The Epistles of Paul (1990)

 

Paul backstage at Wembly
Photo by David Modell

The Epistles of Paul

By Giles Smith

The Independent (London)

December 14, 1990

    Prior to selecting the songs he would play on his recent World Tour, Paul McCartney made a small policy decision. "I basically thought, don't get subtle and don't medley your hits into two and a half seconds like Prince does. When I go to Prince's show. I want to hear "Purple Rain," "When Doves Cry," the hits.

     "So I asked myself, 'What would I want to hear Paul McCartney play?' And I decided, 'Well, his best stuff, basically.' So I took out a piece of paper and thought, 'Maybe I'm Amazed'. Pretty good. 'Let It Be' was good. 'Hey Jude,' not bad, 'The Long and Winding Road', yeah, and so on, until the songs on the list numbered 35."

     But even that would have to rank as a modest sample from the available catalog. McCartney doesn't know how many hits he has written in the last 30 years, let alone how many misses. (He talks about them casually, as he talks about much else, for that matter, with a nod and a wink, dipping in and out of funny voices, performing a fairly thorough impersonation of an ordinary bloke.) "It's just like a lot, and I did a couple last week, so it's always adding up."

     It's worth recalling at this point that while his early career was hardly sluggish, once the Beatles split up, McCartney really took off; the statistics go haywire. At this point, the record industry is giving up on the traditional gold and silver discs with which they were rewarded for sales. Simply handed him one made of rhodium, hoping to call it quits. 

    McCartney has sold more records as a solo artist and as a member of his post-Beatles band Wings than he did in all the previous years. Until this last tour, though he had supposed that a certain portion of his work, in fact, the most popular part, was for concert purposes, out of bounds. "I shied away from Beatles stuff with Wings. It was a bit near to the breakup of the Beatles, and it was a painful breakup, a bit like I hear a divorce, and the idea was that you don't want to sing any of the ex-wife's songs. And all of us had that feeling independently. We wanted to establish a new life after the Beatles. 

    "Now I thought, I don't have to do that anymore. I don't have to deny the Beatles' songs or McCartney's songs, because some of them were recorded by the Beatles, but I wrote them. So that was a great unblocking."

     Enough time had passed, it seemed to unpack in public at least part of the Lennon and McCartney myth. The songs continued to be credited to the pair of them long after they had ceased collaborating, and the specific details about who did what have remained cloudy, as prone to distortion as the tales about the personal stresses within the group's fracture. Now it seemed somehow easier to assign the spoils. 

    "I didn't want to do John's stuff, except as a separate tribute. That's for Julian or for Yoko to put together. That's for his side of things. I figured there was enough stuff with "Fool on the Hill", which was mine, which would "Let it Be" which was mine. The "Long and Winding Road," "Yesterday", there's a lot of stuff which is definitely mine, like "Eleanor Rigby". These are the ones which are basically acknowledged to be mine, the ones I knew were mine. So I thought, that's fine. What I'm doing is going out as a performer and showing you whut I writ."

     He took a band and "whut he writ" into the studio and began to whittle the material down. "Certain things in rehearsal weren't as fun as they were on records. It wasn't fun to play them, and that was a pretty big criterion. If it's not fun to play, I'm not taking it out on tour; it had better be fun now, because it's going to get boring later.

     "But the best thing about it was that there were certain old songs that I'd never done before. I kept thinking, why does this feel fresh doing "Sgt. Pepper"? And I suddenly realized I only sang it once at Abbey Road the night we recorded it. That was the vocal take, and I never had any cause to do it after that; nobody asked me, and the Beatles had stopped touring by then.

    Some of the songs seemed particularly geared to live performances, a fact which probably wouldn't have surprised the average Beatles fan, but somehow caught out McCartney. "What's nice about 'Sgt. Pepper' the way John and I conceived it. It's all directed to an audience. 'Splendid time, guaranteed for all', or whatever. The whole idea of Pepper is a show-- a circus. So the song works great live, because you're saying, 'You're such a lovely audience. We'd like to take you home with us.' It's like, wow. Shirley Bassey time!

    " And then, "Hey Jude"  I realized I'd never done. God, I thought, This is great, nah, nah, nah, nah, nah, nah. I've got an audience-participation number, which I've always wanted. I love that!"

     Slightly more obscuring the show, (like the recently released album Tripping the Live Fantastic, which documents the tour) included the three-song medley sequence from the close of the Beatles' Abbey Road LP. It was suggested for inclusion not by McCartney, but by his keyboard player. 

    "When we did the Abbey Road medley in rehearsals, one of my old mates who manages my studio now, had to excuse himself. He started crying during it because it brought back so many memories. He was there when we recorded it, and that was 20 years ago, and so much water had gone under so many bridges. You catch your breath a bit when you hear it sung as one of the guys in the group said 'by the real voice', the fellow you heard in the record."

     As the material fell into place, so did a notion about the perimeters of the band. "We thought, are we going to have an army of backing singers or an army of people on gongs? But we kept it to six of us, and one of the things I was proud of was that at the end of each night, there were only six people holding up their hands. 'Got to Get You Into My Life' would have been really cool with a horn section, but we made a decision to keep it at six.

     "My philosophy about a band is, if you can play your stuff in a pub, then you're a good band. It's a very old-fashioned philosophy, but it seems to me like an earthy philosophy, which might last. We had one or two nights when the computers broke down, and that's so alien to me, because in the Beatles, if anything broke, it was a string or an amp, and the rest of us could still fiddle it, but if it's a big, integral drum part, and it's got all the rhythms that happened at once. That's why we kept it where we could-- stripped right down. "

    He kept the stage business to a minimum, too, at least technically. Aside from a keyboard on a hydraulic platform, which rose and span during the "Fool on the Hill", the show was propelled by now traditional McCartney needs, furious, waving, and raising of the thumbs to those in the furthest seats. It's a sort of behavior which gets him a bad name in some circles, particularly among those who set him in opposition to Lennon, the latter, a wit and philosopher. McCartney merely an entertainer, a crowd pleaser. 

    It was principally McCartney, it is said, who wanted to keep the Beatles on the road. It's McCartney, or so it is claimed, who is behind the periodic calls for the remaining Beatles to perform and play. But this approach involves a somewhat generous appraisal to Lennon. (There is a chance to assess the wit and philosophy of John and Yoko's bed-in for peace at the Amsterdam Hilton on a newly released video.) and to be sent, curiously, to a small store by what might be involved in pleasing a crowd. 

