My Favourite Beatles Song

Hello, Goodbye – Simon Love

• Tim Tucker • Season 2 • Episode 21

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Tim is joined by singer-songwriter Simon Love to explore Hello, Goodbye. They examine its bright, deceptively simple pop construction, inventive chord changes, and vital place within the Beatles’ prolific psychedelic period of 1967.

The conversation dives into the musical detail of Hello, Goodbye, including its unusual harmonic shifts, groove-led feel, and Ringo’s distinctive drumming. They also touch on the song’s recording process, promotional film, and its role as a commercial counterpoint to I Am the Walrus.

Along the way, Simon recounts brushes with Beatles-world figures, seeing Paul McCartney live with his son, and recording at Abbey Road.


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Original music by Joe Kane.


Logo design by Mark Cunningham.


SPEAKER_02

Welcome to my favourite Beatles Song, the podcast where we celebrate the music of the Beatles with a distinguished guest. I'm Tim Tucker, and with me today is singer, songwriter, and musician Simon Love. Welcome, Simon. Hello, Tim, and hello listeners. Thank you for having me. Great to see you. We'll talk more about your music later in the podcast, but we need to establish your Beatles' credentials and just start with what is your first memory of the Beatles?

SPEAKER_01

Well, it might be in utero, because my mum said when she was pregnant with me, she only ate pork chops and tin spaghetti and listened to the Red album and a hot chocolate compilation, uh, which might explain my love of the Beatles and my uh extreme funkiness. It's good combo. Yeah, yeah, but after that I got um when I was about six, the same year all my friends got skateboards for Christmas, I got a hi-fi system, and I only had two singles of my own, and they were Ghostbusters and Spies Like Us by Paul McCartney. So I I obviously just had a thing for um Dan Aykroyd's tie-in film songs. Uh and after a few a few days of me just playing those over and over again, my dad went to my grandma's house and came back with like a like a metal toast rack full of seven-inch singles. And amongst those, there was um three Beatles songs I put in your order and listened to them in your order. So it was She Loves You, which I s maybe sort of knew by just it was everywhere. Oh, it you know, it'd been everywhere. And then Count Buy Me Love, which I sort of sounds very similar to that that was the first one, and then Strawberry Fields Forever. And I just remember going, nope, this isn't the same band. And I remember stopping it, looking at the label and going, Is there two Beatles? Is this it's not that none of these instruments sound the same as those instruments on theirs, even the drums sound weird on this? And I played it all the way through and it got to the end, and I thought, Oh, it's over now, and then it came comes back in even weirder, and I just remember staring at the record player going, Is this gonna go on forever? Is this like on a continuous loop? And it ended. I put it back to the beginning and just played it over and over again because it was like nothing else I'd heard on the radio uh in like the mid-80s, it was like as far away from that as you could possibly get. And then um later on in the when the red album and the blue album got reissued on CD, we got our first CD player just so my mum could listen to the red album again. Um but she only got the red album, she didn't get both. And when I asked her why, she said, Oh, they went weird after that. I didn't didn't like them after that. Um and so I had to copy the blue album off my friend Ian Hunt's mum. She had both of them. But I think I think the the the red album is the reason that um so many people so many people's favourite Beatles album is Revolver, because it's like Eleanor Rigby and Yellow Submarine from that from Revolver on that, and there's nothing else that gives it any sort of hint of what the rest of the album sounds like. It seems like the the the right thing to do would have been to end the red album with Tomorrow Never Knows just to give a hint of oh we're going we're going that way next. It's it's going into space sort of thing.

SPEAKER_02

But uh it's underrepresented, isn't it? It's like the white album's under underrepresented on the blue album as well.

SPEAKER_01

Yeah, it just seems to be put some songs from the beginning and now yeah, that's it, I'll do it.

SPEAKER_02

My second question, of course, is what is your favourite period? Is it the early mop tops, the middle folk psychedelics, or the late great hairy, scary Beatles?

