November 1, 2023 • 19 mins
As Paul McCartney’s life moved further away from the centering force of Liverpool, the distance, both physical and cultural, started becoming increasingly apparent. It's a distance described by Paul as inevitable, if regrettable. “Uncle Albert / Admiral Halsey” is Paul’s expression of the dual longing for home one can experience while also longing to create a new life full of adventure. Released on Paul and Linda’s “RAM” album in 1971, the song is layered with meaning and references to his contradictory feelings.
“McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries.
The series was produced by Pejk Malinovski and Sara McCrea; written by Sara McCrea; edited by Dan O’Donnell and Sophie Crane; mastered by Jason Gambrell with sound design by Pejk Malinovski. The series is executive produced by Leital Molad, Justin Richmond, Lee Eastman, Scott Rodger and Paul McCartney.
Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell.
See omnystudio.com/listener for privacy information.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:14):
Pushkin.
Speaker 2 (00:20):
We're so sorry, Uncle Louder.
Speaker 3 (00:26):
So we look at Albertbert. Yeah, I actually had an Unclouder.
Speaker 4 (00:32):
We're so sorry, Uncle loud. Unclouds worked with my dad
in cotton firm. Dad was a salesman.
Speaker 3 (00:46):
Cloud I think was there was something a little higher.
Speaker 4 (00:50):
We certainly had more money, but it was you know,
our family gatherings were always very great, very friendly, very
humorous occasions, and they would get pissed.
Speaker 5 (01:03):
A lot of the.
Speaker 4 (01:04):
Uncles were were referred to as piss artists and the
drink a bit.
Speaker 5 (01:11):
Yeah, so sorry, Ocao, that.
Speaker 4 (01:14):
Was standing on the table and recite the Bible shit,
you know.
Speaker 3 (01:21):
Keep everyone straight in the way of the light.
Speaker 1 (01:44):
And Paul will do. And I've been fortunate to spend
time with one of the greatest songwriters of our era.
Speaker 3 (01:52):
And will you look at me?
Speaker 5 (01:54):
I'm going up to I'm actually a performer.
Speaker 1 (01:57):
That is sir Paul McCartney. We work together on a
book looking at the lyrics of more than one hundred
and fifty of his songs, and we recorded many hours
of our conversations.
Speaker 5 (02:10):
Actual, I'm a songwriter. My god, well that that crept
up on me.
Speaker 1 (02:15):
This is McCartney, a life in lyrics, a masterclass, a memoir,
and an improvised journey with one of the most iconic
figures in popular music in this episode, Uncle Albert, Admiral Halsey.
(02:45):
In nineteen sixty three, their manager Brian Epstein, relocated the Beatles'
base operations to London. By the end of the nineteen sixties,
when Paul McCartney wrote, Uncle Albert, his old life in
Liverpool seemed far away.
Speaker 4 (03:03):
I'd moved away from Liverpool quite firmly by this point,
and I wouldn't see the family anywhere near as regularly
we might go back up for a.
Speaker 5 (03:14):
New Year's Eve party.
Speaker 4 (03:15):
After I moved to them, I would sometimes throw a
New Year's party with the idea of reassembling family in
the good times.
Speaker 6 (03:26):
So there were a lot of jokes, a lot of songs,
a lot of wit, a lot of play. All my
uncles I can't think of war wasn't funny. But it
became less and less as time went on. They became
less and less. They died, so the older generation, my
Dad's generation, and they're all gone now.
Speaker 4 (03:49):
So yeah, there was a nostalgic feeling for you know that,
and also this feeling of I've moved myself so far
out of what you know, what Uncle Albert knows about
the cotton exchange, and then getting up on the table
and getting drunk smoke in his pipe.
Speaker 1 (04:10):
As Paul McCartney left his family behind in Liverpool, he
was also leaving behind an era of war and poverty
that framed the decades of his youth, the nineteen forties
and nineteen fifties.
