March 27, 2024 • 19 mins
The breadth of Paul McCartney’s influences is astounding. One of the many surprising places McCartney found inspiration was in the music of his parent’s generation. For 1966's “Here, There and Everywhere”, he found himself looking to write something akin to Fred Astaire’s 1935 classic “Cheek to Cheek.” In the process, McCartney wrote what might be his favorite song in his catalog.
“McCartney: A Life in Lyrics” is a co-production between iHeart Media, MPL and Pushkin Industries.
The series was produced by Pejk Malinovski and Sara McCrea; written by Sara McCrea; edited by Dan O’Donnell and Sophie Crane; mastered by Jason Gambrell with assistance from Jake Gorski and sound design by Pejk Malinovski. The series is executive produced by Leital Molad, Justin Richmond, Lee Eastman, Scott Rodger and Paul McCartney.
Thanks to Lee Eastman, Richard Ewbank, Scott Rodger, Aoife Corbett and Steve Ithell.
See omnystudio.com/listener for privacy information.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:14):
Pushkin.
Speaker 2 (00:18):
Hi, everyone, it's Paul molldoin. Before we get to this episode,
I wanted to let you know that you can binge
all twelve episodes of McCartney A Life and Lyrics right now,
add free by becoming a Pushkin Plus subscriber. Find Pushkin
Plus on the McCartney A Life and Lyrics show page
(00:41):
in Apple Podcasts, or at pushkin dot fm, slash Plus.
Speaker 3 (00:49):
Now, this is a song here, There and everywhere Leader
letter I've seen described as one of your own favorites.
Speaker 4 (01:07):
He yeah, I'm often asked what my favorite song I've
ever written is, and I don't ever really want to
answer it, But if pushed, I would go to here,
there and everyone.
Speaker 2 (01:25):
Lessen, I'm Paul will do for a while. Now, I've
been fortunate to spend time with one of the greatest
songwriters of the era, and.
Speaker 4 (01:42):
Will you look at me, I'm going on to I'm
actually a performer.
Speaker 2 (01:46):
That is, Sir Paul McCartney. We work together on a
book looking at the lyrics of more than one hundred
and fifty of his songs, and we recorded many hours
of our conversations.
Speaker 4 (01:59):
It was like going back to an old snapshot album
looking back on work I hadn't ever analyzed.
Speaker 2 (02:08):
This is McCartney, A life in lyrics, a masterclass, a memoir,
an improvised journey with one of the most iconic figures
in popular music. In this episode, Here There, and Everywhere, lesson.
Speaker 5 (02:37):
Learning.
Speaker 2 (02:41):
When I asked Paul McCartney, why, out of the hundreds
of songs he's written, he considers Here, There and Everywhere
his favorite, he kept returning to the structure of the lyrics,
where one verse ends, the next begins, only in a
new context. It's a move he borrowed from one of
(03:02):
the classics, a song by Irving Berlin.
Speaker 4 (03:06):
One of my favorite songs because us of its structure
is cheek to cheek Heaven as song by Fred Asta.
Speaker 6 (03:14):
I'm in heaven and my heartbeats so that I can hardly.
Speaker 7 (03:21):
Spe and I like very much. Can starts off heaven.
Speaker 4 (03:26):
I'm in heaven literally really really fast forward, and then
that's with me.
Speaker 2 (03:34):
I want my arm about.
Speaker 7 (03:36):
You, a middle late carry me through, to carry me
through heaven.
Speaker 8 (03:46):
I'm in heaven.
Speaker 4 (03:48):
It's like, yes, just the way it just resolves up
its own tail. I always found wonderful, and I think
somebody said I do it in this, I.
Speaker 8 (04:01):
Wonder everywhere, and if she's beside me, I am the line.
Speaker 9 (04:16):
Knowing Courridge has alignment and somewhere in the Biographia literary
or whatever it's called where he talks about all narrative
being like a snake with its tail in its mouth
and in that circularity be relevant here, well, I don't.
Speaker 4 (04:42):
Know if i'd agree with him about all, but I
think attractive stuff often does that often kind of comes
back to where it began, and there's a little glee
arriving there.
Speaker 7 (05:02):
Like I said, heaven, wait a minute, we just started
with that, and now we're back there and.
