Paul McCartn-eye

PLANS TO RENAME LONDON EYE AFTER BEATLE MACCA

15/08/2007

Daily Mirror.co.uk

 

He's spent most of his life in the public eye but Sir Paul McCartney now has his sights set on something truly revolutionary.

 

Because we can exclusively reveal that the London Eye could be renamed the McCartney Eye.

No, wheelly!

 

Macca's camp want to sensationally rename the landmark to coincide with the release of The McCartney Years DVD in November. The much-hyped three-disc DVD will be an anthology spanning Macca's vast musical career.

 

Serious talks are now taking place between Macca's people and the Eye about a one-off collaboration.

 

Says our impeccable source: "The whole idea came together after a series of meetings in Macca HQ.

 

"The artwork for the DVD cover is a stylised close-up of Sir Paul's eye - and that got the team thinking.

 

"It occurred to them that the other most famous eye in the world was, of course, the London Eye and they immediately tried to work together." It's understood that as well as renaming the Eye for a one-off period, the DVD artwork could also be beamed on to the attraction.

 

We reckon tourists would flock to see Macca's 65-year-old eye projected on to the wheel - as it will probably be the only time the London Eye will have bags under it. (Only joshing Macca!)

 

Our source added: "If it goes ahead, it will be a massive boost for Macca to be associated with one of the most well-known attractions in London. "It's ambitious but his people are determined to make it happen and Sir Paul may even perform a one-off show in one of the pods to make it even more special."

 

Well, he was no stranger to getting high when he was a Beatle. At least this time it'll all be legal.

 

It would certainly be one of the more unusual venues he has played in.

 

Standing 443ft tall above the South Bank, it has views to die for - and is Britain's most popular visitor attraction with 3.5 million people going on it every year. Our source adds: "Macca loves London and to be the face and name of the Eye - albeit just for a short time - would be a massive honour that he would cherish."

 

The DVD promises to be one of the most comprehensive collections of music.

 

Will any of you be buying this 3 DVD video collection set?

McCartney Readies 3DVD Best Of

Undercover.com by Paul Cashmere - August 24 2007

 

Paul McCartney will release at 3 DVD collection of videos of his greatest hits.

 

'The McCartney Years' features over 40 music videos and two hours of live performances.

 

Disc One and Two will be dedicated to the music videos, starting in the 70s with 'Maybe I'm Amazed' and including the original promo for 'Band On The Run'.

 

Disc Three is dedicated to live performances. It covers the 'MTV Unplugged', 'Rockshow Tour of '76' and Glastonbury 2004.

 

The McCartney Years will be released on November 13th.

 

DISC/TRACK LISTING

 

DISC 1

1. Tug Of War

2. Say Say Say

3. Silly Love Songs

4. Band On The Run

5. Maybe I'm Amazed

6. Heart Of The Country

7. Mamunia

8. With A Little Luck

9. Goodnight Tonight

10. Waterfalls

11. My Love

12. C-Moon

13. Baby's Request

14. Hi Hi Hi

15. Ebony And Ivory

16. Take It Away

17. Mull Of Kintyre

18. Helen Wheels

19. I've Had Enough

20. Coming Up

21. Wonderful Christmastime

 

Extras

1. Juniors Farm

2. Band On The Run

3. London Town

4. Mull Of Kintyre 2

5. The Southbank Show

 

DISC 2

1. Pipes Of Peace

2. My Brave Face

3. Beautiful Night

4. Fine Line

5. No More Lonely Nights

6. This One

7. Little Willow

8. Pretty Little Head

9. Birthday

10. Hope Of Deliverance

11. Once Upon A Long Ago

12. All My Trials

13. Brown-Eyed Handsome Man

14. Press

15. No Other Baby

16. Off The Ground

17. Biker Like An Icon

18. Spies Like Us

19. Put It There

20. Figure Of Eight

21. C'Mon People

 

Extras

1. Parkinson

2. So Bad

3. Creating Chaos At Abbey Road

 

