WEBVTT - Live and Let Die

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<v Speaker 1>Pushkin. He is McCartney. Paul McCartney, a commander, a hero,

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<v Speaker 1>a man of action, everything you've ever.

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<v Speaker 2>Loved in a Bond film.

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<v Speaker 1>Em calls in from the secret Intelligence Service with a mission.

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<v Speaker 1>A commission to write a song before it's too late.

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<v Speaker 1>More thrilled, more exciteable, more chill. Agent McCartney receives his

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<v Speaker 1>technical materials, a title, a novel for inspiration and more.

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<v Speaker 1>At his piano in London, he embarks on his perilous journey.

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<v Speaker 3>Live and Let Die.

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<v Speaker 1>I'm Paul muldoon and I've been fortunate to spend time

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<v Speaker 1>with one of the greatest songwriters of our era.

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<v Speaker 2>And will you look at me?

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<v Speaker 4>I'm going on to I'm actually a performer.

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<v Speaker 1>That is, sir Paul McCartney. We worked 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 4>Oh actually I'm a songwriter. My god, Well that that

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<v Speaker 4>crypt homie.

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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 pop popular music. In this episode, Live and Let.

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<v Speaker 3>Die when you are in your Heart was an open.

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<v Speaker 5>Book used to say little lately.

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<v Speaker 1>Live and Let Die, released in nineteen seventy three, is

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<v Speaker 1>the eighth film in the James Bond franchise, the first

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<v Speaker 1>of the Roger Moore era. It had all the components

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<v Speaker 1>of the classic spy thriller, dry Martini's clever gadgets, car chases.

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<v Speaker 2>Roger Moore as James Bond.

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<v Speaker 4>Double O seven can Live and Let Die.

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<v Speaker 1>Paan McCartney may not have been an international secret agent,

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<v Speaker 1>but he did have a fair amount in common with

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<v Speaker 1>Double Oh seven.

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<v Speaker 2>Did you still the Aston Martin in nineteen seventy three

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<v Speaker 2>or I moved through a couple of cars? It was

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<v Speaker 2>the very first Bond film. Dr no whether he had

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<v Speaker 2>and asked, and you'll be using this Aston Martin dB

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<v Speaker 2>five with modifications now pay attention please. It was only

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<v Speaker 2>later and really I put it together.

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<v Speaker 4>It was so obvious.

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<v Speaker 2>You know why I got on Aston anyway. I've had

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<v Speaker 2>a few nice cars, sports cars. I once had a

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<v Speaker 2>Lamborghini just for the sort of thrill of having a

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<v Speaker 2>sports car. George was the real car person. George ended

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<v Speaker 2>up with a McLaren, which you couldn't use on Britain

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<v Speaker 2>with his speed limits. You know, George was a very

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<v Speaker 2>sports car orientated. In fact, he was horrified to hear that.

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<v Speaker 2>I still sometimes used the boss public transport. You will

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<v Speaker 2>you go on the buses because he so left that behind.

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<v Speaker 1>On top of owning an Aston, Martin McCartney always harbored

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<v Speaker 1>a secret desire to write a Bond song.

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<v Speaker 2>It was always a sneaky ambition to write a Bond

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<v Speaker 2>song because in some ways I like to see myself

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<v Speaker 2>one portion of myself as a jobbing writer. You know,

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<v Speaker 2>you require a harm for the Queen's wedding. I'm your man,

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<v Speaker 2>Dear Elizabeth, Oh greatness, run it off the land.

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<v Speaker 4>They know they fill in, will take your hand. So

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<v Speaker 4>putting that aside.

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<v Speaker 2>The equivalent of that for a lot of people was

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<v Speaker 2>and still is actually the Bond song. It's it's you

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<v Speaker 2>know you you've written the Bond song. It's a bit

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<v Speaker 2>of an accolade.

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<v Speaker 1>Since the early days, part of the allure of the

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<v Speaker 1>Double seven franchise had been the Bond song, a catchy

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<v Speaker 1>hit from the hottest pop star of the.

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<v Speaker 4>Time, Binger.

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<v Speaker 1>Everyone from Shirley Bassie to Billie Eilish has made their contributions.

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<v Speaker 3>Okay, So in this case, a record guy who was

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<v Speaker 3>handling the Beatles Apple records.

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<v Speaker 4>He knew somebody connected.

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<v Speaker 2>With the Bond franchise, and so one day we were

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<v Speaker 2>just chatting and he said, you don't have any interest

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<v Speaker 2>in doing a Bond film? Yeah, I'm probably interested, you know,

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<v Speaker 2>not trying to look too enthusiastic.

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<v Speaker 4>Yeah, I said, yeah, sure.

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<v Speaker 2>But did they even changing world in which were living?

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<v Speaker 6>Makes you.

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<v Speaker 2>Say living Linda.

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<v Speaker 1>When the producers approached McCartney, the script for the film

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<v Speaker 1>had not yet been finished. So McCartney got a hold

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<v Speaker 1>of a copy of Ian Fleming's nineteen fifty four novel

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<v Speaker 1>Live and Let Die.

