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Thursday, August 6, 2026
Paul French Interview on McCartney II (1980)
When Paul and Linda were in Cannes in 1980, they did several interviews with the press in France. This interview was from a radio interview Paul gave and it was printed in the July 1980 issue of "With a Little Help From My Friends."
Paul McCartney interview with Europe number 1
Q: Do you mind that at each press conference, people always ask the same old questions about the Beatles?
A. Yeah, yeah. You know, it always comes out. It's okay. Pas de problemes (in French, no problem.)
Q : Let us speak about the new album McCartney II. 10 years ago, you did the first McCartney album all alone. Why did it occur to you to do the second album all alone?
A. When I did it the first time, it was only an experiment, and I really enjoyed doing it because it's a very easy way for me to work. I don't have to ask questions, and I just do it. In the meantime, I worked with Wings, and after we finished Egg, I wanted to do something on my own. I just rented a machine like a cassette and just one or two mics, and made this album. Purely again, just for an experiment. I didn't intend to release it, but some people heard it, and they said that it would be a good album, and they twisted my arm.
Q: Is it a concept album, or had you some musical ideas to express?
A: No, the idea for the album was to work in a different way than I ordinarily work. So what I used to do was arrive in the studio early in the morning to play some drums, bass, and guitar. Then I tried to figure out what the song would be. Ordinarily, I write the song before and then I record, but this time I made the recording first and thought about the songs afterwards, which is an interesting way to work for me. It's a reverse of the normal way.
Q: "Coming Up" is really a gimmick?
A: Yes, but you know some of my best records are just gimmicks. It's a very simple song, but some people apparently like it.
Q: We saw the video on TV you made for the single's promotion. How did you manage to play all those characters at the same time?
A: Well, I just had to play the drums first, and then by special techniques, I did all the other people in two days. It was very difficult to imagine that there was somebody near me. It was like working on a cartoon that we would have to add to afterwards. But it was great fun doing it because I had to imagine. 'Oh yes, there you are', and I smiled to somebody who wasn't there. It was fun to do. I just dressed up for two days and made it all up.
Q: We recognize some characters in the video.
A: Yes, I talked with the director, and we settled loosely on using people who actually exist. The bass player-that's me 10 years ago. And there was Ron Hale from Sparks. I had fun doing it, you know. And there is Hank Marvin from the Shadows. Somebody thinks that it could be Buddy Holly, but for me, I wasn't as thin in the face as he was. And the rest were just loosely about some characters we knew. There was a Japanese guitarist whom we don't know really. The drummer is nobody in particular.
Q: And the horns?
A: The horns? Yeah, it's just like Teddy Boys. There is one at the end who's a hippie, but he can't dance. It's fun because I had to dance without my shoes.
Q: About "Temporary Secretary", there's an odd tempo mainly with the keyboards.
A: Yes, on "T Secretary", it's a thing called a sequencer, and it's the same thing. I think The Who used it in "Ballo O'Reilly", but with this one, you could make (Paul makes a noise with his tongue.) It's like a rhythm box (he makes the noise again) I did that for five minutes, and then I just tried to think of the song to go with it, which was great fun.
Q. May I ask you about the last song on the album?
A: Oh, "Waterfalls?" It's a ballad, and some of my friends like it. For me, it's very difficult. When you just end one album, it's hard to say what is wrong or what is good because we are too close to it, but according to the reaction of my friends who phoned me from L.A. and said, 'Oh, that's a great song', "Waterfalls" is the song they seem to like the best.
Behind the Scenes at Say Say Say
I found this article in the Internet Archive, and I think it originated from Club Sandwich; however, the writer and source were cut from the article.
The original idea for the clip accompanying "Say Say Say" was Paul's. He was busy finishing off his Pipes of Peace album, and he had his Give My Regards to Broad Street film to complete, but wanted you all to see him and Michael in "Say Say Say", so it was pack the bags and off we went to Los Angeles for four days.
