October 18, 2024 • 41 mins
In Part 2 of our At First Listen / Ken Dashow’s Beatles Revolution crossover episodes, we dig into The Beatles Abbey Road track-by-track! We discuss how the Beatles challenged fans' expectations over the years, the band members' struggles with fame and what ultimately ended the band.
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(Episode 18)
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(Episode 18)
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:15):
We're back on a first listen. I'man Drew, I'm Diamond,
and I'm Ken and we are continuing our conversation on
the Beatles Abbey Road. On part one of this episode
we discussed come Together Something, Maxwell's Silver Hammer, Oh Darling.
So if you want our thoughts on those songs, you
can check out part one in your feed. And that
(00:38):
brings us to Octopus's Garden track four five on this record.
Speaker 2 (00:45):
Ringo on vacation. I believe it was in the island
of Sardinia off of Italy and do snorkeling, and the
boats captain said, you know, if you see an octopus,
they they're very territorial about the rocks they stay and
they'd like to make a little garden. They take little
fancy bits of shiny things that they find are interesting
rocks and they build themselves a little garden in front.
Speaker 3 (01:07):
Of their house of rocks.
Speaker 2 (01:09):
And when you came up and went, I actually think
I have a song.
Speaker 4 (01:13):
Wow.
Speaker 1 (01:15):
And this is one of the few songs that he's
actually credited with writing.
Speaker 3 (01:18):
He really did come in with it.
Speaker 2 (01:20):
They worked on the melody, they arranged it and all that,
and cleaned up the lyrics, but he came in with
the I'd Like to Be under the Sea in an
Octopus's garden in the shade?
Speaker 4 (01:30):
Was this one of the only songs that he was Well,
you did say that, but like how many.
Speaker 1 (01:37):
There's other songs that he sings, but I don't like
Yellow Submarine on a previous record he sings.
Speaker 2 (01:42):
Right, But Paul wrote that with this other artist, don It,
and they wrote songs for Ringo so he would have
a voice. First album, they covered an early Motown song Boys,
because Ringo loved to sing it thought it was a
great song. So he would sing occasionally on different songs,
but not written this was and that.
Speaker 1 (01:59):
Was actually maybe it was because of the Beatles that
this became a bit more common, or this was common
and you don't really see it anymore where a lot
of groups from the seventies is kind of where I'm
going where I'm thinking of would have a lot of
different members singing songs like the Eagles. Of course, virtually
(02:20):
everyone in the band had a lead vocal on the record.
Queen did the same thing with three of the four guys.
I'm sure there's some other examples that that I'm missing.
Speaker 2 (02:31):
Timon what everybody tells me about the early sixties, and
nobody's sitting any better than this guy, John Lodge, a
band of moody blues. They're from Birmingham, England, and they
were a big pot local band and they headlined them
sixty three. They tell them, okay, you're the opening ecuss
this band from Liverpool coming in what where? It's Birmingham
where the big stars of the town. No, no, they've
(02:52):
got a record contract. So we opened and we're furious
and we're standing in front of him with their arms folded.
Let's see these idiots, he said. Now here's the thing
that people don't give them credit for. Every band we
saw was so and so and the so and sos,
one guy in the front or a girl in the front,
and some musicians behind it. There's one person on a mic.
(03:13):
In rock and roll, there was Buddy Holly and the Crickets.
There was Elvis and the Jordanaires, Chuck Berry, some people
behind him, Little Richard a band behind him. We saw
a guy in front or on a piano, and everybody else.
The Beatles are the first band we saw that set
up multiple mics in front, where everybody was in front
(03:33):
and the drummer was in back. We go, Okay, which
one's the singer?
Speaker 3 (03:37):
Wait he's singing.
Speaker 2 (03:38):
Wait, now he's singing the next one waiting?
Speaker 1 (03:42):
Who am I supposed to pay attention to?
Speaker 3 (03:43):
Right, he said? And you don't understand.
Speaker 2 (03:46):
So every band you see, especially right now, in the
pop world, it's back to one singer and a bunch
of musicians. But rock and roll, everybody's mics are in front,
the bass player, of the guitarists, the singer. Everybody's in
the front, and maybe keyboards and drums and horn sections
in the back. But as Sean said, I turned to
my bass player and said, can you sing? Okay, We're
(04:09):
gonna have to we have to make a change here,
because you just knew like that was the new normal.
Now he said, it's not you know, it's not Steven
Tyler and Aerosmith. It's you know, it just became a band,
which I never realized until somebody explained it how obvious
that is.
Speaker 4 (04:30):
I would have to say that this was one of
my least favorite songs on the album, and I feel like,
I don't know, I have to go back, but I
feel like in the intro you told me that you
thought that I'd like it.
Speaker 1 (04:43):
Yeah, I that that seems like something I might say Garden.
Speaker 4 (04:48):
Yeah, I wasn't feeling it too much.
Speaker 1 (04:50):
There is, by the way, weeks between these episodes.
Speaker 2 (04:53):
But these songs are the biggest introduction for children into
the Beatles. There are three there are three door is
that take them into the Beatles house. And it's a
Yellow Submarine, which is absolutely a children's song.
Speaker 3 (05:06):
We all Live, Yeah that.
Speaker 1 (05:09):
There's like nineteen sixty seven Baby Show, right.
Speaker 2 (05:12):
And all together now a B C D. Can I
Bring My Friend to Tea? Which is again and this one.
Speaker 1 (05:21):
It's interesting that they sort of indulged that aspect of
their of their career, that that that was like an
avenue that they've felt strongly enough about, especially with how
politically motivated John Lennon was and so much of his stuff,
and how George Harrison was into this Eastern spirituality. But
(05:43):
they're still making like one children's song and album.
Speaker 3 (05:47):
You know, Paul, it's funny, Paul loved that stuff. You know.
Speaker 2 (05:51):
Paul's the one of the greatest writers pop songs or
some interesting songs with deep songs. He can do anything.
But as John, you to resent it like hell. Paul
and his granny music, you know, and that's what he
used to call it. But I but this is just
my own opinion. I think he secretly was thrilled that
Paul can knock out a pop song that's going to
(06:13):
sell billions, so that he didn't have to do the
heavy lifting. I get to be the cool EDGI guy.
So Paul always pick up the heavy end of the
piano and like, get us all the big hits so
I can do weird stuff.
Speaker 3 (06:28):
And I don't know, but again that's just my own thing.
Speaker 2 (06:30):
I never I didn't read that anymore, but because he
always used to put him down for that stuff, like dude.
Speaker 3 (06:37):
It worked out. It worked out.
Speaker 1 (06:39):
So that brings us to I Want You She's So Heavy,
which is probably one of the more adult songs, right.
Speaker 2 (06:48):
Like kids songs, And that's exactly the point, Like, okay,
we did the kids song now, and it was actually
a thing. Let's see if we can do it with
as few words as possible. So the entire lyrics where
I want you so bad it's driving me mad, that
is the extent of the lyrics, and we're going to
(07:10):
do that. They played all night the engineers left. They
were jamming on it literally for hours to tape ran
out and they were still playing in the middle of
the night.
Speaker 4 (07:17):
That's so cool, Like we.
Speaker 3 (07:19):
Just want to jam.
Speaker 1 (07:21):
And this is one of probably the most frequently covered
by rock band Beatles songs. Yeah, it's like a simple
one and it's it's one to jam on. Like I've
seen bands cover this probably too many times.
Speaker 3 (07:33):
It was meant to It was clearly meant to be.
Speaker 1 (07:36):
Did you like it?
Speaker 4 (07:39):
Yeah?
Speaker 1 (07:41):
I think I love that you we were figuring out
what your lane is.
Speaker 4 (07:45):
But like, remember how I said that old Darling gave
me the vibe of like old show high school dance
type of vibe. This kind of gave me this, not
necessarily the same vibe, but like put me in the
same like headspace, if that makes sense. Like I liked it.
(08:08):
I didn't love it, but I didn't hate it. So
I think that that should tell you, guys something. What
do you think ken?
Speaker 2 (08:15):
Yeah, I mean, listen, how as I said to you
on the first part, how you react. There's no right
or wrong answer to what you like or what you
don't in art, in music, and fashion, and you know
it's your jam.
Speaker 3 (08:26):
It's your jam.
Speaker 2 (08:27):
But with something that's so universal I love hearing the
take of someone who wasn't didn't grow up with it.
Speaker 3 (08:34):
Wasn't steep here what it evokes.
Speaker 2 (08:36):
Yeah, what does it mean to you? Because they know
what it meant to me, but I grew up with it.
Speaker 1 (08:40):
This is one of those the songs that for me
suffers from just like I've heard it so much. Like
an album that would have been great for us to
do is the White Album. We probably wouldn't go there
unless Diamond really was into the Beatles because it's a
double record. But that's an album that I haven't listened
to in years because I just beat the shit out
(09:01):
of it when I was a kid. I think I
got it for Christmas one year, and that was like
the only Beatles album I listened to for the longest time.
And now I just can't even really stand it.
Speaker 3 (09:11):
Really.
Speaker 1 (09:11):
Yeah, it's because it's one of those things that it
just takes you so specifically back to a particular place
and time and it's like, I do not want to
be sixteen again, which was probably about the age I
was when I got that album and this song. I
probably if you asked me, I would have said this
was on the White Album because it it has a
(09:35):
similar feel to some of the tracks in like the
middle of the White Album.
Speaker 2 (09:40):
A friend of mine from the Dog Run this big
crazy music fan of club dj and lived through sixties
and seventies music, and he maintains the White Album is
the most psychedelic album ever made.
Speaker 3 (09:52):
Like, how do you say that?
Speaker 1 (09:53):
It has the most unlistenable Beatles song in the whole.
Speaker 2 (09:56):
Which intentionally done Revolution number nine. John absolutely did it
to be the most controversial.
Speaker 3 (10:03):
That was his way of, you.
Speaker 2 (10:04):
Know, sticking a finger in the eye of the Beatles
myth and Beatles fans. I intentionally made the worst song ever.
You're trying to make the best songs ever, I'm going
to make the worst song.
