Fly on the Wall with Dana Carvey and David Spade - Paul McCartney

Episode Date: October 12, 2022

Meeting Elvis, songwriting backstories, and loving SNL with Sir Paul McCartney. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Whether you're doing a dance to your favorite artist in the office parking lot, or being guided into Warrior I in the break room before your shift, whether you're running on your Peloton tread at your mom's house while she watches the baby, or counting your breaths on the subway. Peloton is for all of us, wherever we are whenever we need it, download the free Peloton app today. Peloton app available through free tier, or pay subscription starting at 1299 per month. Jesus Christ, what are you, the new Liberace? You know, put a new outfit. We're talking about spade. I'm talking about spade. What have you been drinking? Malux. We're talking about Spain. Now we're talking about, what have you been drinking? Malux.

We're talking about Paul McCartney, the Paul McCartney. This is our big exciting first musical guest. I think we've had on the show from SNL. Well, I'm, you know, I'm a Beatles fanatic and the fact that we got Paul, I'd sent him an email very casually, as I sort of know him, I guess.

And just gently said, we'd love to have you. And then what happened next, David? I think we heard the next day. He said, do we do it on the phone? Or do we do it in person? Or how do we do it? And so we did it within a week. Well, okay.

So from my side of it, it wasn't so easy peasy. Hey, a lot of moving inputs. I was going on vacation, I was driving with my wife, my mother loves Irish and stunning and she's 91 in my son. And we're just driving through Wyoming and we're just having fun on our way to Montana for a reunion type thing.

And then our manager goes, what kind of you can do it on Friday? And they said, how is Friday free? Both of you, we will. It said horrible. It's absolutely couldn't have picked the worst time. I'm in the mountains, I can't even hear them. Friday,

Friday, be, oh, you know. So then I'm not vacationing anymore. I'm like, oh, so we're at this three star because we don't like fancy pants in places. In Jackson Hole, and the one you can catch fish in the pool with your hand. Hey, I'm in Jackson Hole.

And then you just eat it. But the, the Wi-Fi sucked. And I'm trying to do, look, what am I gonna ask? Paul McCarty. And so I had to go up to the four seasons at Teton Village, Chaintown, and check into a room for the night. It was one million dollars. It was the room and so I went up there in a lightning storm and then the next morning I'm at a little desk. I'm trying to get the laptop. We're gonna zoom in

with Paul McCartney. I'm very kind of nervous and then on the screen I can see that David is having you fall to New York and you're what's going on with you? I was heading to Sold out, I guess that's not really part of the story show we're sold out show and how many seats? That's not the point and I was going there and I had to cancel my flight and and Do this do this and then go late to the show and hopefully I make it. And then my wife, I didn't work in my hotel

and it dropped out. The 10 minutes while we're on screen with it, I dropped out from you twice, so I just said, if I drop out with Paul, go on without me. Well, I just saw that technicians leaning in, guys with beards, they'd be a beard, and then a rubber band, and then more beard.

They were just leaning into frame. You're just sitting there and it's like, is he gonna make it? Our producer, Greg, is on the line. No, we don't know. Paul's gonna pop up any minute. I don't know if you're gonna be on it. All of a sudden, we see Sir Paul McCartney in our frame.

Woo! Hello, how you doing? So we spent a good hour talking to Paul McCartney and I didn't know if I could joke. I wanted to go Paul I'm kind of Dana's Yoko. I didn't you know, no I didn't either that's the thing with famous people You don't want to turn them off very early that you know, so you're a little careful because you you just want them to have a good time We do get into what you beetle fans love and being being one of them, is who wrote what when? We know there's Leonard McCartney every song, but who did what, where, when, how?

And we do get into that with certain songs, and I realized that was really fun for Paul, and just, and they're like in a bottle, and it's a genius, but Paul did a lot with that band, and there was a period of time where he was the cute one, and whatever. So. Did a lot with that band and there was a period of time where he was the cute one and whatever. So, and then I was gonna say, oh, do you think you would have spelled the Beatles correctly if you had spelled check back then? I did not ask him that. I did, I do remember two things.

One, I paid about five years ago, 125,000 for Front Road to Paul McCartney at a... Well, what about 125,000? Yeah, I mean, that's a mark. I mean ticket master is getting ridiculous. It's getting insane I was at a benefit for it's a whole story, but for Sean Penn for Haiti and you bid on these things and I sort of Accidentally was being bullied to go higher anyway, but I went met Paul great He came out with his guitar in that little tiny trailer and was singing and talking, gave me Dr. Nicaea a fun other.

So I knew him a little bit from that, which doesn't really count. And I also, in the old days, I took Brittany Murphy to Paul McCartney. And that crazy? Wow. I think it was a date. Paul and I got together.

After I hung up, Jack's a role. Second role. After I hung up, Jack's a whole Paul called me and said, who was the other guy on the Zoom, know because he seemed a bit you know a bit dodgy me Yeah, I go that was David's page. Oh David's food. What what is it? In an area of professional superstars. I went to do it. Do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do and I want to do so. And you know, that's my Paul that he did do. He'll do it a little bit on this. He was fun though. I have to say he was fine. Charmy was a very nervous.

Yeah, a lot of quips, a lot of quips, but it was more impressions of course, right? He did go. You do a good Lord. Yeah. You'll find Paul is he's just like a real person. You know, it's like that thing of like, you know, but Paul is, he holds just like a real person. It's like that thing of like, you know, but Paul is, he holds the mantle of the Beatles

very classy with it, you know. He doesn't, you kind of, you can't help but gush, and I do gush a little bit. I gush a lot. Sometimes I compliment you too much and you get a little red face. You've never one time here. What, I say you're the greatest.

Who cares? Talk to him. You're always saying I'm like a young McCartney. Now I'm like John Lennon and I guess I don't know what I'm gonna say. Oh Paul. Oh he's one of most famous people out there. Right. I was saying globally. Well not what he's right. Who's more famous? I mean there's Mick. There's Paul. There's there's a lot of people that are super famous and he's definitely up there. And the challenge of this for us as podcasters is getting to start the podcast and we're

not doing it. It's just not yapping like we are now. It's just to ask the guest questions they might enjoy, ask some questions that they can't ask themselves. You know, Paul can't rhetorically go, you know, I do the love with the Beatles, you know, we can't bring them all. The reason I'm a genius is because, yeah, so we have to say. Can you do the Vellmany songs I've got, you know, so, rhetorically go you know I do the love with the Beatles. I can't bring the reason I'm a genius is because yeah so we have to see how many songs I've got you know so but it is fun to set the table for him and give him his props and I do think weirdly get back did and we talk about get back the documentary a lot and I think it did couch pause place within the Beatles.

balls place within the Beatles a little differently. So, if I were you, I would press play and I would have forward passed this a long time ago. So if you're still listening, I don't know who you are, but the actual interview's more interesting than these talking heads. Here's Paul. [♪ OUTRO MUSIC PLAYING [♪ Is that him?

