RE-RELEASE - Mike Myers & Paul Myers

22:49Kids in the Hall. And Mike and Dan Aykroyd and Catherine O 'Hara and Eugene Levy, all these people have shown a generation and two generations and three generations what it means um to be funny on the world stage but also to be quintessentially canadian while you're doing it and then what happened was a lot of these people this happened in a lot of areas with the youtube generation there's a lot of people that are just making comedy they don't even think beyond the borders of the internet so they're they accidentally make something that's regional and specific for Canadians. So they have their own heroes.

23:24And we used to get validation from outside sources, and we still do. But just like the Beatles had to go around the world, but they still kept their Liverpool thing. And I think that's what's going on in contemporary Canada is we've got a whole, I say we, I don't live there, but I just spent a lot of time there recently. I found that in Calgary, people just had their own thing and they would love to export it and they do but they're really not thinking about not all thinking about taking it away i i mean i love canada and if i'd stayed in canada i'd be fine and all that stuff but i really did want to come to america you know what i mean because that's the center of the center or i wanted to be in england and i was in both places i went to england to be in part of the english comedy thing and i think that's kind of but it also just i knew one thing i could probably be a hockey player because I'm from Canada and I could probably be in comedy.

24:19Do you know what I mean? One or the other. One or the other. Well, you've seen it happen. I know that we can do that. Yeah. I mean, it seemed possible. Have you considered both, Mike? Were you thought, when they were kids, were you taught or was the mindset America's inferior to Canada or better or the same? Like, were you saying, I really want to make it in America or they thought America's not where you want to be? No. No, I would say, I'd say, I think the world recognizes that American show business is the best in the world. You know what I mean? Okay. And that's why, you know, even on Wayne's World, you know, we had a Dutch camera guy and Czech clapper loader.

25:00And like everybody was from everywhere else. You know what I mean? And it really is the, in terms of entertainment, you know. Sure. I mean, they say that the Star Wars program brought down Soviet Union, you know, SDI. But I think it was the movie Star Wars more than anything. They went, holy shit, you have enough story power and enough economy power to make a whole other universe. You know what I mean? That's better than our universe. You know what's interesting about that story, too, is that you mentioned Star Wars. And what happened was, you know, America is the show, the show. Right. And that's what happened with, you know, all the people who go to Lauren takes the show and creates Lauren Michaels creates SNL in in New York City.

25:42And he always tells people like the kids in the hall, learn how to have your show play in Indianapolis, you know, learn how to you know, it's not just about the borders where you are. It's about everyone seeing it in all the platforms, right? But when Star Wars started, interesting thing, because there's an animation program at Sheridan College in Toronto that they helped create industrial light and magic. And so they drained all the talent from Sheridan College and created this thing in Marin County. And it was initially staffed by like, I don't know the percentages, but around 60 % Canadian.

26:16I didn't know that. And it's, again, come to the show, bring the show. And the Beatles came to the show. You know, the Beatles wanted to be on Ed Sullivan. They conquered Britain, but they hadn't conquered America yet. American show business is the best in the world. And, you know, even my mom, when she saw Wayne's World, she said, oh, that Dane is very good, isn't he? Oh, she was funny that way. She was funny that way. And she was like, it's just Americans. They have it, don't they? Just Americans just have it.

26:42Dana Carvey:Not all. Well, Canada, also Jim Carrey. Jim Carrey, yeah. You know, he's fantastic. Yeah. exploded. Norm MacDonald. The Norm MacDonald. People think I'm from Canada. There is no other Norm MacDonald, God rest his soul. His... What about Great Outdoors? Is that a John Candy? Yeah. John Candy and Ted Ackroyd, two-hander, as they say. It was great. Anyone who watches that from Canada will see that that's what we call the cottage, which you would call cabin life. It's totally like southern Ontario kind of setting, but it's actually set in California. But, you know, that's what you did in Wayne's World, Mike.

27:26You made Aurora, Illinois be a basically a stand-in for Scarborough, Ontario, right? Yeah, but then it's all the North American suburbs are all the same, you know what I mean? Yeah. And heavy metal is all the same everywhere. Like you could, you know, you see kids in Argentina dressed like Wayne and Garth, you know what I mean? It's true. Heavy metal culture, that kind of thing. But, you know, Penelope did a great job, too, just creating an authentic world for that movie. Yeah, because she knew the terrain.

