1
00:00:02,000 --> 00:00:05,600
Speaker 1: This is Alec Baldwin and you're listening to Here's the Thing.

2
00:00:06,640 --> 00:00:11,520
Speaker 1: As a singer, guitarist, producer and manager, Peter Asher has

3
00:00:11,560 --> 00:00:14,480
Speaker 1: been at the center of some of the most important

4
00:00:14,640 --> 00:00:19,720
Speaker 1: music and moments of the rock era. In nineteen sixty four,

5
00:00:19,800 --> 00:00:23,680
Speaker 1: he was just nineteen when his London based duo Peter

6
00:00:23,800 --> 00:00:28,000
Speaker 1: and Gordon released its first single, A World Without Love.

7
00:00:28,760 --> 00:00:31,400
Speaker 1: It reached number one on the charts on both sides

8
00:00:31,400 --> 00:00:34,640
Speaker 1: of the Atlantic. That's quite a feat, but not that

9
00:00:34,760 --> 00:00:37,040
Speaker 1: surprising when you learned that it was written by his

10
00:00:37,120 --> 00:00:40,720
Speaker 1: sister's then boyfriend, a young man by the name of

11
00:00:41,120 --> 00:01:04,040
Speaker 1: Paul McCartney and Ray I don't care that coincidence. Didn't

12
00:01:04,080 --> 00:01:07,959
Speaker 1: just score him a hit song. It was Asher's entree

13
00:01:08,040 --> 00:01:12,600
Speaker 1: into beatles land. After Peter and Gordon fizzled, he joined

14
00:01:12,680 --> 00:01:16,880
Speaker 1: forces with the Beatles to launch Apple Records. Paul and

15
00:01:16,920 --> 00:01:20,000
Speaker 1: I had conversations about Apple long before it started. I

16
00:01:20,000 --> 00:01:24,120
Speaker 1: would spend evenings over at his house, Cavinish Avenue. By

17
00:01:24,120 --> 00:01:27,000
Speaker 1: this time we moved out both of us family home,

18
00:01:27,680 --> 00:01:30,640
Speaker 1: and you know, talking about what Apple was supposed to

19
00:01:30,640 --> 00:01:32,280
Speaker 1: be and all that stuff. And then when it became real,

20
00:01:32,319 --> 00:01:34,399
Speaker 1: he asked me to be a head of Anna. As

21
00:01:34,440 --> 00:01:39,080
Speaker 1: a music exact at Apple, Asher discovered and signed folk

22
00:01:39,360 --> 00:01:43,720
Speaker 1: icon James Taylor I've Seen Far and I've Seen Rain.

23
00:01:47,480 --> 00:01:49,800
Speaker 1: He moved on from his role at Apple to become

24
00:01:49,800 --> 00:01:53,440
Speaker 1: a full time producer, working with legends like Diana Ross

25
00:01:53,680 --> 00:01:58,040
Speaker 1: Share and Neil Diamond and producing multi platinum albums with

26
00:01:58,120 --> 00:02:09,280
Speaker 1: Diamond and Linda Ronstad. More recently, Asher put all of

27
00:02:09,320 --> 00:02:12,440
Speaker 1: these stories into his book The Beatles A to Z

28
00:02:13,160 --> 00:02:17,360
Speaker 1: an Alphabetical Musical Tour, and he hosts a weekly show

29
00:02:17,440 --> 00:02:21,200
Speaker 1: about the band, called From Me to You on Sirius

30
00:02:21,520 --> 00:02:23,959
Speaker 1: x M. Indeed, when they called me and said would

31
00:02:24,000 --> 00:02:26,000
Speaker 1: you be interested in my first goal was to Apple

32
00:02:26,040 --> 00:02:28,320
Speaker 1: and and to Ringo to make sure that it was,

33
00:02:29,080 --> 00:02:33,519
Speaker 1: you know, Beatle approved. As associated as Peter Asher now

34
00:02:33,760 --> 00:02:37,320
Speaker 1: is with rock and roll, his early musical formation was

35
00:02:37,400 --> 00:02:41,320
Speaker 1: something else entirely. I grew up in a very classical background.

36
00:02:41,520 --> 00:02:44,440
Speaker 1: My mother was a classical musician. She bade Yebo. She

37
00:02:44,520 --> 00:02:47,440
Speaker 1: played in various major orchestras and ended up being ober

38
00:02:47,480 --> 00:02:50,560
Speaker 1: professor at the Royal Academy of Music in London. So

39
00:02:50,760 --> 00:02:52,760
Speaker 1: that's what I grew up with. This was a lot

40
00:02:52,800 --> 00:02:56,000
Speaker 1: of classical musical and My father was an eminent physician

41
00:02:56,040 --> 00:02:59,640
Speaker 1: but also an amateur pianist, big Gilbern Sullivan fan. So

42
00:02:59,680 --> 00:03:01,160
Speaker 1: I grew up with all of that. How many kids

43
00:03:01,200 --> 00:03:05,520
Speaker 1: in your family? Three two sisters, your sister Jane. Yes,

44
00:03:06,600 --> 00:03:08,560
Speaker 1: when you grew you grew up where in London, in

45
00:03:08,600 --> 00:03:10,240
Speaker 1: the middle of London. You in the middle of London

46
00:03:10,720 --> 00:03:13,840
Speaker 1: and Wimpole Street, you know that medical area, that's Winpole Street,

47
00:03:13,880 --> 00:03:17,200
Speaker 1: Harley Street where where you we began in a flat,

48
00:03:17,480 --> 00:03:20,680
Speaker 1: not not there, but but as you advanced in the

49
00:03:20,680 --> 00:03:23,560
Speaker 1: medical profession, eventually you're entitled to move to What kind

50
00:03:23,560 --> 00:03:25,240
Speaker 1: of music did you listen to as a child or

51
00:03:25,280 --> 00:03:30,480
Speaker 1: even as a teenager. As a teenager, um, I discovered jazz.

52
00:03:30,560 --> 00:03:33,560
Speaker 1: I was a big bebop fan, and eventually discovered rock

53
00:03:33,600 --> 00:03:36,760
Speaker 1: and roll, Elvis, Elvis, Um. But first of it was

54
00:03:36,800 --> 00:03:39,480
Speaker 1: that we had our rock and roll as we lived Richard,

55
00:03:40,000 --> 00:03:43,720
Speaker 1: Tommy Steele. The first record I ever bought was Tommy

56
00:03:43,760 --> 00:03:47,800
Speaker 1: Steele record called Rock with the Caveman and and the

57
00:03:47,880 --> 00:03:51,120
Speaker 1: song was written by lionel Bart went on to write

58
00:03:51,960 --> 00:03:54,360
Speaker 1: of the musical So yeah, and of course we all

59
00:03:54,400 --> 00:03:58,720
Speaker 1: bought Rock around the Clock, and we later discovered Elvis. Now,

60
00:03:58,720 --> 00:04:01,520
Speaker 1: when you decide you're going to form You you played

61
00:04:01,520 --> 00:04:04,720
Speaker 1: an instrument, you taught yourself to play. Yes, got a guitar.

62
00:04:04,800 --> 00:04:07,000
Speaker 1: We all had skifful groups, learned a few chords and

63
00:04:07,040 --> 00:04:08,960
Speaker 1: so on. Yes, how did you get representation and get

64
00:04:08,960 --> 00:04:11,160
Speaker 1: a recording deal? I started up with a skifful group

65
00:04:11,160 --> 00:04:14,960
Speaker 1: with a couple of friends. Uh the a one skillful group,

66
00:04:15,080 --> 00:04:20,159
Speaker 1: not very reason um, deeply unoriginal. And then at school

67
00:04:20,440 --> 00:04:23,360
Speaker 1: I met Gordon Waller and who also played the guitar

68
00:04:23,400 --> 00:04:26,400
Speaker 1: and sang, and we started seeing together and decided to

69
00:04:26,440 --> 00:04:29,800
Speaker 1: become a Westminster school And for what it's a very

70
00:04:29,839 --> 00:04:32,240
Speaker 1: potsh English public school. What do you want to study?

71
00:04:32,279 --> 00:04:34,280
Speaker 1: Would you think? What do you think you wanted to be? Well?

72
00:04:34,920 --> 00:04:38,200
Speaker 1: I wasn't sure then an engineer was something like stable No, no.

73
00:04:38,360 --> 00:04:40,320
Speaker 1: Oddly enough, the day we were doing this interview, it

74
00:04:40,360 --> 00:04:42,400
Speaker 1: would have been a significant profession because I wanted to

75
00:04:42,400 --> 00:04:46,000
Speaker 1: be an MP. See if I'd take him that career path,

76
00:04:46,240 --> 00:04:49,440
Speaker 1: I would by now have been prim I'd be Prime

77
00:04:49,440 --> 00:04:52,479
Speaker 1: Minister and the whole mess would have been I would

78
00:04:52,480 --> 00:04:56,159
Speaker 1: have solved everything. But if only, but sadly no, that

79
00:04:56,240 --> 00:04:58,240
Speaker 1: was my other ambition was to be an MP. And

80
00:04:58,279 --> 00:05:00,560
Speaker 1: of course every MP's ambition is to be prime minister.

81
00:05:01,040 --> 00:05:04,200
Speaker 1: But anyway, we met at Westminster, we started singing together.

