The Beatles

WHO can blame Paul McCartney for glancing in the rear-view mirror on his latest record? 

At 83, the likely lad from Liverpool, who became a Beatle and Britain’s best-loved songwriter, is due a moment of reflection.  

He looks at it this way: “As a writer, you often write about things in the past, even if it’s just yesterday.” 

Or even, as Macca can’t resist saying, if that past “always seems so far away”.  

“That’s another nice idea. I think I might have done that one,” he adds in acknowledgment of his immortal Beatles ballad Yesterday. 

His 20th solo studio album, The Boys Of Dungeon Lane, finds him casting his mind back to innocent times before The Beatles changed his life for ever. 

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Five of the 14 tracks visit the simple pleasures of youth — As You Lie There, Days We Left Behind, Down South, Home To Us (a first ever duet with Ringo) and Salesman Saint — and, as you’ll discover, each comes with a captivating back story. 

Here, the master storyteller, whose previous character studies include Eleanor Rigby, The Fool On The Hill and She’s Leaving Home, turns the spotlight on himself for what might just be his most personal song cycle yet. 

On The Boys Of Dungeon Lane, Sir Paul makes you believe in HIS yesterdays. 

Asked why much of his latest work deals with memories, he replies: “I think writers, including me, ask themselves that. 

“When you think about, say, Charles Dickens, what’s he going to write about except stuff he knows and stuff he remembers? Then he can gussy them up.” 

And do recent Beatles and Wings reissue projects have an impact on the way he fashions a song these days? 

“No,” answers McCartney emphatically. “The thing that pulls it all together is me — it’s my brain making music.  

“I don’t think, ‘Wow, oh yeah, let’s do this. This is a Beatles idea, or this is a Wings idea’. I don’t think like that. It’s all current. It’s me. This is what I do.” 

Listen to The Boys Of Dungeon Lane and you’ll understand what he’s getting at.  

Despite first picking up a guitar nearly 70 years ago, he’s still making eclectic, freewheeling music, brimful of ideas, even if many lyrics are bathed in nostalgia. 

The album was recorded over the past five years, when time permitted between touring and other commitments, in the company of in-demand American producer Andrew Watt, known for his work with Ozzy Osbourne, Post Malone, Lady Gaga, Miley Cyrus and, ironically, The Beatles’ chief Sixties chart rivals, the Rolling Stones. 

“We just enjoyed it,” says Macca of his sessions with Watt. “We were like a couple of Boys Of Dungeon Lane — little boys in a sandpit — and we were having fun.” 

So, with the help of telling observations from the man himself, given to me by his team, let’s take a deep dive into the key tracks. 

As You Lie There begins proceedings in memorable style with an intimate spoken word passage delivered over minor key acoustic strums. 

McCartney intones: “I used to walk past your house. Every night I’d look up at your window. The light was on. I saw your silhouette on the blind. Do you think of me? Do I ever cross your mind?” 

The song, with its squalling rock refrain, recalls a teenage crush from the time Macca lived at 20 Forthlin Road in the Allerton area of south Liverpool, in the house where he and John Lennon first discovered their spark of creative chemistry. 

“Up in one of the ­windows, there was a girl I ­fancied called Jasmine,” he says of his tale of unrequited love. “But I didn’t know how to approach her. I never spoke to her. 

“The joke was, she did show up later that year and knocked on the door. I was indisposed — I was on the toilet — so I missed Jasmine.” 

Aside from the sweet story behind the lyrics, As You Lie There is important because it is the song that kickstarted the whole process, just as the world was emerging from the Covid pandemic. 

McCartney says: “The album really started when my manager said, ‘Would you like to meet Andrew Watt?’ 

“I knew he was an active young producer, and I liked some of his stuff. I said, ‘Yeah, great’. He said, ‘Well, it’s just a cup of tea. Go down to his studio’.” 

The pair hit it off and what began as that cuppa at Watt’s basement studio — located in his Beverly Hills residence once owned by Charlie Chaplin — soon turned into something much more significant. 

Macca described his songwriting process, how he would try “to find  

a really weird chord”, to give him “a little inspiration”. 