27:58Dana Carvey:Well, we had, via, of course, Mike, the creator, you know, Stan Mikita's, you know, a lot of stuff from your childhood. But it's all variations on a theme. Everyone – and I only had my own little theory. It was just that the two guys – we live with our parents. We have an AMC Pacer. We're nowhere. We have no real money or anything. We're just the happiest people. And my family too. I had the brothers and a sister. We would make rituals out of stuff. Everything would be a game or we'd be watching a Boris Karloff movie. all night movies and you have to run to the mailbox and come back and stuff like you guys did i'm sure and um that's was what makes wayne's world just mean fun you know because they're having fun almost all the time besides the truth i don't know who was trying to steal your love interest roblo the first one anyway besides that go ahead but as brothers just for a second in canada there's a rumor that you guys were rough and tumble like you threw mike out in the snow one day or something.

29:07Dana Carvey:I mean, I had all kinds of stuff like that. Oh, yeah. I mean, we... Guilty. Was it like the first week of... first year of Saturday Night Live and we were at the Rivoli and we had a fist fight? Remember that? Yeah, I... Cool. As was happens, I can't remember why on Earth it got to that level. I don't know, but we often fought. It would often be like Scottish people, which is, I love you. Now, get out! Get out! You know what I mean? It may have been whether the Buzz cocks were better than the sex pistols or something like that. Something that really doesn't matter now. But at the time, it's like...

29:44And perhaps alcohol was involved. Peers were involved.

29:47Dana Carvey:Did anyone get someone in a headlock and the guy in the headlock said, cut it out, cut it out. Did it go to that level? Peter used to do that. My brother Peter used to do spit suck. That thing. That's horrifying. Oh, yeah. Oh, yeah. Flags. Remember flags? Almost gets to your head. Yeah. I was a bottom in that situation. Flags in the world on your stomach. And then the last one was Japan, which was wham. Well, it's just people with not a lot of money. It's cold and you're inside and it's a Sunday afternoon. Yeah. You're like bouncing. I once dragged Mike around by his pulling his ankles and his head hit the side of a counter and you got a small cut on your head and i thought i'd killed you and i was like and i remember thinking looked at your face you were like what the hell what the hell and i was like jeez is it raining in here and it was my blood it was going i looked like a wrestler is it raining like the shining in here yeah yeah and that's what i love is my reaction my reaction to having thought i'd killed my brother is i got on my little 10 speed bike and i ran i rode to the end of the street, hid in a park for two hours and thought, I guess the statute of limitations is up.

31:02I can come home now. You know, it was like, I don't understand why I thought that was the solution if I really had killed him. Just make a break for it. Ah, but we were great.

31:12Dana Carvey:Yeah, we did. Well, I don't know if I had fights. I just got beat up a lot or, but it was quick. You know, I was pint, pint size, you know, and three older brothers, but mostly, you know, most we just had a lot of fun my brother brad the you know he fixed this old machine where you slid a thing like it was a bowling alley and my we did get a bumper pool table and then we would just play and uh we were left alone it was pre micromanaging parenting obviously no one knew where you were had no helmets you know all that stuff yeah mike lawn darts right illegal imagine lawn darts now Yeah, jarts. We played with darts, and I threw it, and it went like that, and it just hit my brother inside his thigh where it was sticking out.

32:06Darts and jarts should be illegal still. They should be or should not be? They should be. I think they were pretty – I mean, jarts, a few kids, and then they would have died from jarts.

32:17Dana Carvey:All right, so just as a background here, so I just thought for myself, I thought, God, I just, every time we talk about the Beatles, I love it. And I'd been on Paul Myers podcast, the official name or where you get it is Paul Myers podcast, the record store day podcast with Paul Myers. It's sponsored by record store day, but it's on every week of the year. Thank you for that. Okay. So, well, we went on that and I realized, you know, of course with Mike over the years, you know, the Beatles and the clash, you know, he has other pump plane. He does beetle fanatic. And then when I meet him, I can recognize one.

