Paul McCartney is 82-going-on-83, there isn’t much that surprises him anymore. So when he starts having weird dreams that follow him in his waking life, he starts to get a bit, well, concerned would be putting it lightly.
It says a lot that Paul has had the most direct accusations leveled against him by women he wronged, yet his image is as the most Woke Beatle who fended off some crazy women.
Willie: Pounding the piano the way [Little Richard] does… You lived on both sides of it — pre-rock and roll, then after rock and roll. And then you took it to an entirely new place.
Paul: Well, I think that is true. We had both sides — John and I, too. So when John and I first hooked up and started writing stuff, we asked each other, “What are your favorite songs?” Rock and roll had only just come in, so your favorite songs were old songs. I said one of mine was a song called "Cheek to cheek", which Fred Astaire sang in a movie. And John said “Little White Lies” was his. So we knew these old songs, and the structure of these old songs, and we admired that. So now we were writing in the rock-and-roll world, but we had that old sensibility. We were always trying to put a little bit of that in — a bit of melody, or some of the ideas that appeared in those old songs, like a little lead-up intro before the song got going. So I think that was a bit of a secret of the Beatles — it wasn’t just one type of music, it was influenced by a lot of different types of music. (2026)
user snookeroosfactorygirl116 i appreciate it so so soooo much but also he is terrifying!!!! I thought it was photoshopped but apparently this was actually a mask they were considering for magical mystery tour so thank u for that! always love learning more about these idiots
hi i read your post about self esteem where you mentioned paul is one of the most media savvy people you've seen before. i do agree for the most part but some things confuse me.
sometimes it seems to me like he's good at evading tricky topics and appealing to what people want one on one, even if it comes off disingenuous, but is actually bad at the media. like the whole post breakup era, he definitively lost the public battle. was that just a total miscalculation on his part, john and yoko beating him at the game, or something else? or when he used to mouth off about lsd or scandals like bigger than jesus. for scandals i can justify that he wanted to defend the band above all, but the lsd thing was unnecessary (not that it was bad!) and showed a lot of his resentment towards the press. sometimes in interviews he'll bite back, though often he immediately smooths it over with a joke or serious answer. or he'll reveal something that is surprisingly intimate and i'm surprised slipped past his defenses.
now it's obviously much easier because the public doesn't demand much of him and he's happy to serve as the "amusement ride," so we've settled into an uncritical dynamic that both sides are happy with. and of course these incidents can be explained by he's human and nobody can be polished all the time. but idk, i just feel like looking at it on the whole, despite his people pleasing and evasiveness and diplomacy, he actually sucked ass at pr lol?
Oh yeah, I do get what you mean. He's not without the occasional screwup. The most egregious thing was probably trying to punch out that photographer back in the 2000s, but he's also made unfortunate comments here and there, and personally I think buying the Linda tapes was a mistake unless they contained actual accusations of domestic violence. It just makes people more curious.
I think the reason I still see Paul as someone with really good PR skills is that none of his screwups ever stuck to him like they do for most celebrities. Some of that is different time/place (he was lucky to be accused of domestic violence in the early 2000s, and be irrelevant enough during the Me Too movement that the accusations weren't resurrected). But some of it is his charm, persona, and skill at telling just enough that people will form a positive opinion of him and a negative opinion of anyone who criticizes him without Paul himself having to take a stance.
One of my favorite examples of this is the whole call and response on Hey Jude thing that he's always bringing up. As far as we know, Paul was the only person who interpreted that argument as a major breakdown of their relationship. George seemed pretty much unbothered by it, if he even remembered it. But it's an instance where a) Paul was artistically correct, because Hey Jude is better the way it is, and b) Paul was emotionally justified, because Hey Jude was his song. So the natural interpretation is that Paul was both correct and justified in putting his foot down with George and refusing his contribution.
And I understand intuitively why Paul is always bringing it up. Not because he's so mad that George would try to contribute (we know George often did), but because it's an instance of a disagreement between the two of them where he knows he was right. And everybody feels more comfortable talking about times when they were right. It's only natural to bring it up more frequently than instances that might have been more complex.
But because he brings it up so much, it's often framed as a flashpoint when it's really not at all clear that it was -- and, more importantly, it's often presented as emblematic of their working relationship. Which implies that George's perception of Paul as bossy and controlling was really just Paul wanting to protect the integrity of his art and maintain ownership over his own songs. It might even imply that he had to boss George about and say no to him or the work would have suffered. A lot of people would find that framing unrealistic, and, to his credit, Paul has never explicitly said that he sees their dynamic that way.
But given how often people cite Hey Jude as an example of their working relationship, and draw the conclusion that any impression George had of Paul as bossy or controlling was really a totally justified expression of Paul's own artistic integrity, I don't think it's an insane interpretation of their relationship as Paul paints it.
Which is a little wild, given that the most significant and most glaringly obvious role Paul played in George's songwriting was to try to minimize it as much as possible. Like, consciously and explicitly making a decision behind his back to keep him from taking on a songwriting role within the group. So the fact that he's managed to shift the popular interpretation of the Lennon-McCartney v George dynamic so far towards only discounting him and his contributions where it was essential to the integrity of their work is amazing.
Obviously none of this implies that Paul is actively trying to paint their relationship that way, and in fact I don't think he is. I think, like I said above, that focusing on an instance where you know you were right is a very relatable instinct. And that's doubly true if you know some people think you sometimes weren't in the right in that working relationship. So it's my opinion that Paul has more of a general instinct towards good media relations than a conscious strategy. It just happens that his instincts are absolutely incredible.
Paul McCartney: [singing to himself] I got a feeling…
George Harrison: Mal?
Mal Evans: Yeah?
GH: Where are those other words out in the guitar case?
PM: [singing] I got a feeling, yeah / A feeling deep inside
GH: The other words, out in the guitar case.
PM: I got a feeling / A feeling deep inside, oh yeah / Oh!
GH: [chatting unintelligibly]
John Lennon: [singing] Oh yeah!
