Fab: An Intimate Life of Paul McCartney (29 page)

The Beatles arrived at Euston Station just in time to catch the 3:50 to Bangor on Friday 25 August, before the metropolis disgorged its workers for the weekend. The weather was warm and sunny and there was a holiday mood in the Beatles party, which included Magic Alex, Donovan, Marianne Faithfull and Mick Jagger, who trailed about after the Beatles like their kid brother these days, eager to be where the action was. In the inevitable kerfuffle at the station, Cynthia Lennon was held back by a policeman who mistook her for a fan. ‘Tell them you’re with us!’ John yelled to his wife, but the train left without Mrs Lennon. ‘It was horribly embarrassing,’ Cynthia later wrote of the moment she found herself standing tearfully on the platform, watching her husband’s train pull away. ‘My tears were not simply because of the missed train. I was crying because the incident seemed symbolic of what was happening in our marriage. John was on the train, speeding into the future, and I was left behind.’

There were other pockets of darkness surrounding the Beatles that August week. Two days earlier, Joe Orton had been found battered to death by his lover, Kenneth Halliwell, who then committed suicide. ‘A Day in the Life’ was played at Orton’s funeral. Then there was Brian Epstein, who had been in decline since the Beatles’ last, unhappy tour, which reached its shabby conclusion in LA when Brian’s boyfriend stole his briefcase. Not long after that depressing incident Brian took an overdose at Chapel Street, leaving an ‘I can’t take it any more’ note, according to Peter Brown, who found him and took his friend’s word that he wouldn’t try anything so silly again. ‘When I discovered him, when I found him that night, you know, when I took him to the Priory [Clinic], and they pumped his stomach and everything, obviously we had a conversation subsequent to that. The conversation was him full of remorse.’

The main problem was that Brian had become dependent on amphetamines, which made him erratic. Once so immaculate, so businesslike and well organised, Brian now slept late, missing appointments and key events, such as the Beatles’ last concert in Candlestick Park. ‘So that showed, you know, bad behaviour,’ notes Brown. The stable of acts Brian had built up and made good money with during the heady days of the Mersey Beat looked tired. The Mersey Sound was yesterday’s music, and Brian’s recent signings hadn’t made much impact. His new group Paddy, Klaus and Gibson had, for example, already disbanded. Then, in January 1967, Brian merged NEMS with the Robert Stigwood Organisation, allowing Stigwood, a young Australian, to take over part of his company. Brian kept the Beatles, but now that the boys had given up the road they didn’t need him on a daily basis. Brian had never been welcome in the studio, and his suggestion that
Sgt. Pepper
should be packaged in a plain brown sleeve showed how out of touch he was with the lads. He had successfully renegotiated the band’s contract with EMI in January, but the rumour was that when his own management contract came up in the autumn the Beatles might drop him in favour of Allen Klein, who’d impressed Paul by getting the Stones a $1.25 million (£816,993) advance from Decca.

Brian had always found Paul slightly difficult, more questioning and less biddable than the other Beatles. One Liverpool acquaintance recalls Paul ‘taking the piss’ out of Brian’s sexuality, ‘sort of mincing along after him’, though McCartney’s friendship with the art critic Robert Fraser, who was openly gay, is evidence against him being truly homophobic. When Paul went to Paris with Fraser to shop for pictures, some of his fellow Beatles made comments, as Paul later recalled in his authorised biography: ‘Because he was gay [but] I was secure about my sexuality. I always felt this is fine, I can hang out with whoever I want and it didn’t worry me.’

Above and beyond having a laugh at Brian’s expense, as all the Beatles did to a degree, there is, however, evidence that Brian Epstein had problems with Paul. When Epstein was dictating his memoirs to his assistant Derek Taylor, published in 1964 as
A Cellarful of Noise
, he said critically: ‘Paul can be temperamental and moody and difficult to deal with,’ adding that McCartney had a tendency not to listen to what he didn’t want to hear and possessed an ‘angry exterior’. Yet Brian’s American business partner Nat Weiss insists that Paul and Brian were on better terms by the summer of ’67, having resolved many of their issues, adding that he expected Brian to retain management of the Beatles. ‘As a matter of fact I think Brian - and I can say this from a conversation I had with him - his thinking was to keep Cilla Black and the Beatles for himself and let Stigwood handle the rest of NEMS artists, and adjust the commissions down to 15 per cent.’

