Bill Harry_ the Paul McCartney Encyclopedia 12

8/14/2019 Bill Harry_ the Paul McCartney Encyclopedia 12

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Bill Harry. "The Paul McCartney Encyclopedia"The Beatles 1963-1970

BILL HARRY. THE PAUL MCCARTNEY ENCYCLOPEDIAKahne, DavidAn American record producer, the A&R head of Warner BrothersRecords, who has worked on albums with a range of artists includingTony Bennett, the Bangles, Fishbone, Sugar Ray and Sublime. Paulchose him to produce his Driving Rain album in 2001.

Commenting on the album, Kahne said, 'It's a more aggressive record,definitely. It's got real energetic guitar songs. They're all original and there's a lot of power there. I think he really loved doingthat because he hadn't done it in a while.'KaleidoscopeA BBC Radio 4 programme. Paul went to Broadcasting House on Monday16 September 1991 to be interviewed live on the programme discussingPaul McCartney's Liverpool Oratorio. Parts of the programme wererepeated later that day.Kansas City/Hey Hey HeyA medley which Paul sang, utilising Jerry Leiber and Mike Stoller's'Kansas City' and Little Richard's belter 'Hey Hey Hey'. The Beatlesrecorded the track for the Beatles For Sale album on 18 October

1964. Recalling the session, Paul said, 'John always used to egg meon. He used to say, "Come on, Paul, knock the shit out of 'KansasCity'," just when the engineers thought they had a vocal they couldhandle.'The number 'Kansas City' was originally known as 'K.C. Loving' andhad originally been a single by Little Willie Littlefield inDecember 1952. Under his real name of Richard Penniman, LittleRichard had penned 'Hey Hey Hey' and he recorded the two songs as amedley in 1959, which is what inspired the Beatles to add the numberin their repertoire.A live version of the number lasting 3 minutes and 54 seconds wasrecorded live in Kansas City on 31 May 1993 and included on the PaulIs Live album.

Karate ChaosA number recorded during Wings' sessions for Venus And Mars, andinspired by Geoff Britton, Wings drummer and a karate champion.However, Geoff left the group during the recording sessions for thealbum and was replaced by Joe English, which is probably why thisnumber was never released.Keep Coming Back To LoveA number written by Paul and Hamish Stuart and recorded at The MillAt Hog Hill Studios in Paul's Sussex home during the Off The Groundsessions in 1992. Julian Mendelsohn produced it. The song was fiveminutes in length.Keep Under CoverFirst recorded as a studio demo at Park Gate Studios, Sussex in

August 1980, the number was eventually recorded during sessions inMontserrat on 7 and 8 December 1980 when Stanley Clarke added bassto the track. It was included on the Pipes Of Peace album.Kellys, TheA husband and wife domestic team who Paul hired when he moved intoCavendish Avenue. Mrs Kelly was the housekeeper and her husbandacted as butler and manservant.Paul had never employed a housekeeper before and had engaged her asan experiment.They were a live-in couple who worked for Paul for two years, but hehad to fire them in January 1967 when they sold their story of life


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at Cavendish Avenue to an Australian magazine.However, Paul did provide her with a handwritten reference, whichread:'Mrs Kelly worked for me and was a very capable and trustworthyhousekeeper. She is an excellent cook and generally very efficient.'Paul McCartney.'She sold the reference in 1993 for 250.At the time, Paul was to say, 'Mr and Mrs Kelly are looking for

another place and I'm getting another couple to replace them. Therehave been disagreements over the running of the household. I haven'tasked them to leave instantly because that would be unrea sonable.'A Mr and Mrs Mills replaced them.Kenwright, BillA major West End theatrical producer, Bill attended LiverpoolInstitute at the same time as Paul. He commented: 'I first knew Paulwhen we travelled on the same bus to school. He always used to weara big over coat with a huge fur collar. We were both keen on actingand on one occasion were both in crowd scenes in a school productionof Saint Joan.'Bill briefly flirted with a career as a singer before turning toacting; he appeared in the TV soap Coronation Street before becoming

