WEBVTT - When Winter Comes / Mull of Kintyre

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<v Speaker 1>Pushkin.

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<v Speaker 2>When we first got Mary and we're in a meeting

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<v Speaker 2>with my accountant. He said, now you've got to invest

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<v Speaker 2>in stuff, and I said, don't worry about it, just

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<v Speaker 2>putting the back leave it.

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<v Speaker 3>So no, no, no, you can't do that.

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<v Speaker 2>For some reason, I believed in and what I advised

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<v Speaker 2>to do is to buy something like he said, there's

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<v Speaker 2>this little farm, let's come up in Scotland. I ended

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<v Speaker 2>up taking advice and bought it a bit approachingly.

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<v Speaker 4>That you lot beatle. Paul McCartney has bought a hill

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<v Speaker 4>farm on the remote Mull of Kintyre in the west

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<v Speaker 4>of Scotland. Farmer Brown said, last night I recognized mister

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<v Speaker 4>McCartney immediate. We showed them through the farmhouse and they

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<v Speaker 4>said they were delighted with it.

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<v Speaker 2>But it was it's falling apart, you know, there was

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<v Speaker 2>nothing great about it. So I kind of left it

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<v Speaker 2>and didn't really bother But then when I met Londo,

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<v Speaker 2>she just said, you know, you're not fucking up in Scotland.

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<v Speaker 3>I said, yeah, but I'm not sure you'll like it.

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<v Speaker 3>She loved, Wow, we could fix it up.

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<v Speaker 1>I'm Paul will do. And I've been fortunate to spend

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<v Speaker 1>time with one of the greatest songwriters of our.

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<v Speaker 5>Era, and will you look at me? I'm going on

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<v Speaker 5>to it.

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<v Speaker 3>I'm actually a performer.

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<v Speaker 1>That is, sir Paul McCartney. We worked together on a

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<v Speaker 1>book looking at the lyrics of more than one hundred

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<v Speaker 1>and fifty of his songs, and we recorded many hours

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<v Speaker 1>of our conversations.

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<v Speaker 3>Actually, I'm a songwriter, my god, we'll let that.

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<v Speaker 5>Crept up on me.

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<v Speaker 1>This is McCartney, a life in lyrics, a masterclass, a memoir,

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<v Speaker 1>and an improvised journey with one of the most iconic

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<v Speaker 1>figures in popular music. In this episode, when winter comes

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<v Speaker 1>and mull of Kintar.

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<v Speaker 6>Well, winter comes, Aloiscus, We'll wanta two.

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<v Speaker 7>Twesday.

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<v Speaker 1>In just a couple of years ago, after we'd already

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<v Speaker 1>been having our conversations for some time, Paul McCartney was

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<v Speaker 1>preparing for a reissue of his nineteen ninety seven album

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<v Speaker 1>Flaming Pie. His archivists had sent him some options for

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<v Speaker 1>bonus extras, songs which would have been recorded at the

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<v Speaker 1>time of the original album but had yet to be released.

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<v Speaker 2>But they just sent me some tracks for consideration as

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<v Speaker 2>bonus extras, And I'm listening to this one.

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<v Speaker 8>I think, gosh, I mean it's good. I am actually

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<v Speaker 8>thinking of releasing it. It's very sort of hippie, almost

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<v Speaker 8>relates to living.

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<v Speaker 3>On the farm.

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<v Speaker 6>When summer's gone, We're gonna fly away.

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<v Speaker 1>When winter Camas was recorded in nineteen ninety two with

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<v Speaker 1>George Martin at the mixing desk. It's a sweet, simple

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<v Speaker 1>song HARKing back to the time McCartney spent living on

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<v Speaker 1>his farm in Scotland. Nestled in the heart of the

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<v Speaker 1>Kntire Peninsula just thirty miles from the coast of Ireland

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<v Speaker 1>is High Park Farm, the one hundred and eighty three

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<v Speaker 1>acre property McCartney purchased in nineteen sixty six.