82
00:05:04,920 --> 00:05:07,600
Speaker 1: Um we got you know, we started seeing at school

83
00:05:07,600 --> 00:05:11,440
Speaker 1: events and parties and so on, and you start to

84
00:05:11,440 --> 00:05:13,640
Speaker 1: find yourself getting invited to a lot of parties by

85
00:05:13,640 --> 00:05:16,800
Speaker 1: people you don't know, and they say, oh, by the way,

86
00:05:16,839 --> 00:05:19,240
Speaker 1: bring your guitars, and it dawns on you. Eventually you

87
00:05:19,320 --> 00:05:21,839
Speaker 1: just got booked for a free gig, which is what happens,

88
00:05:22,040 --> 00:05:24,080
Speaker 1: and of course you do it because the more you play,

89
00:05:24,120 --> 00:05:27,839
Speaker 1: the better you get. Finally we started getting pubs and

90
00:05:28,080 --> 00:05:30,240
Speaker 1: clubs and coffee bars that we could do a couple

91
00:05:30,279 --> 00:05:32,640
Speaker 1: of sets and just acoustically, just the two of us.

92
00:05:33,320 --> 00:05:35,240
Speaker 1: We ended up in a place called the Pick Quick Club,

93
00:05:35,320 --> 00:05:39,120
Speaker 1: which was a more upmarket late night eating and drinking club,

94
00:05:39,240 --> 00:05:41,800
Speaker 1: a lot of actors, a lot of musicians. First time

95
00:05:41,800 --> 00:05:45,200
Speaker 1: I ever met Michael Caine was in there. Um Joan

96
00:05:45,279 --> 00:05:47,760
Speaker 1: Collins I became friends with back then and still am

97
00:05:47,960 --> 00:05:50,960
Speaker 1: so is that kind of a slightly glamorous place and

98
00:05:51,000 --> 00:05:52,839
Speaker 1: we would do two or three sets a night, sitting

99
00:05:52,839 --> 00:05:56,600
Speaker 1: on bar stools, singing folks songs, everly brothers songs, everything

100
00:05:56,600 --> 00:05:59,719
Speaker 1: we can think of and One night, a man in

101
00:05:59,720 --> 00:06:01,560
Speaker 1: a very shiny suit came up to us after the

102
00:06:01,560 --> 00:06:03,960
Speaker 1: show and asked if he could buy us a drink.

103
00:06:04,000 --> 00:06:06,719
Speaker 1: We said yes, and he explained that he was Norman

104
00:06:06,839 --> 00:06:09,240
Speaker 1: Newell and and our guy from E M I Records,

105
00:06:09,680 --> 00:06:11,719
Speaker 1: and he wanted to to come an audition for E

106
00:06:11,880 --> 00:06:14,960
Speaker 1: M I. So we went up to the em I Studios,

107
00:06:14,960 --> 00:06:17,080
Speaker 1: which is what became Abbey Road. They just changed the

108
00:06:17,160 --> 00:06:21,400
Speaker 1: name about a week later, recorded a bunch of songs

109
00:06:21,920 --> 00:06:24,520
Speaker 1: and they phoned us up and told us we we

110
00:06:24,600 --> 00:06:27,440
Speaker 1: they'd like to sign us so and they said, you

111
00:06:27,480 --> 00:06:31,440
Speaker 1: know that we'd um they picked normally picked some songs

112
00:06:31,440 --> 00:06:33,159
Speaker 1: out are the ones we've been doing the night he'd

113
00:06:33,200 --> 00:06:35,400
Speaker 1: seen us that he wanted us to record. At the time,

114
00:06:35,720 --> 00:06:38,360
Speaker 1: I think he was imagining us being kind of folky,

115
00:06:38,839 --> 00:06:41,720
Speaker 1: kind of Britain's answer to the folk boom in America

116
00:06:42,000 --> 00:06:44,839
Speaker 1: as it were, well, yeah, a little bit, a little

117
00:06:44,880 --> 00:06:47,640
Speaker 1: a little slicker than that, probably the Kingston duo as

118
00:06:47,640 --> 00:06:50,760
Speaker 1: it were, or Peter and Paul without Mary. But we

119
00:06:50,800 --> 00:06:53,320
Speaker 1: went we were going to be a folk duo and uh,

120
00:06:54,160 --> 00:06:56,320
Speaker 1: and we'd love to have been Dylan, but that's you know,

121
00:06:56,600 --> 00:07:01,440
Speaker 1: that's an overweening ambition. So so that was that, and

122
00:07:01,560 --> 00:07:03,960
Speaker 1: then he said, look, if you know any any other

123
00:07:04,040 --> 00:07:05,960
Speaker 1: songs that you might like to bring to the table

124
00:07:06,000 --> 00:07:07,560
Speaker 1: other than the ones that I've already heard, you do,

125
00:07:08,520 --> 00:07:10,640
Speaker 1: feel free to bring them to this first session. And

126
00:07:10,720 --> 00:07:13,000
Speaker 1: that's where the song that we were going to talk

127
00:07:13,040 --> 00:07:18,080
Speaker 1: about comes in World Without Love. Now, in my understanding

128
00:07:18,400 --> 00:07:23,560
Speaker 1: through different interviews with different people, um that the United

129
00:07:23,560 --> 00:07:25,920
Speaker 1: States was the goal. It seemed for everybody like that

130
00:07:25,960 --> 00:07:28,200
Speaker 1: was the market like they were. You know, the Londoners

131
00:07:28,240 --> 00:07:30,640
Speaker 1: and Brits are very proud of being Brits, but boy,

132
00:07:30,680 --> 00:07:32,320
Speaker 1: they wanted to go sell records over there. Was that

133
00:07:32,360 --> 00:07:34,280
Speaker 1: true for you as well. Were not just selling records.

134
00:07:34,320 --> 00:07:37,400
Speaker 1: It was an overall huge ambition to go to America

135
00:07:37,440 --> 00:07:41,239
Speaker 1: and and we idolized America. I mean musically, of course

136
00:07:41,280 --> 00:07:43,840
Speaker 1: we did, when you think about it. The Beatles until

137
00:07:43,880 --> 00:07:46,360
Speaker 1: they started writing their own songs, which they turned out

138
00:07:46,360 --> 00:07:50,080
Speaker 1: to do rather well, but until that time they never

139
00:07:50,160 --> 00:07:53,240
Speaker 1: sang a British song. Everything was based It was a

140
00:07:53,280 --> 00:07:56,040
Speaker 1: tribute to American music, you know. And the same with us.

141
00:07:56,120 --> 00:07:59,040
Speaker 1: We were doing Everly Brothers American folks songs. We didn't

142
00:07:59,040 --> 00:08:01,920
Speaker 1: do any English songs at all. And and that was

143
00:08:02,040 --> 00:08:05,640
Speaker 1: also tied in with our huge admiration for America as

144
00:08:05,680 --> 00:08:08,160
Speaker 1: a whole. You know, we'd grown up after the war

145
00:08:08,320 --> 00:08:11,880
Speaker 1: in the fifties exactly, it was post war gloom and doom,

146
00:08:11,920 --> 00:08:14,760
Speaker 1: black and white, you know, everywhere, bomb sights all over

147
00:08:14,800 --> 00:08:17,720
Speaker 1: the place. We had rationaling till the nineteen fifty six,

148
00:08:18,200 --> 00:08:20,480
Speaker 1: and we could look across the Atlantic and it looked

149
00:08:20,480 --> 00:08:22,760
Speaker 1: to us like everything in America was shiny and new

150
00:08:22,800 --> 00:08:25,680
Speaker 1: and colorful, and they all had perfect teeth and big,

151
00:08:25,720 --> 00:08:28,600
Speaker 1: amazing cars, and you know, it was like, whoa, that's

152
00:08:28,680 --> 00:08:32,640
Speaker 1: the place and this incredible music. So one thing I

153
00:08:32,640 --> 00:08:35,760
Speaker 1: remember distinctly is that when um well with that lot

154
00:08:35,800 --> 00:08:38,320
Speaker 1: went to number one and we got the phone call,

155
00:08:38,720 --> 00:08:41,840
Speaker 1: one of the biggest aspects of that call was that

156
00:08:41,920 --> 00:08:44,360
Speaker 1: now we get to go. It was not only that

157
00:08:44,480 --> 00:08:47,600
Speaker 1: sheer number oneness of it. It was they cannot stop us.

158
00:08:47,600 --> 00:08:50,280
Speaker 1: Now we're going to America. You know, I had copies

159
00:08:50,320 --> 00:08:52,400
Speaker 1: of Downbeat with the jazz clubs I wanted to go

160
00:08:52,480 --> 00:08:55,360
Speaker 1: to already circled, had a poster of New York on

161
00:08:55,440 --> 00:08:58,440
Speaker 1: my wall, you know. So it was it was I

162
00:08:58,480 --> 00:09:00,880
Speaker 1: knew I was going, I just know how and when

163
00:09:01,520 --> 00:09:05,040
Speaker 1: now before we get to the song itself, How did

164
00:09:05,080 --> 00:09:08,720
Speaker 1: you meet McCartney? Well, you're you're the beneficial McCartney handing.

165
00:09:08,760 --> 00:09:13,200
Speaker 1: You are reject from the Lennon McCartney catalog. Lenna didn't

166
00:09:13,200 --> 00:09:15,000
Speaker 1: want to record. You'll tell us that story. But where

167
00:09:15,000 --> 00:09:17,480
Speaker 1: did you meet him? I met him because he had

168
00:09:17,520 --> 00:09:21,440
Speaker 1: met my sister and I was there out, um meet

169
00:09:21,480 --> 00:09:24,960
Speaker 1: your sister. U. They met because Jane at that time

170
00:09:25,040 --> 00:09:28,520
Speaker 1: was and still is a very successful actress in London

171
00:09:28,720 --> 00:09:31,760
Speaker 1: and well known. And we both actually started as child

172
00:09:31,800 --> 00:09:35,640
Speaker 1: actors um when I was eight and she was six.

173
00:09:36,120 --> 00:09:39,199
Speaker 1: We both got our first movie pots. You did your

174
00:09:39,240 --> 00:09:43,640
Speaker 1: first film, The Planter's Wife, playing the son of Clinic Colbert. Yes,

175
00:09:43,679 --> 00:09:46,000
Speaker 1: the shot that in the UK. Yes, it was period

176
00:09:46,040 --> 00:09:47,840
Speaker 1: when she moved to the UK and was working there.

