WEBVTT - Michelle

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<v Speaker 1>Pushkin. Hi everyone, it's Paul muldoon. Before we get to

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<v Speaker 1>this episode, I wanted to let you know that you

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<v Speaker 1>can binge all twelve episodes of McCartney A Life and

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<v Speaker 1>Lyrics right now, add free by becoming a pushkin Plus subscriber.

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<v Speaker 1>Find Pushkin Plus on the McCartney A Life and Lyrics Show,

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<v Speaker 1>pedge in Apple Podcasts, or at pushkin dot fm, slash Plus.

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<v Speaker 2>We had guitars, we played, We did the occasional gigs.

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<v Speaker 2>But one of the things you used to do was

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<v Speaker 2>you would you would go to a party and you

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<v Speaker 2>would take your guitar with you. Now, John, being older

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<v Speaker 2>and at art school, would go to art school parties

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<v Speaker 2>which men George normally wouldn't have an entree into. But

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<v Speaker 2>I remember going to one and I took my guitar.

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<v Speaker 2>So I'm sitting enigmatically in the corner with my black

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<v Speaker 2>pole and neck sweater on, trying to look French, trying

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<v Speaker 2>to look interesting to this older crowd. And so one

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<v Speaker 2>of the weapons that I used was to play this

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<v Speaker 2>sort of frenchy sounding song and sort of make gottural noises,

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<v Speaker 2>kind of half thinking that someone will think, well, he's French.

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<v Speaker 2>Probably intellectual. It's probably intellectual. It wasn't necessary. Once the

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<v Speaker 2>Beatles were going to try and look enigmatic, it just

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<v Speaker 2>was no longer necessary.

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<v Speaker 1>I'm Paul muldoone for a while now. I've been fortunate

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<v Speaker 1>to spend time with one of the greatest songwriters of

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<v Speaker 1>the era, and.

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<v Speaker 2>Will you look at me? I'm going on too. I'm

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<v Speaker 2>actually a performer.

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<v Speaker 1>That is Sir Paul McCartney. We worked together on a

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<v Speaker 1>book looking at the lyrics of more than one hundred

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<v Speaker 1>and fifty of his songs, and we recorded many hours

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<v Speaker 1>of our conversations.

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<v Speaker 2>It was like going back to an old snapshot album

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<v Speaker 2>looking back on work I hadn't ever analyzed.

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<v Speaker 1>This is McCartney, a life in lyrics, a masterclass, a memoir,

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<v Speaker 1>and an improvised journey with one of the most iconic

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<v Speaker 1>figures in popular music. In this episode, Michelle, when Paul

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<v Speaker 1>McCartney was trying to look French at art school parties,

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<v Speaker 1>he would have been playing a guitar he bought from

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<v Speaker 1>Hesse's Guitar Shop, the main music store in Liverpool.

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<v Speaker 2>We would go in the shop and to us it

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<v Speaker 2>was like Valhalla, just all these guitars. There's no finer

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<v Speaker 2>shop than a guitar shop. And I still find that today.

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<v Speaker 2>Still there's just the beauty, it's magic of all this

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<v Speaker 2>potential music surrounding, you know, all this rock and roll

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<v Speaker 2>suggested by these shops, and everything gleaming and looking beautiful

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<v Speaker 2>and shiny. And we used to love going in the shop,

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<v Speaker 2>just to go in the shop, and we would pay

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<v Speaker 2>our dues with our little books at a counter, and

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<v Speaker 2>I still actually have my book, my little payment book.

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<v Speaker 1>Hessis was manned by the shopkeeper Jim Gretti, who let

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<v Speaker 1>customers pay for their instruments in monthly installments. With the purchases,

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<v Speaker 1>he also offered some free instruction.

