1 00:00:14,824 --> 00:00:15,304 Speaker 1: Pushkin. 2 00:00:20,264 --> 00:00:23,144 Speaker 2: When we first got Mary and we're in a meeting 3 00:00:23,184 --> 00:00:26,104 Speaker 2: with my accountant. He said, now you've got to invest 4 00:00:26,144 --> 00:00:28,464 Speaker 2: in stuff, and I said, don't worry about it, just 5 00:00:28,544 --> 00:00:30,824 Speaker 2: putting the back leave it. 6 00:00:31,064 --> 00:00:32,384 Speaker 3: So no, no, no, you can't do that. 7 00:00:32,464 --> 00:00:36,024 Speaker 2: For some reason, I believed in and what I advised 8 00:00:36,184 --> 00:00:40,144 Speaker 2: to do is to buy something like he said, there's 9 00:00:40,184 --> 00:00:54,064 Speaker 2: this little farm, let's come up in Scotland. I ended 10 00:00:54,104 --> 00:00:57,784 Speaker 2: up taking advice and bought it a bit approachingly. 11 00:00:57,944 --> 00:01:00,824 Speaker 4: That you lot beatle. Paul McCartney has bought a hill 12 00:01:00,904 --> 00:01:03,584 Speaker 4: farm on the remote Mull of Kintyre in the west 13 00:01:03,624 --> 00:01:08,064 Speaker 4: of Scotland. Farmer Brown said, last night I recognized mister 14 00:01:08,144 --> 00:01:11,544 Speaker 4: McCartney immediate. We showed them through the farmhouse and they 15 00:01:11,584 --> 00:01:13,304 Speaker 4: said they were delighted with it. 16 00:01:13,744 --> 00:01:16,744 Speaker 2: But it was it's falling apart, you know, there was 17 00:01:16,784 --> 00:01:20,304 Speaker 2: nothing great about it. So I kind of left it 18 00:01:20,464 --> 00:01:23,424 Speaker 2: and didn't really bother But then when I met Londo, 19 00:01:23,624 --> 00:01:27,064 Speaker 2: she just said, you know, you're not fucking up in Scotland. 20 00:01:27,504 --> 00:01:30,624 Speaker 3: I said, yeah, but I'm not sure you'll like it. 21 00:01:30,744 --> 00:01:34,864 Speaker 3: She loved, Wow, we could fix it up. 22 00:01:43,584 --> 00:01:47,584 Speaker 1: I'm Paul will do. And I've been fortunate to spend 23 00:01:47,624 --> 00:01:51,024 Speaker 1: time with one of the greatest songwriters of our. 24 00:01:51,024 --> 00:01:53,904 Speaker 5: Era, and will you look at me? I'm going on 25 00:01:54,024 --> 00:01:54,144 Speaker 5: to it. 26 00:01:54,544 --> 00:01:56,544 Speaker 3: I'm actually a performer. 27 00:01:56,424 --> 00:01:59,984 Speaker 1: That is, sir Paul McCartney. We worked together on a 28 00:02:00,024 --> 00:02:02,584 Speaker 1: book looking at the lyrics of more than one hundred 29 00:02:02,624 --> 00:02:07,184 Speaker 1: and fifty of his songs, and we recorded many hours 30 00:02:07,424 --> 00:02:08,624 Speaker 1: of our conversations. 31 00:02:09,304 --> 00:02:12,504 Speaker 3: Actually, I'm a songwriter, my god, we'll let that. 32 00:02:12,664 --> 00:02:13,424 Speaker 5: Crept up on me. 33 00:02:14,064 --> 00:02:19,984 Speaker 1: This is McCartney, a life in lyrics, a masterclass, a memoir, 34 00:02:20,424 --> 00:02:24,544 Speaker 1: and an improvised journey with one of the most iconic 35 00:02:24,624 --> 00:02:29,464 Speaker 1: figures in popular music. In this episode, when winter comes 36 00:02:29,704 --> 00:02:32,144 Speaker 1: and mull of Kintar. 37 00:02:32,304 --> 00:02:41,704 Speaker 6: Well, winter comes, Aloiscus, We'll wanta two. 38 00:02:43,544 --> 00:02:44,744 Speaker 7: Twesday. 39 00:02:44,944 --> 00:02:49,424 Speaker 1: In just a couple of years ago, after we'd already 40 00:02:49,464 --> 00:02:53,704 Speaker 1: been having our conversations for some time, Paul McCartney was 41 00:02:53,744 --> 00:02:58,384 Speaker 1: preparing for a reissue of his nineteen ninety seven album 42 00:02:58,744 --> 00:03:03,504 Speaker 1: Flaming Pie. His archivists had sent him some options for 43 00:03:03,704 --> 00:03:07,504 Speaker 1: bonus extras, songs which would have been recorded at the 44 00:03:07,584 --> 00:03:10,984 Speaker 1: time of the original album but had yet to be released. 