    "The Beatles were a little club act, plus me, in front of an audience. I'm afraid I won't ignore them. I can't do the sort of thing Pink Floyd might do. One thing which turned out to be a big inspiration for this tour was going to see The Merchant of Venice just before we went out. I just got this feeling when Dustin Hoffman came on that he was coming into the room we were all in. I was like, I could just go, 'hey up, Dustin!', I could shout, and he'd have to hear me. It wasn't like a film. So I use this announcement every night. I'll tell the audience, 'It's nice to be in the same room as you', just to get something of that across."

    It was perhaps a long shot in venues that were holding anything up to 180,000 people, yet McCartney still claims to have noticed an intimacy with the audience, even if only at close range. "You see, about the first 20 rows, and those little things flashed by-- those cameos. We would often see couples necking during 'Let It Be'. For some reason, people would neck, which was great, because suddenly you could be a voyeur. And in Rio, carrying on the theme, they were said to be bonking in the audience, which is highly unlikely, I think. But then, you know Latin temperament. And you would have broads throwing themselves at you, but I'm a married man. Sorry, dear. That was very strange, because in the Beatles, you were always looking to pull. Now, it's a vicarious thrill. Terrible, really.

    In Sweden, McCartney remembers watching a man tending his girlfriend's fingers after she burned them on the cigarette lighter she was holding  aloft during 'Let It Be.' "It's strange how you can take in a story like that. Be singing. 'I saw her standing there. ' Be playing a bass. I could be singing 'Yesterday' and wondering what we were going to have for dinner. It's like driving-- that thing when you almost fall asleep for a second. That can happen when you're performing. What I like about it is the speed with which your brain reacts. 

    "The weirdest one was during the Live Aid concert when I was singing ' Let It Be,' and the mic wasn't on. But I didn't know. This was like the finale of a mega, mega event piped to every country with television. I've arrived with no roadies. I've just driven there. 'Where's the piano?' That's all I've said. I hadn't been touring. It would have been easier this year. I would have grabbed a couple of guys off the tour, but I was just freelancing.

     So I'm singing, and I've got a little monitor, and I can hear nothing but two roadies shouting at one another. And I think 'I wonder if that's coming over on the telly', but then you think, 'no, it's the Beeb. Everything will be fine. This mic will be working'. It wasn't, though. The two Queen guys had done a thing, and the roadies had inadvertently pulled the plug on my mic, tidying up after them. And as I'm going through the song, I suddenly hear feedback, and it occurred to me to sing, 'There will be some feedback. Let it be'. And another part of my brain said, 'No, don't. This is a serious event that will be perceived as frivolous'. And yet, another part of my brain said, 'feedback.'  Ethiopia, marvelous, a conceptual link. And in the split second, I decided not to do it, thank God. But it gives me hot flushes to think about it.

     McCartney is currently working in conjunction with Carl Davis on an Oratorio to mark the Royal Liverpool Philharmonic's 150th year. (He adopts a thick, mocking Liverpudlian accent when he talks about it, oratorio, all right? Paul, what's the oratorio? Wasn't he the guy who shot Moby Dick?)  "But you could call it a project with precedence. With 'Eleanor Rigby ' 'Yesterday', and 'For No One', I flirted with classical instruments that were very different from the piano and the guitar on which I compose all the pop stuff. 

    "As a kid, when depressed, I would go off with a guitar, off into the bathroom because of the best acoustics, and hold the guitar to myself. That's one of my little hammy theories, incidentally, a guitar you hold to you like another body, a piano you push away from you, the two different physical acts.

     "I've been composing melodies long enough to understand the mechanics of it. I just can't notate, and I don't want to learn to do it, it's almost a superstition. Richard Lester said, 'The thing about your music is it takes unexpected twists.'  At the end of 'Ticket to Ride', where we sing, 'My baby, don't care'. Suddenly, a new song pops in out of nowhere. That's just a fade section. That's very classical that."

     He doesn't intend to leave pop behind, though, and he's currently working on a new album "to remind me that I haven't deserted it. 10 days ago, three nice songs emerged from a writing session with Elvis Costello. I thought 24 was the end of the line when I was 18. That was actually the latest you could be in art school. And that was my backup plan. If everything else failed, I was going to go to art school at about 23. God knows how I thought they were going to accept me, but the horizons just continually expanded.

     So, to the hit list, there's a certain bunch of songs I have got which I think are very good songs. Without being too egotistical, one: people have told me they're good songs, have bought them, and still remember them. And two, because they were very satisfying to write "Here There and Everywhere was a very satisfying song to write. It has a beginning, a middle, and an end, like essays in school, and I could never do that with essays. Always a good beginning, but it petered out, and I could never end it. Disastrous. 

     "And 'Yesterday' was very satisfying to write. I actually dreamt 'Yesterday.' Dead jammy. I actually woke up one morning here in London, on Wimple Street, in an attic flat, just woke up, and I had that tune of 'Yesterday' in my head, with no idea where it came from. I put words to it later. I've just got an award for it. It's been played 5 million times, and the next song down the list is 3 million. So it's way out ahead, and I dreamt of it. So if that's not magic, what is?"

The US Tour

 October 23, 2005 - Milwaukee, Wisconsin 

Was it worth it? Review of Paul McCartney Got Back Concert in Des Moines, Iowa 2025

 

"This better be worth it."  Those were the words I was saying to myself as I spent way too much money on tickets to see Paul McCartney in concert again.  As I was going through the torture of trying to get tickets online through Ticketmaster.  My tickets for Nashville were going in the online shopping cart and then getting kicked out and having to back into the queue, and discovering the show was sold out.   "This better be worth it,"  I said it again as I scrambled to find ANY Paul concert within driving distance of St. Louis.   I was able to buy two tickets for Des Moines and one ticket for the first night in Chicago.   The price was more than I have ever paid for any concert in my life, and so I sure hoped it was worth it. 

The Des Moines show was on Tuesday, October 14.  I blocked that day off my calendar so that I wouldn't have to work.  I assumed that I would not be called to work on Monday, October 13, because it is a holiday.   I was wrong.  I was assigned to go talk to teachers at a school outside of Chicago.  So I had to scramble to rearrange my plans, and I was flying to Des Moines from Chicago on Tuesday morning.  Things were getting complicated.  It REALLY better be worth it. 

When I arrived in Des Moines, I realized that I was not prepared for the cool weather.  I don't know what I was thinking, but I was wearing a short-sleeved Flaming Pie T-shirt.  I should have brought a jacket.  Nonetheless, I wanted to see Paul arrive and so I joined a group for the limo watch.  I saw some Beatle friends that I knew from the Fest and it was nice to talk to them.  My spirits really picked up as I spotted Brian Riddle directing traffic.  