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<v Speaker 2>He would often stand there with his guitar. He was

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<v Speaker 2>a bit of a jazz guitarist and he would often

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<v Speaker 2>be sort of playing a bit of guitar like guys

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<v Speaker 2>in music shops too. We liked him, We admired his

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<v Speaker 2>skills on the guitar because he was far in advance

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<v Speaker 2>of us. And there was this one chord that we

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<v Speaker 2>heard in play, was a particularly lush chord. We said,

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<v Speaker 2>what's that? What chorde is that? And so he took

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<v Speaker 2>the trouble to point it out to us. It was

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<v Speaker 2>what we knew as an F chord, simple F shape

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<v Speaker 2>down at the first position, down at the nut. But

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<v Speaker 2>he used one of his fingers to cover the first

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<v Speaker 2>two strings up on the fourth fret, which would be

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<v Speaker 2>an A flat and an E flat, and those gave

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<v Speaker 2>a very jazzy cord. You got your F cord, your

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<v Speaker 2>normal F code, but with these it just very lush

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<v Speaker 2>and very exotic. So the good thing was when he

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<v Speaker 2>showed it to two of us, we were bound to remember,

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<v Speaker 2>because you know, George forgot it, I'd remember similarly vice versa. Anyway,

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<v Speaker 2>we knew this cord and we worked it into quite

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<v Speaker 2>a few things.

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<v Speaker 3>There were bound on a hill, but I never heard

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<v Speaker 3>them ringing.

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<v Speaker 2>We wrote it into the Beatles' version of Till There.

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<v Speaker 4>Was You, Till there was You.

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<v Speaker 2>There were because we just thought it was juicy and

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<v Speaker 2>it showed that we knew a bit. It showed us

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<v Speaker 2>this F demented or whatever it was called. And I

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<v Speaker 2>was making this song in c It was trying out

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<v Speaker 2>to be the French song that I would do at

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<v Speaker 2>the party. And to the second chord, I use this

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<v Speaker 2>Jim Gretti chord, this F chord with the added notes

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<v Speaker 2>we'll have an official title. It will be f Augmented

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<v Speaker 2>ninth or something. But we didn't deal in such luxuriousous

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<v Speaker 2>titles and names. Of course. It was just that one.

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<v Speaker 1>Paul McCartney was constantly collecting a chord here, a progression there.

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<v Speaker 1>It was all part of an attempt to be a

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<v Speaker 1>cool French intellectual, to impress John's friends. Everything he took

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<v Speaker 1>in was inspiration for his party piece.

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<v Speaker 2>Then I progressed through put in another nice little chord

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<v Speaker 2>we knew, which again I don't know the name of,

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<v Speaker 2>but we got this chord off the coasters record called

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<v Speaker 2>along came Jones.

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<v Speaker 5>I dropped down in my either tear and turned on

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<v Speaker 5>channel to a bad gun sling of gom over the

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<v Speaker 5>taste and posty. Soon he trapped her in the old

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<v Speaker 5>mal and failed with an eagle lab.

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<v Speaker 4>If you don't give it a d to your ranch,

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<v Speaker 4>I'll thaw you all it had.

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<v Speaker 2>And then he grabbed her good, and then he tied

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<v Speaker 2>it down, and then he had a good and then

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<v Speaker 2>along came Joan has been alone. But there's this Jeff

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<v Speaker 2>Lynn calls them naughty chords, which were a slightly naughty

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<v Speaker 2>chord that's out of our normal realm. So I used

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<v Speaker 2>these two little chords and had this melody which I say,

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<v Speaker 2>I used to make French grunts too, and it was

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<v Speaker 2>kind of half a joke really. Then years later, when

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<v Speaker 2>the Beatles were starting to become popular and I was

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<v Speaker 2>looking for ideas songs to do, Edith Piaff had a

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<v Speaker 2>big hit with a song called Milord, which was interesting.

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<v Speaker 2>It was a big here because it was out of

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<v Speaker 2>left field. Whereas all the other songs you sort of

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<v Speaker 2>knew what genre they were, this one was French and

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<v Speaker 2>had this interesting.

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<v Speaker 6>Lord as well.

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<v Speaker 4>Wood easy second thought, blessing.

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<v Speaker 2>The idea of a girl sort of talking to a

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<v Speaker 2>guy about mill Lord. We didn't quite get it, but

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<v Speaker 2>it was nice. And then she slows down, do well,

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<v Speaker 2>Lord does that trick? I took all of this in.