PM: I’ve got a feeling / A feeling I can’t hide / No no
JL, PM, & GH: Oh no!
PM: Oh no / Yeah, I’ve got a feeling!
JL & PM: Oh, please believe me / I’d hate to miss the train / Oh yeah / Oh yeah! / And if you leave me / I won’t be late again / No no / Oh no!
PM: No no / Oh, yeah! / I’ve got a feeling. / All these years I’ve been wandering around / Wondering how come nobody told me / All that I’ve been looking for was somebody who looked like you!
JL & PM: I’ve got a feeling / That keeps me on my toes / Oh yeah / Oh yeah
GH: Oh yeah!
JL & PM: I’ve got a feeling / That everybody knows! / Oh yeah / Oh yeah! / Oh yeah.
PM: I’ve got a feeling!
JL: Everybody had a hard year / Everybody had a good time / Everybody had a soft dream / Everybody saw the sunshine / Oh yeah / Oh yeah / Oh yeah / Everybody had a hard year / Everybody got their socks up / Everybody pulled their socks up / Everybody put the foot down / Oh yeah! [speaking] Oh yeah. I forgot a bit.
PM: [vocalizing]
JL: Just do the last- Wha- Go into the- The last “hard year.” [singing] Everybody had a hard year / Everybody got a feet up / Everybody pulled their socks up / Everybody put their foot down / Oh yeah.
JL & PM: [overlapping singing, I’ve Got A Feeling/”Everybody”]
JL: [speaking] I think that was three, but it doesn’t…
PM: It was about five, I think.
JL: No, ‘cause, it’s each one going over that bit.
GH: [unintelligible]
ME: What’s the word that you sing?
JL: Oh. “Everybody-” shall I write it?
ME: You want to?
D2- 02- I’ve Got A Feeling 3.57
JL: Oh, no, you better write it. “Everybody had a hard year.”
PM: Uh, the bit that I find the weakest now is [singing] All these years I’ve been wandering around!
JL: Yeah, that’s just power, y’know.
PM: [singing] Wondering how come nobody told me! [speaking] Maybe harmonies there. [singing] All these years- All these years.
JL & PM: [singing] All these years I’ve been [gibberish] like you!
JL: [speaking] “Everybody had a hard year, everybody had a good time.” Good time.
PM: [working out the harmony] All these- All these years I’ve been wandering around… / Wondering how- Wondering how / All these years I’ve been wandering around / Wondering how come nobody told me / All that I was looking for was somebody who looked like you. [chuckles] All these- All these years [speaking] Try-
JL: “Everybody saw the sunshine.” Sunshine.
ME: Yep.
JL: Okay. “Oh yeah, oh yeah.” That’ll do, for now. Then, “hard year.” I’m not sure actually, put brackets, “good year.” Uh. [singing to himself] Everybody had a hard- Every- [speaking] “Hair down. Socks up. Foot down.”
ME: Everybody pulled their socks up?
JL: Yeah. Yeah.
PM: [singing, comically] Everybody pulled their socks up!
JL: Foot down. Okay, that’s it.
ME: Right.
PM: Try that.
JL: Yeah.
PM: [singing] All these years- All these years I’ve been-
JL: Just sing your one.
PM: [singing] All- all- all these years I’ve been wandering! All these years I’ve been… ‘round / Wondering how come- [speaking] So if you could do…
JL: You’re singing B?
PM: Yeah, just sing the next harmony down, so it’s not too low for you.
JL: I don’t know what that is.
PM: [vocalizing]
JL: [singing] All these years- ALL- [speaking] No, that’s very high for me.
PM: Don’t shout. It’s power.
JL: [singing] All these-! [speaking] Oh, it’s terribly high.
PM: [singing] Been wandering around.
JL: [singing gibberish]
PM: Wondering how come-!
JL: [speaking] Down on the one note, is it?
PM: Yeah. [singing] All these years I’ve been wandering around / Wondering how come nobody told me / All that I’ve [gibberish].
JL: That’s very high, y’know.
PM: It’s like-
JL: [loudly singing gibberish] [laughs] Fuck it! I can’t. Isn’t there a-
PM: No, it’ll just be nice if we’re in thirds instead of, sort of, fifths. [singing] All these years! [speaking] One, two, three, four.
JL & PM: [attempting harmony] All these years- [screaming gibberish]!
JL: [speaking] Ah! It’s a bit early for that, isn’t it?
PM: Yeah.
JL: Early in the morning, you know. I’m not eighteen anymore.
PM: [unintelligible] Okay. [singing] All these years I’ve been wandering around / Wondering how come nobody told me / All that I’ve been looking for was somebody who looked like you!
GH: End on A?
PM: Yeah.
[instrumental]
PM: Do it again.
GH: One, two, three four.
PM: Try and do it less country.
D2- 03- I’ve Got A Feeling 3.58
[instrumental]
PM: [singing] I’ve got a feeling / A feeling deep inside / Oh yeah.
JL, GH, & PM: Oh yeah!
PM: I’ve got a feeling / A feeling I can’t hide.
D2- 04- I’ve Got A Feeling 3.59
JL & PM: [in harmony] Oh, please believe me / I’d hate to miss the train / Oh yeah / Oh yeah! / And if you leave me / I won’t be late again / No no no no.
PM: No, I said no / Yeah, I’ve got a feeling!
JL & PM: All these years I’ve been wandering around / Wondering how come nobody told me / All that I’ve been looking for was somebody who looked like you! / I’ve got a feeling / That keeps me on my toes, oh yeah / Oh yeah! / I’ve got a feeling / That everybody knows, oh yeah / Oh yeah! / Yeah, yeah.
PM: I’ve got a feeling! Yeah!
JL: [silly voice] Everybody had a hard year / Everybody had a good time.
PM: Good time!
JL: Everybody had a soft dream / Everybody saw the sunshine / Oh yeah, oh yeah, oh yeah / Everybody had a hard year / Everybody got a face lift / Everybody pulled their feet up / Everybody put their foot down / Oh yeah.
