1 00:00:14,824 --> 00:00:22,064 Speaker 1: Pushkin. Hi, everyone, it's Paul muldoon. Before we get to 2 00:00:22,144 --> 00:00:24,784 Speaker 1: this episode, I wanted to let you know that you 3 00:00:24,864 --> 00:00:29,384 Speaker 1: can binge all twelve episodes of McCartney A Life and 4 00:00:29,464 --> 00:00:35,184 Speaker 1: Lyrics right now, add free by becoming a Pushkin Plus subscriber. 5 00:00:35,904 --> 00:00:40,224 Speaker 1: Find Pushkin Plus on the McCartney A Life and Lyrics Show, 6 00:00:40,304 --> 00:00:47,504 Speaker 1: pedge in Apple Podcasts, or at pushkin dot fm slash Plus. 7 00:00:49,304 --> 00:00:52,224 Speaker 2: One thing we used years later in the Sergeant Pepper 8 00:00:52,384 --> 00:00:55,544 Speaker 2: album was something that I experienced I had as a kid. 9 00:00:59,744 --> 00:01:03,544 Speaker 2: I would listen to some shows on the BBC, It's 10 00:01:03,624 --> 00:01:06,064 Speaker 2: the Ken Dot Show, and there would often be a 11 00:01:06,104 --> 00:01:10,384 Speaker 2: live show, whether it be a comedian. The comedian would 12 00:01:10,424 --> 00:01:14,864 Speaker 2: come on, came dog, Hello, how are you doing all right? 13 00:01:14,904 --> 00:01:22,624 Speaker 2: So it's on hey, and there'd be silence and the 14 00:01:22,664 --> 00:01:26,864 Speaker 2: audience would go arah and laugh and to me that 15 00:01:27,024 --> 00:01:29,664 Speaker 2: was like, oh my god, what did he just do? 16 00:01:30,384 --> 00:01:33,624 Speaker 2: And I loved them laughing at the silence because my 17 00:01:33,664 --> 00:01:38,584 Speaker 2: imagine was he's dropped his trousers. No he wasn't. On 18 00:01:38,664 --> 00:01:41,824 Speaker 2: the BBC, He's done a funny face. No, well, what's 19 00:01:41,904 --> 00:01:46,664 Speaker 2: he done? That to me was the start of a 20 00:01:46,704 --> 00:01:54,544 Speaker 2: sort of fascination with art of all types. Why did 21 00:01:54,624 --> 00:01:58,144 Speaker 2: they laugh at that silence? I needed to know and 22 00:01:58,184 --> 00:02:00,944 Speaker 2: I was never going to find out, so I needed 23 00:02:00,984 --> 00:02:07,624 Speaker 2: to speculate, and art would let me speculate. You do 24 00:02:07,624 --> 00:02:10,064 Speaker 2: a comedy with well, don't? I did play around. 25 00:02:28,464 --> 00:02:31,144 Speaker 3: I'm Paul will Doon for a while now, I have 26 00:02:31,304 --> 00:02:34,984 Speaker 3: been fortunate to spend time with one of the greatest 27 00:02:35,104 --> 00:02:36,904 Speaker 3: songwriters of the era. 28 00:02:37,184 --> 00:02:39,624 Speaker 2: And will you look at me? I'm going on to it. 29 00:02:40,024 --> 00:02:41,944 Speaker 2: I'm actually a performer, that. 30 00:02:42,264 --> 00:02:43,544 Speaker 1: Is Sir Paul McCartney. 31 00:02:44,224 --> 00:02:46,984 Speaker 3: We worked together on a book looking at the lyrics 32 00:02:47,024 --> 00:02:49,824 Speaker 3: of more than one hundred and fifty of his songs, 33 00:02:50,584 --> 00:02:54,064 Speaker 3: and we recorded many hours of our conversations. 34 00:02:54,424 --> 00:02:57,144 Speaker 2: It was like going back to an old snapshot album 35 00:02:57,864 --> 00:03:02,504 Speaker 2: looking back on work I hadn't ever analyzed. 36 00:03:03,104 --> 00:03:09,384 Speaker 3: This is McCartney, a life in lyrics, a masterclass, a war, 37 00:03:10,064 --> 00:03:14,184 Speaker 3: and an improvised journey with one of the most iconic 38 00:03:14,304 --> 00:03:16,264 Speaker 3: figures in popular music. 39 00:03:16,904 --> 00:03:20,824 Speaker 2: In this episode, day in the Life was in my 40 00:03:21,064 --> 00:03:24,344 Speaker 2: music room in London, at the top of my house. 