The director was Bob Giraldi, who worked with Michael on his sensational " Beat It " video. The chosen location was a nice little town called Los Alamos, about 70 miles from L.A. We later learned that this was the town where the world's first atom bomb was exploded. My job is to scout out the locations and check that everything is okay. Fortunately, Trevor Jones was coming along. We've worked with Paul for some time. So, no just what is required.
We were all staying in a little town called Yulton, which is famous for its pea soup, while Michael was staying down the road in Stavanger, which is famous for its pastries. Paul and Linda are safely installed in the place they'll be staying. And the next day, I'm due to drive Paul down to a meeting with Bob Garaldi to discuss the shooting. Paul takes one look at the hired car, though, and decides to drive me! It's a real space stage Corvette. The dashboard's all lit up with graphs, lights, and things to tell you how many miles per gallon you're doing at a certain speed. It certainly makes a pleasant change to be chauffeured by Paul McCartney!
Los Alamos itself is an amazing place, a real old cowboy town straight out of the 1880s. You half expect John Wayne to walk down the main street. You'll remember the scene in the finished video when Paul goes into the hotel. Well, that's an incredible place too. The owner has kept it just like a hotel out of the 20s and 30s, and everything is right, even down to the magazines and toilet fittings! We've hired this warehouse where they've built the sets you see in the finished video, and Paul and Linda come down for costume fittings, and Paul learns all his dance steps from a choreographer called Jeff, who's great, really good, and really fast. So it's all over by four in the afternoon. Paul and Linda go back for a rest, and we all relax, the calm before the storm.
I go and have another look at one of the cowboy towns further down Highway 101. It's great, and the only thing that stops it from being exactly like something out of High Noon is the town's petrol station.
October 4 is the first day of the shoot, and we're all up ridiculously early, something like 530 a.m. There's dozens of vintage cars on set when we arrive. They've all been perfectly restored for Hollywood films, and the only difference is that they're all fitted with automatic transmissions. Apparently, actors can't act and change gear at the same time.
The first shot is just Paul, Linda, and Michael looking over a truck. After being made up and in costume, Paul and Linda are on set when it's lights, camera, action," just like in the movies. It all goes well that first morning, except that one of the grips falls off a ladder and is a bit shaken, so we break for lunch early. He's okay though, just a slightly sprained wrist. The local girls have laid on this beautiful barbecue for lunch. It's a lovely hot day, and the trestle tables are all set up. So we sit down and eat, and say say say, what do you know? It's all meat, meat, meat. A 28-ounce steak is no big deal over here.
It's at lunch that the first of a series of amazing coincidences occurs. The lady who owns the ranch where we're filming is called Rita, and comes from Yorkshire. She says that this bit of California is just like Yorkshire, except for the lizards and tarantulas. After lunch, Paul, Linda, and Michael went out to meet a bunch of local school kids who'd come down with their headmaster. They all signed autographs and chatted to the kids and made everybody very happy.
After lunch, we moved on up to the orphanage to film a scene. Paul and Linda's daughter Heather is in this scene, and she looks lovely. She runs across the lawn to meet Paul and Linda, who come up the hill with a big bag full of money for the kids. In the background, Michael's doing a spectacular dance routine on top of the fence.
There's a break in filming, and Trevor's gone off to help Linda sort some things out when Paul asks me for a cup of tea. Now, normally it's no trouble, but when you're virtually in the middle of the desert, it poses a problem. I run to get some hot water, and wind up making the tea on a stone. It was a right rough old cup of tea, so I had to reboil the water to make a proper cup, which is something the Americans still haven't mastered.
The location is really out of the way, so when filming's finished for the day, I take Paul and Linda's truck back while they hitch a ride back in Michael Jackson's "wagon", a Rolls Royce.
The next day, we're back filming in Los Alamos, in the Union Hotel. Paul's being filmed having a game of pool with this really tough-looking character, who is really the film's director, Bob Garaldi. We then move outside to film an important shot of Paul, Linda, and Michael driving down the main street in this truck. Obviously, they attract quite a crowd who were held back on one side of the street. Everybody was busy getting the set up when Trevor noticed that the crowd was reflected in the hotel window, which was lucky, as he managed to prevent the shot from being filmed, saving an expensive retake.
