WEBVTT - Here, There and Everywhere

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<v Speaker 1>Pushkin.

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<v Speaker 2>Hi, everyone, it's Paul molldoin. Before we get to this episode,

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<v Speaker 2>I wanted to let you know that you can binge

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<v Speaker 2>all twelve episodes of McCartney A Life and Lyrics right now,

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<v Speaker 2>add free by becoming a Pushkin Plus subscriber. Find Pushkin

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<v Speaker 2>Plus on the McCartney A Life and Lyrics show page

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<v Speaker 2>in Apple Podcasts, or at pushkin dot fm, slash Plus.

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<v Speaker 3>Now, this is a song here, There and everywhere Leader

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<v Speaker 3>letter I've seen described as one of your own favorites.

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<v Speaker 4>He yeah, I'm often asked what my favorite song I've

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<v Speaker 4>ever written is, and I don't ever really want to

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<v Speaker 4>answer it, But if pushed, I would go to here,

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<v Speaker 4>there and everyone.

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<v Speaker 2>Lessen, I'm Paul will do for a while. Now, I've

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<v Speaker 2>been fortunate to spend time with one of the greatest

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<v Speaker 2>songwriters of the era, and.

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<v Speaker 4>Will you look at me, I'm going on to I'm

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<v Speaker 4>actually a performer.

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<v Speaker 2>That is, Sir Paul McCartney. We work together on a

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<v Speaker 2>book looking at the lyrics of more than one hundred

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<v Speaker 2>and fifty of his songs, and we recorded many hours

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<v Speaker 2>of our conversations.

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<v Speaker 4>It was like going back to an old snapshot album

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<v Speaker 4>looking back on work I hadn't ever analyzed.

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<v Speaker 2>This is McCartney, A life in lyrics, a masterclass, a memoir,

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<v Speaker 2>an improvised journey with one of the most iconic figures

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<v Speaker 2>in popular music. In this episode, Here There, and Everywhere, lesson.

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<v Speaker 5>Learning.

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<v Speaker 2>When I asked Paul McCartney, why, out of the hundreds

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<v Speaker 2>of songs he's written, he considers Here, There and Everywhere

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<v Speaker 2>his favorite, he kept returning to the structure of the lyrics,

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<v Speaker 2>where one verse ends, the next begins, only in a

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<v Speaker 2>new context. It's a move he borrowed from one of

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<v Speaker 2>the classics, a song by Irving Berlin.

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<v Speaker 4>One of my favorite songs because us of its structure

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<v Speaker 4>is cheek to cheek Heaven as song by Fred Asta.

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<v Speaker 6>I'm in heaven and my heartbeats so that I can hardly.

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<v Speaker 7>Spe and I like very much. Can starts off heaven.

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<v Speaker 4>I'm in heaven literally really really fast forward, and then

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<v Speaker 4>that's with me.

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<v Speaker 2>I want my arm about.

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<v Speaker 7>You, a middle late carry me through, to carry me

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<v Speaker 7>through heaven.

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<v Speaker 8>I'm in heaven.

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<v Speaker 4>It's like, yes, just the way it just resolves up

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<v Speaker 4>its own tail. I always found wonderful, and I think

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<v Speaker 4>somebody said I do it in this, I.

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<v Speaker 8>Wonder everywhere, and if she's beside me, I am the line.

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<v Speaker 9>Knowing Courridge has alignment and somewhere in the Biographia literary

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<v Speaker 9>or whatever it's called where he talks about all narrative

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<v Speaker 9>being like a snake with its tail in its mouth

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<v Speaker 9>and in that circularity be relevant here, well, I don't.

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<v Speaker 4>Know if i'd agree with him about all, but I

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<v Speaker 4>think attractive stuff often does that often kind of comes

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<v Speaker 4>back to where it began, and there's a little glee

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<v Speaker 4>arriving there.

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<v Speaker 7>Like I said, heaven, wait a minute, we just started

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<v Speaker 7>with that, and now we're back there and.

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<v Speaker 4>Very clear fully done, and without me suspecting he was

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<v Speaker 4>going there. So there's just something that's sort of little

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<v Speaker 4>thrill when you do that. And I like the fact

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<v Speaker 4>that we think we're on a path off on the

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<v Speaker 4>moors and we're going for a walk, and then suddenly

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<v Speaker 4>we've arrived where we started, and it's not like as

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<v Speaker 4>if we've gone around in a circle.

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<v Speaker 7>It's magically more magical.

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<v Speaker 4>Than that, we've come to another beginning of the path.

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<v Speaker 4>It's not just like we run in a circle and

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<v Speaker 4>just come back to the beginning. That's quite boring, but

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<v Speaker 4>it's just this trick where you suddenly.

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<v Speaker 7>Where you were, but it's surprising.

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<v Speaker 2>So something is cheap, is what we comes back there.

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<v Speaker 4>Well, you're where you were, but you're not because you

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<v Speaker 4>you can see back where you came from, and you're

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<v Speaker 4>definitely not there. You're at a new place. But it's

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<v Speaker 4>trity and it's got the same scenery again.