Speaker 3 (10:16):
Yeah.
Speaker 2 (10:16):
Well it was very because they were kind of at
each other at that point. So it's daytonte so Diamond,
you have four songs. You have four songs. I have
four songs. He'll have two songs. So you really want
that that song that's going to be your song? Yeah,
I want that? Are you trying to sabotage.
Speaker 1 (10:33):
Like it's a count and he's going to waste a curve.
Speaker 2 (10:36):
Exactly, but just to see but as my buddy said,
you get Paul's biggest Birthday and old Blado blah dah.
You get Revolution number nine, you get good Night, you
get your blues, because what one collection of.
Speaker 1 (10:50):
Your blues is probably the one that I confuse, I
want you.
Speaker 3 (10:52):
She's so heavy with right, because it's in that same vein.
Speaker 1 (10:57):
They also there's another song that John Lennon called Revolution right,
which is a great song. That's where the Ken Das
shows Beatles' revolution sort of gets its name from. But
then there's this like sequel song, Revolution number nine, which
is basically just like ten minutes of noise.
Speaker 2 (11:13):
Maybe yeah it's and it's backwards masking and it's all.
And then the crazy conspiracy theorists came up with backwards
masking it proves that Paul died in the fiery car crash,
and because they said that, he played into it, and
if you listen to it backwards, he totally this is
my opinion, Paul didn't die. Paul didn't die in the
(11:35):
car crash. But when the freaks came out with that,
he said, let.
Speaker 3 (11:38):
Me throw him some meat, and he did it. He'll
never he never admitted. But if you listen to it backwards,
there's no way.
Speaker 1 (11:56):
It accident have you ever listened to it backwards?
Speaker 2 (11:59):
Oh yeah, And I've played it on the air and
you hear crackling, you hear like a crackling fire. You
hear angels singing, and hear voice backwards.
Speaker 3 (12:09):
Going let me out, Let me out, Let me out.
Speaker 1 (12:12):
It's unsettling, and actually.
Speaker 2 (12:14):
Sings number he sings number nine, number nine, number nine.
And when you play it backwards, the interpretation is turn
me on dead man, turn me on dead. Excuse me, Diamond,
we will play this.
Speaker 3 (12:28):
You know what.
Speaker 2 (12:29):
There's another podcast about Revolution number nine with Diamond and.
Speaker 1 (12:33):
Hear what she We could just do backwards songs.
Speaker 3 (12:35):
Yeah, they do it. They did a lot of backwards masking.
Speaker 1 (12:39):
They just had fun with a tape machine.
Speaker 3 (12:41):
Yeah, exactly.
Speaker 2 (12:41):
They were screwing around there high and the screwing around
with a tape machine. But yeah, in that one when
I played it on the air, and like, it couldn't
have been accidental that those sounds came out in that order,
especially because of these freaks. And it just strikes me
as John Lennon's like sort of twist the sense of humor,
like liv.
Speaker 1 (13:01):
And there's something about the number nine where in like
some culture it's like a number of death or something.
Speaker 2 (13:08):
Again, he gave them all the you know, he just
fed them stick. Yeah, And of course there's not but
you know.
Speaker 1 (13:14):
There is such a there was so much coverage of them,
and they were so under a microscope, and you know,
there's not social media. They're not really on TV a lot,
so people are like they just have the albums and
they just have the album artwork and the liner notes
and they're just reading into it. And eventually some of
(13:36):
this stuff got back to the band and they're like,
let's give people something to do.
Speaker 4 (13:41):
But like, okay, I'm just shocked because like, how do
you feed into it if you're releasing the album and
people know that you're not dead? Right right?
Speaker 3 (13:54):
Yeah? But to this day, Dimond that diamond.
Speaker 2 (13:58):
To this day, people come up to me when I
hosted vest for Beatle fans, go I have proof that
Paul McCartney is not the love of God.
Speaker 1 (14:06):
There there was some have you ever met the public?
Speaker 2 (14:09):
Sorry, maybe you just stay here if you've ever met there.
Speaker 1 (14:16):
Was some some Italian like researchers did this study where
they looked at all these photographs of Paul McCartney and
they're like, see his his his nose is in his eye,
his brow is in a different place in the nineties
than it was in the sixties.
Speaker 2 (14:31):
Like, we don't age and a face doesn't slightly change shape.
The biggest thing that the funniest thing is his mouth
was completely different.
Speaker 3 (14:39):
Uh huh.
Speaker 2 (14:40):
So it's Keith Richards. So it's a lot of people
in the sixties. So actually most people who grew up
in the fifties and sixties and never floss or brushed
their teeth and didn't have access to dental care, you
know why their mouth is different.
Speaker 3 (14:53):
Can you take a cast?
Speaker 2 (14:54):
While a lot of older adults have different teeth, And
they started with can you take off I'll give you
a thought house and guesses no, it's teats are different.
Uh huh, so are my grandmother's exactly.
Speaker 4 (15:07):
It's kind of like the Eminem thing, you know, where
they say that he died a long time ago.
Speaker 3 (15:12):
Oh I don't know this.
Speaker 4 (15:12):
Yeah I don't. I haven't gotten I haven't gone too
deep into it. But like it's just like, huh, Like,
you just have so many questions.
Speaker 1 (15:21):
And it's weird that that specific one because there's other
there's other artists who there is a conspiracy that well,
there's conspiracies that Elvis and Michael Jackson are still alive
right in Tupac and Tupac of course.
Speaker 2 (15:34):
Yeah, and they run a gas station that's Mississippi.
Speaker 4 (15:41):
He's in Cuba or something like that, Like he checked
himself out of the hospital. Weird. Weird people like.
Speaker 1 (15:49):
To imagine that certain musicians they love are dead or
that they're still alive.
Speaker 4 (15:54):
Yeah.
Speaker 2 (15:54):
And the thing about the tinfoil hat people is that
when you present them with every possible fact in the
world to contradict their bullshit. No, I've so I met
the fest and this guy comes up to me and
I'm with my friend Billy J. Kramer, British invasion artist
who was with them. He's friends with them, and says,
(16:14):
you're just another Just stop because you don't know what
you're talking about. No, you don't, you have nothing. You
don't know Paul. I grew up with Paul. We spent
a thousand hours together. When I meet Paul, if that's
not Paul, how would he know what I'm talking about? Well,
they prepped him. No, No, it's just me and Paul.
I'll mention something where it.
Speaker 3 (16:36):
Was just me and him.
Speaker 2 (16:38):
Well, he might have told someone. No, it's just me
and him. We met somebody, or we had met girls.
How he didn't talk. You know, I didn't tell anybody
about the girls that night.
Speaker 3 (16:48):
He didn't.
Speaker 2 (16:48):
How would if I bring that up and he remembers, Oh, yeah,
don't say that in front of my wife, how would
it's Paul.
Speaker 3 (16:56):
No, it's and you're like, no matter what you.
Speaker 1 (16:59):
Say, because it's more important to.
Speaker 2 (17:00):
Believe, to believe the most insane thing in the world
that Brian Epstein was such a brilliant manager of a
band that he kept kept spare band members who are
as talented as the originals, like like the Mediceese in Italy,
kept a spare Michelangelo like in a pizza place in
case something happened to him.
Speaker 3 (17:22):
We'll pull this guy out to paint.
Speaker 1 (17:25):
So moving on to here comes the song Oh my God.
Speaker 4 (17:30):
First of all, I love this song.
Speaker 3 (17:31):
Thank you.
Speaker 2 (17:33):
That was the only that was the only song where
I thought, if she doesn't like this song, we have
nothing to talk about.
Speaker 4 (17:40):
First of all, loved the song since I was little,
right because you were hearing you remember it when No
that I don't, but I do remember during COVID, like
hospitals will play the song for patients when they were
like leaving the hospital, when they were like I remember
(18:00):
that from COVID, and I like, it just changed the
way that I looked at the song as a whole.
And so now for me, it's like a national treasure.
You know, when I hear it, I'm like, oh, happy times,
Like you know, I feel like I may have heard
it on a show. Yeah, the very first time that
I heard it.
Speaker 2 (18:16):
Is there a more positive, hopeful song?
Speaker 1 (18:19):
And it's and it's not it's not too like syrupy,
you know, it's not everything is good all the time.
It's like it's like coming out of out of like.
Speaker 3 (18:28):
It's exactly coming out of a COVID thing.
Speaker 4 (18:30):
Yeah, I love it.
Speaker 3 (18:32):
You know, it's it's a thing.
Speaker 2 (18:34):
It's not a Freudian slip, but you said it, but
it's it absolutely gets the heart of the Beatles. You
said you feel like it's a national anthem. Is that
the way national treasure? Okay, but they're English, but we
love them so much. America embraced them and held them
so tightly that we look at them as Americans because
(18:55):
they're hours. There was that great line in the Simpsons,
remember He's he They go to England and he yells
at some brint and he goes, remember our beatles are
better than you rolling stones, And there's a I was howling,
but there's a there and you kind of you know,
you touched on that, and they are there are national
(19:16):
treasure because they came here and we just said ours mine,
and then they moved here, you know, and then the
top of off ringoes in la and Paul lives. Paul
bounces back and forth. But Paul is so much of
a New Yorker because his wife was from here. So
you know, he's in London and he's got a farm
in Scotland, but here in Long Island, and you know,
(19:37):
Paul spends his summers here on Long Island.
Speaker 1 (19:39):
And adopted New York.
Speaker 3 (19:40):
John adopted New York. And you know that was John's thing.
Speaker 2 (19:43):
He goes trying to find a place to live in
the world where you could just live a normal life
and peace. I can't believe it, but New York City
here is the place where I get left alone in
the most he said, people just walk down the street.
Hey John, Hey like, oh thank god, That's all I'm
ever opened for in love.
Speaker 1 (20:12):
So how about because I like this one gorgeous, isn't it.
Speaker 4 (20:18):
Yeah, But I like this one. But I feel like
this may have been one of the last ones that
I actually really enjoyed. I do remember it being a cutoff,
like I think it may have been after uh you never.
