1 00:00:15,476 --> 00:00:23,556 Speaker 1: Pushkin. Hey there, it's justin Richmond. Sixty years ago this week, 2 00:00:23,596 --> 00:00:25,476 Speaker 1: the Beatles touched down in the US for the very 3 00:00:25,516 --> 00:00:29,476 Speaker 1: first time and appeared on the Ed Sullivan Show. That 4 00:00:29,556 --> 00:00:32,236 Speaker 1: appearance blew the minds of just about everybody who was 5 00:00:32,276 --> 00:00:34,556 Speaker 1: there to witness it. A lot of the musicians we 6 00:00:34,596 --> 00:00:36,916 Speaker 1: talked to on this very show cited as a moment 7 00:00:36,916 --> 00:00:38,796 Speaker 1: that they realized they were going to do music for 8 00:00:38,836 --> 00:00:41,476 Speaker 1: the rest of their lives. Most recently we heard that 9 00:00:41,516 --> 00:00:43,116 Speaker 1: from Mark Mothers bov Devo. 10 00:00:43,796 --> 00:00:43,876 Speaker 2: So. 11 00:00:43,996 --> 00:00:47,396 Speaker 1: To celebrate this momentous anniversary sixty years since the Beatles' 12 00:00:47,436 --> 00:00:50,756 Speaker 1: appearance on Ed Sullivan, we're releasing the second season of 13 00:00:50,836 --> 00:00:53,716 Speaker 1: McCartney A Life and Lyrics, another show that I worked 14 00:00:53,756 --> 00:00:56,516 Speaker 1: on here at Pushkin Industries. I'm going to share the 15 00:00:56,516 --> 00:00:58,876 Speaker 1: first episode from that season with you on Broken Record. 16 00:00:59,236 --> 00:01:02,236 Speaker 1: It's about the song Love Me Do. Paul McCartney and 17 00:01:02,236 --> 00:01:05,676 Speaker 1: Paul Muldoone sat down to discuss the origins of that 18 00:01:05,836 --> 00:01:08,036 Speaker 1: song and also a bit about the origin of the Beatles, 19 00:01:08,396 --> 00:01:11,956 Speaker 1: and also about that Ed Sullivan appearance. I hope you 20 00:01:12,036 --> 00:01:14,796 Speaker 1: like the episode. If you do, subscribe to McCartney Life 21 00:01:14,796 --> 00:01:17,116 Speaker 1: and Lyrics. We already have the second episode up on 22 00:01:17,276 --> 00:01:20,036 Speaker 1: Band on the Run, and we'll be releasing more episodes 23 00:01:20,036 --> 00:01:23,876 Speaker 1: a weekly through April. McCartney A life and Lyrics I 24 00:01:23,876 --> 00:01:24,516 Speaker 1: hope you enjoy. 25 00:01:26,356 --> 00:01:30,996 Speaker 2: We admired a singer at that time called Bruce Chanelle 26 00:01:31,036 --> 00:01:33,876 Speaker 2: I think his name was, who had a song called 27 00:01:33,876 --> 00:01:45,636 Speaker 2: Hey Baby where there was a harmonica roof. So we 28 00:01:45,716 --> 00:01:55,716 Speaker 2: started doing Hey Baby. I sang it. John played the harmonica. 29 00:01:56,196 --> 00:01:59,516 Speaker 2: I think that was one of the contributory factors for 30 00:01:59,716 --> 00:02:02,636 Speaker 2: when we're going to write something that's a good idea. 31 00:02:02,796 --> 00:02:06,516 Speaker 2: This harmonica thing's a good idea. John could play it well. 32 00:02:07,236 --> 00:02:18,236 Speaker 2: We could write something that would feature you know, instruments 33 00:02:18,276 --> 00:02:20,676 Speaker 2: come in sort of vogues. I mean you think of 34 00:02:20,716 --> 00:02:25,676 Speaker 2: skiffle guitar was like a harmonics. What everyone got for 35 00:02:25,756 --> 00:02:30,876 Speaker 2: Christmas is what everyone got, and that then spawned the 36 00:02:30,916 --> 00:02:32,076 Speaker 2: sixties revolutions. 37 00:02:39,796 --> 00:02:43,756 Speaker 3: I'm Paul will do and I've been fortunate to spend 38 00:02:43,796 --> 00:02:47,476 Speaker 3: time with one of the greatest songwriters of our era. 39 00:02:47,796 --> 00:02:50,276 Speaker 2: And will you look at me, I'm going on to it. 40 00:02:50,636 --> 00:02:52,596 Speaker 2: I'm actually a performer. 41 00:02:52,516 --> 00:02:56,076 Speaker 3: That is, Sir Paul McCartney. We worked together on a 42 00:02:56,116 --> 00:02:58,676 Speaker 3: book looking at the lyrics of more than one hundred 43 00:02:58,716 --> 00:03:03,236 Speaker 3: and fifty of his songs, and we recorded many hours 44 00:03:03,516 --> 00:03:04,716 Speaker 3: of our conversations. 45 00:03:05,156 --> 00:03:08,516 Speaker 2: It was like going back to an old snapshot album 46 00:03:08,556 --> 00:03:13,276 Speaker 2: looking back on work I hadn't ever analyzed. 