WEBVTT - Silly Love Songs

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

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

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

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

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

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

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<v Speaker 2>The vast majority of people in this city believe in

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<v Speaker 2>love because they're getting married, or they getting engaged, or

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<v Speaker 2>they're going to see a film. This idea of love

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<v Speaker 2>is very strong and sometimes gets knocked because it also

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<v Speaker 2>can be seen as sloppy. But the romantic thing is

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<v Speaker 2>one of the things I write about a lot. One

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<v Speaker 2>day with the bluebird, with the beaches. They're marvelous, the wonderful,

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<v Speaker 2>the beautiful, idyllic world that we love to just be in,

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<v Speaker 2>even if he's just in a dream, or even if

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<v Speaker 2>he's just watching a film. That's a feeling. When a

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<v Speaker 2>film does that to you, it gives you that, oh

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<v Speaker 2>my god, life's great.

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

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

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<v Speaker 1>of the era, and.

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<v Speaker 2>Will you look at me I'm going on to I'm

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<v Speaker 2>actually a performer.

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

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

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

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<v Speaker 1>of our conversations.

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

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

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

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

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<v Speaker 1>figures in popular music. In this episode Silly Love Songs,

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<v Speaker 1>looking back on McCartney's prolific career, it's obvious that the

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<v Speaker 1>dominant theme across his music is love. I guess this

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<v Speaker 1>is true across the history of music. Love songs always

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<v Speaker 1>topped the charts, songs about wanting love, falling in love,

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<v Speaker 1>being in love, rejecting love. We seem unable to exhaust

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<v Speaker 1>the subject, though a few Paul McCarthy. These critics have

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<v Speaker 1>accused him of trying to, so much so that he

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<v Speaker 1>eventually felt compelled to write Silly Love Songs, a love

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<v Speaker 1>song about writing love songs.

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<v Speaker 3>And what's wrong with that.

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<v Speaker 2>I like to know the rang.

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<v Speaker 3>Again.

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<v Speaker 1>From his earliest days as a songwriter, Paul McCartney was

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<v Speaker 1>drawn to songs about romance.

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<v Speaker 4>As a.

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<v Speaker 5>SENDMA to you, remember that, always be in love with you,

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<v Speaker 5>treasure these.

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<v Speaker 2>Your zose certain set of subjects to write things about.

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<v Speaker 2>Love is very much wall revenge, breakups, desire, you know,

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<v Speaker 2>and that covers an awful lot of territory those few categories.

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<v Speaker 1>Unlike the small sy love songs of their parents' generation,

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<v Speaker 1>the Beatles love songs were fresh and cheeky, filled with

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<v Speaker 1>the light hearted fun of young love. In the early

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<v Speaker 1>Beatles records, nearly every song was a love song, but

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<v Speaker 1>often carrying some twist or clever take on tired romance cliches.

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<v Speaker 1>For example, McCartney was able to use the love song

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<v Speaker 1>as a vehicle for a critique of materialism My.

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<v Speaker 6>Now Rainbow Friends Below Ryan.

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<v Speaker 2>It just bangs in, there's no intro, can't Bobby comes

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<v Speaker 2>right in, so it's very instant, very simple, and then

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<v Speaker 2>it goes into you know, by your diamond ring, by

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<v Speaker 2>you anything. But it's still won't part.

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<v Speaker 6>Of me love because I don't care you that the money,

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<v Speaker 6>the money love, so it's.

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<v Speaker 2>Just you know, materialism versus love. It really is quite

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<v Speaker 2>a simple idea. You know, you can have all the

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<v Speaker 2>money in the world, but that's not kind of by

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<v Speaker 2>you love. But I found it a neat little way

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<v Speaker 2>to say it quickly.

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<v Speaker 1>That said, the young lads from Liverpool were interested in

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<v Speaker 1>both love and money, and they caught on that writing

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<v Speaker 1>about love would be a quick way to reach a

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<v Speaker 1>big audience.

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<v Speaker 2>You know, nowadays people have a slightly sort of more

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<v Speaker 2>hyphalutin idea of what you're doing when you're writing soult

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<v Speaker 2>and what we were doing when we were writing them.

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<v Speaker 4>Close and I'll kiss you.

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<v Speaker 2>There was a certain formula the pronoun I you me him, her, my,

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<v Speaker 2>she love me, I saw her standing I'll get you,

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<v Speaker 2>or my look, I want to hold your hand.