To his delight, he realised that Watt, a big guitar collector, “had figured that if I was coming down, it would be handy to have a left-handed guitar. 

“I struck this mad chord,” he continues. “I still have no idea what it is, then I changed one note, then another. Suddenly we  had a three-chord sequence and Andrew said, ‘We should record this’.” 

As the song took shape, they considered bringing in Chad Smith of Red Hot Chili Peppers on drums but Watt suggested that McCartney, a more than proficient drummer, should play them himself.  

He says: “I really enjoyed drumming to it, so I put down the drum track, then obviously the bass.  

“Then Andrew put the guitar lick down, because he’s a good guitar player. And over a few days, we made As You Lie There. That started the journey.” 

The “journey” included recordings in various LA studios as well as Macca’s own Hog Hill Mill in Sussex and his old Beatles stomping ground, Abbey Road. 

Of all the ensuing songs, first single Days We Left We Behind sets the tone — and is also significant for yielding the album title. 

“This is very much a memory song for me,” says McCartney. “I was just thinking about those days I left behind.” 

Whenever he goes to Liverpool these days, to visit the city’s Institute for Performing Arts (LIPA) for instance, he notes that “the back entrance to the airport is in Dungeon Lane”. 

He remembers trips down that lane “as a little kid, because I used to wander off, just on my own, with my little bird book”. 

It was the keen ornithologist’s gateway to stunning Mersey Shore, an area teeming with wading birds just a short distance from suburban Speke where he lived between the ages of five and 13. 

“Speke is quite working class,” says McCartney. “We didn’t have much at all but it didn’t matter because all the people were great and you didn’t notice it. 

“It’s my wife Nancy’s favourite track on the album. When we play it to people, we say, ‘You don’t need to cry’, and then you look up and see that they are.” 

When asked how he settled on the album title, Macca says you could ask the same question about Sgt. Pepper’s Lonely Hearts Club Band. 

“It’s just some words I like. We were thinking Along The Mersey Shore could be good. But then I liked The Boys Of Dungeon Lane — it’s a bit more, ‘What’s that about?’ ” 

McCartney says Days We Left Behind “involves a bit in the middle about John and Forthlin Road”. (The McCartney family moved there in 1955). 

It suggests that he and his much-missed songwriting partner in The Beatles “wrote a secret code, to never be spoken”. 

This leads us to the folkie Down South which, says Macca, is “another one about reminiscing”.  

“I often think about John and George,” he continues. “We used to hitchhike in the days before The Beatles. It was in the days when you could — now I warn my grandkids, ‘Don’t do it’, because there are too many nutters out there.” 

He remembers: “I got a tip from someone who said, ‘You start off in Chester — because that’s where all the lorries are and they’re all going straight down south. That’s a good place to get your first lift’.” 

With Harrison, seven months his junior, coming along for the ride to places like Harlech in Wales, it was a perfect chance to do some “bonding” with his future bandmate. 

And speaking of bandmates, what about the rousing Home To Us, which, for good reason, is the only track McCartney doesn’t play the drums on. 

During one of his breaks from sessions with Watt, he “talked to Ringo about Andrew”. 

“Then Ringo went round to Andrew’s studio and drummed a bit. Next time I saw Ringo, he said, ‘Well, he didn’t do anything with it.’  

“I asked what he’d expected and he said, ‘Well, you know, a track’.” 

When Macca finally heard his old mucker’s efforts, he suggested to Watt: “We SHOULD make a track and send it to Ringo. So, we did.” 

On writing the Home To Us lyrics, he reveals: “This song is done totally with Ringo in mind. I’m talking about where we came from.  

“In common with a lot of people, you come from nothing and you build yourself up. Ringo was the one who came from the most ‘nothing’ in The Beatles. 

“He was from the Dingle and that was well hard. He used to get mugged coming home from work. 

“Even though it was crazy, it was ‘home to us’ and I made the song around that idea.” At first, Ringo only sang a few lines of chorus, but Macca rang him and said he’d “love to hear him sing the whole thing”. 