DISC 3

Rock Show

1. Venus And Mars

2. Rock Show

3. Jet

4. Maybe I'm Amazed

5. Lady Madonna

6. Listen To What The Man Said

7. Bluebird

 

MTV Unplugged

8. I Lost My Little Girl

9. Every Night

10. And I Love Her

11. That Would Be Something

 

Glastonbury

12. Jet

13. Flaming Pie

14. Let Me Roll It

15. Blackbird

16. Band On The Run

17. Back In The USSR

18. Live And Let Die

19. Hey Jude

20. Yesterday

21. Helter Skelter

22. Sgt. Pepper's Lonely Hearts Club Band

 

Extras

1. Live Aid/Live 8

2. The Superbowl XXIV

 

Any Comments regarding the tracklisting?

NEW McCARTNEY DVD SET FOR RELEASE

McCartney.com Official Press Release

 

‘THE McCARTNEY YEARS’FEATURES EXCLUSIVE COMMENTARY, BEHIND THE SCENES FOOTAGE, OVER 40 MUSIC VIDEOS AND TWO HOURS OF HISTORIC LIVE PERFORMANCES ‘THE MCCARTNEY YEARS’ IS SET FOR RELEASE NOVEMBER 12th 2007

 

On November 12th 2007, THE McCARTNEY YEARS, will hit the stores. This first time ever DVD includes the definitive visual collection of Paul McCartney’s amazing career featuring solo music videos, career-spanning live performances, personal commentary by Paul McCartney and exclusive footage that tracks his incredible musical journey as never before.Spanning four decades THE McCARTNEY YEARS is a three volume DVD collection, featuring some of the world’s best-loved music that has become the soundtrack to all our lives.VOLUME ONE and VOLUME TWO contain the definitive collection of McCartney music videos.

 

Starting in the 1970s with Paul McCartney's first solo single Maybe I'm Amazed, the DVD includes the Wings promo video for Band On The Run as well as hits from the 1980s such as Say Say Say, and the 1990s with Biker Like An Icon. It finishes with 2005’s Fine Line. The films can be viewed either in chronological order or as play-lists that have been personally arranged by Paul featuring his exclusive voiceover commentaries.

 

VOLUME THREE includes live performances taken from three classic McCartney live shows; ROCKSHOW filmed on Wings’ 1976 World Tour, new edits of Paul’s seminal UNPLUGGED in 1991 and Paul’s now legendary headlining performance at 2004’s GLASTONBURY Festival.THE McCARTNEY YEARS is also packed with bonus features and extra never before seen footage and performances, including Let It Be from LIVE AID, archive interviews with Melvyn Bragg and Michael Parkinson, alternative versions of music videos and the full-length 2005 documentary Creating Chaos at Abbey Road.

 

Paul has recorded exclusive commentary and personal introductions for each promo video and each live concert. This collection has been meticulously restored and all films polished, re-graded and given a new lease of life in Widescreen format with re-mastered stereo audio and for the first time the original recordings re-mixed into 5.1 surround sound. THE McCARTNEY YEARS includes over 40 promo videos and over two hours of live performances.

Wonder if Santa would bring me an early chrissy pressie :)

 

I might seriously get this

http://i46.photobucket.com/albums/f117/gloybenhaben/MaccaYearsCover.jpg

 

Here is the cover:

 

What do you think?

The McCartney Years (5 Minute promo advert)

 

Out in the UK November 12th.

 

I'm off that week too!

 

What do you think?

The McCartney Years EPK Part 1

 

The McCartney Years EPK Part 2

 

Here is a fuller 17 minute Electronic Press Kit of the 5 minute promo for this excellent set of videos.

Paul Du Noyer Interviews Sir Paul McCartney

PaulMccartney.com

 

Can you tell us how the project for The McCartney Years began?

 

Sir PAUL: Someone noticed we had all these videos that had never been released and the fans themselves had written in asking when they are we going to see such and such a video. So we decided to put them all together in a box set and make them all available.

