oceans Ships Forest (1993) and Rushes (1998).^[75] Released in 1993, the rock album Off the Ground was supported by "The New World Tour", which produced the album, Paul Is Live later that year.^[76] Starting in 1994 he took a four-year hiatus from his solo career to work on Apple's the 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 being "wide-screen radio".^[77] 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,^[78] and in December 1996 he was informed that he was to be named in the 1997 New Year Honours and knighted for services to music; his ceremony took place in March 1997.^[79]

In 1997 he released the rock album Flaming Pie, and the classical work Standing Stone; in 1998 Rushes, his second electronica album as the Fireman.^[80] Run Devil Run (1999), featuring Ian Paice and Gilmour, was primarily an album of covers with three McCartney originals, something he said he had "wanted to do for years", having been previously encouraged to do so by Linda, who had died in April 1998 after losing a seventeen-month battle with cancer.^[81] He contributed a song, "Nova", to a tribute album of choral music dedicated to her called, A Garland for Linda (2000).^[82] He continued his experimentation with orchestral music on Working Classical (1999), and was inducted into the Rock and Roll Hall of Fame as a solo artist in March of the same year.^[83] In May 2000 he was awarded a Fellowship by the British Academy of Songwriters, Composers and Authors, and in August he released the electronica album, Liverpool Sound Collage with Super Furry Animals and Youth, utilising the sound collage and musique concrète techniques that fascinated him in the mid-1960s.^[84]

2001–present[link]

In 2001 McCartney released a live album of acoustic-only performances called, Unplugged (The Official Bootleg).^[85] Having witnessed the 11 September 2001 terrorist attacks from the JFK airport tarmac, he was inspired to take a lead role in organising The Concert for New York City, and his studio album release that year Driving Rain included the song "Freedom", written for the event as a response to the tragedy.^[86] He toured in support of Driving Rain and in 2002 released the double live album Back in the U.S. (released internationally in 2003 as Back in the World.^[87] In November 2002, on the first anniversary of Harrison's death, McCartney performed at the Concert for George.^[88] He has also participated in the National Football League's Super Bowl, performing "Freedom" in the pre-game show for Super Bowl XXXVI^[89] and headlining the halftime show at Super Bowl XXXIX.^[90]

McCartney and Ringo Starr promoting The Beatles: Rock Band in 2009.

In 2005 he released the rock album Chaos and Creation in the Backyard, and the electronica offering, Twin Freaks; a collaborative project with bootleg producer and remixer Freelance Hellraiser, consisting of remixed versions of songs from throughout his solo career.^[91] In 2006 he released the classical work Ecce Cor Meum; the rock album Memory Almost Full followed in 2007, and in 2008, his third Fireman release, Electric Arguments. In 2008 he performed at a concert in Liverpool to celebrate the city's year as European Capital of Culture.^[92] In 2009, 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.^[93] In 2010 he was honoured by Barack Obama with the Gershwin Prize for his contributions to popular music in a live show for the White House with performances by Stevie Wonder, Lang Lang and others.^[94] He returned to the White House later that year as a recipient of the Kennedy Center Honors.

McCartney's enduring fame has made him a popular choice to open new venues. In 2009 he played three sold out concerts at the newly built Citi Field in Queens, New York, constructed to replace Shea Stadium, and he released a double live album culled from those performances called, Good Evening New York City later that year.^[95] In 2010 he opened the Consol Energy Center in Pittsburgh, Pennsylvania,^[96] and in 2011 he performed the first concerts at the new Yankee Stadium, and released the classical work, "Ocean's Kingdom". He has been touring since 2001 with guitarists Rusty Anderson and Brian Ray, Paul "Wix" Wickens on keyboards and drummer Abe Laboriel, Jr. An upcoming tribute album is expected in June 2012, to coincide with his 70th birthday, featuring recordings of his songs by Kiss, Garth Brooks, Billy Joel, Brian Wilson, Willie Nelson, Steve Miller, B.B. King and others.^[97] Kisses on the Bottom, a collection of standards, was released in February 2012,^[98] that same month he was honoured as MusiCares Person of the Year, two days prior to his performance at the 54th Grammy Awards.^[99]