We waited for about 2 hours for Paul to arrive.  As is typical of Paul, he was running late.  I don't know about anyone else, but my legs were hurting and my arms were cold.  I enjoyed talking to the Paul fans but will it be worth all of it just to see Paul drive by for a few seconds?   Then I heard the police sirens.  I felt excitement all over.  Then there he was:  Paul McCartney.  The SUV had slowed way down, and the window rolled down.  As the car rolled by, Paul waved and gave us a thumbs-up.  He yelled "Happy birthday" to someone who had a sign about how it was his birthday.  It was the most thrilling few seconds ever.  Unless you are lucky enough to meet the man, the limo watch is the closest you can possibly get to the man. He looked so good.  He looked so happy.  Yells of "We love you, Paul!" filled the street in Des Moines.   When it was all over, I heard someone say to no one in particular, "That was so worth it!"  And I had to agree.  The group all bonded over that moment and exchanged photos with one another.  Nothing beats making new Beatle friends. 

Photo taken by Sara Schmidt 

So the limo watch was well worth my time, but what about the concert?  To get into the concert, the crowd was insane.  The Casey Center in Des Moines, Iowa, was unorganized.  There were so many different lines of people around the venue, and no one knew what the lines were for.  Merch?  VIP? What?  There was an incline, and it was difficult to walk up the hill at times because the line was moving slowly.  It felt like it took forever to get into the venue.  You had to have the "tickets" in your Apple Wallet on your phone.  People were confused.  You had to have a clear bag if you brought a purse.  People didn't have that. Concertgoers need to do more research before attending a gig.  

But once I finally went inside and found my seat and heard the end of DJ Chris playing Macca songs, all those issues were no longer important.  For the next 3 hours, I was surrounded by Paul McCartney's music. All of the problems in my personal life and in the world melted away, and I was inside a magic bubble of peace and love. 

The concert itself was so much fun!  Paul did basically the same set that he had been doing for the past 15 years.  He told a few "new" stories (maybe  I will give my thoughts on that later), but the same silly jokes (sign my butt has not gone anywhere).  There were a few new additions.   He started the show with "Help!," and I might be the only fan who does like him doing that, so I will keep my thoughts to myself about it.   I heard him perform "Now and Then," which was new for me.  That was actually one of the highlights of the show for me.  It was such a moving song when paired with the video screens with images Paul took of the Beatles playing in the background.  

Paul sounds like an 80-something old man when he sings.  I am not going to sugarcoat his voice issues.  It is especially prevalent during "Maybe I'm Amazed" and "Helter Skelter."  But you can hear that older tone in all of his songs. The thing is that when you are in the McCartney bubble, it doesn't bother you.  Nowadays, I don't like to listen to bootlegs of current Paul shows because of his voice -- yet when you are there live with Paul, it is a totally different situation.  Even with the change in his voice, Paul can still rock!  The show he puts on with Brian, Rusty, Wix, Abe, and the brass players will knock you out.  It is just amazing. 

This audience was 100% there for the Beatles songs, which is always disappointing.  They were up on their feet at the start of the show, but once he started on "Letting Go," everyone was sitting down again.  The solo and even Wings songs did not go over very well.  Once again, "My Valentine" has turned into a "bathroom break" for many in the audience.   I will never understand why people will go to a Paul show and get up and leave and get food and drinks many times during the performance.   I paid a LOT of money to see Paul, and I am not going to miss a microsecond of it.  

So was it worth it?  Yes!  It was worth the large amount of money I paid. It was worth the hassle of getting tickets.  It was worth dealing with my change of schedule, the weather, the long queues, and the people getting up and down during the show.  I got to spend time with my mom and Paul McCartney, and that is priceless to me.  Memories were made, and for a few hours, my problems were no longer important.  I can't put a price tag on that.  

With the high ticket prices, a lot of fans are not able to make it to the shows.   I want to personally say how sad that makes me.  I wish everyone who loves Paul could see this tour. However, going to a Paul McCartney concert or not does not make you a better or bigger fan than anyone else.  Please do not allow anyone to bully you for not seeing Paul in concert.  But if you get a chance to see the Got Back tour, please do it because you will leave there happier than when you arrived. 

All photographs taken by Sara Schmidt 

Meeting McCartney was a thrilling event (1993)

 

Meeting McCartney was a Thrilling Event For Newspaper Reporter

By GaryLeftwick

The Time-Herald

May 8, 1993

    It's been said that one should never aspire to meet his heroes. Several days ago, before my long journey to meet Paul McCartney came to a somewhat unexpected halt, I would have agreed with that statement.

     Last Saturday, I was lucky enough to get to meet McCartney face to face before his concert at the Georgia Dome. The saga began when I first heard that Paul was going to follow up his triumphant comeback tour of 1989-1990 with another agenda of concerts this year.

     On a cold morning in February, several friends and I bought tickets to the Atlanta show. After being fortunate enough to get seats in the 16th row, I was brash enough to suggest that I should try and get a press pass to photograph the show. Little did I know what was to follow.

     A few days later, I sat down and composed a letter and faxed it to Cellar Door Productions, the promoter of the tour. For the next several weeks, I waited, but no answer arrived. Then last Friday morning, I was working busily to get a major story finished before a deadline, the phone rang. "Good morning. This is Gary," I said, with my usual rehearsed greeting.

     A woman on the other end began talking so fast that I missed her name and had no prayer of catching her in the conversation. However, I did pick out the words "Paul McCartney".  I have developed a talent for recognizing those two words; just ask anyone who knows me. The adrenaline that shot through my body was enough to be lethal. The gist of the conversation was that I was to meet with other members of the press at gate E of the Dome for a press conference. I was shocked that what I was just a flippant suggestion had become reality.

     I called my friends and family and people who I'm not sure that I actually met, to tell them the great news. Eventually, but not nearly soon enough, it was Saturday. I arrived at the Dome with my fiancée, Becky, and began a long wait. 

    Security people were the most unorganized group I've ever seen. But then I met Paul McCartney's publicity staff. Soon, 15 other photographers and I were herded to where a photo opportunity was going to be staged. 

    While waiting, I saw this teenager who looked exactly like Paul. In an instant, I knew exactly who he was. "You're James", I said to the red-headed youth after I realized he was McCartney's only son; the resemblance was amazing. "Yeah, right", he said.  End of conversation.

     The next thing I knew, I heard someone say, "Here we go". I looked down the long hallway of the Coliseum, and there was Paul. I won't say the time stood still, but I'll be darned if it didn't slow way down.

