WEBVTT - Love Me Do: McCartney A Life in Lyrics

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<v Speaker 1>Pushkin. Hey there, it's justin Richmond. Sixty years ago this week,

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<v Speaker 1>the Beatles touched down in the US for the very

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<v Speaker 1>first time and appeared on the Ed Sullivan Show. That

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<v Speaker 1>appearance blew the minds of just about everybody who was

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<v Speaker 1>there to witness it. A lot of the musicians we

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<v Speaker 1>talked to on this very show cited as a moment

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<v Speaker 1>that they realized they were going to do music for

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<v Speaker 1>the rest of their lives. Most recently we heard that

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<v Speaker 1>from Mark Mothers bov Devo.

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<v Speaker 2>So.

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<v Speaker 1>To celebrate this momentous anniversary sixty years since the Beatles'

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<v Speaker 1>appearance on Ed Sullivan, we're releasing the second season of

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<v Speaker 1>McCartney A Life and Lyrics, another show that I worked

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<v Speaker 1>on here at Pushkin Industries. I'm going to share the

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<v Speaker 1>first episode from that season with you on Broken Record.

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<v Speaker 1>It's about the song Love Me Do. Paul McCartney and

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<v Speaker 1>Paul Muldoone sat down to discuss the origins of that

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<v Speaker 1>song and also a bit about the origin of the Beatles,

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<v Speaker 1>and also about that Ed Sullivan appearance. I hope you

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<v Speaker 1>like the episode. If you do, subscribe to McCartney Life

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<v Speaker 1>and Lyrics. We already have the second episode up on

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<v Speaker 1>Band on the Run, and we'll be releasing more episodes

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<v Speaker 1>a weekly through April. McCartney A life and Lyrics I

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<v Speaker 1>hope you enjoy.

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<v Speaker 2>We admired a singer at that time called Bruce Chanelle

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<v Speaker 2>I think his name was, who had a song called

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<v Speaker 2>Hey Baby where there was a harmonica roof. So we

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<v Speaker 2>started doing Hey Baby. I sang it. John played the harmonica.

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<v Speaker 2>I think that was one of the contributory factors for

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<v Speaker 2>when we're going to write something that's a good idea.

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<v Speaker 2>This harmonica thing's a good idea. John could play it well.

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<v Speaker 2>We could write something that would feature you know, instruments

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<v Speaker 2>come in sort of vogues. I mean you think of

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<v Speaker 2>skiffle guitar was like a harmonics. What everyone got for

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<v Speaker 2>Christmas is what everyone got, and that then spawned the

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<v Speaker 2>sixties revolutions.

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<v Speaker 3>I'm Paul will do and I've been fortunate to spend

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<v Speaker 3>time with one of the greatest songwriters of our era.

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<v Speaker 2>And will you look at me, I'm going on to it.

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<v Speaker 2>I'm actually a performer.

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<v Speaker 3>That is, Sir Paul McCartney. We worked together on a

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<v Speaker 3>book looking at the lyrics of more than one hundred

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<v Speaker 3>and fifty of his songs, and we recorded many hours

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<v Speaker 3>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 3>This is McCartney, a life in lyrics, a masterclass, a memoir,

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<v Speaker 3>and an improvised journey with one of the most iconic

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<v Speaker 3>figures in popular music. In this episode, love Me.

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<v Speaker 4>Too, BA, love Me Do you Know?

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<v Speaker 2>I Love you?

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<v Speaker 1>Balways be true soly.

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<v Speaker 2>Love Me Do.

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<v Speaker 3>For a group like the Beatles to come into existence,

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<v Speaker 3>you need quite a few planets to align, but you

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<v Speaker 3>also need prodigious talent, clever strategy, and instiable drive. In

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<v Speaker 3>this episode, we trace the origins of one of the

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<v Speaker 3>earliest Beatles songs. These days it's difficult to remember a

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<v Speaker 3>time before the Beatles, but back when Paul McCartney and

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<v Speaker 3>John Lennon wrote Love Me Doo, there were merely school

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<v Speaker 3>boys trying to make a hit.

