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George: Thatâs about me. Iâm breaking everybodyâs heart.
Freeman: In what way, George?
George: [laughs] I donât know. Any way you care to mention.
"My album coming up is like Mrs. Daleâs Diary, and itâs like me kneeling in front of the priest and saying, 'OK, Iâm sorry. Iâm sorry. I did this and I done that and I done that and I done that,' But Iâll do that. I donât need Womanâs Own magazine or Rolling Stone or any of those other journalists who think theyâve caught me doing this or doing that or gettinâ a divorce or being a loony or whatever. No â they canât catch me âcause I caught myself before they ever knew it. I know. I know what Iâm doing. And I know when Iâm mad. And I know when Iâm havinâ a divorce. And I know when Iâm breakinâ up my marriage. And I know when Iâm not. And I know when Iâm happy. And even if I am breakinâ up my marriage, I know all the good points to it, and all the bad points to it, and itâs none of their business anyway, and even if it is wait âtil my record âcause Iâll tell ya from my point of view â I donât need your twisted point of view to tell me." - George Harrison, Rock Around the World with Alan Freeman (18 Oct. 1974) [x]
"When I first met him he said, 'I don't want you to think you've discovered something about me I don't know. I'm not claiming to be this or that or anything. People think they've found you out when I'm not hiding anything.'" - Olivia Harrison, Living in the Material World (2011)
"[George] was a witness to his actions. He always said, âPeople think theyâve found me or found something out about me. Itâs like that I donât know. I know when Iâm bad. I know.â Nobody suffers more than yourself, right? Than oneâs self when you know youâre not being true, and he TORMENTED himself, you know, I think, a lot. But he was a curious guy, and he just wanted to have all the experiences and hope he could get back in time for the big exit."
- Olivia Harrison, BBC Radio 4 (21 Nov. 2020)
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âInner Beatle Secrets: From Paulâ (interview with Alan Freeman in Rave Magazine, April 1966 issue)
[Full transcript beneath the cut:]
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No doubt, pop-pickers, millions of you would flip at an opportunity to entertain Paul McCartney in your home for a few hours. Well, if you ever do, take my tip . . . move the piano out first. Because Paul makes straight for it the way other people head for a good-looking chick.
âYou eat, sleep and dream on it, donât you?â I said. Paul grinned and rippled out another string of tuneful thoughts, the melody just growing from his fingers. Then he tried it over again, this time adding a jumping bass pattern that suddenly brought the whole thing to life. He stopped halfway through.
âThatâs all Iâve got so far,â he said. âI must work on that a bit more.â
It took me half-an-hour to get Paul away from the keyboard and sit down and relax. I could see why the Beatles rarely run short of great new numbers. If someone invented a way of composing in your sleep, McCartney would be on to it like a shot.
It was nearly a year since Iâd had a Heart-to-Heart with Paul, here in the same room at my London apartment. Weâd met often since then, of course, on shows and in TV studios. But now, with a rare day free just to laze around and sip a long drink and chat about whatever came into his mind, you could see a big change in him.
In the old days Paul, like a lot of genuinely sensitive and creative people, used to cover up a little under a dry, wise-cracking front. Today heâs fizzing like a firework with all sorts of thoughts and theories about music, films, books and art.
People used to ask, âWhat happens when the time comes that the Beatles break up and go their own ways?â I donât think we need to worry. I reckon their individual talents are possibly even greater than their achievements as a group. Even if the Beatles had never made a single disc, the Lennon-McCartney songs would have been a glowing milestone in pop anyhow.
So, if you donât mind, Beatle-diggers, this is Paul the person talking of his ideas, his discoveries as his mind matures and the mad, hurtling pace of the worldâs idols steadies down to a saner rhythm.
The phone rang outside, but I wasnât letting anybody cut in on this revealing session with Paul. âNo calls for the next hour, no matter what,â I said to Carolina, my secretary.
And Paul began to talk.
âItâs hard to know whether the Beatles have changed much in the past year as the public sees them,â he said. âBut I know we have. I know I have, as a personal, internal change. I donât mean things like getting the M.B.E. I think after the first couple of weeks we forgot about that.
âIâd say the really big change is in our tastes, in finding out about things we didnât know before. For instance, George spends all his time now, listening to Indian music. Heâs joined the Asian Music Circle. Heâs really serious about it, too. It started when he got a cithar [sic]âthe Indian instrument we used on âNorwegian Woodâ.