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<v Speaker 2>I was greeted by our ext door neighbor, Ian mcdrugal,

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<v Speaker 2>whose very old doll course carry spoke with gallac and

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<v Speaker 2>was very old farmer in.

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<v Speaker 3>A really total stereotype.

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<v Speaker 4>He admitted to me as he walked over the grounds

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<v Speaker 4>that he had no knowledge of farming, although he wanted

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<v Speaker 4>to keep it as a farm. I told him that

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<v Speaker 4>it would be all right if he put a reliable

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<v Speaker 4>man in, and he seemed to agree. He has seemed

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<v Speaker 4>a very sensible sort of chap he.

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<v Speaker 3>Said, you'll be the new layered.

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<v Speaker 5>What.

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<v Speaker 2>I could never understand him, but I've worked out the

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<v Speaker 2>system of having on to the last word in a sentence.

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<v Speaker 2>He said, I go, hie the sheep, find hi the

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<v Speaker 2>clipping I write.

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<v Speaker 1>When McCartney bought the property, the old wooden farmhouse was

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<v Speaker 1>falling apart, the fences crumbling.

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<v Speaker 3>I will fight it out. This has stopped this place.

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<v Speaker 3>I really didn't like it.

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<v Speaker 1>He had no idea that years later it would become

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<v Speaker 1>a cherished setting for his life with Linda Eastman, or

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<v Speaker 1>such a whale of inspiration for his songwriting.

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<v Speaker 5>Sweet like.

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<v Speaker 3>Gay.

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<v Speaker 5>We're only really up there because of Linda's love of it.

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<v Speaker 5>When we went up so.

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<v Speaker 3>She said, oh, this is frying fantastic.

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<v Speaker 5>I love it. So she made me love it through

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<v Speaker 5>her eyes.

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<v Speaker 2>I went, oh, well that is a fine mountain.

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<v Speaker 5>Gosh, he's covered in the heap. That's very beautiful, you know.

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<v Speaker 5>And so we brought up the kids.

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<v Speaker 1>There in the early nineteen seventies. With the help of Linda,

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<v Speaker 1>McCartney came to see the lush, rolling highlands as romantic

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<v Speaker 1>and the dilapidated farm property as full of potential. After all,

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<v Speaker 1>the thing beyond repair in his life at the time

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<v Speaker 1>was not the Barns, but the Beatles, who were mired

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<v Speaker 1>in business disputes back down in London.

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<v Speaker 2>I was getting called into meetings in London in our

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<v Speaker 2>office in sabil Row. Well, you would have to sit

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<v Speaker 2>there and listen to an accountant or the manager and

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<v Speaker 2>talk about this boring or that even more boring. And

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<v Speaker 2>it was nothing that we did. It's nothing that we liked.

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<v Speaker 2>We liked playing music, we like making music like and

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<v Speaker 2>this was suddenly a deadly period where actually actually think

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<v Speaker 2>about money and stuff that we'd not't really given much

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<v Speaker 2>thought to. So I was going under kind of a bit

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<v Speaker 2>depressed the whole thing. And suddenly Linda and I just,

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<v Speaker 2>I don't know, we just sort of said, well, let's

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<v Speaker 2>let's go to Scotland. We're literally taking ourselves out of

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<v Speaker 2>the situation. So anyone needed me, they had to ring

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<v Speaker 2>me come into the meeting today. Sorry I can'tum in Scotland.

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<v Speaker 2>And so that freedom was just it's.

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<v Speaker 1>Great away from the dreary business meetings and the crumbling band. Paul, Linda,

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<v Speaker 1>their two children, and their English sheep dog Martha started

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<v Speaker 1>living a more simple pastoral life. On the farm. They

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<v Speaker 1>were inspired to eat more vegetarian food. Paul patched up

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<v Speaker 1>the fences and planted trees which could grow even in

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<v Speaker 1>the harshest of Scottish winters.

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<v Speaker 5>It allowed me to be a man.

