WEBVTT - From the Archive: Paul McCartney 0:00:01.760 --> 0:00:04.760 Hello everyone, and welcome to another episode of Inside the 0:00:04.800 --> 0:00:08.080 Studio on iHeart Radio. My name is Jordan runt Hog. 0:00:08.160 --> 0:00:11.280 But enough about me. We're doing something a little different 0:00:11.320 --> 0:00:13.800 this week. We're dipping into the I T. S Vault 0:00:13.840 --> 0:00:17.159 to bring you something special from our formidable archives, and 0:00:17.200 --> 0:00:20.320 today I'm thrilled to present an interview with quite frankly, 0:00:20.440 --> 0:00:23.880 my all time favorite human being on the planet. I'm talking, 0:00:23.880 --> 0:00:27.440 of course, about Sir Paul McCartney. He was a guest 0:00:27.480 --> 0:00:30.280 on Inside the Studio during my friend Joe Levi's tenure 0:00:30.320 --> 0:00:33.400 as host. This interview is from two thousand eighteen, soon 0:00:33.440 --> 0:00:36.920 after the release of his stellar album Egypt Station. It 0:00:37.000 --> 0:00:39.920 became his first number one record in thirty six years, 0:00:40.159 --> 0:00:42.879 and it couldn't have been better deserved. The themes of 0:00:42.920 --> 0:00:46.880 travel mirror mind. Constantly on the move, piqued by the new, 0:00:47.080 --> 0:00:50.479 the different, the unexpected and the fun. Each of the 0:00:50.520 --> 0:00:55.240 sixteen tracks brims with McCartney's undiminished and seemingly boundless energy 0:00:55.440 --> 0:00:58.400 and trademark gift for melody. It's a gift that he 0:00:58.440 --> 0:01:02.920 showcased most recently on Twenties McCartney three, an album recorded 0:01:02.960 --> 0:01:06.839 at his home studio in Lockdown, or as he called it, Rockdown. 0:01:07.400 --> 0:01:10.280 In honor of Sir Paul's recently announced Got Back tour 0:01:10.360 --> 0:01:14.399 of North America, arguably the summer's hottest ticket, we decided 0:01:14.440 --> 0:01:16.360 that was a good reason as any to share these 0:01:16.360 --> 0:01:19.160 words from the master. Listen to what the man said, 0:01:19.480 --> 0:01:26.600 and enjoy Paul McCartney. Welcome to inside the Studio, Key Joe, 0:01:27.800 --> 0:01:31.000 or a very special edition of Backstage at the Paul 0:01:31.080 --> 0:01:34.680 McCartney Show. Okay, and here we are in the Winnipeg. 0:01:34.760 --> 0:01:37.600 In Winnipeg winned the Peg a few months ago. I'm 0:01:37.600 --> 0:01:40.080 walking up Park Avenue and I pass a guy coming 0:01:40.120 --> 0:01:44.720 down the street who looks remarkably like Paul McCartney Park 0:01:44.760 --> 0:01:47.600 Avenue in eighty nine street. I think, can't be Paul McCartney. 0:01:47.600 --> 0:01:50.440 No one with him, no one around did a double take. 0:01:51.000 --> 0:01:54.160 It was Paul McCartney. It couldn't have been him, but 0:01:54.240 --> 0:01:56.160 it was. You were just walking down the street by yourself. 0:01:56.320 --> 0:02:00.080 I walked down streets therefore, walking down I've heard that, 0:02:00.480 --> 0:02:03.080 you know, I like to get out and about and 0:02:03.120 --> 0:02:07.000 people say, oh no, you're gonna have acres of security 0:02:07.040 --> 0:02:09.399 behind you and stuff. But I'd like to just get out, 0:02:09.440 --> 0:02:12.200 you know, just so as you feel like yourself instead 0:02:12.240 --> 0:02:16.800 of like a rock star. Are there times you do 0:02:16.960 --> 0:02:18.840 like to feel like a rock star? You know, when 0:02:18.840 --> 0:02:21.600 I do the show, that's good, But then you know 0:02:21.720 --> 0:02:24.280 you need to balance it, so you get off the 0:02:24.360 --> 0:02:28.760 stage and maybe you know, like you said, you're walking somewhere. 