successful as a theatrical producer.Kicked Around No MoreA number recorded during the Off The Ground sessions which was laterused as an extra track on a Hope Of Deliverance CD.King, LarryThe famous host of CNN's Larry King Live. King interviewed Paul andHeather for an hour on 12 June 2001.Commenting on the current music scene, Paul said, 'I like some ofthe Eminem stuff because it's kind of clever. I like the rhythm, Ilike the attitude, and I can imagine if I was a young kid now, I'dlike that.' On his musical heroes, he noted, 'Little Richard isfantastic, Jerry Lee Lewis, Gene Vincent, all of them. And then thenext wave was Motown, Marvin Gaye and Smokey Robinson and Nat King

Cole.'Mentioning the Beatles, he said, 'People say, "Are you going toreunite?" and stuff like that. But for me, if we were on stage, thethree of us, there'd be someone missing. I'd look over there andthere'd be someone missing and that'd be John.'On his relationship with Yoko Ono he said, 'We don't get along. Butsome people you may be destined to not become great buddies with. Soit's not that we don't get along, just we don't talk much. We talkif we have to. I don't ring up and say: "Hey, Yoko, what'shappening, babe?" We don't do that.'He mentioned his book Blackbird Singing, and a poem he'd writtenwhen thinking about John Lennon, '"Here Today" is a song I wroteafter John died. I was just thinking about him and remembering the

good times and not so good times and having an imaginary conversation with him. What happened was that on the day that John got shot,there was this horror that someone we loved could just be mown down.At the end of the day, after all the tears and all the newscasts andall the pundits, who said: "John Lennon was ..." and I'd really saidnothing, the phrase that came to me was "jerk of all jerks". So Iended up writing a poem about it.'Paul was to create an image of King that he included in his exhibitions of paintings, prints and photographs.For his portrait of Larry King, Paul snapped pictures of King duringhis interview with him on the Larry King Live show, using his


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wrist-watch camera. The original photographic print was used as oneof 28 deliberately grainy shots that appeared on the cover of Paul'sDriving Rain album, released in November 2001.Paul then turned the image into a portrait in its own right byenlarging the print several times and painting a wash of lightcolour over it.King's DockA site in Liverpool, near to the famed Pier Head and Liver

Buildings, where Paul performed a historic concert on Thursday 18June 1990 as part of his World Tour.A press release regarding the appearance was issued on 23 Mayheaded: 'Paul McCartney Announces UK "Thank You" Shows'.It read:Paul McCartney is going home to Liverpool with his record-breakingworld tour - as a personal 'thank you' to the people he says 'are sospecial to me'.Paul is to stage the biggest rock show ever seen on Merseyside,taking a massive 240ft-wide, lOOft-high stage to his home town onThursday 28 June. His 140-minute show will feature 15 Beatles songsand new material especially for Liverpool.It will be the first time in 11 years that Paul - currently on an

all-sold-out, year-long tour - will have played in the city thatmatters so much to him.In the same week, Paul will also play in another of his favouritetowns, Glasgow, on Saturday 23 June.'It's all a home-coming for me,' Paul said today.'There's just certain cities in the world that you try to playbecause the people there are so special.'I've travelled everywhere but I've never found anyone to beat thepeople I grew up with. Obviously, Liverpool means a lot to me andthe people there always will do. But we always had a great welcomein towns like Glasgow too.'It's because of the people, they're working-class people and theyare the sort I get off on - they're canny lads and I can relate to

'em.'Paul had initially planned to play Liverpool and Glasgow earlier inthe year, when his World Tour did a record-breaking eleven shows atLondon's Wembley Arena, but he was unhappy that the only venuesavailable were too small.The people from Liverpool and Glasgow really got behind us when Istarted off in this business with the Beatles. I wanted to say thankyou properly to them,' he said.'We've been taking this show all around the world, playing hugegigs, and yet it looked as if I would have to scale it all down take out some of the lights and the video screens and specialeffects - to get in the halls available in Liverpool and Glasgow atthe time.

