1 00:00:14,824 --> 00:00:15,264 Speaker 1: Pushkin. 2 00:00:20,144 --> 00:00:24,824 Speaker 2: We admired a singer at that time called Bruce Chanelle 3 00:00:24,864 --> 00:00:27,704 Speaker 2: I think his name was, who had a song called 4 00:00:27,704 --> 00:00:39,464 Speaker 2: Hey Baby where there was a harmonica riff. So we 5 00:00:39,504 --> 00:00:49,424 Speaker 2: started doing Hey Baby. I sang it. John played the harmonica. 6 00:00:50,024 --> 00:00:53,344 Speaker 2: I think that was one of the contributory factors for 7 00:00:53,544 --> 00:00:56,504 Speaker 2: when we're going to write something that's a good idea, 8 00:00:56,624 --> 00:01:00,304 Speaker 2: This harmonica thing's a good idea. John could play it well. 9 00:01:01,064 --> 00:01:11,384 Speaker 2: We could write something that would feature a harmonica. You know, 10 00:01:11,464 --> 00:01:14,384 Speaker 2: instruments come in sort of vogues. I mean you think 11 00:01:14,424 --> 00:01:19,224 Speaker 2: of skiffle. Guitar was like a harmmonic. It's what everyone 12 00:01:19,264 --> 00:01:22,424 Speaker 2: got for Christmas, is what everyone got, and that then 13 00:01:22,504 --> 00:01:25,904 Speaker 2: spawned the sixties revolutions. 14 00:01:33,624 --> 00:01:37,584 Speaker 3: And Paul won't do And I've been fortunate to spend 15 00:01:37,624 --> 00:01:41,304 Speaker 3: time with one of the greatest songwriters of our era. 16 00:01:41,624 --> 00:01:44,064 Speaker 2: And will you look at me, I'm going on to it. 17 00:01:44,464 --> 00:01:46,424 Speaker 2: I'm actually a performer. 18 00:01:46,304 --> 00:01:49,904 Speaker 3: That is, Sir Paul McCartney. We worked together on a 19 00:01:49,944 --> 00:01:52,504 Speaker 3: book looking at the lyrics of more than one hundred 20 00:01:52,504 --> 00:01:57,064 Speaker 3: and fifty of his songs, and we recorded many hours 21 00:01:57,344 --> 00:01:58,544 Speaker 3: of our conversations. 22 00:01:58,984 --> 00:02:02,224 Speaker 2: It was like going back to an old snapshot album 23 00:02:02,384 --> 00:02:07,104 Speaker 2: looking back on work I hadn't ever analyzed. 24 00:02:07,664 --> 00:02:12,904 Speaker 3: This is my Martney, a life in lyrics, a master class, 25 00:02:13,184 --> 00:02:17,224 Speaker 3: a memoir, and an improvised journey with one of the 26 00:02:17,264 --> 00:02:22,704 Speaker 3: most iconic figures in popular music. In this episode, love 27 00:02:22,824 --> 00:02:25,064 Speaker 3: Me Too, BA love Me? 28 00:02:25,264 --> 00:02:38,184 Speaker 1: Do you Know? I Love you? Blways be true so lovely. 29 00:02:40,424 --> 00:02:44,704 Speaker 3: For a group like the Beatles to come into existence, 30 00:02:45,304 --> 00:02:49,864 Speaker 3: you need quite a few planets to align, but you 31 00:02:49,944 --> 00:02:57,264 Speaker 3: also need prodigious talent, clever strategy, and instiable drive. In 32 00:02:57,304 --> 00:03:00,664 Speaker 3: this episode, we trace the origins of one of the 33 00:03:00,704 --> 00:03:05,544 Speaker 3: earliest Beatles songs. These days, it's difficult to remember a 34 00:03:05,624 --> 00:03:10,144 Speaker 3: time before the Beatles, but back when Paul McCartney and 35 00:03:10,224 --> 00:03:14,424 Speaker 3: John Lennon wrote Love Me Doo, they were merely school 36 00:03:14,464 --> 00:03:16,264 Speaker 3: boys trying to make a hit. 37 00:03:16,704 --> 00:03:18,984 Speaker 2: In the afternoons, I sometimes had a rather kind of 38 00:03:19,184 --> 00:03:22,904 Speaker 2: light class that I could get out of, and so 39 00:03:23,824 --> 00:03:26,344 Speaker 2: I would say I had a dentist's appointment or something, 40 00:03:27,264 --> 00:03:29,984 Speaker 2: and they didn't check too heavily, so I would be 41 00:03:30,024 --> 00:03:32,904 Speaker 2: able to get on the bus, go back home and 42 00:03:33,024 --> 00:03:37,144 Speaker 2: arrange to meet John, who ran about that time, was 43 00:03:37,184 --> 00:03:40,104 Speaker 2: going to the art