SPEAKER_01: 0:00

So hello everyone. Hi Neil, how are

SPEAKER_02: 0:02

you today? I'm great. We've got a nice sunny day in Toronto. How about yourself? I'm great. In Madrid, the weather is starting to feel like summer. Like it's been a bit kind of coldish. Well, not coldish, but like in the 20s, you know. And now it's starting to get hot.

SPEAKER_01: 0:19

Excellent.

SPEAKER_02: 0:20

Yeah.

SPEAKER_01: 0:21

And we're here, we're going to talk this week about Band on the Run. Yes, one of the best Paul McCartney albums. And some people would say the best, peak Paul McCartney.

SPEAKER_02: 0:32

Yeah, definitely. It's one of my favourite Paul McCartney albums, I have to say. Was it one of the ones that you got first? It wasn't one of the ones I got first. I was introduced to the song Ban and the Run from All the Best, from that compilation that was released in the late 80s. And it used to be on the radio quite a bit in Costa Rica as well. But I didn't actually get a copy of Ban and the Run until I moved to Spain.

SPEAKER_01: 0:57

Ah, okay. I got an old vinyl copy, so it's the first... Paul McCartney album I had on vinyl. My friend's parents, when I was about 12, were getting rid of Sergeant Pepper. I wish I still had that copy because it could have been an original. I have no idea. But they were getting rid of that and banned on the run. I don't have either of those anymore. But it's one of the first full albums, I guess, of Paul McCartney I heard after, let's say, McCartney 2. So it's one of my earliest ones.

SPEAKER_02: 1:32

Yeah. Yeah, I found my copy in a market back in 2000. I think it must have been 2009, 2010. And it was only like eight euros and it was a first pressing. Oh, wow. And it sounds

SPEAKER_01: 1:45

great as well. I've got one of those and it just sounds amazing. It's a beautiful pressing. You can still get them really cheap. I think I paid£10 for it. Yeah,

SPEAKER_02: 1:56

I

SPEAKER_01: 1:56

think they're plentiful.

SPEAKER_02: 1:57

They're easy to get. There are some pressings which are really expensive. I was watching the video that Andrew did on Parlogram and he was talking about this pressing made by Nimbus which goes for like€1,500. It's crazy.

SPEAKER_01: 2:13

Okay. I mean, it can't be that much better because that first pressing just sparkles.

SPEAKER_02: 2:19

Yeah, it does. And funnily enough, Band on the Run is one of the albums I have the most versions of nowadays. I have like five or six versions of Band on the Run. Wow. And that reminds me, my first ever version of Band on the Run wasn't that vinyl. It was a very strange DTS CD that was released in the 90s. I bought it in the early 2000s in Costa Rica that you could only play in DVD players.

SPEAKER_01: 2:46

Oh, I never even heard of that format.

SPEAKER_02: 2:49

Yeah, and it was a surround version of Band on the Run, and they only released Band on the Run and Venus on Mars. Band on the Run sounds really nice, and it's in surround before Dolby Atmos and all of this. It was 5.1 surround. And Venus on Mars didn't sound that great because the bass didn't go to the subwoofer. It went to the normal speakers, so it just sounded really weird.

SPEAKER_01: 3:12

Ah, okay.

UNKNOWN: 3:14

Yeah.

SPEAKER_01: 3:14

Yeah, I've got three versions. I've got the... Well, when it was re-released, not most recently, because I don't have that unmixed one, you know, pre-dub. What's it called? Underdubbed. Is it underdubbed? Underdubbed, yeah. I don't have that one. But when they released as part of the archive collection, I got the... three disc version at the time and then I felt flush enough to get the full set which you know I don't know half of what's in there but I got the full set I was having a look at the book this week when I was researching this. And then I've got my records. So there you are, three versions.

SPEAKER_02: 4:05

So I've got that DTS version. I still have it. I have the vinyl that I found in that market. I've got the 1993 version that came in the Paul McCartney collection. You know, the ones with the white spines and backs. Yeah, they were really nice. I also have the 25th anniversary edition. which is a two-disc affair. The second disc is very interesting, which I think the second disc from that edition was released in the book that was released in, I think it was 2010, with the archive collection. I think so, yeah. And then I have the three-CD archive collection or two-CD, one-DVD archive collection version. So

SPEAKER_01: 4:45

you decided, like me, not to get the underdubbed one?

SPEAKER_02: 4:50

Well,

SPEAKER_01: 4:50

I didn't get it because

SPEAKER_02: 4:52

the CD version is the same as the 2010 mix. So they didn't really change anything for that one. And that second CD, I don't know, I just didn't think it was worth buying. How many versions of Band on the Run can I have? well

SPEAKER_01: 5:10

yeah exactly how many do you need this was a course well I mean for people who don't know I guess it's considered often Paul's best post-Beatles work, although we've talked before about Tug of War, there were other contenders, but I think it was recognised at the time, wasn't it, as a triumphant return to form, it was a number one in the UK and the US, and you can really find him, I think, it looks like he just doubled down and thought, right, I want to make a really great album here, and I think he was spurred on by the fact that, of course, some band members left. And I've read in different versions him saying stuff like, we'll show you, you know, stuff like, we'll make an album you wish you'd been on. That's one of his kind of motivations, isn't it? Paul saying, you know, I'm really going to prove it to you. You know, so he still had that hunger to succeed. And it really shows on this one because it's a little bit like a Beatles album. I can imagine the Beatles doing this album.

SPEAKER_02: 6:20

It is like a Beatles album. because he plays all the instruments so technically it kind of is a Beatles album except for the guitars I think that Denny Lane plays and I do remember like the first time I ever heard Man on the Run I do remember thinking it was a Beatles song Oh,

SPEAKER_01: 6:35

yeah. It's like that, isn't it? The structure, the way that it's chopped up. Yeah, it feels like... Different song sections.

SPEAKER_02: 6:42

Yeah, like Abbey Road kind of thing. Yeah.

SPEAKER_01: 6:47

And with the refrain, the little refrain, I mean, of course, he was doing that already, wasn't he, on things like Ram, but the revisiting Band on the Run and other songs in Picasso's Last Words. So he's trying to make it kind of a... But there's a sort of loose theme, isn't there? Like Sergeant Pepper.