0:02:29.400 --> 0:02:31.280 So I like to just get out like I always 0:02:31.320 --> 0:02:34.399 did when I was a kid. So you know, it's 0:02:34.400 --> 0:02:38.520 just keeps me sane, and it's it's the same feeling 0:02:38.560 --> 0:02:43.280 as when I was just walking around, only differences. I 0:02:43.320 --> 0:02:50.160 get recognized. Everyone reaches in their pocket immediately, you know, 0:02:50.760 --> 0:02:53.320 but no, I got you know, quite a lot of 0:02:53.360 --> 0:02:56.160 freedom actually, and I value it. And then you know, 0:02:56.200 --> 0:02:58.480 if I'm out at a restaurant and stuff with my wife, 0:02:59.000 --> 0:03:01.400 someone might come over to grab a photo. I say, 0:03:01.440 --> 0:03:04.120 oh not not just now. You know, it's a private 0:03:04.160 --> 0:03:07.480 moment and most people are very cool, understand it. So 0:03:08.320 --> 0:03:11.440 I like to keep that, you know, a private bit 0:03:11.480 --> 0:03:14.119 of my life. And then I like the other bit 0:03:14.520 --> 0:03:18.080 even more because it's like, wow, this is cool. The 0:03:18.080 --> 0:03:21.160 other bit being in public, being on stage, Yeah, you 0:03:21.240 --> 0:03:24.880 have to like it. You are playing these three hour shows. 0:03:25.720 --> 0:03:28.560 We just saw a one hour sound check, and that's 0:03:28.600 --> 0:03:31.960 something that people don't actually know that many concerts are 0:03:32.000 --> 0:03:34.760 preceded by this one hour sound check. I think you 0:03:34.760 --> 0:03:36.560 have no set list for that. Many of those songs 0:03:36.560 --> 0:03:39.240 aren't in the set, right. Yeah. No, we always do that, 0:03:39.520 --> 0:03:42.120 I mean because it's good because we need to check 0:03:42.320 --> 0:03:45.360 the instruments we're going to use, just to make sure 0:03:45.400 --> 0:03:47.960 they're all plugged in. They all work, and I mean 0:03:48.000 --> 0:03:50.840 there was a little moment there. Normally doesn't screw up 0:03:50.880 --> 0:03:54.720 too much, but our keyboard players moog didn't work. So 0:03:54.800 --> 0:03:57.640 that's good. That's what the sound checks for, instead of 0:03:57.720 --> 0:03:59.920 just doing all the numbers from the show, which kind 0:04:00.000 --> 0:04:01.920 of spoils the show for us because when we get 0:04:01.920 --> 0:04:04.800 a bit bored doing the numbers again, we just use 0:04:05.080 --> 0:04:08.120 the same instruments we're going to use, but we switch 0:04:08.200 --> 0:04:11.400 the numbers about. We do any old thing, you know, 0:04:11.960 --> 0:04:15.880 so we'll do kind of like skifful things, folk things, 0:04:16.400 --> 0:04:19.880 early rock and roll things, like a little solely things. 0:04:20.640 --> 0:04:23.880 Midnight Special tonight, which was kind of amazing, and we 0:04:23.920 --> 0:04:27.120 always do Midnight specially. Yeah, what you often do? You know, 0:04:27.200 --> 0:04:31.760 You've got certain songs that go way back before I 0:04:31.760 --> 0:04:34.520 started even playing, you know. I think that's like a 0:04:34.520 --> 0:04:37.600 big Bill BRUNSI song. So he's an old blues singer 0:04:38.160 --> 0:04:40.920 and they're just songs you learn along the way and 0:04:41.000 --> 0:04:43.680 you like them. So if you get an opportunity or 0:04:43.680 --> 0:04:47.120 something like this where there's a sound check, all you 0:04:47.240 --> 0:04:50.839 really need to do is just make sure everything's working. 0:04:51.560 --> 0:04:54.760 Then you can indulge yourself and play something like that, 0:04:54.800 --> 0:04:57.320 you know, and it's nice. Keeps it all fresh, you know. 0:04:57.839 --> 0:05:01.080 Talking about the songs, you do know, there's something I 0:05:01.080 --> 0:05:02.800 wanted to ask you about in the set list now, 0:05:02.960 --> 0:05:05.920 is in spite of all the danger, the first song 0:05:05.960 --> 0:05:12.080 recorded by the Quarryman in nineteen Oh my god, so 0:05:12.120 --> 0:05:17.000 it's now sixty years old and that can't be true. 0:05:17.080 --> 0:05:21.160 That's before my time. I will say, for those just 0:05:21.200 --> 0:05:23.440 listening at home, he could pull that off because it 0:05:23.480 --> 0:05:26.479 does look like he's not old enough to have written really, 0:05:26.640 --> 0:05:29.479 but thank you. But that said, the amazing thing that 0:05:29.520 --> 0:05:32.160 