 

This particular set, it’s a complex little business. There’s three ways into it and every time you think you’ve got it sussed, you come across something you didn’t know was going to be there so above and beyond the collection of videos, what was the idea behind making it as interactive and tricky as it is?

 

Sir PAUL: Once the project began we then realised that we could go beyond the usual DVD idea and that we could do more interactive stuff. The director Dick Carruthers and I came up with more and more ideas and thought “OK on the menus let’s have little hidden things for fans and let’s have a cover of this hidden there.” It’s much more than just a collection of DVDs, much more than just a collection of videos. It’s now kind of the world of McCartney.

 

The advent of the video was a big change during the course of your career, late 70s 80s. That transformed the music business. Did you see this as a promotional necessity?

 

Sir PAUL: The advent of the music video was kind of a double-edged sword really because in one way it was exciting, making a little film. In another way it was not what we did. The only reason we’d been on film was live, covering a live show or TV shows. You hadn’t ever really made little films, you’d been in Hard Day’s Night or something like that.

 

So it was kind of good and it was bad. Sometimes you’d think “oh god we’ve got to do a video for this”! But sometimes if the idea was good, you’d get into it so for instance something like Pipes of Peace we’re wondering what are we going to do here, and I was sitting round with the director Keith McMillan. And suddenly I’m not quite sure who, one of us come with this idea, we said remember that old film that they used to show on the BBC when on Christmas Day you got the German soldiers and the English soldiers all coming out of their trenches and they had a game of football didn’t they, Christmas Day? And we said OK that’s it, there’s the idea.

 

Once you had that idea, it was like, it was just manufacturing the video and that was fascinating, looking for the regiments who actually were, had been there. I thought there’s going to be some old geezers who were there, who are still surviving and they’ll probably see this and you don’t want them writing up saying the Lancashire Fusiliers were not there because I was one of them and we were at – Dieppe or somewhere you know.

 

So we tried to get it actually right and that became a fun process but the secret was getting that idea. Once we got the idea we said OK now this is just fascinating trying to portray that idea so I think that’s the answer really. If the music videos had a good idea that drew you into it, then you enjoyed making them. If they didn’t, it was a bit boring.

 

So how does that individual video thing kick off? Do you expect the director to have an idea or do you have an idea and you find a director?

 

Sir PAUL: In the very early days life was so uncomplicated. You would just, you know you’d have a record and you’d just say well we’ll all just stand there and we’ll like sing it. Yeah that’s a good idea! So it was almost like live, just a fake live. Then things began to develop and it became like a short film so it became a bit of art and what would happen is there’d be a preamble so you know you’d be singing, walking down the street, and the little streets twinkling on the Embankment of the Thames, then – and you’d go into a musical.

 

And then you started to require people who worked in that field, so then that spawned millions of young directors who were now music video directors who these days have gone on, a lot of them, to become film directors. It’s kind of quite a good learning ground for them.

 

You’d look at people you thought might do a good job and you’d actually say here’s the song, what idea would you put to this? My idea is roughly this but have you got a better one? And so they would send you a script: I see you walking by the Thames at night with a funny hat on. You go don’t like it!

 

Or I don’t see that at all, I see you in the countryside you know in a boat. Oh alright, and so you know that was it really. You just read the script and if it caught your imagination you’d ring them up and say OK let’s discuss this further. A lot of the time though I was lucky to work with directors I knew and once you liked a director, you kind of held onto them.

 

So Keith McMillan did a lot of stuff with me, he did Pipes of Peace and Ebony and Ivory, Coming Up. We did quite a lot of work together and Keith’s a very enthusiastic guy. He’s great to work with so the team got the hang of it. We got the hang of it together so that wasn’t so much him presenting a script. It would be more just him and me getting together and trying to work it out.

 

So there were various ways it happened but the main thing was to get to a director and say what do you think.

 

There are several videos in which you don’t appear at all.

 

Sir PAUL: Those are the ones I like.

