Chords for Paul McCartney on The Beatles breakup, 1984: CBC Archives | CBC

[B] _ _ You know how many theories [Db] there are about why the Beatles broke [G] up.
How [E] many have you heard?
[D] 35?
One or two.
You got too [Db] rich, you got too isolated, you got too tired, Lennon [Cm] got too radical.
[Dbm] What's your version?
That we'd come [Bb] full circle.
_ [Cm] It was actually kind of a [F] 10 year period, the main [Ab] thing.
Surprisingly [F] short time, really, I thought.
[Db] _ But we started off in Liverpool [Abm] and we wanted to go and be famous, wanted [Ab] to write a lot of songs and have a lot of [Am] success.
[Db] Everywhere, which [F] is basically everyone's aim.
You know, [Gb] any group starts up, that's [F] pretty much what they all want.
So we wanted to do that.
[D] Once we'd done that, once we'd conquered [G] places like _ [Bm] North America and [Gb] stuff like [D] that,
_ [Eb] _ _ [D] I think we began to [Eb] feel that we'd done it [B] and that all we were now going to go into [D] was just do [B] it twice.
_ And for the Beatles [C] and the whole thing, I [Bb] think people started to think we don't really want to do that.
And I think the other factor was that we were also getting to the age when most [F] people leave the army and get married, _ leave [Bb] the club.
You're bringing [E] in the wicked women here.
_ [D]
The wicked women?
Let's [Db] bring [Ab] them in.
Bring in [Bb] the broads.
[Db] _ _ No, so I think the point was that during the Beatles, the [Ab] Beatles was the only [Gb] relationship we really [Ab]
had time [Gb] for.
And we tried other relationships, but they'd end in divorces for the other guys and breakups and stuff [Eb]
[D] because you couldn't really compete.
No [G] women could compete with the Beatles.
That was just a joke.
[D] Bring in the broads, right?
[E] My God, it [A] must have been wild.
[Dm] Yeah, it was wild.
_ _ [Bb] _ _ _ _
_ _ _ _ [F] She wants [E] to draw me on this.
How [F] wild?
And just what [Db] form did this wild [Bb] take?
[Gb] I'm thinking of something that you said [Eb] about you and your own wife that you'd sowed so many wild oats you were prepared to [Bb] be quiet.
Yeah, well, that was [B] true.
You know, like a lot of people in my [Ab] generation.
I mean, let's face it, you know, for a young man, _ [E] heterosexual young man, _ [Cm] _ that's what [Bb] you're after.
No, let's [Ab] not try to kid people around here.
You know, that's what you go to clubs for.
You don't go for the food.
[Db] _ And this is your reason [Bb] that you've given for not going on tour, that the only point of going [Fm] on tour is to attract women.
No, no, no, no, no, no.
Not going to clubs [G] is I've given that reason why I don't go to nightclubs and [B] discos now, because the main reason [A] I went was to find women [Bb] to be with my own peer [F] group, you know?
And when you get [Am] married, _ it depends who you are.
But [Dm] in my case, that knocked [E] all of that on the head.
[Bb] _ I wouldn't dare.
She'd get a rolling pin [Eb] out.
You know, she'd kill me.
[Bb] _ _ Did something [E] that belonged to you and still belongs to you or you may feel still belongs to you die with John Lennon?
[Bb] A possibility of becoming Rodgers and [Db] Hammerstein, of having a mutually inspiring relationship, partnership, [Em] _ business and [D] writing partnership for [Db] your whole life.
Well, that actually died a few years before [Gb] John died.
We'd stopped writing together a [Ab] few years before that.
[G] _ _ So the collaboration thing [Bb] stopped with the end of The Beatles, which was _ [E] about 10 years before he died.
So I [G] got used to having lost that.
And yes, something did die [Bb] when you've got as good [Ab] a collaborator as John.
But then he started saying those [F] nasty things [D] about you that you'd become an Engelbert Humperdink that you [A] were a whore.
It's true, yeah.
Did you ever reconcile?
Muzak.
That was another.
Are you still a little hurt that you didn't get a chance to [C] clean up? A little?
You're kidding?
When someone like [Eb] John Lennon says [F] you're Muzak?
Yeah, it was very [Gb] hurtful.
_ [Eb] But one thing I knew [A] about John was that he shot his mouth off very often about it.
[Bb] So [Ab] that there [Bb] was a point that he [Abm] deliberately wanted to say crummy things about [A] me.
Why?
He was hurt.
He later explained it [B] by saying that I'd kind [Gb] of hurt him over some [C] things and it was kind of bitchy.
_ [Db] _ _ [Bb] He just had to do that.
And at the time, I thought, well, I should really answer all of this.
But I [Db] thought, no, it's really [F] going to get crazy if I start answering him.
We're [Bb] going to be talking through newspapers at each [A] other and really [D] bitching.
_ _ [C] Now it's up presumably [E] to what?
Only Yoko Ono can tell you, oh no, John really liked [Bb] you. _
That must feel very [Gb] harmful.
I know that anyway.
[E] It doesn't mean I didn't get hurt when he said [D] hurtful things about me.
But I knew from my [B] relationship with him [C] that the kind of person John was,
was he was quite likely to say that about [D] anyone.
But [Cm] not necessarily likely to mean it.
He often said things.
[G] _
And I know that when he died, [Bb] that was one of the [D] great things Yoko did for [A] me.
Was she [D] took me aside, kind of [Bb] said, you know, he did love you.
She was gracious enough to do that for me.
You know, so that was that was great.
_ So this hurt.
This is [Ab] sure did, baby.
[Bb] Yeah, I mean, it hurt you.
You know, if I start [Cm] slagging your clothes off right now, you know, nobody needs that.
And when it's from your best friend, [Bm] it hurts, you know, but as [G] I say, I know [Bb] I'm not music.
Well, [Db] I am actually.
There's a every time the plane lands.
_ [D] But I mean, what I mean is in the [Bb] way he meant it, that my music is only at the level of kind
of crummy music.
[Ab] I know that's not true.
I don't [F] care.
The trouble is, I suspect it started a trend that a lot [Ab] of people say I used to love [A] him.
Now he's in Sipa.
Now he's Pure Isle.
[E] _ I suppose it's sort of [Eb] to be absolutely absurd, like saying to Einstein, hey, what [D] are you
going to do after equals MC squared?
But they're really saying, [A] I don't want I don't like what you [Gb] do now.
I [E] want something else.
So those are [Ab] the people who don't buy my records.
And that's fine.
You know, there were people at the Beatles who said, I really [G] don't like that.
You know, I prefer Mozart.
[Bb] That's cool.
But I mean, the thing is, the answer would be I would have to not do well.
And if they'd all turned against me, the thing is, you know, but you're not afraid to be commercial.
That seems to [Eb] be no answer.
Just the opposite.
I mean, I'm proud to be commercial.
So you think about it.
What other [Ab] way do I have [G] to know that it's working?
What I do?
Well, I go out in the street and take Gallop poles [Eb] everywhere.
No, it's [Abm] the only way is actually that you see people go into [Ab] shops of their own volition
and say, can I have his record, please?
They think I'm Pure Isle.
They wouldn't