Speaker 4 (05:08):
Very clear fully done, and without me suspecting he was
going there. So there's just something that's sort of little
thrill when you do that. And I like the fact
that we think we're on a path off on the
(05:31):
moors and we're going for a walk, and then suddenly
we've arrived where we started, and it's not like as
if we've gone around in a circle.
Speaker 7 (05:43):
It's magically more magical.
Speaker 4 (05:45):
Than that, we've come to another beginning of the path.
It's not just like we run in a circle and
just come back to the beginning. That's quite boring, but
it's just this trick where you suddenly.
Speaker 7 (06:03):
Where you were, but it's surprising.
Speaker 2 (06:07):
So something is cheap, is what we comes back there.
Speaker 4 (06:11):
Well, you're where you were, but you're not because you
you can see back where you came from, and you're
definitely not there. You're at a new place. But it's
trity and it's got the same scenery again.
Speaker 7 (06:28):
Leader Letter.
Speaker 2 (06:36):
While the song is grounded in this spiraling structure, one
place it never returns is to the very first two lines.
They stand on their own, separate from the core melody
of the song.
Speaker 4 (06:50):
They were to emulate the openings that old songs had.
John and I were fascinated by this idea that in
the old days did this complete ramble that didn't appear
to be about the song at all.
Speaker 5 (07:05):
The only exception I know is the kid.
Speaker 9 (07:11):
When I'm out on a quiet spreeze, fighting vainly the
al loe we.
Speaker 5 (07:20):
And I suddenly turn and.
Speaker 6 (07:23):
See your fabulous face. I get no kick from Champagne.
Speaker 7 (07:39):
An intro. It was an intro. They called it verse.
Speaker 4 (07:42):
We call versus the sort of first main body, and
of course then the second main body.
Speaker 7 (07:49):
They called that word. Yeah, so we like that. We
liked you know.
Speaker 4 (07:52):
I was walking around Manhattan. I had my scar phone
and then I came to the corner of so I
new thinking. First I looked at the deceited I didn't
notice that. But then suddenly you came around the corner. Heaven,
Oh there's the song, you know, running.
Speaker 5 (08:23):
Speaking happen soon speaking, but she does.
Speaker 4 (08:35):
Someone is speaking, but she doesn't know he's there. I
don't know who it is, probably the Telly.
Speaker 7 (08:42):
It's like that. It's kind of a romantic idea. We
are just us, not listening to him.
Speaker 5 (08:51):
Knowing his.
Speaker 7 (08:56):
Remember writing this song whilst waiting for John one day.
Speaker 2 (09:02):
Paul McCartney wrote much of Here, There and Everywhere one
morning while sitting poolside waiting for John Lennon to wake up.
Speaker 10 (09:12):
I would go out to his house in Weybridge for
a writing session, and he wasn't always up, so I
would often have twenty minutes.
Speaker 7 (09:23):
Half an hour when someone told him I was here,
and he would get up.
Speaker 2 (09:35):
In the song's leisurely tempo, it's almost as if we
can hear McCartney's patience.
Speaker 5 (09:42):
Everywhere.
Speaker 11 (09:46):
I remember sitting out by swimming pool in his house
in Weybridge, which is a sort of golf suburb of
London and had a guitar because I was ready for
the writing session, so he sat out and started something
and it was here he.
Speaker 4 (10:06):
Lived in here, And yeah, I just sort of went
quite nice and smoothly, so that by the time I
came to write with John, the time he deigned to
get up and have his coffee, I would have something to.
Speaker 10 (10:21):
Go, watching.
Speaker 5 (10:25):
End, helping him, always watching rins end, hoping. I am always.
Speaker 2 (10:47):
The slow, steady pace and the way the verses spill
into each other. It's mesmerizing, like water rippling across a pool.
Is it possible that Ringo Star hits his snare just
a fraction after the beat, as if the song is
trying to slow itself done.
Speaker 5 (11:12):
Making changing.
Speaker 4 (11:23):
I like the line changing my life for the wave
of a hand. You know, I look at those kind
of lyrics now and sort of.
Speaker 7 (11:34):
Think, where did that come from? What was it?
Speaker 4 (11:37):
Do I think of the queen waving out of a
royal carriage, or you know, just my love can just
do it by hardly doing anything, waving a hand.
Speaker 7 (11:50):
Oh my god, you's chenting my life. It says a
lot in a line.