Speaker 7 (04:26):
This is a part of Liverpool, a city of nearly
a million inhabitants and one of the biggest ports and
shipbuilding areas in the world. During the war, it was
a target for air raids which laid waste whole areas.
Speaker 1 (04:36):
Even though they were surrounded by these bombed out areas,
the McCartneys weren't directly affected by the war. Paul's father
worked at a cotton mill and as mother was a nurse.
It was a striving working class home. But the effects
of the war were still very much felt in Liverpool,
(04:59):
a city which throughout the nineteen fifties had rationing protocols
in place and was littered with bomb sites on Rove
toward From all.
Speaker 5 (05:09):
Of that, it was just like as if it had
just gone just because of the circumstances of your life.
Speaker 4 (05:16):
Yeah, it had kind of gone mentally and were also physically.
It was like I was in a film. You'd just
see that set drift off.
Speaker 7 (05:24):
Now the City Council are rebuilding fast. One of the
most interesting achievements of the council was to establish, over
one hundred years ago, public wash houses, where even now,
thousands of Liverpool housewives bring their weekly wash.
Speaker 1 (05:36):
On top of the physical distance McCartney had put between
himself and his hometown of Liverpool, he had also taken
up a lifestyle that was light years removed from his
humble beginnings.
Speaker 5 (05:50):
We're so sorry, un.
Speaker 4 (05:56):
We're not really saying I'm sorry, but I'm saying you
wouldn't get where I am now.
Speaker 3 (06:03):
I'm like in the Beatles, I'm like living in a
big house in London.
Speaker 5 (06:09):
But isn't that also saying I want to be with you.
I'm so sorry.
Speaker 3 (06:14):
If we course you any pain, there's no one left
from home.
Speaker 5 (06:18):
But I believe on a round.
Speaker 3 (06:26):
It's just that a distance.
Speaker 5 (06:30):
I'm sorry. I'm not only by that, but you don't
want that distance. You yourself don't want that distance.
Speaker 3 (06:36):
I don't didn't all you didn't well I didn't.
Speaker 5 (06:40):
That's like saying you don't want anyone to die.
Speaker 4 (06:43):
I mean, it's it's an unfortunate reality, that distance it
must have unless you still live with your moment. Dad,
I gave you the one and all Bobulous.
Speaker 1 (06:59):
The people's wild popularity meant that Paul was living an
extravagant life in London. His uncle Albert didn't I actually
do much calling, but his aunt Jin would occasionally make
the trip down to check in.
Speaker 4 (07:17):
I mean, you go back into the sort of bosom
of your family when when your auntie comes to visits and.
Speaker 5 (07:23):
You just do sort of all the old things.
Speaker 4 (07:25):
And so I was just sort of sitting around playing
a bit of piano, and then in the evening swedes
Horda sit around, have a drink and play cards and
just talk and everything, you know. And she originally come down.
One of the reasons she'd come down was to talk
to me about the sin of smoking pot. She'd been
(07:46):
sent down. She was they called it, used to call
her control. She'd been sitting down as an emissary.
Speaker 3 (07:54):
And who would have sent her on.
Speaker 4 (07:58):
The family family? Who knows which one or how many?
I don't know, really, I think you know the word
that just got back that our pole's going a bit
wild in London, you know, so go and check him out, Jenny.
Speaker 1 (08:15):
In the song, McCartney sings the first verse in a
tone aligned with his younger, naive self, new to London
far from home, apologizing for his departure, promising to get
in touch only if he has something to report.
Speaker 2 (08:34):
We're so sorry when we have name day, We're so sorry.
Speaker 3 (08:43):
Oh cool.
Speaker 4 (08:50):
Me so so, I'm saying I used to hear from
him a lot, and so now I'm saying we haven't
heard a thing all day. So sorry, I'm but anything
should have movie show to get a ring. It's just
that sort of dismissing thing, you know. Back pap pat
(09:11):
on my head, will be in touch.
Speaker 1 (09:24):
Neither speaker of the song seems to talk down to
his relatives, who cannot possibly understand his fabulous new life
in the city.
Speaker 3 (09:34):
Yeah, I just imagine him now as a character.