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<v Speaker 2>If a picture needed hanging, I'm your boy. If somebody

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<v Speaker 2>needed doing on the farm, I'll do it. And so

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<v Speaker 2>it was very nice. It was quite a difficult period

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<v Speaker 2>because it was to do with the Beatles break up

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<v Speaker 2>and everything, but it allowed me to see another side

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<v Speaker 2>of myself because I'd grown up in Liverpool, not very

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<v Speaker 2>much the handyman. I'd gone on the road with the

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<v Speaker 2>Beatles around the world and round again, and now here

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<v Speaker 2>I was just on a farm in the middle of nowhere.

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<v Speaker 5>It was sensational.

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<v Speaker 1>In contrast to their busy life in London. The Highlands

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<v Speaker 1>permitted the McCartneys to live at a slower piece.

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<v Speaker 2>There wasn't a bath, for instance, in this little farmhouse,

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<v Speaker 2>but there was a big steel tub that they cleaned

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<v Speaker 2>the milking equipment in bloody cold in the winter, and

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<v Speaker 2>we'd run in and we'd jump in this bath, which

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<v Speaker 2>was not easy to get in, but we were young,

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<v Speaker 2>in virile and we'd jump in this path and have

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<v Speaker 2>this fantastic for a Japanese style bath. So those are

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<v Speaker 2>the kind of things we're doing that I'd never done

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<v Speaker 2>ever in my life, and it was liberating. So I

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<v Speaker 2>would fix fences, I would dig a drain. I would

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<v Speaker 2>keep some chickens. I would plant a vegetable garden.

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<v Speaker 6>Fix the fence by the acre plot.

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<v Speaker 7>Two young foxes have been nosing around the lambs and

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<v Speaker 7>the chigains. You'll safe until it's done. I musty a

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<v Speaker 7>drain by the carrot patch.

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<v Speaker 3>The whole crop spiles if it gets too down.

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<v Speaker 6>And where will we be with an empty store when

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<v Speaker 6>winter comes.

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<v Speaker 2>I think a lot of young people dream about that today.

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<v Speaker 5>Still I sense a lot of people want that freedom.

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<v Speaker 5>Escaping the rat race.

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<v Speaker 1>Escaping the rat race entailed a great deal of manual labor,

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<v Speaker 1>but the McCartneys began to relish the simplicity of their

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<v Speaker 1>life on the farm.

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<v Speaker 2>I would get tradesmen from the village who would put

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<v Speaker 2>the roof on, and then then I'd painted. I talked

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<v Speaker 2>to them about how you paint the roof, it's all

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<v Speaker 2>you needed. So get the system. But we listened to

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<v Speaker 2>tighten up records. The two so it was reggae and

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<v Speaker 2>freedom and you know, Linda cooking, planting a little vege garden.

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<v Speaker 2>I was just it's pretty amazing. It was fus and

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<v Speaker 2>it was just what the boy was wanting.

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<v Speaker 1>Instead of wrangling crowds of Beatles fans, McCartney found himself

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<v Speaker 1>wrangling sheep with the help of a shepherd, Duncan Kern,

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<v Speaker 1>who would look after the property when the family was away.

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<v Speaker 2>I said, and I learned to share the sheep with

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<v Speaker 2>hand clippers.

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<v Speaker 3>No one, that's hard. It is quite hard.

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<v Speaker 2>I did about fourteen to twenty in a day, and

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<v Speaker 2>Duncan would do like a hundred.

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<v Speaker 5>You know.

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<v Speaker 2>Just getting a sheep on its back is cool. And

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<v Speaker 2>that ended up as a cover of ram. But that

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<v Speaker 2>was real cheering time. And we did crazy things like

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<v Speaker 2>Linda took a portrait of every one of our flock, so.

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<v Speaker 3>We have this, let's make it into something one day.

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<v Speaker 3>It's it's huge. It's just all these different sheep. But

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<v Speaker 3>we were doing stuff like that, you know, because because

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<v Speaker 3>we wanted to. It's genuine, you know, this is how

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<v Speaker 3>we were living.