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<v Speaker 2>In the afternoons, I sometimes had a rather kind of

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<v Speaker 2>light class that I could get out of, and so

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<v Speaker 2>I would say I had a dentist's appointment or something,

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<v Speaker 2>and they didn't check too heavily, so I would be

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<v Speaker 2>able to get on the bus go back home. And

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<v Speaker 2>arrange to meet John, who ran about that time was

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<v Speaker 2>going to the art college next door in my school,

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<v Speaker 2>So we'd meet up at my house is now National

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<v Speaker 2>Trust established twenty fourth in the road, and we would

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<v Speaker 2>meet there because that was the most convenient place, and

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<v Speaker 2>my mom and dad wouldn't be there, so we would

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<v Speaker 2>go there and start just knocking around, showing it other

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<v Speaker 2>stuff that we'd written already, and then writing new stuff together.

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<v Speaker 2>And that's involved a couple of songs that have never

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<v Speaker 2>been published or never been heard, songs like just Fun

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<v Speaker 2>was one of them, and they were very rough little things,

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<v Speaker 2>but you know it was.

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<v Speaker 5>The start, right now? You still have copies of those?

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<v Speaker 5>Are there still copies of it?

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<v Speaker 2>You know? I do? I say, or did have an

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<v Speaker 2>old school exercise book. It's a nice little blue book,

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<v Speaker 2>a hard pack, and in that I wrote just fun,

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<v Speaker 2>Just Fun. They said that our love was just fun

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<v Speaker 2>the day that our friendship begun. There's no blue moon

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<v Speaker 2>that I can see. There's never been in history, because

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<v Speaker 2>our love was just fun, kind of country picnic. And

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<v Speaker 2>then Too Bad about Sorrow's was sort of too bad

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<v Speaker 2>about Sartrose Wo wow wow ooh do do do do

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<v Speaker 2>I think? It's a little too opy thing. This was

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<v Speaker 2>the start. And then I'd written in angel voices.

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<v Speaker 3>In that little blue notebook where the two school boys

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<v Speaker 3>had scribbled their very first lyrics, there was evidence Lennon

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<v Speaker 3>and McCartney envisioned themselves following in the footsteps of other

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<v Speaker 3>songwriting giants.

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<v Speaker 2>And at the top of the page, I've written another

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<v Speaker 2>Lennon McCartney original.

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<v Speaker 5>So you already had a sense, even though you were

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<v Speaker 5>what sixteen, a little older perhaps that you would have

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<v Speaker 5>a future.

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<v Speaker 2>Yeah, did you? I mean, I think it was more

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<v Speaker 2>a sort of wish than a sense. It was more,

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<v Speaker 2>you know, this thing, if you visualize it, it might

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<v Speaker 2>come true. And you know, when you think of Lena McCartney,

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<v Speaker 2>was because we'd heard of Gilbert Sullivan, Rodgers and Hammerstein,

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<v Speaker 2>Elena McCarney. It's good, there's two of us, and we

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<v Speaker 2>could we can make up one of those type names

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<v Speaker 2>liber and Stoller, Coffin and King. But these were magic

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<v Speaker 2>names to us. We didn't realize Coffin and King was

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<v Speaker 2>Carol King.

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<v Speaker 5>I didn't realize it was a girl, and an amazingly

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<v Speaker 5>young woman.

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<v Speaker 2>I was very young, yes, yeah, but you know it

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<v Speaker 2>was thrilling to know that there were these people out

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<v Speaker 2>there and this is what we wanted to be and

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<v Speaker 2>love me do game around that period, One after nine

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<v Speaker 2>or nine robbed me doing one after nine or nine

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<v Speaker 2>actually got published and actually got recorded. My baby did

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<v Speaker 2>another one half the nine or nine.

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<v Speaker 1>I didn't move about it.

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<v Speaker 2>The others didn't get recorded. And the school exercise book.

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<v Speaker 2>I found it probably about ten fifteen years ago, put

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<v Speaker 2>it in my bookcase and I've since lost it. I

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<v Speaker 2>don't know where it is. I think it might show

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<v Speaker 2>up somewhere, but it's the first ever Lenna McCartney manuscript. Anyway. Yeah, well,

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<v Speaker 2>oh dear is right, but you know you have to

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<v Speaker 2>let these things go right.

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<v Speaker 4>Maybe Another duo which had a profound influence on young

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<v Speaker 4>Lennon and McCartney was the Everly Brothers.