Still, Brian was increasingly volatile, bad-tempered and drug dependent, sleeping late at Chapel Street and losing his temper with his staff when he did get up. In May he checked back into the Priory Clinic. In July Brian’s father died, which he took hard. His mother Queenie came to stay at Chapel Street. Paul saw Brian and his mother there on 24 August. Brian minded Martha while Paul and Jane went to see the Maharishi speak at the Hilton. When the Beatles told Brian they were going to Bangor to spend more time with the yogi, he said he’d join them after the weekend, which he planned to spend in the country with Peter Brown and Geoffrey Ellis from the office. Brian drove down to Sussex in his white Bentley convertible on the Friday, while the band was travelling to Bangor. He had arranged for some young men to visit over the weekend, but dinner came and went without the guests arriving. Brian tried to rustle up other companions but, being a bank holiday, his contacts were unavailable. He told Pete and Geoff that he was driving back to town, and headed off into the night.

London has an enervated feeling during bank holidays, especially the August bank holiday when the streets are empty, the shops closed, and many residents are away. Those who remain in the city are often lonely people like Brian, who returned home to Belgravia in his ghostly car in the middle of the night and went to bed. He telephoned his country guests the following afternoon, and assured them he was coming back. He also mentioned that he’d taken some sleeping pills. Sunday dawned. Brian didn’t stir. His staff knocked on his bedroom door to see if he wanted anything, but there was no answer. The door was locked. Eventually they called a doctor, who forced the door and found Epstein dead, surrounded by pill bottles. Peter Brown called the Beatles in Bangor, getting Paul on the line. ‘Paul was shocked and saddened but strangely sedate.’ The press were on hand to cover the Beatles’ weekend with the Maharishi. They clamoured for a reaction. John looked lost. George spoke twaddle about there being ‘no such thing as death’. Paul muttered that he was deeply shocked and put his arm around Jane, who looked increasingly like she was in a play she wanted her agent to get her out of.

11

PAUL TAKES CHARGE

ROLL UP! ROLL UP! FOR PAUL MCCARTNEY’S MYSTERY TOUR

‘EPSTEIN DIES AT 32’, screamed the front page of the
Daily Mirror
on Monday 28 August 1967, adding in parenthesis that Epstein was ‘The Beatle-making Prince of Pop’. There was a hint in the coverage that the Prince of Pop may have taken his own life, but Brian’s friends agree with the coroner that the death was accidental. Brian had been taking too many pills for too long and had finally overdone it. He left no note, which counted against self-murder. Likewise he had plans for the week ahead. Still, there was a sense that Brian had been going downhill for a while, and despair can come suddenly and overwhelmingly in the night. ‘Brian’s death was a tragedy,’ says his lawyer Rex Makin, ‘but a tragedy waiting to happen.’

When their manager had been laid to rest, the Beatles convened a series of meetings to decide how they should proceed without him. Robert Stigwood had an option to take over all of NEMS, and thereby the management of the Beatles, which the boys didn’t want. Stigwood was paid off and the Beatles remained with the rump of the old company, now headed by Brian’s brother Clive. At a meeting at Ringo’s London flat, in Montagu Square, it was decided that the reins of the band’s day-to-day management should be picked up by Brian’s assistant and friend, Peter Brown, a member of the original Liverpool ‘family’ who’d come down to London with the boys (the others being, notably, Neil, Mal, ‘Measles’ Bramwell and Brian himself). Paul doubted frankly that Brown was up to the job. Who was Peter, after all, but a mate of Brian’s who used to sell records in Lewis’s? Peter himself felt out of sorts at the first band meeting after Brian’s death. ‘I was emotionally very distraught, and I wasn’t sure what I could do, and I wasn’t sure whether I was ready to [lead] the band.’ During a break in discussions, he got up and walked to the window.