college next door in my school, 44 00:03:41,184 --> 00:03:43,664 Speaker 2: so we'd meet up at my house is now National 45 00:03:43,704 --> 00:03:48,224 Speaker 2: Trust Establishment twenty fourth in the road, and we would 46 00:03:48,784 --> 00:03:52,424 Speaker 2: meet there because that was the most convenient place, and 47 00:03:52,624 --> 00:03:57,304 Speaker 2: my mom and dad wouldn't be there, so we would 48 00:03:57,344 --> 00:04:03,264 Speaker 2: go there and start just knocking around, showing each other 49 00:04:03,784 --> 00:04:10,264 Speaker 2: stuff that we'd written already, and then writing new stuff together. 50 00:04:11,184 --> 00:04:13,904 Speaker 2: And this's involved a couple of songs that have never 51 00:04:13,944 --> 00:04:20,504 Speaker 2: been published or never been heard, songs like just Fun 52 00:04:20,984 --> 00:04:24,144 Speaker 2: was one of them, and they were very rough little things, 53 00:04:24,184 --> 00:04:25,264 Speaker 2: but you know, it was the. 54 00:04:25,224 --> 00:04:28,064 Speaker 4: Start, right now? You still have copies of those? 55 00:04:28,224 --> 00:04:29,304 Speaker 3: Are there still copies of it? 56 00:04:29,424 --> 00:04:29,624 Speaker 2: You know? 57 00:04:32,024 --> 00:04:32,704 Speaker 1: I do? 58 00:04:32,984 --> 00:04:36,544 Speaker 2: I say, or did have an old school exercise book. 59 00:04:36,544 --> 00:04:40,744 Speaker 2: It's a nice little blue book, hardback, and in that 60 00:04:40,904 --> 00:04:46,744 Speaker 2: I wrote just fun, Just fun. They said that our 61 00:04:46,784 --> 00:04:49,784 Speaker 2: love was just fun the day that our friendship begun. 62 00:04:50,624 --> 00:04:53,264 Speaker 2: There's no blueboon that I can see. There's never been 63 00:04:53,304 --> 00:04:57,544 Speaker 2: in history, because our love was just fun, kind of 64 00:04:57,544 --> 00:05:02,584 Speaker 2: country pond. And then Too Bad about Sorrows was sort 65 00:05:02,584 --> 00:05:06,144 Speaker 2: of too bad about Sartrouse. Wow, Wow wow? 66 00:05:06,344 --> 00:05:06,864 Speaker 3: Ooh? 67 00:05:07,584 --> 00:05:11,424 Speaker 2: Do do I think it's a little too opy thing? 68 00:05:12,144 --> 00:05:17,784 Speaker 2: This was the start. And then I'd written in angel voices. 69 00:05:18,144 --> 00:05:22,144 Speaker 3: In that little blue notebook where the two school boys 70 00:05:22,144 --> 00:05:26,384 Speaker 3: had scribbled their very first lyrics. There was evidence Lennon 71 00:05:26,464 --> 00:05:31,944 Speaker 3: and McCartney envisioned themselves following in the footsteps of other 72 00:05:32,304 --> 00:05:33,784 Speaker 3: songwriting giants. 73 00:05:34,464 --> 00:05:36,784 Speaker 2: And at the top of the page, I'd written another 74 00:05:36,904 --> 00:05:38,504 Speaker 2: Lennon McCartney original. 75 00:05:39,184 --> 00:05:43,424 Speaker 3: So you already had a sense, even though you were 76 00:05:43,584 --> 00:05:47,304 Speaker 3: what sixteen, a little older perhaps that you would have 77 00:05:47,384 --> 00:05:47,864 Speaker 3: a future. 78 00:05:48,144 --> 00:05:50,064 Speaker 2: Yeah, did you? I mean I think it was more 79 00:05:50,104 --> 00:05:52,624 Speaker 2: a sort of wish than a sense. It was more, 80 00:05:53,104 --> 00:05:56,704 Speaker 2: you know, this thing, if you visualize it, it might 81 00:05:56,744 --> 00:06:00,024 Speaker 2: come true. And you know, when you think of Lena McCartney, 82 00:06:00,104 --> 00:06:03,504 Speaker 2: was because we'd heard of Gilbert Sullivan, Rogers and Hanstein. 83 00:06:04,624 --> 00:06:07,824 Speaker 2: Lena McCartney as good as two of us, and we 84 00:06:08,344 --> 00:06:11,384 Speaker 2: can make it one of I was type names Lib 85 00:06:11,504 --> 00:06:14,984 Speaker 2: and Star, Goffin and King, but these were magic names 86 00:06:15,024 --> 00:06:18,544 Speaker 2: to us. We didn't realize Coffin King was Carol King. 87 00:06:19,024 --> 00:06:21,264 Speaker 2: I didn't realize it was a girl and. 88 00:06:21,264 --> 00:06:22,784 Speaker 4: An amazingly young woman. 