Speaker 2 (11:56):
The picture of a royal hand waving from a carriage,
the pinnacle of effortlessness. It's a McCartney trademark, this rare
ability to assemble lyrics and melodies with the ease of
strumming a few chords on his guitar. He seems to
fool himself into thinking there's nothing at stake. He trusts
(12:20):
that the right lyrics will find their way to them.
Speaker 4 (12:23):
Even when you get lyrics like this, the purpose of
the lyric is to support the song rather than be
a lyric, So it's quite liberating. You can sort of
just kind of experiment as you go along, you know,
(12:46):
so things slip out like they would in a session
with a psychiatrist.
Speaker 5 (12:57):
And everywhere.
Speaker 7 (13:06):
I like it when that happens.
Speaker 4 (13:08):
I think, you know, that's the idea of the word
dancing idea.
Speaker 7 (13:14):
You know, you just.
Speaker 4 (13:16):
You play with things like that, I think, you know,
I think a lot of this comes naturally from Liverpool
for me, Like jokes often have that, you know, just
there's a little you think you're going one way and
then there's a little surprise and it takes you another way.
(13:38):
And I like to be able to do that because
I think it keeps it moving, it keeps you interested.
Dancing round words, shuffling them like a deck of cards.
Speaker 7 (13:55):
Basically.
Speaker 4 (13:55):
You know, I always say when I'm writing a song,
I'm kind of following.
Speaker 7 (14:00):
A trail of bread crumbs.
Speaker 4 (14:05):
Someone's thrown out these bread crumbs, and I see the
first few, and you just, you know, we go along,
and I feel like I'm following the song rather than
writing it.
Speaker 8 (14:17):
And everywhere, and if she's beside me, I know, line neednerbo.
Speaker 9 (14:27):
Do you ever look ahead and plant on it with
the phrase or two versus down the road?
Speaker 4 (14:34):
Not versus, but the lines. I will, I will, I
will think of the line that's coming and think of
how to get in it. Yeah, like stepping stones kind
of thing, you know, just think well, I've got to
do that to get there.
Speaker 7 (14:49):
Yeah. I quite enjoy that.
Speaker 4 (14:51):
It's an interesting process. I like that about writing that
it's it's a puzzle. I often liken it to crossword puzzles.
You know, my dad loved crossword puzzles. And if you
put that together with that, and when you twist that
word around, then you get that.
Speaker 7 (15:12):
And my answer is that, yes, I mean it is.
Speaker 1 (15:17):
It is about filling in gaps, the structural and rhetorical
tricks of here, there, and everywhere are obscured by the
song's apparent spontaneity. It's flowing melody, it's gentle vocals. McCartney's
(15:44):
singing on the track is reminiscent of an earlier era,
which brings us back to Fred Astare.
Speaker 8 (15:52):
Oh, I love to go out fishing in the river
are a Greek, but I don't enjoy have as much
dads A.
Speaker 7 (16:04):
I was big fan of Fred Astare.
Speaker 4 (16:05):
I still have, and unlike the studio executive thought he
could dance a little has no voice. I always loved
his voice. I still do, and I actually use it
often as an inspiration. I did an album of standards,
and that's.
Speaker 5 (16:21):
Sort of heaven.
Speaker 7 (16:22):
That little place for your voice is a lovely place
to sing from. It's not there, it's sort of heaven.
Being there.
Speaker 2 (16:41):
And here, there and everywhere has inspired many other vocalists
and has itself become one of those classics McCartney was
trying to emulate. Even John Lennon, rarely wanted to give compliments,
was impressed when he heard the song and said it
was his favorite track on the album Revolver in nineteen eighty.
(17:03):
He even told a reporter from Playboy Magazine that it
was one of his favorites from the tire Beatles cattalog.
So to Lennon when he did get up, did he contribute, I'm.
Speaker 7 (17:20):
Well, I'm not sure he did.
Speaker 4 (17:21):
Actually I suspect he did, but it does sound like
something I might have sort of just done by the
pool side, sort of just delivered to him because it
doesn't sound like anyone else is working now.
Speaker 7 (17:35):
Starts sounds like one head.
Speaker 5 (17:39):
He's to share each one.
Speaker 6 (17:47):
Never dies, watching a rise and hoping him All Andy.
Speaker 2 (18:06):
And here, there and Everywhere, released on the Beatles album
Revolver in nineteen sixty six. In the next episode, have.