'And that would have been disappointing to me, I didn't want to takethis really big gig across America and then do a crummy little showin Liverpool.'It was Paul who personally found the open-air Liverpool site for thecritically-acclaimed show that last month set a new rock and rollattendance record - when Paul played to 180,000 fans at Rio DeJaneiro's Maracana Stadium.He drove around Liverpool and spotted the ideal site for the newshow - the arena, King's Dock, Liverpool. The Glasgow gig -at theArena, Scottish Exhibition Centre, Queen's Dock - is a similaropen-air venue. Both shows are supported by TDK.


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'Both shows are by the water, which I like. Both shows are by docks,which used to fascinate me as a kid, and both should be a goodlaff,' he said.'I'm really looking forward to seeing all those fans again - for meit's Get Back to Glasgow and Let It Be Liverpool.'Paul last played Liverpool in November 1979, during Wings' last UKtour.For this new show, the McCartney band will be Linda and Paul, 'Wix'

Wickens on keyboards, Robbie Mclntosh and Hamish Stuart on guitarsand Chris Whitten on drums.'They're a fairly silly lot and that's one of the attractions ofgoing out on the road with this group, because we have a good time.It's a bit of a party,' said Paul.McCartney has insisted that the ticket prices be kept to a realistic level and he will be donating money from the shows to localcharities.In Liverpool, profits from the show will go to: Alder Hey Hospital's75th Birthday Appeal, The Women & Children's Aid Centre, Kids InNeed & Distress (KIND), The Netherley Youth Trust, Sunnybank Appeal(The Marie Curie Hospital), the Merseyside Play Action Group (MPAG)and Liverpool Institute for the Performing Arts (LIPA).

In Glasgow, a substantial donation will be shared between: TheYorkhill Children's Trust for sick children, Scottish Women's Aidfor battered wives, The Simon Community for the homeless anddestitute and Scotcare - a consortium of charities that incorporatehelping family conciliation, alcoholics, single parents, marriageguidance and victim support schemes.'It's just my way of giving a little back,' Paul commented.There was a press conference backstage at the King's Dock prior tothe Liverpool concert, which began at 5.30 p.m.Mark Featherstone-Witty took the stage to announce the campaignfor the Liverpool Institute for Performing Arts and was followed byVicky Roberts, chairperson of the Finance and Strategy Committee toconfirm that the City Council had approved plans to make the

Liverpool Institute for Performing Arts a reality.George Martin then appeared, saying, 'This is where it all began.'He expressed his support for LIPA and said, 'Music, like love, is ahuman emotion. Paul and the other boys knocked the world sidewaysback then. Congratulations, Liverpool... do it again!'He then introduced Paul, who began to answer questions from thepress.When asked how he felt being back in Liverpool thirty years on, hereplied, 'I'm here often. It's just another visit. But to actuallybe playing is unbelievable. Great.' When he was asked about the JohnLennon memorial concert which had taken place on the King's Dock on5 May that year, he squirmed slightly, said he sent a video to it'because John was a mate' but talking of the memorial concert itself

he said, 'I think John might not have liked it.'There were numerous questions about the tour, his family, LIPA andthe fact that the Yale Bowl concert was cancelled. Paul said, 'Iwon't go anyplace where I'm not wanted. Yale University was achoice, but too many people in the city didn't want the noise.'During the concert, which was attended by 50,000 people, Paulperformed a John Lennon medley of 'Strawberry Fields Forever','Help!' and 'Give Peace a Chance', the first time he had ever doneso and the first time he'd performed a solo Lennon composition inpublic.Seventy-five minutes of the concert performance was transmitted on


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BBC Radio One on 27 October. Film of the concert was included in thedocumentary 'From Rio To Liverpool' and also in the Disney Channeldocumentary 'Paul McCartney - Going Home'.Following the show, Paul hosted a reception backstage at the concertand the 150 guests included George Martin, Mike McCartney and familyand various friends, relatives and media personnel.Kingdome, TheThe venue in Seattle, Washington where Wings appeared on Thursday 10