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<v Speaker 1>But you probably weren't feeling that was formulaic at the time,

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<v Speaker 1>were you.

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<v Speaker 2>No? Not really no, no, we weren't. But looking back

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<v Speaker 2>on it, all they were all I may love. Because

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<v Speaker 2>you wanted to contact the fans, there were songs to

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<v Speaker 2>contact the people with.

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<v Speaker 1>The Beatles did contact people on a massive scale, and

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<v Speaker 1>as they developed their musical style, ernest love songs remained

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<v Speaker 1>front and center. Take for instance, McCartney's I Will from

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<v Speaker 1>the White album.

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<v Speaker 4>Who Knows hal long I've loved you?

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<v Speaker 2>You know?

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<v Speaker 7>I love you still?

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<v Speaker 4>Will I wait, lo me loud?

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<v Speaker 2>Did you want me too? I will see I wasn't

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<v Speaker 2>actually wait for anyone. But it's a very romantic idea.

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<v Speaker 2>So it's me as the Troubadour. It's me, you know,

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<v Speaker 2>wandering around show and Forrest, you know, play.

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<v Speaker 1>Alan a Dale the lud playing Troubadour Risk from the

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<v Speaker 1>nineteen seventy three Disney film Robin.

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<v Speaker 3>I love that movie. I love that thing.

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<v Speaker 2>It's that kind of thing. It's me as that guy.

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<v Speaker 2>And then so you know, if if you want me to,

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<v Speaker 2>I will. And then for if I ever saw you,

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<v Speaker 2>I didn't catch your name, I never really mattered. I'll

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<v Speaker 2>always gonna say.

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<v Speaker 1>So you I did got your name.

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<v Speaker 2>It's too like an amorphous person. Instead of every man,

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<v Speaker 2>it's every girl. And I'm very much think that I

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<v Speaker 2>don't have to have a face. It's a dream of

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<v Speaker 2>a face.

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<v Speaker 6>Very mad.

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<v Speaker 3>I will.

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<v Speaker 2>We feel the same for me. It's so satisfying to

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<v Speaker 2>get in touch with that feeling. And the other thing is,

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<v Speaker 2>of course then the tune, the melody. But I'm coaxing

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<v Speaker 2>out of this thing. I'm getting to this, you know,

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<v Speaker 2>Alan Dale place strolling minstrel place de body down. Then

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<v Speaker 2>I'm also trying to make this tune fit these words

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<v Speaker 2>in feeling. I'm trying to get this chew to have

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<v Speaker 2>heart and there's tune to be as appealing as this

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<v Speaker 2>thought of finding love is.

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<v Speaker 1>Weird, weird.

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<v Speaker 2>All I would have is just a little path through

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<v Speaker 2>pencil notes with the lyrics. But if I come out

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<v Speaker 2>with this thing in this case, I will. It's more

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<v Speaker 2>than satisfying. It's quite a thrill because you know you've

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<v Speaker 2>done it. Yes.

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<v Speaker 8>One of the most fascinating things, one of the most

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<v Speaker 8>mysterious things, it seems to me, is how one knows that.

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<v Speaker 2>I think, just when it's good, it's good. You just

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<v Speaker 2>know this is I've just written a good tune. This

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<v Speaker 2>melody is good and these words fit it. And so

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<v Speaker 2>someone listening to this will relate to this. I just

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<v Speaker 2>know it because you've cooked this recipe and you just

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<v Speaker 2>know it's going to taste good. You don't know how

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<v Speaker 2>offer it to people, and do you know they're going

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<v Speaker 2>to taste it and go this taste good?

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<v Speaker 1>McCarty's Love Songs take their inspiration and from everything and everywhere,

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<v Speaker 1>but he's often drawn on the edge old tradition of

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<v Speaker 1>writing to amuse. The song My Love, for instance, was

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<v Speaker 1>written to his first wife, Linda McCartney.

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<v Speaker 2>And where I Go, where I Know my heart can

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<v Speaker 2>stay with mine. It's a fuel love song to Linda,

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<v Speaker 2>and it talks about some of the things I value

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<v Speaker 2>in a song manner. You know, when I go away,

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<v Speaker 2>I know my heart and stay with my love. You know,

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<v Speaker 2>that's the idea of faithfulness.

