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Speaker 1: Too Much Information is a production of I Heart Radio.

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Speaker 1: Hello everyone, and welcome to Too Much Information, the show

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Speaker 1: that brings you the secret history a little known facts

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Speaker 1: behind your favorite music, movies, TV shows, and more. We

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Speaker 1: are your tax men of trivia, your captains of the

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Speaker 1: Yellow Submarine, the pop culture podcast hosts who are truly

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Speaker 1: bigger than Jesus. My name is Georgian Muntalk. Wow, that

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Speaker 1: gota that got an authentic hoot out of you? Well,

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Speaker 1: I didn't know. Why are you putting that in there?

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Speaker 1: It's a reference. And I'm Alex Heagle and we are

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Speaker 1: back for the second installment of our two part episode

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Speaker 1: about the Beatles six album Revolver, which is currently the

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Speaker 1: subject of a massive five disc box set reissue overseen

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Speaker 1: by Giles Martin, son of legendary Beatles producers so George Martin,

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Speaker 1: and steward of the band's recorded legacy. Last episode we

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Speaker 1: explored Side of This, my favorite album of all time,

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Speaker 1: and today we are taking a look at Side too,

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Speaker 1: which has some of my favorite Beatles songs. Ever, what

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Speaker 1: do you think I go there? Any standouts for you?

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Speaker 1: Andrew Berry can sing is probably my favorite from this

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Speaker 1: Um Wow, that's to me. That's like a relatively deep cut.

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Speaker 1: Oh so good. Look, you know I love Thin Lizzie.

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Speaker 1: It makes sense. The harmony, guitars on the guitar harmony,

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Speaker 1: this is like kind of ground zero for that style

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Speaker 1: of guitar playing. And I really look for no one man.

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Speaker 1: I think that song is just a stating song, so

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Speaker 1: just beautiful, and the rest I really love. I know,

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Speaker 1: you know what I tell you. I love Joe Pesci's

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Speaker 1: Rendition of God to con In into my life. Yeah, man,

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Speaker 1: that albums laughs. Somebody sent it to me and I

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Speaker 1: wasn't even gonna dignify it by listening to it, and

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Speaker 1: then I put it on and I forgot because he

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Speaker 1: grew up with the Four Seasons guys, so he has

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Speaker 1: a musical background. Yeah, it's pretty good. Check it out.

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Speaker 1: It's on it. Pesci's got pipes, Yeah, little joke sure

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Speaker 1: can sing. Yeah. Yeah, Oh my god. He does the

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Speaker 1: fool Hill fixing a hole. It's all beats, it's it's

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Speaker 1: a lot he does just to love. Somebody does the

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Speaker 1: Peaches song. Oh dude, that would probably like actually crush

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Speaker 1: me hearing Joe Pesci. I love that song. Well, did

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Speaker 1: not expect that we'd get into a Joe Pesci detour

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Speaker 1: this early episode. Well, I was lucky enough to interview

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Speaker 1: Giles Martin about this reissue and I wrote about it

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Speaker 1: for a pretty lengthy deep dive on people dot com.

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Speaker 1: The Magic Circle Why the Beatles Revolver is a monument

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Speaker 1: to the collaborative spirit. But if you're ento reading more

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Speaker 1: about this era and Beatles history, which if you've come

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Speaker 1: back for a second episode about this, I'm guessing you are.

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Speaker 1: I have several things that I love to turn you onto.

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Speaker 1: There's a fantastic website that isn't being talked about enough

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Speaker 1: called Beatle's Books dot com, and they offer these insanely

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Speaker 1: thorough track by track storey worrias of every song. It

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Speaker 1: makes our research looks superficial. It's insane. Check that site out.

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Speaker 1: If you're a Beatle nerd, you'll get lost on it

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Speaker 1: for days. I have to tip my hat to the

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Speaker 1: writer of I think all the pieces on that site,

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Speaker 1: Dave Rabazuski is I think, how you say his name?

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Speaker 1: Incredibly talented writer. Uh. They're Steve Turner's amazing book Beatles

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Speaker 1: sixty six, which is a gripping and throw account of

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Speaker 1: the most interesting and pivotal year in the Beatles career.

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Speaker 1: Um Also, I think it's the most fascinating year in

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Speaker 1: music history period. Mark Lewison's day by day books of

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Speaker 1: their career are astounding. Anyone in the Beatles realm knows

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Speaker 1: and loves Mark Lewison. He's the top rob. Sheffield's Dreaming

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Speaker 1: the Beatles is absolutely brilliant, as is all the Beatles

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Speaker 1: stuff he does for Rolling Stone. Whenever there's anything new

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Speaker 1: in the way of Beatle releases, he's always the first

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Speaker 1: one I look to. Corey grow also at Rolling Stone

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Speaker 1: did a fantastic deep dive review on this box set,

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Speaker 1: as did Dorian Lynsky at The l A Times. UH.

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Speaker 1: In the realm of podcasts, I cannot gush enough about

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Speaker 1: the One Sweet Dream podcast by the wise, wonderful, brilliant

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Speaker 1: talent to Diana Ericsson. Her series coming through Maurine Cleave's

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Speaker 1: profiles of each of the Beatles in early six is

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Speaker 1: so incredibly engaging and insightful and really changed my views

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Speaker 1: on so many things as related to the band. Uh.

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Speaker 1: It's a great way to learn where their heads are

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Speaker 1: at as they entered the studios in April of nineteen

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Speaker 1: sixty six to make Revolvers, so definitely check out her

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Speaker 1: One Sweet Dream podcast. Anyway, enough nursery, it is time

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Speaker 1: to dive in. We have so much to get to

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Speaker 1: that I'm not even gonna give any teaser facts. If

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Speaker 1: you want to get the album queued up and listen

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Speaker 1: to each song as we go, please go right ahead.

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Speaker 1: I hope we'll give you new things to notice and

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Speaker 1: appreciate as you listen. So turn off your mind, relax,

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Speaker 1: and float downstream as we dive in. Here's everything you

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Speaker 1: didn't know about Side two of The Beatles Revolver it

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Speaker 1: is not dying. Before we dive back into the track list,

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Speaker 1: I just wanted to give a quick nod to the

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Speaker 1: packaging that contains these sounds, starting with the title Revolver Revolvers,

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Speaker 1: the Beatles album I think might have the most alternative

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Speaker 1: title options that were floating around. There were some jokey

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Speaker 1: ones that were nod too, recent albums by artists they admire.

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Speaker 1: The Rolling Stones had recently released their album after Math,

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Speaker 1: so Ringo suggested after Geography, I wish they would have

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Speaker 1: gone with that one. A lot of the greatest records

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Speaker 1: of all times as being a jokey pun on a

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Speaker 1: Rolling Stones record. Come on, but I mean pet sounds

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Speaker 1: a terrible album title cover. Yeah, it probably would have

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Speaker 1: been imbued with all sorts of meeting and mythology if

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Speaker 1: they've done after geography is pretty terrible, but it's hilarious. Uh.

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Speaker 1: They also had Beatles on Safari, which I think was

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Speaker 1: an honor of the Beach Boys album Surfing Safari. Uh.

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Speaker 1: They also all love the Freewill and Bob Dylan album.

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Speaker 1: They said that was the album that really got them

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Speaker 1: in the Dylan so they batted around the Freewheel and Beatles,

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Speaker 1: which is also pretty good. Only if it's all four

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Speaker 1: of them walking down the street with like one of

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Speaker 1: them arm in arm, like Susie Rode in drag, that

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Speaker 1: would have gotten at the heart of like George Harrison's

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Speaker 1: Monty Python thing. I like, it's it's two of them

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Speaker 1: and then the other two are in drag as Susie Rodola.

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Speaker 1: But in all honestly, I can't imagine that any of

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Speaker 1: these album titles were seriously considered. The editor of The

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Speaker 1: Beatles Monthly magazine was with the band in their hotel

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Speaker 1: room during the German leg of their tour in late June.

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Speaker 1: Nineteen sixty six, as they brainstormed album titles, Pendulums was

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Speaker 1: one that was considered, and fat Man and Bobby now

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Speaker 1: we're talking. Yeah, an early favorite was aber Cadabra, but

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Speaker 1: it turned out that another band had taken that title,

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Speaker 1: which I think title uh later, Yeah, you know that,

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Speaker 1: Steve Miller. In nineteen sixty nine, the Beatles had a

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Speaker 1: big fight in the studio when the rest of the

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Speaker 1: band We're trying to get Alan Klein to manage him,

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Speaker 1: and Paul didn't want to and he stormed out or no,

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Speaker 1: the rest I think the rest of the band left

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Speaker 1: him and he was just alone in the studio and

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Speaker 1: he ran into Steve Miller who was also in the studio,

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Speaker 1: and he recorded a song with Steve Miller in nineteen

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Speaker 1: sixty nine called My Dark Hour. He's playing drums on it,

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Speaker 1: and it was they recorded it together like as Paul's

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Speaker 1: like heartbroken, realizing that the band might not make it

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Speaker 1: because they just left him alone in the studio. As

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Speaker 1: with many of us, Steve Miller is there at our

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Speaker 1: darkenest to pick up the pieces. So Aberca Daver was

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Speaker 1: out keeping on the theme of magic, Paul put forth

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Speaker 1: the title Magic Circle, which I think is a really

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Speaker 1: cool title, kind of mythologizes, you know, the vinyl LP.

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Speaker 1: But John gave it a characteristically surreal twist. He called

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Speaker 1: it four Sides of the Circle. Actually, that's a pretty

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Speaker 1: good title. He continued to tinker, and it wasn't until

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Speaker 1: the morning of July two, nineteen sixty six, when they

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Speaker 1: were at the Tokyo Hilton for their shows at the

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Speaker 1: Buddha Coan, that they telegram their label em I and

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Speaker 1: inform them that the title of their upcoming record would

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Speaker 1: be Revolver. It's a pun records revolve, but also in

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Speaker 1: between the two rs on either side of the word,

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Speaker 1: you have evolved in the center, which I think is cool.

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Speaker 1: I love the art for this, I love the class

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Speaker 1: form and stuff. Yeah yeah, basis to a bit Yes, yes, Yes,

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Speaker 1: played on a lot of John Lennon stuff. Um. The

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Speaker 1: cover art done by Clauss Form and it was a

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Speaker 1: dear friend of the Beatles since they're Hamburg days. He

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Speaker 1: lived with Georgian Ringo and their shared band apartment after

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Speaker 1: John and Paul moved out, I guess right. When he

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Speaker 1: first moved to London, went to work as a musician

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Speaker 1: and Paul later said during the Beatles anthology, we knew

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Speaker 1: he drew and he had been involved in graphic design.

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Speaker 1: I must admit we didn't really know what he did,

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Speaker 1: but he'd been to college. We knew he must be

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Speaker 1: all right, so we said, why don't you come up

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Speaker 1: with something for the album cover? And I guess Klaus

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Speaker 1: was in the process taking over the base spot in

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Speaker 1: the band Manfred Mann of Doua did he fame? Uh?

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Speaker 1: And that spot had recently been vacated by Jack Bruce,

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Speaker 1: who was leaving the Join Cream with Eric Clapton. So

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Speaker 1: in the shuffles he's in the midst of joining this

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Speaker 1: new band. Klaus very nearly declined to take on the assignment,

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Speaker 1: but he went for it anyway. Uh. Class Warman's kind

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Speaker 1: of directive was he wanted to come up with something

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Speaker 1: that was visually convey how different these sounds were to

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Speaker 1: anything the Beals have done before. And the black and

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Speaker 1: white line drawing that he did bears the influence of

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Speaker 1: this Victorian artist, Aubrey Beardsley, who was famous for his

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Speaker 1: art nouveau pen and ink illustrations, and he was a

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Speaker 1: subject of a big exhibit at London's Victorian Albert Museum

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Speaker 1: in the summer of sixty six, so that may have

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Speaker 1: been part of the inspiration for it. Hair obviously loomed

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Speaker 1: large in the Beatles history, so that became the focal

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Speaker 1: point of the illustration. Klaus asked the band to go

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Speaker 1: through their personal photos to submit stuff for our collage

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Speaker 1: that he assembled, which actually it would earn him up

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Speaker 1: Grammy for Best Album Cover. Hilariously, Clouds Foreman was paid

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Speaker 1: fifty pounds of the equivalent of a hundred and forty dollars,

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Speaker 1: which was the maximum budget for an album cover in

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Speaker 1: those days. Uh. He worked on it in his apartment

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Speaker 1: for three weeks, and when the Beatles manager Brian Epstein

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Speaker 1: first saw it, he reportedly wept, apparently because he thought

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Speaker 1: it so beautifully captured their new music. You know who

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Speaker 1: actually owns the original um artwork for Revolver George w

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Speaker 1: Bush Joe Walsh, a friend of the Paul Joe Walsh

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Speaker 1: Ringo's brother in law. Boy, just you wait till I

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Speaker 1: get to my Joe Walsh segment later on. I can't,

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Speaker 1: I don't don't tell me when it's coming. I want

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Speaker 1: to be surprised. I don't know what it is or

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Speaker 1: where it's gonna come from him, much like Joe Walsh himself. Okay,

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Speaker 1: so now we are back onto the track list. We're

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Speaker 1: on side to, which opens with your favorite Beatles song,

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Speaker 1: good Day and Shine. Perhaps one of the least essential

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Speaker 1: tracks on this album, but I've always loved it. It

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Speaker 1: bears traces of the New York neo jug band The Lovin' Spoonful,

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Speaker 1: whose recent hit Daydreams sparked McCartney's equally languid and luminous song. Uh.

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Speaker 1: I always thought this was funny, I guess Love and

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Speaker 1: Spoonful frontman John Sebastian was unaware that he had inspired

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Speaker 1: this Beatles song for nearly twenty years, and when he

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Speaker 1: found out, he thought it was really funny because he

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Speaker 1: said that daydream was his attempt at copying the guitar

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Speaker 1: part from Baby Love by The Supremes, which I can't

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Speaker 1: really hear. I guess, do you believe in magic? Was

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Speaker 1: heat Wave? No no no no no no no no

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Speaker 1: no no no no no that I can kind of

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Speaker 1: hear Baby Love? I can't. I was talking to this

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Speaker 1: is just knowing the way to put this. I was

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Speaker 1: talking to Giles Martin about some of the surprising influences

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Speaker 1: on this album, and he invoked the famous Douglas Adams

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Speaker 1: quote from Hitchhiker's Guide to the Galaxy. There's an art

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Speaker 1: to flying, or rather a knack the knack lies and

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Speaker 1: learning how to throw yourself with the ground and miss,

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Speaker 1: which is great. Uh. There's a similar phenomenon at play

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Speaker 1: when great artists steal outright and therefore create something new inadvertently.

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Speaker 1: You know. John Sebastian, thinking about the Supremes, came up

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Speaker 1: with Daydream. Daydream inspired Good Day Sunshine, which I guess

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Speaker 1: thematically are related, but doesn't really sound the same to me.

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Speaker 1: So yeah, it's always interesting when you hear that people

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Speaker 1: were inspired by something that is miles away from where

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Speaker 1: they ended up. I love that. I'm just gonna let

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Speaker 1: you punch yourself out at this section. I got there

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Speaker 1: and made this song. I know, I know, unrelated, but

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Speaker 1: sort of related. Did you know that John Sebastian and

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Speaker 1: his fellow Love and Spoonful of bandmate was Alianowski were

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Speaker 1: originally in a band called the Mugwumps with Cass Elliott

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Speaker 1: and Denny Doherty, who would go on to be one

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Speaker 1: half of the Mamas and the papas you may all

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Speaker 1: those words up. And I actually watched the Beatles make

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Speaker 1: their Red Sullivan debut at Mama Cass's apartment, being a

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Speaker 1: fly on the wall there. John Sebastian from Love and

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Speaker 1: Spoonful Mama Cass butts of the Beatles on Sullivan for

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Speaker 1: the first time. I just think that's cool. It's cute.

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Speaker 1: But Good Day Sunshine is a rare moment of brightness

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Speaker 1: on what's otherwise a very dark album. As Beetle's Books notes,

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Speaker 1: half the songs on the British track listing for Revolver

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Speaker 1: have lyrics to contain the word death or die. But yeah,

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Speaker 1: this was the era of Daydream and Summer in the

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Speaker 1: City another Love and Spoonful song, and the Kinks Sunny

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Speaker 1: Afternoon and Donovan had Sunshine Superman, so sunny songs are

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Speaker 1: really in the air in the Summer of sixty six

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Speaker 1: and Good Day Suncho. It is also kind of a

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Speaker 1: throwback to those early kind of music hall soft shoot

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Speaker 1: type numbers like on the Sunny Side of the Street

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Speaker 1: always kind of seemed like the song that Paul would

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Speaker 1: have written for, like you know, something that his dad

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Speaker 1: would have enjoyed something like when I'm sixty four, or

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Speaker 1: he wrote a Sinatra pastiche when he was a teen

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Speaker 1: called Suicide, which when he later became famous. Sinatra reached

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Speaker 1: out to Lennon McCartney and said, Hey, do you have

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Speaker 1: any songs for me? And Paul got all excited. He

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Speaker 1: dusted off the song that he wrote as a teen

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Speaker 1: and sent it Sinatra, and Sinatra apparently never even got

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Speaker 1: back to him. I guess Paul was like, yeah, he

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Speaker 1: probably thought I was taking the piss because it was

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Speaker 1: like not a good song. Well, Sinatra famously would introduce

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Speaker 1: something at concerts as my favorite Lennon McCartney composition. So

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Speaker 1: did you know that. I recently did an interview with

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Speaker 1: Pattie Boyd and she told me that she and George

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Speaker 1: were in the studio when Sinatra recorded My Way. One

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Speaker 1: take went down in the studio for orchestra. He went

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Speaker 1: down there, drunk, belted it, kind of belted it, came

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Speaker 1: upstairs into the control room after the one take. Can

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Speaker 1: we hear that back? All right? That's good, Let's go

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Speaker 1: get a drink. That was and then they called him

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Speaker 1: on Jack and Patty was like, wait a minute. Business

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Speaker 1: when just after the Beatles have done like seven or

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Speaker 1: eight months of doing the White album, and she was like,

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Speaker 1: wait a minute, what one take. He was like, listen, Sugar,

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Speaker 1: that's not out. Frank. Does it bring a ding dan

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Speaker 1: to his third person? Yeah, well, of course listen Jackie calls.