Speaker 3 (20:37):
Give me, because then then the medleys cup.
Speaker 1 (20:40):
Yeah, and that I tried to prep Diamond that the
medleys are maybe a bit hard to follow because they are.
Speaker 3 (20:46):
They're bits and pieces stitched together, so.
Speaker 4 (20:50):
They were really like shorter, right, Yeah, they were shorter.
Speaker 2 (20:52):
Well, I mean, they weren't shorter in total length, but
each one's a minute or thirty seconds or whatever.
Speaker 4 (20:57):
Kind of threw me off.
Speaker 3 (20:58):
But one of them, the one of the.
Speaker 2 (21:01):
Most requested songs, maybe top I mean in my life's
number one, two or three is probably the son King Medley.
I know I'm jumping ahead a little bit, but that opening,
that lush opening, you know, which, by the way, is
taken from an early Fleetwood Mac song called Albatross that
George and John were listening to that album over and
(21:22):
over again. And this isn't like sue me. Sue U
Blues took the sound of the guitar and the chord
progression from Peter Green was this amazing magic guitarist and
the blues writer Fleetwood Mac before they became huge pop
stars in the seventies, early British blues band, and they've
just loved it, so they sort of cap that for
the feeling to start that.
Speaker 4 (21:44):
Here's my question. Were people getting sued back then for
like how were you?
Speaker 3 (21:51):
Yeah?
Speaker 4 (21:51):
Like how were you? I don't necessarily want to say
they were clearly influenced by certain songs and stuff like that, right, so.
Speaker 3 (21:58):
They let that go. You influenced by it?
Speaker 2 (22:01):
It's usually the lawyers or the managers, like who sued
you know, George Harrison later for My Sweet Lord, you know,
because it was he's so fine by the Fons because
somebody else owned the song. And Chuck Berry was sued
John Lennon for taking the first line of you can't
catch Me for come Together, You come on the flat top.
Speaker 3 (22:22):
That's Chuck Berry.
Speaker 1 (22:23):
He also apparently punched him in the face.
Speaker 3 (22:26):
A second Chuck punched him in the face.
Speaker 1 (22:28):
Chuck didn't mess around with money.
Speaker 4 (22:29):
Yeah, he punched the man in the face.
Speaker 2 (22:32):
Yes, And what happened and John made this rock and
roller album We covered Chuck Berry songs and that was
his way of paying him back, Like, listen, let me
record more Chuck Berry songs and then you get the
rights that'll be worth more than I could pay you.
Speaker 4 (22:46):
Presh charges when the man punched him in the face.
Speaker 3 (22:48):
No thin.
Speaker 2 (22:51):
This is hard to imagine it a world that different,
But yeah, it's it's cool.
Speaker 4 (22:55):
What year was this You mean like a decade seventies,
early seventies, Yeah.
Speaker 3 (23:01):
It was. It was a different.
Speaker 1 (23:03):
So let's let's talk about you never give me your money.
I think this is my maybe my favorite song on
this album. Uh, it kind of makes me laugh, and
especially thinking about this episode. This song really made me
laugh because it seems like it's like a a prequel
(23:24):
song almost to bitch Better Have My Money by Na,
Like play those songs back to back and it's very
much the same tone.
Speaker 4 (23:34):
Well, you know, she loves Paul, right, so who Okay,
she loves him?
Speaker 1 (23:41):
Really, She's like, well they did that song with Kanye West.
Speaker 4 (23:47):
She loves him.
Speaker 1 (23:48):
Yeah, she's she pops up on a lot of She's
on a Coldplay album too.
Speaker 3 (23:52):
Yes, she was interesting.
Speaker 2 (23:55):
It's the rumors, and again nobody never verified is that
it was Paul singing to John about the legal squabbles
they were going through that was tearing them. That's what
began to really tear them apart. John signed the Beatles
to Alan Klein, this miserable, lying, shifty human being who,
(24:15):
like you know, screwed with the stones before this APCO,
and that's why they had us.
Speaker 3 (24:20):
Yeah. Good, I used to work for ABCO, did you really?
Speaker 2 (24:24):
So I don't have to tell you about Alan Klein. Okay, So, folks,
if you want to know more about one of the
most evil gunnifs who ever worked in the business, you
can talk to donnad No.
Speaker 3 (24:35):
Well, I so you know Tracy Jordan.
Speaker 4 (24:38):
Uh No, she she left a little bit before I
was working there.
Speaker 2 (24:42):
Okay, So Tracy Jordan, who also worked for ABCO, was
a senior. I talked about Alan Klein and she it's
the most it's the most beautiful politic line. She said,
What do I have to say about Alan Klein? I
learned everything I know from working with Alan. Okay, we'll
leave it there and you can interpret that anyway you want.
(25:05):
But yes, so they want to sign with Alan Klin.
And Paul said to him, he's a crook. Look, Donovan, ever,
all these people he stole the money to assue him,
couldn't get him.
Speaker 3 (25:13):
They had to threaten him.
Speaker 2 (25:15):
He says, well, if he's that bad, he must be great,
and he said that that was that was John's wife.
And he did get us more money for you know,
on the next go round. I mean he got us more,
more of a cut, he said. But I just knew.
The problem was Paul wanted his father in law, George Eastman.
Speaker 1 (25:33):
To do it, and they didn't want to give it.
Speaker 2 (25:36):
No, Paul, you can't have your father in law run
the band's finances. And the sad part was it would
have been fine because he's a legitimate, intelligent, you know,
manager of money, but it just became your guy, my guy,
and Paul had to sue them, and they sued Paul
for all this until finally they got rid of ellen Kline.
(25:56):
They let Paul do it originally, and Paul always said
the end, you know, I was right. It was very painful,
but they finally saw the light. But they hated him
for doing that. Like he said, I had, literally that's
the only path I had to stop this guy from
taking all the Beatles' money.
Speaker 1 (26:12):
So so the suggestion is that the you never give
me your money, you only give me your funny paper.
The funny paper is supposedly like the legal documents, where
it's like I can't read this, what does this mean?
Speaker 2 (26:26):
And in the middle of negotiations I break down and
we get to carry that weight. You know, there's there's
a lot of references that could be read into it's
our thing. And Paul's never said no, it's just making
up words. But who knows.
Speaker 3 (26:41):
I it's sure.
Speaker 2 (26:42):
It sure seems like it's that was we know that
was going on in their life. Yeah, so it consciously
or subconsciously, it seems like that's where it came from.
Speaker 4 (26:50):
Can you imagine you just let someone come with like, oh,
these are my four songs, and they're talking about you
and everything.
Speaker 1 (26:56):
That's insane, right, and they want to do we have
a deal?
Speaker 2 (26:59):
I guess, and you know, think about it. They all
played Uncome together and each Stanza the lyrics is making
fun of you and making fun of you and making
fun of you, and I'm making fun of me, so
it's okay. Yeah, Like and you're playing while the guy's
calling you an idiot.
Speaker 1 (27:17):
So into the medley, I feel like the medley is
something that you have to probably listen to it on
its own, out of context of the album, so that
you're kind of fresh for it. And I'm saying this
is someone who did not do that. I think maybe
I'll do that as soon as we're done, because it's
not long, but it's it's just a lot of very
(27:39):
different ideas that are kind of finagled together. A lot
of good ideas carry that weight. It's sort of like
a like an all time refrain.
Speaker 2 (27:52):
Yeah, I mean, and She came In through the Bathroom Window,
which Joe Cocker a funny little Paul song and you
know who covered the Beatles and with a little help
from my friends and made it this gospel epic. It's
one of the greatest rave ups. It's it defines Woodstock.
He just did the most beautiful reinterpretation of it, and
he did She came In through the Bathroom Window. It
(28:13):
was a huge hit for him. And then after all
these little pieces, you know, you get to these simple
the Golden Slumbers carry that weight and the end, this
two minute, twenty second song that basically ends the Beatles.
Speaker 3 (28:31):
That's that's the last thing. And you know, again.
Speaker 2 (28:36):
Paul pulls out like what John, you know, it's my
favorite John Snipe, he said, what do you what do
you think of the lyrics at the end, he said,
you see, Paul can really right if you'll stop to
think about it for a fucking minute. So that as
backhandada compliment is anyone has ever given for their their coworker,
But there it is. And in the end, the love
(28:58):
you take is equal to the love you make. Period,
let's say goodbye. How about I mean, that's a line, Yeah,
that is if you if you had something that was
the biggest band in the year, if Taylor Swift had
to write a couplet to sum up her career, how
long does it take you to come up with the.
Speaker 1 (29:17):
Perfect And this is also coming from a band that
has All You Need Is Love as one of their
earliest gigantic hits. And then they sort of wrap it
up with the love you take is equal to the
love you make.
Speaker 4 (29:32):
I love that. I didn't even realize that that was
like the end.
Speaker 1 (29:35):
The well, that's why it's so confusing with these two albums.
Let it be an heavy road. This is the second
to last one that came out, but the last one
they actually made.
Speaker 2 (29:44):
Yeah, right, and so and here's the weird thing, her majesty,
that little twenty three second Paul thing he does.
Speaker 1 (29:51):
So that was not on the original track listing, right, No,
it was. It was part of the medley.
Speaker 3 (29:56):
But it was part of the medleys, oh okay. And
they snipped it out. They thought it was going too
long because it just didn't fit.
Speaker 2 (30:02):
So there's an abrupt cut and I'll show you where
it fits in perfectly because they physically just took scissors
and cut it out. And John said, that's so you
know the end. No, really, it's the most beautiful thing
you ever wrote. Nah, it's too sweet. Let's take your
little thing, her majesty and put it on like thirty
twenty seconds later and just throw it on and make
(30:23):
it like funny. So we go out with like and
we make like a fart noise and Leaf like's to
do something stupid, and I was like, yeah, okay, we'll
do that. So you got this beautiful, sweet moment and
then Majesty's really that's good and do a little skiffle song. Yeah,
and that's what it is. So they just threw it
about marrying the Queen of England. You know what, Paul
(30:55):
became really good. I mean not just became friends with
Queen Elizabeth over hertig. She'd invite him and the family over.