177
00:09:48,000 --> 00:09:50,400
Speaker 1: My father was played by Jack Hawkins of you might

178
00:09:50,480 --> 00:09:55,240
Speaker 1: remember beautiful actor Stern military man Bridge on that required movies.

179
00:09:55,520 --> 00:09:58,680
Speaker 1: He was my father and called him much more exciting

180
00:09:58,880 --> 00:10:02,320
Speaker 1: played my mother and I got to kiss Coute with

181
00:10:02,360 --> 00:10:07,400
Speaker 1: great enthusiasm. Um, it was Pinewood. Yes, did several films. Yeah.

182
00:10:08,640 --> 00:10:12,840
Speaker 1: Was there ever a kind of a conflict for you

183
00:10:13,000 --> 00:10:14,599
Speaker 1: or anything where you thought, do I want to be

184
00:10:14,640 --> 00:10:16,320
Speaker 1: an actor. Do I want to be a musician? Why

185
00:10:16,360 --> 00:10:19,600
Speaker 1: did you then do one? Well? It's interesting, yes, I

186
00:10:19,600 --> 00:10:23,720
Speaker 1: mean I think what happened is that the acting, my acting,

187
00:10:23,760 --> 00:10:26,240
Speaker 1: the offers diminished and my ability to do them finished.

188
00:10:26,240 --> 00:10:28,600
Speaker 1: And I started to take school seriously. As I mentioned,

189
00:10:28,640 --> 00:10:30,360
Speaker 1: I was at Westminster, which was a school. It did

190
00:10:30,360 --> 00:10:32,040
Speaker 1: not give you time off to go and be in

191
00:10:32,040 --> 00:10:35,160
Speaker 1: a film. Jane, on the other hand, I was super

192
00:10:35,240 --> 00:10:37,680
Speaker 1: enthusiastic about it and extremely good at it and became

193
00:10:37,679 --> 00:10:41,679
Speaker 1: immediately successful. Quit school at fifteen. My tolerant parents he

194
00:10:41,720 --> 00:10:44,800
Speaker 1: had again going okay, and and became a full time actor,

195
00:10:44,840 --> 00:10:47,520
Speaker 1: which she still is and and does very well. And

196
00:10:47,520 --> 00:10:51,880
Speaker 1: and it was in that context as a celebrity actor

197
00:10:52,160 --> 00:10:56,280
Speaker 1: Movi saw beautiful person that she was invited to go

198
00:10:56,320 --> 00:10:58,040
Speaker 1: and see the Beatles when they first came down to

199
00:10:58,040 --> 00:11:01,160
Speaker 1: London by magazine who wanted her to write peace about

200
00:11:01,200 --> 00:11:03,160
Speaker 1: you know what was all the fuss about? What did

201
00:11:03,200 --> 00:11:07,000
Speaker 1: she write? Um? Was she favorable? She was extremely favorable.

202
00:11:08,440 --> 00:11:09,720
Speaker 1: I don't know if we've got a copy of the

203
00:11:09,760 --> 00:11:12,559
Speaker 1: actual piece, but I remember talking about it and saying

204
00:11:12,640 --> 00:11:15,320
Speaker 1: how great they were. And of course as the visiting

205
00:11:15,360 --> 00:11:20,880
Speaker 1: celeb she was taken backstage to meet them all afterwards, like, yes,

206
00:11:20,960 --> 00:11:22,679
Speaker 1: she was famous and she was a bit more well

207
00:11:22,720 --> 00:11:25,479
Speaker 1: done than they were. They were about to become immensely

208
00:11:25,520 --> 00:11:27,640
Speaker 1: more well known than anyone in the universe. But at

209
00:11:27,679 --> 00:11:30,640
Speaker 1: the time Jane was she was on television quite a

210
00:11:30,640 --> 00:11:35,200
Speaker 1: lot and that stuff. So she met them and liked them.

211
00:11:35,240 --> 00:11:37,000
Speaker 1: They liked her. One of them liked her in particular

212
00:11:37,040 --> 00:11:39,960
Speaker 1: and asked her out. So that's how it began. And

213
00:11:40,000 --> 00:11:44,360
Speaker 1: I how long were they together? Uh? Several years? Well,

214
00:11:44,559 --> 00:11:46,440
Speaker 1: because he ended up moving into our house. You know,

215
00:11:46,480 --> 00:11:48,560
Speaker 1: I don't know that part of the story. He lived

216
00:11:48,600 --> 00:11:50,200
Speaker 1: He lived in your house for about two years. You

217
00:11:50,240 --> 00:11:53,400
Speaker 1: shared a room with him? No, she had a floor

218
00:11:53,520 --> 00:11:57,200
Speaker 1: tune and the next door rooms. We had do separate bessos. Then, yes,

219
00:11:57,240 --> 00:11:59,280
Speaker 1: we had about yes, although we've been thrilling if you

220
00:11:59,360 --> 00:12:01,960
Speaker 1: were the same, could be laying there at nights smoking

221
00:12:02,160 --> 00:12:08,160
Speaker 1: steaming training lyrics. This, Yeah, maybe I could have got

222
00:12:08,200 --> 00:12:09,959
Speaker 1: it right. Maybe should play this. He could have given

223
00:12:09,960 --> 00:12:11,760
Speaker 1: you a little pointers, a couple of words and one

224
00:12:12,400 --> 00:12:15,760
Speaker 1: McCarty and asher, I'd be rich exactly and then and

225
00:12:15,800 --> 00:12:19,880
Speaker 1: then so then he gives you the song what happened?

226
00:12:20,040 --> 00:12:22,920
Speaker 1: I'd heard the song you guys were recording. No, you

227
00:12:23,000 --> 00:12:25,960
Speaker 1: were you had made No. Here's what happened. Cut back

228
00:12:25,960 --> 00:12:27,480
Speaker 1: to what I was telling you, the story about Norman

229
00:12:27,520 --> 00:12:31,320
Speaker 1: Neil spots us in the club signs Us chooses some

230
00:12:31,400 --> 00:12:36,960
Speaker 1: songs from our existing repertoire sixty three and says Joan,

231
00:12:37,400 --> 00:12:39,120
Speaker 1: if there are any other good songs you want to do,

232
00:12:39,640 --> 00:12:41,679
Speaker 1: let me know. And the reason I kind of went,

233
00:12:41,880 --> 00:12:45,400
Speaker 1: maybe there is is because a few months earlier I

234
00:12:45,440 --> 00:12:48,040
Speaker 1: had heard this song well without Love. Paul was just

235
00:12:48,080 --> 00:12:50,240
Speaker 1: sing it in his room and I said, that's really good,

236
00:12:50,559 --> 00:12:53,960
Speaker 1: and and he'd explained to me that it was unfinished

237
00:12:54,240 --> 00:12:56,840
Speaker 1: because because John didn't like it, they weren't going to

238
00:12:56,880 --> 00:12:59,360
Speaker 1: record it. But what also is that he would actually

239
00:12:59,400 --> 00:13:01,840
Speaker 1: kind of laugh. The opening line he thought, please locked

240
00:13:01,880 --> 00:13:04,400
Speaker 1: me away was a ridiculous open to a song. So

241
00:13:04,720 --> 00:13:07,480
Speaker 1: apparently when Paul would try to sell John on the song,

242
00:13:07,760 --> 00:13:10,280
Speaker 1: he would get no further than that line, and John

243
00:13:10,280 --> 00:13:12,280
Speaker 1: would stop him and go, okay, I will lock your way.

244
00:13:12,320 --> 00:13:15,080
Speaker 1: The song is over. That's amazing. Then then nothing happened

245
00:13:15,160 --> 00:13:17,520
Speaker 1: until we got our record deal, and I went back

246
00:13:17,520 --> 00:13:20,160
Speaker 1: to Paul and said, look, this amazing thing has happened.

247
00:13:20,360 --> 00:13:21,880
Speaker 1: We are going to make a record. We've got a

248
00:13:22,120 --> 00:13:24,600
Speaker 1: studio date booked in a month or whatever it was,

249
00:13:25,000 --> 00:13:27,480
Speaker 1: and he's booked and musicians. We picked a few songs,

250
00:13:27,679 --> 00:13:30,360
Speaker 1: but I wondered, could we possibly have a go at

251
00:13:30,440 --> 00:13:33,000
Speaker 1: that world with our love song that that we I

252
00:13:33,040 --> 00:13:36,120
Speaker 1: liked so much? And he said yes, and he wrote

253
00:13:36,120 --> 00:13:38,920
Speaker 1: out the chords and the words for me on a

254
00:13:38,960 --> 00:13:41,760
Speaker 1: piece of paper which is safely locked and a fire

255
00:13:41,800 --> 00:13:45,600
Speaker 1: proof safe back. And that's when I did. As the

256
00:13:45,720 --> 00:13:48,640
Speaker 1: session date grew near, I did have to prevail upon

257
00:13:48,720 --> 00:13:51,560
Speaker 1: him to finish it. So finally I said, you know,

258
00:13:51,600 --> 00:13:53,800
Speaker 1: we really need a bridge. This is too short, you know,

259
00:13:53,880 --> 00:13:56,840
Speaker 1: even by pop standards, it's about a minute, and uh

260
00:13:57,360 --> 00:14:01,960
Speaker 1: so and so so he he finally took his guitar

261
00:14:02,040 --> 00:14:05,200
Speaker 1: and went into his bedroom for you know, of course,

262
00:14:05,240 --> 00:14:08,920
Speaker 1: an infuriatingly short like eight minutes or so, and came

263
00:14:08,920 --> 00:14:12,160
Speaker 1: out exactly, came out with the so I wait and

264
00:14:12,240 --> 00:14:14,640
Speaker 1: in a while I will see my true love smile,

265
00:14:14,800 --> 00:14:17,160
Speaker 1: which is the beautiful bridge of the song. And we

266
00:14:17,160 --> 00:14:20,800
Speaker 1: were done, and so we we recorded it a week later,

267
00:14:21,560 --> 00:14:23,680
Speaker 1: along with about four or five other songs. This was

268
00:14:23,720 --> 00:14:25,480
Speaker 1: not an album deal. This was a deal to see

269
00:14:25,480 --> 00:14:28,480
Speaker 1: if we could make a single, and and by the

270
00:14:28,560 --> 00:14:31,400
Speaker 1: end of the session all that folky plan was out

271
00:14:31,440 --> 00:14:34,440
Speaker 1: the window because well, with our Love sounded like a hit.