41 00:03:24,984 --> 00:03:28,064 Speaker 2: I had and still have a lotly little room with 42 00:03:28,824 --> 00:03:33,024 Speaker 2: a daily painted piano, and I'd seen a thing of 43 00:03:33,104 --> 00:03:37,544 Speaker 2: these guys who'd painted a Cadillac psychedelic. So I rang 44 00:03:37,624 --> 00:03:39,224 Speaker 2: them up and said, we did do a piano for 45 00:03:39,344 --> 00:03:42,224 Speaker 2: me in a little bit juribious at first, but anyway, 46 00:03:42,224 --> 00:03:48,504 Speaker 2: they did it psychedelic painting, and John would come in 47 00:03:49,424 --> 00:03:51,344 Speaker 2: and we would sort of sit there for a few 48 00:03:51,384 --> 00:03:56,064 Speaker 2: hours and write things. And one of us nearly always 49 00:03:56,184 --> 00:04:00,184 Speaker 2: had the starter. For instance, Ellen Rigby had been my 50 00:04:00,384 --> 00:04:04,464 Speaker 2: starter and we finished it up together. Day in the 51 00:04:04,544 --> 00:04:16,624 Speaker 2: life was his starter, which should start by reading the newspapers. 52 00:04:14,264 --> 00:04:25,024 Speaker 4: Today a bad lucky man who made the grade, and 53 00:04:25,344 --> 00:04:33,384 Speaker 4: the news was rather said, I just had to learn. 54 00:04:36,064 --> 00:04:38,424 Speaker 2: When John would bring these things in. It's only these 55 00:04:38,584 --> 00:04:43,224 Speaker 2: days that I would say, was he talking about himself some? 56 00:04:44,624 --> 00:04:49,904 Speaker 2: It was there some sort of psychological aspect where he's 57 00:04:49,944 --> 00:04:54,024 Speaker 2: a lucky man who made the grade, And John did 58 00:04:54,264 --> 00:04:57,304 Speaker 2: round about this time, did get a little bit out 59 00:04:57,384 --> 00:05:02,024 Speaker 2: in Waybridge doing drugs, and we're a little disillusion because 60 00:05:02,064 --> 00:05:05,984 Speaker 2: we'd sort of given up playing live. So him bringing 61 00:05:06,064 --> 00:05:08,544 Speaker 2: that in, I would just go with the picture that 62 00:05:08,744 --> 00:05:20,264 Speaker 2: he was painting. He was mind, he didn't notice that changed, 63 00:05:22,744 --> 00:05:24,184 Speaker 2: and then he blew his mine out in the car. 64 00:05:24,544 --> 00:05:26,624 Speaker 2: Didn't know the lights of change. This was about a 65 00:05:26,704 --> 00:05:30,824 Speaker 2: friend of mine particularly called Tara was a Guinness there. 66 00:05:31,664 --> 00:05:36,504 Speaker 2: We kind of steered clear of heirs and aristocrats, whereas 67 00:05:36,544 --> 00:05:43,984 Speaker 2: the Stones didn't Stones rather embraced them. A really nice guy, 68 00:05:44,104 --> 00:05:45,704 Speaker 2: and I say, I used to hang out to go 69 00:05:45,824 --> 00:05:50,464 Speaker 2: up to Liverpool with him. And yeah, so he died 70 00:05:50,504 --> 00:05:54,504 Speaker 2: in a car crash and in Chelsea somewhere he'd run 71 00:05:54,544 --> 00:05:56,904 Speaker 2: the lights. I think, you know, so he didn't notice 72 00:05:56,904 --> 00:05:59,704 Speaker 2: the lights of change. So this was in our minds, 73 00:05:59,784 --> 00:06:02,424 Speaker 2: this was about him. He blew his mind out in 74 00:06:02,504 --> 00:06:05,624 Speaker 2: the car. So again with the drug references, he blew 75 00:06:05,664 --> 00:06:09,504 Speaker 2: his mind out, and I think we did think he 76 00:06:09,624 --> 00:06:12,064 Speaker 2: might have been stoned. But that's what we're talking about. 77 00:06:12,064 --> 00:06:14,224 Speaker 2: You blow my mind. Of course I told him that 78 00:06:14,344 --> 00:06:14,784 Speaker 2: kind of way. 79 00:06:17,264 --> 00:06:26,344 Speaker 4: Crowd of people, students, they'd seen his face before, nobody 80 00:06:26,584 --> 00:06:27,184 Speaker 4: was really. 81 00:06:32,304 --> 00:06:35,504 Speaker 2: So that was Tara. He's at the lights and he changed. 82 00:06:35,544 --> 00:06:37,824 Speaker 2: And then so we're now painting a picture a crowd 83 00:06:37,864 --> 00:06:41,024 Speaker 2: of people stood in stard it's seen his face before, 84 00:06:41,144 --> 00:06:43,224 Speaker 2: not really sure if he was from the House of Lords. 