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T: The next track in the medley is the “Sun King” song.
J: That’s where we pretended to be Fleetwood Mac for a few minutes.
T: And then you get into a sort of a language thing which I couldn’t figure it out.
It was some type of …
J: Oh it’s chord,y’know(?)
See we did the introductions.
We called it the song riff, the little instrumental bit.
It’s like Fleetwood Mac before we started singing
and we did it again on the end,
so when we came to sing it, to make them different,
so it wasn’t just the same riff.
We just started joking, you know, singing “Quando paramucho”.
So we just made up...
Paul knew a few Spanish words from school you know.
We just strung any Spanish words sounded vaguely like something.
Of course we got “cicce verdi”.
That’s a Liverpool expression, just like sort of…
It doesn’t mean anything.
The one we miss we should have got paranoia.
I forgot all about it.
We used to call ourselves lost paranoias.
T: And uh… So then is there any idea behind “Sun King”?
Is there maybe a symbolism or just…
J: No, it was just half a song I have which I never finished.
It was one way of getting rid of it without ever finishing it you know,
and the song madly went and we wanted to change the atmosphere,
so then here comes the “Sun king”.
You know. Why not?Here it comes.
Everybody is happy and “Quando paramucho”, ect ect.
T: Paranoias! That’s Okay!
J: I like it, hit with that! It was country.
They take it off separately.??
T: Okay ?????? preserved. Right, the “Sun King”.
J: “Que canite” is a nice line too, cause that in Spanish is “que can” or something，
but we don’t know, so “que canite”
T: Okay, we will have a try now, “Sun King”.
-----Mean Mr. Mustard-------
T: “Mean Mr. Mustard” reminded me of the sort of songs probably about the “revolver” type.
I think it’s sort of that temper that sort of…
Is that a song that you have from the very back?
J: I have it. I wrote it in India.
So that was pre 'the Beatles’ double album, so it’s not old.
And it was from some newspaper clippings.
The title was “Mean Mr. Mustard” about some guy who has done something other.
Of course, the song was nothing like it, you know.
That was like the newspaper title cutting.
T: Cause in fact it was quite short as well.
J: Yeah. That’s also half a song which I’ve never finished, you know, so I put it in that…
T: “Mean Mr. Mustard”.
-------------Polythene Pam-------------
T：From “Mean Mr. Mustard” straight to “Polythene Pam”,
who turned out to be Mean Mr. Mustard’s sister.
This is getting backing to the original Rock n’ Roll again, isn’t it?
J: Yeah, it’s a bit of like everything in a way, sort of,
is not fade away and summertime blues…everything…
That’s sort of the half a song I wrote in India, about Kiki girl and polythene bag, you know.
T: (hhh) Pretty bagism, isn't it?
J: Oh yeah. Polythene bag…
T: See through polythene bag…
J: Yeah, right. That’s what she wears, you know. She did drag in her polythene bag.
T: Okay, we’ll just take a look at “Polythene Pam”.
-------She came in through the bathroom window-------
T: Well, “She came in through the bathroom window”.
I read some words on the press.
This is an idea that Paul had about during one of the American tours or affairs.
J: No, it was when Paul and I went to America to publish Apple about 2 years ago,
to announce the opening.
And we were just in the flat we were staying
and he just came out the line “She came in through the bathroom window”,
so he had it for years.
He eventually finished it
T: So it was another song that was, sort of, ??back???
J: Yeah, most of them are, except for, you know,
“You never give me your money” and “golden slumbers”.
T: So “She came in through the bathroom window”. OMG
-----------------Golden slumbers-----------------
T: Onto “Golden Slumbers” and strings this time whose job is it?
J: Yeah, Paul laid the strings on after we finished most of the basic track, you know.
T: Yeah, it seems to me that…
I think a lot of people had expected that
you’ll profusely come more complex with the musical auditions on this LP, but…
J: Well, I don’t know what…
You know, they shouldn’t expect anything.
I personally can’t get involved in the string; you know.
I like to do it with the group, you know.
Whatever old with the electronics,
I can’t help going through that hassle with musicians and all that thing
It’s such a drag, something like getting them together.
But Paul digs that, so that’s his thing.
It was up to him where it went with the violins or what he did with them.
And I think he just wanted to straight kinda back in, you know.
Nothing freaky.
The White Trash （一个乐队，翻唱了Golden Slumbers) made us sing aloud to this, folks!
T: And uh… Is there strings?
J: Yeah, they used strings.
They’ve done some.
It’s pretty similar to the track we did,
except that they’ve done some big nice things like the big organ,
like a church organ playing a solo or something.
T: It’s also rather different for them,
because they’ve been…normally sort of gutsy...
J: Yeah, they’ve done it quite good.
