McCartney 3, 2, 1

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You up for listening to a bit of music?

Yeah. What have you got?

Here's a little number.

Country. Yeah.

This is John's rhythm thing.

Unusual choice.

You try doing that for three minutes.

Yeah.

That brought it alive, I remember him doing that.

Yeah. So I'll do this.

And did that just happen in the studio?

Yeah. Or this was when you played live?

In the studio? Studio.

Wait.

PAUL McCARTNEY: It's a difficult part. Yeah.

And, and nobody would play it.

It's just an unusual musical choice.

But then, when you get back to the more regular jink‐junk,

it sounds amazing. Yeah. Yeah.

Just from the contrast. Yeah.

No, that was, that was a really good thing that did happen.

We all knew we had the freedom to goof around.

Yeah.

That's an example of one that I, I had the words before the song.

We were on a tour bus, and nothing much happening.

I'm thinking... (humming)

like, you know, "Hey, honey, I'll be home.

I'll send all my love," and, you know‐‐

There was no recording devices,

so you had to remember them.

But you'd kinda wake up, and it would be there in the morning,

so you'd play it again to fix it.

Yeah.

And John would have remembered it anyway.

So we realized, you know, we were writing songs

that were memorable.

Not 'cause we wanted them to be memorable.

Yeah. You had to remember‐‐ But because we had to remember them.

You know, it was a very practical reason, really.

What was the music that was played in your house?

Did your dad listen to music in the house?

My dad was a pianist too, an amateur pianist.

So he played our piano in the house.

What type of music did he play?

Like show tunes.

Yeah. He played at home,

so it was lovely hearing someone play piano at home.

His main thing was New Year's Eve, big family party.

And he would get on the piano and just play all evening. There was no‐‐

Did he play and sing too or just play?

No, he would just play.

And then everyone else would sing.

I see. It was a sing‐along.

All the ladies, they've got their little drinks,

and they're all sitting, right, with the chairs around the thing.

And they're all singing.

But he got arthritis in his hands,

hence me doing exercises all the time.

But he couldn't play the piano.

So I kind of took over.

Do you feel like you were graduating in the family,

like going from the kid watching... Yeah.

to all of a sudden taking the chair?

Yeah, exactly.

Yeah. That's exciting.

Um, daunting too, because I didn't know all the songs. Yeah!

But it was great,

you know, it was a very nice atmosphere.

And I‐it's funny, I say to people,

I always thought everyone had loving families,

and everyone was very nice to each other.

And of course later I found that's not true.

Yeah. And some people are very unfortunate.

John was very unlucky, 'cause he had, his dad left

his home when he was three,

and John didn't see him until he was famous.

And also John's mum got killed.

You know, so this was an eye‐opener to me.

It was like, "Wow, I thought everyone lived like we did."

Yeah. But‐‐

It also speaks to the difference in temperaments as grownups...

Yeah. ...that different experience really changes everything.

That's true. You know, you think about it, John‐‐

It makes perfect sense. John had a very defensive way.

He had a chip on his shoulder, it sounds like.

Which was beautiful. Yeah.

It's how he got through that childhood.

But I was much more open and just,

"Oh, everything's great." You know, optimistic.

So as a team, that worked. Yeah.

Because, you know, I would write, um,

Which is like the perfect foil for that song, you know.

So I loved the way he would always add,

like, a little cynicism to the songs.

Thinking back on it, it's crazy because he wore glasses,

and I didn't.

So if we got into an argument, I would call him four eyes.

You know, "Four eyes."

And he would go, "Pigeon chest."

My chest is not as developed as his or whatever.

So, you know, we did all that.

But these things obviously bring you together.

Yeah.

You probably did everything together in those days.

Yeah, you did. Yeah.

We spent a lot of time together. Mm.

Also, we played guitar together.

So any chord John knew, I knew.

And if we learned a new chord,

I remember George and I walking into the local music shop.

It was called Hessy's, Frank Hessy.

And there's a guy called Jim Gretty,

who was a bit of a jazz player.

And he was filling in, working in the shop.

But we watched him play once and he did this.

And me and George went, "What is that?"

He goes... (strums guitar) "Well, it's F," something.

I don't remember. I don't even know what it is to this day.

But it was like, "Wow. Show us how you do that."

So we got it. So now me and George knew this chord. Yes.

So we'd show that to John. "Look at this," you know.

Yeah. And so now we all knew this chord.

I used it in...

Amazing.

John was at art school by this time.

So they had great art parties, and there'd be great girls.

John would kind of invite us.

We were his little friends, you know,

which was a little bit embarrassing at that age.

So I would wear, like, a black turtleneck sweater,

and we were all trying to be French.

We were trying to be, you know, we loved the French artists,

particularly the girls, Juliette Gréco.

She was like, "Wow, look at that."

Brigitte Bardot, you know. These were our favorite ladies.

But I would sit in a corner and think, you know,

"Well, if I work the black turtleneck and play guitar,

"then they might think I'm French,

and therefore, they'd be attracted to me."

So I'd be kinda going...

"Hi, baby."

And years later, John said,

"Remember that crazy little French song you used to do at the parties?"

I said, "Oh, yeah." He said, "You should finish that."

The other thing was,

because I had this Frenchie thing in my mind,

Edith Piaf did a record Milord,

I was kinda going off the back of that.

Milord, Michelle, and then I had a very good friend,

actually the guy who introduced me to John, Ivan.

He was married by this time.

And his wife, Jan, was a French teacher.

I said, "Oh, Jan, listen, you got to help me.

What's a, what's a rhyme for Michelle?"

She said, "Ma belle."

I said, "What's that mean?" She went, "My beautiful."

I said, "Great, Michelle, ma belle."