“Next, we took my first line, Ringo’s second line and we had a duet — something we’d never done before.  

“We also wanted backing vocals, and I had the idea it would be nice to hear girls. Chrissie Hynde and Sharleen Spiteri are mates — and they did it.” 

The last of McCartney’s memory songs is the most poignant, Salesman Saint, which pays tribute to his midwife mother Mary who died when he was only 14 (the “mother Mary” of Let It Be) and his salesman/amateur musician father Jim. 

He says: “This song is me remembering my mum and dad. I was born in World War II and I often think, ‘Bloody hell, it’s tough enough having a baby now but imagine if we were all conscious that bombs could be falling any minute’ — and Liverpool was getting heavily bombed.  

“I was thinking about them bringing up this kid in those circumstances. My dad happened to be a cotton salesman, and my mum was a nurse. They did it. They managed it and they brought up me and my brother [Mike]. 

“Got us to doctors, got us to school and did all these things under those circumstances. At the end of the song, there’s music I’m trying to make from their era.” 

So now you’ve heard about all the songs inspired by McCartney’s youth but there are NINE more tracks to digest. So here, in Macca’s own words, are his thoughts on those: 

Lost Horizon: “This one came about when our dearly beloved and now sadly deceased studio manager, Eddie Klein, was logging some old cassettes of mine.  

“He asked me if I remembered Lost Horizon and I said, ‘No’. He said, ‘It’s good, you should listen to it’. So, we remade it faithfully to the cassette version — just with a more modern sound.” 

Ripples On A Pond: “It’s a love song. Like a few of the songs, we started this in my studio in Sussex. I said to Andrew, ‘You’re supposed to be a pop producer and we’re making all these records that don’t sound like that to me so, come on, let’s pop this one up!’ ”  

Mountain Top: “My wife is a real live music fan and if there’s anything on she’s like, ‘Can we go?’ So, we go to Glastonbury every year and I started fantasising about some young girl tripping — she’s magic mushroomed out. The things you write songs about!” (Nancy delivers the closing spoken words.)  

We Two: “A lot of Beatles records were made on a four-track Studer machine, including A Day In The Life. It’s such a classic now. I’ve got one in the studio and we use it sometimes. Andrew loves all these recording legends of the past. I showed him the Studer and he said, ‘Can we use it now?’ Luckily, it’s in full working order so we did We Two on it. It’s a little love song.” 

Come Inside: “Going to side two now. We start it off with a rocker love song. It’s straightforward — but with verve.” 

Never Know: “When I was in LA, I always liked the idea of Laurel Canyon and that scene. The days of Joni Mitchell, the Eagles — all that hanging out, getting stoned and playing guitars. So that was the vibe that started off Never Know.” 

Life Can Be Hard: “I had a little instrumental chord sequence during Covid — and there was a little baby in the house, my wife’s niece’s new baby and it was a thrill. For a lot of people, Covid was terrible if you weren’t with family.  

“Anyway, this baby used to like these chords, and it became a song. Life can be hard, but that’s when we put it together again. It’s a positive message.”  

First Star Of The Night: “I was on tour and had a day off, which was precious. We were in Costa Rica and it rained hard — all day heavy, tropical rain. I was thinking about being out by the pool, but you really couldn’t go out.  

“I thought, ‘I know, I’ll write a song’. I had my guitar with me. So, this starts out, ‘Even when it’s raining’, but then I switched it to, ‘Even when it’s raining inside’, just to give myself somewhere to go with the song.” 

Momma Gets By: “The last track on the album and it’s totally imaginary. I was thinking of Porgy and Bess’s world. It’s basically about a woman who you can see is the strength in the family.” 

Finally, Macca is asked how he hopes listeners will respond to his new album. 

He replies: “Well, I hope they fall in love with the songs and the performances. I hope it takes them to a place of joy.” 

Whether it’s Penny Lane, Dungeon Lane or Memory Lane, Paul McCartney will transport you there. 

Roll up! Roll up! He is your magical not-so-mysterious tour guide. 

