Episode Transcript
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Speaker 1 (00:00):
Tick two, it's Kendasha's Beetle Revolution, wont two thief All.
Speaker 2 (00:08):
On the radio.
Speaker 3 (00:10):
We're back on affirst. Listen, 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
(00:31):
in your feed. And that brings us to Octopus's Garden
track four five on this record.
Speaker 2 (00:40):
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
(01:02):
of their house of rocks. And when he came up
and went, I actually think I have a song.
Speaker 3 (01:08):
Wow, And this is one of the few songs that
he's actually credited with writing.
Speaker 2 (01:13):
He really did come in with it. 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 1 (01:25):
Was this one of the only songs that he was Well,
you did say that, but like how many.
Speaker 3 (01:31):
There's other songs that he sings, but I don't like
Yellow Submarine on a previous record he sings.
Speaker 2 (01:36):
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 3 (01:54):
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 everyone
(02:16):
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 (02:26):
Timon what everybody tells me about the early sixties, and
nobody's said 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 actress.
There's this band from Liverpool coming in. What where? It's Birmingham.
We're the big stars of the town. No, no, they've
(02:47):
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 is 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.
(03:08):
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
(03:28):
and the drummer was in back. We go, Okay, which
one's the singer? Wait he's singing. Wait now he singing
the next one?
Speaker 3 (03:36):
Wait he sing Who am I supposed to pay attention to?
Speaker 2 (03:38):
Right, he said? And you don't understand. So every band
you see, especially not 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 Shohn said, turned to my bass
(04:00):
player and said, can you sing? Okay, We're 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
(04:20):
never realized until somebody explained it how obvious that is.
Speaker 1 (04:25):
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 3 (04:38):
Yeah, that that seems like something I might say, garden.
Speaker 4 (04:43):
Yeah, I wasn't feeling it too much.
Speaker 3 (04:45):
There is, by the way, weeks between these episodes es.
Speaker 2 (04:48):
But these songs are the biggest introduction for children into
the Beatles. There are three there are three doors that
take them into the Beatles house. And it's a Yellow Submarine,
which is absolutely a children's song. We All Live, Yeah.
Speaker 3 (05:03):
That there's like nineteen sixty seven Baby Show, right.
Speaker 2 (05:07):
And all Together now a B C D. Can I
Bring My Friend to Tea? Which is again and this one.
Speaker 3 (05:15):
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.
(05:38):
But they're still making like one children's song and album.
Speaker 2 (05:42):
You know, Paul, it's funny. Paul loved that stuff. You know,
Paul's the one of the greatest writers pop songs or
some interesting songs with deep songs. He can do anything.
But as John used to resent it, like hell Paul
and his granny music, you know, and that's who he
used to call it. But I but this is just
my own opinion. I think he secretly was thrilled that
(06:05):
Paul can knock out a pop song that's going to
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. And I don't know, but
again that's just my own thing. I never I didn't
(06:26):
read that anymore, but because he always used to put
him down for that stuff, like dude, it worked out.
It worked out.
Speaker 3 (06:34):
So that brings us to I want You She's So Heavy,
which is probably one of the more adult songs, right.
Speaker 2 (06:43):
Like kids songs, And that's exactly the point, like, okay,
we did the kids song, now check out, 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
(07:04):
to 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. That's so cool, Like we just want
to jam.
Speaker 3 (07:15):
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 2 (07:28):
Yeah, it was meant to It was clearly meant to be.
Speaker 3 (07:31):
Did you like it?
Speaker 4 (07:34):
Yeah?
Speaker 3 (07:35):
I think I love that you we were figuring out
what your lane is.
Speaker 1 (07:40):
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
in the same like headspace, if that makes sense.
Speaker 4 (08:02):
Like I liked it.
Speaker 1 (08:03):
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 (08:10):
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. It's your jam, 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 (08:29):
Wasn't steep here what it evokes.
