WEBVTT - Love Me Do

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<v Speaker 1>Pushkin.

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<v Speaker 2>We admired a singer at that time called Bruce Chanelle

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<v Speaker 2>I think his name was, who had a song called

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<v Speaker 2>Hey Baby where there was a harmonica riff. So we

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<v Speaker 2>started doing Hey Baby. I sang it. John played the harmonica.

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<v Speaker 2>I think that was one of the contributory factors for

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<v Speaker 2>when we're going to write something that's a good idea,

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<v Speaker 2>This harmonica thing's a good idea. John could play it well.

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<v Speaker 2>We could write something that would feature a harmonica. You know,

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<v Speaker 2>instruments come in sort of vogues. I mean you think

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<v Speaker 2>of skiffle. Guitar was like a harmmonic. It's what everyone

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<v Speaker 2>got for Christmas, is what everyone got, and that then

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<v Speaker 2>spawned the sixties revolutions.

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<v Speaker 3>And Paul won't do And I've been fortunate to spend

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<v Speaker 3>time with one of the greatest songwriters of our era.

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<v Speaker 2>And will you look at me, I'm going on to it.

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<v Speaker 2>I'm actually a performer.

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<v Speaker 3>That is, Sir Paul McCartney. We worked together on a

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<v Speaker 3>book looking at the lyrics of more than one hundred

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<v Speaker 3>and fifty of his songs, and we recorded many hours

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<v Speaker 3>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 3>This is my Martney, a life in lyrics, a master class,

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<v Speaker 3>a memoir, and an improvised journey with one of the

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<v Speaker 3>most iconic figures in popular music. In this episode, love

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<v Speaker 3>Me Too, BA love Me?

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<v Speaker 1>Do you Know? I Love you? Blways be true so lovely.

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<v Speaker 3>For a group like the Beatles to come into existence,

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<v Speaker 3>you need quite a few planets to align, but you

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<v Speaker 3>also need prodigious talent, clever strategy, and instiable drive. In

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<v Speaker 3>this episode, we trace the origins of one of the

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<v Speaker 3>earliest Beatles songs. These days, it's difficult to remember a

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<v Speaker 3>time before the Beatles, but back when Paul McCartney and

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<v Speaker 3>John Lennon wrote Love Me Doo, they were merely school

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<v Speaker 3>boys trying to make a hit.

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<v Speaker 2>In the afternoons, I sometimes had a rather kind of

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<v Speaker 2>light class that I could get out of, and so

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<v Speaker 2>I would say I had a dentist's appointment or something,

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<v Speaker 2>and they didn't check too heavily, so I would be

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<v Speaker 2>able to get on the bus, go back home and

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<v Speaker 2>arrange to meet John, who ran about that time, was

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<v Speaker 2>going to the art college next door in my school,

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<v Speaker 2>so we'd meet up at my house is now National

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<v Speaker 2>Trust Establishment twenty fourth in the road, and we would

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<v Speaker 2>meet there because that was the most convenient place, and

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<v Speaker 2>my mom and dad wouldn't be there, so we would

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<v Speaker 2>go there and start just knocking around, showing each other

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<v Speaker 2>stuff that we'd written already, and then writing new stuff together.

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<v Speaker 2>And this's involved a couple of songs that have never

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<v Speaker 2>been published or never been heard, songs like just Fun

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<v Speaker 2>was one of them, and they were very rough little things,

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<v Speaker 2>but you know, it was the.

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<v Speaker 4>Start, right now? You still have copies of those?

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<v Speaker 3>Are there still copies of it?

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<v Speaker 2>You know?

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<v Speaker 1>I do?

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<v Speaker 2>I say, or did have an old school exercise book.

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<v Speaker 2>It's a nice little blue book, hardback, and in that

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<v Speaker 2>I wrote just fun, Just fun. They said that our

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<v Speaker 2>love was just fun the day that our friendship begun.

