1 00:00:14,824 --> 00:00:22,064 Speaker 1: Pushkin. Hi, everyone, it's Paul muldoon. Before we get to 2 00:00:22,144 --> 00:00:24,784 Speaker 1: this episode, I wanted to let you know that you 3 00:00:24,864 --> 00:00:29,384 Speaker 1: can binge all twelve episodes of McCartney A Life and 4 00:00:29,464 --> 00:00:35,184 Speaker 1: Lyrics right now, add free by becoming a Pushkin Plus subscriber. 5 00:00:35,904 --> 00:00:40,224 Speaker 1: Find Pushkin Plus on the McCartney A Life and Lyrics Show, 6 00:00:40,304 --> 00:00:48,304 Speaker 1: pedge in Apple Podcasts, or at pushkin dot fm, slash plus. 7 00:00:51,224 --> 00:00:55,504 Speaker 2: The vast majority of people in this city believe in 8 00:00:55,624 --> 00:00:59,344 Speaker 2: love because they're getting married, or they getting engaged, or 9 00:00:59,384 --> 00:01:03,944 Speaker 2: they're going to see a film. This idea of love 10 00:01:04,304 --> 00:01:09,184 Speaker 2: is very strong and sometimes gets knocked because it also 11 00:01:09,464 --> 00:01:13,344 Speaker 2: can be seen as sloppy. But the romantic thing is 12 00:01:14,224 --> 00:01:17,504 Speaker 2: one of the things I write about a lot. One 13 00:01:17,624 --> 00:01:23,864 Speaker 2: day with the bluebird, with the beaches. They're marvelous, the wonderful, 14 00:01:23,984 --> 00:01:28,224 Speaker 2: the beautiful, idyllic world that we love to just be in, 15 00:01:28,464 --> 00:01:31,104 Speaker 2: even if he's just in a dream, or even if 16 00:01:31,104 --> 00:01:34,824 Speaker 2: he's just watching a film. That's a feeling. When a 17 00:01:34,904 --> 00:01:40,184 Speaker 2: film does that to you, it gives you that, oh 18 00:01:40,304 --> 00:01:42,304 Speaker 2: my god, life's great. 19 00:01:47,184 --> 00:01:50,384 Speaker 1: I'm Paul will do for a while now. I've been 20 00:01:50,584 --> 00:01:54,544 Speaker 1: fortunate to spend time with one of the greatest songwriters 21 00:01:54,904 --> 00:01:55,984 Speaker 1: of the era, and. 22 00:01:55,984 --> 00:01:58,864 Speaker 2: Will you look at me I'm going on to I'm 23 00:01:58,904 --> 00:02:00,064 Speaker 2: actually a performer. 24 00:02:00,704 --> 00:02:04,304 Speaker 1: That is Sir Paul McCartney. We work together on a 25 00:02:04,344 --> 00:02:06,904 Speaker 1: book looking at the lyrics of more than one hundred 26 00:02:06,944 --> 00:02:11,464 Speaker 1: and fifty of his songs, and we recorded many hours 27 00:02:11,704 --> 00:02:12,944 Speaker 1: of our conversations. 28 00:02:13,224 --> 00:02:15,984 Speaker 2: It was like going back to an old snapshot album 29 00:02:16,664 --> 00:02:21,384 Speaker 2: looking back on work I hadn't ever analyzed. 30 00:02:21,744 --> 00:02:28,104 Speaker 1: This is McCartney, a life in lyrics, a masterclass, a memoir, 31 00:02:28,744 --> 00:02:32,944 Speaker 1: and an improvised journey with one of the most iconic 32 00:02:33,024 --> 00:02:38,224 Speaker 1: figures in popular music. In this episode Silly Love Songs, 33 00:02:41,464 --> 00:02:47,144 Speaker 1: looking back on McCartney's prolific career, it's obvious that the 34 00:02:47,224 --> 00:02:51,744 Speaker 1: dominant theme across his music is love. I guess this 35 00:02:51,864 --> 00:02:55,904 Speaker 1: is true across the history of music. Love songs always 36 00:02:56,064 --> 00:03:00,624 Speaker 1: topped the charts, songs about wanting love, falling in love, 37 00:03:01,104 --> 00:03:06,464 Speaker 1: being in love, rejecting love. We seem unable to exhaust 38 00:03:06,544 --> 00:03:10,384 Speaker 1: the subject, though a few Paul McCarthy. These critics have 39 00:03:10,464 --> 00:03:13,944 Speaker 1: accused him of trying to, so much so that he 40 00:03:14,024 --> 00:03:18,624 Speaker 1: eventually felt compelled to write Silly Love Songs, a love 41 00:03:18,704 --> 00:03:21,784 Speaker 1: song about writing love songs. 42 00:03:22,904 --> 00:03:24,504 Speaker 3: And what's wrong with that. 43 00:03:27,344 --> 00:03:32,264 Speaker 2: I like to know the rang. 44 00:03:34,824 --> 00:03:37,424 Speaker 3: Again. 45 00:03:38,264 --> 00:03:42,424 Speaker 1: From his earliest days as a songwriter, Paul McCartney was 46 00:03:42,504 --> 00:03:45,344 Speaker 1: drawn to songs about romance. 