32:49Dana Carvey:And then you were crazy into the Beatles. So I thought I called Mike and I had the best time though. Yeah. No, when you were on our show, by the way, I pimped you to just talk about Paul McCartney. And I think the promise I made to you was, cause I know I'm sensitive to comedians doing freebies on other shows. I said, you won't have to do material. You don't have to do material. Just come on and talk about the Beatles and music. And that's all we want you to do. And that Fred Armisen has been on the show for the same reason. And, and I knew that you got it because music was such a big, chopping broccoli.

33:20You knew music.

33:22Dana Carvey:It wasn't that sophisticated, but thank you. I don't mind. I could do Paul, this Paul, now today. I could do him all day long. I'm doing him older, but I never can get tired of the question thing at the end. I get a bit older. So anyway, I called Mike and just said, do you want to come on with Paul? it because he's because i just love talking about the beatles so that was the idea and then we now we're here and so let's talk about the beatles but um i think it took us five seconds to say yes by the way uh we'll we'll do it again but uh so anyway as a way to start off because i there's the reason we talk about the beatles is because we want to celebrate them i think because why are you talking about the beatles again and we come up with what album whatever okay so here's the first one i'll do i do sometimes better melody and i love her or she's leaving home

34:25Dana Carvey:she's leaving home for me do you want to take this one yeah i agree i think i think i think so she's leaving home is maybe underrated only because we hear let it be and hey jude and a lot of different songs a lot out in the world yeah super bowl or in canada you know but what What is your favorite melody, though? My favorite melody is Martha, My Dear. Oh, that's good. Another McCartney. I think Michael McKeon might have said that was the best Beatles song. I think so, too. It's like almost a little Mozart-y. It's got chamber pop. It could have been played in a Victorian sitting room. It could have been on a spinet piano.

35:09I want to get back to She's Leaving Home before we move on to that, though, because She's Leaving Home does something that McCartney, he was the adventurous one most of the time with the melodies. And I think John was pushing the envelope with chords and production. But She's Leaving Home does this Friday morning. And then there's a counterpoint with the strings like that. And they're all like, it's like two swans or eagles or something. and that is the most exciting thing with McCartney when he does that and I think also he's telling a story in that song that is more literal than most of his stories because I love Paul McCartney but a lot of times it's definitely stream of consciousness to the point where what the hell is he talking about I mean one of my favorite songs is Getting Closer from Wings later album Back to the Egg and he talks about my salamander and gotta beware of snipers in the middle of a song that's a happy song about driving.

36:08What about I Am the Walrus, though? Oh, yeah. See, I Am the Walrus is John's fantastic.

36:15Dana Carvey:Well, that's one of those songs that shouldn't exist and does exist, and I still would say it's not even – 2025 hasn't caught up to it. Right. Good point. And you'd think the lyrics are gibberish, but the whole is greater than some of the parts. yellow man and custard dripping from a dead dog's eye it's like I don't need to know try to figure that out I'm just feeling that man spoke for my generation with that line I think who can but I think that owes more to the beats don't you think the beat poets yes that to me is more

36:54Dana Carvey:non sequiturs I think beat poetry helped enable that idea of words being less literal but John actually says he wrote that song because some egghead critic had written about how smart and how there's several layers working and he and he says now who knows if it's Liverpool just teasing but he said that he wrote that song uh and the walrus as a kind of a dare to see if anyone would take it seriously well one thing he was kind of aware that he was pushing when you when you think about the Beatles this is a more a macro question but it's sort of like you got the first part you know like i'm a walrus you're like okay and sometimes i listen and i go okay i know where he's going but how did he come over sitting in the english girl he goes all the way and this as good as the the main i don't know words what the main part is that is also yeah yeah and it's a little bit like she's leaving home again is i'm assume that lennon wrote the melody when he does the refrain we gave a vest of a or influenced it right yeah because it's it's hard you know you i i don't know because they did actually help each other a lot like because you know the famous story about hey jude is he wrote that song for instance for for yeah that shoulder line he wrote it for julian lennon it was called hey jules and he says i'm changing the the movement you need is on your shoulder and john said you bloody won't you bloody won't change it you know and so they were helping each other that way so i think maybe john on um i'm the walrus might have been thinking almost predicting what paul would do because he goes like i am me and you are me and it's like don't don't don't but then all of a sudden sitting in an english garden and it's like like paul would put the um how do i say this twee and it's not twee in a bad way but it's what we love about macartney about martha my dear is that it's a little more dainty you know where the other parts are almost heavy metal like you know oh totally yeah well that's why i wonder if they finishing each other's thoughts at that point.

