1 00:00:14,824 --> 00:00:26,504 Speaker 1: Pushkin. He is McCartney. Paul McCartney, a commander, a hero, 2 00:00:27,184 --> 00:00:32,304 Speaker 1: a man of action, everything you've ever. 3 00:00:32,224 --> 00:00:37,104 Speaker 2: Loved in a Bond film. 4 00:00:37,184 --> 00:00:40,904 Speaker 1: Em calls in from the secret Intelligence Service with a mission. 5 00:00:41,144 --> 00:00:45,224 Speaker 1: A commission to write a song before it's too late. 6 00:00:45,584 --> 00:00:50,784 Speaker 1: More thrilled, more exciteable, more chill. Agent McCartney receives his 7 00:00:50,984 --> 00:00:56,384 Speaker 1: technical materials, a title, a novel for inspiration and more. 8 00:01:02,064 --> 00:01:27,224 Speaker 1: At his piano in London, he embarks on his perilous journey. 9 00:01:19,224 --> 00:01:22,824 Speaker 3: Live and Let Die. 10 00:01:27,624 --> 00:01:32,024 Speaker 1: I'm Paul muldoon and I've been fortunate to spend time 11 00:01:32,064 --> 00:01:35,384 Speaker 1: with one of the greatest songwriters of our era. 12 00:01:35,744 --> 00:01:36,624 Speaker 2: And will you look at me? 13 00:01:37,464 --> 00:01:40,624 Speaker 4: I'm going on to I'm actually a performer. 14 00:01:40,664 --> 00:01:44,264 Speaker 1: That is, sir Paul McCartney. We worked together on a 15 00:01:44,264 --> 00:01:46,824 Speaker 1: book looking at the lyrics of more than one hundred 16 00:01:46,864 --> 00:01:51,184 Speaker 1: and fifty of his songs, and we recorded many hours 17 00:01:51,464 --> 00:01:52,664 Speaker 1: of our conversations. 18 00:01:53,024 --> 00:01:56,464 Speaker 4: Oh actually I'm a songwriter. My god, Well that that 19 00:01:56,704 --> 00:01:57,704 Speaker 4: crypt homie. 20 00:01:57,944 --> 00:02:03,904 Speaker 1: This is McCartney. A life in lyrics, a masterclass, a memoir, 21 00:02:04,464 --> 00:02:07,744 Speaker 1: and an improvised journey with one of the most iconic 22 00:02:07,824 --> 00:02:13,064 Speaker 1: figures in pop popular music. In this episode, Live and Let. 23 00:02:12,944 --> 00:02:20,864 Speaker 3: Die when you are in your Heart was an open. 24 00:02:20,584 --> 00:02:26,464 Speaker 5: Book used to say little lately. 25 00:02:31,784 --> 00:02:35,784 Speaker 1: Live and Let Die, released in nineteen seventy three, is 26 00:02:35,824 --> 00:02:39,864 Speaker 1: the eighth film in the James Bond franchise, the first 27 00:02:39,864 --> 00:02:43,784 Speaker 1: of the Roger Moore era. It had all the components 28 00:02:43,824 --> 00:02:50,264 Speaker 1: of the classic spy thriller, dry Martini's clever gadgets, car chases. 29 00:02:50,304 --> 00:02:51,704 Speaker 2: Roger Moore as James Bond. 30 00:02:51,704 --> 00:02:54,344 Speaker 4: Double O seven can Live and Let Die. 31 00:02:55,024 --> 00:02:58,864 Speaker 1: Paan McCartney may not have been an international secret agent, 32 00:02:59,464 --> 00:03:02,824 Speaker 1: but he did have a fair amount in common with 33 00:03:02,944 --> 00:03:03,824 Speaker 1: Double Oh seven. 34 00:03:03,944 --> 00:03:06,904 Speaker 2: Did you still the Aston Martin in nineteen seventy three 35 00:03:07,064 --> 00:03:11,624 Speaker 2: or I moved through a couple of cars? It was 36 00:03:11,664 --> 00:03:15,024 Speaker 2: the very first Bond film. Dr no whether he had 37 00:03:15,024 --> 00:03:21,464 Speaker 2: and asked, and you'll be using this Aston Martin dB 38 00:03:21,744 --> 00:03:26,264 Speaker 2: five with modifications now pay attention please. It was only 39 00:03:26,344 --> 00:03:28,224 Speaker 2: later and really I put it together. 