Ringo and George with Roy Gerber, who worked with General Artists Corporation during the 1964 tour.
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Monday, February 23, 2026
The Wings jacket
If you watched the Man on the Run documentary at the theaters over the weekend, and stayed until after the credits, you would have seen this sweet little interview with Paul where the director of the film shows Paul some memorabilia from his Wings days. One of the items shown was this Wings jacket that Paul wore in concert. Paul tried it on and it was a tad snug, but it fit him. After scouring photos of Wings from 1972-1973 for over an hour I spotted one concert photo of Paul wearing the jacket! I thought you'd like to see it. Anyone know the venue?
Multi-Media McGear (1974)
Multi-Media McGear (O.K. Mike?)
No writer listed
Ray Hammond (editor)
Beat Instrumental
October 1974
The first time I saw Mike McGear was around 1963 in the basement of a Liverpool furniture store that had permitted a number of Liverpool poets and musicians to take it over for poetry and jazz night. There just on the crest of fame were Adrian Henri, Roger McGough, John Gorman, Brian Patton, and a tall blonde lad. "That's Paul McCartney's brother," said someone, pointing.
"Did you see me getting up on stage?" asked Mike, looking back over an 11-year-old gulf. "That was my very first time on stage. Did you laugh? There I was, standing with my piece of paper in my hand, shaking, but I found that the people liked the comedy thing I was doing. It was then I realized, 'oh, so they're just people, there's nothing to be frightened of."
That was the beginning of Mike's collaboration with Gorman and Co. in the music/poetry/comedy band Scaffold, which, riding on the crest of the Beatles' fame, brought Liverpool humor to every corner of Britain and to some unsuspecting audiences abroad. It's difficult to think what an American audience could possibly have made of their first enormous hit, penned by Mike, "Thank U Very Much". It even baffled a lot of Britons, including our kid, brother Paul, who didn't believe it set a chance on the charts.
"Paul and I have always been brutally honest with each other. He said, 'Don't put that out as a single, the public won't get it. They won't understand.' And I said, 'Well, you've got your opinion, and I've got mine. It's going ahead.' He replied, 'Well, I think you're stupid. It's going to be to your detriment', as I was determined to carry on with it.
"He helped in the production, which is why that record got a bit more in the production than there is normally on our records. He's got a very good head for music. When the record was a hit, all he said was, 'All right, mate, I was wrong.'"
Of course, there was always a bit of friendly rivalry between brothers, but it must have been terrible having one as famous as Paul. After the initial glow of basking in the shadow of McCartney's fame had died down, it must have been very difficult for McGear to shake off all the tags and be accepted on his own merit, instead of being accused of letting Paul help him along. "I suppose in the first days of Paul's success, I did feel a bit under his shadow," Mike confessed. "It's quite a cross to bear having a famous brother. You get a bit bored with the tags, but then the same sort of thing often happens in families. Lots of people feel under the shadow of an older brother or sister.
"You have to say, 'I'm not just Paul's brother, I'm me.'" Was it Paul who inspired Mike to write in the early days? "No, I never wrote at all when I was a kid; our kid had all that wrapped up, going round everywhere with his guitar and things."
Was Mike ever actually jealous of his brother? "No, why should I have been? When the Beatles started getting really successful, Brian Epstein said to me, 'Do you want to be a pop star?' And I said, 'Brian, my dear, you must be joking.'"
When you talk to Mike, it's as if you're on stage with him and he's including you in his comedy act. He talks, not so much in a string of words, but in a series of scenes. In fact, it's very hard to put down on paper exactly what the man says, just because he is so expressive. Everything is accompanied by gestures, movements, changes of accent, and intonation.
Yet initially, the words"show business" were anathema to him. Instead, he wanted to go to art college, and ended up at the point where he joined Scaffold --as an apprentice hairdresser! "I certainly didn't intend to be a pop singer, in a way, but I got interested in the theater side of it, sketches and things, and it was very satisfying. And I went off on that tangent while Paul did his music."
The two brothers seem extremely different in personality. Perhaps that's why McGear's determination to follow his own ideas, and not join with Paul or follow in his footsteps, has brought him to the point where he is completely accepted in his own right. Changing his name from the family one to McGear was a first step in this direction.