[instrumental]
JL & PM: [overlapping singing, I’ve Got A Feeling/”Everybody”]
PM: [shouting] Oh yeah! Oh yeah! You know I’ve got a feeling! Oh yeah!
[song ends]
PM: [speaking] Comin’ home.
JL: Aye.
PM: I’m trying to scream now to do that thing, like when you’re on tour and you lose your voice the first five days. I’m trying to sort of lose it. To get it back.
JL: Yeah.
PM: I nearly lost it yesterday.
D2- 05- I’ve Got A Feeling 3.60A
JL: It doesn’t just…
PM: [unintelligible]
JL: See, it might work that you don’t have to lose it, y’know. That’d be nice.
PM: But it’s great what you get after losin’ it. Y’know. The new one you get.
JL: Yeah.
PM: Bit of power, there.
JL: It’s that, I don’t want every time we’re doing Don’t Let Me Down that it hurts just to rehearse it. Once I crack.
PM: I just thought I’d tell you what I’m… the plan is.
GH: How many of those, um. Before, you know, in between the first bit of the tunes, the bit where John’s…
PM: Yeah. Yeah.
JL: What is it?
PM: What is it? There’s four. Four, but eight. [begins playing]
JL & PM: [counting the bars] Two. Three. Four.
[instrumental]
JL: [singing, silly voice] Oh, please believe me
JL & PM: I’d hate to miss the train.
PM: [speaking] That’s it. On those bits.
JL & PM: Hate to miss the train / And if you leave me…
PM: [speaking] The first bit.
JL: The first one isn’t.
PM: [singing] Oh please believe me
JL: That, normally, is just-
JL & PM: [singing] And if you leave me / Won’t be late again / Oh yeah.
JL: [speaking] I won’t “oh yeah” actually. I just do it without thinking.
JL & PM: [singing] Please believe me / I’d hate to miss the train
PM: Oh yeah.
JL & PM: Oh yeah! / And if you leave me / I won’t be late again / Oh no / No, no!
Jl & PM: [in harmony] I’ve got a feeling that keeps me on my toe- / I’ve got a feeling that keeps me on my toes- / I’ve got a feeling that keeps me on my toes.
PM: [speaking] Straight.
JL: Okay.
JL & PM: I’ve got a feeling / That keeps me on my toes, oh yeah / Oh yeah! / I’ve got a feeling / That everybody knows, oh yeah / Oh yeah! / Oh yeah.
PM: Yeah, I’ve got a feeling! [speaking] After that one, then we should definitely have a riff. Yeah. Like a definite thing, though, for a riff, y’know like maybe where you two could play it.
JL: I think for both songs now, once we got it, the next thing we do is to get riffs and all that.
PM: Yeah. Right. Yeah, that’s it, it’s like overdubs next. But there’s one place where it’ll come. [singing] That everybody knows! / Oh, I’ve got a feeling! [vocalizing] -body had a good year / Everybody had a good time, yeah. / Everybody had a good year.
[instrumental, unintelligible chatter]
GH: Is Kevin here, Mal?
ME: No. Well, he might be.
JL: He’s working with Jackie now.
GH: Is he?
JL: Yes.
GH: Is Jackie working?
ME: No.
[laughter]
ME: [unintelligible]
JL: I thought he’d gone with Jackie.
ME: Oh, no. It’ll be a couple months.
PM: [singing loudly] Oh yeah!
ME: It’ll be great for Kevin just to go on the road, y’know.
D2- 07- Unknown 3.61
JL: Should we learn a number?
PM: We must sort of- we must get really righter.
JL: Yeah.
PM: [vocalizing, chuckling]
D2- 08- Going Up The Country 3.62
PM: That Canned Heat number. I love that new one. Because it’s cornier than the last one, it’s not quite as good. But it’s great, yeah. “Up The Country” I think. [singing] I’m going up the country! [speaking] It’s just great.
Michael Lindsay-Hogg: I like the first one, this feels the same.
PM: Yes, I think so. It’s just got flutes playing it, and it’s a bit of a fruity thing they do. There’s no sort of- almost no soul in it, but it’s great ‘cause it’s just not quite.
GH: Almost no what?
PM: Soul. In the, sorta, y’know, they don’t bend the flutes or anything, but it’s great because they don’t. Just sort of [vocalizes flute]. And the end’s great, ‘cause they do like, a false end. It goes [vocalizes].
[slate]
PM: They keep going with the flute in the other.
GH: That big guy playing the guitar…
D2- 09- On The Road Again 3.63
GH: …can’t play it.
PM: [laughs] He’s just going- [strums] [silly voice] I’m so strong.
GH: [singing] On the road again.
PM: It’s all strong, that chord, isn’t it? That one. Oh, [unintelligible] 53.
D2- 10- One After 909 3.64
JL: [singing] Baby said she’s traveling on the one after 909!
JL & PM: Move over, honey, I’m traveling on that line / I said move over once / Move over twice / Come on baby, don’t be cold as ice / She said she’s traveling on the one after 909 / Begged her not to leave / Begged her on my bended knee! / You’re only foolin’ ‘round, only foolin’ ‘round with me / Said move over once / Move over twice / Come on baby, don’t be cold as ice / She said she’s traveling on the one after 909
JL: Pick up my bags.
JL & PM: Run to the station.
JL: Railman says…
JL & PM: You got the wrong location! / Picked up my bags / Run right home / Then I find / I got the number wrong / Said she’s traveling on the one after 909 / Said move over honey, I’m traveling on that line / I said move over once / Move over twice / Come on baby, don’t be cold as ice / She said she’s traveling on the one after 909
[instrumental]
JL & PM: Baby said she’s traveling on the one after 909 / I said move over honey, I’m traveling on that line / I said move over once / Move over twice / Come on baby, don’t be cold as ice / She said she’s traveling on the one after 909 / Pick up my bags / Run to the station / Railman says, you’ve got the wrong location
JL: Pick up my bags.