June 1976 before an audience of 67,053 people. This created a worldrecord for a single act. Prior to the show, Paul was filmed duringan interview for 'Monday Night Special', a TV show which then airedon Monday 14 June 1976. The Kingdome concert was filmed and part ofthe performance is included in the 1980 film Rockshow. Footage fromthis concert was also shown on Good Night America on Wednesday 28June 1976 when Geraldo Rivera interviewed Paul; the clips from theKingdome concert were 'Band On The Run' and 'Yesterday'.Paul made his final appearance at the Kingdome on Thursday 29 March1990 when he opened the sixth leg of his World Tour there. Hearrived in Seattle on Wednesday 28 March and held a press conferencethe following day. The Kingdome was demolished on 26 March 2000.Klein, Allen

An American music entrepreneur and accountant who was president ofABKCO Industries Inc. when he became business manager for JohnLennon, Ringo Starr and George Harrison.The son of a poor Jewish butcher, he was born in Newark, New Jerseyon 18 December 1931. He initially entered the show business world asan accountant and was hired by artists such as Bobby Darin. He alsobecame a manager of Sam Cooke, the Shirelles and Bobby Vinton andrepresented several 'British Invasion' groups such as the RollingStones, Herman's Hermits, the Animals and the Dave Clark Five.Klein had a reputation for playing hardball with record companiesand approached artists saying: 'Whaddya want? Money? You got it.'Klein also arranged a deal in which the Rolling Stones received a$1,250,000 advance against 25 per cent of the wholesale price of

their records - 75 cents per album. At the time the Beatles werereceiving only 15 per cent in Britain and 17.5 per cent in America.Ironically, this led to Paul's becoming the first member of theBeatles to suggest that Klein should act on their behalf, althoughnothing came of that original suggestion.When he read an interview Ray Coleman had conducted with John Lennonsaying that Apple was going bust, Klein seized the opportunity, andcontacted Apple by transatlantic call to arrange an appointment withJohn. A meeting was eventually arranged for Klein to meet John andYoko at the Dorchester Hotel in London.Ray Coleman was to say: 'When I interviewed John in January 1969, hetold me that Apple was "losing 50,000 every week and if it

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on like this we'll be broke in six months." My report that wentround the world's media caught the eye of Allen Klein, a New Yorkterrier in pop management who was then encouraged into Apple byLennon, Harrison and Starr with a brief to sharpen its activities.Paul resisted this and rebuked me for reporting John's loose-tonguedadmission of Apple's problems.'The canny Klein had done his homework and at the meeting hisknowledge of the Beatles impressed John, who said: 'He knew allabout us and our music. I knew right away he was the man for us. Iwrote to Sir Joseph Lockwood that night. I said: "Dear Sir Joe: Fromnow on Allen Klein handles all my stuff." '


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Describing that first meeting, John said: 'We were both nervous. Hewas nervous as shit and I was nervous as shit and Yoko was nervous.We met at the Dorchester. We went up to his room and we just wentin, you know. He was all alone. He didn't have any of his helpersaround, because he didn't want to do anything like that. He wasnervous you could see it in his eyes. When I saw that, I feltbetter. We talked to him for a few hours, and we decided that night,"He was it!" He knows the lyrics to every fuckin' song you could

ever imagine from the twenties on! He not only knew my work, and thelyrics that I had written, but he also understood them, and from wayback. He is a very intelligent guy. He told me what was happeningwith Paul and George and Ringo. He knew every damn thing about us.'Here is Paul's version of his first meeting with Klein: 'The veryfirst thing that made me suspicious about him was meeting him,because he is a bit of a boy. I thought, OK, and treated itordinarily. It was nine o'clock, and we had been meeting all day, soI said: "I think I'll go home to Linda," and everybody said: "Oh no,man. How can you be so uncool? We are meeting this great guy and youare going home." I thought: He's a businessman, and you don't dobusiness past nine o'clock at night, do you? The crunch was when wecame to discuss percentages. I thought: We are big stars now, and