     Being the semi-alert journalist that I am, I stayed conscious enough to aim my camera at McCartney, and I looked through the lens. He stared right at me and said, "So you want to take some pictures?" I think it was at this point that I realized I actually was going to meet Paul McCartney, but I must confess that I was more like, I'M GOING TO MEET PAUL MCCARTNEY!.

     I fired a roll of film as Paul, his wife, Linda, and his band clowned around in a bath of camera flashes. Then I realized that I had to hurry back to the press conference. We had been warned sternly that if we were not in the press room before he arrived. We were not going to be in the room when he was there.

     I made it to the press conference and grinned at the sour-faced publicists as I took my seat in the middle of the front row. Soon, Paul arrived and charmed those of us in the room. After listening to a barrage of questions, which can be best be described as dumb, I decided I had come up with a good question .

    Before I knew it, my hand was in the air. Paul ignored it several times, then his personal aide announced that there was time for only a couple more questions. Soon, Paul looked me in the face and asked for my question. I've listened to a tape of the press conference several times and swear that my voice did not quiver. I asked Paul about a return to live music and acoustic instruments, which is making music more energetic these days. Paul went off autopilot and seemed genuinely interested in answering my question. I then told him that my band is called Sea of Green. We took the name from a line in Yellow Submarine. Paul smiled and said, "Great, cool. Well, good luck."

     That was it, my band had received the blessing of Paul McCartney, the most popular figure in music and perhaps one of the most recognized celebrities in the world, had wished us luck

    . After that, McCartney was whisked away, and we were left to wait half an hour before being escorted into the Dome to shoot the first two songs of the show. There we were, a group of photographers standing in front of the stage, being eyed with envy by people sitting in the front rows.

     Then the film, which opens the McCartney show, started, footage of McCartney frolicking for a camera in late 1969 flickered across the single screen. Then with a flash, all the screens came to life with film of The Beatles performing the song "Help". That is the point where I lost it. The fact that I had met Paul and was about to stand 30 feet from where he would be performing hit me like a ton of bricks. Watching images of John, Paul, George, and Ringo, four people whom I've dedicated my life to studying, I began to cry. This was it. I had reached the summit. I had met Paul McCartney. I had met one of my greatest heroes. 

    The concert began as Paul and the band launched into "Drive My Car." After getting comfortable with the audience, McCartney came over with a puzzled look. He searched out my camera and played right into it.

     Next thing I know, we had been shuffled out and robbed of our photo passes. I was running to stash my camera and head inside for the rest of the show. It was when I reached the floor of the Dome that I realized I had actually achieved what I'd so jokingly suggested months ago.

     I felt different since last Saturday. In the short time we spent in the same room, I realized that Paul McCartney is probably the most optimistic person I've ever met. I've come to believe that hope is contagious, and I've noticed that things no longer bother me as much. Thanks, Paul. You were so right when you said "And in the end they love you take is equal to the love you make."

Kicking it in Paris

 

October 10, 1989 

Ringo on tour in Switzerland

 August 8, 2003 

Wings back on tour

 

July 4, 1973 

Orlando soundcheck

 

The Family Tour

 

The Man in Red

 April 5, 2003 -   When I think of the Driving Rain tour -- I always picture Paul wearing red.   That was sort of the color of that tour.   

Paul in the Philippines

 I wonder if Paul took any photographs while he was there.   There he is entering the country with his camera in hand. 

Wings the Concert of The Century!

 

This story was originally published in a 1972 issue of McCartney Ltd.

Frankfurt, Germany -- July 17-20

Sarah, Kris, and I arrived at Frankfort airport on July 17 after flying for about one hour from London.  We got lost in the airport as none of us knew much German.  Finally, we found a taxi and headed for Frankfurt itself.  The cab was a Mercedes Benz -- very classy!  Now we know how George feels in his!  After a 45 minutes ride, we arrived at the hotel and we settled in our room.  One nice thing about the room was our balcony.  Standing on it we could see a lot of Frankfurt and the main railway station right across the street.   We spent many hours out there talking, getting fresh air, and searching for a psychedelic bus on the street below. 

Our second day in Germany we had to go pick up our tickets for the concert.  Our fabulous German Guardian Angel better known as Mrs. Ulrich said our tickets would be waiting for us at the box office in Frankfurt Zoo.  I had her repeat this several times because I thought I misunderstood it.  We got a cab to the zoo and stared at the crowds waiting to get in.  We couldn't figure out what tickets to a Paul McCartney concert would be doing here!  Finally, I up to the window and asked for Mrs. Uhrich.  The lady behind the window gave me a black stare that turned into a smile.  "Are you Miss Miller?" she asked in broken English.  I replied to the affirmative and she pulled out three tickets.  I literally shook as I took out the money (60 Marks) and handed it to her.  She kept telling me to calm down and that Mrs. Ulrich had gotten us front row seats because we came all the way from London.  I thanked her a million times and ran over to Sarah.   We all held onto our tickets for dear life. I think I would've pushed myself under a Frankfurt trolley had I lost mine.  We spent the day at the zoo.  It was blisteringly hot and humid.  By the time July 19 arrived, we were a bundle of nerves.  We got to the concert hall, City Hall of Offenbach.   Offenbach being a small town outside Frankfurt.  As we sat there hundreds of young people arrived.  They were still selling tickets at the door to our surprise (it was full by the time the concert began).  We had gotten there two hours early so we sat down to wait.  Little did we know Paul had already arrived and parked that wild bus of his in the parking lot behind.  Maybe if we had spoken more German we'd have known why they were pointing.  Most of the people there were American soldiers stationed in Germany.  I heard parts of their conversations as we went in and they were all speaking about The Beatles.  I knew, and I'm sure Paul suspected, they all came to see one of The Beatles.  Sarah, Kris, and I had come to see the man we love do what he does best -- performing!  That's why in a way we were a part form the rest of the audience.  Paul is so much of our lives that we felt closer to him, then anyone in the audience could.  I know I was upset if I felt the audience didn't clap or cheer enough for a song.  It was as if I was also a part of Paul as he is a part of me.  

The doors opened and we thought since everyone had reserved seats we were ok, but little did we know people in Germany don't' go by those rules.  Everyone dived for the first rows or wherever they landed.  there were no users or anything as far as organized seating went.   We had a good word or two with the guys in our seats and soon we were settled.  Yes, the lady had told the truth.  IT was the VERY FRONT ROW, right in the center of the stage.  We were about five feet from the stage!  We went to get our cameras ready when a man came along and told Sher that she could not take any movies.  She had spent $35 on film plus an indoor camera for nothing.  Sob!  He firmly said no movies and only stills if NO flashes.  After what seemed like indefinite waiting and listening to Crosby, Stills, and Nash on the loudspeaker, the noise came from behind the curtain and there were moving feet!   False alarm-- curtain went up and down again -- though that didn't stop your stomach from feeling like it was 1966 all over again in anticipation of who would be standing behind that curtain.  