272
00:14:34,520 --> 00:14:36,600
Speaker 1: So that was no there's no question anyone's mind that

273
00:14:36,640 --> 00:14:38,840
Speaker 1: was going to be our first single, and it was

274
00:14:38,920 --> 00:14:41,040
Speaker 1: and it went to number one, first in England and

275
00:14:41,080 --> 00:14:44,760
Speaker 1: then all over Europe and finally America. Now, how long

276
00:14:44,840 --> 00:14:48,160
Speaker 1: do you ride the Peter and Gordon thing before you

277
00:14:48,200 --> 00:14:51,280
Speaker 1: transition into becoming a full time you know? That then

278
00:14:51,400 --> 00:14:54,680
Speaker 1: ends you stopped doing that when we we never broke

279
00:14:54,800 --> 00:14:56,680
Speaker 1: up as such. It's interesting we never had a big

280
00:14:56,680 --> 00:15:00,960
Speaker 1: Everly Brothers level row or anything like that. We agilely drifted,

281
00:15:01,480 --> 00:15:04,480
Speaker 1: I guess in about sixty eight into doing other things.

282
00:15:04,640 --> 00:15:07,360
Speaker 1: I knew I wanted to produce records. Why the first

283
00:15:07,360 --> 00:15:09,640
Speaker 1: time I was ever in the recording studio, I went,

284
00:15:09,760 --> 00:15:12,720
Speaker 1: this is so cool. And when I saw what it produced.

285
00:15:12,760 --> 00:15:15,680
Speaker 1: It does that you could try out ideas, imagine arrangements

286
00:15:15,680 --> 00:15:18,560
Speaker 1: and sounds. To fact, you can have musicians much better

287
00:15:18,560 --> 00:15:20,880
Speaker 1: than yourself and tell them what to do. That that

288
00:15:20,920 --> 00:15:23,560
Speaker 1: was really something I share that passion with you. I

289
00:15:23,600 --> 00:15:25,600
Speaker 1: went to a recording studio a couple of times in

290
00:15:25,680 --> 00:15:28,320
Speaker 1: my left not often. I went to watch people record

291
00:15:28,360 --> 00:15:30,720
Speaker 1: and it was one of the most thrilling experiences of mine. Yeah,

292
00:15:30,920 --> 00:15:32,160
Speaker 1: but all of a sudden, now you're in the world

293
00:15:32,160 --> 00:15:34,360
Speaker 1: where you're helping other people get where they want to go.

294
00:15:34,440 --> 00:15:37,120
Speaker 1: You're a service to them. Yes, you're you're working for them.

295
00:15:37,240 --> 00:15:39,240
Speaker 1: What was that like for you? Well, there are two

296
00:15:39,240 --> 00:15:42,080
Speaker 1: completely different aspects of it. The production thing, as I say,

297
00:15:42,240 --> 00:15:45,480
Speaker 1: was a deliberate, unconscious ambition. I said, I wanted to

298
00:15:45,480 --> 00:15:47,520
Speaker 1: do this, and of course the thing was that in

299
00:15:47,640 --> 00:15:50,000
Speaker 1: order to prove whether or not you could produce the record,

300
00:15:50,200 --> 00:15:52,560
Speaker 1: you had to find somebody who wanted you to produce

301
00:15:52,600 --> 00:15:55,160
Speaker 1: them and me and a budget. You know, now it's

302
00:15:55,160 --> 00:15:56,840
Speaker 1: a lot different. Now if you want to be a

303
00:15:56,840 --> 00:15:59,160
Speaker 1: record producer, you can sit at your laptop and come

304
00:15:59,200 --> 00:16:01,000
Speaker 1: up with a groove and to beat and some music

305
00:16:01,080 --> 00:16:03,520
Speaker 1: and you know, go, look, this is what I can do,

306
00:16:03,560 --> 00:16:05,960
Speaker 1: and every will go great. You can do this record

307
00:16:06,000 --> 00:16:08,960
Speaker 1: for us. But that, of course didn't exist without a

308
00:16:09,000 --> 00:16:11,160
Speaker 1: studio with real people in it. There was no way.

309
00:16:11,280 --> 00:16:13,720
Speaker 1: How did you get in there? Um? I persuaded a

310
00:16:13,760 --> 00:16:17,440
Speaker 1: friend of mine UM called Paul Jones, and if you

311
00:16:17,440 --> 00:16:19,760
Speaker 1: remember him, he was the lead singer of Manfred Many,

312
00:16:20,200 --> 00:16:23,080
Speaker 1: great voice, you know that she was just to walk

313
00:16:23,160 --> 00:16:26,040
Speaker 1: into that brilliant singing and one of the best harmonica

314
00:16:26,040 --> 00:16:29,920
Speaker 1: players in the world. And he did me a huge favor.

315
00:16:29,960 --> 00:16:32,360
Speaker 1: He was going to make a solo album of He

316
00:16:32,520 --> 00:16:34,280
Speaker 1: watched me in the studio on a couple of Peter

317
00:16:34,360 --> 00:16:36,680
Speaker 1: and Gordon records and and said, you know, do you

318
00:16:36,720 --> 00:16:38,960
Speaker 1: want to produce some tracks with me? And I said yes.

319
00:16:39,040 --> 00:16:42,480
Speaker 1: So the first record I ever produced was one song,

320
00:16:42,520 --> 00:16:44,760
Speaker 1: a B G song called and the Sun Will Shine,

321
00:16:45,480 --> 00:16:48,080
Speaker 1: sung by Paul Jones. And what I did it's only

322
00:16:48,120 --> 00:16:51,560
Speaker 1: notable now and in many respects because I wanted today

323
00:16:51,600 --> 00:16:55,320
Speaker 1: no chances on getting a great rhythm section. Um, so

324
00:16:55,360 --> 00:16:57,800
Speaker 1: I have some friends to play on it, so that

325
00:16:57,800 --> 00:17:00,240
Speaker 1: that record has Nicky Hopkins on piano and if you

326
00:17:00,280 --> 00:17:03,800
Speaker 1: know Nicks and piano, Paul Samwell Smith on bass, who

327
00:17:03,840 --> 00:17:06,200
Speaker 1: was the bass player in the Yardbirds and went on

328
00:17:06,240 --> 00:17:08,680
Speaker 1: by the way to produce Carlie Simon's record and Cat

329
00:17:08,720 --> 00:17:13,400
Speaker 1: Stevens records, um, Jeff Beck on guitar, and Paul McCartney

330
00:17:13,400 --> 00:17:18,399
Speaker 1: on drums, so legend drums, crazy great drummer. And so

331
00:17:18,480 --> 00:17:20,439
Speaker 1: that was the rhythm section the song is only a

332
00:17:20,440 --> 00:17:23,320
Speaker 1: minor hit, but I got into the production business and

333
00:17:23,359 --> 00:17:26,800
Speaker 1: then so that was the first example of advising other people.

334
00:17:27,080 --> 00:17:30,680
Speaker 1: The second one was James Taylor, where I became his

335
00:17:30,840 --> 00:17:33,760
Speaker 1: manager only because I believe so strongly in him and

336
00:17:33,800 --> 00:17:35,520
Speaker 1: we didn't know who else we trusted to do it.

337
00:17:35,880 --> 00:17:41,639
Speaker 1: I found James, discovered him and show biz Vernacular where

338
00:17:42,480 --> 00:17:46,280
Speaker 1: the King Bees, featuring Danny Kuchma on lead guitar, accompanied

339
00:17:46,280 --> 00:17:48,679
Speaker 1: Peter and Gordon on a couple of tours. We were

340
00:17:48,680 --> 00:17:51,800
Speaker 1: assigned the backup band. Usually they were very good. Danny

341
00:17:51,800 --> 00:17:54,640
Speaker 1: and I became firm friends. I loved his playing. He's

342
00:17:54,680 --> 00:17:56,800
Speaker 1: a big Steve Cropper fan as I am, and on

343
00:17:57,280 --> 00:18:03,640
Speaker 1: and and so uh. He and I became friends, remained

344
00:18:03,640 --> 00:18:06,679
Speaker 1: friends after the Peter and Gordon era was over. Danny

345
00:18:06,880 --> 00:18:09,760
Speaker 1: was then in a band called the Flying Machine with

346
00:18:09,880 --> 00:18:13,120
Speaker 1: his childhood friend James Taylor. They'd known each other since

347
00:18:13,160 --> 00:18:15,879
Speaker 1: they were ten or eleven years old and and remained

348
00:18:16,000 --> 00:18:18,840
Speaker 1: great over here to this day. Over here then I

349
00:18:18,880 --> 00:18:23,320
Speaker 1: think in North Carolina and Martha's vineyond, and so Danny

350
00:18:23,400 --> 00:18:25,560
Speaker 1: was in this Flying Machine band. Flying Machine was a

351
00:18:25,560 --> 00:18:28,440
Speaker 1: New York band, suffering all of assisted UDEs in New

352
00:18:28,480 --> 00:18:32,080
Speaker 1: York can possibly offer um. They were broke. Then their

353
00:18:32,119 --> 00:18:35,000
Speaker 1: record company made half a record and disappeared, and uh,

354
00:18:35,080 --> 00:18:36,879
Speaker 1: there were several of them. Was strung out on drugs,

355
00:18:36,880 --> 00:18:40,240
Speaker 1: including James, and it was all miserable. So band broke up.

