WEBVTT - A Day in the Life

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<v Speaker 1>Pushkin. Hi, everyone, it's Paul muldoon. Before we get to

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<v Speaker 1>this episode, I wanted to let you know that you

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<v Speaker 1>can binge all twelve episodes of McCartney A Life and

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<v Speaker 1>Lyrics right now, add free by becoming a Pushkin Plus subscriber.

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<v Speaker 1>Find Pushkin Plus on the McCartney A Life and Lyrics Show,

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<v Speaker 1>pedge in Apple Podcasts, or at pushkin dot fm slash Plus.

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<v Speaker 2>One thing we used years later in the Sergeant Pepper

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<v Speaker 2>album was something that I experienced I had as a kid.

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<v Speaker 2>I would listen to some shows on the BBC, It's

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<v Speaker 2>the Ken Dot Show, and there would often be a

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<v Speaker 2>live show, whether it be a comedian. The comedian would

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<v Speaker 2>come on, came dog, Hello, how are you doing all right?

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<v Speaker 2>So it's on hey, and there'd be silence and the

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<v Speaker 2>audience would go arah and laugh and to me that

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<v Speaker 2>was like, oh my god, what did he just do?

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<v Speaker 2>And I loved them laughing at the silence because my

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<v Speaker 2>imagine was he's dropped his trousers. No he wasn't. On

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<v Speaker 2>the BBC, He's done a funny face. No, well, what's

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<v Speaker 2>he done? That to me was the start of a

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<v Speaker 2>sort of fascination with art of all types. Why did

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<v Speaker 2>they laugh at that silence? I needed to know and

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<v Speaker 2>I was never going to find out, so I needed

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<v Speaker 2>to speculate, and art would let me speculate. You do

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<v Speaker 2>a comedy with well, don't? I did play around.

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<v Speaker 3>I'm Paul will Doon for a while now, I have

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<v Speaker 3>been fortunate to spend time with one of the greatest

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<v Speaker 3>songwriters of the era.

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<v Speaker 2>And will you look at me? I'm going on to it.

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<v Speaker 2>I'm actually a performer, that.

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<v Speaker 1>Is Sir Paul McCartney.

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<v Speaker 3>We worked together on a book looking at the lyrics

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<v Speaker 3>of more than one hundred and fifty of his songs,

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<v Speaker 3>and we recorded many hours of our conversations.

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<v Speaker 2>It was like going back to an old snapshot album

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<v Speaker 2>looking back on work I hadn't ever analyzed.

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<v Speaker 3>This is McCartney, a life in lyrics, a masterclass, a war,

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<v Speaker 3>and an improvised journey with one of the most iconic

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<v Speaker 3>figures in popular music.

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<v Speaker 2>In this episode, day in the Life was in my

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<v Speaker 2>music room in London, at the top of my house.

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<v Speaker 2>I had and still have a lotly little room with

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<v Speaker 2>a daily painted piano, and I'd seen a thing of

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<v Speaker 2>these guys who'd painted a Cadillac psychedelic. So I rang

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<v Speaker 2>them up and said, we did do a piano for

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<v Speaker 2>me in a little bit juribious at first, but anyway,

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<v Speaker 2>they did it psychedelic painting, and John would come in

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<v Speaker 2>and we would sort of sit there for a few

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<v Speaker 2>hours and write things. And one of us nearly always

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<v Speaker 2>had the starter. For instance, Ellen Rigby had been my

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<v Speaker 2>starter and we finished it up together. Day in the

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<v Speaker 2>life was his starter, which should start by reading the newspapers.

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<v Speaker 4>Today a bad lucky man who made the grade, and

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<v Speaker 4>the news was rather said, I just had to learn.

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<v Speaker 2>When John would bring these things in. It's only these

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<v Speaker 2>days that I would say, was he talking about himself some?