Musicianship[link]

As a musician, McCartney was largely self-taught, musicologist Ian MacDonald describes his approach as, "by nature drawn to music's formal aspects yet wholly untutoured ... [He] produced technically 'finished' work almost entirely by instinct, his harmonic judgement based mainly on perfect pitch and an acute pair of ears."^[100]

Bass guitar

He has been acknowledged by a diverse group of bass players including, Sting, long-time Dr. Dre bassist Mike Elizondo, and Colin Moulding of XTC.^[101] McCartney is known to play using a plectrum, or pick almost exclusively, but he occasionally plays fingerstyle as well.^[102] During his early years with the Beatles he primarily used a Höfner 500/1 bass live and when recording, though in 1965 he began using a Rickenbacker 4001s for recording, while consistently using Vox amplifiers.^[103] In recent years he has used Mesa Boogie bass amplifiers live and while recording. McCartney confirms the influence of Motown on his playing, in particular that of James Jamerson, whom he described as a "hero", and included with Brian Wilson as his "two biggest influences".^[104]

Whereas MacDonald identifies "She's a Woman" as the point in time which McCartney's bass playing began to evolve dramatically,^[106] Beatles biographer Chris Ingham singles out Rubber Soul as the time when his bass playing, "began to come into its own", particularly on "The Word".^[105] Authors Tony Bacon and Gareth Morgan agree, calling his "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."^[107] MacDonald infers the influence of James Brown's "Papa's Got a Brand New Bag", and Pickett's "In the Midnight Hour", American soul tracks from which McCartney absorbed elements and drew inspiration as he "delivers his most spontaneous bass-part to date". He also played piano on the recording.^[108]

Bacon and Morgan describe 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."^[109] MacDonald calls it the Beatles "finest B-side", its "clangorously saturated texture resona[ting] around McCartney's bass".^[110] He describes the bassline as "so inventive that it threatens to overwhelm the track", and he draws attention to the influence of Indian classical music in "exotic melismas in the bass part".^[110]

Acoustic guitar

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".^[111] He played an Epiphone Texan on many, if not most of his acoustic recordings, but he has also used a Martin D-28.^[112]

Electric guitar

He played lead electric guitar on several Beatles' recordings, including what MacDonald describes as a "fiercely angular slide guitar solo" on "Drive My Car",^[113] which he played on an Epiphone Casino, about which McCartney said: "If I had to pick one electric guitar it would be this."^[114] He also contributed what MacDonald calls "a startling guitar solo" on the Harrison composition, "Taxman", and the "shrieking" guitar on "Sgt. Pepper's Lonely Hearts Club Band" and "Helter Skelter", as well as "a coruscating pseudo-Indian" solo on "Good Morning Good Morning".^[115] In recent years he has primarily used a Gibson Les Paul for electric work, particularly while performing live.

Piano

He played a piano on many Beatles' songs including, "Every Little Thing", "For No One", "A Day in the Life", "Hello, Goodbye", "Hey Jude", "Lady Madonna", "Let It Be" and "The Long and Winding Road".^[116]

Creative outlets[link]

During the 1960s, McCartney delved into the visual arts, becoming a close friend of leading art dealers and gallery owners, explored experimental film, and regularly attended movie, theatrical and classical music performances. His first contact with the London avant-garde scene was through artist John Dunbar, who introduced him to the art dealer Robert Fraser, who in turn introduced McCartney to an array of writers and artists.^[117] He later became involved in the renovation and publicising of the Indica Gallery in Mason's Yard, London — where Lennon first met Yoko Ono.^[118] The Indica Gallery brought McCartney into contact with Miles, whose underground newspaper, the International Times, McCartney helped to start.^[119] Miles would become de facto manager of Apple's short-lived Zapple Records label,^[120] and he wrote McCartney's official biography, Many Years From Now (1997).^[121]