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<v Speaker 2>There are certain people that you can credit for pretty

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<v Speaker 2>much everything we did, because I think that's I think

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<v Speaker 2>that's true of everyone. I think everyone's got a hero

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<v Speaker 2>that forms them like this. Oh did I exist a

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<v Speaker 2>little like so? As John and I were two male

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<v Speaker 2>vocalists who sang in harmony, our biggest influence was the

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<v Speaker 2>Evely Brothers, who we loved adored to this day. I

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<v Speaker 2>just think they the greatest, And it was different. You'd

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<v Speaker 2>have barbershop quartets. You'd heard the Beverly Sisters, the Three Girls,

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<v Speaker 2>you'd heard all that, but just two guys, good lucking guys.

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<v Speaker 2>This is good.

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<v Speaker 1>Oh yeah, you're not albu.

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<v Speaker 2>So. Yeah. We loved them and idolized them and wanted

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<v Speaker 2>to be like them, like.

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<v Speaker 6>Oh yeah.

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<v Speaker 2>It's like when people later would see the Beatles on

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<v Speaker 2>The Ed Sullivan Show and.

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<v Speaker 1>Gentlemen like Live from New York, The Sullivan Joe.

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<v Speaker 2>I mean trillion people who say that I knew that's

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<v Speaker 2>what I wanted to be.

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<v Speaker 6>Last on our show in New York, the Beatles played

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<v Speaker 6>to the greatest TV audience it's ever been assembled in

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<v Speaker 6>the history of American TV.

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<v Speaker 2>When I saw you foreheaded monster on the Telly and

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<v Speaker 2>you I've got to be part of this. Our current

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<v Speaker 2>manager of Beatles Apple Records, says that Bruce Springsteen says

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<v Speaker 2>that David Lehnerman says that they all formed on that night,

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<v Speaker 2>formed this this future for themselves, and there we were

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<v Speaker 2>in Liverpool form in this future and the same kind

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<v Speaker 2>of deal.

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<v Speaker 3>The day when you say goodbye and McCartney were working

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<v Speaker 3>in the wake of all these great songwriting dues who

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<v Speaker 3>wrote songs for others to sing, and singers like the

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<v Speaker 3>Everly Brothers who sang other people's songs. But there were

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<v Speaker 3>also people like Buddy Holly who could do it all.

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<v Speaker 2>You know, you know me, baby, dude, you tell me

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<v Speaker 2>baby that songday.

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<v Speaker 6>You will loudly bad what you say goodbye.

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<v Speaker 2>Buddy Holly to us was amazing for a number of reasons.

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<v Speaker 2>He sang and played guitar. Elvis just sang and Scotty

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<v Speaker 2>Moore played guitar. He normally played guitar, he played the solos. Normally,

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<v Speaker 2>if you played guitar, there was another guy in the

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<v Speaker 2>group was a lead guitar played the sols. But Buddy

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<v Speaker 2>sang played the guitar and played the sols. He also

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<v Speaker 2>wrote the stuff. So this was like all inclusive, one

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<v Speaker 2>man band, and we really thought that was great. So

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<v Speaker 2>this is what we have to do.

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<v Speaker 3>Buddy Holly inspired the youngsters to explore their full musical potential,

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<v Speaker 3>and he also helped John Lennon overcome his embarrassment about

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<v Speaker 3>wearing glasses.

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<v Speaker 2>He also wore these big horn room glasses, as did

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<v Speaker 2>John and ifever there would be a girl coming up.

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<v Speaker 2>John with witness glasses off and put them in his

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<v Speaker 2>pocket and squint as she went by, and I see

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<v Speaker 2>you look pretty good. The glasses are good. But one

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<v Speaker 2>buddy came along, the glasses stayed on. It was like

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<v Speaker 2>Harry Potter with all the kids.

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<v Speaker 3>Like Buddy Holly had more than just the musical chops

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<v Speaker 3>and the suave image that John Lennon and Paul McCartney

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<v Speaker 3>covet it for themselves. The name of his group, Buddy

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<v Speaker 3>Holly and the Crickets, had a certain entomological ring to it.

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<v Speaker 2>The name the Crickets. You know, we wanted something with

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<v Speaker 2>a dual meaning, and it turned out they didn't know

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<v Speaker 2>how the dual meaning the crickets. They didn't know about

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<v Speaker 2>the game cricket. Oh, I say, And they just thought

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<v Speaker 2>it was grasshoppers, right, So we said to them. Ice

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<v Speaker 2>met them years later, fantastic man, the Beatles, We loved crickets,

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<v Speaker 2>chopy little things and the great game of cricket. A

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<v Speaker 2>brilliant name for a group. And they went, you know,

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<v Speaker 2>oh no, we just heard a grasshopper in the studio wall.