47 00:03:45,424 --> 00:03:45,944 Speaker 4: As a. 48 00:03:48,904 --> 00:03:57,904 Speaker 5: SENDMA to you, remember that, always be in love with you, 49 00:03:59,624 --> 00:04:01,104 Speaker 5: treasure these. 50 00:04:00,984 --> 00:04:08,184 Speaker 2: Your zose certain set of subjects to write things about. 51 00:04:09,224 --> 00:04:16,184 Speaker 2: Love is very much wall revenge, breakups, desire, you know, 52 00:04:16,824 --> 00:04:21,104 Speaker 2: and that covers an awful lot of territory those few categories. 53 00:04:21,504 --> 00:04:25,424 Speaker 1: Unlike the small sy love songs of their parents' generation, 54 00:04:26,104 --> 00:04:30,664 Speaker 1: the Beatles love songs were fresh and cheeky, filled with 55 00:04:30,784 --> 00:04:35,184 Speaker 1: the light hearted fun of young love. In the early 56 00:04:35,304 --> 00:04:40,104 Speaker 1: Beatles records, nearly every song was a love song, but 57 00:04:40,264 --> 00:04:46,264 Speaker 1: often carrying some twist or clever take on tired romance cliches. 58 00:04:47,184 --> 00:04:50,424 Speaker 1: For example, McCartney was able to use the love song 59 00:04:50,744 --> 00:05:03,824 Speaker 1: as a vehicle for a critique of materialism My. 60 00:05:04,384 --> 00:05:07,904 Speaker 6: Now Rainbow Friends Below Ryan. 61 00:05:09,264 --> 00:05:13,344 Speaker 2: It just bangs in, there's no intro, can't Bobby comes 62 00:05:13,424 --> 00:05:17,784 Speaker 2: right in, so it's very instant, very simple, and then 63 00:05:17,824 --> 00:05:22,224 Speaker 2: it goes into you know, by your diamond ring, by 64 00:05:22,304 --> 00:05:25,304 Speaker 2: you anything. But it's still won't part. 65 00:05:25,144 --> 00:05:28,624 Speaker 6: Of me love because I don't care you that the money, 66 00:05:28,744 --> 00:05:31,824 Speaker 6: the money love, so it's. 67 00:05:31,704 --> 00:05:38,424 Speaker 2: Just you know, materialism versus love. It really is quite 68 00:05:38,464 --> 00:05:42,704 Speaker 2: a simple idea. You know, you can have all the 69 00:05:42,704 --> 00:05:44,344 Speaker 2: money in the world, but that's not kind of by 70 00:05:44,424 --> 00:05:47,744 Speaker 2: you love. But I found it a neat little way 71 00:05:47,784 --> 00:05:48,544 Speaker 2: to say it quickly. 72 00:05:49,024 --> 00:05:53,184 Speaker 1: That said, the young lads from Liverpool were interested in 73 00:05:53,304 --> 00:05:57,864 Speaker 1: both love and money, and they caught on that writing 74 00:05:57,904 --> 00:06:00,904 Speaker 1: about love would be a quick way to reach a 75 00:06:01,024 --> 00:06:02,024 Speaker 1: big audience. 76 00:06:02,464 --> 00:06:07,624 Speaker 2: You know, nowadays people have a slightly sort of more 77 00:06:07,664 --> 00:06:12,504 Speaker 2: hyphalutin idea of what you're doing when you're writing soult 78 00:06:12,584 --> 00:06:14,824 Speaker 2: and what we were doing when we were writing them. 79 00:06:14,744 --> 00:06:36,944 Speaker 4: Close and I'll kiss you. 80 00:06:39,024 --> 00:06:45,144 Speaker 2: There was a certain formula the pronoun I you me him, her, my, 81 00:06:45,664 --> 00:06:50,424 Speaker 2: she love me, I saw her standing I'll get you, 82 00:06:50,984 --> 00:06:53,224 Speaker 2: or my look, I want to hold your hand. 83 00:06:54,504 --> 00:06:58,664 Speaker 1: But you probably weren't feeling that was formulaic at the time, 84 00:06:58,744 --> 00:07:00,104 Speaker 1: were you. 85 00:07:00,144 --> 00:07:04,864 Speaker 2: No? Not really no, no, we weren't. But looking back 86 00:07:04,904 --> 00:07:08,904 Speaker 2: on it, all they were all I may love. Because 87 00:07:09,144 --> 00:07:11,744 Speaker 2: you wanted to contact the fans, there were songs to 88 00:07:11,864 --> 00:07:13,304 Speaker 2: contact the people with. 89 00:07:13,864 --> 00:07:19,064 Speaker 1: The Beatles did contact people on a massive scale, and 90 00:07:19,304 --> 00:07:24,304 Speaker 1: as they developed their musical style, ernest love songs remained 91 00:07:24,464 --> 00:07:29,944 Speaker 1: front and center. Take for instance, McCartney's I Will from 92 00:07:29,944 --> 00:07:31,464 Speaker 1: the White album. 93 00:07:31,144 --> 00:07:34,504 Speaker 4: Who Knows hal long I've loved you? 94 00:07:35,944 --> 00:07:36,344 Speaker 2: You know? 95 00:07:37,024 --> 00:07:38,784 Speaker 7: I love you still? 