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Speaker 1: He calls patty boy Jack anyway, not mercifully for you.

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Speaker 1: Not a lot to say about Good Day Sunshine. The

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Speaker 1: recording was pretty uneventful, though apparently John sat this went

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Speaker 1: out marketing yet another song that he didn't play an

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Speaker 1: instrument on during the Revolver sessions. He didn't play on

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Speaker 1: eleanor Rigby, he didn't play on Love YouTube, didn't play

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Speaker 1: on Here, There and Everywhere, didn't play on for No One.

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Speaker 1: And it's not totally certain if he played rhythm guitar

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Speaker 1: and got to Get You Into My Life and he

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Speaker 1: only added tambourines and handclaps, so I want to tell

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Speaker 1: you so that's half the tracks on this album he

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Speaker 1: might not have really played on, So that's interesting him.

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Speaker 1: But yeah, there's not too much that's interesting about the recording,

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Speaker 1: as evidenced by the fact that this is one of

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Speaker 1: one of the first songs and any of these expansive

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Speaker 1: reissue box sets that have no outtake material whatsoever. Paul

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Speaker 1: I think originally plan to have a guitar solo in

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Speaker 1: the song, at least outlined in the early lyrics manuscript,

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Speaker 1: but he ultimately asked George Martin to throw in a

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Speaker 1: jazzy piano solo that he recorded a half speed and

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Speaker 1: sped it up to give it that honky tonk effect,

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Speaker 1: which was similar to what he did for the solo

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Speaker 1: on In My Life, although they'd speed it up to

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Speaker 1: make it sound more like a baroque harpsichord piece. Adorably.

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Speaker 1: Paul and his band played the song as a wake

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Speaker 1: up call to the crew of the International Space Station

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Speaker 1: in two thousand five, and mission specialist Rex Walheim said,

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Speaker 1: people all around Earth love Paul McCartney's music, and boy,

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Speaker 1: you can rest assured that people all above the earth

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Speaker 1: love this music too. I would flush the oxygen out

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Speaker 1: of this bass station if they did that to me.

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Speaker 1: But now we are up to your favorite favorite and

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Speaker 1: your bird can sing it's your favorite. But that's funny,

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Speaker 1: because you know, I'm reminded of that great quote from

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Speaker 1: Robert Chris Gal about the Eagles, and nothing can interests

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Speaker 1: me about the Eagles is that I hate them. Another

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Speaker 1: thing interests me about and Your Bird Can Sing is

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Speaker 1: that John hates it. He's so good, he hates it.

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Speaker 1: He's referred to it as another horror in the nineteen

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Speaker 1: seventy one interview with Hit Parader, and his feelings hadn't

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Speaker 1: softened by eighty when he described it to Playboy as

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Speaker 1: quote another of my throwaways. But Paul really likes it,

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Speaker 1: and it's apparently a favorite of Slashes too. Anybody who

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Speaker 1: loves guitarist has to love. Yeah, yeah, yeah, it's it's

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Speaker 1: you know, without getting into a complete digression on the

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Speaker 1: use of harmony guitars or guitarmony, if you were guitarmony,

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Speaker 1: if you oh yeah, I mean Keith Rochus has talked

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Speaker 1: a lot about how the guitar parts to Chuck Barry's stuff.

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Speaker 1: We're supposed to sound like stacked horn voicings, stacked in fourths.

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Speaker 1: But you get a lot of these third id guitar

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Speaker 1: harmonies that start popping up around this time. I mean,

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Speaker 1: Guitar World no less an authority than Guitar World magazine.

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Speaker 1: I das this is sort of the well spring for

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Speaker 1: bands like Almond brothers who would in a few years

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Speaker 1: be doing extensive harmonized leads along with Leonard Skinnered. I

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Speaker 1: mentioned Joe Wall I mentioned friend of the pod Joe Walshirlier. Uh.

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Speaker 1: Joe Walsh apparently was so obsessed with this song that

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Speaker 1: he became a local legend growing up by learning how

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Speaker 1: to play that solo, that harmonized solo by himself, never

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Speaker 1: knowing that it was in fact two of them I

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Speaker 1: and didn't learn until years later that it was harmony.

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Speaker 1: And he often said, I'm the only person who can

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Speaker 1: do that in the world, including George Yeah if I

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Speaker 1: see if. When John had a particular rhythm pattern, they

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Speaker 1: wanted Ringo to play and he played him a song

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Speaker 1: that kind of demonstrated what he was talking about, and

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Speaker 1: Ringoes it was like John, John, there's two drummers on

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Speaker 1: that track. John's like, oh, oh, don't don't worry about that.

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Speaker 1: Did you do you know about the seven levels things?

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Speaker 1: Speaking of acid? Pot? But yeah pot sorry, yeah, yeah. Um.

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Speaker 1: They were smoking weed with Bob Dylan the first time

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Speaker 1: as as as many of us does who among us?

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Speaker 1: And uh? Paul Paul McCartney said that he knew the

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Speaker 1: secret of life and he told Matt Evans to write

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Speaker 1: it down and they showed it to him. It just

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Speaker 1: contained the line there are seven levels. I mean, the

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Speaker 1: best part is I forget if it was in the

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Speaker 1: anthology or in the Barry Miles book many years from now.

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Speaker 1: Paula doubles down and he was like, well, you know,

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Speaker 1: it's actually like kind of insciple because there's a lot

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Speaker 1: of like Eastern religions. That is absolutely the paul response

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Speaker 1: to that, Here's some stoned bullshit that I will try

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Speaker 1: and justify later. H Man. Incredible. Anyway, I think the

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Speaker 1: songs are great. I don't know what. I don't know what. Uh,

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Speaker 1: you know, I don't know he's talking about. They were

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Speaker 1: going for like the kind of the birds thing on this,

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Speaker 1: you know. We um we talked a lot about how

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Speaker 1: mcgwin and Crosby were hanging out with them. Um supposedly

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Speaker 1: turned George onto Robbie Shankar. But that isn't It's so

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Speaker 1: funny because mcgwinn was supposedly turned on to pick up

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Speaker 1: the twelve string after he saw George playing one with

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Speaker 1: Hard Days night. Uh, And after they became buddies, mcgwyn

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Speaker 1: goes over to George's house and holds that guitar posing

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Speaker 1: for a picture with it, which is like a little polaroid.

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Speaker 1: It's really cute, and he's like super adorable. It's like

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Speaker 1: in the late eighties too, like he's not like young.

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Speaker 1: It's like, yeah, it's cute. Uh. There's a documentary called

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Speaker 1: McCartney three to one from last year where Rick Rubin

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Speaker 1: makes the observation that the solo and this song sounds

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Speaker 1: as if it has a bit of a Celtic flare,

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Speaker 1: to which Paul says, we're Liverpool boys, and they say

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Speaker 1: Liverpool is the capital of Ireland, so it's likely the

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Speaker 1: solo is influenced. Sure, he said, we would just make

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Speaker 1: up the solo in this case and then just learn

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Speaker 1: the harmony on the solo and then play the two live.

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Speaker 1: But that is a pretty simple way of describing a

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Speaker 1: very complicated process. Uh. They spent twelve hours recording a

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Speaker 1: version of this that they ultimately scrapped, which you can

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Speaker 1: hear on the Super Deluxe set where it is labeled

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Speaker 1: first version, Take two. Have you heard that? I'm really

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Speaker 1: curious to see what you think about it, because this

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Speaker 1: is the on this early version George uses is Rick

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Speaker 1: and Bocker twelve string, and it really sounds like a

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Speaker 1: bird song and it's it's very It sounds a lot

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Speaker 1: more sixties in like a stereotypical way because he's using

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Speaker 1: that come about the twelve string, but it sounds cool.

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Speaker 1: It's a lot poppilier, no, I guess in the final

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Speaker 1: version they moved to their casinos, which makes it a

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Speaker 1: little less jangly. The Guitar World article I saw talk

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Speaker 1: about this also being the ground zero for power pop

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Speaker 1: as a movement, which again you can hear, I mean

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Speaker 1: and within god, when did Big Star first come out?

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Speaker 1: Seventy yeah, yeah, within seventy one, yeah, so yeah, within

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Speaker 1: like four years, people were already doing the high harmonies

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Speaker 1: and jangly guitars. John's an idiot. This song rules. I'm sorry,

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Speaker 1: that's that's such a great tune. Anyway. Funny outtake why

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Speaker 1: don't you take that part? Yeah, there's a funny outake

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Speaker 1: that's included on the anthology and also on the new

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Speaker 1: box set where John and Paul get the giggles uh

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Speaker 1: sounds stone out of their minds to be honest, well,

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Speaker 1: sharing a microphone to record the backing tracks and they're

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Speaker 1: just owling with laughter for two straight minutes. We talked

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Speaker 1: about it in the first part of this episode. It's

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Speaker 1: so funny. It's impossible not to smile listening to them.

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Speaker 1: It's just I said it in the first part of

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Speaker 1: the episode. It's the most pure depiction of their friendship

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Speaker 1: that I've ever heard on the record. They're just hooting.

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Speaker 1: I think Rob Cheffield had a great line about just

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Speaker 1: like laughing into each other's mouths on the mic that

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Speaker 1: they're sharing. It's great. Yeah, I definitely listen to that. Uh.

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Speaker 1: The exact meaning of this song is tricky because John

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Speaker 1: never felt passionate enough about it to really deem it

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Speaker 1: worthy of explaining. The most common explanations circulating among fans

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Speaker 1: was that it was a pointed message to Mick Jagger,

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Speaker 1: whose girlfriend, or in the parlance of swinging London bird

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Speaker 1: Mary Anne Faithful, had started a singing career. It was

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Speaker 1: also a really strange theory that the song is a

425
00:23:52,320 --> 00:23:56,520
Speaker 1: digit friend of the pod. Frank Sinatra, who was I

426
00:23:56,520 --> 00:23:59,560
Speaker 1: guess unkind about the Beatles in a recent interview that

427
00:23:59,600 --> 00:24:02,639
Speaker 1: he'd get been with Esquire in which he bragged about

428
00:24:02,640 --> 00:24:05,960
Speaker 1: being able to afford anything he wants, which is you

429
00:24:06,000 --> 00:24:09,560
Speaker 1: know something that's a theme or line in the song,

430
00:24:10,160 --> 00:24:14,119
Speaker 1: and adding to the supposed evidence, he repeatedly uses the

431
00:24:14,200 --> 00:24:19,040
Speaker 1: word bird during this interview, uh, seemingly in reference to

432
00:24:19,240 --> 00:24:25,840
Speaker 1: his uh, his his genitals. I guess like cock. Yeah. Oh,

433
00:24:25,840 --> 00:24:28,280
Speaker 1: I didn't even think about that. People call him hogs

434
00:24:28,320 --> 00:24:35,879
Speaker 1: back then. No, really really, and I was seventeen. I

435
00:24:35,960 --> 00:24:43,560
Speaker 1: had a very good hog. So I did it my hog.

436
00:24:44,440 --> 00:24:49,719
Speaker 1: Oh that's ludicrous, So that's all interesting. The likely explanation

437
00:24:49,920 --> 00:24:53,000
Speaker 1: is that John is addressing an unknown and possibly non

438
00:24:53,000 --> 00:24:56,919
Speaker 1: existent upper class woman who seems to have everything, and

439
00:24:57,000 --> 00:24:59,719
Speaker 1: the title phrase is just merely hyperbole. You have all

440
00:24:59,760 --> 00:25:02,920
Speaker 1: of the US and more always and your bird can sing.

441
00:25:03,920 --> 00:25:07,240
Speaker 1: But then comes the repeated line you don't get me,

442
00:25:07,560 --> 00:25:10,360
Speaker 1: which was apparently the original title of the song, one

443
00:25:10,359 --> 00:25:13,840
Speaker 1: of the many instances of John in song talking about

444
00:25:13,880 --> 00:25:17,800
Speaker 1: feeling misunderstood, like in Strawberry Fields, nobody I think is

445
00:25:17,840 --> 00:25:20,200
Speaker 1: in my tree? Nobody? You know. It's basically no way

446
00:25:20,200 --> 00:25:23,159
Speaker 1: of saying nobody gets me, which is a frequent thing

447
00:25:23,200 --> 00:25:24,920
Speaker 1: that he would talk about in interviews about how he

448
00:25:25,160 --> 00:25:26,840
Speaker 1: was a little kid he just felt like he was

449
00:25:26,880 --> 00:25:31,200
Speaker 1: different than everybody. Up next is for no one One

450
00:25:31,240 --> 00:25:34,000
Speaker 1: of the most devastating songs and the entire Beatles can

451
00:25:34,000 --> 00:25:38,240
Speaker 1: and in terms of pure musical drama, it's not something

452
00:25:38,280 --> 00:25:40,800
Speaker 1: like you know, the song Julia, where you have to

453
00:25:40,840 --> 00:25:43,160
Speaker 1: know a bit of the back story or anything like that.

454
00:25:43,240 --> 00:25:46,439
Speaker 1: It's just purely just the information that's given to you

455
00:25:46,480 --> 00:25:50,000
Speaker 1: in the song. Undoubtedly inspired by Paul's problems with his

456
00:25:50,040 --> 00:25:53,040
Speaker 1: girlfriend Jane Asher, but you don't need to know any

457
00:25:53,080 --> 00:25:56,399
Speaker 1: of that to be profoundly moved by the song. The

458
00:25:56,480 --> 00:26:00,280
Speaker 1: second person perspective is really interesting and it's used a

459
00:26:00,320 --> 00:26:02,760
Speaker 1: great effect, although they also did use it on She

460
00:26:02,840 --> 00:26:05,560
Speaker 1: Loves You. I always saw for No One as the

461
00:26:05,560 --> 00:26:08,280
Speaker 1: flip side of and I Love Her, and you can

462
00:26:08,280 --> 00:26:10,399
Speaker 1: really draw a line from I Love Her to the

463
00:26:10,400 --> 00:26:12,720
Speaker 1: things we said today too, I'm looking through you do

464
00:26:12,880 --> 00:26:15,280
Speaker 1: you won't see me? And we can work it out too.

465
00:26:15,320 --> 00:26:18,959
Speaker 1: For No One, Uh, they're really all songs about his

466
00:26:19,280 --> 00:26:21,880
Speaker 1: disagreements and not seeing eye to eye with Jane ash

467
00:26:22,000 --> 00:26:24,960
Speaker 1: or his girlfriend, But and I Love Her has the

468
00:26:25,000 --> 00:26:27,879
Speaker 1: line I love like ours could never die, and the

469
00:26:27,920 --> 00:26:31,359
Speaker 1: working title of for No One was why Did It Die?

470
00:26:32,440 --> 00:26:35,280
Speaker 1: I think it's just very poignant. He wrote this song

471
00:26:35,400 --> 00:26:39,320
Speaker 1: on a Swiss vacation with Jane. After learning to ski

472
00:26:39,440 --> 00:26:42,240
Speaker 1: a bit during the filming for Help, he wanted to

473
00:26:42,240 --> 00:26:44,080
Speaker 1: give it another go, and he says that he went

474
00:26:44,119 --> 00:26:46,720
Speaker 1: off into the bathroom of his little Swiss chalet and

475
00:26:46,800 --> 00:26:50,480
Speaker 1: wrote this song. So just a recap, he went off

476
00:26:50,480 --> 00:26:53,040
Speaker 1: on a romantic holiday with his girlfriend and wrote one

477
00:26:53,080 --> 00:26:56,760
Speaker 1: of the most devastating breakup songs of all time. Um

478
00:26:56,800 --> 00:26:59,680
Speaker 1: and hilariously, he has a history of doing this wall

479
00:26:59,680 --> 00:27:04,200
Speaker 1: on the occasion with Jane. He wrote the deeply unsettled

480
00:27:04,280 --> 00:27:07,119
Speaker 1: Things We Said Today while on vacation in the Virgin

481
00:27:07,160 --> 00:27:10,280
Speaker 1: Islands with Jane and Ringo and his future wife Maureen.

482
00:27:10,760 --> 00:27:13,680
Speaker 1: And he also wrote the heartbreaking lyrics to Yesterday during

483
00:27:13,680 --> 00:27:17,119
Speaker 1: a holiday with Jane and Portugal after wrapping filming for

484
00:27:17,160 --> 00:27:21,320
Speaker 1: Help in May of nineteen. But yeah, the fact that

485
00:27:21,320 --> 00:27:23,119
Speaker 1: he went off to write for No One in the

486
00:27:23,160 --> 00:27:25,240
Speaker 1: toilet leads me to believe that he was seeking some

487
00:27:25,359 --> 00:27:27,800
Speaker 1: kind of refuge after an argument and just went into

488
00:27:27,840 --> 00:27:31,160
Speaker 1: the bathroom and locked the door and just hit out

489
00:27:31,720 --> 00:27:36,080
Speaker 1: who among us? It really gives credence to the Runnels

490
00:27:36,200 --> 00:27:41,439
Speaker 1: bit with Eric Idol writing the writing and I love you,

491
00:27:42,080 --> 00:27:45,959
Speaker 1: I love you. He's on his honeymoon. She's just like

492
00:27:46,040 --> 00:27:53,280
Speaker 1: boredly staring off into the distance. Yeah, oh my god. Yeah,

493
00:27:53,320 --> 00:27:55,520
Speaker 1: Paul is a great quote about for No One in

494
00:27:55,560 --> 00:28:00,240
Speaker 1: the authorized biography Uh Many Years from Now, which was

495
00:28:00,280 --> 00:28:02,760
Speaker 1: written with his friend Barry Miles. It's basically like a

496
00:28:03,240 --> 00:28:06,879
Speaker 1: like a co authored autobiography. He said, I suspect for

497
00:28:06,960 --> 00:28:09,320
Speaker 1: No One was about another argument I don't have easy

498
00:28:09,359 --> 00:28:12,520
Speaker 1: relationships with women. I never have. I talked too much

499
00:28:12,600 --> 00:28:19,560
Speaker 1: truth Linda. Linda was alive at the time, so I um.

