1 00:00:14,824 --> 00:00:25,744 Speaker 1: Pushkin under Milk would by Dylan Thomas. 2 00:00:29,544 --> 00:00:32,904 Speaker 2: My mom would be doing the isling and she'd have 3 00:00:33,504 --> 00:00:37,664 Speaker 2: a play on, play for Today or something said her 4 00:00:37,704 --> 00:00:42,864 Speaker 2: with her listen, who yes, love? 5 00:00:44,344 --> 00:00:45,224 Speaker 3: What are the neighbor? 6 00:00:45,424 --> 00:00:49,224 Speaker 2: Paul? She puts up, never sort of mannaged. She didn't 7 00:00:49,264 --> 00:00:50,784 Speaker 2: have to stay with her mother. 8 00:00:52,104 --> 00:00:56,544 Speaker 4: One his mother did the ironing. Young Paul McCartney would 9 00:00:56,624 --> 00:01:00,104 Speaker 4: lie in front of the radio and conjure up images 10 00:01:00,344 --> 00:01:00,944 Speaker 4: in his mind. 11 00:01:01,584 --> 00:01:04,424 Speaker 2: And the characters, you know, they were also well for 12 00:01:04,664 --> 00:01:10,024 Speaker 2: trade love Hush, I'm a widow now. 13 00:01:10,584 --> 00:01:14,704 Speaker 4: From listening to the radio came an early understanding of 14 00:01:14,784 --> 00:01:18,744 Speaker 4: how to draw a character so precisely that a blind 15 00:01:18,904 --> 00:01:20,024 Speaker 4: person could see him. 16 00:01:20,464 --> 00:01:23,344 Speaker 2: Do you just get into it? You can see the characters. 17 00:01:24,664 --> 00:01:38,264 Speaker 5: It's as if you're in the room with them. 18 00:01:38,424 --> 00:01:42,144 Speaker 4: I'm Paul muldoon. I'm a poet, a lover of not 19 00:01:42,184 --> 00:01:45,784 Speaker 4: only the lyric poem, but the song lyric. Over the 20 00:01:45,824 --> 00:01:49,384 Speaker 4: past several years, I've got to spend time with one 21 00:01:49,424 --> 00:01:52,184 Speaker 4: of the greatest songwriters of our era. 22 00:01:52,464 --> 00:01:54,904 Speaker 2: And will you look at me? I'm going on to it. 23 00:01:55,304 --> 00:01:57,304 Speaker 2: I'm actually a performer. 24 00:01:57,144 --> 00:02:00,704 Speaker 4: That is, Sir Paul McCartney. We worked together on a 25 00:02:00,784 --> 00:02:03,304 Speaker 4: book Looking at the lyrics of more than one hundred 26 00:02:03,344 --> 00:02:07,904 Speaker 4: and fifty of his songs, and we recorded many hours 27 00:02:08,144 --> 00:02:09,224 Speaker 4: of our conversation. 28 00:02:10,064 --> 00:02:14,184 Speaker 2: She is a songwriter. My god, well that crypt homie. 29 00:02:14,384 --> 00:02:20,384 Speaker 4: This is McCartney, A life in lyrics, a masterclass, a memoir, 30 00:02:20,944 --> 00:02:24,184 Speaker 4: and an improvised journey with one of the most iconic 31 00:02:24,264 --> 00:02:31,584 Speaker 4: figures in popular music. In this episode, Penny Lane. 32 00:02:32,704 --> 00:02:37,344 Speaker 2: I mainly remember it as being where I would I 33 00:02:37,384 --> 00:02:40,704 Speaker 2: would get a boss to Penny Lane in order to 34 00:02:40,744 --> 00:02:41,784 Speaker 2: go to John's house. 35 00:02:43,664 --> 00:02:49,584 Speaker 6: No anonymous conurbation this but Liverpool, vital city and port 36 00:02:50,064 --> 00:02:54,264 Speaker 6: on the northwest Mersey, forty three square miles of teeming life. 37 00:02:54,264 --> 00:02:58,224 Speaker 4: Throughout my meetings with Paul McCartney, it's become clear to 38 00:02:58,304 --> 00:03:03,464 Speaker 4: me just how important his childhood and Liverpool has been 39 00:03:03,904 --> 00:03:05,384 Speaker 4: to his songwriting career. 