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<v Speaker 2>It was there some sort of psychological aspect where he's

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<v Speaker 2>a lucky man who made the grade, And John did

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<v Speaker 2>round about this time, did get a little bit out

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<v Speaker 2>in Waybridge doing drugs, and we're a little disillusion because

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<v Speaker 2>we'd sort of given up playing live. So him bringing

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<v Speaker 2>that in, I would just go with the picture that

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<v Speaker 2>he was painting. He was mind, he didn't notice that changed,

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<v Speaker 2>and then he blew his mine out in the car.

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<v Speaker 2>Didn't know the lights of change. This was about a

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<v Speaker 2>friend of mine particularly called Tara was a Guinness there.

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<v Speaker 2>We kind of steered clear of heirs and aristocrats, whereas

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<v Speaker 2>the Stones didn't Stones rather embraced them. A really nice guy,

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<v Speaker 2>and I say, I used to hang out to go

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<v Speaker 2>up to Liverpool with him. And yeah, so he died

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<v Speaker 2>in a car crash and in Chelsea somewhere he'd run

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<v Speaker 2>the lights. I think, you know, so he didn't notice

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<v Speaker 2>the lights of change. So this was in our minds,

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<v Speaker 2>this was about him. He blew his mind out in

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<v Speaker 2>the car. So again with the drug references, he blew

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<v Speaker 2>his mind out, and I think we did think he

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<v Speaker 2>might have been stoned. But that's what we're talking about.

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<v Speaker 2>You blow my mind. Of course I told him that

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<v Speaker 2>kind of way.

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<v Speaker 4>Crowd of people, students, they'd seen his face before, nobody

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<v Speaker 4>was really.

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<v Speaker 2>So that was Tara. He's at the lights and he changed.

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<v Speaker 2>And then so we're now painting a picture a crowd

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<v Speaker 2>of people stood in stard it's seen his face before,

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<v Speaker 2>not really sure if he was from the House of Lords.

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<v Speaker 2>So this is sort of aristocratic thing. But I think

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<v Speaker 2>once we sort of started off with Tara, it doesn't

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<v Speaker 2>have to stay with him. It can now be anyone

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<v Speaker 2>in a car crowd of people looking at who is

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<v Speaker 2>this guy? Or do I recognize him? Was he that?

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<v Speaker 4>Just a crowd of people? Ten away?

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<v Speaker 2>John was quite a World War Two buff. He had

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<v Speaker 2>the works of Winston Churchill. He's a big Winston Churchill fan.

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<v Speaker 2>I think till later. I think you read a lot

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<v Speaker 2>about it. Was a good writer, he was brilliant. I've

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<v Speaker 2>not read any of this stuff John had. They had,

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<v Speaker 2>they had a complete set. I remember. It's like I said,

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<v Speaker 2>of encyclopedia, I just had to do. They read so

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<v Speaker 2>we had the film the War, and I just had

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<v Speaker 2>to look. Having read the book, it's like a traffic accident,

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<v Speaker 2>We have to look. That sort of ties back into that.

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<v Speaker 2>People turned away this time because they were looking at

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<v Speaker 2>the traffic accident, and now they've turned away because it's

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<v Speaker 2>the war. But I just had to look. Love to

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<v Speaker 2>Turn You On, And that was the conspiracy between the

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<v Speaker 2>two of us, conspiratorial look between us. As we wrote

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<v Speaker 2>that Love to Turn It, Oh well, okay, this is

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<v Speaker 2>going to get people talking. We kind of knew exactly

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<v Speaker 2>what we're doing and that it was being a bit cheapy.

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<v Speaker 2>The other story about it was this this instrumental break

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<v Speaker 2>musically where I at that time had been looking at

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<v Speaker 2>a lot of listening to a lot of that. I

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<v Speaker 2>forgot stuff that would be like Lucy Annaberio and his

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<v Speaker 2>wife Kathy Beveron, and they did shows that like the

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<v Speaker 2>wak Moore Hall and Stockhouse and dates to remember Kazang. Yes,

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<v Speaker 2>so listen to a bunch of that stuff and not

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<v Speaker 2>so much listening to it, just has just been interested

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<v Speaker 2>in the concept of it. So I was intrigued by that.