45 00:03:11,464 --> 00:03:16,344 Speaker 2: But they just sent me some tracks for consideration as 46 00:03:16,584 --> 00:03:19,944 Speaker 2: bonus extras, And I'm listening to this one. 47 00:03:20,064 --> 00:03:25,464 Speaker 8: I think, gosh, I mean it's good. I am actually 48 00:03:25,464 --> 00:03:30,064 Speaker 8: thinking of releasing it. It's very sort of hippie, almost 49 00:03:30,144 --> 00:03:31,264 Speaker 8: relates to living. 50 00:03:31,104 --> 00:03:31,704 Speaker 3: On the farm. 51 00:03:33,024 --> 00:03:38,904 Speaker 6: When summer's gone, We're gonna fly away. 52 00:03:40,704 --> 00:03:44,944 Speaker 1: When winter Camas was recorded in nineteen ninety two with 53 00:03:45,104 --> 00:03:49,424 Speaker 1: George Martin at the mixing desk. It's a sweet, simple 54 00:03:49,704 --> 00:03:53,344 Speaker 1: song HARKing back to the time McCartney spent living on 55 00:03:53,424 --> 00:04:12,664 Speaker 1: his farm in Scotland. Nestled in the heart of the 56 00:04:12,904 --> 00:04:17,304 Speaker 1: Kntire Peninsula just thirty miles from the coast of Ireland 57 00:04:17,864 --> 00:04:21,864 Speaker 1: is High Park Farm, the one hundred and eighty three 58 00:04:21,984 --> 00:04:26,024 Speaker 1: acre property McCartney purchased in nineteen sixty six. 59 00:04:26,664 --> 00:04:30,664 Speaker 2: I was greeted by our ext door neighbor, Ian mcdrugal, 60 00:04:31,144 --> 00:04:35,744 Speaker 2: whose very old doll course carry spoke with gallac and 61 00:04:35,984 --> 00:04:39,304 Speaker 2: was very old farmer in. 62 00:04:39,344 --> 00:04:42,104 Speaker 3: A really total stereotype. 63 00:04:42,224 --> 00:04:44,704 Speaker 4: He admitted to me as he walked over the grounds 64 00:04:44,704 --> 00:04:47,664 Speaker 4: that he had no knowledge of farming, although he wanted 65 00:04:47,744 --> 00:04:50,384 Speaker 4: to keep it as a farm. I told him that 66 00:04:50,504 --> 00:04:52,944 Speaker 4: it would be all right if he put a reliable 67 00:04:53,024 --> 00:04:55,864 Speaker 4: man in, and he seemed to agree. He has seemed 68 00:04:55,944 --> 00:04:58,504 Speaker 4: a very sensible sort of chap he. 69 00:04:58,544 --> 00:05:00,344 Speaker 3: Said, you'll be the new layered. 70 00:05:01,944 --> 00:05:02,024 Speaker 5: What. 71 00:05:03,664 --> 00:05:06,504 Speaker 2: I could never understand him, but I've worked out the 72 00:05:06,584 --> 00:05:10,664 Speaker 2: system of having on to the last word in a sentence. 73 00:05:10,984 --> 00:05:21,944 Speaker 2: He said, I go, hie the sheep, find hi the 74 00:05:22,024 --> 00:05:23,544 Speaker 2: clipping I write. 75 00:05:26,144 --> 00:05:30,544 Speaker 1: When McCartney bought the property, the old wooden farmhouse was 76 00:05:30,704 --> 00:05:33,024 Speaker 1: falling apart, the fences crumbling. 77 00:05:33,344 --> 00:05:36,424 Speaker 3: I will fight it out. This has stopped this place. 78 00:05:36,864 --> 00:05:37,864 Speaker 3: I really didn't like it. 79 00:05:38,464 --> 00:05:41,824 Speaker 1: He had no idea that years later it would become 80 00:05:42,024 --> 00:05:46,384 Speaker 1: a cherished setting for his life with Linda Eastman, or 81 00:05:47,024 --> 00:05:50,904 Speaker 1: such a whale of inspiration for his songwriting. 82 00:05:51,744 --> 00:05:55,424 Speaker 5: Sweet like. 83 00:05:59,664 --> 00:06:00,344 Speaker 3: Gay. 84 00:06:03,584 --> 00:06:06,224 Speaker 5: We're only really up there because of Linda's love of it. 85 00:06:07,184 --> 00:06:07,904 Speaker 5: When we went up so. 86 00:06:08,024 --> 00:06:09,624 Speaker 3: She said, oh, this is frying fantastic. 87 00:06:10,264 --> 00:06:13,104 Speaker 5: I love it. So she made me love it through 88 00:06:13,144 --> 00:06:13,784 Speaker 5: her eyes. 89 00:06:14,024 --> 00:06:17,144 Speaker 2: I went, oh, well that is a fine mountain. 