Again the sound began and this time it was definitely "Bip Bop" - curtain goes up and there's a loud bass run and it hits us who that white pants leg belongs to!  Paul!  Yes, that's him alright -- right there!  His microphone could not have been positioned better if we'd done it ourselves.  He stood there looking like a little boy of 7 in a red and white side striped shirt and white overalls.  His hair is short and back but the eyes just the same as always -- gorgeous!  He looked the same standing up to the microphone and bopping up and down the way he did, smiling and singing.  Pau was about in the middle of the stage then Linda to his left seated at the piano in a white '30's blouse and dark printed skirt-bare footed.  Denny Laine and Henry McCullough up front with Paul and Denny Seiwell behind, thumping the drums.  I honestly remember very little about anyone but Paul, thinking you'll all understand why.  "Bip Bop" ended and they went straight into "Smile Away."  There was no break or talking.  He really belted that one out and kept looking at Henry and watched him play lead guitar.  After that song he said, "Danke Schoen, Thank you." then asked how are you in German and then introduced "This is from the Wings Wild Life LP and it's called Mumbo."  Well, I can't even write what we did when we heard that!  We had been sitting around for a couple weeks thinking, wow how fantastic it would be if he sang that -- obvious reasons if you understand why -- but we thought it would be illogical to sing that - so what does he do but sing it!  WE had made mention of it on our birthday card to him, so that made us even more happy to hear it.  Unbelievable song in person!  Then after that while, we were trying to pick ourselves up off the floor, he wiped his face with a towel cause he was sweating so much and it was hotter than Hell in there besides the air-conditioning.  Then he said, "Thank you, do we have many people who speak English?"  That got a roaring answer, so he said, "Mostly American?" which got another roar to which he answered in his Texan accent "Howdee ya'll , how ya doin'?" which cracked everyone up and he smiled.  "Give Ireland Back to the Irish" was introduced to applause.  The lighting to the whole song was all in greens and the song sounded just like the record, very good guitar.  Then Paul said "This is from our next LP, repeated that in German and people applauded when he said it in German so Paul softly said, "been around y'know" and Henry says, "He's been here before" and smiled.   "the song is called 1882" (repeated that in half German/half English).  It starts out slow with him singing "Good morning dear master, it's 1882"  Really a new song, definitely Paul type.  I think to be on the LP.  Denny Laine then sang one of his own songs, "I would only smile," to be on LP also.  Paul sang harmony with him and it sounded really good!  The title of the next song may sound stupid but it was really good!  "Blue Moon of Kentucky" very loud rocking and he seemed to really enjoy it.  After that he said, "Think you hot, dripped up here" as he wiped his face again, looking quite gorgeous.  He then said in German that they would take a short break after the next song and come back for the second half.  Once he finished the German he said really loud and silly "Get out!"  "One more song and if you're not too hot, clap a little, we'll see you after the break, song from the next LP called "Mess I'm in," dedicated to the gentleman with the microphone, pointing.  There was a guy behind us with a big mike holding it up so obviously, Paul saw that!  He laughed when he said that.  Before the concert people had also told him about no taping allowed.   That song -- WOW it is very good!  Loud with a lot of guitar work and then it slows down to a soft bit and then thumpy again.  This song also due on the new LP.

The break lasted about 15 minutes and gave us time to recuperate.  During the first bit, Linda occasionally gave us looks like we were going to stay in our seats or not.  Kris and I both had telephoto lenses and she didn't look too happy about the close-up bit, but Paul didn't seem to mind.  The curtain went up again and there they were already playing again, only this time wearing black suits with slashed open necks down to the waist -- no comment about that!  The lapels were covered with gold glitter and he looked quite sexy, to say the least.  I'm surprised we're still alive to tell this.  As the curtain went up they were playing a song called "Best Friend," though I can't remember too much about it, except there was a lot of bass.  Must've been concentrating on that outfit!  WE spent a lot of time hitting each other over that.  Denny Laine introduced the next song, "Soily" off the next LP.  The beginning sounds like a bit of instrumental in the "Help" album.  Most likely when the album is released, you'll all think we are nuts and the songs sound nothing like this, but we're trying.  Paul and Denny sang equally on this one.  Henry spent a lot of time staring at Kris and I and we sat there giving each other funny looks.  Occassionally I felt like I shoudl watch the others.  There we were in full view and our eyes followed Paul.   The others must have felt unappreciated.   I just couldn't help it when you're so close, your eyes just stay glued to his eyes.  Henry then introduced with "Paul is going to play piano" to which Paul says, "No, he is not" and laughs.  Henry says, "Whoops, wrong song -- some people never know."  So Paul says, "From the last LP, called 'ich bin your singer," half English half German obviously.  Everyone clapped a lot for this one right off.  He got off-tune once and stepped back to clear his throat and looked so embarrassed and cute.  Linda sounded quite nervous and a little weak but he made up for it.  The guitar was jazzed up and really sounded good.  After that one he took a sip of water saying, "Here's to you" raising the glass, adding "a song by Denny Laine called 'Say you Don't mind.'"  Paul sang the chorus with him.  It was strange how much Denny sounded like PAul, exactly almost if you didn't know it was Denny.   Paul and Henry sang backgrounds of "ooh-ahh" almost back to 1963 type.  The NExt song Linda introduced "a song by Henry, a blues called 'Take me on home Mama cause I'm running home tonight."  It was a slow guitar solo which was good but a bit long.  Paul laughed so hard during one bit while Henry laid on the stage quickly and got up that he had to turn around and stop playing  During most of it he watched Henry play lead and had the same expression as while watching John singing "Across the Universe" in Let It Be.