SPEAKER_01

I think it's sort of the mid-period uh psychedelics, specifically uh 1967, because it seems like uh everything goes from black and white pre-1967 into like full colour. Like a psychedelic wash gets put over everything, including the clothes, like they go from wearing matching dark suits, and all of a sudden it look like they've fallen through some silk factory and come out dressed as I don't know, elaborate princes. They just they they all wear but uh the fact that they didn't wear matching things anymore. They might all get the same bat shirts or the same pair of trousers, but they all get them in different colours and different sort of cuts or what have you. And so they're they become almost like more individual beetles after that point. Where whereas before they were just the four-headed monster. Whereas now they're just four separate dandies. I've got a fantasy that um they're gonna release some 1967 box set that encompasses Magical Mystery Tour and Yellow Submarine sort of stuff. So we can get all their their untitled psychedelic jams that they tried to do and Carnival of Light and the long version of It's All Too Much as well. That would be really good.

SPEAKER_02

And Flying, there's a long version of the colour. Oh yeah, yeah, yeah, yeah.

SPEAKER_01

And Shirley's wild accordion.

SPEAKER_02

Yeah, that'd be great. Next year would be the time, wouldn't it?

SPEAKER_01

Yeah.

SPEAKER_02

Final question. You're a musician, you've recorded, gigged around. Have you ever met either any of the Beatles themselves or their entourage or seen any Beatles live?

SPEAKER_01

Weirdly, a few years ago I was walking through Muswell Hill and I saw someone and I went, Are you alright? And waved at him and he went, he sort of looked quizzically at me and went, Yeah, yeah, and walked past. And it was only afterwards my when my wife said, Who was that? And I was like, Oh, that was Paul McCartney's keyboard player, who I don't know. It was Wick's Wickens, and it was just saw him went, Are you right, Wicks? So embarrassed. But um the the nearest I've been to a Beatle Beetle is um when Paul McCartney played the O2 a couple of years ago. Uh I didn't get tickets when they came out, so I waited until like the week the month the week of the gigs, mainly because my son woke me up on the Monday say saying, Dad, I know all the words to love me do. And I was like, Oh, okay, alright.

SPEAKER_03

Love, love me to know I love you. I'd always be true.

SPEAKER_01

Because I used to go to sleep listening to the Beatles One album, and so it was I had some money from PRS burning a hole in my pocket, so I was like, Oh, I'll get us two tickets to go and see Paul McCartney. That'll be a a good first gig, Paul McCartney. And my friend Jeremy, hello Jeremy, for listening. You might listen. Um, he uh he said he sent me a link and said, Oh, these are the promoters' tickets that they've given back, so it's really good seats on the side. You'll get a great view and great sound. So I got them, didn't tell him where we were going, just sort of turned up, went to the O2, and he went, Oh look, Paul McCartney's playing. And I said, Yeah, should we go? And he was like, Yeah, yeah, alright, very calmly. And then went, Wait, is he playing today? Yeah, are we going there today? Yeah. And he started screaming around, jumping up and down. And we went for dinner, and then um we got our seats, and they were right next to like the VIP section, so we could see all the famous people, you know, Simon Pegg and Dame Judy Dench and Kate Kate Moss commiserating with Bobby Gillespie because he was sat like three rows in front of us in the in the parole section. And then as my son spotted Martin Um Freeman, he sort of stood up and turned around and looked up the stairs and went, Oh Dad, look, Ringo. And Ringo was walking down the stairs, and I my hands were shaking too much to take a photo. And yeah, so I've got like blurry ones of him walking past, and then one of Ronnie Woods following him looking like a cartoon punk. Um and it was mad, like one man just ran the length of the robe that he was in to try and shake Ringo's hand, but he was like pushed, kept away by bouncers. And then everyone on the floor obviously heard the commotion coming down the stairs, and it must it was like a real sort of glimpse into what their entire lives must have been like because everyone was just taking photographs of this 80-odd-year-old man sitting in a chair. But it yeah, so I I was like about probably like a foot away from him. I think that's as close as I've been. Although I did well, a couple of years ago we recorded a charity single with uh Joe Kane, who does your uh intro music, yeah. And former guests Nick Um I forgot his name now. Freighter. Nick Freyter, yeah, and sorry Nick and um and Luke Smith. We were put together by Joe Kane to record a song to end the Ukraine Russia war, and you know, we succeeded, I think. It was for like a young singer-songwriter called Macy O, and we all said yes just to have a a day in Abbey Road. We finished our bits in the morning, went for lunch in the canteen, and then we were allowed to roam around. As long as you didn't touch anything, we could do whatever we wanted to do. So there was like the three pianos in the corner of Studio 2, so we all did the big chord at the end of Day in the Life. And even though it's recorded on my phone, it sounds so much like it. So you can hear the whoa, the little vibrations and the things echoing off the walls. It was it was a mad day, it was a amazing day. I've looked into how much it would be to go there and record one of my songs, and I cannot afford that.