While living at then girlfriend Jane Asher's parent's house, he took piano lessons arranged by Jane's mother, provided by a teacher from the Guildhall School of Music and Drama, a school Beatles' producer Martin had previously attended.^[122] McCartney studied composers such as Karlheinz Stockhausen, and Luciano Berio.^[123] He later wrote and released several pieces of modern classical music and ambient electronica, as well as writing poetry and painting. He is lead patron of the Liverpool Institute for Performing Arts, an arts school in the building formerly occupied by the Liverpool Institute for Boys. The 1837 building, which he attended during his schooldays, had become derelict by the mid-1980s, however, on 7 June 1996, Queen Elizabeth II officially opened the redeveloped building.^[124]

Painting

In 1966 he met art gallery-owner Robert Fraser, whose flat was visited by many well-known artists, some of which McCartney met, including; Andy Warhol, Claes Oldenburg, Peter Blake, and Richard Hamilton, and it was at Fraser's flat where McCartney first learned about art appreciation.^[125] He later started buying paintings by Magritte, using his painting of an apple for the Apple Records logo, and McCartney now owns one of Magritte's easels and a pair of his spectacles.^[126]

McCartney's love of painting surfaced after watching artist Willem de Kooning paint, in Kooning's Long Island studio.^[127] He took up painting in 1983,^[128] and in 1999, he exhibited his paintings (featuring McCartney's portraits of John Lennon, Andy Warhol, and David Bowie) for the first time in Siegen, Germany, and included photographs by Linda. He chose the gallery because Wolfgang Suttner (local events organiser) was genuinely interested in his art, and the positive reaction led to McCartney showing his work in UK galleries.^[129] The first UK exhibition of his work was opened in Bristol, England with more than 50 paintings on display. McCartney had previously believed that "only people that had been to art school were allowed to paint" – as Lennon had.^[129]

In October 2000, Ono and McCartney presented art exhibitions in New York and London. McCartney said, "I've been offered an exhibition of my paintings at the Walker Art Gallery in Liverpool 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."^[130] McCartney designed a series of six postage stamps issued by the Isle of Man Post in 2002, and according to BBC News, he is the first major rock star in the world to do so.^[131]

Writing and poetry

When he was young, his mother read him poems and encouraged him to read books, and his father was interested in crosswords and invited he and his brother Michael to solve them with him, so as to increase their "word power", says McCartney.^[132] He was later inspired – in his school years – by Alan Durband, an English literature teacher at the Liverpool Institute.^[133] Durband was a co-founder and fund-raiser at the Everyman Theatre in Liverpool, where Willy Russell also worked, and introduced McCartney to Geoffrey Chaucer's works.^[134]

In 2001 he published 'Blackbird Singing', a volume of poems and lyrics to his songs for which he gave readings in Liverpool and New York City.^[135] 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."^[136] Years later, he wrote a poem about the death of his childhood friend, Ivan Vaughan.^[136] In 2005 he collaborated with author Philip Ardagh and animator Geoff Dunbar to write, High in the Clouds: An Urban Furry Tail, which The Guardian labelled an "anti-capitalist children's book".^[137]

Film

He was interested in animated films as a child, and in 1981 he 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.^[138] In 1992 he worked with Dunbar on an animated film about the work of French artist Honoré Daumier, which won both of them a BAFTA award.^[139] In 2004 they worked together on the animated short film, Tropic Island Hum. In 1995 he made a guest appearance in the "Lisa the Vegetarian" episode of The Simpsons, and directed a short documentary about the Grateful Dead.^[140]

In May 2000 he released Wingspan: An Intimate Portrait, a retrospective documentary that features behind-the-scenes film and photographs that he and Linda took of their family and bands.^[141] Interspersed throughout the eighty-eight minute film is an interview by Mary McCartney with her father. Mary was the baby photographed inside McCartney's jacket on the back cover of his first solo album, McCartney, and was one of the producers of the documentary.^[142]