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<v Speaker 2>So in the middle of the day in the light,

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<v Speaker 2>because it was sort of a trippy piece, I wanted

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<v Speaker 2>to have this extraordinary instrumental moment. So I talked to

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<v Speaker 2>Jeorge Martin. I said, okay, the instruction. The instruction here

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<v Speaker 2>is for everybody in the orchestra to start on the

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<v Speaker 2>lowest note on their instruments and proceed to their highest

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<v Speaker 2>note on their instrument over the course of a certain

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<v Speaker 2>amount of barbs. They can proceed at their own pace.

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<v Speaker 2>However they wished to go because I want the kind

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<v Speaker 2>of cacophony of sound. So came the session and George

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<v Speaker 2>is a bit dubious about shooting a full symphony orcauses

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<v Speaker 2>is very expensive. We said, that's the Beatles come on,

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<v Speaker 2>let's go crazy. So and then we started to get

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<v Speaker 2>fun of the things where he said, what if you're

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<v Speaker 2>playing all that money? He said, you know, do you

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<v Speaker 2>want them to dress? Because they will? We said, oh yeah.

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<v Speaker 2>He said what do you want? Well, you know, dinner

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<v Speaker 2>suits want the sort of black tie and we said,

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<v Speaker 2>well they do funny noses. They did actually, But anyway,

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<v Speaker 2>so we got to the session and I sort of

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<v Speaker 2>went around sort of saying to them all, okay, right,

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<v Speaker 2>thing is crazy starting your bart and I said you

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<v Speaker 2>can go anyway we want. But they were a bit

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<v Speaker 2>so George did have to go and rationalize it a bit.

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<v Speaker 2>So he said to them go from here and be

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<v Speaker 2>around about there after ten bars, and we round about

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<v Speaker 2>there after fifteen, so he sort of so they did

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<v Speaker 2>it anyway, and it was a great sound. We reside

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<v Speaker 2>with Berton the Oskar plan, not the Beatles. It encouraged

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<v Speaker 2>you to think like that, and we were at that

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<v Speaker 2>period in our growth and we liked the idea that

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<v Speaker 2>he should be an extension rather than just a continuation.

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<v Speaker 5>Woke up, fell out of bed, dragged the comb across

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<v Speaker 5>my head.

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<v Speaker 2>Yeah, and then me I then go back into Fourthland Road,

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<v Speaker 2>and this is me going to school in the morning.

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<v Speaker 2>This is my routine. Woke up, fell out of bed,

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<v Speaker 2>dragged a corm across my head.

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<v Speaker 5>Found the way downstairs and drank a cup, and looking up,

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<v Speaker 5>I noticed that I was late.

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<v Speaker 2>That would sort of happen every morning to me, and

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<v Speaker 2>I would just run to the end of my street

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<v Speaker 2>where the bus stop was barely catch the bus.

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<v Speaker 5>Find my coat and grabbed my hat, made the bus

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<v Speaker 5>and seconds flans.

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<v Speaker 2>It was always a rush, and I knew there was

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<v Speaker 2>a prefect at the other end at the school with

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<v Speaker 2>the book and he was going to bust me if

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<v Speaker 2>I was one minute past night.

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<v Speaker 5>We upstairs and had a smoke, and somebody spoke, and

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<v Speaker 5>I went.

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<v Speaker 2>Into a dream. You smoked on the upper deck of buses.

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<v Speaker 2>So if I'm talking about going on the bus and

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<v Speaker 2>going upstairs, I'm immediately thinking I'm smoking. And the minute

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<v Speaker 2>I've said the words smoke in the sixties, I'm now

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<v Speaker 2>talking about cannabis, and the whole upper deck would just

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<v Speaker 2>be full of cloud of smoke. You know, you would

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<v Speaker 2>enter that zone.

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<v Speaker 6>Did you think of Sorg and Pepper as a big

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<v Speaker 6>radio program.