89 00:06:22,904 --> 00:06:25,704 Speaker 2: I was very young, yes, yeah, but you know it 90 00:06:25,824 --> 00:06:28,144 Speaker 2: was thrilling to know that there were these people out 91 00:06:28,184 --> 00:06:31,024 Speaker 2: there and this is what we wanted to be and 92 00:06:31,664 --> 00:06:35,784 Speaker 2: love me do game. Around that period, One after nine 93 00:06:35,904 --> 00:06:38,344 Speaker 2: or nine robbed me doing one after nine or nine 94 00:06:38,424 --> 00:06:42,264 Speaker 2: actually got published and actually got recorded. 95 00:06:44,544 --> 00:06:46,424 Speaker 3: One Affter nine or nine. 96 00:06:48,264 --> 00:06:48,904 Speaker 5: I didn't move. 97 00:06:51,064 --> 00:06:55,064 Speaker 2: The others didn't get recorded. And the school exercise book. 98 00:06:55,664 --> 00:07:00,904 Speaker 2: I found it probably about ten fifteen years ago, put 99 00:07:00,944 --> 00:07:03,824 Speaker 2: it in my bookcase, and I've since lost it, Tome. 100 00:07:04,624 --> 00:07:06,384 Speaker 2: I don't know where it is. I think it might 101 00:07:06,464 --> 00:07:10,464 Speaker 2: show up somewhere, but it's the first ever so Lenna 102 00:07:10,544 --> 00:07:15,104 Speaker 2: McCarney manuscript. Anyway. Yeah, well, oh dear is right, But 103 00:07:15,184 --> 00:07:16,904 Speaker 2: you know you have to let these things go right, 104 00:07:18,304 --> 00:07:22,304 Speaker 2: maybe down one on one after. 105 00:07:25,264 --> 00:07:30,504 Speaker 3: Another. Duo which had a profound influence on young Lennon 106 00:07:30,584 --> 00:07:33,984 Speaker 3: and McCartney was the Everly Brothers. 107 00:07:34,464 --> 00:07:39,144 Speaker 2: There are certain people that you can credit for pretty 108 00:07:39,224 --> 00:07:42,264 Speaker 2: much everything we did, because I think that's I think 109 00:07:42,264 --> 00:07:46,304 Speaker 2: that's true of everyone. I think everyone's got a hero 110 00:07:47,424 --> 00:07:49,704 Speaker 2: that forms them. 111 00:07:58,624 --> 00:08:06,384 Speaker 5: Bell like this, Astia, How did I exist? 112 00:08:06,544 --> 00:08:07,624 Speaker 1: Alista? 113 00:08:08,864 --> 00:08:13,224 Speaker 2: So so as John and I were two male vocalists 114 00:08:14,104 --> 00:08:18,824 Speaker 2: who sang in harmony. Our biggest influence was the Evely Brothers, 115 00:08:19,184 --> 00:08:23,984 Speaker 2: who we loved adored to this day. I just think 116 00:08:23,984 --> 00:08:29,264 Speaker 2: they the greatest, and it was different. You'd have barbershop quartets. 117 00:08:29,824 --> 00:08:33,104 Speaker 2: You'd heard the Beverly Sisters, the Three girls. You'd heard 118 00:08:33,144 --> 00:08:38,184 Speaker 2: all that, but just two guys, good lucking guys. This 119 00:08:38,304 --> 00:08:38,664 Speaker 2: is good. 120 00:08:40,304 --> 00:08:45,744 Speaker 5: Oh yeah, you're got about. 121 00:08:48,264 --> 00:08:52,384 Speaker 2: So yeah. We loved them and idolized them and wanted 122 00:08:52,344 --> 00:08:57,664 Speaker 2: to be like them. 123 00:08:57,664 --> 00:08:58,904 Speaker 1: Oh yeah. 124 00:08:58,944 --> 00:09:01,344 Speaker 2: It's like when people later would see the Beatles on 125 00:09:01,344 --> 00:09:02,304 Speaker 2: the Ed Sullivan Show. 126 00:09:02,384 --> 00:09:05,264 Speaker 1: But even ladies and gentlemen like Live from New York. 127 00:09:06,104 --> 00:09:16,224 Speaker 2: Then, I mean trillion people who say that I knew 128 00:09:16,344 --> 00:09:18,264 Speaker 2: that's what I wanted to be la. 129 00:09:19,424 --> 00:09:21,184 Speaker 5: On our show in New York, the Beatles played to 130 00:09:21,224 --> 00:09:24,424 Speaker 5: the greatest TV audience it's ever been assembled in the 131 00:09:24,464 --> 00:09:25,824 Speaker 5: history of American TV. 132 00:09:26,304 --> 00:09:30,904 Speaker 2: When I saw you foreheaded