Speaker 2 (08:31):
Yeah, what does it mean to you? Because they know
what it meant to me, but I grew up with it.
Speaker 3 (08:35):
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
(08:55):
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 really. 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
(09:18):
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 similar
feel to some of the tracks in like the middle
of the White Album.
Speaker 2 (09:35):
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, Like, how do you
say that?
Speaker 3 (09:48):
It has the most unlistenable Beatles song in the whole.
Speaker 2 (09:51):
Which intentionally done Revolution number nine. John absolutely did it
to be the most controversial. That was his way of,
you 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 gonna make the worst song. Yeah, Well it was
(10:12):
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 it?
Speaker 3 (10:28):
Like it's a two count and he's gonna waste a.
Speaker 2 (10:30):
Curve 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.
Speaker 3 (10:44):
Of your blues is probably the one that I confuse,
I want you.
Speaker 2 (10:47):
She's so heavy with right, because it's in that same vein.
Speaker 3 (10:52):
They also there's another song that John Lennon wrote called
Revolution right, which is a great song. That's where the
ken that 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 (11:08):
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
(11:29):
car crash. But when the freaks came out with that,
he said, let 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 it accidently.
Speaker 3 (11:52):
Have you ever listened to it backwards?
Speaker 2 (11:54):
Oh yeah, And I've played it on the air, okay,
and you hear crackling, you hear like crackling. You hear
angels singing, and hear voice backwards going let me out,
Let me out, let me out.
Speaker 3 (12:07):
It's unsettling, and actually.
Speaker 2 (12:09):
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. You know what. There's another podcast
about Revolution number nine with Diamond and.
Speaker 3 (12:27):
Hear what she We could just do backwards songs.
Speaker 2 (12:30):
Yeah, they do it. They did a lot of backwards masking.
Speaker 3 (12:34):
They just had fun with a tape machine.
Speaker 2 (12:35):
Yeah exactly. 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 twisted
sense of humor, like and.
Speaker 3 (12:56):
There's something about the number nine where in my some
culture it's like a number of death or something.
Speaker 2 (13:03):
Yeah.
Speaker 3 (13:03):
Again, he gave them all the you know, he just
fed them stay. Yeah.
Speaker 2 (13:07):
And of course there's not but you.
Speaker 3 (13:08):
Know, 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
(13:30):
eventually some of this stuff got back to the band
and they're like, let's give people something to do.
Speaker 1 (13:35):
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?
Speaker 4 (13:48):
Right right?
Speaker 2 (13:49):
Yeah? But to this day, Dimond that diamond. To this day,
people come up to me when I hosted Best for
Beatle Fans, go I have proof that Paul McCartney is
not the love of God.
Speaker 3 (14:01):
There there was some have you ever met the public?
Speaker 2 (14:04):
Sorry, maybe you just stay here if you've ever met there.
Speaker 3 (14:11):
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 (14:26):
Like, we don't age and a face doesn't slightly change shape.
The biggest thing that, the funniest thing is his mouth
is completely different. Uh huh. 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.
(14:48):
Can you take a cast? While a lot of older
adults have different teeth and they started with can you
take off? I'll give you a thousand guesses. No, his
teeth are different.
Speaker 3 (14:57):
Uh huh, so are my grand others.
Speaker 2 (15:01):
Exactly.
Speaker 1 (15:02):
It's kind of like the eminem thing, you know, where
they say that he died a long time ago.
Speaker 3 (15:06):
Oh I don't know this, Yeah I don't.
Speaker 1 (15:08):
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 3 (15:16):
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 (15:29):
Yeah, and they run a gas station that's Mississippi.
Speaker 1 (15:36):
He's in Cuba or something like that, like he checked
himself out of the hospital.
Speaker 3 (15:41):
Weird people like to imagine that certain musicians they love
are dead or that they're still alive.
Speaker 4 (15:48):
Yeah.
