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Look at how fast, we re almost halfway through the year.
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Crazy, yeah.
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Jesus Christ, what are you, the new Liberace?
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Put a new outfit on.
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We re talking about Spade.
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I m talking about Spade.
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No, we re talking about- What have you been drinking?
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Maalox.
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We re talking about Paul McCartney, the Paul McCartney.
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Yes.
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This is our big, exciting first musical guest I think we ve had on the show from SNL.
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Well, I m a Beatle fanatic, and the fact that we got Paul, I d sent him an email very casually, because I sort of know him, I guess, and just gently said, we d love to have you.
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And then what happened next, David?
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I think we heard the next day, he said, do we do it on the phone or do we do it in person or how do we do it?
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And so we did it within a week.
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Well, okay, so from my side of it, wasn t so easy peasy.
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Hey, a lot of moving inputs.
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I was going on vacation, I was driving with my wife, my mother-in-law is Irish and stunning and she s 91 and my son, and we re just driving through Wyoming and we re just having fun on our way to Montana for a reunion type thing.
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And then our manager goes,
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McCartney can do it on Friday.
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And they said, how was Friday for you?
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Both of you, we both said horrible.
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It s absolutely, couldn t have picked the worst time.
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I m in the mountains, I can t even hear him.
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Friday, McCartney, beat it.
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So then I m not vacationing anymore.
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I m like, oh, so we re at this three star, cause we don t like fancy pants in places, in Jackson Hole.
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Where you can catch fish in the pool with your hand.
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Hey, I m in Jackson Hole.
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And then you just eat it.
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But the Wi-Fi sucked and I m trying to do, what am I going to ask Paul McCartney?
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And so I had to go up to the Four Seasons at Teton Village.
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Teton.
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And check into a room for the night.
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It was $1 million was the room.
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And so I went up there in a lightning storm.
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And then the next morning, I m at a little desk.
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I m trying to get the laptop.
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We re going to zoom in with Paul McCartney.
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I m very kind of nervous.
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And then on the screen, I can see that David is having,
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You flew to New York and what s going on with you at that moment?
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I was heading to a sold out, I guess that s not really part of the story, show.
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Your sold out show?
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In Ohio.
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How many seats?
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That s not the point.
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And I was going there and I had to cancel my flight and do this and then go late to the show and hopefully I make it.
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And then my wifi didn t work in my hotel and it dropped out.
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The 10 minutes while we re on screen with it, I dropped out from you twice.
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So I just said, if I drop out with Paul, go on with help me.
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Well, I just saw the technicians leaning in, guys with beards, there d be a beard and then a rubber band and then more beard.
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They were just leaning into frame.
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You re just sitting there and it was like, is he going to make it?
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Our producer Greg is on the line.
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No, we don t know.
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Paul s going to pop up any minute.
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I don t know if you re going to be on it.
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All of a sudden we see Sir Paul McCartney in our frame.
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So we spent a good hour talking to Paul McCartney.
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I didn t know if I could joke.
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I wanted to go, Paul, I m kind of Dana s Yoko.
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No, I didn t either.
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That s the thing with famous people.
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You don t want to turn them off very early.
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So you re a little careful because you just want them to have a good time.
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We do get into what you Beatle fans love, I m being one of them, is who wrote what, when.
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We know there s Leonard McCartney every song, but who did what, where, when, how.
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And we do get into that with certain songs, and I realized that was really fun for Paul.
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And they re like in a bottle, Leonard s a genius, but Paul did a lot with that band, and there was a period of time where he was the cute one and whatever.
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And then I was gonna say, oh, do you think you would have spelled the Beatles correctly if you had spellcheck back then?
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I did not ask him that.
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I do remember two things.
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One, I paid about five years ago, 125,000 for front row to Paul McCartney.
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Wait, 125,000?
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Yeah, I mean, that s a mark.
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I mean, Ticketmaster is getting ridiculous.
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It s getting insane.
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No, I was at a benefit for, it s a whole story, but for Sean Penn for Haiti, and you bid on these things, and I sort of accidentally was being bullied to go higher anyway.
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But I went, met Paul, great.
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He came out with his guitar in that little tiny trailer and was singing and talking, gave me a drink, hey, have fun out there.
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So I knew him a little bit from that, which doesn t really count.
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And I also, in the old days, I took Brittany Murphy to Paul McCartney.
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Isn t that crazy?
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Wow.
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I think it was a date, I don t know.
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Paul and I, after I hung up- What a great- Front row, second row.
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After I hung up at Jackson Hole, Paul called me and said, who was the other guy on the Zoom?
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Because he seemed a bit dodgy.
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Me, yeah.
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I go, that was David Spade.
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Oh, David Spade, what is it?
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He didn t call me.
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He s the engineer.
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I m a professional superstar, is that what I am?
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And he went, do, do, do, do, do.
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And I went, do, do, do.
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So anyway, that s my Paul that he did do, he ll do a little bit on this podcast.
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He was fun though, I have to say he was fun.
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Charming, fun, and funny.
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And I was very nervous.
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Yeah, a lot of quips.
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A lot of quips.
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A lot of quips, but it was- He threw in some Lauren impressions, of course, right?
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He did go, you do good Lord.
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You ll find Paul is, he s just like a real person.
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It s like that thing of like, but Paul is, he holds the mantle of the Beatles very classy with it.
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He doesn t, you kind of, you can t help but gush and I do gush a little bit.
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I gush a lot.
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Sometimes I compliment you too much and you get a little red face.
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You ve never one time.
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Well, I say you re the greatest.
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Who cares what you talk about?
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You re always saying I m like a young McCartney.
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I m like John Lennon, I guess, I don t know.
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What was I gonna say?
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Oh, Paul, oh, he s one of the most famous people out there, right?
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Is that fair?
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I would say globally, well, not, he s right, who s more famous?
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I mean, there s Mick, there s Paul, there s a lot of people that are super famous and he s definitely up there.
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And the challenge of this for us as podcasters
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is getting to start the podcast.
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We re not doing it.
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It s just not yapping like we are now.
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It s just to ask the guests questions they might enjoy, ask some questions that they can t ask themselves.
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You know, Paul can t rhetorically go, you know, I did a lot with the Beatles.
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He can t bring that up.
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The reason I m a genius is because
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Yeah, can you believe how many songs I ve got?
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It s unreal.
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But it is fun to set the table for him and give him his props.
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And I do think weirdly, Get Back did, and we talk about Get Back the documentary a lot.
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And I think it did couch Paul s place within the Beatles a little differently.
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So if I were you, I would press play and I would have forward passed this a long time ago.
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So if you re still listening, I don t know who you are, but the actual interview is more interesting than these talking heads.
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Here s Paul.
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Is that him?
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It could be.
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It s a sighting.
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I like your environment.
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That s so cool.
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I live in a good environment.
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That is a wonderful environment, Paul.
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You got a kitchen back there?
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He is spending the money.
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Let me go scouse it for a second.
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Did you have a good brekkie, lad?
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All right, yeah.
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Thanks.
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I m just having my coffee.
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Right?
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Instead of I m having my coffee, you say me coffee.
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I love that.
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We re kind of, we re a little hyperbolic, you know, just we re excited like anyone else would be, you know.
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Paul, please don t mention that I look like I slept on my face.
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Don t bring it up a lot because people are whispering already.
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Yes.
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No, I think you look lovely.
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Thank you, buddy.
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I want to make you an offer, Paul, before we start, just an exchange.
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So your people sent me Flaming Pie in 1997.
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You sent 200,
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vinyls out framed and I got one out of the blue and it s a treasured I love the album love that love that and I happen to be in possession that NBC gave me as a Beatles Capitol Beatles meet the Beatles signed by all four Beatles and there s only 16 in the world I don t know if that s true but I will give it to you I will send it to you tomorrow if you want me to
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Because you sent me flaming bye.
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No, you can keep it, man.
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You can keep it.
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I was hoping you d say that.
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Dana, you can send it to me if you want.
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No.
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Or I suggest you send it to Charlie Finnan.
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He s an Irish lad.
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Finn is Irish.
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He s a bit of an Irish.
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So Paul, where shall we start?
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Where did you meet Paul, Dana?
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Where did I meet Paul?
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I met him at Lorne Michaels  house in Long Island in 1986, can we say it?
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And I was out there, I d gotten cast on the show.
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I was nobody from nowhere and it freakily got cast on the show and then I was hanging out at Lorne s house he Lorne s very intimidating when you don t know him you know he s like uh well you will come out to Long Island and maybe you could take Jack s room and I was Jack and there was always it s where Jack Nicholson stays
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So I was in Jack Nicholson s room and then one day he goes, because he s friends with Paul Simon and our Paul McCartney, but he never tells you the last name.
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He goes, Paul s going to be coming by tonight.
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So he makes you ask, which Paul?
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He goes, that would be Paul McCartney.
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That was when I met you and Linda at Lauren s house and you guys would put the kids to bed and come over and we would chat when you played us a new song that had never been released that was very cool.
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We had a chat about tug of war.