40 00:03:06,384 --> 00:03:09,584 Speaker 6: Has this Liverpool sprung from its people? I have the 41 00:03:09,624 --> 00:03:11,184 Speaker 6: people sprung from Liverpool. 42 00:03:11,424 --> 00:03:13,904 Speaker 2: It was a place that featured very much in my 43 00:03:14,064 --> 00:03:17,744 Speaker 2: life and in John's life. It was near a church 44 00:03:17,784 --> 00:03:20,544 Speaker 2: where I was at Choie Corystal. 45 00:03:21,544 --> 00:03:25,344 Speaker 6: What is there in the Northwest to create this exciting atmosphere. 46 00:03:25,504 --> 00:03:29,224 Speaker 2: A lot of stuff happened there. I use that terminus 47 00:03:29,264 --> 00:03:33,144 Speaker 2: a lot to go to John's, for instance, and in 48 00:03:33,224 --> 00:03:37,304 Speaker 2: there it's all it's the scenery. This is quite accurate. 49 00:03:37,904 --> 00:03:42,064 Speaker 2: And the nice thing is writing is John knew exactly 50 00:03:42,264 --> 00:03:44,664 Speaker 2: where I was talking about Penny Lane. 51 00:03:44,824 --> 00:03:48,904 Speaker 7: There was a barn showing photographs of every. 52 00:03:48,744 --> 00:03:52,984 Speaker 8: Head he's had the pleasure to know, and all the 53 00:03:53,104 --> 00:03:57,464 Speaker 8: people back Man Stubborn sell. 54 00:04:00,544 --> 00:04:03,664 Speaker 4: On one level, Penny Lane paints a picture of an 55 00:04:03,984 --> 00:04:08,864 Speaker 4: ordinary suburban street with a barber, a farman, a banker, 56 00:04:09,264 --> 00:04:14,784 Speaker 4: and a nurse selling flowers. But somehow, just below the surface, 57 00:04:15,224 --> 00:04:18,104 Speaker 4: everything is a little strange. 58 00:04:19,104 --> 00:04:22,464 Speaker 2: So I'd say, Penny Land, there's a barber showing photographs. 59 00:04:22,744 --> 00:04:25,144 Speaker 2: I thought that's rather clever, because it's like a it's 60 00:04:25,184 --> 00:04:30,344 Speaker 2: like a gallery showing paintings. It's an exhibition in this window. 61 00:04:30,864 --> 00:04:32,504 Speaker 2: And you and I we know that. We just go 62 00:04:32,584 --> 00:04:34,304 Speaker 2: by and say, I'll have one of them. I'll have 63 00:04:34,384 --> 00:04:36,784 Speaker 2: a Tony Curtis, all have a crew cut or whatever. 64 00:04:37,144 --> 00:04:41,064 Speaker 2: But I like the idea that he's showing photographs. So really, 65 00:04:41,264 --> 00:04:44,784 Speaker 2: all I'm saying here is there's a barber shop and 66 00:04:44,904 --> 00:04:47,624 Speaker 2: he's got photos of hercuts in his window. But that 67 00:04:47,704 --> 00:04:52,024 Speaker 2: would be a little too mundane. But there is a 68 00:04:52,104 --> 00:04:55,944 Speaker 2: barber shop still there change hands, changed hand. It was 69 00:04:56,024 --> 00:05:00,384 Speaker 2: called Bioletti. The guy was Bioletti, mister Italian barber with 70 00:05:00,584 --> 00:05:04,464 Speaker 2: the stripe pole outside and everything, and so we knew that. 71 00:05:04,984 --> 00:05:08,424 Speaker 2: So when we evoked it later in this song, it 72 00:05:08,544 --> 00:05:12,144 Speaker 2: was a pleasant thing for John and I to share again. 73 00:05:13,264 --> 00:05:16,264 Speaker 4: Penny Lane was written while the Beatles were working on 74 00:05:16,344 --> 00:05:21,104 Speaker 4: the Sergeant Pepper album. The band had stopped during and 75 00:05:21,304 --> 00:05:24,904 Speaker 4: was putting all their energy into recording and working in 76 00:05:24,944 --> 00:05:33,824 Speaker 4: the studio. John, George and Ringo had been experimenting with 77 00:05:34,184 --> 00:05:38,184 Speaker 4: LSD and finally in the fall of nineteen sixty six 78 00:05:38,704 --> 00:05:49,664 Speaker 4: convinced Paul to try it as well. The inner pictures 79 00:05:49,784 --> 00:05:54,344 Speaker 4: and characters from the street of McCartney's childhood are projected 80 00:05:54,824 --> 00:05:57,384 Speaker 4: with hallucinogenic clarity. 