Chords for Paul McCartney: From the Archive – George Martin

_ _ [A] _ _ _ [G] _ [E] _ [Am] _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [Am] _ _
_ _ _ _ _ _ _ _
[Ab] I was interested in working with George Martin again, so I just telephoned him and asked
him if he wanted to do it, and he was interested.
We were very apprehensive about it to begin with, both of us I think, because although
we've been very good friends over the years, not having actually had to have the hassles
of working, we were all a little bit not sure about it.
But in fact, coming together again was [B] really a great joy. _ _
[Gb] [E] It's _ _ _ [Eb] _ [Abm] _ _
_ been wonderful watching them in the studio, because they have this rapport and obviously
total respect of each other, and it's lovely to hear them coming out with these little
anecdotes about, oh, remember that track we did on Sgt Pepper, or the White Album?
Remember when we did that, George?
And George said, yeah.
It's great to see all these ideas coming out again, and I mean, I'm sat there just listening
to it all and picking up thousands of ideas.
You've got [N] those things here in a different bit in the middle.
The other alternative that's the original is going lower.
_ _ Bosses underestimate his value, Marley says, Irene is. _
He was the first record producer I ever worked with, with the Beatles, and working with him
now, _ it's very easy for me, because I know him so well, we've got so much in common,
we know how we work.
It's like, it's not very flattering to him, but I keep saying he's like an old shoe.
It's an old pair of shoes, you know, I like them, I just put them on and there's no problem in it.
Doesn't hurt, doesn't hurt a bit, you know.
And that's the attraction of George.
Plus, of course, he's a very, very good producer.
He's one of the best [Cm] in the world.
[F] Oh, you [Cm] _ [F] _
_ [Bb] _ [Eb] tell them, _ [G] _ _
_ [Cm] _ _ [F] _ [Cm] we have to [F] burn the sun.
_ [Em] _ [C] I know what it is.
If you [Bb] go to the G's.
[F] Oh, oh, oh.
_ [Em] _ That [Ab] helps.
He's just a pro, he just goes for what we're trying to get.
And there's all this random stuff on the way, and you'll spot a good idea of his things.
I always found my, you know, I've made records too, I don't mean producing records, I mean
actually I've been in front, and I always felt that I wanted to have a producer, because
I don't think you can really see the wood to the trees if you're doing everything yourself.
So I think as far as [F] Paul's concerned, I think he does like production sometimes, but then
like myself, he gets tired of doing the same thing over and over again, so he'd much rather
do it another way.
As if you're stuck, you say to him, excuse me, what are we going to do?
And he'll take the problem, he won't kind of just go, oh, ha, ha, ha.
He won't just, you know, he knows that's his job.
Well, how's about this?
[G] Work it out [E] some way, you know.
Which is great.
But he was always like that.
He has changed, I mean if you're actually going to look at it and see him then and [C] see
him now, there's vast changes, but it's only in the technology.
We started off with like four track, [F] and now it's kind [Ab] of 98 track, [Em] you know.
So all [E] that's changed, but his approach is really about the same.
His style is the same, his bedside manner as I call it is the [G] same.
So let's try that again.
He's got a very good way with artists.
_ [Cm] _
_ [Eb] _ _ [F] _ [Cm] _ Oh, yeah.
Would you do one thing [F] tonight instead of repeating the thing? _ _
_ [Em] [C] Oh, yeah.
Sounds good then.
[G] I think we [Gb] found [Cm] that we sparked each other off, that we, I relearned what a great talent he had.
And we seemed to get on fine, that we used to have complementary ideas that seemed to slot in nicely.
And it's been very enjoyable actually.
Love, I'm gonna pick [Eb] you [F] up in the morning.
_ [Cm] Love, I'm gonna take you [Eb] [F] out on _ _ [Bb] a_
I don't know [Eb] where I'm going to.
[G] But I know what I've been going through.
_ [Cm] Without you [Eb] by my [F] side.
[Cm] Woo, woo, [F] woo, woo. _ _
_ _ _ _ [A] _ _ _ [N]
I'd turn one away now.
Right.
[Cm] Love, I'm gonna pick you up in the morning.
Love, I'm gonna take you out on a [Bb] journey.
[Eb] Right, I don't know what I'm [G] doing.
But let me ask you what I'm going through.
[Cm] Without you by my side.
[Em] Right, go.
_ [Eb] _ _ _
[A] How was that, love?
That was marvellous.
Well, that's my girl.
[D] Keep on the [Db] travel.
[A] _
_ [Eb] [E] Keep on the [Dbm] travel.
[A] _ _ [E] _ _ [N] _ _ _ [E] _ _ _ _ _