40 00:03:28,344 --> 00:03:29,464 Speaker 4: It was so obvious. 41 00:03:30,704 --> 00:03:33,584 Speaker 2: You know why I got on Aston anyway. I've had 42 00:03:33,624 --> 00:03:38,144 Speaker 2: a few nice cars, sports cars. I once had a 43 00:03:38,224 --> 00:03:42,144 Speaker 2: Lamborghini just for the sort of thrill of having a 44 00:03:42,184 --> 00:03:48,304 Speaker 2: sports car. George was the real car person. George ended 45 00:03:48,384 --> 00:03:53,424 Speaker 2: up with a McLaren, which you couldn't use on Britain 46 00:03:53,464 --> 00:03:56,104 Speaker 2: with his speed limits. You know, George was a very 47 00:03:56,144 --> 00:04:00,864 Speaker 2: sports car orientated. In fact, he was horrified to hear that. 48 00:04:00,944 --> 00:04:07,464 Speaker 2: I still sometimes used the boss public transport. You will 49 00:04:08,144 --> 00:04:11,824 Speaker 2: you go on the buses because he so left that behind. 50 00:04:12,184 --> 00:04:16,104 Speaker 1: On top of owning an Aston, Martin McCartney always harbored 51 00:04:16,104 --> 00:04:19,144 Speaker 1: a secret desire to write a Bond song. 52 00:04:20,224 --> 00:04:24,104 Speaker 2: It was always a sneaky ambition to write a Bond 53 00:04:24,264 --> 00:04:29,304 Speaker 2: song because in some ways I like to see myself 54 00:04:30,384 --> 00:04:34,864 Speaker 2: one portion of myself as a jobbing writer. You know, 55 00:04:34,944 --> 00:04:39,984 Speaker 2: you require a harm for the Queen's wedding. I'm your man, 56 00:04:42,104 --> 00:04:46,584 Speaker 2: Dear Elizabeth, Oh greatness, run it off the land. 57 00:04:47,544 --> 00:04:53,504 Speaker 4: They know they fill in, will take your hand. So 58 00:04:54,824 --> 00:04:55,824 Speaker 4: putting that aside. 59 00:04:57,304 --> 00:05:00,624 Speaker 2: The equivalent of that for a lot of people was 60 00:05:01,184 --> 00:05:05,264 Speaker 2: and still is actually the Bond song. It's it's you 61 00:05:05,304 --> 00:05:08,104 Speaker 2: know you you've written the Bond song. It's a bit 62 00:05:08,144 --> 00:05:08,984 Speaker 2: of an accolade. 63 00:05:09,704 --> 00:05:13,304 Speaker 1: Since the early days, part of the allure of the 64 00:05:13,344 --> 00:05:18,224 Speaker 1: Double seven franchise had been the Bond song, a catchy 65 00:05:18,304 --> 00:05:20,664 Speaker 1: hit from the hottest pop star of the. 66 00:05:20,624 --> 00:05:22,624 Speaker 4: Time, Binger. 67 00:05:26,584 --> 00:05:37,784 Speaker 1: Everyone from Shirley Bassie to Billie Eilish has made their contributions. 68 00:05:33,624 --> 00:05:49,224 Speaker 3: Okay, So in this case, a record guy who was 69 00:05:49,304 --> 00:05:51,464 Speaker 3: handling the Beatles Apple records. 70 00:05:52,184 --> 00:05:55,384 Speaker 4: He knew somebody connected. 71 00:05:55,704 --> 00:06:00,384 Speaker 2: With the Bond franchise, and so one day we were 72 00:06:00,464 --> 00:06:02,824 Speaker 2: just chatting and he said, you don't have any interest 73 00:06:02,864 --> 00:06:08,064 Speaker 2: in doing a Bond film? Yeah, I'm probably interested, you know, 74 00:06:08,864 --> 00:06:10,824 Speaker 2: not trying to look too enthusiastic. 75 00:06:12,864 --> 00:06:14,544 Speaker 4: Yeah, I said, yeah, sure. 76 00:06:16,944 --> 00:06:21,864 Speaker 2: But did they even changing world in which were living? 77 00:06:22,904 --> 00:06:23,464 Speaker 6: Makes you. 78 00:06:29,744 --> 00:06:31,944 Speaker 2: Say living Linda. 