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What can I say to that?
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I know these aren t even questions we re just going to talk for an hour.
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Yeah, we re narcissists, so we re just talking about ourselves.
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We re not good at questions.
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But just speak to how you met Lorne.
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How I met Lorne?
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Or when?
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I m not sure I can remember.
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I ve been coming out to the Hamptons forever because Linda s dad had a house out here.
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So how did I meet Lorne?
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It might have been on SNL.
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It might ve been out here.
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There s loads of answers.
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I could pick one and sound genuine.
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It doesn t matter.
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In actual fact, I m not sure.
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It was either at SNL or out in the Hamptons.
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Yeah, you d have to meet him at the show, probably.
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That s where most people meet him.
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Did you have to audition to perform on the show?
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Yeah.
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I sent him a tape and...
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He was impressed and he asked me to come to his house and I stayed in Jack s room.
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Did you find it haunted like I did?
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Yeah.
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I just kept hearing a voice.
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What s the matter?
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Not sleeping so well in your bed?
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But Lauren has been such a big part of our podcast because we celebrate all things SNL and then Lauren kept coming up naturally with all the guests we ve had and he s such an enigmatic, interesting human being but also incredibly funny and he s kind of like
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The further you get from the show, the more you appreciate the job that he s doing.
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And I don t know how they may do it without him.
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I really don t.
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Yeah.
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No, I love Lorne.
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And like you, you know, I ve known him a long time and he s become a friend and not just the SNL guy, you know.
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And so we can talk problems with each other like friends do and can sort things out.
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But
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Yeah, no, I think he s very funny and very laid back.
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He always reminds me of Jack Benny.
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Yeah, I see that.
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I think he molds himself on Jack Benny.
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That sort of slow motion relaxation.
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Very sort of laconic.
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Very deadpan delivery.
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And he has wisdom.
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He really is very good at taking a big subject and then putting it down to one sentence.
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Because I was at a low point in my career, as there were many, and I was having dinner with Lorde and he just paused and he said, well, everyone knows who you are.
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You know, it was just sort of like, everybody knows who you are.
1
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It s a very good impression you do of him, by the way, Donna.
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Oh, thank you.
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I ve had time to hone it.
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I was shy about doing it for him for many, many years.
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And then finally, I did it.
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And actually, everyone does a Lorne at this point, which Lorne knows.
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And it s a great place to be.
1
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It s somebody who s very relaxed.
1
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Like you re about to do a sketch and you re terrified, and it s during the commercial break on 8H, and he would walk up and say, and he d have a glass of Chardonnay, but he wouldn t drink it.
1
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He would just hold it to relax you.
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And he d say, oh, this sketch has to breathe.
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And that was it.
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So he s great at just encapsulating things.
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He would say things to me like that, and I didn t understand.
1
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But when I, Paul, do you remember this incident on SNL when Sinead O Connor was on and she tore up the picture of the Pope?
1
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Yeah.
1
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Yeah, you heard about that.
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So when I was there, I was a writer and I was walking by when that happened.
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I didn t know the severity, the heaviness of it.
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I just, from Arizona, I don t know anything.
1
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So she ripped it up, so I picked up a piece of it and put it in my pocket.
1
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I kept walking, and then I come around the corner, and it s dead silent.
1
SPEAKER_02
This is the only time in history, you ve been a musical guest there, that no one applauded, no one did anything.
1
SPEAKER_02
It s just dead silent, they went to a commercial.
1
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And I come around the corner, and there s Loren holding his Amstel light, and he goes, mmm, Irish.
1
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And that was it.
1
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I don t even know what it meant.
1
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Irish people just tear up pictures a lot.
1
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Yeah, I guess so, he s throwing up, I don t know.
1
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So Paul.
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Yeah, go ahead, Dana, give one, because I was looking through all the songs and there are some real toe tappers in here, Paul.
1
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Oh, yeah.
1
SPEAKER_01
Oh, yeah.
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I m out for toe tappers.
1
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I see.
1
SPEAKER_02
I m looking at all these and I m wondering, because we do stand up sets and all that.
1
SPEAKER_02
Do you when you go on tour, it s got to be such a heavy deal that you have a set set list or can you change it or how does that go about?
1
SPEAKER_01
Yeah, you can change it.
1
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Yeah, I mean,
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Normally, we get a set list in rehearsal, just so the whole crew knows what s going to happen.
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Of course.
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Occasionally, if I m feeling in a very fun mood, I will just say, we re going to do something now that the crew doesn t know about.
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That s a fun moment.
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We just throw in some song that the lighting guy doesn t know how to light.
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But normally, it s the same set.
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Then if we ve been in a place, let s say just recently we did Fenway Park in Boston.
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We did that two nights on the run.
1
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So the first night, we would have the main set.
1
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The second night, we d probably alter a few of the songs in case someone came to both of the shows.
1
SPEAKER_02
That s cool.
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SPEAKER_01
We do that.
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We have the ability to change the opening song.
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That s normally what we do.
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SPEAKER_01
We don t normally do much more than that.
1
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Let s say because you put a show together, it s like putting an album together.
1
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got it right, and it s working, and it feels good for you.
1
SPEAKER_01
I don t really see the point in changing it, unless for the reason I just mentioned, which is, you know, somebody s seen it all.
1
SPEAKER_01
And what happens is you end up, even the dialogue becomes, it gets like a stage musical.
2
SPEAKER_01
Because the dialogue is the jokes that work.
2
SPEAKER_01
I mean, you can try and do a complete new dialogue, but you might find it doesn t work quite as well.
2
SPEAKER_01
So what I do is I say, I tell a story where I tell the same story, because we got a guy who came to our show.
2
SPEAKER_01
who holds up a card, 130.
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SPEAKER_01
It means he s been to the show 130 times.
2
SPEAKER_03
Wow.
2
SPEAKER_01
So, I mean, I love him, but I do say to him, it s slightly obsessive.
2
SPEAKER_01
But yeah, so that s the thing, but it really is a set list.
2
SPEAKER_03
Which we love, we love.
2
SPEAKER_03
I have a follow-up.
2
SPEAKER_03
Listen to this.
2
SPEAKER_03
So Paul, you re doing this, you know your songs, you ve got them down, and if you have something new you re going to say in between, does that almost get you more nervous if you re going to tell a story or do something funny in between because that s a little more unfamiliar?
2
SPEAKER_01
You know what?
2
SPEAKER_01
I don t know, my theory about nervous and all of that is that when we first started, I used to get really very nervous.
2
SPEAKER_01
I was trying to think why, because, you know, we were quite popular in the beginning even.
2
SPEAKER_01
My thought was, I look at the audience and I think,
2
SPEAKER_01
They all hate me, so I ve got to do something good to make them like me.
2
SPEAKER_01
That was where my nerves came from.
2
SPEAKER_01
I think they re all looking at me like, what s he got?
2
SPEAKER_01
And over the years, I suddenly realized at one point, wait a minute, they ve all paid to come and see me, so they probably like me.
2
SPEAKER_01
Once I realized that they probably liked me, I really relaxed.
2
SPEAKER_01
So yeah, I m quite relaxed now.
2
SPEAKER_01
And even if I do some new stuff or try a trick, I m relaxed enough to do it.
2
SPEAKER_01
What I started doing a couple of years ago was like,
2
SPEAKER_01
Coming to an audience that really loves you, for instance, if you haven t been there before, which I love, if you go to a town you ve never been to, because they re more excited, you know.
2
SPEAKER_01
And I would feel this energy coming off of it, it d be like, oh God, this is so great.
2
SPEAKER_01
So I started off then saying,
2
SPEAKER_01
Just a minute.
2
SPEAKER_01
You know what?
2
SPEAKER_01
This is all so cool.
2
SPEAKER_01
I m going to take a minute to take all of this in for myself.
2
SPEAKER_01
Then I walk off the microphone and just sort of stand there.
2
SPEAKER_01
Wow.
2
SPEAKER_01
And they all go, ooh.
2
SPEAKER_01
I love it.
2
SPEAKER_01
It s a great thing with the audience.
2
SPEAKER_01
Well, I just think, Jesus, I mean, it s a little bit flashed of me just not doing anything.
2
SPEAKER_01
But that comes with the confidence of what I said, thinking, they ve come to see you.
2
SPEAKER_01
So even if you just stand there looking around and going, hmm.
2
SPEAKER_02
Well, Elvis and Vegas would just go and do a pose and do a pose and just be Elvis.
2
SPEAKER_02
And they wanted to love him up so much before he got to the song.
2
SPEAKER_02
So I think that the time has passed so much and so many people love the songs that it is like a church in a way, because how much the songs have touched them.
2
SPEAKER_00
Knowing how to speak and understand a new language can be an invaluable tool when traveling, meeting new friends, or just even to master a new skill.
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SPEAKER_00
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2
SPEAKER_02
I just want to ask you, do you have any rituals before you go out?
2
SPEAKER_02
Something you eat if you want more energy?
2
SPEAKER_02
Like, I ll have a little bit of chocolate.