PM: [ad-libbing] Pick up my bags!
JL: Run right home.
PM: Run home.
JL: And then I find-
PM: Yeah!
JL: -I got the number wrong.
JL & PM: Yeah! She said she’s traveling on the one after 909 / I said move over honey, I’m traveling on that line / I said move over once / Move over twice / Come on baby, don’t be cold as ice / She said she’s traveling on the one after 9-0- / Said she’s traveling on the one after 9-0- / Said she’s traveling on the one after 909!
[song ends]
PM: Woo! [speaking] Okay! That was alright!
GH: Should do it.
PM: Oh, yeah. Sure. I think that’s- yeah.
JL: No, no, I’ve got a belter.
GH: [giggling] From about ‘48. 1948, that one.
PM: Just from the first ones. Really, that’s out of the past, that.
JL: I wrote that when I was about fifteen.
PM: It’s great that, though!
JL: It’s good.
PM: Incredible, isn’t it?
JL: I always meant to just change the words a bit and do something.
GH: It’s not worth it!
PM: [excitedly] But it’s- No, it’s great! One after 909, move over honey I’m traveling on that line. [giggling] Move over once, move over twice, come on baby, don’t be cold as ice!
JL: [singing] You’re only foolin’ ‘round-
JL & PM: You’re only foolin’ ‘round with me!
PM: [speaking] It’s great!
GH: Should we just practice that for a bit?
PM: Yeah.
JL: What?
GH: Or maybe we should just do it without practicing.
PM: [chuckles]
JL: What?
GH: Y’know, practicing will fuck it up.
PM: Yeah, right. We’ll sort of know- Y’know, we’ll just know where we’re going, we won’t sort of arrange it or anything. That’s it. That’s the arrangement.
GH: We’ll just have, uh…
PM: [to ME] Oh, you know, Mal. Nothing else.
GH: Verse, two verses, bridge. Verse.
ME: No?
PM: Grapefruit[?]
D2- 11- Because I Know You Love Me So 3.65
JL: Right. [singing] Wake up in the morning
JL & PM: I don’t feel blue / ‘Cause I know I’ve got you / Get a funny feeling all day and night / Get a funny feeling you don’t treat me right / Shoulda read your letter / And then I’d know / I woulda felt much better / Because I know you love me so
PM: [speaking] It’s just, we never did bit good, but I mean, it’s- [singing] Because I know you love me so! [speaking] But we always just- [singing] Because I know you love me so!
JL & PM: Wake up in the morning / I don’t feel blue / ‘Cause I know I’ve got you / Get a funny feeling all day and night / Get the funny feeling you don’t treat me right / Shoulda read your letter / And then I’d know / I woulda felt much better / Because I know you love me so.
PM: I woke in the morning / I don’t feel blue / ‘Cause I know I got you / Got a feeling all day and night / Get the funny feeling you don’t treat me right / Shoulda read your letter.
JL & PM: And then I’d know!
PM: Woulda felt much better / Because I know you love me so. [vocalizing]
D2- 12- Roll Announcement
[slate]
D2- 13- One After 909 3.66
JL & PM: [singing] Baby said she’s traveling on the one after 909 / I said move over honey, I’m traveling on that line / I said move over once / Move over twice / Come on baby don’t be cold as ice / Said she’s traveling on the one after 909 / Well I begged her not to leave and I begged her on my bended knee / You’re only foolin’ ‘round, you’re only foolin’ ‘round with me / Said move over once / Move over twice / Come on baby, don’t be cold as ice / Said she’s traveling on the one after 909
PM: Yeah, come on!
JL: Pick up my bags / Run to the station / Railman says, you got the wrong location / Pick up my bags / Run right home / Then I find I got the number wrong
JL & PM: Yeah! Said she’s traveling on the one after 909 / Said move over honey, I’m traveling on that line / Move over once / Move over twice / Come on baby, don’t be cold as ice / Said she’s traveling on the one after 909.
[instrumental]
[slate]
JL & PM: You got the number wrong, yeah! / Said she’s traveling on the one after 909 / Move over honey, I’m traveling on that line / Said move over once / Move over twice / Come on baby don’t be cold as ice / Said she’s traveling on the one after 9-0- / She said she’s traveling on the one after 9-0- / She said she’s traveling on the one after 909!
PM: [speaking] I never sort of knew what it was about before!
JL: No, I never…
PM: I mean, so she’s on a train.
JL: Yes.
PM: And he, sort of-
JL: He goes to the station and misses it.
PM: [laughing] But he goes back and finds it was the wrong number! So…
GH: Wrong location.
JL: To rhyme with station, you know.
PM: That’s great that he… Railman said you got the wrong location. Well. Great. Our kid’s [Mike McCartney’s] been saying you should do that for years.
JL: Yeah, he always liked that, didn’t he?
PM: We’d say “Well you know, Mike, you don’t understand about these things” y’know.
GH: I’ve always liked it.
PM: Yeah?
GH: Y’know, ‘cause the words. Most people don’t give a shit what the words are about. [chuckles]
PM: Yeah, right.
GH: As long as it’s just popping along.
PM: Yeah. It’s just ‘cause you don’t- y’know, you don’t- you forget that. You don’t sort of think they’re sophisticated enough. That One After 909, location, station and stuff.
JL: We always thought it wasn’t finished. Couldn’t be bothered to finish it.
PM: Pete Shotton was saying about-
D2- 14- I’ll Wait Until Tomorrow 3.67
PM: [singing] I’ll wait ‘til tomorrow / ‘Til you come my way / That’s why I sit here alone and I pray
JL & PM: I’ll wait ‘til tomorrow / Through a thousand setting suns / I’ll wait ‘til tomorrow / If tomorrow never comes
PM: [gibberish] I don’t know where she’s gone to
JL & PM: I may be wrong / I’m sure she’s [unintelligible] / But I’ll wait ‘til tomorrow / Through a thousand setting suns!
[slate]
JL & PM: Wait ‘til tomorrow / If tomorrow never comes.
