1 00:00:14,824 --> 00:00:22,064 Speaker 1: Pushkin. Hi, everyone, it's Paul Moldoin. Before we get to 2 00:00:22,144 --> 00:00:24,784 Speaker 1: this episode, I wanted to let you know that you 3 00:00:24,864 --> 00:00:29,384 Speaker 1: can binge all twelve episodes of McCartney A Life and 4 00:00:29,464 --> 00:00:35,184 Speaker 1: Lyrics right now, add free by becoming a Pushkin Plus subscriber. 5 00:00:35,904 --> 00:00:39,944 Speaker 1: Find Pushkin Plus on the McCartney A Life and Lyrics 6 00:00:39,984 --> 00:00:45,504 Speaker 1: show page in Apple Podcasts, or at pushkin dot Fm 7 00:00:45,504 --> 00:00:47,504 Speaker 1: slash Plus. 8 00:00:49,344 --> 00:00:52,624 Speaker 2: I remember one time when I was a kid and 9 00:00:52,664 --> 00:00:56,104 Speaker 2: me and my friend Ian James, we were at a 10 00:00:56,144 --> 00:00:59,584 Speaker 2: fair ground in our flecked jackets and I had a 11 00:00:59,664 --> 00:01:03,464 Speaker 2: little flap on my breast pocket. I've really fancied myself. 12 00:01:05,464 --> 00:01:10,024 Speaker 2: And we came back from this fairground ex tradition, and 13 00:01:10,064 --> 00:01:13,184 Speaker 2: I had a major headache. So I sat down and 14 00:01:13,224 --> 00:01:18,944 Speaker 2: we put on Elvis record All Shook Up, Love Amar 15 00:01:19,104 --> 00:01:25,904 Speaker 2: Shook Up Yay, And by the end of that record, 16 00:01:26,104 --> 00:01:31,624 Speaker 2: my headache had gods. So you know, the healing power 17 00:01:32,784 --> 00:01:35,264 Speaker 2: of music is undeniable. 18 00:01:36,464 --> 00:01:39,344 Speaker 3: Love Amara Shook Up. 19 00:01:42,504 --> 00:01:45,504 Speaker 1: And Paul will do for a number of years. I've 20 00:01:45,624 --> 00:01:48,904 Speaker 1: been fortunate to spend time with one of the greatest 21 00:01:48,904 --> 00:01:50,464 Speaker 1: songwriters of the era. 22 00:01:50,744 --> 00:01:53,144 Speaker 2: And will you look at me, I'm going on to 23 00:01:53,624 --> 00:01:55,784 Speaker 2: I'm actually a performer, that. 24 00:01:55,944 --> 00:01:59,464 Speaker 1: Is Sir Paul McCartney. We worked together on a book 25 00:01:59,624 --> 00:02:01,904 Speaker 1: looking at the lyrics of more than one hundred and 26 00:02:01,904 --> 00:02:06,664 Speaker 1: fifty of his songs, and we recorded many hours of 27 00:02:06,704 --> 00:02:07,784 Speaker 1: our conversations. 28 00:02:08,064 --> 00:02:11,304 Speaker 2: It was like going back to an old snapshot album 29 00:02:11,504 --> 00:02:16,224 Speaker 2: looking back on work I hadn't ever analyzed. 30 00:02:16,704 --> 00:02:22,624 Speaker 1: This is McCartney, a life in lyrics, a masterclass, a memoir, 31 00:02:23,144 --> 00:02:27,224 Speaker 1: and an improvised journey with one of the most iconic 32 00:02:27,264 --> 00:02:34,064 Speaker 1: figures in popular music in this episode, hey hey hey, Jude, Hey, 33 00:02:34,144 --> 00:02:39,544 Speaker 1: Hey hey Hey. In the spring of nineteen sixty eight, 34 00:02:40,424 --> 00:02:45,304 Speaker 1: John and Cynthia Lennon's marriage fell apart. He had been 35 00:02:45,384 --> 00:02:49,784 Speaker 1: having a secret affair with the artist Yoko Ono and 36 00:02:49,984 --> 00:02:54,704 Speaker 1: decided to leave his wife and five year old son, Julian. 37 00:02:55,744 --> 00:03:00,464 Speaker 1: Paul McCartney had known Cynthia Lennon since the early days 38 00:03:00,584 --> 00:03:04,344 Speaker 1: in Liverpool and he was like an uncle to Julian. 