356
00:18:40,560 --> 00:18:43,040
Speaker 1: James decided to go to London, mostly because I think

357
00:18:43,040 --> 00:18:44,760
Speaker 1: he had a girlfriend over there he thought he could

358
00:18:44,760 --> 00:18:47,560
Speaker 1: stay with. And Danny said, oh, if you're going to London,

359
00:18:47,840 --> 00:18:49,920
Speaker 1: I have an old friend who lives in London who

360
00:18:49,920 --> 00:18:52,359
Speaker 1: I used to play with. He's okay, here's his number,

361
00:18:52,480 --> 00:18:54,840
Speaker 1: So he gave me gave James my name and number.

362
00:18:55,480 --> 00:18:59,199
Speaker 1: So James, having come over to London, called me up

363
00:18:59,200 --> 00:19:01,560
Speaker 1: out of the blue, without any idea of what I

364
00:19:01,560 --> 00:19:04,679
Speaker 1: was up to at that time, and introduced himself as

365
00:19:04,760 --> 00:19:07,679
Speaker 1: Danny's friend. I invited him over to dinner. He played

366
00:19:07,720 --> 00:19:09,879
Speaker 1: me a little demo tape he'd made a few days before,

367
00:19:09,920 --> 00:19:13,280
Speaker 1: and I was completely stunned and blown away and amazed.

368
00:19:14,600 --> 00:19:16,680
Speaker 1: That would have been late sixties seven, I think, or

369
00:19:16,720 --> 00:19:20,240
Speaker 1: at least sixty eight, and and you know everything about him.

370
00:19:20,760 --> 00:19:22,639
Speaker 1: I couldn't believe I was hearing this him for the

371
00:19:22,680 --> 00:19:25,320
Speaker 1: first time, his guitar playing at the precision of a

372
00:19:25,320 --> 00:19:29,040
Speaker 1: classical musician, but the chords of a jazz musician, you know,

373
00:19:29,160 --> 00:19:33,399
Speaker 1: and this finger picking, beautiful style. His singing, you know,

374
00:19:33,440 --> 00:19:36,760
Speaker 1: he had. His voice was this sort of rich, folky

375
00:19:37,040 --> 00:19:39,920
Speaker 1: kind of American voice, but the phrasing was all Sam

376
00:19:39,920 --> 00:19:42,600
Speaker 1: Cook and Ray Charles. You know. It was a brilliant mixture.

377
00:19:42,880 --> 00:19:45,639
Speaker 1: And of course these incredible songs. This tape he played

378
00:19:45,680 --> 00:19:47,960
Speaker 1: me had something in the way she moves and something's

379
00:19:48,000 --> 00:19:50,760
Speaker 1: wrong and knocking around the zoo on that tape, picked

380
00:19:50,800 --> 00:19:52,560
Speaker 1: up my guitar, played me a couple of more songs,

381
00:19:52,960 --> 00:19:55,720
Speaker 1: and I we had this odd conversation, right and said, look,

382
00:19:56,040 --> 00:19:58,600
Speaker 1: it so happens. I've just got this job as head

383
00:19:58,600 --> 00:20:00,879
Speaker 1: of A and R for a new record Labe. You know,

384
00:20:00,920 --> 00:20:03,400
Speaker 1: I can sign people. Would you like a record deal?

385
00:20:03,480 --> 00:20:05,200
Speaker 1: And he kind of went, yes, I love one, and

386
00:20:05,280 --> 00:20:07,120
Speaker 1: that was it. And of course I had to explain

387
00:20:07,200 --> 00:20:09,760
Speaker 1: him whose label it was and and so on. So

388
00:20:09,840 --> 00:20:13,440
Speaker 1: within days of how often did they interact well within

389
00:20:13,960 --> 00:20:16,760
Speaker 1: with the band? Gotcha when in days of this conversation,

390
00:20:17,000 --> 00:20:19,240
Speaker 1: I brought him into the office to meet everybody. He

391
00:20:19,280 --> 00:20:21,680
Speaker 1: sat and he played a couple of songs for George

392
00:20:21,680 --> 00:20:24,760
Speaker 1: and Paul. As I recall and they shared my enthusiasm.

393
00:20:25,040 --> 00:20:29,000
Speaker 1: We signed him up and they intimidated to play for them. Yes, yes,

394
00:20:30,320 --> 00:20:33,680
Speaker 1: we Two interesting things actually in in the In the

395
00:20:33,760 --> 00:20:37,160
Speaker 1: lyrics to Fire and Rain, Um, there are a couple

396
00:20:37,200 --> 00:20:42,119
Speaker 1: of things that are often misinterpreted. Um. One is is

397
00:20:42,240 --> 00:20:45,400
Speaker 1: um flying machines in pieces on the ground. People think

398
00:20:45,400 --> 00:20:48,399
Speaker 1: it's about a plane crash. That's the band breaking up.

399
00:20:48,600 --> 00:20:51,320
Speaker 1: And the other is holy host of others standing around me.

400
00:20:51,560 --> 00:20:55,040
Speaker 1: That's the Beatles. Wow, that's so cool. So they were

401
00:20:55,040 --> 00:20:57,359
Speaker 1: the Holy Host. And yes he was intimidated. And I

402
00:20:57,359 --> 00:21:01,040
Speaker 1: didn't really think to think that through in terms of

403
00:21:01,240 --> 00:21:04,760
Speaker 1: how because I mean, I'm sure that the Bold was

404
00:21:04,800 --> 00:21:07,240
Speaker 1: full of Americans jumping on a plane going I'm gonna

405
00:21:07,240 --> 00:21:09,119
Speaker 1: go to London and meet the Beatles, you know, And

406
00:21:09,160 --> 00:21:11,840
Speaker 1: there was James doing exactly that and and meeting them

407
00:21:11,880 --> 00:21:17,480
Speaker 1: within days of arrival. Another man like Peter Asher, with

408
00:21:17,560 --> 00:21:21,040
Speaker 1: a front seat to music history, is New York's biggest

409
00:21:21,119 --> 00:21:25,960
Speaker 1: concert promoter of the past fifty years. Ron delsoner, So

410
00:21:26,000 --> 00:21:29,200
Speaker 1: you have to be a diplomat where most people aren't.

411
00:21:29,440 --> 00:21:31,439
Speaker 1: They don't know how to But after you learn this,

412
00:21:31,520 --> 00:21:34,560
Speaker 1: as you do in you akryft how to make everybody happy,

413
00:21:34,640 --> 00:21:36,920
Speaker 1: sit down at the table. Not it's this way, we're

414
00:21:36,920 --> 00:21:39,320
Speaker 1: gonna bomb you. You're gonna see fire and fear. We're

415
00:21:39,320 --> 00:21:41,760
Speaker 1: gonna burn your house and your kids and the dog.

416
00:21:42,119 --> 00:21:45,840
Speaker 1: I don't do that. For my full interview with Ron

417
00:21:45,880 --> 00:21:51,760
Speaker 1: Delsoner text Ron to seven zero zero one. Peter Asher

418
00:21:51,800 --> 00:22:05,399
Speaker 1: on living with Paul McCartney coming up next. This is

419
00:22:05,440 --> 00:22:08,320
Speaker 1: Alec Baldwin and you were listening to Here's the thing.

420
00:22:09,240 --> 00:22:11,760
Speaker 1: Peter Asher was at the center of everything that was

421
00:22:11,840 --> 00:22:14,880
Speaker 1: happening in British music in the sixties. I remember going

422
00:22:14,880 --> 00:22:18,000
Speaker 1: to see the Stones with Poul quite early on and

423
00:22:18,040 --> 00:22:20,679
Speaker 1: they were playing the Scene Club in London, and it

424
00:22:20,720 --> 00:22:24,879
Speaker 1: was on the way there. He was pretty disgruntled about

425
00:22:24,880 --> 00:22:26,520
Speaker 1: the fact he said. The only thing he said the

426
00:22:26,640 --> 00:22:29,200
Speaker 1: really eight He said that their manager lets them wear

427
00:22:29,200 --> 00:22:32,240
Speaker 1: whatever they like and Brian makes his well, these stupid suits.

428
00:22:32,520 --> 00:22:36,080
Speaker 1: Is that what he said? Now, um, this is in

429
00:22:36,119 --> 00:22:37,760
Speaker 1: the New York Times. I want to I want to

430
00:22:37,840 --> 00:22:40,960
Speaker 1: launch this section of our conversation. Describe reading this thing,

431
00:22:41,240 --> 00:22:43,120
Speaker 1: which I read to McCartney one time. I don't think

432
00:22:43,119 --> 00:22:45,040
Speaker 1: he ever read this. Of course he can't be. He

433
00:22:45,119 --> 00:22:48,560
Speaker 1: can't track every single reference to the Beatles as cultural material.

434
00:22:48,640 --> 00:22:51,560
Speaker 1: But this is from the New York Times, when the

435
00:22:51,560 --> 00:22:54,439
Speaker 1: Beatles make their iTunes deal in two thousand ten. This

436
00:22:54,480 --> 00:22:57,560
Speaker 1: is in November of two thousand ten. And uh in

437
00:22:57,600 --> 00:23:01,720
Speaker 1: the New York Times, ben Cesarreo and Miguel Health to

438
00:23:01,760 --> 00:23:05,720
Speaker 1: other writers, and they're right. What is perhaps one of

439
00:23:05,760 --> 00:23:08,840
Speaker 1: my favorite paragraphs there right, one of the last major

440
00:23:09,280 --> 00:23:12,959
Speaker 1: holdouts against selling its music via digital downloads, The Beatles

441
00:23:13,000 --> 00:23:16,159
Speaker 1: or the ultimate prize for any music company. The groups

442
00:23:16,200 --> 00:23:19,920
Speaker 1: held on to blockbuster sales. Four decades after breaking up.