SPEAKER_02: 7:09

Yeah, but it's definitely one of his best efforts. I do think that Red Rose Speedway is also a great album. That if he had been a double album, he would have been great. And... I don't want to say better than Bad on the Run, because I do think the songs from Bad on the Run are a little bit better than Red Rose Speedway, but it would have been a very strong album. And it's also true that at the time, some of these early Paul albums weren't appreciated, and nowadays people are giving them more time, like Wildlife or Ram or Red Rose

SPEAKER_01: 7:39

Speedway. Well, especially Ram. Especially Ram, yeah. I mean, that's another masterpiece, and I think... everybody acknowledges that now but at the time that was slammed and I remember when I first heard that I thought well it's quite you know rough around the edges like McCartney but of course it's not I mean it's got all these different parts and orchestras and you know session musicians and he tried so hard over that album and he must have been really disappointed

SPEAKER_02: 8:08

yeah and it's impressive that he actually managed to make another really good album like you said that he set out to make the best album he had ever made. But he did the same for RAM.

SPEAKER_01: 8:21

Yeah. When this time, he succeeded. I think he really deserved all the success. And of course, he took the risk of flying out to Lagos. I think they wanted to record internationally. I'm not sure if that was just for a change of scene. But they chose... Lagos from a list and Paul hadn't got the message that apparently there was a call about outbreak or something there he got that on his return home you know so off they went just the three of them having lost their guitarist and drummer, and arrived at this studio which, you know, half of it was a record plant, I understand, and things didn't work, the electricity was unreliable, there were no sound booths, Paul had to help build

SPEAKER_02: 9:14

the sound booths. And Jeff Emerick, I think they flew also with Jeff Emerick.

SPEAKER_01: 9:18

Of course, yeah. They were lucky to have Jeff Emerick.

SPEAKER_02: 9:21

Yeah, for sure. I read somewhere, or I heard somewhere, that they were pressured to record at Ginger Baker's studio when they were there, but they didn't want to pay the fees, so they ended up recording at EMI.

SPEAKER_01: 9:35

That's right, and I think in order to placate Ginger Baker, who I think was a little bit of a volatile or unpredictable character, they recorded Picasso's Last Words or some of that at his studio, didn't they?

SPEAKER_02: 9:49

Yeah, yeah.

SPEAKER_01: 9:51

So... The other story from out there, I guess you know the Fela Kuti story,

SPEAKER_02: 9:57

because that's amazing. Yeah, that he went and said that you're stealing African sounds. And

SPEAKER_01: 10:04

Paul had to... Go ahead. No, no, and that he had to play the

SPEAKER_02: 10:08

songs to him.

SPEAKER_01: 10:09

That's right. And apparently they reconciled, but I was having a look at the McCartney Legacy, and this was... I don't know, it moved me that he went to see Fela Kuti's kind of shrine at a nearby hotel. And there was a gig there. And Paul went to the gig. This was towards the end of the sessions. And, well, eventually got talked into getting high because originally he thought that was a little bit... Risky, you know, situation. And apparently moved to tears by the gig, even though he didn't get a particularly friendly reception. Just being there with Bela Kuti's music, which is really renowned. I mean, I don't know it well myself. I've heard a few tracks, but Paul was moved. to tears just being in that situation listening to the music from Nigeria so definitely he hadn't turned up to steal African music although back at Air Studios one African musician ended up on Bluebird, isn't that right?

SPEAKER_02: 11:24

Yeah, that's right. That's right. Only one. But it was someone he'd met in London, not someone that he met in Nigeria, as far as I know. That story that you told, I came across an interview, which is, I think, on Fela Kuti's YouTube, where Paul tells the story, and he still remembered the bit of music that moved him so much. Do you want me to play it? Yeah, that would be amazing. Yeah, have a

SPEAKER_01: 11:48

listen.

SPEAKER_00: 11:49

Yeah! Okay, so... This is what I remember from the Shrine, but the riff was definitely this. Yeah, that one must have gone somewhere like that. idea what it was but that is it man when i first heard that that was just fantastic the whole band kicked in on this riff that's still a great riff yeah

SPEAKER_01: 12:55

man wow i love i love it i love how he could remember the actual riff i know it's crazy isn't it yeah I can always remember great moments from gigs, but never the actual phrase. That shows how musical he is. Yeah, it's crazy. I always mean to check out Fela Kuti, too. I think he released a box set. There was a box set of his stuff released in the last decade. I mean, one of my friends who likes jazz and Afrobeat and so on, just, I mean, he's the very top, topmost of the popmost over there he was.

SPEAKER_02: 13:32

Yeah, his music is really good. I've to this after I saw this interview I started kind of checking out Fela's music and it's amazing it's really good then I went to Germany a couple of years ago I actually met Derek on that trip and yeah I saw him we went for dinner and the next day I saw that this African restaurant was having a Fela Kuti night so I went to eat there it was a lot of fun they had a live band playing so his music was great

SPEAKER_01: 13:59

cool cool that's great So shall we move on to... To the songs? The album.

SPEAKER_02: 14:05

Yeah.

SPEAKER_01: 14:06

Is there a particular song you'd like to start

SPEAKER_02: 14:08

with? Which one would you like to start

SPEAKER_01: 14:10

with? Ah, well, there you go. Okay, I will. I will start with... Let Me Roll It, just because I was with a friend the other day who really doesn't like wings, and he doesn't really like things to be too poppy, you know. But he just said this was the standout for him, one that he loved, and I've always loved this song. I always saw the Lennon-esque thing that people say. I saw that right from the beginning. I still don't know whether they were trying to, I don't know if Paul has ever said, has he, that they were trying to kind of imitate Cold Turn or one of those Lennon riffs from the first album, but it really sounds like they're having a bit of fun. Not in a cruel way, just having a little bit of fun doing a sort of pastiche and especially Denny Lane's at the end, you know, it would sound a little bit like a Lennon affectation, you know, the

SPEAKER_00: 15:07

oh.

SPEAKER_01: 15:08

But this is just, I mean, I think it's a wonderful, simple lyric. I like the simplicity of the lyric. It really works. I love the delicate sound of the keyboards, which just come in at the right minute, and they contrast with that rhythm. quite stark riff, and the echo in the voice, that kind of very... I mean, it's not just slapback, but there's a kind of delay on it. I mean, this is just a perfect song, and Paul enjoys playing it live, doesn't he? Yeah.

SPEAKER_02: 15:43

In every tour, I think he's played that song. I've seen Paul a few times, and he's never... He's always played that song.