2
SPEAKER_02
Do you guys do a high five in the band?
2
SPEAKER_02
Or do you have any kind of stuff you re doing right before you go out?
2
SPEAKER_02
Because you re going for three hours, right?
2
SPEAKER_02
Or two hours?
2
SPEAKER_01
Three hours, yeah.
2
SPEAKER_01
Yeah, we do.
2
SPEAKER_01
You know, again, all this stuff
2
SPEAKER_01
you start off just doing a couple of things and it grows into a ritual, you know.
2
SPEAKER_03
As everyone expects it at a certain point, you go, let s just do this, this, then we go on stage, blah, blah, blah.
2
SPEAKER_03
Ready, go.
2
SPEAKER_03
Yeah.
2
SPEAKER_01
So what I do in my dressing room is my guy will come in, my show manager, whatever you call him, will come in and he ll say, okay, that s an hour.
2
SPEAKER_01
You know, in other words,
2
SPEAKER_01
you know, 7.30, you re going on at 8.30.
2
SPEAKER_01
So I go, and start my preparation kind of thing.
2
SPEAKER_01
And yes, I do certain things, I sort of boil a kettle, because I know I m going to do like a steam thing.
2
SPEAKER_01
I do that, and then I do, for some unknown reason, I question it every night.
2
SPEAKER_01
I do, with the boiled water, I get a salt.
2
SPEAKER_01
I get a salt in a cup, like a brine solution, which I then gargle with.
2
SPEAKER_01
I ve no idea if it does anything.
2
SPEAKER_02
You don t know where the idea came from?
2
SPEAKER_03
It seems to work, right?
2
SPEAKER_03
Okay.
2
SPEAKER_01
So I do a few things like that and then get dressed and into the stage stuff.
2
SPEAKER_01
Then about 10 minutes before we re going on, I will go into the band s dressing room.
2
SPEAKER_01
We then have a little routine where we do, Rusty, one of the guitar players,
2
SPEAKER_01
we ll play a C chord and I ll go, let it be, let it be, and they all go.
2
SPEAKER_01
We just do a little burst of that, and then we do a little burst of Hey Jude, and they do the harmonies with that, and the guy comes and says, showtime.
2
SPEAKER_03
Wow.
2
SPEAKER_03
I love it.
2
SPEAKER_03
Scary.
2
SPEAKER_03
Yeah.
2
SPEAKER_03
How fun.
2
SPEAKER_03
Do you have, I saw Elton one time and backstage he had probably 300,000 outfits.
2
SPEAKER_03
Do you have probably less than that?
2
SPEAKER_03
And do you, cause I m like, Elton, can t you whittle it down to just a hundred that you might wear tonight?
2
SPEAKER_03
Like they have literally every outfit in America.
2
SPEAKER_03
And then he goes that one or do they pick or do you pick, do you walk around and go this one?
2
SPEAKER_03
You re kind of pretty simple, right?
2
SPEAKER_03
Yeah.
2
SPEAKER_01
I pick my outfit, yeah.
2
SPEAKER_01
I ve got a few.
2
SPEAKER_01
There s not an awful lot of variation.
2
SPEAKER_02
Yeah, it s simple.
2
SPEAKER_01
I ve got a few jackets, a few shirts, a few trousers, and beetle boots.
2
SPEAKER_01
So, you know, I can make that.
2
SPEAKER_02
So you re still wearing beetle boots, actual beetle boots, like with the two and a half inch heels?
2
SPEAKER_02
Everyone s got to wear beetle boots.
2
SPEAKER_01
That s just one of the sort of great things.
2
SPEAKER_01
which is like sort of memories and all sorts of stuff for me.
2
SPEAKER_01
You know, what used to happen with the Beatles was we d show up in what we call our civvies, you know, our street clothes.
2
SPEAKER_01
And so four of us would be different human beings.
2
SPEAKER_01
And then we d get ready for the show.
2
SPEAKER_01
And with the Beatles, often, we d have the same beautiful suit.
2
SPEAKER_01
So we d have that.
2
SPEAKER_03
All together, yeah.
2
SPEAKER_01
So, well, then suddenly we were transformed into like, wow, this is like a group.
2
SPEAKER_01
It s like, you know, you re, it s like military.
2
SPEAKER_01
You re like, wow, we re the same person.
2
SPEAKER_01
And the thing was that, um, when we first started going down to London, we d found this place that made these groovy Spanishy kind of boots with a heel.
2
SPEAKER_01
And so when you got your outfit on and you pulled these boots on with the heel, you were now taller as well.
2
SPEAKER_02
Oh, it s a great look.
2
SPEAKER_01
I can t believe you were a four-headed beast, but you were a tall, four-headed beast.
2
SPEAKER_02
Yeah, you were like a four-headed beast, because it was the most amazing transformation in history, because then you were just badasses, right?
2
SPEAKER_02
When you got out there and got into your groove.
2
SPEAKER_01
Yeah.
2
SPEAKER_01
So that was it.
2
SPEAKER_01
I ve always liked that, and I always think, yeah, that s a good idea, that.
2
SPEAKER_01
you pull these boots on and you re, you re a little bit taller.
2
SPEAKER_01
So I ve become very used to them as well, you know, so, uh, yeah, there you go.
2
SPEAKER_03
What s the thing you like?
2
SPEAKER_03
I wear Skechers.
2
SPEAKER_03
Um, but because Paul, three hours, I, I, I m
3
SPEAKER_02
a great stander.
3
SPEAKER_02
So when I do my standup, which everyone s excited about, but when I do my standup, it s an hour and it s tough to get through an hour.
3
SPEAKER_02
Three hours has got to be tough on you, but you seem to have absolutely no problem with it.
3
SPEAKER_00
I blame Bruce Springsteen.
3
SPEAKER_00
I do, I literally, I know him, and I say to him, it s your fault, man.
3
SPEAKER_00
Yeah, take it easy, guy.
3
SPEAKER_00
Five-hour things, and the rest of us look, look, you know, measly if we do an hour.
3
SPEAKER_00
But the Beatles used to do a half hour.
3
SPEAKER_01
30 minutes, yeah, of just hits.
3
SPEAKER_00
Yeah.
3
SPEAKER_00
Dig that.
3
SPEAKER_01
And then they throw you in a van and four Beatles just flying all over the place.
3
SPEAKER_00
But you know how that, again, it s lovely because you start thinking about what was the reason for that?
3
SPEAKER_00
Why did we do that?
3
SPEAKER_00
And I know that when we first started playing clubs and things, the promoter would come up to the comedian and say, how long do you do?
3
SPEAKER_00
And the comedian was like, four minutes.
3
SPEAKER_00
They said, you can do four minutes?
3
SPEAKER_00
Yeah.
3
SPEAKER_00
Okay.
3
SPEAKER_00
So the comedian would do four minutes.
3
SPEAKER_00
So we thought, well, God, you know, if we could do like 20 minutes, it s a marathon.
3
SPEAKER_02
So we stretched it to like... It s an eternity if you do 18.
3
SPEAKER_01
But the songs were two minutes, essentially, in the early days, right?
3
SPEAKER_01
Just bam, bam, bam.
3
SPEAKER_01
She loves you.
3
SPEAKER_01
Yeah.
3
SPEAKER_01
Yeah.
3
SPEAKER_00
Yeah, and the great thing was that John would do some of the songs, I would do some of the songs, George would do some of the songs, and Ringo would.
3
SPEAKER_00
So we split that through 30 minutes.
3
SPEAKER_00
And I mean, hardly done anything.
3
SPEAKER_01
You shouldn t even get paid for that.
3
SPEAKER_01
It s barely... Well, I don t know how you play the bass and sing like you do.
3
SPEAKER_01
A lot of people are amazed by that.
3
SPEAKER_01
You know, I tell people who ask me about The Beatles, I say, well, if Paul McCartney was only the bass player, he would be indispensable.
3
SPEAKER_01
You do other things as well, but I just love the way you play bass.
3
SPEAKER_00
You know, and the thing is, I never wanted that job.
3
SPEAKER_00
Bass player was the worst job in the world.
3
SPEAKER_00
And it was the fat guy.
3
SPEAKER_01
I was a fat guy.
3
SPEAKER_01
Well, you were exotic because you were a lefty, and then you had that honer bass for so long that it became sort of iconic and seemed pretty and lightweight.
3
SPEAKER_01
But did you find it difficult?
3
SPEAKER_01
Because you can t just strum, you have to hit all the notes perfectly, and Ringo has to stay on time.
3
SPEAKER_01
It seems awfully difficult, but you took to it.
3
SPEAKER_01
Did it take a bit of time?
3
SPEAKER_00
Well, you know, I had a lot of practice in Hamburg.
3
SPEAKER_00
We had a lot of practice.
3
SPEAKER_00
So it s that 10,000 hours thing that I started off- Malcolm Gladwell.
3
SPEAKER_00
And I did start off playing like the fat guys played, which is- Sounds very fat.
3
SPEAKER_01
Yeah, kind of country western almost.