85 00:06:44,704 --> 00:06:48,584 Speaker 2: So this is sort of aristocratic thing. But I think 86 00:06:48,704 --> 00:06:52,664 Speaker 2: once we sort of started off with Tara, it doesn't 87 00:06:52,744 --> 00:06:55,464 Speaker 2: have to stay with him. It can now be anyone 88 00:06:55,504 --> 00:06:57,824 Speaker 2: in a car crowd of people looking at who is 89 00:06:57,944 --> 00:07:08,144 Speaker 2: this guy? Or do I recognize him? Was he that? 90 00:07:08,584 --> 00:07:15,024 Speaker 4: Just a crowd of people? Ten away? 91 00:07:15,984 --> 00:07:21,064 Speaker 2: John was quite a World War Two buff. He had 92 00:07:21,144 --> 00:07:26,104 Speaker 2: the works of Winston Churchill. He's a big Winston Churchill fan. 93 00:07:26,304 --> 00:07:29,584 Speaker 2: I think till later. I think you read a lot 94 00:07:29,664 --> 00:07:33,464 Speaker 2: about it. Was a good writer, he was brilliant. I've 95 00:07:33,504 --> 00:07:36,064 Speaker 2: not read any of this stuff John had. They had, 96 00:07:36,184 --> 00:07:39,384 Speaker 2: they had a complete set. I remember. It's like I said, 97 00:07:39,424 --> 00:07:47,304 Speaker 2: of encyclopedia, I just had to do. They read so 98 00:07:47,424 --> 00:07:50,104 Speaker 2: we had the film the War, and I just had 99 00:07:50,184 --> 00:07:53,984 Speaker 2: to look. Having read the book, it's like a traffic accident, 100 00:07:54,104 --> 00:07:57,504 Speaker 2: We have to look. That sort of ties back into that. 101 00:07:59,064 --> 00:08:01,464 Speaker 2: People turned away this time because they were looking at 102 00:08:01,504 --> 00:08:04,264 Speaker 2: the traffic accident, and now they've turned away because it's 103 00:08:04,304 --> 00:08:14,344 Speaker 2: the war. But I just had to look. Love to 104 00:08:14,424 --> 00:08:17,744 Speaker 2: Turn You On, And that was the conspiracy between the 105 00:08:17,824 --> 00:08:22,384 Speaker 2: two of us, conspiratorial look between us. As we wrote 106 00:08:22,464 --> 00:08:25,624 Speaker 2: that Love to Turn It, Oh well, okay, this is 107 00:08:25,704 --> 00:08:28,464 Speaker 2: going to get people talking. We kind of knew exactly 108 00:08:28,544 --> 00:08:31,544 Speaker 2: what we're doing and that it was being a bit cheapy. 109 00:08:39,144 --> 00:08:44,824 Speaker 2: The other story about it was this this instrumental break 110 00:08:45,184 --> 00:08:49,624 Speaker 2: musically where I at that time had been looking at 111 00:08:49,664 --> 00:08:52,104 Speaker 2: a lot of listening to a lot of that. I 112 00:08:52,184 --> 00:08:57,944 Speaker 2: forgot stuff that would be like Lucy Annaberio and his 113 00:08:58,184 --> 00:09:19,064 Speaker 2: wife Kathy Beveron, and they did shows that like the 114 00:09:19,144 --> 00:09:28,664 Speaker 2: wak Moore Hall and Stockhouse and dates to remember Kazang. Yes, 115 00:09:37,864 --> 00:09:40,264 Speaker 2: so listen to a bunch of that stuff and not 116 00:09:40,424 --> 00:09:43,184 Speaker 2: so much listening to it, just has just been interested 117 00:09:43,264 --> 00:09:47,584 Speaker 2: in the concept of it. So I was intrigued by that. 118 00:09:48,224 --> 00:09:49,584 Speaker 2: So in the middle of the day in the light, 119 00:09:49,624 --> 00:09:52,304 Speaker 2: because it was sort of a trippy piece, I wanted 120 00:09:52,384 --> 00:10:01,064 Speaker 2: to have this extraordinary instrumental moment. So I talked to 121 00:10:01,184 --> 00:10:04,584 Speaker 2: Jeorge Martin. I said, okay, the instruction. The instruction here 122 00:10:04,784 --> 00:10:08,264 Speaker 2: is for everybody in the orchestra to start on the 123 00:10:08,424 --> 00:10:12,424 Speaker 2: lowest note on their instruments and proceed to their highest 124 00:10:12,504 --> 00:10:15,304 Speaker 2: note on their instrument over the course of a certain 125 00:10:15,304 --> 00:10:19,664 Speaker 2: amount of barbs. They can proceed at their own pace. 126 00:10:20,784 --> 00:10:23,464 Speaker 2: However they wished to