47 00:03:13,836 --> 00:03:20,036 Speaker 3: This is McCartney, a life in lyrics, a masterclass, a memoir, 48 00:03:20,556 --> 00:03:24,396 Speaker 3: and an improvised journey with one of the most iconic 49 00:03:24,516 --> 00:03:29,076 Speaker 3: figures in popular music. In this episode, love Me. 50 00:03:29,196 --> 00:03:33,316 Speaker 4: Too, BA, love Me Do you Know? 51 00:03:34,076 --> 00:03:34,916 Speaker 2: I Love you? 52 00:03:36,156 --> 00:03:40,196 Speaker 1: Balways be true soly. 53 00:03:43,916 --> 00:03:44,716 Speaker 2: Love Me Do. 54 00:03:46,596 --> 00:03:50,876 Speaker 3: For a group like the Beatles to come into existence, 55 00:03:51,476 --> 00:03:56,036 Speaker 3: you need quite a few planets to align, but you 56 00:03:56,116 --> 00:04:03,436 Speaker 3: also need prodigious talent, clever strategy, and instiable drive. In 57 00:04:03,476 --> 00:04:06,836 Speaker 3: this episode, we trace the origins of one of the 58 00:04:06,876 --> 00:04:11,716 Speaker 3: earliest Beatles songs. These days it's difficult to remember a 59 00:04:11,796 --> 00:04:16,316 Speaker 3: time before the Beatles, but back when Paul McCartney and 60 00:04:16,396 --> 00:04:20,596 Speaker 3: John Lennon wrote Love Me Doo, there were merely school 61 00:04:20,636 --> 00:04:22,436 Speaker 3: boys trying to make a hit. 62 00:04:22,876 --> 00:04:25,156 Speaker 2: In the afternoons, I sometimes had a rather kind of 63 00:04:25,356 --> 00:04:29,076 Speaker 2: light class that I could get out of, and so 64 00:04:29,996 --> 00:04:32,516 Speaker 2: I would say I had a dentist's appointment or something, 65 00:04:33,436 --> 00:04:36,156 Speaker 2: and they didn't check too heavily, so I would be 66 00:04:36,236 --> 00:04:39,076 Speaker 2: able to get on the bus go back home. And 67 00:04:39,196 --> 00:04:43,316 Speaker 2: arrange to meet John, who ran about that time was 68 00:04:43,356 --> 00:04:46,276 Speaker 2: going to the art college next door in my school, 69 00:04:47,356 --> 00:04:49,836 Speaker 2: So we'd meet up at my house is now National 70 00:04:49,876 --> 00:04:54,436 Speaker 2: Trust established twenty fourth in the road, and we would 71 00:04:54,956 --> 00:04:58,636 Speaker 2: meet there because that was the most convenient place, and 72 00:04:58,796 --> 00:05:03,436 Speaker 2: my mom and dad wouldn't be there, so we would 73 00:05:03,516 --> 00:05:09,436 Speaker 2: go there and start just knocking around, showing it other 74 00:05:09,956 --> 00:05:16,436 Speaker 2: stuff that we'd written already, and then writing new stuff together. 75 00:05:17,396 --> 00:05:20,076 Speaker 2: And that's involved a couple of songs that have never 76 00:05:20,156 --> 00:05:26,676 Speaker 2: been published or never been heard, songs like just Fun 77 00:05:27,156 --> 00:05:30,316 Speaker 2: was one of them, and they were very rough little things, 78 00:05:30,356 --> 00:05:31,356 Speaker 2: but you know it was. 79 00:05:31,276 --> 00:05:34,236 Speaker 5: The start, right now? You still have copies of those? 80 00:05:34,396 --> 00:05:35,516 Speaker 5: Are there still copies of it? 81 00:05:35,596 --> 00:05:41,356 Speaker 2: You know? I do? I say, or did have an 82 00:05:41,356 --> 00:05:44,236 Speaker 2: old school exercise book. It's a nice little blue book, 83 00:05:45,036 --> 00:05:49,516 Speaker 2: a hard pack, and in that I wrote just fun, 84 00:05:51,876 --> 00:05:53,916 Speaker 2: Just Fun. They said that our love was just fun 85 00:05:54,276 --> 00:05:57,796 Speaker 2: the day that our friendship begun. There's no blue moon 86 00:05:57,876 --> 00:06:01,316 Speaker 2: that I can see. There's never been in history, because 87 00:06:01,356 --> 00:06:07,036 Speaker 2: our love was just fun, kind of country picnic. And 88 00:06:07,076 --> 00:06:09,596 Speaker 2: then Too Bad about Sorrow's was sort of too bad 89 00:06:09,636 --> 00:06:15,676 Speaker 2: about Sartrose Wo wow wow ooh do do do do 90 00:06:16,156 --> 00:06:18,756 Speaker 2: I think? It's a little too opy thing. This was 91 00:06:18,796 --> 00:06:23,956 Speaker 2: the start. And then I'd written in angel voices. 