SPEAKER_01: 15:49

It's a beautiful song, and I like that little grace note, which... You know that that comes in some of the verses and choruses. My heart is like a wheel. I don't know. Paul doesn't usually do that. It's a kind of something that I associate with folk music. It just works really well here. It's just a perfect Paul McCartney track.

SPEAKER_02: 16:14

It's a great track. About what you said, his use of tape, Epco, that he sounded a bit like John. There was an interview published on Club Sandwich in 1994 And Paul said it was not really a Latin pastiche, although my use of tape echo did sound more like John than me. But tape echo wasn't John's exclusive territory, he said.

SPEAKER_01: 16:35

Right. But what about the riff? Yeah, the riff is very... Maybe it's just a coincidence.

SPEAKER_02: 16:41

Well, it might just be one of those coincidences that aren't really coincidences, like maybe he had it in the back of his mind or something. One

SPEAKER_01: 16:49

of the first things I read about this song was the kind of double meaning of the lyrics. So let me roll it. I know this is a Paul thing. Let me roll the joint, right?

SPEAKER_02: 17:02

Yeah. It's a typical Paul thing, isn't it? I want to get high, high, high. Got to get you into my life. let me roll it it's a great song, love the riff it's a really nice song to play as well on electric guitar if you're starting out because it's easy enough and it's very kind of you can make it sound like the album so it's really good

SPEAKER_01: 17:25

and one thing I noticed today because I was just listening to One Hand Clapping which just arrived today so I'm hearing it for the first time at one point I mean this

SPEAKER_02: 17:35

is

SPEAKER_01: 17:36

probably happens on the album too but the the two guitars you know the twin lead one of them plays something slightly different just i think further up the neck but the same riff and so the guitars are playing in unison but with a part that where the notes diverge um and yeah That is fantastic. And I noticed it more on one hand clapping just because it's stripped down.

SPEAKER_02: 18:01

Yeah.

SPEAKER_01: 18:03

On the original

SPEAKER_02: 18:03

record, Paul played the riff and he overdubbed it as well. Okay, so it's him. It's him, yes. This comes from Jeff Emmerich's Here, There and Everywhere. He said there that the lead guitar part is phenomenal and it's even more amazing considering that it was double-tracked.

SPEAKER_01: 18:23

Oh, double-tracked, I didn't know that.

UNKNOWN: 18:24

Mm-hmm.

SPEAKER_01: 18:25

I guess you can hear it in there. Yeah, it's just got this rich sound. If anybody was asking me, you know, play me a Wings song, you know, convince me that they were good, I guess it would be a good one to start with. Yeah, that's true. It's a great song.

SPEAKER_02: 18:42

Right.

SPEAKER_01: 18:43

You can play a bit of it if you want.

SPEAKER_02: 18:45

Yeah, sure.

SPEAKER_01: 18:45

Hang on a second.

SPEAKER_02: 18:48

Okay, I have it here. I have a few versions of it, actually. Okay. Hugo.

SPEAKER_01: 20:19

Yeah, and I think the riff and the vocals were recorded when they got back to London at Air Studios. So the track must have just been really the bass and the keyboards. And of course, that's Linda on the keyboard. Yeah, and they sound really good. Yeah, of course. I mean, I don't know whether she played keyboards before she came into Wings or if she just learned for the purposes of being in Wings. But I think the keyboards on this album are... are decent and at some points stunning.

SPEAKER_02: 20:52

Yeah, she said that she was learning how to play the keyboards during Band on the Run. She was asked about her involvement in the album and she said that she just spent most of her time learning how to play the keyboards. But yeah, I think she did a great job. In this particular song... I think it's very prominent and it's a very important part of the song. And I think she did a really great job. What's next? All right. I'm going to go for something which probably isn't people's first choice. Yeah, but no words.

SPEAKER_01: 21:28

Okay.

SPEAKER_02: 21:30

Yeah.

SPEAKER_01: 21:30

Tell me about that one.

SPEAKER_02: 21:31

Well, it's a song that I didn't get to kind of start listening to until very recently. It's one of those songs that I tended to skip unless I played the vinyl and I played the whole thing. And I started listening to it a little bit more and I think it's just a beautiful song. It's such a wonderful song. I can't believe I hadn't paid attention to it until very recently. There are a few lines I like from the song. There is that line, it's only me, I love you towards the end, which apparently comes This is a Denny Lane song, by the way. It's the first collaboration he did with Paul. But some people say that's a Paul line because that's something that John used to say to him. He used to kind of pull his glasses down and say, it's only me, Paul.

SPEAKER_01: 22:13

Oh, yeah. Yeah, so maybe he inserted that in the song. Yeah, it's one of the ones I kind of know less well.

SPEAKER_02: 22:21

Yeah. They only played it live in the 1979 tour. Wow. So there aren't many live versions of this song. And also, in the middle of the song, there's this falsetto that Paul does, and it's so high. It's really hard to match. I'll play a bit of it. I'll play the falsetto bit so you can...

SPEAKER_01: 22:42

I like that part. Yeah, it's really nice, isn't it? Yeah, very 70s, very good.

SPEAKER_02: 22:47

Yeah. Let me get the beat.

UNKNOWN: 22:54

Yeah.

SPEAKER_02: 23:42

So there you go. That's the line. I wish you'd see It's Only Me, I Love You. I really

SPEAKER_01: 23:47

like that. Yeah, it's a great choice. I bet Paul wrote that middle bit because of the melody, the way that goes and then soars up there. I'm surprised you can't reach that falsetto because you've got quite a good falsetto voice.

SPEAKER_02: 23:59

Yeah, but that's the highest I think Paul ever did. Probably that and Tomorrow. Have you ever heard the end of Tomorrow? Yeah. Yeah, those are hard. And the harmonies are beautiful as well.

SPEAKER_01: 24:10

Yeah, I just wonder why there's a nice solo kicks in at the end and then kind of fades. I wonder why they faded it. This one? Yeah, just let it keep going.

UNKNOWN: 24:25

There we go.

SPEAKER_02: 24:35

Yeah, I could just do it a little bit more. I know, very Hugh McCracken. He was a guitarist on Ram. Yeah. Yeah, it's really, really good. It's a shame. And the live version, I don't think sounded as good as the studio version.

UNKNOWN: 24:51

Yeah.

SPEAKER_00: 25:14

I

SPEAKER_02: 25:19

guess because it's faster.