96 00:07:40,064 --> 00:07:43,664 Speaker 4: Will I wait, lo me loud? 97 00:07:44,984 --> 00:07:49,944 Speaker 2: Did you want me too? I will see I wasn't 98 00:07:49,944 --> 00:07:53,104 Speaker 2: actually wait for anyone. But it's a very romantic idea. 99 00:07:53,824 --> 00:07:56,864 Speaker 2: So it's me as the Troubadour. It's me, you know, 100 00:07:58,024 --> 00:08:01,784 Speaker 2: wandering around show and Forrest, you know, play. 101 00:08:05,424 --> 00:08:09,784 Speaker 1: Alan a Dale the lud playing Troubadour Risk from the 102 00:08:09,864 --> 00:08:12,344 Speaker 1: nineteen seventy three Disney film Robin. 103 00:08:13,144 --> 00:08:17,304 Speaker 3: I love that movie. I love that thing. 104 00:08:18,864 --> 00:08:20,984 Speaker 2: It's that kind of thing. It's me as that guy. 105 00:08:21,584 --> 00:08:24,024 Speaker 2: And then so you know, if if you want me to, 106 00:08:24,224 --> 00:08:27,944 Speaker 2: I will. And then for if I ever saw you, 107 00:08:28,024 --> 00:08:30,304 Speaker 2: I didn't catch your name, I never really mattered. I'll 108 00:08:30,344 --> 00:08:33,144 Speaker 2: always gonna say. 109 00:08:33,824 --> 00:08:38,784 Speaker 1: So you I did got your name. 110 00:08:39,384 --> 00:08:43,464 Speaker 2: It's too like an amorphous person. Instead of every man, 111 00:08:43,584 --> 00:08:48,744 Speaker 2: it's every girl. And I'm very much think that I 112 00:08:48,784 --> 00:08:52,144 Speaker 2: don't have to have a face. It's a dream of 113 00:08:52,224 --> 00:08:52,624 Speaker 2: a face. 114 00:08:55,024 --> 00:08:56,864 Speaker 6: Very mad. 115 00:08:58,144 --> 00:08:58,584 Speaker 3: I will. 116 00:08:59,224 --> 00:09:07,904 Speaker 2: We feel the same for me. It's so satisfying to 117 00:09:07,984 --> 00:09:12,184 Speaker 2: get in touch with that feeling. And the other thing is, 118 00:09:12,184 --> 00:09:16,224 Speaker 2: of course then the tune, the melody. But I'm coaxing 119 00:09:16,224 --> 00:09:19,624 Speaker 2: out of this thing. I'm getting to this, you know, 120 00:09:19,704 --> 00:09:28,464 Speaker 2: Alan Dale place strolling minstrel place de body down. Then 121 00:09:29,464 --> 00:09:37,344 Speaker 2: I'm also trying to make this tune fit these words 122 00:09:37,344 --> 00:09:40,504 Speaker 2: in feeling. I'm trying to get this chew to have 123 00:09:40,624 --> 00:09:45,744 Speaker 2: heart and there's tune to be as appealing as this 124 00:09:45,864 --> 00:09:48,184 Speaker 2: thought of finding love is. 125 00:09:59,984 --> 00:10:03,784 Speaker 1: Weird, weird. 126 00:10:06,224 --> 00:10:08,904 Speaker 2: All I would have is just a little path through 127 00:10:09,184 --> 00:10:11,944 Speaker 2: pencil notes with the lyrics. But if I come out 128 00:10:12,384 --> 00:10:17,384 Speaker 2: with this thing in this case, I will. It's more 129 00:10:17,424 --> 00:10:22,904 Speaker 2: than satisfying. It's quite a thrill because you know you've 130 00:10:22,944 --> 00:10:23,864 Speaker 2: done it. Yes. 131 00:10:24,344 --> 00:10:26,864 Speaker 8: One of the most fascinating things, one of the most 132 00:10:26,944 --> 00:10:31,304 Speaker 8: mysterious things, it seems to me, is how one knows that. 133 00:10:32,584 --> 00:10:35,984 Speaker 2: I think, just when it's good, it's good. You just 134 00:10:36,104 --> 00:10:38,664 Speaker 2: know this is I've just written a good tune. This 135 00:10:38,824 --> 00:10:43,224 Speaker 2: melody is good and these words fit it. And so 136 00:10:43,424 --> 00:10:47,664 Speaker 2: someone listening to this will relate to this. I just 137 00:10:47,864 --> 00:10:55,344 Speaker 2: know it because you've cooked this recipe and you just 138 00:10:55,384 --> 00:10:58,344 Speaker 2: know it's going to taste good. You don't know how 139 00:10:58,464 --> 00:11:02,024 Speaker 2: offer it to people, and do you know they're going 140 00:11:02,104 --> 00:11:05,264 Speaker 2: to taste it and go this taste good? 141 00:11:05,784 --> 00:11:11,584 Speaker 1: McCarty's Love Songs take their inspiration and from everything and everywhere, 142 00:11:12,224 --> 00:11:16,944 Speaker 1: but he's often drawn on the edge old tradition of 143 00:11:17,104 --> 00:11:21,744 Speaker 1: writing to amuse. The song My Love, for instance, was 144 00:11:21,784 --> 00:11:26,144 Speaker 1: written to his first wife, Linda McCartney. 