92 00:06:24,316 --> 00:06:28,316 Speaker 3: In that little blue notebook where the two school boys 93 00:06:28,356 --> 00:06:32,556 Speaker 3: had scribbled their very first lyrics, there was evidence Lennon 94 00:06:32,636 --> 00:06:38,116 Speaker 3: and McCartney envisioned themselves following in the footsteps of other 95 00:06:38,476 --> 00:06:40,316 Speaker 3: songwriting giants. 96 00:06:40,676 --> 00:06:42,956 Speaker 2: And at the top of the page, I've written another 97 00:06:43,076 --> 00:06:44,676 Speaker 2: Lennon McCartney original. 98 00:06:45,356 --> 00:06:49,596 Speaker 5: So you already had a sense, even though you were 99 00:06:49,756 --> 00:06:53,476 Speaker 5: what sixteen, a little older perhaps that you would have 100 00:06:53,556 --> 00:06:54,036 Speaker 5: a future. 101 00:06:54,356 --> 00:06:56,236 Speaker 2: Yeah, did you? I mean, I think it was more 102 00:06:56,316 --> 00:06:58,796 Speaker 2: a sort of wish than a sense. It was more, 103 00:06:59,276 --> 00:07:02,876 Speaker 2: you know, this thing, if you visualize it, it might 104 00:07:02,916 --> 00:07:06,236 Speaker 2: come true. And you know, when you think of Lena McCartney, 105 00:07:06,276 --> 00:07:09,676 Speaker 2: was because we'd heard of Gilbert Sullivan, Rodgers and Hammerstein, 106 00:07:10,716 --> 00:07:14,036 Speaker 2: Elena McCarney. It's good, there's two of us, and we 107 00:07:14,076 --> 00:07:16,636 Speaker 2: could we can make up one of those type names 108 00:07:17,316 --> 00:07:20,756 Speaker 2: liber and Stoller, Coffin and King. But these were magic 109 00:07:20,876 --> 00:07:24,036 Speaker 2: names to us. We didn't realize Coffin and King was 110 00:07:24,116 --> 00:07:24,716 Speaker 2: Carol King. 111 00:07:25,196 --> 00:07:28,156 Speaker 5: I didn't realize it was a girl, and an amazingly 112 00:07:28,276 --> 00:07:28,956 Speaker 5: young woman. 113 00:07:29,076 --> 00:07:31,876 Speaker 2: I was very young, yes, yeah, but you know it 114 00:07:31,996 --> 00:07:34,316 Speaker 2: was thrilling to know that there were these people out 115 00:07:34,356 --> 00:07:37,196 Speaker 2: there and this is what we wanted to be and 116 00:07:37,836 --> 00:07:41,956 Speaker 2: love me do game around that period, One after nine 117 00:07:42,076 --> 00:07:44,516 Speaker 2: or nine robbed me doing one after nine or nine 118 00:07:44,596 --> 00:07:50,156 Speaker 2: actually got published and actually got recorded. My baby did 119 00:07:50,196 --> 00:07:53,236 Speaker 2: another one half the nine or nine. 120 00:07:54,436 --> 00:07:55,836 Speaker 1: I didn't move about it. 121 00:07:57,236 --> 00:08:01,196 Speaker 2: The others didn't get recorded. And the school exercise book. 122 00:08:01,836 --> 00:08:07,116 Speaker 2: I found it probably about ten fifteen years ago, put 123 00:08:07,116 --> 00:08:10,876 Speaker 2: it in my bookcase and I've since lost it. I 124 00:08:10,876 --> 00:08:12,836 Speaker 2: don't know where it is. I think it might show 125 00:08:12,916 --> 00:08:20,356 Speaker 2: up somewhere, but it's the first ever Lenna McCartney manuscript. Anyway. Yeah, well, 126 00:08:20,356 --> 00:08:21,916 Speaker 2: oh dear is right, but you know you have to 127 00:08:21,956 --> 00:08:23,036 Speaker 2: let these things go right. 128 00:08:24,476 --> 00:08:36,316 Speaker 4: Maybe Another duo which had a profound influence on young 129 00:08:36,396 --> 00:08:40,156 Speaker 4: Lennon and McCartney was the Everly Brothers. 130 00:08:40,676 --> 00:08:45,316 Speaker 2: There are certain people that you can credit for pretty 131 00:08:45,396 --> 00:08:48,436 Speaker 2: much everything we did, because I think that's I think 132 00:08:48,476 --> 00:08:52,476 Speaker 2: that's true of everyone. I think everyone's got a hero 133 00:08:53,596 --> 00:09:12,756 Speaker 2: that forms them like this. Oh did I exist a 134 00:09:12,916 --> 00:09:18,396 Speaker 2: little like so? As John and I were two male 135 00:09:18,636 --> 00:09:24,276 Speaker 2: vocalists who sang in harmony, our biggest influence was the 136 00:09:24,276 --> 00:09:29,716 Speaker 2: Evely Brothers, who we loved adored to this day. I 137 00:09:29,836 --> 00:09:33,996 Speaker 2: just think they the greatest, And it was different. You'd 138 00:09:34,036 --> 00:09:38,876 Speaker 2: have barbershop