39 00:03:05,024 --> 00:03:08,744 Speaker 2: I was traveling Monday to see Julian Lenon, yes his 40 00:03:08,824 --> 00:03:12,584 Speaker 2: mother Cynthia, and I used to call him Jewels. So 41 00:03:12,704 --> 00:03:14,984 Speaker 2: the song started off when I was in the car 42 00:03:15,544 --> 00:03:19,144 Speaker 2: driving out, which was a forty five minute drive out 43 00:03:19,144 --> 00:03:22,424 Speaker 2: of central London, and people had sort of suggested, Oh, 44 00:03:22,544 --> 00:03:25,184 Speaker 2: you know, I fancy Cynthia was going to Well, people 45 00:03:25,224 --> 00:03:28,144 Speaker 2: can suggest anything like but I didn't. I was just 46 00:03:28,184 --> 00:03:32,224 Speaker 2: going out just as a friend, just sort of see them. 47 00:03:33,144 --> 00:03:38,384 Speaker 2: And so in my mind, Hey, Jules, what's so don't 48 00:03:38,464 --> 00:03:41,464 Speaker 2: make it bad? You know, I know this is tough 49 00:03:41,504 --> 00:03:43,944 Speaker 2: for you. But take a sad song and make it better. 50 00:03:44,544 --> 00:03:47,824 Speaker 4: Remember do letter and deal. 51 00:03:49,744 --> 00:03:54,984 Speaker 5: Then you can start do make it better. 52 00:03:55,824 --> 00:04:00,504 Speaker 2: Your dad's just left you, so it was like trying 53 00:04:00,504 --> 00:04:06,144 Speaker 2: to be encouraging, so it was an encouraging song. Remember 54 00:04:06,184 --> 00:04:07,904 Speaker 2: to let anything to your heart, remember to let love 55 00:04:07,984 --> 00:04:09,744 Speaker 2: into your heart. If make it better. 56 00:04:10,384 --> 00:04:14,784 Speaker 1: This is often the case with McCartney's songwriting. He started 57 00:04:14,944 --> 00:04:20,544 Speaker 1: with a specific inspiration, then followed the story of the 58 00:04:20,664 --> 00:04:22,264 Speaker 1: song where it led him. 59 00:04:22,744 --> 00:04:26,104 Speaker 2: What often happened for my songs is it starts off 60 00:04:26,104 --> 00:04:31,024 Speaker 2: with someone being worried about something in life, a specific 61 00:04:31,104 --> 00:04:35,824 Speaker 2: thing like a divorce. But then I start to just 62 00:04:35,904 --> 00:04:38,464 Speaker 2: morph it because I still get it fed up with 63 00:04:38,544 --> 00:04:41,184 Speaker 2: the theme and I like to just move away from 64 00:04:41,184 --> 00:04:44,464 Speaker 2: because nobody knows what this is about. So I'm just 65 00:04:44,464 --> 00:04:47,424 Speaker 2: saying make it better. And to somebody called Jude, I 66 00:04:47,464 --> 00:04:48,904 Speaker 2: don't have a clutch and called jud. 67 00:04:48,944 --> 00:04:51,344 Speaker 1: Yes, because people would not have known at the time. 68 00:04:52,264 --> 00:04:55,784 Speaker 1: M that in after years discuss. 69 00:04:55,584 --> 00:05:01,584 Speaker 2: Yes, So then I start moving. You were made to 70 00:05:01,624 --> 00:05:04,424 Speaker 2: go out and get her. Now there's a woman arrival 71 00:05:04,504 --> 00:05:09,504 Speaker 2: on the scene. So now he's said about a breakup something. 72 00:05:11,024 --> 00:05:14,664 Speaker 2: So remember now to let her under your skin, and 73 00:05:14,704 --> 00:05:18,184 Speaker 2: then you begin to make it better. And anytime you 74 00:05:18,264 --> 00:05:23,504 Speaker 2: feel the pain, now it's mixed. It could be about 75 00:05:24,384 --> 00:05:28,864 Speaker 2: Julian or it could be about this new woman relationship. 76 00:05:29,264 --> 00:05:34,184 Speaker 5: Hey, dude, don't be afraid. 77 00:05:35,904 --> 00:05:40,384 Speaker 4: You were made to God and get her. 78 00:05:42,704 --> 00:05:48,384 Speaker 6: The minute you let her under your skin, then you 79 00:05:48,744 --> 00:05:53,064 Speaker 6: begin to make it better. 