 

Is it a kind of relief sometimes when a good idea comes in that doesn’t involve you?

 

Sir PAUL: Yeah, I like that. I remember the video for Put It There which is about a father and his son because the song came about because it’s an old expression of my dad’s. He used to say it put it there if it weighs a ton and he’d shake hands. Put it there if it weighs a ton and those things you just remember when you grow up.

 

I didn’t even think about them when I was a kid but then you go - oh that was nice what he said, oh yeah put it there if it weighs a ton and you see a significance in it so you go oh that was my dad and when he’s no longer here, it becomes an emotional thing so I wrote the song based on that. The director who directed it said I don’t see you in it, I see a father and a son as two actors.

 

Another really nice aspect of this collection is – apart from the videos themselves – the menus come up which is practically another collection in itself. Some of them really strange things I’ve never seen – where did that come from?

 

Sir PAUL: Yeah, when the whole project was mentioned, I think everyone at first just thought we’ll take the videos, clean them up. There’s a lot of them, we’ll put them sort of back to back, we’ll present them, that’s it. But as you started to get into that, Dick Caruthers and Ray particularly, started to say well you know if I was a fan watching this, when the menus come up, it would be really good if we have a little bit of that film that no one’s ever seen before. We can’t really use it as a full video but we could use it there.

 

So every little nook and cranny that was available to them, they’ve packed it with stuff for the fan or for the viewer and I think they’ve done a fantastic job because as you say, there is stuff I didn’t even know existed. I should know most of it existed but it’s like – oh I didn’t know they filmed that. Oh yes, we found that in an old tin somewhere.

 

And so the exciting thing about the whole exercise was them occasionally ringing me up, guess, you’ll never guess what we’ve found you know, and I’d go alright wait, save it, so when I’d come they’d say look here, what about this for the third menu and we’d like to put this in. So yeah there are some lovely things.

 

I liked them finding the – I did a little thing called Backyard which we just very early days, we got a video camera and I was just sitting out at the back, back door of Abbey Road. There’s a little area there, just one of the – Studio 2 where we used to work goes out to the back of the building. I just sort of sat there, got my guitar and just sang, just remembered all sorts of Eddie Cochrane, Buddy Holly, Chuck Berry songs from my teenage years and just sang them and we just called it Back Yard.

 

We never really did anything with it, it was one of those – well what do you do with something like that? You can’t ring up you know television companies, we’ve got a five minute thing of Paul’s.

Here suddenly was the place where we could use all of that so they did a brilliant job in working all that stuff in. It’s really jam-packed full of goodies.

 

Let’s go through some of the individuals if you don’t mind. One of my favourites is the one Shirley Temple did for you, called Beautiful Night – Linda is in it and so is Ringo.

 

Sir PAUL: Yeah the song Beautiful Night was one that I didn’t have a particular idea for, so that was led by the choice of director. I wanted to work with Julian Temple really probably because he’d done the Great Rock and Roll Swindle with the Sex Pistols and I just thought well that’s pretty good you know provenance whatever you call it. So I rang him up and I said I’ve got this song, do you want to talk about it?

 

He was interested and he came up with the idea but then the great thing was we had Ringo in it so it was lovely to have him back on the team and Linda was in it. It’s a kind of emotional one for me.

 

I think, I think Julian did a great job, it’s real, it’s a proper little film with the strange lady who ends up going in the water at the end. Pretty strange but then you’ve got the opportunity to be a bit surreal in a music video. You don’t really have to explain it, it’s not like a proper film where – well you can be surreal there as well but most of them you’ve got to sort of set up the idea why has it all gone a bit funny? In a music video you don’t have to. It has a loose story, a loose thread but you can goof around a bit more.

 

You just mentioned Ringo, he’s in a few of the DVDs. He’s so natural in front of the camera.