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<v Speaker 2>There's no blueboon that I can see. There's never been

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<v Speaker 2>in history, because our love was just fun, kind of

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<v Speaker 2>country pond. And then Too Bad about Sorrows was sort

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<v Speaker 2>of too bad about Sartrouse. Wow, Wow wow?

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<v Speaker 3>Ooh?

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<v Speaker 2>Do do I think it's a little too opy thing?

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<v Speaker 2>This was the start. And then I'd written in angel voices.

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<v Speaker 3>In that little blue notebook where the two school boys

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<v Speaker 3>had scribbled their very first lyrics. There was evidence Lennon

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<v Speaker 3>and McCartney envisioned themselves following in the footsteps of other

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<v Speaker 3>songwriting giants.

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<v Speaker 2>And at the top of the page, I'd written another

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<v Speaker 2>Lennon McCartney original.

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<v Speaker 3>So you already had a sense, even though you were

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<v Speaker 3>what sixteen, a little older perhaps that you would have

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<v Speaker 3>a future.

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<v Speaker 2>Yeah, did you? I mean I think it was more

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<v Speaker 2>a sort of wish than a sense. It was more,

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<v Speaker 2>you know, this thing, if you visualize it, it might

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<v Speaker 2>come true. And you know, when you think of Lena McCartney,

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<v Speaker 2>was because we'd heard of Gilbert Sullivan, Rogers and Hanstein.

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<v Speaker 2>Lena McCartney as good as two of us, and we

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<v Speaker 2>can make it one of I was type names Lib

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<v Speaker 2>and Star, Goffin and King, but these were magic names

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<v Speaker 2>to us. We didn't realize Coffin King was Carol King.

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<v Speaker 2>I didn't realize it was a girl and.

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<v Speaker 4>An amazingly young woman.

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<v Speaker 2>I was very young, yes, yeah, but you know it

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<v Speaker 2>was thrilling to know that there were these people out

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<v Speaker 2>there and this is what we wanted to be and

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<v Speaker 2>love me do game. Around that period, One after nine

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<v Speaker 2>or nine robbed me doing one after nine or nine

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<v Speaker 2>actually got published and actually got recorded.

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<v Speaker 3>One Affter nine or nine.

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<v Speaker 5>I didn't move.

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<v Speaker 2>The others didn't get recorded. And the school exercise book.

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<v Speaker 2>I found it probably about ten fifteen years ago, put

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<v Speaker 2>it in my bookcase, and I've since lost it, Tome.

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<v Speaker 2>I don't know where it is. I think it might

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<v Speaker 2>show up somewhere, but it's the first ever so Lenna

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<v Speaker 2>McCarney manuscript. Anyway. Yeah, well, oh dear is right, But

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<v Speaker 2>you know you have to let these things go right,

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<v Speaker 2>maybe down one on one after.

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<v Speaker 3>Another. Duo which had a profound influence on young Lennon

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<v Speaker 3>and McCartney was the Everly Brothers.

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<v Speaker 2>There are certain people that you can credit for pretty

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<v Speaker 2>much everything we did, because I think that's I think

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<v Speaker 2>that's true of everyone. I think everyone's got a hero

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<v Speaker 2>that forms them.

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<v Speaker 5>Bell like this, Astia, How did I exist?

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<v Speaker 1>Alista?

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<v Speaker 2>So so as John and I were two male vocalists

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<v Speaker 2>who sang in harmony. Our biggest influence was the Evely Brothers,

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<v Speaker 2>who we loved adored to this day. I just think

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<v Speaker 2>they the greatest, and it was different. You'd have barbershop quartets.

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<v Speaker 2>You'd heard the Beverly Sisters, the Three girls. You'd heard

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<v Speaker 2>all that, but just two guys, good lucking guys. This

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<v Speaker 2>is good.

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<v Speaker 5>Oh yeah, you're got about.

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<v Speaker 2>So yeah. We loved them and idolized them and wanted

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<v Speaker 2>to be like them.

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<v Speaker 1>Oh yeah.