81 00:05:58,024 --> 00:06:01,984 Speaker 2: My drive past it to this day, regularly showing everyone 82 00:06:02,024 --> 00:06:04,784 Speaker 2: of the barbers, the bankers, the firemen, the church. I 83 00:06:04,904 --> 00:06:09,264 Speaker 2: used to sing in and here's where the girls it 84 00:06:09,384 --> 00:06:12,264 Speaker 2: with a tray of poppies as I waited for the boss. 85 00:06:14,264 --> 00:06:20,184 Speaker 4: Selling puppies on Remembrance Day to honor the armed forces 86 00:06:20,264 --> 00:06:24,984 Speaker 4: of the Commonwealth. It was common to see people selling poppies. 87 00:06:25,544 --> 00:06:28,864 Speaker 4: The pretty nurse who sells them from a tray is 88 00:06:29,024 --> 00:06:33,184 Speaker 4: drawn from real life, but she also has this strange 89 00:06:33,264 --> 00:06:35,344 Speaker 4: feeling that she's in a play. 90 00:06:36,024 --> 00:06:36,424 Speaker 2: Now she. 91 00:06:37,984 --> 00:06:46,464 Speaker 9: Any Funnily, you're not a lot of Americans thought she 92 00:06:46,584 --> 00:06:47,504 Speaker 9: was selling puppies. 93 00:06:49,224 --> 00:06:52,944 Speaker 2: I say puppies. There's another interesting image, a tray full 94 00:06:53,024 --> 00:06:56,064 Speaker 2: of puppies, and now she's signed poppies. I know she 95 00:06:56,104 --> 00:07:04,744 Speaker 2: feels as interesting a play she is anyway. Yes, that's 96 00:07:04,864 --> 00:07:06,224 Speaker 2: that's very sort the sixties. 97 00:07:06,624 --> 00:07:10,424 Speaker 10: It is, and that's what they would call and polite circles, 98 00:07:10,584 --> 00:07:13,144 Speaker 10: a meta text. That is, it's a description of one 99 00:07:13,304 --> 00:07:15,864 Speaker 10: fact is happening in the song that she is in 100 00:07:15,944 --> 00:07:16,344 Speaker 10: a plane. 101 00:07:16,944 --> 00:07:20,784 Speaker 2: There's characters. There's a bunch of characters, and you know, 102 00:07:21,064 --> 00:07:27,264 Speaker 2: I'm proud of the way certain lines just fell out, 103 00:07:28,264 --> 00:07:34,104 Speaker 2: But in retrospect were sort of good lines, like the 104 00:07:35,864 --> 00:07:38,104 Speaker 2: the fireman who's cleaning his fire engine. 105 00:07:38,664 --> 00:07:43,344 Speaker 8: He likes to keep his fire and clean. It's a 106 00:07:43,424 --> 00:07:44,184 Speaker 8: clean machine. 107 00:07:47,504 --> 00:07:51,064 Speaker 2: It's a clean machine. I just you know, those kind 108 00:07:51,104 --> 00:07:53,984 Speaker 2: of phrases sort of stick. It's a clean machine. 109 00:07:55,064 --> 00:07:57,064 Speaker 10: Amusing, it's funny. 110 00:07:56,944 --> 00:08:05,864 Speaker 2: It's there's something slightly ominous. So the old stuff that happened, 111 00:08:06,224 --> 00:08:09,424 Speaker 2: they actually that the fire station is a little further away, right, 112 00:08:09,944 --> 00:08:13,264 Speaker 2: but like any good play, you put it all in 113 00:08:13,304 --> 00:08:13,904 Speaker 2: the wrong place. 114 00:08:14,224 --> 00:08:17,264 Speaker 10: But one of the wonderful things here we established the 115 00:08:17,304 --> 00:08:22,744 Speaker 10: barber and we leave him, but then we come. 116 00:08:22,664 --> 00:08:27,584 Speaker 2: Back to him. Yeah, which is extremely. 