 

Sir PAUL: Yeah he’s, Ringo is a film star. He always was. He’s the kind of guy who’s got that in his own personality. He is very contained in himself, he’s very sort of content with himself and they found that out when we were all doing Hard Day’s Night. The director Dick Lester wanted a scene with Ringo in it and apparently Ringo told the story that he’d been out clubbing all night and he arrived on the set after virtually no sleep, and Dick sort of just said well you know stick this hat on him and stick an old raincoat and could you walk along the banks of this canal please?

 

So Ringo said yeah OK so he started doing things, kicking cans, and then a little boy comes up and – but it’s just Ringo’s natural personality, he sees what’s required of him and he just, he can deliver it you know. He’s natural so he’s always good to have in a film. He just knows what he’s doing you know. He’s good at that.

 

A full third of the whole thing is live discs. You’ve said to me many times in the past how you used to miss the reality check of getting back in front of an audience and seeing the whites of their eyes. Is that why you’ve included such a big live element in this?

 

Sir PAUL: Yeah a lot of the live stuff hasn’t been available to people and it’s also a big side of what I do. We thought we’ve never seen this before or this hasn’t been released, this ought to be in the collection and once the whole thing was called the McCartney Years then you had a wider brief. I really like the live stuff. It gives the other side of what I do really, there is me writing records and you see that in the videos but I think in many ways it’s a more true thing of what I do.

 

In may ways it’s more true to me the live stuff than music videos are because music videos are not what you do. You’ll find that with a lot of bands. I know quite a few guys who just won’t do them. Oh no you know, what acting! Not doing that you know dressing up into soft gear. They prefer to just be a guy in a band and if you want a music video you can just do us live.

 

I think that is a strong element of what we do. So we’ve included quite a lot of live material in The McCartney Years.

 

It also allows you to get some Beatle stuff in there as well, doesn’t it?

 

Sir PAUL: It is true that it does broaden the music selection because it brings in songs that we don’t have music videos for and allows me to include Beatles songs which I used to be very shy of doing particularly early Wings days. I thought no we’ve got to establish a new thing I can’t just keep harking back to my past, this is a new band and I want to not do Beatles stuff.

 

But then as time went by you started to think, well I like these Beatles songs the people in the audience like them and now I’ve established Wings and we’ve had hits like Band On The Run and Live And Let Die. I can now loosen up a bit so I started to include a lot of Beatles songs and I now do quite a lot of Beatles more than ever before.

 

You can’t deny people like them. Lot of it’s good stuff because it was done by the Beatles and it’s also very well known so people have a nostalgia and then even people who weren’t there like that stuff.

It was nice to be able to include that in this package.

 

The Glastonbury stuff, did it look like a challenge?

 

Sir PAUL:Since the ‘60s I’d always wanted to do Glastonbury because I was there when they thought it up. Festivals just didn’t happen before. Now they’re kind of part of our life so I’d always wanted to do it or get involved in it. I’d thought maybe it’s too much of a challenge maybe not. Michael Eavis would actually ask me “oh Paul Glastonbury next year, come on” and I’d go yeah and then never rang him.

 

A friend of mine who had been the year before was just telling me about the great atmosphere at night and he said and “I remember walking back and they were all singing Beatles songs.” And I’m going oh well that’s good okay, I could do that! So that actually spurred me and I thought I should do it. I rang Michael and he said “Yes, it’d be great”. We weren’t on tour so then the next thing was to try and do some gigs, you don’t want to arrive at Glastonbury not in playing mode because everybody else is going to perform that’s probably come right off tour.

 

So we did a mini tour before it just to get up to speed which was good. Glastonbury was our final date on this mini tour and we were feeling good about it and it was raining and it was wellies and mud everywhere! It was the perfect Glastonbury and we felt great about it. It was so exciting to finally be there and to me the other thing about Glastonbury that had always fascinated me was all the lay lines and you know they’re very ‘60s dude!