The next thing I felt was arms being put around me and somebody hugging me and it was John - it always upsets me to tell the story - and he just looked at me and said, ‘Are you alright?’ And I realised that only he and I felt this enormous emotional loss of Brian.

Certainly Paul was the most businesslike this day and during the days ahead. ‘Then Paul took the initiative of saying, “We’ve gotta do something. We’ll do
Magical Mystery Tour
.” Paul took the lead and everyone went along with it, disaster though it was.’

Having already recorded some material for
Magical Mystery Tour
, Paul led the Beatles back into the studio in September with a renewed sense of purpose, laying down John’s mighty ‘I am the Walrus’, and George’s typically insubstantial ‘Blue Jay Way’, as well as the instrumental ‘Flying’, all of which would feature in the forthcoming picture. The Beatles were in a hurry to get these songs down, and the film made, because they wanted to spend time with their new guru, the Maharishi, at his ashram in the Himalayas. It was Paul who decided
Magical Mystery Tour
could be shot very quickly indeed, having observed a two-man TV crew filming the Maharishi at the London Hilton. If the Beatles worked in a similar way, Paul figured they could make their film in a matter of weeks. Pre-production was therefore hurried and absurdly inadequate. The Beatles didn’t even have a director, just a mate of Barry Miles’s named Peter Theobald, a young film-maker who’d been hired as a ‘Director/Cameraman’, handed 15 pages of notes and told he had six weeks to shoot the picture. ‘We never want that
Help!
scene again,’ McCartney told Theobald, who noted that the band ‘didn’t want chalk marks to walk to, with lines to get right, or “Take for the 28th time - ACTION!”; they wanted it to be freewheeling, to pick up things as they happened, and they
did
want it to be
their
film as well as being
in
it’.

Paul’s initial discussion with Theobald took place on Wednesday 6 September 1967. Madly, Paul decreed that the Beatles would start filming the following Monday. His idea was to hire a coach, put the Beatles in it, along with a diverse cast of supporting actors, to be plucked from the pages of the show business directory
Spotlight
, then motor down to the West Country, which Paul had fond holiday memories of, and film an impromptu road movie with musical interludes. Not only did Theobald have no script; no budget had been prepared, the coach hadn’t been hired, and no actors had been engaged. John Lennon spent an afternoon floating in his swimming pool thinking of the sort of people he might like to have in the picture, and decided he’d quite like a music hall comic he’d once seen named Nat ‘Rubber Neck’ Jackley, so Nat received a call. Meanwhile, no one thought to consult the relevant trade unions, which had considerable control over how films were crewed in the United Kingdom at the time. As far as the unions were concerned, the whole production would be illegitimate, which caused problems later on.

The starting point for this misconceived adventure was Allsop Place, a quiet turning behind Madame Tussaud’s museum, traditionally used as an embarkation point for provincial package tours of the type the Beatles once played with Helen Shapiro. Allsop Place was also close to Paul’s London home. The auteur arrived bright and early on Monday 11 September 1967, dressed in costume (Paul’s normal clothes, plus a Fair Isle sweater), to meet his hastily assembled crew and cast which, in addition to ‘Rubber Neck’ Jackley, included a heavy-set actress named Jessie Robbins, who would play Ringo’s aunt; the eccentric Scots performer Ivor Cutler, who would play a courier named Buster Blood-vessel who lusted after the aunt; a dolly-bird guide; a dwarf photographer; and an accompanying team of friends and associates including Magic Alex, Nell Aspinall and Mal Evans.

Where was the coach? It still hadn’t shown up. So Paul went for a cup of tea at the nearby London Transport canteen. By the time he came back, the coach had arrived. It was a Bedford VAL hire coach, of the type commonly used to take school kids to the swimming baths and pensioners on touring holidays, its sides freshly painted yellow and decorated with hippie decals and the words MAGICAL MYSTERY TOUR. The coachwork was so freshly painted the paint was still wet. Everybody climbed aboard and drove west out of London, pausing in Surrey to pick up the three suburban Beatles.