3
SPEAKER_00
But eventually when James Jameson came along, the great bass player, and started going,
3
SPEAKER_00
He s like, whoa, he s got a melody going.
3
SPEAKER_00
So that really turned me on.
3
SPEAKER_00
So I completely changed and just enjoyed being a more melodic bass player.
3
SPEAKER_01
Riding around the neck, riding up and down.
3
SPEAKER_01
Because Love Me Do, I got to say, is a very simple bass line, but that s what that song required, I guess.
3
SPEAKER_01
But that was probably your simplest bass line.
3
SPEAKER_00
Yeah.
3
SPEAKER_00
And it s funny because we do that in the show now.
3
SPEAKER_01
You do?
3
SPEAKER_01
Awesome.
3
SPEAKER_00
In the show now, yeah.
3
SPEAKER_00
And it s funny because you ve got a little auto cue in case if you ve got some of the songs, you ve got a lot of lyrics.
3
SPEAKER_00
And so it s kind of handy to just check.
3
SPEAKER_00
Sure.
3
SPEAKER_00
You got to have it.
3
SPEAKER_00
Yeah.
3
SPEAKER_00
Love me do, I find myself looking at the auto cue and it s the same chorus.
3
SPEAKER_00
It s love me do.
3
SPEAKER_01
And then you went to Please Please Me, which seemed like such a leap.
3
SPEAKER_01
Please Please Me was kind of your next big, your top tenner, you know, which was pretty sophisticated from Love Love Me Do.
3
SPEAKER_00
Oh yeah.
3
SPEAKER_00
The thing about that was, again looking back on it, is that it was all directed on our fans.
3
SPEAKER_00
Because, you know, we were new to this whole idea of fans and autographs.
3
SPEAKER_00
It was wonderful and new and wow, you know.
3
SPEAKER_00
So love me do.
3
SPEAKER_00
So there s the personal pronoun.
3
SPEAKER_00
So the next one is, please, please, me.
3
SPEAKER_00
Then there s from me to you.
3
SPEAKER_00
Then there s she loves you.
3
SPEAKER_00
I want to hold your hand.
3
SPEAKER_02
Was this intentional?
3
SPEAKER_02
I m looking through you.
3
SPEAKER_02
I m looking through you.
3
SPEAKER_02
I m looking through you.
3
SPEAKER_00
So it s really trying to reach directly fans.
3
SPEAKER_00
I think I should do more of it these days, actually.
3
SPEAKER_01
Let s do a redo.
3
SPEAKER_01
It s a good trick.
3
SPEAKER_01
I saw you.
3
SPEAKER_02
I have a question for Paul, real quick.
3
SPEAKER_02
Love it.
3
SPEAKER_02
Did you know Elvis?
3
SPEAKER_02
Did you see Elvis back in the day?
3
SPEAKER_00
We met him, yeah.
3
SPEAKER_02
Was there any competition or was he just sort of big here and then you got here and it s just two different things?
3
SPEAKER_00
Well, you know, we loved him.
3
SPEAKER_00
He was like the start of everything to us.
3
SPEAKER_00
We re in Liverpool and, you know, you re listening to the radio or seeing the TV and it was sort of old-fashioned kind of music.
3
SPEAKER_00
or, I don t know, novelty songs and stuff.
3
SPEAKER_00
Okay.
3
SPEAKER_00
But then suddenly rock and roll came out.
3
SPEAKER_00
And so this creature.
3
SPEAKER_00
A creature.
3
SPEAKER_00
It was like unbelievable.
3
SPEAKER_00
It was so good looking.
3
SPEAKER_00
His voice was so amazing.
3
SPEAKER_00
The way he danced was so incredible.
3
SPEAKER_00
So, you know, we just loved him anyway.
3
SPEAKER_00
And loved him mainly, we loved him all the time.
3
SPEAKER_00
But after he came out of the army, we thought they ruined him because they put trombones on the track and things like that, which we weren t that keen on.
3
SPEAKER_00
But yeah, we met him.
3
SPEAKER_00
We tried to meet him a lot.
3
SPEAKER_00
Eventually, we went to the house he was renting in LA and we all showed up there and like the four of us again.
3
SPEAKER_00
Yeah.
3
SPEAKER_00
Knocked on his door and there is where it goes strange.
3
SPEAKER_00
Oh, really?
3
SPEAKER_00
Because my memory is Elvis came to the door and let us in.
3
SPEAKER_00
And Rico says, no, we didn t.
3
SPEAKER_00
No, somebody else let us in.
3
SPEAKER_00
Someone else let us in.
3
SPEAKER_00
So I m gone with my memory anyway.
3
SPEAKER_02
Yeah.
3
SPEAKER_00
But anyway, yeah, he was fantastic.
3
SPEAKER_00
He was really cool.
3
SPEAKER_00
We thought he was just so good looking.
3
SPEAKER_01
He was voted by the way do you know he s voted the most handsome man of the 20th century by some poll or some magazine that Elvis so the best-looking man can also sing better than any human being I mean it s too much it was too much
3
SPEAKER_00
You know, so he was lovely and he started playing on a bass.
3
SPEAKER_00
He picked up a bass.
3
SPEAKER_00
So I thought, well, here s something I can talk about.
3
SPEAKER_00
So, you know, we talked a bit of bass and then he had what amazed us was he had a remote because in England, they didn t have remotes for your TV.
3
SPEAKER_02
Oh, sweet.
3
SPEAKER_00
remote we d ever seen.
3
SPEAKER_00
So he s got this thing in his hand and he goes, and the television channel changes.
3
SPEAKER_00
We go, oh.
3
SPEAKER_00
Sorcery.
3
SPEAKER_00
Yeah, that s crazy.
3
SPEAKER_00
Yeah, that s funny.
3
SPEAKER_00
The latest record, Moher Sam.
3
SPEAKER_00
We played that over and over, Moher Sam.
3
SPEAKER_01
How did that go?
3
SPEAKER_01
Moher Sam, Moher Sam.
3
SPEAKER_01
What was that song?
3
SPEAKER_01
Moher Sam.
3
SPEAKER_00
Moher Sam by Charlie Rich.
3
SPEAKER_00
It s great.
3
SPEAKER_00
It s a good song.
3
SPEAKER_00
So yeah, no, it was magic, you know, meeting him.
3
SPEAKER_00
And so we loved him and everything, and I continue to love him to this day, even though he tried to bust us to Nixon.
3
SPEAKER_02
What?
3
SPEAKER_02
Oh, was that when he was a sheriff or something?
3
SPEAKER_00
There s tape of him saying, you know, those Beatles, they re American.
3
SPEAKER_00
He s been busting us, and I m going, Elvis!
3
SPEAKER_01
I m telling you, I don t trust no Beatles, I m telling you that.
3
SPEAKER_00
I still love him anyway.
3
SPEAKER_02
But yeah.
3
SPEAKER_02
Oh, yeah.
3
SPEAKER_02
Did you go see him ever?
3
SPEAKER_02
Did you see him go live?
3
SPEAKER_00
Did what?
3
SPEAKER_02
Did you go watch him at the Hilton or anything?
3
SPEAKER_00
No.
3
SPEAKER_00
I never saw him live, though.
3
SPEAKER_00
Well, we only got a meeting, but I never saw him live.
3
SPEAKER_00
But he was great.
3
SPEAKER_02
Oh, yeah.
3
SPEAKER_02
Unbelievable.
3
SPEAKER_02
Yeah.
3
SPEAKER_02
I mean, just the fact that you guys got in the same room, that must have been pretty—you re probably both nervous, you know, to meet each other in a weird way.
4
SPEAKER_01
Probably, yeah.
4
SPEAKER_01
Has anyone talked to you since Get Back came out, the documentary?
4
SPEAKER_01
Yeah.
4
SPEAKER_01
Probably have done some interviews.
4
SPEAKER_01
Yeah.
4
SPEAKER_01
What s your feedback from the fans?
4
SPEAKER_01
I mean, I found it just revelatory and amazing and brilliant.
4
SPEAKER_01
I just loved it.
4
SPEAKER_01
And we were seeing you guys up close.
4
SPEAKER_01
I remember just the work ethic of you guys and the chemistry between the four of you sitting around.
4
SPEAKER_01
I don t know, what are your thoughts on it?
4
SPEAKER_01
Was it surreal?
4
SPEAKER_01
I mean, if there was video of me in my 20s doing stand-up, there s no record of me at that age.
4
SPEAKER_01
And you re watching yourself at like 27 or 8.
4
SPEAKER_01
How did you find it?
4
SPEAKER_01
I mean, you enjoyed it, right?
4
SPEAKER_00
Yeah, it was kind of magical for me because that period had, in my memory, had always been a little bit dark because it was to do with the Beatles breaking up.
4
SPEAKER_00
So the first Let It Be film was cut a little bit with that in mind.
4
SPEAKER_00
So I found it a bit depressing.
4
SPEAKER_01
Yes.
4
SPEAKER_00
And I never wanted to watch the first Let It Be film.