145 00:11:26,264 --> 00:11:31,624 Speaker 2: And where I Go, where I Know my heart can 146 00:11:31,704 --> 00:11:39,384 Speaker 2: stay with mine. It's a fuel love song to Linda, 147 00:11:40,184 --> 00:11:46,264 Speaker 2: and it talks about some of the things I value 148 00:11:48,144 --> 00:11:50,784 Speaker 2: in a song manner. You know, when I go away, 149 00:11:51,384 --> 00:11:54,864 Speaker 2: I know my heart and stay with my love. You know, 150 00:11:54,904 --> 00:11:56,624 Speaker 2: that's the idea of faithfulness. 151 00:11:57,224 --> 00:11:58,344 Speaker 3: But into just. 152 00:11:58,504 --> 00:12:06,584 Speaker 2: Those lines bad for instance, I don't know, even at 153 00:12:06,584 --> 00:12:09,464 Speaker 2: the breakup of the Beatles, when the couple was getting 154 00:12:09,464 --> 00:12:14,464 Speaker 2: pretty bare, when me and Linda would go away to Scotland, 155 00:12:17,544 --> 00:12:24,384 Speaker 2: there was plenty there, you know. So it's just other 156 00:12:24,464 --> 00:12:27,144 Speaker 2: ways of saying, you know, when we were down and out, 157 00:12:27,424 --> 00:12:32,024 Speaker 2: she'll still be there. I might go away, She'll be 158 00:12:32,104 --> 00:12:35,864 Speaker 2: there when I get back. I'm just doing a reaffirmation 159 00:12:36,664 --> 00:12:40,584 Speaker 2: of my love for Linda. But I also hope that 160 00:12:40,784 --> 00:12:43,584 Speaker 2: other people, because it doesn't just say my Linda, it is. 161 00:12:43,744 --> 00:12:51,584 Speaker 7: My love, so that other people will be able to 162 00:12:51,624 --> 00:12:54,464 Speaker 7: relate to it and go, yeah, wow, that's great, she. 163 00:12:54,544 --> 00:12:55,544 Speaker 9: Said for me too. 164 00:12:56,184 --> 00:13:00,224 Speaker 1: There's also my Valentine, which Paul McCartney wrote for his 165 00:13:00,304 --> 00:13:06,504 Speaker 1: wife Nancy. What if it rained, we didn't care. 166 00:13:08,584 --> 00:13:14,264 Speaker 6: She's the that someday soon the sun was gonna shine. 167 00:13:15,144 --> 00:13:21,904 Speaker 2: My Mountine is the most definite story. I had fallen 168 00:13:21,944 --> 00:13:27,984 Speaker 2: in love with my lady Nancy, but we weren't an 169 00:13:28,024 --> 00:13:31,144 Speaker 2: item yet, and in my case I always got looking 170 00:13:31,144 --> 00:13:35,424 Speaker 2: over my shoulder for paparazzi. But we went on holiday 171 00:13:36,264 --> 00:13:40,744 Speaker 2: to Morocco to a quiet little hotel I knew of. 172 00:13:41,704 --> 00:13:44,984 Speaker 2: And because we weren't tonight and we didn't stay together 173 00:13:45,064 --> 00:13:48,384 Speaker 2: in the same room, Nancy got a room and I 174 00:13:48,424 --> 00:13:51,104 Speaker 2: had a room, and my brother and his wife were 175 00:13:51,144 --> 00:13:55,304 Speaker 2: on holiday with us. They had a room. And it 176 00:13:55,504 --> 00:13:59,424 Speaker 2: rained the whole bloody time. Might as well have stayed 177 00:13:59,464 --> 00:14:04,904 Speaker 2: in Manchester, you know, it just rained. But we had 178 00:14:04,944 --> 00:14:08,144 Speaker 2: a great time, and the lovely thing was I was 179 00:14:08,184 --> 00:14:12,344 Speaker 2: getting to know none. And as you do in those 180 00:14:12,424 --> 00:14:15,544 Speaker 2: kind of occasions, I apologize to her for the rain, 181 00:14:16,384 --> 00:14:19,544 Speaker 2: like it was my fault. I so I'm really sorry 182 00:14:19,584 --> 00:14:22,344 Speaker 2: that I'm really sorry about all this rain. She said, 183 00:14:22,584 --> 00:14:23,504 Speaker 2: doesn't matter. 184 00:14:23,584 --> 00:14:27,744 Speaker 1: What him in rain. We didn't care. 185 00:14:30,024 --> 00:14:35,584 Speaker 2: She said that someday soon some who's gonna shine And 186 00:14:35,784 --> 00:14:39,824 Speaker 2: the attitude of it doesn't matter. We're so sort of sweet. 