PAUL McCARTNEY

The Boys Of Dungeon Lane

★★★★★

HIS love life has been almost as varied as his incredible songwriting catalogue.

Sir Paul McCartney endured the tragedy of losing first wife Linda to cancer and a catastrophic £24million divorce from Heather Mills before finally finding happiness again with American businesswoman Nancy Shevell.

But today The Sun can reveal the identity of the secret childhood crush who became Sir Paul’s “one that got away” — a pretty neighbour whose striking good looks inspired the opening track to his new album, which tells the story of his childhood in Liverpool.

The record was unveiled at a preview event in London this month, where the legendary Beatles songwriter recalled memories of a pretty neighbour called Jasmine, who lived close to his home.

Today, it has emerged she is retired mum-of-three Jasmine Howe, who left the area and resettled in Hertfordshire before retiring to the New Forest in Hampshire.

And the now 83-year-old’s ­family were stunned to learn of the £800million rock legend’s youthful infatuation — revealing she had “absolutely no idea” about his fondness for her.

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They explained: “It’s a cute story, she lived nearby and knew who he was, but she never got close to him — meanwhile, he obviously felt very differently!

“It’s an amazing story — a very long time ago now, but we’ve chatted as a family in the past about how Jasmine grew up close to Paul McCartney.
Goosebumps

“She just knew him as one of the boys in the local area. It’s enough to give you goosebumps!”

The Boys Of Dungeon Lane is Sir Paul’s first solo album in five years, and critics say it is his “most personal to date”.

The title is taken from Days We Left Behind, a wistful acoustic track that references Dungeon Lane, near the River Mersey, where McCartney played as a boy, as well as a “secret code” and mysterious promise made to John Lennon at the time, which he insists “will never be broken”.

At a special event, held at the iconic Abbey Road studios in London where the Fab Four ­produced their biggest hits, Sir Paul played tracks from the new record and explained their ­origins — beginning with opening song As You Lie There.

The lyrics recall: “Do I ever cross your mind as you lie there? As you lie across your bed, am I there inside your head?”

Revealing the inspiration to a small invited audience, Sir Paul explained: “Up in one of the ­windows, there was a girl I ­fancied called Jasmine.

“But I didn’t know how to approach her — I never spoke to her.

“The joke was, she did show up later that year and knocked on the door. I was indisposed — I was on the toilet — so I missed Jasmine!”

Turning to his wife Nancy, who he married in 2011, he grinned and quipped: “Sorry, Nancy.”

Prior to meeting his third wife, Macca famously had quite a ­colourful love life.

His first serious romance was with Dorothy ‘Dot’ Rhone, who he met at the Casbah Coffee Club in Liverpool in 1959.

The pair dated for more than two years and even got engaged, but split just before Beatlemania exploded.

In 1963, Paul met actress and model Jane Asher backstage at one of the band’s concerts.

The relationship would last five years and Paul even moved into the family home on London’s Wimpole Street.

Jane was his muse and introduced him to the avant-garde arts and classical music scene, which would inspire some of his most famous songs.

Despite being charmed by Jane’s cultured family and domestic life, Paul had secret flings with model Maggie McGivern and US writer Francie Schwartz — betrayals that ultimately shattered one of the Sixties’ most iconic romances.

He met his second wife, model and amputee activist Heather Mills, at a charity event in 1999, marrying her three years later.

Their daughter Beatrice was born the following year. However, the pair split acrimoniously three years later with a very publicly played-out divorce — one that cost the star £24million.

However, the singer enjoyed real happiness with his first wife, American photographer Linda.

They married in 1969, raised four children together, and were ­inseparable until her death from breast cancer in 1998.

Growing up, Sir Paul lived with his parents at 20 Forthlin Road in Allerton, Liverpool, while Jasmine lived with her family on the corner of neighbouring Hurstlyn Road, just 20 yards away.

Both properties still stand in the south Liverpool suburb, nestled in a series of brick-built terraces — though Sir Paul’s is now owned and maintained by The National Trust as a museum.

The Trust operates tours around Sir Paul’s home and also John Lennon’s childhood home nearby.