SPEAKER_01: 25:21

Ah, yeah. Maybe because it wasn't mostly Paul's song, maybe he didn't give it the love and attention live. Who knows? Is that from Wings Over

SPEAKER_02: 25:34

America? No, that's from a download that if you bought the book, you were given a code and you could download that song.

SPEAKER_01: 25:45

Ah, okay.

SPEAKER_02: 25:46

But he comes from the 79 Tour. I think he's live in Glasgow. Ah, with Coming Up. Yeah. Famously, yeah. Yes. Right, so that's No Words. Great songs, often forgotten.

SPEAKER_01: 26:01

My next choice is Bluebird. I was reading about this, and apparently it's a song about love, not about a bluebird. There you are. So that's a little metaphor. I just think it's beautiful. I'm especially struck because, as I said, I just got one hand clapping today. And the version on that, I was just hearing it on vinyl for the first time, and it's fairly... I think they're fairly fresh to it, and all the vocals sound so full of life. The melody is just... Wow, it's one of... You know, his best and most delicate, the harmonies are great. Their voices sound, they almost sound like the Beatles in that track. And of course, it's got that wonderful sax solo. This is a real, you know, if you had a single disc best of Paul McCartney, this would be another song that would have to be on there. And possibly the one-hand clapping version

SPEAKER_02: 27:06

as well. Yeah, it was written, I believe, in Jamaica. in one of his trips to Jamaica in the early 70s. And the first time it was shown was in a special, in a TV special called James Paul McCartney that was recorded around the time they'd made Red Road Speedway. Yeah. And there is a beautiful, very subtle acoustic version of it. I think I have it here. Let's see if I can play a bit of it. Oh, I'd love to hear that.

SPEAKER_00: 27:35

And you'll know what love is for I'm a bluebird, I'm a bluebird, I'm a bluebird, I'm a bluebird. Yeah, yeah, yeah. I'm a bluebird, I'm a bluebird, I'm a bluebird. Touch your lips with a magic kiss, and you'll be a bluebird too. And you'll know what love can do. I'm a bluebird, I'm a bluebird, I'm a bluebird, I'm a bluebird, yeah. I'm a bluebird, I'm a bluebird, I'm a bluebird, yeah.

UNKNOWN: 28:23

Bluebird, oh.

SPEAKER_01: 28:42

Wow. It's beautiful, isn't it? Yeah, the quality of the melody there. There were certain melodies that I think only Paul could have written, and I haven't heard anything like them in rock, and that's one of them. I just think it's amazing. I know, and the saxophone. Yeah, saxophone too. On the album version, they go a little bit scouse, don't they? Somebody does. Probably Paul, because they say, bluebird, bluebird.

UNKNOWN: 29:11

Yeah.

SPEAKER_01: 29:11

It's interesting about... Oh, go on. Because Howie Casey,

SPEAKER_02: 29:15

the sax player, is from Liverpool, right?

SPEAKER_01: 29:18

Ah, maybe. I didn't know that. Yeah, I think you're right. But definitely you can hear them singing Blue Bed. I'm a blue bed. So I like that. And I just want to go back to the Jamaica thing because I know that Paul was in Jamaica to learn... about reggae, but I didn't know he made several visits. He made more than one visit, right?

SPEAKER_02: 29:40

Yeah, well, from what I've read, he used to go often to Jamaica, yeah.

SPEAKER_01: 29:44

Wow,

SPEAKER_02: 29:45

so he was stealing black people's music,

SPEAKER_01: 29:47

just in other places.

SPEAKER_02: 29:49

Yeah, well, you could say that in the 70s, he went to many places to record. I don't know whether he would go to kind of steal music more than...

SPEAKER_01: 29:57

No, I think he went to sort of learn about music. Yeah, I mean, nowadays, you know, white reggae is kind of something that you almost can't do. I mean, times have changed. But, you know, because it's cultural appropriation, isn't it? can you still oh yeah sorry my computer just went off but I think Paul went as just a sincere effort to learn more about it because he genuinely liked it so

SPEAKER_02: 30:22

much yeah I think so as well and I think it's great that he was one of the first people to incorporate that kind of thing into let's say white pop music but I would say like Seamoon yeah wasn't Obladi Oblada their kind of first attempt that too of course yeah And then Eric Clapton did I Shot the Sheriff, which is cultural appropriation, cultural appropriation, I guess.

SPEAKER_01: 30:49

And then there's the police, you know. I don't think there's anything wrong with it. I mean, it's genuinely, like, with admiration. I mean, this is done as a kind of, what do you call it, homage. It's a homage. Like, everybody really liked Greg at the time, you know. Yeah.

SPEAKER_02: 31:11

So, next song. Is it my turn? Yeah. Right. So, Mamunia. I'm going for the obscure ones. That's okay. Right. it's one of my favorite songs on the album it's not people it doesn't tend to be people's favorite just like no words but I really think it's again it's a beautiful song that celebrates life to a certain extent especially when it talks about the seed that only needs water to grow and the water comes from the rain that kind of thing I really like that kind of

SPEAKER_01: 31:44

that's right it's got a it's got the kind of quality of a child's hymn or something like that doesn't it and I think I think I don't know if it was part of partly written in Lagos, but it certainly has the vibe of that, of being in Lagos, where it was apparently pouring with the expected sun.

SPEAKER_02: 32:07

Yeah, well, I actually read, when I was reading about it, when I was doing research, I found out there is a place called Hotel Mamounia, which is where the song comes from, the title of the song comes from. That's

SPEAKER_01: 32:17

right. And it's a hotel in Morocco. That's right, Marrakesh. But apparently in the studio there was something like a name or something on the wall that was something like Mamounia, the same word. So Paul thought that was good luck.

SPEAKER_02: 32:32

Yeah. And another thing I really like from the song is just the backing vocals, all the harmonies, they're great. I came across a YouTube video that had just the isolated vocals Oh, can we hear some of that? Yeah, I'll play it

SPEAKER_00: 32:52

now. Never felt the rain, my friend Till you felt it running down your back So the next time you see rain It ain't bad Don't complain, don't complain I think it sounds

SPEAKER_01: 33:28

great, yeah. They worked so hard on that. That's all three of them, presumably.

SPEAKER_02: 33:34

Yeah, that's the three of them. I think it was overdubbed after they recorded the song in Lagos. I think it was overdubbed in London at Air Studios. But it's amazing. It sounds really

SPEAKER_01: 33:44

good. It's really good. And another thing about this song, of course, is, well, apparently Linda played Moog all the way through this, but they just edited it out. But when the Moog part comes in, you know, towards the end, there's to build the climax. It's quite thrilling, isn't it? Because it just changes the whole texture of the song, which is more or less acoustic. And then there's, you know, a synthesizer, so that's unusual in context. And it just, it's sublime, you know. It's my favourite Linda moment.