38:50Let's talk about Across the Universe, though.

38:54Dana Carvey:I've been able to talk about that for all day. I think that's my favorite. Paul and Dana, you guys may know better than me, but that's John, right? That's all John? That's John 100%. I believe, and I don't know the timing of it, but didn't he kind of play it for the other three in the Let It Be documentary? At one point. And they're all sitting there listening. So I wonder if he sort of went off and finished it himself. But I believe that's all John, and it's John's, one of his favorite lyrics. The thing, too, where he hangs on, what do they call it, like with a pedal bass where you play the same, you hang on the same note.

39:36Yeah, like in Dear Prudence. He tends to do that. Paul goes up and down. John hangs on one note, right, and things move around him. Well, what they do is he moves notes inside, like, so it's essentially the same chord all the way through, but then there's a melody like in Dear Prudence where it goes like, ding, ding, ding, ding, but the bass is slightly moving, but it's the same, ding, ding, ding, ding, Dear Prudence, and the guitar is playing that, ding, ding, ding, ding, all the way through it, and it becomes hypnotic because you're kind of, and I'm sure psychedelics were involved, but they were tripping on that, like, sort of a raga, you know, like, create a repeating thing that makes you not remember where you are and then it works it works more hypnotic the the lyrics of

40:22Dana Carvey:across the universe always got me you know yeah i feel like that's oh yeah no i feel like that's what it would be if you actually went across the universe i mean i know that sounds really corny but good point but like that's one of those ones where i if i listen to that on headphones by myself i do get a little i feel the coldness of space and it's like you know what i mean it's yeah No, because just staying across the universe with that melody, it's profound, you know? And it's empty, too. It's a little bit. Cold. Tell me if I'm right. It's cold. It's not a warm production, right? Yeah. It's a stark production, yeah.

40:59And then there's a Phil Spector version where they added the kids' choir going like, ah. And I actually prefer the – there's a version that was on one of the anthologies where it's naked. Pretty much straight. Yeah. and you remember on the the demo tape he he does he wanted to get this little rhythm like it's like a chicka chicka chicka chicka underneath it and so he started saying sugar plum fairy sugar plum fairy right and sugar plum fairy was kind of the uh the engine for him of what the rhythm of the song was going to be i mean this these guys at that time were like allowed to do this they were allowed to just dream and you know they went to rishikesh to study with the maharishi and they I think George too, but, and, and a lot of the songs that came out later, like jealous guy by John Lennon was actually started in Reshik Kesh when they were studying with the Maharishi, you know, and sexy Sadie of course is actually about it.

41:52Dana Carvey:I often, you know, just because of the letter B documentary and seeing Paul, when Paul, we interviewed Paul, whoops. And he goes, I thought I was a bit bossy, you know, with the others. But I did point out to him, I said, you were so enthusiastically playing on everyone else's song like if it was john's song or oh okay let me help you you know yeah and so oh yeah yeah i i don't i lost my train of thought but anyway no sexy sexy sadie but aren't we glad he was bossy if he was bossy it got him i think he was a de facto producer but you can help me this paul can help me with that perhaps but he could sing all the harmony he had a greater range he could play all the instruments so he's kind of an arranger that's how i was thinking of sexy sadie because lennon maybe wrote the chords on the guitar it's utterly lennon but the opening piano riff the slight echo on it and it's so broad and wide and bizarre and paul's playing that so i didn't know in that moment does paul kind of in terms of cadence or i i'm not sure how he intersects like obviously dear prudence we know at least at least until maybe ringo plays the solo at the end that's a controversy currently but we know paul is playing the bass that's what i wanted to tell paul john lennon loved you i don't care what you guys were only 29 john lennon loved you because you can't write a song and have a guy come and go here's the bass line, which I think is brilliant in Dear Prudence, and the drumming.

