1 00:00:02,232 --> 00:00:06,444 (indiscernible singing) 2 00:00:06,444 --> 00:00:08,821 ♪♪ 3 00:00:08,821 --> 00:00:12,158 MAN: Well, I've been wonderful on the last two takes. 4 00:00:12,158 --> 00:00:15,828 ♪♪ 5 00:00:15,828 --> 00:00:19,332 ♪♪ Back in the U. S. S. R playing ♪♪ 6 00:00:19,332 --> 00:00:22,460 ♪♪ 7 00:00:22,460 --> 00:00:25,421 PAUL McCARTNEY: ♪♪ Flew in from Miami Beach BOAC ♪♪ 8 00:00:25,797 --> 00:00:28,091 ♪♪ Didn't get to bed last night ♪♪ 9 00:00:29,425 --> 00:00:32,011 ♪♪ On the way the paper bag was on my knee ♪♪ 10 00:00:32,595 --> 00:00:34,597 ♪♪ Man, I had a dreadful flight ♪♪ 11 00:00:34,597 --> 00:00:36,849 ♪♪ I'm back in the USSR ♪♪ 12 00:00:37,934 --> 00:00:40,979 ♪♪ You don't know how lucky you are, boy ♪♪ 13 00:00:41,354 --> 00:00:43,857 ♪♪ Back in the US, back in the US ♪♪ 14 00:00:43,857 --> 00:00:46,150 ♪♪ Back in the USSR ♪♪ 15 00:00:47,861 --> 00:00:48,736 Oh, come on! 16 00:00:48,736 --> 00:00:53,116 ♪♪ 17 00:01:10,550 --> 00:01:12,176 ♪♪ Oh ♪♪ 18 00:01:12,176 --> 00:01:14,262 ♪♪ Show me round your snow‐peaked mountains ♪♪ 19 00:01:14,262 --> 00:01:15,471 ♪♪ Way down south ♪♪ 20 00:01:15,722 --> 00:01:18,016 (volume dropping in and out) ♪♪ Take me to your Daddy's farm ♪♪ 21 00:01:19,225 --> 00:01:20,226 ♪♪ Let me hear‐♪♪ 22 00:01:20,226 --> 00:01:21,019 ♪♪ Bala‐♪♪ 23 00:01:21,019 --> 00:01:22,228 ♪♪ Ringing out ♪♪ 24 00:01:22,687 --> 00:01:24,564 ♪♪ Come and keep your comrade warm ♪♪ 25 00:01:24,564 --> 00:01:26,691 ♪♪ I'm back in the USSR ♪♪ Whoo! 26 00:01:26,691 --> 00:01:27,567 Hey! 27 00:01:27,984 --> 00:01:31,070 ♪♪ You don't know how lucky you are, boy ♪♪ 28 00:01:31,321 --> 00:01:32,405 ♪♪ Back ♪♪ 29 00:01:32,405 --> 00:01:34,782 Back. And we're back. 30 00:01:34,782 --> 00:01:36,659 What do you remember about this? Whoo! 31 00:01:36,659 --> 00:01:38,953 Wha‐what do you remember about that, that moment? 32 00:01:40,288 --> 00:01:41,998 Writing the song... Yeah. 33 00:01:41,998 --> 00:01:43,499 You know, as a kind of spin‐off, 34 00:01:43,499 --> 00:01:46,544 like a joke on the Chuck Berry Back in the USA. 35 00:01:46,544 --> 00:01:47,545 Mm‐hmm. 36 00:01:47,545 --> 00:01:51,049 For some reason, I mean, maybe I was showing Ringo 37 00:01:51,049 --> 00:01:52,967 what I thought the drumming should be. 38 00:01:53,301 --> 00:01:55,136 I think, and he might've said, "Well, you do it." 39 00:01:56,262 --> 00:01:58,723 He might've also said, "Well, you do it." 40 00:01:59,098 --> 00:02:00,850 So you played drums on this. I‐Yeah. 41 00:02:00,850 --> 00:02:01,726 I didn't know that. Yeah, yeah. 42 00:02:02,310 --> 00:02:04,062 How long did you write the song 43 00:02:04,062 --> 00:02:05,813 before this was recorded, would you say? 44 00:02:05,813 --> 00:02:07,440 It wouldn't have been that long 45 00:02:07,440 --> 00:02:12,111 'cause you pretty much wrote the thing and got in the studio. 46 00:02:12,529 --> 00:02:13,112 Um‐‐ 47 00:02:13,112 --> 00:02:16,157 In the old days, when you were doing cover songs... Mmm. 48 00:02:16,157 --> 00:02:17,909 ...you would all learn the cover songs together, 49 00:02:17,909 --> 00:02:20,286 so you were in the habit of learning a song quickly. 50 00:02:20,286 --> 00:02:21,120 Yeah. 51 00:02:21,120 --> 00:02:22,121 Anyway. That's true. 52 00:02:22,121 --> 00:02:24,541 Yeah. And we, we never rehearsed. Yeah. 53 00:02:24,541 --> 00:02:26,626 I mean, now I rehearse quite a bit, 54 00:02:26,626 --> 00:02:28,711 'cause you've got a big production as well. 55 00:02:28,711 --> 00:02:30,880 But then, I remember us sort of saying, 56 00:02:31,631 --> 00:02:33,341 you know, we had a day's rehearsal 57 00:02:33,341 --> 00:02:35,552 and we were going to do the next day. 58 00:02:35,552 --> 00:02:37,345 Everyone was like, "That's enough." 59 00:02:37,762 --> 00:02:38,763 You know? 60 00:02:38,763 --> 00:02:40,765 "We've done one day, what more do you want?" 61 00:02:41,349 --> 00:02:43,184 Before the first record, though... Yeah. 62 00:02:43,184 --> 00:02:45,395 ...how many hours did you play together? Yeah. 63 00:02:45,395 --> 00:02:46,312 Yeah, yeah. 64 00:02:46,312 --> 00:02:47,814 Yeah, exactly. Yeah. 65 00:02:47,814 --> 00:02:49,232 At least 10,000. 66 00:02:49,566 --> 00:02:50,942 Yeah. According to the man. 67 00:02:52,402 --> 00:02:53,945 When was the point where it's like, 68 00:02:53,945 --> 00:02:57,156 this is different than everyone else, in terms of popularity? 69 00:02:57,490 --> 00:03:01,452 Okay. So we'd played in Hamburg, then we played in England, 70 00:03:01,452 --> 00:03:02,996 and we got more and more popular, 71 00:03:02,996 --> 00:03:04,539 and I always say, it's a good thing. 72 00:03:04,539 --> 00:03:08,001 Because, you know, a lot of kids on these TV talent shows 73 00:03:08,001 --> 00:03:09,878 are propelled into stardom, 74 00:03:09,878 --> 00:03:12,171 and they don't know how to deal with it. Yeah. 75 00:03:12,171 --> 00:03:16,342 But we had this staircase so that we would play ballrooms, 76 00:03:16,342 --> 00:03:19,137 then we played theaters, then we'd do a bit of television, 77 00:03:19,137 --> 00:03:21,931 then we'd do a radio series, we'd do this and this and this. 78 00:03:22,307 --> 00:03:24,017 So we were getting famous, 79 00:03:24,017 --> 00:03:26,144 and then we'd had number‐one records, 80 00:03:26,144 --> 00:03:28,771 so I think that's when we first started to think, 81 00:03:29,355 --> 00:03:31,816 "We're famous. We're number one in the land." 82 00:03:31,816 --> 00:03:33,902 Hm. But my thing was America. 83 00:03:33,902 --> 00:03:34,819 Hm. 84 00:03:34,819 --> 00:03:39,908 No British acts had gone to America and been successful. 