117 00:08:26,944 --> 00:08:30,584 Speaker 10: Effective in that we think, well, I know that guy. 118 00:08:30,704 --> 00:08:31,464 Speaker 10: So there he is. 119 00:08:31,464 --> 00:08:38,944 Speaker 7: Again another customers. We see the banks the way to 120 00:08:39,144 --> 00:08:41,984 Speaker 7: be trendy. 121 00:08:46,384 --> 00:08:50,104 Speaker 10: It's a way of bringing him the listener, I suppose, 122 00:08:50,224 --> 00:08:50,464 Speaker 10: isn't it. 123 00:08:50,544 --> 00:08:54,464 Speaker 2: I mean, I'm not consciously unconsciously it's it's kind of film. 124 00:08:54,584 --> 00:08:55,784 Speaker 10: It is exactly. 125 00:08:55,824 --> 00:08:58,704 Speaker 2: You know, it's like we are. We thought we'd forgotten 126 00:08:58,784 --> 00:09:00,704 Speaker 2: him because we are now going on to the banker. 127 00:09:01,664 --> 00:09:04,144 Speaker 2: Now the banker. I mean, I've never seen any children 128 00:09:04,224 --> 00:09:07,104 Speaker 2: laugh at him, so's I've never seen him. I've seen 129 00:09:07,144 --> 00:09:10,464 Speaker 2: his bank. I had no idea that the children laughing 130 00:09:10,584 --> 00:09:14,904 Speaker 2: and the mac and the pouring rain, it's all fiction. 131 00:09:16,504 --> 00:09:21,024 Speaker 7: On the corner is a banker, the moticon, the little 132 00:09:21,224 --> 00:09:26,264 Speaker 7: children having him behind his man and the banking them 133 00:09:26,584 --> 00:09:29,144 Speaker 7: wears a man in. 134 00:09:29,264 --> 00:09:30,464 Speaker 2: The boring rain. 135 00:09:33,104 --> 00:09:36,384 Speaker 4: And here perhaps a brief explanation is needed. A mac 136 00:09:37,184 --> 00:09:40,384 Speaker 4: is what the British called a raincoat, after Charles Macintosh, 137 00:09:40,784 --> 00:09:46,424 Speaker 4: who patented a waterproof material for raincoats. So the banker 138 00:09:46,744 --> 00:09:50,184 Speaker 4: never wears a mac. It's all very strange. 139 00:09:52,144 --> 00:09:53,584 Speaker 10: It's a place, it's so play. 140 00:09:53,624 --> 00:09:57,424 Speaker 2: It's a little player, yes, okay. 141 00:10:10,464 --> 00:10:14,304 Speaker 4: The stories of Penny Lane appear to McCartney not just 142 00:10:14,744 --> 00:10:19,024 Speaker 4: visually but through sound. Penny Lane is not just in 143 00:10:19,144 --> 00:10:25,384 Speaker 4: his eyes, but also in his ears. Oral storytelling had 144 00:10:25,424 --> 00:10:28,984 Speaker 4: been a large influence on his songwriting ever since he 145 00:10:29,144 --> 00:10:32,584 Speaker 4: was a kid and would lie on the carpet listening 146 00:10:32,864 --> 00:10:33,504 Speaker 4: to the radio. 147 00:10:34,064 --> 00:10:37,744 Speaker 2: You would lie on the carpet and the radio would 148 00:10:37,784 --> 00:10:41,344 Speaker 2: be in front of you, and you should be in it. 149 00:10:42,064 --> 00:10:45,784 Speaker 4: One of the plays a twelve year old McCartney might 150 00:10:45,824 --> 00:10:49,744 Speaker 4: have listened to was a nineteen fifty four play by 151 00:10:49,784 --> 00:10:55,224 Speaker 4: the poet Dylan Thomas called Under milk Wood, which portrays 152 00:10:55,424 --> 00:10:58,104 Speaker 4: the fictitious time of Clarigub. 