I realized is that you know, you're performing songs from 0:05:32.200 --> 0:05:35.160 your your newest record, Egypt Station, and the very first 0:05:35.240 --> 0:05:39.160 thing you ever recorded. So the audience tonight will hear 0:05:39.360 --> 0:05:44.120 sixty years Paul McCartney songs. That's right, Yeah, yeah, it 0:05:44.279 --> 0:05:48.520 is crazy. You know, it's um I've been enjoying playing 0:05:49.279 --> 0:05:53.440 for that long, and when I do that song in 0:05:53.440 --> 0:05:56.039 spite of all the danger, which was just the first 0:05:56.120 --> 0:05:58.680 little demo we ever did with the Beatles, before we 0:05:58.760 --> 0:06:03.320 got a record contract or anything. So I always imagine 0:06:03.400 --> 0:06:06.760 us all going to this little studio in Liverpool, all 0:06:06.800 --> 0:06:12.839 paying a pound each for five pound demo and doing 0:06:12.880 --> 0:06:15.920 this little song, you know, and it's it's so ancient 0:06:16.600 --> 0:06:19.560 that it's great for me because it's like what it is, 0:06:19.600 --> 0:06:22.839 it's like reaching back into your childhood. So it would 0:06:22.880 --> 0:06:26.360 be like somebody maybe listening to this thinking of when 0:06:26.400 --> 0:06:28.760 they were on the beach when they were one, and 0:06:28.760 --> 0:06:31.800 it's what a great memory, you know. So it makes 0:06:31.839 --> 0:06:34.960 it special for me just thinking that, Wow, you know, 0:06:35.000 --> 0:06:38.320 it goes back really before we ever went down to 0:06:38.360 --> 0:06:41.240 Abbey Road, before we got a record, country, before you 0:06:41.240 --> 0:06:44.480 did into Hamburg, before we've been to Hamburg. Yeah, So 0:06:44.520 --> 0:06:46.960 it's a great memory for me, and I like doing 0:06:47.000 --> 0:06:50.159 it because we get the audience involved on that one, 0:06:50.240 --> 0:06:52.360 you know, and so we have fun with it. So 0:06:52.680 --> 0:06:54.560 it is nice to be able to say this is 0:06:54.600 --> 0:06:58.520 the very first thing we ever did, first record I 0:06:58.600 --> 0:07:02.400 was ever involved with, and then we come right up 0:07:02.440 --> 0:07:04.880 to date and were saying, now this is like the 0:07:04.880 --> 0:07:08.240 most recent. Somehow it seems to fit together, you know. 0:07:08.400 --> 0:07:11.240 You know, So that's twice now that you've mentioned drawing 0:07:11.240 --> 0:07:13.600 on those childhood feelings. First when we were talking about 0:07:13.600 --> 0:07:16.240 walking around by yourself, and now when we're talking about 0:07:16.320 --> 0:07:19.000 playing that song in spite of all the danger. Is 0:07:19.040 --> 0:07:21.160 that a wild spring for you going back to that 0:07:21.200 --> 0:07:25.200 time or holding onto that energy. Yeah, you know. It's funny. 0:07:25.400 --> 0:07:28.640 In the Beatles, even when we were like maybe twenty 0:07:29.320 --> 0:07:32.280 four years old or something in the height of the Beatles, 0:07:33.200 --> 0:07:35.880 we often would we were trying to work out something 0:07:35.920 --> 0:07:38.520 on a song or what we're going to do with 0:07:38.560 --> 0:07:41.680 the recording, we'd often say, what would we have done 0:07:41.680 --> 0:07:45.200 when we were seventeen, and we check back to our 0:07:45.280 --> 0:07:48.080 seventeen year old selves, who we thought like we're like 0:07:48.120 --> 0:07:52.160 the coolest opinion in the world. Well, we would have said, yeah, 0:07:52.320 --> 0:07:55.800 do it, Yeah do it man, or no way, that's 0:07:55.880 --> 0:07:59.400 no good. You know. So you always refer to that period, 0:08:00.080 --> 0:08:02.680 you know, it's your formative period. So when you get 0:08:02.680 --> 0:08:05.840 a lot of your ideas, and in my case, if 0:08:05.840 --> 0:08:12.080 you're writing songs, those memories are very rich wells of inspiration. 