Speaker 5 (09:37):
There is uncle.
Speaker 4 (09:37):
But we're so sorry, but we haven't done a bloody
thing all day. And I go into character now and
I'm now some sort of very arrogant POSHTI.
Speaker 3 (09:49):
Now I'm so sorry, La, I'm doing a bloody thing
all day. You know, we've got another life here and
I'm afraid you know, I'm dismissing you.
Speaker 5 (10:00):
So the act, the shift and accent is enough. I'm
trying to remember and I how you do this?
Speaker 3 (10:04):
Yeah, that's right.
Speaker 1 (10:23):
By the time Paul McCartney wrote the song Uncle Albert
in nineteen seventy, even the shine of London had worn off,
the stodgy business meetings, the decline of the Beatles, fame
and glamour losing their luster. The band had once carried
the playful, spontaneous energy of their hometown, but at the
(10:48):
end of the decade this playfulness had fizzled out. Once again,
McCartney would have to create a new life.
Speaker 3 (11:09):
So then it goes into hands across the water, across
the This is more now bringing you, This is more
Me and Linda, hands.
Speaker 4 (11:19):
Across the water, you know, American and British, Okay, heads
across the sky.
Speaker 1 (11:24):
I like that in which a lot of hands across
the water, heads across the sky.
Speaker 4 (11:29):
It's interesting, it works for Anglo American.
Speaker 5 (11:35):
Yeah sort of thing, couldn't.
Speaker 1 (11:46):
As the song shifts into a kind of carellesque nursery rhyme,
another character enters the scene. This is William Bull Halsey,
an admiral in the American Navy during the Second World War,
and who you can tell from interviews, wasn't an especially
nursery rhyme like character.
Speaker 4 (12:07):
We have not done our playing. We have branded them.
We have drowned them, and I just planning to brand
I ad a drowned.
Speaker 5 (12:18):
It does Halsey in any particular?
Speaker 3 (12:20):
Is that a historical I don't know where I got
any more Halsey from.
Speaker 5 (12:23):
I wasn't just read it or heard it somewhere. And
then now I'm in.
Speaker 4 (12:29):
I'm in this arrogant upper class person who's got into
the song and I'm just having fun with it.
Speaker 5 (12:36):
I like that. Yes, he goes, So it's a playlet.
Speaker 4 (12:40):
Basically, it's a little plays elect But I suppose if
this was a play you could give these lines to
different characters.
Speaker 3 (12:53):
Before he couldn't get the thing.
Speaker 1 (12:56):
I had another, and I had a couple of the plane.
Admiral Halsey needs a birth to get to see, but
the narrator is ignoring him, is too busy having a
cup of tea and some butter pie.
Speaker 3 (13:19):
The border wouldn't also put it in the pie.
Speaker 5 (13:22):
I like that.
Speaker 1 (13:34):
Amid the bleak negotiations surrounding the Beatles and the impossibility
of returning home to Liverpool. McCartney found the humor and
lightheartedness he remembered from his extended family in his new
wife Linda Eastman.
Speaker 3 (13:57):
But is this little pats you get around? This is
me and Lenda at that time, and this is sort
of what we do.
Speaker 5 (14:05):
What did you do? Want to the rigid systems we
were living in.
Speaker 4 (14:15):
Mine was apple business, alan Cline takeovers all of that,
and I always I wanted to buy my own Christmas tree.
I didn't want the office to send a Christmas tree
around for me. That's a great, great web I did.
I started actually doing that, or chopping one down in
(14:37):
the forest in the back of the land rover. It's
not as strong as a rebel, but we were rebellious
rebels with a sense of humor that we were doing
all sorts of things like that. I would involved with
(14:58):
like the animal activists getting on Christmas tree.
Speaker 5 (15:02):
Then there would be cooking and stuff.
Speaker 4 (15:03):
We got vegetarian and now she's going to figure out
how we do turkey. So we do a macaroni turkey.
It's like mac and cheese, but it goes solid and
then we'd slice it and we'd have that. I saw
a macaroni tack.