I can't imagine they did, not that she listened, and
maybe she did, but they told her. I can't imagine.
There wasn't one point saying, so you had intention of
marrying me?
Speaker 3 (31:14):
How could she not.
Speaker 1 (31:15):
Throw Yeah, she she certainly was aware of it. I
mean she pointed to Ozzy Osbourne is like, I've seen you.
So she of course she's heard that. And wasn't this
like borderline trees And at the time, well.
Speaker 2 (31:28):
No, because she didn't know. Didn't he didn't say anything
about sex. Yeah, he didn't, you know, or throw her
off the roof or something.
Speaker 3 (31:35):
You know.
Speaker 1 (31:35):
I want to tell it was a risky Yeah, it
was a little bit.
Speaker 3 (31:40):
It was cheeky. It was cheeky.
Speaker 1 (31:41):
So we covered the Ramones Rocket to Russia on a
previous episode and I mentioned the sex Pistols a lot
in that episode. So ten eight years after this album,
the sex Pistols have this huge hit called God Save
the Queen, which is very critical of the monarchy, which
they calling the song a fascist regime. And they got
(32:05):
in a lot of hot water for that because it
was technically treason by the letter of the law. It
was treason for them to put that in a song,
and Johnny Rotten, the singer for the sex Pistols, could
have been subject to the death penalty. So there were
months in the sex Pistols career in England where they
(32:29):
were afraid that their singer was going to get charged
with treeson and hanged. In the late seventies, it will
always be an so years earlier the Beatles.
Speaker 4 (32:42):
Well, that's probably why they did it. They thought they
could get away with it because he said he wanted
to marry the Queen.
Speaker 3 (32:46):
Yeah.
Speaker 2 (32:47):
Well and listen the sex Pistols, as they said, we're
not into music, we're into chaos, and that's pretty much
what the band was.
Speaker 3 (32:54):
That's why I mean, I think it's fun. Like I said,
novelty song.
Speaker 2 (32:57):
To me, it's like a weird Al Yankovic just it's
a novelty song. But they're just trying to be obnoxious
kids like okay, but saying you know, it goes back
to revolution, to John Lennon's song you say you want
a revolution, Yeah, well we all want to change the world.
You say it's in the constitution, Well you know, and
but the one line, and it's what's how a twenty
(33:18):
five year old.
Speaker 3 (33:19):
Could be this aware?
Speaker 2 (33:21):
This hip says, But you know when he says, well,
but when you start talking about people with mindset hate,
don't you know?
Speaker 3 (33:29):
Baby? You gotta wait?
Speaker 2 (33:31):
You know, you know, as he said, he explained the song.
He said, you want to blow up Wall Street? Great,
what'd you come up with to replace it? No, Well,
when you figure that out, then come back to me
and tell me about blowing up all Street, because blowing
up a Wall Street means nothing. Tell me your system
that you came up with that's better. Like, how is
the twenty five year old in that age of revolution
(33:53):
and hair and hippies versus the straits? How do you
see have the perception to see the world in such
a big place?
Speaker 1 (34:00):
And he's very much in the hippie camp at the time,
but he also sees that there is there are there
is parameters, there's limits to the practicality of that whole thing. Yeah,
And also another great point, the Beatles broke up in
nineteen seventy. I think John lenna as the oldest member
had just turned thirty, right, right, and so this all
(34:24):
happened and they're not even thirty.
Speaker 4 (34:26):
That's insane.
Speaker 2 (34:27):
Yeah, they they only record seven years. Like in that
seven years, they recorded like three lifetimes. Yeah, worth of change,
not just music but changes.
Speaker 3 (34:35):
Yeah.
Speaker 2 (34:36):
You the three of us have never had that many
changes in our life and may not ever of how
fast they spun the world like they didn't just live
in the world, they shaped it. And people hanging on
every word and every note the responsibility of that. I
may have mentioned it the last time. There's a fantastic
(34:57):
blues singer songwriter, Warren Haynes, my favorite guitarists and writers
who when we were talking about yeah, it comes by
a lot. When we were talking about the Beatles movie
about Get Back, he said, just about their fame. He said,
you know, I'm going out the door and my wife says,
aren't you taking pictures for your album today? Oh yeah,
we'll bring a clean shirt. That's the extent of my
(35:19):
preparation for the album cover. And to think the world,
the whole fashion world Milan, Paris, New York are trying
to pay off anyone to see what some of the
photos look like so they can get a million jackets
like that or a million things. Because it has to
be in the store. Ideally today the record comes out,
so you can look like the Beatles and the pressure
(35:41):
and analyzing having everybody sitting there analyzing what's on the
wall behind them. Is that a clue? Does that mean something?
He's smoking a cigarette?
Speaker 3 (35:50):
He isn't. Is that he goes? Just he goes.
Speaker 2 (35:53):
I am telling you, I know myself, the weight of
that fame would crush me.
Speaker 1 (35:57):
Yeah, well that's what this great young singer, Chapel Roone
is sort of going through now. She's just artist who
was a working musician for years and years and years
and then in the last like eight months, became hugely famous.
And she's taking on this heat because she's canceling shows
and she's like, look, I'm trying to stay alive, Like
(36:18):
I have mental illness that I've been dealing with before
all this happened. I didn't expect this to happen. This
is like out of control. I can't have I don't
like I'm not rich yet, I don't have the ability
to hire security for when I need to get groceries.
Speaker 3 (36:35):
Or that's scary, terrifitely.
Speaker 1 (36:38):
I mean, there was this incident with her where she
walked into a bar with some friends and some guy
just came up to her and like kissed her on
the ave. It's like, get away from me.
Speaker 4 (36:47):
Yeah, that's scary. I think about Taylor Swift a lot
because she drops what her fans called easter eggs. Yeah,
stuff like that. But just to think, like, like you said,
having that level of pressure. Clearly she tries to have
fun with it, right because she knows that people are
looking into it. But like if you didn't have that
mindset and you were just like it would freak me out.
Speaker 1 (37:07):
And you see these this old news real footage of
the Beatles, like they're in a car and it's just
surrounded by people who are like banging on and screaming
at them and like for what are you doing that?
Speaker 4 (37:19):
Yeah, because they love them, and that's.
Speaker 2 (37:22):
Literally tear them if you if you ask every every
other Peter Peter Asher, who end up working with Apples
and he was part of him that Paul he was dating,
Paul was dating his sister Jane. Asher wrote the songs
where they toured America and they're on the on a
song they're on a tour and they rush the stage
and there's like, you know, two security guards named Pop
(37:42):
you know, sitting on chairs because that was what security was.
And they start to come and they're running, and he said,
so we run, and we're literally running for our lives.
Speaker 3 (37:52):
And people, all the girls chasing you. Must be nice.
Speaker 2 (37:55):
No, No, When when a girl or two wants to
spend time with you, that's nice. When a thousand people
are chasing you, doesn't matter. If the girls boys, you're
going to get killed. So we're running for our life.
And I dropped my glasses because he's very and I
bent down to pick him up, and my partner, Gordon went,
forget it, run just keep going, just keep going, he goes,
and I look back and one of them picked up
(38:16):
the glasses and they were fighting each other over the glasses,
and someone else kissed the ground where the glasses fell,
and he said, I'm crying. I'm realizing I'm starting to
have like it's, i mean, the worst panic attack I've
ever had, and running to try to get to this thing,
and shaking like a leaf, going what am I doing?
Why did I want this? Why did I want this?
How do you stop this? Can you stop it? Can't
(38:38):
stop it? What do you mean you can't stop it?
You got twenty more gigs you already, he said, it
was terrifying. Again, we're twenty. You know your entourage is
a guy.
Speaker 1 (38:48):
Yeah, so you can kind of understand why maybe they
broke up exactly, So wrap it up.
Speaker 2 (38:54):
Yes, I loved hearing your takes on all this, and
I'll love to do this again. And you know what,
I would like to do it in reverse someday and
play an album that you absolutely love.
Speaker 3 (39:06):
And I really know so little.
Speaker 2 (39:08):
I know virtually nothing about the popular music of today.
It's just not when I hear it, it just sounds
generic to me. And there's nothing that goes into my
soul like this music does. So find something that really
touches your heart that you really love, not something that's
pleasant to dance to, because I hear that part, you know.
Speaker 3 (39:28):
I went to see oh, what's his name?
Speaker 2 (39:32):
The kid from the British boy band, No, Harry Styles.
That's how I how to think about the name. So
I went to see Harry Styles and we were invited.
What'd you think? And the way he treated the fans.
I loved him for how kind and lovely and exclusive
he was to the fans, to his musicians. It was
(39:52):
a fun, fun show. I couldn't tell you one couldn't
remember one song, he said, And they're all good songs.
But I love the experience because he was a great
entertainer and he was so warm to the fans. But
I would love to you play for me something that
really touches your heart and let.
Speaker 3 (40:08):
Me hear it.
Speaker 4 (40:09):
Oh my god. Okay, I have to think hard about it.
Speaker 1 (40:11):
Okay, we did exactly that a few weeks ago, and
neither of us liked it, which one not neither of
us liked it. But I'm thinking of the Nicki Minatish
record and we've both had those where we suggested something
and we're like those dreads.
Speaker 4 (40:28):
I have to think about it and maybe listen through
before I give you something.
Speaker 1 (40:32):
But definitely okay, So thank you so much Ken for
doing that.
Speaker 2 (40:35):
Thank you Andrew and time in. I love being part
of this.
Speaker 3 (40:38):
At first listen, it's a great idea.
Speaker 1 (40:40):
So anyone from the Beatles Revolution side come search for
our podcast, subscribe to it so you don't miss an
episode of what we're doing.
Speaker 2 (40:48):
And everybody at first Listen give a conditions Beetles.
Speaker 3 (40:52):
Revolution this shot. I think you'll like it.
Speaker 2 (40:53):
You're my favorite one that will reach to everybody. The
show we did about how to put on a show,
about what touring is all about, how it goes.
Speaker 3 (41:01):
That will blow your mind when you find out exactly
how hard it is to do.