85 00:03:40,241 --> 00:03:41,326 They'd all come back. 86 00:03:41,701 --> 00:03:45,371 So I remember taking Brian Epstein aside, 87 00:03:45,371 --> 00:03:46,915 saying "Brian," I said, 88 00:03:46,915 --> 00:03:48,833 "We can't go to America 89 00:03:48,833 --> 00:03:51,461 "until we've got a number‐one record there. 90 00:03:51,461 --> 00:03:53,421 We've got to wait." Hm. 91 00:03:53,421 --> 00:03:54,589 And we did. 92 00:03:54,964 --> 00:03:56,549 We waited and waited. 93 00:03:56,549 --> 00:04:00,136 And it didn't happen until I Want to Hold Your Hand. 94 00:04:00,136 --> 00:04:01,888 ♪♪ Oh, yeah, I ♪♪ 95 00:04:02,263 --> 00:04:03,848 ♪♪ I'll tell you something ♪♪ 96 00:04:04,807 --> 00:04:07,268 ♪♪ I think you'll understand ♪♪ 97 00:04:07,727 --> 00:04:11,064 ♪♪ When I'll say that something ♪♪ 98 00:04:11,856 --> 00:04:15,401 ♪♪ I wanna hold your hand ♪♪ 99 00:04:15,610 --> 00:04:16,694 ♪♪ I wanna hold your hand ♪♪ 100 00:04:16,694 --> 00:04:20,240 We were playing in Paris, when a telegram, 101 00:04:20,240 --> 00:04:23,117 the old fashioned email, came through. 102 00:04:23,868 --> 00:04:25,411 "Congratulations, boys. 103 00:04:25,870 --> 00:04:29,666 I Want to Hold Your Hand, number one in the USA." 104 00:04:29,666 --> 00:04:31,709 Wow. Aah! 105 00:04:31,709 --> 00:04:33,628 And that was a party night. 106 00:04:33,628 --> 00:04:37,549 ♪♪ I wanna hold your hand ♪♪ (audience screaming) 107 00:04:37,549 --> 00:04:41,261 ♪♪ I wanna hold your hand ♪♪ 108 00:04:41,261 --> 00:04:44,889 ♪♪ I wanna hold your hand ♪♪ 109 00:04:44,889 --> 00:04:49,352 ♪♪ I wanna hold your hand ♪♪ 110 00:04:49,352 --> 00:04:52,105 You think it was because you loved American music so much, 111 00:04:52,105 --> 00:04:53,523 or wh‐is that why‐‐ Yeah! 112 00:04:53,523 --> 00:04:56,234 Yeah, that's what it was. Yeah. We loved American music. 113 00:04:56,484 --> 00:05:00,488 It was the blues tradition, the rock and roll tradition, 114 00:05:00,488 --> 00:05:02,073 Elvis. Yeah. 115 00:05:02,073 --> 00:05:04,158 Everything we listened to was American. 116 00:05:04,158 --> 00:05:06,452 Little Richard at the piano, banging away. 117 00:05:07,120 --> 00:05:08,496 It blew our minds. 118 00:05:09,247 --> 00:05:11,165 RICK RUBIN: Did you ever get to meet any of those guys? 119 00:05:11,165 --> 00:05:13,543 Richard. We worked with Richard in Hamburg. 120 00:05:13,543 --> 00:05:14,627 Really? Yeah. 121 00:05:14,627 --> 00:05:15,461 What was that like? 122 00:05:16,588 --> 00:05:17,714 Incredible. RICK: Yeah. 123 00:05:17,714 --> 00:05:19,799 PAUL: You know, for young kids from Liverpool 124 00:05:20,425 --> 00:05:21,926 to work with someone like Little Richard. 125 00:05:21,926 --> 00:05:23,845 ♪♪ Good golly, Miss Molly ♪♪ 126 00:05:24,929 --> 00:05:28,016 ♪♪ Sure like to ball, whoo ♪♪ 127 00:05:28,016 --> 00:05:29,851 ♪♪ Good golly, Miss Molly ♪♪ 128 00:05:30,351 --> 00:05:32,770 ♪♪ Sure like to ball ♪♪ 129 00:05:33,605 --> 00:05:35,648 ♪♪ When you're rockin' and a rollin', yeah ♪♪ 130 00:05:36,149 --> 00:05:38,109 ♪♪ Can't hear your momma call ♪♪ 131 00:05:39,110 --> 00:05:40,278 It was so great. 132 00:05:40,278 --> 00:05:42,655 It was a whole TV hour on its own. 133 00:05:43,156 --> 00:05:46,367 You know, we'd go into his dressing room before he went on, 134 00:05:46,868 --> 00:05:48,661 and just to hear his stories. 135 00:05:48,661 --> 00:05:50,663 See, you don't have to be the top of the bill 136 00:05:50,663 --> 00:05:51,915 to climb the hill. 137 00:05:53,041 --> 00:05:56,586 See, this is not, it ain't the size of the ship that make you seasick, 138 00:05:56,961 --> 00:05:58,796 it's the waves in the ocean. 139 00:05:59,297 --> 00:06:01,257 It ain't the man that run the fastest, 140 00:06:01,257 --> 00:06:03,384 but the man that endure to the end. 141 00:06:04,219 --> 00:06:07,513 So I know that if water fall on rock long enough, 142 00:06:07,513 --> 00:06:08,389 it's to break it. 143 00:06:08,765 --> 00:06:10,642 PAUL: It was, like, evangelical or something. 144 00:06:10,642 --> 00:06:11,184 RICK: Yeah. 145 00:06:11,184 --> 00:06:12,852 And, well, he'd gone to Australia. 146 00:06:12,852 --> 00:06:16,022 Supposed to have thrown all his rings into the water 147 00:06:16,022 --> 00:06:19,943 and renounced, you know, materialism or whatever. Yes. 148 00:06:19,943 --> 00:06:22,529 So we'd ask him, "Hey, Richard, is it true 149 00:06:22,529 --> 00:06:24,906 that, you know, you threw all your rings away and all that?" 150 00:06:25,698 --> 00:06:26,991 And he'd tell us all, he'd say, 151 00:06:26,991 --> 00:06:29,118 (imitating Little Richard): "Yes, child, that's true. 152 00:06:29,118 --> 00:06:30,245 I'll tell you." 153 00:06:30,245 --> 00:06:34,541 And he had this beautiful way, Southern, Southern American way. 154 00:06:35,208 --> 00:06:38,545 (in normal voice): So yeah, we were massively excited to come to America 155 00:06:38,962 --> 00:06:43,174 because these are the people that we loved, 156 00:06:43,883 --> 00:06:45,760 and they were loving us. Yeah. 157 00:06:45,760 --> 00:06:49,264 This was like, yeah, we've arrived. We were famous. 158 00:06:49,264 --> 00:06:50,640 Yeah. (both laugh) 159 00:06:50,640 --> 00:06:52,225 It's a great feeling. Yeah. 160 00:06:52,517 --> 00:06:53,601 Of being accepted. 161 00:06:53,601 --> 00:06:55,019 Is really‐‐ Yeah, exactly. 162 00:06:55,019 --> 00:06:55,812 Because you think about it, 163 00:06:55,812 --> 00:06:58,064 that's sort of what everyone's trying to do. 164 00:06:58,064 --> 00:06:59,607 There's obviously the cool guys who went, 165 00:06:59,607 --> 00:07:01,943 "I don't care," and that's great. 