500
00:28:19,640 --> 00:28:22,119
Speaker 1: He elaborated on this in his new book Lyrics that

501
00:28:22,200 --> 00:28:25,200
Speaker 1: came out in He said, it's a song about rejection,

502
00:28:25,640 --> 00:28:28,080
Speaker 1: the breakup, or marking the end of a relationship that

503
00:28:28,119 --> 00:28:30,800
Speaker 1: didn't work. It's always been quite a rich area to

504
00:28:30,840 --> 00:28:33,840
Speaker 1: explore in a song. Having been through it a few times,

505
00:28:33,880 --> 00:28:35,960
Speaker 1: as I suppose a lot of people have, it was

506
00:28:36,000 --> 00:28:38,160
Speaker 1: an emotion I could relate to, and it seemed like

507
00:28:38,200 --> 00:28:40,640
Speaker 1: a good idea to put into a song because probably

508
00:28:40,680 --> 00:28:42,600
Speaker 1: a lot of other people could relate to it too.

509
00:28:43,120 --> 00:28:45,080
Speaker 1: In the song, I'm talking about two people who have

510
00:28:45,200 --> 00:28:47,800
Speaker 1: broken up. But obviously, as with any writer, it all

511
00:28:47,840 --> 00:28:51,440
Speaker 1: comes from your own experience, and inevitably you're talking about yourself,

512
00:28:52,120 --> 00:28:54,200
Speaker 1: and he goes on to speak directly about his girlfriend,

513
00:28:54,280 --> 00:28:56,400
Speaker 1: Jane Asher, who he had been dating since the end

514
00:28:56,440 --> 00:29:00,400
Speaker 1: of nineteen sixty three, and he lived in her family

515
00:29:00,440 --> 00:29:04,840
Speaker 1: house upstairs and befriended her older brother Peter, who was

516
00:29:04,880 --> 00:29:07,360
Speaker 1: one half of the pop duo Peter and Gordon, for

517
00:29:07,400 --> 00:29:09,800
Speaker 1: whom he'd write a bunch of hits, the World Without

518
00:29:09,840 --> 00:29:12,680
Speaker 1: Love being the most famous. Uh. Jane Asher was this

519
00:29:12,840 --> 00:29:16,760
Speaker 1: glamorous actress who was in Alfie with Michael Caine and

520
00:29:16,840 --> 00:29:21,280
Speaker 1: came from this upper class or respectable academic family. And

521
00:29:21,320 --> 00:29:23,760
Speaker 1: so Paul and Jane Asher we're seeing as kind of

522
00:29:23,760 --> 00:29:27,760
Speaker 1: like the power couple of Swinging London, him and um

523
00:29:27,960 --> 00:29:31,200
Speaker 1: Mick Jagger and Maryanne Faithful, probably vying for the top spot.

524
00:29:31,960 --> 00:29:35,080
Speaker 1: But Jane and Paul ultimately broke off their engagement in

525
00:29:35,160 --> 00:29:38,640
Speaker 1: nine eight, and he elaborated about this as much as

526
00:29:38,680 --> 00:29:41,320
Speaker 1: he ever would in the lyrics book. At the time,

527
00:29:41,400 --> 00:29:43,720
Speaker 1: you think any love affair could or shoot, or would

528
00:29:43,800 --> 00:29:47,080
Speaker 1: or will last forever unless it's a quick wham bam,

529
00:29:47,120 --> 00:29:50,640
Speaker 1: thank you, ma'am, one night stand, thanks Paul. But when

530
00:29:50,640 --> 00:29:52,800
Speaker 1: you're going out with someone, when it's your girlfriend and

531
00:29:52,800 --> 00:29:54,800
Speaker 1: you've been with her for a reasonable amount of time.

532
00:29:54,880 --> 00:29:57,840
Speaker 1: It's very different. Jane Asher and I were together for

533
00:29:57,880 --> 00:29:59,960
Speaker 1: around five years, so at the back of my mind

534
00:30:00,160 --> 00:30:02,880
Speaker 1: expected to marry her. But as the time got closer,

535
00:30:03,000 --> 00:30:05,560
Speaker 1: I think I realized it wasn't right. You can't ever

536
00:30:05,600 --> 00:30:07,800
Speaker 1: put your finger on it. But when Linda came along

537
00:30:07,840 --> 00:30:10,720
Speaker 1: shortly after Jane and I broke up, I just thought, oh,

538
00:30:10,760 --> 00:30:13,440
Speaker 1: I don't know, maybe this feels more right king of

539
00:30:13,480 --> 00:30:15,960
Speaker 1: the understatement. And then when Linda and I got to

540
00:30:16,000 --> 00:30:18,680
Speaker 1: know each other, I felt, this is more me, I'm

541
00:30:18,800 --> 00:30:21,920
Speaker 1: more her. That's a beautiful way to put that. And

542
00:30:22,040 --> 00:30:24,160
Speaker 1: there were little things with Jane that we felt just

543
00:30:24,240 --> 00:30:26,760
Speaker 1: didn't match up. I love a lot of things about her,

544
00:30:26,800 --> 00:30:28,960
Speaker 1: and I will always admire a lot of things about her.

545
00:30:29,040 --> 00:30:31,120
Speaker 1: She's a wonderful woman, but a little bits of the

546
00:30:31,160 --> 00:30:34,840
Speaker 1: jigsaw weren't quite fitting. It's a horrible moment when you've

547
00:30:34,840 --> 00:30:36,920
Speaker 1: broken up with someone and you look at them this

548
00:30:37,040 --> 00:30:39,200
Speaker 1: person used to be in love with or thought you

549
00:30:39,200 --> 00:30:41,520
Speaker 1: were in love with, and none of that old feeling

550
00:30:41,600 --> 00:30:44,080
Speaker 1: is there. It's like it just switched off too and

551
00:30:44,080 --> 00:30:46,000
Speaker 1: it's not great to be on the receiving end of

552
00:30:46,040 --> 00:30:50,520
Speaker 1: that supposedly end of him and Jane came when Jane

553
00:30:50,520 --> 00:30:52,720
Speaker 1: came home early and found them in bed with an

554
00:30:52,760 --> 00:30:56,720
Speaker 1: American woman named Francy Schwartz, who was trying to get

555
00:30:56,720 --> 00:31:00,000
Speaker 1: a script sold the Beatles Corporate Free for all Apple.

556
00:31:00,280 --> 00:31:04,080
Speaker 1: She claims that Paul and Jamee are already technically split. Understandably,

557
00:31:04,080 --> 00:31:07,800
Speaker 1: I've never actually seen Paul talk about his relationship with

558
00:31:07,840 --> 00:31:10,480
Speaker 1: this Francy woman, or really about his breakup with Jane

559
00:31:10,560 --> 00:31:13,480
Speaker 1: any more than what I just quoted. But back to

560
00:31:13,520 --> 00:31:17,400
Speaker 1: the song. I always loved the rhythm of the lyrics,

561
00:31:17,440 --> 00:31:19,720
Speaker 1: how the first two lines in the verse, with these

562
00:31:20,240 --> 00:31:24,640
Speaker 1: short declarations, as if he's just weary and groggy and

563
00:31:24,720 --> 00:31:27,640
Speaker 1: depressed and trying to find the energy to say more.

564
00:31:27,760 --> 00:31:30,640
Speaker 1: You know, she wakes up, she makes up, and then

565
00:31:30,640 --> 00:31:33,840
Speaker 1: he final she takes her time, and and and then

566
00:31:33,880 --> 00:31:35,680
Speaker 1: it pours out of him. But it takes in a

567
00:31:35,680 --> 00:31:39,600
Speaker 1: minute to to rouse himself. And and just the way

568
00:31:39,680 --> 00:31:43,640
Speaker 1: that the most explosive line in the song, her Love

569
00:31:43,760 --> 00:31:46,400
Speaker 1: Is Dead, is just buried in the middle of a

570
00:31:46,560 --> 00:31:49,840
Speaker 1: verse because the man in the song doesn't believe her,

571
00:31:49,880 --> 00:31:52,480
Speaker 1: doesn't want to believe it. He's in denial, he's eluding himself.

572
00:31:52,800 --> 00:31:55,600
Speaker 1: He thinks she needs him. Then the day breaks at

573
00:31:55,600 --> 00:31:58,000
Speaker 1: the end of the song, and all the things that

574
00:31:58,040 --> 00:32:00,280
Speaker 1: she said will fill your head and it's us the

575
00:32:00,400 --> 00:32:03,400
Speaker 1: dawn on him. It's over, and you let her go,

576
00:32:03,560 --> 00:32:06,240
Speaker 1: but you won't forget her. It's so good. I mean,

577
00:32:06,280 --> 00:32:09,040
Speaker 1: something about the way this is written makes it almost

578
00:32:09,040 --> 00:32:12,000
Speaker 1: seem like's the Harold Pinter Player or something. And Paul

579
00:32:12,040 --> 00:32:14,960
Speaker 1: said that his nineteen seventy one solo song Another Day,

580
00:32:15,080 --> 00:32:18,000
Speaker 1: his debut solo single, was sort of a sequel to

581
00:32:18,080 --> 00:32:20,440
Speaker 1: for No One, the song about a woman getting ready

582
00:32:20,480 --> 00:32:23,640
Speaker 1: and going about her boring day on her own. And yeah,

583
00:32:23,680 --> 00:32:26,600
Speaker 1: I just I love Paul's little playlists. And I know

584
00:32:26,680 --> 00:32:29,280
Speaker 1: that some of Paul's the tractors suggest that it makes

585
00:32:29,320 --> 00:32:32,320
Speaker 1: him seem, you know, a bit phony, because it's it's

586
00:32:32,360 --> 00:32:35,840
Speaker 1: not real man, you know. But I've always admired his

587
00:32:36,000 --> 00:32:39,160
Speaker 1: eye like a novelist, on stuff like Another Day and

588
00:32:39,240 --> 00:32:42,720
Speaker 1: Lovely Rita and eleanor Rigby and especially for No. One.

589
00:32:42,960 --> 00:32:45,240
Speaker 1: And John loved it too, He called it one of

590
00:32:45,280 --> 00:32:47,600
Speaker 1: his favorite tracks of Paul's. A nice piece of work,

591
00:32:47,640 --> 00:32:51,720
Speaker 1: he said, And McCartney loved the Belgian surrealist Renee Ma

592
00:32:51,880 --> 00:32:55,640
Speaker 1: Greet and not long after sessions for Eleanor Rigby. In

593
00:32:55,760 --> 00:32:59,200
Speaker 1: April of nineteen sixty six, Paul went to Paris to

594
00:32:59,480 --> 00:33:04,280
Speaker 1: purchase two of Magerite's oil paintings, and I think he

595
00:33:04,320 --> 00:33:07,280
Speaker 1: actually end up buying Magreit's old easel that he paints on.

596
00:33:07,400 --> 00:33:09,880
Speaker 1: Now he's a huge Magreek fan. And there's a quote

597
00:33:09,880 --> 00:33:13,320
Speaker 1: from Magreet that really, to me seemed to perfectly sum

598
00:33:13,400 --> 00:33:15,640
Speaker 1: up Paul's m O when it comes to some of

599
00:33:15,640 --> 00:33:18,240
Speaker 1: the stuff he writes. Agreed said, I want to show

600
00:33:18,360 --> 00:33:21,719
Speaker 1: reality in such a way that it evokes mystery. I

601
00:33:21,760 --> 00:33:25,000
Speaker 1: look for poetry in the world of familiar objects. The

602
00:33:25,120 --> 00:33:28,560
Speaker 1: past and present are united in the imagination. But who

603
00:33:28,560 --> 00:33:32,040
Speaker 1: can explain such a poetic moment. I just feel like

604
00:33:32,080 --> 00:33:34,120
Speaker 1: that's that's very Paul to me. I mean, even the

605
00:33:34,600 --> 00:33:37,200
Speaker 1: line and Ellena Rugby wearing a face that she keeps

606
00:33:37,200 --> 00:33:39,360
Speaker 1: in the jar by the door, that this to me,

607
00:33:39,480 --> 00:33:43,120
Speaker 1: that that sounds like a Magreek painting. It sounds like

608
00:33:43,440 --> 00:33:45,200
Speaker 1: the picture of the man on the ball or hat

609
00:33:45,200 --> 00:33:47,080
Speaker 1: with the apple in front of his face or something

610
00:33:47,120 --> 00:33:50,480
Speaker 1: like that. It's just it's something always very ordinary things

611
00:33:50,560 --> 00:33:54,240
Speaker 1: given a little surreal twist. Like Penny Lane is another

612
00:33:54,280 --> 00:33:57,960
Speaker 1: great example too. Anyway, I just love that it's Paul,

613
00:33:58,280 --> 00:34:00,800
Speaker 1: this decent, straight seeming man who had the power to

614
00:34:00,880 --> 00:34:04,160
Speaker 1: shock people with his sideways visions. I just I was

615
00:34:04,200 --> 00:34:08,160
Speaker 1: always into that. And after you waxing deeply sincere on

616
00:34:08,239 --> 00:34:13,560
Speaker 1: Paul's humanistic embraceive finally sketched portrait of humanity, let's talk

617
00:34:13,600 --> 00:34:17,520
Speaker 1: about the time he nearly got into a little pissy

618
00:34:17,680 --> 00:34:23,759
Speaker 1: match with one of London's top session musicians. Um Yeah,

619
00:34:23,920 --> 00:34:25,799
Speaker 1: Ringo and Paul are the only Beatles who play on

620
00:34:25,840 --> 00:34:29,759
Speaker 1: this song. Um. Paul plays uh piano and also an

621
00:34:29,800 --> 00:34:33,200
Speaker 1: instrument belonging to George Martin called a clavichord, which is

622
00:34:33,400 --> 00:34:38,760
Speaker 1: similar to the better known harpsichord harpsichord plus the strings.

623
00:34:38,800 --> 00:34:41,239
Speaker 1: While a clavichord has metal tips at the end of

624
00:34:41,239 --> 00:34:44,440
Speaker 1: its hammers. Um they hired a session player named Alan

625
00:34:44,600 --> 00:34:47,799
Speaker 1: Sivil to play this French Horden part, and while he

626
00:34:47,880 --> 00:34:50,359
Speaker 1: was writing the solo, George Martin was telling Paul about

627
00:34:50,360 --> 00:34:52,640
Speaker 1: the range of the instrument so that he could know

628
00:34:52,719 --> 00:34:55,759
Speaker 1: what kind of notes to work with. I mean, every

629
00:34:55,920 --> 00:34:57,920
Speaker 1: you know, if you're playing piano or guitar, those are

630
00:34:58,040 --> 00:35:01,960
Speaker 1: concert key instruments, and then every wind instrument has a

631
00:35:02,120 --> 00:35:05,560
Speaker 1: range on it that is dictated by the very nature

632
00:35:05,600 --> 00:35:08,479
Speaker 1: of the horn, and it can be difficult for people

633
00:35:08,480 --> 00:35:11,560
Speaker 1: who write on concert pitch instruments to understand that. So

634
00:35:12,480 --> 00:35:16,120
Speaker 1: Paul includes a note in this solo that is technically

635
00:35:16,160 --> 00:35:18,640
Speaker 1: out of the range of the french horn. You know,

636
00:35:19,200 --> 00:35:22,080
Speaker 1: it would be a reach for a player, but Alan

637
00:35:22,160 --> 00:35:27,040
Speaker 1: Sivil made it. He literally played a note that the

638
00:35:27,480 --> 00:35:30,120
Speaker 1: high note of that solo that should be out of

639
00:35:30,239 --> 00:35:36,000
Speaker 1: reach for a French horn player. Paul was not impressed. Uh.

640
00:35:36,000 --> 00:35:38,399
Speaker 1: In the Beatles and the Beatles anthology, George Martin said,

641
00:35:38,400 --> 00:35:41,480
Speaker 1: Paul didn't realize how brilliantly Alan Sivil was doing. We

642
00:35:41,600 --> 00:35:44,520
Speaker 1: got the definitive performance and Paul said, well, okay, I

643
00:35:44,520 --> 00:35:48,160
Speaker 1: think you can do it better, can't you, Alan? And

644
00:35:48,239 --> 00:35:51,760
Speaker 1: Alan nearly exploded. Of course he didn't do it better

645
00:35:51,760 --> 00:35:53,759
Speaker 1: than that, And the way we'd already heard it was

646
00:35:53,800 --> 00:35:57,680
Speaker 1: the way you hear it now. Uh. And he is

647
00:35:57,680 --> 00:35:59,799
Speaker 1: credited on the album's sleeve, which was a rarity in

648
00:35:59,840 --> 00:36:03,440
Speaker 1: that time for people doing session work. Um, but dangle

649
00:36:03,560 --> 00:36:06,360
Speaker 1: Paul off the stairs of studio too by his ankles.