Yet he and Paul are still very close with the friendly rivalry and intuitive sensitivity about each other that is only found within families. He has worked closely with Paul on his new solo album (the title hasn't been decided upon at the time of our interview), and he found that working together was entirely easygoing. "I think it was because we are brothers, and being brothers, we are a darn sight more honest with each other than people are in normal working relationships, but it was very rewarding as well."
As well as Mike asking Paul's opinion on his music, it turns out that the rules are frequently reversed, with Paul asking Mike's opinion, which, as they are so honest with each other, sometimes leads to awkward situations.
"When I know my opinion is not going to be a good one, I just keep quiet, and he knows, I mean, it can hit a bit hard when someone's putting their whole thing into something and really believes in it, and the other person doesn't like it.
"Like that 'Helen Wheels' single, I went down to the studio, and there they were, Paul and Wings all dancing around. Paul was saying, 'Isn't it great?' And bopping up and down. And I just had to sit down and say nothing, because it did absolutely nothing to me. It was a nice little pop tune, but not where the man's head is at all. He's a very clever boy, so to waste it on that seemed a shame."
Has Paul been a lot of help to Mike as far as writing and constructing songs is concerned? "No," replied McGear. "He's always done his songwriting and left me to mine. You know it's often quite tough." For instance, on that Antitree iron business I told you about, one thing I wanted to know for years was to what this expression actually referred. But Mike was giving no secrets away. "If I was to tell you, I'd have to tell Harold Wilson. I learned from a very authentic source that he was literally ringing round everyone saying, (he adopts a flat Wilson accent) 'for God's sakes, what's the Antitree iron?'"
Although Mike has become well known as a humorist, his new album shows very little of the comic side of his nature. "That's where Paul and I are different. He's always done his thing, and I've always been basically comedy. But this record is basically serious, serious pop, if pop could be serious."
He has also been working on the new Scaffold album, which will probably be released later this month or early next. So he certainly hasn't stopped writing humorous material. He is very optimistic about its success. "We've been working on it in AIR London, producing it with a friend of mine, John Meganson. It's the best album Scaffold have ever done. Already, the B side of the new single, which will be out a few weeks before the album, is so good that it should be an A side. It's called 'Pack of Cards', based on that old song, 'Deck of Cards' that Wink Martindale one, and it has Zoot Money doing impressions of WC Fields!"
In spite of his current enthusiasm over Scaffold, it was only their sudden hit with "Liverpool Lou" that brought him back to work with them again after a rest period, and filled him with the determination to see them doing the kind of things he thinks they ought to do, such As a Monty, Python, type of TV show.
Although he may be about to embark on a dazzling solo career, he wants to combine this with Scaffold. "Although doing it will require careful planning. I believe in Scaffold. I always have, and hopefully I always will. They are a unique thing, a unique thing, but the only way I'm going out on the road is when they're solid, secure, and things are definite. There's an agent coming to see me tonight about dates and things.
"Scaffold have been through some bad times, and that's why things in the future have got to be a progression, because before we were regressing and playing to smaller and smaller places. That is what led to the situation that night in Manchester last year, where I jacked it all in. I said to myself, 'Forget it. I've had 10 years of all this', and I gave it up for eight months."
So what brought him back after this momentous decision, doing the album with our kid ? "The Scaffold single 'Liverpool Lou'. I became involved in all this madness again, but it's easier this time. I can see it for its madness and be more objective."
McGear has also written a book for children about yet another bear to share the nursery bookshelf with Paddington, Rupert, and Winnie the Pooh. "It's sad, really. When the book first came out, it was during all that business over Oz and Rupert, so my poor little Roger Bear got lost in all the troubles. All together now... 'ahhhhhh!'
The book is now being reissued to coincide with the release of the album. Mike also did the illustrations. "Oh, there's no end to this man's talent!,"He joked. "Multimedia Mcgear, there's your title!"
