Russian fans
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http://seattlepi.nwsource.com/dayart/20051103/450mccartney04_smile.jpg Paul in concert - Key Arena - november 3, 2005
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http://denver.rockymountainnews.com/art/slides//110105paul/2.jpg Paul in concert (Denver) 2005
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http://denver.rockymountainnews.com/art/slides//110105paul/3.jpg Paul in concert , Denver
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http://denver.rockymountainnews.com/art/slides//110105paul/6.jpg Paul in concert - Denver
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http://denver.rockymountainnews.com/art/slides//110105paul/3.jpg Denver concert 2005
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http://www.paulmccartney.com/tour_images/05/boston/image2.jpg I like this picture very much (Boston concert)
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Adopt-A-Minefield Benefit Gala 2005 This year's Los Angeles Benefit Gala will be held on November 15, at the Beverly Hilton Hotel. Paul McCartney will perform with Tony Bennett, and the evening will include both silent and live auctions.
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feact:
I'now wonder where Diana D is. She hasn't been online for a while, and now I'm worrying about her. Di, please let us know that evething is fine with you. And also the other Russians on this thread, where are you now ???
Goodmorning everybody.
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I dont know, where is the other russian fans, but I am here today. And I like to say to feact for reports from every Paul^s concert.
It^s so pity, that I am not here
Peace and love to you all.
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mikhail:
I dont know, where is the other russian fans, but I am here today. And I like to say to feact for reports from every Paul^s concert.
It^s so pity, that I am not here
Peace and love to you all.
Mikhail, Mine name is Fea, not feact. I'm now glad I hear someting from the big Russia. I still hope to hear someting more of the other Russians. You are so friendly to me (and I'm not a Russian)
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http://seattletimes.nwsource.com/html/artsentertainment/2002603194_mccartney04.html?syndication=rss Magical musical tour: Youthful Paul McCartney rocks KeyArena By Patrick MacDonald Seattle Times rock critic LAURA MORTON / THE SEATTLE TIMES Paul McCartney may be 63, but it didn't show during his concert Thursday night at KeyArena. "We have come to rock you and rock you we will!," he promised fans. Who was that young man on the KeyArena stage singing Beatles, Wings and Paul McCartney songs Thursday night? It couldn't have been a 63-year-old man. Paul McCartney looked remarkably young ? especially following the wrinkly Stones, who played the same place Sunday ? and sounded much the same as he did in the Beatles, many years ago. He fit right in with the four young guys in his band (the hair dye helped), and had even more energy. Compared to the Stones show, which featured whiz-bang effects, including a stage that floated across the room, McCartney's performance emphasized music. The staging was impressive, especially the massive, busy lighting effects and creative use of video screens, including giant ones behind the stage. The bright lights often shone into the audience, which seemed to unite McCartney with the fans. "Let me drink this in," he said, his eyes sweeping the whole packed hall. The generous, 36-song set included 24 Beatles songs, highlights of Wings' career and cuts from his solo albums, including four from the new "Chaos and Creation in the Backyard." He saluted the other Beatles, which got a standing ovation. The set featured the first song they ever recorded, "In Spite of All the Danger." Perhaps as a tribute to Seattle's own Jimi Hendrix, McCartney, on guitar rather than his usual bass, added a bit of "Foxy Lady" to Wings' "Let Me Roll It." Review Thursday night, KeyArena, Seattle The show opened with a DJ spinning deconstructed, remixed McCartney songs for 20 minutes, followed by an excellent 11-minute film on McCartney's life and career, with his own narration. McCartney and his four-piece band opened with "Magical Mystery Tour," as the entire crowd leaped to its feet. He followed with the weird, obscure "Flaming Pie," the propulsive "Jet," a sweet "I'll Get You" and a song McCartney noted he played at the Super Bowl in February, "Drive My Car," with speeding race cars on the big screens. "Hello, Sea-at-le," McCartney said, promising a long night of music. "We have come to rock you and rock you we will!" He wasn't kidding. Among songs that energized the big, multigenerational crowd ? the two kids in front of me in $250 seats, who couldn't have been older than 12, were ecstatic ? were "Maybe I'm Amazed," "Fixing a Hole," "Good Day Sunshine," "Band on the Run" and "Back In The U.S.S.R." McCartney played piano on several songs, including a moving "Hey Jude," with his bandmates supplying fine harmonies and the audience singing the "nah nah nah nahs" with Sir Paul conducting. The main set concluded with the big production number, the bombastic ? literally, with booming pyro ? "Live and Let Die." The two encores consisted of high-energy Beatles songs. The first opened with his masterpiece, "Yesterday," and rocked with "Get Back" and "Helter Skelter." The second opened with the early Beatles' "Please Please Me," followed by the wise "Let It Be," and ended with "Sgt. Pepper's Lonely Hearts Club Band" and "The End."