Speaker 1 (15:23):
Paul and Linda managed to cut free and establish not
only a new family, but a creative partnership. The song
Uncle Albert, credited to the Husband Wife Jo, was number
one on the American charts. In their new, more bohemian lifestyle,
(15:55):
Paul and Linda could also establish the family life they wanted,
filled with joyous humor and fun. It was perhaps this
experience raising children on the farm that inspired McCay need
to write about his extended family back in Liverpool, his
uncle Albert, who had countered the war with a similar
(16:19):
sense of humor.
Speaker 3 (16:20):
It was a good up front of me, and I
thought everyone's families were like that.
Speaker 5 (16:25):
John and here about his family life. He was like,
oh my god.
Speaker 6 (16:30):
Yeah.
Speaker 5 (16:30):
So I really praised my family for that because it
was so rich.
Speaker 3 (16:36):
It really was rich. And I think a lot of
what I am and a lot of what I write
about a lot of what I think is that, you.
Speaker 4 (16:47):
Know, I often say I've met a lot of very
amazing influential people in the world.
Speaker 1 (16:54):
Yeah, Sacha bark Palm, you know, the one and only
Sir Paul McCartney, Thank you so much.
Speaker 4 (17:05):
Oh some of my Liverpool family I think was was better.
We just had something going for them. Besides this niceness
and besides this good mamics. Sense of humor was ridiculous.
They were always being funny. And my theory is because
they just got out of a bloody war. Unlike a
(17:27):
lot of their friends. They just escaped being bond.
Speaker 6 (17:34):
H with THO.
Speaker 2 (17:47):
Sorry but we had a name.
Speaker 5 (17:52):
With those, Sorry.
Speaker 2 (17:57):
Uncle Albert, Admiral Housey from Paul and Linda McCartney's nineteen
seventy one album Ram.
Speaker 4 (18:32):
But we have a plenty name Monday.
Speaker 5 (18:38):
We're so sorry aloud but the candles out the oil
and were.
Speaker 6 (18:51):
Going away.
Speaker 1 (19:13):
In our next episode.
Speaker 5 (19:15):
And if I said I really knew you well, what
would your answer be?
Speaker 4 (19:24):
If you readed day.
Speaker 1 (19:32):
Here Today a love song to John Lennon had a
conversation that never took place. McCartney A Life in Lyrics
is a co production between iHeartMedia, NPL and Pushkin Industries
Pushkin.
Speaker 2 (00:20):
We're so sorry, Uncle Louder.
Speaker 3 (00:26):
So we look at Albertbert. Yeah, I actually had an Unclouder.
Speaker 4 (00:32):
We're so sorry, Uncle loud. Unclouds worked with my dad
in cotton firm. Dad was a salesman.
Speaker 3 (00:46):
Cloud I think was there was something a little higher.
Speaker 4 (00:50):
We certainly had more money, but it was you know,
our family gatherings were always very great, very friendly, very
humorous occasions, and they would get pissed.
Speaker 5 (01:03):
A lot of the.
Speaker 4 (01:04):
Uncles were were referred to as piss artists and the
drink a bit.
Speaker 5 (01:11):
Yeah, so sorry, Ocao, that.
Speaker 4 (01:14):
Was standing on the table and recite the Bible shit,
you know.
Speaker 3 (01:21):
Keep everyone straight in the way of the light.
Speaker 1 (01:44):
And Paul will do. And I've been fortunate to spend
time with one of the greatest songwriters of our era.
Speaker 3 (01:52):
And will you look at me?
Speaker 5 (01:54):
I'm going up to I'm actually a performer.
Speaker 1 (01:57):
That is sir Paul McCartney. We work together on a
book looking at the lyrics of more than one hundred
and fifty of his songs, and we recorded many hours
of our conversations.
Speaker 5 (02:10):
Actual, I'm a songwriter. My god, well that that crept
up on me.