0:08:12.760 --> 0:08:16.119 So you know, I can just think. I remember walking 0:08:16.120 --> 0:08:19.720 along the road with our guitars on our backs, me 0:08:19.800 --> 0:08:23.920 and John just before we were famous, you know, and 0:08:24.240 --> 0:08:27.120 me writing let us to people, dear sir, we are 0:08:27.160 --> 0:08:29.800 a rock combo, and you know, we would love to 0:08:29.880 --> 0:08:33.320 play at your place, you know, so all that sort 0:08:33.360 --> 0:08:35.960 of stuff. It's kind of like magic for me. I 0:08:36.000 --> 0:08:39.760 think also because of how far I've come. So you've 0:08:39.760 --> 0:08:44.760 got that very early innocent period, and then we get 0:08:44.800 --> 0:08:48.040 famous with the Beatles. Well before that, we go to Hamburg, 0:08:48.040 --> 0:08:50.319 as you say, and then we get famous with the Beatles, 0:08:50.559 --> 0:08:53.440 and then we get the American fame, and then we 0:08:53.520 --> 0:08:57.440 make records and we we go through our various phases. 0:08:57.880 --> 0:09:02.040 So it's a long, long, long journey. And then right now, 0:09:02.160 --> 0:09:04.640 you know, here I am, you know, making a new 0:09:04.679 --> 0:09:08.200 album in Egypt Station, and long behold, it goes to 0:09:08.280 --> 0:09:10.960 number one in America. You know, you can imagine, you know, 0:09:11.040 --> 0:09:15.160 we're partying that night was a party, we'll see. I 0:09:15.200 --> 0:09:17.720 want to ask you about that. Egypt Station enters the 0:09:17.760 --> 0:09:19.920 charts at number one, So I guess that, if you're 0:09:19.960 --> 0:09:22.760 keeping score at home, that's your first record to debut 0:09:22.840 --> 0:09:26.360 at number one since the Beatles. Since the Beatles and 0:09:26.559 --> 0:09:29.480 the first number one, and I believe thirty six years. 0:09:29.520 --> 0:09:32.760 So what was the party? What was the well, you know, 0:09:32.800 --> 0:09:36.480 the great thing was after the show. Sometimes if the 0:09:36.520 --> 0:09:39.360 guys don't have to load out, if they're all in 0:09:39.400 --> 0:09:41.680 a place and we're going to play the place tomorrow, 0:09:42.040 --> 0:09:45.760 which was that occasion, I'll say, okay, let's all get together, 0:09:45.800 --> 0:09:47.880 have a little drink of something to eat, and we 0:09:48.000 --> 0:09:49.760 get the crowd, and so we all get to hang 0:09:49.800 --> 0:09:51.800 with each other because it's a bit like a family, 0:09:51.960 --> 0:09:54.720 your tour family, you know. So we all get together 0:09:54.840 --> 0:09:57.240 and then our DJ who comes with us on the tour, 0:09:57.679 --> 0:10:01.360 he'll DJ some nice dance music stuff. So we were 0:10:01.400 --> 0:10:05.000 going to have that little party anyway. And then suddenly 0:10:05.080 --> 0:10:07.960 that afternoon, right after sound check, on my phone, I 0:10:07.960 --> 0:10:12.080 get the message bank congratulations requiescunt it in the morning 0:10:12.360 --> 0:10:14.080 and I'm just about to go to the dressroom, which 0:10:14.160 --> 0:10:17.559 I stopped going, Oh wait a minute, hey, guys, I 0:10:17.640 --> 0:10:21.079 announced to everyone every number one, you know. So that 0:10:21.160 --> 0:10:24.520 party that evening, that was special because we had a 0:10:24.559 --> 0:10:28.000 real great reason to celebrate. We were going to celebrate anyway, 0:10:28.080 --> 0:10:33.080 just having a party, but it became really special. We 0:10:33.240 --> 0:10:37.040 danced the night away. Baby. I was talking to someone 0:10:37.120 --> 0:10:42.520 at your label in Los Angeles Capital and the people, well, 0:10:42.520 --> 0:10:47.120 they said back at you. They said, we're amazed at 0:10:47.160 --> 0:10:51.480 how hard this guy works, seventy six years old, three 0:10:51.480 --> 0:10:55.319 hour concerts. But also he's out there doing things, taking 0:10:55.320 --> 0:10:59.040 advantage of opportunities we bring him. If we bring them 0:10:59.040 --> 0:11:01.199 to a twenty three year old the artist, they might complain. 