166 00:07:02,610 --> 00:07:06,865 But, um, most people, I think most people want to be accepted. 167 00:07:07,365 --> 00:07:09,033 Like, "Great job." Yeah. He's good. 168 00:07:09,033 --> 00:07:10,118 You go, "Thank you." 169 00:07:10,660 --> 00:07:13,705 ♪♪ Baby's In Black playing ♪♪ 170 00:07:14,163 --> 00:07:17,333 ♪♪ Oh, dear, what can I do? ♪♪ 171 00:07:17,333 --> 00:07:20,086 Two voices the whole time, harmony the whole time. 172 00:07:20,712 --> 00:07:23,756 ♪♪ Tell me, oh, what can I do? ♪♪ 173 00:07:24,757 --> 00:07:27,594 ♪♪ She thinks of him ♪♪ 174 00:07:28,136 --> 00:07:30,889 ♪♪ And so she dresses in black ♪♪ 175 00:07:31,514 --> 00:07:34,392 ♪♪ And though he'll never come back ♪♪ 176 00:07:34,392 --> 00:07:36,269 ♪♪ She's dressed in black ♪♪ 177 00:07:37,812 --> 00:07:41,482 You know, we'd started off with songs which are just for the fans. 178 00:07:41,482 --> 00:07:42,150 Yeah. 179 00:07:42,150 --> 00:07:45,904 From Me To You, Love Me Do, Please Please Me, 180 00:07:45,904 --> 00:07:47,322 Thank You Girl. 181 00:07:47,322 --> 00:07:50,158 We were writing to our fan audience. 182 00:07:50,575 --> 00:07:52,952 But then, as things went on, 183 00:07:52,952 --> 00:07:55,705 we started to just write for ourselves 184 00:07:55,705 --> 00:07:56,998 and figured 185 00:07:56,998 --> 00:08:00,627 that the fans would listen to our extension 186 00:08:01,002 --> 00:08:02,837 of what we wanted to write. 187 00:08:02,837 --> 00:08:04,714 So we did, and we got into kind of more 188 00:08:04,714 --> 00:08:06,507 sort of slightly different things. 189 00:08:06,507 --> 00:08:08,426 This being 3/4 time. 190 00:08:08,426 --> 00:08:11,304 (humming) 191 00:08:11,304 --> 00:08:14,849 And we used to want to do this on stage. 192 00:08:14,849 --> 00:08:17,227 But it wasn't a big fan favorite. 193 00:08:17,727 --> 00:08:19,771 May be hard to dance to, too, because of the‐‐ 194 00:08:19,771 --> 00:08:21,397 It would be hard to dance to. Because of the groove. 195 00:08:21,981 --> 00:08:23,441 But the harmonies are great. 196 00:08:23,983 --> 00:08:26,110 And the words are really good. As you say, it's very Everlys. 197 00:08:26,861 --> 00:08:29,322 ♪♪ When I feel blue ♪♪ 198 00:08:29,948 --> 00:08:34,285 ♪♪ In the night and I need you ♪♪ 199 00:08:34,285 --> 00:08:36,538 RICK: How impactful were the Everly Brothers on you? 200 00:08:36,538 --> 00:08:37,789 PAUL: Oh, massively. 201 00:08:38,289 --> 00:08:42,210 We always used to say I was Phil, John was Don. 202 00:08:43,753 --> 00:08:44,671 You listen to Beatles records. 203 00:08:44,671 --> 00:08:46,798 'Cause I always take the higher harmony than John. 204 00:08:47,590 --> 00:08:49,259 That was us being the Everlys. 205 00:08:50,802 --> 00:08:52,512 ♪♪ Baby's in black ♪♪ 206 00:08:52,512 --> 00:08:54,138 ♪♪ And I'm feeling blue ♪♪ 207 00:08:54,138 --> 00:08:57,850 ♪♪ Tell me, oh, what can I do? ♪♪ 208 00:08:57,850 --> 00:08:59,185 You know, we were kind of proud of this one. 209 00:08:59,185 --> 00:08:59,769 This is a good one. 210 00:08:59,769 --> 00:09:02,647 We thought we were kind of, you know, getting really funky folk. 211 00:09:02,647 --> 00:09:05,859 ♪♪ And so she dresses in black ♪♪ 212 00:09:07,026 --> 00:09:10,071 ♪♪ And though he'll never come back ♪♪ 213 00:09:10,071 --> 00:09:11,990 ♪♪ She's dressed in black ♪♪ 214 00:09:12,866 --> 00:09:15,159 Tell me about albums versus singles, 215 00:09:15,159 --> 00:09:17,620 because in modern time, 216 00:09:17,620 --> 00:09:19,622 when you put out an album, all your singles are on that album. 217 00:09:19,622 --> 00:09:20,373 Yeah. Yeah. 218 00:09:20,373 --> 00:09:23,209 But were you guys the first guys to do singles 219 00:09:23,209 --> 00:09:25,128 that were not part of albums? 220 00:09:25,128 --> 00:09:27,755 We had the luxury to do that. Yeah. 221 00:09:27,755 --> 00:09:28,798 You know, somebody's coming in, 222 00:09:28,798 --> 00:09:31,050 and they're only going to ever have one hit. 223 00:09:31,050 --> 00:09:31,843 Yeah. 224 00:09:31,843 --> 00:09:33,386 Then that had better be on the album. 225 00:09:33,386 --> 00:09:34,888 Yeah, yeah, yeah. You know. 226 00:09:34,888 --> 00:09:37,390 But we, we were rather confident. 227 00:09:37,682 --> 00:09:39,434 Yeah. And then the other great thing was, 228 00:09:39,434 --> 00:09:41,686 there used to be an A side and a B side, as you know. 229 00:09:41,686 --> 00:09:42,228 Yeah. 230 00:09:42,228 --> 00:09:44,814 The B side earns just as much money as the A side, 231 00:09:46,107 --> 00:09:49,819 so we were trying to write good A sides, good B sides. 232 00:09:49,819 --> 00:09:50,320 Yeah. 233 00:09:50,737 --> 00:09:52,655 I remember Phil Spector saying to us, 234 00:09:53,489 --> 00:09:55,533 "You throw away all your songs. 235 00:09:55,533 --> 00:09:57,619 "On a, on a, on a record, 236 00:09:57,619 --> 00:09:59,871 you're putting two good songs on there." 237 00:09:59,871 --> 00:10:01,664 He said you should put the hit, 238 00:10:02,207 --> 00:10:04,959 and then the other side, just like take the vocal off, 239 00:10:05,919 --> 00:10:07,712 and call it sing‐along‐with 240 00:10:08,254 --> 00:10:09,214 or something. And sell it twice. 241 00:10:09,214 --> 00:10:11,382 Sell it twice. And we said, "No, Phil. 242 00:10:11,382 --> 00:10:13,718 We can't do that." So, because you know why? 243 00:10:13,718 --> 00:10:15,803 Because we were recently record buyers. 244 00:10:15,803 --> 00:10:16,554 Yeah. 245 00:10:16,554 --> 00:10:18,848 And we would have felt so cheated 246 00:10:18,848 --> 00:10:20,016 if we'd have bought that record. 