monster on the Telly and 133 00:09:30,984 --> 00:09:33,664 Speaker 2: you I've got to be part of this. Our current 134 00:09:33,744 --> 00:09:38,984 Speaker 2: manager of Beatles Apple Records, says that Bruce Springsteen says 135 00:09:39,024 --> 00:09:44,584 Speaker 2: that David Lehnerman says that they all formed on that night, 136 00:09:45,664 --> 00:09:48,664 Speaker 2: formed this this future for themselves, and there we were 137 00:09:48,704 --> 00:09:51,024 Speaker 2: in Liverpool form in this future and the same kind 138 00:09:51,064 --> 00:09:51,744 Speaker 2: of deal. 139 00:10:00,944 --> 00:10:02,424 Speaker 1: When you say goodbye. 140 00:10:02,664 --> 00:10:06,384 Speaker 3: Lennon and McCartney were working in the wake of all 141 00:10:06,504 --> 00:10:11,704 Speaker 3: these great songwriting dues who wrote songs for others to sing, 142 00:10:12,384 --> 00:10:17,424 Speaker 3: and singers like the Everly Brothers who sang other people's songs, 143 00:10:18,064 --> 00:10:21,504 Speaker 3: but there were also people like Buddy Holly who could 144 00:10:21,584 --> 00:10:22,024 Speaker 3: do it all. 145 00:10:22,264 --> 00:10:25,144 Speaker 5: You know, you know me, baby dude, you tell me 146 00:10:25,264 --> 00:10:26,864 Speaker 5: maybe that's soday. 147 00:10:27,104 --> 00:10:32,064 Speaker 1: Well you real loudly bad? Would you sing? 148 00:10:32,104 --> 00:10:32,584 Speaker 4: Goodbye? 149 00:10:33,664 --> 00:10:37,944 Speaker 2: Buddy Holly to us was amazing for a number of reasons. 150 00:10:38,864 --> 00:10:43,824 Speaker 2: He sang and played guitar. Elvis just sang and Scotty 151 00:10:43,864 --> 00:10:49,024 Speaker 2: Moore played guitar. He no only played guitar, he played 152 00:10:49,104 --> 00:10:52,304 Speaker 2: the solos. Normally, if you played guitar, there was another 153 00:10:52,344 --> 00:10:54,344 Speaker 2: guy in the group was the lead guitar played the solos. 154 00:10:54,624 --> 00:10:58,624 Speaker 2: But Buddy sang and played the guitar and played the solos. 155 00:10:59,224 --> 00:11:05,744 Speaker 2: He also wrote the stuff, so this was like all inclusive, 156 00:11:05,824 --> 00:11:09,064 Speaker 2: one man band, and we really thought that was great. 157 00:11:09,304 --> 00:11:11,304 Speaker 2: So this is what we have to do. 158 00:11:14,824 --> 00:11:20,784 Speaker 3: Buddy Holly inspired the youngsters to explore their full musical potential, 159 00:11:21,384 --> 00:11:24,824 Speaker 3: and he also helped John Lennon overcome his embarrassment about 160 00:11:24,944 --> 00:11:25,904 Speaker 3: wearing glasses. 161 00:11:26,424 --> 00:11:30,024 Speaker 2: He also wore these big horn room glasses, as did John. 162 00:11:30,824 --> 00:11:32,784 Speaker 2: And if ever there would be a girl coming up 163 00:11:32,864 --> 00:11:34,584 Speaker 2: John with witness glasses off and put them in his 164 00:11:34,664 --> 00:11:40,064 Speaker 2: pocket and squint as she went by, and you look 165 00:11:40,104 --> 00:11:43,064 Speaker 2: pretty good. The glasses but when Buddy get them along, 166 00:11:43,424 --> 00:11:47,024 Speaker 2: the glasses stayed on. It was like Harry Potter with 167 00:11:47,064 --> 00:11:47,504 Speaker 2: all the kids. 168 00:11:48,584 --> 00:11:55,744 Speaker 3: Like Buddy Holly had more than just the musical chops 169 00:11:55,984 --> 00:11:59,584 Speaker 3: and the suave image that John Lennon and Paul McCartney 170 00:11:59,664 --> 00:12:03,584 Speaker 3: covet it for themselves. The name of his group, Buddy 171 00:12:03,584 --> 00:12:08,984 Speaker 3: Holly and the Crickets, had a certain entomological ring to it. 172 00:12:09,384 --> 00:12:12,504 Speaker 2: The name the Crickets. You know, we wanted something with 173 00:12:12,544 --> 00:12:15,504 Speaker 2: a dual meaning, and it turned out they didn't know 174 00:12:15,664 --> 00:12:18,944 Speaker 2: how the dual meaning the crickets. They didn't know about 175 00:12:18,984 --> 00:12:22,224 Speaker 2: the game cricket. Oh, I say, they just thought it 176 00:12:22,264 --> 00:12:25,304 Speaker 2: was grasshoppers. So we said to them. I met them 177 00:12:25,464 --> 00:12:30,384 Speaker 2: years later, said, fantastic man, the Beatles. We loved crickets, 178 00:12:31,384 --> 00:12:34,624 Speaker 2: chirpy little things and the great game of cricket. A 179 00:12:35,024 --> 00:12:38,224 Speaker 2: brilliant name for a group. And they went, you know, 180 00:12:38,264 --> 00:12:41,264 Speaker 2: oh no, we just heard a grasshopper in the studio wall. 181 00:12:41,344 --> 00:12:47,144 Speaker 4: You know, did you do you remember setting around thinking 182 00:12:47,824 --> 00:12:51,704 Speaker 4: Buddy Holly and the Crickets the Beatles will be a 183 00:12:51,704 --> 00:12:53,944 Speaker 4: great name for us. 184 00:12:53,984 --> 00:12:57,464 Speaker 2: My memory of it was that we were striving to 185 00:12:57,544 --> 00:13:01,224 Speaker 2: find something with a dual meaning because of the crickets. 186 00:13:01,504 --> 00:13:04,184 Speaker 2: This is the idea. Now the actual origin of it 187 00:13:04,224 --> 00:13:06,464 Speaker 2: is clouded in mystery. 188 00:13:08,104 --> 00:13:09,064 Speaker 3: You know, I missed you. 189 00:13:10,024 --> 00:13:11,984 Speaker 2: It was just a club split up. I missed you. 190 00:13:12,024 --> 00:13:14,384 Speaker 2: Because there are all sorts of theories about this, says 191 00:13:14,624 --> 00:13:18,824 Speaker 2: The Wild Ones with Marlon Brando, and at one point 192 00:13:18,904 --> 00:13:22,344 Speaker 2: Lee Marvin says, he Johnny, Johnny or Johnny, I think 193 00:13:22,344 --> 00:13:26,864 Speaker 2: he's cool. Come on, Johnny, we all missed you. Miss Johnny. 194 00:13:26,904 --> 00:13:28,664 Speaker 2: We love you, you know, coming back to the gang or 195 00:13:28,744 --> 00:13:33,584 Speaker 2: something like that. Johnny, we love you. The Beatles love you, Beatles, 196 00:13:33,584 --> 00:13:37,824 Speaker 2: Mister Beatles. Mister. It turns out the Malls, the girls 197 00:13:37,824 --> 00:13:42,744 Speaker 2: in the Motorcycle Gang were called Beatles, says The Beatles. 198 00:13:42,344 --> 00:13:44,424 Speaker 3: Love you, Johnny for all times. 199 00:13:45,024 --> 00:13:49,864 Speaker 2: And I know John and Stuart his art school friends, 200 00:13:49,904 --> 00:13:54,424 Speaker 2: Stuart Suckliffe loved that film, as we all did. I 201 00:13:54,424 --> 00:13:56,544 Speaker 2: think they had seen it. I think we just loved 202 00:13:56,584 --> 00:13:59,984 Speaker 2: it and hadn't seen it anyway, So that's one of the theories. 203 00:14:04,504 --> 00:14:09,504 Speaker 3: Today it's easy to forget how the creation of the 204 00:14:09,544 --> 00:14:15,544 Speaker 3: Beatles required thousands of small choices. Songs which are now 205 00:14:15,704 --> 00:14:20,624 Speaker 3: canonized were once simple phrases. Two boys having fun when 206 00:14:20,704 --> 00:14:24,104 Speaker 3: no parents were home. One of them with a notebook 207 00:14:24,144 --> 00:14:28,704 Speaker 3: in hand, the other playing a harmonica. 208 00:14:32,664 --> 00:14:36,464 Speaker 2: At one of those writing sessions, twenty fourth Inn Road, 209 00:14:37,224 --> 00:14:41,544 Speaker 2: a little garden path past my dad's lavender hedge. You know, 210 00:14:41,624 --> 00:14:44,184 Speaker 2: we would write, let me doing John come up with 211 00:14:44,224 --> 00:14:49,384 Speaker 2: this little harmonica roof. It's so simple. I mean, yes, 212 00:14:49,544 --> 00:14:52,424 Speaker 2: there's nothing to it. It's a will have a wisp 213 00:14:53,104 --> 00:14:55,384 Speaker 2: little song lovely. 214 00:15:01,784 --> 00:15:07,144 Speaker 3: So what do you think made it become such a 215 00:15:07,704 --> 00:15:09,344 Speaker 3: potent powerful. 216 00:15:09,144 --> 00:15:14,424 Speaker 2: I think our image and our energy as the four Beatles, 217 00:15:15,144 --> 00:15:19,784 Speaker 2: was what was potent. And it had a very fresh sound. 