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<v Speaker 2>All of this was like just I just fill in

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<v Speaker 2>my tank, all this stuff.

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<v Speaker 1>As the band brainstormed for the album that would become

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<v Speaker 1>Rubber's Soul, John Lennon remembered Paul's French party piece from

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<v Speaker 1>more than five years earlier and encouraged him to pick

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<v Speaker 1>it back up.

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<v Speaker 7>So I went away and thought something bomb bomb me Lord.

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<v Speaker 7>So I've bought Michel that's nice French, nice sound. Michellell mabel.

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<v Speaker 3>These arm words that go to gather, well, my Michelle.

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<v Speaker 6>Be these shell mabel, these.

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<v Speaker 4>Arm words that go together.

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<v Speaker 6>Well. My mission.

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<v Speaker 1>In his quest to be a believable Frenchman and to

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<v Speaker 1>write a song like Edith Piaf's, McCartney would need help

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<v Speaker 1>to overcome the language barrier.

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<v Speaker 2>I never took French in school. I did Spanish, German

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<v Speaker 2>and Latin. Strangely, you get most English people talk French. Yes,

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<v Speaker 2>British people.

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<v Speaker 8>No, that's it is odd. It wasn't offered at the school.

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<v Speaker 2>Yeah, like it seemed like everyone else took it. John

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<v Speaker 2>took it, but he couldn't remember any of it.

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<v Speaker 4>I love you, and love you and love you.

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<v Speaker 3>That's all I wanted to say.

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<v Speaker 6>Until that bad I will say.

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<v Speaker 4>That you understand.

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<v Speaker 2>I had a friend called Ivan for probably my best

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<v Speaker 2>friend in school, even though he wasn't in my class.

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<v Speaker 2>He was born on the same day as I was,

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<v Speaker 2>exactly in Liverpool, eighteenth of June forty two, so we

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<v Speaker 2>had that in common sense of humor. Was crazy guy.

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<v Speaker 2>Turned out he was the guy to introduced me to

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<v Speaker 2>John Lennon. It was a conduit put us together. So

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<v Speaker 2>I was still very good friends with Ivan, who by

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<v Speaker 2>then had been a Cambrig scholar classics, and he and

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<v Speaker 2>his wife lived in Islington. Jan his wife and I

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<v Speaker 2>used to visit them, just go to dinner, we go

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<v Speaker 2>out the pub whatever. And so I was talking to her.

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<v Speaker 2>I knew she talked French, so I said, Jan, what

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<v Speaker 2>rhymes with Michelle? Two syllables? Do you think of anything?

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<v Speaker 2>She said? Matt Bell said, I love it. What's that

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<v Speaker 2>meaning with my beauty? Okay, mis Ma Bell, I think

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<v Speaker 2>that's lovely. I said, we're going together. They're going together

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<v Speaker 2>where they fit, don't they nicely? They rhyme something like that.

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<v Speaker 2>She said, Son, demo givonne trepan ensean bleu. You must

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<v Speaker 2>sounds on blur. I would have said on some So

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<v Speaker 2>I said, that's brilliant. I wrote it down, went back

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<v Speaker 2>and started working on the song with the idea. Now

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<v Speaker 2>that I talking to a girl called Michelle, she's my

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<v Speaker 2>bell and oh, by the way these words goes it wegether? Well,

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<v Speaker 2>look at me, I'm speaking French.

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<v Speaker 6>Won't ansome slab your ansome?

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<v Speaker 4>I need you and need you an need.

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<v Speaker 6>I need to make you see.

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<v Speaker 2>And so that gave me the idea for the song,

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<v Speaker 2>which was going to be I love you, I need you,

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<v Speaker 2>I need you, and until we get together and get

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<v Speaker 2>it on, I'll say these words and this is all

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<v Speaker 2>you need to know, just for now and the rest

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<v Speaker 2>of us In English, I love you, I need you.

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<v Speaker 2>You know I want you, I.

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<v Speaker 1>Love you, as was often the kiss for the Beatles

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<v Speaker 1>in the mid nineteen sixty is. The recording session for

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<v Speaker 1>Michelle was extremely fast. They put the whole thing together

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<v Speaker 1>in an hour and a half.