SPEAKER_02

Yeah. And I think you mentioned three previous guests there, Luke Smith, Nick Fraser, and Joe Kane, so that's great. It's like a special lineup of uh my favourite beaters song. Yeah, you can put it out as a box set. Well, you should do that, yeah.

SPEAKER_03

I don't know why you say goodbye, I say hello.

SPEAKER_02

The song you've chosen is Hello Goodbye. So Hello Goodbye was recorded in October and November 1967 at EMI Studios, Abbey Road. Um it was released as a single in the UK on the 24th of November 1967, and in the US on the 27th of November 1967. Um, and also on the album in the US, Magical Mystery Tour, also on the November 27th, 1967. Obviously a big hit. In fact, in the UK, it was their longest streak at number one since She Loves You. And of course, the Christmas number one that year, whenever the Beatles released a single at Christmas, it always got to number one. So those are the facts. But uh yeah, tell us what what led you to talk about this song.

SPEAKER_01

Well, this seems to be sort of like an amalgam of everything that's on Saj and Pepper in that it's insanely uh an insanely colourful song. Like I don't have synesthesia, I think that's what you pronounce it, but uh you can feel how bright this song is coming out of the speakers. And it's just if it's like a m I remember hearing it first on the on the blue album and just going another another song that has you know a fake ending and then it comes back in with a completely different bit. Yeah, yeah, yeah. And just it's just it it's it's almost like a pure McCartney pop-up song, in that there's I presume John had did have some sort of input into it into the writing in some way. But I know I read um Alistair Taylor's book and he said it started as him asking Paul how do you write lyrics and Paul said well it's easy, and he just hit a chord on a harmony and went, hello, and then Alistair said it said goodbye, and then he just did it backward and forward like like that. So it seems like a very like simple pop song, but there's still sort of a bit of dark psychedelic edge to it, even in like I think it's more the guitar like that, it feels like almost like a little poke coming out of you.

SPEAKER_03

Oh no. You say goodbye. I say hello, goodbye, hello, hello.

SPEAKER_01

And it's just yeah, it's just uh like a magical piece of music, I think.

SPEAKER_02

Interesting, isn't it? That they released this single in a year where they were just so busy. They've done Strawberry Fields and Penny Lane as a double A side, then Sgt. Peppers. Magical Mystery Tour was coming up. In fact, it was released two weeks later, um, the EP Magical Mystery Tour. Yeah. And this single. And then the movie.

unknown

Yeah.

SPEAKER_02

Incredible. And it's a top off that year with uh with this song as number one. I mean, some people have said it's quite a light song, but as you say, very bright, very poppy, yeah, um, very poor. But lots of it, I mean, you're a musician, so you'll I'm sure share my my enthusiasm for some of the chord changes because it sounds straightforward, but there's the odd little um sidestep like going from F to A flat, for example.

SPEAKER_01

There's there's a lot of um almost I think it's something that I try and do. I cannot compare myself with the Beatles as a thing or wherever it is, but um uh sorry. Um but it's um not being normal, if you know what I mean. Like if you write something as C F and G, you go well, that's a bit yeah, doesn't that? So we do C F and E minor. Is that any different? Is that work? It's the same sort of thing, but there's a bit of a you know, an extra whoosh to it. Oh, I might I might write that down, C F and C F and E minor. Hang on.

SPEAKER_02

Do that one. Um yeah, because it I think it's the the F to A flat and then the next time round F to B flat, um, which uh gives it a different feel, doesn't it, before it gets back to C.