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<v Speaker 3>But into just.

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<v Speaker 2>Those lines bad for instance, I don't know, even at

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<v Speaker 2>the breakup of the Beatles, when the couple was getting

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<v Speaker 2>pretty bare, when me and Linda would go away to Scotland,

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<v Speaker 2>there was plenty there, you know. So it's just other

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<v Speaker 2>ways of saying, you know, when we were down and out,

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<v Speaker 2>she'll still be there. I might go away, She'll be

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<v Speaker 2>there when I get back. I'm just doing a reaffirmation

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<v Speaker 2>of my love for Linda. But I also hope that

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<v Speaker 2>other people, because it doesn't just say my Linda, it is.

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<v Speaker 7>My love, so that other people will be able to

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<v Speaker 7>relate to it and go, yeah, wow, that's great, she.

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<v Speaker 9>Said for me too.

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<v Speaker 1>There's also my Valentine, which Paul McCartney wrote for his

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<v Speaker 1>wife Nancy. What if it rained, we didn't care.

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<v Speaker 6>She's the that someday soon the sun was gonna shine.

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<v Speaker 2>My Mountine is the most definite story. I had fallen

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<v Speaker 2>in love with my lady Nancy, but we weren't an

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<v Speaker 2>item yet, and in my case I always got looking

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<v Speaker 2>over my shoulder for paparazzi. But we went on holiday

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<v Speaker 2>to Morocco to a quiet little hotel I knew of.

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<v Speaker 2>And because we weren't tonight and we didn't stay together

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<v Speaker 2>in the same room, Nancy got a room and I

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<v Speaker 2>had a room, and my brother and his wife were

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<v Speaker 2>on holiday with us. They had a room. And it

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<v Speaker 2>rained the whole bloody time. Might as well have stayed

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<v Speaker 2>in Manchester, you know, it just rained. But we had

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<v Speaker 2>a great time, and the lovely thing was I was

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<v Speaker 2>getting to know none. And as you do in those

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<v Speaker 2>kind of occasions, I apologize to her for the rain,

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<v Speaker 2>like it was my fault. I so I'm really sorry

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<v Speaker 2>that I'm really sorry about all this rain. She said,

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<v Speaker 2>doesn't matter.

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<v Speaker 1>What him in rain. We didn't care.

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<v Speaker 2>She said that someday soon some who's gonna shine And

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<v Speaker 2>the attitude of it doesn't matter. We're so sort of sweet.

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<v Speaker 2>There's really resonated with me. I thought that's great. You know.

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<v Speaker 1>Paul McCartney had many muses throughout his career. Sometimes the

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<v Speaker 1>music was inspired by was a little hairy, as was

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<v Speaker 1>the case in Martha, My Dear, Martha, my.

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<v Speaker 6>Dear, the last spend my days in conversation, Remember me, Martha,

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<v Speaker 6>my love, don't forget me, Martha, my dear.

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<v Speaker 7>Martha, my dear.

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<v Speaker 2>It was about my dog. She was an English sheep dog.

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<v Speaker 3>Here.

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<v Speaker 2>I'd never had a dog, and I'd always kind of

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<v Speaker 2>wanted one, but we hadn't been able to have one

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<v Speaker 2>because my mom and dad both worked so they were

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<v Speaker 2>out all day and we were at school, so we never.

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<v Speaker 3>Had a dog.

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<v Speaker 2>But when I grew up, was in the Beatles and

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<v Speaker 2>had a house on my own and actually had someone

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<v Speaker 2>looking after the house, then I could get a dog,

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<v Speaker 2>I felt, you know. So I went along to a

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<v Speaker 2>place and selected this little dog, and it was beautiful.

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<v Speaker 2>There's a little fluffy puppy. They're very cute puppies. Well,

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<v Speaker 2>all dogs are cute puppies, but this particularly cute. She

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<v Speaker 2>was a lovely little dog, and I just adored her.

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<v Speaker 2>You know, we became great friends. Every time I came home,

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<v Speaker 2>there was this little wiggly bundle of fluff loving to

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<v Speaker 2>see me.

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<v Speaker 3>You know.