quartets. You'd heard the Beverly Sisters, the Three Girls, 139 00:09:38,876 --> 00:09:43,476 Speaker 2: you'd heard all that, but just two guys, good lucking guys. 140 00:09:44,276 --> 00:09:44,836 Speaker 2: This is good. 141 00:09:46,516 --> 00:09:52,316 Speaker 1: Oh yeah, you're not albu. 142 00:09:54,436 --> 00:09:58,556 Speaker 2: So. Yeah. We loved them and idolized them and wanted 143 00:09:58,596 --> 00:10:01,676 Speaker 2: to be like them, like. 144 00:10:03,876 --> 00:10:05,076 Speaker 6: Oh yeah. 145 00:10:05,116 --> 00:10:07,516 Speaker 2: It's like when people later would see the Beatles on 146 00:10:07,556 --> 00:10:09,396 Speaker 2: The Ed Sullivan Show and. 147 00:10:09,356 --> 00:10:14,116 Speaker 1: Gentlemen like Live from New York, The Sullivan Joe. 148 00:10:17,956 --> 00:10:22,876 Speaker 2: I mean trillion people who say that I knew that's 149 00:10:23,236 --> 00:10:23,996 Speaker 2: what I wanted to be. 150 00:10:24,276 --> 00:10:27,316 Speaker 6: Last on our show in New York, the Beatles played 151 00:10:27,316 --> 00:10:30,436 Speaker 6: to the greatest TV audience it's ever been assembled in 152 00:10:30,476 --> 00:10:31,996 Speaker 6: the history of American TV. 153 00:10:32,476 --> 00:10:37,036 Speaker 2: When I saw you foreheaded monster on the Telly and 154 00:10:37,156 --> 00:10:39,836 Speaker 2: you I've got to be part of this. Our current 155 00:10:39,916 --> 00:10:45,156 Speaker 2: manager of Beatles Apple Records, says that Bruce Springsteen says 156 00:10:45,196 --> 00:10:50,756 Speaker 2: that David Lehnerman says that they all formed on that night, 157 00:10:51,836 --> 00:10:54,876 Speaker 2: formed this this future for themselves, and there we were 158 00:10:54,876 --> 00:10:57,196 Speaker 2: in Liverpool form in this future and the same kind 159 00:10:57,236 --> 00:10:57,916 Speaker 2: of deal. 160 00:11:06,236 --> 00:11:10,956 Speaker 3: The day when you say goodbye and McCartney were working 161 00:11:11,156 --> 00:11:15,556 Speaker 3: in the wake of all these great songwriting dues who 162 00:11:15,596 --> 00:11:20,076 Speaker 3: wrote songs for others to sing, and singers like the 163 00:11:20,116 --> 00:11:24,716 Speaker 3: Everly Brothers who sang other people's songs. But there were 164 00:11:24,756 --> 00:11:28,196 Speaker 3: also people like Buddy Holly who could do it all. 165 00:11:28,436 --> 00:11:31,316 Speaker 2: You know, you know me, baby, dude, you tell me 166 00:11:31,436 --> 00:11:33,756 Speaker 2: baby that songday. 167 00:11:34,756 --> 00:11:38,756 Speaker 6: You will loudly bad what you say goodbye. 168 00:11:39,836 --> 00:11:44,156 Speaker 2: Buddy Holly to us was amazing for a number of reasons. 169 00:11:45,076 --> 00:11:49,996 Speaker 2: He sang and played guitar. Elvis just sang and Scotty 170 00:11:50,036 --> 00:11:57,156 Speaker 2: Moore played guitar. He normally played guitar, he played the solos. Normally, 171 00:11:57,196 --> 00:11:58,836 Speaker 2: if you played guitar, there was another guy in the 172 00:11:58,836 --> 00:12:01,716 Speaker 2: group was a lead guitar played the sols. But Buddy 173 00:12:02,116 --> 00:12:05,916 Speaker 2: sang played the guitar and played the sols. He also 174 00:12:06,076 --> 00:12:12,196 Speaker 2: wrote the stuff. So this was like all inclusive, one 175 00:12:12,236 --> 00:12:15,556 Speaker 2: man band, and we really thought that was great. So 176 00:12:15,716 --> 00:12:17,476 Speaker 2: this is what we have to do. 177 00:12:20,996 --> 00:12:26,956 Speaker 3: Buddy Holly inspired the youngsters to explore their full musical potential, 178 00:12:27,556 --> 00:12:30,996 Speaker 3: and he also helped John Lennon overcome his embarrassment about 179 00:12:31,116 --> 00:12:32,116 Speaker 3: wearing glasses. 