GOOD SAMARITAN IN ST. BARTS

Paul McCartney was caught while in helpful citizen mode while on vacation in St. Barts. The former-Beatle jumped into action during a fender bender between a quad bike and a white Kia car. The Daily Mail reported “Macca,” wife Nancy Shevell, and her adult son, Arlen Blakeman, witnessed the accident and rushed to help the bike driver regain his composure. (The Daily Mail)

AWARD-WINNING SPOTIFY PLAYLIST

In celebration of Paul McCartney snagging Granny noms for Best Rock Album for McCartney III and Best Rock Song for “Find My Way,” PaulMcCartney.com’s monthly spotify playlist for April spotlights some of the rock legend’s many award-winning tracks.

The playlist’s announcement reads:

Whether it’s the BAFTA’s, the Grammy’s, the Emmy’s or the Brits, we love checking out the red-carpet looks and cheering on our favorites in music, movies and more — (here’s) a blockbuster playlist full of Paul’s nominated and award-winning songs.

From Oscar-nominated ‘Live And Let Die,’ Grammy-winning ‘Band On The Run’ to Linda McCartney‘s ‘Seaside Woman,’ which won the Palme d’Or For Best Short Film Cannes Film Festival. This month’s playlist is a trophy case full of musical gems.

Paul McCartney’s “Award-winning” Spotify playlist for April 2022:

“Live And Let Die” – 1973
“Find My Way” – 2020
“No More Lonely Nights” – 1984
“Band On The Run” – 1973
“Helter Skelter (Live At Citi Field, NYC)” – 2009
“Uncle Albert/Admiral Halsey” – 1971
“Fine Line” – 2005
“Seaside Woman” – 1977
“Eleanor Rigby” – The Beatles, 1966
“Winter Bird/When Winter Comes” – 2020
“My Valentine” – 2012
“Let It Be” – The Beatles, 1970

In 1967, a year after the Beatles released “Eleanor Rigby,” Paul McCartney earned his first solo Grammy award, when the song snagged the prize for Best Contemporary (R&R) Vocal Performance, Male Or Female. McCartney recalled “Eleanor Rigby” as being a milestone for him: “‘Round about the time of writing ‘Eleanor Rigby,’ I was looking at the age of 30 and thinking ‘what am I going to be doing then?’ — as we all were. And having just written ‘Eleanor. . . ‘ and worked with George (Martin) on this, kind of, quasi-classical backup (track) — instead of electric guitars for the first time in my life, I quite liked it. I like the tone, I liked the dynamics of classical instruments; they’re not just on one level. And I did look at the age of 30, thinking ‘Yeah, that’s what I could do. I could come more into the serious side of music rather than just pop hits, pop hit. But that never really happened. I just still was intrigued with pop hit and three-minute folk song.”