WEBVTT - Penny Lane 0:00:14.824 --> 0:00:25.744 Pushkin under Milk would by Dylan Thomas. 0:00:29.544 --> 0:00:32.904 My mom would be doing the isling and she'd have 0:00:33.504 --> 0:00:37.664 a play on, play for Today or something said her 0:00:37.704 --> 0:00:42.864 with her listen, who yes, love? 0:00:44.344 --> 0:00:45.224 What are the neighbor? 0:00:45.424 --> 0:00:49.224 Paul? She puts up, never sort of mannaged. She didn't 0:00:49.264 --> 0:00:50.784 have to stay with her mother. 0:00:52.104 --> 0:00:56.544 One his mother did the ironing. Young Paul McCartney would 0:00:56.624 --> 0:01:00.104 lie in front of the radio and conjure up images 0:01:00.344 --> 0:01:00.944 in his mind. 0:01:01.584 --> 0:01:04.424 And the characters, you know, they were also well for 0:01:04.664 --> 0:01:10.024 trade love Hush, I'm a widow now. 0:01:10.584 --> 0:01:14.704 From listening to the radio came an early understanding of 0:01:14.784 --> 0:01:18.744 how to draw a character so precisely that a blind 0:01:18.904 --> 0:01:20.024 person could see him. 0:01:20.464 --> 0:01:23.344 Do you just get into it? You can see the characters. 0:01:24.664 --> 0:01:38.264 It's as if you're in the room with them. 0:01:38.424 --> 0:01:42.144 I'm Paul muldoon. I'm a poet, a lover of not 0:01:42.184 --> 0:01:45.784 only the lyric poem, but the song lyric. Over the 0:01:45.824 --> 0:01:49.384 past several years, I've got to spend time with one 0:01:49.424 --> 0:01:52.184 of the greatest songwriters of our era. 0:01:52.464 --> 0:01:54.904 And will you look at me? I'm going on to it. 0:01:55.304 --> 0:01:57.304 I'm actually a performer. 0:01:57.144 --> 0:02:00.704 That is, Sir Paul McCartney. We worked together on a 0:02:00.784 --> 0:02:03.304 book Looking at the lyrics of more than one hundred 0:02:03.344 --> 0:02:07.904 and fifty of his songs, and we recorded many hours 0:02:08.144 --> 0:02:09.224 of our conversation. 0:02:10.064 --> 0:02:14.184 She is a songwriter. My god, well that crypt homie. 0:02:14.384 --> 0:02:20.384 This is McCartney, A life in lyrics, a masterclass, a memoir, 0:02:20.944 --> 0:02:24.184 and an improvised journey with one of the most iconic 0:02:24.264 --> 0:02:31.584 figures in popular music. In this episode, Penny Lane. 0:02:32.704 --> 0:02:37.344 I mainly remember it as being where I would I 0:02:37.384 --> 0:02:40.704 would get a boss to Penny Lane in order to 0:02:40.744 --> 0:02:41.784 go to John's house. 0:02:43.664 --> 0:02:49.584 No anonymous conurbation this but Liverpool, vital city and port 0:02:50.064 --> 0:02:54.264 on the northwest Mersey, forty three square miles of teeming life. 0:02:54.264 --> 0:02:58.224 Throughout my meetings with Paul McCartney, it's become clear to 0:02:58.304 --> 0:03:03.464 me just how important his childhood and Liverpool has been 0:03:03.904 --> 0:03:05.384 to his songwriting career. 0:03:06.384 --> 0:03:09.584 Has this Liverpool sprung from its people? I have the 0:03:09.624 --> 0:03:11.184 people sprung from Liverpool. 0:03:11.424 --> 0:03:13.904 It was a place that featured very much in my 0:03:14.064 --> 0:03:17.744 life and in John's life. It was near a church 0:03:17.784 --> 0:03:20.544 where I was at Choie Corystal. 0:03:21.544 --> 0:03:25.344 What is there in the Northwest to create this exciting atmosphere. 0:03:25.504 --> 0:03:29.224 A lot of stuff happened there. I use that terminus 0:03:29.264 --> 0:03:33.144 a lot to go to John's, for instance, and in 0:03:33.224 --> 0:03:37.304 there it's all it's the scenery. This is quite accurate. 0:03:37.904 --> 0:03:42.064 And the nice thing is writing is John knew exactly 0:03:42.264 --> 0:03:44.664 where I was talking about Penny Lane. 0:03:44.824 --> 0:03:48.904 There was a barn showing photographs of every. 