They all moved upstairs to film a shot in one of the rooms. Linda is lying on the bed playing a guitar while Paul is shaving. They're busy filming away when Paul dabs his shaving brush on Michael's cheek, which was completely unrehearsed. But Michael's reaction was so great they kept it in the finished film.
Early on, I got Paul and Linda some lovely omelets from the cafe next door to the hotel, and got chatting to an old guy there. He was about 77 and looked exactly like Buffalo Bill. He has spent his entire life in Los Alamos, apart from one period during the war when he was stationed abroad in Liverpool- amazing! While they're filming inside, I got chatting to one of the security guards who's writing a history about the town. Apparently, it used to be a real hideout for all the old outlaws in the days of the Wild West. It was where the original aliases Smith and Jones used to hide after robbing stagecoaches and stuff. The guard agreed that he had another chapter to write in his book-- the day that Paul and Linda McCartney and Michael Jackson came to Los Alamos.
The scenery around here is unbelievable-real cowboy country, horses, cattle, and the most incredible sunsets. The last shot of the day was Paul, Linda, and Michael bowling down the road in the van toward the sunset. The sun was in the perfect position, just setting on the back of the hills. This great big red ball. The sunsets really are amazing, with the orange sky and the background which goes all black. It looks marvelous, and we were lucky to get that shot that day because the locals told us they had been getting a lot of rain lately.
The last day of shooting, the scene in the warehouse studio where the Mac and Jack show really gets underway with Paul and Michael dancing around in checked suits. The Fred Astaire routine with the top hat goes a bit wrong when Paul's top hat keeps sticking to his head. Anyway, it gets all sorted out, and Paul goes into costume as a magician with his magic cauldron.
Before the day's shooting is over, Paul obliges with a couple of television interviews, and he and Linda go out and meet another party of schoolchildren and sign a few more autographs. As Paul and Linda are getting changed, I go down to their car to find it covered in messages scrawled by the fans in the dust. A quick wash and brush up, and it's as good as new.
On dropping them off, Linda asks us for dinner, which was lovely. Trevor and I eventually get back to our hotel and relax with the crew for a few drinks-a welcome change from all the pressures of filming.
On our last day, Paul drives the Corvette to Los Angeles, which he did at 100 miles an hour! Because of that, we got to the airport really early and went to eat at a Mexican restaurant nearby. It's no good hanging around an airport with Paul and Linda; they are always recognized, and things start to get crazy. On our way in, I go with them to the duty-free shop, where they buy some T-shirts and presents for their family, and onto the aircraft and off it went.
Trevor and I had a few drinks at the airport bar, and caught our plane on time. We slept most of the way back, and by the time we woke up, we were back in dear old Blighty. Los Alamos already seemed like a dream. At least every time I see the video of "Say Say Say", I'm able to recall those four action-packed days.
Wednesday, August 5, 2026
Waiting Five Days to Meet John (1980)
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| Photo taken by "Blonde Brenda" |
I found this story in the July 1980 issue of "With a Little Help From My Friends." And it just seems off to me. According to the note before the article, it was originally published on June 4, 1980, in the Soho News, which was a Milwaukee newspaper, and was sent to the fanzine by Curt Merwin.
As I read the story, I realized I knew it—it was Brenda's story. If you ever read Fred Seaman's book, then you might remember Brenda. I have met Brenda numerous times at Paul McCartney concerts, Beatles conventions, and even had a nice get-together at her home a few years ago. She has told me her story about meeting John in 1980 -- I specifically recall the part about talking to him about Beatlefest and him sitting in his limo, chatting with her. I also remember her talking about meeting John on Yoko's birthday and bringing her flowers.
So either Brenda used an alias of Marsha and said she was from Wisconsin instead of Minneapolis when talking to whoever wrote this article, or Marsha stole Brenda's story and claimed it as her own.
Stranger still -- no writer is listed for this story, and when I Googled "Soho News in Milwaukee," there is nothing listed. Nonetheless, I am going to reproduce the article just as I discovered it.