218 00:15:20,464 --> 00:15:22,384 Speaker 2: That's the sort of thing that people noticed. And we 219 00:15:22,424 --> 00:15:26,344 Speaker 2: had a very fresh image. Nobody looked like us. And 220 00:15:27,304 --> 00:15:30,704 Speaker 2: we'd been working at it a long time in Liverpool, 221 00:15:30,864 --> 00:15:35,184 Speaker 2: originally as really a bunch of rocers, you know, the 222 00:15:35,264 --> 00:15:39,864 Speaker 2: cliffs and everything. Gone over to Hamburg as the rockers 223 00:15:40,504 --> 00:15:44,104 Speaker 2: had got a little bit leatherified there, and then it 224 00:15:44,184 --> 00:15:48,504 Speaker 2: moved from leather to suits at the request of Brian Epstein. 225 00:15:49,064 --> 00:15:54,184 Speaker 3: Brian Epstein, an entrepreneurial young man from a family of 226 00:15:54,264 --> 00:15:59,064 Speaker 3: successful retailers in Liverpool, had stumbled upon the Beatles at 227 00:15:59,064 --> 00:16:03,944 Speaker 3: a nineteen sixty one lunchtime concert. He had no experience 228 00:16:04,064 --> 00:16:07,904 Speaker 3: managing artists, but he did have lots of confidence, so 229 00:16:08,144 --> 00:16:11,544 Speaker 3: in short order he signed the contract to manage the 230 00:16:11,584 --> 00:16:14,584 Speaker 3: band and told them to get suited up. 231 00:16:14,984 --> 00:16:17,384 Speaker 2: Yeah, so we all went over to Beno Dawn who 232 00:16:17,464 --> 00:16:21,824 Speaker 2: was in the wirrald back and head a Taylor. We'd 233 00:16:21,864 --> 00:16:25,144 Speaker 2: never been to a tailor really, you know, so certainly 234 00:16:25,224 --> 00:16:28,624 Speaker 2: not on maps. We went over and got suits. So 235 00:16:28,664 --> 00:16:31,664 Speaker 2: we had this image. We had all the experienced musical 236 00:16:31,664 --> 00:16:35,704 Speaker 2: experience of Hamburg, of playing a lot your ten thousand hours, 237 00:16:35,744 --> 00:16:40,544 Speaker 2: mister Gladwell's ten thousand hours. So when we kind of 238 00:16:40,584 --> 00:16:44,504 Speaker 2: then came on the scene and was seen on television, 239 00:16:45,144 --> 00:16:50,584 Speaker 2: we had a freshness, complete simplicity. Lot me do is 240 00:16:50,984 --> 00:16:55,264 Speaker 2: it's got a slightly sort of bluesy thing. I mean, 241 00:16:55,264 --> 00:17:01,264 Speaker 2: it's not a blues but it's got a simplicity, like 242 00:17:01,504 --> 00:17:05,704 Speaker 2: a little sort of down home on the porch with 243 00:17:05,824 --> 00:17:12,024 Speaker 2: a couple of guitars on harmonica. 244 00:17:14,584 --> 00:17:18,944 Speaker 3: At the heart of these simple lyrics is a familiar story, 245 00:17:19,184 --> 00:17:22,224 Speaker 3: a young man yearning for a woman to. 246 00:17:22,264 --> 00:17:27,544 Speaker 1: Love Salmon, Salma. 247 00:17:29,784 --> 00:17:32,744 Speaker 2: It's a funny thing. You try and recreate that stuff 248 00:17:32,984 --> 00:17:39,264 Speaker 2: now and it's almost impossible. Why because you were sixteen, 249 00:17:39,424 --> 00:17:43,544 Speaker 2: That's why you were looking at the world, and the 250 00:17:43,584 --> 00:17:47,984 Speaker 2: world was good, and there was this marvelous rock and 251 00:17:48,104 --> 00:17:52,904 Speaker 2: roll future unfolding itself, and you were about to become 252 00:17:53,024 --> 00:17:58,224 Speaker 2: part of it. So your longings for a girl which 253 00:17:58,304 --> 00:18:03,984 Speaker 2: was impossible to achieve, you know, nobody had that little, 254 00:18:04,024 --> 00:18:08,344 Speaker 2: perfect high school sweetheart, you know. So there was this 255 00:18:08,464 --> 00:18:13,704 Speaker 2: great long for your career is you didn't know what 256 00:18:13,744 --> 00:18:15,704 Speaker 2: you were going to do, and it was a dread 257 00:18:15,784 --> 00:18:19,384 Speaker 2: of all dreads. I was about to go to teachers 258 00:18:19,424 --> 00:18:23,104 Speaker 2: training college and I was trying to put that off forever. 