79 00:06:33,544 --> 00:06:37,104 Speaker 1: When the producers approached McCartney, the script for the film 80 00:06:37,144 --> 00:06:40,384 Speaker 1: had not yet been finished. So McCartney got a hold 81 00:06:40,384 --> 00:06:43,784 Speaker 1: of a copy of Ian Fleming's nineteen fifty four novel 82 00:06:44,184 --> 00:06:46,104 Speaker 1: Live and Let Die. 83 00:06:46,224 --> 00:06:50,464 Speaker 2: And it's a real page turner. So I just spent 84 00:06:51,184 --> 00:06:54,704 Speaker 2: the afternoon just sitting down and making myself know what 85 00:06:54,744 --> 00:06:58,144 Speaker 2: the book is about. So then I knew when I 86 00:06:58,344 --> 00:07:00,904 Speaker 2: sat down to write the song, I knew what the 87 00:07:01,024 --> 00:07:04,944 Speaker 2: idea would be. Now you used to say living live. 88 00:07:05,224 --> 00:07:08,584 Speaker 2: Now you say living a die, And I didn't want 89 00:07:08,624 --> 00:07:12,064 Speaker 2: it to be. So you've got a gun and now 90 00:07:12,144 --> 00:07:16,824 Speaker 2: you go killing people, So living and Die, I just 91 00:07:16,864 --> 00:07:20,984 Speaker 2: wanted it to be. Let it go, don't worry about 92 00:07:21,024 --> 00:07:23,984 Speaker 2: it when you've got problems and everything, just live and 93 00:07:24,064 --> 00:07:26,904 Speaker 2: let die and live and just let it go. And 94 00:07:26,944 --> 00:07:29,984 Speaker 2: so once I had that, it kind of almost wrote itself. 95 00:07:30,464 --> 00:07:32,584 Speaker 2: When you were young in your heart was an open book. 96 00:07:32,624 --> 00:07:33,624 Speaker 2: You used to stay living on it. 97 00:07:33,744 --> 00:07:36,064 Speaker 4: Live. You know you did, you know you did it. 98 00:07:36,304 --> 00:07:38,504 Speaker 2: But if this ever changing world in which we live 99 00:07:38,544 --> 00:07:42,584 Speaker 2: in makes you give it a cry, stay living in 100 00:07:42,624 --> 00:07:52,184 Speaker 2: a die, you know, to help with it very much, 101 00:07:52,264 --> 00:07:56,304 Speaker 2: thinking how is this going to land? Well, we know 102 00:07:56,424 --> 00:07:58,784 Speaker 2: in the Bond film he's going to come out and 103 00:07:58,824 --> 00:08:01,424 Speaker 2: sort of shoot, he's gone at the screen and it's 104 00:08:01,424 --> 00:08:03,504 Speaker 2: all going to go red and drippy, and there's going 105 00:08:03,584 --> 00:08:05,344 Speaker 2: to be a beautiful girl in. 106 00:08:05,344 --> 00:08:07,304 Speaker 4: A very scant costume. 107 00:08:07,904 --> 00:08:11,064 Speaker 2: And so I see where I am. 108 00:08:11,344 --> 00:08:12,664 Speaker 4: This is the world I'm in. 109 00:08:22,744 --> 00:08:25,944 Speaker 1: Sitting at the piano in his London house, McCartney had 110 00:08:25,944 --> 00:08:29,824 Speaker 1: a draft finished in a single afternoon. He brought it 111 00:08:29,864 --> 00:08:33,904 Speaker 1: to his longtime collaborator George Martin, who was producing the 112 00:08:33,984 --> 00:08:39,864 Speaker 1: soundtrack for the film, and together they finested into a bold, 113 00:08:40,144 --> 00:08:41,864 Speaker 1: Bond worthy hit. 114 00:08:42,064 --> 00:08:44,704 Speaker 6: And he said, yeah, we'll come over, and I said, okay, 115 00:08:45,024 --> 00:08:47,584 Speaker 6: so go over, And then i'd go when you were 116 00:08:47,624 --> 00:08:48,904 Speaker 6: young and you're open. 117 00:08:48,784 --> 00:08:52,624 Speaker 4: And show him the chords. 118 00:08:58,904 --> 00:09:00,544 Speaker 6: And then I'd say, and then I've got this da 119 00:09:00,824 --> 00:09:11,584 Speaker 6: dam this is like the sort of central rift to it. 120 00:09:15,704 --> 00:09:18,424 Speaker 4: And then we just we talked. 