0:03:48.744 --> 0:03:52.984 Head he's had the pleasure to know, and all the 0:03:53.104 --> 0:03:57.464 people back Man Stubborn sell. 0:04:00.544 --> 0:04:03.664 On one level, Penny Lane paints a picture of an 0:04:03.984 --> 0:04:08.864 ordinary suburban street with a barber, a farman, a banker, 0:04:09.264 --> 0:04:14.784 and a nurse selling flowers. But somehow, just below the surface, 0:04:15.224 --> 0:04:18.104 everything is a little strange. 0:04:19.104 --> 0:04:22.464 So I'd say, Penny Land, there's a barber showing photographs. 0:04:22.744 --> 0:04:25.144 I thought that's rather clever, because it's like a it's 0:04:25.184 --> 0:04:30.344 like a gallery showing paintings. It's an exhibition in this window. 0:04:30.864 --> 0:04:32.504 And you and I we know that. We just go 0:04:32.584 --> 0:04:34.304 by and say, I'll have one of them. I'll have 0:04:34.384 --> 0:04:36.784 a Tony Curtis, all have a crew cut or whatever. 0:04:37.144 --> 0:04:41.064 But I like the idea that he's showing photographs. So really, 0:04:41.264 --> 0:04:44.784 all I'm saying here is there's a barber shop and 0:04:44.904 --> 0:04:47.624 he's got photos of hercuts in his window. But that 0:04:47.704 --> 0:04:52.024 would be a little too mundane. But there is a 0:04:52.104 --> 0:04:55.944 barber shop still there change hands, changed hand. It was 0:04:56.024 --> 0:05:00.384 called Bioletti. The guy was Bioletti, mister Italian barber with 0:05:00.584 --> 0:05:04.464 the stripe pole outside and everything, and so we knew that. 0:05:04.984 --> 0:05:08.424 So when we evoked it later in this song, it 0:05:08.544 --> 0:05:12.144 was a pleasant thing for John and I to share again. 0:05:13.264 --> 0:05:16.264 Penny Lane was written while the Beatles were working on 0:05:16.344 --> 0:05:21.104 the Sergeant Pepper album. The band had stopped during and 0:05:21.304 --> 0:05:24.904 was putting all their energy into recording and working in 0:05:24.944 --> 0:05:33.824 the studio. John, George and Ringo had been experimenting with 0:05:34.184 --> 0:05:38.184 LSD and finally in the fall of nineteen sixty six 0:05:38.704 --> 0:05:49.664 convinced Paul to try it as well. The inner pictures 0:05:49.784 --> 0:05:54.344 and characters from the street of McCartney's childhood are projected 0:05:54.824 --> 0:05:57.384 with hallucinogenic clarity. 0:05:58.024 --> 0:06:01.984 My drive past it to this day, regularly showing everyone 0:06:02.024 --> 0:06:04.784 of the barbers, the bankers, the firemen, the church. I 0:06:04.904 --> 0:06:09.264 used to sing in and here's where the girls it 0:06:09.384 --> 0:06:12.264 with a tray of poppies as I waited for the boss. 0:06:14.264 --> 0:06:20.184 Selling puppies on Remembrance Day to honor the armed forces 0:06:20.264 --> 0:06:24.984 of the Commonwealth. It was common to see people selling poppies. 0:06:25.544 --> 0:06:28.864 The pretty nurse who sells them from a tray is 0:06:29.024 --> 0:06:33.184 drawn from real life, but she also has this strange 0:06:33.264 --> 0:06:35.344 feeling that she's in a play. 0:06:36.024 --> 0:06:36.424 Now she. 0:06:37.984 --> 0:06:46.464 Any Funnily, you're not a lot of Americans thought she 0:06:46.584 --> 0:06:47.504 was selling puppies. 0:06:49.224 --> 0:06:52.944 I say puppies. There's another interesting image, a tray full 0:06:53.024 --> 0:06:56.064 of puppies, and now she's signed poppies. I know she 0:06:56.104 --> 0:07:04.744 feels as interesting a play she is anyway. Yes, that's 0:07:04.864 --> 0:07:06.224 that's very sort the sixties. 0:07:06.624 --> 0:07:10.424 It is, and that's what they would call and polite circles, 0:07:10.584 --> 0:07:13.144 a meta text. That is, it's a description of one 0:07:13.304 --> 0:07:15.864 fact is happening in the song that she is in 0:07:15.944 --> 0:07:16.344 a plane. 