Speaker 4 (18:24):
Said throughout the day that they hope to use minimum.
Speaker 2 (18:27):
Face, an unusually sharp political song written in response to
Bloody Sunday.
Speaker 5 (18:36):
To the US, make them take it away.
Speaker 4 (18:44):
In to the Iris became irsay.
Speaker 2 (18:53):
Give Ireland back to the Irish. That's next time on
McCartney A Life in Lyrics. McCartney A Life in Lyrics
is a co production between iHeartMedia and pl and Pushkin Industries.
Pushkin.
Speaker 2 (00:18):
Hi, everyone, it's Paul molldoin. Before we get to this episode,
I wanted to let you know that you can binge
all twelve episodes of McCartney A Life and Lyrics right now,
add free by becoming a Pushkin Plus subscriber. Find Pushkin
Plus on the McCartney A Life and Lyrics show page
(00:41):
in Apple Podcasts, or at pushkin dot fm, slash Plus.
Speaker 3 (00:49):
Now, this is a song here, There and everywhere Leader
letter I've seen described as one of your own favorites.
Speaker 4 (01:07):
He yeah, I'm often asked what my favorite song I've
ever written is, and I don't ever really want to
answer it, But if pushed, I would go to here,
there and everyone.
Speaker 2 (01:25):
Lessen, I'm Paul will do for a while. Now, I've
been fortunate to spend time with one of the greatest
songwriters of the era, and.
Speaker 4 (01:42):
Will you look at me, I'm going on to I'm
actually a performer.
Speaker 2 (01:46):
That is, Sir Paul McCartney. We work together on a
book looking at the lyrics of more than one hundred
and fifty of his songs, and we recorded many hours
of our conversations.
Speaker 4 (01:59):
It was like going back to an old snapshot album
looking back on work I hadn't ever analyzed.
Speaker 2 (02:08):
This is McCartney, A life in lyrics, a masterclass, a memoir,
an improvised journey with one of the most iconic figures
in popular music. In this episode, Here There, and Everywhere, lesson.
Speaker 5 (02:37):
Learning.
Speaker 2 (02:41):
When I asked Paul McCartney, why, out of the hundreds
of songs he's written, he considers Here, There and Everywhere
his favorite, he kept returning to the structure of the lyrics,
where one verse ends, the next begins, only in a
new context. It's a move he borrowed from one of
(03:02):
the classics, a song by Irving Berlin.
Speaker 4 (03:06):
One of my favorite songs because us of its structure
is cheek to cheek Heaven as song by Fred Asta.
Speaker 6 (03:14):
I'm in heaven and my heartbeats so that I can hardly.
Speaker 7 (03:21):
Spe and I like very much. Can starts off heaven.
Speaker 4 (03:26):
I'm in heaven literally really really fast forward, and then
that's with me.
Speaker 2 (03:34):
I want my arm about.
Speaker 7 (03:36):
You, a middle late carry me through, to carry me
through heaven.
Speaker 8 (03:46):
I'm in heaven.
Speaker 4 (03:48):
It's like, yes, just the way it just resolves up
its own tail. I always found wonderful, and I think
somebody said I do it in this, I.
Speaker 8 (04:01):
Wonder everywhere, and if she's beside me, I am the line.
Speaker 9 (04:16):
Knowing Courridge has alignment and somewhere in the Biographia literary
or whatever it's called where he talks about all narrative
being like a snake with its tail in its mouth
and in that circularity be relevant here, well, I don't.
Speaker 4 (04:42):
Know if i'd agree with him about all, but I
think attractive stuff often does that often kind of comes
back to where it began, and there's a little glee
arriving there.
Speaker 7 (05:02):
Like I said, heaven, wait a minute, we just started
with that, and now we're back there and.
Speaker 4 (05:08):
Very clear fully done, and without me suspecting he was
going there. So there's just something that's sort of little
thrill when you do that. And I like the fact
that we think we're on a path off on the
(05:31):
moors and we're going for a walk, and then suddenly
we've arrived where we started, and it's not like as
if we've gone around in a circle.
Speaker 7 (05:43):
It's magically more magical.
Speaker 4 (05:45):
Than that, we've come to another beginning of the path.
It's not just like we run in a circle and
just come back to the beginning. That's quite boring, but
it's just this trick where you suddenly.
Speaker 7 (06:03):
Where you were, but it's surprising.