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Another photo of Key Arena show of Paul. http://seattletimes.nwsource.com/ABPub/2005/11/03/2002603145.jpg also this: http://www.yellow-sub.net/IMG/jpg/12-13.jpg
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Paul McCartney US TOUR 2005 local crew t-shirt
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CONCERT REVIEW From classics to 'Chaos,' Sir Paul still rocks By Carolyn Lamberson The Register-Guard Published: Sunday, November 6, 2005 PORTLAND - Ladies and gentlemen, take your seats. The meeting of the Oregon First Congregational Church of Macca is about to start services. Your guide to today's spiritual journey through rock 'n' roll history - the Cute One himself, Sir Paul McCartney. On Friday night at Portland's Rose Garden Arena, the faithful gathered to celebrate one of the most enduring icons of popular music. In return, McCartney treated the sold-out crowd of 16,000 to a wide swath of his repertoire, from the first song he recorded with the Quarrymen to selections from his latest solo album, "Chaos and Creation in the Backyard." In between, McCartney - or "Macca" to his fans - revisited songs from his days in Wings and that other band he was in. Yeah, that one. In fact, he kicked off the night with a Beatles tune, "Magical Mystery Tour." Backed up by Abe Laboriel Jr. on drums, Rusty Anderson on lead guitar, Brian Ray on guitar and bass and Paul "Wix" Wickens on keyboards, accordion and guitar, the 63-year-old McCartney played through 36 numbers. Some songs rocked hard. Others shined in their simplicity. "Magical Mystery Tour," from the Beatles album of the same name, was one that rocked. From the second McCartney stepped on stage at 8:50 p.m. - trim and still boyish, despite the wrinkles - the crowd was with him. Energy may have flagged a bit during the second track, "Flaming Pie," a song that doesn't have widespread appeal, but when McCartney and band launched into a blistering version of "Jet," everyone was along for the ride. He kept the joint on its feet through a series of classic rockers - "I'll Get You," a Beatles B-side from 1963, "Till There Was You," "Let Me Roll It" (with a dose of "Foxy Lady" tacked on at the end) and "Got to Get You Into My Life" before hitting "Fine Line," the first single off "Chaos and Creation." For "Fine Line," a Yamaha grand piano rose up onto the stage, and McCartney put it to good use for "Maybe I'm Amazed" and the classic "Long and Winding Road." The piano numbers segued into an acoustic set. McCartney stood alone at center stage and said this was the part of the show where the other musicians mysteriously disappear and "leave me here with you. So welcome to my living room." Acoustic guitar in hand, he launched into a golden oldie, "In Spite of All the Danger," a song recorded by the Quarrymen, the pre-Beatles band that featured McCartney, John Lennon, George Harrison and two other members. "I Will," from 1968's "The Beatles," followed. Then McCartney leaped forward more than 35 years with "Jenny Wren," the second single off "Chaos and Creation." It's a beautiful little song. In the upper registers, McCartney stretches his voice beyond its range, bringing a level of emotion and vulnerability to the tune. For a new song, it really clicked on stage and with the audience. A great moment. "Blackbird" also found a home on McCartney's set list. As did a rollicking "Back in the USSR," an intense "Helter Skelter" and a poignant "Hey Jude." And that is perhaps the greatest thing about a Paul McCartney show - he may not play your favorite song, but chances are good you'll hear your second favorite. There are tunes that likely are always in McCartney's repertoire - say, "Let it Be," "Get Back" and "Yesterday." But there were enough surprises to keep folks happy - "Eleanor Rigby," "I've Got a Feeling," and "For No One." Best of all is that McCartney still has it - the voice, the stage presence, everything that has made him one of the world's biggest rock stars for 40 years. He may not gallop across the stage much these days, a la Mick Jagger, but fans can't fault his enthusiasm for the material and for performing. There were only a couple of missteps in the entire 2 1/2 -hour show. The piano on "Fixing a Hole" overwhelmed the song. And the production he made of changing his guitar - he'd lift it over his head and show it off to the crowd before handing it off to a roadie - got to be a bit much, especially since he switched frequently. Mere quibbles. His two encores were all Beatles. "Yesterday," "Get Back" and "Helter Skelter" wrapped up set one before McCartney and the band returned for "Please Please Me," a gorgeous "Let It Be" - done at an upright piano, not the grand - before coming to an end with a medley of "Sgt. Pepper's Lonely Hearts Club Band (reprise)" and "The End." After a couple of minutes signing autographs on stage, McCartney took his leave. And a few thousand of the faithful headed home, feeling spiritually recharged. CONCERT REVIEW
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Hello,Fea!