Filming began immediately all four stars were aboard, the starting point of the plot, such as it was, being that Ringo was taking his Aunt Jessie on a coach trip. Along the way there would be songs and semi-improvised set pieces influenced by the Goons, the Theatre of the Absurd (which Paul was familiar with from seeing plays such as
Ubu Roi
) and recent LSD trips. Viewed afresh, it all looks strikingly like
Monty Python’s Flying Circus
, which is a compliment to the Beatles because
Python
didn’t come into existence until the following year. Unlike
Python
, however,
Magical Mystery Tour
wasn’t funny.

The picture was a hoot to make, though. By evening, this twentieth-century ship of fools had reached picturesque Teignmouth, in Devon, where everybody checked into the Royal Hotel. One of the many aspects of film-making the Beatles hadn’t put sufficient thought into was the logistics of looking after a cast and crew on location; Paul found he had to spend hours making sure everybody had a room for the night and something hot to eat - a terrible bore. After breakfast the following day they got back on the coach and drove towards Dartmoor, intending to film at Widecombe Fair. Negotiating the narrow country byways, the Beatles’ coach got stuck on a hump-back bridge, causing a traffic jam of angry, honking motorists, who were themselves held up behind a convoy of press. Frustrated by the delay, John leapt out and started tearing the stickers off the side of the Beatles’ coach in a rage. Then it rained, causing the still-wet paint to run down the sides of the vehicle.

The Beatles abandoned Widecombe Fair and drove instead to the seaside resort of Newquay, in Cornwall, where they checked into the Atlantic Hotel. The original idea had been to stay in a different location every night, but that was obviously impractical, so the Beatles used the Atlantic as their base for the remaining three days of the tour. Despite the chaos, Paul showed every sign of enjoying himself, riding a tandem on the beach with dwarf actor George Laydon, leading a singsong in a pub in Perranporth, and chatting up female holiday-makers, such as 17-year-old bikini-clad Catherine Osborne, who, on the final day of her summer vacation, found herself to her surprise in a Beatles movie. ‘All I wanted was an autograph,’ she told the man from the
Daily Express.
²⁹

When they got back to London the boys filmed a striptease scene at the Raymond Revue Bar in Soho, hiring the absurdist Bonzo Dog Doo Dah Band, with whom the Beatles had become friendly, to perform a piece of nonsense titled ‘Death Cab for Cutie’ (a headline Bonzo member Neil Innes had spied in an American crime magazine). Innes recalls John and Ringo filming everything with their own 16mm cameras, while Paul directed the main production. ‘What are you doing?’ Innes asked.

‘We’re doing the Weybridge version,’ Lennon replied laconically, revealing the (perhaps) tantalising prospect of an entirely different cut of
Magical Mystery Tour
.

To complete the picture the Beatles needed a studio. As nobody had thought to book Twickenham, they shot the requisite scenes at a disused air force base at West Malling in Kent, including a wacky car chase and the Beatles miming to John’s ‘I am the Walrus’, the only real point of interest in the whole film, for this was weird and powerful music, performed by Lennon wearing an egg-head while his fellow Beatles donned strangely disquieting animal masks. Paul put on the head of a hippo.
³⁰
The lads then moved into a hangar to shoot ‘Your Mother Should Know’, which gave Paul an opportunity to emulate Fred Astaire, putting on a white tuxedo and dancing down stairs with his band mates. The whole thing was truly nutty, as visitors observed. ‘The day I went down, Paul was directing 40 assorted dwarfs, vicars, footballers, mums and dads with prams full of babies and George and Ringo dressed as gangsters,’ journalist Hunter Davies reported for the
Sunday Times
. ‘As a starting rocket went off, [Paul] had them all charging across the empty airfield, then charging back again. John was asleep in his Rolls Royce.’ Paul was now directing full time, Peter Theobald having left the production after a dispute blew up with the unions over the crewing of the picture.