43:27Dana Carvey:And of course, you'll sing the harmony. So that's, you discuss amongst yourself. What do you say, Coffee Talk? Well, I just want to say this about Paul and John. So I've been doing a lot of reading lately about the relationship between Paul and John. There's this great book called Paul and John, A Love Story and Song by Ian Leslie. And it really, really explores the, to an almost homoerotic level about how intensely they cared about each other's opinion of each other and and they even when they were fighting they were fighting in a lover's quarrel kind of way like quality control that's the whole thing everything you know it was the bar was so high about quality control like is is this going to be good enough to to have the beatles name on it you know i mean exactly and so so in the movie let it be you can sort of see in the get back version you can really see that paul at this point you know brian epstein has passed away their manager george martin isn't involved in this session so nobody's going to push the rock up the hill paul looks at john and says have you written songs oh yeah because i'm thinking about it you know i'm thinking about doing it and paul's like rubbing his eyes going we're doing this show because that was the thing that live show with all new material which is such a crazy thing to try and and um but he says you know i just want you to you know have a voice in this so he's so excited when uh they bring in i dig a pony and uh i've got a feeling you can see and two of us is a paul song but you can see john is feeling like it's about linda but it might be about him and john you know there's it's kind of about the because they stare at each other when they're singing it and you really get a feeling that what paul what we're watching that movie is paul pushing everybody to the point where they're mad at him Like George is like, stop pushing me.

45:11But he just wants the Beatles to have the Beatles again. And then within a year or two, of course they do Abbey Road. But within a year, he's up in his farm. John Paul's up in his farm in Scotland crying his eyes out and not getting out of bed. And Linda says, you've got to do something. And now he's the guy who needs to be pushed. And he writes, maybe I'm amazed. You know, like it's like it's a beautiful to me. That's a that's a movie right there. I almost hope nobody makes it because I isn't there a part where George,

45:39Dana Carvey:and paul were kind of fighting and because paul was you know and go like dude you know whatever but then afterwards i think george they're they're kind of stopped rehearsing and he's george is asking paul what do you think paul you know i think it was it was about uh here comes the sun or one of the abbey road you know so it's still in that moment and i i think i said this on your podcast but the only because i love to discuss the beatles and especially john and paul's relationship there's no other band during that era that they ever could have been in where they were not sometimes not sure they were the quote best guy in the band right you know and there's no other band with the output of both of them they could have been they're absolutely the best guy in the band and so the miracle that they came together is almost divine or something yeah i mean think about while my guitar gently weeps right you think George Harrison's up later and you go something and you go here comes the son if he was the hey guys wait up guy you know what I mean that's the third place yeah he would have mean like the guy in any other band in the universe you yeah and then the argument is the argument I was going to say that they always make about George is that he obviously had it but he may have worked three times as hard to get it because he He knew he couldn't just put any old thing up.

47:07You know, he had to write, here comes the sun. He had to write something. And you mentioned earlier, Dana, that Paul's baseline on something, this is a guy who knows what he's playing on. Like he knows this is a hot session. So you know the part where he goes, something in the way she goes. You hear Paul go, do-do-do, do-do-do, do-do-do. He's like, let me play. But he wants to play to make the song super if they know.

47:33Dana Carvey:Wasn't he inventing what you call a counter melody then at that time? He's playing bass in a way that fits perfectly. But that's a very skillful thing to do and not get in the way of the main melody, but to reinvent. He had an intuitive sense for that stuff, but he also absorbed a lot of, you know, I know a lot about McCartney lately because I've been reading all these books, but he grew up listening to it in his home. Yeah. But when he plays piano, as I've seen it, he really doesn't do much with his left hand, right? Isn't he kind of ironically, Lady Madonna moves the left hand, but there's three styles of mccarty.

