Chords for Paul McCartney Talks Beatles Break Up

[C] _ [G] _ [D] _ _ _ [C] _ Tonight, [G] he's finally here.
_ [C] _ _
[G] Sir Paul McCartney in an exclusive hour. _ _
_ _ _ [C] _ Next on Larry [Gbm] King [Abm] Live.
_ _ [Ebm] _ [Ab] _ Did you [N] know early on when you were just the Beatles in little clubs, you were good?
Yeah.
What did you know? _ _ _ _
_ We were musical.
_ _ John and I had a little thing that was a little spark of something. _
The other guys were great musicians.
We were a great little unit.
I think the thing that I always thought about us was that we were kind of a little bit more _ artsy than the others.
John went to art school.
I studied literature at school and got an A level.
So I did Chaucer and Shakespeare.
So it's a little bit slightly more artsy than the other guys in the other bands.
So you knew we can do what we do well.
Yeah.
And I thought we had an edge in that artsiness.
There's many stories about why they broke up.
Why?
The Beatles broke up.
_ The essence.
Essence, I think it was time.
_ I always remember the old song Wedding Bells breaking up that old gang of mine.
The army buddies, the band.
And you've got to grow up.
You've got to get married.
You've got to get girlfriends and have babies and things.
And you don't do that in a band.
So I kind of think if you look at it, we really came full circle. _ _
Was it angry?
Yeah.
It got a bit bitter towards the end.
We had a sort of strange manager guy who came in from New York.
And that got bitter.
It got a bit of a feud thing going.
So we started bitching at each other.
Did you record after you knew it was going to end?
Was there anything done after you knew this is it?
Yeah.
There was a little bit of stuff.
Which wasn't bad stuff.
No?
Still good stuff.
Because we were still good musically.
We're just maybe a little tense as friends now.
That had to be hard though then.
Go on stage together or no?
Not on stage.
Recording.
We weren't on stage by that time.
When you got enormous, _ what was that like?
I mean to come to New York and I remember Miami and the crowd.
It was fantastic.
It was really cool.
What did you make of it though?
Well, I mean we were kids who had looked at America as the great country.
Like a lot of the world does.
You know, and you're British kids.
_ Elvis Presley is from here.
Motown, all the black artists that we loved were from here.
_ And we don't have R&B radio stations like in England.
You know, it's sort of good morning.
And this is Elvis Presley singing his new.
But here it's like. _
_ So we just loved the radio stations.
And it was just fantastic.
We arrived.
We were in America.
We were huge.
I think we made a really cool move.
That I think George Harrison doesn't remember that we did it.
But I remember some time saying to Brian Epstein, our manager.
We mustn't go to America until we've got a number one record.
A lot of British acts came here.
And were like second on the bill to people like Fabian.
And in England they were like number one.
People were going, that's not too cool.
Second on the bill to Elvis maybe.
But not Fabian or Frankie.
So what was the song that brought you here?
I Want to Hold Your Hand.
It was number one.
Number one.
So we came.
So the press said, hey Beatles, where you at above?
We said, we're number one man.
And there's no answer in that.
You mentioned Presley.
What was that meeting like?
It was great.
I love it.
The thing is it was so long ago.
Yeah.
We met with him in Los Angeles.
I hear not much was said initially.
Well, _ my memories was it was really quite straightforward that we loved him.
We were a little in awe of him.
Really?
Yeah.
Well, he was the man, you know.
We'd grown up with him.
We were just kids.
We were just that little bit younger.
And we were in awe.
But the funny thing is when we got together, me, George, and Ringo,
for the Beatles anthology, got together to discuss it all,
we all had completely different memories.
Of that meeting?
Of the meeting, yeah.
Which is terrible.
That's time.
I heard someone say that you was hesitant and then they talked about guitars.
Yeah, bass.
He was trying to learn bass guitar.
Me being the bass player, I thought, this is cool.
Let me show you a couple of licks. Hey, Elvis.
But I said he came and met us at the door.
And Ringo sort of said, no, he never stood up all evening.
So it was, you know, who's telling the truth?
I am.
