Martin Lewis | Club Random with Bill Maher

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All merch is available exclusively at clubrandom.com while you're there catch up on recent episodes and grab some swag and bring a little random home. Once again that's clubrandom.com. When McCartney tells you what, you get really upset. Why? Because he told you what? You got it. Oh, I'm on word. No more lie, no more cons of no more nothing. And then what he didn't do it they killed him, right? Well, I'm not going to say. Martin, that is me. Finally it's happening. Finally the Beatles show is happening. Oh, yes, we were talking about doing this. Really? Seriously? Yeah, that's fine. Oh, wow, great to see you. You look well. You look like Martin was always looked. That's not too bad for an old man. Yeah. I was at the beach. You know bodybuilding contest. They want me to come. No, I bet it's BJ. So this I'm getting it for you with those who are not watching this. It's a teacher that says the Beatles, but it's be a Beatles like the bug. And then it's four Volkswagen bugs roasting Abbey Road as if, you know, like different colored so funny. Well, I'm very touched and the first time I actually got involved with Her Majesty, the Queen on a Beatles thing. She sent a Royal Proclamation about something to the Beatles and she misspelled it like this B-E-E-T-L-E-S. Great. That's so funny. That's my retirement fund. You British people. I had a British person here last week. You take that Queen shit so seriously. Like I noticed when you said a royal, not whatever you said. It was like, come on, man. Yes. No, I know. You know what? I'm all for, you know, things like that that, I mean, not really a monarchy, but like something that could make people feel good about their country and united. Something that's like non-political, but then everything becomes political. It's the problem. But hey, we can't only wear a song, Her Majesty, so it's not entirely bad. So, you know, get back. I mean, I keep reading like, because, look, I don't know what was in people's minds, but they keep saying, there was some anti-immigration stuff going on in Britain at the time and this was Paul's protest against the anti-and it, but that actually sounds a little more like you'd be pro. It was, he was just goofing around and yeah, there was anti-immigration things. So, he was locking that and so he did get back, he was rifting around with get back and he turned it into that. But of course, nobody in those days ever expected loose rehearsal tapes to come out. So, it was just goofing around. So, it only came out because it was a boot that became his own win-win. Well, we, it's in the movie that any beetle person probably, anyone listening to this, saw the, the Peter Jackson. Sure. You know, it's in there, right? It is, but I don't think anybody took it. No, but you see him, you see, that's one of the, maybe it's the only time where you see Paul McCartney's like, take a song from literally the moment of just finding it. He's waiting for the others to show up or maybe just John was later to probably. So, he's there and he's writing it on the base, remember that? Yes. And it's just, and then the lyrics were, I mean, you look, I love the beetles as you know, but I mean, they have, you know, some lyrics are just gobbledy-gook because the song is so good and you don't care. And that's one of them. Like, what the fuck is that song about? It just came from somewhere may, okay, maybe about immigration, maybe it was like, hey, we want you here on our shores, which is why I'm calling the song Get Back. Okay. And possibly could be. I will say this, he also wrote a song called Too Many People. Do you remember that one, dear? The thing is, the stream, the stream, no, sometimes in those things, it's a stream of consciousness. It's interesting, the number of musicians who they say they write the song, they write the music verse and then they look for lyrics to fit, which is always incredible to me. Surely you want a song about something, but no, musicians often write a tune and then they're searching for words. Absolutely. Or they completely change it. John Lennon's, one of my favorite of his solo body of work, which is, you know, less than the other two writers, because he didn't live that long and, you know, but Jealous Guy is a great ballad. And I know if you're probably something you wrote or somebody who liked you, maybe the poor man's Martin Lewis, he what he wrote, but that started out as a completely different lyric. But like a Blue J, the way I work in comedy also, when you find something good, a little nugget that's good, a little seed, that's good, you bring it home to the nest. You maybe I'll have it later. And he's like, no, this melody is great. This, the lyric was completely different. It's about nature or something. That's not chance, nature. This is the thing though, he used the word Blue J. It's a bird native to America as well, but in England, we were sort of at the magpie. And that's what the Beatles were. They were magpies. They were constantly picking up shards of different types of music, different genres, lyrics, plucking them out of everywhere. And it became like a patchwork quilt. I think every musician does that. They just did it better. That's what way better. Way better. Yeah. Way better. And also end all. Two warriors. I mean, come on. You know, I don't, you can't be that dogmatic about the people, different generations have just different tastes. And who's to say? I mean, I don't get tell or swift, but she's as big as they were. And may, you know, that's maybe something that can't happen across these years. I don't know. It's not, I agree. It's dangerous to get into a better than and all of that nonsense. However, there is something that was different. There was a renaissance in the '60s of music. A lot from Britain, but some also from America. But what was unique about the Beatles was it has transcended time in that there are generations that are enjoying the Beatles, that you wouldn't have normally treated. The normal arc of celebrity physics is he go up and he go down. He might come back, have a little revival. The Beatles have been evergreen. And I think, and this is a theory I have, is that it's to do with our attitudes are we don't encourage racism or ageism or any kind of is on music. There's another isn't that never gets talked about. That is datism when the stuff was made. And I think that's the most irrelevant thing. Saying that the Beatles is, oh, it's so '60s. We don't say Shakespeare is so 16th century law. The Marks Brothers are so 19 colleges. Well, you don't and I don't, but plenty of people do exactly that. I mean, and I kind of don't blame them. Shakespeare and I read Macbeth and knew it pretty well in high school, high school, not even college I think. I think we did Macbeth. And I was trying to watch. They made a movie of it with I think Michael Fastbender, a great actor and like, what did people are talking about? Even though I know the basics of the play and Lady Macbeth, I know she was. It's not to be trusted. I'm with you, I can't stash it with. But all right, no, no, no, no, no, no. I use the bad now. The last one, this is a better analogy, because the sum of the last one is not dependent on you having lived in or being familiar with the 30s. You either like it or you don't like it. The point is, it's stuck inside the good or it's bad. It's not really, it doesn't really matter when it was made, sure. I did really like Hamlet. I read it in college, and I feel like emotionally, it hit me because I was a brooding loser, you know. No. Yeah, smart, but yeah, brooding and a loser. Sorry, but that's a brooding loser. I college at Cornell. There was no girls. I didn't have to get them if I could. It just, you know what, it just wasn't good. And academia pressure and cold. It just, it just, it's so. When the hellpounding came out, I'm a loser. That was your favorite song. No, I was never that crazy about I'm a loser. And I feel like he did it like three times in a god battery. I'm a loser and a help and nowhere meant to me are a trilogy because they're all basically the same theme. I'm a loser, I'm nowhere meant, you know. Out, it's like, you know, you could combine the lyrics and make it really into a. And that all interesting here all comes out of one of what I think was the crucial turning point for the Lennon. And that was meeting Elvis. In 1956, there's nothing John Lennon and Andy Paul and you'll want to be more than Elvis. He's cool. He's the antithesis of everything he's done. I don't even want to be Elvis. Okay. But, and that's the whole picture around here somewhere. I like this. Always ghost. But the point is, every one, you know, we know this old adage about, don't meet your heroes. Right. But the Beatles, they really loved Elvis. They worshiped him. He was the reason they started going. He found the others chucked Erie and others. But Elvis was the king. They finally meet him in the summer of '65 at his house. And John Lennon resolves I want to be not Elvis. He wants to be the opposite. And all the great material that comes from Lennon after that meeting is because he doesn't want to be a back guy, sat around with a bunch of sicker fans just wasting when doing cheesy movies and being controlled by his manager. He wants to do something. Hold on. He wasn't doing cheesy movies, but he was just lying around wasting your way. But his own admission. He has said, he was quoted once as saying, complaining that, like, with Sergeant Pepper, that, oh, Paul Carlton, but says he's written ten new songs and, fuck, now I've got to write ten. And, you know, so he kind of was admitting that, you know, he was, it was like an acid for a year. I mean, it was, he was out to lunch there for, you know, not obviously very functional, especially musically. But when there was no touring and nothing to get up in the morning for and drugs all night and, you know, Yoko, new love. But the point I'm making is that he didn't want to become just a rich pop star sitting around. And he may have done it for a little bit, but ultimately he was motivated. All the songs that come out of there. And then the political and all the other stuff is he doesn't want to be Elvis. As all of us, he was both. We're all both. What we all are are people who do one thing for a while. And then we guarded the other thing because we're just tired of that. But we're going to go back to it, you know. You're single, I can't stand being in a relationship. Then you're in a relationship. I kind of be saying, you know, that kind of back and forth. And I think this is what he was doing. But in a sort of musical personal way. I became aware of how much of a big Beatles fan you were. When we first met, I don't know if you remember the part. We started out bonding over the Beatles. That's how we first got friendly. We were in a boy band, correct? Yeah, and we were, we didn't admit that we were doing the Beatles stop. You know, we weren't like a Beatles tribute band. But plainly, you know, you had the harmonica. By the way, I was so happy when the harmonica era ended with the Beatles. I mean, how many songs do you think do they have a harmonica? It's about three or four. They went out three or four. It's probably ten or so. For me to you, please, please. They went, yeah, they were on tour with Bruce Chanel. And they heard, and Delbert McClinton was the guy who was playing harmonica. It was a fan. It was always going to be like, I just have never liked the harmonica. As an instrument, I feel like any, any equipment, I've got them. Kind of do it. I mean, is there really a skill to it? It was a phase. They went through that. No, I know. But I remember when we got first talking about the Beatles. And you picked up on something. The Beatles live at the BBC album had come out. And you picked up. That John had picked up on "Loan Some Tis Myers" or something like that. He picked up the "Nick the Riff." He "Nick the Riff." The song, will they call it, these kids, these days? He "Nick the Riff" from, I think it was "Loan Some Tis Myers." I learned some tricks on it. Sounds like an old western song there, everybody. That certainly wasn't one of there. No, it was a rockabilly thing. Because we're talking about early days, like the '50s, like late '50s. It was a song from 1957. And this was 1969. It wasn't their song. It was a song on the radio. Yeah, it was a guy. And that guitar riff is in "Devalidage" on in Yoko. That's right. Yeah. And it had it worked great. But it was in the year where John light-locking off the song really fast. He came up with the idea to the song. Paul was around, "George and Wingo on vacation." So John got, I'm called, going to the studio. They, oh, this is a time when they're supposedly feuding. They did, like, old friends, they go in. They knock it out in six hours. I've always made that same point to some people. And I don't understand why they take this tack that they were hating each other and fighting because of just what you said. There's the proof. It was May of '69. Easily, if they were fighting so much, John wouldn't have had the, you know, attitude, would have had the attitude of, I'm not going to give him a chance. I don't need him at all. And, or he could have called up Paul McCartney and said, "I need help on this song." And Paul could have said, you