4
SPEAKER_00
And so when Peter Jackson was slated to do this version, I said to him, Peter, you know, I m not sure I m going to like this because, you know, I got blamed for breaking up the Beatles.
4
SPEAKER_00
And in actual fact, it wasn t me.
4
SPEAKER_00
And I ve been trying to explain that to people for years and years.
4
SPEAKER_00
But then after a couple of months he d been working on it, he got in touch with me.
4
SPEAKER_00
He said, it s not like that at all.
4
SPEAKER_00
He said, it s amazing.
4
SPEAKER_00
So there s just these four guys in a room and you re having fun and you re working together.
4
SPEAKER_00
So he sent me a little clip which really saved my life.
4
SPEAKER_00
This is a little bit where John and I were, I m working on, she came in through the bathroom window and I m just drumming on the bass and John s on the piano.
4
SPEAKER_00
And at the end of it, I said, no, no, no, no, Monday s on, Tuesday s on the phone to me.
4
SPEAKER_00
And I go, hello, Tuesday.
4
SPEAKER_00
How you going?
4
SPEAKER_00
All right.
4
SPEAKER_00
And Conor immediately picks it up.
4
SPEAKER_00
Yeah.
4
SPEAKER_00
Tuesday, he s coming round.
4
SPEAKER_00
I can t remember what he says.
4
SPEAKER_00
Tuesday s coming over.
4
SPEAKER_00
This little routine, you know, if I m ringing Tuesday.
4
SPEAKER_00
And I thought, oh, God.
4
SPEAKER_00
Yeah, that s how it was.
4
SPEAKER_00
It was, it was fantastic.
4
SPEAKER_00
So, yeah, we, I loved it.
4
SPEAKER_00
I really loved it.
4
SPEAKER_00
And it, you know, with Peter,
4
SPEAKER_00
What do you call it?
4
SPEAKER_00
Remastering it.
4
SPEAKER_01
Yeah, make it so shiny and bright.
4
SPEAKER_00
It s sharp and everything and the sound and all of that.
4
SPEAKER_00
It was like having an old home movie of yourself.
4
SPEAKER_02
Oh my God, yeah.
4
SPEAKER_00
But perfect.
4
SPEAKER_00
And, you know, and I really, I forgave myself when I saw that, because I m thinking, no, everyone s messing around.
4
SPEAKER_00
And we re all messing around.
4
SPEAKER_00
We re goofing around.
4
SPEAKER_00
It s not like we haven t got to do anything in a month s time with these songs we haven t written yet.
4
SPEAKER_01
14 songs.
4
SPEAKER_01
So, but... What were you forgiving yourself about?
4
SPEAKER_01
Yeah.
4
SPEAKER_01
Why did you feel you had to forgive yourself?
4
SPEAKER_00
I thought I was too bossy.
4
SPEAKER_00
I thought that would be the problem.
4
SPEAKER_00
But when I saw the film, I m not being bossy at all.
4
SPEAKER_00
I m just trying to get people to work.
4
SPEAKER_00
Yeah.
4
SPEAKER_00
I totally get that.
4
SPEAKER_00
I m just trying to get us, you know, come on guys, you know, it s two weeks off, you know.
4
SPEAKER_00
So people have said to me, you d ask about FEMA, people have said to me, well, someone has to do that.
4
SPEAKER_00
Oh yeah.
4
SPEAKER_00
Someone has to do that guy.
4
SPEAKER_00
So I forgave myself, I let myself off.
4
SPEAKER_00
I thought, yeah, that s all I was trying to do.
4
SPEAKER_00
I wasn t trying to be pushy or I was just trying to get the work done.
4
SPEAKER_00
And the other aspect I thought was great is that the way we just goofed around.
4
SPEAKER_00
That s what I loved.
4
SPEAKER_00
You know, you think, but John Cleese had a thing where it was work as a tool.
4
SPEAKER_00
No, no, play as a tool.
4
SPEAKER_01
Yes.
4
SPEAKER_00
So in other words, you re goofing, goofing, goofing, and then you come to do the thing.
4
SPEAKER_00
So yeah, we messed around with the song so much that it made them not intimidating.
4
SPEAKER_00
We like, we done them as jokes.
4
SPEAKER_00
Hello, Tuesday.
4
SPEAKER_00
So when you came to do the song, you weren t as frightened as you might ve been.
4
SPEAKER_00
It was just this stuff you ve been goofing around on.
4
SPEAKER_01
I don t want to interrupt that flow, but sometimes you guys would, to release pressure, I guess, is sing some of your brilliant songs from the years previous, but in a funny voice.
4
SPEAKER_01
That always struck me.
4
SPEAKER_01
That was very funny.
4
SPEAKER_01
You all would do that.
4
SPEAKER_00
Again, that s the thing.
4
SPEAKER_01
You take the wind out of it in a way.
4
SPEAKER_00
Yeah, and I d forgotten that we did that.
4
SPEAKER_00
You know, I kind of knew, but I d forgotten the specifics.
4
SPEAKER_00
So Peter s film then just shows
4
SPEAKER_00
chose us working on the song Two of Us.
4
SPEAKER_00
And John and I tried to do it like ventriloquists.
4
SPEAKER_00
It s just the fact that, and we don t just do it for two lines.
4
SPEAKER_00
No.
4
SPEAKER_00
We do the whole bloody song.
4
SPEAKER_00
It goes for minutes.
4
SPEAKER_00
And we re looking at each other, and you know, that spirit was always there from the minute I met John.
4
SPEAKER_01
Yeah.
4
SPEAKER_00
The Beatles broke up and beyond actually, you know, there was always that sort of, we re just two guys goofing our way through the world.
4
SPEAKER_01
I think sense of humor connects young cliques and friendships more than anything because that sensibility of what is funny and how are things funny and you guys had it together you could see all four of you kind of knew when it was getting good but I totally relate to when I m working on something of wanting to get away from it because you re sort of problem-solving and it gives you a headache you know I ve got a feeling I ve got a feeling
4
SPEAKER_01
And then you d go awake, go incredibly goofy, and then come back.
4
SPEAKER_01
It was really fun to watch.
4
SPEAKER_01
I m so glad that that is in this documentary.
4
SPEAKER_00
I must say, I was so pleased with it, because all the things we mentioned, you know, the way the picture was beautiful, it looked like it could have been shot.
4
SPEAKER_00
a week before, except it has this beautiful color.
4
SPEAKER_00
These colors, the color grading is beautiful.
4
SPEAKER_00
The sound is amazing.
4
SPEAKER_00
All the things that Peter s team did were so great.
4
SPEAKER_00
And then I say, the way I was able to let myself off the hook,
4
SPEAKER_00
And just think, you know, the thing is, guys like you who are in the business, all you and other people who I ve met, they talk about what they liked about the film was seeing the process.
4
SPEAKER_02
Sure, it s riveting.
4
SPEAKER_00
We would call it the process.
4
SPEAKER_01
Well, we were glad to know that there was the work ethic, the genius part comes in, I ll use the word here, is knowing when it s good.
4
SPEAKER_00
Yeah.
4
SPEAKER_01
And so you guys, not quite right, not quite right.
4
SPEAKER_01
And then you would look at each other and get feedback.
4
SPEAKER_01
I always say collaboration is affirmation.
4
SPEAKER_01
It s not that they re writing the chords.
4
SPEAKER_01
It s like, yes, that, that, that.
4
SPEAKER_01
And it just comes out where George was a little persnickety about, I ve got a feeling.
4
SPEAKER_01
Is it about, is the song called I ve Got a Feeling?
4
SPEAKER_01
And then later on he came to you and said, it s getting quite good, you know, just little moments like that.
4
SPEAKER_01
But yeah, we, the process was just work ethic.
4
SPEAKER_01
And going until it s good.
4
SPEAKER_01
Don t stop.
4
SPEAKER_00
We didn t know where we were going to do it.
4
SPEAKER_00
It was maybe going to be Libya, or it was maybe going to be on an ocean liner.
4
SPEAKER_00
In the end, it was just up on the roof.
4
SPEAKER_02
Oh yeah, I think you guys looked the coolest.
4
SPEAKER_02
That rooftop show, the beards and everything, was that the last time you did a gig together?
4
SPEAKER_00
Yeah, that was the last time we ever played live together.
4
SPEAKER_01
But all the fear was gone!
4
SPEAKER_01
All the fear was gone by the time you guys that was the it was it was emancipatory watching the struggle uh creatively and then watching you guys in the pocket immediately like just so zoned in and then you re looking at John smiling he s looking at you like damn we re good you know you could at least that s the way I saw it like holy shit
4
SPEAKER_00
That s true, yeah.
4
SPEAKER_00
And then John s doing a song and he doesn t know the words, so he just gets Kevin to hold the paper.
4
SPEAKER_00
It was not important.
4
SPEAKER_00
We re just making a film on the roof, even though it was very important.
4
SPEAKER_00
It s a big film, but being able to treat it like, you know, this doesn t matter, was a secret with the Beatles.