443
00:23:20,160 --> 00:23:22,359
Speaker 1: It has sold more than one d and seventy seven

444
00:23:22,440 --> 00:23:25,560
Speaker 1: million albums in the United States alone, according to the

445
00:23:25,600 --> 00:23:28,280
Speaker 1: Record Industry Association of America. And here's the line that

446
00:23:28,280 --> 00:23:33,840
Speaker 1: I've read to McCartney and held onto untouchable cultural prestige.

447
00:23:34,200 --> 00:23:36,239
Speaker 1: Why do you think that is? Why? What is it?

448
00:23:36,359 --> 00:23:38,359
Speaker 1: I mean I can give. I want to do your

449
00:23:38,359 --> 00:23:40,600
Speaker 1: show one day. So I did the Beatles show here

450
00:23:40,600 --> 00:23:41,840
Speaker 1: and it wasn't your show. I did one of the

451
00:23:41,880 --> 00:23:46,000
Speaker 1: other Beatles shows for serious series I love. Do you

452
00:23:46,080 --> 00:23:49,800
Speaker 1: have guests come on? My god? Well if you if

453
00:23:49,800 --> 00:23:51,879
Speaker 1: you've got to cover them, don't work. I came on

454
00:23:52,000 --> 00:23:53,760
Speaker 1: the plate all my stuff. But what I want to want,

455
00:23:54,000 --> 00:23:56,040
Speaker 1: but we can do this now. In a sense which

456
00:23:56,040 --> 00:24:00,760
Speaker 1: he said, what is it about them? They made them

457
00:24:01,280 --> 00:24:03,919
Speaker 1: on their own planet. I think you referred to some

458
00:24:03,960 --> 00:24:06,320
Speaker 1: of it before. It was that the coming together, this

459
00:24:06,440 --> 00:24:10,359
Speaker 1: perfect storm, you know, where every element was perfect. You

460
00:24:10,440 --> 00:24:14,560
Speaker 1: cannot imagine any better combination. A better manager could have been,

461
00:24:14,560 --> 00:24:18,960
Speaker 1: a producer exactly, could better studio musicians exactly. And the

462
00:24:19,119 --> 00:24:21,200
Speaker 1: depth the distinction, it's as if you know, when the

463
00:24:21,240 --> 00:24:24,200
Speaker 1: spice cirlls created the spice calls, trying to give, trying

464
00:24:24,280 --> 00:24:28,520
Speaker 1: to get deliberately give each one, okay, your sporty, your posh,

465
00:24:28,880 --> 00:24:30,800
Speaker 1: your whatever it was, and whatever it was, you know,

466
00:24:31,080 --> 00:24:34,840
Speaker 1: and it was artificial and it was incomplete. That happened

467
00:24:35,119 --> 00:24:39,000
Speaker 1: by the will of God or whatever. With the Beatles,

468
00:24:39,119 --> 00:24:41,120
Speaker 1: there was it was just something we could There was one.

469
00:24:41,280 --> 00:24:43,399
Speaker 1: There was a beatle for everyone to love. There was

470
00:24:43,520 --> 00:24:46,600
Speaker 1: music for everybody to love, because the songs varied between

471
00:24:46,840 --> 00:24:49,399
Speaker 1: full out, full on rock and roll and then suddenly

472
00:24:49,440 --> 00:24:53,960
Speaker 1: a beautiful show tun or an amazing ballad or bloody yesterday.

473
00:24:54,040 --> 00:24:56,960
Speaker 1: You know it was that. And and the other thing

474
00:24:57,040 --> 00:24:59,840
Speaker 1: is they were just better than everybody else. Better, right

475
00:25:00,119 --> 00:25:03,720
Speaker 1: is you know, not better players necessarily as individual virtuosos,

476
00:25:03,880 --> 00:25:07,280
Speaker 1: but better players as a combination. You know, the people

477
00:25:07,320 --> 00:25:09,240
Speaker 1: would say, well, Ringer is not a great drummer, George,

478
00:25:09,280 --> 00:25:11,959
Speaker 1: someone else can play faster guitarics than George, and it

479
00:25:12,040 --> 00:25:15,040
Speaker 1: was that was wrong because what they were playing. That's

480
00:25:15,080 --> 00:25:17,320
Speaker 1: an unfair statement to say that Ringo wasn't a great drummer.

481
00:25:17,359 --> 00:25:20,560
Speaker 1: I love Ringers, don't. I may continually say that Ringo

482
00:25:20,600 --> 00:25:23,840
Speaker 1: is still underrated to this day because Ringo was a

483
00:25:23,920 --> 00:25:27,359
Speaker 1: brilliant I mean, he was a restrained drummer. There was

484
00:25:27,400 --> 00:25:31,200
Speaker 1: a period where being a great drummer or even John

485
00:25:31,240 --> 00:25:33,639
Speaker 1: Bottom or Buddy Rich and I mean that was the

486
00:25:33,680 --> 00:25:35,560
Speaker 1: time when or a brilliant drummer is someone who can

487
00:25:35,800 --> 00:25:38,760
Speaker 1: just go crazy and be flashy. And that's why it's

488
00:25:38,800 --> 00:25:41,080
Speaker 1: so great that there's no Ringo drum solos really, I

489
00:25:41,119 --> 00:25:44,639
Speaker 1: mean as such full on solos. And you know, and

490
00:25:44,680 --> 00:25:48,280
Speaker 1: he he would work out almost a written part for

491
00:25:48,320 --> 00:25:51,720
Speaker 1: each song where it exactly fit not just what everyone

492
00:25:51,720 --> 00:25:54,280
Speaker 1: else was playing, but the lyric and and everything. No,

493
00:25:54,359 --> 00:25:57,760
Speaker 1: I think Ringo was utterly brilliant and and and you know,

494
00:25:57,880 --> 00:26:00,600
Speaker 1: and and George too. You know the fact there's other

495
00:26:00,600 --> 00:26:02,800
Speaker 1: people who can play flash here and faster is not

496
00:26:02,920 --> 00:26:05,720
Speaker 1: the point. He would pick the right guitar, like, the

497
00:26:05,800 --> 00:26:09,000
Speaker 1: right guitar tone to fit the song, and you know

498
00:26:09,040 --> 00:26:11,119
Speaker 1: it was all perfect. How did you know, Epsine? Where'd

499
00:26:11,160 --> 00:26:13,560
Speaker 1: you meet him? I didn't know him terribly well. I

500
00:26:13,600 --> 00:26:15,480
Speaker 1: liked him very much. I met him, you know, as

501
00:26:15,520 --> 00:26:17,679
Speaker 1: I got to hang out with the Beatles. Obviously he

502
00:26:17,760 --> 00:26:21,119
Speaker 1: was around from time to time. And I remember playing

503
00:26:21,119 --> 00:26:25,239
Speaker 1: poker with him on a train across Germany. Um we

504
00:26:25,240 --> 00:26:27,280
Speaker 1: were it was the only time we toured with the Beatles.

505
00:26:27,480 --> 00:26:29,199
Speaker 1: They were in this fancy train and we were all

506
00:26:29,240 --> 00:26:31,760
Speaker 1: sitting there playing poker with a couple of Beatles and

507
00:26:31,800 --> 00:26:35,360
Speaker 1: Brian and and he won, by the way, and and

508
00:26:36,400 --> 00:26:38,560
Speaker 1: the Beatles loved them dearly. I mean. And what is

509
00:26:38,640 --> 00:26:41,960
Speaker 1: clear from conversations with Brian and from learning about Brian,

510
00:26:42,440 --> 00:26:45,440
Speaker 1: is that you know he he would have thrown thrown

511
00:26:45,480 --> 00:26:47,480
Speaker 1: himself in front of a train to save them. This

512
00:26:47,680 --> 00:26:50,520
Speaker 1: was his life. His love and admiration for the Beatles

513
00:26:50,560 --> 00:26:54,520
Speaker 1: was total. Describe for me, you know something I did

514
00:26:54,560 --> 00:26:56,720
Speaker 1: not know, because I mean I would never pretend to

515
00:26:56,800 --> 00:26:58,840
Speaker 1: know everything, but something I did not know that he am.

516
00:26:58,880 --> 00:27:00,760
Speaker 1: I became happy roach today know, it's weird, isn't that

517
00:27:00,760 --> 00:27:03,359
Speaker 1: Because how did that happen? Um they just bought it

518
00:27:03,400 --> 00:27:05,800
Speaker 1: from them? No, no, no, they just changed the name.

519
00:27:05,880 --> 00:27:08,040
Speaker 1: Nothing happened, Nothing happened. Um, you know it's em It's

520
00:27:08,040 --> 00:27:12,080
Speaker 1: always been em I Studios and the Beatles don't own it. No, right,

521
00:27:12,280 --> 00:27:14,080
Speaker 1: we'll be interesting to look at what year had happened.

522
00:27:14,119 --> 00:27:16,639
Speaker 1: But at some point, and I think it was connected

523
00:27:16,720 --> 00:27:19,440
Speaker 1: with at one point, there was a suggestion it might

524
00:27:19,480 --> 00:27:22,480
Speaker 1: be for sale and there was talking about maybe it

525
00:27:22,520 --> 00:27:25,560
Speaker 1: should be saved. You know, there's a British heritage site

526
00:27:25,600 --> 00:27:27,960
Speaker 1: and all that kind of stuff. Andrew the Webber got

527
00:27:28,000 --> 00:27:30,040
Speaker 1: involved and he was talking about buying it. I remember

528
00:27:30,080 --> 00:27:33,679
Speaker 1: all that. And somewhere before that happened, somebody had the

529
00:27:33,760 --> 00:27:37,360
Speaker 1: obviously brilliant idea of changing the name of the studio

530
00:27:37,800 --> 00:27:40,879
Speaker 1: from EMI Studios to Abbey Road Studios, and they changed

531
00:27:40,920 --> 00:27:44,600
Speaker 1: the logo of the studio to be the Zebra crossing.