Speaker 1 (41:05):
That was a couple of years back.
Speaker 3 (41:06):
Yeah, but it was great. You'll find it cool.
We're back on a first listen. I'man Drew, I'm Diamond,
and I'm Ken and we are continuing our conversation on
the Beatles Abbey Road. On part one of this episode
we discussed come Together Something, Maxwell's Silver Hammer, Oh Darling.
So if you want our thoughts on those songs, you
can check out part one in your feed. And that
(00:38):
brings us to Octopus's Garden track four five on this record.
Speaker 2 (00:45):
Ringo on vacation. I believe it was in the island
of Sardinia off of Italy and do snorkeling, and the
boats captain said, you know, if you see an octopus,
they they're very territorial about the rocks they stay and
they'd like to make a little garden. They take little
fancy bits of shiny things that they find are interesting
rocks and they build themselves a little garden in front.
Speaker 3 (01:07):
Of their house of rocks.
Speaker 2 (01:09):
And when you came up and went, I actually think
I have a song.
Speaker 4 (01:13):
Wow.
Speaker 1 (01:15):
And this is one of the few songs that he's
actually credited with writing.
Speaker 3 (01:18):
He really did come in with it.
Speaker 2 (01:20):
They worked on the melody, they arranged it and all that,
and cleaned up the lyrics, but he came in with
the I'd Like to Be under the Sea in an
Octopus's garden in the shade?
Speaker 4 (01:30):
Was this one of the only songs that he was Well,
you did say that, but like how many.
Speaker 1 (01:37):
There's other songs that he sings, but I don't like
Yellow Submarine on a previous record he sings.
Speaker 2 (01:42):
Right, But Paul wrote that with this other artist, don It,
and they wrote songs for Ringo so he would have
a voice. First album, they covered an early Motown song Boys,
because Ringo loved to sing it thought it was a
great song. So he would sing occasionally on different songs,
but not written this was and that.
Speaker 1 (01:59):
Was actually maybe it was because of the Beatles that
this became a bit more common, or this was common
and you don't really see it anymore where a lot
of groups from the seventies is kind of where I'm
going where I'm thinking of would have a lot of
different members singing songs like the Eagles. Of course, virtually
(02:20):
everyone in the band had a lead vocal on the record.
Queen did the same thing with three of the four guys.
I'm sure there's some other examples that that I'm missing.
Speaker 2 (02:31):
Timon what everybody tells me about the early sixties, and
nobody's sitting any better than this guy, John Lodge, a
band of moody blues. They're from Birmingham, England, and they
were a big pot local band and they headlined them
sixty three. They tell them, okay, you're the opening ecuss
this band from Liverpool coming in what where? It's Birmingham
where the big stars of the town. No, no, they've
(02:52):
got a record contract. So we opened and we're furious
and we're standing in front of him with their arms folded.
Let's see these idiots, he said. Now here's the thing
that people don't give them credit for. Every band we
saw was so and so and the so and sos,
one guy in the front or a girl in the front,
and some musicians behind it. There's one person on a mic.
(03:13):
In rock and roll, there was Buddy Holly and the Crickets.
There was Elvis and the Jordanaires, Chuck Berry, some people
behind him, Little Richard a band behind him. We saw
a guy in front or on a piano, and everybody else.
The Beatles are the first band we saw that set
up multiple mics in front, where everybody was in front
(03:33):
and the drummer was in back. We go, Okay, which
one's the singer?
Speaker 3 (03:37):
Wait he's singing.
Speaker 2 (03:38):
Wait, now he's singing the next one waiting?
Speaker 1 (03:42):
Who am I supposed to pay attention to?
Speaker 3 (03:43):
Right, he said? And you don't understand.
Speaker 2 (03:46):
So every band you see, especially right now, in the
pop world, it's back to one singer and a bunch
of musicians. But rock and roll, everybody's mics are in front,
the bass player, of the guitarists, the singer. Everybody's in
the front, and maybe keyboards and drums and horn sections
in the back. But as Sean said, I turned to
my bass player and said, can you sing? Okay, We're
(04:09):
gonna have to we have to make a change here,
because you just knew like that was the new normal.
Now he said, it's not you know, it's not Steven
Tyler and Aerosmith. It's you know, it just became a band,
which I never realized until somebody explained it how obvious
that is.
Speaker 4 (04:30):
I would have to say that this was one of
my least favorite songs on the album, and I feel like,
I don't know, I have to go back, but I
feel like in the intro you told me that you
thought that I'd like it.
Speaker 1 (04:43):
Yeah, I that that seems like something I might say Garden.
Speaker 4 (04:48):
Yeah, I wasn't feeling it too much.
Speaker 1 (04:50):
There is, by the way, weeks between these episodes.
Speaker 2 (04:53):
But these songs are the biggest introduction for children into
the Beatles. There are three there are three door is
that take them into the Beatles house. And it's a
Yellow Submarine, which is absolutely a children's song.
Speaker 3 (05:06):
We all Live, Yeah that.
Speaker 1 (05:09):
There's like nineteen sixty seven Baby Show, right.
Speaker 2 (05:12):
And all together now a B C D. Can I
Bring My Friend to Tea? Which is again and this one.
Speaker 1 (05:21):
It's interesting that they sort of indulged that aspect of
their of their career, that that that was like an
avenue that they've felt strongly enough about, especially with how
politically motivated John Lennon was and so much of his stuff,
and how George Harrison was into this Eastern spirituality. But
(05:43):
they're still making like one children's song and album.
Speaker 3 (05:47):
You know, Paul, it's funny, Paul loved that stuff. You know.
Speaker 2 (05:51):
Paul's the one of the greatest writers pop songs or
some interesting songs with deep songs. He can do anything.
But as John, you to resent it like hell. Paul
and his granny music, you know, and that's what he
used to call it. But I but this is just
my own opinion. I think he secretly was thrilled that
Paul can knock out a pop song that's going to
(06:13):
sell billions, so that he didn't have to do the
heavy lifting. I get to be the cool EDGI guy.
So Paul always pick up the heavy end of the
piano and like, get us all the big hits so
I can do weird stuff.
Speaker 3 (06:28):
And I don't know, but again that's just my own thing.
Speaker 2 (06:30):
I never I didn't read that anymore, but because he
always used to put him down for that stuff, like dude.
Speaker 3 (06:37):
It worked out. It worked out.
Speaker 1 (06:39):
So that brings us to I Want You She's So Heavy,
which is probably one of the more adult songs, right.
Speaker 2 (06:48):
Like kids songs, And that's exactly the point, Like, okay,
we did the kids song now, and it was actually
a thing. Let's see if we can do it with
as few words as possible. So the entire lyrics where
I want you so bad it's driving me mad, that
is the extent of the lyrics, and we're going to
(07:10):
do that. They played all night the engineers left. They
were jamming on it literally for hours to tape ran
out and they were still playing in the middle of
the night.
Speaker 4 (07:17):
That's so cool, Like we.
Speaker 3 (07:19):
Just want to jam.
Speaker 1 (07:21):
And this is one of probably the most frequently covered
by rock band Beatles songs. Yeah, it's like a simple
one and it's it's one to jam on. Like I've
seen bands cover this probably too many times.
Speaker 3 (07:33):
It was meant to It was clearly meant to be.
Speaker 1 (07:36):
Did you like it?
Speaker 4 (07:39):
Yeah?
Speaker 1 (07:41):
I think I love that you we were figuring out
what your lane is.
Speaker 4 (07:45):
But like, remember how I said that old Darling gave
me the vibe of like old show high school dance
type of vibe. This kind of gave me this, not
necessarily the same vibe, but like put me in the
same like headspace, if that makes sense. Like I liked it.
(08:08):
I didn't love it, but I didn't hate it. So
I think that that should tell you, guys something. What
do you think ken?
Speaker 2 (08:15):
Yeah, I mean, listen, how as I said to you
on the first part, how you react. There's no right
or wrong answer to what you like or what you
don't in art, in music, and fashion, and you know
it's your jam.
Speaker 3 (08:26):
It's your jam.
Speaker 2 (08:27):
But with something that's so universal I love hearing the
take of someone who wasn't didn't grow up with it.
Speaker 3 (08:34):
Wasn't steep here what it evokes.
Speaker 2 (08:36):
Yeah, what does it mean to you? Because they know
what it meant to me, but I grew up with it.
Speaker 1 (08:40):
This is one of those the songs that for me
suffers from just like I've heard it so much. Like
an album that would have been great for us to
do is the White Album. We probably wouldn't go there
unless Diamond really was into the Beatles because it's a
double record. But that's an album that I haven't listened
to in years because I just beat the shit out
(09:01):
of it when I was a kid. I think I
got it for Christmas one year, and that was like
the only Beatles album I listened to for the longest time.
And now I just can't even really stand it.
Speaker 3 (09:11):
Really.
Speaker 1 (09:11):
Yeah, it's because it's one of those things that it
just takes you so specifically back to a particular place
and time and it's like, I do not want to
be sixteen again, which was probably about the age I
was when I got that album and this song. I
probably if you asked me, I would have said this
was on the White Album because it it has a
(09:35):
similar feel to some of the tracks in like the
middle of the White Album.
Speaker 2 (09:40):
A friend of mine from the Dog Run this big
crazy music fan of club dj and lived through sixties
and seventies music, and he maintains the White Album is
the most psychedelic album ever made.
Speaker 3 (09:52):
Like, how do you say that?
Speaker 1 (09:53):
It has the most unlistenable Beatles song in the whole.
Speaker 2 (09:56):
Which intentionally done Revolution number nine. John absolutely did it
to be the most controversial.
Speaker 3 (10:03):
That was his way of, you.
Speaker 2 (10:04):
Know, sticking a finger in the eye of the Beatles
myth and Beatles fans. I intentionally made the worst song ever.
You're trying to make the best songs ever, I'm going
to make the worst song.
Speaker 3 (10:16):
Yeah.
