Latest / Broken Record with Rick Rubin, Malcolm Gladwell, Bruce Headlam and Justin Richmond / Love Me Do: McCartney A Life in Lyrics

Transcript

Love Me Do: McCartney A Life in Lyrics · Broken Record with Rick Rubin, Malcolm Gladwell, Bruce Headlam and Justin Richmond

• 0:15
  Speaker 1: Pushkin. Hey there, it's justin Richmond. Sixty years ago this week,
• 0:23
  Speaker 1: the Beatles touched down in the US for the very
• 0:25
  Speaker 1: first time and appeared on the Ed Sullivan Show. That
• 0:29
  Speaker 1: appearance blew the minds of just about everybody who was
• 0:32
  Speaker 1: there to witness it. A lot of the musicians we
• 0:34
  Speaker 1: talked to on this very show cited as a moment
• 0:36
  Speaker 1: that they realized they were going to do music for
• 0:38
  Speaker 1: the rest of their lives. Most recently we heard that
• 0:41
  Speaker 1: from Mark Mothers bov Devo.
• 0:43
  Speaker 2: So.
• 0:43
  Speaker 1: To celebrate this momentous anniversary sixty years since the Beatles'
• 0:47
  Speaker 1: appearance on Ed Sullivan, we're releasing the second season of
• 0:50
  Speaker 1: McCartney A Life and Lyrics, another show that I worked
• 0:53
  Speaker 1: on here at Pushkin Industries. I'm going to share the
• 0:56
  Speaker 1: first episode from that season with you on Broken Record.
• 0:59
  Speaker 1: It's about the song Love Me Do. Paul McCartney and
• 1:02
  Speaker 1: Paul Muldoone sat down to discuss the origins of that
• 1:05
  Speaker 1: song and also a bit about the origin of the Beatles,
• 1:08
  Speaker 1: and also about that Ed Sullivan appearance. I hope you
• 1:12
  Speaker 1: like the episode. If you do, subscribe to McCartney Life
• 1:14
  Speaker 1: and Lyrics. We already have the second episode up on
• 1:17
  Speaker 1: Band on the Run, and we'll be releasing more episodes
• 1:20
  Speaker 1: a weekly through April. McCartney A life and Lyrics I
• 1:23
  Speaker 1: hope you enjoy.
• 1:26
  Speaker 2: We admired a singer at that time called Bruce Chanelle
• 1:31
  Speaker 2: I think his name was, who had a song called
• 1:33
  Speaker 2: Hey Baby where there was a harmonica roof. So we
• 1:45
  Speaker 2: started doing Hey Baby. I sang it. John played the harmonica.
• 1:56
  Speaker 2: I think that was one of the contributory factors for
• 1:59
  Speaker 2: when we're going to write something that's a good idea.
• 2:02
  Speaker 2: This harmonica thing's a good idea. John could play it well.
• 2:07
  Speaker 2: We could write something that would feature you know, instruments
• 2:18
  Speaker 2: come in sort of vogues. I mean you think of
• 2:20
  Speaker 2: skiffle guitar was like a harmonics. What everyone got for
• 2:25
  Speaker 2: Christmas is what everyone got, and that then spawned the
• 2:30
  Speaker 2: sixties revolutions.
• 2:39
  Speaker 3: I'm Paul will do and I've been fortunate to spend
• 2:43
  Speaker 3: time with one of the greatest songwriters of our era.
• 2:47
  Speaker 2: And will you look at me, I'm going on to it.
• 2:50
  Speaker 2: I'm actually a performer.
• 2:52
  Speaker 3: That is, Sir Paul McCartney. We worked together on a
• 2:56
  Speaker 3: book looking at the lyrics of more than one hundred
• 2:58
  Speaker 3: and fifty of his songs, and we recorded many hours
• 3:03
  Speaker 3: of our conversations.
• 3:05
  Speaker 2: It was like going back to an old snapshot album
• 3:08
  Speaker 2: looking back on work I hadn't ever analyzed.