Lifestyle[link]

Drugs

McCartney live in Dublin, Ireland, 2010

McCartney's introduction to drugs started in Hamburg, Germany, when the Beatles would play for long hours and were often using Preludin to maintain energy, sometimes supplied by friend Astrid Kirchherr. According to McCartney, he would usually take only one, but Lennon would often take four or five by the end of a night.^[143] He recalls getting "very high" and "giggling uncontrollably" when the Beatles were introduced to marijuana by Bob Dylan in a New York hotel room in 1964.^[144] His use of which soon after became habitual,^[145] and according to Miles, any future Beatles' lyrics containing the words "high", or "grass" were written specifically as a reference to cannabis, as was the phrase "another kind of mind" in "Got to Get You into My Life".^[146] During the filming of Help!, he claims he occasionally smoked a joint in the car on the way to the studio during filming, which often made him forget his lines.^[147] Director Dick Lester says that he overheard "two beautiful women" trying to cajole McCartney into using heroin, but he refused.^[147] He was introduced to cocaine by art dealer Robert Fraser, and it was readily available during the recording of Sgt. Pepper's Lonely Hearts Club Band.^[148] McCartney admits that he used the drug for about a year but stopped because of his dislike of the unpleasant melancholy he felt after the drug wore off.^[149]

While initially reluctant to try LSD, he eventually did so in the fall of 1966 with friend Tara Browne.^[150] He took his second "acid trip" with Lennon on 21 March 1967 after a Sgt. Pepper studio session.^[151] He later became the first Beatle to discuss the drug publicly, declaring in a magazine interview that "it opened my eyes" and "made me a better, more honest, more tolerant member of society."^[152] His attitude about cannabis was made public in 1967, when he added his name to a 24 July advertisement in The Times which called for its legalisation, the release of all prisoners imprisoned because of possession, and research into marijuana's medical uses. The advertisement was produced by a group called Soma and was signed by sixty-five people, including Members of Parliament, the Beatles, Epstein, RD Laing, Francis Crick, and Graham Greene.^[153]

Though never arrested by Norman Pilcher's Drug Squad, as Lennon, Harrison, and Mick Jagger had been,^[154] in 1972 Swedish police fined him for cannabis possession, and soon after Scottish police found plants growing on his farm.^[155] He was again arrested for marijuana possession in 1975, and in January 1980, when Wings flew to Tokyo for an eleven concert tour of Japan, as McCartney was going through customs, officials found approximately 8 ounces (218.3 g) of cannabis in his luggage, and he was arrested and taken to a local jail while the Japanese government decided what to do. After ten days, he was released without charge and deported.^[156] He was again arrested for possession of marijuana in 1984 and in 1997, he spoke out in support of decriminalisation, stating "People are smoking pot anyway and to make them criminals is wrong."^[157]

Activism

Paul and Linda became outspoken animal rights activists after their vegetarianism was realised when Paul happened to notice through a window, lambs in a field, as they ate a meal of lamb.^[158] He has also credited the 1942 Disney film Bambi, in which the young deer's mother is shot by a hunter, as the original inspiration for him to take an interest in animal rights.^[159] In his first interview after Linda's death, he promised to continue working for animal rights.^[160] In 1999 he spent £3,000,000 to ensure Linda McCartney Foods remained free of genetically engineered ingredients.^[161]

McCartney wearing a shirt that reads "no more land mines"

Following his marriage to Mills, he joined her in a campaign against landmines, becoming patrons of Adopt-A-Minefield.^[162] In 2003 he played a personal concert for the wife of a wealthy banker and donated his one million dollar fee to the charity.^[163] He also wore an anti-landmines t-shirt during the Back in the World tour.^[164] In 2006 the McCartneys travelled to Prince Edward Island to bring international attention to the seal hunt, this would be their final public appearance together. Their arrival sparked attention in Newfoundland and Labrador where the hunt is of economic significance.^[165] The couple also debated with Newfoundland's Premier Danny Williams on the CNN show Larry King Live. They further stated that the fishermen should quit hunting seals and begin a seal watching business.^[166] McCartney has also criticised China's fur trade^[167] and supports the Make Poverty History campaign.^[168]