go because I want the kind 127 00:10:23,504 --> 00:10:36,784 Speaker 2: of cacophony of sound. So came the session and George 128 00:10:36,864 --> 00:10:39,784 Speaker 2: is a bit dubious about shooting a full symphony orcauses 129 00:10:39,904 --> 00:10:42,424 Speaker 2: is very expensive. We said, that's the Beatles come on, 130 00:10:42,544 --> 00:10:45,944 Speaker 2: let's go crazy. So and then we started to get 131 00:10:46,064 --> 00:10:47,704 Speaker 2: fun of the things where he said, what if you're 132 00:10:47,744 --> 00:10:50,504 Speaker 2: playing all that money? He said, you know, do you 133 00:10:50,624 --> 00:10:55,304 Speaker 2: want them to dress? Because they will? We said, oh yeah. 134 00:10:56,024 --> 00:10:58,064 Speaker 2: He said what do you want? Well, you know, dinner 135 00:10:58,144 --> 00:11:01,464 Speaker 2: suits want the sort of black tie and we said, 136 00:11:01,864 --> 00:11:05,864 Speaker 2: well they do funny noses. They did actually, But anyway, 137 00:11:07,544 --> 00:11:10,064 Speaker 2: so we got to the session and I sort of 138 00:11:10,144 --> 00:11:13,544 Speaker 2: went around sort of saying to them all, okay, right, 139 00:11:13,584 --> 00:11:17,824 Speaker 2: thing is crazy starting your bart and I said you 140 00:11:17,864 --> 00:11:20,504 Speaker 2: can go anyway we want. But they were a bit 141 00:11:21,064 --> 00:11:24,904 Speaker 2: so George did have to go and rationalize it a bit. 142 00:11:25,344 --> 00:11:28,504 Speaker 2: So he said to them go from here and be 143 00:11:28,864 --> 00:11:32,064 Speaker 2: around about there after ten bars, and we round about 144 00:11:32,104 --> 00:11:35,344 Speaker 2: there after fifteen, so he sort of so they did 145 00:11:35,424 --> 00:11:42,664 Speaker 2: it anyway, and it was a great sound. We reside 146 00:11:42,664 --> 00:11:47,264 Speaker 2: with Berton the Oskar plan, not the Beatles. It encouraged 147 00:11:47,304 --> 00:11:50,864 Speaker 2: you to think like that, and we were at that 148 00:11:51,104 --> 00:11:56,264 Speaker 2: period in our growth and we liked the idea that 149 00:11:56,464 --> 00:12:02,384 Speaker 2: he should be an extension rather than just a continuation. 150 00:12:16,704 --> 00:12:21,024 Speaker 5: Woke up, fell out of bed, dragged the comb across 151 00:12:21,184 --> 00:12:21,624 Speaker 5: my head. 152 00:12:22,584 --> 00:12:28,784 Speaker 2: Yeah, and then me I then go back into Fourthland Road, 153 00:12:29,624 --> 00:12:31,544 Speaker 2: and this is me going to school in the morning. 154 00:12:31,664 --> 00:12:34,504 Speaker 2: This is my routine. Woke up, fell out of bed, 155 00:12:34,584 --> 00:12:35,944 Speaker 2: dragged a corm across my head. 156 00:12:35,984 --> 00:12:40,024 Speaker 5: Found the way downstairs and drank a cup, and looking up, 157 00:12:40,584 --> 00:12:41,744 Speaker 5: I noticed that I was late. 158 00:12:43,144 --> 00:12:46,744 Speaker 2: That would sort of happen every morning to me, and 159 00:12:47,064 --> 00:12:48,704 Speaker 2: I would just run to the end of my street 160 00:12:49,064 --> 00:12:52,944 Speaker 2: where the bus stop was barely catch the bus. 161 00:12:53,344 --> 00:12:56,944 Speaker 5: Find my coat and grabbed my hat, made the bus 162 00:12:57,304 --> 00:12:58,464 Speaker 5: and seconds flans. 163 00:12:59,064 --> 00:13:01,304 Speaker 2: It was always a rush, and I knew there was 164 00:13:01,304 --> 00:13:03,864 Speaker 2: a prefect at the other end at the school with 165 00:13:04,024 --> 00:13:06,944 Speaker 2: the book and he was going to bust me if 166 00:13:07,024 --> 00:13:08,504 Speaker 2: I was one minute past night. 167 00:13:09,144 --> 00:13:12,944 Speaker 5: We upstairs and had a smoke, and somebody spoke, and 168 00:13:13,064 --> 00:13:13,544 Speaker 5: I went. 169 00:13:13,464 --> 00:13:18,584 Speaker 2: Into a dream. You smoked on the upper deck of buses. 