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<v Speaker 2>I used to take her out to the country of

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<v Speaker 2>long walks, take her out to Regent's Park where she

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<v Speaker 2>would see a dock on the lake and forget that

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<v Speaker 2>you couldn't walk on water, so she'd run into it,

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<v Speaker 2>be like a cartoon. Well, oh, it was very nice,

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<v Speaker 2>and I remember John being very sort of sympathetic to me.

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<v Speaker 2>I think he warned me seeing me with a pet.

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<v Speaker 2>John was a cat guy. He loved his cats.

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<v Speaker 3>And when you say warmed to you, yeah, I remember

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<v Speaker 3>you know him.

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<v Speaker 2>I just remember a sort of when he came around

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<v Speaker 2>and I'd be playing with Martha. I could tell that

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<v Speaker 2>he liked it.

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<v Speaker 8>You know, I heard this time of course of good mind.

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<v Speaker 8>But I don't know if I knew at the time

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<v Speaker 8>that Martha wasn't dark.

0:17:42.864 --> 0:17:46.224
<v Speaker 2>No, not many people knew that, except the fans who

0:17:46.304 --> 0:17:49.184
<v Speaker 2>had seen me with with my only issue dog was

0:17:49.184 --> 0:17:52.744
<v Speaker 2>called Martha again. You know, I like the sort of

0:17:52.824 --> 0:18:01.144
<v Speaker 2>mystery of songwriting and creating things because it's not like

0:18:01.304 --> 0:18:05.504
<v Speaker 2>having to write a historical essay it doesn't have to

0:18:05.544 --> 0:18:10.224
<v Speaker 2>be true, which to me is a great thing. Mother.

0:18:10.784 --> 0:18:18.664
<v Speaker 6>Might you have always been my sporation. Be good to me,

0:18:20.584 --> 0:18:24.104
<v Speaker 6>my love, don't forget.

0:18:23.584 --> 0:18:26.104
<v Speaker 2>Me nots might.

0:18:32.984 --> 0:18:36.784
<v Speaker 1>All this singing about love over the years has made

0:18:37.024 --> 0:18:43.064
<v Speaker 1>some harder boiled music fans and critics dismissive. McCartney has

0:18:43.224 --> 0:18:50.104
<v Speaker 1>contended with accusations of being sentimental, schmaltzy, of lacking sophistication.

0:18:50.864 --> 0:18:52.744
<v Speaker 2>I think a lot of people who are cynical about

0:18:52.784 --> 0:18:57.064
<v Speaker 2>it haven't been lucky enough to feel it, you know.

0:18:58.984 --> 0:19:06.424
<v Speaker 2>Often sort of wonder what the critic who damns it

0:19:06.424 --> 0:19:10.264
<v Speaker 2>looks like, what his life, his or her life looks like.

0:19:10.984 --> 0:19:13.624
<v Speaker 2>I often want to get a photograph of them and go, oh,

0:19:13.664 --> 0:19:18.744
<v Speaker 2>it's him, not listening to him, because you can't have

0:19:18.784 --> 0:19:22.704
<v Speaker 2>outlive them anyway, you know, they come and go.

0:19:23.704 --> 0:19:28.104
<v Speaker 1>While some of McCartney's critics are tired of love as

0:19:28.144 --> 0:19:33.824
<v Speaker 1>a subject, others are more specifically disdainful of an over

0:19:34.064 --> 0:19:39.224
<v Speaker 1>earnest attempt at the sound of love, schmaltz and musical

0:19:39.264 --> 0:19:44.064
<v Speaker 1>grandeur the way many classic love songs are produced. When

0:19:44.104 --> 0:19:48.344
<v Speaker 1>Paul McCartney wrote The Long and Winding Road, he initially

0:19:48.424 --> 0:19:53.584
<v Speaker 1>recorded it as a straightforward ballad, a strict down ode

0:19:53.904 --> 0:19:57.864
<v Speaker 1>to the mysterious journey of love, the love and.

0:19:58.584 --> 0:20:04.584
<v Speaker 2>Winding badly.

0:20:05.544 --> 0:20:06.224
<v Speaker 3>Do your.

0:20:11.704 --> 0:20:14.624
<v Speaker 1>Will never disappear.

0:20:18.784 --> 0:20:21.504
<v Speaker 4>I've seen that road before.

0:20:25.464 --> 0:20:29.144
<v Speaker 2>It's a bit creepy, you know, this road of stretching

0:20:29.464 --> 0:20:32.104
<v Speaker 2>and winding, and I had it also in my mind.