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<v Speaker 2>In someways kind of kind of you know its scope

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<v Speaker 2>and its imagination was that and we did use sound

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<v Speaker 2>effects we found out during during the making of an

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<v Speaker 2>album like that, you're extending your repertoire and you're imagination,

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<v Speaker 2>so you're asking for things like a full symphony orchestra.

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<v Speaker 2>You're asking for things like the sound of elephants running

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<v Speaker 2>through the jungle. It's interesting.

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<v Speaker 6>I mean, we talked about this before, the extent which

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<v Speaker 6>the radio shows were part of the band in your mind,

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<v Speaker 6>on the front of your mind, but that that actually

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<v Speaker 6>might have been quite a strong.

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<v Speaker 2>It was a start influence on us all because you know,

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<v Speaker 2>we'd all listen to radio and you have to use

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<v Speaker 2>your imagination, whereas in TV it's okay, it's wonderful, and

0:14:46.984 --> 0:14:49.384
<v Speaker 2>movies the thing, but it's laid out for you. You

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<v Speaker 2>can see how Henrietta Gibbs looks, whereas in radio Henrietta Gibbs.

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<v Speaker 2>But that's I live and breathe, and you make your

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<v Speaker 2>own Henrietta Gibbs. Yes, and that was a great thing.

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<v Speaker 2>That was why no one could ever visualize Sergeant Beverly.

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<v Speaker 2>They tried to make a movie of it, did they.

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<v Speaker 2>It's like, oh, don't do that, because everyone's already got

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<v Speaker 2>their own picture, Sergeant Napper.

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<v Speaker 3>And as long the Heart Club.

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<v Speaker 2>Then the joy of this kind of audio approach was

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<v Speaker 2>that you made your own pictures. If you heard elephants

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<v Speaker 2>trampling through the jungle, you saw your own set of elephants.

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<v Speaker 2>You heard an audience laughing for no apparent reason, you

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<v Speaker 2>made up the reason. And I think that's a very

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<v Speaker 2>enriching thing that probably all of us from that generation

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<v Speaker 2>were helped by sort of synapses that were fired as

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<v Speaker 2>we sort of, you know, lay on the carpet listening to.

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<v Speaker 5>Read news.

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<v Speaker 4>Four thousand holes in Blackburn, lankashees.

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<v Speaker 2>And then we go back to read the news today,

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<v Speaker 2>Oh boy, to top and tailored. And now we have

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<v Speaker 2>to have another verse. We can't have a lucky man

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<v Speaker 2>and made the grace we have the four thousand holes,

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<v Speaker 2>which is from the newspaper.

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<v Speaker 7>Reported in the Daily Mail, January seventeenth, nineteen sixty seven

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<v Speaker 7>thousand holes in the road in Blackburn, Lancashire, one twenty

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<v Speaker 7>sixth of a hole per person. According to a council survey,

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<v Speaker 7>there were.

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<v Speaker 2>Holes in the streets in Like I said, there's four

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<v Speaker 2>thousand holes in Blackburn.

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<v Speaker 7>If Blackburn is typical then there are over two million

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<v Speaker 7>holes in Britain's roads and three hundred thousand in London.

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<v Speaker 4>Oh, the holes were rather small, kinds of comfortable.

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<v Speaker 5>Now, I don't know how many.

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<v Speaker 2>Older jacks to feel around, So you know, the holes

0:17:17.304 --> 0:17:20.824
<v Speaker 2>became instead of holes in the road, it became a

0:17:20.944 --> 0:17:28.184
<v Speaker 2>sort of synonym for people absence, kind of just glassholes.

0:18:11.104 --> 0:18:14.944
<v Speaker 1>The inventiveness of A Day in the Life wasn't confined

0:18:14.984 --> 0:18:18.544
<v Speaker 1>only to the song, but permeated the Beatles approach to

0:18:18.664 --> 0:18:23.504
<v Speaker 1>the entire album Sergeant Pepper's Lonely Hearts Club band.