170 00:13:19,104 --> 00:13:21,304 Speaker 2: So if I'm talking about going on the bus and 171 00:13:21,384 --> 00:13:24,064 Speaker 2: going upstairs, I'm immediately thinking I'm smoking. And the minute 172 00:13:24,104 --> 00:13:27,464 Speaker 2: I've said the words smoke in the sixties, I'm now 173 00:13:27,584 --> 00:13:35,784 Speaker 2: talking about cannabis, and the whole upper deck would just 174 00:13:35,864 --> 00:13:39,584 Speaker 2: be full of cloud of smoke. You know, you would 175 00:13:39,744 --> 00:13:42,304 Speaker 2: enter that zone. 176 00:13:45,984 --> 00:13:50,064 Speaker 6: Did you think of Sorg and Pepper as a big 177 00:13:50,224 --> 00:13:51,344 Speaker 6: radio program. 178 00:13:51,104 --> 00:13:56,104 Speaker 2: In someways kind of kind of you know its scope 179 00:13:56,144 --> 00:14:00,704 Speaker 2: and its imagination was that and we did use sound 180 00:14:00,784 --> 00:14:03,984 Speaker 2: effects we found out during during the making of an 181 00:14:03,984 --> 00:14:10,344 Speaker 2: album like that, you're extending your repertoire and you're imagination, 182 00:14:11,064 --> 00:14:14,984 Speaker 2: so you're asking for things like a full symphony orchestra. 183 00:14:15,624 --> 00:14:20,104 Speaker 2: You're asking for things like the sound of elephants running 184 00:14:20,184 --> 00:14:22,984 Speaker 2: through the jungle. It's interesting. 185 00:14:23,064 --> 00:14:25,624 Speaker 6: I mean, we talked about this before, the extent which 186 00:14:26,344 --> 00:14:28,904 Speaker 6: the radio shows were part of the band in your mind, 187 00:14:29,184 --> 00:14:31,744 Speaker 6: on the front of your mind, but that that actually 188 00:14:31,824 --> 00:14:33,064 Speaker 6: might have been quite a strong. 189 00:14:33,944 --> 00:14:37,664 Speaker 2: It was a start influence on us all because you know, 190 00:14:38,184 --> 00:14:42,584 Speaker 2: we'd all listen to radio and you have to use 191 00:14:42,584 --> 00:14:46,624 Speaker 2: your imagination, whereas in TV it's okay, it's wonderful, and 192 00:14:46,984 --> 00:14:49,384 Speaker 2: movies the thing, but it's laid out for you. You 193 00:14:50,384 --> 00:14:58,664 Speaker 2: can see how Henrietta Gibbs looks, whereas in radio Henrietta Gibbs. 194 00:14:59,304 --> 00:15:01,624 Speaker 2: But that's I live and breathe, and you make your 195 00:15:01,664 --> 00:15:04,784 Speaker 2: own Henrietta Gibbs. Yes, and that was a great thing. 196 00:15:04,864 --> 00:15:08,944 Speaker 2: That was why no one could ever visualize Sergeant Beverly. 197 00:15:09,144 --> 00:15:11,064 Speaker 2: They tried to make a movie of it, did they. 198 00:15:11,904 --> 00:15:15,024 Speaker 2: It's like, oh, don't do that, because everyone's already got 199 00:15:15,104 --> 00:15:18,104 Speaker 2: their own picture, Sergeant Napper. 200 00:15:20,024 --> 00:15:21,344 Speaker 3: And as long the Heart Club. 201 00:15:21,384 --> 00:15:35,144 Speaker 2: Then the joy of this kind of audio approach was 202 00:15:35,224 --> 00:15:39,144 Speaker 2: that you made your own pictures. If you heard elephants 203 00:15:39,744 --> 00:15:44,664 Speaker 2: trampling through the jungle, you saw your own set of elephants. 204 00:15:45,424 --> 00:15:49,544 Speaker 2: You heard an audience laughing for no apparent reason, you 205 00:15:49,744 --> 00:15:52,824 Speaker 2: made up the reason. And I think that's a very 206 00:15:53,024 --> 00:15:57,184 Speaker 2: enriching thing that probably all of us from that generation 207 00:15:57,984 --> 00:16:04,384 Speaker 2: were helped by sort of synapses that were fired as 208 00:16:04,504 --> 00:16:08,824 Speaker 2: we sort of, you know, lay on the carpet listening to. 209 00:16:10,984 --> 00:16:12,304 Speaker 5: Read news. 210 00:16:16,544 --> 00:16:20,664 Speaker 4: Four thousand holes in Blackburn, lankashees. 