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<v Speaker 2>It's like when people later would see the Beatles on

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<v Speaker 2>the Ed Sullivan Show.

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<v Speaker 1>But even ladies and gentlemen like Live from New York.

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<v Speaker 2>Then, I mean trillion people who say that I knew

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<v Speaker 2>that's what I wanted to be la.

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<v Speaker 5>On our show in New York, the Beatles played to

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<v Speaker 5>the greatest TV audience it's ever been assembled in the

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<v Speaker 5>history of American TV.

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<v Speaker 2>When I saw you foreheaded monster on the Telly and

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<v Speaker 2>you I've got to be part of this. Our current

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<v Speaker 2>manager of Beatles Apple Records, says that Bruce Springsteen says

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<v Speaker 2>that David Lehnerman says that they all formed on that night,

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<v Speaker 2>formed this this future for themselves, and there we were

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<v Speaker 2>in Liverpool form in this future and the same kind

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<v Speaker 2>of deal.

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<v Speaker 1>When you say goodbye.

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<v Speaker 3>Lennon and McCartney were working in the wake of all

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<v Speaker 3>these great songwriting dues who wrote songs for others to sing,

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<v Speaker 3>and singers like the Everly Brothers who sang other people's songs,

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<v Speaker 3>but there were also people like Buddy Holly who could

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<v Speaker 3>do it all.

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<v Speaker 5>You know, you know me, baby dude, you tell me

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<v Speaker 5>maybe that's soday.

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<v Speaker 1>Well you real loudly bad? Would you sing?

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<v Speaker 4>Goodbye?

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<v Speaker 2>Buddy Holly to us was amazing for a number of reasons.

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<v Speaker 2>He sang and played guitar. Elvis just sang and Scotty

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<v Speaker 2>Moore played guitar. He no only played guitar, he played

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<v Speaker 2>the solos. Normally, if you played guitar, there was another

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<v Speaker 2>guy in the group was the lead guitar played the solos.

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<v Speaker 2>But Buddy sang and played the guitar and played the solos.

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<v Speaker 2>He also wrote the stuff, so this was like all inclusive,

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<v Speaker 2>one man band, and we really thought that was great.

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<v Speaker 2>So this is what we have to do.

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<v Speaker 3>Buddy Holly inspired the youngsters to explore their full musical potential,

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<v Speaker 3>and he also helped John Lennon overcome his embarrassment about

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<v Speaker 3>wearing glasses.

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<v Speaker 2>He also wore these big horn room glasses, as did John.

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<v Speaker 2>And if ever there would be a girl coming up

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<v Speaker 2>John with witness glasses off and put them in his

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<v Speaker 2>pocket and squint as she went by, and you look

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<v Speaker 2>pretty good. The glasses but when Buddy get them along,

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<v Speaker 2>the glasses stayed on. It was like Harry Potter with

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<v Speaker 2>all the kids.

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<v Speaker 3>Like Buddy Holly had more than just the musical chops

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<v Speaker 3>and the suave image that John Lennon and Paul McCartney

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<v Speaker 3>covet it for themselves. The name of his group, Buddy

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<v Speaker 3>Holly and the Crickets, had a certain entomological ring to it.

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<v Speaker 2>The name the Crickets. You know, we wanted something with

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<v Speaker 2>a dual meaning, and it turned out they didn't know

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<v Speaker 2>how the dual meaning the crickets. They didn't know about

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<v Speaker 2>the game cricket. Oh, I say, they just thought it

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<v Speaker 2>was grasshoppers. So we said to them. I met them

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<v Speaker 2>years later, said, fantastic man, the Beatles. We loved crickets,

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<v Speaker 2>chirpy little things and the great game of cricket. A

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<v Speaker 2>brilliant name for a group. And they went, you know,

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<v Speaker 2>oh no, we just heard a grasshopper in the studio wall.

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<v Speaker 4>You know, did you do you remember setting around thinking

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<v Speaker 4>Buddy Holly and the Crickets the Beatles will be a

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<v Speaker 4>great name for us.