He has been involved with several charity recordings and performances, such as the Concerts for the People of Kampuchea, Ferry Aid, Band Aid, Live Aid, and the recording of "Ferry Cross the Mersey" (1989) following the Hillsborough disaster.^[169] 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,^[170] and in 2008 he donated a song to Aid Still Required's CD to assist with the restoration of the devastation done to Southeast Asia from the 2004 Tsunami.^[171]

In 2009, he wrote to the 14th Dalai Lama Tenzin Gyatso, and asked him why he wasn't a vegetarian, McCartney explains: "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. So we had a little correspondence [and] I think now he's vegetarian most of the time. I think he's now being told ... that he can get his protein somewhere else. It's a little old-fashioned to think that he can only get it from meat [and] 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.'"^[172]

Football

He attended the 1968 FA Cup Final played by West Bromwich Albion against the Everton Football Club, and after the match, shared cigarettes and whisky with other fans.^[173] Though he has publicly professed support for Everton,^[174] he has also shown support for Liverpool F.C., as in 1968 when he was photographed wearing their rosette.^[175] The ex-Liverpool footballer, Albert Stubbins, was shown on the Sgt. Pepper cover,^[176] and the video for his song "Pipes of Peace" (1983) recreated the 1915 Christmas football game played between German and British troops during World War I.^[177] At the end of "Coming Up (Live at Glasgow)" the crowd chants "Paul McCartney!" until McCartney takes over and changes it to "Kenny Dalglish!", referring to then Liverpool and Scotland striker. At the same concert, Gordon Smith, former football player for the Rangers and Brighton & Hove Albion, met the McCartneys, and later accepted an invitation to visit their home in East Sussex in 1980. Smith later said that McCartney was "thrilled I knew Kenny Dalglish"^[178]

He attended the 1986 FA Cup Final between Liverpool and Everton,^[173] and performed at the Liverpool F.C. Anfield stadium in 2008, as a part of Liverpool's European Capital of Culture year. Dave Grohl from the Foo Fighters sang with McCartney on "Band on the Run", and played drums on "Back in the U.S.S.R.".^[179] Ono and Olivia Harrison attended the concert, along with Ken Dodd, and the former Liverpool F.C. football manager Rafael Benítez.^[180] 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."^[181]

Meditation

On 24 August 1967, McCartney met the Maharishi Mahesh Yogi at the London Hilton, and later went to Bangor, in North Wales, to attend a weekend 'initiation' conference, at which time he and the other Beatles learned Transcendental Meditation (TM).^[182] "The whole meditation experience was very good and I still use the mantra ... I find it soothing and I can imagine that the more you were to get into it, the more interesting it would get."^[183] The time McCartney later spent in India at the Maharishi's ashram was highly productive, as nearly all of the songs that would later be recorded for The White Album and Abbey Road were composed there.^[184] Although he was told never to repeat the mantra to anyone else, he admitted he told Linda, and said he meditated a lot while he was in jail in Japan.^[185] 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.^[186]

Personal relationships[link]

Girlfriends[link]

Dot Rhone

McCartney's first serious girlfriend in Liverpool was Dot Rhone, whom he met at the Casbah club in 1959.^[187] According to Spitz, Rhone feels McCartney had a compulsion to control situations, chosing clothes and make-up for Rhone, encouraging her to grow her hair out like Brigitte Bardot's,^[188] and at least once insisting she have it re-styled, to disappointing effect.^[189] When he 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.^[190] The couple had a two-and-a-half-year relationship, and were due to marry until Rhone's miscarriage, when according to Spitz, McCartney now "free of obligation", ended the engagement.^[191]