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<v Speaker 2>Luckily we came in prepared, we knew it all. So

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<v Speaker 2>I played the guitar, did that, George made a lovely

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<v Speaker 2>solo on electric guitar, and the rest of the guys

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<v Speaker 2>that have filled.

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<v Speaker 4>In, woo, I think you know mine now.

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<v Speaker 2>And then it came time for me to play the

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<v Speaker 2>bass on it. And again these little tricks that had

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<v Speaker 2>sort of got loaded in my sort of consciousness, like

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<v Speaker 2>all my life, just musical ideas that i'd heard that

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<v Speaker 2>I could pull from my subconscious and reuse them what

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<v Speaker 2>I like, particularly on that is where the chords are

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<v Speaker 2>descending in the C minor things that it is now

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<v Speaker 2>the verse until I don't know what I'm saying no, no, no,

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<v Speaker 2>no no. It goes bom boom boom boom boom doom.

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<v Speaker 2>While that's happening, don't you don't you turn? I go

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<v Speaker 2>doom doom, doom, doom doom. Instead of kind of going

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<v Speaker 2>boom boom or boom boom boom, the going with it,

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<v Speaker 2>I go against it with the bass, which I was

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<v Speaker 2>very satisfied with.

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<v Speaker 4>I'll get to use somehow.

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<v Speaker 6>Until I do. I'm telling you so you.

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<v Speaker 8>The basse was coming to the fore and a number

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<v Speaker 8>of psalms in that era wasn't.

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<v Speaker 2>I'd been very inspired by James Jamieson, the hometown bass player,

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<v Speaker 2>who was very melodic. It encouraged me and millions of

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<v Speaker 2>others to move away from the root notes traditionally, in

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<v Speaker 2>contrary wessons, have you just played boom boom boom boom

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<v Speaker 2>boom boom boom boom boom boom boom boom boom. Those

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<v Speaker 2>two notes are all the way that's your base part basically,

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<v Speaker 2>and that's why they had no glamor attached to it

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<v Speaker 2>at all. But James Jamison then started playing around with it,

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<v Speaker 2>and I was massively inspired by him, and so I

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<v Speaker 2>started thinking, ah, there room for movement here and I

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<v Speaker 2>started to experiment a little.

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<v Speaker 1>In the beginning. Before the Beatles were the Beatles, Paul

0:17:23.504 --> 0:17:27.944
<v Speaker 1>had gravitated toward playing lead guitar. He had learned chords,

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<v Speaker 1>some from that music store proprietor Jim Gretty, and then

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<v Speaker 1>passed them on to John Lennon.

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<v Speaker 2>It could have been one of the guitar players, but

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<v Speaker 2>there were two already, right. And what had happened with

0:17:39.144 --> 0:17:40.944
<v Speaker 2>my guitar playing was I was good at it at

0:17:40.984 --> 0:17:43.944
<v Speaker 2>home and John Jant. Mimi used to say, oh, it

0:17:44.064 --> 0:17:46.544
<v Speaker 2>was much better than John, mind you. When I first

0:17:46.584 --> 0:17:50.104
<v Speaker 2>met John, he played banjo coats. He didn't play guitar

0:17:50.144 --> 0:17:53.064
<v Speaker 2>because I had to show him guitar coats because he'd

0:17:53.104 --> 0:17:56.424
<v Speaker 2>been taught by his mom and he only knew banjo coats.

0:17:56.904 --> 0:18:00.184
<v Speaker 2>What happened to me was we played a place called

0:18:00.224 --> 0:18:07.384
<v Speaker 2>the Conservative Club, which was above a shop in Broadway, Liverpool.

0:18:08.104 --> 0:18:09.704
<v Speaker 2>We had this gig in it was like what the

0:18:09.784 --> 0:18:12.544
<v Speaker 2>first thing I ever played and I was lead guitar player.

0:18:13.104 --> 0:18:16.104
<v Speaker 2>John was rhythm and I had a solo and I

0:18:16.304 --> 0:18:20.984
<v Speaker 2>totally froze. I could not move my fingers, let's go.