650
00:36:06,680 --> 00:36:08,759
Speaker 1: I love the ideas this French horn player for like

651
00:36:08,800 --> 00:36:11,440
Speaker 1: the London philarmonic. But he's this like East End tough

652
00:36:11,520 --> 00:36:15,280
Speaker 1: who talks like the Gray Brother. Yeah, pulls out brass

653
00:36:15,320 --> 00:36:18,520
Speaker 1: knuckles from his from his horn case and like pounds

654
00:36:18,600 --> 00:36:23,000
Speaker 1: up the controls. Ray Winston, all right, Paul, I've ended

655
00:36:23,080 --> 00:36:28,239
Speaker 1: up to him with your excuses. Uh. There there were

656
00:36:28,280 --> 00:36:30,840
Speaker 1: no hard feelings though, because Alan Civil worked with the

657
00:36:30,880 --> 00:36:34,960
Speaker 1: Beatles again in nineteen seven as one of the orchestra musicians.

658
00:36:35,040 --> 00:36:37,359
Speaker 1: On a Day in the Life, I told you I'd

659
00:36:37,360 --> 00:36:42,120
Speaker 1: be back. Pol'm gonna get my pound of flesh from you.

660
00:36:44,360 --> 00:36:46,319
Speaker 1: We're going to take a quick break, but we'll be

661
00:36:46,440 --> 00:37:00,000
Speaker 1: right back with more too much information in just a moment, Joe,

662
00:37:00,040 --> 00:37:02,880
Speaker 1: and tell us about Dr Robert. Yeah, not one of

663
00:37:02,920 --> 00:37:05,160
Speaker 1: my favorite tracks on Revolver. In fact, I think it's

664
00:37:05,160 --> 00:37:07,680
Speaker 1: probably my least favorite partial because I grew up with

665
00:37:07,680 --> 00:37:11,560
Speaker 1: the American vinyl release version and Dr Robert wasn't on there.

666
00:37:11,640 --> 00:37:14,520
Speaker 1: The American albums always shaved off. I think if the

667
00:37:14,520 --> 00:37:17,279
Speaker 1: British albums usually had fourteen tracks, the American ones had

668
00:37:17,280 --> 00:37:21,120
Speaker 1: eleven or twelve, and then the American record label would

669
00:37:21,239 --> 00:37:23,800
Speaker 1: collect the ones that they shaved off the original British

670
00:37:23,840 --> 00:37:27,480
Speaker 1: albums and release American only albums to try to squeeze

671
00:37:27,480 --> 00:37:30,680
Speaker 1: a little more money out of their acts. So yeah,

672
00:37:30,800 --> 00:37:33,520
Speaker 1: I I didn't really grow up hearing this song very much.

673
00:37:34,239 --> 00:37:36,960
Speaker 1: And um, I don't know. To me, it seems like

674
00:37:37,000 --> 00:37:39,600
Speaker 1: one of the songs, probably the only song on Revolver

675
00:37:39,680 --> 00:37:42,919
Speaker 1: that could have been on an earlier Beatles albums said

676
00:37:42,920 --> 00:37:44,319
Speaker 1: the same thing. It just has like a touch of

677
00:37:44,320 --> 00:37:47,640
Speaker 1: the Mersey beat to it. There's nothing really like you know,

678
00:37:47,640 --> 00:37:50,319
Speaker 1: it's a guitar basing drum song. Yeah, I don't know,

679
00:37:50,400 --> 00:37:52,960
Speaker 1: something very complicated about it. I don't think it has

680
00:37:52,960 --> 00:37:55,480
Speaker 1: a very good melody. It's it's a jokey song. I mean,

681
00:37:55,480 --> 00:37:59,040
Speaker 1: this song has written about this drug pushing doctor, and

682
00:37:59,080 --> 00:38:01,239
Speaker 1: Paul even said I think even at the time in

683
00:38:01,320 --> 00:38:05,560
Speaker 1: the in the The Beatles the Authorized Biography book by

684
00:38:05,680 --> 00:38:08,680
Speaker 1: Hunter Davis, I think he said, you know, Dr Robert's

685
00:38:08,760 --> 00:38:11,680
Speaker 1: kind of like a joke. Um. So yeah, I don't know.

686
00:38:11,680 --> 00:38:14,879
Speaker 1: It's just not one of my favorite songs. Well, it's

687
00:38:14,880 --> 00:38:18,320
Speaker 1: noteworthy because it's one of the earliest overtly druggie songs

688
00:38:18,360 --> 00:38:20,520
Speaker 1: from the band. You know, they have the line turned

689
00:38:20,520 --> 00:38:23,360
Speaker 1: me on that pops up in the B side to

690
00:38:23,480 --> 00:38:25,920
Speaker 1: the I Feel Fine single, She's a woman. That's the

691
00:38:26,000 --> 00:38:28,400
Speaker 1: end of sixty four. And then of course Day Tripper

692
00:38:28,400 --> 00:38:31,920
Speaker 1: in December sixty five is really pretty on the nose.

693
00:38:32,520 --> 00:38:35,600
Speaker 1: But you know why, Uh. Bob Dylan when he went

694
00:38:35,680 --> 00:38:37,640
Speaker 1: to go meet him in August sixty four and he

695
00:38:37,880 --> 00:38:40,040
Speaker 1: the famous trip when he turned him on the marijuana,

696
00:38:40,600 --> 00:38:45,520
Speaker 1: he thought they already smoked pot and they were like no,

697
00:38:45,840 --> 00:38:46,959
Speaker 1: And he said, well, what do you mean? What about

698
00:38:46,960 --> 00:38:49,440
Speaker 1: that line? And I want to hold your hand. Uh.

699
00:38:49,480 --> 00:38:52,440
Speaker 1: It's such a feeling that my love I get high

700
00:38:52,520 --> 00:38:54,640
Speaker 1: and they're like no, No, that was I was. It's

701
00:38:54,680 --> 00:38:59,880
Speaker 1: such a feeling that my love I can't hide. So

702
00:39:00,760 --> 00:39:04,000
Speaker 1: given that this clearly about a man with a liberal

703
00:39:04,320 --> 00:39:08,600
Speaker 1: prescription guide, it earns the distinction of being one of

704
00:39:08,600 --> 00:39:12,440
Speaker 1: the first undisguised songs about drug use in the Beatles.

705
00:39:12,480 --> 00:39:16,480
Speaker 1: Cannon Uh John took to claiming that this song was

706
00:39:16,520 --> 00:39:20,239
Speaker 1: actually about himself. Towards the end of his life. He said,

707
00:39:20,320 --> 00:39:21,920
Speaker 1: I was the one that carried all the pills on

708
00:39:22,000 --> 00:39:25,320
Speaker 1: tour and always have done well in the early days.

709
00:39:25,680 --> 00:39:27,680
Speaker 1: Later on the roadies did it. We just kept them

710
00:39:27,680 --> 00:39:31,400
Speaker 1: in our pockets loose in case of trouble. Paul, on

711
00:39:31,440 --> 00:39:33,239
Speaker 1: the other hand, frequently said that it was about a

712
00:39:33,280 --> 00:39:38,120
Speaker 1: doctor that who just kept New York high by dealing

713
00:39:38,120 --> 00:39:42,080
Speaker 1: with or two high society Manhattan Heights. After years of

714
00:39:42,080 --> 00:39:44,920
Speaker 1: speculation of the real life Dr Robert was idd in

715
00:39:44,960 --> 00:39:48,680
Speaker 1: the authorized Paul McCartney biography Many Years from Now and

716
00:39:49,520 --> 00:39:53,400
Speaker 1: his Name is Robert. Author Barry Miles says he was

717
00:39:53,680 --> 00:39:58,960
Speaker 1: one Dr Robert Freeman, whose discreete East Street clinic was

718
00:39:59,040 --> 00:40:02,879
Speaker 1: conveniently low hated for Jackie Kennedy and other wealthy Upper

719
00:40:02,920 --> 00:40:05,200
Speaker 1: East Siders from Fifth Avenue and Park to stroll over

720
00:40:05,239 --> 00:40:08,279
Speaker 1: for their Vitamin B twelve shots, which also happened to

721
00:40:08,320 --> 00:40:12,760
Speaker 1: contain a massive dose of amphetamine. Dr Robert's reputation spread,

722
00:40:12,800 --> 00:40:15,279
Speaker 1: and it was not long before visiting Americans told John

723
00:40:15,280 --> 00:40:18,800
Speaker 1: and Paul about him. From miles description, this guy seems

724
00:40:18,840 --> 00:40:22,160
Speaker 1: like quite the quite the proverbial character. Yeah. He was

725
00:40:22,200 --> 00:40:24,680
Speaker 1: born in Germany and he was known as the Great

726
00:40:24,719 --> 00:40:27,359
Speaker 1: White Father because of his hair. At least I hope

727
00:40:27,400 --> 00:40:31,400
Speaker 1: that's why. Uh. He bragged about having quote probably a

728
00:40:31,480 --> 00:40:34,879
Speaker 1: hundred famous names who come here, but was ultimately kicked

729
00:40:34,920 --> 00:40:39,600
Speaker 1: out of the New York State Medical Society for what else, malpractice. Still,

730
00:40:39,640 --> 00:40:41,520
Speaker 1: he didn't let that keep him down. He published a

731
00:40:41,560 --> 00:40:45,279
Speaker 1: book called What's So Bad About Feeling Good? Before he

732
00:40:45,440 --> 00:40:48,960
Speaker 1: died in nine seven. That's a great title for a

733
00:40:49,040 --> 00:40:52,880
Speaker 1: book by doctor field Good. Paul denied that any of

734
00:40:52,920 --> 00:40:56,320
Speaker 1: the Beatles ever visited Dr Robert in real life, which

735
00:40:56,440 --> 00:40:59,920
Speaker 1: you know, and they were usually pretty open about their experimentations.

736
00:41:00,000 --> 00:41:01,920
Speaker 1: I'm inclined to believe him, he said, As far as

737
00:41:01,960 --> 00:41:03,920
Speaker 1: I know, neither John nor I ever went to the

738
00:41:03,960 --> 00:41:06,480
Speaker 1: doctor for those kinds of things. But there was a

739
00:41:06,520 --> 00:41:09,280
Speaker 1: fashion for it, and there still is. Change your blood

740
00:41:09,280 --> 00:41:12,440
Speaker 1: and have a vitamin shot and you'll feel better. That means,

741
00:41:12,480 --> 00:41:15,440
Speaker 1: I mean they're dentist, turn them onto acids. So I

742
00:41:15,440 --> 00:41:18,440
Speaker 1: guess they did a different doctor for that they used to.

743
00:41:18,480 --> 00:41:19,840
Speaker 1: I don't know if it was the Beatles. I know

744
00:41:19,880 --> 00:41:23,600
Speaker 1: they're manager. Brian Epstein had a special discreet pill pocket

745
00:41:23,920 --> 00:41:26,240
Speaker 1: tailored into all of his suits that he had made

746
00:41:26,600 --> 00:41:30,360
Speaker 1: that he could just like discreetly reach into and I

747
00:41:30,360 --> 00:41:33,959
Speaker 1: mean pocket. There's a photo in this Charles Mingus book

748
00:41:33,960 --> 00:41:37,279
Speaker 1: of just him with a briefcase full of them with

749
00:41:37,320 --> 00:41:41,360
Speaker 1: like straps. Yeah, Mingus and Brian Epstein backstage holding this

750
00:41:41,400 --> 00:41:44,200
Speaker 1: little briefcase that's just like folds open and has like

751
00:41:44,239 --> 00:41:47,640
Speaker 1: all these pill bottles. Um, this brings us to I

752
00:41:47,680 --> 00:41:50,880
Speaker 1: want to tell you the third track by George on

753
00:41:50,920 --> 00:41:53,719
Speaker 1: this record. This really blows my mind because apparently he

754
00:41:53,760 --> 00:41:57,040
Speaker 1: submitted a fourth. Pre Eminent Beatles historian Mark Lewis and

755
00:41:57,080 --> 00:41:59,319
Speaker 1: has claimed that the song Isn't It a Pity, which

756
00:41:59,320 --> 00:42:02,560
Speaker 1: would later surface on George's All Things Must Pass album?

757
00:42:02,600 --> 00:42:06,480
Speaker 1: One of my favorite records. Uh. That dates back to

758
00:42:06,520 --> 00:42:09,359
Speaker 1: this period in sixty six and was initially offered up

759
00:42:09,360 --> 00:42:13,640
Speaker 1: for considerational Revolver, but ultimately turned back down. He tried

760
00:42:13,680 --> 00:42:15,920
Speaker 1: to revisit it during the White Album era, put it

761
00:42:15,960 --> 00:42:19,800
Speaker 1: forward again during the Getback sessions, and said he considered

762
00:42:19,840 --> 00:42:24,239
Speaker 1: offering it to Frank Sinatra. Uh, I can't see that

763
00:42:24,280 --> 00:42:27,279
Speaker 1: working out. I can't believe that. Isn't It a Pity?

764
00:42:27,400 --> 00:42:31,319
Speaker 1: Was rejected three times. Man, that sucks. All Things Must

765
00:42:31,360 --> 00:42:35,160
Speaker 1: passed slaps? We should do one on that, actually, yeah, Um,

766
00:42:35,320 --> 00:42:38,640
Speaker 1: do you want to read the Ladies tramp thing? Oh? Yeah,

767
00:42:38,680 --> 00:42:41,799
Speaker 1: I mean we get all the Sinatra anectotesy fan in

768
00:42:41,840 --> 00:42:47,120
Speaker 1: this episode, uh ringo for his wife Marine's birthday, got Sinatra.

769
00:42:47,200 --> 00:42:49,640
Speaker 1: I guess she was a big Sinatra fan. Got Sinatra

770
00:42:50,160 --> 00:42:54,560
Speaker 1: to record a new version of the Lady as a

771
00:42:54,640 --> 00:42:58,239
Speaker 1: Tramp with new lyrics written by his longtime lyrics is

772
00:42:58,320 --> 00:43:04,120
Speaker 1: Sammy Kahn Um Marines a Champ. He recorded this beautiful,

773
00:43:05,120 --> 00:43:10,359
Speaker 1: hilarious song with lines like she married Ringo and she

774
00:43:10,480 --> 00:43:14,680
Speaker 1: could have had Paul. That's why the Ladies a champ.

775
00:43:15,200 --> 00:43:18,000
Speaker 1: And they had it pressed for her on a record

776
00:43:18,080 --> 00:43:21,960
Speaker 1: for Marine's birthday. And it was right when Apple Records

777
00:43:22,000 --> 00:43:25,040
Speaker 1: was launching, and it was the first record ever pressed

778
00:43:25,080 --> 00:43:28,319
Speaker 1: for Apple. They gave it the catalog number Apple one,

779
00:43:28,680 --> 00:43:31,279
Speaker 1: which between the fact that there's only one of them,

780
00:43:31,320 --> 00:43:35,520
Speaker 1: it's the first record ever made for Apple Records done

781
00:43:35,520 --> 00:43:37,960
Speaker 1: by Sinatra, specifically for Ringo. It's one of the rarest

782
00:43:38,000 --> 00:43:40,360
Speaker 1: records on the planet. I just think that's so cute,

783
00:43:41,120 --> 00:43:46,759
Speaker 1: medium funny you tell YouTube. Actually, anyway, we said this

784
00:43:46,800 --> 00:43:49,600
Speaker 1: earlier when talking about Love You Two. George never had

785
00:43:49,640 --> 00:43:52,120
Speaker 1: any titles for his songs in this era. I Love

786
00:43:52,200 --> 00:43:55,320
Speaker 1: You Too was initially Granny Smith, named for engineer Jeff

787
00:43:55,320 --> 00:43:58,280
Speaker 1: Embrick's favorite Apple, and when it came time to recording

788
00:43:58,320 --> 00:44:01,040
Speaker 1: I want to tell you George was asked on the

789
00:44:01,080 --> 00:44:03,120
Speaker 1: talk back by I think George Martin, So what are

790
00:44:03,120 --> 00:44:05,960
Speaker 1: you gonna call this and John just laughs in the

791
00:44:06,000 --> 00:44:09,279
Speaker 1: background Granny Smith Part freaking two. You never have any

792
00:44:09,320 --> 00:44:12,640
Speaker 1: titles for your songs. So Jeff Emrick was called upon

793
00:44:12,680 --> 00:44:14,600
Speaker 1: to come up with another kind of Apple, and this

794
00:44:14,719 --> 00:44:18,200
Speaker 1: time it was Laxton's Superb which, to be fair, it's

795
00:44:18,239 --> 00:44:21,000
Speaker 1: kind of a killer name. What is it lax? What's

796
00:44:21,040 --> 00:44:25,080
Speaker 1: the taste profile? I think it's another green kind of

797
00:44:25,120 --> 00:44:28,440
Speaker 1: tart one. I think this title was later changed to

798
00:44:28,800 --> 00:44:32,800
Speaker 1: I don't know on the tape box before they landed

799
00:44:32,840 --> 00:44:35,640
Speaker 1: on the ultimate title I want to tell You, which

800
00:44:35,680 --> 00:44:38,760
Speaker 1: is kind of a gimme because that's the most repeated

801
00:44:38,760 --> 00:44:42,520
Speaker 1: phrase in the song. Uh, this is serious Beatle nursery. Here.

802
00:44:42,560 --> 00:44:46,960
Speaker 1: We've talked about the Ruddles, the Monty Python adjacent project

803
00:44:47,000 --> 00:44:49,520
Speaker 1: that makes fun of the Beatles on the TV special.