Jane Asher

He first met the British actress Jane Asher on 18 April 1963, when a photographer asked them to pose together at a Beatles performance at the Royal Albert Hall in London.^[192] The two began a relationship and he took up residence with Asher at her parents' house at 57 Wimpole Street London, where he lived for nearly three years before the couple moved to McCartney's own house in St. John's Wood.^[193] He wrote several songs while at the Ashers', including "Yesterday" and several inspired by Asher, among them "And I Love Her", "You Won't See Me", and "I'm Looking Through You".^[194] They had a five-year relationship, and planned to marry, but Asher broke off the engagement after she discovered he had become involved with another woman, Francie Schwartz.^[195]

Wives[link]

Linda Eastman

McCartney performing with wife Linda in 1976.

Linda Eastman was a music fan who once commented: "All my teen years were spent with an ear to the radio", and who would at times be truant from school to instead see artists such as: Fabian, Bobby Darin, and Chuck Berry.^[196] She was a popular photographer with groups such as: the Jimi Hendrix Experience, the Grateful Dead, the Doors, and the Beatles, whom she first met at Shea Stadium in 1966, about which she commented: "It was John who interested me at the start. He was my Beatle hero. But when I met him the facination faded fast and I found it was Paul I liked."^[197] The pair first properly met in 1967 at a Georgie Fame concert at The Bag O'Nails club,^[198] during her UK assignment to take photographs of rock musicians in London,^[199] 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!"^[197] 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."^[197] The pair were married in 1969; he describes their relationship: "We had a lot of fun together ... just the nature of how we are, our favourite thing really is to just hang, to have fun. And Linda's very big on just following the moment."^[200] He also added, "We were crazy. We had a big argument the night before we got married and it was nearly called off ... [its] miraculous that we made it. But we did."^[201]

They collaborated musically after the break-up of the Beatles, and later formed Wings together in 1971, a commercially successful band that was active through 1981.^[202] They were both vegetarian and supported the animal rights organisation PETA.^[203] 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 in 1998.^[204] After her death, Paul stated in The Daily Mail: "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."^[205]

Heather Mills

In 2002 he married Heather Mills, a former model and anti-landmines campaigner.^[206] In 2003, the couple had a child, Beatrice Milly, the first name in honour of Heather's late mother, the second for one of Paul's aunts.^[207] They separated in April 2006 and were divorced in March 2008.^[208] In 2004 he commented on media animosity toward his partners, "They [the British public] didn't like me giving up on Jane Asher", "I married a New York divorcee with a child, and at the time they didn't like that."^[209]

Nancy Shevell

He married New Yorker Nancy Shevell in a civil ceremony at Old Marylebone Town Hall, London on 9 October 2011. The wedding was a "low-key affair" attended by a group of around 30 family and friends.^[210] The couple had been dating since November 2007.^[211] A breast cancer survivor,^[212] she is a member of the board of the New York Metropolitan Transportation Authority as well as vice president of a family-owned transportation conglomerate which owns New England Motor Freight.^[213]

Beatles[link]

John Lennon

Despite a strained relationship with Lennon, they briefly became close again in 1974, and played music together on two occasions, the only times since the Beatles break-up in 1970.^[214] In later years however, the two grew apart.^[215] While McCartney would often phone, he was apprehensive about the reception he would receive, as during one call when he was told, "You're all pizza and fairytales!"^[216] In McCartney's effort to avoid talking with him only about business, they often spoke of cats, baking bread, or babies.^[217]

On 24 April 1976,^[218] the two were watching an episode of Saturday Night Live together at Lennon's home in New York City, during which Lorne Michaels made a $3,000 cash offer for the Beatles to reunite, and while they seriously considered going to the SNL studio just a few blocks away, they decided it was "too late" and according to Lennon, this was the last time he and McCartney ever spent time together.^[219] This event was fictionalised in the 2000 television film Two of Us.^[220] His last telephone call to Lennon, just days before Lennon and Ono released Double Fantasy, was friendly, he said this about the phone call: "[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."^[221]