532
00:27:44,920 --> 00:27:48,400
Speaker 1: You know, people think that the that you know, the

533
00:27:48,400 --> 00:27:51,920
Speaker 1: the album was named after the studio, which it wasn't.

534
00:27:52,440 --> 00:27:54,919
Speaker 1: The album was named after the street they happened to be.

535
00:27:55,920 --> 00:27:58,560
Speaker 1: It was like, well, people have a tendency myself included

536
00:27:58,600 --> 00:28:02,399
Speaker 1: to two GLORI five the Beatles, and to mythologize everything

537
00:28:02,400 --> 00:28:05,560
Speaker 1: about the Beatles inappropriate but exactly, I'm the first person

538
00:28:05,640 --> 00:28:08,680
Speaker 1: to say that I thought the Beatles owned Abbey Road

539
00:28:08,720 --> 00:28:11,200
Speaker 1: Studio other than I thought they bought it for me.

540
00:28:11,320 --> 00:28:13,520
Speaker 1: It was theirs, It's their kingdom, it was all their

541
00:28:13,640 --> 00:28:16,399
Speaker 1: whole thing, not at all, not in any way, And

542
00:28:16,400 --> 00:28:18,440
Speaker 1: and it's it's just that, you know, they were sitting

543
00:28:18,480 --> 00:28:21,879
Speaker 1: around arguing about album titles, kind of went well, going

544
00:28:21,960 --> 00:28:24,600
Speaker 1: to Beta, We're you know, the studio is in Abbey Road,

545
00:28:24,760 --> 00:28:27,040
Speaker 1: let's just call it the album abby Road. And let's

546
00:28:27,040 --> 00:28:29,640
Speaker 1: just go into a photo outside inn abbey Road right now,

547
00:28:29,960 --> 00:28:32,439
Speaker 1: which is what they did. So, which is why, like

548
00:28:32,480 --> 00:28:34,359
Speaker 1: the whole crazy Paul is Dead thing and all that

549
00:28:34,480 --> 00:28:38,200
Speaker 1: is so ridiculous. Can I tell you how many Paul

550
00:28:38,320 --> 00:28:41,479
Speaker 1: is Dead conspiracy videos I've watched, Oh no, no, and

551
00:28:41,480 --> 00:28:44,560
Speaker 1: and the range of that, if you no, no, no no.

552
00:28:44,600 --> 00:28:47,400
Speaker 1: I mean when I can't sleep, I'm I'm a I'm

553
00:28:47,440 --> 00:28:50,040
Speaker 1: a Hall of Fame insomniac, and I lay and be

554
00:28:50,160 --> 00:28:51,840
Speaker 1: My wife is dead asleep, my kids are a sleeping

555
00:28:52,360 --> 00:28:54,880
Speaker 1: on my computer until midnight or two in the morning,

556
00:28:55,120 --> 00:28:57,880
Speaker 1: tumbling down the corridors of YouTube where they're doing the

557
00:28:57,960 --> 00:29:01,360
Speaker 1: vocal comparisons and measuring the length of his ear lobes

558
00:29:01,560 --> 00:29:04,080
Speaker 1: and the symmetry of his eye sockets and all the speed.

559
00:29:04,120 --> 00:29:06,160
Speaker 1: And I'll tell you how how silly it is. They

560
00:29:06,200 --> 00:29:08,040
Speaker 1: literally kind of went, let's go and shoot a patro

561
00:29:08,120 --> 00:29:10,440
Speaker 1: outside in the road, you know. So the idea when

562
00:29:10,480 --> 00:29:14,720
Speaker 1: people start describing significance to the life of the VW

563
00:29:14,800 --> 00:29:18,280
Speaker 1: that's parked by zebra crossing, as if there was any

564
00:29:18,440 --> 00:29:22,840
Speaker 1: instinct or time or ability to decide what that. There's

565
00:29:22,880 --> 00:29:27,840
Speaker 1: a lot more than that, I know, the boy. I

566
00:29:27,880 --> 00:29:31,000
Speaker 1: understand the documentary. I read a great one the other day, UM,

567
00:29:31,200 --> 00:29:34,960
Speaker 1: which which you could probably find. My father was assistant,

568
00:29:35,000 --> 00:29:37,240
Speaker 1: brilliant doctor and worked in a lot of different fields.

569
00:29:37,360 --> 00:29:41,280
Speaker 1: He's the guy who identified Munchausen syndrome and interesting doctor

570
00:29:41,720 --> 00:29:45,520
Speaker 1: um he also used my father because you know, most

571
00:29:45,640 --> 00:29:49,160
Speaker 1: conventional doctors name a disease they identify after themselves. My

572
00:29:49,280 --> 00:29:52,120
Speaker 1: father was more eccentric and named it after Baron Munchausen.

573
00:29:52,800 --> 00:29:57,400
Speaker 1: Storytelling is the major symptoms aspect. Interesting. But he also

574
00:29:57,520 --> 00:30:00,080
Speaker 1: used hypnosis in his practice, which was quite unusual at

575
00:30:00,120 --> 00:30:03,880
Speaker 1: the time, and he wrote a very brown breaking article

576
00:30:04,240 --> 00:30:09,120
Speaker 1: about the proper clinical use of hypnosis. But anyway, I

577
00:30:09,240 --> 00:30:12,200
Speaker 1: read a thing that my father was in on it,

578
00:30:12,560 --> 00:30:16,480
Speaker 1: and he used hypnosis as part of the plot of

579
00:30:16,560 --> 00:30:19,680
Speaker 1: when Paul When, when they replaced Paul with Billy Ships,

580
00:30:19,880 --> 00:30:22,800
Speaker 1: Your dad was responsible, My dad was, and also the switch.

581
00:30:22,920 --> 00:30:25,000
Speaker 1: It also said in that article that I knew the

582
00:30:25,040 --> 00:30:26,800
Speaker 1: whole story, that I was the only person who knew

583
00:30:26,800 --> 00:30:28,960
Speaker 1: it all. I wasn't talking, So I wish to be

584
00:30:28,960 --> 00:30:33,000
Speaker 1: treated with the appropriate respect. But for now I'm still

585
00:30:33,040 --> 00:30:36,200
Speaker 1: pretending that it's all completely My favorite, my favorite clip

586
00:30:36,360 --> 00:30:39,719
Speaker 1: was of this ocean of clips I've watched in the pen.

587
00:30:39,800 --> 00:30:42,520
Speaker 1: Not now, but you know, a while back. My favorite

588
00:30:42,560 --> 00:30:45,080
Speaker 1: was the one guy said he shed. He did split

589
00:30:45,120 --> 00:30:49,240
Speaker 1: screen comparisons between McCartney before the accident and McCartney after

590
00:30:49,280 --> 00:30:52,000
Speaker 1: the accident. It was compelling. When you see McCartney before

591
00:30:52,000 --> 00:30:54,400
Speaker 1: the accident never looks at the fret and never looks

592
00:30:54,400 --> 00:30:57,040
Speaker 1: at the fingering on the guitar right, He looks straight ahead.

593
00:30:57,680 --> 00:31:00,240
Speaker 1: He sings every song in the pre sixty six era

594
00:31:00,560 --> 00:31:03,320
Speaker 1: looking straight at never looks at his hands, and the

595
00:31:03,400 --> 00:31:07,000
Speaker 1: post sixties six McCartney looks at his hands regularly and

596
00:31:07,080 --> 00:31:09,720
Speaker 1: looks at the fingering. I'm assuming maybe because because the

597
00:31:09,720 --> 00:31:15,440
Speaker 1: fingering was more difficult than the world when when when

598
00:31:15,440 --> 00:31:17,800
Speaker 1: you watch this stuff, it is really, you know, it's bullshit.

599
00:31:18,040 --> 00:31:20,840
Speaker 1: But of course McCartney's on Letterman and and he says,

600
00:31:20,880 --> 00:31:24,160
Speaker 1: you know, and they know, they say I'm dead, and

601
00:31:24,160 --> 00:31:26,440
Speaker 1: then Letterman goes, well you're not. You know, it's like

602
00:31:26,560 --> 00:31:29,600
Speaker 1: mccarding the smiles and kind of slufts it off. But yeah,

603
00:31:29,880 --> 00:31:32,320
Speaker 1: I mean, it's it's it's it's insane. Imagine somebody you

604
00:31:32,400 --> 00:31:35,240
Speaker 1: knew something. It's being told that the person you still

605
00:31:35,280 --> 00:31:37,280
Speaker 1: know now is not the same one when it just

606
00:31:37,440 --> 00:31:39,280
Speaker 1: is did you think less? I do the like, how

607
00:31:39,360 --> 00:31:42,120
Speaker 1: much can four guys be in each other's lives? Seven?

608
00:31:42,200 --> 00:31:44,840
Speaker 1: Even if you cut it back, there was a period

609
00:31:44,840 --> 00:31:47,800
Speaker 1: where they were always together. Yes, yes, Jagger makes that

610
00:31:47,880 --> 00:31:49,800
Speaker 1: comment in the Rock and Roll Hall of Fame induction,

611
00:31:50,160 --> 00:31:52,760
Speaker 1: And they're and they're constantly together, and that eases up.

