•Paul once stated that he wanted security and money. "Money to do nothing with. Money to have in case you wanted to do something (Braun).

•In reference to early Skiffle: The performers were generally poor, without conventional instruments they sought out any common household object that could be blown, tapped,brushed or converted to make a series of note-like sounds (Porter, A. Before They Were Beatles, p. 17).

•Paul: "Us communists? Why we can't be communists. We're the world's number one capitalists".

•Songwriting credits on records change from McCartney/Lennon to Lennon/McCartney in November of '63 (Schultheiss 64).

•At the Rialto, Brian stated that there would be no show if he did not get the £19 remaining on their performance fee immediately. The Beatles wanted to play on Leach's terms...and they did. Paul stated that they shouldn't let Sam down and they shouldn't cancel an advertised gig. (Coleman).

•Maureen Cleave: "Paul is the only one who could tell you the date. The others would be hard pressed to even tell the year..." (London Evening Standard).

•Dorothy Rhone (Dot), Paul's girlfriend, worked in a chemist's shop while the Beatles were in Germany.

•In the early years, at least, the Beatles were in the 94% tax bracket (Brown, p. 110).

•Sam Leach promoted the Beatles for 6 shows when Ringo first joined the band. There was, of course, some trouble when Ringo joined. Brian was appreciative for Leach's help. Leach stated that he would like to be remembered when the group made it big. Paul stated, "We will. You owe us £19" (Coleman).

•Paddy Delaney (Bouncer at the Cavern): Shortly after the Beatles recorded Please, Please Me Brain Epstein was giving them a weekly salary of only eight pounds. One night Paul went over to the snack bar to buy himself a coke, but not the sandwich, so he asked me for a loan, and I said, "Yeah, sure. But don't forget me when you're at the top". He winked at me and said, "Don't worry Pat, I won't".

•...the line about "spending someone's hard-earned pay" recalls the "working-class glee" that Paul said he and John felt when they first realized that their songwriting could make them rich(Hertsgaard, M. A Day in the Life. The Music and Artistry of the Beatles. p. 270).

•Sam Leach: I peeled three £5 notes from my back pocket and stuck them on Pete's bass drum. Pete grabbed them in a flash and stuffed them down his t-shirt. [After the show] Pete handed me the three £5 notes he stuffed down his t-shirt and I pulled another fiver from my pocket. 'And here's a bonus', I said happily. 'You're right Paul. You were something else tonight'. The extra cash meant more to Paul than the compliment. 'Great! Twenty quid is twice what we get anywhere else' (Leach. p. 77 and 79).

Income:

•Paul at one time worked as a second mate to a truck driver unloading materials for a cable firm for £15 (some reports say £7) per week. When the Cavern offered the Beatles 50 evening gigs plus lunchtime performances for £2 per night each he quit the trucking job. Reportedly it was John who badgered him into quitting (Fast).

•In December 1960, Paul took a job delivering Christmas packages for Speedy Prompt Delivery (SPD)for seven pounds a week (Goldsmith, M. The Beatles Come to America, p. 57).

•Brian paid the bill at Hessy's music by personal check for an amp that Paul had.

•October 18, 1957. Paul plays his first gig with the Quarry Men at New Clubmoor Hall .Entrance fee is 3 shillings (Porter, A. Before They Were Beatles, p. 63).

•John and Paul in Caversham April 1960 at the Fox and Hounds: The two teenagers soon chipped in helping behind the bar and cleaning tables (Porter, A. Before They Were Beatles, p. 96).

•John and Paul in Caversham April 1960 at the Fox and Hounds: The two teenagers soon chipped in helping behind the bar and cleaning tables (Porter, A. Before They Were Beatles, p. 96).

•For a few days in April 1960 John and Paul worked behind the bar at Paul's cousin's pub. They then played as the Nerk Twins at night and the next afternoon (Miles).