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<v Speaker 5>You know, did you do you remember setting around thinking

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<v Speaker 5>the buddy Holly and the Crickets. The Beatles will be

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<v Speaker 5>a great name for us.

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<v Speaker 2>My memory of it was that we were striving to

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<v Speaker 2>find something with a dual meaning because of the Crickets.

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<v Speaker 2>This is the idea. Now the origin of it is

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<v Speaker 2>clouded in mystery.

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<v Speaker 3>You know, I missed you.

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<v Speaker 2>It was just a club split up. I missed you.

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<v Speaker 2>Because there are all sorts of theories about this, says

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<v Speaker 2>The Wild Ones with Marlon Brando, and at one point

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<v Speaker 2>Lee Marvin says, he Johnny, Johnny or Johnny. I think

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<v Speaker 2>he's cool.

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<v Speaker 6>Come on, Johnny, we all missed you.

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<v Speaker 2>Miss him. Yeah, Johnny, we love you, you know, coming back

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<v Speaker 2>to the gang or something like that. Johnny, we love you.

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<v Speaker 2>The Beatles love you.

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<v Speaker 6>Miss Yeah, Beatles mischief all the Beatles, mister.

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<v Speaker 2>It turns out the Malls, the girls in the Motorcycle

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<v Speaker 2>Gang were called Beatles, says The Beatles love you, Johnny

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<v Speaker 2>for all times. And I know John and Stuart his

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<v Speaker 2>art school friends, Stuart Suckliffe loved that film as we

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<v Speaker 2>all did. I think they had seen it. I think

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<v Speaker 2>we just loved it and hadn't seen it anyway. So

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<v Speaker 2>that's one of the.

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<v Speaker 3>Theories today it's easy to forget how the creation of

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<v Speaker 3>the Beatles required thousands of small choices. Songs which are

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<v Speaker 3>now canonized were once simple phrases. Two boys having fun

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<v Speaker 3>when no parents were home, one of them with a

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<v Speaker 3>notebook in hand, the other playing a harmonica.

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<v Speaker 2>At one of those writing sessions, twenty fourth in road,

0:15:43.156 --> 0:15:47.716
<v Speaker 2>a little garden path past my dad's lavender hedge. You know,

0:15:47.796 --> 0:15:50.276
<v Speaker 2>we would write, let me do and John come up

0:15:50.276 --> 0:15:53.836
<v Speaker 2>with this little harmonica roof. It's so simple. I mean

0:15:53.836 --> 0:15:55.116
<v Speaker 2>you look at it here.

0:15:55.316 --> 0:15:57.396
<v Speaker 5>Yes, there's nothing to it.

0:15:57.396 --> 0:16:01.556
<v Speaker 2>It's a will have a wisp little song, lovely.

0:16:07.956 --> 0:16:13.316
<v Speaker 3>So what do you think made it become such a

0:16:13.876 --> 0:16:15.196
<v Speaker 3>potent part.

0:16:15.316 --> 0:16:19.956
<v Speaker 2>I think our image and our energy as the four

0:16:19.996 --> 0:16:24.956
<v Speaker 2>Beatles was what was potent. And it had a very

0:16:24.996 --> 0:16:28.356
<v Speaker 2>fresh sound. That's the sort of thing that people noticed.

0:16:28.396 --> 0:16:31.556
<v Speaker 2>And we had a very fresh image. Nobody looked like us.

0:16:32.316 --> 0:16:36.916
<v Speaker 2>And we've been working at it a long time in Liverpool.

0:16:37.036 --> 0:16:41.396
<v Speaker 2>Originally as really a bunch of rockers, you know, the

0:16:41.436 --> 0:16:46.196
<v Speaker 2>cliffs and everything gone over to Hamburg as the rockers

0:16:46.676 --> 0:16:50.276
<v Speaker 2>had got a little bit leatherified there, and then it

0:16:50.356 --> 0:16:54.676
<v Speaker 2>moved from leather to suits at the request of Brian Epstein.