187 00:14:40,184 --> 00:14:45,464 Speaker 2: There's really resonated with me. I thought that's great. You know. 188 00:15:00,664 --> 00:15:05,664 Speaker 1: Paul McCartney had many muses throughout his career. Sometimes the 189 00:15:05,784 --> 00:15:09,904 Speaker 1: music was inspired by was a little hairy, as was 190 00:15:09,944 --> 00:15:13,904 Speaker 1: the case in Martha, My Dear, Martha, my. 191 00:15:14,104 --> 00:15:23,104 Speaker 6: Dear, the last spend my days in conversation, Remember me, Martha, 192 00:15:23,304 --> 00:15:29,344 Speaker 6: my love, don't forget me, Martha, my dear. 193 00:15:31,024 --> 00:15:31,984 Speaker 7: Martha, my dear. 194 00:15:33,424 --> 00:15:36,664 Speaker 2: It was about my dog. She was an English sheep dog. 195 00:15:36,704 --> 00:15:36,864 Speaker 3: Here. 196 00:15:36,904 --> 00:15:40,864 Speaker 2: I'd never had a dog, and I'd always kind of 197 00:15:40,904 --> 00:15:43,824 Speaker 2: wanted one, but we hadn't been able to have one 198 00:15:43,864 --> 00:15:46,504 Speaker 2: because my mom and dad both worked so they were 199 00:15:46,544 --> 00:15:49,624 Speaker 2: out all day and we were at school, so we never. 200 00:15:49,464 --> 00:15:50,024 Speaker 3: Had a dog. 201 00:15:50,824 --> 00:15:55,424 Speaker 2: But when I grew up, was in the Beatles and 202 00:15:55,504 --> 00:15:58,984 Speaker 2: had a house on my own and actually had someone 203 00:15:59,624 --> 00:16:03,264 Speaker 2: looking after the house, then I could get a dog, 204 00:16:03,424 --> 00:16:05,824 Speaker 2: I felt, you know. So I went along to a 205 00:16:05,984 --> 00:16:10,464 Speaker 2: place and selected this little dog, and it was beautiful. 206 00:16:10,504 --> 00:16:14,224 Speaker 2: There's a little fluffy puppy. They're very cute puppies. Well, 207 00:16:14,544 --> 00:16:17,784 Speaker 2: all dogs are cute puppies, but this particularly cute. She 208 00:16:17,904 --> 00:16:21,144 Speaker 2: was a lovely little dog, and I just adored her. 209 00:16:21,184 --> 00:16:24,264 Speaker 2: You know, we became great friends. Every time I came home, 210 00:16:24,824 --> 00:16:29,384 Speaker 2: there was this little wiggly bundle of fluff loving to 211 00:16:29,424 --> 00:16:29,784 Speaker 2: see me. 212 00:16:30,024 --> 00:16:30,224 Speaker 3: You know. 213 00:16:42,744 --> 00:16:44,424 Speaker 2: I used to take her out to the country of 214 00:16:44,584 --> 00:16:48,824 Speaker 2: long walks, take her out to Regent's Park where she 215 00:16:48,864 --> 00:16:52,304 Speaker 2: would see a dock on the lake and forget that 216 00:16:52,344 --> 00:16:56,144 Speaker 2: you couldn't walk on water, so she'd run into it, 217 00:16:56,344 --> 00:17:00,984 Speaker 2: be like a cartoon. Well, oh, it was very nice, 218 00:17:01,024 --> 00:17:07,544 Speaker 2: and I remember John being very sort of sympathetic to me. 219 00:17:07,744 --> 00:17:12,104 Speaker 2: I think he warned me seeing me with a pet. 220 00:17:12,584 --> 00:17:16,424 Speaker 2: John was a cat guy. He loved his cats. 221 00:17:16,824 --> 00:17:21,104 Speaker 3: And when you say warmed to you, yeah, I remember 222 00:17:21,264 --> 00:17:21,944 Speaker 3: you know him. 223 00:17:22,224 --> 00:17:24,984 Speaker 2: I just remember a sort of when he came around 224 00:17:25,064 --> 00:17:28,624 Speaker 2: and I'd be playing with Martha. I could tell that 225 00:17:28,704 --> 00:17:30,024 Speaker 2: he liked it. 226 00:17:30,944 --> 00:17:33,744 Speaker 8: You know, I heard this time of course of good mind. 227 00:17:34,344 --> 00:17:38,864 Speaker 8: But I don't know if I knew at the time 228 00:17:39,784 --> 00:17:41,144 Speaker 8: that Martha wasn't dark. 229 00:17:42,864 --> 00:17:46,224 Speaker 2: No, not many people knew that, except the fans who 230 00:17:46,304 --> 00:17:49,184 Speaker 2: had seen me with with my only issue dog was 231 00:17:49,184 --> 00:17:52,744 Speaker 2: called Martha again. You know, I like the sort of 232 00:17:52,824 --> 00:18:01,144 Speaker 2: mystery of songwriting and creating things because it's not like 233 00:18:01,304 --> 00:18:05,504 Speaker 2: having to write a historical essay it doesn't have to 234 00:18:05,544 --> 00:18:10,224 Speaker 2: be true, which to me is a great thing. Mother. 235 00:18:10,784 --> 00:18:18,664 Speaker 6: Might you have always been my sporation. Be good to me, 236 00:18:20,584 --> 00:18:24,104 Speaker 6: my love, don't forget. 237 00:18:23,584 --> 00:18:26,104 Speaker 2: Me nots might. 