It doesn^t matter, Fea or feact. The most important is that you are very good friend and a real Paul^s fan, like everyone on this board. And thanks for the reviews one more time. You are a good journalist
. Peace and love to you all.
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No,.... I'm not a journalist. I'm just an house wife, that all.
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Music review - Paul McCartney will always be a Beatle Monday, November 07, 2005 MARTY HUGHLEY He's a Beatle. That, simply put, is the proverbial elephant in the room -- historically, emotionally, critically -- when Sir Paul McCartney comes to play your town, as he did for Portlanders on Friday night at the Rose Garden arena. Some might even say he was the most important Beatle, though there's easily as strong an argument to be made that John Lennon was the most important of them, and a much stronger argument that it was the chemistry of those four men together that made the group seem greater than the sum of our hearts. McCartney was, and therefore always will be, a part of that. And all these years after, there's something awesome about anything that connects us to that legacy. I'm reminded of a friend who met Ringo Starr a few years ago and was rendered speechless by the moment. Ringo simply hugged the man and said, "I know. I know." So, for most of the fans who packed the Rose Garden on Friday, the answer to the question "Was it a good show?" probably would be: "I saw a Beatle!" Which is one way of saying "Yes!" Yes, in part, because McCartney devoted roughly two-thirds of his nearly three-hour show to The Beatles songbook: 23 of 36 songs, starting aptly with "Magical Mystery Tour" and including such chestnuts as "I'll Get You" (a Lennon composition, reputedly) and their early Broadway cover "Till There Was You," as well as classics both rocking ("Drive My Car") and ruminative ("The Long and Winding Road"). He even played a solo rendition of "In Spite of All the Danger," which he wrote with George Harrison for their late-'50s band the Quarry Men. However justified Beatles nostalgia is, the show didn't have a 1960s-in-aspic flavor. McCartney has a reassuringly fine new album to promote ("Chaos and Creation in the Back Yard"), and the four selections from it he played Friday did nothing to reduce the show's momentum. Although McCartney had trouble with the high, delicate melody of "Jenny Wren," the song's beauty barely suffered. And overall, his voice has maintained its sweetness and flexibility much better than that of such veteran superstars as Elton John. McCartney switched regularly between his trademark viol-shaped bass, guitars and piano, and performed a handful of songs solo. In contrast to the Rolling Stones, who played the same room Tuesday with 13 performers on stage, McCartney got by with a compact four-piece backing band, featuring a strong lead guitarist in Rusty Anderson and a superbly entertaining drummer in Abe Laboriel Jr. It would have been nice to have real horns to give depth and shape to such tunes as "Jet," "Got to Get You Into My Life," and "Penny Lane," but a Kurzweil keyboard acquitted itself fine on those parts and served even better on the string arrangement of "Eleanor Rigby." In the end, the breadth of what he played -- from the tender love ballad "I Will" to the manic guitar meltdown "Helter Skelter" to the episodic adventure sketch "Band on the Run" to the Merseybeat blast "Please Please Me" -- was dwarfed only by that of what he didn't play (start with, say, "All My Loving" and work from there). But then, you knew he had great songs. He's a Beatle.