0:16:55.236 --> 0:17:00.356
<v Speaker 3>Brian Epstein, an entrepreneurial young man from a family of

0:17:00.436 --> 0:17:05.236
<v Speaker 3>successful retailers in Liverpool, had stumbled upon the Beatles at

0:17:05.236 --> 0:17:10.116
<v Speaker 3>a nineteen sixty one lunchtime concert. He had no experience

0:17:10.236 --> 0:17:14.116
<v Speaker 3>managing artists, but he did have lots of confidence, so

0:17:14.356 --> 0:17:17.716
<v Speaker 3>in short order he signed the contract to manage the

0:17:17.756 --> 0:17:20.836
<v Speaker 3>band and told them to get suited up.

0:17:21.196 --> 0:17:23.596
<v Speaker 2>And so we all went over to Beno Dawn who

0:17:23.636 --> 0:17:27.996
<v Speaker 2>was in the wirrald back and head a Taylor. We'd

0:17:28.036 --> 0:17:31.316
<v Speaker 2>never been to a tailor really, you know, so certainly

0:17:31.396 --> 0:17:34.356
<v Speaker 2>not on maps. We all went over and got suits.

0:17:34.676 --> 0:17:37.316
<v Speaker 2>So we had this image. We had all the experience

0:17:37.476 --> 0:17:41.156
<v Speaker 2>musical experience of Hamburg, of playing a lot your ten

0:17:41.236 --> 0:17:46.156
<v Speaker 2>thousand hours, mister Gladwell's right, ten thousand hours. So when

0:17:46.196 --> 0:17:49.516
<v Speaker 2>we kind of then came on the scene and was

0:17:49.556 --> 0:17:56.036
<v Speaker 2>seen on television, we had a freshness, complete simplicity. Let

0:17:56.116 --> 0:17:59.796
<v Speaker 2>me do It's got a slightly sort of bluozy thing.

0:18:01.236 --> 0:18:05.676
<v Speaker 2>I mean, it's not a blues but it's got a simplicity,

0:18:07.356 --> 0:18:10.996
<v Speaker 2>like a little sort of down home on the porch

0:18:11.796 --> 0:18:15.916
<v Speaker 2>with a couple of guitars on harmonica.

0:18:20.796 --> 0:18:25.116
<v Speaker 3>At the heart of these simple lyrics is a familiar story,

0:18:25.356 --> 0:18:34.196
<v Speaker 3>a young man yearning for a woman to love Salmack.

0:18:35.996 --> 0:18:39.556
<v Speaker 2>It's a funny thing. You try and recreate that stuff now,

0:18:40.516 --> 0:18:45.836
<v Speaker 2>and it's almost impossible. Why Because you were sixteen. That's

0:18:45.956 --> 0:18:50.076
<v Speaker 2>why you were looking at the world, and the world

0:18:50.236 --> 0:18:54.436
<v Speaker 2>was good and there was this marvelous rock and roll

0:18:54.556 --> 0:18:59.436
<v Speaker 2>future unfolding itself, and you were about to become part

0:18:59.516 --> 0:19:04.556
<v Speaker 2>of it. So your longings for a girl, which was

0:19:04.636 --> 0:19:10.676
<v Speaker 2>impossible to achieve, you know, he had that little, perfect

0:19:11.036 --> 0:19:14.916
<v Speaker 2>high school sweetheart, you know. So there was this great

0:19:14.956 --> 0:19:19.996
<v Speaker 2>longing for your career is you didn't know what you

0:19:20.076 --> 0:19:22.076
<v Speaker 2>were going to do, and it was a dread of

0:19:22.116 --> 0:19:26.356
<v Speaker 2>all dreads. I was about to go to teacher's training college.

0:19:26.836 --> 0:19:30.356
<v Speaker 2>I was trying to put that off forever. I did

0:19:30.396 --> 0:19:33.436
<v Speaker 2>not want to go into that mold. So there was

0:19:33.516 --> 0:19:37.196
<v Speaker 2>all these different kinds of longings. John and I's mothers

0:19:37.236 --> 0:19:41.676
<v Speaker 2>had both died, which was this amazing bond between us.