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<v Speaker 2>My memory of it was that we were striving to

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<v Speaker 2>find something with a dual meaning because of the crickets.

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<v Speaker 2>This is the idea. Now the actual origin of it

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<v Speaker 2>is clouded in mystery.

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<v Speaker 3>You know, I missed you.

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<v Speaker 2>It was just a club split up. I missed you.

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<v Speaker 2>Because there are all sorts of theories about this, says

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<v Speaker 2>The Wild Ones with Marlon Brando, and at one point

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<v Speaker 2>Lee Marvin says, he Johnny, Johnny or Johnny, I think

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<v Speaker 2>he's cool. Come on, Johnny, we all missed you. Miss Johnny.

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<v Speaker 2>We love you, you know, coming back to the gang or

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<v Speaker 2>something like that. Johnny, we love you. The Beatles love you, Beatles,

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<v Speaker 2>Mister Beatles. Mister. It turns out the Malls, the girls

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<v Speaker 2>in the Motorcycle Gang were called Beatles, says The Beatles.

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<v Speaker 3>Love you, Johnny for all times.

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<v Speaker 2>And I know John and Stuart his art school friends,

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<v Speaker 2>Stuart Suckliffe loved that film, as we all did. I

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<v Speaker 2>think they had seen it. I think we just loved

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<v Speaker 2>it and hadn't seen it anyway, So that's one of the theories.

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<v Speaker 3>Today it's easy to forget how the creation of the

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<v Speaker 3>Beatles required thousands of small choices. Songs which are now

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<v Speaker 3>canonized were once simple phrases. Two boys having fun when

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<v Speaker 3>no parents were home. One of them with a notebook

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<v Speaker 3>in hand, the other playing a harmonica.

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<v Speaker 2>At one of those writing sessions, twenty fourth Inn Road,

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<v Speaker 2>a little garden path past my dad's lavender hedge. You know,

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<v Speaker 2>we would write, let me doing John come up with

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<v Speaker 2>this little harmonica roof. It's so simple. I mean, yes,

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<v Speaker 2>there's nothing to it. It's a will have a wisp

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<v Speaker 2>little song lovely.

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<v Speaker 3>So what do you think made it become such a

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<v Speaker 3>potent powerful.

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<v Speaker 2>I think our image and our energy as the four Beatles,

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<v Speaker 2>was what was potent. And it had a very fresh sound.

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<v Speaker 2>That's the sort of thing that people noticed. And we

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<v Speaker 2>had a very fresh image. Nobody looked like us. And

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<v Speaker 2>we'd been working at it a long time in Liverpool,

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<v Speaker 2>originally as really a bunch of rocers, you know, the

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<v Speaker 2>cliffs and everything. Gone over to Hamburg as the rockers

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<v Speaker 2>had got a little bit leatherified there, and then it

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<v Speaker 2>moved from leather to suits at the request of Brian Epstein.

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<v Speaker 3>Brian Epstein, an entrepreneurial young man from a family of

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<v Speaker 3>successful retailers in Liverpool, had stumbled upon the Beatles at

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<v Speaker 3>a nineteen sixty one lunchtime concert. He had no experience

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<v Speaker 3>managing artists, but he did have lots of confidence, so

0:16:08.144 --> 0:16:11.544
<v Speaker 3>in short order he signed the contract to manage the

0:16:11.584 --> 0:16:14.584
<v Speaker 3>band and told them to get suited up.