SPEAKER_01

Yeah, it's like a little rug pull. Almost like when the uh John used to say they used to have write intros that weren't repeated in the song, just little things like that. I know um I was in a band with Mikey Georgeson, who's in David Devant and the Spirit Wife. I was in his solo band for a while, and he does a lot of that. In the second verse, the chord will uh like the fourth chord will be slightly changed or it'll be a different thing, and it not only keeps you on your toes when you're in the band, because you have to remember, oh, it's not the same again. This is a different thing, but it also catches the listener's ear, and it's not like it doesn't become like a background hum. Predictable, yeah, yeah. I don't wish to be I don't wish to be an old man because I am, but a lot of modern pop music I've found is just the same chords over and over again, but they just do a different top line for the chorus or whatever, and it just seems a bit dull. But then that's probably why I'm not I'm not in the jars.

SPEAKER_02

You know, a lot of these songs, um the not just the Beatles, but um I know you're a big fan of Kinks and other bands from the 60s and onward, but a lot of them were very resourceful and and had different takes on things, didn't they? And yeah, you're absolutely yeah, this this chord sequence is one of those. It's also got an interesting arrangement, hasn't it? Initially it had much more guitar on, with Harrison playing quite a lot of lead lines.

SPEAKER_01

Again, I think this might be another one of the um sticking points with between Paul and George, where he was playing a lot more, and he was like, No, no, get rid of them, you don't need those. And that might have been another, oh, what am I doing here? So moment for for George. Um But I've also heard a not a demo, it's like a first take where the engineer calls out hello, it's called Hello Hello, and it begins like a slower piano version, then they kick into like the the main thing, and it's just I think it is just piano and drums, and I've got that on my iPods because again I'm an old man and I have an iPod. Um and I just listen to that over and over again because it sounds so it you can hear the the work that's gone into it, and them figuring things out, and some bits weren't kept and some bits were changed or sort of just jettisoned. But it's it's amazing to listen to Hello, take one. And just like hear hearing like the the first sort of hum of it and the first sort of alright, that's what we're going for, and then eventually we'll come round and we'll we'll nail it.

SPEAKER_02

Yeah, I think and it's interesting that they're kind of moving away from guitars a bit because not only do they strip out George's bits, but there's Paul on piano, John on organ, and a bit of piano at the end. And there's violas, of course, two violas. So it has um a less of a guitar y feel, doesn't it? And more of a kind of yeah, keyboard feel to it. And like you say, that that bass groove, very much in that kind of uh in vain.

SPEAKER_01

Again, all the 1967 songs, a lot not all, but a lot of them have a real groove to them, like Baby You're a Rich Man, and um even something like what's the other one? It's all too much, even though that is pretty much one note, is is a good note and they they do they play it really well right now. Yeah, but um there's a there's a lot more feel in the 1967 recordings, it seems to be. Whereas like 65 and 66 they seem to be more I presume because they were obviously touring and they had to rush like they did rubber soul in three weeks, two weeks or something. Um I presume not having to tour, even though they made a film and released an album and an EP, they still had a lot more time to sort of trial and error and just make stuff up on the fly and go, oh that worked, or that didn't work, or we're not doing that again, we'll do we'll do that again instead.

SPEAKER_02

John was famously quite dismissive of this song, you know, saying it's just opposites. And we know from that Alistair Taylor story that that's how it started, but it feels to me more crafted than that. And certainly McCartney in his lyrics book has said that you know he he says it's based on his Gemini persona, doesn't he? And that he takes the positive side against the negative.

SPEAKER_01

Yeah, but I think a lot of that book is an afterthought sort of thing like, oh, oh, actually what I meant was this. But um I remember hearing, I think it was I can't remember where it was, but Kenny Everett had an acetate of this song sent to him by John Lennon with Kenny, what do you think? And it almost like daring him to say, I don't like it, John. But he wrote back saying, Oh, I love it, it's brilliant. But I don't know, might that might John's of John's feeling for it be because the B side was I'm the Warrus, and it wasn't a double A side, like we can work it out in Day Tripper and Strubbyfield Forever and uh Penny Lane. It seems like if they done now, then it would have been an amazing double A song, but then it wouldn't have got played.