0:07:16.944 --> 0:07:20.784 There's characters. There's a bunch of characters, and you know, 0:07:21.064 --> 0:07:27.264 I'm proud of the way certain lines just fell out, 0:07:28.264 --> 0:07:34.104 But in retrospect were sort of good lines, like the 0:07:35.864 --> 0:07:38.104 the fireman who's cleaning his fire engine. 0:07:38.664 --> 0:07:43.344 He likes to keep his fire and clean. It's a 0:07:43.424 --> 0:07:44.184 clean machine. 0:07:47.504 --> 0:07:51.064 It's a clean machine. I just you know, those kind 0:07:51.104 --> 0:07:53.984 of phrases sort of stick. It's a clean machine. 0:07:55.064 --> 0:07:57.064 Amusing, it's funny. 0:07:56.944 --> 0:08:05.864 It's there's something slightly ominous. So the old stuff that happened, 0:08:06.224 --> 0:08:09.424 they actually that the fire station is a little further away, right, 0:08:09.944 --> 0:08:13.264 but like any good play, you put it all in 0:08:13.304 --> 0:08:13.904 the wrong place. 0:08:14.224 --> 0:08:17.264 But one of the wonderful things here we established the 0:08:17.304 --> 0:08:22.744 barber and we leave him, but then we come. 0:08:22.664 --> 0:08:27.584 Back to him. Yeah, which is extremely. 0:08:26.944 --> 0:08:30.584 Effective in that we think, well, I know that guy. 0:08:30.704 --> 0:08:31.464 So there he is. 0:08:31.464 --> 0:08:38.944 Again another customers. We see the banks the way to 0:08:39.144 --> 0:08:41.984 be trendy. 0:08:46.384 --> 0:08:50.104 It's a way of bringing him the listener, I suppose, 0:08:50.224 --> 0:08:50.464 isn't it. 0:08:50.544 --> 0:08:54.464 I mean, I'm not consciously unconsciously it's it's kind of film. 0:08:54.584 --> 0:08:55.784 It is exactly. 0:08:55.824 --> 0:08:58.704 You know, it's like we are. We thought we'd forgotten 0:08:58.784 --> 0:09:00.704 him because we are now going on to the banker. 0:09:01.664 --> 0:09:04.144 Now the banker. I mean, I've never seen any children 0:09:04.224 --> 0:09:07.104 laugh at him, so's I've never seen him. I've seen 0:09:07.144 --> 0:09:10.464 his bank. I had no idea that the children laughing 0:09:10.584 --> 0:09:14.904 and the mac and the pouring rain, it's all fiction. 0:09:16.504 --> 0:09:21.024 On the corner is a banker, the moticon, the little 0:09:21.224 --> 0:09:26.264 children having him behind his man and the banking them 0:09:26.584 --> 0:09:29.144 wears a man in. 0:09:29.264 --> 0:09:30.464 The boring rain. 0:09:33.104 --> 0:09:36.384 And here perhaps a brief explanation is needed. A mac 0:09:37.184 --> 0:09:40.384 is what the British called a raincoat, after Charles Macintosh, 0:09:40.784 --> 0:09:46.424 who patented a waterproof material for raincoats. So the banker 0:09:46.744 --> 0:09:50.184 never wears a mac. It's all very strange. 0:09:52.144 --> 0:09:53.584 It's a place, it's so play. 0:09:53.624 --> 0:09:57.424 It's a little player, yes, okay. 0:10:10.464 --> 0:10:14.304 The stories of Penny Lane appear to McCartney not just 0:10:14.744 --> 0:10:19.024 visually but through sound. Penny Lane is not just in 0:10:19.144 --> 0:10:25.384 his eyes, but also in his ears. Oral storytelling had 0:10:25.424 --> 0:10:28.984 been a large influence on his songwriting ever since he 0:10:29.144 --> 0:10:32.584 was a kid and would lie on the carpet listening 0:10:32.864 --> 0:10:33.504 to the radio. 0:10:34.064 --> 0:10:37.744 You would lie on the carpet and the radio would 0:10:37.784 --> 0:10:41.344 be in front of you, and you should be in it. 0:10:42.064 --> 0:10:45.784 One of the plays a twelve year old McCartney might 0:10:45.824 --> 0:10:49.744 have listened to was a nineteen fifty four play by 0:10:49.784 --> 0:10:55.224 the poet Dylan Thomas called Under milk Wood, which portrays 0:10:55.424 --> 0:10:58.104 the fictitious time of Clarigub. 