GH: [speaking] Very country. Very country influenced.
PM: Oh aye.
GH: Those early numbers.
PM: Yeah!
D2- 15- A Pretty Girl Is Like A Melody 3.68
JL: [singing] Girl is like a macaroni!
D2- 16- Thinking Of Linking 3.69
GH: [strumming]
PM: [chuckles] Don’t think that ever got there, did it? [singing] Well I’ve been thinking of linking your loving / Tell me that…
[song trails off]
PM: [speaking] There are a few others that were alright. In their way.
D2- 17- Won’t You Please Say Goodbye 3.70
JL: [singing] Won’t you please…
JL & PM: Say goodbye / This love has long since grown cold / Won’t you please say goodbye / How many times must you be told? / Love has long since grown cold / Won’t you please say goodbye / How many times must you be told?
PM: [speaking] Won’t you please say goodbye?
GH: That sounded like…
JL: It was.
D2- 18- Bring It Home To Me 3.71
GH: …“Bring It On Home”
JL: It was. That’s what I got it from.
PM: [singing] Won’t you please…
GH: [singing] If you ever change your mind [mumbling]
JL, PM, & GH: Bring it to me / Bring your sweet lovin’ / Bring it on home to me / Yeah, yeah, yeah, yeah! / [mumbling] / Oh, bring it to me / Bring my sweet lovin’ / Bring it on home to me!
[instrumental and vocalizing]
PM & GH: Bring it to me / Bring your sweet lovin’ / Bring it on home to me!
D2- 19- Hitch Hike 3.72
GH: [singing] I’m going to Chicago / That’s the last place my baby stayed / And I’m packing up my things, gonna leave this town right away / I’m gonna find that girl / If I have to hitch hike ‘round the world / I’m gonna keep movin’ / The sign on the highway said / And I’m packing up my things, gonna leave this town right away / I’m gonna find her / If I have to hitch hike ‘round the world
GH: Well, it’s the last place my baby stayed / I’m packing up my things, gonna leave this town right away / Gonna find that girl / If I have to hitch hike ‘round the world! [speaking] That’s good. E minor.
D2- 20- You Can’t Do That 3.73
GH: [singing] I got something to say that might cause you pain [mumbles]
JL: I’m gonna let you down!
GH: Let you down!
JL: And leave you flat!
GH: Gonna let you down and leave you flat!
JL & PM: ‘Cause I told you before / Oh, you can’t do that! / It’s the second time I caught you talking to him / [mumbling] I think it’s a sin! / I think I’ll let you down
GH: Let you down.
JL: And leave you flat!
GH: Gonna let you down and leave you flat.
JL: ‘Cause I told you before / Oh, you can’t do that / Everybody’s green-
PM: [vocalizing]
[song trails off]
PM: ‘Cause I’m the one who won your love… You looking that way!
GH: Everybody’s green!
JL: ‘Cause I’m the one who stole your love / If they’d seen / You talking that way
JL & PM: They’d laugh in my face!
JL: If you wanna be mine / …I go out of my mind!
JL & PM: I’m gonna let you down / And leave you flat / … / Oh, you can’t do that!
[instrumental]
D2- 21- The Hippy Hippy Shake 3.74
PM: What was that tune? We were trying to think of one. Helter Skelter or hully gully.
GH: [singing] Hippy hippy shake!
JL: Oh yeah.
GH: [speaking] Five years ago we were singing that.
PM: [singing] For goodness sake / I’ve got the hippy hippy shake [mumbles] [speaking] I can’t fake the- [singing] Hippy hippy shake! / I can’t keep still / With the hippy hippy shake / I get my fill / With the hippy hippy shake / [mumbles] The hippy hippy shake!
PM & GH: Shake it to the left! / Shake it to the right! / Do the hippy shake-shake with all of your might!
PM: Then you shake! [speaking] Something like that, though.
GH: [singing] Do the hippy shake-shake-
GH & PM: With all of your might!
PM: Hippy shake-shake with all of your might! / Woo! [laughing] Then you shake / The hippy-hippy shake / Woo! / Yeah, shake! Ow! The hippy-hippy shake / Well, you shake it to the left / Shake it to the right / Do the hippy shake-shake with all of your might! / Do the hippy shake-shake with all of your might / Then you shake! / The hippy-hippy shake / Yeah, make it! / The hippy-hippy shake!
[slate]
PM: Shake it to the left / Shake it to the right / Do the hippy shake-shake with all of your might! / Then you shake / The hippy-hippy shake / Come on, let’s make it / Ow! The hippy-hippy shake! Yeah!
[song ends]
PM: [giggling] What was the-
GH: Let’s just go through that one. “Two of us on our way home” just before we have our lunch.
PM: Okay. Oh, we’ll never get that.
GH: Yes we will! I think that was the easiest.
JL: We’ll see how it was.
GH: To something.
PM: Okay.
GH: Is it G?
PM: Yeah.
JL: That’s you and I, then?
PM: Yeah.
JL: Lovely tune[?]
PM: Glyn was saying last night to do it with- [giggles]
JL: What?
PM: Lovely tune[?]. Glyn was saying to do it with two acoustics.
JL: Yeah.
PM: Might be alright, y’know.
GH: Who was saying that?
PM: Glyn.
JL: Well, unless we have something sensible to do on these, there’s no point.
PM: Right.
JL: Playin’ them.
PM: It might be nice.
GH: Yeah, well on the other hand it’s a bit like…
PM: Yeah. We’ll see how it goes, y’know.
GH: With this bit. [plays]
JL: Well, I mean, you could have one acoustic.
PM: One acoustic. It’s a bit that [silly voice] “And now, while George swaps us out, we’d like to…”
JL: Yeah, but I mean, we don’t have to worry about that.
PM: Oh, no.
JL: I think it’s just like we’re at the Cavern, y’know.
PM: Sure. [comically] Oh aye!
JL: “Just gettin’ a guitar, now. For the next one.” Just what happens. No speeches or anything.