Reaction to Lennon's murder

On the morning of 9 December 1980, he awoke to the news that Lennon had been murdered the previous night, his death creating a media frenzy around the surviving members of the band.^[222] During the evening of 9 December, as he was leaving an Oxford Street recording studio, he was surrounded by reporters and asked for a reaction. He was later criticised for what appeared, when published, to be a superficial response: "It's a drag".^[218] 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."^[218] He describes 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.^[218]

In 1983, he 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."^[218] He said that he went home that night and watched the news on television – while sitting with his children – crying most of the evening. In 1997, he admitted the ex-Beatles were nervous at the time that they might be the "next" one murdered.^[223] In 2002 he told Mojo magazine that Lennon was his greatest "hero".^[224] In June 1981, six months after the murder, McCartney sang backup on Harrison's tribute to their ex-bandmate, "All Those Years Ago", which also featured Starr on drums.^[225] In 1982 McCartney released "Here Today", a song musicologist Walter Everett describes as "a haunting tribute" to their friendship.^[226]

George Harrison

Harrison said this about working with McCartney: "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.^[227]

In late 2001, McCartney learned that Harrison was losing his battle with cancer, and upon his death on 29 November 2001, McCartney issued a statement outside his home in St. John's Wood, calling him "a lovely guy and a very brave man who had a wonderful sense of humour", "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."^[228] Harrison spent his last days in a Hollywood Hills mansion that was once leased by McCartney.^[229] On the first anniversary of his death, McCartney played Harrison's "Something" on a ukulele at the Concert for George.^[88] He also performed "For You Blue" and "All Things Must Pass", as well as playing the piano on Eric Clapton's rendition of "While My Guitar Gently Weeps".^[230]

Ringo Starr

Though Starr once described McCartney as "pleasantly insincere", the two generally enjoy each other's company, and at least once vacationed together in Greece, including stops in Athens and on the islands Corfu and Rhodes.^[231] Starr recalls: "We couldn't understand a word of the songs the hotel band were playing, so on the last night Paul and I did a few rockers like "What'd I Say." ^[231] There was at times discord between them as well, particularly during Beatles' sessions for "The White Album", as Apple's Peter Brown recalls, "It was a poorly kept secret among Beatle intimates that after Ringo left the studio Paul would often dub in the drum tracks himself ... [Starr] would pretend not to notice".^[232] In August 1968 the two got into an argument over McCartney's critique of Starr's drum part for "Back in the USSR", which led to Starr temporarily leaving the band.^[232] He returned in September^[233] to find bouquets of flowers on his drum kit. Starr comments 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."^[232]

Recognition and achievements[link]

McCartney performing in Prague, 6 June 2004

McCartney has been described by Guinness World Records as "The Most Successful Composer and Recording Artist of All Time", with 60 gold discs and sales of 100 million albums, 100 million singles, and a writer's credit on forty-three songs that have sold over one million copies each.^[1] According to Guinness, he is "the most successful songwriter" in UK singles chart history, and has written or co-written "188 charted records, of which 129 are different songs. Of these records, 91 reached the Top 10 and 33 made it to No.1. In total, the songs have spent 1,662 weeks on the chart (up to the beginning of 2007)."^[2] In 1986 he received acclaim from the Guinness Book of Records Hall of Fame, "as the most successful musician of all-time."^[234]

In the US, as a songwriter or co-writer, he is included on thirty-one number one singles on the Billboard Hot 100; including twenty with the Beatles and nine solo and/or with Wings,^[235] one as a co-writer on Elton John's cover of "Lucy in the Sky with Diamonds",^[236] and one as a co-writer of "A World Without Love", a number one single for Peter and Gordon.^[237] As of 2012, he has sold 15.5 million RIAA certified units in the United States.^[238]