90 00:06:18,064 --> 00:06:21,384 Speaker 5: Gosh, he's covered in the heap. That's very beautiful, you know. 91 00:06:21,744 --> 00:06:24,864 Speaker 5: And so we brought up the kids. 92 00:06:24,544 --> 00:06:37,824 Speaker 1: There in the early nineteen seventies. With the help of Linda, 93 00:06:38,384 --> 00:06:43,824 Speaker 1: McCartney came to see the lush, rolling highlands as romantic 94 00:06:44,424 --> 00:06:49,464 Speaker 1: and the dilapidated farm property as full of potential. After all, 95 00:06:49,984 --> 00:06:53,384 Speaker 1: the thing beyond repair in his life at the time 96 00:06:53,864 --> 00:06:57,264 Speaker 1: was not the Barns, but the Beatles, who were mired 97 00:06:57,584 --> 00:07:00,424 Speaker 1: in business disputes back down in London. 98 00:07:01,024 --> 00:07:05,064 Speaker 2: I was getting called into meetings in London in our 99 00:07:05,104 --> 00:07:08,184 Speaker 2: office in sabil Row. Well, you would have to sit 100 00:07:08,264 --> 00:07:12,544 Speaker 2: there and listen to an accountant or the manager and 101 00:07:12,784 --> 00:07:19,344 Speaker 2: talk about this boring or that even more boring. And 102 00:07:19,424 --> 00:07:22,344 Speaker 2: it was nothing that we did. It's nothing that we liked. 103 00:07:22,824 --> 00:07:25,784 Speaker 2: We liked playing music, we like making music like and 104 00:07:25,864 --> 00:07:30,744 Speaker 2: this was suddenly a deadly period where actually actually think 105 00:07:30,784 --> 00:07:34,864 Speaker 2: about money and stuff that we'd not't really given much 106 00:07:34,864 --> 00:07:40,504 Speaker 2: thought to. So I was going under kind of a bit 107 00:07:40,584 --> 00:07:45,464 Speaker 2: depressed the whole thing. And suddenly Linda and I just, 108 00:07:45,584 --> 00:07:49,304 Speaker 2: I don't know, we just sort of said, well, let's 109 00:07:50,664 --> 00:07:54,664 Speaker 2: let's go to Scotland. We're literally taking ourselves out of 110 00:07:54,704 --> 00:07:58,344 Speaker 2: the situation. So anyone needed me, they had to ring 111 00:07:58,424 --> 00:08:01,584 Speaker 2: me come into the meeting today. Sorry I can'tum in Scotland. 112 00:08:03,584 --> 00:08:07,144 Speaker 2: And so that freedom was just it's. 113 00:08:06,984 --> 00:08:15,104 Speaker 1: Great away from the dreary business meetings and the crumbling band. Paul, Linda, 114 00:08:15,344 --> 00:08:20,624 Speaker 1: their two children, and their English sheep dog Martha started 115 00:08:20,664 --> 00:08:25,344 Speaker 1: living a more simple pastoral life. On the farm. They 116 00:08:25,344 --> 00:08:29,984 Speaker 1: were inspired to eat more vegetarian food. Paul patched up 117 00:08:30,024 --> 00:08:34,464 Speaker 1: the fences and planted trees which could grow even in 118 00:08:34,544 --> 00:08:37,064 Speaker 1: the harshest of Scottish winters. 119 00:08:37,624 --> 00:08:42,544 Speaker 5: It allowed me to be a man. 120 00:08:43,024 --> 00:08:49,304 Speaker 2: If a picture needed hanging, I'm your boy. If somebody 121 00:08:49,384 --> 00:08:52,704 Speaker 2: needed doing on the farm, I'll do it. And so 122 00:08:52,864 --> 00:08:55,944 Speaker 2: it was very nice. It was quite a difficult period 123 00:08:56,024 --> 00:08:58,024 Speaker 2: because it was to do with the Beatles break up 124 00:08:58,064 --> 00:09:01,704 Speaker 2: and everything, but it allowed me to see another side 125 00:09:01,744 --> 00:09:05,824 Speaker 2: of myself because I'd grown up in Liverpool, not very 126 00:09:05,904 --> 00:09:08,544 Speaker 2: much the handyman. I'd gone on the road with the 127 00:09:08,544 --> 00:09:12,504 Speaker 2: Beatles around the world and round again, and now here 128 00:09:12,544 --> 00:09:14,984 Speaker 2: I was just on a farm in the middle of nowhere. 129 00:09:15,824 --> 00:09:18,304 Speaker 5: It was sensational. 130 00:09:18,944 --> 00:09:23,064 Speaker 1: In contrast to their busy life in London. The Highlands 131 00:09:23,104 --> 00:09:26,944 Speaker 1: permitted the McCartneys to live at a slower piece. 