SPEAKER_02: 34:19

Yeah, it makes it very playful as well, I think. I'll play the end bit.

SPEAKER_00: 34:27

MUSIC Mamounia, Mamounia, Mamounia

SPEAKER_01: 35:16

Oh, that's so good. There's something kind of very satisfying and maybe Beatles-like about the fact that, you know, there's the descending bass line, boom, boom, boom, going down, and that the keyboard is going up the scale. I mean, it's just a simple part, but the way it fits together is great.

SPEAKER_02: 35:38

I know, it's brilliant. And apparently an unknown musician, a roadie, played the bass drum. Oh, okay. I didn't know that. Yeah, so that's a fun fact. I think it was the first song recorded for Battle of the Run. Yes, that's right. The first song would have been Hell in Wheels, but I don't know whether you think that Hell in Wheels belongs on Battle of the Run.

SPEAKER_01: 35:59

Of course it does, because it was recorded in those sessions. It's someone I go back to a lot, Hell in Wheels, because I guess it's, unless you've got that, 1993 CD, you know, I mean, it's hard to find. Well, it came on the American version of the album. That's right. Yeah. So it did. And yeah. Yeah. So my, my friend who is no longer alive, but my great friend from university used to just love this album and Helen wheels, he thought was integral to the album and he thought of it as a summer's album, you know, nice hot day, uh, summer album kicking back and you know band on the run

SPEAKER_02: 36:46

yeah i don't know if i agree that um that song belongs there um because i'm kind of i'm kind of used to it being an uh a bonus track um right and i think in the american version if i'm not mistaken um the track listing goes mamounia no words helen wheels then picasso's last words and then 1985. Did they miss...

SPEAKER_01: 37:07

They didn't miss off anything then? They just put an extra track in? They just put

SPEAKER_02: 37:10

an extra track, yeah.

SPEAKER_01: 37:11

Right, yeah, yeah. Yeah, it's not my favorite. I mean, Hell in Wheels, apparently they were delighted with it when they made it and played it to... was it Jeff Emmerich or somebody else visiting the air studios and they're really filled with it but it's not you know it's kind of like it just makes me think of early 70s glam pop it's okay as an exemplar of one of those glam tracks it's fine but I feel like anyone could have written Hell in Wheels

SPEAKER_02: 37:40

yeah he's got a nice video I don't know if you've seen it I've never seen it no I'll send it to you later are they on the back of a truck oh okay No, they're in the back of, well, Paul driving a convertible. And I think you can see Linda wearing fur. I think they hadn't gone vegetarian yet. Ah, okay. All right. But you can see Paul playing drums, which is rare, I guess. I bet it's quite goofy. Well, it looks pretty professional, but very out of place. But the video is very goofy. I mean, it was wings. It looks very kind of Ram-styled.

SPEAKER_01: 38:18

Right. Yeah. We've got so much to cover. Wow. We can't do all the songs, Bernardo. What are we going to do? Let's go. We've got to talk about Picasso's Last Words because this is one of the ones that struck me when I first heard the album. It starts off with the Dustin Hoffman story. Now, did you get the version that it was a dare or just that... Dustin Hoffman was talking to Paul in LA, I think, about Picasso's last evening, night, and that Paul just wrote a song. It was actually in Jamaica. I

SPEAKER_02: 38:58

think they were recording Papillon at the time. That's right. And Dustin Hoffman invited Paul for dinner. And when they were having, this is the story I got from Wingspan, that documentary, I don't know if you saw it. It was released in the early 2000s. And he got invited to dinner and then Paul, well, they were asking Paul how he wrote a song and then they asked him if he could write a song about anything. And he said, pretty much. So Dustin Hoffman went and got the magazine and asked him and he saw him writing the bit that says, drink to me, drink to my health. And Dustin Hoffman said that apart from the birth of his son, that was one of the most important important moments of his life.

SPEAKER_01: 39:38

Yeah, I heard that. I heard that. Yeah, so it was a kind of dare, a kind of challenge. One of the things I like, I mean, I've always liked this one because I like sound collages. I like when the Beatles experiment. I love Revolution 9 and all that. I kind of wanted more of that. So Apparently they decided to record in a different way. They were at Ginger Baker's studio for this one. They recorded... instead of putting down drums maybe because they were at Ginger Baker's studio just to be awkward they put down some backwards drums and processed cowbell whatever that is as the guide track which gives it this kind of lazy rhythm and then they chopped it up they actually chopped it up into sections and pasted it together in different ways and it's incredible thinking of them doing this in Lagos but anyway so they end up with these sections and that became the basis of the track and they recorded all the overdubs and everything over that and I just really liked the chopping and changing and the addition of the revisits of the other songs and the You know, the French radio, I think, is great. And I think it's a bassoon in there. Yeah. Yeah, I can't really interpret the French. It's hard for me. I can hear little bits and pieces. It's got a really nice language feel. It tells a story. It's just a kind of song that's just like a little journey. And then it finishes off with that, with all those shakers, including Ginger Baker. And that kind of harmonies. Ho Hei Ho really really silly ending and it's perfect. But it gives it a

SPEAKER_02: 41:33

very African feel, I guess. I don't know whether it's a real African feel or whether it's what we think would be an African feel. But it does give it a bit of a feel. Tony Visconti was the guy who supervised that recording or supervised the production of it. He's the same guy who did the orchestral sections in Jet.

SPEAKER_01: 41:55

Yeah, that's right. In Air Studios. So perhaps they did all the layering there you know it's amazing that they got tony visconti he's you know of course well known as being the david bowie collaborator i think he was involved with all those david bowie albums in the 70s

SPEAKER_02: 42:13

yeah he did a great job i mean that little bit that connects the the section the two sections of out on the run i think is amazing It kind of makes the song as well. It's great. But yeah, we're talking about Picasso's last words. It kind of has a special meaning to me as well because my father was a painter. He was an artist. And when he passed away, it kind of got a different meaning, the song. So every time I listen to that song, especially the beat that says three o'clock in the morning, the beat that starts from there, I kind of choke up a little bit.