80 00:05:54,704 --> 00:05:57,904 Speaker 2: And it's anyone. I like my songs to be every 81 00:05:57,944 --> 00:06:02,144 Speaker 2: man or every woman because I know people are going 82 00:06:02,184 --> 00:06:04,664 Speaker 2: to listen to them, and I like the fact that 83 00:06:04,704 --> 00:06:09,784 Speaker 2: they put their own interpretations on them. And I'm glad 84 00:06:10,424 --> 00:06:13,704 Speaker 2: when the lyrics get up bit screwed up they mishear 85 00:06:13,864 --> 00:06:19,704 Speaker 2: them because it's yours. Now you know, I've let it 86 00:06:19,744 --> 00:06:23,184 Speaker 2: go and so now you should make of it what 87 00:06:23,384 --> 00:06:28,424 Speaker 2: you will. 88 00:06:28,544 --> 00:06:33,104 Speaker 1: McCartney himself had been struggling. It was a stressful time. 89 00:06:33,584 --> 00:06:37,104 Speaker 1: The Beatles were beginning to drift apart, even as they 90 00:06:37,104 --> 00:06:41,584 Speaker 1: were finding their own record label, Apple Core. McCartney had 91 00:06:41,624 --> 00:06:45,664 Speaker 1: just separated from his fiance, the actress Jane Asher, and 92 00:06:45,824 --> 00:06:49,944 Speaker 1: was falling in love with the photographer Linda Eastman. As 93 00:06:50,064 --> 00:06:53,464 Speaker 1: much as he was writing words of consolation for little Julian, 94 00:06:54,384 --> 00:06:57,864 Speaker 1: he himself may have been in need of encouragement. 95 00:06:58,384 --> 00:07:02,224 Speaker 2: So anytime you feel the pain, did you refrain? Don't 96 00:07:02,264 --> 00:07:03,584 Speaker 2: carry the world on your shoulder. 97 00:07:03,904 --> 00:07:10,664 Speaker 4: And any time you feel the pain of fame, don't 98 00:07:10,824 --> 00:07:16,424 Speaker 4: care the world your shoulder. 99 00:07:20,104 --> 00:07:21,904 Speaker 3: Well, you know that is a. 100 00:07:22,064 --> 00:07:32,704 Speaker 7: Food ming is world on its golder. 101 00:07:34,544 --> 00:07:39,984 Speaker 2: That's something that I'm quite keen on. That idea that 102 00:07:41,344 --> 00:07:46,184 Speaker 2: to be cool you've got to betray yourself. Oh yeah, 103 00:07:46,264 --> 00:07:49,544 Speaker 2: what the fucky man? I'm sorry, Tod jeezuz if nothing 104 00:07:49,584 --> 00:07:55,144 Speaker 2: gets to me baby, hey wow, how col is? And 105 00:07:55,224 --> 00:07:57,984 Speaker 2: to me it's always well, no, it's not because we 106 00:07:58,064 --> 00:07:58,864 Speaker 2: can see through it. 107 00:07:59,344 --> 00:07:59,624 Speaker 5: Cool. 108 00:07:59,624 --> 00:08:02,464 Speaker 2: It's actually great if you can be it for real. 109 00:08:03,144 --> 00:08:05,984 Speaker 2: But that's sort of faking. If you just try and 110 00:08:06,024 --> 00:08:09,944 Speaker 2: play it cool, then it's not happening. You'll be making 111 00:08:09,984 --> 00:08:12,784 Speaker 2: you well a little colder, and that's not a good idea. 112 00:08:13,504 --> 00:08:14,544 Speaker 2: So it's a good of advice. 113 00:08:15,944 --> 00:08:22,184 Speaker 4: When I was a robber in Boston place, you gathered 114 00:08:22,264 --> 00:08:22,664 Speaker 4: round me. 115 00:08:24,184 --> 00:08:31,584 Speaker 2: With your fun, embrace Hey Dude. 116 00:08:32,744 --> 00:08:38,144 Speaker 1: In the studio, the Beatles always preferred being playful to playing. 117 00:08:38,224 --> 00:08:41,624 Speaker 1: At Cole they did a few takes of Hey Jude, 118 00:08:41,944 --> 00:08:46,144 Speaker 1: but Paul McCartney remembers knowing in the moment which one 119 00:08:46,144 --> 00:08:46,784 Speaker 1: they would use. 120 00:08:47,544 --> 00:08:55,984 Speaker 5: Hey Dude, don't make it bad, Take a sad song 121 00:08:56,944 --> 00:08:58,544 Speaker 5: and make it beatter. 122 00:08:59,304 --> 00:09:02,704 Speaker 1: He had accidentally begun the song while Ringo was out 123 00:09:02,744 --> 00:09:06,384 Speaker 1: of the room, but Ringo managed to return from the 124 00:09:06,424 --> 00:09:12,224 Speaker 1: toilet at just the right moment, hitting his drum entrance perfectly. 