Paul called me...
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He was here in LA, at a loss for anything to do, so he called me on the phone. He was complaining about all the unfinished stuff he has and was asking my opinion of what to do first after the upcoming holidays. I said, "wait a minute, you call me every ten years or so, asking the same thing.... are you screwing with my head again.... or are you serious?" He said he was serious this time. So, I laid it all out as simply as possible.... 1. Get someone to pull up the ProTools session and get those 7 trumpet notes back into the end of "Penny Lane". Rush-release the new mix. I already got everyone elses' okay and signatures. And then do a pr tour for a few weeks, explaining the previous untold story of the ruckus where Ringo threatened to walk if Penny Lane failed to end with ..... a hihat solo. 2. I have a vintage Zenith sf177r console stereo from 1958. It's been in my family forever. I think it has eight BAZILLON watts. Pretty good for 1958. When the 45 of "Baby You're A Rich Man" is played on it at "11", and the first bass slides come in, you can blow out windows of houses a quarter mile away. THAT'S the thing to get happening with the next new single for 2014 (after the Penny Lane reissue). I had to remind Paul that this will require playing the Ric bass. He said, "nope, not gonna play it". So I said, okay, well I'm going to go walk my dog... I'll hear from you again in another ten years". Paul said, "no wait, okay, I'll play it". "On gigs too?", I added. "Yeah, okay, on gigs too". 3. Finish Lindiana. But first knock out all those old Prophet parts and un-eightyize it. I could tell that Paul was writing all this down over the phone. He finally said, "well, will you come to the sessions too?" I said, "man, no way. You're always too polite around me and act like you don't even know me. Now, if you'd loosen up and not act like some sort of celebrity or something, we could get some actual work done. He was thinking about that one as I made the final point. 4. There was supposed to be that thing where we met up in Miami for a self-imposed two hour limit to write that song that was in the dream and in the demos (sort of). Remember that? On the beach for two hours, into the studio cold for two more hours, and voila. With me not even on the credits. Paul continued to write notes to himself. After a few moments, he slowly said, "you know, I really don't have anything against hihat solos". With that, I told Paul that my dog was waiting and I had to go.
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I feel like I've just watched one of those weird short-films on the Independent Film Channel.