0:18:23.984 --> 0:18:27.824
<v Speaker 2>It was like just so embarrassing my lead guitar playing

0:18:27.944 --> 0:18:32.864
<v Speaker 2>career melted at that moment, and I said, well, I'm

0:18:32.904 --> 0:18:34.904
<v Speaker 2>not doing this again. This, I'm not cut out for this.

0:18:35.024 --> 0:18:35.584
<v Speaker 2>I'm not good.

0:18:36.024 --> 0:18:40.504
<v Speaker 1>McCartney still played guitar, he just avoided the solos, but

0:18:40.704 --> 0:18:44.384
<v Speaker 1>when the Beatles trained for more than two years in Hamburg,

0:18:45.024 --> 0:18:48.304
<v Speaker 1>it was the guitar that wasn't cut out for him.

0:18:49.184 --> 0:18:53.624
<v Speaker 2>I had from Hess's and Jim Gretti. What I was

0:18:53.704 --> 0:18:57.784
<v Speaker 2>paying awful was a little guitar called a Rosetti Lucky seven,

0:18:58.304 --> 0:19:01.744
<v Speaker 2>which is quite the cheapest thing you could buy. But

0:19:01.904 --> 0:19:05.344
<v Speaker 2>it looked pretty. It was red and it was a

0:19:05.504 --> 0:19:08.584
<v Speaker 2>sort of electric guitar, but it was really just a

0:19:08.624 --> 0:19:12.384
<v Speaker 2>plank of forward, very badly made. But it kind of

0:19:12.424 --> 0:19:14.304
<v Speaker 2>looked all right, so I thought it look good in

0:19:14.384 --> 0:19:17.584
<v Speaker 2>the photoson on stage. But I took it to Hamburg

0:19:18.144 --> 0:19:21.744
<v Speaker 2>and the stress of Hamburg was just too much forward it.

0:19:22.144 --> 0:19:25.504
<v Speaker 2>Then it fell apart, basically, just part of it. Wasn't

0:19:25.544 --> 0:19:29.544
<v Speaker 2>well made. Guitars have this trust rod going through. This didn't.

0:19:30.144 --> 0:19:32.904
<v Speaker 2>This was just a neck attached to a body and

0:19:33.104 --> 0:19:35.904
<v Speaker 2>it was a terrible little thing. Anyway, it fell apart,

0:19:36.424 --> 0:19:39.624
<v Speaker 2>so there was no retrieving it. It was we didn't

0:19:39.704 --> 0:19:43.264
<v Speaker 2>know someone who could fix it, and we couldn't fix it,

0:19:43.824 --> 0:19:47.384
<v Speaker 2>so that was dumped and I became the pianist because

0:19:47.424 --> 0:19:48.704
<v Speaker 2>there was a piano on stage.

0:20:00.504 --> 0:20:03.944
<v Speaker 1>This was nineteen sixty one and at the time the

0:20:04.064 --> 0:20:08.984
<v Speaker 1>band consisted of Paul John, George Harrison, drummer Pete Bez,

0:20:09.584 --> 0:20:13.864
<v Speaker 1>and Stuart Sutcliffe, a bass player whom John had met

0:20:13.944 --> 0:20:14.744
<v Speaker 1>at art school.

0:20:15.384 --> 0:20:19.824
<v Speaker 2>Well, he wasn't very musical. Stuart. He loved his music,

0:20:19.904 --> 0:20:22.904
<v Speaker 2>but he just wasn't. All of us had played guitar,

0:20:23.384 --> 0:20:25.704
<v Speaker 2>so the transition to go to bass wasn't too hot.