153 00:10:58,664 --> 00:11:03,264 Speaker 11: It is springing, moonless night in the small town star 154 00:11:03,384 --> 00:11:08,344 Speaker 11: last and bible black. The cobble street silent, and the 155 00:11:08,464 --> 00:11:14,144 Speaker 11: hunch cutters and rabbits would limping invisible down to the 156 00:11:14,424 --> 00:11:20,744 Speaker 11: slow bless slow black crow, blessed fishing boat, bubbing sea. 157 00:11:21,384 --> 00:11:27,144 Speaker 4: As the time of Claragub slowly awakens, the narrative weaves 158 00:11:27,344 --> 00:11:30,184 Speaker 4: in and out of the thoughts of its inhabitants. 159 00:11:30,304 --> 00:11:33,504 Speaker 12: I must put by pajamas in the drawer marked pajamas. 160 00:11:33,864 --> 00:11:36,904 Speaker 12: I must take my cold back, which is good for me. 161 00:11:37,264 --> 00:11:40,264 Speaker 12: I must wear my flannel violon to ward off by attic. 162 00:11:40,704 --> 00:11:43,984 Speaker 12: I must dress behind the curtain and put on my apron. 163 00:11:44,144 --> 00:11:45,624 Speaker 12: I must blow my note. 164 00:11:45,504 --> 00:11:53,104 Speaker 2: In the garden. You've already written eleanor Rigby. Oh did 165 00:11:53,224 --> 00:11:55,064 Speaker 2: you feel mean? 166 00:11:55,104 --> 00:11:56,824 Speaker 10: Would you have felt at all that you were maybe 167 00:11:56,904 --> 00:12:00,064 Speaker 10: going back a little bit to that territory or no? 168 00:12:00,264 --> 00:12:02,384 Speaker 2: I like the rise area. 169 00:12:03,024 --> 00:12:06,384 Speaker 10: There's an under milkwood aspect to both eleanor Rigby and this, 170 00:12:06,584 --> 00:12:09,064 Speaker 10: and to some extent, isn't there the character. 171 00:12:09,504 --> 00:12:13,104 Speaker 2: Characters characters as a bunch of characters. This is the 172 00:12:13,224 --> 00:12:15,424 Speaker 2: kind of thing I liked. It still is. 173 00:12:15,824 --> 00:12:18,864 Speaker 13: I must take my salts, which our nature's braided. 174 00:12:19,184 --> 00:12:21,984 Speaker 2: I must spoil the drinking water because the Germans. 175 00:12:22,304 --> 00:12:25,904 Speaker 13: I must make my verb tea which is free from tannin. 176 00:12:25,944 --> 00:12:28,264 Speaker 2: And have a charcoal biscuit, which is good for me. 177 00:12:28,744 --> 00:12:32,424 Speaker 13: I may smoke one pipe of asthma mixtures in the woodshell. 178 00:12:38,304 --> 00:12:41,824 Speaker 4: At the time of writing Penny Lane, Paul McCartney had 179 00:12:41,864 --> 00:12:45,904 Speaker 4: become very interested in the London art scene. He was 180 00:12:45,944 --> 00:12:50,504 Speaker 4: also dating the actress Jane Asher, which might have influenced 181 00:12:50,544 --> 00:12:54,504 Speaker 4: the theatrical nature of the song. One of the people 182 00:12:54,584 --> 00:12:59,184 Speaker 4: in their circle was the great playwright Harold Pinter, Pinter 183 00:12:59,384 --> 00:13:03,824 Speaker 4: whose characters often have such complex psychologies. 184 00:13:04,424 --> 00:13:07,064 Speaker 2: I think it was this ear or two in our 185 00:13:07,144 --> 00:13:12,184 Speaker 2: lives when if you're going to write a play like 186 00:13:12,304 --> 00:13:17,184 Speaker 2: these characters, I'd rather have it be like a Pinter 187 00:13:17,944 --> 00:13:21,864 Speaker 2: play than something a bit straighter, right, you know, I 188 00:13:22,024 --> 00:13:25,024 Speaker 2: like the idea that they're a bit wonky, all these characters. 189 00:13:25,104 --> 00:13:27,544 Speaker 2: There's just something a little bit strange about them. 190 00:13:27,864 --> 00:13:29,904 Speaker 10: And you would have seen already some Pinter. 