238 00:18:32,984 --> 00:18:36,784 Speaker 1: All this singing about love over the years has made 239 00:18:37,024 --> 00:18:43,064 Speaker 1: some harder boiled music fans and critics dismissive. McCartney has 240 00:18:43,224 --> 00:18:50,104 Speaker 1: contended with accusations of being sentimental, schmaltzy, of lacking sophistication. 241 00:18:50,864 --> 00:18:52,744 Speaker 2: I think a lot of people who are cynical about 242 00:18:52,784 --> 00:18:57,064 Speaker 2: it haven't been lucky enough to feel it, you know. 243 00:18:58,984 --> 00:19:06,424 Speaker 2: Often sort of wonder what the critic who damns it 244 00:19:06,424 --> 00:19:10,264 Speaker 2: looks like, what his life, his or her life looks like. 245 00:19:10,984 --> 00:19:13,624 Speaker 2: I often want to get a photograph of them and go, oh, 246 00:19:13,664 --> 00:19:18,744 Speaker 2: it's him, not listening to him, because you can't have 247 00:19:18,784 --> 00:19:22,704 Speaker 2: outlive them anyway, you know, they come and go. 248 00:19:23,704 --> 00:19:28,104 Speaker 1: While some of McCartney's critics are tired of love as 249 00:19:28,144 --> 00:19:33,824 Speaker 1: a subject, others are more specifically disdainful of an over 250 00:19:34,064 --> 00:19:39,224 Speaker 1: earnest attempt at the sound of love, schmaltz and musical 251 00:19:39,264 --> 00:19:44,064 Speaker 1: grandeur the way many classic love songs are produced. When 252 00:19:44,104 --> 00:19:48,344 Speaker 1: Paul McCartney wrote The Long and Winding Road, he initially 253 00:19:48,424 --> 00:19:53,584 Speaker 1: recorded it as a straightforward ballad, a strict down ode 254 00:19:53,904 --> 00:19:57,864 Speaker 1: to the mysterious journey of love, the love and. 255 00:19:58,584 --> 00:20:04,584 Speaker 2: Winding badly. 256 00:20:05,544 --> 00:20:06,224 Speaker 3: Do your. 257 00:20:11,704 --> 00:20:14,624 Speaker 1: Will never disappear. 258 00:20:18,784 --> 00:20:21,504 Speaker 4: I've seen that road before. 259 00:20:25,464 --> 00:20:29,144 Speaker 2: It's a bit creepy, you know, this road of stretching 260 00:20:29,464 --> 00:20:32,104 Speaker 2: and winding, and I had it also in my mind. 261 00:20:32,144 --> 00:20:36,864 Speaker 2: There is a road on our farm in Scotland which 262 00:20:37,264 --> 00:20:39,584 Speaker 2: leads to the road End, as they call it. It's 263 00:20:39,584 --> 00:20:43,304 Speaker 2: called the road End, which is the tea junction. So 264 00:20:43,424 --> 00:20:47,944 Speaker 2: this idea of life being a long winding road that 265 00:20:48,064 --> 00:20:52,264 Speaker 2: never ends, will never disappear. I've seen that road before. 266 00:20:53,464 --> 00:20:58,504 Speaker 2: Lead me to your door, so give me a clue here. 267 00:20:58,624 --> 00:21:00,584 Speaker 2: You know. It's like John when he went up in 268 00:21:00,584 --> 00:21:03,024 Speaker 2: the helicopter with Marishi, said he hoped he'd slip in 269 00:21:03,064 --> 00:21:05,464 Speaker 2: the answer, let. 270 00:21:05,184 --> 00:21:14,104 Speaker 4: Me know the word. Many times I've been alone, and 271 00:21:14,184 --> 00:21:15,984 Speaker 4: many times I'm right. 272 00:21:16,904 --> 00:21:21,624 Speaker 2: We recorded it and I'll inclined. That's what he didn't 273 00:21:21,664 --> 00:21:25,144 Speaker 2: think the record was sort of glamorous enough, so he 274 00:21:25,264 --> 00:21:27,704 Speaker 2: wanted it to be made more glamorous, and I think 275 00:21:27,704 --> 00:21:28,944 Speaker 2: everyone went okay. 276 00:21:29,544 --> 00:21:34,024 Speaker 1: Klein suggested that the band work with producer Phil Spector, 277 00:21:34,624 --> 00:21:40,104 Speaker 1: who's more involved or chestral arrangement. Dazzled with sentiment. 278 00:21:40,064 --> 00:21:49,704 Speaker 3: Love Wandy doo yr. 279 00:21:55,064 --> 00:21:58,144 Speaker 4: Well never disappeared. 280 00:22:01,944 --> 00:22:04,504 Speaker 6: I've seen that role before. 281 00:22:08,784 --> 00:22:13,184 Speaker 1: This became the Beatles' final number one song in America, 282 00:22:13,784 --> 00:22:17,744 Speaker 1: but some took issue with the grand production. At least 283 00:22:17,944 --> 00:22:23,064 Speaker 1: one journalist complained that Specter's production made the song unlistenable. 