SPEAKER_01: 42:45

Oh, that's really nice. I mean, it's good that the memory of the... song and the memory of your father yeah together like that it's a beautiful song i think danny lane sings it right he sings the the beginning uh i think they all kind of sing it and then of course there's the drunken chorus which i which i knew before i'd you know really touched a drop of alcohol yeah it's all it's all it's it it sounds like they just kind of I don't want to say they didn't care, but they were having fun and they didn't see people looking over their shoulder. They weren't trying to make something for a particular market or audience. They were just having fun in the studio. And I love when Paul does that because sometimes I think he gets a bit self-conscious about critics and everything. And this song sounds as easygoing as some of those Beatles songs. 67 tracks that they were really seeing what they could do in the studio and pushing it

SPEAKER_02: 43:45

yeah definitely and you can feel when they're having fun that's when they make the like their best records you know yeah that's when they make it pop yeah so I'll play a bit of it okay

SPEAKER_00: 44:01

a grand old painter died last night his paintings are said goodnight to us all drink to me drink to my health you know

SPEAKER_02: 45:12

Oh,

SPEAKER_01: 45:12

great. And I noticed all those, you know, the different, when the drum comes in, kind of offbeat. I don't have the vocabulary to describe it there, that kind of little fill. That was excellent.

SPEAKER_02: 45:24

Yeah. This is the end. Sounds so good.

SPEAKER_01: 46:23

Yeah. I remember one moment listening to this at university and just... I was getting off on the ho-hey-ho bit so much at the end and my friend was teasing me for it. This bit? Yeah.

SPEAKER_02: 47:02

really like it it gives it a very kind of nice african feel i think

SPEAKER_01: 47:06

yeah

SPEAKER_02: 47:06

yeah that was yeah strangely enough when they did this song live they connected it with richard corey by simon garfinkel

SPEAKER_01: 47:14

ah that's probably because you're right denny was uh singing at the beginning i don't think i quite ever consciously noticed that of course it is denny sometimes when There's a kind of phenomenon when people are in a band, sometimes they end up singing a little bit like each other. Yeah, the voices change. Yeah, so they chose maybe those. Is it also near Go Now, or is that later?

SPEAKER_02: 47:39

I think that would be later, because he was playing the piano during Go Now, and this was during the acoustic bit in the middle. And I think they did that, and then they did Bluebird. because I did that with a rhythm box.

SPEAKER_01: 47:50

That's right. I always liked Richard Corey, that version of it. Yeah, it's great. I love it. Great, yeah.

SPEAKER_02: 47:58

We have... How many songs have we got left?

SPEAKER_01: 48:01

Well, we can more or less do it because we've got, let's say, 20 minutes and we've got all the ones on side one. We've got 1985. Let's just talk for a minute about that because I think... Well, you know, this song has got a kind of different structure for Paul's song. It sounded very contemporary in the 90s. It sounded a bit more like a dance track, the way the drums come in over the sort of repetitive groove that it has, which was very much part of dance music in the 90s. And, you know, that kind of four-on-the-floor beat. and the way it builds up as well. I think, you know, well, the vocals kind of, I think the vocal style puts it in the 70s, but I think the track itself sounds very, modern in a way

SPEAKER_02: 49:01

yeah i agree with you um it sounds very 70s but very modern at the same time i think he's one of paul's best vocals in in the album especially the end where he starts screaming um he does the kind of beatles little i don't know if he would be the little richard scream yeah But he does that kind of high-pitched scream that he can do so well and that is so hard to emulate as well and make it sound natural. He's really got the funk in this

SPEAKER_01: 49:32

song, right?

SPEAKER_02: 49:32

Yeah, and there is a bit on one hand clapping on the video, which I don't know if you've seen. It's in your Band on the Run box set. I think the DVD has that show. You can see him kind of doing that last bit and he's really feeling it.

SPEAKER_01: 49:48

Cool. Yeah, I'll look out for that. And I haven't heard it on one hand clapping yet because I haven't heard the last side yet.

SPEAKER_02: 49:56

Oh, you haven't? I was just going to play it. That is great.

SPEAKER_01: 49:59

Go on, go on.

SPEAKER_02: 50:00

Play

SPEAKER_01: 50:01

a bit. It's a really nice climax to the album, isn't it? I know, it's a great version as well. And so musical with the jazz, you know, the jazz

SPEAKER_02: 50:08

improv and all that. Yeah, well, and he's piano playing. It's really simple, right? But it just sounds so complicated. That's a very Paul thing. Anyways, I'll play a bit of the one hand clapping version. One second, there you go. Let me see. Sorry, one second. I'm having a little technical issue. It's all

SPEAKER_01: 50:35

right. That's what it's all about. Yeah, that shows that it's live. I love Clubhouse because it's kind of lo-fi like that.

SPEAKER_02: 50:44

Yeah. Just one second. While it plays, while I find it, I'll play a bit of the album version. Okay.

SPEAKER_01: 51:57

I love the Moog as well, the keyboard. I know, it sounds great. At

SPEAKER_02: 52:00

the end, let me see. really nice the ending that's a great ending now the one the version from one hand clapping the cool thing is that it doesn't have all the orchestra things so you can just hear the song with Paul playing and here it goes I don't want to ruin it for you.

SPEAKER_01: 54:51

It's one of those character voices, isn't it? He's getting into character again. He does so many voices. I

SPEAKER_02: 54:57

know, but this one I particularly like. He should have done this song in 1976 when he did the Wings Over America tour.

SPEAKER_01: 55:04

Yeah, I'm surprised they didn't. I'm surprised they didn't. Did they take... orchestra with them on they must have done right to do things like live and let die they couldn't have just done that on a keyboard

SPEAKER_02: 55:14

yeah they had howie casey on um on sax and i think they had um a trumpet player as well uh okay um it was it wasn't recorded in lagos this song it was recorded um at air studio in london okay yes yes

SPEAKER_01: 55:31

yeah

SPEAKER_02: 55:32

in october 73

SPEAKER_01: 55:32

right Yeah, because I just wonder when they have the orchestra with them, you know, because I was just listening to some one-hand clapping, and then when Live and Let Die comes on, it sounds like a full orchestra, unless they're using backing tapes. I mean, with the orchestra in the studio with them. And then I just wonder how they reproduced that live, but maybe they were already at the stage of using some backing tapes. I really don't know. Yeah. But yeah, brilliant song.

SPEAKER_02: 55:59

Great piano is one of those examples of Paul being a great pianist.

