69-73: Paul McCartney’s heroic period revisited in comics

Once again, Blues Actu takes a step aside from the blues world to explore pop culture and introduce you to the beautiful graphic novel by Hervé Bourhis, simply titled Paul, published by Casterman. Released before the summer, the book dives into a lesser-known era: 1969 to 1973, when Paul McCartney, shaken by the band’s breakup, wavered between isolation, doubt, and excess, before regaining the creative drive that led him to a renewed artistic freedom. Paul is a fascinating portrait of a music legend forced to reinvent his future—and what a future it turned out to be! We sat down with Hervé Bourhis, both the writer and illustrator of Paul.

🎤 Hervé Bourhis in Interview

Hello Hervé. You’ve just released a superb graphic novel about a pop icon… Paul McCartney. You had already explored rock history with The Little Rock Book and The Little Beatles Book. Would you say this project continues in that vein?

Yes and no. I’ve been making books about rock for over 20 years, but usually in a more documentary format—graphic timelines, for instance. Here, there’s a narrative dimension that’s fairly new to me for this type of subject. I have done biopics (Vian, Prévert), but I didn’t draw them myself.

In Paul, you handle both the script and the illustrations. Why take on the entire project yourself?

I’ve published around sixty graphic novels, and I’ve drawn about half of them. It depends on my mood. This was a subject close to my heart, and I wanted to change up my drawing style, to experiment more—especially with color.

This graphic novel is simply titled Paul, without mentioning the Beatles or even McCartney’s full name. Was that a way to get closer to his intimacy—for you and the readers?

Yes. It was originally going to be called Wild Life, but since it dives into his private life, it felt obvious to just use his first name. Also, the album Wild Life isn’t very well known, and Band on the Run would have felt too cliché…

What motivated you to focus specifically on the 1969–1973 period? Was it a missing link?

I realized that, apart from hardcore Beatles fans, most people knew very little about that period. Many dismissed the Wings, and the Beatles’ breakup remained blurry. Some still think Let It Be was the last album the Beatles recorded. It was time to set the record straight!

You were born in 1974, just a year after the period you focus on… How did you first discover the Beatles?

Through a book—a small square album by Jacques Volcouve, given to me for my 14th birthday. At home, we only had the Beatles’ first album, which hadn’t really impressed me. So I first discovered their story and discography through that book before listening to their music. Then I bought cassette tapes of Sgt. Pepper, Magical Mystery Tour, and Abbey Road…

“I’ve been collecting everything I can for 37 years”

Your research into this crisis period after the Beatles’ breakup is impressive. How did you document it?

I’ve been collecting everything I can for 37 years, so I already had plenty. Then I dug deeper—fan sites with unpublished photos of Paul’s house, student forums with pictures of the Wings in ’72, and so on. Fascinating stuff.

Were there moments or little-known events you particularly wanted to highlight in the graphic novel?

Yes, lots—like the story of the Hendrix telegram, or Paul’s meeting with Fela in Lagos…

The style mixes cartoon, realism, and psychedelia… How did you strike that balance?

First, I’m not sure I did! But I think it’s the color that ties it all together.

The Beatles evoke such a rich graphic universe… Was that a constraint in your drawing approach?

Yes, because richness can quickly turn into heaviness. I wanted to move away from the graphic style of the early ’70s—it was heavy and a bit ugly… Orange, brown, overloaded patterns… Instead, I drew inspiration from the ’60s, from Milton Glaser or the animated film Yellow Submarine. It’s colorful, but airy.

We heard the coloring process gave you a hard time…

Yes, like with every book. I’m self-taught, so I work a bit blindly, on instinct. I redo things constantly.

Representing Paul McCartney’s face, expressions, and body must have been a challenge, given his fame, legendary status, and the fact he’s been drawn thousands of times?

Yes, especially since it’s not just a portrait—it’s about turning him into a comic book character shown from every angle. You need character design, like in animation. He’s been drawn thousands of times, but almost always from the same angle—front or three-quarter view. That’s not enough for a comic!

You also touch on the psychological side: depression, isolation, rebuilding… It was a dark period, yet you avoid pathos. What’s the secret?

I don’t think I really avoid pathos. But he’s a tough man, raised in a hard way. I don’t believe he rolled on the floor crying like a baby. He did it the English way: drink, self-destruct, but keep his dignity.

You also revisit a striking episode: the “Paul is dead” rumor, which sparked so many fantasies! How did you approach it?

In a somewhat journalistic way: I tell the facts, the origins of the rumor, and his feelings about it.

Did this project change your own relationship with the Beatles?

Not really—but I just spent ten days in Liverpool, and I think I love them even more now!

“Linda saved Paul”

Linda plays a very important role in this story…

Yes, that was essential. Rock is a very misogynistic world, and it was crucial to remind readers of women’s roles in this story. Yoko saved John in ’68, Linda saved Paul in ’69–70, and later she actively contributed to the Wings. Linda was a great photographer, and Yoko an important Fluxus artist. They were not groupies.

Has Paul McCartney heard of this book? Did you get any feedback from him?

No. We’re in 2025, lawsuits are everywhere, and I’d rather protect myself.

If he did… what would you like him to say after reading it?

I’d already be happy if he didn’t sue me! And if he thought: “That’s not exactly how it happened, but it’s an interesting point of view,” that would be amazing!

Do you plan a sequel? Or another period of his life?

No, that was HIS heroic period—I couldn’t top it. But there are other subjects. Ringo, for example.

More broadly, what’s your personal relationship with music? Does blues play a role?

I won’t make many friends saying this, but I have a theory about three genres: jazz, blues, reggae. They are Black music, and should be played by Black musicians. I could go on for hours, but I won’t. For me, the true blues is Delta blues from the 1920s–30s: Leadbelly, Robert Johnson, etc. I already struggle with electric blues. And by extension, Eric Clapton or Stevie Ray Vaughan make me tense. But Paul wouldn’t agree—he loves electric blues!

And finally: on a desert island, which McCartney album would you take?

There’s no electricity on a desert island—but let’s say Ram.