D2- 22- Two Of Us 3.75
PM: One, two, three, four.
JL & PM: [in harmony] Two of us [gibberish] / You and me Sunday driving, not arriving / On our way back home / We’re on our way home / We’re on our way home / We’re going home / Two of us sending postcards, writing letters / On my wall / You and me burning matches, lifting latches / On our way back home / We’re on our way home / We’re on our way home / We’re going home!
PM: Keep going– You and I have memories longer than the road that stretches out ahead!
JL & PM: [vocalizing] We’re on our way home / We’re on our way home / We’re going home
[muffled dialogue from next track]
D2- 23- Two Of Us 3.76
PM: Let’s do the two middle eights the same.
GH: Yes.
PM: It was too-
GH: It wasn’t nice, that fast one.
PM: No, no, no. I never made it, y’know. I think it was a novelty more than anything.
GH: You can have that for the big band arrangement of it.
PM: We must get that middle eight… alright, y’know.
JL: Yes
PM: [chuckling] Don’t want it to be…
GH: We must get all- every bit of them all alright, really.
PM: [singing] You and I have memories longer than the road that stretches out ahead. [speaking] Hear what I hear on that one. Just do the middle eight again.
GH: Two, three, four.
PM: [singing] You and I have memories longer than the road that stretches [vocalizes] [speaking] I don’t know what, but something there.
[instrumental]
JL: It sounds like, uh… Lovin’ Spoonful. That’s why I keep playing [plays].’Cause I’m just rolling along with it.
PM: Good, okay. Play anything that’ll, y’know.
JL: Yeah, I mean, that’s why I’ve been playing that. Just, it sounds like one of them.
[slate]
PM: It’s a bit low for me. We’re learning this, and if we wanna try and- [singing] Two of us riding nowhere. [speaking] A bit more control needed when I’m down there.
JL: Yeah.
D2- 24- Two Of Us 3.77
[instrumental]
JL: [singing] Two of us riding nowhere.
PM: Yeah.
JL & PM: [in harmony] Two of us riding nowhere / Spending someone’s hard earned pay / You and me Sunday driving, not arriving / On our way back home / We’re on our way home / We’re on our way home / We’re going home / Two of us getting postcards, writing letters
PM: On my wall / You and me burning matches, lifting latches / On our way back home / We’re on our way home / We’re on our way home / We’re going home [giggles] / You and I have memories longer than the road that stretches out ahead
JL & PM: You and me wearing raincoats / Standing solo in the sun / Two of us chasing paper, getting nowhere / On our way back home / We’re on our way home / We’re on our way home / We’re going home!
[song stops]
PM: Memories…
GH: [speaking] It’s B flat first, then D minor?
PM: Yeah. That’s good, that. That’s the best way to keep going all the time. [strums] [singing] Two of us- [speaking] Come- yeah, we come in.
D2- 25- Two Of Us 3.78
PM: Two, three, four.
JL & PM: [in harmony] Two of us riding nowhere / Spending someone’s hard earned pay / You and me Sunday driving, not arriving / On our way back home / We’re on our way home / We’re on our way home / We’re going home
PM: Two of us sending postcards, writing letters / On my wall / You and me [gibberish] / On our way back home / We’re on our way home / We’re on our way home / We’re going home / You and I have memories longer than the road that stretches out ahead / You and me wearing raincoats, standing solo
JL & PM: In the sun / Two of us chasing paper, getting nowhere / On our way back home.
PM: We’re on our way home / We’re on our way home / We’re going home / You and I have memories longer than the road that stretches out ahead / Two of us wearing raincoats / Standing solo in the sun / You and me getting nowhere, chasing paper / On our way back home / We’re on our way home / We’re on our way home / We’re going home / We’re going home! [chuckles] [speaking] Going home! That’s right! We’re going home!
[song ends]
PM: So maybe you should sing the melody. [singing] Two of us riding nowhere / Spending someone’s hard earned pay / Two of us Sunday driving, not arriving / On our way back home! / We’re on our way home / We’re on our way home [speaking] Do you wanna do that? Go through it singing that?
JL: It’s just hard when you get to the [plays].
PM: Well, do another thing there, then.
JL: I’ve just gotta get out of it, though.
PM: Okay.
D2- 26- Two Of Us 3.79
PM: One, two, three, four.
JL & PM: [in harmony] Two of us riding nowhere / Spending someone’s hard earned pay / You and me Sunday driving, not arriving / On our way back home / We’re on our way home / We’re on our way home / We’re going home
PM: [giggles]
JL: [unintelligible]
JL & PM: Two of us sending postcards, writing letters / On my wall / You and me burning matches, lifting latches / On our way back home / We’re on our way home / We’re on our way home / We’re going home.
PM: You and I have memories longer than the road that stretches out ahead
JL & PM: Two of us wearing raincoats / Standing solo in the sun / You and me chasing paper, getting nowhere / On our way back home / We’re on our way home / We’re on our way home / We’re going home.
PM: You and I have memories longer than the road that stretches out ahead
JL & PM: Two of us wearing raincoats / Standing solo in the sun / You and me getting nowhere [gibberish]
PM: [speaking] George? It’s, uh-
GH: [plays notes]
PM: Yes. Yeah. There’s like, a top note. [singing] You and me wearing raincoats / Standing solo, in the sun
JL & PM: You and me chasing paper, getting nowhere / On our way-
PM: We’re singing it.
GH: Just sing it.
PM: Yeah. Two, three, four.
JL & PM: Two of us [gibberish]
GH: [speaking] Like, move down?
PM: Try it the other way now, try it with just saying the words. Two, three, four.
JL: [singing] Two of us-
PM: Two, three, four.
JL & PM: [vocalizing]
PM: It sounds nicer, doesn’t it?
GH: Yeah, okay. [vocalizing]
D2- 27- Two Of Us 3.80
PM: Okay, one, two, three, four.
GH: From the top?