SPEAKER_02

I Am the Warus is one of their great songs, isn't it? Yeah. Well genius, and I'm sure John felt a bit aggrieved about that, but even he conceded this was more catchy, it was much more commercial, wasn't it? And maybe they wouldn't have had the hit with I Am the Warrus, it's possible, I think.

SPEAKER_00

You say either, and I say either, you say neither, and I say neither, either, either, neither, neither, let's call the whole thing off.

SPEAKER_02

And Chevalier and Gingold's I Remember It Well also has a opposite from the 1958 musical Jesus.

SPEAKER_01

Yeah, yeah. Yeah, yeah. That one, um, oh it was Paris, it was Rome. Ah, yes, I remember it well, yeah.

SPEAKER_00

We met at nine. We met at eight. I was on time. No, you were late. Ah yes? I remember it well.

SPEAKER_02

So there is a precedent for that.

SPEAKER_01

Yeah, yeah, yeah, yeah. But I think it really works in in in in the whole, because I th also think coming after like however many songs on um Sergeant Pepper got banned by the BBC, coming back with a really radio-friendly pop hit that had nothing controversial, there was no there was nothing weird about it. It was almost like an early version of Paul um recording Mary Had a Little Lamb after doing Give Ireland back to the Irish. So almost like alright, if you don't like this, here's something unoffensive that will get me brickbathed. Brickbath.

SPEAKER_02

And he the fact they can do that with ease is is um you know part of his incredible. Yeah, yeah, yeah.

SPEAKER_01

That was a thing on the on the on the Man on the Run documentary that I was a bit sort of not aggrieved at, bro. I was always like, he didn't do Mary Had a Little Lamb out of nowhere. There was a sort of alright, I'll do this. You yeah, you don't like that? Alright, I'll give you the blandest thing ever. Now you see, and I'll make 900 videos for it. Because like my my other favourite band, uh The Velvet Underground, but they are very much even though each album sounds different, you know, after a certain point Lou Reed is just A D and E. Yes. And then there'll be a guitar solo this and then Yeah.

SPEAKER_02

He's not going to A flat from the F, is he?

SPEAKER_01

No, no, no, good god, no, that's jazz for him. That's that's too much too much like jazz.

SPEAKER_02

The um the one bit that John did appreciate uh was the Maori what they call the Maori finale, which is um obviously that that tacton ending. I say tacton because it that that belittles it because it does work really well and it is joyous, isn't it?

SPEAKER_01

Because in in the in the mid-90s, when I first started going out to clubs, David Hepworth has a thing where he says you can't dance to the Beatles. But I I think some early ones you can do because they are done like dancing pop music. But um in the clubs in Cardiff in the mid-90s, they would try and play late period Beatles songs like they they'd play Magical Mystery Tour, including the long piano fade out ending where people would just be sitting on the dance floor going, Come on. Me and my friend would be there, my Min Pianos, hello Andrew, if you're listening. My Min Pianos until the song ended, and wondering why no girls would come near us. Um, but they would also play Hello Goodbye, but the the ending, the Marui Chant ending, everyone would go mental for and just start spinning around the dance floor. So that there were there were certain songs you could you could do.

SPEAKER_02

And in fact, the Beatles do, don't they? Because we should talk a bit about the promo film where even John starts swiveling to that.

SPEAKER_01

That was my one of my favourite bits when I first saw the anthology was um John's reac John sort of Elvis doing the Elvis pointing with us, flinging the guitar behind his back, and then then uh just staring at the dancers lustily and just sort of like, oh god, leave him alone and then twisting at some point. Yeah, and it was only like probably on like the third or fourth watch through of that episode I realised that Ringo's drums kept getting bigger and smaller. And at one point you got drumsticks that look like trees. Yeah, yeah, it's strange.

SPEAKER_02

There's three different videos sort of stitched together, isn't it? Yeah, three different filmings, directed by Paul, who was clearly in the driver's seat at this stage of The Beatles, wasn't he?