0:16:14.984 --> 0:16:17.384
<v Speaker 2>Yeah, so we all went over to Beno Dawn who

0:16:17.464 --> 0:16:21.824
<v Speaker 2>was in the wirrald back and head a Taylor. We'd

0:16:21.864 --> 0:16:25.144
<v Speaker 2>never been to a tailor really, you know, so certainly

0:16:25.224 --> 0:16:28.624
<v Speaker 2>not on maps. We went over and got suits. So

0:16:28.664 --> 0:16:31.664
<v Speaker 2>we had this image. We had all the experienced musical

0:16:31.664 --> 0:16:35.704
<v Speaker 2>experience of Hamburg, of playing a lot your ten thousand hours,

0:16:35.744 --> 0:16:40.544
<v Speaker 2>mister Gladwell's ten thousand hours. So when we kind of

0:16:40.584 --> 0:16:44.504
<v Speaker 2>then came on the scene and was seen on television,

0:16:45.144 --> 0:16:50.584
<v Speaker 2>we had a freshness, complete simplicity. Lot me do is

0:16:50.984 --> 0:16:55.264
<v Speaker 2>it's got a slightly sort of bluesy thing. I mean,

0:16:55.264 --> 0:17:01.264
<v Speaker 2>it's not a blues but it's got a simplicity, like

0:17:01.504 --> 0:17:05.704
<v Speaker 2>a little sort of down home on the porch with

0:17:05.824 --> 0:17:12.024
<v Speaker 2>a couple of guitars on harmonica.

0:17:14.584 --> 0:17:18.944
<v Speaker 3>At the heart of these simple lyrics is a familiar story,

0:17:19.184 --> 0:17:22.224
<v Speaker 3>a young man yearning for a woman to.

0:17:22.264 --> 0:17:27.544
<v Speaker 1>Love Salmon, Salma.

0:17:29.784 --> 0:17:32.744
<v Speaker 2>It's a funny thing. You try and recreate that stuff

0:17:32.984 --> 0:17:39.264
<v Speaker 2>now and it's almost impossible. Why because you were sixteen,

0:17:39.424 --> 0:17:43.544
<v Speaker 2>That's why you were looking at the world, and the

0:17:43.584 --> 0:17:47.984
<v Speaker 2>world was good, and there was this marvelous rock and

0:17:48.104 --> 0:17:52.904
<v Speaker 2>roll future unfolding itself, and you were about to become

0:17:53.024 --> 0:17:58.224
<v Speaker 2>part of it. So your longings for a girl which

0:17:58.304 --> 0:18:03.984
<v Speaker 2>was impossible to achieve, you know, nobody had that little,

0:18:04.024 --> 0:18:08.344
<v Speaker 2>perfect high school sweetheart, you know. So there was this

0:18:08.464 --> 0:18:13.704
<v Speaker 2>great long for your career is you didn't know what

0:18:13.744 --> 0:18:15.704
<v Speaker 2>you were going to do, and it was a dread

0:18:15.784 --> 0:18:19.384
<v Speaker 2>of all dreads. I was about to go to teachers

0:18:19.424 --> 0:18:23.104
<v Speaker 2>training college and I was trying to put that off forever.

0:18:23.664 --> 0:18:26.624
<v Speaker 2>I did not want to go into that mold. So

0:18:27.024 --> 0:18:30.224
<v Speaker 2>there was all these different kinds of longings. John and

0:18:30.264 --> 0:18:34.184
<v Speaker 2>I's mothers had both died, which was this amazing bond

0:18:34.744 --> 0:18:43.264
<v Speaker 2>between us. We both understood the anguish of that, and

0:18:43.344 --> 0:18:47.384
<v Speaker 2>at that age it's largely unspoken. You just said, oh

0:18:47.424 --> 0:18:51.384
<v Speaker 2>your mother, Yes, so didn't I. We knew. I knew

0:18:51.424 --> 0:18:54.584
<v Speaker 2>the circumstances of his mother. He knew the circusance in mind,

0:18:54.904 --> 0:18:57.864
<v Speaker 2>and we would talk about it a little bit, but

0:18:58.024 --> 0:19:02.824
<v Speaker 2>being young boys, you didn't talk about it much. So

0:19:03.024 --> 0:19:08.264
<v Speaker 2>all this was rolled up into this package, this longing,

0:19:09.144 --> 0:19:14.064
<v Speaker 2>and it's spilled out, which is the best way to write.