0:11:01.720 --> 0:11:04.800 I was like, yeah, let's do it what I always do. 0:11:05.120 --> 0:11:08.200 Promoting a record used to be quite boring because they 0:11:08.200 --> 0:11:11.160 would trot out the same old things. You've got to 0:11:11.200 --> 0:11:15.280 go there, you've got to do thirty six interviews. We're 0:11:15.280 --> 0:11:17.760 going to take you to some place central in Europe 0:11:17.800 --> 0:11:22.440 where all the European territories can come in. And how 0:11:22.520 --> 0:11:25.440 it was that was Cologne. They always say you're going 0:11:25.480 --> 0:11:27.600 to Colone and said why Cologne. So well, it's in 0:11:27.600 --> 0:11:29.560 the middle of Europe, and we'll bring the Italians, the 0:11:29.600 --> 0:11:33.480 French and Swiss and everybody in. And so I kind 0:11:33.480 --> 0:11:35.920 of did it, thinking what I've got to promote the record, 0:11:36.160 --> 0:11:39.319 But it was a deadly ball. It was really like, 0:11:39.440 --> 0:11:43.079 oh no, not that again. So I kind of rebelled 0:11:43.120 --> 0:11:45.600 one day and the meeting I said, look, you know, 0:11:46.280 --> 0:11:49.600 let's make it something that we're excited about. Because if 0:11:49.640 --> 0:11:52.360 we're excited, we actually have a good time. So let's 0:11:52.360 --> 0:11:56.560 cook up some ideas that are like fun and they're different, 0:11:57.080 --> 0:12:01.120 and it's not going to Cologne and would end this interviews. 0:12:01.160 --> 0:12:04.040 So we had some great little things. We had playbacks 0:12:04.440 --> 0:12:06.680 at the studio in l A. We were working at 0:12:06.720 --> 0:12:09.880 Henson and we had these little playbacks for I Heart. 0:12:10.360 --> 0:12:13.040 These are great little sessions. We just cranked it up, 0:12:13.520 --> 0:12:16.560 played the album for them. So that was easy. That 0:12:16.720 --> 0:12:19.120 wasn't like the concer to Debbey Road that you did. 0:12:19.200 --> 0:12:22.960 And then we did we did a CAVN. We went 0:12:22.960 --> 0:12:26.120 back to my old school and the little concert there, 0:12:26.440 --> 0:12:29.880 so you know, it made it fun, it made it interesting, 0:12:30.440 --> 0:12:33.800 and each little thing was different, and so it was, yeah, 0:12:33.880 --> 0:12:37.160 capital we're happy. But I was happy with the ideas 0:12:37.520 --> 0:12:39.679 we were cooking up together, you know, as long as 0:12:39.679 --> 0:12:43.240 they were good ideas that were exciting everyone. We had 0:12:43.280 --> 0:12:58.240 a blest You worked with great Kurtin and Ryan Tater 0:12:58.600 --> 0:13:01.280 this record, and Ryan and you did the single for 0:13:01.360 --> 0:13:05.120 you or some might hear it the way I do M, 0:13:05.960 --> 0:13:07.960 which would be a knott of your word. And we 0:13:07.960 --> 0:13:11.120 can say it for you. There we go, so give you. 0:13:11.200 --> 0:13:13.760 If you give someone a present, you don't say this 0:13:13.840 --> 0:13:17.720 is for you. You go, this is for you, for you, okay, 0:13:17.760 --> 0:13:20.560 if you h okay. So this is my story and 0:13:20.559 --> 0:13:23.839 I'm sticking to it, okay. And yet I was immediately 0:13:23.920 --> 0:13:27.840 reminded of something I grew up reading a Grill Marcus 0:13:27.960 --> 0:13:30.240 essay in the Old Rolling Stone Illustrated History of Rock 0:13:30.240 --> 0:13:33.440 and Roll about the Beatles, where he recalls hearing I 0:13:33.480 --> 0:13:36.160 saw her standing there on the radio immediately in the 0:13:36.240 --> 0:13:38.880 days after the first appearance on The Ed Sullivan Show. 0:13:39.440 --> 0:13:43.280 He writes, Paul's one two three, fuck opening. How in 0:13:43.320 --> 0:13:45.520 the world did they expect to get away with that? 0:13:46.200 --> 0:13:48.080 And the thing is is, after I read that, I 0:13:48.200 --> 0:13:50.920 never heard it another way. I always heard it, but 0:13:51.040 --> 0:13:54.520 I'll never hear an other way. Now. It wasn't that, 0:13:54.640 --> 0:13:57.800 But I like it, man, you know, you know, it's 0:13:57.800 --> 0:14:00.840 a kind of nice thing when people kind of misinterpret 0:14:01.120 --> 