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<v Speaker 1>When Winter Comes chronicles the mundane chores of farm life,

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<v Speaker 1>fixing the fence, digging a drain. These little actions express

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<v Speaker 1>attention and care, both for the speaker's family and for

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<v Speaker 1>the natural world at large.

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<v Speaker 2>So this is it's someone like me upon a farm somewhere,

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<v Speaker 2>and he's looking after things. So I must fix a

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<v Speaker 2>fence by the acre plot. Two young foxes have been

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<v Speaker 2>nosing around the lambs, and the chickens won't feel safe

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<v Speaker 2>until it's done.

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<v Speaker 5>I must dig a drain by the carrot patch.

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<v Speaker 2>Whole crop spoils if it gets too damp, and where

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<v Speaker 2>will we be with an empty store and winter comes?

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<v Speaker 5>So these are things I'd learned. You've got to put

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<v Speaker 5>a fence up or the fox.

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<v Speaker 2>Will have your chickens, and you've got to dig a

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<v Speaker 2>drain because patch gets too wet, nothing will grow there.

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<v Speaker 5>So this was me remembering.

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<v Speaker 6>That when summer we're gonna fly away and find the

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<v Speaker 6>sun when winter comes.

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<v Speaker 5>I really like this song.

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<v Speaker 1>I don't want to diminish it by saying it's a

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<v Speaker 1>series of thumbnail sketches.

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<v Speaker 5>That's right.

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<v Speaker 2>I think you're right. I mean I don't think it

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<v Speaker 2>diminishes it at all.

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<v Speaker 5>I think.

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<v Speaker 2>It's memories of actual, actual things.

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<v Speaker 5>And each one makes up a nice little scene.

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<v Speaker 2>Fixing the fence for boxes that are a next one,

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<v Speaker 2>digging the trench a little planting trees.

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<v Speaker 7>I must find the time to plant some trees in the.

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<v Speaker 6>Meadow where the river flows, in time to come down,

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<v Speaker 6>make good shade for some poor song.

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<v Speaker 2>In a matter where the river flows in time to come,

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<v Speaker 2>they'll make good shade for some poor soul. That was

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<v Speaker 2>a sort of rather wistful image that I liked.

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<v Speaker 5>I'd never planted trees before.

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<v Speaker 2>In fact, after that time, was remembering that time and

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<v Speaker 2>talking to my roady, my long time roady, and I

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<v Speaker 2>sort of said about a tree. You know, I said, well,

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<v Speaker 2>you know, you could buy a tree, and.

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<v Speaker 5>What he said, you can buy trees.

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<v Speaker 2>And the concept of buying a tree was fabulous, just

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<v Speaker 2>to see his his mine be blown by the idea

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<v Speaker 2>because he thought, no, trees are just trees.

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<v Speaker 5>And they just grow.

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<v Speaker 2>And by this time in my life, when I'm writing

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<v Speaker 2>this song, I knew that these little one foot things

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<v Speaker 2>I'd planted in Scotland, and I planted them very badly.

0:16:01.104 --> 0:16:03.984
<v Speaker 2>I just lifted a sod, stuck them underneath it, and

0:16:04.024 --> 0:16:07.344
<v Speaker 2>plunked the sod back down. By now they were bloody

0:16:07.584 --> 0:16:11.864
<v Speaker 2>thirty foot giants. I fell into the trap that most

0:16:11.864 --> 0:16:14.544
<v Speaker 2>people fall into. If you're going to buy a plant

0:16:14.624 --> 0:16:17.624
<v Speaker 2>a tree, it's got to be a good six foot.

0:16:18.584 --> 0:16:24.384
<v Speaker 2>But then you start talking to our boialists and you

0:16:24.424 --> 0:16:28.864
<v Speaker 2>start talking to three people and they will say it's

0:16:28.944 --> 0:16:32.264
<v Speaker 2>best to plant and little mm hmm. But to me

0:16:32.344 --> 0:16:35.784
<v Speaker 2>it was like, I'll never see it grow, but of

0:16:35.864 --> 0:16:39.064
<v Speaker 2>course you do.