132 00:09:27,584 --> 00:09:31,864 Speaker 2: There wasn't a bath, for instance, in this little farmhouse, 133 00:09:32,384 --> 00:09:37,184 Speaker 2: but there was a big steel tub that they cleaned 134 00:09:37,664 --> 00:09:41,824 Speaker 2: the milking equipment in bloody cold in the winter, and 135 00:09:41,824 --> 00:09:44,424 Speaker 2: we'd run in and we'd jump in this bath, which 136 00:09:44,504 --> 00:09:47,144 Speaker 2: was not easy to get in, but we were young, 137 00:09:47,184 --> 00:09:49,984 Speaker 2: in virile and we'd jump in this path and have 138 00:09:50,064 --> 00:09:54,744 Speaker 2: this fantastic for a Japanese style bath. So those are 139 00:09:54,784 --> 00:09:56,864 Speaker 2: the kind of things we're doing that I'd never done 140 00:09:57,344 --> 00:10:01,304 Speaker 2: ever in my life, and it was liberating. So I 141 00:10:01,304 --> 00:10:05,144 Speaker 2: would fix fences, I would dig a drain. I would 142 00:10:05,504 --> 00:10:08,544 Speaker 2: keep some chickens. I would plant a vegetable garden. 143 00:10:09,264 --> 00:10:11,824 Speaker 6: Fix the fence by the acre plot. 144 00:10:12,664 --> 00:10:17,104 Speaker 7: Two young foxes have been nosing around the lambs and 145 00:10:17,264 --> 00:10:24,984 Speaker 7: the chigains. You'll safe until it's done. I musty a 146 00:10:25,184 --> 00:10:27,304 Speaker 7: drain by the carrot patch. 147 00:10:27,864 --> 00:10:31,184 Speaker 3: The whole crop spiles if it gets too down. 148 00:10:31,664 --> 00:10:35,624 Speaker 6: And where will we be with an empty store when 149 00:10:35,744 --> 00:10:36,704 Speaker 6: winter comes. 150 00:10:38,504 --> 00:10:41,544 Speaker 2: I think a lot of young people dream about that today. 151 00:10:41,704 --> 00:10:46,504 Speaker 5: Still I sense a lot of people want that freedom. 152 00:10:47,184 --> 00:10:48,224 Speaker 5: Escaping the rat race. 153 00:10:48,624 --> 00:10:52,904 Speaker 1: Escaping the rat race entailed a great deal of manual labor, 154 00:10:53,504 --> 00:10:57,544 Speaker 1: but the McCartneys began to relish the simplicity of their 155 00:10:57,584 --> 00:10:59,384 Speaker 1: life on the farm. 156 00:10:59,504 --> 00:11:02,944 Speaker 2: I would get tradesmen from the village who would put 157 00:11:02,984 --> 00:11:07,304 Speaker 2: the roof on, and then then I'd painted. I talked 158 00:11:07,344 --> 00:11:09,744 Speaker 2: to them about how you paint the roof, it's all 159 00:11:09,824 --> 00:11:29,944 Speaker 2: you needed. So get the system. But we listened to 160 00:11:30,024 --> 00:11:35,504 Speaker 2: tighten up records. The two so it was reggae and 161 00:11:35,744 --> 00:11:41,064 Speaker 2: freedom and you know, Linda cooking, planting a little vege garden. 162 00:11:41,424 --> 00:11:45,104 Speaker 2: I was just it's pretty amazing. It was fus and 163 00:11:45,104 --> 00:11:47,344 Speaker 2: it was just what the boy was wanting. 164 00:11:59,744 --> 00:12:05,184 Speaker 1: Instead of wrangling crowds of Beatles fans, McCartney found himself 165 00:12:05,264 --> 00:12:08,864 Speaker 1: wrangling sheep with the help of a shepherd, Duncan Kern, 166 00:12:09,504 --> 00:12:12,864 Speaker 1: who would look after the property when the family was away. 167 00:12:13,024 --> 00:12:16,024 Speaker 2: I said, and I learned to share the sheep with 168 00:12:16,144 --> 00:12:17,584 Speaker 2: hand clippers. 169 00:12:17,984 --> 00:12:21,384 Speaker 3: No one, that's hard. It is quite hard. 170 00:12:21,464 --> 00:12:25,464 Speaker 2: I did about fourteen to twenty in a day, and 171 00:12:25,584 --> 00:12:27,184 Speaker 2: Duncan would do like a hundred. 