0:14:03.959 what you've doneal they put extra meaning on it. I mean, 0:14:04.000 --> 0:14:07.199 I did the song Hi Hi Hi, which we'll do tonight, 0:14:07.800 --> 0:14:10.199 and there's a line in it which I was kind 0:14:10.240 --> 0:14:14.800 of writing just like surrealist lyrics. I was like, so 0:14:14.880 --> 0:14:18.520 I wrote, I wrote lie on the bed and get 0:14:18.559 --> 0:14:24.520 ready for my polygone. It doesn't mean anything was a polygon, 0:14:24.680 --> 0:14:27.560 you know, but people thought it was get ready for 0:14:27.640 --> 0:14:30.720 my body Gune. I thought, you know what, that is 0:14:30.760 --> 0:14:34.840 better if you ever sung it that way. Okay, So 0:14:34.920 --> 0:14:39.120 you know, sometimes the misinterpretation is actually better than the 0:14:39.800 --> 0:14:43.920 real lyric. You know. Tell me you've said that the 0:14:44.040 --> 0:14:46.680 songs you you worked on with Greg, you brought into 0:14:46.680 --> 0:14:49.400 the studio, but when you worked with Ryan Tedder, he 0:14:49.480 --> 0:14:51.640 wanted to make it up in the studio. Yeah, tell 0:14:51.640 --> 0:14:54.600 me a little bit about putting that song for you together. 0:14:55.000 --> 0:14:57.480 As you say. When I was working with Greg, which 0:14:57.600 --> 0:14:59.720 was most of the time, I had a lot of 0:14:59.720 --> 0:15:02.080 songs I wanted to record, so I came in and 0:15:02.080 --> 0:15:04.960 we worked on them together, but they were ready written. 0:15:05.400 --> 0:15:08.920 And then there was a period there where Great couldn't work. 0:15:09.240 --> 0:15:11.400 But I had a couple of weeks off, so I 0:15:11.480 --> 0:15:14.760 took one of the weeks as a holiday. Uh, And 0:15:14.800 --> 0:15:18.160 then the other week my manager said, you want to 0:15:18.240 --> 0:15:20.680 keep the momentum going. You know, you're on a bit 0:15:20.680 --> 0:15:22.880 of a role here, and if you want to keep 0:15:22.880 --> 0:15:25.760 it going, you know, I can suggest other people you 0:15:25.880 --> 0:15:27.720 might work with. You know. So he sent me a 0:15:27.720 --> 0:15:30.520 few suggestions and I liked what I was hearing that 0:15:30.720 --> 0:15:34.400 Ryan was doing. I didn't know much about him. Maybe 0:15:34.440 --> 0:15:36.600 I phoned him up and we had a great conversation. 0:15:36.680 --> 0:15:39.280 So I said, well, come to my studio in England 0:15:39.920 --> 0:15:43.520 and we'll just figure it out. We'll just think of something, 0:15:43.560 --> 0:15:45.640 you know. So I said, I've got a couple of 0:15:45.680 --> 0:15:48.480 songs we could do these. He said, no, no, let's 0:15:48.560 --> 0:15:50.640 let's just make it up because we didn't have long 0:15:50.760 --> 0:15:53.720 We just had the seven days. It might have even 0:15:53.720 --> 0:15:57.200 been five days, and so we just made them up. 0:15:57.240 --> 0:16:00.600 And we ended up making up three tracks. And where 0:16:00.600 --> 0:16:02.320 you when you say make them up? Were you writing 0:16:02.360 --> 0:16:06.040 side by side? Were you trying just having ideas, you know, 0:16:06.200 --> 0:16:09.000 just throwing ideas out. He'd sort of say, what about 0:16:09.040 --> 0:16:12.760 yeah do John Dudandu. I go yeah, da Dado. So 0:16:12.800 --> 0:16:15.080 I go out on the mic and go yeah Dado, 0:16:15.440 --> 0:16:17.480 And they think, oh God, let us stick some words in, 0:16:17.840 --> 0:16:21.720 Hey you want Udandu and I eventually put some words 0:16:21.800 --> 0:16:24.000 to it, and then we put a beat to it, 0:16:24.160 --> 0:16:27.240 and I put some guitar on or bass on or whatever, 0:16:27.840 --> 0:16:30.920 and him and his co producers zac you know, they 0:16:31.000 --> 0:16:34.040 just got grooving with the sounds, and I'd get sort 0:16:34.080 --> 0:16:35.600 of thinking of what I was going to do on 0:16:35.640 --> 0:16:38.160 the vocal. They throw ideas out and he said what 0:16:38.200 --> 0:16:40.720 about that? He said, well, let me try it, you know. 0:16:41.480 --> 0:16:44.760 So some of the things didn't work. We can those. 