247 00:10:20,600 --> 00:10:22,477 Was it typically an album a year? 248 00:10:22,477 --> 00:10:24,312 It was typically, it was like an album a year, 249 00:10:24,312 --> 00:10:25,647 and four singles a year. 250 00:10:26,189 --> 00:10:28,233 An album plus four additional singles? 251 00:10:28,233 --> 00:10:28,900 Yeah. 252 00:10:28,900 --> 00:10:30,693 The songs were varied on each album, 253 00:10:30,693 --> 00:10:32,570 and then every album was varied from the other. 254 00:10:32,570 --> 00:10:33,154 Yeah. 255 00:10:33,154 --> 00:10:34,697 It was like, ah, ah, ah. 256 00:10:34,697 --> 00:10:36,199 And the pace you were working at‐‐ 257 00:10:36,199 --> 00:10:36,699 Yeah. 258 00:10:36,699 --> 00:10:38,618 It'd be like, "Go down, do the solo, then come on." 259 00:10:38,618 --> 00:10:40,036 "Yeah, okay." 260 00:10:40,036 --> 00:10:42,372 Run down... (humming) 261 00:10:42,372 --> 00:10:43,414 Done, great. 262 00:10:44,040 --> 00:10:45,333 Next. Yeah. Next. 263 00:10:45,333 --> 00:10:46,876 Yeah, yeah, yeah. You know. 264 00:10:46,876 --> 00:10:47,835 Amazing. 265 00:10:47,835 --> 00:10:49,879 I remember, with And I Love Her. Yeah. 266 00:10:49,879 --> 00:10:52,465 I brought it in, and it was just, I had the chords. 267 00:10:52,799 --> 00:10:54,300 (humming) 268 00:10:54,300 --> 00:10:55,260 And then George Martin said, 269 00:10:55,260 --> 00:10:57,387 "It would be nice if we could have a little intro." 270 00:10:57,387 --> 00:10:58,054 Mm‐hmm. 271 00:10:58,054 --> 00:11:00,431 And George Harrison just went‐‐ 272 00:11:00,431 --> 00:11:01,933 (hums) 273 00:11:01,933 --> 00:11:04,435 ♪♪ And I Love Her playing ♪♪ 274 00:11:04,435 --> 00:11:05,353 Yeah. 275 00:11:05,728 --> 00:11:07,939 ♪♪ 276 00:11:07,939 --> 00:11:09,023 RICK: Yeah. Integral. 277 00:11:11,317 --> 00:11:14,696 PAUL: (on recording) ♪♪ I give her all my love ♪♪ 278 00:11:14,696 --> 00:11:15,864 Now, see and that‐‐ 279 00:11:15,864 --> 00:11:18,575 ♪♪ That's all I do ♪♪ 280 00:11:18,575 --> 00:11:21,619 You know, I couldn't imagine this song without that. 281 00:11:21,619 --> 00:11:22,620 Yeah. Yeah. 282 00:11:23,830 --> 00:11:26,165 ♪♪ You'd love her too ♪♪ 283 00:11:26,165 --> 00:11:27,417 It was good, you know. 284 00:11:27,417 --> 00:11:28,293 Yeah. 285 00:11:28,293 --> 00:11:29,252 (chuckles) 286 00:11:29,627 --> 00:11:32,338 ♪♪ 287 00:11:33,464 --> 00:11:34,632 Ooh. Switches. 288 00:11:34,632 --> 00:11:38,928 George, now he does this part, instead of... (hums) 289 00:11:38,928 --> 00:11:40,138 That was not a preplanned‐‐ 290 00:11:40,138 --> 00:11:40,847 No. 291 00:11:40,847 --> 00:11:43,308 ♪♪ 292 00:11:43,308 --> 00:11:45,435 But he knew the chords, and that was enough 293 00:11:45,435 --> 00:11:47,729 so he could transpose stuff. 294 00:11:48,146 --> 00:11:50,857 ♪♪ 295 00:11:53,610 --> 00:11:57,113 ♪♪ A love like ours ♪♪ 296 00:11:57,614 --> 00:12:00,450 ♪♪ Could never die ♪♪ 297 00:12:01,826 --> 00:12:04,037 ♪♪ As long as I ♪♪ 298 00:12:04,495 --> 00:12:07,373 ♪♪ Have you near me ♪♪ 299 00:12:09,000 --> 00:12:11,920 ♪♪ And I love her ♪♪ 300 00:12:12,587 --> 00:12:13,880 (imitating himself) ♪♪ Her ♪♪ 301 00:12:16,549 --> 00:12:18,092 Once we'd started to write, 302 00:12:18,384 --> 00:12:20,637 we discovered other people who were writing. 303 00:12:20,637 --> 00:12:21,471 Hm. 304 00:12:21,471 --> 00:12:22,972 This was like a, 305 00:12:22,972 --> 00:12:26,184 like a sort of disease that spread, a good disease. 306 00:12:26,184 --> 00:12:26,976 Yeah, everyone could see‐‐ 307 00:12:26,976 --> 00:12:28,353 Of songwriting, everyone sort of started‐‐ 308 00:12:28,353 --> 00:12:29,729 "He's doing it, I'll try it." 309 00:12:29,729 --> 00:12:30,688 Yeah. 310 00:12:30,688 --> 00:12:33,816 At one point quite early days, 311 00:12:33,816 --> 00:12:36,402 we were supporting Roy Orbison. 312 00:12:36,402 --> 00:12:36,861 Hm. 313 00:12:36,861 --> 00:12:39,864 I think he'd always written his stuff, 314 00:12:39,864 --> 00:12:42,575 but a very favorite memory of mine is, 315 00:12:42,575 --> 00:12:44,827 we were on the tour with Roy, 316 00:12:45,203 --> 00:12:47,789 and we stopped off somewhere for a cup of tea. 317 00:12:48,289 --> 00:12:49,791 Roy stayed on the bus. 318 00:12:50,291 --> 00:12:53,920 And I remember John and I coming back on the bus afterwards 319 00:12:53,920 --> 00:12:56,381 and there, sitting at the back of the bus with his guitar... 320 00:12:56,381 --> 00:12:58,925 ♪♪ Oh, Pretty Woman playing ♪♪ 321 00:12:58,925 --> 00:13:00,468 ♪♪ 322 00:13:00,468 --> 00:13:01,761 ...is Roy. 323 00:13:01,761 --> 00:13:03,221 He's going... ♪♪ Pretty woman ♪♪ 324 00:13:03,221 --> 00:13:06,849 ♪♪ Pretty woman walking down the street ♪♪ 325 00:13:06,849 --> 00:13:10,520 ♪♪ Pretty woman, the kind I'd like to meet ♪♪ 326 00:13:10,520 --> 00:13:12,230 ♪♪ Pretty woman ♪♪ 327 00:13:12,230 --> 00:13:14,816 And you learned things from people like that. 328 00:13:14,816 --> 00:13:15,441 RICK: Yeah. 329 00:13:15,441 --> 00:13:17,110 I'd do a little songwriting class, 330 00:13:17,110 --> 00:13:19,112 in my old school up in Liverpool. 331 00:13:19,112 --> 00:13:22,073 And one of the things I nearly always point out 332 00:13:22,073 --> 00:13:23,366 to the students 333 00:13:23,366 --> 00:13:26,077 is that it's good to have an end to a song 334 00:13:26,536 --> 00:13:30,248 because you've got to let the audience know it's finished. 335 00:13:31,207 --> 00:13:32,667 When we're on tour, 336 00:13:32,667 --> 00:13:35,211 every song of Roy's got a big end. 337 00:13:35,211 --> 00:13:36,254 ♪♪ 338 00:13:36,254 --> 00:13:41,009 ♪♪ It's over ♪♪ 339 00:13:41,009 --> 00:13:43,887 (sing‐songy) And always like a great big note. 340 00:13:44,554 --> 00:13:45,889 And he stopped. Then it's like‐‐ 341 00:13:45,889 --> 00:13:47,223 (imitating cheering) 342 00:13:47,223 --> 00:13:49,475 There's nowhere else to go. You've got to clap there. 