 

We’d spent hours in the 60’s staying up late just looking maps of all the lay lines so the confluence of the lay lines is where Glastonbury happens so you know that aspect was kind of in the back of my mind the sort of cosmic aspect of playing it I was kind of into. We showed up, we were playing good, did a lot of Beatles songs and then on top of that there we were sitting on these lay lines and this fantastic audience, which is big, they’ve got all the flags so it looks like you know Agincourt or something you know it’s quite an amazing mediaeval thing to be looking at. And of course their enthusiasm even in the rain is very infectious so we just had a great evening.

 

I remember looking back at the approach road and seeing people who’d liked stopped in their cars and had got out and were listening as I was doing Let It Be and I could see them and it was like really wow, they’ve stopped you know they’re listening to this, to my concert!

 

It was a really great buzz so I’m glad we have included Glastonbury in The McCartney Years.

 

What about the Live Aid appearance…of course you’ve revisited that, haven’t you?

 

Sir PAUL: I was asked by Bob Geldof to do Live Aid but I said I haven’t really got a band together Bob. He insisted that it didn’t matter and he can talk you into it fairly swiftly the young Bob.

 

So thought I could just do Let It Be on the piano. I got up there that day and I knew nothing about it I’d had no rehearsal, no sound check or anything. I was at the side of the stage and they told me “You’re on”. It was like there was a curtain and a piano I went whoa! On nationwide worldwide television and I thought way okay. I couldn’t hear my monitors and I thought oh well it’s okay, they’re plugging in my monitor, so it’ll all be okay.

 

In actual fact it turned out it was Queen’s roadies and they were unplugging it so I was monitor-less and I had no idea whether my voice was going out or not. I couldn’t hear a thing. I couldn’t really hear the piano, I couldn’t hear me but I thought I’d trust that all was going to be okay.

 

Suddenly in the middle of it I hear a big feedback thing going oh no, no, this is wrong and I thought of stopping. You think of everything in the middle of that but then I realized that stopping would have looked stupid and I just carried on.

 

Wrong! I should have stopped and say excuse me everyone we’ve got to get this right…at one point during the lyrics I go, There Will Be an Answer Let It Be and suddenly I hear a feedback and I thought “Sing Paul, sing”. It’s in a nanosecond it was a nightmare, I’m there oh god and this is my only song on this massive global event...but then luckily the dear old audience helped me out and they started singing it. So I just braved it through and then I saw it back that evening and it’s sure enough it I wasn’t on but the crowd was singing it so that was sort of alright.

 

So I just said look is there any way we can fix this because you are going to show this again and again and again so can I just re-voice it just for posterity? I did it. I just sung it again which was how it should have come out on the night. The actual real live version was not there and it was a complete nightmare that I’m trying to forget. This is therapy, right?

 

How was the whole experience of compiling the materials for The McCartney Years for you? It must have been like your life running before your eyes, sitting there watching a little bit of half your life at least. At the same time it must be quite an emotional time for you?

 

Sir PAUL: As you say there is that feeling of drowning, just seeing all these images from your life flashing by and some of it is very emotional, obviously seeing Linda in a lot of the work. In a way it’s lovely and it’s very happy memories but the fact she’s no longer here is very sad so it’s mixed emotions.

 

That was always going to happen if we were going to put together a collection of old videos. She was in them and I knew that would be one of the factors that I would have to deal with the emotional side but – it actually was kind of pleasant process like going through old snapshots.

 

It’s sad but it’s great because you’re looking at these great memories and you’re thinking oh we did this and when I’m doing the commentaries, I’m remembering little things about it so in the end it was actually very pleasant, although emotional.

 

Here is a definitive list of all the McCartney videos that never made the DVD set (taken from a post on PaulMccartney.com:

 

Picture Perfect (or someone else) will need to come up with a DVD containing the following videos to accompany the official McCartney Years:

 

3 Legs(Silent footage of Paul and Linda riding horses (played back at alternating fast and slow speeds) across their Scottish property.)

Mary Had A Little Lamb

Mary Had a Little Lamb: Filmed in the McCartney barn in Scotland. The band is lip synching while various animals (most notably, baby lambs, and a rather sedate hen) wander around the scene. The first official Wings promo, never aired in the US. Live vocals over the record.