0:16:45.240 --> 0:16:48.160 It was funny because because of this method of working, 0:16:48.840 --> 0:16:52.960 the trouble was often that yeah do dad dudando becomes yeah, 0:16:53.040 --> 0:16:56.080 I love you baby, and it's like, this is a 0:16:56.120 --> 0:16:58.800 bit boring. So I said to Ryan in the middle 0:16:58.800 --> 0:17:01.520 of the week and I said, hey, know, man, I said, 0:17:02.000 --> 0:17:06.560 I'm known for doing songs like eleanor Rigby or you know, 0:17:06.640 --> 0:17:08.800 Live and Let Die, which you've got a little bit 0:17:08.840 --> 0:17:11.800 of meaning to them, you know. So I said, I'm 0:17:11.840 --> 0:17:13.960 not sure I can do this. Hey, I love your baby. 0:17:14.520 --> 0:17:16.920 I said, well, I'll tell you what. So we decided 0:17:16.920 --> 0:17:19.879 what we would do was we'd carry on like that 0:17:20.280 --> 0:17:23.159 and then I'd revisit it and come up with what 0:17:23.280 --> 0:17:26.120 I thought were better lyrics. So that was how how 0:17:26.160 --> 0:17:27.919 we did it. It made a lot of it up 0:17:27.960 --> 0:17:29.760 as we went along and thought that was good, but 0:17:29.840 --> 0:17:32.360 the bits I thought were a bit corny. I just 0:17:32.440 --> 0:17:36.119 rewrote and then went in and fix the vocal with 0:17:36.160 --> 0:17:38.200 these new words. You know. A week or sore ago, 0:17:38.240 --> 0:17:40.760 I was in Los Angeles. I saw a band, Lake 0:17:40.800 --> 0:17:44.199 Street Dive, terrifically talented band and the will turn and 0:17:44.440 --> 0:17:47.399 they do in their set let me roll it, and 0:17:48.400 --> 0:17:51.120 it's it's great. And afterwards I was talking to them, 0:17:51.600 --> 0:17:54.280 that's terrific, and they looked at me and they shrugged. Yeah, 0:17:54.520 --> 0:17:58.680 it's a Paul McCartney song. But then they started talking 0:17:58.760 --> 0:18:01.760 about for You, and he's got a song out now, 0:18:02.359 --> 0:18:07.280 and the thing is it's so on trend, like it's 0:18:07.320 --> 0:18:10.399 got these the drum track and these little drops in it. 0:18:10.440 --> 0:18:16.480 So they were like amazed at that classic McCartney melodicism 0:18:16.560 --> 0:18:20.280 up against the sort of modern touches that Bryan Tyler 0:18:20.280 --> 0:18:22.520 brought to it. Yeah, well that's that's what it was. Yeah, 0:18:22.720 --> 0:18:26.560 Ryan brought that to it, and say, Zac's called producers, 0:18:26.600 --> 0:18:30.080 a young guy called Zac, and the two of them 0:18:30.359 --> 0:18:33.479 took care of that side of things. What's about this 0:18:33.520 --> 0:18:35.639 you know list? So they would take a little bit 0:18:35.640 --> 0:18:37.520 of my vocal and speed it up and drop it 0:18:37.560 --> 0:18:40.600 back in and do these little crazy things. And you know, 0:18:40.640 --> 0:18:43.040 the idea was if I didn't like it, I go, 0:18:43.200 --> 0:18:46.440 oh no way, man. But most of the time, I go, 0:18:46.680 --> 0:18:50.359 that's cool. I like that. There were three tracks. Only 0:18:50.400 --> 0:18:53.080 one has been released from that week, but the others 0:18:53.080 --> 0:18:55.320 are pretty good too. And then when you were working 0:18:55.320 --> 0:18:59.040 with Greg that's over a longer period, and you've said 0:18:59.080 --> 0:19:03.080 that one thing it charged those sessions was seeing this 0:19:03.760 --> 0:19:08.959 documentary Howard Goodall did about the rerelease the fiftieth anniversary 0:19:08.960 --> 0:19:12.879 set of Sergeant Pepper's that you actually had this experience 0:19:12.920 --> 0:19:16.040 of learning wait, wait, that's how we did it. Yeah, yeah, 0:19:16.080 --> 0:19:19.760 you know. I mean I wasn't really gonna watch this 0:19:19.800 --> 0:19:21.600 because you know, it's like I thought, well, I kind 0:19:21.600 --> 0:19:24.879 of know everything he didn't tell me. I know about this, 0:19:25.200 --> 0:19:29.119 But then he started in on Penny Lane. It