know, you've been acting like an asshole, they go make it yourself, but they didn't. They got together. One, he, John called Paul George. He called the other one, Ringo, because one, and he was playing the drums and the other one. It was completely congenial. As is the entire Peter Jackson movie. How could you not look at that? I mean, how can you look at that? And not see this love affair between two guys. I know the other two guys are important and they are. But I'm sorry, you can't hide it on camera. They're always making eye contact, joking with each other, sitting across from each other. It's a love affair and it's an unfilm. And I remember we talked about it when it first came out. And I said, that was the whole thing. I'd always hated this nonsense. I would go broke up the Beatles. And she was intruded in the studio. John's completely ignoring her. She's just there. He's the girlfriend. His real girlfriend is Paul. And they're having a blast. Exactly. You're right. And listen, I saw this, the thing that used to go on, that we know as fans. The rivalry, the singling rivalry, the healthiest rivalry between the two of them, who was going to have the a side of the next single. That's my theory that I put out there. And lots of the breast people have picked that up now. That's, I think people, it's a very important thing in my life to get this going. And I'm like Darwin with the theory of evolution. I may take years, but people are going to come around to my theory that John just did not like always coming in. Number two in this writing competition. And after a certain point, you can't name where he got the a side of the single. And it was like losing with great songs. Revolution, losing to Hey Jude, for example. But there's like eight other examples. And I just think that for somebody who loves singles and who was a competition, you know, tap out. Hit wasn't John's first brave decision at the age of 17, inviting Paul into the band. Paul plays guitar better than him at that little demonstration. That's bad. Knows the song. He himself, John Lennon himself had only played guitar once before that. Yeah, it's kind of good. So there was no bad. Well, there was the quarantine. No, there was the quarantine. They were playing gigs. Do you own a watch board? You're in. I mean, come on. The smooth. No, but they still one of the instruments. You know, washboard, you're absolutely right. Teach us. But the point is he doesn't need. He's got his mates. He's the he's the alpha. He's the one in charge. It's his group. He doesn't need to invite this kid. Who's better looking plays the guitar properly. Right. Knows the lyrics. He invites him in because the guy, because it's a, this is a musical blood brother. He gets it. And that was a smart thing to do. And he probably regressed it a little bit later on. No. Because Paul, in the sense that, you know, he didn't-- He did, I don't think he regretted it. But you have to know when you beat. And Paul McCartney was just in such a zone. And so like Lennon wasn't. But again, I love I Am the Waris. But it wasn't the A side. And again, commercial success. doesn't mean it's a better record. I am the warress. was a much better record than "Hello, Goodbye." And I love "Hello, Goodbye." But another example of we don't have any lyrics and you will not care. We're just going to just like read the phone book and the song is gonna be so good that you're gonna go, "Sure, Hello, Goodbye." Very deep. - Well, he is a poor rationalist 'cause it was a demonstration to Alistair Taylor who was Grand Epsom's assistant, how to write a song. It's just a bunch of opposites. So, but me and John is just taking nonsense to create a stream of consciousness. - Okay, speaking of that, how, what do you think of this, riddle me this, riddler? I think this song across the universe has a poetry to it that I don't find in any other John Lennon song. I mean, when you read those words or as we listen to them, it's on a level of poetry that makes me always say, "Why couldn't he do that more?" He wrote songs that were interesting like, "I am the warist," but again, it's just gobbled to go. - Well, he was just, he was having fun and with that one. But now, of course, the universe, he, the muse, hidden, the music, he wrote five verses for that song. Normally, he does two verses or will be. He wrote five, he was just inspired. - Yeah, that lightning only hit once on that level when you read those lines, words are flowing out like in this rain paper cup. The whole thing inside the letter box is just like, it's just on a whole nother level that, yeah, it's a shame, but not that he wrote bad lyrics, but I would have loved to have seen more of that. - But that was, you know, that was when that particular aspect of the muse hit him, but then the John Lennon Placicono band solo album, which is only about feeling. That's not about words at all. That's after he went through the crime and the screen therapy with Arthur Janoff, that, that album, for me, is probably the best Beatles solo album. - Which one? - Just, what's the going on then, the first solo album? - Does that have God on it? - Yeah, it's God, it's, and it's. - Isolation. - Yeah, it's all about mother, it has mother. It's just about in motion, it's about in motion. - Yeah, you're right, because they'd been in that primary screen therapy, and, you know, he let it out, and as songs go, I don't know if I love the whole album, but God, awesome. I mean, what a, when you think about the journey from, I want to hold your hand, or from me to you, to God is a concept by which we measure our pain. Okay, that's called taking your audience with you, because like, there's nothing a 13-year-old who could care less about them, that kind of line. And yet, the audience was not 13, and now the audience was 19, and that was, oh, that makes sense to me. - But they took people along all the time. It's a storm machine, to think that they went from, I want to hold your hand, to I'd love to turn you on in three and a half years. That's that gap from boy band for lack of a better word, to breaking the horizon here. And they just did that in such a short space time. And my theory is very simple, up until the Beatles, in popular music, or artists did, was they just got better at doing the same thing. You play guitar better, you sang better. The Beatles wanted to change things. It wasn't some manifesto they sat down the road there. It just happened. And I was, do you remember Dennis Miller had a lovely gag he used to do once? Michael Jackson and George Hamilton had crossed over on the international tan. - Great joke, I'd do it, yes. Now I'm thinking that the Beatles who were never brackets about this, they were proud of what they did. They grew up loving Chuck Berry and Little Richards and the Abbey Brothers. But there's a certain point in 1965, when they crossed over where they're doing material that were beyond the wildest imagination of Elvis or Chuck Berry. They could never have written yesterday or in my life. They couldn't have written things like that. And they didn't brag about it. But then they always self-debted. They always just a little plan, you know? - The cold quarter did. - Sure. - But in Popped in the World of Popped in the World of Music. - Yeah, that's not my era. I mean, I came into the rock and roll era and they were, I mean, I was, for the majority of their career that they were together, I was not interested. I was too young. I only got on board like in 1968. So for the end of the, I was aware of them. But like I was, my life centered around dirt and baseball. That it was not about the Beatles. That's what my sister is interested in. So I knew it sucked. - I'm getting a flashback to when we first talked in depth about the Beatles, for which I owe you an apology. I had a radio show. And I brought to my radio show to talk about the Beatles. And you were incredibly eloquently new. Much more than I imagined, somebody younger than me would know. That's where you referenced the John Borrowing from an earlier song. And we talked about that then. And I, and we talked about how weird was it for a kid who hears Abbey Road first. And then here she loves you. And you say, hang on, what's going on here? How did it go backwards? And I think you suggested that there should be a course to teach kids about this traumatic thing. Hearing the Beatles out of chronological sequence. - So it is July of 2026. - Yeah. - Correct. - I agree, so. - So that means it is 70 years since almost to the day, maybe two weeks away. Yeah, like a week away from when John let him met Paul McCartney. - It's six correct, yes. - It's actually was July 57. - No, 56. - No, by the way, and I know if you've got that, I know where you got it wrong. You got it from John Lennon, who got it wrong. In the official, the official biography of the Beatles. - See, that's why you have on the foremost Beatles. That's why you do. And I'm telling you, somewhere, there's a poor man's Martin Lowe. Who is he? - Well, I'm fairly poor myself, but there's-- - My mother used to say that. I used to love that. I love that generation. And then I'll give it a shot. - I loved beating your mom. She was the coolest one. One of your part of your mom was always saying that. But people would come on TV. - Oh, he's a poor man's Dean Martin. - Well, I'm a poor man's Martin Lowe, so there you go. The thing is, John, when he gave his interview, they had no memories. They not just don't. They just, every day in the Beatles' lives, in the '60s, was like a month or a year and everybody else so much happened. So when they were interviewed during 1967 for the Hunter Damage biography, he'd just lightly said, oh, we met in July '56, 'cause that was his memory. He was wrong. And Hunter Damage had to go back and we put an erata in the book. It was July '57. And that was, that was-- I call it this lot of being bang when poor and John met. And so much happened, and that was the occasion when I got the Queen to send a message where she misspelled the Beatles name. So obviously, she didn't get the tell of that. - This is terrible for the show, because we spent our whole monthly budget on happy 70th decorations that were supposed to come down. And now I hear it 69. - We could change it. Your favorite number. It doesn't matter. It's still about, however, it is the 70th anniversary of something of, oh, it's the 70th anniversary of when John Thorne's the quarry man, which you say is a completely unimportant band. But that happened there, '56. - An important, because everything-- - I take your point. - Yeah. - But here's, it wasn't this. I mean, if you were writing a screenplay or a novel, and you put in your story that these two teenage kids who are nobody's, meet up, and 10 years to the day, almost to the day later, and when they meet up, they're playing, John's playing for a 400 people in a church courtyard. And almost 10 years through the day later, the John and Paul plus George and Ringer are playing to 400 million people, simultaneously when they premiere, or you need his love, on what was the first ever satellite hookup, which I've now learned means something different to today's kids. But that was-- - No, it was, yeah, it was a different-- - But if you put that in a movie or a book, your editor would say, are you crazy? That's just too unlikely, implausible to happen. But that was the story. - Boy, you really never get over it, do you? - I mean, I like them, but, you know, I got a-- No wonder you're the foremost. - We can talk about the monkeys if you'd prefer. - I mean, Elvis did a satellite thing like in '73. - A lower from Hawaii or something. - Yes, that was a similar thing. - Yeah, it wasn't 400 million people, and it wasn't the first. - Well, it was something-- with some early version of the kind of technology we have now where you could get a worldwide audience. I mean, at some point, the Oscars were-- - Yeah. - They had to get up there and spill their bullshit about how the Oscars were. - Yeah, well, it's worth that particular bit. It wasn't started by the Beatles. It happened because an executive decided, 'cause all this new technology, why don't we link the world? That was the, some kind of cool-bye-yah moment, technology lets link up the world. And each country that was participating had to contribute something. And the beatings. DC wanted the beef spattery and they were completely disinterested. They've just finished doing something better. The last thing they wanted to do is a live TV show. They just told Brian Epstein, "No more live, no more concerts, no more nothing." And then what he didn't do if they killed him, right? Well, I'm not really going to say no. No? That's all I thought. What happened? Again, he knows more about the Beatles than me. Well, before trying a new restaurant or buying a big purchase, it's typical to read reviews, watch videos, you know, the standard research. But when it comes to finding a therapist, people are expected to just start clicking around and hope for the best. 