Speaker 2 (15:49):
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,
(16:09):
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 was just me and him. Well,
(16:33):
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. He didn't. 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, No,
it's and you're like, no matter what you say.
Speaker 3 (16:54):
Because it's more important than to believe this, hang on.
Speaker 2 (16:57):
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. We'll pull this guy out
(17:18):
to paint.
Speaker 3 (17:20):
So moving on to here comes the song Oh my God.
Speaker 4 (17:25):
First of all, I love this song.
Speaker 2 (17:26):
Thank you. That was the That was the only song
where I thought, if she doesn't like this song, we
have nothing to talk about. No.
Speaker 1 (17:35):
First of all, loved the song since I was little,
right because you were hearing do 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.
Speaker 4 (17:52):
Leaving the hospital.
Speaker 1 (17:54):
I remember 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 (18:11):
Is there a more positive, hopeful songs?
Speaker 3 (18:14):
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.
Speaker 2 (18:23):
Like it's exactly coming out of a COVID thing.
Speaker 4 (18:25):
Yeah, I love it.
Speaker 2 (18:27):
You know, it's it's a thing. 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
(18:48):
at them as Americans because they're hours. There was a
great line in The Simpsons. Remember he's he they go
to England and he yells at some brit and he goes, remember,
ours 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
(19:10):
there are national 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
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,
(19:31):
and you know, Paul spends his summers here on Long
Island and New York. John adopted New York. And you
know that was John's thing. 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,
(19:52):
that's all I'm ever opened for lone. So how about
because I like this one, isn't it? Yeah?
Speaker 4 (20:15):
But I like this one. But I feel like this
may have been one of.
Speaker 1 (20:19):
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 give me.
Speaker 2 (20:33):
Right, because then then the medleys come.
Speaker 3 (20:35):
Yeah, and that I tried to prep Diamond that the
medleys are maybe a bit hard to follow because they are.
Speaker 2 (20:41):
They're bits and pieces stitched together.
Speaker 4 (20:44):
So they were really like shorter, right, Yeah, they were shorter.
Speaker 2 (20:47):
Well, I mean they weren't shorter in total length, but
each one's a minute or thirty seconds or whatever.
Speaker 4 (20:52):
Kind of threw me off.
Speaker 2 (20:53):
But one of them, the one of the most requested songs,
maybe top I mean, if in my life's number one, 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 A song called Albatross that
(21:15):
George and John were listening to that album over and
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 caught that for
(21:37):
the feeling to start that.
Speaker 1 (21:39):
Here's my question. Were people getting sued back then for
like how were you? Yeah, like how were you? I
don't necessarily want to say they were clearly influenced by
certain songs and stuff like.
Speaker 2 (21:53):
That, right, so they let that go. If you were
influenced by it, 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
(22:16):
come on the flat top. That's a Chuck Berry.
Speaker 3 (22:18):
He also apparently punched him in the face.
Speaker 2 (22:21):
A second Chuck punched him in the face.
Speaker 3 (22:23):
Chuck didn't mess around with money, Yeah.
Speaker 4 (22:25):
He punched the man in the face.
Speaker 2 (22:27):
Yes, And what happened, and John made this rock and
roll 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.
Speaker 4 (22:40):
You presh charges. When the man punched him in the face.
Speaker 2 (22:43):
No, I think this is hard to imagine it a
world that different, but yeah, it's it's cool.
Speaker 4 (22:50):
What year was this you mean like a decade seventies.
Speaker 2 (22:53):
Early seventies, Yeah, it was. It was a different one.
Speaker 3 (22:58):
So let let's talk about you Never Give Me Your Money.
I think this is my maybe my favorite song on
this album.
Speaker 2 (23:07):
Uh.
Speaker 3 (23:07):
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 song almost to
Bitch Better Have My Money by Rianna, Like play those
songs back to back and it's very much the same tone.
Speaker 4 (23:29):
Well, you know she loves Paul right, so I who na, Okay,
she loves him?