0:20:32.144 --> 0:20:36.864
<v Speaker 2>There is a road on our farm in Scotland which

0:20:37.264 --> 0:20:39.584
<v Speaker 2>leads to the road End, as they call it. It's

0:20:39.584 --> 0:20:43.304
<v Speaker 2>called the road End, which is the tea junction. So

0:20:43.424 --> 0:20:47.944
<v Speaker 2>this idea of life being a long winding road that

0:20:48.064 --> 0:20:52.264
<v Speaker 2>never ends, will never disappear. I've seen that road before.

0:20:53.464 --> 0:20:58.504
<v Speaker 2>Lead me to your door, so give me a clue here.

0:20:58.624 --> 0:21:00.584
<v Speaker 2>You know. It's like John when he went up in

0:21:00.584 --> 0:21:03.024
<v Speaker 2>the helicopter with Marishi, said he hoped he'd slip in

0:21:03.064 --> 0:21:05.464
<v Speaker 2>the answer, let.

0:21:05.184 --> 0:21:14.104
<v Speaker 4>Me know the word. Many times I've been alone, and

0:21:14.184 --> 0:21:15.984
<v Speaker 4>many times I'm right.

0:21:16.904 --> 0:21:21.624
<v Speaker 2>We recorded it and I'll inclined. That's what he didn't

0:21:21.664 --> 0:21:25.144
<v Speaker 2>think the record was sort of glamorous enough, so he

0:21:25.264 --> 0:21:27.704
<v Speaker 2>wanted it to be made more glamorous, and I think

0:21:27.704 --> 0:21:28.944
<v Speaker 2>everyone went okay.

0:21:29.544 --> 0:21:34.024
<v Speaker 1>Klein suggested that the band work with producer Phil Spector,

0:21:34.624 --> 0:21:40.104
<v Speaker 1>who's more involved or chestral arrangement. Dazzled with sentiment.

0:21:40.064 --> 0:21:49.704
<v Speaker 3>Love Wandy doo yr.

0:21:55.064 --> 0:21:58.144
<v Speaker 4>Well never disappeared.

0:22:01.944 --> 0:22:04.504
<v Speaker 6>I've seen that role before.

0:22:08.784 --> 0:22:13.184
<v Speaker 1>This became the Beatles' final number one song in America,

0:22:13.784 --> 0:22:17.744
<v Speaker 1>but some took issue with the grand production. At least

0:22:17.944 --> 0:22:23.064
<v Speaker 1>one journalist complained that Specter's production made the song unlistenable.

0:22:24.024 --> 0:22:27.664
<v Speaker 1>It wasn't the first time critics but complain about McCartney's

0:22:27.664 --> 0:22:33.704
<v Speaker 1>love songs, and it wouldn't be the last.

0:22:42.544 --> 0:22:48.264
<v Speaker 2>I was being accused of just writing silly love songs

0:22:48.784 --> 0:22:54.584
<v Speaker 2>and was in danger of starting to buy into this

0:22:54.704 --> 0:22:58.984
<v Speaker 2>idea that you should just be a bit tougher and

0:22:59.024 --> 0:23:03.104
<v Speaker 2>a bit more worldly, and then asking me, really, that's

0:23:03.104 --> 0:23:17.664
<v Speaker 2>exactly what love is. It's worldly. So this idea came

0:23:17.704 --> 0:23:19.464
<v Speaker 2>to me, you know, you think of people would hardy

0:23:19.544 --> 0:23:22.024
<v Speaker 2>not well? I look around me and I say it doesn't.

0:23:22.064 --> 0:23:24.744
<v Speaker 2>So some people want to fill the world with sailly

0:23:24.824 --> 0:23:26.064
<v Speaker 2>love songs. What's wrong with that?

0:23:26.424 --> 0:23:28.224
<v Speaker 3>People want to build the world.

0:23:29.104 --> 0:23:30.984
<v Speaker 4>What's silly love songs?

0:23:33.184 --> 0:23:34.504
<v Speaker 3>What's wrong with that?

0:23:37.384 --> 0:23:42.264
<v Speaker 7>I'd like to know, does he want.

0:23:42.104 --> 0:23:42.384
<v Speaker 3>To go.

0:23:44.904 --> 0:23:57.104
<v Speaker 10>Again instead about lowering songs about love?