125 00:09:14,664 --> 00:09:18,384 Speaker 4: At any time you feel a pain of hajo. 126 00:09:21,144 --> 00:09:25,024 Speaker 1: It was the most spirited take, though not without mistakes. 127 00:09:25,784 --> 00:09:29,224 Speaker 1: If you listen really carefully, you may hear one of 128 00:09:29,264 --> 00:09:33,944 Speaker 1: the band members swearing. When Paul flubs the piano part. 129 00:09:34,744 --> 00:09:41,344 Speaker 5: Remem to and ask him then you make. 130 00:09:42,864 --> 00:09:44,824 Speaker 7: To making bed. 131 00:09:51,704 --> 00:09:55,344 Speaker 1: Just as the subject of the song shifted for the writer, 132 00:09:56,144 --> 00:10:00,624 Speaker 1: the meaning transformed for those who heard it. When Paul 133 00:10:00,704 --> 00:10:04,104 Speaker 1: McCartney played a draft of Hey Jude for John Lennon 134 00:10:04,144 --> 00:10:07,744 Speaker 1: and Yoko Ono, John thought the song was addressed to 135 00:10:07,864 --> 00:10:12,224 Speaker 1: him instead up to his son. From Lennon's point of view, 136 00:10:12,344 --> 00:10:17,064 Speaker 1: Paul McCartney was encouraging his friend to stop waiting for 137 00:10:17,104 --> 00:10:21,344 Speaker 1: someone to perform with and to go out and get her. 138 00:10:22,024 --> 00:10:24,584 Speaker 6: So let it out, let it in. 139 00:10:25,704 --> 00:10:29,904 Speaker 7: Hey, you wait. 140 00:10:32,664 --> 00:10:39,464 Speaker 2: To I like singing that, don't you know? 141 00:10:39,944 --> 00:10:40,944 Speaker 7: That is just you? 142 00:10:41,224 --> 00:10:47,744 Speaker 2: Don't you know this's you? Hey, Jude, you do Junie, 143 00:10:48,584 --> 00:10:54,024 Speaker 2: He is on your shoulder. The movement you need is 144 00:10:54,024 --> 00:10:57,904 Speaker 2: on your shoulder. Now, I thought that was me just 145 00:10:57,944 --> 00:11:00,664 Speaker 2: blocking in. And when I played it to John and 146 00:11:00,744 --> 00:11:05,384 Speaker 2: Yoko in my music room on my psychedelic piano, I'm 147 00:11:05,504 --> 00:11:09,744 Speaker 2: sitting facing this way, a little standing behind me, almost 148 00:11:09,744 --> 00:11:15,384 Speaker 2: on my shoulder, and they're listening and answer pleasing myself. 149 00:11:15,744 --> 00:11:19,904 Speaker 2: I'm playing this new song and I turn around Toton 150 00:11:19,984 --> 00:11:21,824 Speaker 2: you need is on your shoulder, and turn around to 151 00:11:21,904 --> 00:11:24,744 Speaker 2: Jona said don't worry, I'll change that, and he looked 152 00:11:24,744 --> 00:11:26,824 Speaker 2: at me, said you want you know it's the best 153 00:11:26,864 --> 00:11:27,344 Speaker 2: line in it. 154 00:11:28,304 --> 00:11:32,024 Speaker 1: John Lennon wasn't the only one who heard something deeply 155 00:11:32,144 --> 00:11:35,304 Speaker 1: personal in the song who would feel as if Paul 156 00:11:35,464 --> 00:11:39,424 Speaker 1: was singing directly to him. The song became a call 157 00:11:39,544 --> 00:11:43,424 Speaker 1: to anyone who had gone through difficult times and needed 158 00:11:43,504 --> 00:11:44,104 Speaker 1: cheering up. 159 00:11:44,544 --> 00:11:49,224 Speaker 2: Well, you know, I just think that everyone goes through 160 00:11:49,304 --> 00:11:53,504 Speaker 2: periods in their life when things are going wrong, you know, 161 00:11:53,544 --> 00:11:57,064 Speaker 2: they're losing people, their children are ill or whatever, and 162 00:11:57,744 --> 00:12:00,784 Speaker 2: it's just so much pain. In regard to all of that, 163 00:12:02,264 --> 00:12:09,544 Speaker 2: I'm empathizing and trying to encourage someone who is going 164 00:12:09,624 --> 00:12:12,984 