I would like to add that you can have a fun time playing the game "how many times will Paul say 'you know' in one interview?
An Interview with Paul and McCartney Productions
Denny: I’m with Wings
because the music isn’t like anything that you hear today.
Paul: I like the idea
myself of just having a sort of easy little thing like a band thing which is
just umm…just a band! A simple idea of a
band playing together. We’re completely
at the liberty to go and play with someone else that strikes us. For instance, Denny has played with some
people in Chicago, you know, knocking around.
Denny: It’s a lot of
fun playing with them. You know, they’re
nice kids. They make good music and we
have a lot of fun, people storming the stage and dancing with us.
Paul: We’re trying to
get a very simple idea going you know, which is we’re only a band, you
know. So we rehearse some numbers and we
ad-lib some and um…we’re not trying to get it, not too formal. You know, not
too definite a pattern. So that we can
have a framework, you know, in case you don’t feel like having it. (Linda singing in the background). You know, when there’s those times when you
don’t feel like (stutter) you know, you just want to play. now that would give you satisfaction. So for that, you need some kind of framework,
so we have that with us, a simple framework.
We want to do sort of little concerts here and there, you know, not
particularly big seaters and stuff.
We’ll probably dress in basic black and we’re thinking of doing that
next you, you know. But it might just be
in small countries and um..things.
Linda: We’ve been
rehearsing in New York.
Paul: But the way
we’re doing it see, I mean there’s no tour lined up. There’s nothing lined up. What we’re gonna do is just see how we go, you
know, but we’d like to play anywhere and everywhere! Basically what we’d do, is the kind of thing
where you just take off, arrive at some place, fix up a gig and play! Without too much of a big thing see because
the first thing is we’ve got to lay in a bit, you know, the band. We haven’t played that much together yet to
really be tight together, so we’ve got to do that. now, I’ve got the problem of what I’m going
to do anyway. We’ll just tour but, you
know, won’t know when or where or anything, but little groups of people will
hear us around the country. That’s our
main intention, but we’re not particularly involved in playing like to 200
thousand people at once. Just cause I
don’t like that kind of gig. So, you get
what I mean? I did so the scene with The
Beatles, you know, and I did it in a particular way which was great at that
time, you know, and I loved it. But
there’s no sense now in starting all it again and doing it the same way, you
know, there’s o pint in it. So, the way
we’re doing it now is very unplanned, very, sort of you know, just for our own
fun really. But we make good
records. We’ll play in various places,
but who knows where or when, you know.
Linda: Who knows?!
Paul: That’s the
future! you know that! I mean it’s like saying
to you what are you gonna be doing next week?
Now, you know, you know, but anything could happen by then. you know, I get uncomfortable if I know I got
a thing for the next week that I’m not very keen of doing. But it’s there and I still have to persuade
myself I’ve got to do it. I get very
uncomfortable, you know, I start thinking (in a high voice) what am I doing,
you know, am I sure I want to do this?
So, I like to be able to just try and give myself the freedom to um…go
where I want, when I want and you know, give or take a few hours and you know,
it pretty much works! you can do it if
you want to do it! We’ve just been to Jamaica.
Linda: Yeah.
Paul: Linda and I’ve
just been to Jamaica. Fun, wonderful Jamaica. Lie in the sun, swim!
Linda: Listen to
Reggae!
Paul: The music, you
know, I loved it! It’s just sorta, ah,
it’s like um, early rock n roll, only it isn’t.
It’s a whole new thing! It’s got
the spirit of early rock. It’s very
simple and yet there’s a way you play it.
It’s kinda difficult. There’s a
switch on how you normally play, you know, a whole new thing, we just, ah loved
it! It’s just, you know like you’re
playing up-side-down. A great feeling!
Linda: I’ve just
written a Reggae song!
Paul: Linda has just
written a Reggae song which is called SEA SIDE WOMAN
Linda: I’d like it to
be a hit in Jamaica. I really would!