Although Elvis Presley has achieved the most UK number-ones as a solo artist with eighteen,^[239] McCartney has been involved in more number-ones in the UK than any other artist under a variety of credits, totalling twenty-four singles: including seventeen with the Beatles, one solo, and one each with Wings, Stevie Wonder, Ferry Aid, Band Aid, Band Aid 20 and one with "The Christians et all".^[240] 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).^[241]

His song "Yesterday" is thought to be the most covered in history with more than 2,200 recorded versions,^[242] 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 this century in the US."^[243] His 1968 Beatles composition, "Hey Jude", is also a career highlight. It achieved the highest sales in the UK that year, and topped the US charts for nine weeks, longer than any other Beatles' single. It was also the longest single ever released by the band, and at seven minutes fifteen seconds was the longest of any number one to that point. Its been covered by several notable artists, including Presley, Bing Crosby, Count Basie, and Wilson Pickett.^[244] It is the best-selling Beatles' single of all-time, with sales of over five million copies achieved soon after its release.^[245]

McCartney receiving the Gershwin Award from President Obama at the White House, June 2010

He played for the largest stadium audience in history when 184,000 people paid to see him perform at Maracanã Stadium in Rio de Janeiro, Brazil on 21 April 1990,^[246] that year the minor planet 4148, was named "McCartney" in his honour.^[247] In July 2005 he was involved with the fastest-released single in history, when his performance of "Sgt. Pepper's Lonely Hearts Club Band" with U2 at Live 8 was released before the concert was over. The single reached number six on the Billboard charts, just hours after the single's release, and hit number one on numerous online download charts across the world.^[248]

On 18 June 2006, McCartney celebrated his 64th birthday, a milestone that was the subject of a tune he wrote at the age of sixteen, which would later become the Beatles' song "When I'm Sixty-Four".^[249] In 2008 he received a BRIT award for Outstanding Contribution to Music,^[250] as well as an honorary Doctor of Music degree from Yale University.^[251] In 2012 he became the last of the "Fab Four" to receive a star on the Hollywood Walk of Fame.^[252]

Business

McCartney is one of the UK's wealthiest people, with an estimated fortune of £475 million in 2010.^[253] In addition to an interest in Apple Corps, MPL Communications, an umbrella company for his business interests, owns a significant music publishing catalogue, with access to over 25,000 copyrights,^[254] including the publishing rights to the musicals Guys and Dolls, A Chorus Line, and Grease.^[255] He earned £40 million in 2003, making him Britain's highest media earner.^[256] This rose to £48.5 million by 2005.^[257] In 2006 the Trademarks Registry reported that MPL had started a process to secure the protections associated with registering the name "Paul McCartney" as a trademark.^[258]

Northern Songs

Northern Songs was established in 1963 by Dick James to publish the songs of Lennon–McCartney.^[259] The Beatles' partnership was replaced in 1968 by a jointly held company, Apple Corps, which continues to control Apple's commercial interests. Northern Songs was purchased by Associated Television (ATV) in 1969, and was sold in 1985 to Michael Jackson. For many years McCartney was unhappy about Jackson's purchase and handling of Northern Songs.^[260]

Despite the lack of publishing rights to most of his Beatles' songs, he continues to receive his respective share of the writers' royalties, which together are 33⅓% of total commercial proceeds in the US and which vary elsewhere around the world between 50 and 55%.^[261] 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 the mid 1980s,^[262] and they are the only two Beatles songs owned by MPL Communications.^[263]

Discography[link]

Solo

Wings, live, and compilations

Tours[link]

Arms[link]

Arms of Paul McCartney Notes Sir Paul McCartney's agent was Hubert Chesshyre, LVO, Clarenceux King of Arms Crest On a Wreath of the Colours A Liver Bird calling Sable supporting with the dexter claws a Guitar Or stringed Sable.[266] Escutcheon Or between two Flaunches fracted fesswise two Roundels Sable over all six Guitar Strings palewise throughout counterchanged. Motto ECCE COR MEUM (Behold my heart)[266]

Citations[link]