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RULA.com/random, you deserve mental health care that works with you, not against your budget. Hey, you ever noticed how you remember the people who do a little more than they have to? We had a rideshare driver once who carried our guest luggage all the way to the front door. Not life-changing, but it's stuck. It makes an impression. And on Zippercouter candidates can make that same impression on you, telling you in their own words why they want your job, not just carpet bombing you with resumes. So you're meeting the right people faster. Their matching technology helps you find qualified candidates quickly, which means less time sorting and more time hiring. Try Zippercouter and meet great candidates who go the extra step for your job. 4 out of 5 employers who post on Zippercouter get a quality candidate within the first day. Try it for free today at zippercouter.com/random. That's zippercouter.com/random. Epstein does not get enough credit. Ron was the one who hacked them and said this is an opportunity. This is a platform. A is the first ever certified organization. But it's a platform. You can do a song. Don't do it just any old song. Do a song that resonates. And that's when John comes up. I love that period in late 1967 when they were for the first time not because Brian Epstein died and they were just so rudderless that they made magical mystery door and they were so late to see that you see the pictures. There's still in those kind of sergeant peppery uniforms that they had like that you know that album came out like just the last the year before but they were like wow I just get the we once we didn't use the satiny but really look at the fill look at the video of hello goodbye. They're funny. The popcorn. You have to do absolutely right but they was listen that was I mean the the famous footage of John and George with the newsreel cameras there after being told the Brian Epstein's dead and they'd see a shot stunned and then like that they were rudderless. John said it afterwards he said when Brian died I knew that was it I knew we were fucked and they weren't fucked they went on to make much more fucking awesome album fucked in terms of their internal dynamics. He knew the Brian was the cement organ. Yeah but with that cement what I've wilted to at some point it would that they were like you know they've said it themselves and it's really kind of boring because it's so obvious but it is like a marriage I'm sorry or anything where you're seeing the same person all the time becomes a real challenge you either like go into a sort of codependency or it chafes and you know when you don't have the bond of male female or whatever your sexuality is yeah little things get on your nerves and you you want different things and go in different directions and are challenging each other and all the resentments that weren't brought up at the time you just kind of buried them I mean George Harrison is such a mix of love and and bitterness about John Lennon like he didn't mention it in his biography yeah which is amazing but then like he did a tribute song from when he died oh it's his yeah and I love that song it's a great song and but even in the song he says living with good and bad I always looked up to you it's like wow even in the tribute song you can't quite let it go I just like to put it out there that I was living with both good and bad so obviously there was some bad which is like what human stills it's family it's only by the way it's all of that's up interestingly I still think I mean I used to being at the tad older than you when the beetle broke up it was really traumatic it was like mum and dad again it was especially when John and people I can see you're not over it yet but I this is what got me over it my first boss was the great Derek Taylor and I used to say it was probably like me said it wasn't a pooling but they when they broke up and they all that stuff and you said you come step step back a little bit and just see no it was time they'd done it they'd all got new loves they were off they'd they'd been together 13 years are you always French with the guy you use the guys you knew when you were 16 yes but I never slept on top of them in a van okay that's all what they say we we just didn't we weren't uh at when I was a young comedian uh at the clubs in New York yes you would see the same people just about every night because you went to the club every night and they went to the club every night yes but it still wasn't the same as being in a van and we weren't like working together as a team we were in some ways competitive I want to get stage time you want to get stage time we're both hanging out but we also have a lot in common and I don't remember there being a lot of beef about it you know we're all thinking oh my god he made him the MC I plainly could have been right because you're individual because you're so low it's your individual so low it's your holding on so well but the point that Derek made was look just think they they it's the old thing about lying dying early and leaving a perfect body we never got the embarrassment of the Beatles going disco I mean you know I you know I you know we never got the embarrassment that I think I was a little high because I was at the pot store I Woody Harrel's going to be very happy that I'm plugging the pot store because it's somewhat my money too the woods great store um here in Los Angeles if you're looking for that legal product here uh the woods on Santa Monica Boulevard there what he I did it but uh he did have a great party there one night with and Paul was there Paul McCartney and I think I see what you remember telling him if I didn't I've thought it a million times that the besides the music the best thing about the Beatles is that they did John a couple of weird little things but never did anything that made the fans go yuck oh man I like them so much and I'll still a great song but you know nothing like that I mean the weird John Gunhawk done heroin okay people do and it didn't hurt anybody else and there's just nothing that was an Ick they never gave us the Ick and a lot of artists give the Ick and I'm a full believer in still listening matter what the Ick is not just actually well the the thing that happened I think was um the Beatles when they there was an interesting thing a suspension of the usual attitudes of the British media the British media before the Beatles were smart yeah I mean the British tabloid media there's always been a kind of nasty bunch um and the Beatles when the Beatles came along suddenly they were enchanted by the Beats because Britain had been in the doldrums we were right it wasn't even black and white we were in gray and white so you needed somebody for a national pride like oh my god we Britain we finally produced something since we had nothing since Churchill winning the war now so all that British typical negativity went out the window and they adored the Beatles and that was all the way through to Christmas 67 then they laid an a magical mystery tar which was a hippie home movie and on top of that it premiered it was the BBC expected some kind of Frank Sinatra or Green Crossby Christmas federal and they got a bunch of four guys stoned out of their head and worse than that it's a colour film and they showed it on the network it was only black and white so I mean, you know, it went crazy. The Beatles are lost in it. - I love this period, because, you know, like, I love, see John Lennon, like, doing stuff. Like, you know, he didn't want to do. But kind of he did. It's like, "Oh, Paul's gonna make us get into these 1930s with suits, with tails, like, predestined with a top hat and a cane and dance down the stairs." - John Lennon joined it, also. - Exactly. - I have to pretend I'm not liking this, but it's kind of fun. And what would I be doing otherwise? - They also, later at certain points, George, "Oh, Brian Epshing made us wear suits." Paul said, "Nobody thought this, we all did it, "we were happy, it got us on TV." So there was a lot of revisionism, but that happened. But the second thing that happened, that took the bloom of the British media attitude towards the Beatles was when John leaves his English Rose wife, Cynthia, and takes up with an older woman, Asian from Japan, the country that only 20 years ago we were at war with. - Right. - And she, as Lennon, as he said, he went from being John to being Lennon. And that was how he's referred to in these. - That's the door. - And that was the whole turning point. And since then, a lot of people, Americans are surprised when you go to Britain. There isn't the same love in Britain, as there is in America for the Beatles. - I know that same feeling, not nearly, of course, on the scale that he, I know that same feeling, exactly. When you see the subtle little things writers can do to indicate that they're not on your side, they don't like you, they don't get you. And it's okay, but it's tedious and it's unprofessional. - Yeah. - The county was always a change. I was working with the county on something. And I thought that you'd let up to get the first time the county tells you are. - You really don't, 'cause you're the best. - I'm saying this is, when the county tells you are, you get really upset. - Why, 'cause he told you are? - You don't. - Oh. - And it turned out, it was right. I was working with him on one of his projects. And around that time, I'd recently produced the DVD edition of A Hard Day's Night. So I thought, wouldn't it be cool on the exact 40th anniversary to have a castroom crew reunion and get together, all the people, 'cause I got all of the actors, the director, everybody together, and Paul came along. I thought, this is gonna be great. And it was a private viewing theater, and Paul comes in, and he does that thing that people at that level always do, which I might not stay by, you know? 'Cause he wants an out in case it's a disaster. - Can't blame him. - He was the last person to leave. He's there six hours. - Oh. - Because everybody that was there with people he hadn't seen for 40 years. - I love that story. Not just because it's great, and you tell it great, and it's, you know, again, makes us kind of love them in that way I was talking about. It's not just the music, it's the kind of people that don't give you the yik. And, you know, I've heard snob stories about him, but the snob part is not that. It's what I might have to, I, the thing he said to you at the beginning, people will like, who want to be negative, will concentrate on that as opposed to like the other part. - Well, what was the most important person to the Beatles on the set of "Hard Day's Night"? - The Indian dude who ringos the ring off of, because that's the freaking plot of the movie. - Would his stuff is really potent, 'cause that's help. But, um. - Which movie now? - "Hard Day's Night". I would say the most important person on the set, was Betty Glasau. Who was that, you say? She was the hairdresser. They didn't care about the director. Betty was the woman who did their hair. And I managed to find her. And Paul was blown away, he hadn't seen her for 40 years. So that was, it was a good one, but I made one error at that party. I'd invited two journalists from the top end, the broadsheets, the equivalent of the New York Times, Washington Post, the fancy ones. And Paul said to me, "Well, those people." I said, "Oh, that's alright, they're just a couple of journalists." And I said, "Really?" I said, "Yeah, well, they'll knock it." I said, "Well, I was thinking I was doing a good favour, but it would be, you know, this great anniversary." - Yeah, I couldn't do it. - But he was, he was right. - I can, I agree. - And I, at the time, at the time, I thought he was crazy. To a week later, I can think, "What a boring film, it's in black and white, but Beatles can't act, the songs are terrible." And I went to Paul, I said, "You're right, Paul." - He's hurt to be a apology, but he instinctively knew that zeitgeist, almost what he has. - Yeah. - The British media had not finished trashing the Beatles. - Yeah, they're so regretful. - Well, they were. - It's not like the Beatles have not gotten some good press. - No, no, no, I think the Beatles have gotten some good press. And then there are haters. They're always are for everybody. They just prove that there is literally no one too big. And in fact, when you are big, that's exactly when you're a bigger and better target for them. Better to take down a whale, and they do. But I mean, they, first of all, it's again, what are you saying, 69 years on? - Yes. - I mean, it's settled law. It's settled science, they're popular. They will be forever in the songs. You know, the music is great. Even for people who are not like us who have this sort of emotional attachment because of this idea of how they conducted themselves and never made us regret admiring them, fairly normal when you consider how big a stars they were. I mean, yes, divorce, they all got divorced. Not Paul, he had second and third wise because he was a widower. But fairly normal and the marriages, the second marriages lasted. You know, they'd never sort of had it in their head that they were better, even though they were way better than us. - This is certainly a music. - The acid test, I don't know if it's the acid test for you. The acid test for me is how people at that level behave when they're not being watched, when there's no me do, when there's nothing in it for them to be nice. - Paul hired me to do a film. He'd made a documentary called The Will. - Is this a Before or After You Pistom off? - Before. - Got a big picture of that. - No, I mean, we made a book. - With