211 00:16:21,944 --> 00:16:24,944 Speaker 2: And then we go back to read the news today, 212 00:16:26,184 --> 00:16:30,264 Speaker 2: Oh boy, to top and tailored. And now we have 213 00:16:30,384 --> 00:16:32,304 Speaker 2: to have another verse. We can't have a lucky man 214 00:16:32,344 --> 00:16:34,504 Speaker 2: and made the grace we have the four thousand holes, 215 00:16:35,264 --> 00:16:36,944 Speaker 2: which is from the newspaper. 216 00:16:36,744 --> 00:16:40,904 Speaker 7: Reported in the Daily Mail, January seventeenth, nineteen sixty seven 217 00:16:42,344 --> 00:16:46,144 Speaker 7: thousand holes in the road in Blackburn, Lancashire, one twenty 218 00:16:46,264 --> 00:16:49,784 Speaker 7: sixth of a hole per person. According to a council survey, 219 00:16:50,184 --> 00:16:50,544 Speaker 7: there were. 220 00:16:50,544 --> 00:16:53,664 Speaker 2: Holes in the streets in Like I said, there's four 221 00:16:53,704 --> 00:16:55,744 Speaker 2: thousand holes in Blackburn. 222 00:16:56,344 --> 00:16:59,504 Speaker 7: If Blackburn is typical then there are over two million 223 00:16:59,584 --> 00:17:02,984 Speaker 7: holes in Britain's roads and three hundred thousand in London. 224 00:17:03,624 --> 00:17:10,944 Speaker 4: Oh, the holes were rather small, kinds of comfortable. 225 00:17:11,704 --> 00:17:12,864 Speaker 5: Now, I don't know how many. 226 00:17:12,744 --> 00:17:17,224 Speaker 2: Older jacks to feel around, So you know, the holes 227 00:17:17,304 --> 00:17:20,824 Speaker 2: became instead of holes in the road, it became a 228 00:17:20,944 --> 00:17:28,184 Speaker 2: sort of synonym for people absence, kind of just glassholes. 229 00:18:11,104 --> 00:18:14,944 Speaker 1: The inventiveness of A Day in the Life wasn't confined 230 00:18:14,984 --> 00:18:18,544 Speaker 1: only to the song, but permeated the Beatles approach to 231 00:18:18,664 --> 00:18:23,504 Speaker 1: the entire album Sergeant Pepper's Lonely Hearts Club band. 232 00:18:24,304 --> 00:18:26,984 Speaker 2: I was with our roady Mal. We had a big 233 00:18:27,064 --> 00:18:30,944 Speaker 2: bear of a man was called Mal Evans was our roady, 234 00:18:31,464 --> 00:18:35,424 Speaker 2: and that's coming back on the plane and he said, 235 00:18:35,784 --> 00:18:38,544 Speaker 2: will you pass the Sultan Pepper and I misheard him. 236 00:18:39,664 --> 00:18:44,024 Speaker 2: I said what Sergeant Pepper said, No, Sultan. And I 237 00:18:44,104 --> 00:18:46,544 Speaker 2: always maintain that one of the things about the Beatles 238 00:18:46,664 --> 00:18:59,464 Speaker 2: and me and John was that we noticed accidents. Here's 239 00:18:59,504 --> 00:19:03,664 Speaker 2: the idea we are these four space Cadets, were just 240 00:19:03,784 --> 00:19:08,104 Speaker 2: these four people in this slightly weird band. But what 241 00:19:08,184 --> 00:19:09,824 Speaker 2: it's going to do is going to free us up. 242 00:19:10,464 --> 00:19:12,184 Speaker 2: So we're not going to be the Beatles, which we 243 00:19:12,264 --> 00:19:14,464 Speaker 2: are now getting a little bit sort of inhibited by 244 00:19:14,984 --> 00:19:18,864 Speaker 2: having to be those boys. Will now just chuckle that 245 00:19:18,944 --> 00:19:28,104 Speaker 2: away and we'll be these guys. So I said to everyone, Okay, now, 246 00:19:28,184 --> 00:19:31,384 Speaker 2: so I want each of us to come up with 247 00:19:31,504 --> 00:19:36,304 Speaker 2: a list of favorite people because it so I want, 248 00:19:36,344 --> 00:19:38,344 Speaker 2: you know, I want us all to know you because 249 00:19:38,544 --> 00:19:39,784 Speaker 2: we'll have pictures of them. 250 00:19:54,144 --> 00:19:55,904 Speaker 8: One of the things that strikes me, and I wonder 251 00:19:55,944 --> 00:19:58,824 Speaker 8: if you'd like to comment on it, is that being 252 00:19:58,904 --> 00:20:03,824 Speaker 8: an artist really involves having a sense of the whole, 253 00:20:03,984 --> 00:20:09,544 Speaker 8: the totality of the project and even the product. 