804
00:44:50,200 --> 00:44:53,480
Speaker 1: They are masterminded by not only Eric Idol of Monty Python,

805
00:44:53,560 --> 00:44:57,760
Speaker 1: but also the singer, songwriter comedian Neil Innes. He happened

806
00:44:57,760 --> 00:44:59,880
Speaker 1: to be at Abbey Road the day that the Beatles

807
00:44:59,880 --> 00:45:01,799
Speaker 1: were recording I Want to tell You. He was there

808
00:45:01,840 --> 00:45:06,240
Speaker 1: with his multimedia comedy pop group, the Bonzo Dog Doda Band,

809
00:45:06,400 --> 00:45:09,920
Speaker 1: who would later appear in the Magical Mystery Tour movie

810
00:45:10,040 --> 00:45:11,719
Speaker 1: they're the band at the end of the movie in

811
00:45:11,760 --> 00:45:14,680
Speaker 1: the strip club segment, and they would also have a

812
00:45:14,719 --> 00:45:17,640
Speaker 1: single produced by Paul McCartney. I'm the Urban Space Man

813
00:45:17,880 --> 00:45:22,359
Speaker 1: in but uh yeah, I want to tell you not

814
00:45:22,640 --> 00:45:26,080
Speaker 1: too much to share about this track. Um. Speaking of

815
00:45:26,360 --> 00:45:28,600
Speaker 1: strange names attached to this song, did you know that

816
00:45:28,640 --> 00:45:32,640
Speaker 1: Ted Nugent did a cover of it inteen seventy nine. Yeah,

817
00:45:32,760 --> 00:45:35,919
Speaker 1: it's not very good. Quick reminder to anyone who didn't

818
00:45:35,920 --> 00:45:38,000
Speaker 1: know about it. Ted Nugent just pants to get out

819
00:45:38,000 --> 00:45:41,840
Speaker 1: to go in to Vietnam. I actually didn't know that.

820
00:45:42,800 --> 00:45:44,799
Speaker 1: Oh yeah, when he was shown up to the draft board,

821
00:45:44,840 --> 00:45:46,880
Speaker 1: he was like he like didn't shower for like a

822
00:45:46,920 --> 00:45:49,000
Speaker 1: week and just wore the same clothes for like a

823
00:45:49,080 --> 00:45:52,120
Speaker 1: month and like pooped and pete and his pants and

824
00:45:53,680 --> 00:45:56,720
Speaker 1: make himself a look crazy. That's the standard issue, except

825
00:45:56,719 --> 00:46:00,640
Speaker 1: for the actual the pants pooping. Yeah yeah, he super

826
00:46:00,640 --> 00:46:09,120
Speaker 1: pooped his pants. Probably liked it too well from that too.

827
00:46:13,040 --> 00:46:17,640
Speaker 1: My I think, if you really forced me to choose,

828
00:46:18,080 --> 00:46:21,600
Speaker 1: if you really really forced me to choose my favorite

829
00:46:21,640 --> 00:46:23,560
Speaker 1: song of all time, I got to get you into

830
00:46:23,600 --> 00:46:28,160
Speaker 1: my life, I think, Yeah, I know, Okay, it's funny.

831
00:46:28,200 --> 00:46:32,040
Speaker 1: How the most drug oriented song that Paul McCartney contributed

832
00:46:32,040 --> 00:46:34,800
Speaker 1: to Revolver is actually one of the most straight sounding

833
00:46:34,840 --> 00:46:38,800
Speaker 1: songs on the record. From its triumphant opening brass fanfare

834
00:46:38,920 --> 00:46:41,279
Speaker 1: courtesy of Georgie Fame in the Blue Flames, one of

835
00:46:41,280 --> 00:46:43,920
Speaker 1: my favorite groups. Um, Got to Get Into My Life

836
00:46:44,120 --> 00:46:49,000
Speaker 1: an exuberant, soulful blast of optimism that perfectly encapsulates that

837
00:46:49,200 --> 00:46:53,560
Speaker 1: first thrilling encounter with a potential new romance. But did

838
00:46:53,600 --> 00:46:55,680
Speaker 1: you know? You probably did if you've listened this far,

839
00:46:55,840 --> 00:46:59,120
Speaker 1: that the you McCartney references in the title is not

840
00:46:59,400 --> 00:47:03,480
Speaker 1: a real human being, but a psychotropic substance. Paul later said,

841
00:47:03,560 --> 00:47:05,279
Speaker 1: got to Get You Into My Life was one that

842
00:47:05,320 --> 00:47:07,920
Speaker 1: I wrote after I had been first introduced to pot.

843
00:47:08,400 --> 00:47:11,279
Speaker 1: It's actually an ode to pot, like someone might write

844
00:47:11,320 --> 00:47:14,120
Speaker 1: an ode to chocolate or a good claret. What was it, Shelly,

845
00:47:14,320 --> 00:47:18,160
Speaker 1: Shelly write a poem to h clar Well. I think

846
00:47:18,200 --> 00:47:22,719
Speaker 1: so well. George writes, uh savoy truffle about chocolate. That's

847
00:47:22,719 --> 00:47:26,640
Speaker 1: about Eric Clapton loving chocolate. Yes, this is where I

848
00:47:26,680 --> 00:47:29,480
Speaker 1: start poking my nose where it doesn't belong. Um. It's

849
00:47:29,480 --> 00:47:33,840
Speaker 1: perhaps worth noting that Paul McCartney's first serious exposure to marijuana,

850
00:47:33,880 --> 00:47:37,560
Speaker 1: as we mentioned, came through Bob Dylan in August, some

851
00:47:37,719 --> 00:47:42,520
Speaker 1: eighteen months and three albums before Revolver, which kind of

852
00:47:42,560 --> 00:47:46,080
Speaker 1: makes it seem like if you had that song laying around,

853
00:47:46,080 --> 00:47:49,040
Speaker 1: you had three albums release it, what took you so long? Also,

854
00:47:49,120 --> 00:47:52,400
Speaker 1: the title got to Get You Into My Life seems

855
00:47:52,600 --> 00:47:55,400
Speaker 1: like kind of a reference to the Solomon Burke song

856
00:47:55,520 --> 00:47:57,560
Speaker 1: Gotta Get You Off of My Mind, which is a

857
00:47:57,680 --> 00:48:00,560
Speaker 1: hit in mid sixty five, which again it was like

858
00:48:00,680 --> 00:48:05,200
Speaker 1: nine months after Paul was introduced to marijuana. Given this timeline,

859
00:48:05,280 --> 00:48:08,400
Speaker 1: there are many, including John Lennon, who have theorized that

860
00:48:08,440 --> 00:48:10,440
Speaker 1: God to Get You Into My Life is actually about

861
00:48:10,560 --> 00:48:14,080
Speaker 1: McCartney's first experience with L S D. He was the

862
00:48:14,160 --> 00:48:16,800
Speaker 1: last Beatle to try it, doing so in December of

863
00:48:16,880 --> 00:48:21,239
Speaker 1: nine with the Guinness Brewery air Tara Brown, who was

864
00:48:21,320 --> 00:48:24,160
Speaker 1: later immortalized as the Man who Blew his mind out

865
00:48:24,200 --> 00:48:27,239
Speaker 1: in a car on the Sergeant Pepper Closer A Day

866
00:48:27,239 --> 00:48:29,560
Speaker 1: and of Life, and also the band The Pretty Things

867
00:48:29,640 --> 00:48:33,200
Speaker 1: drummer Viv Prince. I guess he was there too. From

868
00:48:33,200 --> 00:48:36,120
Speaker 1: a lyrical perspective, the lines about taking a ride to

869
00:48:36,160 --> 00:48:39,040
Speaker 1: see another kind of mind seem more illustrative of a

870
00:48:39,120 --> 00:48:42,200
Speaker 1: psychedelic trip than Getting Stones, But I don't know. It's

871
00:48:42,440 --> 00:48:46,000
Speaker 1: silly to quibbal about poetic license. To me, the real

872
00:48:46,080 --> 00:48:49,000
Speaker 1: tell about the song is its place in the Revolver

873
00:48:49,120 --> 00:48:53,080
Speaker 1: track list alongside Lennon's overt owed to the psychedelic Experience

874
00:48:53,120 --> 00:48:56,680
Speaker 1: Tomorrow Never Knows Heard back to back. The two tracks

875
00:48:56,719 --> 00:48:59,600
Speaker 1: are similar, to me, at least to the nineteen sixty

876
00:48:59,640 --> 00:49:03,280
Speaker 1: seven double A side Strawberry Fields Forever and Penny Lane,

877
00:49:03,400 --> 00:49:06,640
Speaker 1: in which the two men revisit nostalgic childhood haunts in

878
00:49:06,680 --> 00:49:10,640
Speaker 1: their own very unique ways, landing through the audio impressionism

879
00:49:10,680 --> 00:49:13,920
Speaker 1: of Strawberry Fields and McCartney with the hyper realism of

880
00:49:13,920 --> 00:49:17,520
Speaker 1: Penny Lane, and much in the same way that Strawberry

881
00:49:17,520 --> 00:49:20,000
Speaker 1: Fields and Penny Lane with the first two tracks recorded

882
00:49:20,040 --> 00:49:22,880
Speaker 1: for the sessions that yielded Sergeant Pepper. Although they didn't

883
00:49:22,880 --> 00:49:25,360
Speaker 1: actually make it on that album, they were released as

884
00:49:25,400 --> 00:49:28,000
Speaker 1: singles beforehand. Tar Never Knows, I'm going to get into

885
00:49:28,040 --> 00:49:30,680
Speaker 1: My Life with the first two tracks recorded for Revolver,

886
00:49:31,560 --> 00:49:33,960
Speaker 1: and to me, it just seems like they're in conversation

887
00:49:34,040 --> 00:49:36,960
Speaker 1: with one another, regardless of the specific type of drug.

888
00:49:37,040 --> 00:49:41,320
Speaker 1: They're obviously covering the same type of emotional terrain. I

889
00:49:41,360 --> 00:49:43,560
Speaker 1: always think of it as like two painters in their

890
00:49:43,560 --> 00:49:46,959
Speaker 1: own style, sketching the same still life from alternate sides

891
00:49:47,000 --> 00:49:50,839
Speaker 1: of the room. McCartney sings have had the experience changed him,

892
00:49:51,200 --> 00:49:54,800
Speaker 1: whereas Lennon sought to convey the experience itself on Tomorrow

893
00:49:54,800 --> 00:49:57,879
Speaker 1: never knows with all the crazy effects. Also, it's worth

894
00:49:57,920 --> 00:50:00,600
Speaker 1: interesting that both songs are composition le the Miller because

895
00:50:00,600 --> 00:50:03,560
Speaker 1: they both have a single drone note as the backdrop

896
00:50:03,880 --> 00:50:05,759
Speaker 1: got to get into My life keeps g in the

897
00:50:05,760 --> 00:50:09,120
Speaker 1: bass while cord moves above it and uh Tomorrow every

898
00:50:09,160 --> 00:50:12,520
Speaker 1: nose famously is like you know, in an Indian modality,

899
00:50:12,600 --> 00:50:16,600
Speaker 1: only uses one chord um. But yeah, anyway, enough of

900
00:50:16,680 --> 00:50:19,200
Speaker 1: all that nerdery. I just have always loved Paul singing

901
00:50:19,239 --> 00:50:22,399
Speaker 1: on that song, and Jeff Emerk recalled in his book Here,

902
00:50:22,400 --> 00:50:25,160
Speaker 1: There and Everywhere. At one point while Paul was recording

903
00:50:25,160 --> 00:50:28,040
Speaker 1: the lead vocal, John actually burst out of the control room.

904
00:50:28,120 --> 00:50:31,680
Speaker 1: The shadows encouragement evidence of the camaraderie and teamwork that

905
00:50:31,760 --> 00:50:34,759
Speaker 1: was so pervasive during the Revolver sessions. I love that

906
00:50:36,280 --> 00:50:39,520
Speaker 1: it's at the end of of Twist and Shot at

907
00:50:39,560 --> 00:50:41,359
Speaker 1: the very end. On the fade out, you can hear

908
00:50:41,440 --> 00:50:48,440
Speaker 1: Paul go yeah, adorable. Um McCartney talked about how he

909
00:50:48,640 --> 00:50:52,160
Speaker 1: was into very clean quote clean recordings around this time.

910
00:50:52,480 --> 00:50:56,239
Speaker 1: Thanks for the influence very clean, old Man. Thanks to

911
00:50:56,280 --> 00:50:59,520
Speaker 1: the influence of Brian Wilson pet sounds. The horns on

912
00:50:59,640 --> 00:51:01,680
Speaker 1: Got to Get You Into My Life our courtesy of

913
00:51:01,719 --> 00:51:05,319
Speaker 1: Georgie Fames back in group the Blue Flames, who are

914
00:51:05,320 --> 00:51:07,920
Speaker 1: the band playing at the bag O Nails Club in

915
00:51:07,960 --> 00:51:10,200
Speaker 1: nine seven on the night that Paul McCartney met his

916
00:51:10,239 --> 00:51:13,480
Speaker 1: future wife Linda. They were playing the Billy Stewart song

917
00:51:13,719 --> 00:51:16,600
Speaker 1: Sitting in the Park Waiting for You if you are

918
00:51:16,719 --> 00:51:21,560
Speaker 1: interested in uh recreating the sound trick of Paul Linda's

919
00:51:21,600 --> 00:51:25,240
Speaker 1: first meeting, a few days before the famous Sergeant Pepper

920
00:51:25,320 --> 00:51:28,319
Speaker 1: launch party that she attended as a photographer. Yeah. My

921
00:51:28,360 --> 00:51:30,279
Speaker 1: favorite part of the new box set is they do

922
00:51:30,320 --> 00:51:32,560
Speaker 1: a full band performance I've Got to Get Into My

923
00:51:32,600 --> 00:51:35,320
Speaker 1: Life without the Horns. It's done almost like a garage

924
00:51:35,360 --> 00:51:39,360
Speaker 1: band track, and Paul's vocals are much more raw. On

925
00:51:39,480 --> 00:51:42,000
Speaker 1: that little guitar figure that George does at the end

926
00:51:42,000 --> 00:51:45,000
Speaker 1: of the song on the release version repeats all the

927
00:51:45,000 --> 00:51:47,880
Speaker 1: way through where the horns would be sounds awful like

928
00:51:47,920 --> 00:51:51,040
Speaker 1: a lead guitar and paperback writer. Actually, um, but yeah,

929
00:51:51,080 --> 00:51:54,920
Speaker 1: that rules. It's so good. Um, but so do the

930
00:51:54,960 --> 00:51:57,680
Speaker 1: horn and sell both versions of it. Yeah. And you know,

931
00:51:57,719 --> 00:52:01,200
Speaker 1: in keeping with his habit of getting microphone uncomfortably close

932
00:52:01,280 --> 00:52:05,640
Speaker 1: to studio musicians, Jeff Emery jammed the MIC's right down

933
00:52:05,640 --> 00:52:08,439
Speaker 1: the bells of the instruments in the horn section for

934
00:52:08,520 --> 00:52:12,440
Speaker 1: extra intensity. Uh. In the Lyrics book, Paul explains, I've

935
00:52:12,440 --> 00:52:14,080
Speaker 1: been listening to a lot of American R and B

936
00:52:14,200 --> 00:52:16,760
Speaker 1: and soul and there were horn sections on those records

937
00:52:17,080 --> 00:52:20,560
Speaker 1: Joe Text, Wilson Pickett, Sam and Dave, people like that.

938
00:52:20,560 --> 00:52:22,799
Speaker 1: That was enough impetus for me to think I'll have

939
00:52:22,880 --> 00:52:25,680
Speaker 1: a go with that. That's often how things happened with me.

940
00:52:26,160 --> 00:52:28,279
Speaker 1: I'll hear something on the radio and think, oh wow,

941
00:52:28,400 --> 00:52:30,640
Speaker 1: I'm going to do my version of that. So we

942
00:52:30,719 --> 00:52:33,719
Speaker 1: got some horn players, trumpets and saxophones, I think, into

943
00:52:33,800 --> 00:52:36,239
Speaker 1: Appey Roads Studio two, and I explained to them how

944
00:52:36,239 --> 00:52:39,640
Speaker 1: I wanted it, and they got it immediately. But as

945
00:52:39,680 --> 00:52:42,760
Speaker 1: you alluded to at the top of the first part

946
00:52:43,000 --> 00:52:46,400
Speaker 1: of this, I've already lost correct. Yeah, as it was

947
00:52:46,440 --> 00:52:50,799
Speaker 1: alluded to earlier. At some point the Beatles were big

948
00:52:50,840 --> 00:52:54,320
Speaker 1: fans of the sound of these American records. Stacks is mentioned,

949
00:52:55,000 --> 00:52:59,120
Speaker 1: Motown was marketed as tam law over in UH in

950
00:52:59,200 --> 00:53:03,800
Speaker 1: the UK, and UM Paul has spoken about his admiration

951
00:53:03,840 --> 00:53:06,840
Speaker 1: for we mentioned earlier, for James Jamerson's bass playing on

952
00:53:06,840 --> 00:53:12,320
Speaker 1: those records in particular, Um. But the sort of grittier,

953
00:53:12,400 --> 00:53:16,640
Speaker 1: earthier compatriot to that was, of course Stacks Records in Memphis,

954
00:53:16,800 --> 00:53:18,720
Speaker 1: home of book or T and the MG s ortis

955
00:53:18,760 --> 00:53:23,200
Speaker 1: reading Rufland, Carla Thomas, so many more. And there actually

956
00:53:23,239 --> 00:53:25,600
Speaker 1: had been tentative plans to get the Beatles to record

957
00:53:25,640 --> 00:53:29,360
Speaker 1: Revolver at Stacks in Memphis. And though the equipment in

958
00:53:29,400 --> 00:53:31,960
Speaker 1: the British studios at the time it's far superior, because

959
00:53:32,000 --> 00:53:35,040
Speaker 1: I mean, Road had been doing all these orchestral recordings

960
00:53:35,040 --> 00:53:37,680
Speaker 1: and everything. And I think at the time wasn't Stacks

961
00:53:37,680 --> 00:53:41,120
Speaker 1: a former movie theater. Yeah, they still had the slope

962
00:53:41,360 --> 00:53:44,040
Speaker 1: floor where the seats used to be. But you know,

963
00:53:44,239 --> 00:53:46,759
Speaker 1: there was a certain with the French calls certain I

964
00:53:46,800 --> 00:53:51,280
Speaker 1: don't know what to the facilities at Stacks. The Stones

965
00:53:51,600 --> 00:53:55,000
Speaker 1: had recorded at Chess Records in Chicago and did their

966
00:53:55,360 --> 00:53:58,040
Speaker 1: aftermath at r c A in Hollywood, and they encouraged

967
00:53:58,080 --> 00:54:00,880
Speaker 1: the Beatles to check out studios in a mayor. Stacks

968
00:54:00,960 --> 00:54:03,920
Speaker 1: was the most obvious choice. You know, Paul earlier had

969
00:54:03,960 --> 00:54:08,440
Speaker 1: mentioned uh liking Sam and Dave, Joe Text, Wilson Pickett,

970
00:54:08,880 --> 00:54:13,160
Speaker 1: John specifically like Steve Cropper and Duck Dunne. He name

971
00:54:13,239 --> 00:54:16,160
Speaker 1: dropped them in an interview with Newsweek in nine six

972
00:54:17,000 --> 00:54:19,160
Speaker 1: and you can hear the influence of that kind of

973
00:54:19,200 --> 00:54:21,439
Speaker 1: music and stuff like the word and drive my Car

974
00:54:21,480 --> 00:54:25,000
Speaker 1: and Rubber Soul. And Brian Epstein appendently flew to Stacks

975
00:54:25,040 --> 00:54:28,280
Speaker 1: in late March to suss out the possibility the Beatles

976
00:54:28,320 --> 00:54:31,560
Speaker 1: recording there, and there was talk of Steve Cropper, who

977
00:54:31,600 --> 00:54:35,040
Speaker 1: was at this point the producer and de facto you know,

978
00:54:35,160 --> 00:54:38,600
Speaker 1: musical director of Stacks, who you know didn't knock on

979
00:54:38,640 --> 00:54:41,319
Speaker 1: Wood in the midnight hour Green Onions. I think that's

980
00:54:41,360 --> 00:54:44,640
Speaker 1: him playing on soul Man to producing the sessions with

981
00:54:44,719 --> 00:54:47,319
Speaker 1: Tom Dowd engineering. It was even a start date put

982
00:54:47,320 --> 00:54:50,959
Speaker 1: in the studio diary April nine, and rumors that even

983
00:54:50,960 --> 00:54:54,080
Speaker 1: Elvis had offered to host the Beatles at Graceland, which

984
00:54:54,120 --> 00:54:57,840
Speaker 1: again oh to be a fly on that wall. Uh.