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Sunday, November 06, 2005 This Day in Beatles History - November 6 These events occurred on this day in Beatles history...1960 - The Beatles perform at the Kaiserkeller Club, Grosse Freiheit, Hamburg, West Germany. 1962 - The Beatles perform at the Star-Club, Hamburg, West Germany. 1963 - The Beatles perform two shows at the ABC Cinema in Northampton. 1964 - The Beatles' EP "Extracts from the Album A Hard Day's Night" (Parlophone 8924) is released in the U.K. Tracks: "Any Time at All," "I'll Cry Instead," "Things We Said Today," and "When I Get Home." Highest chart position: No.8. The Beatles perform two shows at the Gaumont Cinema in Southampton. 1965 - The Beatles in the recording studio, Studio Two, EMI's Abbey Road Studios, London), recording two separate re-makes of "I'm Looking Through You," the second being overdubbed to completion. However, The Beatles remain disatisfied and the song will be re-recorded yet again. 1967 - The Beatles in the recording studio, Studio Three, EMI's Abbey Road Studios, London. Stereo mixing for "Hello Goodbye," "I Am the Walrus," "Your Mother Should Know," and "Magical Mystery Tour." Since the radio feed utilized in "I Am the Walrus" was recorded in mono, the song changes from stereo to mono at the line "Sitting in an English garden." 1970 - The Beatles' album "Let It Be" (Apple PCS 7096), originally released as a box set, is re-released in the U.K. as a standard album. 1989 - The Beatles' "Beatles Singles CD Set" (EMI CD BSC 1) is released in the U.K. Box set of 22 original Beatles U.K. singles on 3-inch CDs, all of which had been individually released during the preceding year. In the U.S., the 3-inch CD singles were released individually, but no box set was released.
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McCartney fills KeyArena with magnificent performance By Ernest A. Jasmin; The News Tribune Paul McCartney is the most revered living rocker on the planet. As such, he could have easily sleepwalked through a predictable list of Baby Boomer favorites and still left the nostalgic masses that filled KeyArena Thursday night feeling warm and fuzzy ? even the faithful that paid an obscene $250 a pop for the best views. Instead, Sir Paul peppered his magnificent 2½-hour set with several songs that had been neglected for years, a number he wrote with George Harrison that predated the Fab Four and several selections from his impressive new CD ?Chaos and Creation in the Back Yard.? And, of course, many of the most memorable pop songs of the past 40-plus years were in the mix, too, providing too many feel-good highlights to recall in this space alone. The evening?s low point was a misguided train wreck of a DJ set, delivered by a masked turntablist, that seemed horribly mismatched with the mostly middle-aged contingent that stared on. A 10-minute biographical film followed before the curtain went up to reveal McCartney and his crack four-piece outfit ? guitarists Rusty Anderson and Brian Ray, keyboard player Paul ?Wix? Wickens and rotund-but-energetic drummer Abe Laborial. McCartney and company kicked off with two punchy selections that were absent from the trek that stopped by the Tacoma Dome in 2002. ?Magical Mystery Tour? and ?Flaming Pie? came from the Beatles? 1967 TV special and McCartney?s 1997 album respectively. At 63, the rock legend?s voice still sounded crisp and vibrant. And he still appeared to be having a lot of fun ? maybe as much fun as his audience ? as he cracked jokes and hammed it up between songs, often lifting his guitar triumphantly overhead like a heavyweight championship belt. The early part of the set included Wings hit ?Jet,? ?I?ll Get You,? ?Drive My Car,? ?Let Me Roll It? (with a few licks from Jimi Hendrix?s ?Foxy Lady? thrown in for good measure) and ?Got to Get You Into My Life? (aka McCartney?s ode to the weed). ?Behind me will magically arise a piano,? McCartney said, arms outstretched as a black Yamaha rose out of the stage. He got a few laughs by referring to a mishap from early in the tour: ?Before the piano rises there is hole,? he said. ?On the second night of the tour I forget there was a hole and I went backwards into the hole.? Anderson got to introduce the ?Fine Line,? the brassy number that leads off ?Chaos.? ?English Tea,? ?Follow Me? and ?Jenny Wren? also came from the new CD. ?Jenny Wren? ? a pensive, poignant number in the tradition of ?Blackbird? ? was the best received. ?English Tea? felt overly precious, and the superior ?Vanity Fair? would have been a more desirable choice. ?This is the bit where everyone mysteriously wanders off and leaves me with you,? McCartney said before his band snuck off for the acoustic set, which included ?Wren.? McCartney introduced