0:18:24.304 --> 0:18:26.984
<v Speaker 2>I was with our roady Mal. We had a big

0:18:27.064 --> 0:18:30.944
<v Speaker 2>bear of a man was called Mal Evans was our roady,

0:18:31.464 --> 0:18:35.424
<v Speaker 2>and that's coming back on the plane and he said,

0:18:35.784 --> 0:18:38.544
<v Speaker 2>will you pass the Sultan Pepper and I misheard him.

0:18:39.664 --> 0:18:44.024
<v Speaker 2>I said what Sergeant Pepper said, No, Sultan. And I

0:18:44.104 --> 0:18:46.544
<v Speaker 2>always maintain that one of the things about the Beatles

0:18:46.664 --> 0:18:59.464
<v Speaker 2>and me and John was that we noticed accidents. Here's

0:18:59.504 --> 0:19:03.664
<v Speaker 2>the idea we are these four space Cadets, were just

0:19:03.784 --> 0:19:08.104
<v Speaker 2>these four people in this slightly weird band. But what

0:19:08.184 --> 0:19:09.824
<v Speaker 2>it's going to do is going to free us up.

0:19:10.464 --> 0:19:12.184
<v Speaker 2>So we're not going to be the Beatles, which we

0:19:12.264 --> 0:19:14.464
<v Speaker 2>are now getting a little bit sort of inhibited by

0:19:14.984 --> 0:19:18.864
<v Speaker 2>having to be those boys. Will now just chuckle that

0:19:18.944 --> 0:19:28.104
<v Speaker 2>away and we'll be these guys. So I said to everyone, Okay, now,

0:19:28.184 --> 0:19:31.384
<v Speaker 2>so I want each of us to come up with

0:19:31.504 --> 0:19:36.304
<v Speaker 2>a list of favorite people because it so I want,

0:19:36.344 --> 0:19:38.344
<v Speaker 2>you know, I want us all to know you because

0:19:38.544 --> 0:19:39.784
<v Speaker 2>we'll have pictures of them.

0:19:54.144 --> 0:19:55.904
<v Speaker 8>One of the things that strikes me, and I wonder

0:19:55.944 --> 0:19:58.824
<v Speaker 8>if you'd like to comment on it, is that being

0:19:58.904 --> 0:20:03.824
<v Speaker 8>an artist really involves having a sense of the whole,

0:20:03.984 --> 0:20:09.544
<v Speaker 8>the totality of the project and even the product.

0:20:10.024 --> 0:20:13.544
<v Speaker 2>You mean visual artists, any kind of any kind of artists.

0:20:13.624 --> 0:20:16.344
<v Speaker 8>Yeah, I mean you had a sense of not only

0:20:16.944 --> 0:20:20.104
<v Speaker 8>playing the music, writing the lyrics, but you know how

0:20:20.264 --> 0:20:23.624
<v Speaker 8>those things should look when it gets sided into the world.

0:20:23.944 --> 0:20:28.144
<v Speaker 2>I think if you, if you've got a passion for something,

0:20:30.024 --> 0:20:32.864
<v Speaker 2>you want to be thorough, and I think that's the thing.

0:20:32.984 --> 0:20:37.184
<v Speaker 2>Sticking with it means that you're actually thinking about it

0:20:37.264 --> 0:20:39.504
<v Speaker 2>and thinking, well, if we're going to call it's Harder

0:20:39.584 --> 0:20:43.664
<v Speaker 2>Pepperson House combat, what do they look like? Oh? Okay, well,

0:20:43.704 --> 0:20:46.024
<v Speaker 2>I've got an idea in my brain. It's just jumped

0:20:46.064 --> 0:21:02.264
<v Speaker 2>in my brain. But I'll shribble it down, and so

0:21:02.424 --> 0:21:05.824
<v Speaker 2>that that album was very much like that. But I

0:21:05.904 --> 0:21:10.304
<v Speaker 2>do think, yeah, you know that that. I I've always

0:21:10.424 --> 0:21:21.864
<v Speaker 2>had that totality thing where music, theater performances are concerned.