0:20:26.344 --> 0:20:29.864
<v Speaker 2>Stuart hadn't, so he had to learn from the ground up,

0:20:29.864 --> 0:20:32.264
<v Speaker 2>and we showed him to the things, but we actually

0:20:32.384 --> 0:20:34.624
<v Speaker 2>used to have to ask him to turn his back

0:20:35.104 --> 0:20:38.184
<v Speaker 2>to the camera if there were any photos being taken,

0:20:38.744 --> 0:20:42.024
<v Speaker 2>because we knew that people could see. He wasn't necessarily

0:20:42.104 --> 0:20:44.384
<v Speaker 2>playing in the same key as us. But he's a

0:20:44.424 --> 0:20:46.584
<v Speaker 2>lovely guy and he fell in love with a photographer

0:20:46.624 --> 0:20:52.304
<v Speaker 2>called Astroude Kirshner in Hamburg, and Stuart told us one

0:20:52.344 --> 0:20:55.184
<v Speaker 2>that he was going to stay. So now we didn't

0:20:55.224 --> 0:20:58.184
<v Speaker 2>have a bass player. Now. The rumor since has been

0:20:58.264 --> 0:21:00.304
<v Speaker 2>that I edged him out of the band, because we

0:21:00.424 --> 0:21:03.304
<v Speaker 2>certainly did have our difficulties. For me, it was mainly

0:21:03.304 --> 0:21:05.064
<v Speaker 2>because I didn't think he was a very good musician,

0:21:05.504 --> 0:21:09.624
<v Speaker 2>which he wasn't and he admitted it. So for me

0:21:09.824 --> 0:21:15.544
<v Speaker 2>that caused problems because being a I mean, you could

0:21:15.584 --> 0:21:18.624
<v Speaker 2>say being a perfectionist, but actually asking the bass player

0:21:18.664 --> 0:21:20.904
<v Speaker 2>to play in the same key as us isn't really

0:21:20.984 --> 0:21:24.824
<v Speaker 2>looking for perfection. It's quite a mild request.

0:21:25.464 --> 0:21:29.864
<v Speaker 1>Well, it's been rumored that McCartney wanted Stuart Sutcliffe gone

0:21:30.184 --> 0:21:33.744
<v Speaker 1>so he could play the bass. He remembers there not

0:21:33.984 --> 0:21:36.824
<v Speaker 1>being much competition for the role.

0:21:37.184 --> 0:21:40.064
<v Speaker 2>When Stuart left. We said who wants to be BASSI

0:21:40.064 --> 0:21:43.744
<v Speaker 2>and Johnson will not me? George were not me, Ringo,

0:21:44.344 --> 0:21:46.544
<v Speaker 2>or maybe it wasn't Ringo at that point I think

0:21:46.584 --> 0:21:49.944
<v Speaker 2>it was still pe Pest said not me, and that

0:21:50.104 --> 0:21:53.104
<v Speaker 2>left me the guy who didn't have a guitar and

0:21:53.384 --> 0:21:56.504
<v Speaker 2>was now playing piano. So I had to switch to bass.

0:21:56.864 --> 0:22:00.304
<v Speaker 2>So I bought myself the Hoffner bass, which is a

0:22:00.384 --> 0:22:04.784
<v Speaker 2>lovely instrument. It fulfilled all my requirements. It was cheap,

0:22:05.784 --> 0:22:08.864
<v Speaker 2>available and light light.

0:22:09.184 --> 0:22:10.104
<v Speaker 8>I think it's important.

0:22:10.144 --> 0:22:13.904
<v Speaker 2>It's life weeight. I didn't realize till later how important

0:22:13.944 --> 0:22:17.704
<v Speaker 2>it was, but it's actually really affects your style of playing.

0:22:18.344 --> 0:22:21.584
<v Speaker 2>So I got that for thirty quid or thirty marks

0:22:22.224 --> 0:22:26.544
<v Speaker 2>something thirty something in Hamburg, down by the Ulster where

0:22:26.544 --> 0:22:27.944
<v Speaker 2>there was some instrument shops.

0:22:28.824 --> 0:22:31.904
<v Speaker 1>By the time he wrote the lyrics too, Michelle, several

0:22:31.984 --> 0:22:37.424
<v Speaker 1>years after Hamburg, McCartney had become a venerable bass player,

0:22:37.944 --> 0:22:41.904
<v Speaker 1>creating bass lines that did much more than back up

0:22:42.024 --> 0:22:43.304
<v Speaker 1>the other instrumentation.