The Will Buddy Holly Stone, he made a great talk for me and to about Buddy Holly because he pulled the back version battle off. - Really? - And he asked me to make a little promotional film about Buddy Holly and his passion for it. And I did that. I lived through him at one point. I came back in the room. He was chatting to the most junior person on my crew. He didn't have to, he was asking him serious questions about it. He didn't have to, he didn't know what, he said. - He's got a humanity, look at all the songs he wrote that are about Jackson Phil's bad for. Like he has it a plethora of songs that are just like, "Ah, this is Lady Madonna and what she's going through." And remember the first single? - What was the first single after he was solo? - Oh, another day. - Correct, another day. In the morning she wets her hair, it's just another day. And then she meets a guy at work and it looks like it's going to be something, but he doesn't know, it's not. - So he's another day. - He's not going to be a great love affair. It's, I mean, a gallon of Rigby, lovely Rita, the Desmond's wife and what she's going through. - With the band, like it never fucking ends. - But this guy, he's just always like, like channeling women and there's something. It wasn't just, it wasn't just, it was interesting. The race of things, now we're moving out of the '60s. So slightly into the early '70s, for those who think we're just stuck in the '60s. So, no, there's another, we did one in '95. You know the song, "Mistress and Made"? - Don't add note. - Oh, look, I win one point. - Yes, certainly do. - Okay, the judges have to mark that in round six. I actually scored, "Mistress and Made" was on the 1995 album "Off the Ground". - Okay. - I feel like there are three terrific songs on it. Like, I'm not going to say every song at all in the solo career, but it's the crazy amount of good songs in the solo career. But you got to pick like three off each album and then they're awesome. And one of them is "Mistress and Made" and that's another one, like she's, you know, I'm not just your "Mistress and Made". It's very chattily of women, more than most male songwriters. - The thing that caused part of the divide in the family, in the Beatles fan family, in the early '70s, was this notion totally wrong and totally unfair. But Paul was somehow middle of the road and John was some wonderful there. And partly, I realized I looked back on it, I understand what it was. John took the path of autobiographical songs. He was, and that whole singer song writer movement came up at that time. And that was considered authentic. And Paul was writing story songs. And that was somehow seen as measured. And I looked at it this way. John was a dire, John was a direst. Paul was a dramatist. He told the interesting stories about people's life. - They're full on there, that's right. - What's it going on with them? - I always thought that was a creepy song because it's like, they know what he wants to do. Really? What do people say that about? What does the fool on the hell want to do? Because he knows, what does he know? He knows when they're looking or-- It's horrible, but you know what? The words rind. That was probably the deep significance of it. That was a number of lyrics that, of course, in today's over-sensitive world and the way they do not very often want to just understand that people were different in the past. And if you lived then, you would have been just like them. You can't really look at it through today's film. It's so silly. But they have some lyrics that would totally be problematic, including, you can't do that. Which is like-- it's like right on the-- when you go to the Taliban hotel, it's like on the towel. You can't do that, that's it. One people life, I'd rather see you dead little gilvin, see you with another man. That is not going to win you the now man of being your reward. Correct. Right, I'd rather see you dead than to be with another man. To segue for a moment. But that was 1962, that's almost 65. Well, whatever it was, long point back. I always say, you know what, if it's so horrible, then you also have to indict every single person who lived back then, who was listening to it, never thought twice about it, didn't do anything. You're about it, liberal conservative. They just-- it's what the world was. Here's something new about it. We got better, be happy about it. I remember you had-- on my beach, the reason I had to apologize for you was it was nine in the morning, on a Saturday morning. And I forgot to tell you that towel early, it was. I think you had to shop at the studio. You did shop, and you were very cool about it. You were not happy to shop at 9 a.m. And that's sure sounds like me. But I have to tell you, boy, there's lots of stuff I've done in the past like this. Don't be offended. No, I'm okay. Like shows that I had to look at, had to work. Yeah, I had to, I kind of wanted to look at this 2008 Mark Twain Award. I was a guest speaker on it with George Carlin. I had no memory of doing it. It's amazing what, you know, disc full. Sometimes it's amazing what your mind, what your mind-- Let me remind you then of something you said that was really interesting. We were talking about, we were talking. We were talking about-- Oh, two, that's a second one. We're going to talk about that song. Okay, we will come to that in a second. On the show, what I was talking about was how the Beatles dealt with the media. And I played you an audio club, a pool talking about taking LSD. And he's, it's 1967, and he's doorstep by a journalist and asked, "Point blank, have you taken LSD?" And he had a spurt second, he could lie. Or he could say, "You know what, I'm not going to lie to you. I'm going to tell you the truth, but you don't need to play this. You don't need to spread this. It's not world-shattering news. I'm just going to be honest with you, which I'm sure you regretted doing that, because they then emblazoned it everywhere. McCartney takes drugs." And the Beatles and all that. McCartney did take drugs. It was a huge, bad head, and I love him for it. It wasn't known in April 1967. That was front-page news in Britain. No, but there was Rolling Stone did an article a couple years ago. Now it was one of those, this is the narrative where we want to get you to believe, which is how to, it was not a stupid theory. I think they overplayed it because they wanted us to believe the narrative, which was that LSD was actually a huge factor in their breakup, because George and John did it together for the first time. Tintis Paul. Yeah, the dentist, the famous dentist party. And forever, we're kind of locked in together. Now, which is, again, so strange that George, okay, you know, living with good and bad, and I'm not going to even mention your biography, but at one point, apparently, he, and maybe it's because they were so locked in then, and then it changed that there was this later bitterness, but that, and Paul wouldn't do it. Initially, initially. I mean, I can see how a drug that powerful, which everyone who's done it will always say the same thing, and it's always true with any drug, really, is that you have to do it, you can't explain it. If you haven't done it, you just don't get it, and that's not your fault, you just, it's one of those things. And so when Paul didn't, it sort of was a rift, which, you know, again, trying to make the story fit, manifested later on when three of them had the same manager, and he had a different manager, which was his father along. Yes, listen, that was such an insane period. I still think the reason why, you know, I've, I love the Beatles equally, but I love John a little more, I guess. And for me, the reason for that was that John Lennon was created such fear in the most powerful man in the world. At that time, Richard Nixon, that they tried to deport him. And the fact that they thought that he might do well, which I doubt he would have had any impact. I don't think he struck fear into Nixon. I don't think Nixon thought it was John Lennon who was going to take him down, but it didn't help that this guy who had the ear of the younger generation was talking shit about him, because he was Nixon and a sneaky guy. He'd set the organs of government that he could sec on John Lennon. But I doubt if he was getting a report on that every day. It wasn't a day, no, the point was that they thought. For the cake, that was a big deal in his life. Sure, but I don't think it would have made any difference. But Lennon was talking about going on tour before the United States election, but I don't think it would have predicted that. I love John Lennon, too, but he also is a real myth maker of his own myth. Is there a better time? Well, but he sort of purported to be the working class hero. We all know, among the four Beatles, the other three were lower class. He was the only one with a little boy of a nice house. Yes, he lived with the aunt instead of the mother. But we know neighborhoods like I lived in middle, middle class. There were houses that were nicer. It was just like that. He wasn't really a working class hero. Of course, their early days were rough and tumble for everybody, but-- And then-- You know what I'm saying? You're right. The materialism, the Elvis Costello song, the other side of summer, one of my favorite-- Oh, man, I love that Elvis Costello. But was it a millionaire who said, imagine no possessions? A poor little schoolboy who said, we don't need no lessons. That's Pink Floyd, he said. So he got John Lennon and Pink Floyd in the same line. Well, boom, boom, boom. OK, I would say this. First of all, it's in my new shirt, a class stratum. But funny enough, there was a hierarchy within the Beatles. George and Ringo, oh no, poor working class. Paul wasn't working class. He was lower middle class. I mean, that's the kind of craziness of the British class system. But John, yeah, he was middle class. He was grew up in a beautiful, comfortable home and had books. And what he wanted to do, the biggest thing he wanted to do was to become working class, because it was seen as more cred, more authentic. We're saying the same thing. Yeah, cool. Yeah, I'm saying it. It's a little kind of being a busted artist. Do you think Jager is working class? Certainly not now. Well, wasn't it? Let me tell you what he was. No, he never was. He was Mike Jager, Mick is a working class man. He was Mike Jager. And he went to London School of Economics. But you know, people take electrocution lessons. Mick Jager's deal of electrocution, yes. [LAUGHTER] He just wanted to say, oh, yeah, well, no. If you spoke to Mick Jager, oh, Mike Jager, he was, oh, hello. Well, listen, I'd rather like this blues music, you know. He just wanted, because that was what he did in the '60s. It reminds me of that great SNL sketch where I think it was Fred Armason played the queen. And when it was in public, and they had visitors, she spoke the perfect English. And as soon as they left the room, and she was alone with Prince of Love. She was with the scouts, with the heavy, you know, and vulgar, you know. That's great. I mean, a lot-- so much of the British stuff is written on the beat, because it is written with a lot of class stuff. It's written with it. I always have thought of the Sargent Pepper album more than anything. I mean, I've heard it was a drug album. Yeah, they were on drugs at the time. That's why it's good. Lots of-- I always saw it as a tribute to England. More than other albums. I mean, English, of course, seeps into all their music. They're English. I feel like in that one, some of it is deliberate, and some of it, I just think it turned into that. It was supposed to be a thing about their childhood. But their childhood was in England. So like Strawberry Fields, Penny Lane, very English, the details in all of it. You really understand what it's like to live in England. Lovely. Read it. The meter made that Victorian soap opera of she's leaving home. Everything just seems to point to this love letter to England. Not, of course, within you without you. That's a love letter to India. - Okay, actually. - I was just talking about that. - And all the musicians were in British Indians, or in a magic curry houses, and we're going to have a good go. But you are, I'm going to give you 10 points for that, because you spot on. Here's the interesting, the Beatles, the Beatles, in their own lyrics, there was a few references to America in their earlier records, but they're all covers on that Kansas City. But there's no references to geography. They don't talk about geography, they're early songs. Sergeant Pepper is exactly what you say. - Oh, good. - It's a very. Is there a last English album? It's very Edwardian, it's all about the heart. - It's, it's. - Right, it's just English. - Right, and the next year, I love it. - When you get to Magical Mystery Tour, which is late '67, there's a fork up on L.A. - Right. - And there's bungalow, bill, there's no. - Right. - You know, they've been to India. - Yeah, and there's India, and there's Hollywood, and you know, honey, I just. - But you're right, it's about English. - Except for the opening of side, too. Of course, that was the days when we turned the record over. - That's the rise. - That's the rise. The British only endure that. - Bushlight is as cold and smooth as a mountain stream. Sounds refreshing, doesn't it? Head for the mountains of Bush. Enjoy responsibly. Copyright 2026, Anheuser Bush, Bushlight, Beer St. Louis, Missouri. - Hey, Jan Lano here, and I'm teaming up with Yamaha to celebrate their 40th anniversary on July 24th. In 1987, Buick GNX, clubs around, and members will have four ways to qualify. And one lucky win will not only drive off with this icon of rise, but also get $400,000 in free play. This is your chance to win an American original, only at Yamaha. You win? - We feel the onvot.com, let's be told in another police gamble, frankly. - I'm not gonna slam that song within you without you. I'm just gonna say two things. One, I feel that as opening songs of Side 2 Go, here comes the sun, definitely beats within you without you. And also, what was my other important thing about that song? - So, I noticed that when it came time for George Harrison to do his solo album, suddenly there was none of that within you without you, inner light bullshit on that record. It was just great rock songs. I'm not saying that he kind of like. - He was scared from the socks, but he had a point taken. - No, no, that was, I mean, that's an amazing album. All things must be. - Oh, dear, when there's a kid from the socks and things about the art and stuff. - Feel the song, but not the music. - Okay. Wasn't it you? He went through phases, they borrowed from everything. - Well, he went through one big phase early on, which was spiritual. I mean, a lot of his songs, not my favorite lyrics. Sometimes the song was worthy of forgetting the lyrics. I don't care about lyrics. If they're good, it's better, but if they're not, I don't give a shit. My sweet Lord, not exactly how I see the world. Don't care, love the song. Feels better, great job, crazy person, shot a girl. Okay, that's all bad. I should not listen to this song. - I didn't, I didn't. - Did you shot an actor? When did that thing, what was it, you know, the let it be naked thing? - Yeah. - And he went back. 