SPEAKER_01

Taking a creative lead. But that that video is is amazing because it again it's they're wearing the Sergeant Pepper costumes, so it's colourful anyway, and then the background is looks some sort of psychedelic um like uh protection screen. No, but what do they call it when the the curtain comes down? It's like some sort of like safety screen or something there. Oh yes, yeah, safety screen. And it looks like a psychedelic version of that. I remember being really I've lived in London now since 2009, and I only found out last year that the Savile Row Theatre where they filmed at is opposite the FOP in um Covent Garden and it was it w was a cinema, it was an Odeon, but now I think it's being turned back into an a s uh a theatre again because apparently the the cinema office is where the stage was uh where where they performed on. So I'm not sure if they're gonna put it back to as it was or if they're just gonna remodel it. But it was amazing. Then I went there and was like, what the outside has still got like this little um it looks almost like Grecian sort of sculptures on the on the outside.

SPEAKER_02

That's another place to put on the Beatles tour map, isn't it? Yeah.

SPEAKER_01

I've got one of those. I did have I made my own one one time and I um took my friend Andrew, again, hello Andrew, who I danced with in in metros in '97 to '99. And um uh no, not continuously. Uh um, but um we I met him from Victoria Coach Station. We did like a whole thing. We went to John and Yoko's flat in Montague Square, and as we sort of walked back towards Saville Row, we crossed over like um Oxford Street, I think it was, and we saw John Clee you stood in front of us, and we both went, Whoa! And then he had a massive coughing fit and went into Snappy Snaps, and it was like, This is London living.

SPEAKER_02

Yeah, only in London would that happen. Yeah, that's right.

SPEAKER_01

We didn't see anyone else now, there.

SPEAKER_02

You can hear John whistling that Hela, Hela Helloa melody at the end of Two of Us.

SPEAKER_01

Oh man, yeah, I didn't realise that.

SPEAKER_02

Oh it obviously stuck in his head. Uh maybe that was because he said he plays piano on that bit as well, so maybe that was partly his sort of input into the song. You better believe it.

SPEAKER_01

I I I used that whistle at the end of uh song uh on the second album of my old band, The Loves, and I was like, Oh, I'm gonna get sued, but obviously no one no one cared. Tim, no one cares.

SPEAKER_02

Any of the instrumental parts highlights for you on this in terms of playing?

SPEAKER_01

Uh Ringo, the the drums are something else. Like there was a few songs on my latest album, what we'll talk about later, where I wanted um a similar thing where it's almost like he doesn't keep a regular beat, but he there's a pattern to it. But it um it he's seems to be like playing out of his head sort of thing. Like I think that's uh that that's a thing, even though he said he got bored in 1967 because they were still, you know, they were still doing the same basic tracks. But he seemed to be putting a lot more thought and oomph into everything. In 2013, me and a few friends got together and did the Please Please Me album in a basement venue in London, the Betty Chuckwood, and it looks like the cavern, sort of, if you squint. And I I wanted to be Paul McCartney in this band, so I bought a really cheap violin bass and then realised I couldn't sing that high. So my friend Spencer, hello Spencer, he played guitar but sang Paul's bits, and I sang Jo uh John's bits. And I'm glad we did switch because there's no way I could play I saw her standing there and sing at the same time because it's my my brain no do that. My hands will just stop playing. It's it's it's it's a magical, it's a magic trick, is what I do.

SPEAKER_02

That makes sense, isn't it? That Paul would would have a different headset on for his bass line. He's away from singing the melody and he's now in bass base, and that's why so many of the bass lines are so inventive, aren't they, in this period? It's ridiculous forcing someone to pick one song from the Beatles repertoire. Do you have any other favourites you'd like to hold up as your uh as amongst your favourites anyway, of the Beatles songs?

SPEAKER_01

Well Tim, being a super fan, uh I w I I went I went through my iPod, being an old man, I went through my iPod and wrote down my favourite Beatles songs, and I went through the list of episodes you've done and was crossed the ones off. I think the only one you haven't done, oh I might be wrong now, I've not got my list to hand, was um oh no, it was You Won't See Me. So that was what you did. Yeah. It got released today of Samira.

SPEAKER_02

You said Martha My Deer in there as well, which was just like.