191 00:13:31,824 --> 00:13:34,264 Speaker 2: Well, you know, by the time we've written this, we've 192 00:13:34,344 --> 00:13:36,944 Speaker 2: been down in London for a while and I was 193 00:13:37,064 --> 00:13:41,344 Speaker 2: going out with an actress, so we would go regularly 194 00:13:41,424 --> 00:13:44,224 Speaker 2: to the National Theater. How would you have met Pinter 195 00:13:44,464 --> 00:13:47,344 Speaker 2: at that time? Chance he was on the social She 196 00:13:47,464 --> 00:13:53,064 Speaker 2: was on the scene with Vivian merchant Is actress wife. Yes. Yeah, 197 00:13:53,104 --> 00:13:55,744 Speaker 2: we went to a party at third place we lived 198 00:13:55,784 --> 00:13:59,224 Speaker 2: in Regis Park, and enduring image. 199 00:13:59,424 --> 00:14:04,424 Speaker 9: Was the bathtub was filled with bottles of champagne. So 200 00:14:04,744 --> 00:14:10,184 Speaker 9: and people like Kenneth Tyne and very luminarus like that. 201 00:14:10,424 --> 00:14:12,624 Speaker 9: Would there be pinted Wesker would be there. 202 00:14:13,864 --> 00:14:17,464 Speaker 2: It was very nice just talking to these sort of 203 00:14:18,264 --> 00:14:21,104 Speaker 2: people on the London scene because I was one of 204 00:14:21,184 --> 00:14:23,144 Speaker 2: those people on the under see me and James, She 205 00:14:23,664 --> 00:14:26,744 Speaker 2: being the actress, May being the musician. It was a 206 00:14:26,824 --> 00:14:32,584 Speaker 2: nice time to be around. With an invite, you would 207 00:14:32,664 --> 00:14:39,864 Speaker 2: get painters, sculptors, actors, comedians, musicians, playwrights and just that 208 00:14:40,064 --> 00:14:44,304 Speaker 2: all these people who just were in on your scene. 209 00:14:45,264 --> 00:14:47,264 Speaker 10: Would do you think you would have been conscious as 210 00:14:47,344 --> 00:14:50,424 Speaker 10: you were writing this that this is maybe something that 211 00:14:50,904 --> 00:14:52,424 Speaker 10: Harold Pinter might read. 212 00:14:52,704 --> 00:14:58,824 Speaker 2: Maybe maybe certainly influenced by all of that. Yeah, and 213 00:14:58,944 --> 00:15:01,584 Speaker 2: I think not not that specifically. 214 00:15:01,744 --> 00:15:06,144 Speaker 10: No, I understand someone like someone like that, someone smart musically, 215 00:15:06,304 --> 00:15:07,024 Speaker 10: someone smart. 216 00:15:07,784 --> 00:15:12,504 Speaker 4: While Paul McCartney aspired to be recognized by the serious 217 00:15:12,824 --> 00:15:18,104 Speaker 4: artists and writers of the day, the Beatles also nurtured 218 00:15:18,624 --> 00:15:22,464 Speaker 4: a sense of playfulness in the studio which to this 219 00:15:22,744 --> 00:15:25,304 Speaker 4: day seems totally original. 220 00:15:26,584 --> 00:15:45,304 Speaker 2: And you're playing, you know, it's very important to play. 221 00:15:45,384 --> 00:15:47,224 Speaker 2: People say to me why he works so hard to 222 00:15:47,264 --> 00:15:50,144 Speaker 2: say I don't work music. I play it. And you know, 223 00:15:50,264 --> 00:15:53,584 Speaker 2: whilst that is a kind of kind of clip statement, 224 00:15:54,344 --> 00:15:57,624 Speaker 2: I say it because it's really true. Sure, I mean, 225 00:15:57,824 --> 00:16:02,024 Speaker 2: obviously in the two meanings of playing music, playing an instrument, 226 00:16:02,544 --> 00:16:06,784 Speaker 2: but playing it is really important. The ones who can 227 00:16:06,904 --> 00:16:09,064 Speaker 2: play almost success. 