Speaker 2 (06:07):
So something is cheap, is what we comes back there.
Speaker 4 (06:11):
Well, you're where you were, but you're not because you
you can see back where you came from, and you're
definitely not there. You're at a new place. But it's
trity and it's got the same scenery again.
Speaker 7 (06:28):
Leader Letter.
Speaker 2 (06:36):
While the song is grounded in this spiraling structure, one
place it never returns is to the very first two lines.
They stand on their own, separate from the core melody
of the song.
Speaker 4 (06:50):
They were to emulate the openings that old songs had.
John and I were fascinated by this idea that in
the old days did this complete ramble that didn't appear
to be about the song at all.
Speaker 5 (07:05):
The only exception I know is the kid.
Speaker 9 (07:11):
When I'm out on a quiet spreeze, fighting vainly the
al loe we.
Speaker 5 (07:20):
And I suddenly turn and.
Speaker 6 (07:23):
See your fabulous face. I get no kick from Champagne.
Speaker 7 (07:39):
An intro. It was an intro. They called it verse.
Speaker 4 (07:42):
We call versus the sort of first main body, and
of course then the second main body.
Speaker 7 (07:49):
They called that word. Yeah, so we like that. We
liked you know.
Speaker 4 (07:52):
I was walking around Manhattan. I had my scar phone
and then I came to the corner of so I
new thinking. First I looked at the deceited I didn't
notice that. But then suddenly you came around the corner. Heaven,
Oh there's the song, you know, running.
Speaker 5 (08:23):
Speaking happen soon speaking, but she does.
Speaker 4 (08:35):
Someone is speaking, but she doesn't know he's there. I
don't know who it is, probably the Telly.
Speaker 7 (08:42):
It's like that. It's kind of a romantic idea. We
are just us, not listening to him.
Speaker 5 (08:51):
Knowing his.
Speaker 7 (08:56):
Remember writing this song whilst waiting for John one day.
Speaker 2 (09:02):
Paul McCartney wrote much of Here, There and Everywhere one
morning while sitting poolside waiting for John Lennon to wake up.
Speaker 10 (09:12):
I would go out to his house in Weybridge for
a writing session, and he wasn't always up, so I
would often have twenty minutes.
Speaker 7 (09:23):
Half an hour when someone told him I was here,
and he would get up.
Speaker 2 (09:35):
In the song's leisurely tempo, it's almost as if we
can hear McCartney's patience.
Speaker 5 (09:42):
Everywhere.
Speaker 11 (09:46):
I remember sitting out by swimming pool in his house
in Weybridge, which is a sort of golf suburb of
London and had a guitar because I was ready for
the writing session, so he sat out and started something
and it was here he.
Speaker 4 (10:06):
Lived in here, And yeah, I just sort of went
quite nice and smoothly, so that by the time I
came to write with John, the time he deigned to
get up and have his coffee, I would have something to.
Speaker 10 (10:21):
Go, watching.
Speaker 5 (10:25):
End, helping him, always watching rins end, hoping. I am always.
Speaker 2 (10:47):
The slow, steady pace and the way the verses spill
into each other. It's mesmerizing, like water rippling across a pool.
Is it possible that Ringo Star hits his snare just
a fraction after the beat, as if the song is
trying to slow itself done.
Speaker 5 (11:12):
Making changing.
Speaker 4 (11:23):
I like the line changing my life for the wave
of a hand. You know, I look at those kind
of lyrics now and sort of.
Speaker 7 (11:34):
Think, where did that come from? What was it?
Speaker 4 (11:37):
Do I think of the queen waving out of a
royal carriage, or you know, just my love can just
do it by hardly doing anything, waving a hand.
Speaker 7 (11:50):
Oh my god, you's chenting my life. It says a
lot in a line.
Speaker 2 (11:56):
The picture of a royal hand waving from a carriage,
the pinnacle of effortlessness. It's a McCartney trademark, this rare
ability to assemble lyrics and melodies with the ease of
strumming a few chords on his guitar. He seems to
fool himself into thinking there's nothing at stake. He trusts
(12:20):
that the right lyrics will find their way to them.
Speaker 4 (12:23):
Even when you get lyrics like this, the purpose of
the lyric is to support the song rather than be
a lyric, So it's quite liberating. You can sort of
just kind of experiment as you go along, you know,
(12:46):
so things slip out like they would in a session
with a psychiatrist.