0:10:58.664 --> 0:11:03.264 It is springing, moonless night in the small town star 0:11:03.384 --> 0:11:08.344 last and bible black. The cobble street silent, and the 0:11:08.464 --> 0:11:14.144 hunch cutters and rabbits would limping invisible down to the 0:11:14.424 --> 0:11:20.744 slow bless slow black crow, blessed fishing boat, bubbing sea. 0:11:21.384 --> 0:11:27.144 As the time of Claragub slowly awakens, the narrative weaves 0:11:27.344 --> 0:11:30.184 in and out of the thoughts of its inhabitants. 0:11:30.304 --> 0:11:33.504 I must put by pajamas in the drawer marked pajamas. 0:11:33.864 --> 0:11:36.904 I must take my cold back, which is good for me. 0:11:37.264 --> 0:11:40.264 I must wear my flannel violon to ward off by attic. 0:11:40.704 --> 0:11:43.984 I must dress behind the curtain and put on my apron. 0:11:44.144 --> 0:11:45.624 I must blow my note. 0:11:45.504 --> 0:11:53.104 In the garden. You've already written eleanor Rigby. Oh did 0:11:53.224 --> 0:11:55.064 you feel mean? 0:11:55.104 --> 0:11:56.824 Would you have felt at all that you were maybe 0:11:56.904 --> 0:12:00.064 going back a little bit to that territory or no? 0:12:00.264 --> 0:12:02.384 I like the rise area. 0:12:03.024 --> 0:12:06.384 There's an under milkwood aspect to both eleanor Rigby and this, 0:12:06.584 --> 0:12:09.064 and to some extent, isn't there the character. 0:12:09.504 --> 0:12:13.104 Characters characters as a bunch of characters. This is the 0:12:13.224 --> 0:12:15.424 kind of thing I liked. It still is. 0:12:15.824 --> 0:12:18.864 I must take my salts, which our nature's braided. 0:12:19.184 --> 0:12:21.984 I must spoil the drinking water because the Germans. 0:12:22.304 --> 0:12:25.904 I must make my verb tea which is free from tannin. 0:12:25.944 --> 0:12:28.264 And have a charcoal biscuit, which is good for me. 0:12:28.744 --> 0:12:32.424 I may smoke one pipe of asthma mixtures in the woodshell. 0:12:38.304 --> 0:12:41.824 At the time of writing Penny Lane, Paul McCartney had 0:12:41.864 --> 0:12:45.904 become very interested in the London art scene. He was 0:12:45.944 --> 0:12:50.504 also dating the actress Jane Asher, which might have influenced 0:12:50.544 --> 0:12:54.504 the theatrical nature of the song. One of the people 0:12:54.584 --> 0:12:59.184 in their circle was the great playwright Harold Pinter, Pinter 0:12:59.384 --> 0:13:03.824 whose characters often have such complex psychologies. 0:13:04.424 --> 0:13:07.064 I think it was this ear or two in our 0:13:07.144 --> 0:13:12.184 lives when if you're going to write a play like 0:13:12.304 --> 0:13:17.184 these characters, I'd rather have it be like a Pinter 0:13:17.944 --> 0:13:21.864 play than something a bit straighter, right, you know, I 0:13:22.024 --> 0:13:25.024 like the idea that they're a bit wonky, all these characters. 0:13:25.104 --> 0:13:27.544 There's just something a little bit strange about them. 0:13:27.864 --> 0:13:29.904 And you would have seen already some Pinter. 0:13:31.824 --> 0:13:34.264 Well, you know, by the time we've written this, we've 0:13:34.344 --> 0:13:36.944 been down in London for a while and I was 0:13:37.064 --> 0:13:41.344 going out with an actress, so we would go regularly 0:13:41.424 --> 0:13:44.224 to the National Theater. How would you have met Pinter 0:13:44.464 --> 0:13:47.344 at that time? Chance he was on the social She 0:13:47.464 --> 0:13:53.064 was on the scene with Vivian merchant Is actress wife. Yes. Yeah, 0:13:53.104 --> 0:13:55.744 we went to a party at third place we lived 0:13:55.784 --> 0:13:59.224 in Regis Park, and enduring image. 0:13:59.424 --> 0:14:04.424 Was the bathtub was filled with bottles of champagne. So 0:14:04.744 --> 0:14:10.184 and people like Kenneth Tyne and very luminarus like that. 0:14:10.424 --> 0:14:12.624 Would there be pinted Wesker would be there. 