259 00:18:23,664 --> 00:18:26,624 Speaker 2: I did not want to go into that mold. So 260 00:18:27,024 --> 00:18:30,224 Speaker 2: there was all these different kinds of longings. John and 261 00:18:30,264 --> 00:18:34,184 Speaker 2: I's mothers had both died, which was this amazing bond 262 00:18:34,744 --> 00:18:43,264 Speaker 2: between us. We both understood the anguish of that, and 263 00:18:43,344 --> 00:18:47,384 Speaker 2: at that age it's largely unspoken. You just said, oh 264 00:18:47,424 --> 00:18:51,384 Speaker 2: your mother, Yes, so didn't I. We knew. I knew 265 00:18:51,424 --> 00:18:54,584 Speaker 2: the circumstances of his mother. He knew the circusance in mind, 266 00:18:54,904 --> 00:18:57,864 Speaker 2: and we would talk about it a little bit, but 267 00:18:58,024 --> 00:19:02,824 Speaker 2: being young boys, you didn't talk about it much. So 268 00:19:03,024 --> 00:19:08,264 Speaker 2: all this was rolled up into this package, this longing, 269 00:19:09,144 --> 00:19:14,064 Speaker 2: and it's spilled out, which is the best way to write. 270 00:19:14,544 --> 00:19:25,664 Speaker 3: Me some of this longie for their mothers for love 271 00:19:26,104 --> 00:19:30,904 Speaker 3: for artistry was fairly abstract, but they also had more 272 00:19:31,104 --> 00:19:36,624 Speaker 3: concrete ambitions. They had met other songwriting teams who turned 273 00:19:36,664 --> 00:19:38,904 Speaker 3: out hits and made good money. 274 00:19:39,184 --> 00:19:41,544 Speaker 2: John and I looked at thought the right we could 275 00:19:41,584 --> 00:19:44,864 Speaker 2: do that? What a good idea. If we get hits, 276 00:19:45,584 --> 00:19:49,104 Speaker 2: that will then get money and it may not buy 277 00:19:49,224 --> 00:19:51,984 Speaker 2: us love, but it will buy us a car. I 278 00:19:52,064 --> 00:19:54,624 Speaker 2: must admit, you know, we were young guys without any money, 279 00:19:55,344 --> 00:20:00,104 Speaker 2: coming from Liverpool with dreams, and once we realized that 280 00:20:00,184 --> 00:20:02,544 Speaker 2: to write a hit song would get you some money, 281 00:20:03,664 --> 00:20:08,104 Speaker 2: but very attractive, very attractive thought. And it wasn't just 282 00:20:08,144 --> 00:20:11,824 Speaker 2: the money. It then the joy of pulling our song 283 00:20:11,904 --> 00:20:14,824 Speaker 2: out of a hat, being able to play it with 284 00:20:14,944 --> 00:20:18,784 Speaker 2: our band, which needed songs. So we were sort of 285 00:20:18,984 --> 00:20:20,104 Speaker 2: feeding the machine. 286 00:20:21,584 --> 00:20:23,504 Speaker 1: Take one No. 287 00:20:26,104 --> 00:20:28,784 Speaker 3: Later, when the Fab four removed from writing in the 288 00:20:28,824 --> 00:20:32,904 Speaker 3: parlor room to writing in the studio, they learned to 289 00:20:33,024 --> 00:20:36,344 Speaker 3: crank out hits at an impressive piece. 290 00:20:37,464 --> 00:20:48,704 Speaker 2: Four one are recording hours? Well, what now classical people do? 291 00:20:49,344 --> 00:20:53,184 Speaker 2: It's it's the norm for recording. You normally go in 292 00:20:54,424 --> 00:20:58,144 Speaker 2: ten o'clock, you get yourself together, you start at ten thirty. 293 00:20:59,344 --> 00:21:02,424 Speaker 2: You then will work three hours. You don't have an 294 00:21:02,464 --> 00:21:05,304 Speaker 2: hour break, and you work two thirty to five thirty, 295 00:21:06,264 --> 00:21:10,704 Speaker 2: and that's it. And in those two periods of three hours, 296 00:21:11,144 --> 00:21:13,344 Speaker 2: it was expected that we would be able to finish 297 00:21:13,344 --> 00:21:18,504 Speaker 2: two songs. So we did. And that was the output 298 00:21:18,624 --> 00:21:22,064 Speaker 2: and the great the flow of just having to come 299 00:21:22,144 --> 00:21:26,024 Speaker 2: up with two complete things. But the great thing about 300 00:21:26,104 --> 00:21:31,664 Speaker 2: this was you were finished by five point thirty. When 301 00:21:31,864 --> 00:21:34,664 Speaker 2: a harmonica like the Beatles playing not a toy but 302 00:21:34,784 --> 00:21:38,584 Speaker 2: a Genuinehoner marine band harmonica, just like those play by 303 00:21:38,624 --> 00:21:39,024 Speaker 2: the Beatles. 