228 00:16:10,064 --> 00:16:12,704 Speaker 10: I mean playing the sense of playing playing games. 229 00:16:13,064 --> 00:16:16,304 Speaker 2: Look about mucking about it. You know, it's a good 230 00:16:16,504 --> 00:16:23,424 Speaker 2: thing us. 231 00:16:30,864 --> 00:16:33,144 Speaker 7: Somebody could do that, you know, if they suddenly decide 232 00:16:33,184 --> 00:16:33,824 Speaker 7: that it needs it. 233 00:16:33,944 --> 00:16:41,384 Speaker 2: There So this idea of just playing around it's good. 234 00:16:41,664 --> 00:16:45,264 Speaker 2: And in the music too, you know, we've had a 235 00:16:45,464 --> 00:16:50,024 Speaker 2: very sort of cavalier attitude to a lot of things, 236 00:16:50,224 --> 00:17:01,584 Speaker 2: very sort of from offhand thing. I mean, I just 237 00:17:01,704 --> 00:17:03,864 Speaker 2: what came to mind that. I was just thinking when 238 00:17:03,864 --> 00:17:08,384 Speaker 2: I do Petty Lane, there's this lovely solo that I 239 00:17:08,464 --> 00:17:11,584 Speaker 2: knew I want to too. And I talked to George 240 00:17:11,624 --> 00:17:14,264 Speaker 2: Martin about a piccolo trumpet that I'd seen in the 241 00:17:14,344 --> 00:17:24,584 Speaker 2: Brandenburg Concerto the night before, and I said, what was that? 242 00:17:24,664 --> 00:17:29,344 Speaker 2: And he said, and so we got the top player. 243 00:17:29,584 --> 00:17:33,624 Speaker 2: I called David Mason in the studio and I just 244 00:17:34,184 --> 00:17:37,384 Speaker 2: remember thinking that we didn't know what he was going 245 00:17:37,504 --> 00:17:40,944 Speaker 2: to play. We hadn't written it, but he was booked 246 00:17:40,984 --> 00:17:44,624 Speaker 2: and he was sitting there, so you'd better get something together. Mate. 247 00:17:45,224 --> 00:17:49,464 Speaker 2: So we just I just Saidee said, wait a minute 248 00:17:49,944 --> 00:17:50,864 Speaker 2: and wrote it down. 249 00:17:51,984 --> 00:17:52,984 Speaker 8: I just did a little. 250 00:17:54,304 --> 00:17:58,744 Speaker 2: I played a ridiculously high note, and then David Mason said, well, 251 00:17:58,784 --> 00:18:01,984 Speaker 2: that's out of the range of even the piccolo trumpet, 252 00:18:02,584 --> 00:18:06,024 Speaker 2: which is a high, high high trumpet, sets out of 253 00:18:06,024 --> 00:18:08,144 Speaker 2: the range, and I wish we had a little play 254 00:18:08,184 --> 00:18:11,664 Speaker 2: for moment. We just looked at each other and he's 255 00:18:11,704 --> 00:18:14,064 Speaker 2: sort of I'm giving him a kind of yeah, but 256 00:18:14,664 --> 00:18:18,304 Speaker 2: you could probably do it. Smile, and he's given me back, 257 00:18:18,584 --> 00:18:22,464 Speaker 2: you passtward smile kind of yeah, I probably could. 258 00:18:39,944 --> 00:18:42,384 Speaker 4: Even though the song took a lot of its inspiration 259 00:18:42,584 --> 00:18:46,744 Speaker 4: from the non visual medium of radio, in early nineteen 260 00:18:46,824 --> 00:18:50,664 Speaker 4: sixty seven, Penny Lane was one of the first songs 261 00:18:51,224 --> 00:18:55,424 Speaker 4: ever to have been accompanied by a music video. The 262 00:18:55,544 --> 00:19:01,864 Speaker 4: Swedish director Peter Goldman, using techniques from underground filmmaking, took 263 00:19:01,944 --> 00:19:04,264 Speaker 4: the promotional film format. 264 00:19:04,184 --> 00:19:05,384 Speaker 10: To a new level. 265 00:19:06,184 --> 00:19:12,024 Speaker 4: Fast montage editing shows Lane and the band members dressed 266 00:19:12,184 --> 00:19:17,144 Speaker 4: in red du licks riding horses through a dreamlike landscape. 