'Cause he was like, he really hated what Phil Spector did. - I could not disagree more. - I know, because you told me how much you liked the original let it be. - I like it both, but what Phil Spector did to let it be was what should have been done to let it be. This is pop music, okay? This is for people like me. I'm just a young man in the 22nd row. Okay, I just want to be entertained in a. - Oh yeah, but okay, I'm gonna step in on that for briefly. Only because George Martin put orchestrations, he was not findable orchestrations, but they weren't lucky. These aren't lucky either. - Let it be, it's over the tongue. - The long and winding road is awesome because of the production. It calls for it, it makes it better. It's not schlocky. And, you know, first of all, this is the kind of thing. It's like, when somebody says to me, "Why do you hate mustard?" - Why do you hate any food? Who the fuck knows? I like this, somebody else doesn't. It's like, how are ears here? It does know right or wrong. - Can I say for the record, I hate cilantro. - By the way, you probably confuse all the young folks. Side two, what the hell side two people are seeing. - They know what, they're young. You're kidding, they're buying LPs. - Okay, LPs are very hip now. - But the thing is, when Paul did that, let it be naked. I mean, that's like, you know, George Lucas came back and revisiting a film and some people fans get upset that you revisit and change Star Wars. But the thing is like, I love the Beatles, but I, you know, I'm not idolatrous because I don't think they would want it. And also because they have a higher percentage of everything than other bands, I think. But still, like, like, I don't have every, in my collection of Beatles songs, it's not every one. - I know. - Well, what do you think would happen if you put out an album? I swear to God, Apple put out something called Worst of the Beatles. I bet you would still go to number one. Worst of the Beatles. - He's the thing about-- - What would be on it? - Right. - At Revolution Number Nine, of course. I mean, you can't. - You have to be in a very special move to this. - This is the live track. - Excuse me. What are you, a fucking hageographer? - No, no. - Worst of the Beatles. - What are the 12 tracks on this album? Revolution Number Nine. It's not a-- - What goes on? - Not a great song. - Absolutely. - Typical night tone, which they've finally put on anthology. - Don't even know it. - I know you do. - No, I don't think just-- - Yeah, but there are a few conflict. - Not anthology. I'm talking about stuff they have to put out. - Okay, but honey, don't. - I didn't-- I'm not a big fan of their covers. They did covers. They did them very well. - Some are great. - Yeah, twisty cast. - Please, Mr. Postman. - Yeah, but I was so happy when they got to-- how days and nights was the first real album. - Well, they wrote all of their own songs. - They did 18 covers. - Right. - Like some of them that were b-sides, like Mr. Moonlight, I love, because it's just a virtuoso sort of singing performance. John Lennon did have an emotional quality in his voice. - No, that's very-- - That came about those selections of those songs in their early days. They were competitive with all the other groups. They were always trying to find the securities that no one else knew. So Mr. Moonlight was the b-side of a song. - Yeah. - And they discovered it, and they did it. And then all the other groups in Liverpool started copying. That's just the way it went. But still, I still think that when they found their muse of writings, to me, that's probably the best contribution. And I think it's the part that engages with people most. And I can't just too much. I don't think there was ever any manifested. There was no game plan. I never sat down saying, "We have a conglomerating like that." - Is anybody in their life? Life isn't what John Lennon himself who said, "Life is what happens when you're busy making up the plans." - Yeah, sad music. - Yeah, sad music. - I love philosophy songs like that. Like the some songs are about just a love story or a love you. Or are you left me and my heart's breaking. And then there's a fake philosophy songs that, you know, like Barada, you know. - Here's the other thing. - For all the Queen of Hearts. - Queen of Diamonds. - Here's the difference. People talk about this thing about that time. There was the Beatles Stones thing. That was a big thing at that time, you know. - Rivaly. - They still report in the tabloids. - Sure. - When Mick or Paul says something snarky and snappy about each other. I love it. - When Paul. - They're both 84, I think. And like Paul said something about, and it wasn't untrue a few years ago. Like, they were really just a blues cover bed or something. And it's true, their range is more limited. Not that the Rolling Stones didn't put out some great ballots. They could do it all, especially when they had Brian Jones in there. Very creative back then. The Stones 60 singles are nothing to sneeze about. They are awesome. But the interesting thing is that in that rivalry was that some of it was class and geography. When the Stones first meet the Beatles, the Beatles are from the North, which is. We look down in the South, and you look in the heart, it's like, "Wing goes on the Toe path, and the policeman, he's angry with the policeman, and Wingo yells "Savanna!" Because of that thing of the. - The one with the ring. - Take away that one point again. But the Stone. - Yeah, help is an Elvis movie. - Yes, it is. It's an Elvis movie. - Yes, it's a travel. - It's a can't take. - A travel to an exotic. - Location. - Location. It's just the difference is that with one guy doing that kind of movie, you always can have a love interest with four. - What's the love interest? - Right. - But here's the. - Too many girls. Here's the interesting point. Was the Beatles. When you think, we have to understand, the difference between the Beatles and the Stones was the sense of humor the Beatles. You look at how many photos of the Stones were the big smile on the face. They had to be serious. - So long. - No doubt about it. The Beatles were the good boys, and the-- and the-- the stones were bad boys, and that is exactly what their appeal was. It was like, like, to the 40% of teenagers who are looking for a snarling face to put on how they feel about how shitty life is with a dung, ruling everything, the stones were perfect. You're 100% correct and wrong at the same time, because that was the brilliance of their manager Andrew Lou Golden, who was actually younger than all the stones. He had just done some PR work on the Beatles in early 1963. He happened upon the stones and that's like Bob goes off and he thinks, "Oh, there needs to be an anti-beatle, they're too cuddly, mums and dads like the Beatles," and he fashioned the stones to be the anti-beatle. The irony, as Lenin claimed, was that the stones were actually rather nice decent middle class boys, who were roughed up by their managers who look snarling. The Beatles, John Lenin's line was, "We were the biggest bastards of the world." So, they were actually. It is astounding the way the media not only often get it wrong, they get it diametrically wrong. The absolute same thing happened to Elvis when he was first on the scene. They thought he was the devil. They wouldn't shoot him above the hips, remember? Because he was just such a bad influence. That's when he was actually a sweet young boy who was overwhelmed by success, but was really kind and loved his mother. It was still alive. He wasn't on drugs. He wasn't involved with teenagers. That's when they said he was the devil. Later on, when he was doing things like having a 14-year-old live at his house and on drugs, that's when he was sort of exalted as like, "Because, you know, if you're hanging around long enough, you've become an institution." And they had it exactly wrong. But what I love with the Beatles in their films, the Beatles, not just their films, they're also their Christmas records from their fan club. They were influenced by the Goons. Now, the Goons show was the British radio predecessor of Monty Python. It was the comedy of Peter Salas and others. And that was what inspired Monty Python and inspired the Beatles. This is that first famous thing with George Martin. George Martin had never produced a rock and roll record. He didn't know anything about it. Why did they respect him? He was 12 or 13 years older, which was a big age gap when you're 20. No, this old guy. Because he was the only one in one of them. Not just that, but they liked it. Well, that's big. That is why they liked him. Was that he produced? Yes. And he's probably more. They loved that he'd done comedy. Well, you cannot overestimate how much the cheekiness of the Beatles on their first trip to this country. I mean, that is something even as an eight-year-old I got, was that, oh, these guys, it's not just the music, which I, again, don't care about because baseball, but they kind of, they're like, have, of course, as many people have compared them to that Mark's Brothers quality. And just cheeky, funny, witty, the kind of thing that comes through the blood of my people, Celtic people, you know, like the British Isles, the Irish Isles. We embraced you as always. Yes, poetic people and funny people, or usually witty people. And they were in that, you know, they were more, I mean, like John certainly was so himself as a Celtic. He did that album, a terrible album, horrible, called "Sometimes in New York City." And there was a song on it called, "If you had the luck of the Irish, you'd be sorry and miss, you were dead." Okay, you know, it was, it was, that was, see again, they never did anything that makes me feel icky, but they did missteps. It was 1972. He and Yoko had, you know, finally got free of that horrible island in England and gotten to in New York and they're living in New York on the west side in a big fucking bomb of an apartment with a whole floor that they owned just to put shit that they didn't, this album. They weren't in there, yeah, that was later in the due culture. They were in the village. They were in a small place in the village. Oh yeah, that's right. But they're giving in, right. You know, with the revolutionary spirit, Nixon was president, bad man, let's go. Okay, I get it, we were there. And so they put out this protest record. I mean, he obviously thought he was Dylan, but the song was just, it reminds him of that movie, "Walk Hard," where they're doing that Dylan sequence and he's singing a song for midgets and they're right. It's very funny. But he bounced back, then he bounced back. And he did wars and bridges and did mind games. He bounced back. He was in bridges and mind games and not great solo album. They're not great solo, but there are good songs on them. There are some good songs. But I only have 15 Lennon songs. No, again, that's because he took five years off. But, you know, the ones that are good are amazing. It's nice to know that his last one is maybe my favorite of all time, starting over. Again, Phil Specter, got to give you, perhaps on that one, should not have shot that girl, may say that again. I'm not a shot that girl, but the wall of sound reverb on that, the production on that is so immaculate. Yeah, it was Jack Douglas who produced it, but no matter. No. Yes, sadly it was. That's not