304 00:21:39,264 --> 00:21:42,184 Speaker 3: Maybe what allowed the Beatles to come together was the 305 00:21:42,184 --> 00:21:46,104 Speaker 3: force of their belonging. Maybe it was the long studio days, 306 00:21:46,544 --> 00:21:51,704 Speaker 3: the churning out of albums, the carefully crafted image. Whatever 307 00:21:51,784 --> 00:21:56,424 Speaker 3: the case. They went from looking at other artists dreaming 308 00:21:56,744 --> 00:22:01,224 Speaker 3: of becoming them, to being the artists others would dream 309 00:22:01,264 --> 00:22:01,864 Speaker 3: of becoming. 310 00:22:02,104 --> 00:22:04,944 Speaker 2: Play along with the Beatles with your own genuine Honer 311 00:22:05,024 --> 00:22:13,744 Speaker 2: marine bend harmonica from Klim. 312 00:22:10,464 --> 00:22:16,704 Speaker 3: When what the Beatles would become was beyond what any 313 00:22:16,864 --> 00:22:19,344 Speaker 3: of its members could have dreamt off. When there were 314 00:22:19,384 --> 00:22:22,824 Speaker 3: sixteen and playing harmonica in their living rooms. 315 00:22:23,304 --> 00:22:25,464 Speaker 2: There were all sorts of things. As I say that 316 00:22:25,784 --> 00:22:34,864 Speaker 2: you instinctively knew don't try too hard, don't work too 317 00:22:34,984 --> 00:22:39,544 Speaker 2: hard at reaching for it, because the more you reach, 318 00:22:41,024 --> 00:22:44,704 Speaker 2: the more it will receive. Just kid on that you 319 00:22:44,784 --> 00:22:49,864 Speaker 2: don't even want it right, something will happen where everyone 320 00:22:49,864 --> 00:22:52,544 Speaker 2: else around us be worrying no more other thing. I 321 00:22:52,584 --> 00:22:54,864 Speaker 2: was going to, Oh my god, am I going We 322 00:22:54,944 --> 00:22:58,664 Speaker 2: always related back to this accident we'd had on the 323 00:22:58,704 --> 00:23:01,944 Speaker 2: motorway going from running up to Liverpool, where we'd skid 324 00:23:01,984 --> 00:23:04,624 Speaker 2: it off in the snow down the bank with our 325 00:23:04,784 --> 00:23:07,064 Speaker 2: van and at the bottom of the van were this, 326 00:23:07,464 --> 00:23:10,224 Speaker 2: how the hell are we ever going to go home? 327 00:23:10,984 --> 00:23:14,864 Speaker 2: It's snowing, we're freezing, And someone in the group said 328 00:23:15,104 --> 00:23:19,104 Speaker 2: something will happen, and it was like that became a mantra, 329 00:23:19,624 --> 00:23:22,264 Speaker 2: and you know, as I say, it's actually a very 330 00:23:22,304 --> 00:23:26,024 Speaker 2: good one. It's this. It's not reaching for it, it's 331 00:23:26,224 --> 00:23:26,744 Speaker 2: letting it go. 332 00:23:27,424 --> 00:23:58,264 Speaker 1: Love me, love me, Love me? Do you know I 333 00:23:58,464 --> 00:24:01,104 Speaker 1: love you? Oh? 334 00:24:01,704 --> 00:24:02,144 Speaker 2: Be true? 335 00:24:03,264 --> 00:24:28,784 Speaker 5: So please love me. 336 00:24:21,504 --> 00:24:25,304 Speaker 3: Love me Do from the Beatles nineteen sixty three album 337 00:24:25,384 --> 00:24:32,424 Speaker 3: Please Please Me. In the next episode, McCartney starts over 338 00:24:32,824 --> 00:24:35,544 Speaker 3: with a ragtag band on the run. 339 00:24:35,864 --> 00:24:38,904 Speaker 2: I just thought we would just start something that feels 340 00:24:38,904 --> 00:24:41,824 Speaker 2: good and we'll build it up like the Beatles 341 00:24:41,824 --> 00:24:54,024 Speaker 3: Did McCartney A Life in Lyrics is a co production 342 00:24:54,184 --> 00:24:58,784 Speaker 3: between iHeartMedia NPL and Pushkin Industries.