• 3:13
  Speaker 3: This is McCartney, a life in lyrics, a masterclass, a memoir,
• 3:20
  Speaker 3: and an improvised journey with one of the most iconic
• 3:24
  Speaker 3: figures in popular music. In this episode, love Me.
• 3:29
  Speaker 4: Too, BA, love Me Do you Know?
• 3:34
  Speaker 2: I Love you?
• 3:36
  Speaker 1: Balways be true soly.
• 3:43
  Speaker 2: Love Me Do.
• 3:46
  Speaker 3: For a group like the Beatles to come into existence,
• 3:51
  Speaker 3: you need quite a few planets to align, but you
• 3:56
  Speaker 3: also need prodigious talent, clever strategy, and instiable drive. In
• 4:03
  Speaker 3: this episode, we trace the origins of one of the
• 4:06
  Speaker 3: earliest Beatles songs. These days it's difficult to remember a
• 4:11
  Speaker 3: time before the Beatles, but back when Paul McCartney and
• 4:16
  Speaker 3: John Lennon wrote Love Me Doo, there were merely school
• 4:20
  Speaker 3: boys trying to make a hit.
• 4:22
  Speaker 2: In the afternoons, I sometimes had a rather kind of
• 4:25
  Speaker 2: light class that I could get out of, and so
• 4:29
  Speaker 2: I would say I had a dentist's appointment or something,
• 4:33
  Speaker 2: and they didn't check too heavily, so I would be
• 4:36
  Speaker 2: able to get on the bus go back home. And
• 4:39
  Speaker 2: arrange to meet John, who ran about that time was
• 4:43
  Speaker 2: going to the art college next door in my school,
• 4:47
  Speaker 2: So we'd meet up at my house is now National
• 4:49
  Speaker 2: Trust established twenty fourth in the road, and we would
• 4:54
  Speaker 2: meet there because that was the most convenient place, and
• 4:58
  Speaker 2: my mom and dad wouldn't be there, so we would
• 5:03
  Speaker 2: go there and start just knocking around, showing it other
• 5:09
  Speaker 2: stuff that we'd written already, and then writing new stuff together.
• 5:17
  Speaker 2: And that's involved a couple of songs that have never
• 5:20
  Speaker 2: been published or never been heard, songs like just Fun
• 5:27
  Speaker 2: was one of them, and they were very rough little things,
• 5:30
  Speaker 2: but you know it was.
• 5:31
  Speaker 5: The start, right now? You still have copies of those?
• 5:34
  Speaker 5: Are there still copies of it?
• 5:35
  Speaker 2: You know? I do? I say, or did have an
• 5:41
  Speaker 2: old school exercise book. It's a nice little blue book,
• 5:45
  Speaker 2: a hard pack, and in that I wrote just fun,
• 5:51
  Speaker 2: Just Fun. They said that our love was just fun
• 5:54
  Speaker 2: the day that our friendship begun. There's no blue moon
• 5:57
  Speaker 2: that I can see. There's never been in history, because
• 6:01
  Speaker 2: our love was just fun, kind of country picnic. And
• 6:07
  Speaker 2: then Too Bad about Sorrow's was sort of too bad
• 6:09
  Speaker 2: about Sartrose Wo wow wow ooh do do do do
• 6:16
  Speaker 2: I think? It's a little too opy thing. This was
• 6:18
  Speaker 2: the start. And then I'd written in angel voices.
• 6:24
  Speaker 3: In that little blue notebook where the two school boys
• 6:28
  Speaker 3: had scribbled their very first lyrics, there was evidence Lennon
• 6:32
  Speaker 3: and McCartney envisioned themselves following in the footsteps of other
• 6:38
  Speaker 3: songwriting giants.
• 6:40
  Speaker 2: And at the top of the page, I've written another
• 6:43
  Speaker 2: Lennon McCartney original.
• 6:45
  Speaker 5: So you already had a sense, even though you were
• 6:49
  Speaker 5: what sixteen, a little older perhaps that you would have
• 6:53
  Speaker 5: a future.