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<v Speaker 2>And it's a real page turner. So I just spent

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<v Speaker 2>the afternoon just sitting down and making myself know what

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<v Speaker 2>the book is about. So then I knew when I

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<v Speaker 2>sat down to write the song, I knew what the

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<v Speaker 2>idea would be. Now you used to say living live.

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<v Speaker 2>Now you say living a die, And I didn't want

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<v Speaker 2>it to be. So you've got a gun and now

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<v Speaker 2>you go killing people, So living and Die, I just

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<v Speaker 2>wanted it to be. Let it go, don't worry about

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<v Speaker 2>it when you've got problems and everything, just live and

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<v Speaker 2>let die and live and just let it go. And

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<v Speaker 2>so once I had that, it kind of almost wrote itself.

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<v Speaker 2>When you were young in your heart was an open book.

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<v Speaker 2>You used to stay living on it.

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<v Speaker 4>Live. You know you did, you know you did it.

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<v Speaker 2>But if this ever changing world in which we live

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<v Speaker 2>in makes you give it a cry, stay living in

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<v Speaker 2>a die, you know, to help with it very much,

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<v Speaker 2>thinking how is this going to land? Well, we know

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<v Speaker 2>in the Bond film he's going to come out and

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<v Speaker 2>sort of shoot, he's gone at the screen and it's

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<v Speaker 2>all going to go red and drippy, and there's going

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<v Speaker 2>to be a beautiful girl in.

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<v Speaker 4>A very scant costume.

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<v Speaker 2>And so I see where I am.

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<v Speaker 4>This is the world I'm in.

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<v Speaker 1>Sitting at the piano in his London house, McCartney had

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<v Speaker 1>a draft finished in a single afternoon. He brought it

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<v Speaker 1>to his longtime collaborator George Martin, who was producing the

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<v Speaker 1>soundtrack for the film, and together they finested into a bold,

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<v Speaker 1>Bond worthy hit.

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<v Speaker 6>And he said, yeah, we'll come over, and I said, okay,

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<v Speaker 6>so go over, And then i'd go when you were

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<v Speaker 6>young and you're open.

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<v Speaker 4>And show him the chords.

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<v Speaker 6>And then I'd say, and then I've got this da

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<v Speaker 6>dam this is like the sort of central rift to it.

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<v Speaker 4>And then we just we talked.

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<v Speaker 2>And he said it'd be good to go off into

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<v Speaker 2>Bondian arrangements, and so I left that completely to him.

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<v Speaker 4>All the sort of.

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<v Speaker 2>After the riff was played, there's a central middle instrumental

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<v Speaker 2>bit which was pure George, and.

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<v Speaker 4>I was very happy with that. So it was a

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<v Speaker 4>good experience.

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<v Speaker 1>They recorded it in George Martin's studio above Oxford Circus,

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<v Speaker 1>and then George jetted off to the Caribbean with a

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<v Speaker 1>demo stashed in his briefcase.

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<v Speaker 2>In those days, you'd have an ascetate a little pressing

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<v Speaker 2>of the record, and George went out to the Bahamas

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<v Speaker 2>or somewhere where they were filming it, and they were

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<v Speaker 2>on the beach somewhere, so he organized to bring a

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<v Speaker 2>little record player and this disc and he played it

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<v Speaker 2>to Kobe Broccoli, who said, he said, that's nice, George,

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<v Speaker 2>that's a nice demo. When are you going to make

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<v Speaker 2>the finished record? George said, that is it.

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<v Speaker 1>Apparently the producers had imagined that McCartney would write the

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<v Speaker 1>song for someone else to perform. In fact, there's a

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<v Speaker 1>scene in the film where the song is covered by

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<v Speaker 1>the soul singer bj Ar not.

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<v Speaker 4>Changing.

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<v Speaker 1>Instead, McCartney's rock vocals were a breath of fresh air

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<v Speaker 1>to the franchise's songwriting tradition.

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<v Speaker 5>Now you know, there might be some who would have

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<v Speaker 5>questions about the idea of writing a song to order,

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<v Speaker 5>as a song to fulfill a particular task. That's obviously

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<v Speaker 5>not a no.

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<v Speaker 4>I like that.

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<v Speaker 2>Well, I like it because I do the other way

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<v Speaker 2>as well. I wouldn't like to just write toward it,

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<v Speaker 2>but I like saying, as I say, I'm a troubadour

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<v Speaker 2>and I've got my little guitar and I'm in a

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<v Speaker 2>field and I'm writing about the stream and daffodils and

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<v Speaker 2>the sunshine, whatever's occurring to me. I like that very much,

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<v Speaker 2>and I think that's mainly what I do. But then

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<v Speaker 2>occasionally something will come along, Well, some would you like

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<v Speaker 2>to write for thinking a film on film, for instance,

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<v Speaker 2>And I will be yeah, just kind of. I'm an enthusiast,

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<v Speaker 2>so it'll just kind of excite me.