0:16:39.064 --> 0:16:42.424
<v Speaker 3>Do you still have the house in Scotland? Oh you

0:16:42.464 --> 0:16:42.944
<v Speaker 3>still have it?

0:16:43.104 --> 0:16:46.544
<v Speaker 5>I do? Yeah?

0:16:47.464 --> 0:16:48.224
<v Speaker 7>Of gin.

0:16:52.304 --> 0:16:56.944
<v Speaker 2>In from Percy Bys.

0:16:57.744 --> 0:17:00.264
<v Speaker 3>These as.

0:17:03.424 --> 0:17:04.184
<v Speaker 2>Of gins.

0:17:08.504 --> 0:17:12.904
<v Speaker 1>As McCary was renovating his Scottish property throughout the nineteen seventies,

0:17:13.304 --> 0:17:17.304
<v Speaker 1>he was also renovating his songwriting, with Linda by his side,

0:17:18.464 --> 0:17:23.304
<v Speaker 1>working with their band Wings. He often drew inspiration from

0:17:23.304 --> 0:17:27.744
<v Speaker 1>the Highlands, as in Mull of Kintire, a surprise hit

0:17:27.824 --> 0:17:30.784
<v Speaker 1>on the peak of the punk era. Mull of Cantarre

0:17:31.184 --> 0:17:35.304
<v Speaker 1>was one of the UK's best selling singles of all time.

0:17:59.904 --> 0:18:03.184
<v Speaker 2>I was in Scotland a lot and it just suddenly

0:18:03.184 --> 0:18:06.024
<v Speaker 2>occurred to me that there were no new Scottish songs.

0:18:06.944 --> 0:18:08.904
<v Speaker 5>There were lots of great old.

0:18:08.664 --> 0:18:12.464
<v Speaker 2>Songs the bagpipe fance played, but there was nothing new.

0:18:13.064 --> 0:18:17.584
<v Speaker 2>So I thought, that's an opportunity to see if I

0:18:17.624 --> 0:18:20.864
<v Speaker 2>fancy it or if I can, and then it'd began

0:18:20.904 --> 0:18:23.304
<v Speaker 2>a nice because the new Scottish song would have been

0:18:23.304 --> 0:18:24.464
<v Speaker 2>written by assassinak.

0:18:25.344 --> 0:18:27.064
<v Speaker 5>I thought that that would be fun.

0:18:28.344 --> 0:18:33.384
<v Speaker 2>So long story short, I had the local pipe major

0:18:34.064 --> 0:18:37.224
<v Speaker 2>come up with his pipes to the house, to the house,

0:18:37.904 --> 0:18:41.104
<v Speaker 2>which was a very little house, and he played and

0:18:41.144 --> 0:18:44.344
<v Speaker 2>it was so loud that we I said, let's go

0:18:44.384 --> 0:18:47.504
<v Speaker 2>out into the garden, which again was a very little garden,

0:18:48.264 --> 0:18:51.504
<v Speaker 2>and we just sort of he played, and I got

0:18:51.504 --> 0:18:55.584
<v Speaker 2>some ideas. I got what cords would work with what

0:18:55.664 --> 0:18:58.104
<v Speaker 2>he was playing, what key was in because they can't

0:18:58.384 --> 0:19:02.544
<v Speaker 2>change key. So yeah, So I made the song and

0:19:02.904 --> 0:19:05.064
<v Speaker 2>enjoyed it, and they had a session up there and

0:19:05.144 --> 0:19:06.944
<v Speaker 2>it was funny evening and they loved it.

0:19:07.344 --> 0:19:10.064
<v Speaker 3>Oh it's a number one, you know.

0:19:10.584 --> 0:19:13.384
<v Speaker 2>And the big memory for me that was so cool

0:19:14.264 --> 0:19:19.344
<v Speaker 2>was talking about a sophistication and this love of not

0:19:19.704 --> 0:19:24.064
<v Speaker 2>non sophistication was if you were in an orchestral session,

0:19:24.744 --> 0:19:26.504
<v Speaker 2>the musicians will.