0:23:58.984 --> 0:24:01.984
<v Speaker 2>Just get on with it, get into it, and don't

0:24:01.984 --> 0:24:08.304
<v Speaker 2>be embarrassed. Because even though you can't say this is

0:24:08.344 --> 0:24:17.184
<v Speaker 2>a soppy subject. It actually is the opposite. It's actually

0:24:17.304 --> 0:24:26.264
<v Speaker 2>very deep and meaningful and basis of most religions and

0:24:26.424 --> 0:24:31.304
<v Speaker 2>most philosophy. This thing people can feel for each other

0:24:32.064 --> 0:24:37.264
<v Speaker 2>that makes life better if they can engage in it.

0:24:51.904 --> 0:24:55.584
<v Speaker 2>So yeah, I mean that there's no more to this

0:24:56.824 --> 0:25:00.904
<v Speaker 2>than that. That doesn't come in a minute. Love doesn't

0:25:00.904 --> 0:25:03.624
<v Speaker 2>come in a minute. Sometimes it doesn't come at all.

0:25:03.784 --> 0:25:06.224
<v Speaker 2>I only know that when I'm in it. It isn't silly.

0:25:07.584 --> 0:25:18.784
<v Speaker 3>Love isn't silly.

0:25:20.144 --> 0:25:23.904
<v Speaker 1>Was there's a response to someone who actually did say.

0:25:23.744 --> 0:25:27.304
<v Speaker 2>This, response to a lot of people who would say

0:25:27.304 --> 0:25:30.304
<v Speaker 2>that about it. Yeah, that was kind of I was

0:25:30.384 --> 0:25:35.784
<v Speaker 2>given that reputation, you know, and I had to stand

0:25:35.864 --> 0:25:49.864
<v Speaker 2>up for it. I think it is easier to get

0:25:50.264 --> 0:25:58.344
<v Speaker 2>good criticism if you rail against things and probably swear

0:25:58.424 --> 0:26:03.544
<v Speaker 2>a lot, because it just makes you seem stronger. Oh

0:26:03.664 --> 0:26:09.504
<v Speaker 2>there's fucking weather. It's fucking unbelievable that I fucking hate thonder,

0:26:09.544 --> 0:26:10.984
<v Speaker 2>I fucking hate lightning.

0:26:11.304 --> 0:26:13.584
<v Speaker 3>What the fuck is God doing this for?

0:26:14.104 --> 0:26:18.784
<v Speaker 2>What's the point? I told her? Rather well, said, says

0:26:18.784 --> 0:26:22.584
<v Speaker 2>the critic was marvelous. You go, Oh, it's a lovely day.

0:26:23.024 --> 0:26:24.544
<v Speaker 2>It's nice. I like the rain.

0:26:25.864 --> 0:26:26.744
<v Speaker 3>Soppy bastard.

0:26:27.184 --> 0:26:30.944
<v Speaker 2>So that's a contrary that bold John had a lot

0:26:30.984 --> 0:26:31.264
<v Speaker 2>of that.

0:26:31.824 --> 0:26:36.184
<v Speaker 9>I think often people who do it it's a shield right

0:26:36.304 --> 0:26:58.464
<v Speaker 9>against life.

0:27:01.104 --> 0:27:05.824
<v Speaker 1>The lyrics to Silly Love Songs have McCartney leaning into

0:27:05.984 --> 0:27:11.544
<v Speaker 1>his sappiest nature, shrugging off is rock star persona. The

0:27:11.624 --> 0:27:15.624
<v Speaker 1>song is even set to a disco track. He sounds

0:27:15.664 --> 0:27:21.224
<v Speaker 1>like he's celebrating every romantic cliche he can deploy, and really,

0:27:21.704 --> 0:27:22.584
<v Speaker 1>what's wrong with that?

0:27:23.424 --> 0:27:24.744
<v Speaker 2>What's wrong with that?

0:27:27.584 --> 0:27:28.584
<v Speaker 3>I like to know.

0:27:31.424 --> 0:27:32.504
<v Speaker 2>The rang go.

0:27:35.104 --> 0:27:35.544
<v Speaker 9>Again?

0:27:53.904 --> 0:27:57.304
<v Speaker 1>There's nothing wrong with that. I mean, it's so beautifully direct.

0:27:57.864 --> 0:27:58.624
<v Speaker 1>I love you.