• 6:54
  Speaker 2: Yeah, did you? I mean, I think it was more
• 6:56
  Speaker 2: a sort of wish than a sense. It was more,
• 6:59
  Speaker 2: you know, this thing, if you visualize it, it might
• 7:02
  Speaker 2: come true. And you know, when you think of Lena McCartney,
• 7:06
  Speaker 2: was because we'd heard of Gilbert Sullivan, Rodgers and Hammerstein,
• 7:10
  Speaker 2: Elena McCarney. It's good, there's two of us, and we
• 7:14
  Speaker 2: could we can make up one of those type names
• 7:17
  Speaker 2: liber and Stoller, Coffin and King. But these were magic
• 7:20
  Speaker 2: names to us. We didn't realize Coffin and King was
• 7:24
  Speaker 2: Carol King.
• 7:25
  Speaker 5: I didn't realize it was a girl, and an amazingly
• 7:28
  Speaker 5: young woman.
• 7:29
  Speaker 2: I was very young, yes, yeah, but you know it
• 7:31
  Speaker 2: was thrilling to know that there were these people out
• 7:34
  Speaker 2: there and this is what we wanted to be and
• 7:37
  Speaker 2: love me do game around that period, One after nine
• 7:42
  Speaker 2: or nine robbed me doing one after nine or nine
• 7:44
  Speaker 2: actually got published and actually got recorded. My baby did
• 7:50
  Speaker 2: another one half the nine or nine.
• 7:54
  Speaker 1: I didn't move about it.
• 7:57
  Speaker 2: The others didn't get recorded. And the school exercise book.
• 8:01
  Speaker 2: I found it probably about ten fifteen years ago, put
• 8:07
  Speaker 2: it in my bookcase and I've since lost it. I
• 8:10
  Speaker 2: don't know where it is. I think it might show
• 8:12
  Speaker 2: up somewhere, but it's the first ever Lenna McCartney manuscript. Anyway. Yeah, well,
• 8:20
  Speaker 2: oh dear is right, but you know you have to
• 8:21
  Speaker 2: let these things go right.
• 8:24
  Speaker 4: Maybe Another duo which had a profound influence on young
• 8:36
  Speaker 4: Lennon and McCartney was the Everly Brothers.
• 8:40
  Speaker 2: There are certain people that you can credit for pretty
• 8:45
  Speaker 2: much everything we did, because I think that's I think
• 8:48
  Speaker 2: that's true of everyone. I think everyone's got a hero
• 8:53
  Speaker 2: that forms them like this. Oh did I exist a
• 9:12
  Speaker 2: little like so? As John and I were two male
• 9:18
  Speaker 2: vocalists who sang in harmony, our biggest influence was the
• 9:24
  Speaker 2: Evely Brothers, who we loved adored to this day. I
• 9:29
  Speaker 2: just think they the greatest, And it was different. You'd
• 9:34
  Speaker 2: have barbershop quartets. You'd heard the Beverly Sisters, the Three Girls,
• 9:38
  Speaker 2: you'd heard all that, but just two guys, good lucking guys.
• 9:44
  Speaker 2: This is good.
• 9:46
  Speaker 1: Oh yeah, you're not albu.
• 9:54
  Speaker 2: So. Yeah. We loved them and idolized them and wanted
• 9:58
  Speaker 2: to be like them, like.
• 10:03
  Speaker 6: Oh yeah.
• 10:05
  Speaker 2: It's like when people later would see the Beatles on
• 10:07
  Speaker 2: The Ed Sullivan Show and.
• 10:09
  Speaker 1: Gentlemen like Live from New York, The Sullivan Joe.
• 10:17
  Speaker 2: I mean trillion people who say that I knew that's
• 10:23
  Speaker 2: what I wanted to be.
• 10:24
  Speaker 6: Last on our show in New York, the Beatles played
• 10:27
  Speaker 6: to the greatest TV audience it's ever been assembled in
• 10:30
  Speaker 6: the history of American TV.