172 00:12:28,104 --> 00:12:28,264 Speaker 5: You know. 173 00:12:28,424 --> 00:12:31,784 Speaker 2: Just getting a sheep on its back is cool. And 174 00:12:31,824 --> 00:12:34,504 Speaker 2: that ended up as a cover of ram. But that 175 00:12:34,664 --> 00:12:39,344 Speaker 2: was real cheering time. And we did crazy things like 176 00:12:39,424 --> 00:12:45,544 Speaker 2: Linda took a portrait of every one of our flock, so. 177 00:12:45,384 --> 00:12:48,784 Speaker 3: We have this, let's make it into something one day. 178 00:12:48,824 --> 00:12:52,864 Speaker 3: It's it's huge. It's just all these different sheep. But 179 00:12:53,384 --> 00:12:57,744 Speaker 3: we were doing stuff like that, you know, because because 180 00:12:57,744 --> 00:13:02,304 Speaker 3: we wanted to. It's genuine, you know, this is how 181 00:13:02,344 --> 00:13:02,984 Speaker 3: we were living. 182 00:13:03,544 --> 00:13:08,624 Speaker 1: When Winter Comes chronicles the mundane chores of farm life, 183 00:13:09,144 --> 00:13:14,664 Speaker 1: fixing the fence, digging a drain. These little actions express 184 00:13:14,784 --> 00:13:19,664 Speaker 1: attention and care, both for the speaker's family and for 185 00:13:19,744 --> 00:13:21,904 Speaker 1: the natural world at large. 186 00:13:22,424 --> 00:13:28,384 Speaker 2: So this is it's someone like me upon a farm somewhere, 187 00:13:29,024 --> 00:13:33,464 Speaker 2: and he's looking after things. So I must fix a 188 00:13:33,464 --> 00:13:36,624 Speaker 2: fence by the acre plot. Two young foxes have been 189 00:13:36,664 --> 00:13:39,304 Speaker 2: nosing around the lambs, and the chickens won't feel safe 190 00:13:39,704 --> 00:13:40,624 Speaker 2: until it's done. 191 00:13:42,304 --> 00:13:44,304 Speaker 5: I must dig a drain by the carrot patch. 192 00:13:44,744 --> 00:13:48,904 Speaker 2: Whole crop spoils if it gets too damp, and where 193 00:13:48,904 --> 00:13:51,064 Speaker 2: will we be with an empty store and winter comes? 194 00:13:51,584 --> 00:13:54,544 Speaker 5: So these are things I'd learned. You've got to put 195 00:13:54,544 --> 00:13:57,104 Speaker 5: a fence up or the fox. 196 00:13:56,824 --> 00:13:59,864 Speaker 2: Will have your chickens, and you've got to dig a 197 00:13:59,944 --> 00:14:03,504 Speaker 2: drain because patch gets too wet, nothing will grow there. 198 00:14:04,304 --> 00:14:06,544 Speaker 5: So this was me remembering. 199 00:14:05,984 --> 00:14:15,624 Speaker 6: That when summer we're gonna fly away and find the 200 00:14:15,784 --> 00:14:18,944 Speaker 6: sun when winter comes. 201 00:14:20,664 --> 00:14:22,224 Speaker 5: I really like this song. 202 00:14:22,824 --> 00:14:25,544 Speaker 1: I don't want to diminish it by saying it's a 203 00:14:25,664 --> 00:14:27,544 Speaker 1: series of thumbnail sketches. 204 00:14:28,224 --> 00:14:28,704 Speaker 5: That's right. 205 00:14:28,744 --> 00:14:30,384 Speaker 2: I think you're right. I mean I don't think it 206 00:14:30,424 --> 00:14:31,544 Speaker 2: diminishes it at all. 207 00:14:31,864 --> 00:14:32,584 Speaker 5: I think. 208 00:14:33,864 --> 00:14:38,424 Speaker 2: It's memories of actual, actual things. 209 00:14:37,904 --> 00:14:40,464 Speaker 5: And each one makes up a nice little scene. 210 00:14:41,104 --> 00:14:44,264 Speaker 2: Fixing the fence for boxes that are a next one, 211 00:14:44,344 --> 00:14:47,944 Speaker 2: digging the trench a little planting trees. 212 00:14:49,104 --> 00:14:54,064 Speaker 7: I must find the time to plant some trees in the. 213 00:14:54,144 --> 00:14:58,624 Speaker 6: Meadow where the river flows, in time to come down, 214 00:14:58,824 --> 00:15:01,704 Speaker 6: make good shade for some poor song. 215 00:15:02,744 --> 00:15:05,824 Speaker 2: In a matter where the river flows in time to come, 216 00:15:05,824 --> 00:15:09,424 Speaker 2: they'll make good shade for some poor soul. That was 217 00:15:09,464 --> 00:15:14,664 Speaker 2: a sort of rather wistful image that I liked. 218 00:15:14,784 --> 00:15:16,744 Speaker 5: I'd never planted trees before. 