Phil Specter. Well, they learned it from Phil Specter. You could say homage to Phil Specter. This guy sounds like the poor man's Phil Specter. It has that. Who is that? Jack Douglas, who was a terrific guy who worked with Aros Methe and he'd actually, well, he passed me recently, but he brought something, that album, there was some beautiful songs. But is there anything woman? Here's the line when you talk about jealous guy. First of all, Janus Guy and woman. In Janus Guy. How many macho men didn't say things like, I didn't mean to hurt you. I'm just a jealous guy. You didn't own up to jealousy and help, help saying play. And they didn't because we talked about it. He had a song that says, I'd rather see you dead the little girl. But he also had a song that said, we'll be now and then I feel so insecure. Grown man did not let you guys do it. It's a great arc to go. If you were writing a screen player looking for character, arcs and development to go from, I'd rather see you dead to the lyrics of jealous guy, which are very self aware and talking about who he is. And isn't the essence of him in that song, woman, where he says, I know you understand a little child. Yeah, yeah. That's it. He's starting to get. You start to understand. It happened out that Yoko had a hold on him. I'm not a Yoko basher. And I'm sure that there was elements of that that were completely real. And then there's some stuff that I didn't know that, I mean, I did the review with that book, 150 glimpses of the Beatles. Yes. It's one of the, I loved doing that. It was during the pandemic. I had the time and I wrote a book review for the New York Times of that book. And I mean, at least in that book, he says, I did not realize until I read it, Yoko sent him letters every day when he was in India and would jump in the car. And then he, like, deadpan, something like, you know, perseverance was her secret weapon. Yeah. And I didn't know that, like, the fact that she would have to him so hard and that Linda, Linda and Yoko went first, went after the other one. Linda went after John and she went after, is that right? There's elements of that for sure. Interestingly, I mean, I think that they were fortunate in the people around them, fortunate in the romantic partners they had. But look at this. If the Beatles had been in the clutches of Colonel Tom Parker, we would never have had what they evolved to do, because he'd have made them continue to do the same thing. I disagree, because Elvis was a sad hill, Billy, and their smart, savvy guys. And they would never put up with the Colonel Tom Parker. Well, okay, but that's true. They're just not Elvis. I love Elvis, but he was like pure talent. And I'm not, I wasn't surprised, or I'm not surprised now that he only lived to 42. But how did you feel about him going to Nixon and saying the Beatles are unamerican, which the Beatles were most amuseable? I fucking love it. I fucking love this drug addict getting on the plane to the guy who had been to the Drug Enforcement Administration, all stone wearing the sunglasses, left the house with no money. What is the form of currency, sir? I'm Elvis Presley, is my form of currency. Don't you see the cape? And gets to the white house like without a white man wearing a cape. It's like, sorry, Elvis, is that the brunt gate? Oh, damn, we almost had to be at Namor, so I'll send them in. Henry, I'll get back to this later. Elvis, and then like, you're right. It's all just because it's very Trumpian. You know, it's like, I can get away with this. I'm going to do it. It's a bar fight. I'm going to pick this up and use it. And man, he wanted to get the Beatles. And, you know, you can't blame them when somebody eats your lunch as bad as they did has. Not that he wasn't old news by the time they came along. I mean, that was his whole goal. But it was an iron neck. Here's the thing. Paul forgave him. He just said, you know, disappoint you to happen, but didn't stop loving the music being great. It didn't say, you know, "Hey, Elvis," or anything like that. John was a servant when Elvis died. Elvis died when he went in the arc. Yeah. His line. Not true. Elvis died in a lot of ways for a long time. The voice never left him. There's not a lot of great stuff from the eight or nine years when he did movie musicals, those 30 travelogues he did. There were all the same movie. It was not, but, you know, why is man say, what's that, when that came from? From the fool's Russian. Oh, yeah. I mean, he still did that in concert. It's a good ball. And it's not the greatest thing ever. But the thing was he, at the point, listen, Elvis couldn't be rebelled against Colonel Tom Parker in the early years. By the time of 66, 66, 67, 68, there were artists who did rebelling against them and they sought a lawyer and got out of the deal. Yeah. He was just sad hillbilly who, like, wouldn't figure out how to break free of his father figure where he's weird, because what he was always doing this morning is mother. He needed a mother figure. Here, he had a father, seemed like a nice guy who kind of went along with everything. How could he not? I mean, you know. Listen, he had the talent, he inspired the time when that hit, when that hit in Britain, it made him act. If there's no Elvis, there's no people. And Elvis had an amazing period when he fined that get out of the movie contract when he was a 35-year-old grown-ass man. And he wasn't singing about fucking bound all, you know, that bullshit, I don't like that music at all. But the music he did from, like, 1969, suspicious minds, through, almost into the, yes, great songs. I don't think before that song, I just really cared that much about what was going on in the ghetto. I never took those lyrics terribly to heart, you're like, "Oh, Elvis, it's, it's, you know, it works something that, it also reminds me that thing where, Paul's sometimes been accused of embellishing or revisiting history. That happens with people. Your memories aren't perfect and you revisit and you tell a story." But there was a famous thing that happened when the song Blackbird was being reexamined and being talked about, and Paul gave an interview somewhere where he was talking about Blackbird and said that, you know, Angela Davis was something I was thinking about. And he got pounced on because the truth is, yeah, because Angela Davis wasn't known in America for Britain in 1968. She wasn't known till after he wrote that song. So for a year or so, people were piling on Paul and saying, "What a bloody hippogriddy's making it up." And I thought, "That's not right. I know it's not right." And I did some delving in the archives and I found a rare audio tape that proved that Paul was telling the truth. In 1968, he did, he produced an album with Mary Hocken. You remember she did the song, "What's With The Days?" And he was-- So you went to number one? Yeah. And he was strange with-- Oh, Russian folk song. Yes, I did. By Jean Raskin. And she, Paul was very friendly at that time with Donovan, who'd been to the, with them to the, in dear to the Maori sheep. What was the follow-up single? Uh, "The Days of the Tema Harbour." No, a goodbye. Correct. For ten points. And then Tema Harbour. And then that's a better song. Yes. But with that thing, so Donovan is, Paul's asked Donovan, "Can you come up with a song for Mary?" So Donovan ripped me a couple of songs and then in the studio, I found the audio tape. They're rehearsing and as they do with their warm-up, they're playing each other song. So, Donovan sings Sunshine Superman, Paul sings Blackbird. And Donovan said, "Oh, that's the one you were writing in India." Right. And then Paul says, "Yeah, I got into trouble with that last night." When did you talk about it? And Paul said, "I ran into Diana Ross at a club in London." And she started giving him a grief about writing a song and using the word "bird," which is an English term for a girl, about Black women. And so there's Paul talking about it that it was. And then Paul says, "Oh, I saw some news footage on TV about these Black women protesting in America." So there it was from 1968. Paul did like the song based on that, but he'd been tricked up because he misremembered through an Angela Davis' name, and that was somehow he was thrown against it. Well, that's what I call "Bad Faith," which is a lot about the media. "Bad Faith" means, when you know what the truth is, but you know you can get these dummies to believe this worst thing. And they will, because when people just want to believe, people have shitty lives, and they want to believe bad things about celebrities. People have good lives, they don't really, not really rooting for that. It's a lot more helpful if you're going through some sort of horrible divorce or a drug addiction or a Britney Spears or whatever you're doing. It's like sad and terrible. It's like, "Oh, well, you know, that's what happens when you become a famous pop star." So, good on me that I didn't. I mean, it's part of my people's passion is not just the Beatles and the Hero. It's the answer to things they did afterwards, and in particular, I know this first time from a couple of perspectives. George Harrison is, you know, people used to lock some of the spirituality and got a little bit pampous and sometimes on the spirituality, and he was sincere, but, you know, he got a little load of blood. He did two things that were really crucial. One, the concept of Bangladesh. Before then, they had never been. Absolutely. Pulling together. Ground breaking. August 1, 1971, kids. Look it up. You did absolutely. And when I got involved with John Cree's and Monty Python, we did the secret policeman's ball thing. What were we looking at? We were looking at concept of Bangladesh. Could we do with comedy, what he'd done with rock 'n' roll? I was 15. It was on the front page of The New York Times. Of course, there was no color back then and newspapers. But he was wearing an orange shirt with a white suit. You know, he just looked cool, a beard, hot backup singers behind him, and I'm sure we're in love with them. I mean, it was just like. And it was Madison Square Garden and Ringo was behind him playing drums. It was just. For a 15-year-old, it was like one of the. And good cause. You know, back then, we have raised $3 million, oh my God, but it's an ungodly sum. Yeah, Alan Cullen find it hard to rib on that. But. Let's talk about solo careers, cause. Sorry, so now that phase. One small point. I was sorry. Let me draw this out. Sorry. The other thing he did was he single handed the almost and revived the British film industry in the 1980s. It was going to shit. And he financed Monty Python's life of Brian, that back as it pulled out. He financed the film. He financed all these other films with Bob Hoskins, Longer Brothers, Biss Fand Grays. Biss Fand Grays. Biss Fand Grays. I know, I'm saying, but. I'm talking about what they don't know. Okay. All right. They know these stories. But what you're following is way more than just people's fans. Yeah, but I bet you have to kind of be. Be it a little. Maybe, maybe, you're right. Maybe, that's not true. I didn't think everybody knows everything. Yeah, I've just heard these stories. There is lore. Almost, you could see how things like this could become a religion. Sending with Elvis. You know, it was very similar to Jesus, the refoldgent life giver, the white. You know, silk thing. I mean, it was just. And people worship him. Some think he's still alive. He was resurrected. So, there is all that. But, I want to ask, come on. Like, if you had to pick or put in order, solo career output, one, two, three. Well, it's. I mean, of course. Yeah, of course. Of course, I understand. John is going to be third. Because he died. That's just what happened. But, okay, I'll go. Jesus Christ. Are you the fucking publicist? I love them. Okay, okay. I would put Paul first, because he just has the most, I think, songs. But I don't know. Also has, like, I don't know. I'm guessing 50 ones that I just love. And I only keep the ones I like. Now, it's uneven. All things must pass every song. No, but, like, boy, there's six or eight that are just great. Most of the uptempo ones, although beware of darkness. Yeah, I mean, boy. Talk about a Ligubrius toe-tapper, but an amazing song. Like, I mean, I live my life by one rule. Beware of Maya. I don't know what it is, but I'm always on the lookout for it. But it's a great album. And to your point, like, just a lot of spirituality shoved down your throat. I just accept that it's fine. I don't care. I will say this. His last album, I feel, he finally wrote a spiritual song that didn't hit you over the head. Like, the other ones did. And I thought it was this best one perfect. People don't know it, because it's done the last album. And it's called The Rising Sun. Do you know it? I do know it's a little bit, yes. It's one of, I just think it's so beautiful. And it's not like all this, you know, right on the table. Remember the one, John and Paul in the material world living in the material world? John and Paul in the material world. Like, you're not. Like, George Harrison, living in his castle, wasn't part of the material world. What? In that truck an awesome place he had. Listen, it was awful for all of them having that wretched tall shadow of the beacons. I mean, you have to admire how McCartney got on with his soul. career