0:19:26.304 --> 0:19:31.784
<v Speaker 9>Count one, two three for two to three three to

0:19:31.944 --> 0:19:36.104
<v Speaker 9>the counting the bars, but the Scottish pipeline doesn't. It

0:19:36.144 --> 0:19:42.144
<v Speaker 9>goes one, two, three, four, five, six, nine, ten, eleven, twelve,

0:19:42.144 --> 0:20:09.344
<v Speaker 9>twenty three twenty four twenty.

0:20:09.264 --> 0:20:14.344
<v Speaker 1>As I mentioned, Mull of Kintarn was released during the

0:20:14.344 --> 0:20:18.824
<v Speaker 1>punk era, when a rising Scottish melody might have seemed

0:20:18.864 --> 0:20:23.624
<v Speaker 1>an unlikely hit, a significant departure from the convention of

0:20:23.664 --> 0:20:26.464
<v Speaker 1>the day. On the other hand, what is more punk

0:20:26.944 --> 0:20:28.624
<v Speaker 1>than departing from convention.

0:20:29.544 --> 0:20:31.944
<v Speaker 2>There's this little story where Lindr and I were in

0:20:32.064 --> 0:20:37.584
<v Speaker 2>traffic in London, in the West End somewhere, and there

0:20:37.624 --> 0:20:41.144
<v Speaker 2>was a big gang of punks who look very aggressive,

0:20:41.224 --> 0:20:45.544
<v Speaker 2>you know, the look was a grossure. And they comes

0:20:45.584 --> 0:20:48.304
<v Speaker 2>sort of stomping through in the sort of bobber boots

0:20:48.904 --> 0:20:51.264
<v Speaker 2>and they come with the car and we're kind of

0:20:52.744 --> 0:20:56.224
<v Speaker 2>crouching a little bit, trying to not get noticed, thinking Jesus,

0:20:56.304 --> 0:20:59.064
<v Speaker 2>what they're going to do. You know, they're going to

0:20:59.104 --> 0:21:01.624
<v Speaker 2>think we're the enemy kind of thing. And then they

0:21:01.664 --> 0:21:05.784
<v Speaker 2>noticed that one of them comes to the college. I

0:21:05.784 --> 0:21:07.504
<v Speaker 2>wound down the window a little bit.

0:21:08.064 --> 0:21:12.464
<v Speaker 3>He goes, I got that monarching jars fucking right.

0:21:17.864 --> 0:21:21.344
<v Speaker 1>Through these songs. High Park took on a sort of

0:21:21.584 --> 0:21:26.224
<v Speaker 1>mythic quality in the public imagination, but for the most part,

0:21:26.504 --> 0:21:31.304
<v Speaker 1>the farm itself remained for the McCartney's alone, allowing them

0:21:31.344 --> 0:21:37.584
<v Speaker 1>to get away from public life. Did people follow you there?

0:21:37.784 --> 0:21:41.784
<v Speaker 3>Cell remote? Nobody could get there. A couple of people did,

0:21:42.424 --> 0:21:44.304
<v Speaker 3>and people would just shot out of the blue.

0:21:44.824 --> 0:21:48.344
<v Speaker 2>They probably came to Campbelltown and asked and someone would

0:21:48.384 --> 0:21:49.304
<v Speaker 2>tell them up that road.

0:21:49.544 --> 0:21:51.064
<v Speaker 3>But it was really hard.

0:21:51.184 --> 0:21:54.984
<v Speaker 2>It wasn't just easy to go that road, of that

0:21:55.024 --> 0:21:57.224
<v Speaker 2>road and of that track and then over that track.

0:21:57.624 --> 0:22:01.424
<v Speaker 3>It was very remote. And then the photographer from Life.