It could be. It's a, it's a, it's a sighting. I like your environment. That's so cool. I, I lived in a good environment. That is a wonderful environment, Paul. You had a kitchen back there. He is spending the money.

Let me go scouser for a second. Did you have a good breakey lad? Alright, yeah. Thanks, yeah. I'm just for a second. Did you have a good breckey lad? All right, yeah, thanks. Yeah, I'm just having me coffee. All right. Instead of I'm having my coffee, you say me coffee. I love that. We're kind of, we're a little hyperbolic, you know,

just we're excited like anyone else would be, you know. Paul, please don't mention that I look like I slept on my face. Don't bring it up a lot because people are whispering already. No, I think you look lovely. I want to thank you. I want to make you an offer Paul before we start just or just an exchange but I so you you're people sent me flaming pie in 1997 you sent 200 vinyls out framed and I got one out of the blue and it's a treasured I love the album love that love that and I happened to be in possession that NBC gave me as a

Beatles capital Beatles meet the Beatles signed by all four Beatles and there's only 16 in the world I don't know if that's true but I will give it to you I will send it to you tomorrow if you want me to Cuz you are cuz you sent me flaming by no you can keep it man. You can keep it. I was glad. I was hoping you to say that Dana you can send it to me if you want. Oh, no, or I suggest you send it to Charlie Finland He's an Irish lad. Oh, Finland's Irish. Yes. He's a bit of an Irish. So Paul, where shall we start? So much Paul Dana. Where did I meet Paul? I met him at Lord Michael's house in Long Island in 1986. Can we say it? And I was out there, I got cast on the show.

I was nobody from nowhere and it frequently got cast on the show. And then I was hanging out at Lawrence's house. He Lawrence very intimidating when you don't know him. You know, he's like, well, you will come out to Long Island and maybe you could take Jack's room. And I was Jack and it was always always it's where Jack Nicholson stays So I was in Jack Nicholson's room and then and then one day he goes Because he's friends with Paul Simon and our Paul McCartney

But he never tells you the last name it goes Paul's going to be coming by tonight So I just I had he makes you ask Paul's going to be coming by tonight. So I just, I had, he makes you ask. I call Paul, you know, which Paul, he goes, that would be Paul McCartney. So that would be, that was when I met you in Linda Lawrence House and you guys would put the kids to bed and come over and we would chat when you played us a new song

that had never been released. That was very cool. We had a chat about tug of war. What can I say to that? I know. These aren't even questions. We're just going to talk for an hour. Yeah, we're narcissists. We're just talking about ourselves. We're not good at questions. But you just picked out, you met Lauren. How I met Lauren. Mm-hmm. Or when?

I'm not sure. I can remember. Just I've been coming out to the Hamptons forever because Linda's dad had a house out here. So yeah, so how did I meet Lauren? It might have been on SNL. It might have been out here. There's loads of answers I could pick one and sound genuine. Doesn't matter. In fact, I'm not sure. It was either a SNL out in the Hamptons. Yeah, you'd have to be to meet the show probably. That's where most people made them. Did you have to audition to perform on the show? Yeah. I sent him a tape and he was impressed and he asked me to come to his house and I stayed in Did you find it haunted like I did? I just kept hearing a voice. What's some matter?

Not sleeping so well in your bed. But now, Lauren has been such a big part of our podcast because we celebrate all things SNL. And then Lauren kept coming up naturally with all the guests we've had and he's such an enigmatic interesting human being But also incredibly funny and he's kind of like

The the long for further you get from the show the more you appreciate the job that he's doing and I don't know how they may do it without him I really don't yeah No, I, I love, I love law. And like you, I've known him a long time, and he's become a friend, not just, yes, an L guy. And so we can talk problems with each other, and like friends do, and can sort things out. But yeah, I know, I think he's very funny and very laid back.

It also reminds me of Jack Benny. Yeah, I see that. I think he molds himself on Jack Benny. That sort of slow motion relaxation. The very sort of lconic thing. Very deadpan delivery. And he has wisdom he really is Very good at taking a big subject and then putting it down to one sentence

Because I was at a low low point in my career as there were many and I was having dinner with Lord and he just paused and he said Well, everyone knows who you are You know and which is sort of like everybody knows who you are like don't I've had time to hone it. I was shy about doing it for him for many many years and then finally I did it and Actually everyone does a Lauren at this point which lorne knows. And it's a great place to be. It's somebody who's very relaxed. Like you're about to do a sketch and you're terrified and they're during the commercial break on 8-H and he would walk up and say, and he'd have a glass of shardonnay, he wouldn't drink it. He would just hold it to relax you and he'd say, this sketch has to breathe.

And that was it. So he's created just encapsulating things. He would say things like that and I didn't understand. But when I, Paul, do you remember this incident on SNL when Chinato Connor was on and she tore up the picture of the Pope? Yeah. Yeah, you heard about that.

So when I was there, I was a writer, and I was walking by when that happened. I didn't know the severity and the heaviness of it. I just, from Arizona, I don't know anything. So she ripped it up, so I picked up a piece of it and put it in my pocket and kept walking. And then I come around the corner and it's dead silent. This is the only time in history you've been to musical guests there that no one applauded, no one did anything. It's just dead silent. They went to a commercial and I come around the corner and there's Lauren holding his am still light and he goes, I wish. And that was it.

I don't even know what a man. I wish people just tear up pictures a lot. Yeah, I guess so he's throwing up. So Paul. So yeah, go ahead, Dan, and give one because I was looking through all the songs and there are some real toe tapers in here, Paul. Oh, yeah. Oh, yeah. I'm in for toe tapers. Yeah, I'm looking at all these,

and I'm wondering, because we do stand-up sets and all that, do you, when you go on tour, it's gotta be such a heavy deal that you have a set list or can you change it or how does that go about? Yeah, you can change it. Yeah, I mean, normally we get a set list and rehearse them. Well, just so the whole crew knows what's going to happen.

Of course. Occasionally, you know, I'm feeling in a very fun mood. I will just say we're going to do something now that not the crew doesn't know about. And that's a fun moment, you know, and I'll just we just throw in some song that the lighting guide doesn't know how to light. But normally, it's normally, normally, it's the same set. And then if we've been in a place, let's say we just recently did Fenway Park in Boston, we did that two nights on the wrong.