Paul: We were
rehearsing just a rhythm thing which is a Reggae rhythm, and originally it was
just an instrumental. We just went into
the studio and just did it. And as we
were playing it back, we realized LOVE IS STRANGE was born a second time, third
time around. I think it’s a good, good
album there, Wings Wildlife. Great
harmony, good backing. We wrote them in the summer in Scotland, Linda and
myself. This is Linda here.
Linda: How do you do?
{laughter)
Paul: Fine thanks,
Linda. (laughter) And she and I wrote them
in the summer in Scotland. Then the
other two came up and we just rehearsed for a few days. We just hanged out just a few chords, stuff, and
had sort of loose arrangements with the stuff and then we went down to London
and recorded it. Backing tracks just the
three days just to bang it all out. It’s
just one of the three albums I’ve done so far.
The first one is just me on my own virtually, you know, with assistance
from Linda. But there weren’t any other
musicians on it, you know. So, ah, that
was that kind of album. But the Small
Faces grooved to it in Connecticut or something you know and was one of their favourite
albums. And I was pleased to hear that. And Ram is a whole other kind of thing, you
know. Ram’s a big, sort of ah, a bit
drawn out, a big thing, a big epic. Sort
of a whole lot of stuff and this one is a bit more in the middle. I like it better as an album myself. Ram’s one of those kind of things that takes
a long time to get into. I think, you
know, there’s a lot on it, you know, it’s not as though it’s just a simple
thing that just goes and just plays through and you understand it all. There’s a lot of things, a lot of stuff, on it at one time. I heard Ram the other night. I think it’s great! Like I say, it’s one of
those albums that take a bit of time, and I can imagine a place of lonely
reviewers somewhere sitting in an office and the heat has just been turned off
and he’s got this record and he’s got to say wondrous things about it. He’s also got to keep his reputation going as
a bit of a lad, you know, there’s a whole lot of things coming to his mind when
he put it on, you know, and I think if it isn’t’ an immediate thing you tend to
get not too hot reviews. But I tell you,
about five months after it was released, Ram was still selling, you know. It took five months to start to sell. It just seemed like it was just doing two
weeks and out of the charts!
Linda: We haven’t
read reviews on Ram much.
Paul: Wile Life, you
know, you have to think about that! The
first song we’ve done which is us, you know, saying something as you say, is
Wild Life and that just say you know that um, nature’s alright! you know, that um, the wild state is a good
state! So why are we getting rid of
it? And animals are in zoos instead of
just actually sort of running, you know like they’re supposed to. We tend as animals, human animals, to be in a
bit of a zoo, too. We sit here, nine
floors up! Once I was in a game park in
Africa just doing the tours through it, taking a drive through it and there’s a
big sign at the entrance that just says remember, you know, all you people in
motorcars, the animals have the right of way, and I liked that, you know, I
liked the thought that somewhere they have the right of way over you.
Linda: They’re saying
there’s too many deer. I mean it’s crazy
what they’re saying!
Paul: But, you know,
they’re not necessarily right. To me
they’re certainly aren’t too many deer,
you know, because I know where I lived there are deer and I loved them to be
near and I like them to be alive. you
know, we’re farmers, for instance, we farm, we crop and we do this kind of thing
and we have deer near and they don’t disturb us like I’ve always heard.
Linda: They don’t eat
the crops.
Paul: I don’t go for
these people who go into farming as a real, heavy, serious business where they
see some deer there and they say, hey man, you know, they’re eating all the
crops. And you know, from this it grows
that all deer are bad and we must shoot all deer! The rabbits are being introduced to macimatoses! It’s a disease, which rabbits get, and it’s
in Britain because there’s too many rabbits.
So we walk along and see the rabbits lying there and slowly the disease
eats them up and all they’re eyes are wonky.
Linda: It’s a flea!
Paul: It’s really
sort of disgusting. It’s really
awful! And these rabbits are just wasting
away, you know, and you think, you know, whatever happened to them? There’s a strip in a newspaper and every year
they have an annual, you know, a yearly book for the kids and it’s called
Rupert. He’s a white teddy bear who like
wears sort of ah, straight clothes and stuff.
He is just fabulous! He’s from
the 1940s.
Linda: He’s from the
1920s.