0:19:14.544 --> 0:19:25.664
<v Speaker 3>Me some of this longie for their mothers for love

0:19:26.104 --> 0:19:30.904
<v Speaker 3>for artistry was fairly abstract, but they also had more

0:19:31.104 --> 0:19:36.624
<v Speaker 3>concrete ambitions. They had met other songwriting teams who turned

0:19:36.664 --> 0:19:38.904
<v Speaker 3>out hits and made good money.

0:19:39.184 --> 0:19:41.544
<v Speaker 2>John and I looked at thought the right we could

0:19:41.584 --> 0:19:44.864
<v Speaker 2>do that? What a good idea. If we get hits,

0:19:45.584 --> 0:19:49.104
<v Speaker 2>that will then get money and it may not buy

0:19:49.224 --> 0:19:51.984
<v Speaker 2>us love, but it will buy us a car. I

0:19:52.064 --> 0:19:54.624
<v Speaker 2>must admit, you know, we were young guys without any money,

0:19:55.344 --> 0:20:00.104
<v Speaker 2>coming from Liverpool with dreams, and once we realized that

0:20:00.184 --> 0:20:02.544
<v Speaker 2>to write a hit song would get you some money,

0:20:03.664 --> 0:20:08.104
<v Speaker 2>but very attractive, very attractive thought. And it wasn't just

0:20:08.144 --> 0:20:11.824
<v Speaker 2>the money. It then the joy of pulling our song

0:20:11.904 --> 0:20:14.824
<v Speaker 2>out of a hat, being able to play it with

0:20:14.944 --> 0:20:18.784
<v Speaker 2>our band, which needed songs. So we were sort of

0:20:18.984 --> 0:20:20.104
<v Speaker 2>feeding the machine.

0:20:21.584 --> 0:20:23.504
<v Speaker 1>Take one No.

0:20:26.104 --> 0:20:28.784
<v Speaker 3>Later, when the Fab four removed from writing in the

0:20:28.824 --> 0:20:32.904
<v Speaker 3>parlor room to writing in the studio, they learned to

0:20:33.024 --> 0:20:36.344
<v Speaker 3>crank out hits at an impressive piece.

0:20:37.464 --> 0:20:48.704
<v Speaker 2>Four one are recording hours? Well, what now classical people do?

0:20:49.344 --> 0:20:53.184
<v Speaker 2>It's it's the norm for recording. You normally go in

0:20:54.424 --> 0:20:58.144
<v Speaker 2>ten o'clock, you get yourself together, you start at ten thirty.

0:20:59.344 --> 0:21:02.424
<v Speaker 2>You then will work three hours. You don't have an

0:21:02.464 --> 0:21:05.304
<v Speaker 2>hour break, and you work two thirty to five thirty,

0:21:06.264 --> 0:21:10.704
<v Speaker 2>and that's it. And in those two periods of three hours,

0:21:11.144 --> 0:21:13.344
<v Speaker 2>it was expected that we would be able to finish

0:21:13.344 --> 0:21:18.504
<v Speaker 2>two songs. So we did. And that was the output

0:21:18.624 --> 0:21:22.064
<v Speaker 2>and the great the flow of just having to come

0:21:22.144 --> 0:21:26.024
<v Speaker 2>up with two complete things. But the great thing about

0:21:26.104 --> 0:21:31.664
<v Speaker 2>this was you were finished by five point thirty. When

0:21:31.864 --> 0:21:34.664
<v Speaker 2>a harmonica like the Beatles playing not a toy but

0:21:34.784 --> 0:21:38.584
<v Speaker 2>a Genuinehoner marine band harmonica, just like those play by

0:21:38.624 --> 0:21:39.024
<v Speaker 2>the Beatles.