At the end, the Beatles threw a wrap party at which the Bonzos again performed, the band’s drummer ‘Legs’ Larry Smith doing a tap dance while wearing false breasts. (‘Come on, Larry, show us yer tits!’ heckled Lennon. ‘We’ve all seen them before.’) Paul then edited the picture in a Soho cutting room, which took most of October, at the end of which he popped over to France to film himself miming to ‘The Fool on the Hill’ as additional footage. Paul didn’t bother to take his passport or money, but being a Beatle he managed to get there and back. With a little more work in the cutting room the whole bag of nonsense was tied up by November, Paul capping the project by directing a promotional film for the band’s lightweight but enjoyable new single, ‘Hello Goodbye’, featuring the boys in their
Sgt. Pepper
suits on stage at the Saville Theatre. The single and the accompanying double EP of songs from
Magical Mystery Tour
proved a great success in Britain, while a full-length
Magical Mystery Tour
soundtrack was released as a regular LP in North America. Featuring all the film tunes, plus ‘Strawberry Fields Forever’, ‘Penny Lane’ and ‘All You Need is Love’, this is a surprisingly strong album.

It was Paul’s mistaken decision to sell first rights to
Magical Mystery Tour
to the BBC, rather than open the picture theatrically at cinemas. The Corporation didn’t pay much money for the rights, but its controllers agreed to broadcast the film on Boxing Day, when it would be guaranteed a massive audience. Paul, who like most British people held the BBC in affection and respect, thought the audience size the main thing. The problem was that the BBC intended to show what was a colour film in black and white at a time when the Corporation was still phasing in colour transmission, and the BBC wanted cuts to the picture before showing it to a family audience at Christmas. Scenes of Ivor Cutler canoodling with Ringo’s aunt would have to go; bare breasts would be covered up.

With this unsatisfactory deal done, Paul and Jane went to Scotland for a few days’ holiday at High Park, missing the opening of the Apple Shop on 5 December. During their stay in Kintyre, Paul and Jane called in on their farmer neighbours, the Blacks, whose teenage son Jamie was home from boarding school for the festive season. ‘My vivid memory is that he played “Lady Madonna” on that piano in the living room, before he released it, which was just [fantastic],’ recalls Jamie, whose school friends never believed his story, even though Paul gave him an autograph to endorse it. ‘Lady Madonna’ was a good and important new song, in the style of Fats Domino, that went to number one the following year. While the song has a rollicking tune, and the words are put over with brio, the lyric is also tender and personal, evoking the image of Mary McCartney as midwife, tending mothers and their babies in Liverpool as she had during Paul’s childhood. The phrase ‘Lady Madonna’ also has a clear Christian meaning, of course, conflating Paul’s memory of his mother with the Virgin Mary in what is a boogie-woogie hymn.

The trip to Scotland gave Paul and Jane a chance to talk about their relationship. There had been problems before Jane went to the USA with the Bristol Old Vic, and when she came back she found Paul, if anything, even more difficult to live with. ‘Paul had changed so much. He was on LSD, which I hadn’t shared. I was jealous of all the spiritual experiences he’d had with John. There were 15 people dropping in all day long. The house had changed and was full of stuff I didn’t know about,’ she confided in Hunter Davies, in one of the very few interviews she ever gave on the subject of her relationship with Paul. Davies enjoyed unparalleled access to the Beatles and their associates while researching an authorised biography of the band. Gamely, Jane tried to fit in with Paul’s new world. She went along with him and the others to see the Maharishi, even though she (in common with the sensible George Martin) didn’t think much of the yogi. Jane put up with the drug-taking, and got along as best she could with Paul’s hippie friends. When wallpaper painter Dudley Edwards came back to Cavendish for a visit, Jane traded her Ford Popular with him for a statue of Shiva. ‘At that time they seemed to be very much a couple,’ comments Dudley, ‘everything seemed to be fine.’ Others weren’t so sure. During visits to Rembrandt, Jim and Angie McCartney overheard arguments. Jim hoped the youngsters would be all right. Everybody liked Jane, and thought her a positive influence on Paul.