Speaker 2: through a really bad time, because I know when I've 165 00:12:12,984 --> 00:12:16,944 Speaker 2: been going through bad times. I don't know, like Linda's 166 00:12:17,064 --> 00:12:22,424 Speaker 2: illness and consequent death and the breakup of the Beatles, 167 00:12:22,464 --> 00:12:25,944 Speaker 2: all these sort of things, these moments in your life. 168 00:12:26,224 --> 00:12:28,944 Speaker 2: I know, you really feel that you've got a pit 169 00:12:29,064 --> 00:12:33,384 Speaker 2: in your stomach all the time. So to me, the 170 00:12:33,504 --> 00:12:37,864 Speaker 2: idea sometimes behind songs is to try and reach that 171 00:12:38,024 --> 00:12:43,544 Speaker 2: person and say, look, you know, how about this thought. 172 00:12:44,104 --> 00:12:48,224 Speaker 2: So I'm always trying to do that. I notice. I 173 00:12:48,264 --> 00:12:52,744 Speaker 2: notice I'm always trying to say, look, it's going to 174 00:12:52,784 --> 00:12:55,984 Speaker 2: be okay, you know it will be all right. I'm 175 00:12:56,024 --> 00:12:58,104 Speaker 2: trying to be the voice of encouragement. 176 00:12:59,224 --> 00:13:09,664 Speaker 4: Hey, you don't make it bad, make it. 177 00:13:09,944 --> 00:13:14,424 Speaker 1: Manna Hate Jude is a song that's able to shift 178 00:13:14,584 --> 00:13:19,424 Speaker 1: and take on new meaning with each rendition. What started 179 00:13:19,504 --> 00:13:23,344 Speaker 1: as a song for Julian Lennon took on new resonance 180 00:13:23,624 --> 00:13:27,584 Speaker 1: for each listener who could apply it to whatever struggle 181 00:13:27,944 --> 00:13:31,424 Speaker 1: they were facing in their own lives. It also struck 182 00:13:31,464 --> 00:13:35,184 Speaker 1: a chord with other musicians who covered the song and 183 00:13:35,264 --> 00:13:39,504 Speaker 1: gave it their own spin. This included the man whose 184 00:13:39,584 --> 00:13:46,264 Speaker 1: song cured Paul's headache all those years ago, Elvis Presley. 185 00:13:47,064 --> 00:13:54,944 Speaker 3: Hate You No Let Me Down, make a sad song 186 00:13:55,824 --> 00:13:57,664 Speaker 3: and making manner. 187 00:13:59,584 --> 00:14:03,184 Speaker 6: No many you let her into your heart? 188 00:14:04,464 --> 00:14:07,224 Speaker 3: There you can stop you. 189 00:14:07,544 --> 00:14:12,904 Speaker 2: Make each time you sing it? 190 00:14:13,064 --> 00:14:14,744 Speaker 1: Are you singing it for the first time? 191 00:14:15,784 --> 00:14:18,984 Speaker 2: It's a bit that. Yeah, I'm singing a twenty something 192 00:14:19,184 --> 00:14:25,144 Speaker 2: composers lyrics and I'm evaluating them, listening to see how 193 00:14:25,184 --> 00:14:31,544 Speaker 2: he does. And I'm marking myself and I must say 194 00:14:31,824 --> 00:14:37,544 Speaker 2: generally good marks and generally approve because I'm going, oh, 195 00:14:38,224 --> 00:14:41,544 Speaker 2: just little things like for well, you know, instead of 196 00:14:43,384 --> 00:14:46,064 Speaker 2: for you know, well, it's just for well, you know, 197 00:14:46,304 --> 00:14:49,944 Speaker 2: it's just going I did that. I often have to 198 00:14:49,984 --> 00:14:52,864 Speaker 2: stop myself doing that because there's ninety thousand people here 199 00:14:53,144 --> 00:14:55,624 Speaker 2: and you're supposed to be relating to them when you're 200 00:14:55,664 --> 00:14:56,344 Speaker 2: actually awful. 