But on the basis that any publicity is good publicity, the pair claimed the failure as a victory in disguise.Abbey said: "We'd rather have nothing than come half way or get 10 points." The song's chart position, however, failed to meet the predictions of Martin Isherwood, its writer. After the public haranguing, Isherwood said of the song: "It's not crap and will get to number one."That privilege has gone to the American singer R Kelly this week. S Club were unable to remove the R'n'B singer from the top spot, where he will stay for the fourth week.Kelly faces 22 allegations of under-age sex in the United States, including one in which he allegedly videoed himself having sex with a 13-year-old girl He could be given 15 years' in prison if convicted.. Liverpool shook last night as thousands of Paul McCartney fans gathered beside the river Mersey for the final concert of the former Beatle's world tour. He last played in his home town more than a decade ago.The concert came after the announcement last week that McCartney and his wife, Heather Mills, 35, are expecting their first child He said: "This is the big one.

This is the most emotional gig of the tour."He also confirmed that a dispute with Yoko Ono, the widow of John Lennon, over the songwriting credits of some Beatles songs, had been resolved. The disagreement came after the singer reversed the Lennon-McCartney credits of Beatles songs on his latest album. He said yesterday: "I'm happy with the way it is and always has been. Lennon and McCartney is still the rock 'n' roll trademark I'm proud to be a part of ­ in the order it has always been." He had asked Ms Ono to approve the change, but she refused.. Few pieces even by Jean Sibelius open more evocatively. Over gently rolling timpani, muted violin lines begin to undulate and intertwine; flecks of colour from flutes and harps evolve into volatile phrases, the rocking accompaniment quickens and his sumptuously scored marine tone-poem The Oceanides sets forth on the ever more awesome swell of its 10-minute unfolding Few pieces even by Jean Sibelius open more evocatively.

Compared, moreover, with the general bafflement that had greeted his laconic and introverted recent Fourth Symphony (1912), the premiere proved a triumph with the audience, press and, not least the composer himself: "It's as though I had found myself, and more besides," he wrote home to his wife "The Fourth Symphony was the start But in this piece there is so much more There are passages in it that drive me crazy. Such poetry!"It might seem odd that Sibelius thought of the one work as a continuation of the other, for they could hardly sound more contrasted. Perhaps he meant that finding the authentic form and expression of each had taken an equal amount out of him - the tone-poem, if anything, more than the symphony. But then, given the tortuous complexities of Sibelius's life and character, it seems pretty amazing that he achieved anything substantial at all. Nor was this just a matter of his philandering, heavy reliance on stimulants, debts, the throat-cancer scare of his middle years or the severe disruptions to Finnish life of both the First and Second World Wars.Some composers can produce only in inspirational spasms; others are more methodical. The real strugglers are those, like Beethoven, who continually ratchet up the compositional stakes for themselves, or those who are radically conflicted in creative character - like Sibelius.