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<v Speaker 7>Leader Letter.

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<v Speaker 2>While the song is grounded in this spiraling structure, one

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<v Speaker 2>place it never returns is to the very first two lines.

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<v Speaker 2>They stand on their own, separate from the core melody

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<v Speaker 2>of the song.

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<v Speaker 4>They were to emulate the openings that old songs had.

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<v Speaker 4>John and I were fascinated by this idea that in

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<v Speaker 4>the old days did this complete ramble that didn't appear

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<v Speaker 4>to be about the song at all.

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<v Speaker 5>The only exception I know is the kid.

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<v Speaker 9>When I'm out on a quiet spreeze, fighting vainly the

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<v Speaker 9>al loe we.

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<v Speaker 5>And I suddenly turn and.

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<v Speaker 6>See your fabulous face. I get no kick from Champagne.

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<v Speaker 7>An intro. It was an intro. They called it verse.

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<v Speaker 4>We call versus the sort of first main body, and

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<v Speaker 4>of course then the second main body.

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<v Speaker 7>They called that word. Yeah, so we like that. We

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<v Speaker 7>liked you know.

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<v Speaker 4>I was walking around Manhattan. I had my scar phone

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<v Speaker 4>and then I came to the corner of so I

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<v Speaker 4>new thinking. First I looked at the deceited I didn't

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<v Speaker 4>notice that. But then suddenly you came around the corner. Heaven,

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<v Speaker 4>Oh there's the song, you know, running.

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<v Speaker 5>Speaking happen soon speaking, but she does.

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<v Speaker 4>Someone is speaking, but she doesn't know he's there. I

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<v Speaker 4>don't know who it is, probably the Telly.

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<v Speaker 7>It's like that. It's kind of a romantic idea. We

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<v Speaker 7>are just us, not listening to him.

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<v Speaker 5>Knowing his.

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<v Speaker 7>Remember writing this song whilst waiting for John one day.

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<v Speaker 2>Paul McCartney wrote much of Here, There and Everywhere one

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<v Speaker 2>morning while sitting poolside waiting for John Lennon to wake up.

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<v Speaker 10>I would go out to his house in Weybridge for

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<v Speaker 10>a writing session, and he wasn't always up, so I

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<v Speaker 10>would often have twenty minutes.

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<v Speaker 7>Half an hour when someone told him I was here,

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<v Speaker 7>and he would get up.

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<v Speaker 2>In the song's leisurely tempo, it's almost as if we

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<v Speaker 2>can hear McCartney's patience.

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<v Speaker 5>Everywhere.

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<v Speaker 11>I remember sitting out by swimming pool in his house

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<v Speaker 11>in Weybridge, which is a sort of golf suburb of

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<v Speaker 11>London and had a guitar because I was ready for

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<v Speaker 11>the writing session, so he sat out and started something

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<v Speaker 11>and it was here he.

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<v Speaker 4>Lived in here, And yeah, I just sort of went

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<v Speaker 4>quite nice and smoothly, so that by the time I

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<v Speaker 4>came to write with John, the time he deigned to

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<v Speaker 4>get up and have his coffee, I would have something to.

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<v Speaker 10>Go, watching.

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<v Speaker 5>End, helping him, always watching rins end, hoping. I am always.

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<v Speaker 2>The slow, steady pace and the way the verses spill

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<v Speaker 2>into each other. It's mesmerizing, like water rippling across a pool.

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<v Speaker 2>Is it possible that Ringo Star hits his snare just

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<v Speaker 2>a fraction after the beat, as if the song is

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<v Speaker 2>trying to slow itself done.

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<v Speaker 5>Making changing.

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<v Speaker 4>I like the line changing my life for the wave

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<v Speaker 4>of a hand. You know, I look at those kind

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<v Speaker 4>of lyrics now and sort of.

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<v Speaker 7>Think, where did that come from? What was it?

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<v Speaker 4>Do I think of the queen waving out of a

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<v Speaker 4>royal carriage, or you know, just my love can just

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<v Speaker 4>do it by hardly doing anything, waving a hand.

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<v Speaker 7>Oh my god, you's chenting my life. It says a

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<v Speaker 7>lot in a line.

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<v Speaker 2>The picture of a royal hand waving from a carriage,

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<v Speaker 2>the pinnacle of effortlessness. It's a McCartney trademark, this rare

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<v Speaker 2>ability to assemble lyrics and melodies with the ease of

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<v Speaker 2>strumming a few chords on his guitar. He seems to

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<v Speaker 2>fool himself into thinking there's nothing at stake. He trusts

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<v Speaker 2>that the right lyrics will find their way to them.

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<v Speaker 4>Even when you get lyrics like this, the purpose of

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<v Speaker 4>the lyric is to support the song rather than be

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<v Speaker 4>a lyric, So it's quite liberating. You can sort of

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<v Speaker 4>just kind of experiment as you go along, you know,

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<v Speaker 4>so things slip out like they would in a session

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<v Speaker 4>with a psychiatrist.

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<v Speaker 5>And everywhere.

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<v Speaker 7>I like it when that happens.