If the album takes off as well as it might, with the heart, with the hand of McCartney resting heavy upon it, in the form of co-written songs, arrangements, vocals, and instrumental backings by Wings, plus session people like drummer Gerry Conway, it will still be quite a time before we see the solo McGear take to the road.
"The only time I'll perform in this country, apart from with Scaffold, that is, is when I've got the people I want with me. Gerry Conway, who's just got back from a worldwide tour with Cat Stevens, has already phoned me to ask me what I'm doing.
"You see, there's certain killer people, amazing musicians, who are friends as well, and when I've got them, I'll go on the road. I can't tell you their names at the moment, but only when they are available, only when I can play them the full screw on top artist can pay to his so-called backing group. Will I go on the road. But they won't be a backing group -- they'll be like traveling with my friends.
A Delray Beach Woman's Rock n Roll Journey (2019)
A Delray Beach Woman's Rock n Roll Journey with the Zombies and the Beatles
By Larry Aydlette
The Palm Beach Post
March 20, 2019
February 1964. "The Ed Sullivan Show." America melts down at the sight of John, Paul, George, and Ringo. And when the Beatles go on tour, King is determined to see them. But she's crushed: they're not coming anywhere near her hometown of Grand Forks, North Dakota.
Fortunately, King has a mother every teenager dreams about. She promises to take Nancy and her 18-year-old sister anywhere the moptops are playing. The closest date turns out to be in Vancouver, British Columbia on Aug. 22. Nancy immediately springs into action, writing the Beatles' record company in Los Angeles and getting the band's North American itinerary, including their stay at the Edgewater Inn in Seattle, Washington, for a show the day before.
Mom promptly books them into the same hotel. (These Kings did not mess around.) In the lobby, Nancy overhears men with British accents. She chats them up. One is a reporter for the Liverpool Echo named -- and we're not kidding -- George Harrison.
He calls the Beatles' manager Brian Epstein and vouches for King. After the Seattle show, only one girl can go up to "meet the boys," so her older sister Carolyn relents (which is a pretty good IOU for a sibling to possess).
And so...
"Brian answered the door and Paul was behind him."
For about 30 minutes, it was King, the Beatles, Epstein and the Liverpool reporter in a hospitality suite. She talked mostly to Paul McCartney and George Harrison, "who couldn't have been nicer. John (Lennon) totally ignored me. Paul eventually took me over and introduced me to John, who made some comment about the black hills of Dakota."
Ringo Starr came out from a shower and "he showed me all the rings on his fingers and where he got them." McCartney offered her a cigarette. She declined. They all signed her paperback copy of a novel based on "A Hard Day's Night." She told Paul her favorite Beatles song was "Do You Want to Know A Secret?" He modestly admitted the lyrics were pretty good.
The band discussed a recent prediction from horoscope queen Jeane Dixon that the Beatles' plane would crash on tour. "I remember John saying, 'When your time comes, there's nothing you can do about it,'" King said. "He was philosophical."
And then it was over. King returned to her room -- and burst into tears. What was she going to do with the rest of her life now?
"I was up crying all night, saying, 'I can't believe my dream came true.'"
The next morning, a puffy-eyed King had her picture taken with Epstein. The Vancouver concert was "anticlimactic," she remembered. "They were a little speck on the field, you couldn't hear them, the girls were screaming so loud."
But back home, she was an instant celebrity, Grand Forks' lone link to Beatlemania. The local paper wrote about her. She was invited to gab about George's eye color and Paul's hair on air. And she soon had a gig interviewing British Invasion bands for her hometown radio station.
Sunday, February 22, 2026
Venice Preserved! (1976)
Venice Preserved!
By Rosie Horide
Beat Instrumental
December 1976
What's the worst job you've ever had? That's the current catchphrase culled from the Derek and Clive live album. But if you asked any of the Showco team that worked for Paul McCartney at his recent gig in Venice, I'm sure they'd cite that gig as their worst job ever.
There's no reflection on McCartney or Wings, but the problems were considerable and somewhat unusual. But let's start at the beginning. Paul McCartney and Wings were invited by UNESCO to perform a live concert in the beautiful St. Mark's Square as part of their Save Venice campaign.