Thunder, lightning, the rain is coming down in sheets. Umbrellas collapse. Traffic stands still. Pedestrians run for cover, but a teenage girl yells joyfully into a payphone on Central Park West, oblivious to the downpour. "I saw him!" she shouts. "I talked to him. I got his picture!"
Marsha Salzberg, 18, has just finished talking to John Lennon, 40, former Beatle. For two years, this slender girl with the round, flushed face and slightly crooked teeth has been coming from her home in Middleton, Wisconsin, for one purpose-to wait for John Lennon in front of the Dakota, where he lives with his wife, Yoko Ono, and their son Sean.
"I guess I've talked to him more than anyone else," says Marsha.
Are there many others?
"Oh yeah, one girl from Pennsylvania, a couple from Queens, mostly from New York. I'm friends with lots of them. I get their addresses out of the Beatles fan magazines. Write to them, then come out and visit."
She drifts back to the moment. "He talked so much today. He wouldn't shut up." She shakes her head at the wonder of it all. "He's moody, though. Some days he's the sweetest guy, but others, like the first time I saw him in January of '78, we've been waiting six days, and I was about to leave for the airport when he and Yoko came out of a cab. I said "hello", and he said "hello...goodbye," and that was it.
I tried some other times, but nothing happened until February of '79. It was Yoko's birthday. I had all these gifts and flowers for her. First, John came out. He was adjusting his hat and smiling. Then Yoko came out with friends. I kissed her, and she said, "That's very kind, thank you." Then I hugged John, and he said, "That's very nice." I'd brought him a plant.
"It all started about seven years ago. I saw a TV special on the Beatles, and I couldn't believe how the girls were reacting. I had to find out what was going on. Paul was my favorite at first. Then I remember listening to Rubber Soul, and realized I liked John better.
"I've been to New York five times, and I've seen him 17 times. Mainly, it's just small talk. I never know what to say because I don't want to offend him."
But this time was different, and as Marcia speaks, her eyes are blank. Part of her is still with John, still living the most important 10 minutes of her life. She speaks without emotion, almost clinically determined to remember everything-not for mere self-glory, but for the love of history.
"Today I didn't recognize him at first because he changes his look so much. He had his hair pulled back with a ponytail in the middle and a full beard and a mustache that kind of went up at the end, and I said, "John, do you remember me?" And he said, "Yes, you're the girl from Wisconsin. Are you the one who's been waiting five days?" And I said, "Yes, I can't believe you came out". And he said, "My dear, after waiting five days, you deserve it."
"Then he sat inside his limo, and I knelt down beside him, and we talked. I said, 'Can I give you a kiss?' And he said, 'No, I don't want to get into that. Here, shake my hand or something.' So I took his hand and held it. I asked what he was doing, and he said, 'According to everybody, all I do is stay in my apartment and sleep, and I'm bald.' And I said, 'Well, you're definitely not bald. You look really good,' and he smiled. And then he said, 'Are you here for the Beatlefest?' And I said, 'Yes'. And he said, 'I've always wanted to go to one of those. They have photos I've never seen before. I saw this one of us at Hamburg, me and Stu, the dead beetle, and Paul and George, and this pimp.' Then he said, 'Are you one of the new generation of Beeale fans? You weren't around when we first came out. 'And I said, 'You probably think I'm crazy.' He didn't say anything. Then I said, 'John, can I take your picture?' And he said, 'Yes.' I took it, and then a secretary came out and saw me and said, 'John!' He said, 'It's okay. She's been waiting five days to get it.' I took a second one, and John said, 'Okay, that's enough.'
"Then Sean came out with his nanny and Yoko's mother, and they got in the car. John said to Sean, 'Watch out for the baby's fingers', as he closed the door. Then Yoko came out, and I said hi, and she said, 'Please don't bother John. He wants to relax.' And I said, 'Okay.' She kissed John goodbye, and they left. And she waved."
Marsha wants to be alone to walk in the rain, knowing that she's been part of John Lennon's life this morning, and that he is now part of hers forever. She can't think anymore or analyze. "I don't know why I do it. It's just that people worship him. It's a thrill. As John left," she says. "He said, 'See you next time.' I said, 'If I come out again, but I probably will, but I didn't want him to know that."
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