So the first night we would have the main set. And the second night we'd probably alter a few of the songs in case someone came to both of the shows. That's cool. So we do that, you know, we have the ability to sort of change the opening song or I mean we yeah that's normally what we do. We don't normally do much more than that, say because you put a show together and say, putting an album together. You've got it right and it's working and it feels good for you. I don't really see the point in changing it unless for the reason I just mentioned, which

is, you know, somebody's seen it all. And what happens is you end up even the dialogue becomes, it gets like a stage musical. We could, the dialogue is the jokes that work. Of course. I mean, you can try and do a complete new dialogue every time. But you might find it doesn't work quite as well. I am doing a complete new dialogue every time. You might find it doesn't work quite as well. So what I do is I say, I tell a story,

where I tell the same story, because we've got a guy who came to our show who holds up a card, 130. It means he's been to the show, 130 times. Wow. So I mean, I love what I do say to him. It's slightly absurd. But yeah, so that's the thing, but it really is a set list, which we love. We love. I have a follow up. Listen to this. So Paul, you're doing this. You know your songs, you've got them down. And if you have something new,

you're gonna say in between, is that almost get you more nervous if you're gonna tell a story or do something funny in between because that's a little more unfamiliar? You know what? I don't know, my theory about nervous and all of that is that when we first started, I used to get really very nervous. I was trying to think why, because you know, we're quite popping in the beginning even.

Quite. I thought was, I look at the audience so I think they all hate me. So I've got some good, I've got to do something good to make them like me. You know, that was where my nerves came from. I think, you know, they're all looking at me like, what's he got? And over the years, I suddenly sort of realized,

at one point, wait a minute, they've all paid to come and see me, so they probably like me. Once I realize that they probably like me, I really relaxed. And you know, just got to, so yeah, I'm quite relaxed now and even if I do some new stuff or try a trick, I'm kind of, I'm relaxing off to do it. What I started doing a couple of years ago was like, coming to an audience that really loves you. For instance, if you haven't been there before, I love to a town you'd never be. Because they're more excited, you know. And I would feel this energy coming off and it'd be like, oh God, this is so great. So I started off then saying, just a minute, you know what? This is also cool. I'm going to take a minute

to take all of this in for myself. Then I walk off the microphone and just sort of stand there. Wow. And they all go, ooh, ooh, ooh, ooh, ooh. Love it. It's a great thing with the audience. But I'm just thinking, Jesus, I mean, it's a little bit flashed of me just not doing anything. You know, but that comes with the confidence of what I said,

thinking, they come to see you. So even if you stand there looking around and going, mm-hmm, mm-hmm. Well, Elvis and Vegas would just go and do a pose, and do a pose, and just be Elvis, and they wanted to love him up so much, you know, before he got to the song. So I think that the time has passed so much, so many people love the songs, that it is like a church in a way. de la gente, y que les quería que me guste mucho, antes de que llegue a la música. Así que creo que la masa ha pasado mucho, a que muchos de los personas

les gusten mucho, que es como una chucha en una forma, porque como mucho de los músculos se touchen. No, MailChimp analiza los datos de millones de correos electrónicos para ofrecer recomendaciones personalizadas para mejorar el contenido de tus correos electrónicos, segmentar tu público, entre muchas cosas más, adivina menos y vende más con IntuitimailChimp, la marca número 1 en email y marketing y automatización. Empieza hoy mismo en MailChimp.com, vas a venir a tus públicos de marcas competidoras en número globales de client clients in 2020-2022. I just want to ask you, do you have any rituals before you go out, something you eat if you want more energy?

Like I'll have a little bit of chocolate. Do you guys do a high five in the band, or do you have any kind of stuff you're doing right for you go? Because you're going for three hours, right? Or two hours? Yeah, three hours. Yeah, we do. You know, again, all this stuff,

you start off just doing a couple of things. I think grows into a ritual. Yeah. You know, they all... Is everyone expects at a certain point you go, let's just do this, this, then we go and stay. Ready, go. Yeah.

So what I do in my dressing room is my guy will come in, my show manager, wherever you call him, will come in and he's like, okay, that's an hour. You know, another mean mean, you know, 730, you're going on at 830. So I got home and start my preparation kind of thing. And, yeah, so I do certain things. I sort of boil a kettle because I know I'm going to do like a steamed thing. Okay. The voice I do that. And then I do some of them on reason. I question it every night. I do with the boil water. I get a salt. I get a salt in a cup. Like a brine solution,

which I then gargle with. I've no idea if it does it. You don't know where the idea came from. It seems to work, right? Okay. I do. Yeah, you know, so I do a few things like that and then sort of get dressed and into the sort of stage stuff. And then about 10 minutes before we're going on,

I will go into the band's dressing room. We then have a little sort of routine where we do, Rusty, I wanna guitar players, we'll play a C chord and I'll go let it be, let it be. And they all go, woo, woo, woo, the harmony. So we just do a little burst of that. And then we do a little burst of Hey Jude,

and they do the harmonies with that. And the guy comes and says, show down. Wow, I love it. Scary, yeah, how fun. Do you have, I saw Elton one time in backstage, he had probably 300,000 outfits. Do you have probably less than that? And do you, because I'm like, Elton,

can you whittle it down to just a hundred that you might wear tonight? They have literally every outfit in America in the back. And then he goes, that one. Or do they pick, or do you pick? Do you walk around and go this one? You're kind of pretty simple, right?

Yeah. Oh, yeah, yeah, I picked my outfit. Yeah, I've got a few. Or do they pick or do you pick do you walk around and go this one kind of pretty simple, right? Yeah Pick my outfit. Yeah, I've got a few. It's there's not a lot of variation Yeah, it's simple I've got a few jackets few shirts few trousers and Beetle boots so you know I can I can make that so you're still wearing beetle boots actual beetle beetle boots, like with the two and a half inch heels. The beetle boots, everyone's got a wear beetle. It's that sort of, that's just one of the sort of great things, which is like sort of memories and all sorts of stuff for me.

You know, what used to happen with the beetle is, we'd show up in what we call our civis, you know street clothes, and so four of us would be different human beings, and then we'd get ready for the show, and we'd be able to offer them. We'd have the same beautiful suit. So we'd have all together, yeah. So well, then suddenly we were transformed into like, wow, this is like a group. It's like, you know, you're, it's like military. You're like, wow, we're the same person.