0:19:42.556 --> 0:19:49.796
<v Speaker 2>We both understood the anguish of that, and at that

0:19:49.956 --> 0:19:54.516
<v Speaker 2>age it's largely unspoken. You just said, oh, your mother died, Yes,

0:19:54.556 --> 0:19:58.516
<v Speaker 2>so did I. We knew I knew the circumstances of

0:19:58.556 --> 0:20:01.196
<v Speaker 2>his mother, says he knew the circustance in mind, and

0:20:01.236 --> 0:20:04.436
<v Speaker 2>we would talk about it a little bit, but being

0:20:04.996 --> 0:20:09.716
<v Speaker 2>young boys, you didn't talk about it much. All this

0:20:09.916 --> 0:20:16.556
<v Speaker 2>was rolled up into this package, this longing, and it's

0:20:16.596 --> 0:20:24.676
<v Speaker 2>spilled out, which is the best way to write lovely love.

0:20:28.116 --> 0:20:32.396
<v Speaker 3>Some of this longing for their mothers, for love. For

0:20:32.636 --> 0:20:38.996
<v Speaker 3>artistry was fairly abstract, but they also had more concrete ambitions.

0:20:39.556 --> 0:20:43.396
<v Speaker 3>They had met other songwriting teams who turned out hits

0:20:43.996 --> 0:20:45.076
<v Speaker 3>and made good money.

0:20:45.356 --> 0:20:47.756
<v Speaker 2>John and I looked at thought, the right we could

0:20:47.756 --> 0:20:51.036
<v Speaker 2>do that? What a good idea. If we get hits,

0:20:51.796 --> 0:20:55.276
<v Speaker 2>that will then get money and it may not buy

0:20:55.396 --> 0:20:58.156
<v Speaker 2>us love, but it will buy us a car. I

0:20:58.236 --> 0:21:00.796
<v Speaker 2>must admit, you know, we were young guys without any money,

0:21:01.516 --> 0:21:06.316
<v Speaker 2>coming from Liverpool with dreams, and once we realized that

0:21:06.356 --> 0:21:08.716
<v Speaker 2>to write a hit song would get you some money,

0:21:09.836 --> 0:21:14.076
<v Speaker 2>it was very attractive, very attractive thought. And it wasn't

0:21:14.156 --> 0:21:17.676
<v Speaker 2>just the money. It was then the joy of pulling

0:21:17.676 --> 0:21:20.556
<v Speaker 2>our song out of a hat, being able to play

0:21:20.556 --> 0:21:24.156
<v Speaker 2>it with our band, which needed songs, so we were

0:21:24.596 --> 0:21:29.676
<v Speaker 2>sort of feeding the machine. Take one No.

0:21:32.276 --> 0:21:34.956
<v Speaker 3>Later, when the Fab four removed from writing in the

0:21:34.996 --> 0:21:39.076
<v Speaker 3>parlor room to writing in the studio, they learned to

0:21:39.236 --> 0:21:42.556
<v Speaker 3>crank out hits at an impressive piece.

0:21:43.356 --> 0:21:54.356
<v Speaker 2>Take four one. Our recording hours, Well what now classical

0:21:54.356 --> 0:21:59.036
<v Speaker 2>people do? It's it's the norm for recording. You normally

0:21:59.076 --> 0:22:03.476
<v Speaker 2>go in ten o'clock, you get yourself together, you start

0:22:03.556 --> 0:22:08.116
<v Speaker 2>at ten thirty. You then will work three hours. You

0:22:08.116 --> 0:22:10.796
<v Speaker 2>don't have it our right in. You work two thirty

0:22:10.796 --> 0:22:14.436
<v Speaker 2>to five thirty, and that's it. And in those two

0:22:14.556 --> 0:22:18.796
<v Speaker 2>periods of three hours, it was expected that we would

0:22:18.796 --> 0:22:22.676
<v Speaker 2>be able to finish two songs. So so we did.

0:22:22.876 --> 0:22:26.196
<v Speaker 2>And that's that was the output and the great the

0:22:26.276 --> 0:22:30.436
<v Speaker 2>flow of just having to come up with two complete things.

0:22:30.996 --> 0:22:33.396
<v Speaker 2>But the great thing about this was you were finished

0:22:33.396 --> 0:22:39.916
<v Speaker 2>by five thirty.

0:22:37.596 --> 0:22:40.636
<v Speaker 6>When a harmonica like the Beatles playing not a toy

0:22:40.796 --> 0:22:44.276
<v Speaker 6>but a genuine huner marine band harmonica, just like those

0:22:44.316 --> 0:22:45.196
<v Speaker 6>play by the Beatles.