âItâs the same with all of us. Weâve all got interested in things that just never used to occur to us. Iâve got thousands, millions, of new ideas myself. What I really want to do now is to see whether I could write all the music for a film. Not just to write tunes, but the music of the film itself.
âI want to read a lot more than I do. It annoys me that so many million books came out last year and I only read twenty of them. Itâs a drag.
âWhat Iâm reading at the moment is everything I can get on the assassination of President Kennedy . . . all the evidence, all the reports. Iâm convinced that the real truth about that hasnât come out. And Iâm reading a French writerâJarry. Heâs great, weird.
âIâm reading plays like mad, too, I donât know if Iâll ever want to write one. But there are so many things Iâd like to have a try at.
âPainting. Iâve done quite a bit and I enjoy it. Iâd like to do a lot more, find out if I might have a talent for that.â
Caroline brought in tea and passed the cups. âPaul,â I said, âhow would you say all these new interests of yours might affect the Beatlesâ music?â
He grinned, stirring his tea. âWell, if you mean are people frightened that we might suddenly go all sober or play stuff like Mantovani, they neednât worry about that. Weâve got no intention of trying to rehash old things. The whole point is that weâre learning about new things all the time.
âLike doing âYesterdayâ with the string quartet instead of the big sweeping orchestra, which was the old way. But it would be a pity if we change the way which we think is better but everybody else doesnât. Itâd be a pityâbut thatâs the only way weâve ever worked.
âWeâve only made the records which we think are good, and thatâs the only standard weâve ever gone by. Eventually we may get a bit too way-out. I hope not, but I donât know.â
I pointed to the stack of newly released discs standing by the record player and said, âBut if you go through those, for example, everyone can see that pop music is getting more and more way-out. People are going for it, all the same.â
Paul nodded. âYes, to some extent it is. But there are still too many groups who are trying just to keep up. Thatâs no good. Thatâs what makes the whole pop thing dull in the end. You ought to be able to move on a bit further with every record, like The Who.
âAnd whatâs more, theyâve got every chance. The equipment in most British recording studios is much better than it is in the States. But thereâs some extra bit they get to the sound over there that we havenât quite got. I donât know what it is yet, but you get the sensation of that little bit more. The Stones always tell us weâd be better if we recorded in the States, but we never have. We probably will eventually.
âYou put a record of ours with an American record and donât alter the volume, and youâll find the American record is always that fraction louder. And it has a lucid something I canât explain. Funny, because as I say, I believe weâre technically better in Britain.â
Paul shrugged. But he had the contented look of a young man who has just come up with something else to investigate and find out about.
There must be many a group starting out now who are spurred along by visions of what life at the top must be like when you finally get up there in the Beatles class. But Paul said that although you obviously pick up the luxuries, you also discover that youâre going short of a lot of things that less successful people have more time to enjoy.
âI suddenly realised that because of the Beatles, as far as my own life was concerned, Iâd got in a very severe sort of rut. And we all had, because we all just seemed to be working only towards trying to get pop things done. And we saw that obviously we must have missed out on quite a few things.â
He grinned and nodded towards the piano in the corner. âOnly the other day I was working out a number and I stopped and thought, âWhat a drag. Iâm twenty-three and Iâve never learned to read music.â And I found I was thinking to myself as if I was finished. So I said, âWhy donât I?â And now Iâm doing it.
âSooner or later it hits you that the average span of the British male is seventy-five years and youâve had more than twenty of them, so you better make the most of whatâs left. Then the brain starts working, and John and I rush out and buy loads of books.
âIâm lazy, but I donât like myself being lazy. So the only way out is to do something about it. Like I made myself listen to classical records, though nobody in our house ever liked them. When one came on theyâd just turn it off. But I thought, âIâd better sort this out for myself and see whether I like it or not.â
âAnd in fact I donât like a lot of it. Itâs too fruity and sentimental. But from that you get on to what the modern composers are doing. And itâs suddenly great, because you discover that there are all these things going on.
âThen I play them to John and he says, âWhat a dragâall these millions of records coming out all the time and weâve not been getting on to them.â Then we rush out and buy loads of modern compositions.
âThe only thing to do is to listen to everything and then make up your mind about it.â
And thatâs the best advice youâll ever get on this planet, friends. Because it works, not just in the world of music, but in every profession they ever invented. I know people with no special gifts whoâve made fortunes just by listening. Not eavesdropping . . . listening. And when you know, then you can really start moving.