And the thing was that when we first started going down to London, we'd found this place that made these groovy Spanish-y kind of boots with a heel. And so when you got your outfit on and you pulled these boots on with a heel, you were now tall for as well. Oh, it's great. You were a four-headed beast when you were a tall four-headed beast. Yeah, you were like a four-headed beast because it was the most amazing transformation in history because then you were just badasses at beast because it was the most amazing Transformation in history because then you were just bad asses, right when you got out there and got into your groove

Yeah, you know, so yeah, so that was it. I've always liked that and I always think yeah, that's a good idea That you pull these boots on and you're you're a little bit taller So I've become very used to them as well, you know. So there you go. What's the thing you like to do at Sketchers? I'm going to do it. But because Paul, three hours, I'm not a great standard. So when I do my standup, which everyone's excited about,

but when I do my standup, it's an hour, and it's tough to get through an hour. Three hours has got to be tough on you, but you seem to have absolutely no problem with it. I blame Bruce Springsteen. I blame it. I literally know him and I say to him, it's your fault, man. Yeah, take it easy, guy. Five hour things.

And the rest of us will look, you know, measly if we do an hour, what the Beatles used to do a half hour. Thirty minutes, yeah, I've just hit. Yeah. Yeah. Take that. And then they throw you in a van and you just beat four Beatles. That was all over the place. But you know how that, again, you know, it's lovely because you start thinking about what was the reason for that? Why do we do that? And I know when we first started playing clubs and things, the promoter would come up to the comedian

and say, how long would you do? And the comedian was like four minutes. They say, you can do four minutes? Yeah, okay. So the community would do four minutes So we thought well, you know We stretched it to like it's an eternity of you to 18 The songs were two minutes essentially in the early days, right? Just bam bam bam she loves you.

Yeah. Yeah. Yeah, and the great thing was, John would do some of the songs. I would do some of the songs George would do some of the songs in Ringo would. So I would split that through 30 minutes. Yeah. And I mean, hardly done anything. You shouldn't even get paid for that.

I don't know how you play the bass and sing like you do. A lot of people are amazed by that. You know, I tell people who asked me about the Beatles, I say, well, if Paul McCartney was only the bass player, he would be indispensable. You do other things as well, but I just love, uh, love the way you play bass. You know, I never wanted that job bass player was the worst job in a Wistafack guy Well, you were exotic because you were a lefty and then you had that owner bass for so long that it became sort of iconic and seemed pretty in lightweight

But what did you find it difficult because you can't just strum you have to hit all the notes perfectly and ringo has to stay on time It seems awfully difficult, but you took to it. Did it take a bit of time? It was Well, you know, I had a lot of practice in Hamburg. We've had a lot of practice Oh, you know, it's a It's a 10,000 hours thing that I started off. How come Gladwell? And I did start off playing like the fact that I played. We should...

Tukatong. Sounds very... Yeah, kind of cut to Western almost. But eventually when James Jameson came along, the great bass player, started going, he's like, what was going on? So that really turned me on. So I completely changed and you know, just enjoyed being a normal audience. Writing, writing around the neck neck writing up and down and you know because

love me do I got to say is is a very simple baseline but that's what that song required I guess but that was probably your simplest baseline yeah as we do that in the show now you do awesome in the show now yeah and it's funny because you've got a little orchal queue in case if you've got some of the songs you've got a lot of lyrics. And so it's kind of just check what you got to have it. Sure. Yeah. Love me do.

I find myself looking at the orchal queue and it's the same chorus. It's a lot of fun for you every time. And then you went to please please me, which seemed like such a leap. Please, please me was kind of your next big your top tenor, you know, which was pretty sophisticated from love, love me do. Please. Oh, yeah. No, when you think about that was again, looking back on it, it was all directed on our fans.

Because we were new to this whole idea of fans and autographs. It was wonderful and new and wow, you know, so love me do. So this is the personal program. So the next one is, please, love me do. So, this is the personal problem. So, the next one is, please, please, me. Me. Then this is from me to you. Then this shitty loves you. What's wrong with my whole hand? What's this intentional? I'm looking through you.

I'm looking through you. Huh? I'm looking through you. I'm looking through you. So it's really trying to reach directly. Fans, I think I should do more of it these days actually. Let's do a read of. It's a good try. I saw you. I have a question for Paul. Real quick.

Love it. Did you know Elvis? Did you see Elvis back in the day? We met him, yeah. Was there any competition? Was he just sort of big here and then you got here and it's just two different things? Well, you know, we loved him.

It was, he was like the start of everything to us. We're in Liverpool and you know, you listen to the radio or see it on TV. And it was sort of all-fashioned kind of music or I don't know, novelty songs and stuff, okay. But then suddenly Rock and Roll came out and so this creature – A creature. – Press. It was unbelievable. It was so good looking. His voice was so amazing. His voice was so amazing. The way he danced was so incredible. So, you know, we just loved him anyway.

And loved him mainly, we loved him all the time. But after he came out of the army, we thought they ruined him because they were the same. They were the same. They were the same. They were the same. They were the same. They were the same. They were the same. They were the same. They were the same. They were the same. They were the same. and some great foot and things like that, which we weren't that keen on.

But yeah, we met in, we tried to meet him a lot, and eventually we went to, how he was renting in LA, and we all showed up there, and like before we could go to again, and knocked on his door, and there, there is where we get, it goes strange. Who do you do?

Oh really? Because my memory has held this game to the door. And let us in. And we go to Noligen's, no somebody else let us in. I think so. Someone else let us in. So I'm going with my memory anyway. Yeah.

But anyway, yeah, he was fantastic. He was really cool. We thought he was just so good looking. He was voted by the way, you know he's voted the most handsome man of the 20th century by some pole or some eggs up that Elvis. So the best looking man can also sing better than any human being. I mean, it's too much. It was too much. You know, so he was lovely and he started playing on a bass.

He picked up a bass. So I thought, well, here's something I can talk about. So, you know, we talked a bit of bass. And then he had what amazed us was he had a remote because in England they didn't have remotes for your TV. Oh, sweet. We've ever seen his thing with his hand and he goes on the television channel, change it.

We go, sorcery. Yeah, that's crazy. Yeah, that's crazy. Yeah, that's funny. This record, Oh, her sound, we played that over and over. More, more, more, more, more, more, more, more, more, more, what was that song? More, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more,

more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, more, no, it was magic, you know, meeting him.

And so we loved him and everything. And I continued to love him to this day, even though he tried to bust us to next him. What? Oh, was that when he was a sheriff or something? The heap of him saying, you know, all those people, they're, they're murdering him.

He's been busted and I'm so happy about it. Elvis. Yeah. I'm telling you, I don't trust no Beatles. The I'm telling you I don't trust no Beatles. I'm telling you that I still love him anyway But yeah, oh, yeah, did you go see him ever you see him go alive? Do why did you go watch him at the Hilton or anything? No, I never saw him live though Well, we only got meeting him for an ever-for-unliving. But he was great. You know, just, you know. Oh, yeah.