after the Beatles. It was so wretched, it was such a big daunting thing to deal with, and calling wins, which I suspect it was really poor McCartney and his band, but it was, it was the way he chose to deal with it. They all dealt with it in different ways. Did you know that Ringo was the most initially, in the first two years, was the most successful solo Beatle. He had more hits. Yeah, he had a lot of hits. A lot of hits singles. Again, the thing that makes me so emotional about them, the way the other Beatles helped him. George gave him photograph, right? Or was it, it don't come easy? It don't come easy, and they worked on it together on the backup mood. I mean, he wrote, there's a George Housen version of it, don't come easy. It's a great song. I think give away a great song is a great act of kindness. I know John suggested some songs that he did, like you're 16. And he wrote, I'm the greatest. Okay, let's not forget. And our mutual friend Richard Perry produced that album, The Ringo, which was just ready. I don't know about that. Oh, no, he was great. It was, it was, it was, I, I, look, I can only tell you what I, I mean, there, there was a good song at the end that I liked, had for a long time, for you and me, babe, the end is down here, you know, he thanks everybody at the end. It's a lot of talking on the record, so it kind of had to go. But, no, he's got some, I mean, there's a song, he did a tribute song for John, for George, called Never Without You. Never without, that song is a killer, make you cry. It's an, and it's interesting. He did a tribute song to George. George did a tribute song to John. Paul did a tribute song to John, but, um, but who didn't, and Ringo did a tribute song to George, but not to John. It's interesting that by the tribute songs, we can read between the lines. You seem to be quite a Beatles fan, they, you really know your stuff. Well, the, the, the, Paul McCartney tribute song is called Here Today. Here Today is one of her counties finest songs. It's pure emotion. The, the, the essence of it, the way that he wrote it, the construction of it. He did one of those little pop-up things at Amoeba Records, and he did that. I was invited along to it. It was absolutely stunning. He breaks up in the middle of the song, he just suddenly hits it. Really? And he did this little vocal trick because he's starting to, he's starting to lose it. I mean, just this vocal trick, we go, oh, like a little way to, like a reboot his voice, so he won't break up. It's astonishing. Wow. And there's a clip of it online, but I remember watching here at the time, and you was so moved by it, but it was uncharacteristic for Paul to be that emotional. By the way, do you remember all the shit he was given when he said, when he was asked how he felt about John being such, you know, it's a drag. And he was, oh, how inconsiderate. It's just, you know, you're being doorstep back out. What do you think? That's the world, it's haters. It's like the world. It's just for haters and their job is to, however you handle something, hate it. I always say it's like relationship breakups. When you break up, however you do it, the other person just wants to hate that. If you're honest, you should have spared my feelings. If you spared my feelings, you should have been honest, because they just want to hate you. And it's okay. We've all seen it. That's how it's happening. And like, they just, people just want to find something to bitch at and hate. And there was no thing he could have said that would have satisfied them, but they weren't, because when there's no, like, why should he have to share his innermost grief to a TV camera crew at that split second, the day after. And there's a movie, in the movie Daniel, there's a great line where the daughter of the Rosenbergs has depicted is really, very sad. And somebody says, well, why can't you get over it? And the line is, do you have a church issue might just be inconsolable? I thought, what a word, inconsolable. Yeah, I think that's probably how Paul felt at that moment. I mean, also, he said it's a drag. It's like he said, oh, good. He's dead. You know what? I never liked it. I said, man, that's argument about who wrote in my life. I say I did it. And I'm glad he said that didn't happen. He said it's a drag, which it was. And the thing's in used to be, I mean, I can't believe it's like coming up on 50 years. Fucker, we old. I mean, 50, 1980. So it's been 46 years since John Lennon. That's, I mean, what do you think about 70 years? Okay, so the Beatles were certainly right in the middle of being the biggest stars in the world, 60 years ago. Let's collect it in 1966. Well, when I was 10, what would have been a song from 1906? No, from 1896, it would be 60 years before when I was listening to the Beatles. That's what kids must think about us talking about a song from 1966, except for the fact that the Beatles music definitely endured in the culture. It's in commercials that kids do know it. Whereas 1896, what would be a song I would know from there? Maybe the, you could, oh, okay, you know, I don't know, Mary Rowe, you're about something. An ancient song and Alexander's ragtime band or some shit. But those songs died out. Beatles songs didn't die out. Yes, more than when than their heyday, of course. But they didn't die out nearly to the same degree as something from 1896. What I did for me. And you're right. And I think that's partly because I think it was also, it was like almost a perfect storm of the way media developed and the transistor radio and everything. That would never happen again today. That what happened with the Beatles on that level could never happen because it was just a conflict. Technology helped. The technology and the times it just happened. It was meant to be, if you believe in that, so I think. But certainly, no, I don't think that can ever regrade. The fact that they were playing stadium concerts through the P.A. system of the stadium. None of their own equipment. They just came in there and they used the same speaker that the team used. The whole talking out. Number seven, batting number seven, Mickey, metal, number seven. That's the speaker that they're and playing to but you know, nobody was listening. And they couldn't hear themselves. No wonder they stopped working. Now, is the 60th anniversary of the 6th anniversary of the Beatles quitting live performance, which was the breakthrough point. A candlestick bar, end of August 966, they said that we're done. We're over. And Brian Epsim thought that was the end for them. He didn't understand. But they wanted, they wanted out. It wasn't that they started. Oh, it would be better in the studio. They just wanted to stop. I don't believe in the universe, although I know it's up there. But if I did, I would say like 1966, 666. I never was a big fan of 6s. You know, the devil thing. I'm sure it's bullshit. I just sell like that year. And then it was just like everything conspired against them. Like they just had ugliness. Well, if you want to make it 666, it's June 66. That's when the bigger than we're bigger than Jesus has blows up out of that one plus getting roughed up in in Asia. Like the Japanese, they were, you know, I think they they didn't rough them up. But I think they they don't like make noise during a concert. You know, it was like shit like that. Like, oh, wow. Yeah, just because they knelt them out because they they turned that name. The Philippines, not Japan. Yeah, Japan, the audience just didn't like, you know, they were like having the time of their life and going to different audience reactions. No, Manela was actually scary because because they seemed to be the the I mean, now we would say they were symbolizers symbolizing colonization and colonizers because here are these white guys coming in to the Philippines and insulting the first lady. Like when they do that to a white first lady, would they do that to the queen? No, but to our queen, they can't be bothered to show up. You know, you know, that was the subtext. And, you know, the British certainly earned that. They, I mean, for the kids today who don't know what colonization is, that's some actual colonization. When you go into a place that's nothing like you, you make it, I mean, you know, India is very British colonized. It's something for the good. That's the great scene in the Monty Python movie about what are the Romans? I love for you. Apart from this, not from that, the wine, the water, the alcohol, the wine, the sanitation. Yeah, but I can't from that. What else have you done? Safety, aqueducts, agriculture, what are they? And thank God, George Harrison finance that's on me. You won't remember. Do you remember his line when they said, why did you put up five minutes and I want you to see that? That's nothing more baller than that. They did have that kind of thing. I remember with, let's go through his great songs. Okay. Okay. All things must pass. A bunch of great songs on that. Never crazy. about the title song "Logobrius" and "Slow," some of them were, but the uptempo ones, the Lord is awaiting on you all and, you know, just wawa, you know, just really. It's funny, when he wanted a rock, it didn't matter if the lyrics matched. Like, all those years ago, which the tribute song, it's like a very upbeat song about. - It wasn't written as a genre of tribute. - It was a melody in the songs. The lyrics don't match the. The melody had been written the previous year, and the repurposed, the Beatles are very economical, they repurposed, but the interesting thing is, do you remember the track one of "Side One" - of that album? - What album? Of "The All Things Must Pass," 'cause it's very significant. - Where is it? - It's. I'd have you any time. - Oh, yeah, the Dylan. - Yes, it's a Dylan Harrison contest. - Yeah, if it is. - And you know why it's track one, "Side One"? - Right. - It's George's "Fuck You" to John O'Cool. You don't write me as a writer, but I'm writing with Bob Dylan. - Wow. - And that's the list. - I know that's that album. - I didn't know that. That's great. And he, understandably, his stop. He was struggling to get his off in any other band. - There's a video very soon after that. It's early '70s, and George is at John's house, and they're around the breakfast table, and they're like joking, and like, I'm Beatles-Ed. - That's because they're doing, that's when they're doing the imagine-on, they're doing the. - Okay, so. So, obviously, again, these feelings are mixed. There is hate, and there is love, and they are living side by side, as they are for many people. - But what they never stop doing is the little. Slighting at the stones. And they love it. On the spot of Pepper Calder, he says, "Loling stones, good guys." They're like the Jews. Like the Shiites and the Sunis hate each other, but we'll all work together. - Everybody hates the Jews getting that. - It's that we're on lower. But, no, the stones remember that, when Andrew Alden bumps into them on the street, they just, John Paul just come from a industry awards lunch, and Andrew would beam PR from six months earlier, has now signed the stones, and he's taking the Beatles and stones to see her, and he says, "The guys need a single, need a song." 'Cause at that time, they put out their first single, the stones, it was come on, the Chuck Berry song, it had failed. And at that time, the Beatles said, John Paul had given songs to other artists that had hits. So, can you give them a song, give them a song? And so, they go in to meet the stones, and they say, "We'll knock up a song for you." They go to the pub, they give them, "I want to be your man." - Hey, that's wrong. - I know, but here's the thing, so today. - Terrible when they did it, terrible when the Beatles did it. That's on the, that's on the worst of the Beatles. - Here's the point. - Here's the point. Mick and the Stones are so grateful, because a Beatles song was a ticket to success. They put it out, what John Paul omitted to say was, "It's one we're giving to Winger." So, they did it, and that's the little chip on Mick's shoulder that the stones broke with that. - Oh, I think it went past that. He does, Mick Jagger just pops up a lot in a Beatles biography. You know, like he said, all you need is love, sing along. - Sure. - He's just, obviously, it was a small group of, just like here in Hollywood now, that the A-listers, wasn't like the Beatles didn't like being Beatles, and going out to the pub. - They went pubs. - Yeah, they took full advantage of that. To me, the fact that Paul McCartney, the biggest pop star in the world in the mid '60s, was living in a garret in his girlfriend's family house. Speaks a lot to the man's desire for family, because he really craved that, I think. And you see that, he could have lived anywhere, and he lived in his girlfriend's attic, because he kind of lived with the family. He was on the road a lot, so obviously, and I think he was certainly not like a, I don't think the relationship was even built around monogamy. And probably in later years, that became an issue, because there's at least three songs that seem like they're shots at her. One is maybe yesterday, I'm looking through you, and it's another one that's for no one. There's some bleak, romantic songs, while at the time he was with Jane Asher. And Jane was a very firstly independent, working