254 00:20:10,024 --> 00:20:13,544 Speaker 2: You mean visual artists, any kind of any kind of artists. 255 00:20:13,624 --> 00:20:16,344 Speaker 8: Yeah, I mean you had a sense of not only 256 00:20:16,944 --> 00:20:20,104 Speaker 8: playing the music, writing the lyrics, but you know how 257 00:20:20,264 --> 00:20:23,624 Speaker 8: those things should look when it gets sided into the world. 258 00:20:23,944 --> 00:20:28,144 Speaker 2: I think if you, if you've got a passion for something, 259 00:20:30,024 --> 00:20:32,864 Speaker 2: you want to be thorough, and I think that's the thing. 260 00:20:32,984 --> 00:20:37,184 Speaker 2: Sticking with it means that you're actually thinking about it 261 00:20:37,264 --> 00:20:39,504 Speaker 2: and thinking, well, if we're going to call it's Harder 262 00:20:39,584 --> 00:20:43,664 Speaker 2: Pepperson House combat, what do they look like? Oh? Okay, well, 263 00:20:43,704 --> 00:20:46,024 Speaker 2: I've got an idea in my brain. It's just jumped 264 00:20:46,064 --> 00:21:02,264 Speaker 2: in my brain. But I'll shribble it down, and so 265 00:21:02,424 --> 00:21:05,824 Speaker 2: that that album was very much like that. But I 266 00:21:05,904 --> 00:21:10,304 Speaker 2: do think, yeah, you know that that. I I've always 267 00:21:10,424 --> 00:21:21,864 Speaker 2: had that totality thing where music, theater performances are concerned. 268 00:21:23,944 --> 00:21:25,784 Speaker 2: As a kid, I would always do that. Was sitting 269 00:21:25,824 --> 00:21:31,184 Speaker 2: with my dad just watching TV and a presenter would 270 00:21:31,224 --> 00:21:35,264 Speaker 2: come on at the stage to a variety shot or something, 271 00:21:36,184 --> 00:21:40,424 Speaker 2: and I would go, he shouldn't have worn that like gracefuoit. 272 00:21:41,104 --> 00:21:43,064 Speaker 2: I should have just worn a dark suit. He would 273 00:21:43,064 --> 00:21:44,984 Speaker 2: have stood out a bit better. I mean, it was 274 00:21:45,024 --> 00:21:49,544 Speaker 2: like the Nixon JFK thing. The JFK wore the dark 275 00:21:49,664 --> 00:21:53,344 Speaker 2: suit and Nixon and it was like, well, he just 276 00:21:53,504 --> 00:21:56,984 Speaker 2: looked better. So I've always been very involved in that. 277 00:21:58,704 --> 00:22:01,424 Speaker 2: The Beatles thing, the idea that we had a uniform 278 00:22:02,464 --> 00:22:06,984 Speaker 2: was sort of one of the original ideas. 279 00:22:08,064 --> 00:22:11,304 Speaker 8: I had some very of this uniform existed already or 280 00:22:11,384 --> 00:22:12,784 Speaker 8: were you designing that there too? 281 00:22:12,864 --> 00:22:15,424 Speaker 2: I suppose that are you designing it, yeah, because I 282 00:22:15,544 --> 00:22:19,544 Speaker 2: don't think you'd used this look you haven't haven't this 283 00:22:19,704 --> 00:22:23,424 Speaker 2: frock coat? Yeah? With the books, little epaulets and things. 284 00:22:23,944 --> 00:22:44,144 Speaker 2: I mean, it's it's very beatly. It was an instant. 285 00:22:44,664 --> 00:22:46,784 Speaker 2: So when the Beatles were going to Hamburg. We had 286 00:22:46,824 --> 00:22:50,784 Speaker 2: a tailor next door to us, mister Richards. So when 287 00:22:50,784 --> 00:22:52,864 Speaker 2: I was living in twenty fourth Land Road, like kind 288 00:22:52,864 --> 00:22:54,744 Speaker 2: of went next door, mister Richards, and you've got some 289 00:22:55,544 --> 00:22:58,784 Speaker 2: materials chose. She gave us a few nice sholdren to 290 00:22:58,864 --> 00:23:03,024 Speaker 2: the guys. We chose a purple sort of wool, the 291 00:23:03,104 --> 00:23:07,824 Speaker 2: best material for stade, scratchy, little scratchy little wool anyway, 292 00:23:08,064 --> 00:23:12,784 Speaker 2: so we got purple jacks. And this had come from 293 00:23:12,824 --> 00:23:15,824 Speaker 2: a very definite experience I'd had when I was eleven 294 00:23:16,344 --> 