• 10:32
  Speaker 2: When I saw you foreheaded monster on the Telly and
• 10:37
  Speaker 2: you I've got to be part of this. Our current
• 10:39
  Speaker 2: manager of Beatles Apple Records, says that Bruce Springsteen says
• 10:45
  Speaker 2: that David Lehnerman says that they all formed on that night,
• 10:51
  Speaker 2: formed this this future for themselves, and there we were
• 10:54
  Speaker 2: in Liverpool form in this future and the same kind
• 10:57
  Speaker 2: of deal.
• 11:06
  Speaker 3: The day when you say goodbye and McCartney were working
• 11:11
  Speaker 3: in the wake of all these great songwriting dues who
• 11:15
  Speaker 3: wrote songs for others to sing, and singers like the
• 11:20
  Speaker 3: Everly Brothers who sang other people's songs. But there were
• 11:24
  Speaker 3: also people like Buddy Holly who could do it all.
• 11:28
  Speaker 2: You know, you know me, baby, dude, you tell me
• 11:31
  Speaker 2: baby that songday.
• 11:34
  Speaker 6: You will loudly bad what you say goodbye.
• 11:39
  Speaker 2: Buddy Holly to us was amazing for a number of reasons.
• 11:45
  Speaker 2: He sang and played guitar. Elvis just sang and Scotty
• 11:50
  Speaker 2: Moore played guitar. He normally played guitar, he played the solos. Normally,
• 11:57
  Speaker 2: if you played guitar, there was another guy in the
• 11:58
  Speaker 2: group was a lead guitar played the sols. But Buddy
• 12:02
  Speaker 2: sang played the guitar and played the sols. He also
• 12:06
  Speaker 2: wrote the stuff. So this was like all inclusive, one
• 12:12
  Speaker 2: man band, and we really thought that was great. So
• 12:15
  Speaker 2: this is what we have to do.
• 12:20
  Speaker 3: Buddy Holly inspired the youngsters to explore their full musical potential,
• 12:27
  Speaker 3: and he also helped John Lennon overcome his embarrassment about
• 12:31
  Speaker 3: wearing glasses.
• 12:32
  Speaker 2: He also wore these big horn room glasses, as did
• 12:35
  Speaker 2: John and ifever there would be a girl coming up.
• 12:39
  Speaker 2: John with witness glasses off and put them in his
• 12:40
  Speaker 2: pocket and squint as she went by, and I see
• 12:45
  Speaker 2: you look pretty good. The glasses are good. But one
• 12:48
  Speaker 2: buddy came along, the glasses stayed on. It was like
• 12:51
  Speaker 2: Harry Potter with all the kids.
• 12:54
  Speaker 3: Like Buddy Holly had more than just the musical chops
• 13:02
  Speaker 3: and the suave image that John Lennon and Paul McCartney
• 13:05
  Speaker 3: covet it for themselves. The name of his group, Buddy
• 13:09
  Speaker 3: Holly and the Crickets, had a certain entomological ring to it.
• 13:15
  Speaker 2: The name the Crickets. You know, we wanted something with
• 13:18
  Speaker 2: a dual meaning, and it turned out they didn't know
• 13:21
  Speaker 2: how the dual meaning the crickets. They didn't know about
• 13:25
  Speaker 2: the game cricket. Oh, I say, And they just thought
• 13:28
  Speaker 2: it was grasshoppers, right, So we said to them. Ice
• 13:31
  Speaker 2: met them years later, fantastic man, the Beatles, We loved crickets,
• 13:37
  Speaker 2: chopy little things and the great game of cricket. A
• 13:41
  Speaker 2: brilliant name for a group. And they went, you know,
• 13:44
  Speaker 2: oh no, we just heard a grasshopper in the studio wall.
• 13:47
  Speaker 5: You know, did you do you remember setting around thinking
• 13:53
  Speaker 5: the buddy Holly and the Crickets. The Beatles will be
• 13:57
  Speaker 5: a great name for us.
• 14:00
  Speaker 2: My memory of it was that we were striving to
• 14:03
  Speaker 2: find something with a dual meaning because of the Crickets.
• 14:07
  Speaker 2: This is the idea. Now the origin of it is
• 14:10
  Speaker 2: clouded in mystery.