Paul shares with Pete Townshend of The Who a taste for the music of Stockhausen, one of the modern German composers. âHis ideas are fantastic. Itâs the farthest-out music yet. He uses electronic stuff that nobody else has got round to. And his records are listed under the classical section in the catalogues. So if youâve got it in your head that you donât dig classical music, look what youâre shutting out.â
He shook his head. âYou canât go putting music into little categories like serious and Merseybeat and so on. The great thing is that itâs music, whatever label they try to stick on it.â
Paul said with quiet intensity, âYou see, youâre going to have trouble getting but unless you have fairly solid opinions on things. You live in a muddle. as soon as I noticed myself saying âI donât knowâ I thought, âWell, youâll have to try. Why donât I know?â Unless you get at it, by the time you do find out youâll be ready to die.â
The Beatles have obviously been the single influence on pop for decades. But Paul admitted that this influence would never have come about if he, John, George and Ringo hadnât been excited and stimulated by other peopleâs thoughts and ideas.
âThe whole thing is about trying to contact people all the time. And with everything . . . plays, books, music. Even cooking. Anything that breaks down any kind of barrier and lets you get through to another human being . . . thatâs it, thatâs what valuable, thatâs what matters.
âI think thatâs why the whole being-English explosion has been such a success in America and everywhere else. Itâs a genuine effort, and itâs working. Everybody in England has suddenly got just a little bit more interested in everything and everyone else. Britain has just climbed up on to another level, and itâs a wonderful thing.
âYou ought to hear the people who come over here, the ones we talk to. Theyâre knocked out, because the idea they had of England before was just ridiculous. They believe the whole bowler-hat thing, thought the English were very reserved and very cold. When they go to a few parties and see what weâre really like, theyâre amazed.
âOh, sure, thereâs been a change in us, all of us. But thereâs a lot of people whoâre still apathetic, whoâve got one fixed opinion. You know, the kind who say âI just like pop music or rhythm-and-blues or Edmundo Ros and donât ever tell me about anything else because I donât want to knowâ. Theyâre still scared to lay themselves open to any new influence. And they stay in the donât-know rut for ever.
âAs far as the Beatles are concerned, we canât just stop where we are or thereâs nothing left to do. We can go on trying to make popular records and it can get dead dull if weâre not trying to expand at all and move on into other things. Unless youâre careful you can be successful and unsuccessful at the same time.â
The next the Beatles do a television film, Paul said, they want to use many more of their own ideas instead of leaving it to the networkâs camera crews. âThe one they did while we were in America could have been so much better. It needed just that little extra bit of imagination.
âInstead of getting someone in to do the music and the sounds, weâd like to do it ourselves. Spend a long time on it and really work at it.
âWeâre getting something thatâll really give us some experience with mixing up sound and film in that sort of way. Itâs a gift Capitol Records gave us in the States, and itâs the greatest little present event.
âItâs a television recorder. You just plug it into your set and you record the programme straight off, just like on to a tape. You can record the BBC while youâre watching ITV and show the film on your telly at one oâclock in the morning if you want to. They said weâll be the first people in England to have them.
âSo what weâre going to do when they come is go out and shoot film, weird shapes and patterns and light, and record special weird music to go with it and then come back and play it at home on the television. And weâll be able to find out what works and what doesnât, so that when we do a proper full-scale film weâll know exactly what to put in it.â
The telephone shrilled in the other room. I looked at my watch. Our quiet hour had ended. âItâs Brian Epsteinâs office for Paul,â said Caroline.
If youâre a Beatle, the world doesnât leave you alone for long. While Paul was on the phone, the chauffeur arrived to pick him up for another business meeting. And for another while at least, all the schemes would have to wait while Paul the person made way for Paul the star.
As we shook hands on his way out, I wondered how far he would have carried his plans, what new excitements would be gripping him, the next time we have the chance of a Heart-to-Heart. More than likely, he would have come in from the bachelor cold by then and followed the other Beatles into marriage.
One thing for sure, I thought. No kid of Paul McCartneyâs will turn out to be a donât-know.
I looked at the piano guiltily as the lift hummed down to the ground floor. After all this time, I should be able to play that machine with the best of them. Why canât I? I sat down and got a little chord shape going.
âAlan,â said Caroline around the door. âFred Thing wants to know if you can come over.â
One note out in the bass somewhereâthatâs got it.
âTell him Iâd love to,â I said. âBut I canât now. Iâm working on an idea.â