48:07But it's usually like single bass and then... And then the melody. You know what I'm saying? Yeah, Lennon especially does that on piano. So Lennon will move the right-hand chords more than the left-hand chords, the bass chords. The bass is the left hand. That's why it's so ironic that Paul would write so many what would be the left hand on a piano parts for the songs, isn't it? Yeah, no, that's a good way of looking at it. Well, the left hand is the bass hand, right? David, David, I feel like we're both, we're all ramrodding over here, like, David, talk about the Beatles. David just, listening, he's more of a wings guy.

48:48I actually really like the Beatles, and I really like Paul McCartney wings, but I'm sort of listening like an audience member because you all know more.

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53:30Dana Carvey:well well i have questions and uh you know that's mostly you know what i don't feel i don't i just fancy myself a fan of course but over time you're that's interesting yeah um so no no it's true yeah i uh i i could like i just love the fact that there's so much there's always a new take on the beatles and there's always a new new bit of information you know here's my question so So George Harrison is singing the harmonies. First of all, it blows my mind that John and Paul can sing harmonies, and the guy from the neighborhood can play guitar pretty well. And they're doing this boy, which is a staggeringly gorgeous song, emotionally and every other way.

54:17Dana Carvey:And George is singing perfect harmony. Now, George is playing guitar parts for years on their songs and adding Don't Bother Me or these songs. that are kind of rudimentary compared to where he's going is that sort of a master's class because he's learning in real time that the john and paul are going to this different place that you know other major chord bands aren't doing was i mean his leap forward and it really started for me with with um why my guitar gently weeps yeah and then of course the two songs that are in the top 10 of all-time Beatles songs for Beatles fans, something, and Here Comes the Sun.

54:57Dana Carvey:So you think that he was in a master's class with these two geniuses, but he was a genius laying in wait. How did George evolve into what he was? Was it always there? Well, there's something that Mike might appreciate, because you know how when we were kids, Mike, you know how Peter and I thought that we were the guys who were writing comedy, and you would be like, wait up, wait up, guys. You would go off, and you go to the school you'd go to the schoolyard you'd go to the schoolyard or the park near our house and we'd find out we'd hear kids laughing and go they're laughing at mike like what's what's that about and and i think if you now this is what we call an analogy because so george is george is not you know george is the hey wait up guy as mike was saying earlier and he goes but he also starts befriending bob dylan right like so he's going out and he's listening to the new album by the band and Clapton yeah and those guys are accepting him you know as a Beatle and he's just absorbing the Beatles but he's also absorbing everyone around him and bringing it back in and that's when he started bringing in the Indian music that he'd been listening to because it's like here's what I'm finding out while you guys aren't letting me talk yes what's the song that the Chemical Brothers sampled Tomorrow Never Knows Tomorrow Never Knows Who wrote that, Paul?

56:19Or Dana? That was John. That was John.

56:22Dana Carvey:I think it was primarily John. Yeah, I think that's his melody. I mean, it was a lot of tape loops. But there's a lot of tape loops and things that they – So I've always thought that was George. That was when they were all discovering Stockhausen. I always thought that was George. No. The sitar element was George. The mystical element. Yeah, the drone. There's like a tambora or something. Well, if George is trying to play catch-up, what's Ringo doing this whole time? Ringo is just being his own quiet genius. He's the vibe. Ringo is getting paid. I'm just playing the drums. He's getting paid by the hour.

56:52He doesn't even get a piece of anything. He's in love. Oh, but watch him and get back, though, man. Get back.

56:57Dana Carvey:Oh, look at that. That is something. Balloons. I love that. He's in love. All right. Well, let's talk about Ringo for a second. Like, was he any good or? Oh, my God. Was he any good? Secret sauce. He's so great. That's what I think he is. But he was a drummer who listened to the songs. But hold up. Here's the other thing about. So in olden days of comedy writing teams, there'd be somebody called a soup spoon, right? Which is, there was a Yiddish term, but it came out to be soup spoon. And they didn't cut in carrots, they didn't put in beef, but they just stirred the pot and made sure that all the people were contributing, you know what I mean?

57:35And I guess Sally in Dick Van Dyke's show was the soup spoon. Okay. Sally Rogers. Sally, right? But I think he was the soup spoon. I think he was the guy that just kept it up, kept it light, and didn't let all the Liverpool attitudes have a fist fight. He's from Liverpool, but I mean, I think Liverpool people know how to not have other Liverpool people fight.