284 00:22:24,024 --> 00:22:27,664 Speaker 1: It wasn't the first time critics but complain about McCartney's 285 00:22:27,664 --> 00:22:33,704 Speaker 1: love songs, and it wouldn't be the last. 286 00:22:42,544 --> 00:22:48,264 Speaker 2: I was being accused of just writing silly love songs 287 00:22:48,784 --> 00:22:54,584 Speaker 2: and was in danger of starting to buy into this 288 00:22:54,704 --> 00:22:58,984 Speaker 2: idea that you should just be a bit tougher and 289 00:22:59,024 --> 00:23:03,104 Speaker 2: a bit more worldly, and then asking me, really, that's 290 00:23:03,104 --> 00:23:17,664 Speaker 2: exactly what love is. It's worldly. So this idea came 291 00:23:17,704 --> 00:23:19,464 Speaker 2: to me, you know, you think of people would hardy 292 00:23:19,544 --> 00:23:22,024 Speaker 2: not well? I look around me and I say it doesn't. 293 00:23:22,064 --> 00:23:24,744 Speaker 2: So some people want to fill the world with sailly 294 00:23:24,824 --> 00:23:26,064 Speaker 2: love songs. What's wrong with that? 295 00:23:26,424 --> 00:23:28,224 Speaker 3: People want to build the world. 296 00:23:29,104 --> 00:23:30,984 Speaker 4: What's silly love songs? 297 00:23:33,184 --> 00:23:34,504 Speaker 3: What's wrong with that? 298 00:23:37,384 --> 00:23:42,264 Speaker 7: I'd like to know, does he want. 299 00:23:42,104 --> 00:23:42,384 Speaker 3: To go. 300 00:23:44,904 --> 00:23:57,104 Speaker 10: Again instead about lowering songs about love? 301 00:23:58,984 --> 00:24:01,984 Speaker 2: Just get on with it, get into it, and don't 302 00:24:01,984 --> 00:24:08,304 Speaker 2: be embarrassed. Because even though you can't say this is 303 00:24:08,344 --> 00:24:17,184 Speaker 2: a soppy subject. It actually is the opposite. It's actually 304 00:24:17,304 --> 00:24:26,264 Speaker 2: very deep and meaningful and basis of most religions and 305 00:24:26,424 --> 00:24:31,304 Speaker 2: most philosophy. This thing people can feel for each other 306 00:24:32,064 --> 00:24:37,264 Speaker 2: that makes life better if they can engage in it. 307 00:24:51,904 --> 00:24:55,584 Speaker 2: So yeah, I mean that there's no more to this 308 00:24:56,824 --> 00:25:00,904 Speaker 2: than that. That doesn't come in a minute. Love doesn't 309 00:25:00,904 --> 00:25:03,624 Speaker 2: come in a minute. Sometimes it doesn't come at all. 310 00:25:03,784 --> 00:25:06,224 Speaker 2: I only know that when I'm in it. It isn't silly. 311 00:25:07,584 --> 00:25:18,784 Speaker 3: Love isn't silly. 312 00:25:20,144 --> 00:25:23,904 Speaker 1: Was there's a response to someone who actually did say. 313 00:25:23,744 --> 00:25:27,304 Speaker 2: This, response to a lot of people who would say 314 00:25:27,304 --> 00:25:30,304 Speaker 2: that about it. Yeah, that was kind of I was 315 00:25:30,384 --> 00:25:35,784 Speaker 2: given that reputation, you know, and I had to stand 316 00:25:35,864 --> 00:25:49,864 Speaker 2: up for it. I think it is easier to get 317 00:25:50,264 --> 00:25:58,344 Speaker 2: good criticism if you rail against things and probably swear 318 00:25:58,424 --> 00:26:03,544 Speaker 2: a lot, because it just makes you seem stronger. Oh 319 00:26:03,664 --> 00:26:09,504 Speaker 2: there's fucking weather. It's fucking unbelievable that I fucking hate thonder, 320 00:26:09,544 --> 00:26:10,984 Speaker 2: I fucking hate lightning. 321 00:26:11,304 --> 00:26:13,584 Speaker 3: What the fuck is God doing this for? 322 00:26:14,104 --> 00:26:18,784 Speaker 2: What's the point? I told her? Rather well, said, says 323 00:26:18,784 --> 00:26:22,584 Speaker 2: the critic was marvelous. You go, Oh, it's a lovely day. 324 00:26:23,024 --> 00:26:24,544 Speaker 2: It's nice. I like the rain. 325 00:26:25,864 --> 00:26:26,744 Speaker 3: Soppy bastard. 326 00:26:27,184 --> 00:26:30,944 Speaker 2: So that's a contrary that bold John had a lot 327 00:26:30,984 --> 00:26:31,264 Speaker 2: of that. 328 00:26:31,824 --> 00:26:36,184 Speaker 9: I think often people who do it it's a shield right 329 00:26:36,304 --> 00:26:58,464 Speaker 9: against life. 330 00:27:01,104 --> 00:27:05,824 Speaker 1: The lyrics to Silly Love Songs have McCartney leaning into 331 00:27:05,984 --> 00:27:11,544 Speaker 1: his sappiest nature, shrugging off is rock star persona. The 332 00:27:11,624 --> 00:27:15,624 Speaker 1: song is even set to a disco track. He sounds 333 00:27:15,664 --> 00:27:21,224 Speaker 1: like he's celebrating every romantic cliche he can deploy, and really, 334 00:27:21,704 --> 00:27:22,584 Speaker 1: what's wrong with that? 335 00:27:23,424 --> 00:27:24,744 Speaker 2: What's wrong with that? 336 00:27:27,584 --> 00:27:28,584 Speaker 3: I like to know. 337 00:27:31,424 --> 00:27:32,504 Speaker 2: The rang go. 338 00:27:35,104 --> 00:27:35,544 Speaker 9: Again? 