Paul: 1920s or
something, you know, he’s way back and he is fabulous, and make the music, you
know, like Walt Disney thing.
Linda: Better! Better quality than the record one, I think.
Paul: It’s just something
I’ve done some music for but the actual film’s not started yet. But that’s the next film thing I wanna do, is
a big animated cartoon.
Linda: It’s beautiful!
It’s very British!
Paul: It's very
British. It’s very optimistic! He’s a great lad, you know, all his ideas can
be done. If he’s presented a problem, he’s
just Rupert. He’s so smart, you
know. You know, he gets it together,
conquers the problem, you know. He’s
tremendous you know! Great character!
Linda: A great
adventure!
Paul: And he’s got
one of these friends, a wise goat who lives up in the hills, you know, with a
big robe on and stuff and he’s got a big long white beard and goats horns and
stuff. You know, it’s all animals
talking and stuff. It’s one of them.
Linda: Animals are
like people apparently. A real fantasy!
Paul: You know, the
idea is I liked Walt Disney movies. I
still do, you know, I like all that kind of thing. I like to see that, you know, so ah, I’d like
to make one of them. The main this is so
I can make the music.
Linda: The Grammys
was fun just because it was real spontaneous, you know. We just sort of went in and then out.
Paul: We drove around
the block a couple of times, you know, before we really decided we really
wanted to go in and collect the Grammys or not, ah, because it was just the two
of us. No bodyguards, no nothing, you
know, no “come on you guys! Get in
there!” None of that. I drove in, you
know, got in the door, just sort of leaped in there and sat down in our seats
at the back of the hall.
Linda: And watched
it!
Paul: And watched the
show, you know, and when they announced us, we just leaped up there in our
sneakers. Well, it hasn’t ended yet, I
mean you know, I’m waiting to be released from that situation, you know, I’m
waiting to be released. The group
finished, everything’s finished, but ah, somehow, apparently Klein can’t find a
way to release me. They say that we say
that, you know all this silly stuff! but
the main point of the matter is I’m still waiting like ah, to be released from
my Beatles contract. And I’m in a new group! (Linda and other guys singing n background)
Linda: Wings!!
Paul: And it’s good man.
And I think it is Allen Klein who’s holding me back because he is
information me to advise the others that there are tax reasons, great tax
reasons why they can’t let me go. But I
have an idea that it wouldn’t’ be that difficult to sort of let me slip out of
the partnership and just carry on everything as it was going. Just let me out, and leave me with any sort
of tax problems or whatever, you know, but I think the easiest way for it to be
solved, would be for ah, the three ah, other Beatles and um, no not the three
other Beatles for Christ sake. John, George,
Ringo, and Allen Klein to just let me out of all my involvement with them and
sort of let me, give me what’s mine. I
just think it’s as simple as that! I’m
being told there’s this reason and that reason, but when I go to my publisher
and I ask for more royalties, he has many reasons not to give me more. That’s the point, you know. So in this Beatle thing I know I should get
out. Nobody really hangs out with each
other anymore. We haven’t recorded or
played or done anything together now for two years. I’m being told it’s difficult, it is too
difficult for me to be let out of The Beatles contact, but that must be
nonsense. That’s just gotta be crazy because I’m out of The Beatles! I can’t
go on seven more years! That contract
runs seven more years, you know. It
means everything I do will have to go through and be governed by a Beatles
contract, and that just ain’t on as you say in America.
How high was Paul during this interview?!?! Oh my God! He literally says "you know" at LEAST once per every answer, many times more than once. Thank God that part of his personality passed. I don't think I could be such a fan of his today if he still talked that way. Yoko was like that too for a time around the same time period. (MarkZapp)
ReplyDeleteYou know, I found it really annoying. But, you know, still a good interview. :)
DeleteLOL!!! 😉 (MarkZapp)
DeleteIt was a good interview, you know. Very early '70's, you know. And I love the Wild Life outtake photo.
ReplyDeletePaul and Linda were smoking WAY TOO MUCH pot during this time period.
ReplyDeletethey were very high for many years and everyone could see it; this interview is an example
Delete