JL & PM: [in harmony] Two of us riding nowhere / Spending someone’s hard earned pay / You and me Sunday driving, not arriving / On our way back home / We’re on our way home / We’re on our way home / We’re going home! / Two of us sending postcards, writing letters / On my wall / You and me burning matches, lifting latches / On our way back home / We’re on our way home / We’re on our way home / We’re going home!
PM: We’re going home! / You and I have memories longer than the road that stretches out ahead.
JL & PM: You and me wearing raincoats / Standing solo in the sun / You and me chasing paper, getting nowhere / On our way back home / We’re on our way home / We’re on our way home / We’re going home.
PM: [speaking] Something there. [singing] You and I have memories longer than the road that stretches out ahead
JL & PM: Two of us wearing raincoats / Standing solo in the sun / You and me chasing paper, getting nowhere / On our way back home / We’re on our way home / We’re on our way home / We’re going home.
[song ends]
PM: Should we go somewhere, or… have a drink of tea or something?
GH: Lunchtime.
PM: Is it?
D2- 28- All Along The Watchtower 3.81
PM: Great.
GH: [singing] There must be some way out of here…
PM: [speaking] They call it the door.
[chatter, people leaving]
GH: There’s too much confusion / I can’t get no release. [speaking] There seemed to be some people fixing your car when I arrived.
PM: Yes. It’s the windscreen washer.
GH: Oh! Are they still here? Mine doesn’t work either.
PM: Well, Mal will get them to do it.
GH: Mal?
PM: Tangerine!
GH: Are those people still here doing Paul’s car?
ME: Yeah!
PM: Tangerine.
ME: They’re washing yours as well.
PM: Tangerine.
GH: Washing it?
PM: Tangerine.
GH: Oh, are they? Very kind of them.
JL: Wash-a-roonie.
GH: Paul? Who are they?
[shuffling, chatter]
D2- 29- Dialogue
PM: [posh accent] It wasn’t what one might’ve thought would be the application of smell-o-vision.
[laughter]
PM: It was just, uh… I can’t remember, of course, ‘cause it was so incredible. I’ll try and remember. And someday I’ll…
MLH: Let me know.
PM: Let you know.
MLH: I think it’s a really bad idea.
PM: Smell-o-vision?
MLH: Yeah.
PM: Yeah, I’ve always thought. But this thing, y’know, I thought… [pause] I mean, uh. I can’t remember, of course. [chuckling]
MLH: Very bad idea. [to Tony Richmond] You worked on those pictures?
Tony Richmond: [chuckles]
PM: Smell-o-vision?
MLH: Tony’s busting up [unintelligible].
PM: [giggles] It’s known as the giggles at tea. Over Sunday tea. Me and my brother used to get ‘em, it was terrible. ‘Cause it was so funny, y’know. And we’d just collapse, y’know. And you knew you shouldn’t be.
MLH: Like church giggles?
PM: Made it funnier. Yeah.
MLH: Like church giggles, yeah.
PM: Tea, or something like, we’d done something wrong, and it was just a scream, man.
MLH: The reason I’m not an actor anymore is—one, I wasn’t very good, and I wasn’t hired very much.
[laughter]
MLH: Also, that when I was acting I was 17 years old and 240 pounds and to top it off, what I always used to do on stages was break up! Especially in Shakespeare, which was the only thing I could get into. And any time- Shakespeare just creases you! With those death scenes. Big crowds, a bunch of people debagging everybody, y’know, in the background. Shakespeare is great that way. He also wrote a few good words.
D2- 30- Sun King 3.82
[instrumental]
[giggling]
PM: It’s nice, that purple.
GH: [testing mic] Hello.
JL: Hello, George.
PM: [giggles]
JL: Hi, Paul, it’s simply great for you to turn up this evening.
D2- 31- Improvisation 3.83
PM: [singing to himself] Well..!
JL: Should just have one audience.
GH: The Animals reunited.
JL: Just one perfect audience of one person. Or a family. Just us in all great gear and a big, big show. Just one special family.
MLH: What, just for like eight people?
JL: Yeah. We’ll have the most fantastic show on earth, and just these eight people just [claps].
D2- 32- Improvisation 3.84
[instrumental]
[whistling]
D2- 33- Short Fat Fanny 3.85
PM: Should we learn another one? A new one?
GH: [singing] Slippin’ and a-slidin’ with long tall Sally / Peekin’ and a-hidin’, duckin’ back in the alley / Gotta rip it up, gotta dance with Sally / Brand new lover, name is Short Fat Fanny / One day when I was visiting the Heartbreak Hotel / That’s where I met Fanny and she sure looked swell! / Told her that I loved her, never leave / Put her arms around me, gave me squeeze / She’s my tutti-frutti, love the child so / Watch me like a hound dog everywhere I go / Her arms around me, P’s and Q’s
GH & PM: She might step on my blue suede shoes!
GH: At a honky tonk party the other night / Fanny got jealous and started to fight / ‘Cause I was dancin’ with Marylou / I had to call Jim Dandy to the rescue
GH & PM: Short Fat Fanny, she’s my heart’s desire
GH: Short Fat Fanny sets my soul on fire / One day we were married on Blueberry Hill
PM: Now we’re so happy and I love her still!
GH: …Tutti-frutti and I love the child so / She watch me like a hound dog everywhere I go / Arms around me, my P’s and Q’s / She might step on my blue suede shoes / At a honky tonk party just the other night / Fanny got jealous and she started to fight / Because I was dancing with Marylou / She had to call Jim Dandy to the rescue / Short Fat Fanny she’s my heart’s desire / Got the kind of lovin’ sets my soul on fire / One day we were married on Blueberry Hill
[song ends]
ME: [unintelligible]
PM: No, I don’t know. What number should we do next?
D2- 34- Midnight Special 3.86
JL: [singing] Wake up early in the morning / Hear the ding-dong ring
JL & PM: Go to the table / See the same damn thing / Knife and fork are on the table / [gibberish] in my hand / When you go to the captain / Says the same damn thing / [gibberish, giggling]
JL: Get in trouble with the man!