Speaker 1 (02:15):
This is McCartney, a life in lyrics, a masterclass, a memoir,
and an improvised journey with one of the most iconic
figures in popular music in this episode, Uncle Albert, Admiral Halsey.
(02:45):
In nineteen sixty three, their manager Brian Epstein, relocated the Beatles'
base operations to London. By the end of the nineteen sixties,
when Paul McCartney wrote, Uncle Albert, his old life in
Liverpool seemed far away.
Speaker 4 (03:03):
I'd moved away from Liverpool quite firmly by this point,
and I wouldn't see the family anywhere near as regularly
we might go back up for a.
Speaker 5 (03:14):
New Year's Eve party.
Speaker 4 (03:15):
After I moved to them, I would sometimes throw a
New Year's party with the idea of reassembling family in
the good times.
Speaker 6 (03:26):
So there were a lot of jokes, a lot of songs,
a lot of wit, a lot of play. All my
uncles I can't think of war wasn't funny. But it
became less and less as time went on. They became
less and less. They died, so the older generation, my
Dad's generation, and they're all gone now.
Speaker 4 (03:49):
So yeah, there was a nostalgic feeling for you know that,
and also this feeling of I've moved myself so far
out of what you know, what Uncle Albert knows about
the cotton exchange, and then getting up on the table
and getting drunk smoke in his pipe.
Speaker 1 (04:10):
As Paul McCartney left his family behind in Liverpool, he
was also leaving behind an era of war and poverty
that framed the decades of his youth, the nineteen forties
and nineteen fifties.
Speaker 7 (04:26):
This is a part of Liverpool, a city of nearly
a million inhabitants and one of the biggest ports and
shipbuilding areas in the world. During the war, it was
a target for air raids which laid waste whole areas.
Speaker 1 (04:36):
Even though they were surrounded by these bombed out areas,
the McCartneys weren't directly affected by the war. Paul's father
worked at a cotton mill and as mother was a nurse.
It was a striving working class home. But the effects
of the war were still very much felt in Liverpool,
(04:59):
a city which throughout the nineteen fifties had rationing protocols
in place and was littered with bomb sites on Rove
toward From all.
Speaker 5 (05:09):
Of that, it was just like as if it had
just gone just because of the circumstances of your life.
Speaker 4 (05:16):
Yeah, it had kind of gone mentally and were also physically.
It was like I was in a film. You'd just
see that set drift off.
Speaker 7 (05:24):
Now the City Council are rebuilding fast. One of the
most interesting achievements of the council was to establish, over
one hundred years ago, public wash houses, where even now,
thousands of Liverpool housewives bring their weekly wash.
Speaker 1 (05:36):
On top of the physical distance McCartney had put between
himself and his hometown of Liverpool, he had also taken
up a lifestyle that was light years removed from his
humble beginnings.
Speaker 5 (05:50):
We're so sorry, un.
Speaker 4 (05:56):
We're not really saying I'm sorry, but I'm saying you
wouldn't get where I am now.
Speaker 3 (06:03):
I'm like in the Beatles, I'm like living in a
big house in London.
Speaker 5 (06:09):
But isn't that also saying I want to be with you.
I'm so sorry.
Speaker 3 (06:14):
If we course you any pain, there's no one left
from home.
Speaker 5 (06:18):
But I believe on a round.
Speaker 3 (06:26):
It's just that a distance.
Speaker 5 (06:30):
I'm sorry. I'm not only by that, but you don't
want that distance. You yourself don't want that distance.
Speaker 3 (06:36):
I don't didn't all you didn't well I didn't.
Speaker 5 (06:40):
That's like saying you don't want anyone to die.
Speaker 4 (06:43):
I mean, it's it's an unfortunate reality, that distance it
must have unless you still live with your moment. Dad,
I gave you the one and all Bobulous.
Speaker 1 (06:59):
The people's wild popularity meant that Paul was living an
extravagant life in London. His uncle Albert didn't I actually
do much calling, but his aunt Jin would occasionally make
the trip down to check in.
Speaker 4 (07:17):
I mean, you go back into the sort of bosom
of your family when when your auntie comes to visits and.