hooked 0:19:29.160 --> 0:19:31.760 me in because he started to say, oh, now Paul 0:19:31.800 --> 0:19:36.040 wants to go higher, but he actually modulates down a key. 0:19:36.160 --> 0:19:39.920 I'm going, did I Oh, wow, that's good. I'm getting 0:19:39.960 --> 0:19:42.879 impressed by this young twenty four year old's work. You know. 0:19:43.359 --> 0:19:45.680 Now I'm intrigued. And he got to this bit where 0:19:45.680 --> 0:19:49.560 he sort of said and the Penny Lane piano. I thought, yeah, okay, 0:19:49.560 --> 0:19:51.520 I know I played it. I know how that went. 0:19:52.160 --> 0:19:55.360 And he said, it's not just one piano and I'm 0:19:55.400 --> 0:19:58.800 certainly there, going, yeah it is, what do you mean 0:19:58.840 --> 0:20:00.720 it's not just one? And he's so he starts going 0:20:00.720 --> 0:20:03.000 back to the multi tracks and he goes, well, there's 0:20:03.240 --> 0:20:05.879 this one piano. I said, yeah, that's it, and he 0:20:05.920 --> 0:20:09.600 goes and then they've got this little spiky piano and 0:20:09.600 --> 0:20:12.880 then he plays and there's this very trebling, little ding 0:20:13.080 --> 0:20:16.399 ding ding piano playing along with it, and he goes on. 0:20:16.480 --> 0:20:21.240 Then there's this harmonium, and it turned out I'd forgotten, 0:20:21.600 --> 0:20:25.240 but we'd put all these layers into this piano that 0:20:25.320 --> 0:20:30.040 eventually sounds like one very groovy piano, so much so 0:20:30.200 --> 0:20:33.240 that I believed it myself. So I went in the 0:20:33.280 --> 0:20:36.200 next day with Greg and I said, why wait a minute. 0:20:36.200 --> 0:20:39.040 You know, so this is a really great idea. So 0:20:39.119 --> 0:20:43.280 we started messing with like harpsichords and piano and mixing 0:20:43.320 --> 0:20:46.280 them and getting them very exact so you couldn't tell 0:20:46.320 --> 0:20:49.119 it was two pianos, but it was like a hybrid. 0:20:49.600 --> 0:20:52.840 That's kind of interesting way to work. And you've been 0:20:52.840 --> 0:20:56.680 working for almost a year at that point, so were 0:20:56.720 --> 0:20:59.760 you going back and adding or retexturing tracks that you 0:20:59.800 --> 0:21:02.920 don't the truth We've been doing a bit of that anyway, 0:21:02.960 --> 0:21:07.560 because the rerelease of Sergeant Pepper, I was inspired by 0:21:07.600 --> 0:21:12.560 how experimental we were and the inspiration that we'd had 0:21:12.960 --> 0:21:16.320 for Sergeant Pepper, and I thought, yeah, you know, that's 0:21:16.320 --> 0:21:18.679 a kind of good way to go is to just 0:21:18.800 --> 0:21:22.080 not make the same old record, just try and think 0:21:22.080 --> 0:21:24.040 outside the box and think, you know, what can we 0:21:24.080 --> 0:21:28.399 do now? That's crazy and at the same time it 0:21:28.520 --> 0:21:31.840 comes out just like a song. You know, it's still 0:21:31.880 --> 0:21:35.360 in the end, isn't isn't some crazy mess. It's actually 0:21:35.680 --> 0:21:38.480 Penny Lane, you know, your day in the life. It's 0:21:38.560 --> 0:21:42.680 it's a proper song. But the approach was very experimental. 0:21:42.880 --> 0:21:45.640 So we've been doing a bit of that with Greg. 0:21:46.000 --> 0:21:48.520 But once I saw that program about it, we then 0:21:48.600 --> 0:21:51.080 started to pick apart some of the stuff we've done, 0:21:51.680 --> 0:21:55.800 made pianos consisting of a few things instead of just 0:21:55.920 --> 0:22:08.240 the piano. Were there any particular tracks that you remember 0:22:08.280 --> 0:22:11.440 that you began to to rewire this way. I think 0:22:11.480 --> 0:22:16.639 the track that's the opening track, the opening song, I 0:22:16.680 --> 0:22:19.359 don't know. Yeah, I think we cooked the piano a 0:22:19.359 --> 0:22:24.320 bit there, and also we kind of de tuned it 0:22:24.760 --> 0:22:27.399 because what was a nice was I played it in 0:22:27.440 --> 0:22:30.600 a certain key and song along with it, but I 0:22:30.640 --> 0:22:33.959