5
SPEAKER_00
like me and newer that you know every year goes by there s just certain clips you will see of you guys and and they re the ones from TV and so to get such a huge chunk of your life it s not just a photograph to get hours of you just sitting and talking you get like who would ever think they d get to see that if I thought of myself a day in my life 20 30
5
SPEAKER_00
40 years ago, like, not just a picture, it would blow my mind at what things I d be looking at, thinking, I don t remember any of that, I do remember that.
5
SPEAKER_00
It s so riveting and authentic.
5
SPEAKER_01
And one thing, Paul, that you were like, you know, any songwriter goes through periods that are up and down.
5
SPEAKER_01
You were just going, you were kind of on an upswing
5
SPEAKER_01
around that album.
5
SPEAKER_01
And I think when you were, like, sometimes Ringo, people would stop and sort of look, and I think you were doing Long and Windy Road or something, and everyone, the studio would get kind of quiet, like, uh-oh, what s he got now, you know?
5
SPEAKER_01
So you were in kind of an upswing creatively at that time, right?
5
SPEAKER_02
Yeah.
5
SPEAKER_02
And it was funny because
5
SPEAKER_02
If you re on a creative upswing, the awkward thing is, like I was saying, I didn t want to seem like I was posse.
5
SPEAKER_02
The awkward thing is, you don t want to be the guy with the good songs.
5
SPEAKER_02
I see.
5
SPEAKER_02
You want to just, just let me sort of squeeze these in and shuffle them in between other songs.
5
SPEAKER_01
I mean, it wasn t totally true, of course, because George was coming up with something and, you know, there was all sorts of... Well, Abbey Road was being hatched out there, and then you went in the studio a month later, and then you get this work of art, Abbey Road, where everyone came together one last time in such a brilliant way.
5
SPEAKER_01
So that s arguably right up there with any of your albums with your lads.
5
SPEAKER_02
Well, you know, again, the nice thing about it is that
5
SPEAKER_02
John, you could see, John could tell I was coming up with like, sort of, you know, let it be and stuff like that.
5
SPEAKER_01
Yeah, we could tell.
5
SPEAKER_01
A friendly competition, yes.
5
SPEAKER_02
But I had to sing it a bit bow-faced.
5
SPEAKER_02
You know, I couldn t go, let it be, let it be.
5
SPEAKER_02
You know, when I found myself, I had to be like, this is serious.
5
SPEAKER_02
Good old John, you know, and he says, I know!
5
SPEAKER_02
Hark the herald angels sing!
5
SPEAKER_02
He has to take, right before the take, he has to take the piss out of me.
5
SPEAKER_02
And then I ve got a straight face.
5
SPEAKER_02
I ve got to try and do this song selling this...
5
SPEAKER_02
Love the feeling.
5
SPEAKER_00
With someone making faces.
5
SPEAKER_00
Well, do you underplay it when you play it?
5
SPEAKER_00
Just because you don t, it s not like showing off.
5
SPEAKER_00
You re like, that s an interesting concept.
5
SPEAKER_00
Yeah.
5
SPEAKER_02
I ve never come into a studio, mind you, none of us ever have, and said, I ve got this great song.
5
SPEAKER_02
We play it and stuff.
5
SPEAKER_02
And you know, that was the great thing about John.
5
SPEAKER_02
He often did that.
5
SPEAKER_02
He d try and take the mickey.
5
SPEAKER_01
uh right before you well they were brilliant songs and you know i mean but you you asked him in the documentary you said have you got anything i mean you were asking for more ammunition you know like i got these but have you got anything and he goes i got a i got a real you know something it s gonna be a basha you know kind of a non-answer really but
5
SPEAKER_01
He, you know, when you guys did If I Fell, two-part harmony, and you sang into each other s faces, and it s such a love song, you guys couldn t keep us, I mean, it must take a long time to look at, right?
5
SPEAKER_01
If I fell in love with you, and you re looking at each other.
5
SPEAKER_01
I mean, how did you get through that?
5
SPEAKER_01
The song is wonderful, but how did you guys get through that take?
5
SPEAKER_02
I don t know.
5
SPEAKER_02
I mean, some of the time you didn t get through it,
5
SPEAKER_02
But then it s like you ve got to straighten up at some point just to make the record.
5
SPEAKER_02
But I think the humor, like you said before, the humor from the word go of eating John, that was what we loved about each other.
5
SPEAKER_02
And again, you couldn t say,
5
SPEAKER_02
You loved each other.
5
SPEAKER_01
No.
5
SPEAKER_02
Because you re Liverpool guys and you re trying to be hard and you re trying to be tough.
5
SPEAKER_02
All right, man.
5
SPEAKER_02
Yeah, it s okay.
5
SPEAKER_02
Yeah, it s not bad.
5
SPEAKER_02
So you never really praised each other at all.
5
SPEAKER_02
Right.
5
SPEAKER_02
But you did it with humor.
5
SPEAKER_01
Yeah.
5
SPEAKER_01
And that was the Beatles.
5
SPEAKER_01
That s what John Lennon had said about Pete Best to your point.
5
SPEAKER_01
He said, why?
5
SPEAKER_01
He wasn t a Beatle.
5
SPEAKER_01
And the Beatles are humor.
5
SPEAKER_01
You know, Ringo is really funny and George and all you guys were so funny together.
5
SPEAKER_01
One thing I want to ask you about, which I find interesting, like if John writes a song
5
SPEAKER_01
And then he shows it to you, and you re going to play bass, and you re going to write some really cool bass.
5
SPEAKER_01
And did he ever just sort of go, hey, thanks for the bass part?
5
SPEAKER_01
Because even in She s So Heavy, some of the stuff you re doing on Abbey Road... Because after these remasters, we finally got to hear your bass and Ringo s drums.
5
SPEAKER_01
You know, that s why the Beatles are still evolving as an idea, because everything is... But your bass playing on some of his songs, I mean, he must have really loved
5
SPEAKER_01
the riffs you were coming up with for Dear Prudence or Come Together?
5
SPEAKER_01
Maybe you did that little first part.
5
SPEAKER_01
I don t know which ones you did.
5
SPEAKER_02
I think so.
5
SPEAKER_02
The thing was, when we wrote them, like you say, he d come to me or I d go to him.
5
SPEAKER_02
That was two acoustic guitars.
5
SPEAKER_02
So there was no question of bass.
5
SPEAKER_02
Bass came later.
5
SPEAKER_02
That was like an afterthought.
5
SPEAKER_02
So that, and come together, that was a special circumstance because he came in and he basically brought in a Chuck Berry song.
5
SPEAKER_02
Chuck Berry did a song called You Can t Catch Me.
5
SPEAKER_02
Okay.
5
SPEAKER_02
Which starts off, you come all flat up, here you go.
5
SPEAKER_02
Oh.
5
SPEAKER_02
He s the exact opening line.
5
SPEAKER_01
Yeah.
5
SPEAKER_02
So John brings in, we re in Abbey Road Studio number two, and John comes in and he says, yo, listen to this one, boom, chicka, boom, chicka, boom, chicka, boom.
5
SPEAKER_02
You come all flat up, and I m going, John, stop.
5
SPEAKER_02
That s You Can t Catch Me by Chuck Berry.
5
SPEAKER_02
Oh.
5
SPEAKER_02
He goes, yeah, I know, but it s good though, isn t it?
5
SPEAKER_02
And I said, no, we ve got to do something with it.
5
SPEAKER_02
So that was a case where we had to get it out of that Chookberry temple.
5
SPEAKER_02
You know, you couldn t change that opening line.
5
SPEAKER_02
It s just such a good opening line.
5
SPEAKER_02
And John had to pay Chuck Berry for using that.
5
SPEAKER_01
Oh, okay.
5
SPEAKER_01
He come on flat top.
5
SPEAKER_01
He got groovy like slowly.
5
SPEAKER_01
So you wrote that bass, that... That was the opening.
5
SPEAKER_02
You wrote that bass line.
5
SPEAKER_02
I was on the session, he comes in, chicka-boom, chicka-boom, chicka-boom, no, no, gotta stop, but we slow down, and we go, boom, boom, boom, boom, you know, gotta do that, and then bingo, boom, boom, boom, boom, boom, boom, boom, and suddenly we had this swampy groove.
5
SPEAKER_02
And then John just said, it come all back up.
5
SPEAKER_02
He started singing on top of it.
5
SPEAKER_01
And it just all came together.
5
SPEAKER_01
It s one of the best openings of a song.
5
SPEAKER_01
And also him going, you know, he goes.
5
SPEAKER_01
I mean, that is just when you guys record that shit and you hear it back in the room or you go into the engineering room and you, I don t know, and you hear it back and you know, it s so right.
5
SPEAKER_01
What a high that must be.
5
SPEAKER_02
It was, yeah, I must say.
5
SPEAKER_00
What about writing it?
5
SPEAKER_00
I mean, the words are so crazy.
5
SPEAKER_00
Do you guys just try to out-crazy each other on the lyrics, or did you write the whole thing, or does everyone just throw in something?
5
SPEAKER_02
Oh, it s a funny thing.
5
SPEAKER_02
You know, I listen to songs these days, and a lot of songs make sense.