Unbelievable. Yeah, I mean, just the fact that you guys got in the same room that must have been, probably both nervous, you know, to meet each other in a weird way. Yeah, probably, yeah. Have you been in, I've seen you and talked to you since get back came out the documentary

Probably have done some interviews We thought yeah, what's your feedback from the fans? I mean I I found it just Relevitory and amazing and brilliant. I just loved it and I Yeah, we were seeing you guys up close. I remember you Just the the work ethic of you guys, and the chemistry between the four of you sitting around. I don't know, what are your thoughts on it? Was it surreal?

I mean, if there was video of me in my 20s doing stand-up, there's no record of me at that age. And you're watching yourself at like 27 or 8. But how did you find it? I mean, you were you were you enjoyed it. Well, it was yeah, it was kind of magical for me because that period had in my memory, it had always been a little bit dark because it was to do with the Beatles breaking up. So the first let it be filmed was caught a little bit with that in mind.

So I found it a bit depressing. Yes. And I never wanted to watch the first letter B film. And so when Peter Jackson was slated to do this version, I said to him, you know, I'm not sure I'm going to like this because, you know, I got blamed for breaking up the Beatles. And in actual fact, it wasn't me. I've been trying to paint that to people for years and years.

But he said, okay, you've been working on it. But then after a couple of months he'd been working on it. He got in touch with me. He said, it's not like that at all. He said, it's amazing. So there's just these four guys in a room and you're having fun and you're working together. So he sent me a little clip which really saved my life. This is a little bit worse John and I. Well I'm working on, she came in through the bathroom window and I'm just strumming on the bass and John's on the piano.

And at the end of it, I say, no I'm ringing Tuesday. And I thought, oh, God, yeah, that's how it was. It was fantastic. So, yeah, I loved it. I really loved it. And you know, with Peter, what you call it, remastering it. Yeah, make it so shiny and bright.

And it's sharp, everything and the sound and all of that It was like having an old whole movie of yourself. Oh my god Yeah, but perfect and you know and I really I forgave myself When I saw that because I think no Everyone's everyone's messing around Because I'm thinking no, everyone's messing around. We're all messing around. We're goofing around. It's not like we haven't got to do anything in a month's time.

We haven't written yet. 14 songs. Yeah. Yeah. So, but... What were you forgiving yourself about? Yeah. Why did you feel you had to forgive yourself?

I thought I was too bossy. I thought that would be the problem. We said, oh, when I saw the film, I'm not being bossy at all. I'm just trying to get people to work. Yeah. Yeah, totally. I'm trying to get on, you know, come on guys,

you know, it's two weeks off, you know. So some people have said to me, you know, that's about FEMA. People have said to me, well, someone have to do that. Oh yeah. Someone have to do that guy. So I forgave myself, let myself off. I thought, yeah, that's all I was trying to do. I wasn't trying to be pushy or I was just trying to get the work done. And the other aspect I thought was great,

is that the way we just goofed around. That's what I loved. I think, but John Cleese had a thing where it was work as a tool. No, no, play as a tool. Yes. So in other words, you goof and goof and, and then you come to do the thing. So, yeah, we messed around with the song so much that it made them not intimidating. We like, we don't know them as jokes. Hello, Tuesday. So when you came to do the song, you weren't as

frightened as you might have been. It was just this stuff you've been goofing around on. I don't want to interrupt that flow, but sometimes you guys would, to release pressure, I guess, is sing some of your brilliant songs from the years previous, but in a funny voice. That always struck me kind of, that was very funny. You all would do that. I mean, you just, again, that's the thing, you, you take the wind out of it in a way. Yeah. Yeah. And I'd forgotten that we did that, you know, I can't knew we, but I've forgotten the specifics. So Peter's film then, he just

shows, shows us working on the song, two of us. And oh, yeah. I do. I do. I just, I do. Just the fact that and we don't just do it for two lines. No, we like picking. We do it a whole bloody some minutes. We're looking at each other and you know that's that spirit was always there for the minute I met John. Yeah. The minute there the minute the Beatles broke up and beyond actually you know there was always that sort of we just two guys goofing our way through the world I think sense of humor connects young clicks and friendships more than anything because that sensibility of what is funny and how things are funny and you guys had it together. You could see all four of you kind of knew when it was getting good. But I totally relate to when I'm working on something and I'm wanting to get away from

it because you're sort of problem solving and it gives you a headache. You know, I've got a feeling, I've got a feeling. And then you go away, go incredibly goofy, and then come back. It was really fun to watch. I'm so glad that that was in this documentary. Now, I must say, I was so pleased with it, because all the things we mentioned, you know, the way the picture was beautiful, it looked like it could have been shot, you know, a week before, except it has this beautiful color.

These colors, so it's, the color grade in this beautiful. The sound is amazing, you know. All the things that Peter, the speedist team did were so great. And then I say, you know, the way I was able to let myself off the hook and just think,

and you know, the thing is guys like you who are in the business, you're all, all you and all the people that I met, they talk about what they liked and about the film was seeing the process. Sure, it's a riveting. We would call it the process. The process. Well, you know, well, we were glad to know that there was the work ethic that the genius part comes in. I'll use the word here is knowing when it's good.

Yeah. And so you guys are not quite right. Not quite right. And then you would look at each other and get feedback. I always say collaboration is affirmation. It's not that they're writing the chords is like, yes, that, that, that. And it just comes out where George was a little personickity about, I've got a feeling,

is it about, is it a song called, I've got a feeling. And then later on he came to you and said, it's getting quite good, you know? Just little moments like that. But yeah, the process was just work ethic and going until it's good. Don't stop. Yeah.

And we didn't know where we were gonna do it. I mean, maybe gonna be Libya for maybe because we are not sure why not. Yeah, and it was just up on the roof. Oh, yeah. That was, I think you guys looked at the coolest. That rooftop show, the Beards and everything. That was, was that the last time you guys looked the coolest that rooftop show the beard everything that was Was that the last time you did a gig together was that it?

Yeah, that was the last time we ever played live together But all the fear was gone All the fear was gone by the time you guys that was the it was it was a man's a pittori watching the struggle Creatively and then watching you guys in the pocket immediately like just so zone-down and then you're looking at John Smiling he's looking at you like damn we're good you know you could at least that's the way I saw it like holy shit that's true yeah and then John's doing a song and he just know the words so he just gets Kevin Paul the paper. Just the way it was not important, we just make a film on the roof, even though it was very important. We were able to treat it like,

to treat it like you know this doesn't matter. Was there a secret with the people? The people that are like me and newer that um that you know when every year goes by there's just certain clips you will see of you guys and uh and they're the ones from TV and so to get such a huge chunk of your life it's not just a photograph. To get hours of you just sitting and talking, you get like, who would ever think they'd get to see that? If I saw it of myself, a day in my life, 20, 30, 40 years ago, not just a picture, it would blow my mind at what things I'd be looking at. I don't remember any of that, I do remember that.