201 00:14:56,384 --> 00:14:57,544 Speaker 7: Ooh that good. 202 00:14:59,624 --> 00:15:04,144 Speaker 1: The spirit of Hey Jude is present in its lyrics, 203 00:15:04,904 --> 00:15:09,504 Speaker 1: but it's equally present in Paul McCartney's vocal perform ormance 204 00:15:09,744 --> 00:15:13,744 Speaker 1: of the song. What begins as a song for a 205 00:15:13,864 --> 00:15:18,144 Speaker 1: child in pen becomes an act of self compassion. In 206 00:15:18,184 --> 00:15:22,504 Speaker 1: the words of the music critic Tim Riley, McCartney begins 207 00:15:22,664 --> 00:15:27,464 Speaker 1: by singing to comfort someone else, finds himself weighing his 208 00:15:27,704 --> 00:15:33,224 Speaker 1: own feelings in the process, and finally, in the repeated 209 00:15:33,344 --> 00:15:38,824 Speaker 1: refrains that nurture his own approbation, he comes to believe 210 00:15:39,064 --> 00:15:39,944 Speaker 1: in himself. 211 00:15:49,664 --> 00:15:50,264 Speaker 7: Age you. 212 00:16:07,184 --> 00:16:12,824 Speaker 1: As McCartney's original sense has carried across generations, Hey Jude 213 00:16:12,904 --> 00:16:19,664 Speaker 1: itself has also maintained its intergenerational appeal. The idea of 214 00:16:19,824 --> 00:16:23,624 Speaker 1: taking a sad song and making it better is something 215 00:16:23,744 --> 00:16:28,504 Speaker 1: pretty much everybody can get behind, just as we can 216 00:16:28,544 --> 00:16:32,304 Speaker 1: all sing along with the songs rising by Crow. 217 00:16:55,024 --> 00:16:59,584 Speaker 2: I mean, you know, when I do concerts, I have 218 00:17:00,344 --> 00:17:07,664 Speaker 2: people in the audience from every generation older than my generation, 219 00:17:09,144 --> 00:17:14,544 Speaker 2: people of my generation, people of my children's generation, and 220 00:17:14,664 --> 00:17:20,424 Speaker 2: people of their children's generation. And it always surprises me 221 00:17:20,544 --> 00:17:26,544 Speaker 2: because I think in rock and roll we all expected 222 00:17:27,264 --> 00:17:32,344 Speaker 2: that it wouldn't last very long. So I do find 223 00:17:32,384 --> 00:17:36,384 Speaker 2: it incredible that I can see a five year old 224 00:17:37,584 --> 00:17:41,984 Speaker 2: who knows the words as well, sometimes even better than 225 00:17:41,984 --> 00:17:49,304 Speaker 2: I do, and then I can see their parents enjoying it, 226 00:17:50,504 --> 00:17:56,104 Speaker 2: and possibly they've come to it through their parents. As 227 00:17:56,104 --> 00:18:00,144 Speaker 2: you go on to the eldest generation. You know, people 228 00:18:00,184 --> 00:18:04,144 Speaker 2: who are a few years ahead of me. They all 229 00:18:04,744 --> 00:18:09,264 Speaker 2: lived through this time, through the sixties, and through the 230 00:18:09,304 --> 00:18:17,744 Speaker 2: excitement and the freedom, So we all are experiencing this 231 00:18:17,944 --> 00:18:22,904 Speaker 2: thing together. No matter what age we are, the feeling 232 00:18:23,024 --> 00:18:28,664 Speaker 2: is still the same and it never ceases to amaze me. 233 00:18:50,584 --> 00:18:53,704 Speaker 1: Hey Jude was the first single from the Beatles' own 234 00:18:53,824 --> 00:18:58,704 Speaker 1: record company, Apple Core, and at over seven minutes, it 235 00:18:58,824 --> 00:19:03,024 Speaker 1: was the longest single to ever hit number one. The 236 00:19:03,064 --> 00:19:08,344 Speaker 1: Beatles released Hey Dude in nineteen sixty eight. In the 237 00:19:08,384 --> 00:19:10,064 Speaker 1: next episode. 238 00:19:10,304 --> 00:19:14,624 Speaker 3: To Lead a Metal Life, My Need My. 239 00:19:16,704 --> 00:19:30,384 Speaker 1: McCartney's favorite McCartney song, Here, There and everywhere. That's next 240 00:19:30,424 --> 00:19:36,504 Speaker 1: time on McCartney A Life in Lyrics. McCartney A Life 241 00:19:36,624 --> 00:19:41,624 Speaker 1: in Lyrics is a co production between iHeartMedia, NPL and 242 00:19:41,864 --> 00:19:43,304 Speaker 1: Pushkin Industries.