180 00:12:32,636 --> 00:12:35,756 Speaker 2: He also wore these big horn room glasses, as did 181 00:12:35,876 --> 00:12:38,956 Speaker 2: John and ifever there would be a girl coming up. 182 00:12:39,036 --> 00:12:40,756 Speaker 2: John with witness glasses off and put them in his 183 00:12:40,836 --> 00:12:45,796 Speaker 2: pocket and squint as she went by, and I see 184 00:12:45,956 --> 00:12:48,356 Speaker 2: you look pretty good. The glasses are good. But one 185 00:12:48,396 --> 00:12:51,836 Speaker 2: buddy came along, the glasses stayed on. It was like 186 00:12:51,876 --> 00:12:53,756 Speaker 2: Harry Potter with all the kids. 187 00:12:54,756 --> 00:13:01,916 Speaker 3: Like Buddy Holly had more than just the musical chops 188 00:13:02,156 --> 00:13:05,796 Speaker 3: and the suave image that John Lennon and Paul McCartney 189 00:13:05,876 --> 00:13:09,756 Speaker 3: covet it for themselves. The name of his group, Buddy 190 00:13:09,756 --> 00:13:15,276 Speaker 3: Holly and the Crickets, had a certain entomological ring to it. 191 00:13:15,556 --> 00:13:18,676 Speaker 2: The name the Crickets. You know, we wanted something with 192 00:13:18,716 --> 00:13:21,676 Speaker 2: a dual meaning, and it turned out they didn't know 193 00:13:21,836 --> 00:13:25,156 Speaker 2: how the dual meaning the crickets. They didn't know about 194 00:13:25,156 --> 00:13:28,276 Speaker 2: the game cricket. Oh, I say, And they just thought 195 00:13:28,276 --> 00:13:31,036 Speaker 2: it was grasshoppers, right, So we said to them. Ice 196 00:13:31,196 --> 00:13:36,596 Speaker 2: met them years later, fantastic man, the Beatles, We loved crickets, 197 00:13:37,556 --> 00:13:40,796 Speaker 2: chopy little things and the great game of cricket. A 198 00:13:41,236 --> 00:13:44,396 Speaker 2: brilliant name for a group. And they went, you know, 199 00:13:44,436 --> 00:13:47,436 Speaker 2: oh no, we just heard a grasshopper in the studio wall. 200 00:13:47,516 --> 00:13:53,316 Speaker 5: You know, did you do you remember setting around thinking 201 00:13:53,876 --> 00:13:57,756 Speaker 5: the buddy Holly and the Crickets. The Beatles will be 202 00:13:57,796 --> 00:13:58,916 Speaker 5: a great name for us. 203 00:14:00,156 --> 00:14:03,636 Speaker 2: My memory of it was that we were striving to 204 00:14:03,716 --> 00:14:07,396 Speaker 2: find something with a dual meaning because of the Crickets. 205 00:14:07,676 --> 00:14:10,516 Speaker 2: This is the idea. Now the origin of it is 206 00:14:10,596 --> 00:14:12,636 Speaker 2: clouded in mystery. 207 00:14:14,276 --> 00:14:15,236 Speaker 3: You know, I missed you. 208 00:14:16,196 --> 00:14:18,156 Speaker 2: It was just a club split up. I missed you. 209 00:14:18,236 --> 00:14:20,556 Speaker 2: Because there are all sorts of theories about this, says 210 00:14:20,796 --> 00:14:24,996 Speaker 2: The Wild Ones with Marlon Brando, and at one point 211 00:14:25,076 --> 00:14:28,516 Speaker 2: Lee Marvin says, he Johnny, Johnny or Johnny. I think 212 00:14:28,516 --> 00:14:28,876 Speaker 2: he's cool. 213 00:14:28,956 --> 00:14:31,116 Speaker 6: Come on, Johnny, we all missed you. 214 00:14:31,236 --> 00:14:34,236 Speaker 2: Miss him. Yeah, Johnny, we love you, you know, coming back 215 00:14:34,236 --> 00:14:36,556 Speaker 2: to the gang or something like that. Johnny, we love you. 216 00:14:36,596 --> 00:14:37,916 Speaker 2: The Beatles love you. 217 00:14:37,756 --> 00:14:41,316 Speaker 6: Miss Yeah, Beatles mischief all the Beatles, mister. 218 00:14:41,636 --> 00:14:45,036 Speaker 2: It turns out the Malls, the girls in the Motorcycle 219 00:14:45,156 --> 00:14:49,556 Speaker 2: Gang were called Beatles, says The Beatles love you, Johnny 220 00:14:49,556 --> 00:14:54,156 Speaker 2: for all times. And I know John and Stuart his 221 00:14:54,836 --> 00:14:59,516 Speaker 2: art school friends, Stuart Suckliffe loved that film as we 222 00:14:59,596 --> 00:15:02,036 Speaker 2: all did. I think they had seen it. I think 223 00:15:02,036 --> 00:15:04,516 Speaker 2: we just loved it and hadn't seen it anyway. So 224 00:15:04,956 --> 00:15:05,756 Speaker 2: that's one of the. 225 00:15:05,636 --> 00:15:15,396 Speaker 3: Theories today it's easy to forget how the creation of 226 00:15:15,436 --> 00:15:21,556 Speaker 3: the Beatles required thousands of small choices. Songs which are 227 00:15:21,556 --> 00:15:26,396 Speaker 3: now canonized were once simple phrases. Two boys having fun 228 00:15:26,636 --> 00:15:29,676 Speaker 3: when no parents were home, one of them with a 229 00:15:29,756 --> 00:15:34,516 Speaker 3: notebook in hand, the other playing a harmonica. 