343 00:13:49,475 --> 00:13:50,393 Yeah. 344 00:13:50,393 --> 00:13:52,312 So I said, well, yeah, I don't want you to do that. 345 00:13:52,312 --> 00:13:57,066 But think about letting the audience know you've finished. 346 00:13:57,066 --> 00:14:01,029 So we'd pick up little tricks like that off, off Roy. 347 00:14:01,696 --> 00:14:03,531 Remember any other moments where you saw something 348 00:14:03,531 --> 00:14:05,909 and you just, like, never saw anything like it 349 00:14:05,909 --> 00:14:07,577 or felt anything like it before? 350 00:14:07,577 --> 00:14:08,411 Kinks. 351 00:14:08,411 --> 00:14:09,579 ♪♪ You Really Got Me playing ♪♪ 352 00:14:09,579 --> 00:14:11,331 I mean, we loved their first hit. 353 00:14:11,956 --> 00:14:14,000 You Really Got Me, and the guitar riff. Great riff too. 354 00:14:14,000 --> 00:14:14,959 (imitating guitar riff) 355 00:14:15,668 --> 00:14:18,463 ♪♪ Yeah, you really got me now ♪♪ 356 00:14:18,463 --> 00:14:21,174 ♪♪ You got me so I can't sleep at night ♪♪ 357 00:14:22,759 --> 00:14:25,553 ♪♪ Yeah, you really got me now ♪♪ 358 00:14:25,553 --> 00:14:26,262 ♪♪ You got me... ♪♪ 359 00:14:26,262 --> 00:14:28,806 PAUL: They supported us. We were in Brighton. 360 00:14:29,307 --> 00:14:31,559 We were due to come on second half, 361 00:14:31,559 --> 00:14:33,144 and they did the first half. 362 00:14:33,144 --> 00:14:36,189 We all kind of came out, sort of hid a bit, 363 00:14:36,189 --> 00:14:37,649 so we could watch them, you know. 364 00:14:38,608 --> 00:14:41,236 ♪♪ Girl, you really got me goin' ♪♪ 365 00:14:41,236 --> 00:14:43,988 ♪♪ You got me... ♪♪ (humming) 366 00:14:43,988 --> 00:14:44,697 Good little song. 367 00:14:44,697 --> 00:14:45,823 Yeah. 368 00:14:45,823 --> 00:14:49,410 Uh, Seeing Dylan at the Albert Hall was very special. 369 00:14:49,994 --> 00:14:51,579 Because his first‐‐ That was when it was still acoustic‐‐ 370 00:14:51,579 --> 00:14:53,164 His first half was acoustic, 371 00:14:53,164 --> 00:14:55,583 and then the band came on for his electric. 372 00:14:56,376 --> 00:14:59,420 ♪♪ Just don't put on any airs ♪♪ 373 00:15:00,046 --> 00:15:04,592 ♪♪ When you're down on Rue Morgue Avenue ♪♪ 374 00:15:04,592 --> 00:15:06,886 PAUL: All the folkies kind of booed him. 375 00:15:06,886 --> 00:15:09,430 They thought he's gone over to the other side. 376 00:15:09,973 --> 00:15:11,849 He's sold out to the enemy, you know. 377 00:15:12,475 --> 00:15:13,726 But we loved it. Hm. 378 00:15:13,726 --> 00:15:16,062 Then, you know, we were talking about Jimi Hendrix. 379 00:15:16,062 --> 00:15:17,772 Yeah. Where did you see him play? 380 00:15:18,147 --> 00:15:21,234 We used to go to this club called the Bag O' Nails, 381 00:15:21,734 --> 00:15:24,028 which is where I would eventually meet Linda. 382 00:15:24,028 --> 00:15:24,779 RICK: Hm. 383 00:15:24,779 --> 00:15:26,281 PAUL: But it was our regular hangout. 384 00:15:27,198 --> 00:15:30,910 Because we were in groups, you never got to go to the pub. 385 00:15:31,494 --> 00:15:33,538 When you stopped working, the pubs are closed, 386 00:15:34,038 --> 00:15:37,000 so you had to get, like, a drink and maybe something to eat. 387 00:15:37,000 --> 00:15:38,918 And this club, Bag O' Nails, was that. 388 00:15:38,918 --> 00:15:40,211 So I went down there, 389 00:15:40,545 --> 00:15:43,381 and you would just sit in an alcove 390 00:15:43,381 --> 00:15:45,049 and you'd mainly listen to records. 391 00:15:45,049 --> 00:15:47,510 The live bands normally weren't that good. 392 00:15:47,886 --> 00:15:49,971 Anyway, one night, there was hardly anyone in the club, 393 00:15:49,971 --> 00:15:52,307 and I'm there late with a couple of friends. 394 00:15:52,974 --> 00:15:57,312 And you hear, to me, some sort of exciting sound, 395 00:15:57,812 --> 00:16:00,023 an electric guitar plugging in. 396 00:16:00,565 --> 00:16:01,649 If it's all live‐‐ 397 00:16:01,649 --> 00:16:02,775 (imitating guitar plugging in) Yeah. 398 00:16:02,775 --> 00:16:03,943 That's‐Whoa! 399 00:16:03,943 --> 00:16:06,529 It's a little bit too loud, but it's very cool. 400 00:16:06,988 --> 00:16:08,198 He plugged it in. 401 00:16:08,198 --> 00:16:10,241 Oh, that got our attention and he goes‐‐ 402 00:16:10,241 --> 00:16:12,035 (imitates guitar riff) 403 00:16:12,035 --> 00:16:13,745 ♪♪ Hey, Joe ♪♪ 404 00:16:15,455 --> 00:16:17,916 ♪♪ Where you going with that gun in your hand? ♪♪ 405 00:16:18,666 --> 00:16:22,921 ♪♪ 406 00:16:22,921 --> 00:16:24,672 PAUL: And that was another kind of, 407 00:16:24,964 --> 00:16:26,174 wow, 408 00:16:26,174 --> 00:16:27,592 electric moment. 409 00:16:27,592 --> 00:16:29,135 And even though there's hardly anyone in the club, 410 00:16:29,135 --> 00:16:32,305 he played this great set, teeth and the whole thing. 411 00:16:32,305 --> 00:16:35,808 ♪♪ 412 00:16:38,978 --> 00:16:41,356 I think that was like on a Friday night. 413 00:16:41,356 --> 00:16:43,942 And then he played again, same club on the Tuesday. 414 00:16:44,317 --> 00:16:45,401 Well, it was packed. 415 00:16:45,860 --> 00:16:47,529 ♪♪ I'm going way down south ♪♪ 416 00:16:49,697 --> 00:16:51,950 ♪♪ Way down Mexico way ♪♪ 417 00:16:52,951 --> 00:16:54,786 Just the word of mouth from how great Friday‐‐ 418 00:16:54,786 --> 00:16:58,081 Word around London was you've got to see this guy. 419 00:16:58,081 --> 00:16:58,915 Wow. 420 00:16:58,915 --> 00:17:02,335 So we all went, uh, I went back to check him out again. 421 00:17:02,335 --> 00:17:03,253 Great. 