121 00:09:18,424 --> 00:09:20,184 Speaker 2: And he said it'd be good to go off into 122 00:09:20,904 --> 00:09:25,944 Speaker 2: Bondian arrangements, and so I left that completely to him. 123 00:09:25,984 --> 00:09:26,824 Speaker 4: All the sort of. 124 00:09:27,104 --> 00:09:31,344 Speaker 2: After the riff was played, there's a central middle instrumental 125 00:09:31,384 --> 00:09:33,824 Speaker 2: bit which was pure George, and. 126 00:09:35,024 --> 00:09:38,224 Speaker 4: I was very happy with that. So it was a 127 00:09:38,224 --> 00:09:38,984 Speaker 4: good experience. 128 00:09:55,944 --> 00:10:00,064 Speaker 1: They recorded it in George Martin's studio above Oxford Circus, 129 00:10:00,144 --> 00:10:04,144 Speaker 1: and then George jetted off to the Caribbean with a 130 00:10:04,184 --> 00:10:06,784 Speaker 1: demo stashed in his briefcase. 131 00:10:07,064 --> 00:10:10,544 Speaker 2: In those days, you'd have an ascetate a little pressing 132 00:10:10,664 --> 00:10:15,744 Speaker 2: of the record, and George went out to the Bahamas 133 00:10:15,824 --> 00:10:18,304 Speaker 2: or somewhere where they were filming it, and they were 134 00:10:18,664 --> 00:10:21,464 Speaker 2: on the beach somewhere, so he organized to bring a 135 00:10:21,504 --> 00:10:25,544 Speaker 2: little record player and this disc and he played it 136 00:10:25,584 --> 00:10:30,144 Speaker 2: to Kobe Broccoli, who said, he said, that's nice, George, 137 00:10:30,344 --> 00:10:32,384 Speaker 2: that's a nice demo. When are you going to make 138 00:10:32,424 --> 00:10:36,184 Speaker 2: the finished record? George said, that is it. 139 00:10:36,664 --> 00:10:41,224 Speaker 1: Apparently the producers had imagined that McCartney would write the 140 00:10:41,264 --> 00:10:44,504 Speaker 1: song for someone else to perform. In fact, there's a 141 00:10:44,584 --> 00:10:47,304 Speaker 1: scene in the film where the song is covered by 142 00:10:47,304 --> 00:10:49,424 Speaker 1: the soul singer bj Ar not. 143 00:10:51,424 --> 00:10:57,264 Speaker 4: Changing. 144 00:10:58,744 --> 00:11:03,384 Speaker 1: Instead, McCartney's rock vocals were a breath of fresh air 145 00:11:03,664 --> 00:11:05,904 Speaker 1: to the franchise's songwriting tradition. 146 00:11:11,264 --> 00:11:14,824 Speaker 5: Now you know, there might be some who would have 147 00:11:15,984 --> 00:11:22,184 Speaker 5: questions about the idea of writing a song to order, 148 00:11:22,344 --> 00:11:27,944 Speaker 5: as a song to fulfill a particular task. That's obviously 149 00:11:27,984 --> 00:11:28,824 Speaker 5: not a no. 150 00:11:29,864 --> 00:11:30,584 Speaker 4: I like that. 151 00:11:31,024 --> 00:11:33,824 Speaker 2: Well, I like it because I do the other way 152 00:11:33,864 --> 00:11:37,064 Speaker 2: as well. I wouldn't like to just write toward it, 153 00:11:37,944 --> 00:11:41,904 Speaker 2: but I like saying, as I say, I'm a troubadour 154 00:11:42,704 --> 00:11:44,664 Speaker 2: and I've got my little guitar and I'm in a 155 00:11:44,744 --> 00:11:51,304 Speaker 2: field and I'm writing about the stream and daffodils and 156 00:11:52,104 --> 00:11:58,264 Speaker 2: the sunshine, whatever's occurring to me. I like that very much, 157 00:11:58,264 --> 00:12:01,224 Speaker 2: and I think that's mainly what I do. But then 158 00:12:01,264 --> 00:12:05,544 Speaker 2: occasionally something will come along, Well, some would you like 159 00:12:05,664 --> 00:12:10,384 Speaker 2: to write for thinking a film on film, for instance, 160 00:12:11,144 --> 00:12:16,184 Speaker 2: And I will be yeah, just kind of. I'm an enthusiast, 161 00:12:16,744 --> 00:12:18,264 Speaker 2: so it'll just kind of excite me. 162 00:12:18,464 --> 00:12:19,704 Speaker 4: Oh, could I do that? 163 00:12:21,704 --> 00:12:25,264 Speaker 2: I'll go And I nearly always agree to these things 164 00:12:25,344 --> 00:12:28,064 Speaker 2: before I've really thought them out, because. 