230 00:15:38,836 --> 00:15:42,636 Speaker 2: At one of those writing sessions, twenty fourth in road, 231 00:15:43,156 --> 00:15:47,716 Speaker 2: a little garden path past my dad's lavender hedge. You know, 232 00:15:47,796 --> 00:15:50,276 Speaker 2: we would write, let me do and John come up 233 00:15:50,276 --> 00:15:53,836 Speaker 2: with this little harmonica roof. It's so simple. I mean 234 00:15:53,836 --> 00:15:55,116 Speaker 2: you look at it here. 235 00:15:55,316 --> 00:15:57,396 Speaker 5: Yes, there's nothing to it. 236 00:15:57,396 --> 00:16:01,556 Speaker 2: It's a will have a wisp little song, lovely. 237 00:16:07,956 --> 00:16:13,316 Speaker 3: So what do you think made it become such a 238 00:16:13,876 --> 00:16:15,196 Speaker 3: potent part. 239 00:16:15,316 --> 00:16:19,956 Speaker 2: I think our image and our energy as the four 240 00:16:19,996 --> 00:16:24,956 Speaker 2: Beatles was what was potent. And it had a very 241 00:16:24,996 --> 00:16:28,356 Speaker 2: fresh sound. That's the sort of thing that people noticed. 242 00:16:28,396 --> 00:16:31,556 Speaker 2: And we had a very fresh image. Nobody looked like us. 243 00:16:32,316 --> 00:16:36,916 Speaker 2: And we've been working at it a long time in Liverpool. 244 00:16:37,036 --> 00:16:41,396 Speaker 2: Originally as really a bunch of rockers, you know, the 245 00:16:41,436 --> 00:16:46,196 Speaker 2: cliffs and everything gone over to Hamburg as the rockers 246 00:16:46,676 --> 00:16:50,276 Speaker 2: had got a little bit leatherified there, and then it 247 00:16:50,356 --> 00:16:54,676 Speaker 2: moved from leather to suits at the request of Brian Epstein. 248 00:16:55,236 --> 00:17:00,356 Speaker 3: Brian Epstein, an entrepreneurial young man from a family of 249 00:17:00,436 --> 00:17:05,236 Speaker 3: successful retailers in Liverpool, had stumbled upon the Beatles at 250 00:17:05,236 --> 00:17:10,116 Speaker 3: a nineteen sixty one lunchtime concert. He had no experience 251 00:17:10,236 --> 00:17:14,116 Speaker 3: managing artists, but he did have lots of confidence, so 252 00:17:14,356 --> 00:17:17,716 Speaker 3: in short order he signed the contract to manage the 253 00:17:17,756 --> 00:17:20,836 Speaker 3: band and told them to get suited up. 254 00:17:21,196 --> 00:17:23,596 Speaker 2: And so we all went over to Beno Dawn who 255 00:17:23,636 --> 00:17:27,996 Speaker 2: was in the wirrald back and head a Taylor. We'd 256 00:17:28,036 --> 00:17:31,316 Speaker 2: never been to a tailor really, you know, so certainly 257 00:17:31,396 --> 00:17:34,356 Speaker 2: not on maps. We all went over and got suits. 258 00:17:34,676 --> 00:17:37,316 Speaker 2: So we had this image. We had all the experience 259 00:17:37,476 --> 00:17:41,156 Speaker 2: musical experience of Hamburg, of playing a lot your ten 260 00:17:41,236 --> 00:17:46,156 Speaker 2: thousand hours, mister Gladwell's right, ten thousand hours. So when 261 00:17:46,196 --> 00:17:49,516 Speaker 2: we kind of then came on the scene and was 262 00:17:49,556 --> 00:17:56,036 Speaker 2: seen on television, we had a freshness, complete simplicity. Let 263 00:17:56,116 --> 00:17:59,796 Speaker 2: me do It's got a slightly sort of bluozy thing. 264 00:18:01,236 --> 00:18:05,676 Speaker 2: I mean, it's not a blues but it's got a simplicity, 265 00:18:07,356 --> 00:18:10,996 Speaker 2: like a little sort of down home on the porch 266 00:18:11,796 --> 00:18:15,916 Speaker 2: with a couple of guitars on harmonica. 267 00:18:20,796 --> 00:18:25,116 Speaker 3: At the heart of these simple lyrics is a familiar story, 268 00:18:25,356 --> 00:18:34,196 Speaker 3: a young man yearning for a woman to love Salmack. 269 00:18:35,996 --> 00:18:39,556 Speaker 2: It's a funny thing. You try and recreate that stuff now, 270 00:18:40,516 --> 00:18:45,836 Speaker 2: and it's almost impossible. Why Because you were sixteen. That's 271 00:18:45,956 --> 00:18:50,076 Speaker 2: why you were looking at the world, and the world 272 00:18:50,236 --> 00:18:54,436 Speaker 2: was good and there was this marvelous rock and roll 273 00:18:54,556 --> 00:18:59,436 Speaker 2: future unfolding itself, and you were about to become part 274 00:18:59,516 --> 00:19:04,556 Speaker 2: of it. So your longings for a girl, which was 275 00:19:04,636 --> 00:19:10,676 Speaker 2: impossible to achieve, you know, he had that little, perfect 276 00:19:11,036 --> 00:19:14,916 Speaker 2: high school sweetheart, you know. So there was this great 277 00:19:14,956 --> 00:19:19,996 Speaker 2: longing for your career is you didn't know what you 278 00:19:20,076 --> 00:19:22,076 Speaker 2: were going to do, and it was a dread of 279 00:19:22,116 --> 00:19:26,356 Speaker 2: all dreads. I was about to go to teacher's training college. 