SPEAKER_01

Yeah, that was in there as well, yeah.

SPEAKER_02

Yeah. And um you had my didn't you have um because you mentioned it earlier, the uh baby you're a rich man.

SPEAKER_01

Yes. Real feel sort of song. That's what I imagine the untitled jams from 1967 to sound like. That whole sort of very not sloppy, but like loose just like Ringo keeping it simple, everyone else just going wherever they're going.

SPEAKER_02

So let's talk about your music. So your uh latest album is The One True Prince of Wales, correct?

SPEAKER_01

Yes, which I the full title is The One True Prince of Wales brackets in exile after abdication, close brackets. Brilliant, love it. Just trying to make it as impossible, as uh as unwieldy as possible.

SPEAKER_02

I I've been loving listening to it, um, and I highly recommend it to listeners. Uh on your website, you've got a description of you being Randy Newman's storytelling filtered through Ray Davis of the Kinks, uh, from mid-60s pop and country to ELO with a bit of Jarvis Cocker thrown in. Does that are you pleased with that? I presume. Yeah, yeah, yeah.

SPEAKER_01

That wasn't that what that was uh someone from Shindig wrote that, and I was like, uh whenever anybody asks me for like a little thing about me, I'll just send them that because that is yeah, I love that. That's that's fine.

SPEAKER_05

Walk your home and take your phone number.

SPEAKER_02

The album's just out. Are you uh are you um playing live to support this? Have you got anything um go coming up that you want to tell listeners about?

SPEAKER_01

Uh we've just done a few dates. We've got a couple in June, and we're still looking for gigs around the country. If any listeners would like to put on a gig by a band of old men who will complain uh endlessly. Yeah, but if anyone wants us to play, we'll come and play. You know, give us a floor give us a floor to sleep on, we'll bring our own sleeping bags and toilet roll. Yeah, get in the van like the Beatles used to, and punch out the window if the just for just for fun, just for a laugh. What number album is this of yours? Oh, it's my fourth solo album. Uh there's four loves albums before this as well. Loves were my sort of more garage-y Velvet Underground-y band. And then uh they sort of finished in 2011. Uh, we did a we did a a most of album a couple of years ago. I wanted to call it a best of, but somebody said that's taking a piss. So it was a most of because our albums are quite short, so you could fit pretty much it's a double album with each side of the compilation from one album. And for the second one, you could I pretty much got all of the album on there, which I thought was quite a feat. Uh uh, all the good songs are on there, yeah. There's there's no filler on on that one. And uh yeah, we every now and again we get back together and when you know for a good cause, we'll get together and play the hits on guitar on guitars that the last time we played in London, uh I just got this new guitar, and I remember going on stage playing an A chord and just hearing every string unwind and going, Oh, this isn't this isn't a good start, is it? And then having to as a as a thing was playing, just tightening everything, playing it again, no, still happening, still happening, and just having like can I have five minutes a second, just yanking at the strings, going, Come on, please, praying to the Lord of Rock. Come on, just let me have one night. So, where can people find out more about you and what you're doing? Uh I've got a website that is SimonLove.org. You can buy the album from Hurrah Musica, Hurrah Musicers um Bandcamp. Hopefully, I should be getting some copies of it to sell from my band camp, which means you won't be charged exorbitant amounts because they're based in Spain. And apparently the uh postage costs are quite high. So they're gonna send me some and then I'll send them out from here. Uh I'm on Instagram and uh Blue Sky at Simon LoveRules and then Facebook at Simon Love Music, but I don't really use Facebook.

SPEAKER_02

Well, listen, it's been wonderful talking to you today, Simon, about the the Beatles and specifically Hello Goodbye. It's been great. Oh, lovely. Thank you, Tim. Goodbye, listeners.

unknown

One, two, three, four.

SPEAKER_02

Thanks for listening to my favourite Beatles song. If you like the podcast, please consider giving it a rating or review on your favourite podcast platform. This helps me to reach new listeners. You can follow the podcast on x.com, Instagram, and Facebook. Look for the links in the show notes. Thanks to Joe Kane for the fantastic music and Mark Cunningham for the logo design. I'll see you next time.