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<v Speaker 4>I think, you know, that's the idea of the word

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<v Speaker 4>dancing idea.

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<v Speaker 7>You know, you just.

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<v Speaker 4>You play with things like that, I think, you know,

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<v Speaker 4>I think a lot of this comes naturally from Liverpool

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<v Speaker 4>for me, Like jokes often have that, you know, just

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<v Speaker 4>there's a little you think you're going one way and

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<v Speaker 4>then there's a little surprise and it takes you another way.

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<v Speaker 4>And I like to be able to do that because

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<v Speaker 4>I think it keeps it moving, it keeps you interested.

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<v Speaker 4>Dancing round words, shuffling them like a deck of cards.

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<v Speaker 7>Basically.

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<v Speaker 4>You know, I always say when I'm writing a song,

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<v Speaker 4>I'm kind of following.

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<v Speaker 7>A trail of bread crumbs.

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<v Speaker 4>Someone's thrown out these bread crumbs, and I see the

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<v Speaker 4>first few, and you just, you know, we go along,

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<v Speaker 4>and I feel like I'm following the song rather than

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<v Speaker 4>writing it.

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<v Speaker 8>And everywhere, and if she's beside me, I know, line neednerbo.

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<v Speaker 9>Do you ever look ahead and plant on it with

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<v Speaker 9>the phrase or two versus down the road?

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<v Speaker 4>Not versus, but the lines. I will, I will, I

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<v Speaker 4>will think of the line that's coming and think of

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<v Speaker 4>how to get in it. Yeah, like stepping stones kind

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<v Speaker 4>of thing, you know, just think well, I've got to

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<v Speaker 4>do that to get there.

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<v Speaker 7>Yeah. I quite enjoy that.

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<v Speaker 4>It's an interesting process. I like that about writing that

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<v Speaker 4>it's it's a puzzle. I often liken it to crossword puzzles.

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<v Speaker 4>You know, my dad loved crossword puzzles. And if you

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<v Speaker 4>put that together with that, and when you twist that

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<v Speaker 4>word around, then you get that.

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<v Speaker 7>And my answer is that, yes, I mean it is.

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<v Speaker 1>It is about filling in gaps, the structural and rhetorical

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<v Speaker 1>tricks of here, there, and everywhere are obscured by the

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<v Speaker 1>song's apparent spontaneity. It's flowing melody, it's gentle vocals. McCartney's

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<v Speaker 1>singing on the track is reminiscent of an earlier era,

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<v Speaker 1>which brings us back to Fred Astare.

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<v Speaker 8>Oh, I love to go out fishing in the river

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<v Speaker 8>are a Greek, but I don't enjoy have as much

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<v Speaker 8>dads A.

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<v Speaker 7>I was big fan of Fred Astare.

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<v Speaker 4>I still have, and unlike the studio executive thought he

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<v Speaker 4>could dance a little has no voice. I always loved

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<v Speaker 4>his voice. I still do, and I actually use it

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<v Speaker 4>often as an inspiration. I did an album of standards,

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<v Speaker 4>and that's.

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<v Speaker 5>Sort of heaven.

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<v Speaker 7>That little place for your voice is a lovely place

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<v Speaker 7>to sing from. It's not there, it's sort of heaven.

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<v Speaker 7>Being there.

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<v Speaker 2>And here, there and everywhere has inspired many other vocalists

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<v Speaker 2>and has itself become one of those classics McCartney was

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<v Speaker 2>trying to emulate. Even John Lennon, rarely wanted to give compliments,

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<v Speaker 2>was impressed when he heard the song and said it

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<v Speaker 2>was his favorite track on the album Revolver in nineteen eighty.

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<v Speaker 2>He even told a reporter from Playboy Magazine that it

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<v Speaker 2>was one of his favorites from the tire Beatles cattalog.

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<v Speaker 2>So to Lennon when he did get up, did he contribute, I'm.

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<v Speaker 7>Well, I'm not sure he did.

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<v Speaker 4>Actually I suspect he did, but it does sound like

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<v Speaker 4>something I might have sort of just done by the

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<v Speaker 4>pool side, sort of just delivered to him because it

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<v Speaker 4>doesn't sound like anyone else is working now.

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<v Speaker 7>Starts sounds like one head.

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<v Speaker 5>He's to share each one.

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<v Speaker 6>Never dies, watching a rise and hoping him All Andy.

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<v Speaker 2>And here, there and Everywhere, released on the Beatles album

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<v Speaker 2>Revolver in nineteen sixty six. In the next episode, have.

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<v Speaker 4>Said throughout the day that they hope to use minimum.

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<v Speaker 2>Face, an unusually sharp political song written in response to

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<v Speaker 2>Bloody Sunday.

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<v Speaker 5>To the US, make them take it away.

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<v Speaker 4>In to the Iris became irsay.

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<v Speaker 2>Give Ireland back to the Irish. That's next time on

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<v Speaker 2>McCartney A Life in Lyrics. McCartney A Life in Lyrics

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<v Speaker 2>is a co production between iHeartMedia and pl and Pushkin Industries.