Next song Paul said, "Song we're going to do is written by Linda."  Some people applauded and he went "aw" and said, "this is the first song she ever wrote.  It's called 'Seaside Woman.'  If you feel like moving around, don't' let us stop you.'"  It's definitely a reggae type number with Paul and Linda singing harmony.  Paul said, "We'd like to sing a song off our lap LP and if you know it, keep quiet," he smiled.  "It's called Wildlife."  This one was really good with a slightly changed chorus at the end.  During all the loud songs, PAul always had his left foot-stomping and he was constantly moving around.  It's hard to describe but he looks quite good anyway, more like "Let it Be" than the Beatles days.  Henry then announced, "Paul is going to play piano, Denny bass, and Linda just looking good."  Paul said, "This is a love song for all the Americans out there."  WE fell over and all the Americans clapped.  He said "My Love" (in a very Liverpool accent) and made a funny comment about Nixon and said, oops this is the wrong country to say that and Linda said something about McGovern being good.  This song is another "Yesterday."  Very slow with him singing softly and playing the organ.   The main line of the song though isn't what you'd expect by the song melody -"My love does it good"  Well anyway, it's a beautiful song of Paul back to the 1965 type.  Why he dedicated this one to Americans we're not sure but it's a nice thought and we can hope?   He looked a lot like "The Long and Winding Road" with his eyes and only one light on him singing.  Paul then said, "We'd like to sing a song that's our new record in England.  This one is a nursery rhyme and there's a bit in it that just goes la-la, sing along, be our guest."   Mary Had a Little Lamb.  We were singing along "la-la-la."  Afterwards Paul asked, "Were you singing?"  Linda said the guy next to us was, but Sher said he was half asleep -- oh well.  The next one Henry said, "You'll know this one" and Denny Laine yelled, "Get up off your ass," and Paul went straight into "Maybe I'm Amazed."  What that did to me -- my favorite all-time song.  I fell apart during that.  He looked so good sitting there screaming it out.  By this time Linda had sat down at the piano bench with him.  The organ was like in Let It Be while he was really banging out the piano.  The applause for this one were the loudest and he looked really happy about it.  He got up and went to play bass again.  Paul said, "This next song is our last, so all you people who have been sitting on your bums all evening should now take this opportunity and rise from them, shake them a bit, clap a bit, here we are in Offenbach," he smiled. "Let's do it!" Then this loud thumping song starts and everyone is on their feet, clapping and he is really moving around by this time.  "High Hi High" is the song, the one mentioned before as a possible single.  

Hey Hey Hey -- Wings in Kansas City

 

I didn't see another concert until Kansas City which was really decided at the last minute when my mom (who lives in Kansas) offered me a ticket!  Somehow she'd managed to get a couple of 2nd row loge seats (which were actually sitting on the floor - they were added rows) equal with 7th-row seats so I couldn' stay no to that!  I arrived in K.C. early on the morning of the 29th after having taken another night flight and was met at the airport by my parents.  After catching a few hours of sleep once again, we drove into downtown K.C. in search of Kemper Arena.  We found it without much trouble but never did find the airport Paul was supposed to be arriving at. 

The concert in my opinion was the best of the 8 I saw so I'm not going to complain much anyway!  My mom went with me and came out wishing she could make Denver, too.  So goes the power of McCartney charisma.  It brought to mind the poem I've often read with the lines "Tossing his hair, grinning his grin, waving his hand, moving his guitar, until you couldn't breathe, right .... and your mother looked strained and never again asked you what you saw in him."  From the minute Paul walked onto stage everyone, at least in our area, stood and so we remained standing for the entire show.  The crowd absolutely loved him and wasn't shy in letting him know, which is what he really picks up on, so I think that's why he put on such an exceptional performance.  He had on the same outfit as in Houston, only minus the necklaces and with blue satin lapels instead of pink.   Linda had on a blue jersey dress which had gathered around the hips, a scarf around her neck, and knee-hi boots.  At one point during the first part of the concert, Paul started singing "Kansas City" which, of course, got a big rise out of the crowd.  Just before "I've Just Seen a face" started Paul reverted to his English introduction of the song by saying "does anybody like a bit of skiffle?"  Then catching himself and observing the crowd's perplexity, he added, "Don't' know what it is, do you? Well, it's country style."  

Then after the song, he kicked his foot high in the air which he also did after several of the rockers.  As the concert progressed, I kept noticing the sweat on his face -- his hair which was all fluffy on top and parted -- his knees and the Beatles smile he kept flashing to the audience.  At moments like that it was like having a '66 Beatles film superimposed over this live '76 concert  After another song, "Lady Madonna" I believe Paul especially hyper -- saluting, giving the peace sign, the thumbs-up sign, thrusting his fist in the air, and scratching his head.  Then whenever he'd switch from piano to bass or vice versa he'd turn around and say "Hi" to the audience in the back of the stage.  He also had a habit that night of pulling his pants up and tucking his shirt in which wasn't exactly a repulsive sight.  By the time the concert was nearing it's end, his air was absolutely soaking wet.  what a performance he had given and how the crowd had appreciated it!  It was like a mutual love affair Paul's love of performing versus the crowd's love of him as a performer.  Paul and Linda walked off stage with their arms around each other after the first encore and then after the 2nd encore someone threw a little whit heat on stage which he proceeded to put on and it was just too cute for words!  

After the concert as I waited for some of the crowd to clear out I saw Madeleine and a few minutes later Barb, Joanne, and Richie so we talked for a while and then we went outside to wait for Paul to leave.  Shortly before Paul came out, Barb pointed out Robert Ellis to me so I went over to say hi to him and was greeted with a kiss, which sort of took me by surprise.  IT was nice talking to him and having at least someone acknowledge that I was remembered.  It was more than I could say for the rest of Paul's entourage!  Soon after I returned, Paul's limo drove out and as flashbulbs went off, I was able to catch a clear view of him smiling and waving as he tried to look in all directions.  After he'd gone I never saw people clear out so quickly.  

Wings in Fort Worth (1976)

This story, written by the sweet Doylene, was from the May/June issue of McCartney Ltd. 

Paul's long-awaited American tour finally got underway on May 3rd in Ft Worth, Texas, and I'm sure that everyone who caught any of his shows will agree with me that it was well worth the wait.  It had been a long time (10 years!) since any tour had created such excitement or received so much coverage from the press, and it must've been a very sweet success for Paul after the long, hard battle he'd fought to have Wings accepted. 

We (Cindy, Mary Ann, and I) arrived in Ft Worth at 2am on the morning of the 3rd and were met at the airport by George, Barb, and Joanna, who took us by the hotel where the band was staying (in Dallas) and then drove us back to our motel in Ft Worth.  After a few hours of sleep, we were off to the Community Center and were later joined there by Madeline (fresh back from the European tour!) and a group of girls from Ohio and Indiana.  As time passed the anticipation of seeing him again began to build steadily so that by the time he arrived with Linda and the kids in a large red car (yes, he was driving!) the knees were more than a little ready to tremble!  My first thought was that I'd never seen him look so good.  He was wearing the same shirt he had on when he posed for the photo with me in Glasgow and his faced was so tan.  He also looked thinner (not that he was at all heavy before), which became even more apparent when we saw him in concert, and his hair was neatly layered and shiny.  As I said, he'd never looked better.  He looked so happy, too, and I honestly think he went slowly on purpose so that people could take photos, which I proceeded to do when he was right in front of me.  