422 00:17:03,253 --> 00:17:06,589 And it was Pete Townshend in the audience, Eric Clapton. 423 00:17:07,006 --> 00:17:08,049 Word had got around. 424 00:17:09,175 --> 00:17:12,178 ♪♪ 425 00:17:12,554 --> 00:17:15,557 It was very exciting, but we're kids, living it. 426 00:17:15,557 --> 00:17:19,727 What's great is, as time goes by, th‐they become legends. 427 00:17:19,727 --> 00:17:20,645 Yeah. 428 00:17:20,645 --> 00:17:22,188 It was a great camaraderie, you know, 429 00:17:22,188 --> 00:17:24,816 and it was a great generation. 430 00:17:25,316 --> 00:17:25,900 Yeah. 431 00:17:25,900 --> 00:17:28,820 And it wasn't just us, it was artists as well. 432 00:17:29,362 --> 00:17:32,365 So you'd be hanging with artists and looking at a lot of art, 433 00:17:33,199 --> 00:17:37,287 and so I had a few friends who were of that ilk 434 00:17:37,287 --> 00:17:40,164 and would turn me on to, like, cool books 435 00:17:40,164 --> 00:17:41,165 and cool music. 436 00:17:41,833 --> 00:17:43,751 It wouldn't necessarily find its way onto a record, 437 00:17:43,751 --> 00:17:45,378 but it influenced your thinking. 438 00:17:45,378 --> 00:17:48,172 ♪♪ Lucy In The Sky With Diamonds playing ♪♪ 439 00:17:48,172 --> 00:17:52,802 Yeah. This is an instrument they had lying around EMI, 440 00:17:52,802 --> 00:17:54,470 called a Lowrey organ. 441 00:17:54,470 --> 00:17:55,847 Who played this? Me. 442 00:17:57,640 --> 00:18:00,184 JOHN LENNON: (on recording) ♪♪ Picture yourself ♪♪ 443 00:18:00,184 --> 00:18:02,812 ♪♪ In a boat on a river ♪♪ 444 00:18:02,812 --> 00:18:05,815 ♪♪ With tangerine trees ♪♪ 445 00:18:05,815 --> 00:18:09,485 ♪♪ And marmalade skies ♪♪ 446 00:18:10,486 --> 00:18:15,533 ♪♪ Somebody calls you, you answer quite slowly ♪♪ 447 00:18:16,075 --> 00:18:22,040 ♪♪ A girl with kaleidoscope eyes ♪♪ 448 00:18:24,375 --> 00:18:26,878 ♪♪ Cellophane flowers ♪♪ 449 00:18:26,878 --> 00:18:29,547 ♪♪ Of yellow and green ♪♪ 450 00:18:29,547 --> 00:18:33,760 ♪♪ Towering over your head ♪♪ 451 00:18:33,760 --> 00:18:35,386 This is all on two track. 452 00:18:35,386 --> 00:18:36,429 (chuckles) 453 00:18:36,930 --> 00:18:40,016 It's a lot of information for two, two tracks, isn't it? 454 00:18:40,016 --> 00:18:43,269 ♪♪ 455 00:18:43,269 --> 00:18:44,604 ♪♪ Lucy in the... ♪♪ 456 00:18:44,604 --> 00:18:48,191 ♪♪ 457 00:18:48,191 --> 00:18:49,359 ♪♪ Lucy in the sky‐♪♪ 458 00:18:49,359 --> 00:18:51,402 I think that's me making 'em all... 459 00:18:53,446 --> 00:18:56,866 ♪♪ Lucy in the sky with diamonds ♪♪ 460 00:18:56,866 --> 00:18:58,159 High‐The high harmony. Yeah. 461 00:18:58,660 --> 00:19:00,119 (strained singing) 462 00:19:00,119 --> 00:19:01,329 (laughs) 463 00:19:01,329 --> 00:19:03,373 JOHN: ♪♪ Follow her down‐♪♪ 464 00:19:04,123 --> 00:19:06,584 Rick this is why we don't go into tapes. 465 00:19:06,584 --> 00:19:07,710 That's beautiful. 466 00:19:07,710 --> 00:19:09,295 It's beautiful. Aaaah! 467 00:19:10,338 --> 00:19:11,130 Yeah. 468 00:19:11,464 --> 00:19:13,508 You know the story. Everyone thought it was LSD. 469 00:19:13,508 --> 00:19:15,009 Lucy, Sky, Diamond. 470 00:19:15,343 --> 00:19:18,805 But it was actually his son, Julian, Julian Lennon, 471 00:19:19,347 --> 00:19:22,559 who'd been at school and had brought back 472 00:19:22,559 --> 00:19:26,104 a little drawing of his school friend, Lucy. 473 00:19:26,396 --> 00:19:29,315 He'd drawn stars around her. 474 00:19:29,899 --> 00:19:33,278 And so he called them diamonds, and this was Lucy, 475 00:19:33,278 --> 00:19:35,154 and because she was sort of floating, 476 00:19:35,154 --> 00:19:37,240 she was Lucy in the sky with diamonds. 477 00:19:37,532 --> 00:19:39,576 He said, "I think it's a good title for a song." 478 00:19:39,576 --> 00:19:40,493 Yeah. 479 00:19:40,493 --> 00:19:42,912 And we were big Lewis Carroll fans, 480 00:19:42,912 --> 00:19:45,290 Alice in Wonderland, Alice Through the Looking Glass. 481 00:19:45,748 --> 00:19:50,211 And, uh, that was another point of contact for me and John, 482 00:19:50,753 --> 00:19:53,965 these lyrics, you know, the kaleidoscope eyes. 483 00:19:53,965 --> 00:19:56,009 It's sort of straight out of Alice, 484 00:19:56,009 --> 00:19:57,343 almost the Cheshire cat. 485 00:19:57,343 --> 00:20:00,597 Mm‐hmm. It was, you know, vanishes, 486 00:20:00,597 --> 00:20:03,099 the caterpillar smoking his big hookah. 487 00:20:03,099 --> 00:20:03,808 Yeah. 488 00:20:03,808 --> 00:20:06,477 And it was a head job, you know, it was like‐‐ Yeah. 489 00:20:06,477 --> 00:20:08,396 The truth is, everyone was getting stoned. 490 00:20:08,396 --> 00:20:08,855 Yeah. 491 00:20:08,855 --> 00:20:12,692 And it was intentionally a sort of fun album 492 00:20:12,692 --> 00:20:15,695 for the... high times. 493 00:20:16,029 --> 00:20:17,697 Yeah. It worked. (laughs) 494 00:20:18,448 --> 00:20:19,449 It did, yeah. 495 00:20:20,074 --> 00:20:21,659 Tell me about first time in India. 496 00:20:22,285 --> 00:20:25,246 So we were in the middle of sort of the drug culture 497 00:20:25,246 --> 00:20:29,000 and we were pretty wasted, you know, pretty burned out. 498 00:20:29,751 --> 00:20:32,879 We'd seen Maharishi when we were kids 499 00:20:32,879 --> 00:20:34,839 on sort of black and white television. 500 00:20:35,173 --> 00:20:36,716 And he giggles, and we're going, you know, 501 00:20:36,716 --> 00:20:39,385 just kids in Liverpool, we're going, "Love this guy." 502 00:20:40,553 --> 00:20:43,932 And then years later, we did a little course in England, 503 00:20:43,932 --> 00:20:47,435 and then we ended up going out to India. 