It's so riveting and off that thing. And one thing, Paul, you were like, any songwriter goes through periods that are up and down. You were just going, you were kind of on an upswing around that album. And I think when you were like sometimes wringo or people would stop and sort of look. And I think you were doing long and windy road or something. And then when the studio would get kind of quiet like, oh, what's he got now, you know? So you were in a kind of an up swing creatively

at that time, right? Yeah, and it was funny because if you're on a creative up swing, the awkward thing is, like I was saying, I didn't want to seem like I was posseed, the awkward thing is you don't want to be the guy with the good songs. I see. You know, you know, you want to just,

just let me sort of squeeze these in and shuffle them in between other songs. I see. You know, you know, you want to just just let me sort of squeeze these in and shuffle them in between other songs. I mean, it wasn't totally true of course, because George was coming up with something and, you know, there was also a lot of work. Well, Abbey Road was being hatched out there and then you went in the studio a month later and then you get this work of art, Abbey Road, where everyone came together one last time in such a brilliant way. So that's arguably right up there with any of your albums, with your lads. But you know again the nice thing about it is that John, you could see John could tell I was coming up with like sort of, you know, let it be. Yeah, we could tell. Yeah.

and up with like sort of, you know, let it be. Yeah, yeah, we could tell. Yeah. You know, friendly competition, yes. I had to, but I had to sing it a bit both-faced. You know, I couldn't go, Larry, I mean, you know, I had to be like, this is serious. Good old John, you know, he says, I know, heart never come into the studio one mind you none of what ever have and said I got this great

Just we play it and stuff and you know that was great thing about John he often did that in try and take the Mickey John, he often did that. He'd try and take the mickey. Just be careful. Just be careful. Just be careful. Just be careful. Just be careful. Just be careful.

Just be careful. Just be careful. Just be careful. Just be careful. Just be careful. Just be careful. Just be careful. Just be careful.

Just be careful. Just be careful. Just be careful. Just be careful. Just be careful. Just be careful. Just be careful. Just be careful. Just be careful. Just be careful. Just be careful. You know, like I got these, but if you got these things, and you go, I got a real, you know, something, it's gonna be a basha, you know, kind of a non-answer really, but he, you know, when you guys did,

if I fell, two-part harmony, and you sang into each other's faces, and it's such a love song, you guys couldn't keep us, I mean, it must take a long time, do you look at, right, if I fell in love with you, and you're looking at each other. I mean, how did you get through that? The song is wonderful, but how did you guys get through that?

I don't know. I mean, some of the time you didn't get through it, but then, you know, it's like you've got a straightener, but at some point, just to make the record. But now, we, you know, I think the human, like you said before, the human from the word go. Yes. Oh, eating John. It was, that was what we loved about each other. And I can, you know, you couldn't say you loved each other. No. Because you're a livable guy. And you're trying to be hard. You're trying to be tough. Or I or I'm on you Yeah, it's okay. Yeah, so bad

So you never really praised each other at all right But you did it with humor. Yeah, and that's what the Beatles that Coves and sort of said yeah, it's all right That's what John Lennon had said about Pete best to your point He's he said why he goes he, why? He was in the Beatles. And the Beatles are humor. Ringo was really funny in George, and all you guys were so funny together. One thing I want to ask you about, which I find interesting,

like if John writes a song, and then he shows it to you, and you're going to play bass, and you're going to write some really cool bass. And did he ever just sort of go hey thanks for the bass bar because even if she's so heavy some of the stuff you're doing on Abbey Road because after these remasters we finally got to hear your bass and Ringo's drums you know that's why the Beatles are still evolving as an idea because they're everything is but your bass playing on some of his songs I mean he must have really loved the riffs

you were coming up with, the Deer Prudence, or come together, maybe you do that little first part. I don't know which ones you did. Yeah, I think so, you know, yeah. The thing was when we wrote them, like you say, he'd come to me or I'd go to him. That was two acoustic guitars. So there was no question the bass, bass came later, that was like an afterthought. So that, and come together, that was a special circumstance, because he came in and he basically brought in a Chuck Berry song.

This Chuck Berry did a song called, You Can't Catch Me. Okay. It starts off. You'd come all flat up. He's the exact opening line. Yeah. So John brings in. I know we're in Abbey Road Studio number two. And John comes in and he says, oh, listen to this one. I've got the boom chick boom chick boom chick boom chick boom. You come all flat up. I'm going, I'm going, I'm going, I'm going. Stop. That's you can't catch me by Chuck Berry.

Oh, yeah, I know. But it's good though, isn't it? And I said, no, we've got to do something with it. So that was a case where we had to get it out of that Chuck Berry tempo. And you couldn't change that opening line. It's just such a good opening line. And John had to pay Chuck Berry for using that Okay, he come on top he got early sound like slowly

Yeah, so you so you wrote that base that That was that was the opening you wrote that baseline I was on the session. He comes in. Ticklebone, ticklebone, ticklebone. And no, no, got us. Yeah. How about we slow down? And we go boom, boom, boom. You know, we've got to do that. I don't know. No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, said, Eat, come on back up. He said, it's like singing on top of it. And it's just all the time.

It's one of the best openings of a song. It also, him, him going, yeah, that is. You know, he goes, shoot, do, do, do, do, do. I mean, that is just, when you guys record that shit and you hear it back in the room, or you go into the engineering room and you, I don't know, and you hear it back

and you know it's so right. What a high that must be. It was, but yeah, I must say. and you hear it back and you know it's so right. What a high that must be If it was but yeah, I'm gonna say what about writing it? I mean the the the words are so crazy Do you guys just try to out crazy each other on the lyrics or did you write the whole thing or is everyone just throwing some? It's a funny thing, you know listen the songs These days a lot and a lot of songs make sense These days, and a lot of songs make sense. Whereas, you know, you're gonna hear come all flat, are you gonna, who do you have?

Oh, you know, the realest. And the truth is, because we loved that kind of art. We liked the realism, we got it. We liked the sort of crazy words and stuff. So, you know, whereas we would try and write songs like Let It Be, or, you know, more sensible songs, kind of thing. Yes. We also love that crazy stuff, you know. And so, yeah. Well, everyone tries to figure it out too, which is even more manning.