The song was sort of vaguely, gospely in a way.
“Sleep little darlin don’t you cry.”
Oh that bit is a little big gospely.
T: And whether have you involved in the production of this?
J: Not of the white trash.
No, they did it completely on their own.
I don't ever produce it.
But they had a good start, you know, “The Beatles”’ album.
T: Yeah, it’s true, so it’s uh…
J: They’ve done a good job. I hope it’ll get a hit.
T: Right, so we’ll have The Beatles singing “Golden Slumbers”.
-----------Carry that weight----------
T: Get to the track called “Carry that weight” which I think sort of features everybody.
J: Yes, that’s the sort of the “Maxwell’s silver hammer” story again.
We’ve all got a great load to carry, you know,
but that’s a part of “Golden Slumbers”, really.
T: Well, this is a sort of logical follow, isn’t it?
J: Yeah, it is, sort of, the one song really.
That’s sort of chorus of “Golden Slumbers”.
T: And this’s also been covered by somebody I read…
J: Well, White Trash is done… Keep going!
They’ve done “Golden Slumbers” including “Carry that weight”, you know.
That was the one song.
T: Oh, I see. Right, and was this one which you all wrote or…
J: No, it’s Paul’s line. As far as I know.
(hhh) Oh, it could be George or Ringo. I presume it’s Paul.
T: Okay, “Carry that weight”!
---------------The End-----------------------
T: And now we move fairly and logically to “The End”,
which was a way to finish that, wasn’t it?
J: Yes, get out of that…
T: Yeah, a way to close the show.
J: Yes.
T: As there is really not much more to be said about, but we will come back after the…
J: What about “Her Majesty”?
T: Well, why don’t we play “The End” first, then we let the silence runs out.
J: Oh yeah, so you gonna do it properly.
------------Her Majesty-----------------
T: “Her Majesty is a very fine girl and one day I’m going to make her mine.”
It’s gonna be a fairly strong line, I think.
Actually, when the double LP was released at that time,
I did a similar program with Paul.
He played this to me (J: Oh, did he?) at that time. Yeah.
In fact, It was on that tape when we were sort of just getting level or something.
J: On I see. I think he did it again for this.
T: Yeah, I’m sure he did, but he decided sort of throwing away.
J: We all have tons of bits and pieces, you know, lining around for years.
I’ve got stuff that I wrote around “Pepper”, you know. just still…
Because I started to lose interest after a couple of years,
so I never recorded it.
T: Do you ever sort of consider giving this material to anybody else?
J: Yes, I've meant to.
There was just one particular song
if you mean to make a demo or to give to somebody other,
but I never get around to it.
So not doubt someone will hound before it now.
T: I’m sure I will.
The fact that “Her Majesty” isn’t listed on this list.
Is there any particular reason?
J: We like to have a joke on the end, you know,
or a surprise like on the end of…
What was it? “Pepper” or “The Beatles”’ double album, just…
T: It was on the end of “Pepper”. I can remember.
J: Yeah, and wasn’t ????(T:????Yes, that’s right...??all sorts of conjectures.)
We listened to it backwards and it seems to say something obscene.
But we have no idea, just one of those things.
This is number one of them, you know.
T: Okay, John, thanks very much for giving us the time.
J: It’s a pleasure.
I enjoy listening to (it) myself in bed.
Listen to the album!
-------------Wedding album----------
T：Fine, just before we close, if you can process us to know about the next for you and Yoko
(J: Oh yeah) which will be the wedding LP?
J: Yeah, we’ve done a wedding album (It’s called), you know,
coming out in the middle of the October.
And it’s got a lot of pictures and cartoons and press cuttings
and something like that written about us there,
and some pretty frantic sounds on it.
On one side is our heart beats and yelling, you know.
That’s the description of it,
but you really make sure that your hair stand on end
So you’ll hear that in October, you know.
----------------Other----------------------
T: And a single in Britain for the Beatles is that…
Anyone near the drawing book yet?
J: If the “Something” and “Come Together” go up to the States,
it might come out here too, you know.
Cause usually we don’t know we have singles in the States then we having them here.
But I don’t know.
It’s all in the air, you know.
Well I’m making a Plastic Ono single.
That’s ????(interest?), do you?
T: Apple has become terribly productable on songs…
J: We have so many songs you know.
We got it out somewhere other, you know.
And it’s nice to do them yourself actually.
I prefer to do my own songs than giving them to somebody else.
Cause half of them. It’s only the way we make it happen, otherwise is pretty…
Nothing happens to the song, you know.
If you gave it away without doing the arrangement, you could kill it, you know,
without to have to record the whole song
and the person ourselves to get it to sound like we imagining,
to give it the full potential, or just trust a luck.
T: John, thank you very much.
J: My pleasure.
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