Mary Had a Little Lamb (2): The US promo for this song, premiered on the "Flip Wilson Show." Perhaps the highlight of seventies kitsch from Wings. The band wears orange bib overalls which "change color" courtesy of color screen overlay (CSO), and the band appears to float in a sea of cutesy asterisks.

Mary Had a Little Lamb (3): Aired a grand total of once, on the BBC's "The Basil Brush Show." The band is lip synching, with Denny Laine lying on his back. The backdrop is a painted matte of a farm, and real animals (including a rather sedate rabbit) abound.

Letting Go (Another simple lip-synch promo, filmed at the beginning of the 1975-76 "Wings Over..." tour. The first public look at Joe English on drums. Never shown on US television. Seen in "Rage")

Venus and Mars / Rock Show (Filmed at the same time as the "Letting Go" clip. The clip is filmed to match the edited ("single") version of the medley, rather than the longer ("album" version).)

Maybe I'm Amazed (1977)(With the release of this tune as a single, McCartney had a promo made for the live version of the song. The style is very much in line with the original promo, but the cozy pictures of home and hearth have been replaced by rock shots of the band on the road.)

Getting Closer (Largely footage of Wings pretending to drive to and from a performance in a large bus. Frequent US airings separate from the video package for "Back to the Egg.")

Arrow Through Me (A lip-synched performance by Wings, with McCartney at the keyboards. Some US TV airplay.)

Spin It On (The band lip synchs on a concert-style stage inside of an airplane hanger. Some "time lapse" shots of the band (such that they appear to be moving quickly) acting airplane-ish inside the hanger. McCartney and Laine seem to be on the verge of laughing throughout the clip.)

Winter Rose/Love Awake (Only aired as part of the video album. The first half consists of the McCartneys in and around the snow at a castle. (Lympne castle near London) The second half is connected to the first medley-style, and features Paul and the band (mostly Paul) pretending to play around a fire.)

Old Siam, Sir

Again and Again and Again

Ebony And Ivory (solo version)

No More Lonely Nights (disco)

Stranglehold

Only Love Remains

Distractions

This One (version 2) The official DVD will probably have the one mostly screened in the USA.

Ou Est Le Soleil? (A nice promo, clearly based upon the "Nintendo" theme. Paul has frequently noted that during the mid-eighties he would spend time playing Nintendo with his children. Hence, this video. Other than the video game portions, Paul himself shows up in the "game screen" (notably at the end where he's seen wearing a sombrero), and periodically he and the band (along with more unconnected "dance" footage) are intercut with the animation.)

Party Party

We Got Married

Sgt Pepper's Lonely Hearts Club Band (Mostly footage from the "single largest concert" in Rio de Janiero. Includes effecive use of the screen graphics (often overlaid on the concert footage) and the fireworks as well as the several-hundred-thousand crowd.)

Get Back (Promotional clip for Richard Lester's "Get Back" film. Produced in the same style as the film, but moreso. However, in the world of music video the quick, disjointed cuts work relatively well. The clip was also made available as a trailer to theatres for the feature.)

Deliverance (A clip only aired on MTV Europe. Much like the song, a disjointed series of hyperspeed cuts, with no appearances from Paul. Possibly intended to be anonymous, were the "Big Mac" single a hit.)

Young Boy

Young Boy (I believe there is a second version of this)

The World Tonight

The World Tonight (I believe there is a second version of this)

Beautiful Night (There are two versions, one contains female nudity, Don't know which one will be on the official DVD)

Lonely Road

Your Loving Flame ( The video for "Your Loving Flame" is a virtual visual effects showcase, showing Paul winding his way through time and space in various settings. It was directed by Gavin Gordon-Rodgers, a friend of Heather Mills)

Freedom (Macca is walking around NYC and is seen re-doing vocals in a studio)

Jenny Wren

Dance Tonight

Ever Present Past

Nod Your Head