Speaker 5 (12:57):
And everywhere.
Speaker 7 (13:06):
I like it when that happens.
Speaker 4 (13:08):
I think, you know, that's the idea of the word
dancing idea.
Speaker 7 (13:14):
You know, you just.
Speaker 4 (13:16):
You play with things like that, I think, you know,
I think a lot of this comes naturally from Liverpool
for me, Like jokes often have that, you know, just
there's a little you think you're going one way and
then there's a little surprise and it takes you another way.
(13:38):
And I like to be able to do that because
I think it keeps it moving, it keeps you interested.
Dancing round words, shuffling them like a deck of cards.
Speaker 7 (13:55):
Basically.
Speaker 4 (13:55):
You know, I always say when I'm writing a song,
I'm kind of following.
Speaker 7 (14:00):
A trail of bread crumbs.
Speaker 4 (14:05):
Someone's thrown out these bread crumbs, and I see the
first few, and you just, you know, we go along,
and I feel like I'm following the song rather than
writing it.
Speaker 8 (14:17):
And everywhere, and if she's beside me, I know, line neednerbo.
Speaker 9 (14:27):
Do you ever look ahead and plant on it with
the phrase or two versus down the road?
Speaker 4 (14:34):
Not versus, but the lines. I will, I will, I
will think of the line that's coming and think of
how to get in it. Yeah, like stepping stones kind
of thing, you know, just think well, I've got to
do that to get there.
Speaker 7 (14:49):
Yeah. I quite enjoy that.
Speaker 4 (14:51):
It's an interesting process. I like that about writing that
it's it's a puzzle. I often liken it to crossword puzzles.
You know, my dad loved crossword puzzles. And if you
put that together with that, and when you twist that
word around, then you get that.
Speaker 7 (15:12):
And my answer is that, yes, I mean it is.
Speaker 1 (15:17):
It is about filling in gaps, the structural and rhetorical
tricks of here, there, and everywhere are obscured by the
song's apparent spontaneity. It's flowing melody, it's gentle vocals. McCartney's
(15:44):
singing on the track is reminiscent of an earlier era,
which brings us back to Fred Astare.
Speaker 8 (15:52):
Oh, I love to go out fishing in the river
are a Greek, but I don't enjoy have as much
dads A.
Speaker 7 (16:04):
I was big fan of Fred Astare.
Speaker 4 (16:05):
I still have, and unlike the studio executive thought he
could dance a little has no voice. I always loved
his voice. I still do, and I actually use it
often as an inspiration. I did an album of standards,
and that's.
Speaker 5 (16:21):
Sort of heaven.
Speaker 7 (16:22):
That little place for your voice is a lovely place
to sing from. It's not there, it's sort of heaven.
Being there.
Speaker 2 (16:41):
And here, there and everywhere has inspired many other vocalists
and has itself become one of those classics McCartney was
trying to emulate. Even John Lennon, rarely wanted to give compliments,
was impressed when he heard the song and said it
was his favorite track on the album Revolver in nineteen eighty.
(17:03):
He even told a reporter from Playboy Magazine that it
was one of his favorites from the tire Beatles cattalog.
So to Lennon when he did get up, did he contribute, I'm.
Speaker 7 (17:20):
Well, I'm not sure he did.
Speaker 4 (17:21):
Actually I suspect he did, but it does sound like
something I might have sort of just done by the
pool side, sort of just delivered to him because it
doesn't sound like anyone else is working now.
Speaker 7 (17:35):
Starts sounds like one head.
Speaker 5 (17:39):
He's to share each one.
Speaker 6 (17:47):
Never dies, watching a rise and hoping him All Andy.
Speaker 2 (18:06):
And here, there and Everywhere, released on the Beatles album
Revolver in nineteen sixty six. In the next episode, have.
Speaker 4 (18:24):
Said throughout the day that they hope to use minimum.
Speaker 2 (18:27):
Face, an unusually sharp political song written in response to
Bloody Sunday.
Speaker 5 (18:36):
To the US, make them take it away.
Speaker 4 (18:44):
In to the Iris became irsay.
Speaker 2 (18:53):
Give Ireland back to the Irish. That's next time on
McCartney A Life in Lyrics. McCartney A Life in Lyrics
is a co production between iHeartMedia and pl and Pushkin Industries.
Host
Paul McCartney
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