Brian Epstein asked twenty per cent in the beginning. I even arguedwith him then. I said: "Twenty? I thought that managers only tookten per cent." He said: "No, it's twenty these days." So, I said:"OK, maybe I'm not very modern." But, we were pretty unknown inthose days and Klein asked for the same. I said to the others:"He'll do it for five. We are big boys now." Well, I thought we hadhad a bit of success. So, there would be John, George and Ringo withKlein and there would be me. I would be saying: "Listen, Allen, yousaid that that was going to happen. Where is it now?" And he wouldsay: "Oh, well, we can't do it today. That was two weeks ago. Wecould do it then." I think they were using this whole Eastman-Kleinbit, and playing me off against the others.'Yet this is in contrast to another statement he made: 'We called in

Klein, which was John's idea. We needed top advice and Klein gave itto us. The people who complain against him are mostly the people whohave come off second best in deals with him because he is such agood negotiator.'John Lennon was to say: 'Paul's criticisms of Allen Klein mayreflect his dislike of the man, but I don't think they are fair.Klein is certainly forceful to an extreme but he does get results.He didn't sew discord between us.'It was the Stones who originally suggested Allen Klein to theBeatles. The London group first met him on 24 August 1965 and withinfour days he was co-managing the group with Andrew Loog-Oldham. Thenthey shed Loog-Oldham in September 1967. However, like othercreative artists, they had their differences with Klein and on 30

July 1970 they informed him that neither he nor ABKCO IndustriesInc., nor any other company, had any authority to negotiatecontracts on their behalf in the future.A person such as Klein, whose prime motivation seemed to be 'money'and 'litigation', didn't appear to be the sort of person to considerthe creative or cultural needs of artists, which is why it was sostrange that creative artists signed with him, because, in a numberof cases, it ended in disaster.Take the case of the film director Alejandro Jodorowsky. John Lennonsaw his film El Topo and he was so impressed he contacted Klein tofinance Jodorowsky's next film Holy Mountain. As a result, Klein


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acquired the rights to El Topo and Holy Mountain. This did, indeed,prove disastrous for Jodorowsky, as Klein destroyed the orig inalnegatives and prevented the films being shown.In the 1990s, Jodorowsky issued a statement headed 'Jodorowsky vs.Klein', the text of which read:Allen Klein insists to prevent my movies from being shown. Now he'strying to bring me into a trial for having shown my movies in somefestivals and pirate copies. It would be good that all the people

who admire my work demand lifetime jail for Klein, under the chargeof cultural murder. Killing a work of art is as monstrous as killinga human being. For 25 years Klein has prohibited the public to see'El Topo' and 'The Holy Mountain'. He has destroyed the originalnegatives. It would be necessary to have a worldwide campaignagainst him and his crimes. Please translate this message in allpossible languages and send it to as many people as you can. We willestablish the existence of cultural crime against humanity. AllenKlein is a criminal, together with his accomplice lawyers. All ofthem deserve punishment and prison.Paul wrote a letter to Klein because he was furious that PhilSpector had added strings, voices and horns to his number 'The LongAnd Winding Road'. The letter read:

In future no one will be allowed to add to or subtract from arecording of one of my songs without my permission. I had considered orchestrating 'The Long And Winding Road' but decided againstit. I therefore want it to be altered to these specifications: 1.Strings, horns, voices and all added noises to be reduced in volume.2. Vocal and Beatles instrumentation to be brought up in volume. 3.Harp to be removed completely at the end of the song and originalpiano notes substituted. 4. Don't ever do it again.Although Paul strongly objected to Allen Klein, he was told thatunder his contract he would have to let him be his manager. Pauldidn't want that and sought advice. He was told that he could sueKlein. 'Great, I'll sue him,' he said. Then he was told that hewould also have to sue Apple.