Speaker 2 (10:16):
Well it was very because they were kind of at
each other at that point. So it's daytonte so Diamond,
you have four songs. You have four songs. I have
four songs. He'll have two songs. So you really want
that that song that's going to be your song? Yeah,
I want that? Are you trying to sabotage.
Speaker 1 (10:33):
Like it's a count and he's going to waste a curve.
Speaker 2 (10:36):
Exactly, but just to see but as my buddy said,
you get Paul's biggest Birthday and old Blado blah dah.
You get Revolution number nine, you get good Night, you
get your blues, because what one collection of.
Speaker 1 (10:50):
Your blues is probably the one that I confuse, I
want you.
Speaker 3 (10:52):
She's so heavy with right, because it's in that same vein.
Speaker 1 (10:57):
They also there's another song that John Lennon called Revolution right,
which is a great song. That's where the Ken Das
shows Beatles' revolution sort of gets its name from. But
then there's this like sequel song, Revolution number nine, which
is basically just like ten minutes of noise.
Speaker 2 (11:13):
Maybe yeah it's and it's backwards masking and it's all.
And then the crazy conspiracy theorists came up with backwards
masking it proves that Paul died in the fiery car crash,
and because they said that, he played into it, and
if you listen to it backwards, he totally this is
my opinion, Paul didn't die. Paul didn't die in the
(11:35):
car crash. But when the freaks came out with that,
he said, let.
Speaker 3 (11:38):
Me throw him some meat, and he did it. He'll
never he never admitted. But if you listen to it backwards,
there's no way.
Speaker 1 (11:56):
It accident have you ever listened to it backwards?
Speaker 2 (11:59):
Oh yeah, And I've played it on the air and
you hear crackling, you hear like a crackling fire. You
hear angels singing, and hear voice backwards.
Speaker 3 (12:09):
Going let me out, Let me out, Let me out.
Speaker 1 (12:12):
It's unsettling, and actually.
Speaker 2 (12:14):
Sings number he sings number nine, number nine, number nine.
And when you play it backwards, the interpretation is turn
me on dead man, turn me on dead. Excuse me, Diamond,
we will play this.
Speaker 3 (12:28):
You know what.
Speaker 2 (12:29):
There's another podcast about Revolution number nine with Diamond and.
Speaker 1 (12:33):
Hear what she We could just do backwards songs.
Speaker 3 (12:35):
Yeah, they do it. They did a lot of backwards masking.
Speaker 1 (12:39):
They just had fun with a tape machine.
Speaker 3 (12:41):
Yeah, exactly.
Speaker 2 (12:41):
They were screwing around there high and the screwing around
with a tape machine. But yeah, in that one when
I played it on the air, and like, it couldn't
have been accidental that those sounds came out in that order,
especially because of these freaks. And it just strikes me
as John Lennon's like sort of twist the sense of humor,
like liv.
Speaker 1 (13:01):
And there's something about the number nine where in like
some culture it's like a number of death or something.
Speaker 2 (13:08):
Again, he gave them all the you know, he just
fed them stick. Yeah, And of course there's not but
you know.
Speaker 1 (13:14):
There is such a there was so much coverage of them,
and they were so under a microscope, and you know,
there's not social media. They're not really on TV a lot,
so people are like they just have the albums and
they just have the album artwork and the liner notes
and they're just reading into it. And eventually some of
(13:36):
this stuff got back to the band and they're like,
let's give people something to do.
Speaker 4 (13:41):
But like, okay, I'm just shocked because like, how do
you feed into it if you're releasing the album and
people know that you're not dead? Right right?
Speaker 3 (13:54):
Yeah? But to this day, Dimond that diamond.
Speaker 2 (13:58):
To this day, people come up to me when I
hosted vest for Beatle fans, go I have proof that
Paul McCartney is not the love of God.
Speaker 1 (14:06):
There there was some have you ever met the public?
Speaker 2 (14:09):
Sorry, maybe you just stay here if you've ever met there.
Speaker 1 (14:16):
Was some some Italian like researchers did this study where
they looked at all these photographs of Paul McCartney and
they're like, see his his his nose is in his eye,
his brow is in a different place in the nineties
than it was in the sixties.
Speaker 2 (14:31):
Like, we don't age and a face doesn't slightly change shape.
The biggest thing that the funniest thing is his mouth
was completely different.
Speaker 3 (14:39):
Uh huh.
Speaker 2 (14:40):
So it's Keith Richards. So it's a lot of people
in the sixties. So actually most people who grew up
in the fifties and sixties and never floss or brushed
their teeth and didn't have access to dental care, you
know why their mouth is different.
Speaker 3 (14:53):
Can you take a cast?
Speaker 2 (14:54):
While a lot of older adults have different teeth, And
they started with can you take off I'll give you
a thought house and guesses no, it's teats are different.
Uh huh, so are my grandmother's exactly.
Speaker 4 (15:07):
It's kind of like the Eminem thing, you know, where
they say that he died a long time ago.
Speaker 3 (15:12):
Oh I don't know this.
Speaker 4 (15:12):
Yeah I don't. I haven't gotten I haven't gone too
deep into it. But like it's just like, huh, Like,
you just have so many questions.
Speaker 1 (15:21):
And it's weird that that specific one because there's other
there's other artists who there is a conspiracy that well,
there's conspiracies that Elvis and Michael Jackson are still alive
right in Tupac and Tupac of course.
Speaker 2 (15:34):
Yeah, and they run a gas station that's Mississippi.
Speaker 4 (15:41):
He's in Cuba or something like that, Like he checked
himself out of the hospital. Weird. Weird people like.
Speaker 1 (15:49):
To imagine that certain musicians they love are dead or
that they're still alive.
Speaker 4 (15:54):
Yeah.
Speaker 2 (15:54):
And the thing about the tinfoil hat people is that
when you present them with every possible fact in the
world to contradict their bullshit. No, I've so I met
the fest and this guy comes up to me and
I'm with my friend Billy J. Kramer, British invasion artist
who was with them. He's friends with them, and says,
(16:14):
you're just another Just stop because you don't know what
you're talking about. No, you don't, you have nothing. You
don't know Paul. I grew up with Paul. We spent
a thousand hours together. When I meet Paul, if that's
not Paul, how would he know what I'm talking about? Well,
they prepped him. No, No, it's just me and Paul.
I'll mention something where it.
Speaker 3 (16:36):
Was just me and him.
Speaker 2 (16:38):
Well, he might have told someone. No, it's just me
and him. We met somebody, or we had met girls.
How he didn't talk. You know, I didn't tell anybody
about the girls that night.
Speaker 3 (16:48):
He didn't.
Speaker 2 (16:48):
How would if I bring that up and he remembers, Oh, yeah,
don't say that in front of my wife, how would
it's Paul.
Speaker 3 (16:56):
No, it's and you're like, no matter what you.
Speaker 1 (16:59):
Say, because it's more important to.
Speaker 2 (17:00):
Believe, to believe the most insane thing in the world
that Brian Epstein was such a brilliant manager of a
band that he kept kept spare band members who are
as talented as the originals, like like the Mediceese in Italy,
kept a spare Michelangelo like in a pizza place in
case something happened to him.
Speaker 3 (17:22):
We'll pull this guy out to paint.
Speaker 1 (17:25):
So moving on to here comes the song Oh my God.
Speaker 4 (17:30):
First of all, I love this song.
Speaker 3 (17:31):
Thank you.
Speaker 2 (17:33):
That was the only that was the only song where
I thought, if she doesn't like this song, we have
nothing to talk about.
Speaker 4 (17:40):
First of all, loved the song since I was little,
right because you were hearing you remember it when No
that I don't, but I do remember during COVID, like
hospitals will play the song for patients when they were
like leaving the hospital, when they were like I remember
(18:00):
that from COVID, and I like, it just changed the
way that I looked at the song as a whole.
And so now for me, it's like a national treasure.
You know, when I hear it, I'm like, oh, happy times,
Like you know, I feel like I may have heard
it on a show. Yeah, the very first time that
I heard it.
Speaker 2 (18:16):
Is there a more positive, hopeful song?
Speaker 1 (18:19):
And it's and it's not it's not too like syrupy,
you know, it's not everything is good all the time.
It's like it's like coming out of out of like.
Speaker 3 (18:28):
It's exactly coming out of a COVID thing.
Speaker 4 (18:30):
Yeah, I love it.
Speaker 3 (18:32):
You know, it's it's a thing.
Speaker 2 (18:34):
It's not a Freudian slip, but you said it, but
it's it absolutely gets the heart of the Beatles. You
said you feel like it's a national anthem. Is that
the way national treasure? Okay, but they're English, but we
love them so much. America embraced them and held them
so tightly that we look at them as Americans because
(18:55):
they're hours. There was that great line in the Simpsons,
remember He's he They go to England and he yells
at some brint and he goes, remember our beatles are
better than you rolling stones, And there's a I was howling,
but there's a there and you kind of you know,
you touched on that, and they are there are national
(19:16):
treasure because they came here and we just said ours mine,
and then they moved here, you know, and then the
top of off ringoes in la and Paul lives. Paul
bounces back and forth. But Paul is so much of
a New Yorker because his wife was from here. So
you know, he's in London and he's got a farm
in Scotland, but here in Long Island, and you know,
(19:37):
Paul spends his summers here on Long Island.
Speaker 1 (19:39):
And adopted New York.
Speaker 3 (19:40):
John adopted New York. And you know that was John's thing.
Speaker 2 (19:43):
He goes trying to find a place to live in
the world where you could just live a normal life
and peace. I can't believe it, but New York City
here is the place where I get left alone in
the most he said, people just walk down the street.
Hey John, Hey like, oh thank god, That's all I'm
ever opened for in love.
Speaker 1 (20:12):
So how about because I like this one gorgeous, isn't it.
Speaker 4 (20:18):
Yeah, But I like this one. But I feel like
this may have been one of the last ones that
I actually really enjoyed. I do remember it being a cutoff,
like I think it may have been after uh you never.
Speaker 3 (20:37):
Give me, because then then the medleys cup.
Speaker 1 (20:40):
Yeah, and that I tried to prep Diamond that the
medleys are maybe a bit hard to follow because they are.