0:21:23.944 --> 0:21:25.784
<v Speaker 2>As a kid, I would always do that. Was sitting

0:21:25.824 --> 0:21:31.184
<v Speaker 2>with my dad just watching TV and a presenter would

0:21:31.224 --> 0:21:35.264
<v Speaker 2>come on at the stage to a variety shot or something,

0:21:36.184 --> 0:21:40.424
<v Speaker 2>and I would go, he shouldn't have worn that like gracefuoit.

0:21:41.104 --> 0:21:43.064
<v Speaker 2>I should have just worn a dark suit. He would

0:21:43.064 --> 0:21:44.984
<v Speaker 2>have stood out a bit better. I mean, it was

0:21:45.024 --> 0:21:49.544
<v Speaker 2>like the Nixon JFK thing. The JFK wore the dark

0:21:49.664 --> 0:21:53.344
<v Speaker 2>suit and Nixon and it was like, well, he just

0:21:53.504 --> 0:21:56.984
<v Speaker 2>looked better. So I've always been very involved in that.

0:21:58.704 --> 0:22:01.424
<v Speaker 2>The Beatles thing, the idea that we had a uniform

0:22:02.464 --> 0:22:06.984
<v Speaker 2>was sort of one of the original ideas.

0:22:08.064 --> 0:22:11.304
<v Speaker 8>I had some very of this uniform existed already or

0:22:11.384 --> 0:22:12.784
<v Speaker 8>were you designing that there too?

0:22:12.864 --> 0:22:15.424
<v Speaker 2>I suppose that are you designing it, yeah, because I

0:22:15.544 --> 0:22:19.544
<v Speaker 2>don't think you'd used this look you haven't haven't this

0:22:19.704 --> 0:22:23.424
<v Speaker 2>frock coat? Yeah? With the books, little epaulets and things.

0:22:23.944 --> 0:22:44.144
<v Speaker 2>I mean, it's it's very beatly. It was an instant.

0:22:44.664 --> 0:22:46.784
<v Speaker 2>So when the Beatles were going to Hamburg. We had

0:22:46.824 --> 0:22:50.784
<v Speaker 2>a tailor next door to us, mister Richards. So when

0:22:50.784 --> 0:22:52.864
<v Speaker 2>I was living in twenty fourth Land Road, like kind

0:22:52.864 --> 0:22:54.744
<v Speaker 2>of went next door, mister Richards, and you've got some

0:22:55.544 --> 0:22:58.784
<v Speaker 2>materials chose. She gave us a few nice sholdren to

0:22:58.864 --> 0:23:03.024
<v Speaker 2>the guys. We chose a purple sort of wool, the

0:23:03.104 --> 0:23:07.824
<v Speaker 2>best material for stade, scratchy, little scratchy little wool anyway,

0:23:08.064 --> 0:23:12.784
<v Speaker 2>so we got purple jacks. And this had come from

0:23:12.824 --> 0:23:15.824
<v Speaker 2>a very definite experience I'd had when I was eleven

0:23:16.344 --> 0:23:21.824
<v Speaker 2>in Botlan's seeing this group wear identical clothes and they

0:23:21.944 --> 0:23:25.144
<v Speaker 2>won the talent contest. And I still have this really

0:23:25.264 --> 0:23:28.864
<v Speaker 2>crystal clear image of them walking out of that building

0:23:29.464 --> 0:23:32.464
<v Speaker 2>to go to the pool, and they were all in

0:23:33.184 --> 0:23:39.864
<v Speaker 2>gray crew next quarters, Tartan flat caps, twat hats as

0:23:39.904 --> 0:23:45.544
<v Speaker 2>we call them, and Tartan shorts and each with a

0:23:45.664 --> 0:23:49.864
<v Speaker 2>row towel and anything else. Five of them. It was