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<v Speaker 4>Oh, could I do that?

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<v Speaker 2>I'll go And I nearly always agree to these things

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<v Speaker 2>before I've really thought them out, because.

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<v Speaker 4>Our enthusiast is. Yeah. I enjoy the process.

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<v Speaker 2>We're trying to come up with something that will fit

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<v Speaker 2>the brief.

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<v Speaker 4>Some people, you say, don't like to do that. It

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<v Speaker 4>can be a very big challenge.

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<v Speaker 5>I mean it's really just an extension of some notion

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<v Speaker 5>of the songwriter as having a place.

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<v Speaker 7>In our in our culture, you know, in which there

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<v Speaker 7>is a job to be done and it's a job

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<v Speaker 7>of work, and that's perfectly reasonable way for a song

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<v Speaker 7>to come into existence.

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<v Speaker 4>I like to think a bit like that sometimes.

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<v Speaker 3>Then you got a job to do, you got to

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<v Speaker 3>do it well, you got to give.

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<v Speaker 4>You know.

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<v Speaker 2>Whilst I didn't rate it too much alongside like from

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<v Speaker 2>Russia with Love Goldfinger, Yeah, which were very Bondie, I

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<v Speaker 2>wasn't sure where the mine was, but a lot of

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<v Speaker 2>people put it on their lists and put it top

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<v Speaker 2>of the lists.

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<v Speaker 4>Actually a Bond song, so.

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<v Speaker 2>It was the first rock and roll Bond that's right.

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<v Speaker 1>Yeah, Living Let Die is likely the only Bond song

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<v Speaker 1>to be covered by Guns N' Roses, who released their

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<v Speaker 1>own version in nineteen ninety one.

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<v Speaker 2>I thought it was pretty good, actually, I was more

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<v Speaker 2>amazed that they would do it.

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<v Speaker 4>It's a young.

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<v Speaker 2>American group and the interesting thing was that my kids

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<v Speaker 2>went to school and they would say, my dad wrote

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<v Speaker 2>that this is no they didn't it's gone sinn Roses,

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<v Speaker 2>so nobody would ever believe them. But yeah, for a

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<v Speaker 2>while it was just gone sin Roses. But I was

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<v Speaker 2>very happy that they'd done it. I always like people

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<v Speaker 2>doing my songs. I don't know about you, but if

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<v Speaker 2>someone decides to recite one of your poems, it's.

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<v Speaker 4>A great compliment.

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<v Speaker 2>You know, of course it is. In my case, it pays.

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<v Speaker 2>How do you know it doesn't play in my kids don't?

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<v Speaker 4>No, I don't know.

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<v Speaker 1>Paul mccartny, his own version of the song had been

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<v Speaker 1>an instant hit. It went to number nine on the

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<v Speaker 1>British charts, number one on the American Until then, the

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<v Speaker 1>highest numbers reached by a Bond theme.

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<v Speaker 4>Well, it's a big show for us.

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<v Speaker 2>It's extremely exciting. We have pyrotechnics, extremely dangerous. It can

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<v Speaker 2>get a little hot up there, yeah, I must say.

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<v Speaker 2>But our pyrotechnics guy, who in whom we trust, is

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<v Speaker 2>called shaky.

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<v Speaker 4>There's a clue.

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<v Speaker 2>And the thing I think I like most about it

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<v Speaker 2>is that, as we know the explosions about to happen,

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<v Speaker 2>the big first explosion. So we often look at the people,

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<v Speaker 2>particularly in the front row, who are like blithely going

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<v Speaker 2>along and live and and you just it's great to

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<v Speaker 2>just watch them. They look at each other and oh

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<v Speaker 2>my god, they're shocked.

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<v Speaker 5>No, this is emty d world in withs we live

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<v Speaker 5>in makes it.

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<v Speaker 4>R so living the little we did it in early

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<v Speaker 4>days and there.

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<v Speaker 2>Was the explosion, and I suddenly noticed as we started

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<v Speaker 2>it it was like a ninety year old woman, very

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<v Speaker 2>old in the front row. I suddenly got both ship

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<v Speaker 2>we're going to kill her. There's no book stopping. I

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<v Speaker 2>can't stop the song saying cover your ears love. So

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<v Speaker 2>it comes to itis and I kind of like, I

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<v Speaker 2>kind of look away living and boom, and I look

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<v Speaker 2>back to her thinking court and she is loving it.

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<v Speaker 2>So yeah, when you got a job, well.

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<v Speaker 4>You've got to give me.

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<v Speaker 1>Live and let Die from the single released by Wings

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<v Speaker 1>in nineteen seventy three. In the next episode, mystery tours

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<v Speaker 1>were cheap one day bus trips out of the city

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<v Speaker 1>for working class families. Some of them were magical McCartney.

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<v Speaker 1>A Life in Lyrics is a co production between iHeartMedia,

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<v Speaker 1>NPL and Pushkin Industries.