0:22:56.424 --> 0:22:59.224
<v Speaker 2>The end which came off on the Beatles Road. It

0:22:59.304 --> 0:23:01.984
<v Speaker 2>seeming like a bit of a mistake. We sort of

0:23:02.064 --> 0:23:05.184
<v Speaker 2>tried to slow down, but our hearts weren't in it.

0:23:06.144 --> 0:23:10.064
<v Speaker 2>Like the French people liked that trick. I don't think

0:23:10.824 --> 0:23:13.064
<v Speaker 2>the guys like that trick to us. So you'll hear

0:23:13.104 --> 0:23:17.464
<v Speaker 2>it sounds like the record just slows down, Miche slows

0:23:17.504 --> 0:23:21.344
<v Speaker 2>down a little bit. Well, but it doesn't go me

0:23:22.264 --> 0:23:27.104
<v Speaker 2>show no. Well, it don't rapidly accelerates.

0:23:27.784 --> 0:23:29.664
<v Speaker 8>So had that been part of the thinking at some

0:23:29.824 --> 0:23:33.384
<v Speaker 8>point that it would bear more of the French tradition.

0:23:33.304 --> 0:23:40.784
<v Speaker 2>Yeah, exactly. So you will hear at the end of

0:23:40.864 --> 0:23:44.144
<v Speaker 2>the record of the sell just slows down a little bit.

0:23:44.224 --> 0:23:46.304
<v Speaker 2>But it sounds just like there's something wrong with the record.

0:23:47.624 --> 0:23:49.504
<v Speaker 2>We didn't use it a great traumatic effect.

0:23:49.984 --> 0:23:53.864
<v Speaker 1>As the Beatles rose to fame, there was no longer

0:23:53.984 --> 0:23:57.464
<v Speaker 1>a need for McCartney to pretend he was French in

0:23:57.664 --> 0:24:02.184
<v Speaker 1>order to impress. In twenty ten, however, he played the

0:24:02.304 --> 0:24:06.664
<v Speaker 1>song to impress at a very different engagement when he

0:24:06.784 --> 0:24:10.784
<v Speaker 1>was receiving an honor from President Barack Obama. The First

0:24:10.904 --> 0:24:13.384
<v Speaker 1>Lady Michelle Obama was there as well.

0:24:14.024 --> 0:24:15.664
<v Speaker 2>The Next Time We Like to Do is a song

0:24:15.904 --> 0:24:18.944
<v Speaker 2>I have been itching to do at the White House,

0:24:20.464 --> 0:24:24.624
<v Speaker 2>and I hope the President will forgive me. Have I

0:24:24.744 --> 0:24:25.504
<v Speaker 2>seen this one?

0:24:26.024 --> 0:24:43.264
<v Speaker 4>What Marbles words go.

0:24:43.904 --> 0:24:49.984
<v Speaker 1>To Get Michelle, released in nineteen sixty five on the

0:24:50.064 --> 0:24:56.824
<v Speaker 1>Beatles Rubber So In the next episode, once There was away.

0:24:59.744 --> 0:25:01.544
<v Speaker 6>To get back Home.

0:25:02.224 --> 0:25:06.504
<v Speaker 1>Longing for the way things used to be, and knowing

0:25:06.904 --> 0:25:09.584
<v Speaker 1>you can never truly re turn home.

0:25:11.784 --> 0:25:21.064
<v Speaker 3>Get back home, Sleep pretty darn, do not cry, and

0:25:21.264 --> 0:25:23.704
<v Speaker 3>I will sing another by.

0:25:28.504 --> 0:25:30.824
<v Speaker 4>The snub must be.

0:25:35.224 --> 0:25:45.624
<v Speaker 9>Small way you way rise, Sleep pretty dark, do not Cry.

0:25:48.584 --> 0:25:52.264
<v Speaker 1>In the season finale of McCartney A Life in Lyrics,

0:25:52.864 --> 0:26:01.544
<v Speaker 1>Golden Slumbers carry that with and the end. McCartney A

0:26:01.704 --> 0:26:06.544
<v Speaker 1>Life in Lyrics is a co production between iHeartMedia, NPL

0:26:07.064 --> 0:26:08.784
<v Speaker 1>and Pushkin industries,