Yeah. But yeah. Yeah. So, you know, that's the thing. I think what was good about it is that if you look at all the Beatles songs, and hopefully my songs write through, yeah, for sure. There's no two that are the same. Whereas you get a lot of recording artists or you know, we used to say the Supremes were great. We loved them

But it was stop in the name of love Right, baby love And you know, you know, it was kind of the same record just You they kept the same style We always tried to switch it so it'd be like, oh my god. Come together. Yeah. Ellen O'Crippi. Yellow Submarine. Right. It's like a day in the life or you know, here they're everywhere. She's leaving out Paul. If you do something like a day in the life or even like later with Admiral Halsey, I'm just I'm just thinking of random ones

but when there's so many layers to them and so many change ups, I don't know as much about music as Dana. I don't know anything. But but it's so interesting to listen to like where do you stop? Where do you think this is it or where is it too much because you always seem to land on exactly what it should be. And we don't know the other versions, but it must be tough or with your bandmates to say, I feel like this is it, or we need one more this and it, because they're so mystical,

the way they come together and stop and start and the arrangements. I mean, that in those kind of songs, that only just happens in the writing. Luckily, unlike a lot of people these days, other people will go in without a song. The discipline that we sort of learned was you had to have a song, which does make a lot of sense.

Yes. And we have recordings on the Escher tapes. We have recordings of you guys working out the songs. All of those songs, like, day in the life, we knew that was going to happen. Or, this bit comes now. So we had the framework, and then we made, like, live and let die. I knew that was going to be frame or uncle Al, but you knew that framework. Then you went in and Gussie did up kind of thing, you know, I put live it.

Let's I'm sorry solid. Gussie I put that up with gold figure. I think that is it. Oh, live and let's die. It goes so avant garde with like keyboards in the middle. Dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun dun Danna, Danna, Danna, Danna, Danna, Danna, Danna, Danna. It's a, it's a, it's a, it's a concert, it's a concert. You got the lights going, explosions. It's, we got all explosions in that. Yeah, it's great.

The guy who does our explosions off higher technique, guy is called shaky. Ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha You're not going to feel any heat. I promise you. Is day in the life, was that sort of a Tartar pick a number one? Was that vote as the best one? The most the favor for the fans? It's pretty damn good. I mean, what happened was John came to my house in London. And I've got like a music room upon the top floor. and so he came up there and we

sitting around and he starts, it was his song essentially and he starts doing his I read the news today all morning and so we were working into that and then after that we've gone and gone to a second verse and then all that and then we get to the bed. I'd love to turn Oh, yeah, we're looking at each other Thinking we've really been naughty boys. Yeah Hey, I'd love to turn you on. Were you allowed to say on was that that was probably pretty controversial? It's a bit you know, yeah, but it was like um We knew as we looked into the new, that we've got to do this.

And there was this little conspiratorial look between us. It's like, yeah, you're getting away with it. Yeah, there's always going to throw in something a little bit naughty. It was like, you know, you're back to, you know, a naughty school boy. Yeah. It was like, you know, doing something that was a little bit naughty. It was like, you know, talking back to, you know, a naughty school boy. Yeah. It was like, you know, doing something that was a little bit,

but, um, no, that was a great song for white. What about when you get the boom, the boom, psh. It's just like, it's got sort of a haunting feel to it and, uh, when you're singing. I mean, Ringo's Tom's, yeah, is that what it is? Yeah. I'm bring those Tom's, psh. And then woke up, got out a little bit all of it fit together

So beautifully just one of those magic things. I guess you can't predict it you hope but You know what I find interesting not just we have only have so much time How much the medley has gone into higher esteem as Later on with your fans on the side two of Abby Rowe that you put together with you and John and it's sort of is like worked out to be a perfect mic drop for the band and in the end to do to you know so that whole thing is I love it every time I'm on XM listening to the Veedle channel and that comes on and stereo and cars are amazing now. So I really feel like I'm hearing it, like maybe you guys did or something,

but that piece of music is extraordinary. That's not golden, the song goes, oh yeah, that's all in there. Oh, when you rip that out, you never give me a round. No, no, I mean, while you're by say, one of the great things about technology is if you go into a museum, you'll see Winston Churchill's old papers and they get older and crinklier as the years go by. People's stuff gets brighter and sharper and more wonderful. As a technology.

Yeah, you can suddenly hear it in surround sound. Yeah. And you can hear every single little thing. And that continues. Yeah, it's a story. So you hear in all these little details that you kind of didn't know were there. So I think that's it.

It's interesting. I think that builds a lot of people read some people say, why are you remastering all the time? Why'd you do that? You know, they say, I like. Who are I think the arena? I know who comes up to I want to meet. What are you doing? What do you do with the remasters? There's plenty good enough. Yeah. Yeah. You know, and it's like, no, no, no, it's really good. In fact, we're just about to do, I think it's revolver. I was with George Martin son, who's going to be chargeable. That

stuff's these guys. It's Martin. It's it's pretty amazing. You know, you just the details. It's lovely. Revolver was is another one. It's hard to pick. There's so much genius flying around, but revolver was very special. When I went back when they were remastered. I listened beginning to end and that one did kind of stay in my head a bit. There was some kind of revolution going on with that, you know, I mean, you had Ellen or Rick beyond there there. I mean, it's just, yeah. No, it was a good time for us creatively, you know, because I was a said earlier. It's like we knew we didn't want to repeat ourselves. So, you know, I would come up with Ellen or Rick be something and bring that one.

For no one. Another one for this is from George Martin, sort of say, you know, listen, you know, this should be great with just strings. And the others would all agree, I mean, when I brought in yesterday, I played it to the guys and sort of said, you know, like, what are we going to do? And then it ringer said, well, I can't put any drums on it. And George, well, it doesn't need any more guitar. So it was just me on my own. George Martin came in and he said, string quartet would be great. And I said, no, it wouldn't. Wow. Wow. You stood up. We're a rock band man. So he was very clever.

George was the ultimate producer. He said, well, let's do it. And if you don't like it, we can take it off. He was such a gentleman. When you see him walking around, even get back, he's very well dressed. And there was just this gentlemanly quality about him. Very calm. He's not, you're lucky. You didn't have Colonel Tom Parker. That wouldn't depend. That's a difference for you in Elvis. He had bad management. Can I I don't know much time we have but I just wanted to talk a little just a little bit about some of your recent stuff. Yeah Egyptian station especially the song I don't know and that and, and you know, it seems like journalists

who really cares what they think, but it seems like they're a little more enamored. I mean, your peers are not putting out this kind of stuff. You know, McCartney III, which I just loved. I always like specific compliments, a deep, deep feeling, is such a magical song about the fist fight in your head between the light and the dark, because the way I look at it, you know, and also all the pretty boys is so sweet.