SPEAKER_01: 56:03

Yeah. Oh, yeah, I noticed that on one hand clapping. I mean, I don't know how much he was practicing. Presumably, he had a lot of time to practice. But his playing between the late Beatles and 1974, I mean, It had come on in leaps and bounds, the things he was able to do. Yeah.

SPEAKER_02: 56:23

Yeah, you can tell because I think it wasn't until kind of 1968 that he started doing piano songs with Martha, My Dear and Hey Jude and those. Yeah. But you can tell that by Venus and Mars, his piano had gone much better, yeah. He

SPEAKER_01: 56:37

was so comfortable with it, yeah.

SPEAKER_02: 56:38

Yeah.

SPEAKER_01: 56:40

So just before we move on to... Yeah. Before we move on to singles, I guess the ones we haven't talked about, was 1985, 1985, was that a single in some countries? I feel like I've seen that on a cover. I think so. I think it was

SPEAKER_02: 56:56

recently released as a single as well. I think the last time I saw it was a special edition that was released, I think, in 2014.

SPEAKER_01: 57:04

Okay. Maybe it's that one, but I definitely am aware of it as a single somewhere. Yeah.

SPEAKER_02: 57:09

I think

SPEAKER_01: 57:10

it was a single in some countries. So let's talk about the singles.

SPEAKER_02: 57:14

All right. Should we talk about the title track, Ban on the Run? Yes. It's my favorite song on the album, I have to say. I love Ban on the Run.

SPEAKER_01: 57:24

Is this the first single?

SPEAKER_02: 57:27

Was it the first

SPEAKER_01: 57:27

single? Or was it Jet? I can't remember. I don't know.

SPEAKER_02: 57:31

I think Ban on the Run was the second single. But what was the first single then?

SPEAKER_01: 57:37

I think possibly Jet. I mean, Hell and Wheels was released towards the end of 1973, I think, just because they had it around and they just wanted to rush something out. But not counting Hell and Wheels, I guess, well, it's something we can look up.

SPEAKER_02: 58:00

Yeah, I'm trying to look it up just now, because I think Bad on the Run had five singles in the end.

UNKNOWN: 58:06

Wow.

SPEAKER_02: 58:06

So what do you like about the title track? Well, it's what we were talking about before. I really like the topic. I like the double meaning of Band on the Run, that it could be a band of bandits or it could be a band, a music band on the run. So I really like that. It reminds me of the Eagles' Desperado phase as well. So I like that. And I really like it when Paul does this thing of joining two songs together and then having to find out a way to connect them. And the first and second part are brilliant. And then the last part is just Paul being Paul McCartney at his greatest.

SPEAKER_01: 58:47

Right. And I think Jeff Emmerich connected the tracks. Sorry, Tony Visconti connected the... He must have written that orchestra section, right?

SPEAKER_02: 58:59

Yeah. And the bit, like the acoustic bit, I just think it's so... perfect pop, you know? It's very uplifting, isn't

SPEAKER_01: 59:10

it?

SPEAKER_02: 59:10

Yeah.

SPEAKER_01: 59:11

So I really like it.

SPEAKER_02: 59:13

How about you?

SPEAKER_01: 59:14

I love the... Well, yeah, for some reason the acoustic part... I've really, really enjoyed it on one hand clapping. I think that's one of the first times I've really enjoyed it. I'm not quite sure why, because I can hear that it's a good melody and everything. But I love the beginning. I love the little lyrical things like, you know, all I need is a pint a day. I love that whole lyrical conceit about getting out of jail. But my favorite part is the section that connects that to the main song uh you know this if i ever get out of here i just love that funky rhythm is there a moog on there there's definitely some hand claps uh it's got that i don't know it's the kind of funky sound that maybe is on superstition or something like that anyway it's just i love that part i almost wish that were longer yeah i agree with you i like i like the way that those parts are stitched together. And it's an iconic song for Paul, isn't it? And you've got to go back and listen to the one, Hank, laughing one, because there's just something about it. They've come to it fresh as a band, and they haven't rehearsed it too much. They just sound joyous.

SPEAKER_02: 1:00:35

I'll play a bit of that version,

SPEAKER_01: 1:00:37

if that's okay.

SPEAKER_02: 1:00:39

Just one second. Sounds great.

SPEAKER_01: 1:03:19

I think Tony Visconti was very proud of this. I mean, really doing his George Martin thing there and joining the bits.

SPEAKER_02: 1:03:30

Yeah. There was a version that came in the 25th anniversary second disc, which I thought was really cool. Well, I thought it was cool. It was a cool way to open the second CD, which was kind of the extra, the bonus disc. So I'll play that version. So it's just a different version. Oh, where's it from? It's from

SPEAKER_01: 1:04:39

the 25th anniversary disc two. But I wonder when they recorded that. It sounds like kind of a more recent recording maybe from the sound of Paul's voice. Yeah, it's from the 90s. It's from 98. I love talking about the shrieking and yelling. I mean, he does some on this, doesn't he? Like, what? you know, we're never going to be found. Yeah, very, you know, going into full throttle yelling there.

SPEAKER_02: 1:05:04

Yeah, yeah. And he closes it, sorry, just to finish off. The second disc has a kind of a more comic version of it as well to close the disc. Oh,

SPEAKER_00: 1:05:14

okay.

SPEAKER_02: 1:05:46

Nice way to close

SPEAKER_01: 1:05:47

the disc. Oh, the Beatles, they love their accents. He sounds a little bit like, is it Andrew, the guy who does the box sets and everything on YouTube? He's got the same accent. Like Andrew,

SPEAKER_02: 1:05:58

yes. Yeah, yeah. This is the northern comic version, it's called.

SPEAKER_01: 1:06:04

We've got to mention Jet to finish with. So we've done all the tracks apart from... Mrs. Vanderbilt, sorry, Mrs. Vanderbilt, which is also a great track. But Jet is a bit special for me because I think it was the first Wings song that I heard. And it wasn't actually Wings doing it. It was in the late 70s, early 80s, they used to sell cassettes of other artists, just session musicians doing... greatest hits and I got something called The Beat of Wings and it was just a bunch of session musicians doing a cut price you know version of Wings songs and Jet was either the first or second track on that and I just thought it's superb I mean it's so driving it's got so much energy I just thought wow you know I've got to know more about this band so I liked this song as soon as I heard it I don't even know how particularly it's orchestrated. There's a kind of fuzz drone, and that could be partly the Moog or Moog, you know, Linda again. I don't know if there's kind of brass banging away there or what it is. You know the bit I'm talking about, the da-da-da-da-da-da-da-da. I'm not sure what combination of instruments. makes that but it's got this real um thrill to it mojo said mojo magazine said there's a genuine glam thrill to this track and i have to agree and it's partly that that stunning bass definitely

SPEAKER_02: 1:07:47

yes um it was also a song that paul didn't um see would work as a single and he had to be convinced by an american guy called um is it al corey i don't know if you know the story

SPEAKER_01: 1:08:02

Not Richard Corey. No,

SPEAKER_02: 1:08:04

Al

SPEAKER_01: 1:08:04

Corey.