•When Brian sent the telegram about "signing" with Parlophone Records Paul wired back: "Please wire £10,000 advance royalties".

•Allan Williams: The Beatles were there with another group, Faron and the Flamingoes. You know that trick when you're all in a taxi and the last one out pays? They did something like that. They all ran out but Paul had left his leather trousers behind in the cafe. I don't want you to think he'd run out with no trousers-they were his stage trousers. So Faron picked them up and said, "I'm going to keep these because I paid for the food". Paul wasn't worried because it was the last time he was going to use those trousers.

•Schultheiss reports that Lennon and McCartney were commissioned to write the music for a ballet called 'Mods and Rockers' on page 71 of The Beatles: A Day in the Life, A Perigee Book.

•After they returned from Hamburg Paul took a delivery job for 7 pounds a week to earn extra money for Christmas and John stayed in bed all day and slept (Brown, p. 48).

•Paul: Eppy? There's a book that came out on me recently and although I only flicked through it, there's one bit where he quotes my dad as saying, "Don't get in with Jew boys, son", or something. That's exactly the opposite of what he said, which was, "Get a good Jewish manager son. They're very good at business" (Giuliano Lost int. p.304).

•Paul: "Well, once we got to America we were quite famous, and Mr. Rickenbacker arrived and said, 'John, we'd like to give you a presentation Rickenbacker," and, 'Paul, we have a bass.' Oh, great! Freebie. Thank you very much! But it's very difficult to remember much about the Beatles tours, because when you weren't playing you were off, and you were either being whisked around or having a party. Actually, remembering it the morning after was difficult never mind 30 years after!" [EJ Note: "Mr. Rickenbacker" was F. C. Halt, the head of Rickenbacker at the time. According to John C. Hall, F.C.'s son and the current president of the company, the presentations to Lennon and McCartney were actually separate events that took place about a year apart (Bass Player Magazine 8/95).

•As an advance against their forthcoming weekly wages, Peter Eckhorn paid 158DM to the authorities on behalf of Pete and Paul-the cost of sending them home the previous winter-and with George now turned 18-year-old the way was finally clear for the group to return. This was for the Beatles return to the Top Ten Club in late 1960 (Lewisohn. Chronicle p. 31).

Expenses:

•Paul signed an IOU to Alan Williams for £16 for money he had borrowed to purchase clothes. Williams brought the IOU to Paul in the Early 90's at a concert in Seattle. By that time the collectors value of the note was significantly more than £16 (Dewitt).

•Paul bought an expensive Blue Aston-Martin DB6.

•In June 1960 Paul signed a hire-purchase agreement at Hessy's for a Rosetta Solid 7 electric guitar (Porter, A. Before They Were Beatles, p. 114).

•Before Paul moved into the Asher’s home he was renting hotel rooms in London on a regular basis (Brown, p. 101).

•Paul: "Then we went to play in Hamburg, Germany, and I'd bought a Rosetti Solid Seven electric guitar in Liverpool before we went. It was a terrible guitar. It was really just a good-looking piece of wood. It had a nice paint job, but it was a disastrous, cheap guitar. It fell apart when I got to Hamburg-the sweat and the damp and the getting knocked around, falling over and stuff. So in Hamburg, with my guitar bust, I turned to the piano " (Bass Player" 8/95. Tony Bacon Interview).

•On only one occasion had John mentioned anything remotely connected with marriage. It was in one of his letters to me which coincided with Paul buying continental engagement rings for himself and Dot (Lennon, Cynthia. Twist p. 70).

•"Eventually I found a little shop in the center of town, and I saw this violin-shaped bass guitar in the window." This was the famous "violin bass", a Hofner 500/1, made in Germany and similar in shape to Gibson's early electric Bass model. McCartney recalls buying his first violin bass for the equivalent of about $45, and he insists it was a right-handed model that he turned upside down, although all the photographic evidence of the band in those early years shows him with a production left-hander. (Bass Player 8/95)