Inside, the three-bed property has been meticulously preserved as a snapshot of 1960s Liverpool, including some of the family’s original decor — and a blue plaque outside commemorates “The Birthplace of The Beatles” as Paul and pal John would meet there to compose their earliest songs.

Jasmine later married her boyfriend Charles, known to the family by his middle name, ­Christopher, and they had three sons — Philip, Matthew and, amusingly, Paul.

A photograph of Jasmine posted online by a family member shows her looking elegant in a navy blazer at a relative’s wedding, with carefully cropped blonde hair beneath a wide-brimmed hat.

The relative explained: “She is 83 now and lives quietly. She wouldn’t want it to become any more of a story than it is — she had no idea that Sir Paul liked her, but she’s happy to leave it as that.

“It’s a good story for our family.”

The album, released on May 29, returns the world’s greatest living songwriter to many of his early memories and experiences, with Sir Paul going on to explain more about his 18th solo collection.

He said: “This was a lot of memories of Liverpool for me, but also any days we’ve left behind.

“Everyone’s got them, school, old mates  . . . It has memories of John in the middle — that’s lovely to go back to. Someone asked: ‘What’s the secret code?’ I’m not telling.

“You make up a lot of stuff when you write songs.”

And that admission may chime with Jasmine’s family, who later jokingly insisted: “She never ­actually knocked on his door.”

On another track, Salesman Saint, Sir Paul turns to his parents. “I was born in 1942, in the war. I was too young to appreciate that, but my parents weren’t.

“My dad was a fireman, putting out fires from the bombs. My mum was a nurse and midwife. But they carried on, because they had to.

“Like people in Ukraine, Gaza and elsewhere now.”

Meanwhile, Down South, one of the album’s most nostalgic tracks, recalls a story of hitchhiking with Lennon and fellow pal and later Beatles bandmate George Harrison.

The lyrics explain: “It was a good way to get to know you before we learned Twist & Shout.”

And reminiscing about the trip, Sir Paul reveals how he and George climbed on to a milk float.

He says: “There was the driver’s seat, a battery and a passenger seat. George got the battery. His jeans had a zip on the back and it connected with the battery. Later, he showed me the big zip burn.”

The new record was unveiled in Liverpool with a series of cryptic posters around the city.

Artwork for the project was designed by Sir Paul’s nephew, Josh.

It features cameos from Ringo Starr, The Pretenders singer Chrissie Hynde and Texas frontwoman Sharlene Spiteri.

And its release coincides with a series of major Beatles retrospectives — including Peter Jackson’s seminal Get Back documentary put together from restored archive footage that details the creation of their final album, Let It Be, and the band’s break-up.

But still to come is a major new dramatisation of the band’s rise to fame directed by Sam Mendes and with Paul Mescal as Macca.

The blockbuster will be released simultaneously as a quadrilogy in 2028, with each movie focused on one of the Fab Four’s formative years, charting their coming together as the world’s greatest musical group.

Filming with Mescal as Paul, Harris Dickinson as John, Barry Keoghan as Ringo and Joseph Quinn as George has already begun.

THE Beatles and the Rolling Stones both launched their latest albums yesterday – on separate continents. 

It was a case of let’s attend the knights together in honour of British rock royalty, Sir Paul McCartney and Sir Mick Jagger. 

At London’s fabled Abbey Road Studios, where the Fab Four recorded nearly all their songs, Macca held a lunchtime listening party for his latest LP, The Boys Of Dungeon Lane (out May 29). 

Then, in New York City hours later, Sixties chart rivals Jagger and Keith Richards as well as the later arrival to the ranks, Ronnie Wood, were seen strolling out of a Brooklyn theatre at the launch of their album, Foreign Tongues (out July 10). 

In a neat twist, Sir Paul plays bass on new Stones track Covered In You, recorded at the same session as his contribution to Bite My Head Off from 2023’s Hackney Diamonds. 

And BOTH albums were produced by American hotshot producer Andrew Watt, known for work with Ozzy Osbourne and Lady Gaga. 