SPEAKER_02: 1:08:06

He was the first person to realize that Jet would work as a single. No,

SPEAKER_01: 1:08:10

I don't know the story.

SPEAKER_02: 1:08:11

Yeah, because apparently Paul didn't think it would really work as a single. So he thought it would. So they shortened the song to three minutes and they released it and it went to number one.

SPEAKER_01: 1:08:23

It's an obvious single. It's so good. And it's kind of, you know, I'm a big fan of Paul's nonsense lyrics when they're... I don't know, they've got an odd sort of coherence to them. And this is one of his, you know, great nonsense lyrics, all the suffragette stuff. I think it's vaguely, vaguely about meeting Linda's father, right? But, you know, the lyric just, it just works really well. You know, all the Sergeant Major stuff. And Paul says... Yeah, I was a bit intimidated meeting Linda's father. Anyway, the song starts to be about the sergeant major, and it was basically my experience roughly translated.

SPEAKER_02: 1:09:07

So there you are. I didn't know that, actually. I didn't

SPEAKER_01: 1:09:10

know that.

SPEAKER_02: 1:09:11

Yeah, sort of Mr. Eastman. Fun fact about Jet, it has been included in all of Paul McCartney's tours, except for the 1979 Wings British tour.

SPEAKER_01: 1:09:23

Okay, and I'm sure it's included in all the compilations. Yes. I can't believe that it's him drumming. I mean, just the drumming, you can tell that he's really enjoying it. Yeah, he's a good drummer,

SPEAKER_02: 1:09:37

I think.

SPEAKER_01: 1:09:37

He's definitely not an amateur drummer. Yeah, and it's a shame this song only peaked at number seven. Is this correct? It did, it peaked at number seven. But it made

SPEAKER_02: 1:09:48

the album get to number one.

SPEAKER_01: 1:09:51

Right, of course.

SPEAKER_02: 1:09:52

Because it sold... Well, it made the album sell more than one million copies, so it pushed Man on the Run to number one in the charts. For the first of three occasions.

SPEAKER_01: 1:10:04

Oh! Okay. I know it was number one both in Britain and America, and, you know, well-deserved.

UNKNOWN: 1:10:11

Yes.

SPEAKER_01: 1:10:12

Just before we go, I've got to say one thing about Mrs. Vanderbilt. It's the ho-hey-ho. I might have mentioned it before, but it kind of ties into Ukraine. So when you and I saw Paul in 2010 in Hyde Park, and he played Mrs. Vanderbilt, and he mentioned 2008 in Maidan Square in Kyiv, where I saw him doing this and we'd been waiting in the rain for two, between two and four hours. I can't remember, it was a lot of rain. And eventually Paul came on late. And anyway, was a great success, a lovely concert. And the whole Hey Hobbit got everybody singing along. The crowd just went wild for that. I guess because it's quite simple, maybe it hooked in with some melody that they knew out there. I don't know. But Paul remembered that and mentioned it again when we saw him. So that was so nice.

SPEAKER_02: 1:11:20

Yeah, I think that was the first time he ever played the song live in that concert in Kiev I think you're right yeah and that was such a special concert as well I've got the video of it and I definitely wish I'd been to that one

SPEAKER_01: 1:11:35

it was really special because well everyone was drenched you know and we thought he wasn't going to come on at all so when the concert finally happened it was wow yeah wonderful and I often just mention it when people talk about Ukraine and obviously at least part of the country a large number of people are kind of western leaning and they were they loved that show and back in the USSR they loved the kind of the sort of kind of not USSR nostalgia but that kind of the nods to the USSR with the bits of the film there and everything it was really a really a great show and it was lovely to see Was it the first time you saw Paul? No the second Second time. So you've seen him three times? Three times, but you're going to see him for a what time now? I think it's the fifth time. Oh, well, that's so cool. You managed to get tickets and the venue's just yards away from your house,

SPEAKER_02: 1:12:38

right? Yeah, I'd be able to walk to the venue, so that's really cool. And I managed to get tickets at a good price. Because now Ticketmaster has this thing that they add this markup to tickets that are popular. So I bought it at the normal price, which is about 180 euros. And then I went in later and they'd gone up to 500. Oh,

SPEAKER_01: 1:12:59

yeah. I mean, I don't know how much it's Ticketmaster and how much it's kind of bots. And, you know, I'm not an expert, but... machines go in let's say artificial intelligences of one kind or another go in and buy these things up and inflate the prices and yeah it's a bit of a shame for the fans it is for sure but you know I'm so happy you got a ticket

SPEAKER_02: 1:13:22

yeah I'm very happy very looking forward to it it's on I think December 9th which is a day after John's um anniversary Beth anniversary so yeah I'm sure it's going to be a special concert

SPEAKER_01: 1:13:35

Have a great time. Thank you. Yeah. And we'll meet again next time. Yes. I don't want to say two weeks, just in case it's not. But we'll meet again soon to talk about it. Yeah, this was a bit of a longer

SPEAKER_02: 1:13:51

episode, an hour and 15 minutes. But I think it's worth it. It's one of the best albums. It's such a good album. Yeah. Yeah.

SPEAKER_01: 1:13:59

Okay, and treat yourself to one hand clapping. I know, I know. In one format or other.

SPEAKER_02: 1:14:05

Yeah, I wanted to get the same one you got, the two LP and the single, but they sold out. on release

SPEAKER_01: 1:14:12

day yeah just get the CD all the tracks will be on the CD yeah I mean it's just for the I think the Giles Martin remix and it's very present in the speakers it's really nice yeah it's a much

SPEAKER_02: 1:14:25

better mix than the one we got in the Band on the Run bonus disc well thank you very much Neil hopefully we'll meet very soon hopefully in two weeks great talking to you likewise have a good one bye for now bye

SPEAKER_01: 1:14:41

bye