Speaker 3 (20:46):
They're bits and pieces stitched together, so.
Speaker 4 (20:50):
They were really like shorter, right, Yeah, they were shorter.
Speaker 2 (20:52):
Well, I mean, they weren't shorter in total length, but
each one's a minute or thirty seconds or whatever.
Speaker 4 (20:57):
Kind of threw me off.
Speaker 3 (20:58):
But one of them, the one of the.
Speaker 2 (21:01):
Most requested songs, maybe top I mean in my life's
number one, two or three is probably the son King Medley.
I know I'm jumping ahead a little bit, but that opening,
that lush opening, you know, which, by the way, is
taken from an early Fleetwood Mac song called Albatross that
George and John were listening to that album over and
(21:22):
over again. And this isn't like sue me. Sue U
Blues took the sound of the guitar and the chord
progression from Peter Green was this amazing magic guitarist and
the blues writer Fleetwood Mac before they became huge pop
stars in the seventies, early British blues band, and they've
just loved it, so they sort of cap that for
the feeling to start that.
Speaker 4 (21:44):
Here's my question. Were people getting sued back then for
like how were you?
Speaker 3 (21:51):
Yeah?
Speaker 4 (21:51):
Like how were you? I don't necessarily want to say
they were clearly influenced by certain songs and stuff like that, right, so.
Speaker 3 (21:58):
They let that go. You influenced by it?
Speaker 2 (22:01):
It's usually the lawyers or the managers, like who sued
you know, George Harrison later for My Sweet Lord, you know,
because it was he's so fine by the Fons because
somebody else owned the song. And Chuck Berry was sued
John Lennon for taking the first line of you can't
catch Me for come Together, You come on the flat top.
Speaker 3 (22:22):
That's Chuck Berry.
Speaker 1 (22:23):
He also apparently punched him in the face.
Speaker 3 (22:26):
A second Chuck punched him in the face.
Speaker 1 (22:28):
Chuck didn't mess around with money.
Speaker 4 (22:29):
Yeah, he punched the man in the face.
Speaker 2 (22:32):
Yes, And what happened and John made this rock and
roller album We covered Chuck Berry songs and that was
his way of paying him back, Like, listen, let me
record more Chuck Berry songs and then you get the
rights that'll be worth more than I could pay you.
Speaker 4 (22:46):
Presh charges when the man punched him in the face.
Speaker 3 (22:48):
No thin.
Speaker 2 (22:51):
This is hard to imagine it a world that different,
But yeah, it's it's cool.
Speaker 4 (22:55):
What year was this You mean like a decade seventies,
early seventies, Yeah.
Speaker 3 (23:01):
It was. It was a different.
Speaker 1 (23:03):
So let's let's talk about you never give me your money.
I think this is my maybe my favorite song on
this album. Uh, it kind of makes me laugh, and
especially thinking about this episode. This song really made me
laugh because it seems like it's like a a prequel
(23:24):
song almost to bitch Better Have My Money by Na,
Like play those songs back to back and it's very
much the same tone.
Speaker 4 (23:34):
Well, you know, she loves Paul, right, so who Okay,
she loves him?
Speaker 1 (23:41):
Really, She's like, well they did that song with Kanye West.
Speaker 4 (23:47):
She loves him.
Speaker 1 (23:48):
Yeah, she's she pops up on a lot of She's
on a Coldplay album too.
Speaker 3 (23:52):
Yes, she was interesting.
Speaker 2 (23:55):
It's the rumors, and again nobody never verified is that
it was Paul singing to John about the legal squabbles
they were going through that was tearing them. That's what
began to really tear them apart. John signed the Beatles
to Alan Klein, this miserable, lying, shifty human being who,
(24:15):
like you know, screwed with the stones before this APCO,
and that's why they had us.
Speaker 3 (24:20):
Yeah. Good, I used to work for ABCO, did you really?
Speaker 2 (24:24):
So I don't have to tell you about Alan Klein. Okay, So, folks,
if you want to know more about one of the
most evil gunnifs who ever worked in the business, you
can talk to donnad No.
Speaker 3 (24:35):
Well, I so you know Tracy Jordan.
Speaker 4 (24:38):
Uh No, she she left a little bit before I
was working there.
Speaker 2 (24:42):
Okay, So Tracy Jordan, who also worked for ABCO, was
a senior. I talked about Alan Klein and she it's
the most it's the most beautiful politic line. She said,
What do I have to say about Alan Klein? I
learned everything I know from working with Alan. Okay, we'll
leave it there and you can interpret that anyway you want.
(25:05):
But yes, so they want to sign with Alan Klin.
And Paul said to him, he's a crook. Look, Donovan, ever,
all these people he stole the money to assue him,
couldn't get him.
Speaker 3 (25:13):
They had to threaten him.
Speaker 2 (25:15):
He says, well, if he's that bad, he must be great,
and he said that that was that was John's wife.
And he did get us more money for you know,
on the next go round. I mean he got us more,
more of a cut, he said. But I just knew.
The problem was Paul wanted his father in law, George Eastman.
Speaker 1 (25:33):
To do it, and they didn't want to give it.
Speaker 2 (25:36):
No, Paul, you can't have your father in law run
the band's finances. And the sad part was it would
have been fine because he's a legitimate, intelligent, you know,
manager of money, but it just became your guy, my guy,
and Paul had to sue them, and they sued Paul
for all this until finally they got rid of ellen Kline.
(25:56):
They let Paul do it originally, and Paul always said
the end, you know, I was right. It was very painful,
but they finally saw the light. But they hated him
for doing that. Like he said, I had, literally that's
the only path I had to stop this guy from
taking all the Beatles' money.
Speaker 1 (26:12):
So so the suggestion is that the you never give
me your money, you only give me your funny paper.
The funny paper is supposedly like the legal documents, where
it's like I can't read this, what does this mean?
Speaker 2 (26:26):
And in the middle of negotiations I break down and
we get to carry that weight. You know, there's there's
a lot of references that could be read into it's
our thing. And Paul's never said no, it's just making
up words. But who knows.
Speaker 3 (26:41):
I it's sure.
Speaker 2 (26:42):
It sure seems like it's that was we know that
was going on in their life. Yeah, so it consciously
or subconsciously, it seems like that's where it came from.
Speaker 4 (26:50):
Can you imagine you just let someone come with like, oh,
these are my four songs, and they're talking about you
and everything.
Speaker 1 (26:56):
That's insane, right, and they want to do we have
a deal?
Speaker 2 (26:59):
I guess, and you know, think about it. They all
played Uncome together and each Stanza the lyrics is making
fun of you and making fun of you and making
fun of you, and I'm making fun of me, so
it's okay. Yeah, Like and you're playing while the guy's
calling you an idiot.
Speaker 1 (27:17):
So into the medley, I feel like the medley is
something that you have to probably listen to it on
its own, out of context of the album, so that
you're kind of fresh for it. And I'm saying this
is someone who did not do that. I think maybe
I'll do that as soon as we're done, because it's
not long, but it's it's just a lot of very
(27:39):
different ideas that are kind of finagled together. A lot
of good ideas carry that weight. It's sort of like
a like an all time refrain.
Speaker 2 (27:52):
Yeah, I mean, and She came In through the Bathroom Window,
which Joe Cocker a funny little Paul song and you
know who covered the Beatles and with a little help
from my friends and made it this gospel epic. It's
one of the greatest rave ups. It's it defines Woodstock.
He just did the most beautiful reinterpretation of it, and
he did She came In through the Bathroom Window. It
(28:13):
was a huge hit for him. And then after all
these little pieces, you know, you get to these simple
the Golden Slumbers carry that weight and the end, this
two minute, twenty second song that basically ends the Beatles.
Speaker 3 (28:31):
That's that's the last thing. And you know, again.
Speaker 2 (28:36):
Paul pulls out like what John, you know, it's my
favorite John Snipe, he said, what do you what do
you think of the lyrics at the end, he said,
you see, Paul can really right if you'll stop to
think about it for a fucking minute. So that as
backhandada compliment is anyone has ever given for their their coworker,
But there it is. And in the end, the love
(28:58):
you take is equal to the love you make. Period,
let's say goodbye. How about I mean, that's a line, Yeah,
that is if you if you had something that was
the biggest band in the year, if Taylor Swift had
to write a couplet to sum up her career, how
long does it take you to come up with the.
Speaker 1 (29:17):
Perfect And this is also coming from a band that
has All You Need Is Love as one of their
earliest gigantic hits. And then they sort of wrap it
up with the love you take is equal to the
love you make.
Speaker 4 (29:32):
I love that. I didn't even realize that that was
like the end.
Speaker 1 (29:35):
The well, that's why it's so confusing with these two albums.
Let it be an heavy road. This is the second
to last one that came out, but the last one
they actually made.
Speaker 2 (29:44):
Yeah, right, and so and here's the weird thing, her majesty,
that little twenty three second Paul thing he does.
Speaker 1 (29:51):
So that was not on the original track listing, right, No,
it was. It was part of the medley.
Speaker 3 (29:56):
But it was part of the medleys, oh okay. And
they snipped it out. They thought it was going too
long because it just didn't fit.
Speaker 2 (30:02):
So there's an abrupt cut and I'll show you where
it fits in perfectly because they physically just took scissors
and cut it out. And John said, that's so you
know the end. No, really, it's the most beautiful thing
you ever wrote. Nah, it's too sweet. Let's take your
little thing, her majesty and put it on like thirty
twenty seconds later and just throw it on and make
(30:23):
it like funny. So we go out with like and
we make like a fart noise and Leaf like's to
do something stupid, and I was like, yeah, okay, we'll
do that. So you got this beautiful, sweet moment and
then Majesty's really that's good and do a little skiffle song. Yeah,
and that's what it is. So they just threw it
about marrying the Queen of England. You know what, Paul
(30:55):
became really good. I mean not just became friends with
Queen Elizabeth over hertig. She'd invite him and the family over.
I can't imagine they did, not that she listened, and
maybe she did, but they told her. I can't imagine.