267 00:19:17,824 --> 00:19:19,064 Speaker 2: But it's the. 268 00:19:19,344 --> 00:19:23,464 Speaker 4: Enduring power of radio to allow listeners to create their 269 00:19:23,704 --> 00:19:28,184 Speaker 4: own images. The shimmers at the heart of Penny Lane. 270 00:19:28,704 --> 00:19:31,624 Speaker 2: What I love is you get your own picture. This 271 00:19:31,784 --> 00:19:34,424 Speaker 2: is why when they came to film Sergeant Pepper with 272 00:19:34,584 --> 00:19:37,544 Speaker 2: the Beg's, I said, this is never gonna work because 273 00:19:37,664 --> 00:19:43,264 Speaker 2: everyone has their own image from Sergeant Pepper the album, 274 00:19:44,024 --> 00:19:46,144 Speaker 2: and so if you select one. 275 00:19:46,024 --> 00:19:49,824 Speaker 3: Image, it's never going to be enough because your vision 276 00:19:50,144 --> 00:19:52,704 Speaker 3: is different from mine. I often think this from my 277 00:19:52,824 --> 00:19:57,544 Speaker 3: audience is I think every single person in those forty 278 00:19:57,624 --> 00:20:00,264 Speaker 3: thousand people is having a different experience. 279 00:20:00,824 --> 00:20:05,024 Speaker 2: I'm singing this song. Someone thinks it's sad, someone thinks 280 00:20:05,064 --> 00:20:09,984 Speaker 2: it's dramatic, someone thinks it's funny, and fascinated by the 281 00:20:10,144 --> 00:20:19,344 Speaker 2: idea that everyone's perception is completely different. Now behind the eyes. 282 00:20:19,104 --> 00:20:22,264 Speaker 11: And secrets of the dreamers in the street Rocked to 283 00:20:22,464 --> 00:20:25,504 Speaker 11: Sleep by the Sea, Steve tip. 284 00:20:25,384 --> 00:20:29,504 Speaker 13: Bits and Topsy turveys, bobs and button tops, bags and bones, 285 00:20:29,944 --> 00:20:33,784 Speaker 13: ash and grind and dender for nail perries, sliva and 286 00:20:33,944 --> 00:20:35,744 Speaker 13: snowplates and bolted beads. 287 00:20:35,744 --> 00:20:41,584 Speaker 2: The breed for the imagination radio was great and as 288 00:20:41,664 --> 00:20:46,464 Speaker 2: I met friends like John George, we all harked back 289 00:20:47,304 --> 00:20:50,104 Speaker 2: to that it was very much our period. We grew 290 00:20:50,184 --> 00:20:51,104 Speaker 2: up without television. 291 00:20:51,464 --> 00:21:05,944 Speaker 8: Teddy Skies, I said. 292 00:21:24,664 --> 00:21:38,064 Speaker 4: A Penny Lane was released in nineteen sixty seven on 293 00:21:38,304 --> 00:21:43,144 Speaker 4: a double A single along with Strawberry Fields Forever. 294 00:21:43,824 --> 00:21:52,544 Speaker 14: We're so sorry, local elms. We're so sorry if we 295 00:21:52,784 --> 00:21:54,304 Speaker 14: caused you anything. 296 00:21:55,984 --> 00:21:59,704 Speaker 4: In the next episode, Paul McCartney pays tribute to his 297 00:21:59,824 --> 00:22:01,064 Speaker 4: Liverpool origins. 298 00:22:01,664 --> 00:22:03,664 Speaker 2: It was a cut up from me. It was so 299 00:22:03,984 --> 00:22:07,544 Speaker 2: rich and I think a lot of what I am, 300 00:22:07,704 --> 00:22:11,584 Speaker 2: a lot of what I write. What I think is that. 301 00:22:17,744 --> 00:22:22,424 Speaker 4: Uncle Albert the pis artist. Next time on McCartney A 302 00:22:22,584 --> 00:22:30,184 Speaker 4: Life in Lyrics. McCartney A Life in Lyrics is a 303 00:22:30,264 --> 00:22:35,624 Speaker 4: co production between iHeartMedia, NPL and Pushkin Industries.