0:27:59.584 --> 0:28:04.264
<v Speaker 2>A friend of mine outlawed the word love in asant

0:28:05.744 --> 0:28:08.984
<v Speaker 2>I thought, I get it. You know, it's been news

0:28:10.704 --> 0:28:14.424
<v Speaker 2>many times before, and so you know, for maybe a

0:28:14.504 --> 0:28:16.744
<v Speaker 2>day or two you're trying and avoid it, thinking, yes,

0:28:16.824 --> 0:28:21.464
<v Speaker 2>good idea, and you should just avoided with them now

0:28:21.984 --> 0:28:25.904
<v Speaker 2>because I'm known for that, and because I wrote the

0:28:25.944 --> 0:28:28.184
<v Speaker 2>song saying what's wrong would silly love songs?

0:28:28.424 --> 0:28:28.744
<v Speaker 3>Yes?

0:28:29.144 --> 0:28:34.464
<v Speaker 2>I mean it's something I think about, you know, I

0:28:34.504 --> 0:28:38.464
<v Speaker 2>think about this whole planet and the whole human race.

0:28:39.504 --> 0:28:45.104
<v Speaker 2>And then in China right now there's these two people

0:28:46.344 --> 0:28:50.944
<v Speaker 2>and they love each other and they getting married and

0:28:51.504 --> 0:28:58.464
<v Speaker 2>committing the whole lives to each other, or in South

0:28:58.504 --> 0:29:03.304
<v Speaker 2>America right now, there's a mother having a baby and

0:29:03.544 --> 0:29:08.624
<v Speaker 2>loving this baby, and the father is loving this baby.

0:29:09.224 --> 0:29:12.584
<v Speaker 2>So the point I'm making, you know, fairly obvious, is

0:29:12.624 --> 0:29:21.384
<v Speaker 2>that this love thing is global and goes throughout not

0:29:21.424 --> 0:29:28.544
<v Speaker 2>only humans but animals, goes throughout creatures. So a mother

0:29:28.704 --> 0:29:35.464
<v Speaker 2>horse can love its fall. So it really becomes very important,

0:29:36.704 --> 0:29:40.784
<v Speaker 2>which outweighs the fact that it might be soppy. So

0:29:40.784 --> 0:29:42.704
<v Speaker 2>you're always trying to say it in a kind of

0:29:43.984 --> 0:29:46.984
<v Speaker 2>non soppy way, nearest I ever got to it do

0:29:47.104 --> 0:29:50.824
<v Speaker 2>with silly love songs, you know, which is I'm purposely

0:29:50.904 --> 0:29:55.384
<v Speaker 2>being soppy, you know, But now I think it is.

0:29:55.624 --> 0:30:03.224
<v Speaker 2>It's staggeringly important word feeling because it's going on everywhere

0:30:04.224 --> 0:30:07.664
<v Speaker 2>in the whole of existence right now.

0:30:09.104 --> 0:30:12.424
<v Speaker 4>I would have had it not the silly love song.

0:30:15.664 --> 0:30:19.264
<v Speaker 7>I'm growing easy, and so.

0:30:23.344 --> 0:30:25.464
<v Speaker 1>Some people will.

0:30:26.504 --> 0:30:27.664
<v Speaker 7>Silly love songs.

0:30:30.864 --> 0:30:31.424
<v Speaker 3>Wrong with.

0:30:38.984 --> 0:30:43.304
<v Speaker 1>Silly love songs from Wings at the Speed of Sound,

0:30:43.784 --> 0:30:57.984
<v Speaker 1>released in nineteen seventy six. In the next episode, that

0:30:58.544 --> 0:31:02.704
<v Speaker 1>strange and awesome jewel A Day in the Life.

0:31:02.664 --> 0:31:07.584
<v Speaker 6>Welcome fell out of bed, dragged a calm across my head.

0:31:09.224 --> 0:31:12.704
<v Speaker 1>That's next time on McCartney A Life in Lyrics.

0:31:13.264 --> 0:31:20.624
<v Speaker 6>Looking up, I noticed I was late fam Code Grandma McCartney.

0:31:20.944 --> 0:31:24.984
<v Speaker 1>A Life in Lyrics is a co production between iHeartMedia

0:31:25.544 --> 0:31:28.264
<v Speaker 1>n p L and Pushkin Industries