• 14:14
  Speaker 3: You know, I missed you.
• 14:16
  Speaker 2: It was just a club split up. I missed you.
• 14:18
  Speaker 2: Because there are all sorts of theories about this, says
• 14:20
  Speaker 2: The Wild Ones with Marlon Brando, and at one point
• 14:25
  Speaker 2: Lee Marvin says, he Johnny, Johnny or Johnny. I think
• 14:28
  Speaker 2: he's cool.
• 14:28
  Speaker 6: Come on, Johnny, we all missed you.
• 14:31
  Speaker 2: Miss him. Yeah, Johnny, we love you, you know, coming back
• 14:34
  Speaker 2: to the gang or something like that. Johnny, we love you.
• 14:36
  Speaker 2: The Beatles love you.
• 14:37
  Speaker 6: Miss Yeah, Beatles mischief all the Beatles, mister.
• 14:41
  Speaker 2: It turns out the Malls, the girls in the Motorcycle
• 14:45
  Speaker 2: Gang were called Beatles, says The Beatles love you, Johnny
• 14:49
  Speaker 2: for all times. And I know John and Stuart his
• 14:54
  Speaker 2: art school friends, Stuart Suckliffe loved that film as we
• 14:59
  Speaker 2: all did. I think they had seen it. I think
• 15:02
  Speaker 2: we just loved it and hadn't seen it anyway. So
• 15:04
  Speaker 2: that's one of the.
• 15:05
  Speaker 3: Theories today it's easy to forget how the creation of
• 15:15
  Speaker 3: the Beatles required thousands of small choices. Songs which are
• 15:21
  Speaker 3: now canonized were once simple phrases. Two boys having fun
• 15:26
  Speaker 3: when no parents were home, one of them with a
• 15:29
  Speaker 3: notebook in hand, the other playing a harmonica.
• 15:38
  Speaker 2: At one of those writing sessions, twenty fourth in road,
• 15:43
  Speaker 2: a little garden path past my dad's lavender hedge. You know,
• 15:47
  Speaker 2: we would write, let me do and John come up
• 15:50
  Speaker 2: with this little harmonica roof. It's so simple. I mean
• 15:53
  Speaker 2: you look at it here.
• 15:55
  Speaker 5: Yes, there's nothing to it.
• 15:57
  Speaker 2: It's a will have a wisp little song, lovely.
• 16:07
  Speaker 3: So what do you think made it become such a
• 16:13
  Speaker 3: potent part.
• 16:15
  Speaker 2: I think our image and our energy as the four
• 16:19
  Speaker 2: Beatles was what was potent. And it had a very
• 16:24
  Speaker 2: fresh sound. That's the sort of thing that people noticed.
• 16:28
  Speaker 2: And we had a very fresh image. Nobody looked like us.
• 16:32
  Speaker 2: And we've been working at it a long time in Liverpool.
• 16:37
  Speaker 2: Originally as really a bunch of rockers, you know, the
• 16:41
  Speaker 2: cliffs and everything gone over to Hamburg as the rockers
• 16:46
  Speaker 2: had got a little bit leatherified there, and then it
• 16:50
  Speaker 2: moved from leather to suits at the request of Brian Epstein.
• 16:55
  Speaker 3: Brian Epstein, an entrepreneurial young man from a family of
• 17:00
  Speaker 3: successful retailers in Liverpool, had stumbled upon the Beatles at
• 17:05
  Speaker 3: a nineteen sixty one lunchtime concert. He had no experience
• 17:10
  Speaker 3: managing artists, but he did have lots of confidence, so
• 17:14
  Speaker 3: in short order he signed the contract to manage the
• 17:17
  Speaker 3: band and told them to get suited up.
• 17:21
  Speaker 2: And so we all went over to Beno Dawn who
• 17:23
  Speaker 2: was in the wirrald back and head a Taylor. We'd
• 17:28
  Speaker 2: never been to a tailor really, you know, so certainly
• 17:31
  Speaker 2: not on maps. We all went over and got suits.