Paul didn't want to do this and it took him two months to make uphis mind. Eventually he decided to go ahead.Paul was to describe Klein as 'nothing more than a trained New Yorkcrook'. He was able to point out that on 29 January 1971 in the USDistrict Court, Southern District of New York, Klein was foundguilty on ten counts of 'unlawfully failing to make and file returnsof Federal income taxes and FICA taxes withheld from employees'wages'.Paul was to say: 'Klein was not the exclusive reason why the Beatlesbroke up. We were starting to do our own things before he arrived,but it certainly helped. There were various reasons why we split. Idon't think even the four of us know all the reasons, but Klein wasone of the major ones.'

Paul's suspicions were vindicated on Saturday 31 March 1973, whenJohn, George and Ringo decided not to renew his contract. Klein thenissued a statement on Monday 2 April 1973, saying that his companyABKCO was severing its links with Apple and the three formerBeatles. John, George and Ringo finally fired him in November ofthat year.It was John Lennon, the one who originally insisted on Klein'staking over the management of the Beatles, who was to make a publicstate ment on Friday 6 April, when he was interviewed by JohnFielding for the London Weekend Television programme Weekend World.Fielding asked him: 'Can you tell me what happened with Allen Klein?


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Why did you and the other two decide finally to get rid of him?'John replied: 'There are many reasons why we finally gave him thepush, although I don't want to go into the details of it. Let's saypossibly Paul's suspicions were right - and the time was right.'In June 1973, the litigious Klein sued Apple. For John, George andPaul actually to rid themselves of Klein they had to pay him asettle ment of $4 million.Paul's suspicions about him were further consolidated when Klein was

jailed for two months in May 1979 for tax evasion relating to theincome he'd derived from illegal sales of the Concert For BanglaDesh album.Knebworth FestivalA concert that took place on Saturday 30 June 1990. There was anaudi ence of 120,000 at the festival, which was in aid of theNordoff-Robbins Music Therapy Centre and the Brit School forPerforming Arts.This particular concert was known as the 'Silver Clef Award WinnersShow'. The charity had awarded 'silver clef awards over the years tooutstanding performers of British music and it was decided to inviteprevious winners of the award, including Paul McCartney, RobertPlant, Genesis, Eric Clapton, Elton John and Pink Floyd to appear in

order to raise funds for a much needed new centre for the charity.The charity itself provided 'a way of communicating with, developingand enhancing the lives of mentally, physically and autisticallyhandicapped children, through music'.An album of the event was issued in which Dave Dee, in the linernotes, wrote: 'The concert sold out instantly and it became evidentthat our target would be exceeded. To gratefully acknowledge thesupport that Nordoff-Robbins has received from the music industry itwas agreed that the proceeds would be shared with a new venture -The Brit School for Performing Arts - currently being established bythe British Phonographic Industry Institute.'And so to the day itself - as host for the concert, I representedNordoff-Robbins Music Therapy. Onstage, I was overwhelmed by the

size, the appreciation and the sheer good humour of the hugeaudience. Offstage, I was equally impressed by the professionalismand goodwill of the artists and their crews. A magnificent show, aterrific day - one of the best of my life.'Knebworth: The AlbumAlbum issued by Polydor Records in Britain and America on Monday 6August 1990 weeks after the original 30 June 1990 festival atKnebworth at which Paul had appeared. The proceeds of the album weredonated to the Nordoff-Robbins Music Therapy charity and the BritSchool for Performing Arts. Two of the numbers from Paul's live set,'Coming Up' and 'Hey Jude' were featured on the release, which was adouble album, Polydor 843 921-1, a double-cassette, Polydor 843921-4 and double CD, Polydor 9843 921-2. The concert was also

transmitted in Britain on the ITV network on 6 August and includedPaul performing four numbers, 'Coming Up', 'Birthday', 'Hey Jude'and 'Can't Buy Me Love'.Knebworth: The Event (Volume One)A home video of the Knebworth concert of Saturday 30 June 1990. Itwas issued in the UK by Castle Video (CMP 6006) on Tuesday 28August. The video featured Paul performing four numbers, 'ComingUp', 'Birthday', 'Hey Jude' and 'Can't Buy Me Love'. Profits fromthe sale of the video were shared between the Nordoff-Robbins MusicTherapy charity and the Brit School for Performing Arts.Knight, Ian


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A stage designer who specialises in rock shows. Ian designs thecomplete stage setting for bands, including the scenery, lightingand special effects. His assignments have included shows for theWho, Led Zeppelin and Wings. For the Wings shows he also designedsome special backcloths, one featuring a giant-sized copy of a ReneMagritte painting to illus trate the number 'C Moon' and another theDavid Hockney painting of a chair which was displayed during thenumber 'Chair'.