After he pulled in, everyone was having the typical reaction -- ear-to-ear grins that couldn't be wiped away and knees that had forgotten how to hold themselves steady.   It is absolutely incredible what that man can do to people by just being in their presence. A girl later said in Kansas City that he was one of God's chosen people, and I truly believe that.  We passed the time until the concert by trying to eat, and then made our way back to the TCCC.  Luckily, Cindy, Mary Ann, and I were able to swap our original $8.75 tickets for $9.75 ones in the loge, so after the doors were opened, we were all set to enjoy Paul's triumphant opening night.  I really had no idea how much more exciting his U.S. shows were going to be, as compared to his British ones.  I wouldn't have thought it was possible, but I guess maybe it had a lot to do with this being the first time Paul and the American audience had had to get off on each other in 10 years!  The anticipation was incredible!  Paul played that hand to the fullest, too, by walking out onto a darkened stage so that it was just that much longer before people could see him.  

Then a dim light, smoke, and bubbles encircled him as he began the opening cars of "Venus and Mars" but it wasn't until "Rock Show" that the bright stage lights came on so that he could be clearly seen.  But once again, it was worth the wait.  He had on black satin pants with a matching black and white satin waist-length jacket which was definitely a vast improvement over the British tour outfit.  The lighting for several songs also proved to be a lot classier.  The first he spoke to the audience was after "Jet" where he came out with a hearty "Howdy Texas!" in his best Texan accent.  Then he went directly into "Let me Roll it" which he needed with two consecutive "Oh yeah's" said in the distinctive McCartney style, of course.

Then he continued on with "Now I'll hand you over to, ah, this is Denny Laine here"  (at which point Denny chimed in with "Hi, how are you Dallas?) "and this is Spirits of Ancient Egypt."  The end bit on this song was particularly good with Paul really getting into his bass.  Next, Paul turned introductions over to Jimmy with "This is Jimmy," and Jimmy finished it with "Howdy! Nice to be here after the delay.  We're gonna carry on with a song I wrote off Venus and Mars, It's Medicine Jar."  This number went down really well with the crowd as always and after it as over Jimmy announced, "We're going to switch here.  Paul's gonna go on piano,"  and then he said hello to the people up back.  Settled at the piano, Paul went into a beautiful rendition of "Maybe I'm Amazed" with the painting of a candle used as a backdrop.  He received tremendous applause for that one and then announced his next song "Call me BAck Again" as being off the Venus and Mars LP (at later concerts he usually added that it had been recorded in New Orleans).  It was usually around this song that he threw in a lot of "alright, alright" said in that same voice used as the intro to "Listen to what the man said" on the LP.  

The first Beatles song of the evening was introduced by Paul with, "Listen if anyone feels like having a stomp around or urge to surge...I'd like to hear you clapping your hands or doing something similar.  It's an old tune, this one."  Not unexpectedly, the familiar opening bars of "Lady Madonna" brought a great round of applause from the crowd, who continued to clap along throughout the song -- which finished once, then went into again to the delight of everyone there.  Then he slowed down the tempo and went into the hauntingly beautiful "Long and Winding Road."  (which he usually introduced "Now that we've speeded you up, we'll slow you down" but he let it go without intro on this first night.  I don't think the flawless voice he displays on this song could ever be equaled by any other performer.  Next, Paul turned us over to Linda with "I'll turn you over to my Mrs. now."  (later in the tour adding "and friend.") to introduce the next song -- take it, girl."   Linda carried on with "This next one was written for a British citizen #007, it's called 'Live and Let Die.'.  As everyone knows who read any of the press clippings or been to any shows this song was the show stopper as far as stage theatrics were concerned.  The end of the first verse was met by explosions which were followed by strobe lights and climaxed again with explosions.  This was the thing the American audience, in particular, seemed to really go for.  So with this song, he managed to satisfy that taste without ever having to sacrifice the music because of it. Yes, for this tour, they had thought of everything. 

After the excitement of the last number, there had to be a change of pace, so it was here Paul announced, "This is where we have a sit-down and play our acoustic guitars awhile."    "Picasso's Last Words" and "Richard Cory" passed without introduction, then for "Blue Bird" came the so familiar "Does anybody know what a rhythm box is?"  (by now it's a household word) to which he added, "Well, this is it" as the rhythms began.  Next, "I've Just Seen a Face," which he brought on with "Anyone fancy a stomp?"  Then finally there was "Blackbird" and "Yesterday"-- always the sentimental moments of the evening.  As "Yesterday" was ending I heard a guy behind me exclaiming "Oh God that was beautiful" which pretty much summed up the feelings of everyone as they stood to give him a ten-minute ovation.  If I remember right, he held the guitar above his head, and flowers were thrown to him -- if not the first night, it certainly occurred on most following nights.  The next song was "You Gave Me The Answer," which Paul almost always dedicated to Fred Astaire (or Gene Autry, as in Atlanta and Tucson), but he went straight into it without an intro in Ft Worth.  This is one song where the new lighting was really dramatic, the whole area below the piano, and Paul flashed on like a red theatre marque with yellow lights outlining.  

Denny introduced the following song, "Magneto," by saying, "This next one is from Venus and Mars, and it's all about some comic book characters you grew up with," and their likeness was used as a backdrop.  "Magneto" was followed by "My Love" with Paul, "Listen, we want to do a song for all the lovers in the audience -- I've think we've got a few here tonight!"  with him added a "Wo! Let me hear you say Wo."  Listen to What the Man Said with Paul saying, "Let me hear you clapping and stomping to this one."  He usually introduced the latter by saying it was one you could shake your bums to but he was a bit subdued this first night I guess.  After the song was over Paul paused to say, "As a lot of you probably know this is the first night of our tour."  (mucho applause) so listen I wanna tell you were just having a good time, you know?  So we hope you are too!"  "Let 'em in" was next with Paul saying,  "A tune from our new album "Speed of Sound."  It was almost unbelievable the way the sound of the record was duplicated on stage for this one -- from door chimes to the marching snare drum that Denny carried onto the stage. At this point, Paul took up the bass again, and Denny introduced "Time to Hide" by saying, "This is another one from the same record -- whatever you call it -- it's a song which I wrote."  I really, really loved this one in concert.  It was exhilarating and it was a real joy to watch and listen to Paul's bass playing on it.  He was into it all the way.  Next came "Silly Love Songs" with Jimmy introducing it as "another one from the new album" to which Paul usually added "and our current single."  This turned out to be another real treat.  I'd always thought it was a nice song but I had no idea how exciting it could be in concert.  But, I'll tell you when he started strutting back and forth across the stage whenever there was an instrumental break the old blood pressure rose another couple degrees!  IT was incredible! Now all I needed to totally drive me past the point of no return was for Paul to launch into "Beware my love," which I decided was my all-time favorite song the first time I heard it.  That's exactly what he proceeded to do, with a "Listen, if any of you feel like getting on your feet and bopping that's okay by us."  Then leave out the first few bars he started right off with the "Wo, wo, wo, no-no, NO!" and I was gone.  I couldn't believe it--on my 30th concert and I still couldn't get used to him or stop the tears from coming to my eyes.  The song kept building, through, too -- it's one of the most climactic songs I've ever heard until, by the end, Paul was just letting out one scream after another.  