pre-Beatles number ?In Spite of All the Danger? by explaining that the Quarrymen had recorded one copy of the song for 5 quid and that everyone in the band had agreed to keep the recording for a week each ? that?s until pianist Duff Lowe wound up hanging onto it for 23 years. ?Allegedly,? McCartney jokingly added, ?in case there are any lawyers in the audience.? McCartney went back to 1968?s ?The Beatles? (aka the White Album) for ?I Will.? And a few songs later it was a more familiar ballad. He explained that the melody from ?Blackbird? had evolved from a specific way he used to screw up while playing Johann Sebastian Bach. Highlights from the latter part of the set included ?Good Day Sunshine,? performed with images from the space shuttle Discovery. It was the first song the crew heard the day it came home from July?s snake-bitten mission, McCartney said. The legend wound up the pre-encore set with a rousing delivery of The Beatles? ?Back in the USSR,? an inspired performance of ?Hey Jude? (which probably should have been the closing number) and James Bond theme song ?Live and Let Die.? ?Jude? should have been the closing number, given the feel good vibes flowing through the room as McCartney directed fans in singing that fun ?nah nah nah? part. ?Live and Let Die? felt a bit anticlimactic until it the song ended in a flurry of flares and pyrotechnic bursts. (Fans in the first few rows could definitely feel the heat.) McCartney played ?Yesterday? on acoustic guitar. ?Get Back? and ?Helter Skelter? followed, with first-person footage from a roller coaster ride on the towering video screen behind the band during the latter. McCartney emerged for the second encore wearing a red t-shirt emblazoned with the slogan ?no more land mines,? a reference to one of his most well-known causes. (Fliers promoting PETA and vegetarianism circulated before the show.) The band started with ?Please Please Me? and got melancholy with the timeless ?Let It Be.? McCartney picked an appropriate one-two punch for the closer. Psychedelic lava lamp colors bubbled across the video screens during ?Sgt. Pepper?s Lonely Hearts Club Band (Reprise),? then the band segued directly into ?The End? before taking a bow. Paul McCartney?s set list: Magical Mystery Tour; Flaming Pie; Jet ; I?ll Get You; Drive My Car; Till There Was You; Let Me Roll It/Fire (Jimi Hendrix); Fine Line; Maybe I?m Amazed; The Long and Winding Road; In Spite of All the Danger (pre-Beatles song); I Will; Jenny Wren; For No One; Fixing A Hole; English Tea; I?ll Follow the Sun; Follow Me; Blackbird; Eleanor Rigby; Too Many People; She Came in Through the Bathroom Window; Good Day Sunshine; Band on the Run; Penny Lane; I?ve Got a Feeling; Back in the USSR; Hey Jude; Live and Let Die First encore: Yesterday; Get Back; Helter Skelter Second encore: Please Please Me; Let It Be; Sgt. Pepper?s Lonely Hearts Club Band (reprise)/The End
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Paul McCartney A legend's progress Before his concert in town tonight, Sir Paul McCartney reflects about fame, his creative process and who would have made a good Beatle Friday, November 04, 2005 MARTY HUGHLEY We don't really want to consider this week a 1960s flashback. However much of a nostalgia rush may come from the arrival in Portland, within days of each other, of the Rolling Stones and Paul McCartney, it's important to remind ourselves that we are, in fact, in the 21st century. After all, that will help us appreciate not just the concerts at the Rose Garden arena (the Stones earlier this week, McCartney tonight) but the creative resurgence these two legends are enjoying. McCartney is touring in support of "Chaos and Creation in the Backyard," an emotionally engaging return to form made with the help of Radiohead producer Nigel Godrich. He's also the proud father, so to speak, of his first children's book, "High in the Clouds," an animal-centered, environmentally concerned adventure fable created with animation director Geoff Dunbar and author Philip Ardagh. Sir Paul spoke recently by phone from a Midwest tour stop about his musical legacy, his ongoing urge to create and who else would've made a good Beatle. It must be gratifying to have the new album get positive reviews, but when writers keep calling it your best in ages, do you feel bad for your other albums? Different people like different things. It's "Band on the Run" for me. And then some people like the real obtuse ones like "Ram," or even "Back to the Egg" I heard mentioned recently. So, you just have to put it out there and let them hear it. At the start of this tour, the album had been out just a week, so it's kind of different, because nobody really knows (the new) stuff. But then you start to feel the heat from the audience on the