00:23:21,824 Speaker 2: in Botlan's seeing this group wear identical clothes and they 295 00:23:21,944 --> 00:23:25,144 Speaker 2: won the talent contest. And I still have this really 296 00:23:25,264 --> 00:23:28,864 Speaker 2: crystal clear image of them walking out of that building 297 00:23:29,464 --> 00:23:32,464 Speaker 2: to go to the pool, and they were all in 298 00:23:33,184 --> 00:23:39,864 Speaker 2: gray crew next quarters, Tartan flat caps, twat hats as 299 00:23:39,904 --> 00:23:45,544 Speaker 2: we call them, and Tartan shorts and each with a 300 00:23:45,664 --> 00:23:49,864 Speaker 2: row towel and anything else. Five of them. It was 301 00:23:49,944 --> 00:23:53,024 Speaker 2: like ah, and it was like well mc jay would 302 00:23:53,064 --> 00:23:57,224 Speaker 2: later called us the foreheaded monster. That all came from that, 303 00:23:57,664 --> 00:24:02,384 Speaker 2: that whole sense of wow, if you do that, people 304 00:24:02,424 --> 00:24:04,744 Speaker 2: are really going to notice you, And I bet it 305 00:24:04,864 --> 00:24:10,104 Speaker 2: makes you feel homotenous. Yeah, both from with it and 306 00:24:10,384 --> 00:24:13,624 Speaker 2: from within. So that's sort of what happened with the Beatles. 307 00:24:13,944 --> 00:24:17,304 Speaker 2: And it would probably be me pushing that. If you're 308 00:24:17,344 --> 00:24:20,104 Speaker 2: going to pretend you are Sergeant Papers, only has to 309 00:24:20,264 --> 00:24:23,264 Speaker 2: be to think, oh, weare this and this is in 310 00:24:23,584 --> 00:24:31,104 Speaker 2: Sergeant Papers learning sergeant military epaulets, tasitly things buttons, and 311 00:24:31,344 --> 00:24:33,384 Speaker 2: to me it's what it's what you do to get 312 00:24:33,384 --> 00:24:38,384 Speaker 2: into character. It's somewhat really And we went down to 313 00:24:40,584 --> 00:24:45,624 Speaker 2: Less Square where Berman's the costume he lived and who 314 00:24:45,704 --> 00:24:49,744 Speaker 2: did theatrical and movie stuff, and we all went down there. 315 00:24:49,824 --> 00:24:54,744 Speaker 2: I arrange a visit for us. We chose our chatterings 316 00:24:56,224 --> 00:25:00,784 Speaker 2: and got measured which sort we did. We carried it through. 317 00:25:00,904 --> 00:25:05,384 Speaker 2: That's what I'm being thorough. It's actually it's a it's 318 00:25:05,464 --> 00:25:08,864 Speaker 2: a lot of what it's about, but it is at 319 00:25:08,904 --> 00:25:12,904 Speaker 2: the is that going right through all the way. Day 320 00:25:12,944 --> 00:25:17,664 Speaker 2: in the life, full symphony orchestra, not just messing around here. 321 00:25:24,624 --> 00:25:27,064 Speaker 9: I read the news today. 322 00:25:30,744 --> 00:25:33,984 Speaker 5: A battle lucky man who made. 323 00:25:33,824 --> 00:25:34,784 Speaker 2: The great. 324 00:25:36,864 --> 00:25:43,984 Speaker 4: And though the news was rob said, well, I just 325 00:25:44,344 --> 00:25:45,064 Speaker 4: had to learn. 326 00:25:49,464 --> 00:25:52,184 Speaker 5: I saw the ponograph. 327 00:25:53,544 --> 00:25:57,544 Speaker 3: A Day in the Life from the Beatles nineteen sixty 328 00:25:57,664 --> 00:26:02,104 Speaker 3: seven album Sergeant Pepper's Lonely Hearts club Band. 329 00:26:02,264 --> 00:26:03,704 Speaker 2: Did that? 330 00:26:04,344 --> 00:26:06,424 Speaker 5: Lines changed. 331 00:26:07,824 --> 00:26:11,344 Speaker 3: In the next episode, The healing power of music. 332 00:26:12,624 --> 00:26:22,664 Speaker 9: Take a sad sound and make it banner. Remember to Lettereal, 333 00:26:24,584 --> 00:26:29,464 Speaker 9: then you can start to make a banner. 334 00:26:31,664 --> 00:26:36,984 Speaker 3: Hey, that's next time on McCartney A Life in Lyrics. 335 00:26:38,344 --> 00:26:43,304 Speaker 3: McCartney A Life in Lyrics is a co production between iHeartMedia, 336 00:26:43,864 --> 00:26:46,584 Speaker 3: NPL and Pushkin Industries.