Then finally it was over and I could almost breathe again.  It was here that Paul paused to say, "alight, alight, alight, tonight" several times and then went on to say, "I suppose you've noticed these fellas standing in back of us, well, I'd like to introduce them to you," which he proceeded to do starting with Thadeous (when the audience applauded Paul asked for more because Thadeous loved it!), then Howie, Steve (introducing him as the hometown boy) and Tony ("last and sometimes least!").  Then Paul added "They're going to help us do the next song, "Letting Go!"  I still don't mind that song in concert at all, either!  Really so much more dynamic on stage than on record, which is what can be said about ALL Paul's material actually.  Finally, or should I say before we knew it, Paul was saying, "Listen, we're getting near the end of our show, here, so listen, you've been a lovely audience, that's for sure.  It's been a pleasure to play here in Texas, let me tell you."  And with that, they began "Band on the Run" accompanied by the film of them making the cover of the album.  Then they left the stage to thunderous applause which seemed to go on forever.  Finally, they returned for the first encore which was "Hi Hi Hi" and was introduced by Paul with a "Feel like rocking a bit?"  Then they were gone again for another round of seemingly endless applause.  But everyone knew they were going to return one more time as the house lights were still down and there was eerie green smoke beginning to rise from behind the stage.  The final encore turned out to be "Soily" and the new lighting for it was another addition which was most striking.  After the group returned to the stage, they played a long instrumental intro, and then as the vocals began a beam of light was projected across the total length of the stadium's ceiling and smoke came oozing out over it, making all kinds of marble patterns as it went.  All the lighting was still green except for a red spotlight on Paul.  It was a fantastic concert!  Then the band left the stage for the last time with Paul and Linda being the last to leave as they walked off stage with their arms around each other. 

A couple other points of interest that happened during this concert but that I've forgotten in just with sequence include a guy running up on stage to shake hands with Paul ( I have a movie film of them).  also, there are a lot of sound effects used off and on during the show -- a voice saying "everyone is so suspicious" and a pig grunting!  

After the show, we hung around the theater a bit and finally ran into Sarah, but still being a bit "hungover" from the concert we didn't have much opportunity to communicate intelligently!  We hadn't planned to see the Houston concert, only Ft Worth.  But after that performance, we KNEW we had to do it.  So I looked up Kay, who had told me she had one extra ticket earlier, bought it, and vowed that we'd find two more tickets and a late flight out of Houston the next day.  With that decided, George took us to the band's hotel again and this time we had something to eat in the restaurant where Joe English, Robert Ellis, and others were dining.  Then it was back to the motel, supposedly to sleep, but Mary Ann, Cindy, and I ended up listening to almost the entire tape of the concert, so it was quite late before we finally did! 

Getting ready to tour the world

 

September 10, 1975 -  Wings  tour Bristol, UK 

On stage with greatness

 

Rock and Roll guitars

 

I'll See you on cloud Nine

This story comes from the Harrison Alliance fanzine January-March 1992 issue.  It was written by Hiroko Taguchi and translated by Naomichi Hirao.

I'll See you on Cloud Nine
By Hiroko Taguchi

It was 3:47 PM on November 28, 1991, when George's plane arrived at Narita airport.  His plane was seven minutes later than the estimated time of arrival.  It was raining outside.  I was at the airport and said to myself that I must try to remain calm while waiting for George to appear at the arrival gate.

After a little while, there was George!  There was a halo around his head -- I'm not exaggerating.  I really felt like that.  I couldn't stand still; I panicked and burst into tears.  After that, I went to the Capitol Tokyu Hotel where he was staying, but I couldn't meet him that day.  I went back home, but I don't know if I slept or not.

The next day I really wanted to meet him, so I played hooky and went to the hotel again.  It was the day that George and Eric had the press conference in the same room of the hotel, the "Pearl Room," where the Beatles had a press conference 25 years ago.  I tried to attend the press conference, but I wasn't allowed in.  And in the end, I was asked to leave the hotel.  but I didn't give up.  After the promotors left, I went to the lobby of the hotel again to meet George.

I don't know how many hours it took.  I was shown the door again and again.  Actually, I was almost about to give up, but my friends encouraged me a great deal.   George still didn't turn up.  But suddenly my friends saw George and started running to him.   Other fans also were gathered around him, but I couldn't get close to him.  My legs didn't move!   The halo prevented me from going to him.  Another reason was that I didn't want to behave foolishly and give him a bad impression.   I felt dizzy.  Looking at my friends shaking hands with him, I did my best to get closer to him.  George looked in my eyes and smiled at me with his characteristic crooked grin, and shook my hand tightly.   And then he went away by taxi.

I cried and cried.  There was a middle-aged woman crying beside me.  She had been a fan of George's from the 60's.  It must have looked unusual to people who had no interest in Geroge.  But to me, it was the day my dream came true.  I had to wait for this for 18 years!

I decided to keep on waiting for him.  I wanted to see him again even though my last train had gone.  After 40 minutes, I noticed George was in the lobby.  And luckily enough, most of the fans had gone and there were only 5 left.  His bodyguards told us "no autographs!", but he picked up the pens handed to him by fans and gave everyone autographs.  He shook my hand again and looked into my eyes -- I almost passed out!

I thought how glad I was to have been a fan of George for years.  Then I went home.  I got on the subway and when I switched my Walkman on to listen to George's songs, I burst into tears again.  I cried until I reached my stop.  Strangers looked at me with suspicious eyes, but I didn't mind at all.  I was the happiest person in the world.  November 29, 1991 --- I'll never forget that day.

Touring Japan

Talking with Eppy