Speaker 3 (23:36):
Really, She's like, well they did that song with Kanye West,
she loves him. Yeah, she's she pops up on a
lot of She's on a Coldplay album too.
Speaker 2 (23:47):
Yes, she was interesting. It's the rumors, and again nobody
never verified was 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,
(24:08):
shifty human being who like you know, screwed with the
stones before in this APCO and that's why they had us. Yeah.
Speaker 4 (24:15):
Could I used to work for ABCO?
Speaker 2 (24:19):
Did you really? 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. Well,
I so you know Tracy Jordan?
Speaker 4 (24:33):
Uh no, she she left a little bit before I
was working there.
Speaker 2 (24:37):
Okay. So Tracy Jordan, who also worked for ABCO as
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.
(25:00):
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. They had to threaten him. 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
(25:21):
of a cut, he said. But I just knew. The
problem was Paul wanted his father in law, George Eastman,
to do it, and they didn't want to give it. 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
(25:43):
had to sue them, and they sued Paul for all
this until finally they got rid of Ellencline. They let
Paul do it originally, and Paul always said, and in
the end, you know, I was right. It was very painful,
but they finally saw the light. But they hate him
for doing that. Like he said, I had literally that's
the only path I had to stop this guy from
(26:06):
taking all the Beatles' money.
Speaker 3 (26:07):
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 (26:21):
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. I it's sure. It sure
seems like it's that was we know that was going
on in their life. So it consciously or subconsciously, it
(26:43):
seems like that's where it came from.
Speaker 1 (26:45):
Can you imagine you just let someone come with like, oh,
these are my four songs and they're talking about you.
Speaker 2 (26:50):
And that's insane, right, and they want to do we
have a deal, and you know, think about it. They
all played on come together and each and so 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 3 (27:12):
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
(27:34):
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 (27:47):
Yeah, I mean, and She came In through the Bathroom Window,
which Joe Cocker a funny little Paul song, and Joe Cocker,
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 its it defines Woodstock.
He just did the most beautiful reinterpretation of it, and
he did She came In through the Bathroom Window. It
(28:08):
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
that's that's the last thing. And you know, again Paul
(28:32):
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 you
(28:53):
take is equal to the love you make. Period. Let's
say goodbye, how about I mean, that's a lot. Yeah,
that is if 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.
Speaker 3 (29:12):
Up with the 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 (29:27):
I love that. I didn't even realize that that was
like the end the.
Speaker 3 (29:31):
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 (29:39):
Yeah, right, and so and here's the weird thing, Her majesty,
that little twenty three second Paul thing he does.
Speaker 3 (29:46):
So that was not on the original track listing, right, No,
it was. It was part of the medley, but it
was part of the medleys, oh okay.
Speaker 2 (29:53):
And they snipped it out because they thought it was
going too long, because it just didn't fit. 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 it's the most beautiful thing you ever wrote. Nah,
it's too sweet. Let's take your little thing, her Majesty
(30:14):
and put it on like thirty twenty seconds later and
just throw it on and make it like funny. So
we go out with like and we make like a
fart noise and leaflet's 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 about marrying the Queen of England. You know what,
(30:49):
Paul became really good, I mean not just became friends
with Queen Elizabeth. We come over for tea, she'd invite
him and the family over. I can't imagine they not
that she listened, And maybe she did, but they told her.
I can't imagine. It wasn't one point saying, so you
had intention of marrying me, How could she not.
Speaker 3 (31:10):
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.
Speaker 2 (31:22):
Well 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. You know.
Speaker 3 (31:30):
I want to tell it was a risky Yeah, it
was a little bit.
Speaker 2 (31:34):
It was cheeky. It was cheeky.
Speaker 3 (31:36):
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 call in the song a fascist regime, and they
(32:00):
got 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
(32:24):
were afraid that their singer was going to get charged
with treeson and hanged. In the late seventies, there will
always be an so years earlier, the Beatles, well.