165 00:12:27,824 --> 00:12:31,424 Speaker 4: Our enthusiast is. Yeah. I enjoy the process. 166 00:12:32,144 --> 00:12:34,384 Speaker 2: We're trying to come up with something that will fit 167 00:12:34,464 --> 00:12:34,944 Speaker 2: the brief. 168 00:12:36,264 --> 00:12:40,024 Speaker 4: Some people, you say, don't like to do that. It 169 00:12:40,144 --> 00:12:42,024 Speaker 4: can be a very big challenge. 170 00:12:42,784 --> 00:12:47,304 Speaker 5: I mean it's really just an extension of some notion 171 00:12:47,984 --> 00:12:53,144 Speaker 5: of the songwriter as having a place. 172 00:12:53,104 --> 00:12:58,664 Speaker 7: In our in our culture, you know, in which there 173 00:12:58,744 --> 00:13:02,384 Speaker 7: is a job to be done and it's a job 174 00:13:02,464 --> 00:13:06,984 Speaker 7: of work, and that's perfectly reasonable way for a song 175 00:13:07,064 --> 00:13:08,264 Speaker 7: to come into existence. 176 00:13:08,344 --> 00:13:10,984 Speaker 4: I like to think a bit like that sometimes. 177 00:13:14,424 --> 00:13:16,704 Speaker 3: Then you got a job to do, you got to 178 00:13:16,744 --> 00:13:20,224 Speaker 3: do it well, you got to give. 179 00:13:25,304 --> 00:13:25,544 Speaker 4: You know. 180 00:13:25,624 --> 00:13:31,664 Speaker 2: Whilst I didn't rate it too much alongside like from 181 00:13:31,744 --> 00:13:37,384 Speaker 2: Russia with Love Goldfinger, Yeah, which were very Bondie, I 182 00:13:37,424 --> 00:13:40,224 Speaker 2: wasn't sure where the mine was, but a lot of 183 00:13:40,224 --> 00:13:42,504 Speaker 2: people put it on their lists and put it top 184 00:13:42,544 --> 00:13:43,064 Speaker 2: of the lists. 185 00:13:43,184 --> 00:13:45,464 Speaker 4: Actually a Bond song, so. 186 00:13:47,024 --> 00:13:50,464 Speaker 2: It was the first rock and roll Bond that's right. 187 00:13:50,584 --> 00:14:04,784 Speaker 1: Yeah, Living Let Die is likely the only Bond song 188 00:14:04,864 --> 00:14:07,824 Speaker 1: to be covered by Guns N' Roses, who released their 189 00:14:07,864 --> 00:14:20,984 Speaker 1: own version in nineteen ninety one. 190 00:14:23,184 --> 00:14:25,504 Speaker 2: I thought it was pretty good, actually, I was more 191 00:14:25,584 --> 00:14:27,304 Speaker 2: amazed that they would do it. 192 00:14:28,304 --> 00:14:29,184 Speaker 4: It's a young. 193 00:14:29,024 --> 00:14:32,984 Speaker 2: American group and the interesting thing was that my kids 194 00:14:33,024 --> 00:14:36,224 Speaker 2: went to school and they would say, my dad wrote 195 00:14:36,224 --> 00:14:38,904 Speaker 2: that this is no they didn't it's gone sinn Roses, 196 00:14:39,864 --> 00:14:43,424 Speaker 2: so nobody would ever believe them. But yeah, for a 197 00:14:43,424 --> 00:14:46,344 Speaker 2: while it was just gone sin Roses. But I was 198 00:14:46,464 --> 00:14:50,304 Speaker 2: very happy that they'd done it. I always like people 199 00:14:50,344 --> 00:14:53,264 Speaker 2: doing my songs. I don't know about you, but if 200 00:14:53,264 --> 00:14:57,824 Speaker 2: someone decides to recite one of your poems, it's. 201 00:14:57,664 --> 00:14:58,544 Speaker 4: A great compliment. 