professional actress, so there was a little bit of tension, but Paul was going up, she was up in middle class. Paul was now in middle class. There was a class thing going on there, but Paul, in rich and stuff. That was why Paul was so upset about all that, utilizing of John as being the only avant-garde one, when it was Paul who was living in central London, while the others were living in Saudi Arabia, and it was Paul who was going and listening to stock owls and then Paul gets the avant-garde stuff. - I'm just saying on the family level, I think he wanted, he loved having a family, even if it meant living in the garret, because coming down to breakfast when they're all there, and hearing about what the kids are doing, and you know, the pattern of the familiar is at the head of the table, I think that was all very comforting. And it didn't stop him from what I've read, I think this is the Barry Meils book, that, you know, he was still living the pop star life, and you know. - Sure, they went on the road. - What Lennon said, it was like for Lenny's satiric, not satiric one. - He did? - Yeah, and Lenin said, on the road with that, it was like for Lenny's satiric one. - They had girls being brought up to the street, that was it. - Right. - It was very hard to turn them down. - Of course. - I'm glad you mentioned the Barry Meils book, 'cause when that was an authorised biography, because Barry was a close friend of John, and he was, of course, especially, and they put together the Indico Gallery, which is where John and Yoko meet, but when the book comes out, in, it's called, many years from now, and in it, it can't even reveal that he gave, he was the first person to give a joint to Mick Jagger. Now, when the book was published, when that was an album-- - John gave him the joint, he gave it to Mick Jagger. - But like, the way he gets better, he gave it to Bowie. - The stone was blowing him. - The stone's on tour. - From Australia, just before the gig, Mick gets a press release out, denying the poor evergainer in something as uncool as Paul McCartney gave him his first joint. He's on the road, it's 50 years earlier, and Mick was so pissed off that he instigates a press release to deny that he got a joint from him. - Why would that be uncool? I can't think of a cooler thing to happen to me, than Paul McCartney giving me my first joint. - Because it was from the North. - Oh, come on. - This rivalry is just rivalry between-- - Yeah. - Listen, when Paul and John did a TV special called The Song of Lennon McCartney, where they had a bunch of different artists performing their songs, and John Paul were wrote in to be the MCs. And there's great people there, and great musicians, and George Martin, and Siloblack, and Marianne Faithful, who's, of course, Mick Jagger's girlfriend. And right at the beginning, they're playing some different audio of different tracks, and written by John Paul, because by 1965, they were being covered by everybody. Ella Fitzgerald, everybody's covering the Beatles. And they play the stones, I want to be your man. And Paul turns to John and says, I don't remember, did we write that? And John, mindful that Marianne Faithful said, "Oh, yeah, we wrote that one, we were about that high." You know, it's just a slightly. And what's the line, and your bird can sing? Your bird can sing? Tell me your bird can sing, and your bird can sing. Marianne Faithful, a bird. He's, John is having a go at Mick. Oh, tell me that you've seen that seven wonders, and your bird can sing. It's your don't, bird. Oh, that's awesome. Yeah, don't get me, because John is pissed, though. That's so great, and I love learning something after all these years that I didn't know. And your bird can sing, right? It's like when you get the crossword puzzle answer, and it's like, "Oh, that's what they were meaning." Oh, I see, and she's a bird, right? She's a bird, that's a kind of world. Yeah. I mean, the Eagles did it with Steely Dan. They stabbed her with their Steely knives, and they just, that was a deliberate-- It is. When you're on that level, you both have a rivalry, but only sort of know that there's a very limited number of people who know what you went through, what you're going through, and not that it's worse, we're not Marines here, we're not in war. But we all go through things, and it would be nice to know that you can just talk to somebody who you feel like, "Oh, you kind of must know." It's like doing the acid. You know what it's like to do this job. I mean, I have it with Talk Show host. I just do. And then there is-- It's a small group. It's a whole group. I mean, cops, you know, a cop sees another cop at a diner in three in the morning. They don't have to say anything. They both know. They're in the same-- how they're feeling and what they go through. And, you know, same with the hookers who are in the booth eating. We're beautifully. Well, cops and hookers are sometimes in the same diner at three a.m. Sometimes after they had sex with each other. But when I did The Heart Days 9 DVD, I was interviewing all these people. And I wasn't allowed to interview a poor or George Oringo because at that time, Apple had a very strict policy. We don't own the film. We don't deal with anything. We don't own because the film was made before the Beatles had the power to own it. So I-- It wasn't you being here with anybody else. And I found that some of those people, for them it was the biggest thing. A hard day's time was the biggest thing in their life, whereas for the Beatles it was just one, you know, it was a few weeks in a busy year. And one of the guys told me a fascinating thing. I was talking about the scene, we're in the disco and the Beatles are all dancing in a club. And I said, well, what was that swing London thing like? I was too young to be in those. He said, swing London was 400 people, that's all it ever was. The time magazine blew it up into this huge thing. It was just the same 400 people. A few actors, a few musicians, a few artists, they don't. Probably always that. It's all it was, it was just a little clean. Always that. And from the outside it seemed like this monstrously huge thing, but it was, but you know, that was the inner side of it, that's really what. Well, is there anything that we should wrap up here that would be like great, viral, new information? You know, like, I don't know. They've discovered some age-defying medicine and the Beatles will be re-admitted for a concert. And where were they going to do? Let it be on a Greek island first. There was still going to be an ocean voice. We're going to want to show an outside. I love that part in the anthology where George goes. You know, there's some of that period, '68, '69, '70, when they had the boutique, the store, and film ideas and started the company Apple and all sorts of charlatans and magic out like all that kind of shit. And he said, you know, but at the end of the day, we found out we could only really write songs and sing songs. And you know, it's okay. Like, that's enough. And sometimes people in show business get greedy, I feel. Like, if you do one thing really great, now there are actors and people who can sing amazing and, you know, directly, there are hyphenates for sure. But in general, like, yeah, I never understood the film part. Like, why, they did, they were the first to do what we would call music videos. But they did them like in 1967. The ones I know, we've all seen them. Strawberry Fields, right? I am the walrus. These are music videos. Exactly as we then saw in 1980, when, or '82. '82, right? '82, right? Okay, so why the 15-year lapse? Why did no one in the '70s pick up on Beatles, make these music videos? Why that whole decade went by without them doing performance scripts? Nobody understood what the Beatles were doing. And they showed them. They made them. They did the exact same-- And they did the marriage. They suggested they didn't have to go to the trouble and have to go appear on the TV show. Exactly what then was on in 1980 to a quick cutting. They showed the band singing the song, sometimes in different setups, when they look different doing it, but they're doing it. They're also doing other things. They're falling down on skis. They're tumbling down a mountain. When they're climbing a tree, just things go back. Yeah, it's a music video. And for some reason, they just fucking left it, lying on the table for 15 years, I find it baffling. It is baffling. When I interviewed Richard Leicester, who did "Hard Day's Line" help, and was very inventive. And it worked also with Beatles Evans. And he said, MTV had sent him a diploma saying that he was the father of music video. And he said, he wrote back to them saying, I demand a paternity test. He was just off. Listen, we've only scratched the surface. It's amazing how long you can do this, because-- but I'm sure that there are radio stations that do it every Sunday, aren't there? Oh, they're not just that. But they're not as good as this one one. No, of course not. But they're all just poor man's version of this Beatles creation. We got down to it, and then we got to-- And you're right, we have all these graces. We have to-- Now, for example, of obscure Beatles songs, the Holy Grail, the one that nobody has. Have you ever heard colliding circles? No. Pink litmus paper shirt. No. Left is right, and right is wrong. No. Debt chair? No. Who are these? What are these? But because, like I must say, when they go into the vault, sometimes they still come out with the gold. I love the two songs on the anthology album that where Stov Yoko had lying around on the kitchen floor. I love "Free as a Bird." I know it couldn't have been better if John was alive when they made it. They still made a great record. I love that. And I really love-- Real love. Real love. Is one of their best. I don't know why that didn't-- He's still-- he's still had the news. Yeah, still had the-- So I don't mind when they do that. But like these ones-- But I've also heard some real shit. And I don't know these-- what I'm saying is we've been digging in this barrel for 50 years. I can't imagine anything down there is like, wouldn't it come up by now? I don't think it's going to be better than real love. Those four are being the most sought after. What are they? Lending tapes? No. Sadly, they were song titles that I threw into an article in 1972 when I needed to pad out the article with new Beatles songs. I was-- you made it up. I padded an article. I was commissioned to write an article for an English wind up padding. That's making it up. Yeah, but I was sort of tired because I needed to put in unreleased Beatles songs. And there weren't that many. So I-- because I got all the pieces scanned on. Only when I first up to it later. I did it in 1970. What was your punishment? George Martin said, if he'd had a penny, that every time somebody had asked about these four non-existent songs, he'd been really wealthy. It was-- there was no doubt-- it was only a throw away. I was just-- the article, I was sure to song. So I threw in-- I knew that Apple routinely denied the existence of songs that we Beatles bands knew existed. Like, why is the new Mary Jane? We knew that existed. And I didn't think that Apple would say, none of those songs exist. And by the way, these four definitely don't exist. So I got away and he just padded the article. It never occurred to me, but 20, 30 years later. People-- serious Beatles historians had written, seemed that everything else in the article was legit. And just assumed that these were real. So they took on a myth. And everyone was saying, oh, John plays saxophone on this, or George plays miraculous. It was nonsense. It was-- it made me understand how mythology is created. And when I fest up, I did a one-man show, and I made a thing about these four songs I wrote for the Beatles. And people said, oh, that's nonsense. I like the way you did it, but I've heard those songs. So people were saying that some of the doubtings exist. That's awesome. That's such a great story, indicating something timeless and sad about human nature. It's so true. People-- there's an old story. I remember John Chancellor told it on the tonight show when they were talking about an Israeli peace deal in the '70s or something. It wasn't going well. He said, the story is, it's an old man in Damascus, and he's trying to get to sleep in the afternoon. But the kids are in the courtyard playing and making a lot of noise. So he-- I get these kids to show us. He goes up to the window and he yells out, hey, they're giving away oranges in the marketplace. And the kids run off. Oh, they're giving-- it goes back to sleep. Five-man-three gets up and goes, what am I doing? It's sleeping. They're giving away oranges in the morning. All right. I got to go to the bathroom. Bill, I'm going to leave you with George's famous exit line. What is it? See around the clubs. Yeah. That was their sardomic humor. See you around the clubs. That's all he could say to them when he walked out. Let's forgive him. Right. It's a great line. It is. All right. Well, I'll have to scratch more of the surface any time. [MUSIC PLAYING] I mean, you know, attentive so I can try. No, no kidding. [MUSIC PLAYING] Hey, gentlemen. I'm here and I'm teaming up with Yamaha to celebrate their 40th anniversary. 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