0:22:45.436 --> 0:22:48.356
<v Speaker 3>Maybe what allowed the Beatles to come together was the

0:22:48.356 --> 0:22:52.276
<v Speaker 3>force of their belonging. Maybe it was the long studio days,

0:22:52.716 --> 0:22:57.876
<v Speaker 3>the churning out of albums, the carefully crafted image. Whatever

0:22:57.956 --> 0:23:02.596
<v Speaker 3>the case, they went from looking at other artists dreaming

0:23:02.916 --> 0:23:07.396
<v Speaker 3>of becoming them, to being the artists others would dream

0:23:07.476 --> 0:23:08.436
<v Speaker 3>of becoming.

0:23:08.276 --> 0:23:11.596
<v Speaker 6>Way along with the with your own genuine owner Marine

0:23:11.636 --> 0:23:14.076
<v Speaker 6>band harmonica from Klim.

0:23:16.636 --> 0:23:22.876
<v Speaker 3>When what the Beatles would become was beyond what any

0:23:23.036 --> 0:23:25.516
<v Speaker 3>of its members could have dreamt off when they were

0:23:25.556 --> 0:23:28.996
<v Speaker 3>sixteen and playing harmonica in their living rooms.

0:23:29.476 --> 0:23:31.636
<v Speaker 2>There were all sorts of things. As I say that

0:23:31.956 --> 0:23:41.036
<v Speaker 2>you instinctively knew, don't try too hard, don't work too

0:23:41.156 --> 0:23:45.716
<v Speaker 2>hard at reaching for it, because the more you reach,

0:23:47.196 --> 0:23:50.876
<v Speaker 2>the more it will receive. Just kid on that you

0:23:50.956 --> 0:23:56.036
<v Speaker 2>don't even want it right, something will happen where everyone

0:23:56.076 --> 0:23:58.756
<v Speaker 2>else around us be worrying, no more other than I

0:23:58.796 --> 0:24:01.076
<v Speaker 2>was going to oh my god, ah my god. We

0:24:01.116 --> 0:24:04.836
<v Speaker 2>always related back to this accident we'd had on the

0:24:04.876 --> 0:24:08.036
<v Speaker 2>motorway going from running up to Liverpool, where we'd skid

0:24:08.156 --> 0:24:10.796
<v Speaker 2>it off in the snow down the bank with our

0:24:10.956 --> 0:24:13.236
<v Speaker 2>van and at the bottom of the van were this,

0:24:13.636 --> 0:24:16.316
<v Speaker 2>how the hell are we ever going to get home?

0:24:17.156 --> 0:24:20.916
<v Speaker 2>It's snowing, we're freezing, and someone in the group, so

0:24:21.316 --> 0:24:25.316
<v Speaker 2>something will happen, And it was like that became a mantra,

0:24:25.796 --> 0:24:28.436
<v Speaker 2>and you know, as I say, it's actually a very

0:24:28.476 --> 0:24:32.196
<v Speaker 2>good one. It's this, it's not reaching for it, it's

0:24:32.396 --> 0:25:03.036
<v Speaker 2>letting it go. Love me, love me, love me? Do

0:25:03.076 --> 0:25:05.116
<v Speaker 2>you know I love you?

0:25:06.316 --> 0:25:07.916
<v Speaker 5>Ah me?

0:25:08.116 --> 0:25:10.676
<v Speaker 1>Through sound Please.

0:25:13.996 --> 0:25:18.356
<v Speaker 6>Love Me, Love.

0:25:27.676 --> 0:25:31.476
<v Speaker 3>Love Me Doe from the beatles nineteen sixty three album

0:25:31.556 --> 0:25:38.596
<v Speaker 3>Please Please Me. In the next episode, McCartney starts over

0:25:38.996 --> 0:25:41.716
<v Speaker 3>with a ragtag band on the run.

0:25:42.036 --> 0:25:45.076
<v Speaker 2>I just thought we would just start something that feels

0:25:45.116 --> 0:25:51.956
<v Speaker 2>good and we'll build it up like the Beatles, did you.

0:25:52.836 --> 0:25:53.796
<v Speaker 5>Sau.

0:25:56.676 --> 0:26:01.676
<v Speaker 3>McCartney. A Life in Lyrics is a co production between iHeartMedia,

0:26:02.196 --> 0:26:04.956
<v Speaker 3>NPL and Pushkin Industries.