KnighthoodGeorge Martin was honoured with a knighthood when he was named inthe New Year's honours list at the end of 1995. Cliff Richard alsoreceived a knighthood. Commenting on the fact that he'd beenover-looked in the honours list, Paul said, 'All the Beatles areMBEs -Members of the British Empire - except John, who sent hisback. It's the lowest honour you can have from Britain. George(Martin) has a higher honour than we have.'You can't sit around saying, "God, I wish they'd make me a sir."Or, you know, "I wish they'd put me in the Rock And Roll Hall OfFame." Funnily enough, in his early days, John was very muchwondering how he would be remembered. I said, "You're crazy, man.What are you talking about? Number one, you'll be remembered as

something fantastic. You'll be out in the cosmos somewhere."'Paul was 54 years old when it was announced in the Queen's NewYear's honours list (there were 1,035 names on the list) on Monday30 December 1996 that he would receive a knighthood. He was abroadat the time of the announcement, but said, 'It is a fantastichonour, and I am very gratefully receiving it on behalf of all thepeople of Liverpool and the other Beatles - without whom it wouldnot have been possible.'So I hope I can be worthy of it. I would also like to thank my wifeand kids and wish everyone a Happy New Year.'On the same honours list, other Liverpool artists were named.Frankie Vaughan, already an OBE, received a CBE, Cilia Blackreceived an OBE and Roger McGough also received an OBE.

Paul's brother Mike commented, 'It is an excellent day andabsolutely deserved by all concerned. Our kid told me a while backthat this was going to happen, and so did Roger, so I had to swearthat I'd keep my mouth shut. Liverpool people have always had loadsof talent. They are always there, and always will be.'When the news of the New Year's honours list was first announced,the caption writers on the British national press had a field daywith punny titles and headlines. The Times headed it 'A Hard Day'sKnight', the Daily Mirror titled it 'Dub Me Do - Happy New Yeah YeahYeah', the Daily Express described Paul as a 'Hard Dazed Knight' andthe headline on the Sun newspaper was 'YesSirday"Paul arrived for the ceremony at 10.15 a.m. in a dark-bluechauffeur-driven Mercedes.

The investiture took place at Buckingham Palace at 11.00 a.m. onTuesday 11 March 1997 and lasted approximately two and a half hours.Linda was too ill to attend and his children, James, Stella andMary, accompanied Paul. Paul was initially briefed on protocolbefore entering the Palace ballroom into the presence of QueenElizabeth II. He knelt in front of the Queen who placed King GeorgeVI's sword first on his right shoulder, then the left, dubbing himwith the title 'Sir Paul'.After the ceremony, wearing his black morning suit, he went to thePalace quadrangle to pose for photographs and addressed the gatheredreporters, saying, 'Today is fantastic, there is a blue sky and it's


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spring time. My mum and dad would have been extremely proud - andperhaps they are.'I would never have dreamed of this day. If we'd had that thoughtwhen we started off in Liverpool it would have been laughed at as acomplete joke. Proud to be British. A wonderful day. It's a long wayfrom a little terrace in Liverpool.'He was asked if he'd spoken to any of the other Beatles about it andhe said, 'Yep. They make fun of me. They keep ringing me up and

calling me "your holiness", but they're having a good time. It seemsstrange being here without the other three. I keep looking over myshoulder for them.'Linda was at home in Cavendish Avenue with her daughter Heather andthe reporters asked after her health. Paul said, 'She's doing fine,thanks. We drew straws, 'cos we could only get three tickets. SoI've got my three youngest kids with me.'He was asked again about Linda's state of health and said, 'Linda isfine. She's doing very well. I would have loved my whole family tohave been here, but as we only had three guest tickets, Linda andHeather decided to stay out of the limelight today.'Paul left the Palace at 12.45 p.m.Knite, Hilda