But anyway, you've just been so, you're just going at it and you have your book of lyrics, 1956, or the present, then you've got your album, then you just did a tour and Bruce Springsteen's your friend, that how cool is that? He's a fun scene you two and a glotten birdie together playing. Yeah, and I feel very lucky because of that, because I'm a little bit amazed at the fact that I'm still into it. Yeah, but you know, I sometimes just think, you know, I should be jaded by now. For sure. I am.

I should be fed up with this whole thing, but you know, each time I do something like McArney's three, we should basically just lock down fun, you know, I'm just on the intertune. Lock down fun, that should be the name of the album, or the sub title, lock down fun. That should be the name of the album or the subtitle lock down fun But deepy feeling was very indulgent because It was a minute. Yeah, yeah, this is just me playing around the studio

But yeah, no, I love what I do. I feel very lucky to be a songwriter. You know, it hits me occasionally. I go, shit. I have to end up as a music. I've been like as a songwriter. I never intended that. You know, it was to be an English teacher. Well, you're teaching us all how to keep going, you know.

There is no reason to stop. And these songs you've come up with recently, I mean, Queenie I from the new album, I mean, you know, I think you're in another kind of upswing creatively these last few years. And so it's remarkable and amazing. And we all we all we love you because we can say that now because it's 2022 because your music tells us who you are, and your sentimental, and your sweet, but you also deal with everything we all deal with.

You know? And so it's been- Well, I'm glad I came to the show because you are getting loads of adulation, and you can adul- Any time. You know, Paul, every question we do sounds like the Chris Farley show.

I do have to say that when you did the sketch with Chris on Saturday night live, that was a classic. I know that was so lovely. Yeah, and we were, everyone's in the jealous rage quietly watching that he got to hang out with you. And he was one of the highlights of his life he said right after. And it was so good.

I like when he said, and in the end, the love you take. And he says, that's true. That's true. And you go, yeah, I like that. Like the thing. You played that so well, by the way, in the sketch, because I rewatched it the other day. And I was like, look at Paul plays just perfectly because it's hard.

You could screw that side up to it. You did great. There's a couple of things. That was like my at all places perfectly because it's hard you could screw that side up to it uh... you did great is a couple of things that was like my favorite snl thing and then i'd i'd do the thing with martin short yes i watch that last night with your pen the other triangle and and i really love that you know and martin short was trying to break you i mean he

was he was so committed screaming at you that you can't sing screaming at Paul McCartney quote unquote hilarious hilarious and then that was such a cool transition and the thing opens and then you go and play Christmas time. Yeah, that was so will you be at SNL on the 50th? I guess of you've picked out what you're gonna wear. That's in three years time. I'm going to wear beetle boots. You know what? If you're, if you are, I mean, some two, I'm going to wear some too. I'm going to wear some too. I want to be, I want to be five, 10 and a half.

I'll take five, nine and a half, whatever. Just, we want to be two and a half up, up, up. But anyway, Paul, this has been such a pleasure I really enjoyed it. Yeah Paul thank you. Every time I see your show you give a thousand percent for people to go see it it's such a great everyone everyone they know all the songs sing along and it's such a blast. Look forward to seeing you again buddy. Yeah okay man thanks a lot. All right thank you boys. Yeah, okay man. Thanks a lot. All right. Thank you boys. All right. I love you. We can say it. We can say it now. I love you too. Bye bye. Bye Hey, what's up flies? What's up, please? What's up people that listen? We want to hear from you and your dumb questions questions Ask us anything anything you want you can email us at flyinthewallatcadens13.com.

All right, Dana, we got a little AMA ask us anything. Let's do it. AMA, which means you a master ask us, ask us anything. Wouldn't that be ask? It's a new SBA U a ask us anything. What's the M4? It was ask me anything that's oh ask me anything, but it's us. I don't trust this Jose Sanchez for me for near I knew a kid named for near Jose Sanchez from Porto Sanchez is his middle name I don't know his last name is for near shit. That's be the question for near the question is love the podcast I like they start with that smart. Thank thank you Jose you're both great interviewers We found out that was a lie This is the lie detector

That was a lot. We're not great interviews. He says have you always been that way or was it something you developed as your career You've all keep up the great work. Geez. Well first of all, well, I've got to take a moment, I'm getting vapors just accepting the premise that we're both great interviewers and how do we possibly do it and keep up the great work? This guy's the nicest. We got to send him a fly on the wall coffee mug. Yeah, we got to get our merch going.

That's a lot of fun. We don't have a lot of fun. Do we get questions on merch? Yes. David, you want to answer this first because I have my own answer. I think we are okay interviewers, but we're good at talking over each other and we're good at laughing in our own jokes. And I think that is important. If a great interviewer is talking about yourself and over talking your guess, if you ask him a question, if that's the definition

of a great interviewer, then we are, David. Exactly. We had to take a cutting-off class. We said, whenever they're about to say something really interesting, make sure you stop them and they're trying to say something. When we have a guest in the studio, sometimes I just wanna reach out, grab their neck,

and just start squeezing with a shut up. Shut up. Because I wanna talk. But I've learned to temper that violence. Yeah. I'm verbally violent. Sometimes the guest leaves and Dana and I do another half hour. I go, did they take off?

Well, sometimes we don't roll cameras or mics, but David will just interrupt each other over and over. So Jose, thank you for asking. Yeah. Well, you started with a flattering thing and ended with a compliment. And so we're not all sarcasm. I do find sarcasm a new word.

I really find people fascinating and I like interviewing people. And I think everybody's got a story. And so if you like it, I think we're improving and learning as we go. But if you like it and say it's great, I'll take it but we're not there yet. Honestly, we do actually try to not talk over each other and not to cut people off, but we get excited. And we don't want long pauses and I don't know. Podcasting is about authenticity and so we authentically overlap each other and talk over the

So we're just being very podcasty, but I noticed David just a personal observation that your research level has Kind of gone up. Yeah, you've got a lot of questions So we're both learning we've only done 360 365 of these. No, how many have we done? Probably 50, but I would just say we're working progress. Thanks for the good cheer, Jose, and we'll try to get better. And we already took our class on how to answer questions longer, so we're really doing well there.

Thank you, Jose. We'll see you on the cast. Ask another question someday, Jose. Hmm, oh boy. Oh boy, oh boy. Oh boy. Oh boy. Oh boy. This has been a podcast presentation of Cadence 13. Please listen, then rate, review, and follow all episodes. Available now for free wherever you get your podcast.

No joke, folks. Flying the Wall has been a presentation of Cad'S 13, EXECUITOR PRODUCE BY DANACARVI AND DAVYED SPADE, CHRIS CORKRON, OF CADEN'S 13, AND CHARLEY FINE IN A BRILSTINE INNERTAIMIN. The shows lead producers Greg Holtman with production and engineering support from Serena Regan and Chris Bezlove Caden's 13.