0:14:13.864 --> 0:14:17.464 It was very nice just talking to these sort of 0:14:18.264 --> 0:14:21.104 people on the London scene because I was one of 0:14:21.184 --> 0:14:23.144 those people on the under see me and James, She 0:14:23.664 --> 0:14:26.744 being the actress, May being the musician. It was a 0:14:26.824 --> 0:14:32.584 nice time to be around. With an invite, you would 0:14:32.664 --> 0:14:39.864 get painters, sculptors, actors, comedians, musicians, playwrights and just that 0:14:40.064 --> 0:14:44.304 all these people who just were in on your scene. 0:14:45.264 --> 0:14:47.264 Would do you think you would have been conscious as 0:14:47.344 --> 0:14:50.424 you were writing this that this is maybe something that 0:14:50.904 --> 0:14:52.424 Harold Pinter might read. 0:14:52.704 --> 0:14:58.824 Maybe maybe certainly influenced by all of that. Yeah, and 0:14:58.944 --> 0:15:01.584 I think not not that specifically. 0:15:01.744 --> 0:15:06.144 No, I understand someone like someone like that, someone smart musically, 0:15:06.304 --> 0:15:07.024 someone smart. 0:15:07.784 --> 0:15:12.504 While Paul McCartney aspired to be recognized by the serious 0:15:12.824 --> 0:15:18.104 artists and writers of the day, the Beatles also nurtured 0:15:18.624 --> 0:15:22.464 a sense of playfulness in the studio which to this 0:15:22.744 --> 0:15:25.304 day seems totally original. 0:15:26.584 --> 0:15:45.304 And you're playing, you know, it's very important to play. 0:15:45.384 --> 0:15:47.224 People say to me why he works so hard to 0:15:47.264 --> 0:15:50.144 say I don't work music. I play it. And you know, 0:15:50.264 --> 0:15:53.584 whilst that is a kind of kind of clip statement, 0:15:54.344 --> 0:15:57.624 I say it because it's really true. Sure, I mean, 0:15:57.824 --> 0:16:02.024 obviously in the two meanings of playing music, playing an instrument, 0:16:02.544 --> 0:16:06.784 but playing it is really important. The ones who can 0:16:06.904 --> 0:16:09.064 play almost success. 0:16:10.064 --> 0:16:12.704 I mean playing the sense of playing playing games. 0:16:13.064 --> 0:16:16.304 Look about mucking about it. You know, it's a good 0:16:16.504 --> 0:16:23.424 thing us. 0:16:30.864 --> 0:16:33.144 Somebody could do that, you know, if they suddenly decide 0:16:33.184 --> 0:16:33.824 that it needs it. 0:16:33.944 --> 0:16:41.384 There So this idea of just playing around it's good. 0:16:41.664 --> 0:16:45.264 And in the music too, you know, we've had a 0:16:45.464 --> 0:16:50.024 very sort of cavalier attitude to a lot of things, 0:16:50.224 --> 0:17:01.584 very sort of from offhand thing. I mean, I just 0:17:01.704 --> 0:17:03.864 what came to mind that. I was just thinking when 0:17:03.864 --> 0:17:08.384 I do Petty Lane, there's this lovely solo that I 0:17:08.464 --> 0:17:11.584 knew I want to too. And I talked to George 0:17:11.624 --> 0:17:14.264 Martin about a piccolo trumpet that I'd seen in the 0:17:14.344 --> 0:17:24.584 Brandenburg Concerto the night before, and I said, what was that? 0:17:24.664 --> 0:17:29.344 And he said, and so we got the top player. 0:17:29.584 --> 0:17:33.624 I called David Mason in the studio and I just 0:17:34.184 --> 0:17:37.384 remember thinking that we didn't know what he was going 0:17:37.504 --> 0:17:40.944 to play. We hadn't written it, but he was booked 0:17:40.984 --> 0:17:44.624 and he was sitting there, so you'd better get something together. Mate. 0:17:45.224 --> 0:17:49.464 So we just I just Saidee said, wait a minute 0:17:49.944 --> 0:17:50.864 and wrote it down. 0:17:51.984 --> 0:17:52.984 I just did a little. 