219 00:15:17,504 --> 00:15:20,704 Speaker 2: In fact, after that time, was remembering that time and 220 00:15:20,864 --> 00:15:25,424 Speaker 2: talking to my roady, my long time roady, and I 221 00:15:25,504 --> 00:15:27,864 Speaker 2: sort of said about a tree. You know, I said, well, 222 00:15:28,464 --> 00:15:31,944 Speaker 2: you know, you could buy a tree, and. 223 00:15:31,304 --> 00:15:34,384 Speaker 5: What he said, you can buy trees. 224 00:15:35,584 --> 00:15:40,824 Speaker 2: And the concept of buying a tree was fabulous, just 225 00:15:40,824 --> 00:15:44,904 Speaker 2: to see his his mine be blown by the idea 226 00:15:45,024 --> 00:15:48,064 Speaker 2: because he thought, no, trees are just trees. 227 00:15:47,744 --> 00:15:49,104 Speaker 5: And they just grow. 228 00:15:49,664 --> 00:15:52,464 Speaker 2: And by this time in my life, when I'm writing 229 00:15:52,504 --> 00:15:56,904 Speaker 2: this song, I knew that these little one foot things 230 00:15:56,944 --> 00:16:01,064 Speaker 2: I'd planted in Scotland, and I planted them very badly. 231 00:16:01,104 --> 00:16:03,984 Speaker 2: I just lifted a sod, stuck them underneath it, and 232 00:16:04,024 --> 00:16:07,344 Speaker 2: plunked the sod back down. By now they were bloody 233 00:16:07,584 --> 00:16:11,864 Speaker 2: thirty foot giants. I fell into the trap that most 234 00:16:11,864 --> 00:16:14,544 Speaker 2: people fall into. If you're going to buy a plant 235 00:16:14,624 --> 00:16:17,624 Speaker 2: a tree, it's got to be a good six foot. 236 00:16:18,584 --> 00:16:24,384 Speaker 2: But then you start talking to our boialists and you 237 00:16:24,424 --> 00:16:28,864 Speaker 2: start talking to three people and they will say it's 238 00:16:28,944 --> 00:16:32,264 Speaker 2: best to plant and little mm hmm. But to me 239 00:16:32,344 --> 00:16:35,784 Speaker 2: it was like, I'll never see it grow, but of 240 00:16:35,864 --> 00:16:39,064 Speaker 2: course you do. 241 00:16:39,064 --> 00:16:42,424 Speaker 3: Do you still have the house in Scotland? Oh you 242 00:16:42,464 --> 00:16:42,944 Speaker 3: still have it? 243 00:16:43,104 --> 00:16:46,544 Speaker 5: I do? Yeah? 244 00:16:47,464 --> 00:16:48,224 Speaker 7: Of gin. 245 00:16:52,304 --> 00:16:56,944 Speaker 2: In from Percy Bys. 246 00:16:57,744 --> 00:17:00,264 Speaker 3: These as. 247 00:17:03,424 --> 00:17:04,184 Speaker 2: Of gins. 248 00:17:08,504 --> 00:17:12,904 Speaker 1: As McCary was renovating his Scottish property throughout the nineteen seventies, 249 00:17:13,304 --> 00:17:17,304 Speaker 1: he was also renovating his songwriting, with Linda by his side, 250 00:17:18,464 --> 00:17:23,304 Speaker 1: working with their band Wings. He often drew inspiration from 251 00:17:23,304 --> 00:17:27,744 Speaker 1: the Highlands, as in Mull of Kintire, a surprise hit 252 00:17:27,824 --> 00:17:30,784 Speaker 1: on the peak of the punk era. Mull of Cantarre 253 00:17:31,184 --> 00:17:35,304 Speaker 1: was one of the UK's best selling singles of all time. 254 00:17:59,904 --> 00:18:03,184 Speaker 2: I was in Scotland a lot and it just suddenly 255 00:18:03,184 --> 00:18:06,024 Speaker 2: occurred to me that there were no new Scottish songs. 256 00:18:06,944 --> 00:18:08,904 Speaker 5: There were lots of great old. 257 00:18:08,664 --> 00:18:12,464 Speaker 2: Songs the bagpipe fance played, but there was nothing new. 258 00:18:13,064 --> 00:18:17,584 Speaker 2: So I thought, that's an opportunity to see if I 259 00:18:17,624 --> 00:18:20,864 Speaker 2: fancy it or if I can, and then it'd began 260 00:18:20,904 --> 00:18:23,304 Speaker 2: a nice because the new Scottish song would have been 261 00:18:23,304 --> 00:18:24,464 Speaker 2: written by assassinak. 