504 00:20:47,435 --> 00:20:50,146 ♪♪ Within You Without You playing ♪♪ 505 00:20:50,146 --> 00:20:52,482 Why we were doing it is because we needed it. 506 00:20:52,482 --> 00:20:53,066 RICK: Yeah. 507 00:20:53,066 --> 00:20:55,193 PAUL: It's all like, "Oh my God," we were working a lot, 508 00:20:55,193 --> 00:20:56,569 and recording a lot. 509 00:20:57,320 --> 00:21:02,283 So... going there was a great relief, you know. 510 00:21:04,536 --> 00:21:09,249 So yeah, we went out and stayed at this place in Rishikesh, 511 00:21:10,708 --> 00:21:11,918 which are now apparently, 512 00:21:11,918 --> 00:21:14,921 it's The Beatles meditation camp. (Rick laughing) 513 00:21:14,921 --> 00:21:17,882 It's a little bit rundown. I met someone who'd been there. 514 00:21:17,882 --> 00:21:21,135 But it was a very gentle time, it was a very beautiful time. 515 00:21:21,135 --> 00:21:22,595 And we'd all brought our guitars, 516 00:21:22,595 --> 00:21:24,347 so we were all writing. 517 00:21:24,347 --> 00:21:26,766 ♪♪ Dear Prudence playing ♪♪ 518 00:21:26,766 --> 00:21:29,519 I wrote Ob‐La‐Di, Ob‐La‐Da there, 519 00:21:30,061 --> 00:21:32,814 which is not really spiritual. 520 00:21:32,814 --> 00:21:34,107 It was just a song. 521 00:21:35,149 --> 00:21:36,651 And John wrote this. 522 00:21:36,651 --> 00:21:39,028 JOHN: ♪♪ Dear Prudence ♪♪ 523 00:21:39,028 --> 00:21:42,490 ♪♪ 524 00:21:42,490 --> 00:21:45,785 ♪♪ Won't you come out to play? ♪♪ 525 00:21:45,785 --> 00:21:48,830 So is this like you imagined when John played it for you first‐‐ 526 00:21:48,830 --> 00:21:49,581 Yeah. It was like this? 527 00:21:49,581 --> 00:21:50,748 Pretty much, yeah. 528 00:21:51,291 --> 00:21:52,917 It wasn't double tracked, of course, but I mean, 529 00:21:52,917 --> 00:21:55,003 just the simple version of this, yeah. 530 00:21:56,170 --> 00:21:59,382 There was a girl there who was called Prudence Farrow, 531 00:22:00,008 --> 00:22:02,051 and she was Mia Farrow's sister. 532 00:22:02,594 --> 00:22:05,722 The word got out that she was in her chalet 533 00:22:06,055 --> 00:22:07,557 and wouldn't come out. 534 00:22:08,391 --> 00:22:11,185 So we all sort of wanted to go over. 535 00:22:11,769 --> 00:22:14,689 And John was playing and singing this to her. 536 00:22:15,148 --> 00:22:16,065 ♪♪ Dear Prudence ♪♪ 537 00:22:16,774 --> 00:22:20,236 ♪♪ Won't you come out to play? ♪♪ 538 00:22:20,236 --> 00:22:21,905 ♪♪ 539 00:22:21,905 --> 00:22:23,114 Yeah. Yeah. 540 00:22:23,114 --> 00:22:25,074 It's that juxtaposition thing, again. 541 00:22:26,117 --> 00:22:27,744 It's really a real folk song. 542 00:22:28,870 --> 00:22:29,913 ♪♪ isolates bass ♪♪ 543 00:22:29,913 --> 00:22:30,914 That's not. 544 00:22:30,914 --> 00:22:32,415 No, this is not folky. 545 00:22:33,708 --> 00:22:35,043 Interesting tone. 546 00:22:35,627 --> 00:22:38,379 Wow. Really percussive, like‐‐ 547 00:22:38,379 --> 00:22:39,672 With the treble. Yeah. 548 00:22:39,672 --> 00:22:40,924 I liked to do that. 549 00:22:40,924 --> 00:22:45,261 You know, we'd use a pick, then you get that very treble end, 550 00:22:45,261 --> 00:22:47,013 but then you get the bass as well. 551 00:22:47,013 --> 00:22:47,972 Yeah. 552 00:22:48,973 --> 00:22:52,018 ♪♪ Dear Prudence ♪♪ 553 00:22:54,687 --> 00:23:00,693 ♪♪ See the sunny skies ♪♪ 554 00:23:02,070 --> 00:23:04,489 ♪♪ The wind is low, the birds will sing ♪♪ 555 00:23:04,489 --> 00:23:05,365 It's long. 556 00:23:06,407 --> 00:23:07,784 Yeah. How'd that happen? 557 00:23:08,159 --> 00:23:10,203 ♪♪ Dear Prudence ♪♪ 558 00:23:10,203 --> 00:23:13,122 I think we were like, you know, that was like a challenge. 559 00:23:13,122 --> 00:23:14,290 Yeah. See who can‐‐ 560 00:23:14,290 --> 00:23:15,750 Who can hold the note that long. 561 00:23:15,750 --> 00:23:18,503 ♪♪ 562 00:23:18,503 --> 00:23:23,841 ♪♪ vocalizing ♪♪ 563 00:23:23,841 --> 00:23:27,220 ♪♪ 564 00:23:27,220 --> 00:23:30,640 ♪♪ vocalizing continues ♪♪ 565 00:23:30,640 --> 00:23:32,225 Wow, that's long. 566 00:23:33,184 --> 00:23:34,018 Breathe in. 567 00:23:34,018 --> 00:23:38,106 ♪♪ 568 00:23:38,106 --> 00:23:39,649 Yeah. Incredible. 569 00:23:39,649 --> 00:23:41,359 Yeah, it was just, you know, it's like, 570 00:23:42,151 --> 00:23:43,570 you wanted it to go right through. 571 00:23:43,570 --> 00:23:45,446 We could have stopped it halfway. Yeah, yeah, yeah. 572 00:23:45,446 --> 00:23:46,573 Taken a breath. Yeah. 573 00:23:47,198 --> 00:23:49,242 But it was like, it's like mischief. 574 00:23:49,242 --> 00:23:51,327 "No, you know, let's try and see if we can hold it." 575 00:23:51,327 --> 00:23:52,662 So it was like... (inhales deeply) 576 00:23:53,246 --> 00:23:54,747 ♪♪ Ah ♪♪ Yeah. 577 00:23:54,747 --> 00:23:55,999 (squeaks) 578 00:23:56,291 --> 00:23:56,958 You know. 579 00:23:57,542 --> 00:24:00,336 And that would have been you, John, and George? 580 00:24:00,336 --> 00:24:01,546 Yeah, I think so. Singing together, probably? 581 00:24:01,546 --> 00:24:02,505 Yeah. Typically. 582 00:24:02,505 --> 00:24:04,424 Yeah. That high note's me. 583 00:24:04,424 --> 00:24:05,633 Yeah. Yeah. 584 00:24:05,633 --> 00:24:08,428 No, I remember that. We would do that. 585 00:24:08,428 --> 00:24:10,305 It would be like, "It's so long, sorry." 586 00:24:10,305 --> 00:24:12,390 "Yeah. But you can do it. We can do it." 587 00:24:12,932 --> 00:24:15,059 "No, we can't. It's too long." Yeah, yeah. 588 00:24:15,059 --> 00:24:16,144 "Let's try it." Yeah, yeah. 589 00:24:16,144 --> 00:24:17,478 You know, and it‐we‐‐ 590 00:24:17,478 --> 00:24:19,647 You were playing around. Yeah, it's fun, you know. 591 00:24:20,023 --> 00:24:21,274 So you're pushing yourself. 592 00:24:21,900 --> 00:24:25,278 ♪♪ Won't you come out to play? ♪♪ 593 00:24:26,988 --> 00:24:27,864 It was great. 