985
00:54:57,880 --> 00:55:00,960
Speaker 1: There was talk also with them about recording at Atlantic

986
00:55:01,000 --> 00:55:03,520
Speaker 1: Studios in New York, but that also sort of fell apart.

987
00:55:03,560 --> 00:55:05,400
Speaker 1: Would that have been Would that have been at the

988
00:55:05,400 --> 00:55:07,800
Speaker 1: point when Wexler would have stolen the Muscle show? Guys,

989
00:55:09,000 --> 00:55:11,319
Speaker 1: what's the timeline there? Right or right? Yeah? I mean

990
00:55:11,320 --> 00:55:13,759
Speaker 1: this if this was April sixty six, I think right

991
00:55:13,840 --> 00:55:19,520
Speaker 1: around yeah. Man, that would have been wild oh man. Uh.

992
00:55:19,560 --> 00:55:22,480
Speaker 1: The official reason was that they mentioned in the press frequently,

993
00:55:22,560 --> 00:55:25,080
Speaker 1: is that Stax wanted too much money, or that the

994
00:55:25,120 --> 00:55:28,520
Speaker 1: American Musicians Federation the Musicians Union would have taken too

995
00:55:28,560 --> 00:55:31,080
Speaker 1: big of a cut. George Harrison wrote a letter to

996
00:55:31,080 --> 00:55:33,560
Speaker 1: an Atlanta DJ saying, do you hear we nearly recorded

997
00:55:33,600 --> 00:55:35,640
Speaker 1: in Memphis. We would all like it a lot, but

998
00:55:35,680 --> 00:55:38,160
Speaker 1: too many people get insane with money ideas at the

999
00:55:38,160 --> 00:55:40,920
Speaker 1: mention of the word beatles and it fell through. But

1000
00:55:40,960 --> 00:55:43,880
Speaker 1: it's never really been explained fully. Um. The only tracks

1001
00:55:44,040 --> 00:55:46,760
Speaker 1: on Revolver, to your mind that would have been served

1002
00:55:46,800 --> 00:55:48,400
Speaker 1: would have been tax Man and got to Get You

1003
00:55:48,400 --> 00:55:52,960
Speaker 1: Into My Life? I agree with that. Yeah, you mentioned

1004
00:55:53,040 --> 00:55:55,239
Speaker 1: you think Abbey Road is a good environment for them,

1005
00:55:55,239 --> 00:55:57,680
Speaker 1: precisely because it was so straight laced. If they had

1006
00:55:57,719 --> 00:56:00,000
Speaker 1: been recording somewhere that maybe would have been a little

1007
00:56:00,400 --> 00:56:02,719
Speaker 1: funkier and a little more permissive. They wouldn't have had

1008
00:56:02,800 --> 00:56:08,560
Speaker 1: such an obvious uh nemesis or at least foil to

1009
00:56:08,560 --> 00:56:11,399
Speaker 1: to buck up against. Yeah. I mean also you mentioned

1010
00:56:11,440 --> 00:56:14,120
Speaker 1: the abbey Road was technical superior. Yeah, they had some

1011
00:56:14,160 --> 00:56:16,279
Speaker 1: of the greatest minds of recording that they could just

1012
00:56:16,480 --> 00:56:19,840
Speaker 1: enlist as co conspirators. I feel like at Stacks they

1013
00:56:19,840 --> 00:56:22,600
Speaker 1: would have just been clients. But I feel like abbey

1014
00:56:22,719 --> 00:56:28,680
Speaker 1: Road they had all these young I'm sorry, like like

1015
00:56:28,760 --> 00:56:34,720
Speaker 1: the sixties equivalent of like computer geeks that incredibly technologically

1016
00:56:34,760 --> 00:56:37,880
Speaker 1: plugged in who probably wanted an excuse to like try

1017
00:56:37,920 --> 00:56:40,440
Speaker 1: something new and weird and out of the box, and

1018
00:56:40,480 --> 00:56:43,560
Speaker 1: the Beatles gave them. What they should have done was

1019
00:56:43,719 --> 00:56:46,480
Speaker 1: track at Stacks with the book or t in the MG.

1020
00:56:46,640 --> 00:56:50,560
Speaker 1: Can you imagine how sick the rhythm tracks would have

1021
00:56:50,600 --> 00:56:53,320
Speaker 1: been had they let, like gotten Paul off the base,

1022
00:56:54,760 --> 00:56:56,520
Speaker 1: I would have I would have kept Paul in the base.

1023
00:56:56,840 --> 00:57:02,560
Speaker 1: No dust done, Ringo ringo on drawings, duck done, Steve Cropper,

1024
00:57:03,160 --> 00:57:05,680
Speaker 1: Lenning can play, I guess on this album, Lennon didn't

1025
00:57:05,680 --> 00:57:07,600
Speaker 1: want to play any rhythms, so let George take it.

1026
00:57:07,680 --> 00:57:09,480
Speaker 1: That's a hell, that's it, and then you take it.

1027
00:57:09,520 --> 00:57:12,160
Speaker 1: You take it? Oh man, you tell me you book

1028
00:57:12,239 --> 00:57:16,920
Speaker 1: or t on Keys were considering where they went off base. Absolutely,

1029
00:57:19,720 --> 00:57:22,160
Speaker 1: he was trying to do duck done on this. For Crab.

1030
00:57:23,160 --> 00:57:27,120
Speaker 1: We're gonna give him something, give him lead guitar, he

1031
00:57:27,160 --> 00:57:32,040
Speaker 1: would have said. But my my fantasy casting of this

1032
00:57:32,160 --> 00:57:34,760
Speaker 1: is that they just track the basics it Stacks and

1033
00:57:34,800 --> 00:57:37,480
Speaker 1: then they like the Stones did it, Muscle shoals, and

1034
00:57:37,480 --> 00:57:39,760
Speaker 1: then they bring it somewhere else to mix. I mean,

1035
00:57:39,800 --> 00:57:42,320
Speaker 1: the other thing that I shudder to think about is

1036
00:57:42,360 --> 00:57:44,200
Speaker 1: what the Stacks guys would have done with something like

1037
00:57:44,240 --> 00:57:49,560
Speaker 1: Tamar never knows. I mean, yeah, yeah, I mean, dude,

1038
00:57:49,720 --> 00:57:52,400
Speaker 1: the Beatles, they could have just like cut two songs

1039
00:57:52,520 --> 00:57:55,880
Speaker 1: there and left. You know. That's I don't know if

1040
00:57:55,880 --> 00:57:58,040
Speaker 1: that was like how they did it back then. I

1041
00:57:58,080 --> 00:58:00,320
Speaker 1: know that's that's much more of a Stones thing is

1042
00:58:00,360 --> 00:58:03,400
Speaker 1: to just kind of fly through and visit different studios

1043
00:58:03,440 --> 00:58:07,320
Speaker 1: for the sounds and then leave. As Paul himself said

1044
00:58:07,400 --> 00:58:10,560
Speaker 1: in six when we finished Revolver, we realized that we

1045
00:58:10,560 --> 00:58:13,520
Speaker 1: had found a new British sound, almost by accident. So

1046
00:58:13,640 --> 00:58:16,320
Speaker 1: you know, I think something so that came out of

1047
00:58:16,360 --> 00:58:20,000
Speaker 1: the Revolver sessions. But yeah, the whole team at Abbey Road,

1048
00:58:20,120 --> 00:58:23,840
Speaker 1: we're really just all m v ps, case and point.

1049
00:58:24,360 --> 00:58:27,200
Speaker 1: After the five horn players recorded their part Forgot to

1050
00:58:27,240 --> 00:58:29,400
Speaker 1: Get Into My Life, Paul felt like he one of

1051
00:58:29,440 --> 00:58:32,400
Speaker 1: the brass to sound bigger, and rather than call everyone

1052
00:58:32,440 --> 00:58:35,240
Speaker 1: back to redo it, Jeff Emerk, the engineer, had the

1053
00:58:35,280 --> 00:58:38,320
Speaker 1: idea of doubling the part onto a second piece of tape,

1054
00:58:38,800 --> 00:58:42,000
Speaker 1: which he then played back alongside it on the multi track,

1055
00:58:42,080 --> 00:58:44,840
Speaker 1: but just slightly out of sync, which had the effect

1056
00:58:44,840 --> 00:58:48,760
Speaker 1: of doubling the horn sounds out, sounded thicker and sort

1057
00:58:48,760 --> 00:58:51,640
Speaker 1: of noting that the practice of artificial double tracking, which

1058
00:58:51,720 --> 00:58:54,560
Speaker 1: is known as a d T and now standard at

1059
00:58:54,640 --> 00:58:57,560
Speaker 1: studios all over the world, was developed during sessions for

1060
00:58:57,640 --> 00:59:00,360
Speaker 1: Revolver by the engineer Ken Townsend. I think it was

1061
00:59:00,400 --> 00:59:03,400
Speaker 1: for the song Dr Robert, and it came about because

1062
00:59:03,480 --> 00:59:05,800
Speaker 1: Lennon was just moaning about all the time that they

1063
00:59:05,840 --> 00:59:09,560
Speaker 1: had to spend double tracking vocals, and Lennon himself hated

1064
00:59:09,600 --> 00:59:11,400
Speaker 1: the sound of his own voice. That's why on so

1065
00:59:11,440 --> 00:59:13,880
Speaker 1: many of his solo songs he's got a lot of

1066
00:59:13,960 --> 00:59:16,760
Speaker 1: slap back elvis echo on it. Because he just wanted

1067
00:59:16,960 --> 00:59:19,320
Speaker 1: something to disguise the sound of his own voice because

1068
00:59:19,360 --> 00:59:21,520
Speaker 1: he hated hearing it. So whenever he had to double

1069
00:59:21,560 --> 00:59:24,960
Speaker 1: track his own vocals and hear him singing to himself

1070
00:59:25,000 --> 00:59:27,640
Speaker 1: in his earphones right into his ear it was just

1071
00:59:27,680 --> 00:59:30,800
Speaker 1: super painful for him. So he was moaning about it,

1072
00:59:30,880 --> 00:59:33,760
Speaker 1: and this guy Ken towns and developed this artificial double

1073
00:59:33,800 --> 00:59:38,400
Speaker 1: tracking technique to eliminate this painful chore, and hilariously, this

1074
00:59:38,440 --> 00:59:40,080
Speaker 1: gives you an idea of what Abby Road was like

1075
00:59:40,120 --> 00:59:43,960
Speaker 1: at this time. Ken Townsend was technically forbidden from employing

1076
00:59:44,040 --> 00:59:46,240
Speaker 1: his own invention until it had been cleared by the

1077
00:59:46,240 --> 00:59:50,320
Speaker 1: proper channels for approval, but I guess Townsend ignored him anyway,

1078
00:59:50,360 --> 00:59:52,200
Speaker 1: because they were the Beatles and they could get away

1079
00:59:52,240 --> 00:59:55,160
Speaker 1: with whatever they wanted. And Jeff Emrick had to get

1080
00:59:55,240 --> 00:59:59,720
Speaker 1: special permission to put a delicate and very expensive ribbon

1081
00:59:59,800 --> 01:00:03,600
Speaker 1: mike graphone really close to ringoes bass drum to get

1082
01:00:03,600 --> 01:00:07,040
Speaker 1: that huge drum whack hurt on stuff like tomorrow and

1083
01:00:07,040 --> 01:00:10,680
Speaker 1: ever knows, And she said, she said, uh, Townsend item

1084
01:00:11,000 --> 01:00:14,000
Speaker 1: often risk getting the risks slapped front authorized use of

1085
01:00:14,040 --> 01:00:16,640
Speaker 1: equipment in an effort to make the Beatles whims of reality.

1086
01:00:17,480 --> 01:00:21,520
Speaker 1: But they're all champions. They all invented these sounds that

1087
01:00:21,600 --> 01:00:27,600
Speaker 1: people are trying to get to this day. As you

1088
01:00:27,640 --> 01:00:30,120
Speaker 1: meditate on that, we'll be right back with more too

1089
01:00:30,200 --> 01:00:45,640
Speaker 1: much information after these messages, and this brings us to

1090
01:00:45,960 --> 01:00:50,880
Speaker 1: the closer Tomorrow Never Knows. A Revolver could only ever

1091
01:00:50,920 --> 01:00:53,800
Speaker 1: close with Tomorrow, never knows what else could possibly follow it.

1092
01:00:53,800 --> 01:00:57,920
Speaker 1: It's the first song the Beatles repertoire and possibly the

1093
01:00:57,960 --> 01:01:01,200
Speaker 1: first song in the pop rock realm. It made no

1094
01:01:01,280 --> 01:01:04,640
Speaker 1: attempt at commercial accessibility whatsoever, and it also made no

1095
01:01:04,680 --> 01:01:07,120
Speaker 1: attempt to be replicated in front of a paying audience.

1096
01:01:07,720 --> 01:01:10,760
Speaker 1: It was purely a studio enterprise, which paved the way

1097
01:01:10,800 --> 01:01:12,640
Speaker 1: for the rest of their career. As we said, this

1098
01:01:12,720 --> 01:01:15,720
Speaker 1: was the last album that was released while the band

1099
01:01:15,760 --> 01:01:19,240
Speaker 1: were still a touring entity, although none of these songs

1100
01:01:19,240 --> 01:01:22,200
Speaker 1: were ever performed. It was released three weeks yeah, a

1101
01:01:22,200 --> 01:01:25,680
Speaker 1: little over three weeks before their very last concert. It's

1102
01:01:25,720 --> 01:01:27,720
Speaker 1: amazing to me that Tamara and Never Knows was done

1103
01:01:27,760 --> 01:01:31,000
Speaker 1: on the first day of sessions for Revolver in April

1104
01:01:31,120 --> 01:01:34,760
Speaker 1: nineteen sixty six. And you know, over the last half century,

1105
01:01:34,800 --> 01:01:37,520
Speaker 1: a day in the life office Sergeant Pepper's on the

1106
01:01:37,560 --> 01:01:41,640
Speaker 1: reputation as the song that really crystallizes the Lennon McCartney partnership,

1107
01:01:42,240 --> 01:01:44,480
Speaker 1: and it's kind of an obvious choice because the division

1108
01:01:44,480 --> 01:01:46,520
Speaker 1: of labor is clear on that song because of the

1109
01:01:46,560 --> 01:01:49,160
Speaker 1: shared vocal duties. Paul has his bit in the middle

1110
01:01:49,200 --> 01:01:52,600
Speaker 1: of these sings, John has the verses. I think Tomorrow

1111
01:01:52,680 --> 01:01:55,360
Speaker 1: Never Knows goes one better. It utilizes the unique gifts

1112
01:01:55,440 --> 01:01:58,240
Speaker 1: not just of John and Paul, but have pretty much

1113
01:01:58,280 --> 01:02:02,320
Speaker 1: all four Beatles and equal pleasure just amalgamating their interests

1114
01:02:03,000 --> 01:02:06,880
Speaker 1: with truly invaluable help from George Martin and the production staff.

1115
01:02:07,200 --> 01:02:10,320
Speaker 1: Tomorrow Never Knows began with John Lennon and his tireless

1116
01:02:10,360 --> 01:02:14,080
Speaker 1: exploration of his own psyche in dogged pursuit of inner peace.