new songs. A lot of people who come to the shows come because they love The Beatles or Wings or are into some particular songs, but by this point its really nice that the new songs are getting equal applause to the older stuff. Some people wonder why you keep making records and touring: "He doesn't need the money . . . the adulation . . . the validation," someone wrote recently. Does the music itself, once it comes to you, demand an audience to really complete it? Well, the people who say that don't know what it's about, do they? To say that it's just about the money . . . It becomes a pleasant addiction. The whole process intrigues you. It's like with painters. You have (Mark) Rothko, whose work was very derivative at first. And then he keeps working through different things he's interested in and he arrives at the style that we now know as a Rothko. Do you just say then, "OK, you have to stop now?" He has to keep on with the process. Which is more exciting for you, writing a good tune or playing it for someone? Both are equally exciting. Writing something is great. Getting it right on the record is another level. Writing's like a conjurer's trick: There's nothing, and then you just pull something out of a hat. You know one Tuesday afternoon, or whenever, you're going to sit down and after a while something is going to be in the world that wasn't before. Then there's the tussling with it in the studio, which is a little more work. On your new album, you tussled as well with the producer Nigel Godrich, who had his own ideas about how the record should be made. Were you resistant when he suggested dismissing the band and having you handle most of the playing yourself? I think he knew what he was doing by doing that. He knew how keen I was to get the band in and make something. We had talked before the sessions, and I'd told him that I was looking forward to working with the guys, and that they were excited about that, too. So he knew that his suggestion was going to disappoint everybody. It was disappointing, but then, we got some results. I like working that way anyway. It's not new to me. And really, there's a kind of sense to it: I compose the song, write the tune and the lyric, and my piano or guitar accompaniment. So then, if I'm coming up with the drum part, too, and things like that, it extends all that in a way. It's a longer compositional process. Is there any musician who, had he or she been around in Liverpool in the early '60s -- say, just after Stu Sutcliffe quit -- would have made a good fifth Beatle? A better question is who would've made a good Beatle. We didn't need five; four was a good number. Oh -- Eric Clapton, Jimi Hendrix, Billy Preston. The Beatles early on wore leather and played strip clubs, yet Brian Epstein soon sold the band as smartly dressed and wholesome. The Stones had somewhat tonier upbringings, but Andrew Loog Oldham sold them as bad boys. Apart from the commercial calculations, did Epstein and Oldham get the respective images right, after all? Yeah, it worked. I think it'd be kind of silly to say it didn't. . . . Now, as an animal activist I'm not too big on that leather, going around in dead cows. But what the black leather said was, "We are Gene Vincent fans." That was what Gene Vincent wore, and we wanted to play with him. In a way, though, it really just sort of said, "These guys are motorcycle guys." And I think it was a bit limiting. Speaking of moving on from basic rock 'n' 'roll, what's kept you from joining the legions of rock stars recording an album of standards? Just that: the fact that everyone else has. It's a pity, 'cause I had written a few songs of that sort. But Robbie Williams did one. And suddenly I knew if I'd done one, in Britain it would've been looked at like, "Oh, he's doing a Robbie Williams." Then when Rod Stewart did it, that really put the kibosh on it. But the buzz of all that is the same for me as it is for Rod: It goes back to our childhood. Can you give us the pocket pitch on your new Music Lives Foundation: why you started it and what you hope it can accomplish? I was talking to some people at Fidelity Investments, and really it was their idea. They're sponsoring this tour -- and for me, that's about the visibility of the tour. People know that you're coming to town if you've got the big TV campaigns that come along with these sponsorships. But they wanted to do something to help with music education for kids. . . . It can be very life-enhancing, even life-changing. . . . I was doing a kind of workshop of the same sort in Liverpool a while back. And we'd been playing music with this bunch, and one of the kids, just some Liverpool kid, said something that really stunned me: "I never knew you could have so much fun without a victim involved."