As everyone should know by now, the city is slowly sinking, and a great deal of money is needed to rescue this beautiful and historic place. So they had a week of artistic functions to raise money and wanted a pop group as the piece de resistance.
Mr. Leon Davisco, director of publicity for UNESCO said, "We believe that Paul McCartney's group would be just right for the occasion. Not only are they one of the top groups in the world, but they appeal to people of all ages and tastes. We thought their concert would be a fitting finale for our week."
Paul himself said, "We were very honored to be asked, and after checking out that we could do it, we said we would be delighted."
And so it all began. For a start, it was going to be an expensive business. There would obviously be no fee, and although UNESCO paid some of the cost, like setting up the special stage and the band's hotel bills, it would cost the McCartneys a lot too. So they did a few other European gigs on the way to defray some of the costs, which would have been incurred if it had all been done just for one gig.
The biggest problem to be surmounted was the fact that no merchandise transport had ever been allowed on the main island of Venice, where the square is. It's never felt so much as the weight of a car, and the band had three truckloads of gear! What's more, with all that water around, how do you get the equipment to the island in the first place? The answer was huge barges which were loaded up with trucks and then sailed to the nearest point to the square. Then the trucks were slowly unloaded, and there came an ominous cracking sound. Five of the square's 1000-year-old paving stones had cracked under the weight! Of course, the various local dignitaries were horrified. But eventually, and very gradually, the trucks got to the side of the square.
The crew had arrived a week before the concert to get things ready, and they needed every minute of that time. First, they had to get a stage erected. It was specially built with a high canopy in case of rain and other safeguards against the elements and risk of electrocution. Then all the equipment for the 4000 watt custom built PA had to be assembled. And as if all the usual problems weren't enough, there was a language problem too. Someone from the Italian record company was on permanent call as an interpreter.
At the same time, 2000 seats had to be erected on the square. They were for the people who'd paid 15,000 lire for their tickets (roughly £10), the other members of the audience, 13,000 of them had paid 3000 lire for their tickets (£2). But eventually, that was all done. The seven laser machines worth half a million dollars had been assembled and placed strategically in buildings around the square. In fact, people arriving on the night before the gig were treated to a run-through of the laser, which had been placed on top of the column in the center of the square, and a bright green shaft of light shone out across Venice.
Finally, after a week of hard work and aggravation, the concert took place. Musically, it was splendid. From the audience's point of view, it was chaos. Security, supposedly done by the Italian navy, didn't exist. No one was checking tickets, and the police estimated later that there were about 30,000 people there, not the 15,000 that was supposed to be the limit. In fact, most people would have said there were even more there than that. The audience was strangely subdued, too. Even the sensational laser show with the second encore, where the seven lasers were focused together to form the Wings butterfly logo, which twisted and turned like the real thing, didn't rouse them to much enthusiasm.
After the show, McCartney himself was a little subdued. "We really enjoyed doing the concert. Not only was it an honor, but what more beautiful place could there be to stage a rock concert? The audience were a bit quiet, though, weren't they?" He was also a little mystified to find that the garrulous European press, who fought to get into the press conference, were suddenly struck dumb when they saw him, and a lady from a TV show refused to do an interview because she couldn't be in the shot with him, too.
But he did discuss with us plans to play behind the Iron Curtain. "Band on the Run's just been released in Russia, and we'd love to play there, if we were asked. And if possible. You know, you hear such strange things about the people, but I suspect they're just like us under the skin. It would be great to see them-- rocking commies."
He admitted that the Venice show had cost him a lot, but said it was worth it. And we were told that the week had raised $50,000 for the fund, most of which had come from his gig.
As for future plans, Paul said, "We're currently working on the live album, which we hope to have released before Christmas. We're listening to the 90 hours of tape we've done on the World Tour and selecting the right tracks for a three-album set. Then we have Christmas off and start working on our next album. I write all the time, whether I'm on the road or at home, and there are already a few things ready for the next studio album."
And what about concerts? "We love performing. So I guess we'll be back on the road again soon, but there'll never be another gig like Venice." A sentiment echoed by the crew who were at that moment racing to get all the equipment packed away before low tide left them stranded.
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