0:17:54.304 --> 0:17:58.744 I played a ridiculously high note, and then David Mason said, well, 0:17:58.784 --> 0:18:01.984 that's out of the range of even the piccolo trumpet, 0:18:02.584 --> 0:18:06.024 which is a high, high high trumpet, sets out of 0:18:06.024 --> 0:18:08.144 the range, and I wish we had a little play 0:18:08.184 --> 0:18:11.664 for moment. We just looked at each other and he's 0:18:11.704 --> 0:18:14.064 sort of I'm giving him a kind of yeah, but 0:18:14.664 --> 0:18:18.304 you could probably do it. Smile, and he's given me back, 0:18:18.584 --> 0:18:22.464 you passtward smile kind of yeah, I probably could. 0:18:39.944 --> 0:18:42.384 Even though the song took a lot of its inspiration 0:18:42.584 --> 0:18:46.744 from the non visual medium of radio, in early nineteen 0:18:46.824 --> 0:18:50.664 sixty seven, Penny Lane was one of the first songs 0:18:51.224 --> 0:18:55.424 ever to have been accompanied by a music video. The 0:18:55.544 --> 0:19:01.864 Swedish director Peter Goldman, using techniques from underground filmmaking, took 0:19:01.944 --> 0:19:04.264 the promotional film format. 0:19:04.184 --> 0:19:05.384 To a new level. 0:19:06.184 --> 0:19:12.024 Fast montage editing shows Lane and the band members dressed 0:19:12.184 --> 0:19:17.144 in red du licks riding horses through a dreamlike landscape. 0:19:17.824 --> 0:19:19.064 But it's the. 0:19:19.344 --> 0:19:23.464 Enduring power of radio to allow listeners to create their 0:19:23.704 --> 0:19:28.184 own images. The shimmers at the heart of Penny Lane. 0:19:28.704 --> 0:19:31.624 What I love is you get your own picture. This 0:19:31.784 --> 0:19:34.424 is why when they came to film Sergeant Pepper with 0:19:34.584 --> 0:19:37.544 the Beg's, I said, this is never gonna work because 0:19:37.664 --> 0:19:43.264 everyone has their own image from Sergeant Pepper the album, 0:19:44.024 --> 0:19:46.144 and so if you select one. 0:19:46.024 --> 0:19:49.824 Image, it's never going to be enough because your vision 0:19:50.144 --> 0:19:52.704 is different from mine. I often think this from my 0:19:52.824 --> 0:19:57.544 audience is I think every single person in those forty 0:19:57.624 --> 0:20:00.264 thousand people is having a different experience. 0:20:00.824 --> 0:20:05.024 I'm singing this song. Someone thinks it's sad, someone thinks 0:20:05.064 --> 0:20:09.984 it's dramatic, someone thinks it's funny, and fascinated by the 0:20:10.144 --> 0:20:19.344 idea that everyone's perception is completely different. Now behind the eyes. 0:20:19.104 --> 0:20:22.264 And secrets of the dreamers in the street Rocked to 0:20:22.464 --> 0:20:25.504 Sleep by the Sea, Steve tip. 0:20:25.384 --> 0:20:29.504 Bits and Topsy turveys, bobs and button tops, bags and bones, 0:20:29.944 --> 0:20:33.784 ash and grind and dender for nail perries, sliva and 0:20:33.944 --> 0:20:35.744 snowplates and bolted beads. 0:20:35.744 --> 0:20:41.584 The breed for the imagination radio was great and as 0:20:41.664 --> 0:20:46.464 I met friends like John George, we all harked back 0:20:47.304 --> 0:20:50.104 to that it was very much our period. We grew 0:20:50.184 --> 0:20:51.104 up without television. 0:20:51.464 --> 0:21:05.944 Teddy Skies, I said. 0:21:24.664 --> 0:21:38.064 A Penny Lane was released in nineteen sixty seven on 0:21:38.304 --> 0:21:43.144 a double A single along with Strawberry Fields Forever. 0:21:43.824 --> 0:21:52.544 We're so sorry, local elms. We're so sorry if we 0:21:52.784 --> 0:21:54.304 caused you anything. 0:21:55.984 --> 0:21:59.704 In the next episode, Paul McCartney pays tribute to his 0:21:59.824 --> 0:22:01.064 Liverpool origins. 0:22:01.664 --> 0:22:03.664 It was a cut up from me. It was so 0:22:03.984 --> 0:22:07.544 rich and I think a lot of what I am, 0:22:07.704 --> 0:22:11.584 a lot of what I write. What I think is that. 0:22:17.744 --> 0:22:22.424 Uncle Albert the pis artist. Next time on McCartney A 0:22:22.584 --> 0:22:30.184 Life in Lyrics. McCartney A Life in Lyrics is a 0:22:30.264 --> 0:22:35.624 co production between iHeartMedia, NPL and Pushkin Industries.