58:03Dana Carvey:I don't know where, I'll ask any of you this, where he stylistically, you know, if you look at She Loves You and he goes to the floor, Tom, He's not always traditional. He can go on a 16th hi-hat and he'll do splashes. But a lot of times you think a normal drummer would do a splash and he'll just stay with the tom and the snare. Or even in something, he's kind of just hitting the kick drum. And there's times, anyway, adapted to the songs and you can't imagine anyone else playing those songs. Best example that always comes to mind is Ticket to Ride. Any other drummer, if they hear, I think I'm gonna be sad, they'd be like.

58:46but Ringo goes boom and come together you know come together is like like he's like he's not playing straight time but he swings he swings and he never plays over the words I don't know if you pay attention to that next time you're listening Keith Moon would play Keith Moon would play as if he was the lead singer right or Keith Moon would play anything that moved Like he was falling off a cliff and trying to survive. But he never understood why the drummer in the back. He never understood that. Right. Yeah. But luckily he was playing against the bass. But luckily he was playing with a bass player who overdrove the bass and a guitar player who just turned up past everybody.

59:30And Roger, who was like swinging the mic and screaming and a beautiful scream. But yeah, so that was a band that was built on loud. Right. Built on loud. But I want to stick with Ringo for a second. I just want to say that the thing I love about Ringo is you see it in Get Back. and when he's the song get back right now which is we all know that's a beautiful moment where paul's just playing the rhythm guitar on the bass and he's saying i've got something in the jojo and then ringo's first attempt at it is just playing like good and gotta gotta gotta and all of a sudden it's and then you recognize the military shuffle that becomes like oh now it's get back and that moment watching ringo look out into space across the universe if you will and he's listening and he's listening.

1:00:14That's something you don't get from some of these, you know, like, you know, Fred Armisen has that character who does the drum technique. Yeah, of all different. How to dominate the jam. That's his catchphrase is, I will teach you how to dominate the jam. Now, anyone who knows this, like you don't want to be dominating. You want to be listening and playing. That's the beautiful thing about Ringo. He was not dominating. He was helping and he laid back when he needed to lay back. a day in the life is almost hardly any drums in a day in the life except like it's like a bag of marbles being dropped on the kit that's what was that you yeah it wasn't me no some people describe it as falling down the stairs is that I read the news today oh boy and he goes that's the coolest yeah it's a little tiny it's almost to say I'm Ringo I'm still here you know It's so cool.

1:01:09Dana Carvey:Loose toms are underrated. You know, Ringo didn't always feel a need to go, you know, and he could. Oh, no. You heard the toms, right? It was always with the song. What do they call it? You're a drummer, Dana, right? You're a drummer, Dana. Pat Boone, Debbie Boone, right? You've heard that, right? Oh, yeah. That's a beat. Pat Boone, Debbie Boone. Canna Tuna, Canna Tuna, Canna Tuna, Canna Tuna. White, black, white, black, white. Pat Boone, Debbie Boone. And then Stuart Copeland has one for Sting, but I can't say it on most television shows. It must be X-rated. This is a podcast. Yeah. He wrote on his Toms.

1:01:45He wrote, I can say this. I mean, I'm sure there's no censorship here, but it was F off UC on his four Toms. So when he was mad at Sting, he'd hear like, boom, boom, boom, boom. I don't know. Stuart will verify that.

1:01:59Dana Carvey:They were at some event in Malibu, which I didn't go to. but I think Kevin Neen told me that it was Ringo and Stuart Copeland together. Oh, wow. And I just thought – Two of the best. Yeah, because if you listen to Synchronicity 2, I guess, or something, it's just brilliant. I mean, those albums, The Police is just bright and shiny, and of course, Sting. Roxanne's still – So this is one of the things that we were talking before. I don't have the musicologist thing that you guys have more of, but I love a good vibe. You know what I mean? And the thing about the Beatles is, so no matter what I've done or will ever do in my life, I aspire to the pure excitement that is listening to the Beatles.