But _ I remember him having the first remote control for a TV we'd ever seen.
Really?
Yeah.
That's a great story.
And he's just kind of, _ oh, it's changing.
It seems like ancient history now, but it was very modern then.
Are you a poet?
Well, I mean, I tried when I was a kid to write some poetry,
but got rejected from the school magazine.
So I became a songwriter to get my own back.
Did OK at that.
Not good.
And then what happened was a friend of mine died prematurely of Parkinson's
in his early 30s.
And we were really close.
He was the guy who introduced me to John Lennon.
And he was such a sweet guy.
And his passing made me want to write a poem rather than write a song.
I don't know why.
And since then, I've sort of written poems.
The great Alan Jay Lerner told me that songwriting is not poetry.
It's a different craft.
Do you agree?
I do agree, yeah.
I was persuaded with this book to put lyrics in because the guy who was
editing it said some of these lyrics are poems.
It was kind of the other way around.
And I met Alan Ginsberg once, the great American poet.
Who he said, you know, he said, that Eleanor Rigby's a hell of a poem.
So I thought, well, you know, he should know.
So I was kind of persuaded.
But I do think they're different, personally.
He called lyric writing a kind of a special craft.
Well, if I'd be talking to Alan about poetry,
he'd correct me when it was kind of a poem.
I wouldn't listen to him, of course.
But he'd try and correct my poetry.
But if it was a song, he'd say, I won't try and touch that.
He wouldn't dare get involved with the songs.
What is it like to be a sir?
It's interesting.
As my dad would have said, is that spelled C-U-R?
Do they w, do they take a little sword and put it on each shoulder?
That's probably the best bit.
You know what it is?
It's like winning a great school prize that you didn't go in for.
And they sort of suddenly say, he's okay.
And they give you this prize.
And you go to the palace and Her Majesty, the Queen of England,
you've got to kneel down on a little red stool for your knee,
which is good because my knee was giving me a bit of jip that day.
So I kneel down and she takes Edward the Confessor's sword.
Come on, Larry.
And I say, vuvum, I, you know, arise, Sir Paul.
I dub thee Sir Paul.
And yet though, when I said, do you want to be called Sir Paul?
You say no.
Well, you know, I mean, I love the honor,
but my worry about accepting it was that people would now think I
changed and I was like, whoa, the guys on my farm said,
what do we call you now?
You know, it's like, I said, you call me sir.
Lordship.
You are a sir.
Before we went on, we were talking about growing up in this town,
you and Liverpool, but you never forget where [Eb] you're from, right?
I don't.
Some people do.
[Ab] You carry Liverpool with you.
Yeah, I love it.
I go back quite frequently.
I've got millions of family there.
[Gm] [Eb] Friends too?
[Cm] Friends too.
But a lot [N] of family, which is breeding as we speak.
_ I mean, they just keep on going.
They just, and to them, I'm just our Paul.
You're not sir and you're not the Beatles and you're not the wings.
I have a hard time impressing them.
I said, well, I'm famous in the world.
Yeah, I love it.
Of course I do.
What do you do when you're this, do you pinch yourself saying,
how did all this happen to me?
Do you accept it?
I mean, there's no one who doesn't know you.
So what's life like?
Well, you know, it's great.
Life's great because this is what I wanted to do.
I wanted to achieve like you.
You know, you're out of Brooklyn.
You wanted to get famous and make money and all that stuff.
Everyone wants to do.
So I did that.
So I'm not ever going to kind of say I didn't want,
I don't want to be here.
But I think what I do, I don't know if you do it,
but I separate the famous me from like the private me.
_ And that, which is fine.
That works great because it's so it's he that goes on stage and gets knighted
and he's great, you know,
and then there's me that was like five years old and I remember it.
And I sort of the one I am.
And the awkward thing is I go in Central Park and I'm being this one and they
think I'm that one.
Yeah, that's the rub.
And how do you deal with that?
Not very well.
I don't like it at all.
I said, can't you see I'm being this one _ _ _ _ go away.
And other words.
So you paid the price.
It's a price you pay for what you want.
Yeah, it's okay.
It's all right.
It's not too bad