612
00:31:52,800 --> 00:31:54,720
Speaker 1: They all get married, they start to have families, they

613
00:31:54,760 --> 00:31:56,960
Speaker 1: have houses. They come together a little bit more slowly,

614
00:31:57,000 --> 00:31:59,360
Speaker 1: a little bit more reluctantly, but eventually, like you know,

615
00:31:59,760 --> 00:32:01,479
Speaker 1: every red band is going to break up and go

616
00:32:01,640 --> 00:32:06,000
Speaker 1: and go solo. And were constituted all find a way

617
00:32:06,040 --> 00:32:08,680
Speaker 1: to make it work. I mean, making Keith Miraculus. They've

618
00:32:08,680 --> 00:32:10,479
Speaker 1: always found a way to make it working. And and

619
00:32:10,520 --> 00:32:13,680
Speaker 1: even in spite of the things, everything that they've been

620
00:32:13,680 --> 00:32:18,520
Speaker 1: said in books by one, they come back together. Why

621
00:32:18,560 --> 00:32:20,800
Speaker 1: do you think they do? Do you know them? Yes?

622
00:32:21,000 --> 00:32:23,000
Speaker 1: But just and again to make that you want to say,

623
00:32:23,000 --> 00:32:26,760
Speaker 1: why do they What did they have that they've kept

624
00:32:26,800 --> 00:32:29,840
Speaker 1: this coming? Do they really believe that the toe the

625
00:32:29,880 --> 00:32:31,560
Speaker 1: sum is greater than the part? I think so. I

626
00:32:31,560 --> 00:32:34,560
Speaker 1: think they believe, deep down, I believe. I think that

627
00:32:34,640 --> 00:32:37,000
Speaker 1: they both believe they need each other, and they wish

628
00:32:37,040 --> 00:32:39,880
Speaker 1: they didn't. And they never had as much success together

629
00:32:40,520 --> 00:32:42,320
Speaker 1: the word the Beatles thought that the parts were the

630
00:32:42,360 --> 00:32:44,600
Speaker 1: equal of the sum up on their own, and it

631
00:32:44,680 --> 00:32:46,440
Speaker 1: was just as great a time make would leave and

632
00:32:46,600 --> 00:32:48,560
Speaker 1: make a solo record and go, now I've got a

633
00:32:48,640 --> 00:32:51,640
Speaker 1: really great bass player, and really whatever you know, and

634
00:32:51,680 --> 00:32:55,360
Speaker 1: because even the sell bill Wine, and and because you'd

635
00:32:55,360 --> 00:32:58,520
Speaker 1: have some incredibly great American bas and and then you

636
00:32:58,600 --> 00:33:00,880
Speaker 1: make a record that no one liked, you know, and

637
00:33:00,880 --> 00:33:04,440
Speaker 1: and and and deep down, he's of course extremely spot

638
00:33:04,640 --> 00:33:07,080
Speaker 1: So I think I think they're both clever enough to

639
00:33:07,080 --> 00:33:08,720
Speaker 1: know that they need each other, and that the best

640
00:33:08,800 --> 00:33:11,200
Speaker 1: work they've ever done was when they worked together and

641
00:33:11,240 --> 00:33:14,800
Speaker 1: will be in your career over the last several years,

642
00:33:15,240 --> 00:33:18,000
Speaker 1: I mean, you've produced J. D. Souther, Andrew Gold, Bonnie

643
00:33:18,160 --> 00:33:23,080
Speaker 1: Rate Share, ten thousand Maniacs. In nineteen seventy seven, you

644
00:33:23,160 --> 00:33:27,560
Speaker 1: won the first of three Grammys you won for Simple

645
00:33:27,640 --> 00:33:31,400
Speaker 1: Dreams with j T and seventies seven Crying like a Rainstorm.

646
00:33:31,440 --> 00:33:33,440
Speaker 1: How I a win with Linda Ron's that Best Comedy

647
00:33:33,640 --> 00:33:36,120
Speaker 1: with Robin Williams And how did that come together? Um?

648
00:33:36,200 --> 00:33:40,280
Speaker 1: Robin and I were great friends. UM. I met him

649
00:33:40,360 --> 00:33:43,000
Speaker 1: originally through my wife actually knew him before before I did,

650
00:33:43,360 --> 00:33:46,160
Speaker 1: and we all became very fun friends. And he was

651
00:33:46,200 --> 00:33:48,240
Speaker 1: going out on the road and wanted to make an

652
00:33:48,240 --> 00:33:51,040
Speaker 1: album of it, um and asked me if I would

653
00:33:51,040 --> 00:33:53,440
Speaker 1: like to help, and I was thrilled to do so. Essentially,

654
00:33:53,600 --> 00:33:57,400
Speaker 1: we just filmed, I mean, recorded every show and and

655
00:33:57,440 --> 00:33:59,920
Speaker 1: I made notes of which Betsy did best, which night

656
00:34:00,200 --> 00:34:03,000
Speaker 1: and stuff like that, would go over stuff with with

657
00:34:03,120 --> 00:34:08,160
Speaker 1: him and even make suggestions of additions or whatever, and

658
00:34:07,240 --> 00:34:10,640
Speaker 1: uh and and then put the whole record together. So

659
00:34:10,640 --> 00:34:13,160
Speaker 1: so that's it's very different than producing a music album,

660
00:34:13,160 --> 00:34:15,320
Speaker 1: except in the one thing they have in common is

661
00:34:15,360 --> 00:34:19,560
Speaker 1: you're trying to pick the best take of every particular segment,

662
00:34:19,960 --> 00:34:22,200
Speaker 1: and that's what we did. So then in two thousand

663
00:34:22,239 --> 00:34:25,440
Speaker 1: fifteen you get the c B. Yes, what was that like? Oh,

664
00:34:25,480 --> 00:34:28,480
Speaker 1: it's brilliant. I mean, it's exciting, it's very English. Doesn't

665
00:34:28,520 --> 00:34:31,839
Speaker 1: really mean anything, you know. But but the best part

666
00:34:31,920 --> 00:34:33,719
Speaker 1: is the is the phone call you get, you know

667
00:34:33,760 --> 00:34:37,759
Speaker 1: when they tell you, because it's all super secretive. I

668
00:34:37,760 --> 00:34:39,800
Speaker 1: I got a call and this is you know that,

669
00:34:40,000 --> 00:34:42,520
Speaker 1: this is so and so the assistant to the Magicist

670
00:34:42,560 --> 00:34:45,359
Speaker 1: Consul general and Los Angeles and and all this. And

671
00:34:45,400 --> 00:34:47,839
Speaker 1: I thought they were gonna ask me something because I've

672
00:34:47,920 --> 00:34:49,560
Speaker 1: I have helped them out before. We could you help

673
00:34:49,600 --> 00:34:51,360
Speaker 1: us get tickets to a show? Now? It would be

674
00:34:51,440 --> 00:34:54,480
Speaker 1: like a kind of it. It would almost it would

675
00:34:54,520 --> 00:34:56,399
Speaker 1: be like we're trying to get put a benefit together

676
00:34:57,640 --> 00:35:01,319
Speaker 1: exactly exactly so I can s you know. And he said,

677
00:35:01,320 --> 00:35:07,279
Speaker 1: you know, are you alone? Yes? Well, um, because that's

678
00:35:07,320 --> 00:35:09,520
Speaker 1: something I'm want to tell you. How Majesty has has

679
00:35:09,760 --> 00:35:12,279
Speaker 1: decided to offer you the commander of the British em

680
00:35:13,080 --> 00:35:15,759
Speaker 1: com the British Empire, and we wanted to enquires to

681
00:35:15,760 --> 00:35:18,120
Speaker 1: whether you would be inclined to accept, and I said

682
00:35:18,239 --> 00:35:21,279
Speaker 1: yes immasically. As you know, some people do turn it down.

683
00:35:21,680 --> 00:35:25,319
Speaker 1: Bowie turned down a nighthood apparently. Um, some people think,

684
00:35:25,560 --> 00:35:28,000
Speaker 1: you know, there's those people who think that the British

685
00:35:28,040 --> 00:35:34,920
Speaker 1: Empire is an evil enterprise and which was. But but um, yeah,

686
00:35:34,920 --> 00:35:36,640
Speaker 1: and I got Prince William. You never know who you're

687
00:35:36,640 --> 00:35:40,440
Speaker 1: gonna get because they come from the Queen overall. Uh.

688
00:35:40,560 --> 00:35:42,839
Speaker 1: This she is, as they so charlingly describe it, the

689
00:35:42,880 --> 00:35:46,479
Speaker 1: Fountain of all on a but it can be given

690
00:35:46,520 --> 00:35:48,080
Speaker 1: to you by any member of the royal family. That's

691
00:35:48,080 --> 00:35:51,799
Speaker 1: another time for your book, The Fountain exactly. I'm gone that,

692
00:35:52,080 --> 00:35:55,120
Speaker 1: you know, to find people and then and there there

693
00:35:55,120 --> 00:35:56,879
Speaker 1: are many of them that they're not that hard to find,

694
00:35:57,120 --> 00:36:00,759
Speaker 1: but ones like you who have the back and to

695
00:36:00,800 --> 00:36:04,400
Speaker 1: talk about this endless, endless love I have for the

696
00:36:04,480 --> 00:36:07,640
Speaker 1: music of this one group. Thank you, thank you, thank you.

697
00:36:07,719 --> 00:36:09,759
Speaker 1: What a great pleasure. This is really fun. Thank you

698
00:36:09,840 --> 00:36:14,840
Speaker 1: so much much. Enjoyed it. If you want more stories

699
00:36:14,880 --> 00:36:18,040
Speaker 1: from Peter Asher, you can listen to his show From

700
00:36:18,080 --> 00:36:22,160
Speaker 1: Me to You on Serious Channel eighteen every Thursday night

701
00:36:22,480 --> 00:36:26,120
Speaker 1: at nine. His book is called The Beatles, a to

702
00:36:26,320 --> 00:36:31,399
Speaker 1: Z and Alphabetical Musical Tour. This is here's the thing.

703
00:36:31,840 --> 00:36:32,840
Speaker 1: I'm Alec Baldwin