0:23:49.944 --> 0:23:53.024
<v Speaker 2>like ah, and it was like well mc jay would

0:23:53.064 --> 0:23:57.224
<v Speaker 2>later called us the foreheaded monster. That all came from that,

0:23:57.664 --> 0:24:02.384
<v Speaker 2>that whole sense of wow, if you do that, people

0:24:02.424 --> 0:24:04.744
<v Speaker 2>are really going to notice you, And I bet it

0:24:04.864 --> 0:24:10.104
<v Speaker 2>makes you feel homotenous. Yeah, both from with it and

0:24:10.384 --> 0:24:13.624
<v Speaker 2>from within. So that's sort of what happened with the Beatles.

0:24:13.944 --> 0:24:17.304
<v Speaker 2>And it would probably be me pushing that. If you're

0:24:17.344 --> 0:24:20.104
<v Speaker 2>going to pretend you are Sergeant Papers, only has to

0:24:20.264 --> 0:24:23.264
<v Speaker 2>be to think, oh, weare this and this is in

0:24:23.584 --> 0:24:31.104
<v Speaker 2>Sergeant Papers learning sergeant military epaulets, tasitly things buttons, and

0:24:31.344 --> 0:24:33.384
<v Speaker 2>to me it's what it's what you do to get

0:24:33.384 --> 0:24:38.384
<v Speaker 2>into character. It's somewhat really And we went down to

0:24:40.584 --> 0:24:45.624
<v Speaker 2>Less Square where Berman's the costume he lived and who

0:24:45.704 --> 0:24:49.744
<v Speaker 2>did theatrical and movie stuff, and we all went down there.

0:24:49.824 --> 0:24:54.744
<v Speaker 2>I arrange a visit for us. We chose our chatterings

0:24:56.224 --> 0:25:00.784
<v Speaker 2>and got measured which sort we did. We carried it through.

0:25:00.904 --> 0:25:05.384
<v Speaker 2>That's what I'm being thorough. It's actually it's a it's

0:25:05.464 --> 0:25:08.864
<v Speaker 2>a lot of what it's about, but it is at

0:25:08.904 --> 0:25:12.904
<v Speaker 2>the is that going right through all the way. Day

0:25:12.944 --> 0:25:17.664
<v Speaker 2>in the life, full symphony orchestra, not just messing around here.

0:25:24.624 --> 0:25:27.064
<v Speaker 9>I read the news today.

0:25:30.744 --> 0:25:33.984
<v Speaker 5>A battle lucky man who made.

0:25:33.824 --> 0:25:34.784
<v Speaker 2>The great.

0:25:36.864 --> 0:25:43.984
<v Speaker 4>And though the news was rob said, well, I just

0:25:44.344 --> 0:25:45.064
<v Speaker 4>had to learn.

0:25:49.464 --> 0:25:52.184
<v Speaker 5>I saw the ponograph.

0:25:53.544 --> 0:25:57.544
<v Speaker 3>A Day in the Life from the Beatles nineteen sixty

0:25:57.664 --> 0:26:02.104
<v Speaker 3>seven album Sergeant Pepper's Lonely Hearts club Band.

0:26:02.264 --> 0:26:03.704
<v Speaker 2>Did that?

0:26:04.344 --> 0:26:06.424
<v Speaker 5>Lines changed.

0:26:07.824 --> 0:26:11.344
<v Speaker 3>In the next episode, The healing power of music.

0:26:12.624 --> 0:26:22.664
<v Speaker 9>Take a sad sound and make it banner. Remember to Lettereal,

0:26:24.584 --> 0:26:29.464
<v Speaker 9>then you can start to make a banner.

0:26:31.664 --> 0:26:36.984
<v Speaker 3>Hey, that's next time on McCartney A Life in Lyrics.

0:26:38.344 --> 0:26:43.304
<v Speaker 3>McCartney A Life in Lyrics is a co production between iHeartMedia,

0:26:43.864 --> 0:26:46.584
<v Speaker 3>NPL and Pushkin Industries.