Speaker 5 (07:23):
You just do sort of all the old things.
Speaker 4 (07:25):
And so I was just sort of sitting around playing
a bit of piano, and then in the evening swedes
Horda sit around, have a drink and play cards and
just talk and everything, you know. And she originally come down.
One of the reasons she'd come down was to talk
to me about the sin of smoking pot. She'd been
(07:46):
sent down. She was they called it, used to call
her control. She'd been sitting down as an emissary.
Speaker 3 (07:54):
And who would have sent her on.
Speaker 4 (07:58):
The family family? Who knows which one or how many?
I don't know, really, I think you know the word
that just got back that our pole's going a bit
wild in London, you know, so go and check him out, Jenny.
Speaker 1 (08:15):
In the song, McCartney sings the first verse in a
tone aligned with his younger, naive self, new to London
far from home, apologizing for his departure, promising to get
in touch only if he has something to report.
Speaker 2 (08:34):
We're so sorry when we have name day, We're so sorry.
Speaker 3 (08:43):
Oh cool.
Speaker 4 (08:50):
Me so so, I'm saying I used to hear from
him a lot, and so now I'm saying we haven't
heard a thing all day. So sorry, I'm but anything
should have movie show to get a ring. It's just
that sort of dismissing thing, you know. Back pap pat
(09:11):
on my head, will be in touch.
Speaker 1 (09:24):
Neither speaker of the song seems to talk down to
his relatives, who cannot possibly understand his fabulous new life
in the city.
Speaker 3 (09:34):
Yeah, I just imagine him now as a character.
Speaker 5 (09:37):
There is uncle.
Speaker 4 (09:37):
But we're so sorry, but we haven't done a bloody
thing all day. And I go into character now and
I'm now some sort of very arrogant POSHTI.
Speaker 3 (09:49):
Now I'm so sorry, La, I'm doing a bloody thing
all day. You know, we've got another life here and
I'm afraid you know, I'm dismissing you.
Speaker 5 (10:00):
So the act, the shift and accent is enough. I'm
trying to remember and I how you do this?
Speaker 3 (10:04):
Yeah, that's right.
Speaker 1 (10:23):
By the time Paul McCartney wrote the song Uncle Albert
in nineteen seventy, even the shine of London had worn off,
the stodgy business meetings, the decline of the Beatles, fame
and glamour losing their luster. The band had once carried
the playful, spontaneous energy of their hometown, but at the
(10:48):
end of the decade this playfulness had fizzled out. Once again,
McCartney would have to create a new life.
Speaker 3 (11:09):
So then it goes into hands across the water, across
the This is more now bringing you, This is more
Me and Linda, hands.
Speaker 4 (11:19):
Across the water, you know, American and British, Okay, heads
across the sky.
Speaker 1 (11:24):
I like that in which a lot of hands across
the water, heads across the sky.
Speaker 4 (11:29):
It's interesting, it works for Anglo American.
Speaker 5 (11:35):
Yeah sort of thing, couldn't.
Speaker 1 (11:46):
As the song shifts into a kind of carellesque nursery rhyme,
another character enters the scene. This is William Bull Halsey,
an admiral in the American Navy during the Second World War,
and who you can tell from interviews, wasn't an especially
nursery rhyme like character.
Speaker 4 (12:07):
We have not done our playing. We have branded them.
We have drowned them, and I just planning to brand
I ad a drowned.
Speaker 5 (12:18):
It does Halsey in any particular?
Speaker 3 (12:20):
Is that a historical I don't know where I got
any more Halsey from.
Speaker 5 (12:23):
I wasn't just read it or heard it somewhere. And
then now I'm in.
Speaker 4 (12:29):
I'm in this arrogant upper class person who's got into
the song and I'm just having fun with it.
Speaker 5 (12:36):
I like that. Yes, he goes, So it's a playlet.
Speaker 4 (12:40):
Basically, it's a little plays elect But I suppose if
this was a play you could give these lines to
different characters.