5
SPEAKER_02
Whereas, you know, we re going, here come old flat time.
5
SPEAKER_02
You got to do what you have to do.
5
SPEAKER_02
The realist.
5
SPEAKER_02
And the truth is, because we loved that kind of art.
5
SPEAKER_02
We liked the realism.
5
SPEAKER_02
We got it.
5
SPEAKER_02
We liked the sort of crazy words and stuff.
5
SPEAKER_02
So, you know, whereas we would try and write songs like Let It Be or
5
SPEAKER_02
you know, more sensible songs kind of thing.
5
SPEAKER_00
Yes.
5
SPEAKER_02
We also love that crazy stuff, you know?
5
SPEAKER_02
And so, yeah.
5
SPEAKER_00
Well, everyone tries to figure it out too, which is even more maddening.
5
SPEAKER_02
Yeah.
5
SPEAKER_02
But yeah, so, you know, that s the thing.
5
SPEAKER_02
I think what was good about it is that if you look at all the Beatles songs, and hopefully my songs right through,
5
SPEAKER_00
Yeah, for sure.
5
SPEAKER_02
There s no two that are the same.
5
SPEAKER_02
Whereas you ve got a lot of recording artists, we used to say the Supremes were great, we loved them.
5
SPEAKER_02
But it was stop in the name of love or baby love.
5
SPEAKER_02
It was the same record, they kept the same style.
5
SPEAKER_02
we always tried to switch it.
5
SPEAKER_02
So it d be like, oh my God, come together.
5
SPEAKER_02
Yeah.
5
SPEAKER_02
Yellow submarine.
5
SPEAKER_02
Right.
5
SPEAKER_00
It s like, yeah.
5
SPEAKER_01
A day in the life or, you know.
6
SPEAKER_00
So here, there, and everywhere.
6
SPEAKER_00
She s leaving home.
6
SPEAKER_00
Now, Paul, if you do something like A Day in the Life or even like later with Admiral Halsey, I m just thinking of random ones, but when there s so many layers to them and so many change-ups, I don t know as much about music as Dana or you.
6
SPEAKER_00
I don t know anything.
6
SPEAKER_00
But it s so interesting to listen to, like, where do you stop?
6
SPEAKER_00
Where do you think this is it?
6
SPEAKER_00
Or where is it too much?
6
SPEAKER_00
Because you always seem to land.
6
SPEAKER_00
on exactly what it should be, and we don t know the other versions, but it must be tough, or with your bandmates, to say, I feel like this is it, or we need one more this in it.
6
SPEAKER_00
Because they re so mystical, the way they come together and stop and start, and the arrangements.
6
SPEAKER_02
I mean, in those kind of songs, that normally just happens in the writing.
6
SPEAKER_02
Luckily, unlike a lot of people these days, a lot of people will go in without a song,
6
SPEAKER_02
The discipline that we sort of learned was you had to have a song, which does make a lot of sense.
6
SPEAKER_01
Yes.
6
SPEAKER_01
And we have recordings on the Escher tapes.
6
SPEAKER_01
We have recordings of you guys working out the songs.
6
SPEAKER_02
All of those songs, like Day in the Life, we knew that was going to happen, or when this bit comes now.
6
SPEAKER_02
And so we had the framework, and then with me, like Live and Let Die, I knew that was going to be framework, or Uncle Albert.
6
SPEAKER_02
You knew that framework,
6
SPEAKER_02
And then you went in and gussied it up kind of thing, you know?
6
SPEAKER_01
I put Live and Let Die, I m sorry.
6
SPEAKER_00
Solid gussying.
6
SPEAKER_01
I put that up with Goldfinger.
6
SPEAKER_01
I think that is... Oh, Live and Let Die is unreal.
6
SPEAKER_01
It goes so avant-garde with the keyboards in the middle.
6
SPEAKER_01
It s a big song.
6
SPEAKER_00
And in concert, you got the lights going, explosions.
6
SPEAKER_02
And we got all the explosions and that.
6
SPEAKER_00
Yeah, it s great.
6
SPEAKER_02
The guy who does our explosions, our pyrotechnic guy, is called Shaky.
6
SPEAKER_02
Perfect.
6
SPEAKER_00
Good old Shaky.
6
SPEAKER_00
Oh, you know, you re not going to feel any heat, I promise you.
6
SPEAKER_00
This day in the life, was that sort of, it s hard to pick a number one, was that vote is the best one, the most, the favorite for the fans?
6
SPEAKER_02
It s pretty damn good.
6
SPEAKER_02
I mean, what happened was John came to my house in London and I ve got like a music room up on the top floor.
6
SPEAKER_02
And so he came up there and we sitting around and he started, it was his song essentially.
6
SPEAKER_02
And he starts doing this, I read the news today.
6
SPEAKER_02
And so we were working into that.
6
SPEAKER_02
And then after that, we re going to go to a second verse and then all that.
6
SPEAKER_02
and then we get to the bit, I d love to turn.
6
SPEAKER_02
We re looking at each other, thinking, we re really being naughty boys.
6
SPEAKER_02
I d love to turn you on.
6
SPEAKER_00
Were you allowed to say on?
6
SPEAKER_00
That was probably pretty controversial.
6
SPEAKER_02
It was a bit, you know, yeah, but it was like, we knew, as we looked at each other, we knew, yeah, we ve got to do this.
6
SPEAKER_02
And there was this little conspiratorial look between us.
6
SPEAKER_02
It s like, ooh, yeah.
6
SPEAKER_00
You re getting away with it.
6
SPEAKER_02
I was always good at throwing something a little bit naughty.
6
SPEAKER_02
It was like, you know, take you back to being a naughty schoolboy.
6
SPEAKER_02
Yeah.
6
SPEAKER_02
is like, you know, doing something that was a little bit, but no, that was a great song to write.
6
SPEAKER_00
What about when he goes, boom, boom, boom?
6
SPEAKER_00
It s just like, it s got sort of a haunting feel to it when you re singing.
6
SPEAKER_01
I mean, Ringo s toms.
6
SPEAKER_01
Yeah.
6
SPEAKER_00
Is that what it is?
6
SPEAKER_00
Yeah.
6
SPEAKER_01
Ringo s toms.
6
SPEAKER_01
And then woke up, got out of bed.
6
SPEAKER_01
All of it fit together so beautifully.
6
SPEAKER_01
It s just one of those magic things.
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I guess you can t predict it.
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You hope, but
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I you know what I find interesting not just we have only have so much time how much the medley has gone into higher esteem as later on with your fans on the side two of Abbey Road that you put together with you and John and it sort of is like worked out to be a perfect mic drop for the band and in the end you know so that whole thing is
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I love it every time I m on XM listening to the Beatle channel and that comes on and stereo and cars are amazing now.
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So I really feel like I m hearing it like maybe you guys did or something, but that piece of music is extraordinary.
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That s not Golden Slumbers where he goes, oh yeah, that s all in there.
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Oh, when you rip that out, that s precious.
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I mean, what I say, one of the great things about
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in technology is if you go into a museum, you ll see Winston Churchill s old papers and they get older and crinklier as the years go by.
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Beatles stuff gets brighter and sharper and more wonderful as a technology.
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So you can suddenly hear it in surround sound and you can hear every single little thing and that continues.
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Yeah, it s extraordinary.
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You re hearing all these little details that you kind of didn t know were there.
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I think that s a way to say it.
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Some people say, why are you remastering all the time?
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Why do you do that?
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They say, I like the original.
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I know who comes up to you.
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I want to meet this person.
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What are you doing?
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What are you doing with the remasters?
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There s plenty good enough.
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Yeah.
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And it s like, no, no, no.
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It s really good.
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In fact, we re just about to do, I think it s Revolver.
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I was with Giles Martin, George Martin s son, who s kind of in charge of all that stuff these days.
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It s pretty amazing, you know, just the details.
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It s lovely.
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Revolver is another one.
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It s hard to pick, there s so much genius flying around, but Revolver was very special.
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When I went back, when they were remastered, I listened beginning to end, and that one did kind of stay in my head a bit.
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There was some kind of revolution going on with that, you know?
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I mean, you had Eleanor Rigby on there.
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I mean, it was just, yeah.
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No, it was a good time for us creatively, you know, because as I said earlier, it s like,
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we knew we didn t want to repeat ourselves.
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So I would come up with
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Eleanor Rigby or something and bring that in.
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For no one, another one.
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George Martin would say, listen, this would be great with just strings.
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The others would all agree.
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When I brought in yesterday, I played it to the guys and said, okay, what are we going to do?
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They d ring and say, well, I can t put any drums on it.
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And George, well, it doesn t need any more guitars.
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So it was just me on my own.
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George Martin came in and he said, a string quartet would be great.
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And I said, no, it wouldn t.
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Wow.
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Because we re a rock band, man.
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So he was very clever.
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George was the ultimate producer.
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He said, well, let s do it.
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And if you don t like it, we can take it off.
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He was such a gentleman.
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When you see him walking around, even get back, he s very well dressed.