0:21:39.264 --> 0:21:42.184
<v Speaker 3>Maybe what allowed the Beatles to come together was the

0:21:42.184 --> 0:21:46.104
<v Speaker 3>force of their belonging. Maybe it was the long studio days,

0:21:46.544 --> 0:21:51.704
<v Speaker 3>the churning out of albums, the carefully crafted image. Whatever

0:21:51.784 --> 0:21:56.424
<v Speaker 3>the case. They went from looking at other artists dreaming

0:21:56.744 --> 0:22:01.224
<v Speaker 3>of becoming them, to being the artists others would dream

0:22:01.264 --> 0:22:01.864
<v Speaker 3>of becoming.

0:22:02.104 --> 0:22:04.944
<v Speaker 2>Play along with the Beatles with your own genuine Honer

0:22:05.024 --> 0:22:13.744
<v Speaker 2>marine bend harmonica from Klim.

0:22:10.464 --> 0:22:16.704
<v Speaker 3>When what the Beatles would become was beyond what any

0:22:16.864 --> 0:22:19.344
<v Speaker 3>of its members could have dreamt off. When there were

0:22:19.384 --> 0:22:22.824
<v Speaker 3>sixteen and playing harmonica in their living rooms.

0:22:23.304 --> 0:22:25.464
<v Speaker 2>There were all sorts of things. As I say that

0:22:25.784 --> 0:22:34.864
<v Speaker 2>you instinctively knew don't try too hard, don't work too

0:22:34.984 --> 0:22:39.544
<v Speaker 2>hard at reaching for it, because the more you reach,

0:22:41.024 --> 0:22:44.704
<v Speaker 2>the more it will receive. Just kid on that you

0:22:44.784 --> 0:22:49.864
<v Speaker 2>don't even want it right, something will happen where everyone

0:22:49.864 --> 0:22:52.544
<v Speaker 2>else around us be worrying no more other thing. I

0:22:52.584 --> 0:22:54.864
<v Speaker 2>was going to, Oh my god, am I going We

0:22:54.944 --> 0:22:58.664
<v Speaker 2>always related back to this accident we'd had on the

0:22:58.704 --> 0:23:01.944
<v Speaker 2>motorway going from running up to Liverpool, where we'd skid

0:23:01.984 --> 0:23:04.624
<v Speaker 2>it off in the snow down the bank with our

0:23:04.784 --> 0:23:07.064
<v Speaker 2>van and at the bottom of the van were this,

0:23:07.464 --> 0:23:10.224
<v Speaker 2>how the hell are we ever going to go home?

0:23:10.984 --> 0:23:14.864
<v Speaker 2>It's snowing, we're freezing, And someone in the group said

0:23:15.104 --> 0:23:19.104
<v Speaker 2>something will happen, and it was like that became a mantra,

0:23:19.624 --> 0:23:22.264
<v Speaker 2>and you know, as I say, it's actually a very

0:23:22.304 --> 0:23:26.024
<v Speaker 2>good one. It's this. It's not reaching for it, it's

0:23:26.224 --> 0:23:26.744
<v Speaker 2>letting it go.

0:23:27.424 --> 0:23:58.264
<v Speaker 1>Love me, love me, Love me? Do you know I

0:23:58.464 --> 0:24:01.104
<v Speaker 1>love you? Oh?

0:24:01.704 --> 0:24:02.144
<v Speaker 2>Be true?

0:24:03.264 --> 0:24:28.784
<v Speaker 5>So please love me.

0:24:21.504 --> 0:24:25.304
<v Speaker 3>Love me Do from the Beatles nineteen sixty three album

0:24:25.384 --> 0:24:32.424
<v Speaker 3>Please Please Me. In the next episode, McCartney starts over

0:24:32.824 --> 0:24:35.544
<v Speaker 3>with a ragtag band on the run.

0:24:35.864 --> 0:24:38.904
<v Speaker 2>I just thought we would just start something that feels

0:24:38.904 --> 0:24:41.824
<v Speaker 2>good and we'll build it up like the Beatles

0:24:41.824 --> 0:24:54.024
<v Speaker 3>Did McCartney A Life in Lyrics is a co production

0:24:54.184 --> 0:24:58.784
<v Speaker 3>between iHeartMedia NPL and Pushkin Industries.