Speaker 3 (12:53):
Before he couldn't get the thing.
Speaker 1 (12:56):
I had another, and I had a couple of the plane.
Admiral Halsey needs a birth to get to see, but
the narrator is ignoring him, is too busy having a
cup of tea and some butter pie.
Speaker 3 (13:19):
The border wouldn't also put it in the pie.
Speaker 5 (13:22):
I like that.
Speaker 1 (13:34):
Amid the bleak negotiations surrounding the Beatles and the impossibility
of returning home to Liverpool. McCartney found the humor and
lightheartedness he remembered from his extended family in his new
wife Linda Eastman.
Speaker 3 (13:57):
But is this little pats you get around? This is
me and Lenda at that time, and this is sort
of what we do.
Speaker 5 (14:05):
What did you do? Want to the rigid systems we
were living in.
Speaker 4 (14:15):
Mine was apple business, alan Cline takeovers all of that,
and I always I wanted to buy my own Christmas tree.
I didn't want the office to send a Christmas tree
around for me. That's a great, great web I did.
I started actually doing that, or chopping one down in
(14:37):
the forest in the back of the land rover. It's
not as strong as a rebel, but we were rebellious
rebels with a sense of humor that we were doing
all sorts of things like that. I would involved with
(14:58):
like the animal activists getting on Christmas tree.
Speaker 5 (15:02):
Then there would be cooking and stuff.
Speaker 4 (15:03):
We got vegetarian and now she's going to figure out
how we do turkey. So we do a macaroni turkey.
It's like mac and cheese, but it goes solid and
then we'd slice it and we'd have that. I saw
a macaroni tack.
Speaker 1 (15:23):
Paul and Linda managed to cut free and establish not
only a new family, but a creative partnership. The song
Uncle Albert, credited to the Husband Wife Jo, was number
one on the American charts. In their new, more bohemian lifestyle,
(15:55):
Paul and Linda could also establish the family life they wanted,
filled with joyous humor and fun. It was perhaps this
experience raising children on the farm that inspired McCay need
to write about his extended family back in Liverpool, his
uncle Albert, who had countered the war with a similar
(16:19):
sense of humor.
Speaker 3 (16:20):
It was a good up front of me, and I
thought everyone's families were like that.
Speaker 5 (16:25):
John and here about his family life. He was like,
oh my god.
Speaker 6 (16:30):
Yeah.
Speaker 5 (16:30):
So I really praised my family for that because it
was so rich.
Speaker 3 (16:36):
It really was rich. And I think a lot of
what I am and a lot of what I write
about a lot of what I think is that, you.
Speaker 4 (16:47):
Know, I often say I've met a lot of very
amazing influential people in the world.
Speaker 1 (16:54):
Yeah, Sacha bark Palm, you know, the one and only
Sir Paul McCartney, Thank you so much.
Speaker 4 (17:05):
Oh some of my Liverpool family I think was was better.
We just had something going for them. Besides this niceness
and besides this good mamics. Sense of humor was ridiculous.
They were always being funny. And my theory is because
they just got out of a bloody war. Unlike a
(17:27):
lot of their friends. They just escaped being bond.
Speaker 6 (17:34):
H with THO.
Speaker 2 (17:47):
Sorry but we had a name.
Speaker 5 (17:52):
With those, Sorry.
Speaker 2 (17:57):
Uncle Albert, Admiral Housey from Paul and Linda McCartney's nineteen
seventy one album Ram.
Speaker 4 (18:32):
But we have a plenty name Monday.
Speaker 5 (18:38):
We're so sorry aloud but the candles out the oil
and were.
Speaker 6 (18:51):
Going away.
Speaker 1 (19:13):
In our next episode.
Speaker 5 (19:15):
And if I said I really knew you well, what
would your answer be?
Speaker 4 (19:24):
If you readed day.
Speaker 1 (19:32):
Here Today a love song to John Lennon had a
conversation that never took place. McCartney A Life in Lyrics
is a co production between iHeartMedia, NPL and Pushkin Industries
Host
Paul McCartney
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