Speaker 4 (32:37):
That's probably why they did it.
Speaker 1 (32:38):
They thought they could get away with it because he
said he wanted to marry the Queen.
Speaker 2 (32:41):
Yeah, 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. That's why I mean, I
think it's fun, Like I said, novelty song. To me,
it's like a weird Al Yankovic just it's a novelty song.
But they were just trying to be obnoxious kids like okay,
but you know it goes back to revolution, to John
(33:02):
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 five year old
could be this aware? This hip says, But you know
when he says, well, but when you start talking about
people with mindset hate, don't you know? Baby, you gotta wait?
(33:26):
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
(33:48):
and hair and hippies versus the straits? How do you
see have the perception to see the world in such
a big place?
Speaker 3 (33:55):
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
(34:19):
happened and they're not even thirty.
Speaker 4 (34:21):
That's insane.
Speaker 2 (34:22):
Yeah, they only record seven years. Like in that seven years,
they recorded like three lifetimes. Yeah, worth of change, not
just music but changes. Yeah. 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.
(34:43):
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 blues singer songwriter, Warren Haynes, my favorite
guitarists and writers who when we were talking about often, yeah,
it comes by a lot. When we were talking about
the Beatles movie about Get Back, he said just about
(35:04):
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 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
(35:25):
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 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? He isn't?
(35:46):
Is that he goes? Just he goes. I am telling you,
I know myself, the weight of that fame would crush me.
Speaker 4 (35:52):
Yeah.
Speaker 3 (35:53):
Well that's what this great young singer, Chapel Roone is
sort of going through now. Sheesus artist. He 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 I
have mental illness that I've been dealing with before all
(36:16):
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 2 (36:30):
Or that's scary terrifinitely.
Speaker 3 (36:32):
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
It's like, get away from me.
Speaker 4 (36:42):
Yeah, that's scary.
Speaker 1 (36:43):
I think about Taylor Swift a lot because she drops
what her fans called easter eggs.
Speaker 4 (36:47):
Yeah, stuff like that.
Speaker 1 (36:49):
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 mind and you
were just like, it would freak me out.
Speaker 3 (37:02):
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?
Because they love them and that's literally tear them.
Speaker 2 (37:18):
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 when 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 you know, sitting
on chairs because that was what the security was. And
(37:41):
they start to come and they're running, and he said,
so we run, and we're literally running for our lives
and people, all the girls chasing you. Must be nice. 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 a life. And I dropped my
(38:01):
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 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,
(38:24):
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 stop it.
What do you mean you can't stop it? You got
up twenty more gigs you already, he said, it was terrifying. Again,
we're twenty you know. You know your entourage is a guy.
Speaker 3 (38:43):
Yeah, so you can kind of understand why maybe they
broke up exactly, So wrap it up.
Speaker 2 (38:49):
Yes, I loved hearing your takes on all this, and
I would 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. And I really
know so little. 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
(39:12):
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. I went to see oh, what's
his name? The kid from the British boy band, No,
Harry Styles. That's how I how to think about the name.
(39:34):
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
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
(39:56):
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 me hear it.
Speaker 4 (40:04):
Oh my god. Okay, I have to think hard about it.
Speaker 3 (40:06):
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 Minatis record,
and we've both had those where we suggested something and
we're like those kind of goodreads.
Speaker 1 (40:23):
I have to think about it and maybe listen through
before I give you something, but definitely.
Speaker 3 (40:27):
Okay, So thank you so much Ken for doing that.
Speaker 2 (40:29):
Thank you Andrew and time in. I love being part
of this. At First Listen, it's a great idea.
Speaker 3 (40:35):
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 (40:43):
And everybody at First Listen give a conditions, Beetles Revolution,
this shot, I think you like it. 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 and how it goes. That will blow
your mind when you find out exactly how hard it
is to that's a couple of years back, but it
was great. You thought it was cool.