594 00:24:27,864 --> 00:24:30,658 I, I say to people, you know, who are into meditation, 595 00:24:30,658 --> 00:24:34,621 I was very lucky 'cause I got my mantra off Maharishi himself. 596 00:24:34,621 --> 00:24:35,371 Directly. 597 00:24:35,371 --> 00:24:37,582 So I feel kind of privileged, you know... Yes. 598 00:24:37,582 --> 00:24:40,043 ...that we were just there, at that time. 599 00:24:40,627 --> 00:24:43,922 He basically said, "I'm going to give you a mantra." 600 00:24:43,922 --> 00:24:44,464 Hm. 601 00:24:44,464 --> 00:24:46,674 "These are ancient words, 602 00:24:47,175 --> 00:24:49,344 "uh, and why I would give you these words 603 00:24:49,344 --> 00:24:52,013 "is they've been tried and tested. 604 00:24:52,013 --> 00:24:53,348 "So I'll give you your word. 605 00:24:53,723 --> 00:24:56,601 "And I would like you to just repeat it back to me. 606 00:24:56,601 --> 00:24:59,520 "And, uh, if it's right, I'll say yes, 607 00:24:59,520 --> 00:25:01,189 and you don't ever say it again." 608 00:25:01,648 --> 00:25:05,235 So he told me, and I repeated it back, 609 00:25:05,235 --> 00:25:06,819 and that was it. Yeah. 610 00:25:06,819 --> 00:25:09,697 I used that mantra, and we continued, 611 00:25:10,073 --> 00:25:11,658 and, um, it was good. 612 00:25:12,033 --> 00:25:16,996 I learned when I was 14 based on... Beatles meditated, 613 00:25:16,996 --> 00:25:19,541 so I've got to learn that. 614 00:25:19,541 --> 00:25:21,167 So I'm, I'm, I'm there. 615 00:25:21,167 --> 00:25:22,752 (laughs) I'm right‐I'm with you. 616 00:25:22,752 --> 00:25:24,879 And it changed my life only for the better. 617 00:25:24,879 --> 00:25:26,631 Yeah. A million percent. 618 00:25:26,631 --> 00:25:28,508 Well, I love that about The Beatles. 619 00:25:28,508 --> 00:25:29,133 Yeah. 620 00:25:29,133 --> 00:25:31,469 A lot of our influences were, like, really good. 621 00:25:31,469 --> 00:25:32,303 Yeah. 622 00:25:32,303 --> 00:25:36,140 You know, sort of spiritual meditation, 623 00:25:36,140 --> 00:25:37,392 this kind of thing, 624 00:25:38,184 --> 00:25:42,397 and, you know, so I think we laid out a few paths for people to follow. 625 00:25:43,064 --> 00:25:46,568 And it has, I think it's had a good effect on the world, you know. 626 00:25:46,568 --> 00:25:47,569 Absolutely. 627 00:25:47,944 --> 00:25:51,322 But you're looking back on it, it's a great blessing 628 00:25:51,322 --> 00:25:53,366 that people picked up on it 629 00:25:53,366 --> 00:25:56,286 and it actually helped them in their lives, 630 00:25:57,120 --> 00:25:58,663 and that's a great thing. 631 00:25:58,663 --> 00:26:01,875 ♪♪ Hey, Jude ♪♪ 632 00:26:01,875 --> 00:26:03,960 ♪♪ Don't make it bad ♪♪ 633 00:26:05,628 --> 00:26:08,506 ♪♪ Take a sad song ♪♪ 634 00:26:08,506 --> 00:26:11,342 ♪♪ And make it better ♪♪ 635 00:26:12,635 --> 00:26:17,098 ♪♪ Remember to let her under your skin ♪♪ 636 00:26:17,891 --> 00:26:20,143 ♪♪ Then you'll begin ♪♪ 637 00:26:20,768 --> 00:26:23,688 ♪♪ To make it better ♪♪ 638 00:26:23,688 --> 00:26:27,692 ♪♪ Better, better, better, better, better♪♪ 639 00:26:27,692 --> 00:26:30,361 ♪♪ Oh yeah ♪♪ 640 00:26:30,361 --> 00:26:32,947 ♪♪ Yeah, yeah, yeah, yeah, yeah, yeah, yeah ♪♪ 641 00:26:32,947 --> 00:26:35,158 ♪♪ Na na na na ♪♪ 642 00:26:35,950 --> 00:26:38,494 ♪♪ Na na na na ♪♪ 643 00:26:38,494 --> 00:26:40,163 ♪♪ Hey, Jude ♪♪ 644 00:26:42,582 --> 00:26:48,046 ♪♪ Naa na na na na na na ♪♪ 645 00:26:49,214 --> 00:26:51,758 ♪♪ Na na na na ♪♪ 646 00:26:51,758 --> 00:26:53,801 ♪♪ Hey, Jude ♪♪ 647 00:26:55,803 --> 00:27:01,184 ♪♪ Naa na na na na na na ♪♪ 648 00:27:02,477 --> 00:27:04,979 ♪♪ Na na na na ♪♪ 649 00:27:04,979 --> 00:27:06,689 ♪♪ Hey, Jude ♪♪ 650 00:27:09,108 --> 00:27:14,531 ♪♪ Naa na na na na na na ♪♪ 651 00:27:14,531 --> 00:27:15,615 ♪♪ Oh yeah ♪♪ 652 00:27:15,615 --> 00:27:18,284 ♪♪ Na na na na ♪♪ 653 00:27:18,284 --> 00:27:20,620 ♪♪ Hey, Jude ♪♪ 654 00:27:22,372 --> 00:27:27,794 ♪♪ Naa na na na na na na ♪♪ 655 00:27:29,003 --> 00:27:31,506 ♪♪ Na na na na ♪♪ 656 00:27:31,506 --> 00:27:32,757 ♪♪ Hey, Jude ♪♪ 657 00:27:32,757 --> 00:27:35,718 ♪♪ Jude, Jude, Judy, Judy, Judy, Judy ♪♪ 658 00:27:35,718 --> 00:27:41,224 ♪♪ Naa na na na na na na ♪♪ 659 00:27:42,058 --> 00:27:44,561 ♪♪ Na na na na ♪♪ 660 00:27:44,561 --> 00:27:46,479 ♪♪ Hey, Jude ♪♪ 661 00:27:46,479 --> 00:27:48,731 ♪♪ Come on and make it, Judy ♪♪ 662 00:27:48,731 --> 00:27:54,070 ♪♪ Naa na na na na na na ♪♪ ♪♪ Yeah, yeah, yeah ♪♪ 663 00:27:54,737 --> 00:27:57,448 ♪♪ Na na na na ♪♪ 664 00:27:57,448 --> 00:27:58,700 ♪♪ Hey, Jude ♪♪ 665 00:27:58,700 --> 00:28:01,578 ♪♪ Yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah ♪♪ 666 00:28:01,578 --> 00:28:06,708 ♪♪ Naa na na na na na na ♪♪ 667 00:28:07,750 --> 00:28:10,420 ♪♪ Na na na na ♪♪ 668 00:28:10,420 --> 00:28:12,797 ♪♪ Hey, Jude ♪♪ 669 00:28:13,089 --> 00:28:14,424 MAN: Goodnight, ladies and gentlemen. 670 00:28:14,424 --> 00:28:19,762 ♪♪ Naa na na na na na na ♪♪ 671 00:28:20,847 --> 00:28:23,349 ♪♪ Na na na na ♪♪ 672 00:28:23,349 --> 00:28:25,768 ♪♪ Hey, Jude ♪♪ 673 00:28:27,312 --> 00:28:32,066 ♪♪ Naa na na na na na na ♪♪ 674 00:28:32,066 --> 00:28:33,776 ♪♪ Oh yeah, yeah ♪♪ 675 00:28:33,776 --> 00:28:35,236 ♪♪ Na na na na ♪♪ 676 00:28:36,196 --> 00:28:37,780 ♪♪ Hey, Jude ♪♪ 677 00:28:40,241 --> 00:28:43,828 ♪♪ Naa na na na na na na ♪♪ ♪♪ Oh, yeah ♪♪ 678 00:28:43,828 --> 00:28:46,122 ♪♪ Take a load off, baby ♪♪ 679 00:28:46,664 --> 00:28:49,125 ♪♪ Na na na na ♪♪ 680 00:28:49,125 --> 00:28:49,959 ♪♪ Hey, Jude ♪♪ 681 00:28:49,959 --> 00:28:51,920 ♪♪ Take a load off for me ♪♪ 682 00:28:51,920 --> 00:28:53,421 ♪♪ Put it back on me ♪♪