202 00:14:58,744 --> 00:15:03,304 Speaker 2: You know, of course it is. In my case, it pays. 203 00:15:03,904 --> 00:15:06,504 Speaker 2: How do you know it doesn't play in my kids don't? 204 00:15:06,584 --> 00:15:07,984 Speaker 4: No, I don't know. 205 00:15:08,344 --> 00:15:11,064 Speaker 1: Paul mccartny, his own version of the song had been 206 00:15:11,224 --> 00:15:14,184 Speaker 1: an instant hit. It went to number nine on the 207 00:15:14,184 --> 00:15:18,224 Speaker 1: British charts, number one on the American Until then, the 208 00:15:18,344 --> 00:15:21,264 Speaker 1: highest numbers reached by a Bond theme. 209 00:15:21,584 --> 00:15:23,624 Speaker 4: Well, it's a big show for us. 210 00:15:23,704 --> 00:15:30,024 Speaker 2: It's extremely exciting. We have pyrotechnics, extremely dangerous. It can 211 00:15:30,664 --> 00:15:32,944 Speaker 2: get a little hot up there, yeah, I must say. 212 00:15:33,544 --> 00:15:38,104 Speaker 2: But our pyrotechnics guy, who in whom we trust, is 213 00:15:38,184 --> 00:15:39,304 Speaker 2: called shaky. 214 00:15:42,184 --> 00:15:43,024 Speaker 4: There's a clue. 215 00:15:43,864 --> 00:15:46,024 Speaker 2: And the thing I think I like most about it 216 00:15:46,064 --> 00:15:49,584 Speaker 2: is that, as we know the explosions about to happen, 217 00:15:50,144 --> 00:15:54,304 Speaker 2: the big first explosion. So we often look at the people, 218 00:15:54,344 --> 00:15:57,744 Speaker 2: particularly in the front row, who are like blithely going 219 00:15:57,784 --> 00:16:02,224 Speaker 2: along and live and and you just it's great to 220 00:16:02,424 --> 00:16:06,984 Speaker 2: just watch them. They look at each other and oh 221 00:16:07,024 --> 00:16:08,184 Speaker 2: my god, they're shocked. 222 00:16:10,584 --> 00:16:16,384 Speaker 5: No, this is emty d world in withs we live 223 00:16:16,464 --> 00:16:17,784 Speaker 5: in makes it. 224 00:16:19,584 --> 00:16:39,824 Speaker 4: R so living the little we did it in early 225 00:16:39,984 --> 00:16:41,504 Speaker 4: days and there. 226 00:16:41,304 --> 00:16:45,304 Speaker 2: Was the explosion, and I suddenly noticed as we started 227 00:16:45,304 --> 00:16:49,304 Speaker 2: it it was like a ninety year old woman, very 228 00:16:49,304 --> 00:16:54,464 Speaker 2: old in the front row. I suddenly got both ship 229 00:16:54,944 --> 00:16:58,624 Speaker 2: we're going to kill her. There's no book stopping. I 230 00:16:58,704 --> 00:17:02,264 Speaker 2: can't stop the song saying cover your ears love. So 231 00:17:03,344 --> 00:17:05,824 Speaker 2: it comes to itis and I kind of like, I 232 00:17:05,904 --> 00:17:09,504 Speaker 2: kind of look away living and boom, and I look 233 00:17:09,584 --> 00:17:13,064 Speaker 2: back to her thinking court and she is loving it. 234 00:17:13,184 --> 00:17:18,744 Speaker 2: So yeah, when you got a job, well. 235 00:17:20,104 --> 00:17:22,224 Speaker 4: You've got to give me. 236 00:17:25,064 --> 00:17:28,744 Speaker 1: Live and let Die from the single released by Wings 237 00:17:29,104 --> 00:17:55,864 Speaker 1: in nineteen seventy three. In the next episode, mystery tours 238 00:17:55,904 --> 00:17:59,544 Speaker 1: were cheap one day bus trips out of the city 239 00:18:00,144 --> 00:18:17,184 Speaker 1: for working class families. Some of them were magical McCartney. 240 00:18:17,384 --> 00:18:21,464 Speaker 1: A Life in Lyrics is a co production between iHeartMedia, 241 00:18:21,984 --> 00:18:24,704 Speaker 1: NPL and Pushkin Industries.