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Before a select audience of fans and “my lovely son James” in Studio No2, McCartney, 83, introduced all fourteen tracks on his heartfelt 21st studio effort. 

For nearly two hours, he filled the time with fascinating anecdotes, playing select chords on his acoustic guitar and even mouthing some of the lyrics.  

Many songs have nostalgia-filled backstories, including As You Lie There about unrequited love for a girl called Jasmine. 

The “trippy” Mountain Top recalls Glastonbury, where he headlined in 2022, while Down South is about hitchhiking trips to Wales with George Harrison. 

Elsewhere, there’s a first-ever duet with fellow Beatle Ringo Starr on new single Home To Us, also featuring Chrissie Hynde and Sharleen Spiteri. Salesman Saint is a moving tribute to Macca’s parents, Jim and Mary. 

Meanwhile, the Stones also heralded their album with the release of a single, In The Stars, the follow-up to Rough & Twisted, a limited edition vinyl single which appeared under a pseudonym, The Cockroaches. 

Then Oscars host Conan O’Brien hosted a Q&A session with Mick and Keith, both 82, and Ronnie, 78. 

Besides McCartney, other guests on Foreign Tongues (also 14 songs) include The Cure’s Robert Smith on three tracks and Steve Winwood. 

The BBC has seemingly pulled episodes of Top of the Pops that featured Scott Mills from iPlayer after the corporation made the decision to dismiss the radio star last month

The BBC has seemingly pulled episodes of Top of the Pops that featured Scott Mills from iPlayer. In yet another scandal for the public broadcaster, Scott Mills, a BBC radio favourite for decades, was axed from his role in March.

The Mirror revealed that the former BBC Radio 1 and 2 DJ was questioned in 2018 over the historical allegations of serious sexual offences, but the investigation – which began in 2016 – was closed in 2019 after the CPS deemed there was insufficient evidence to bring charges.

The allegations are reported to have happened between 1997 and 2000. The Metropolitan Police told the Mirror that the teenage boy at the centre of the investigation was under 16.

For more than 40 years, Top of the Pops was the BBC’s major music programme that showcased the acts who were in the charts that week and gave a platform to some of the biggest names in the industry, with the likes of The Beatles, Spice Girls and Madonna amongst countless others all having performed on it over the years.

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The programme, which ended in 2006, is still repeated regularly but now the The Sun has reported that the three episodes in which Scott, 53, served as host, have now been wiped from the corporation’s streaming service.

The episodes in question originally aired in 1999 and around that time, he welcomed the likes of Billie Piper, Mariah Carey and Westlife onto the show to perform their latest singles. The Mirror has contacted the BBC for comment.

On Wednesday April 1, The Mirror revealed that the BBC was forced to terminate Mills’ contract after receiving compelling new information. The BBC then confirmed the Mirror’s report a day after it emerged that they knew of information relating to the police investigation. They pledged that they were “doing more work to understand the detail of what was known by the BBC at this time.”

The Metropolitan Police said a man, who was in his 40s at the time of the interview in 2016, was investigated over allegations reported to have happened between 1997 and 2000. Today, BBC News reported that director general at the time, Tony Hall, was not aware of the allegations.

The investigation was dropped in 2019 after the CPS deemed there was insufficient evidence to bring charges. As first reported by the Mirror, Mills was sacked over allegations relating to his ‘personal conduct’ after the final edition of his breakfast programme aired.

Following his dismissal, Mills issued a statement via lawyers thanking his well-wishers. He said: “I wish to thank from the bottom of my heart all those who have reached out to me with kindness, my former colleagues, and my beloved listeners, who I greatly miss.”

On the police probe, he said: “The recent announcement that I am no longer contracted to the BBC has led to the publication of rumour and speculation. In response to this the Metropolitan Police has made a statement, which I confirm relates to me.

“An allegation was made against me in 2016 of a historic sexual offence, which was the subject of a police investigation in which I fully co-operated and responded to in 2018.”

He added: “Since the investigation related to an allegation that dates back nearly 30 years and the police investigation was closed seven years ago, I hope that the public and the media will understand and respect my wish not to make any further public comment on this matter.”

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