339 00:27:53,904 --> 00:27:57,304 Speaker 1: There's nothing wrong with that. I mean, it's so beautifully direct. 340 00:27:57,864 --> 00:27:58,624 Speaker 1: I love you. 341 00:27:59,584 --> 00:28:04,264 Speaker 2: A friend of mine outlawed the word love in asant 342 00:28:05,744 --> 00:28:08,984 Speaker 2: I thought, I get it. You know, it's been news 343 00:28:10,704 --> 00:28:14,424 Speaker 2: many times before, and so you know, for maybe a 344 00:28:14,504 --> 00:28:16,744 Speaker 2: day or two you're trying and avoid it, thinking, yes, 345 00:28:16,824 --> 00:28:21,464 Speaker 2: good idea, and you should just avoided with them now 346 00:28:21,984 --> 00:28:25,904 Speaker 2: because I'm known for that, and because I wrote the 347 00:28:25,944 --> 00:28:28,184 Speaker 2: song saying what's wrong would silly love songs? 348 00:28:28,424 --> 00:28:28,744 Speaker 3: Yes? 349 00:28:29,144 --> 00:28:34,464 Speaker 2: I mean it's something I think about, you know, I 350 00:28:34,504 --> 00:28:38,464 Speaker 2: think about this whole planet and the whole human race. 351 00:28:39,504 --> 00:28:45,104 Speaker 2: And then in China right now there's these two people 352 00:28:46,344 --> 00:28:50,944 Speaker 2: and they love each other and they getting married and 353 00:28:51,504 --> 00:28:58,464 Speaker 2: committing the whole lives to each other, or in South 354 00:28:58,504 --> 00:29:03,304 Speaker 2: America right now, there's a mother having a baby and 355 00:29:03,544 --> 00:29:08,624 Speaker 2: loving this baby, and the father is loving this baby. 356 00:29:09,224 --> 00:29:12,584 Speaker 2: So the point I'm making, you know, fairly obvious, is 357 00:29:12,624 --> 00:29:21,384 Speaker 2: that this love thing is global and goes throughout not 358 00:29:21,424 --> 00:29:28,544 Speaker 2: only humans but animals, goes throughout creatures. So a mother 359 00:29:28,704 --> 00:29:35,464 Speaker 2: horse can love its fall. So it really becomes very important, 360 00:29:36,704 --> 00:29:40,784 Speaker 2: which outweighs the fact that it might be soppy. So 361 00:29:40,784 --> 00:29:42,704 Speaker 2: you're always trying to say it in a kind of 362 00:29:43,984 --> 00:29:46,984 Speaker 2: non soppy way, nearest I ever got to it do 363 00:29:47,104 --> 00:29:50,824 Speaker 2: with silly love songs, you know, which is I'm purposely 364 00:29:50,904 --> 00:29:55,384 Speaker 2: being soppy, you know, But now I think it is. 365 00:29:55,624 --> 00:30:03,224 Speaker 2: It's staggeringly important word feeling because it's going on everywhere 366 00:30:04,224 --> 00:30:07,664 Speaker 2: in the whole of existence right now. 367 00:30:09,104 --> 00:30:12,424 Speaker 4: I would have had it not the silly love song. 368 00:30:15,664 --> 00:30:19,264 Speaker 7: I'm growing easy, and so. 369 00:30:23,344 --> 00:30:25,464 Speaker 1: Some people will. 370 00:30:26,504 --> 00:30:27,664 Speaker 7: Silly love songs. 371 00:30:30,864 --> 00:30:31,424 Speaker 3: Wrong with. 372 00:30:38,984 --> 00:30:43,304 Speaker 1: Silly love songs from Wings at the Speed of Sound, 373 00:30:43,784 --> 00:30:57,984 Speaker 1: released in nineteen seventy six. In the next episode, that 374 00:30:58,544 --> 00:31:02,704 Speaker 1: strange and awesome jewel A Day in the Life. 375 00:31:02,664 --> 00:31:07,584 Speaker 6: Welcome fell out of bed, dragged a calm across my head. 376 00:31:09,224 --> 00:31:12,704 Speaker 1: That's next time on McCartney A Life in Lyrics. 377 00:31:13,264 --> 00:31:20,624 Speaker 6: Looking up, I noticed I was late fam Code Grandma McCartney. 378 00:31:20,944 --> 00:31:24,984 Speaker 1: A Life in Lyrics is a co production between iHeartMedia 379 00:31:25,544 --> 00:31:28,264 Speaker 1: n p L and Pushkin Industries