A former midwife at Walton Hospital where Paul was born. She becamea midwife in 1936 and retired in 1965.As a senior midwife at Walton Hospital she helped to deliver bothPaul and his brother Mike into the world.She was to say, 'Paul and Mike's mother was one of my pupils and Itrained her to be a midwife. She came back to have her babies atWalton Hospital.'I used to take most of the ex-staff on my small block. I rememberPaul had to be delivered by a doctor because it was a trickydelivery.'At a celebration at the hospital in 1997, anyone who was born on thesame day as Paul was presented with a special certificate.Knoc-Turn'al

A Los Angeles rapper. In 2002 Paul allowed him to use the Wingstrack 'Old Siam Sir' on his single 'Musik.' Initially, Paul wasn'tgoing to allow him to use the sample. Knoc said: 'But, when he heardit and realised it was a positive song, he cleared it. So I justexplain that to them in the song. I think Paul appreciate that,because he understands that he sacri ficed a lot, seeing that he'sbeen here for thirty-five, almost forty years.'Kramer, Billy JA singer, born William Ashton in Bootle, Liverpool, who was signedup by Brian Epstein. His original Liverpool band, the Coasters,wouldn't turn professional and as Epstein couldn't convince anotherLiverpool band, the Remo Four, to back him, he engaged a Manchesteroutfit, the Dakotas, to be his backing band.

Together with the Dakotas, Kramer recorded four Lennon and McCartneynumbers, three of them written by Paul. His first number was theJohn Lennon composition 'Do You Want To Know A Secret?' which wasreleased in the UK on 26 April 1963 and replaced the Beatles 'FromMe To You' at the top of the British charts. The flipside was Paul'scomposition 'I'll Be On My Way'.John's 'Bad To Me' was specifically written for Kramer, with anotherLennon composition, 'I Call Your Name' on the flipside. His nextrelease was the Paul composition 'I'll Keep You Satisfied'. Paulalso penned his next single, 'From A Window', which was released inthe UK on 17 July 1964.


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Kramer didn't accept everything John and Paul gave him and hadoriginally turned down Paul's 'A World Without Love', which became achart-topper for Peter and Gordon. One number, mainly written byPaul, which he recorded but never released, was 'One And One IsTwo'. Kramer was unhappy with the number and when John Lennon toldhim, 'Release that and your career is over,' he decided not torelease it. The number was then recorded by Mike Shannon & theStrangers, but failed to make any impact on the charts.

When Kramer was searching for another hit he approached Paul andasked him if he had a song for him to record. Paul offered him'Yesterday', but Billy turned it down, as he didn't think it wassuitable for him.Kreen AkroreThe final track on Paul's solo debut album McCartney lasting 4minutes and 8 seconds. Paul was to comment, 'There was a film on TVabout the Kreen-Akrore Indians living in the Brazilian jungle, andhow the white man is trying to change their way of life. The nextday, after lunch, I did some drumming. The idea behind it was to getthe feeling of their hunt. The end of the first section had Lindaand I doing animal noises (speeded up) and an arrow sound (done livewith bow and arrow - the bow broke), then animals stampeding across

a guitar case. We built a fire in the studio but didn't use it (butused the sound of the twigs breaking).'Paul recorded the song at Morgan Studios, aided by engineer RobinBlack.Kumbh MelaThe world's largest religious gathering. The festival takes placeeach decade and lasts for 42 days during which devotees wash awaytheir sins at the point where the holy rivers the Ganges and Yamunaconverge. The 2001 gathering attracted 30 million people.Paul and Heather Mills attended the festival, booking into the TonyMaurya Hotel, New Delhi on 9 January 2001 at the invitation of thesitar virtuoso Nishat Khan. It was reported that the couple stayedin their room for most of the visit.

Documents

Bill Harry_ the Paul McCartney Encyclopedia 12