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And there was just this gentlemanly quality about him.
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Very calm.
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You re lucky you didn t have Colonel Tom Parker.
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That s the difference between you and Elvis.
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He had bad management.
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Can I, I don t know how much time we have, but I just wanted to talk a little, just a little bit about some of your recent stuff.
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Egyptian Station, especially the song I Don t Know.
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And that, and you know, it seems like journalists, who really cares what they think, but it seems like they re a little more enamored.
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I mean, your peers are not putting out this kind of stuff.
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You know, McCartney 3, which I just loved.
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I always like specific compliments, a deep, deep feeling.
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is such a magical song about the fistfight in your head between the light and the dark, is the way I look at it, you know.
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And also, All the Pretty Boys is so sweet.
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But anyway, you ve just been so, you re just going at it.
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And you have your book of lyrics, 1956 to the present.
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Then you ve got your album, then you just did a tour and Bruce Springsteen s your friend.
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How cool is that?
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Yeah, fun seeing you two in Glattenburg together playing.
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Yeah, you know, I feel very lucky because of that, because you know, and I do, I m a little bit amazed at the fact that I m still
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Because you know, I sometimes just think, you know, I should be jaded by now.
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For sure.
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I am.
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I should be fed up with this whole thing.
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But you know, each time I do something like McCartney 3, which is basically just lockdown fun, you know, that was something to do during lockdown.
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Lockdown fun, that should
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the name of the album or the subtitle, Lockdown Fun.
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Yeah, but my DP feeling was very indulgent because it wasn t going to be an album.
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Yeah.
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This is just me playing around in the studio.
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But yeah, no, I love what I do.
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I feel very lucky to be a songwriter.
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You know, it hits me occasionally.
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I go, shit, I ve ended up as a musician.
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I ve ended up as a songwriter.
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I never intended that.
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I wish to be an English teacher.
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Well, you re teaching us all how to keep going, you know.
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There is no reason to stop.
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And these songs you ve come up with recently, I mean, Queenie Eye from the new album.
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I mean, you know, I think you re in another kind of upswing creatively these last few years.
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And so it s remarkable and amazing.
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And we all love you.
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because we can say that now because it s 2022, because your music tells us who you are, and you re sentimental, and you re sweet, but you also, you know, deal with everything we all deal with, you know?
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And so it s been... Well, I m glad I got on the show, because you know, I m getting loads of adulation, and you can adule anytime.
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You know, Paul, every question we do sounds like the Chris Farley show.
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I do have to say that when you did the sketch with Chris.
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On Saturday Night Live.
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That is a classic.
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That was such a great one.
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I know, that was so, so lovely.
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Yeah, and everyone was in a jealous rage quietly watching that he got to hang out with you.
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And it was one of the highlights of his life, he said right after.
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And it was so good.
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I like when he said, and in the end, the love you take.
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And he said, is that true?
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Is that true?
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And you go, yeah, I like that, I like the thing.
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You played that so well, by the way, in the sketch, because I re-watched it the other day.
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And I was like, look at Paul, plays this perfectly, because it s hard.
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You could screw that side up too, but you did great.
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There s a couple of things.
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That was like my favorite SNL thing.
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And then I did a thing with Martin Short.
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Yes, I watched that last night where you re penning the other triangle.
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I really love that, you know.
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And Martin Short was trying to break you.
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I mean, he was so committed, screaming at you that you can t sing, screaming at Paul McCartney, quote-unquote.
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Hilarious.
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Hilarious.
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And then that was such a cool transition, and the thing opens, and then you go and play Christmastime.
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Yeah.
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Yeah.
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That was so... Will you be at SNL on the 50th, I guess?
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Have you picked out what you re gonna wear?
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That s in three years  time.
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I m going to wear beetle boots.
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You know what?
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If you are, I m going to wear some too.
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I m going to wear some too.
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I want to be 5 10 and a half.
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I ll take 5 9 and a half, whatever.
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We want to be 2 and a half up, up.
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But anyway, Paul s...
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This has been such a pleasure.
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I really enjoyed it.
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Yeah, Paul, thank you.
7
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Every time I see your show, you give 1,000% for people to go see it.
7
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It s such a great... Everyone, they know all the songs.
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Sing along, and it s such a blast.
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Look forward to seeing you again, buddy.
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Yeah.
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Yeah, okay, man.
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Thanks a lot.
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Thank you, boys.
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I love you.
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We can say it now.
7
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Love you, too.
7
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Bye-bye.
7
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Bye.
7
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Hey, what s up, flies?
7
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What s up, fleas?
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What s up, people that listen?
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We wanna hear from you and your dumb questions.
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Questions, ask us anything.
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Anything you want.
7
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You can email us at flyonthewallatcadence13.com.
7
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All right, Dana, we got a little AMA, Ask Us Anything.
7
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Let s do it.
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AMA, which means... A-U-A.
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Master... Ask Us Anything.
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Ask Us Anything, wouldn t that be ask us, U-S, which would be A-U-A.
7
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Ask Us Anything, what s the M for?
7
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It was Ask Me Anything, that s the term.
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Oh, Ask Me Anything?
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But it s us.
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I don t trust this.
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Jose Sanchez Fournier.
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Fournier.
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I knew a kid named Fournier.
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Jose Sanchez.
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From Puerto Rico.
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SPEAKER_01
So Sanchez is his middle name?
7
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I don t know.
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His last name is Fournier?
7
SPEAKER_01
Shit, that should be the question.
7
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Fournier.
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The question is love the podcast.
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I like they start with that.
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It s smart.
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Thank you, Jose.
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You re both great interviewers.
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We found out that was a lie.
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The lie detector, that was a lie.
7
SPEAKER_02
We re not great interviewers.
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He says, have you always been that way or was it something you developed as your career evolved?
7
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Keep up the great work.
7
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Jeez, well, first of all, I ve got to take a moment.
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I m getting vapors just accepting the premise that we re both great interviewers and how do we possibly do it and keep up the great work?
7
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This guy s the nicest.
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We got to send him a fly on the wall coffee mug.
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Yeah, we got to get our merch going.
7
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That s a real question.
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Where s the merch?
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Do we get questions on merch?
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Yes.
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David, you want to answer this first?
7
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Because I have my own answer.
7
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I think we are okay interviewers, but we re good at talking over each other and we re good at laughing at our own jokes.
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And I think that is important.
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If a great interviewer is talking about yourself and over-talking your guests after you ask them a question, if that s the definition of a great interviewer, then we are, David.
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Exactly.
7
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We had to take a cutting off class.
7
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We said, whenever they re about to say something really interesting, make sure you stop them in their tracks.
7
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When we have a guest in the studio, sometimes I just want to reach out, grab their neck and just start squeezing when they shut up.
7
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Shut up.
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No one s here to listen to you.
7
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But I ve learned to temper that violence.
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Yeah.
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I m verbally violent.
7
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Sometimes the guest leaves and Dana and I do another half hour.
7
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I go, did they take off?
7
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Well, sometimes we don t roll cameras or mics, but David will just interview each other over and over.
7
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So, Jose, thank you for asking.
7
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And you take your comment.
7
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You started with a flattering thing and ended with a compliment.
7
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So we re not all sarcastic.
7
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I do find sarcasm a new word.
7
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I really find people fascinating and I like interviewing people.
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And I think everybody s got a story.
7
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And so if you like it, I think we re improving and learning as we go.
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But if you like it and say, it s great, I ll take it, but we re not there yet.
7
SPEAKER_02
Honestly, we do actually try to not talk over each other and not to cut people off, but we get excited and we don t want long pauses.
7
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I don t know.
7
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Well, podcasting is about authenticity, and so we authentically overlap each other and talk over them and interrupt them, so we re just being very podcasty, but I noticed, David, just a personal observation, that your research level has increased.
7
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It has gone up.
7
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Yeah, you got a lot of questions.
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So we re both learning.
7
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We ve only done 360, 365 of these.
7
SPEAKER_01
How many have we done?
7
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Probably 50.
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But I would just say we re a work in progress.
7
SPEAKER_01
Thanks for the good cheer, Jose.
7
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And we ll try to get better.
7
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And we already took our class on how to answer questions longer.
7
SPEAKER_02
So we re really doing well there.
7
SPEAKER_02
Thank you, Jose.
7
SPEAKER_02
We ll see you on the cast.
7
SPEAKER_02
Ask another question someday, Jose.
7
SPEAKER_01
Oh boy.
7
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Oh boy.
7
SPEAKER_01
Oh boy.
7
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Oh boy.
7
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This has been a podcast presentation of Cadence 13.
7
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Please listen, then rate, review, and follow all episodes.
7
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Available now for free wherever you get your podcast.
7
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No joke, folks.
7
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Fly on the Wall has been a presentation of Cadence 13, executive produced by Dana Carvey and David Spade, Chris Corcoran of Cadence 13, and Charlie Finan of Brillstein Entertainment.
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The show s lead producer is Greg Holtzman with production and engineering support from Serena Regan and Chris Basil of Cadence 13.