JL, PM, & GH: Let the midnight special / Shine a light on me / Let the midnight special / Shine its everloving light on me / Wake up early in the morning / Hear the ding-dong ring
JL: Go walking to the table.
JL & PM: See the same damn thing!
JL: Knife and fork are on the table / A piece of paper in my hand / When I tell it to the captain
JL & PM: I get in trouble with the man / Let the midnight special / Shine its light on me / Let the midnight special / Shine its everloving light on me / Let the midnight special / Shine a light on me / Let the midnight special / Shine its everloving light on me!
JL: Shine its everloving light on me!
PM: On me!
[song ends]
D2- 35- When You’re Drunk You Think Of Me 3.87
GH: [singing] Well, you’re drunk, you’re drunk-
PM: [laughs]
[playing and vocalizing]
D2- 36- What’s The Use Of Getting Sober 3.88
GH: Pardon?
JL: [singing] What’s the use of gettin’ sober
GH: [unintelligible]
JL: When you’re only gettin’ drunk again!
PM: [chuckling]
D2- 37- What You Wanna Make Eyes At Me For 3.89
GH, JL, & PM: [singing] What do you wanna make those eyes at me for / If they don’t mean what they say / You made me glad, you made me sad / [gibberish] dynamite! / You’re fooling around with me now / [gibberish] / Well, that’s alright / …Alone tonight / And baby you’ll find a bundle of dynamite / So what do you wanna make those eyes at me for / When you don’t mean what they say!
PM: You don’t mean someone new!
GH: Someone new!
[song ends]
GH: [speaking] B.B. King!
PM: [chuckling] B.B. King. What a man, what a man.
GH: Have you heard about them? Albert King was the rocker one on Stax, the groove. And he said he’s Albert King’s- er, B.B. King’s brother, and B.B. King says, “No he’s not! He’s not my brother, baby!” And they both- one sings one called “Lucy” about his guitar, and the other one sings one called “Lucille” about his guitar. It’s too much, just what he’s singing.
D2- 38- Money (That’s What I Want) 3.90
GH: I’ve got a few slow ones if you want.
PM: Okay, yeah. We’ve got one down here that we haven’t done. That’s all written out on these schedules. [silly voice] If you will all now turn to page 33.
GH: Oh, it’s gettin’ very, uh… “She came in from Birmingham on a silver spoon”?
PM: [laughs]
GH: Is that it? She Came In Through The Bathroom Window?
PM: No, All Things Must Pass.
GH: “Bang-bang, Maxwell’s hammer!” It’s really getting into a show.
JL: Bottom’s up!
PM: If you’ll all turn now to “Sunrise” I would very much appreciate it.
JL: Is this a Harrisong?
PM: Yeah.
GH: It’s uh, yeah.
ME: John?
JL: Yes?
ME: Do you have any written down I can copy?
JL: No.
PM: [chuckles] No, I mean, it should take minutes.
JL: I’ve got one verse of one out. I’ve got one. Gimme Some Truth, or something. In my guitar case.
PM: [laughs] Something like that. Gimme Some Truth or something.
JL: We could finish that. I remember your hangman bit.
PM: Yeah.
D2- 39- Give Me Some Truth 3.91
JL: It was alright.
PM: No, no- No freaked-out yellow-bellied son of Gary Cooper gonna…
JL: Yeah.
PM: Sellin’ dope, or something. Gotta hope. It’s just money for rope. [singing mumbled lyrics] -dope!
GH: How many other guitars am I?
JL & PM: [singing] Money for rope!
GH: What have we got? Electric?
PM: Freaked-out, yellow- [speaking] It started in D, didn’t it?
JL: Yeah. That was my bit.
[overlapping singing]
PM: Yours was in E, wasn’t it?
JL: No, it was in D.
PM: Oh.
JL: [mumbled singing]
JL & PM: [singing gibberish] -money for rope!
GH: [speaking] If we had, uh-
JL & PM: Money for rope!
PM: No freaked-out, yellow-bellied son of Gary Cooper gonna [gibberish] dope!
JL & PM: Ain’t gotta hope! It’s just money for rope!
PM: [giggles]
JL: Sick and tired of hearing lines-
PM: [speaking] Oh yeah. No, it was in D and E, though. My bit was in E. ‘Cause then it’d go [plays]
JL: No, it didn’t.
PM: Maybe add capos, then.
JL: Oh yeah.
D2- 40- All Things Must Pass 3.92
JL: Anyway, we do need to change, ‘cause mine’s too low. [singing to self]
PM: Yeah, right.
GH: Uh, this is really, if we can, uh. Because there’s no solo or anything complicated, it’s purely just rhythmical and vocal. Then if we suddenly had a Lowrey organ, then-
JL: What key is it?
GH: -you’re invited to play it. E.
PM: We suddenly have one.
GH: Oh!
PM: [laughs] Bing! [silly voice] Then by my magic wand!
GH: Can we have a Leslie speaker, Mal, with that Lowrey organ? Can you plug him in?
JL: [unintelligible]
GH: We’re pretending to be The Band for this one.
[instrumental]
PM: How’s that for your shot?
[unintelligible chatter]
GH: Paul? The chords.
PM: Okay, just show us the chords.
GH: Yeah, okay, but the thing is there, really like E, F sharp minor, A flat minor, A. And the end of the verse, the all things must pass, it’s E minor to A.
PM: Alright.
GH: But it’s playing with open E’s all the time.
PM: Oh, okay. Okay.
D2- 41- All Things Must Pass 3.93
PM: Just play it through then, and I’ll try and follow you.
[instrumental]
GH: [singing] Sunrise doesn’t last all morning / A cloudburst doesn’t last all day / Seems my love is up and has left you with no warning / It’s not always been that grey / All things must pass / All things must pass away / Sunset doesn’t last all evening / A wind can blow those clouds away / After all this, my love is up and must be leaving / It’s not always been this grey / All things must pass / All things must pass away / All things must pass / None of life’s strings can last / And I must be on my way and face another day / Darkness only stays…