1117
01:02:14,800 --> 01:02:18,320
Speaker 1: Having embraced the fashional yet dubious promise of LSD is

1118
01:02:18,920 --> 01:02:23,520
Speaker 1: enlightenment in chemical form, Lennon visited Indica, the bookshop run

1119
01:02:23,520 --> 01:02:27,320
Speaker 1: by friends of McCartney's, who no doubt introduced him to

1120
01:02:27,320 --> 01:02:30,720
Speaker 1: the spot, and among the proto New Age titles on offer,

1121
01:02:30,760 --> 01:02:33,960
Speaker 1: he picked up The Psychedelic Experience, a book by former

1122
01:02:34,000 --> 01:02:38,440
Speaker 1: Harvard professor turned self proclaimed acid guru Timothy Leary, along

1123
01:02:38,480 --> 01:02:42,440
Speaker 1: with fellow academic psychologist Richard Albert later known as Ramdass

1124
01:02:42,760 --> 01:02:47,040
Speaker 1: and Ralph Metzner. This was based on a n translation

1125
01:02:47,160 --> 01:02:49,400
Speaker 1: of the Tibetan Book of the Dead, and it functioned

1126
01:02:49,440 --> 01:02:53,280
Speaker 1: as a kind of LSD for dummies guide. Uh Lennon

1127
01:02:53,320 --> 01:02:56,040
Speaker 1: would himself sarcastically referred to it in later years as

1128
01:02:56,120 --> 01:03:00,000
Speaker 1: Learies how to take a trip book. Whenever you're endowed,

1129
01:03:00,240 --> 01:03:04,640
Speaker 1: turn off your mind, relax, float downstream, It advised, beyond

1130
01:03:04,720 --> 01:03:07,760
Speaker 1: the restless, flowing electricity of life is the ultimate reality,

1131
01:03:08,120 --> 01:03:11,360
Speaker 1: the void. Since Leary himself had nabbed the words from

1132
01:03:11,360 --> 01:03:15,120
Speaker 1: an ancient text, Lennon felt free to borrow them liberally,

1133
01:03:15,800 --> 01:03:18,000
Speaker 1: so with the lyrics mostly in place, The music came

1134
01:03:18,240 --> 01:03:22,120
Speaker 1: largely from Harrison's fascination with Indian music, which made use

1135
01:03:22,240 --> 01:03:26,240
Speaker 1: of long ten perud drones. Indian music was like all

1136
01:03:26,280 --> 01:03:30,320
Speaker 1: just on one chord, Harrison explained, it didn't modulate. John

1137
01:03:30,360 --> 01:03:33,040
Speaker 1: wanted to try a tune like that. At first, the

1138
01:03:33,080 --> 01:03:35,720
Speaker 1: band worried about bringing the idea to George Martin, then

1139
01:03:35,800 --> 01:03:39,120
Speaker 1: still seen as the responsible, respectable adult in the room.

1140
01:03:39,160 --> 01:03:42,680
Speaker 1: He had shepherded them through simple rock and roll progressions,

1141
01:03:42,720 --> 01:03:45,560
Speaker 1: but this was as Paul McCartney would later reflect, a

1142
01:03:45,680 --> 01:03:48,840
Speaker 1: radical departure. We'd always had at least three chords and

1143
01:03:48,880 --> 01:03:51,480
Speaker 1: maybe a change for the middle eight. Suddenly this was

1144
01:03:51,560 --> 01:03:54,720
Speaker 1: John just strumming on sea rather earnestly, and the words

1145
01:03:54,720 --> 01:03:58,000
Speaker 1: were all very deep and meaningful, certainly not thank you girl.

1146
01:03:58,200 --> 01:04:00,280
Speaker 1: A bit of a change from all that. It was

1147
01:04:00,280 --> 01:04:03,520
Speaker 1: a song about transcendence. There were no verse chorus structure

1148
01:04:03,600 --> 01:04:07,120
Speaker 1: or end line rhyme scheme, but George Martin was unfazed.

1149
01:04:07,480 --> 01:04:09,960
Speaker 1: In fact, he was intrigued as he listened to his

1150
01:04:10,080 --> 01:04:15,760
Speaker 1: young charges rather interesting John jolly interesting. When he had

1151
01:04:15,800 --> 01:04:18,640
Speaker 1: signed them four years earlier, George Martin wasn't totally convinced

1152
01:04:18,680 --> 01:04:20,520
Speaker 1: they had what it took to write a proper song,

1153
01:04:21,000 --> 01:04:23,920
Speaker 1: and now they were the ones challenging his very understanding

1154
01:04:24,040 --> 01:04:27,600
Speaker 1: of what a song could even be. George never freaked

1155
01:04:27,600 --> 01:04:29,920
Speaker 1: out when we brought him even the most crazy ideas

1156
01:04:30,040 --> 01:04:32,920
Speaker 1: McCartney says in the deluxe edition liner notes to Revolver.

1157
01:04:33,360 --> 01:04:36,000
Speaker 1: He was very supportive that way. Now John had a

1158
01:04:36,080 --> 01:04:39,600
Speaker 1: habit of speaking in pictorial terms to evoke the sounds

1159
01:04:39,640 --> 01:04:42,040
Speaker 1: that he wanted to hear, and George Martin would later

1160
01:04:42,080 --> 01:04:45,280
Speaker 1: say he'd make whooshing sounds and try to describe what

1161
01:04:45,440 --> 01:04:48,000
Speaker 1: only he could hear in his head, saying he wanted

1162
01:04:48,040 --> 01:04:52,560
Speaker 1: a song to quote sound orange. And for this song,

1163
01:04:52,640 --> 01:04:56,520
Speaker 1: which was at this point tentatively titled Mark One, Lennon

1164
01:04:56,560 --> 01:04:58,800
Speaker 1: announced that he wanted his voice to sound like the

1165
01:04:58,880 --> 01:05:02,360
Speaker 1: dollar lamba chant from a mountaintop, and the accomplish this

1166
01:05:02,440 --> 01:05:07,600
Speaker 1: wobbly effect, Lennon hopefully suggested that they suspend them from

1167
01:05:07,600 --> 01:05:10,960
Speaker 1: a rope attached to the studio ceiling and fling him

1168
01:05:11,000 --> 01:05:14,120
Speaker 1: around the microphone like a human tether ball as he sang.

1169
01:05:15,760 --> 01:05:19,040
Speaker 1: By all accounts, he wasn't joking, and he was never

1170
01:05:19,160 --> 01:05:21,480
Speaker 1: the most technical of the group, and the other Beatles

1171
01:05:21,560 --> 01:05:23,920
Speaker 1: used to joke that he couldn't even change a light bulb.

1172
01:05:24,760 --> 01:05:28,240
Speaker 1: Engineer Jeff Emwerk had the slightly less dangerous idea of

1173
01:05:28,280 --> 01:05:31,640
Speaker 1: putting his voice through a rotating Leslie speaker cabinet, which

1174
01:05:31,680 --> 01:05:35,080
Speaker 1: is usually used for Hammond Organs, and that's the thing

1175
01:05:35,200 --> 01:05:38,840
Speaker 1: like that spins rather than actually spinning John himself. But

1176
01:05:39,040 --> 01:05:43,320
Speaker 1: the principles are actually kind of similar. So as they're

1177
01:05:43,320 --> 01:05:46,120
Speaker 1: working on this track, it was decided that typical guitar

1178
01:05:46,200 --> 01:05:49,320
Speaker 1: break just wasn't appropriate for you know what was shaping

1179
01:05:49,400 --> 01:05:51,520
Speaker 1: up to be the most unusual song the Beatles had

1180
01:05:51,520 --> 01:05:54,560
Speaker 1: ever done at this point. For a different kind of solo,

1181
01:05:54,640 --> 01:05:59,760
Speaker 1: they considered Paul's home experiments with tape loops and McCartney's influences.

1182
01:05:59,800 --> 01:06:03,360
Speaker 1: At the point, We're becoming extremely vast, especially in the

1183
01:06:03,400 --> 01:06:06,880
Speaker 1: Beatles downtime in early nineteen sixty six, when he was

1184
01:06:06,920 --> 01:06:10,240
Speaker 1: soaking up anything and everything that fell outside the traditional

1185
01:06:10,280 --> 01:06:13,200
Speaker 1: pop purview. He was the only Beatle who lived in

1186
01:06:13,240 --> 01:06:15,440
Speaker 1: London at this time, so we took full advantage of

1187
01:06:15,480 --> 01:06:18,600
Speaker 1: his residence in what Time magazine had recently dubbed the

1188
01:06:18,720 --> 01:06:22,200
Speaker 1: Swinging City, and he embarked on a rigorous program of

1189
01:06:22,200 --> 01:06:27,080
Speaker 1: self education, attending galleries, seminars and underground happenings nearly nightly.

1190
01:06:27,640 --> 01:06:30,440
Speaker 1: He told journalist Marine Cleave of The Evening Standard in

1191
01:06:30,440 --> 01:06:34,200
Speaker 1: this period, I vaguely mind people knowing anything I don't know.

1192
01:06:34,560 --> 01:06:37,720
Speaker 1: I'm trying to cram everything in all the things I've missed.

1193
01:06:38,080 --> 01:06:41,360
Speaker 1: People are saying things and painting things and writing things,

1194
01:06:41,400 --> 01:06:44,280
Speaker 1: composing things that are great, and I must know what

1195
01:06:44,320 --> 01:06:49,600
Speaker 1: people are doing. I love that sentiment. His girlfriend, the

1196
01:06:49,600 --> 01:06:53,200
Speaker 1: actress Jane Asher, provided access for the upwardly mobile, Paul

1197
01:06:53,280 --> 01:06:57,240
Speaker 1: into the world of upper class dinner parties and theatrical openings. Well.

1198
01:06:57,280 --> 01:07:00,920
Speaker 1: Her older brother Peter Asher welcomed him into London hipster elite,

1199
01:07:01,280 --> 01:07:04,680
Speaker 1: and before long Paul's rubbing shoulders with beat poet heroes

1200
01:07:04,720 --> 01:07:08,320
Speaker 1: like Alan Ginsburg and William S. Burrows, and some of

1201
01:07:08,360 --> 01:07:10,320
Speaker 1: this was for self education, but he hoped some of

1202
01:07:10,320 --> 01:07:12,240
Speaker 1: it would come through in this work with the Beatles.

1203
01:07:13,040 --> 01:07:15,960
Speaker 1: In February of nineteen sixty six, Paul tended a lecture

1204
01:07:16,000 --> 01:07:19,720
Speaker 1: by the Italian avant garde composer Lucciano Barrio, and he

1205
01:07:19,800 --> 01:07:23,360
Speaker 1: frequently dropped in on free form music, concrete performances by

1206
01:07:23,400 --> 01:07:27,720
Speaker 1: disciples of John Cage, Edgar Vaisy and Carl Heinz Stockhouse

1207
01:07:27,760 --> 01:07:31,040
Speaker 1: and very famous avant garde performers, and he later said

1208
01:07:31,080 --> 01:07:33,800
Speaker 1: during the Beatles anthology, people were starting to lose their

1209
01:07:33,800 --> 01:07:37,320
Speaker 1: pure pop mentality and mingle with artists. A kind of

1210
01:07:37,400 --> 01:07:41,800
Speaker 1: cross fertilization was starting to happen, and major result of

1211
01:07:41,800 --> 01:07:44,640
Speaker 1: this was tomar Never Knows, and Paul used to I

1212
01:07:44,680 --> 01:07:46,600
Speaker 1: love this. He used to make these little home movies

1213
01:07:46,760 --> 01:07:49,760
Speaker 1: and he would take songs by free jazz artists like

1214
01:07:49,880 --> 01:07:53,040
Speaker 1: Ornette Coleman or Albert Ailer to use as the soundtrack,

1215
01:07:53,680 --> 01:07:57,600
Speaker 1: and George Martin used to hate Albert Ailer and uh,

1216
01:07:57,840 --> 01:08:00,520
Speaker 1: I guess whenever he'd come over to McCartney's house for dinner,

1217
01:08:00,560 --> 01:08:05,440
Speaker 1: Paul used to put on Aylor's Spiritual Unity album. Yeah,

1218
01:08:05,440 --> 01:08:09,560
Speaker 1: it's a tough record to get into. But even though

1219
01:08:09,560 --> 01:08:12,080
Speaker 1: he might not have liked the sounds themselves, George Martin

1220
01:08:12,120 --> 01:08:15,840
Speaker 1: really appreciated his open mindedness. Uh. And he later said,

1221
01:08:16,040 --> 01:08:18,160
Speaker 1: you know, we usually think of John as being the

1222
01:08:18,200 --> 01:08:21,040
Speaker 1: avant garde one with Yoko and so on, But the

1223
01:08:21,040 --> 01:08:23,679
Speaker 1: time Paul was heavily in the stock housing and John

1224
01:08:23,760 --> 01:08:26,479
Speaker 1: Cage and all the avant garde artists, well, John was

1225
01:08:26,520 --> 01:08:29,519
Speaker 1: living a comfortable suburban life. Yeah. It was John Lennon

1226
01:08:29,560 --> 01:08:33,880
Speaker 1: who was later credited for declaring avant garde the French

1227
01:08:33,920 --> 01:08:40,679
Speaker 1: word for bull. Um. Paul McCarney, thanks largely to stock housing,

1228
01:08:40,760 --> 01:08:44,920
Speaker 1: develops this interest in tape loops. Um. This is, of course,

1229
01:08:45,000 --> 01:08:48,760
Speaker 1: when tape was literally the fragment of what you would

1230
01:08:48,800 --> 01:08:51,840
Speaker 1: record music onto, and with certain players you could jury

1231
01:08:51,920 --> 01:08:56,479
Speaker 1: rigged them so that they would loop endlessly back on themselves. Um.

1232
01:08:56,640 --> 01:08:59,200
Speaker 1: And there are a couple of different people who are

1233
01:08:59,240 --> 01:09:02,040
Speaker 1: really again, I I just want to point out that

1234
01:09:02,520 --> 01:09:04,640
Speaker 1: I want to point out that American people had been

1235
01:09:04,680 --> 01:09:07,680
Speaker 1: doing this very early on Steve Reich and all that

1236
01:09:07,880 --> 01:09:13,000
Speaker 1: Steve Reich Uh, Steve Reich's violin phase is sixty five

1237
01:09:13,280 --> 01:09:17,639
Speaker 1: sixty seven, but It's Gonna Rain is actually sixty. Terry

1238
01:09:17,760 --> 01:09:20,599
Speaker 1: Riley had been using this as early as the as

1239
01:09:20,640 --> 01:09:24,719
Speaker 1: the late fifties, using the Woolen Sack tape recorder friend

1240
01:09:24,760 --> 01:09:27,880
Speaker 1: of the pod, the Woolen Sack tape recorder famous from

1241
01:09:27,880 --> 01:09:35,640
Speaker 1: the demo of Monster Mash and Brian Wilson's Beach Boys demos. Anyway,

1242
01:09:36,080 --> 01:09:38,280
Speaker 1: I used to have a couple of brennel tape recorders,

1243
01:09:38,320 --> 01:09:41,840
Speaker 1: Paul McCartney told Barry Miles. I used to experiment with

1244
01:09:41,920 --> 01:09:44,360
Speaker 1: them when I had an afternoon off, which was quite often.

1245
01:09:44,479 --> 01:09:48,200
Speaker 1: It was very free, formless time for me formative yet formless.

1246
01:09:48,479 --> 01:09:50,160
Speaker 1: I didn't have to be up for the baby. At

1247
01:09:50,200 --> 01:09:52,120
Speaker 1: that time, there was none of that, so I would

1248
01:09:52,120 --> 01:09:55,519
Speaker 1: sit around all day creating little tapes. McCartney would dub

1249
01:09:55,640 --> 01:09:58,360
Speaker 1: these sound collages onto Phillips cassettes, which were at that

1250
01:09:58,400 --> 01:10:01,960
Speaker 1: point in new invention, and play them at particularly hip parties.

1251
01:10:02,439 --> 01:10:04,679
Speaker 1: It was really kind of a stone thing, he admitted,

1252
01:10:05,240 --> 01:10:07,120
Speaker 1: and for tomorrow never knows. He brought in a few

1253
01:10:07,160 --> 01:10:09,439
Speaker 1: dozen of these tape loops in a plastic bag, from

1254
01:10:09,479 --> 01:10:13,320
Speaker 1: which five were selected to form the surreal sound bed

1255
01:10:13,479 --> 01:10:16,559
Speaker 1: for the track. For years, it was a mysterious to

1256
01:10:16,600 --> 01:10:20,320
Speaker 1: what these actually were, until digital technology allowed us to

1257
01:10:20,439 --> 01:10:23,840
Speaker 1: undo that tape manipulation and reveal that the loops in

1258
01:10:23,920 --> 01:10:26,880
Speaker 1: question are a B flat major chord dubbed from an

1259
01:10:26,960 --> 01:10:54,880
Speaker 1: orchestral record, a scaler phrase played on a star flute,

1260
01:10:54,880 --> 01:10:59,080
Speaker 1: and string notes recorded on the early sample based synthesizer.

1261
01:10:59,439 --> 01:11:16,160
Speaker 1: The melot on this next sound, I believe is also

1262
01:11:16,200 --> 01:11:17,880
Speaker 1: from a melo tromp, but I've heard it called a

1263
01:11:17,920 --> 01:11:20,679
Speaker 1: couple of different things. I'm just gonna use my ears

1264
01:11:20,680 --> 01:11:34,360
Speaker 1: and say that I think it's a trumpet and McCartney

1265
01:11:34,439 --> 01:11:37,880
Speaker 1: himself laughing, which is sped up and manipulated to the

1266
01:11:37,880 --> 01:11:49,960
Speaker 1: point where it sounds like a seagull. What a time

1267
01:11:50,000 --> 01:11:55,760
Speaker 1: to be alive. Um. But capturing this uh somewhat cacophonist

1268
01:11:55,760 --> 01:12:01,000
Speaker 1: symphony of manipulated sounds was a tall task. Thankfully Jeff

1269
01:12:01,000 --> 01:12:04,080
Speaker 1: Emrick was up for it. He wrote in his memoir

1270
01:12:04,240 --> 01:12:07,040
Speaker 1: Every Tape Machine in the studio was commandeered, and every

1271
01:12:07,080 --> 01:12:09,720
Speaker 1: available E m I employee was given the task of

1272
01:12:09,760 --> 01:12:12,880
Speaker 1: holding a pencil or drinking glass to give the loops

1273
01:12:12,960 --> 01:12:16,439
Speaker 1: the proper tensioning. In many instances this meant they had

1274
01:12:16,439 --> 01:12:19,360
Speaker 1: to be standing out in the hallway looking quite cheapish.