262 00:18:25,344 --> 00:18:27,064 Speaker 5: I thought that that would be fun. 263 00:18:28,344 --> 00:18:33,384 Speaker 2: So long story short, I had the local pipe major 264 00:18:34,064 --> 00:18:37,224 Speaker 2: come up with his pipes to the house, to the house, 265 00:18:37,904 --> 00:18:41,104 Speaker 2: which was a very little house, and he played and 266 00:18:41,144 --> 00:18:44,344 Speaker 2: it was so loud that we I said, let's go 267 00:18:44,384 --> 00:18:47,504 Speaker 2: out into the garden, which again was a very little garden, 268 00:18:48,264 --> 00:18:51,504 Speaker 2: and we just sort of he played, and I got 269 00:18:51,504 --> 00:18:55,584 Speaker 2: some ideas. I got what cords would work with what 270 00:18:55,664 --> 00:18:58,104 Speaker 2: he was playing, what key was in because they can't 271 00:18:58,384 --> 00:19:02,544 Speaker 2: change key. So yeah, So I made the song and 272 00:19:02,904 --> 00:19:05,064 Speaker 2: enjoyed it, and they had a session up there and 273 00:19:05,144 --> 00:19:06,944 Speaker 2: it was funny evening and they loved it. 274 00:19:07,344 --> 00:19:10,064 Speaker 3: Oh it's a number one, you know. 275 00:19:10,584 --> 00:19:13,384 Speaker 2: And the big memory for me that was so cool 276 00:19:14,264 --> 00:19:19,344 Speaker 2: was talking about a sophistication and this love of not 277 00:19:19,704 --> 00:19:24,064 Speaker 2: non sophistication was if you were in an orchestral session, 278 00:19:24,744 --> 00:19:26,504 Speaker 2: the musicians will. 279 00:19:26,304 --> 00:19:31,784 Speaker 9: Count one, two three for two to three three to 280 00:19:31,944 --> 00:19:36,104 Speaker 9: the counting the bars, but the Scottish pipeline doesn't. It 281 00:19:36,144 --> 00:19:42,144 Speaker 9: goes one, two, three, four, five, six, nine, ten, eleven, twelve, 282 00:19:42,144 --> 00:20:09,344 Speaker 9: twenty three twenty four twenty. 283 00:20:09,264 --> 00:20:14,344 Speaker 1: As I mentioned, Mull of Kintarn was released during the 284 00:20:14,344 --> 00:20:18,824 Speaker 1: punk era, when a rising Scottish melody might have seemed 285 00:20:18,864 --> 00:20:23,624 Speaker 1: an unlikely hit, a significant departure from the convention of 286 00:20:23,664 --> 00:20:26,464 Speaker 1: the day. On the other hand, what is more punk 287 00:20:26,944 --> 00:20:28,624 Speaker 1: than departing from convention. 288 00:20:29,544 --> 00:20:31,944 Speaker 2: There's this little story where Lindr and I were in 289 00:20:32,064 --> 00:20:37,584 Speaker 2: traffic in London, in the West End somewhere, and there 290 00:20:37,624 --> 00:20:41,144 Speaker 2: was a big gang of punks who look very aggressive, 291 00:20:41,224 --> 00:20:45,544 Speaker 2: you know, the look was a grossure. And they comes 292 00:20:45,584 --> 00:20:48,304 Speaker 2: sort of stomping through in the sort of bobber boots 293 00:20:48,904 --> 00:20:51,264 Speaker 2: and they come with the car and we're kind of 294 00:20:52,744 --> 00:20:56,224 Speaker 2: crouching a little bit, trying to not get noticed, thinking Jesus, 295 00:20:56,304 --> 00:20:59,064 Speaker 2: what they're going to do. You know, they're going to 296 00:20:59,104 --> 00:21:01,624 Speaker 2: think we're the enemy kind of thing. And then they 297 00:21:01,664 --> 00:21:05,784 Speaker 2: noticed that one of them comes to the college. I 298 00:21:05,784 --> 00:21:07,504 Speaker 2: wound down the window a little bit. 299 00:21:08,064 --> 00:21:12,464 Speaker 3: He goes, I got that monarching jars fucking right. 300 00:21:17,864 --> 00:21:21,344 Speaker 1: Through these songs. High Park took on a sort of 301 00:21:21,584 --> 00:21:26,224 Speaker 1: mythic quality in the public imagination, but for the most part, 302 00:21:26,504 --> 00:21:31,304 Speaker 1: the farm itself remained for the McCartney's alone, allowing them 303 00:21:31,344 --> 00:21:37,584 Speaker 1: to get away from public life. Did people follow you there? 