280 00:19:26,836 --> 00:19:30,356 Speaker 2: I was trying to put that off forever. I did 281 00:19:30,396 --> 00:19:33,436 Speaker 2: not want to go into that mold. So there was 282 00:19:33,516 --> 00:19:37,196 Speaker 2: all these different kinds of longings. John and I's mothers 283 00:19:37,236 --> 00:19:41,676 Speaker 2: had both died, which was this amazing bond between us. 284 00:19:42,556 --> 00:19:49,796 Speaker 2: We both understood the anguish of that, and at that 285 00:19:49,956 --> 00:19:54,516 Speaker 2: age it's largely unspoken. You just said, oh, your mother died, Yes, 286 00:19:54,556 --> 00:19:58,516 Speaker 2: so did I. We knew I knew the circumstances of 287 00:19:58,556 --> 00:20:01,196 Speaker 2: his mother, says he knew the circustance in mind, and 288 00:20:01,236 --> 00:20:04,436 Speaker 2: we would talk about it a little bit, but being 289 00:20:04,996 --> 00:20:09,716 Speaker 2: young boys, you didn't talk about it much. All this 290 00:20:09,916 --> 00:20:16,556 Speaker 2: was rolled up into this package, this longing, and it's 291 00:20:16,596 --> 00:20:24,676 Speaker 2: spilled out, which is the best way to write lovely love. 292 00:20:28,116 --> 00:20:32,396 Speaker 3: Some of this longing for their mothers, for love. For 293 00:20:32,636 --> 00:20:38,996 Speaker 3: artistry was fairly abstract, but they also had more concrete ambitions. 294 00:20:39,556 --> 00:20:43,396 Speaker 3: They had met other songwriting teams who turned out hits 295 00:20:43,996 --> 00:20:45,076 Speaker 3: and made good money. 296 00:20:45,356 --> 00:20:47,756 Speaker 2: John and I looked at thought, the right we could 297 00:20:47,756 --> 00:20:51,036 Speaker 2: do that? What a good idea. If we get hits, 298 00:20:51,796 --> 00:20:55,276 Speaker 2: that will then get money and it may not buy 299 00:20:55,396 --> 00:20:58,156 Speaker 2: us love, but it will buy us a car. I 300 00:20:58,236 --> 00:21:00,796 Speaker 2: must admit, you know, we were young guys without any money, 301 00:21:01,516 --> 00:21:06,316 Speaker 2: coming from Liverpool with dreams, and once we realized that 302 00:21:06,356 --> 00:21:08,716 Speaker 2: to write a hit song would get you some money, 303 00:21:09,836 --> 00:21:14,076 Speaker 2: it was very attractive, very attractive thought. And it wasn't 304 00:21:14,156 --> 00:21:17,676 Speaker 2: just the money. It was then the joy of pulling 305 00:21:17,676 --> 00:21:20,556 Speaker 2: our song out of a hat, being able to play 306 00:21:20,556 --> 00:21:24,156 Speaker 2: it with our band, which needed songs, so we were 307 00:21:24,596 --> 00:21:29,676 Speaker 2: sort of feeding the machine. Take one No. 308 00:21:32,276 --> 00:21:34,956 Speaker 3: Later, when the Fab four removed from writing in the 309 00:21:34,996 --> 00:21:39,076 Speaker 3: parlor room to writing in the studio, they learned to 310 00:21:39,236 --> 00:21:42,556 Speaker 3: crank out hits at an impressive piece. 311 00:21:43,356 --> 00:21:54,356 Speaker 2: Take four one. Our recording hours, Well what now classical 312 00:21:54,356 --> 00:21:59,036 Speaker 2: people do? It's it's the norm for recording. You normally 313 00:21:59,076 --> 00:22:03,476 Speaker 2: go in ten o'clock, you get yourself together, you start 314 00:22:03,556 --> 00:22:08,116 Speaker 2: at ten thirty. You then will work three hours. You 315 00:22:08,116 --> 00:22:10,796 Speaker 2: don't have it our right in. You work two thirty 316 00:22:10,796 --> 00:22:14,436 Speaker 2: to five thirty, and that's it. And in those two 317 00:22:14,556 --> 00:22:18,796 Speaker 2: periods of three hours, it was expected that we would 318 00:22:18,796 --> 00:22:22,676 Speaker 2: be able to finish two songs. So so we did. 319 00:22:22,876 --> 00:22:26,196 Speaker 2: And that's that was the output and the great the 320 00:22:26,276 --> 00:22:30,436 Speaker 2: flow of just having to come up with two complete things. 