1275
01:12:19,479 --> 01:12:21,320
Speaker 1: Most of these people didn't have a clue what we

1276
01:12:21,320 --> 01:12:24,080
Speaker 1: were doing. They probably thought we were daft. Adding the

1277
01:12:24,080 --> 01:12:26,360
Speaker 1: fact that all the technical staff were required to wear

1278
01:12:26,400 --> 01:12:29,439
Speaker 1: white lab coats, and the whole thing became totally surreal.

1279
01:12:30,760 --> 01:12:33,640
Speaker 1: Choreographing the operation in any kind of meaningful way was

1280
01:12:33,720 --> 01:12:36,840
Speaker 1: out of the question. On the first attempt, heard on

1281
01:12:36,880 --> 01:12:39,679
Speaker 1: the box set, George Martin can be heard announcing here

1282
01:12:39,680 --> 01:12:44,599
Speaker 1: it comes stand by as the enlisted staffers hit play

1283
01:12:44,600 --> 01:12:47,479
Speaker 1: on their respective tape machines. So, just to point out

1284
01:12:47,479 --> 01:12:49,559
Speaker 1: to anyone, he probably these are this is a quarter

1285
01:12:49,600 --> 01:12:51,280
Speaker 1: inch tape. We think that he would did on a real,

1286
01:12:51,439 --> 01:12:54,679
Speaker 1: real quarter inch or one inch tape. So he brought

1287
01:12:54,680 --> 01:12:57,960
Speaker 1: in reels, not the actual cassettes, right, he was bringing

1288
01:12:58,000 --> 01:13:01,599
Speaker 1: the actual source. So you have to stretch those out

1289
01:13:01,640 --> 01:13:05,880
Speaker 1: to the proper length, find where they were gonna be

1290
01:13:06,000 --> 01:13:09,080
Speaker 1: tense enough to loop, and then anchor them the pivot

1291
01:13:09,120 --> 01:13:11,680
Speaker 1: points of these around which they would loop with a

1292
01:13:11,800 --> 01:13:15,880
Speaker 1: drinking glass, pencils or pencil. So you have someone holding

1293
01:13:15,920 --> 01:13:19,799
Speaker 1: all of these individual loops taught at their individual points

1294
01:13:19,920 --> 01:13:23,360
Speaker 1: spatially spread out across Abbey Road, and then they have

1295
01:13:23,439 --> 01:13:27,639
Speaker 1: to hit play on all of them at once. George

1296
01:13:27,640 --> 01:13:30,400
Speaker 1: Martin explained the Beatles anthology. These machines were going all

1297
01:13:30,439 --> 01:13:33,280
Speaker 1: the time, the loops being fed to different faders on

1298
01:13:33,320 --> 01:13:35,720
Speaker 1: our control panel on which we could bring up the

1299
01:13:35,760 --> 01:13:40,160
Speaker 1: sound on any time. As an organ this haphazard activation

1300
01:13:40,240 --> 01:13:42,800
Speaker 1: of these sequences ensure that it could never be reproduced

1301
01:13:42,880 --> 01:13:46,120
Speaker 1: exactly the same again, making each time they hit play

1302
01:13:46,640 --> 01:13:50,400
Speaker 1: a specific phenomenon never to be repeated. The randomness of

1303
01:13:50,400 --> 01:13:52,519
Speaker 1: it all appealed to the Beatles. It followed in the

1304
01:13:52,560 --> 01:13:55,960
Speaker 1: spirit of William S. Burrows is cut up poetry technique,

1305
01:13:56,240 --> 01:13:59,160
Speaker 1: wherein text would be snipped out of newspapers or magazines

1306
01:13:59,200 --> 01:14:02,759
Speaker 1: and rearrange to read something new when you cut into

1307
01:14:02,800 --> 01:14:07,640
Speaker 1: the present. Burrows once explained the future leaks out. Oh

1308
01:14:08,280 --> 01:14:10,320
Speaker 1: was that a big Dylan thing too? He wrote stuff

1309
01:14:10,360 --> 01:14:17,240
Speaker 1: like that, Well, the future leaks out and Tomorrow never

1310
01:14:17,320 --> 01:14:20,360
Speaker 1: knows was definitely the sound of the future. But Lennon

1311
01:14:20,360 --> 01:14:23,679
Speaker 1: found himself stuck for a name. The working title Mark

1312
01:14:23,760 --> 01:14:27,320
Speaker 1: One had been discarded in favor of The Void, which

1313
01:14:27,360 --> 01:14:30,120
Speaker 1: is a cool track name, especially for nineteen sixty six.

1314
01:14:30,200 --> 01:14:33,240
Speaker 1: But that struck Come was a little bit ominous. So

1315
01:14:33,280 --> 01:14:36,760
Speaker 1: then his thoughts turned, as they often do, to Ringo,

1316
01:14:37,240 --> 01:14:40,559
Speaker 1: whose sage words of humor and humility grounded the band

1317
01:14:40,840 --> 01:14:43,479
Speaker 1: in much the same way that his stickwork anchored the track.

1318
01:14:44,680 --> 01:14:47,000
Speaker 1: John later said, I felt a bit self conscious about

1319
01:14:47,000 --> 01:14:50,720
Speaker 1: the lyrics he's talking in right before his death, so

1320
01:14:50,760 --> 01:14:53,280
Speaker 1: I took one of Ringo's malaprop isms to take the

1321
01:14:53,360 --> 01:14:57,720
Speaker 1: edge off the heavy philosophical lyrics. Now, Ringo was notorious

1322
01:14:57,720 --> 01:15:01,600
Speaker 1: for uttering phrases that were memorable, if not completely sensical.

1323
01:15:02,040 --> 01:15:05,120
Speaker 1: Hard Day's night, It's another one Tomorrow never knows fell

1324
01:15:05,160 --> 01:15:07,680
Speaker 1: out of his mouth during a press conference on February

1325
01:15:07,760 --> 01:15:11,639
Speaker 1: twenty two, nine four, the day the Beatles returned home

1326
01:15:11,680 --> 01:15:14,080
Speaker 1: from their first trip to the United States, which was

1327
01:15:14,520 --> 01:15:17,280
Speaker 1: you know the trek that made beatlemanny a truly a

1328
01:15:17,280 --> 01:15:20,760
Speaker 1: global phenomenon, and the phrase came as a response to

1329
01:15:20,800 --> 01:15:24,280
Speaker 1: a reporter's question about an unfortunate incident that occurred at

1330
01:15:24,280 --> 01:15:28,120
Speaker 1: a gala event Washington, d C. When a stranger stuck

1331
01:15:28,240 --> 01:15:30,760
Speaker 1: up behind Ringo and snipped off a lock of his hair,

1332
01:15:31,720 --> 01:15:34,040
Speaker 1: and Ringo and you know, talking about it to this

1333
01:15:34,120 --> 01:15:38,160
Speaker 1: reporter took a very you know, zen approach to it.

1334
01:15:38,360 --> 01:15:41,679
Speaker 1: L what can you say? You know, what can you say?

1335
01:15:41,680 --> 01:15:47,599
Speaker 1: Tomorrow never knows? This is just his way of trying

1336
01:15:47,640 --> 01:15:50,080
Speaker 1: to shrug it all off. And you can see there's

1337
01:15:50,120 --> 01:15:53,040
Speaker 1: a news real footage of this conversation taking place, and

1338
01:15:53,040 --> 01:15:56,439
Speaker 1: you can just see John behind him, just doubling over

1339
01:15:56,479 --> 01:15:59,479
Speaker 1: with laughter when he hears him say that. So clearly

1340
01:15:59,760 --> 01:16:03,280
Speaker 1: the phrase stuck with John because two years later, two

1341
01:16:03,360 --> 01:16:06,559
Speaker 1: plus years later, he used it as the song title.

1342
01:16:06,720 --> 01:16:09,799
Speaker 1: And you know, it's fitting this, this hair snipping incident.

1343
01:16:10,160 --> 01:16:12,919
Speaker 1: It's an early taste of the type of inhumane treatment

1344
01:16:13,000 --> 01:16:15,000
Speaker 1: that the Beatles would be forced to endure over the

1345
01:16:15,040 --> 01:16:19,240
Speaker 1: next few years, especially while on the road. And uh, eventually,

1346
01:16:19,320 --> 01:16:23,000
Speaker 1: by the time they were recording Revolver, they were prisoners

1347
01:16:23,040 --> 01:16:26,439
Speaker 1: of the Presidential Suite. They were you know, just locked

1348
01:16:26,439 --> 01:16:30,519
Speaker 1: in their rooms basically until showtime. And then by their

1349
01:16:30,600 --> 01:16:33,840
Speaker 1: last tour, they were being transported onto the field of

1350
01:16:33,880 --> 01:16:38,360
Speaker 1: baseball stadiums in armored trucks without even any seats, like

1351
01:16:38,439 --> 01:16:41,679
Speaker 1: would be like Wells Fargo vans used to transport money

1352
01:16:41,720 --> 01:16:45,080
Speaker 1: into banks and they would just be sliding around this

1353
01:16:45,240 --> 01:16:48,559
Speaker 1: like metal inside of a truck. I mean, it was

1354
01:16:48,600 --> 01:16:53,360
Speaker 1: just really dehumanizing um And just mere weeks after Tomorrow

1355
01:16:53,439 --> 01:16:56,639
Speaker 1: Never Knows was released, they gave up touring altogether. So

1356
01:16:57,360 --> 01:16:59,760
Speaker 1: given the origin of the phrase Tomorrow Never Knows, but

1357
01:16:59,840 --> 01:17:03,960
Speaker 1: this really kind of unfortunate incident where the Beatles were

1358
01:17:03,960 --> 01:17:06,799
Speaker 1: treated really like animals. I think it's the perfect title

1359
01:17:06,880 --> 01:17:11,160
Speaker 1: for a song that basically waved goodbye to Beatlemania. But

1360
01:17:11,320 --> 01:17:14,280
Speaker 1: I have always loved this song because I would argue

1361
01:17:14,320 --> 01:17:16,879
Speaker 1: that it's each Beatle at their best. You have Lennon's

1362
01:17:17,000 --> 01:17:21,200
Speaker 1: fearless internal probing, you have McCartney's boundless search for the

1363
01:17:21,280 --> 01:17:25,479
Speaker 1: latest cutting edge ideas, and Harrison's passion for India and

1364
01:17:25,520 --> 01:17:29,120
Speaker 1: his spiritual connection to his music and ringoes, rock solid

1365
01:17:29,200 --> 01:17:33,280
Speaker 1: rhythm and homespun homilies that added a human element that

1366
01:17:33,360 --> 01:17:36,240
Speaker 1: anchored some of these way out concepts, and that to

1367
01:17:36,320 --> 01:17:39,439
Speaker 1: me is the blend, that's the bond, that's what makes

1368
01:17:39,479 --> 01:17:43,080
Speaker 1: the Beatles the Beatles. But unfortunately, as we all know,

1369
01:17:44,000 --> 01:17:47,160
Speaker 1: it couldn't last. We all know how The story ends

1370
01:17:47,760 --> 01:17:50,920
Speaker 1: the year after Revolver was released. During sessions for Sergeant

1371
01:17:50,920 --> 01:17:54,760
Speaker 1: Pepper in the band were visited in the studio by

1372
01:17:54,760 --> 01:17:57,960
Speaker 1: Clauss Form and the artist responsible for the Revolvers sleeve,

1373
01:17:58,040 --> 01:18:00,360
Speaker 1: as we mentioned, and he'd been a friend to there

1374
01:18:00,439 --> 01:18:02,760
Speaker 1: since their pre fame days, so he knew them really

1375
01:18:02,760 --> 01:18:05,160
Speaker 1: well as people, and he says that there was a

1376
01:18:05,280 --> 01:18:07,280
Speaker 1: change that had come over them as he dropped in

1377
01:18:07,320 --> 01:18:10,320
Speaker 1: on the Sergeant Pepper sessions and he's talking to the

1378
01:18:10,400 --> 01:18:13,160
Speaker 1: l a times earlier this year. He said he realized

1379
01:18:13,160 --> 01:18:16,560
Speaker 1: that everybody was living separately. They didn't play live anymore,

1380
01:18:16,600 --> 01:18:18,600
Speaker 1: so all they did was meet in the studio. It

1381
01:18:18,680 --> 01:18:21,839
Speaker 1: was a different sort of atmosphere, and by his account,

1382
01:18:21,920 --> 01:18:25,280
Speaker 1: Revolver really marked the last truly unified push as four

1383
01:18:25,439 --> 01:18:29,360
Speaker 1: friends before being Beatles became just one of the things

1384
01:18:29,400 --> 01:18:32,559
Speaker 1: that they did, rather than who they were. And George

1385
01:18:32,600 --> 01:18:35,200
Speaker 1: himself would later say of this period, I was losing

1386
01:18:35,240 --> 01:18:38,920
Speaker 1: interest to being fab at that point. And Giles Martin,

1387
01:18:39,160 --> 01:18:41,439
Speaker 1: when I interviewed him from People Magazine a few weeks ago,

1388
01:18:41,479 --> 01:18:44,000
Speaker 1: he told me the reason why the Beatles were good

1389
01:18:44,200 --> 01:18:47,400
Speaker 1: is because the four of them made the most extraordinary sound.

1390
01:18:47,840 --> 01:18:50,560
Speaker 1: They did it consistently in different styles and Revolver is

1391
01:18:50,600 --> 01:18:53,719
Speaker 1: a great example. What's happened with Paul over the last

1392
01:18:53,720 --> 01:18:56,040
Speaker 1: few years, and I don't think he'd mind me saying this,

1393
01:18:56,560 --> 01:18:58,599
Speaker 1: is that he's realized that the Beatles were the best

1394
01:18:58,600 --> 01:19:00,800
Speaker 1: band he was in and took him a while to

1395
01:19:00,840 --> 01:19:04,400
Speaker 1: accept that. He really really respects the others playing and

1396
01:19:04,479 --> 01:19:07,759
Speaker 1: what they did. He really enjoys it. He'll go, ah,

1397
01:19:07,840 --> 01:19:11,439
Speaker 1: listen to George's guitar, that's a great part. Or listen

1398
01:19:11,479 --> 01:19:15,160
Speaker 1: to ringoes drums. It's like, you know, we were a

1399
01:19:15,200 --> 01:19:19,639
Speaker 1: good band. I think we can just leave it there.

1400
01:19:24,280 --> 01:19:26,840
Speaker 1: How do you feel about that? I I just I

1401
01:19:26,960 --> 01:19:29,120
Speaker 1: just love that quote so much. I mean, you know,

1402
01:19:29,280 --> 01:19:31,240
Speaker 1: it's funny leaving it onto our ever knows, because it

1403
01:19:31,320 --> 01:19:32,960
Speaker 1: is catching them at the outset of some of them

1404
01:19:32,960 --> 01:19:36,519
Speaker 1: more high falutin stuff. But yeah, I mean coming off

1405
01:19:37,280 --> 01:19:41,040
Speaker 1: just being this tremendous group of musicians, catching them on

1406
01:19:41,080 --> 01:19:45,200
Speaker 1: the cusp of becoming a group of individuals who occasionally

1407
01:19:45,280 --> 01:19:51,479
Speaker 1: came together to make music. Yeah, great record man tunes.

1408
01:19:51,880 --> 01:19:56,479
Speaker 1: Tunes still slap most importantly, and it's got Yellow Submarine

1409
01:19:56,920 --> 01:20:01,640
Speaker 1: which rips it sure does, Sure does, buddy, And you know,

1410
01:20:01,760 --> 01:20:03,960
Speaker 1: four hours later. After we start this. Now I can

1411
01:20:04,000 --> 01:20:07,040
Speaker 1: also convincingly say I know what it's like to be dead.

1412
01:20:10,200 --> 01:20:12,960
Speaker 1: Uh well, folks, thank you for listening. We will return

1413
01:20:13,040 --> 01:20:17,719
Speaker 1: to our regularly scheduled programming next week. I'm Alex Hegel

1414
01:20:17,800 --> 01:20:20,000
Speaker 1: and I have Jordan run Talk. We'll catch you next time.

1415
01:20:25,120 --> 01:20:27,639
Speaker 1: Too Much Information was a production of I Heart Radio.

1416
01:20:27,880 --> 01:20:31,080
Speaker 1: The show's executive producers are Noel Brown and Jordan run Talk.

1417
01:20:31,280 --> 01:20:34,480
Speaker 1: The supervising producer is Mike John's. The show was researched,

1418
01:20:34,600 --> 01:20:37,280
Speaker 1: written and hosted by Jordan run Talk and Alex Hegel,

1419
01:20:37,640 --> 01:20:40,759
Speaker 1: with original music by Seth Applebaum and the Ghost Funk Orchestra.

1420
01:20:41,240 --> 01:20:43,240
Speaker 1: If you like what you heard, please subscribe and leave

1421
01:20:43,320 --> 01:20:45,840
Speaker 1: us a review. For more podcasts and I heart Radio,

1422
01:20:46,040 --> 01:20:49,000
Speaker 1: visit the I heart Radio app, Apple podcast, or wherever

1423
01:20:49,080 --> 01:21:01,920
Speaker 1: you listen to your favorite shows. Four