0:22:01.184 --> 0:22:05.584
<v Speaker 2>Magazine found us, and I think I threw a boocket

0:22:05.624 --> 0:22:08.584
<v Speaker 2>of water on him, and then he said he was

0:22:08.624 --> 0:22:12.424
<v Speaker 2>going to use that photo, so fuck. So I sort

0:22:12.464 --> 0:22:15.184
<v Speaker 2>of followed him out in my landlord and said, look,

0:22:15.904 --> 0:22:18.704
<v Speaker 2>we'll do a pose for So we did a posal.

0:22:18.784 --> 0:22:21.504
<v Speaker 3>They got all the cover of Life. I think yes.

0:22:23.824 --> 0:22:28.344
<v Speaker 2>But we loved it because we were totally making it up,

0:22:29.064 --> 0:22:29.904
<v Speaker 2>and you think about it.

0:22:29.944 --> 0:22:32.504
<v Speaker 3>We had a young baby. There were doctors in.

0:22:32.904 --> 0:22:35.624
<v Speaker 2>The town, so we were ten minutes from a doctor,

0:22:36.024 --> 0:22:38.144
<v Speaker 2>but as far as we were concerned, we could be

0:22:38.864 --> 0:22:44.864
<v Speaker 2>completely cut off if we wanted, and it was pretty cool.

0:22:45.504 --> 0:22:47.744
<v Speaker 6>When Winter Comes.

0:22:50.264 --> 0:22:54.424
<v Speaker 7>Focuss we want.

0:22:54.304 --> 0:23:02.064
<v Speaker 1>To Paul McCartney reworked When Winter Comes in twenty twenty,

0:23:02.704 --> 0:23:07.624
<v Speaker 1>twenty eight years after it was originally recorded. It was

0:23:07.664 --> 0:23:09.904
<v Speaker 1>a time when most of the were world was cut

0:23:09.944 --> 0:23:13.664
<v Speaker 1>off from public life in a very different way at

0:23:13.704 --> 0:23:19.544
<v Speaker 1>the beginning of the COVID nineteen pandemic, when his archivists

0:23:19.584 --> 0:23:22.864
<v Speaker 1>brought him the song as a possible bonus extra for

0:23:22.944 --> 0:23:26.944
<v Speaker 1>the reissue of Flaming Pie. The sentiment of the song

0:23:27.344 --> 0:23:31.344
<v Speaker 1>reconnecting with the natural world hunkering down for a season

0:23:31.384 --> 0:23:36.584
<v Speaker 1>of isolation resonated enough with McCartney that he decided to

0:23:37.144 --> 0:23:41.824
<v Speaker 1>unabashedly release it on his next original solo.

0:23:41.624 --> 0:23:45.544
<v Speaker 7>Album, to stains.

0:23:46.264 --> 0:23:49.184
<v Speaker 6>Whensum's Gone.

0:23:49.944 --> 0:23:52.264
<v Speaker 5>We're gonna fly away.

0:23:53.784 --> 0:24:02.864
<v Speaker 6>And find the Sun when winds are Gone, And find

0:24:02.984 --> 0:24:03.704
<v Speaker 6>the Sun.

0:24:04.864 --> 0:24:17.424
<v Speaker 1>When winds are gone, When Winter Comes from McCartney three,

0:24:17.704 --> 0:24:22.664
<v Speaker 1>released in twenty twenty and mull Offkin Tyre released in

0:24:22.744 --> 0:24:28.664
<v Speaker 1>nineteen seventy eight. In the next episode.

0:24:28.464 --> 0:24:31.984
<v Speaker 2>Under Milk would by Dylan Thomas.

0:24:33.144 --> 0:24:38.544
<v Speaker 1>Senter Paul Listening to the radio taught young McCartney the

0:24:38.704 --> 0:24:49.304
<v Speaker 1>art of creating sound images. Geez Penny Lean next time

0:24:49.464 --> 0:25:00.264
<v Speaker 1>on McCartney A Life in Lyrics. McCartney A Life in

0:25:00.384 --> 0:25:06.864
<v Speaker 1>Lyrics is a co production between iHeartMedia, NPL and Pushkin Industries.