• 17:34
  Speaker 2: So we had this image. We had all the experience
• 17:37
  Speaker 2: musical experience of Hamburg, of playing a lot your ten
• 17:41
  Speaker 2: thousand hours, mister Gladwell's right, ten thousand hours. So when
• 17:46
  Speaker 2: we kind of then came on the scene and was
• 17:49
  Speaker 2: seen on television, we had a freshness, complete simplicity. Let
• 17:56
  Speaker 2: me do It's got a slightly sort of bluozy thing.
• 18:01
  Speaker 2: I mean, it's not a blues but it's got a simplicity,
• 18:07
  Speaker 2: like a little sort of down home on the porch
• 18:11
  Speaker 2: with a couple of guitars on harmonica.
• 18:20
  Speaker 3: At the heart of these simple lyrics is a familiar story,
• 18:25
  Speaker 3: a young man yearning for a woman to love Salmack.
• 18:35
  Speaker 2: It's a funny thing. You try and recreate that stuff now,
• 18:40
  Speaker 2: and it's almost impossible. Why Because you were sixteen. That's
• 18:45
  Speaker 2: why you were looking at the world, and the world
• 18:50
  Speaker 2: was good and there was this marvelous rock and roll
• 18:54
  Speaker 2: future unfolding itself, and you were about to become part
• 18:59
  Speaker 2: of it. So your longings for a girl, which was
• 19:04
  Speaker 2: impossible to achieve, you know, he had that little, perfect
• 19:11
  Speaker 2: high school sweetheart, you know. So there was this great
• 19:14
  Speaker 2: longing for your career is you didn't know what you
• 19:20
  Speaker 2: were going to do, and it was a dread of
• 19:22
  Speaker 2: all dreads. I was about to go to teacher's training college.
• 19:26
  Speaker 2: I was trying to put that off forever. I did
• 19:30
  Speaker 2: not want to go into that mold. So there was
• 19:33
  Speaker 2: all these different kinds of longings. John and I's mothers
• 19:37
  Speaker 2: had both died, which was this amazing bond between us.
• 19:42
  Speaker 2: We both understood the anguish of that, and at that
• 19:49
  Speaker 2: age it's largely unspoken. You just said, oh, your mother died, Yes,
• 19:54
  Speaker 2: so did I. We knew I knew the circumstances of
• 19:58
  Speaker 2: his mother, says he knew the circustance in mind, and
• 20:01
  Speaker 2: we would talk about it a little bit, but being
• 20:04
  Speaker 2: young boys, you didn't talk about it much. All this
• 20:09
  Speaker 2: was rolled up into this package, this longing, and it's
• 20:16
  Speaker 2: spilled out, which is the best way to write lovely love.
• 20:28
  Speaker 3: Some of this longing for their mothers, for love. For
• 20:32
  Speaker 3: artistry was fairly abstract, but they also had more concrete ambitions.
• 20:39
  Speaker 3: They had met other songwriting teams who turned out hits
• 20:43
  Speaker 3: and made good money.
• 20:45
  Speaker 2: John and I looked at thought, the right we could
• 20:47
  Speaker 2: do that? What a good idea. If we get hits,
• 20:51
  Speaker 2: that will then get money and it may not buy
• 20:55
  Speaker 2: us love, but it will buy us a car. I
• 20:58
  Speaker 2: must admit, you know, we were young guys without any money,
• 21:01
  Speaker 2: coming from Liverpool with dreams, and once we realized that
• 21:06
  Speaker 2: to write a hit song would get you some money,
• 21:09
  Speaker 2: it was very attractive, very attractive thought. And it wasn't
• 21:14
  Speaker 2: just the money. It was then the joy of pulling
• 21:17
  Speaker 2: our song out of a hat, being able to play
• 21:20
  Speaker 2: it with our band, which needed songs, so we were
• 21:24
  Speaker 2: sort of feeding the machine. Take one No.
• 21:32
  Speaker 3: Later, when the Fab four removed from writing in the
• 21:34
  Speaker 3: parlor room to writing in the studio, they learned to
• 21:39
  Speaker 3: crank out hits at an impressive piece.