1:02:53And I think there's other things, too, that I've heard that give me pure excitement. Like London Calling gives me pure excitement. Yeah. Boy About Town by The Jam. Jimi Hendrix. Absolutely. There's one Jimi Hendrix. Hey Joe, right? Hey Joe. Yeah, that's what it's called, right? Because I often get the titles wrong. Anyways, that song. Just the shuffle of...

1:03:31It's just like pure excitement. Yeah, yeah, yeah. I love that. Well, how about on Purple Haze, Purple Haze when there's that vibra slap? So it goes, Yeah.

1:03:49Dana Carvey:No one ever made the guitar sound like that. I guess he had really heavy hands and he played it upside down, but how he got that sound. And big teeth. And big teeth. Yeah. But it's also those chords that, those crazy chords that go up and down. Rhythm guitar player too. Yeah. But, you know, we came up. Pure excitement. That's what I'm talking about. There are things that are just pure excitement. And Paul used to have a term called, Paul used to call it the pop shivers. You know, where you get like the. Yeah. Yeah. You get a tingle. It's a tingle. Pop shiver. You get a tingle. When a chord changes, when a chord changes from one to another and you're like, whoa.

1:04:24Dana Carvey:We had one of the ones that my wife and I had, we were just going to a movie, Secret Policeman's Other Ball. We weren't aware of Sting. We just saw a guy come out, really cool looking, the dyed blonde hair, and he's just with his guitar, and he sings and plays Roxanne. And we both went, holy shit. Who the fuck is that? So yeah, Sting was quite a – and The Clash. I always think of The Clash, or I don't know who else, The Ramones, because you at your formative years was sort of the beginning of punk. And I guess The Clash was your favorite band when you were like 15, 16. I mean, The Beatles are my favorite because they're whatever.

1:05:06Because they have too much. Then it's The Clash. You get realistic. Because there's just something that's – another thing with The Clash is they're cool. Do you know what I mean?

1:05:16Dana Carvey:Well, London Calling, whenever that comes on, I'm on XM Radio, and that comes on, I never switch it. So that vibe of that is heavy. London call. It's an army. I don't know what the lyrics are about, but it's It's not just a song. It's a movement. Yeah, and it's perfect for that time. But that's the way Joe Strummer like, London calling! It's not casual. Yeah, it's like a cry for That ring of the transient thing The ice age is coming So anyway, we unfortunately, we could do this for two days straight, but we kind of have to wrap it up. Any last words? Paul Myers, Mike Myers. Let's take some time.

1:06:04Dana Carvey:We would love to do this as a regular thing because I think people will love it. And I love it. And I think that we could fill many more hours. More bands to delve into also. Led Zeppelin. Led Zeppelin. Oh, that's true, too. Led Zeppelin. We can talk about Zeppelin. We can also talk about Wings specifically. That's a whole other conversation. Well, back to the A, just certain solo songs are brilliant. And, of course, we could break down just the song. People say I'm crazy, doing what I'm doing. That's just those lyrics of that song. Can I say one stupid, almost a plug for my book again? John Candy, which Beatle did John Candy work with?

1:06:50Dana Carvey:George. No? Yes. Was it Hadley's Films? There's a video for the Wilbury Twist. There's a song by the Wilburys, Traveling Wilburys, called the Wilbury Twist. And John Candy, I think he was filming Brewster's Millions at the time. And they had him come by the studio and just do a little twist. Okay, people curious. Go on Amazon, under books. Paul Myers, John Candy, A Life in Comedy. download it and enjoy it and we'll do this again it was so much fun

1:07:24alright listen if you're enjoying the fly on the wall of course hopefully you are click follow we don't want to be desperate but obviously smash that god dang button on your favorite podcast app leave a review a good one leave a five star rating nothing else and maybe even share an episode with a friend If you're watching this episode on YouTube Please subscribe, Dana What do you think?

1:07:48Dana Carvey:I'm going to tell you this right now Hear me now, believe me later Fly on the Wall Believe it or not Is presented by Odyssey And executive produced by Hold for it Dana Carvey and David Spade Or David Spade and Dana Carvey We don't write this stuff Heather Santoro Greg Holtzman And Leah Reese Dennis The show is edited by Evan Cox with production support from Phil Sweet Tech. Talent production and booking by Sophia Lepore.