304 00:21:37,784 --> 00:21:41,784 Speaker 3: Cell remote? Nobody could get there. A couple of people did, 305 00:21:42,424 --> 00:21:44,304 Speaker 3: and people would just shot out of the blue. 306 00:21:44,824 --> 00:21:48,344 Speaker 2: They probably came to Campbelltown and asked and someone would 307 00:21:48,384 --> 00:21:49,304 Speaker 2: tell them up that road. 308 00:21:49,544 --> 00:21:51,064 Speaker 3: But it was really hard. 309 00:21:51,184 --> 00:21:54,984 Speaker 2: It wasn't just easy to go that road, of that 310 00:21:55,024 --> 00:21:57,224 Speaker 2: road and of that track and then over that track. 311 00:21:57,624 --> 00:22:01,424 Speaker 3: It was very remote. And then the photographer from Life. 312 00:22:01,184 --> 00:22:05,584 Speaker 2: Magazine found us, and I think I threw a boocket 313 00:22:05,624 --> 00:22:08,584 Speaker 2: of water on him, and then he said he was 314 00:22:08,624 --> 00:22:12,424 Speaker 2: going to use that photo, so fuck. So I sort 315 00:22:12,464 --> 00:22:15,184 Speaker 2: of followed him out in my landlord and said, look, 316 00:22:15,904 --> 00:22:18,704 Speaker 2: we'll do a pose for So we did a posal. 317 00:22:18,784 --> 00:22:21,504 Speaker 3: They got all the cover of Life. I think yes. 318 00:22:23,824 --> 00:22:28,344 Speaker 2: But we loved it because we were totally making it up, 319 00:22:29,064 --> 00:22:29,904 Speaker 2: and you think about it. 320 00:22:29,944 --> 00:22:32,504 Speaker 3: We had a young baby. There were doctors in. 321 00:22:32,904 --> 00:22:35,624 Speaker 2: The town, so we were ten minutes from a doctor, 322 00:22:36,024 --> 00:22:38,144 Speaker 2: but as far as we were concerned, we could be 323 00:22:38,864 --> 00:22:44,864 Speaker 2: completely cut off if we wanted, and it was pretty cool. 324 00:22:45,504 --> 00:22:47,744 Speaker 6: When Winter Comes. 325 00:22:50,264 --> 00:22:54,424 Speaker 7: Focuss we want. 326 00:22:54,304 --> 00:23:02,064 Speaker 1: To Paul McCartney reworked When Winter Comes in twenty twenty, 327 00:23:02,704 --> 00:23:07,624 Speaker 1: twenty eight years after it was originally recorded. It was 328 00:23:07,664 --> 00:23:09,904 Speaker 1: a time when most of the were world was cut 329 00:23:09,944 --> 00:23:13,664 Speaker 1: off from public life in a very different way at 330 00:23:13,704 --> 00:23:19,544 Speaker 1: the beginning of the COVID nineteen pandemic, when his archivists 331 00:23:19,584 --> 00:23:22,864 Speaker 1: brought him the song as a possible bonus extra for 332 00:23:22,944 --> 00:23:26,944 Speaker 1: the reissue of Flaming Pie. The sentiment of the song 333 00:23:27,344 --> 00:23:31,344 Speaker 1: reconnecting with the natural world hunkering down for a season 334 00:23:31,384 --> 00:23:36,584 Speaker 1: of isolation resonated enough with McCartney that he decided to 335 00:23:37,144 --> 00:23:41,824 Speaker 1: unabashedly release it on his next original solo. 336 00:23:41,624 --> 00:23:45,544 Speaker 7: Album, to stains. 337 00:23:46,264 --> 00:23:49,184 Speaker 6: Whensum's Gone. 338 00:23:49,944 --> 00:23:52,264 Speaker 5: We're gonna fly away. 339 00:23:53,784 --> 00:24:02,864 Speaker 6: And find the Sun when winds are Gone, And find 340 00:24:02,984 --> 00:24:03,704 Speaker 6: the Sun. 341 00:24:04,864 --> 00:24:17,424 Speaker 1: When winds are gone, When Winter Comes from McCartney three, 342 00:24:17,704 --> 00:24:22,664 Speaker 1: released in twenty twenty and mull Offkin Tyre released in 343 00:24:22,744 --> 00:24:28,664 Speaker 1: nineteen seventy eight. In the next episode. 344 00:24:28,464 --> 00:24:31,984 Speaker 2: Under Milk would by Dylan Thomas. 345 00:24:33,144 --> 00:24:38,544 Speaker 1: Senter Paul Listening to the radio taught young McCartney the 346 00:24:38,704 --> 00:24:49,304 Speaker 1: art of creating sound images. Geez Penny Lean next time 347 00:24:49,464 --> 00:25:00,264 Speaker 1: on McCartney A Life in Lyrics. McCartney A Life in 348 00:25:00,384 --> 00:25:06,864 Speaker 1: Lyrics is a co production between iHeartMedia, NPL and Pushkin Industries.