• 21:43
  Speaker 2: Take four one. Our recording hours, Well what now classical
• 21:54
  Speaker 2: people do? It's it's the norm for recording. You normally
• 21:59
  Speaker 2: go in ten o'clock, you get yourself together, you start
• 22:03
  Speaker 2: at ten thirty. You then will work three hours. You
• 22:08
  Speaker 2: don't have it our right in. You work two thirty
• 22:10
  Speaker 2: to five thirty, and that's it. And in those two
• 22:14
  Speaker 2: periods of three hours, it was expected that we would
• 22:18
  Speaker 2: be able to finish two songs. So so we did.
• 22:22
  Speaker 2: And that's that was the output and the great the
• 22:26
  Speaker 2: flow of just having to come up with two complete things.
• 22:30
  Speaker 2: But the great thing about this was you were finished
• 22:33
  Speaker 2: by five thirty.
• 22:37
  Speaker 6: When a harmonica like the Beatles playing not a toy
• 22:40
  Speaker 6: but a genuine huner marine band harmonica, just like those
• 22:44
  Speaker 6: play by the Beatles.
• 22:45
  Speaker 3: Maybe what allowed the Beatles to come together was the
• 22:48
  Speaker 3: force of their belonging. Maybe it was the long studio days,
• 22:52
  Speaker 3: the churning out of albums, the carefully crafted image. Whatever
• 22:57
  Speaker 3: the case, they went from looking at other artists dreaming
• 23:02
  Speaker 3: of becoming them, to being the artists others would dream
• 23:07
  Speaker 3: of becoming.
• 23:08
  Speaker 6: Way along with the with your own genuine owner Marine
• 23:11
  Speaker 6: band harmonica from Klim.
• 23:16
  Speaker 3: When what the Beatles would become was beyond what any
• 23:23
  Speaker 3: of its members could have dreamt off when they were
• 23:25
  Speaker 3: sixteen and playing harmonica in their living rooms.
• 23:29
  Speaker 2: There were all sorts of things. As I say that
• 23:31
  Speaker 2: you instinctively knew, don't try too hard, don't work too
• 23:41
  Speaker 2: hard at reaching for it, because the more you reach,
• 23:47
  Speaker 2: the more it will receive. Just kid on that you
• 23:50
  Speaker 2: don't even want it right, something will happen where everyone
• 23:56
  Speaker 2: else around us be worrying, no more other than I
• 23:58
  Speaker 2: was going to oh my god, ah my god. We
• 24:01
  Speaker 2: always related back to this accident we'd had on the
• 24:04
  Speaker 2: motorway going from running up to Liverpool, where we'd skid
• 24:08
  Speaker 2: it off in the snow down the bank with our
• 24:10
  Speaker 2: van and at the bottom of the van were this,
• 24:13
  Speaker 2: how the hell are we ever going to get home?
• 24:17
  Speaker 2: It's snowing, we're freezing, and someone in the group, so
• 24:21
  Speaker 2: something will happen, And it was like that became a mantra,
• 24:25
  Speaker 2: and you know, as I say, it's actually a very
• 24:28
  Speaker 2: good one. It's this, it's not reaching for it, it's
• 24:32
  Speaker 2: letting it go. Love me, love me, love me? Do
• 25:03
  Speaker 2: you know I love you?
• 25:06
  Speaker 5: Ah me?
• 25:08
  Speaker 1: Through sound Please.
• 25:13
  Speaker 6: Love Me, Love.
• 25:27
  Speaker 3: Love Me Doe from the beatles nineteen sixty three album
• 25:31
  Speaker 3: Please Please Me. In the next episode, McCartney starts over
• 25:38
  Speaker 3: with a ragtag band on the run.
• 25:42
  Speaker 2: I just thought we would just start something that feels
• 25:45
  Speaker 2: good and we'll build it up like the Beatles, did you.
• 25:52
  Speaker 5: Sau.
• 25:56
  Speaker 3: McCartney. A Life in Lyrics is a co production between iHeartMedia,
• 26:02
  Speaker 3: NPL and Pushkin Industries.