321 00:22:30,996 --> 00:22:33,396 Speaker 2: But the great thing about this was you were finished 322 00:22:33,396 --> 00:22:39,916 Speaker 2: by five thirty. 323 00:22:37,596 --> 00:22:40,636 Speaker 6: When a harmonica like the Beatles playing not a toy 324 00:22:40,796 --> 00:22:44,276 Speaker 6: but a genuine huner marine band harmonica, just like those 325 00:22:44,316 --> 00:22:45,196 Speaker 6: play by the Beatles. 326 00:22:45,436 --> 00:22:48,356 Speaker 3: Maybe what allowed the Beatles to come together was the 327 00:22:48,356 --> 00:22:52,276 Speaker 3: force of their belonging. Maybe it was the long studio days, 328 00:22:52,716 --> 00:22:57,876 Speaker 3: the churning out of albums, the carefully crafted image. Whatever 329 00:22:57,956 --> 00:23:02,596 Speaker 3: the case, they went from looking at other artists dreaming 330 00:23:02,916 --> 00:23:07,396 Speaker 3: of becoming them, to being the artists others would dream 331 00:23:07,476 --> 00:23:08,436 Speaker 3: of becoming. 332 00:23:08,276 --> 00:23:11,596 Speaker 6: Way along with the with your own genuine owner Marine 333 00:23:11,636 --> 00:23:14,076 Speaker 6: band harmonica from Klim. 334 00:23:16,636 --> 00:23:22,876 Speaker 3: When what the Beatles would become was beyond what any 335 00:23:23,036 --> 00:23:25,516 Speaker 3: of its members could have dreamt off when they were 336 00:23:25,556 --> 00:23:28,996 Speaker 3: sixteen and playing harmonica in their living rooms. 337 00:23:29,476 --> 00:23:31,636 Speaker 2: There were all sorts of things. As I say that 338 00:23:31,956 --> 00:23:41,036 Speaker 2: you instinctively knew, don't try too hard, don't work too 339 00:23:41,156 --> 00:23:45,716 Speaker 2: hard at reaching for it, because the more you reach, 340 00:23:47,196 --> 00:23:50,876 Speaker 2: the more it will receive. Just kid on that you 341 00:23:50,956 --> 00:23:56,036 Speaker 2: don't even want it right, something will happen where everyone 342 00:23:56,076 --> 00:23:58,756 Speaker 2: else around us be worrying, no more other than I 343 00:23:58,796 --> 00:24:01,076 Speaker 2: was going to oh my god, ah my god. We 344 00:24:01,116 --> 00:24:04,836 Speaker 2: always related back to this accident we'd had on the 345 00:24:04,876 --> 00:24:08,036 Speaker 2: motorway going from running up to Liverpool, where we'd skid 346 00:24:08,156 --> 00:24:10,796 Speaker 2: it off in the snow down the bank with our 347 00:24:10,956 --> 00:24:13,236 Speaker 2: van and at the bottom of the van were this, 348 00:24:13,636 --> 00:24:16,316 Speaker 2: how the hell are we ever going to get home? 349 00:24:17,156 --> 00:24:20,916 Speaker 2: It's snowing, we're freezing, and someone in the group, so 350 00:24:21,316 --> 00:24:25,316 Speaker 2: something will happen, And it was like that became a mantra, 351 00:24:25,796 --> 00:24:28,436 Speaker 2: and you know, as I say, it's actually a very 352 00:24:28,476 --> 00:24:32,196 Speaker 2: good one. It's this, it's not reaching for it, it's 353 00:24:32,396 --> 00:25:03,036 Speaker 2: letting it go. Love me, love me, love me? Do 354 00:25:03,076 --> 00:25:05,116 Speaker 2: you know I love you? 355 00:25:06,316 --> 00:25:07,916 Speaker 5: Ah me? 356 00:25:08,116 --> 00:25:10,676 Speaker 1: Through sound Please. 357 00:25:13,996 --> 00:25:18,356 Speaker 6: Love Me, Love. 358 00:25:27,676 --> 00:25:31,476 Speaker 3: Love Me Doe from the beatles nineteen sixty three album 359 00:25:31,556 --> 00:25:38,596 Speaker 3: Please Please Me. In the next episode, McCartney starts over 360 00:25:38,996 --> 00:25:41,716 Speaker 3: with a ragtag band on the run. 361 00:25:42,036 --> 00:25:45,076 Speaker 2: I just thought we would just start something that feels 362 00:25:45,116 --> 00:25:51,956 Speaker 2: good and we'll build it up like the Beatles, did you. 363 00:25:52,836 --> 00:25:53,796 Speaker 5: Sau. 364 00:25:56,676 --> 00:26:01,676 Speaker 3: McCartney. A Life in Lyrics is a co production between iHeartMedia, 365 00:26:02,196 --> 00:26:04,956 Speaker 3: NPL and Pushkin Industries.