There wasn't one point saying, so you had intention of
marrying me?
Speaker 3 (31:14):
How could she not.
Speaker 1 (31:15):
Throw Yeah, she she certainly was aware of it. I
mean she pointed to Ozzy Osbourne is like, I've seen you.
So she of course she's heard that. And wasn't this
like borderline trees And at the time, well.
Speaker 2 (31:28):
No, because she didn't know. Didn't he didn't say anything
about sex. Yeah, he didn't, you know, or throw her
off the roof or something.
Speaker 3 (31:35):
You know.
Speaker 1 (31:35):
I want to tell it was a risky Yeah, it
was a little bit.
Speaker 3 (31:40):
It was cheeky. It was cheeky.
Speaker 1 (31:41):
So we covered the Ramones Rocket to Russia on a
previous episode and I mentioned the sex Pistols a lot
in that episode. So ten eight years after this album,
the sex Pistols have this huge hit called God Save
the Queen, which is very critical of the monarchy, which
they calling the song a fascist regime. And they got
(32:05):
in a lot of hot water for that because it
was technically treason by the letter of the law. It
was treason for them to put that in a song,
and Johnny Rotten, the singer for the sex Pistols, could
have been subject to the death penalty. So there were
months in the sex Pistols career in England where they
(32:29):
were afraid that their singer was going to get charged
with treeson and hanged. In the late seventies, it will
always be an so years earlier the Beatles.
Speaker 4 (32:42):
Well, that's probably why they did it. They thought they
could get away with it because he said he wanted
to marry the Queen.
Speaker 3 (32:46):
Yeah.
Speaker 2 (32:47):
Well and listen the sex Pistols, as they said, we're
not into music, we're into chaos, and that's pretty much
what the band was.
Speaker 3 (32:54):
That's why I mean, I think it's fun. Like I said,
novelty song.
Speaker 2 (32:57):
To me, it's like a weird Al Yankovic just it's
a novelty song. But they're just trying to be obnoxious
kids like okay, but saying you know, it goes back
to revolution, to John Lennon's song you say you want
a revolution, Yeah, well we all want to change the world.
You say it's in the constitution, Well you know, and
but the one line, and it's what's how a twenty
(33:18):
five year old.
Speaker 3 (33:19):
Could be this aware?
Speaker 2 (33:21):
This hip says, But you know when he says, well,
but when you start talking about people with mindset hate,
don't you know?
Speaker 3 (33:29):
Baby? You gotta wait?
Speaker 2 (33:31):
You know, you know, as he said, he explained the song.
He said, you want to blow up Wall Street? Great,
what'd you come up with to replace it? No, Well,
when you figure that out, then come back to me
and tell me about blowing up all Street, because blowing
up a Wall Street means nothing. Tell me your system
that you came up with that's better. Like, how is
the twenty five year old in that age of revolution
(33:53):
and hair and hippies versus the straits? How do you
see have the perception to see the world in such
a big place?
Speaker 1 (34:00):
And he's very much in the hippie camp at the time,
but he also sees that there is there are there
is parameters, there's limits to the practicality of that whole thing. Yeah,
And also another great point, the Beatles broke up in
nineteen seventy. I think John lenna as the oldest member
had just turned thirty, right, right, and so this all
(34:24):
happened and they're not even thirty.
Speaker 4 (34:26):
That's insane.
Speaker 2 (34:27):
Yeah, they they only record seven years. Like in that
seven years, they recorded like three lifetimes. Yeah, worth of change,
not just music but changes.
Speaker 3 (34:35):
Yeah.
Speaker 2 (34:36):
You the three of us have never had that many
changes in our life and may not ever of how
fast they spun the world like they didn't just live
in the world, they shaped it. And people hanging on
every word and every note the responsibility of that. I
may have mentioned it the last time. There's a fantastic
(34:57):
blues singer songwriter, Warren Haynes, my favorite guitarists and writers
who when we were talking about yeah, it comes by
a lot. When we were talking about the Beatles movie
about Get Back, he said, just about their fame. He said,
you know, I'm going out the door and my wife says,
aren't you taking pictures for your album today? Oh yeah,
we'll bring a clean shirt. That's the extent of my
(35:19):
preparation for the album cover. And to think the world,
the whole fashion world Milan, Paris, New York are trying
to pay off anyone to see what some of the
photos look like so they can get a million jackets
like that or a million things. Because it has to
be in the store. Ideally today the record comes out,
so you can look like the Beatles and the pressure
(35:41):
and analyzing having everybody sitting there analyzing what's on the
wall behind them. Is that a clue? Does that mean something?
He's smoking a cigarette?
Speaker 3 (35:50):
He isn't. Is that he goes? Just he goes.
Speaker 2 (35:53):
I am telling you, I know myself, the weight of
that fame would crush me.
Speaker 1 (35:57):
Yeah, well that's what this great young singer, Chapel Roone
is sort of going through now. She's just artist who
was a working musician for years and years and years
and then in the last like eight months, became hugely famous.
And she's taking on this heat because she's canceling shows
and she's like, look, I'm trying to stay alive, Like
(36:18):
I have mental illness that I've been dealing with before
all this happened. I didn't expect this to happen. This
is like out of control. I can't have I don't
like I'm not rich yet, I don't have the ability
to hire security for when I need to get groceries.
Speaker 3 (36:35):
Or that's scary, terrifitely.
Speaker 1 (36:38):
I mean, there was this incident with her where she
walked into a bar with some friends and some guy
just came up to her and like kissed her on
the ave. It's like, get away from me.
Speaker 4 (36:47):
Yeah, that's scary. I think about Taylor Swift a lot
because she drops what her fans called easter eggs. Yeah,
stuff like that. But just to think, like, like you said,
having that level of pressure. Clearly she tries to have
fun with it, right because she knows that people are
looking into it. But like if you didn't have that
mindset and you were just like it would freak me out.
Speaker 1 (37:07):
And you see these this old news real footage of
the Beatles, like they're in a car and it's just
surrounded by people who are like banging on and screaming
at them and like for what are you doing that?
Speaker 4 (37:19):
Yeah, because they love them, and that's.
Speaker 2 (37:22):
Literally tear them if you if you ask every every
other Peter Peter Asher, who end up working with Apples
and he was part of him that Paul he was dating,
Paul was dating his sister Jane. Asher wrote the songs
where they toured America and they're on the on a
song they're on a tour and they rush the stage
and there's like, you know, two security guards named Pop
(37:42):
you know, sitting on chairs because that was what security was.
And they start to come and they're running, and he said,
so we run, and we're literally running for our lives.
Speaker 3 (37:52):
And people, all the girls chasing you. Must be nice.
Speaker 2 (37:55):
No, No, When when a girl or two wants to
spend time with you, that's nice. When a thousand people
are chasing you, doesn't matter. If the girls boys, you're
going to get killed. So we're running for our life.
And I dropped my glasses because he's very and I
bent down to pick him up, and my partner, Gordon went,
forget it, run just keep going, just keep going, he goes,
and I look back and one of them picked up
(38:16):
the glasses and they were fighting each other over the glasses,
and someone else kissed the ground where the glasses fell,
and he said, I'm crying. I'm realizing I'm starting to
have like it's, i mean, the worst panic attack I've
ever had, and running to try to get to this thing,
and shaking like a leaf, going what am I doing?
Why did I want this? Why did I want this?
How do you stop this? Can you stop it? Can't
(38:38):
stop it? What do you mean you can't stop it?
You got twenty more gigs you already, he said, it
was terrifying. Again, we're twenty. You know your entourage is
a guy.
Speaker 1 (38:48):
Yeah, so you can kind of understand why maybe they
broke up exactly, So wrap it up.
Speaker 2 (38:54):
Yes, I loved hearing your takes on all this, and
I'll love to do this again. And you know what,
I would like to do it in reverse someday and
play an album that you absolutely love.
Speaker 3 (39:06):
And I really know so little.
Speaker 2 (39:08):
I know virtually nothing about the popular music of today.
It's just not when I hear it, it just sounds
generic to me. And there's nothing that goes into my
soul like this music does. So find something that really
touches your heart that you really love, not something that's
pleasant to dance to, because I hear that part, you know.
Speaker 3 (39:28):
I went to see oh, what's his name?
Speaker 2 (39:32):
The kid from the British boy band, No, Harry Styles.
That's how I how to think about the name. So
I went to see Harry Styles and we were invited.
What'd you think? And the way he treated the fans.
I loved him for how kind and lovely and exclusive
he was to the fans, to his musicians. It was
(39:52):
a fun, fun show. I couldn't tell you one couldn't
remember one song, he said, And they're all good songs.
But I love the experience because he was a great
entertainer and he was so warm to the fans. But
I would love to you play for me something that
really touches your heart and let.
Speaker 3 (40:08):
Me hear it.
Speaker 4 (40:09):
Oh my god. Okay, I have to think hard about it.
Speaker 1 (40:11):
Okay, we did exactly that a few weeks ago, and
neither of us liked it, which one not neither of
us liked it. But I'm thinking of the Nicki Minatish
record and we've both had those where we suggested something
and we're like those dreads.
Speaker 4 (40:28):
I have to think about it and maybe listen through
before I give you something.
Speaker 1 (40:32):
But definitely okay, So thank you so much Ken for
doing that.
Speaker 2 (40:35):
Thank you Andrew and time in. I love being part
of this.
Speaker 3 (40:38):
At first listen, it's a great idea.
Speaker 1 (40:40):
So anyone from the Beatles Revolution side come search for
our podcast, subscribe to it so you don't miss an
episode of what we're doing.
Speaker 2 (40:48):
And everybody at first Listen give a conditions Beetles.
Speaker 3 (40:52):
Revolution this shot. I think you'll like it.
Speaker 2 (40:53):
You're my favorite one that will reach to everybody. The
show we did about how to put on a show,
about what touring is all about, how it goes.
Speaker 3 (41:01):
That will blow your mind when you find out exactly
how hard it is to do.
Speaker 1 (41:05):
That was a couple of years back.
Speaker 3 (41:06):
Yeah, but it was great. You'll find it cool.
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