1
00:00:01,814 --> 00:00:07,529
♪♪
2
00:00:07,529 --> 00:00:08,446
PAUL McCARTNEY: Yeah.
3
00:00:08,446 --> 00:00:13,159
♪♪
4
00:00:13,868 --> 00:00:17,205
We were told that,
you'll never make it from Liverpool.
5
00:00:17,830 --> 00:00:19,082
You'll never make it.
6
00:00:19,082 --> 00:00:21,501
Of course, that just
strengthened our resolve.
7
00:00:22,168 --> 00:00:23,836
"We'll show you, mate."
8
00:00:23,836 --> 00:00:24,712
You know?
Yeah.
9
00:00:24,712 --> 00:00:26,589
We thought we were different.
10
00:00:26,589 --> 00:00:28,049
Yeah.
We knew we were different.
11
00:00:28,883 --> 00:00:34,013
And then that, um...
found its way into the music.
12
00:00:35,265 --> 00:00:37,725
♪♪ Lovely Rita playing ♪♪
13
00:00:37,725 --> 00:00:43,731
♪♪ Ah ♪♪
14
00:00:45,233 --> 00:00:50,196
♪♪ Lovely Rita, meter maid ♪♪
15
00:00:50,947 --> 00:00:55,827
♪♪ Lovely Rita, meter maid ♪♪
16
00:00:56,494 --> 00:00:59,247
PAUL: (on recording)
♪♪ Lovely Rita, meter maid ♪♪
17
00:00:59,247 --> 00:01:01,958
♪♪ Nothing can come between us ♪♪
18
00:01:02,333 --> 00:01:06,045
♪♪ When it gets dark
I tow your heart away ♪♪
19
00:01:08,006 --> 00:01:10,758
♪♪ Standing by a parking meter ♪♪
20
00:01:10,758 --> 00:01:13,386
♪♪ When I caught a glimpse of Rita ♪♪
21
00:01:13,386 --> 00:01:16,514
♪♪ Filling in a ticket
in her little white book ♪♪
22
00:01:16,514 --> 00:01:19,309
♪♪ In a cap
she looked much older ♪♪
23
00:01:19,309 --> 00:01:21,686
♪♪ And the bag
across her shoulder ♪♪
24
00:01:21,686 --> 00:01:24,522
♪♪ Made her look a little
like a military man ♪♪
25
00:01:24,522 --> 00:01:27,483
♪♪ Paul humming music ♪♪
26
00:01:27,984 --> 00:01:29,819
PAUL: Hm.
RICK RUBIN: It's just so interesting.
27
00:01:29,819 --> 00:01:32,197
The choices
you're making in the playing.
28
00:01:32,197 --> 00:01:37,076
♪♪
29
00:01:37,076 --> 00:01:38,786
I think the bass is really straight.
30
00:01:38,786 --> 00:01:40,121
Pretty straight, yeah.
31
00:01:42,332 --> 00:01:43,750
I come in and ruin it.
32
00:01:45,168 --> 00:01:46,628
Good thing you wrote it.
33
00:01:46,628 --> 00:01:49,672
♪♪ Lovely Rita, meter maid ♪♪
34
00:01:49,672 --> 00:01:52,508
♪♪ Where would I be without you? ♪♪
35
00:01:52,508 --> 00:01:55,970
♪♪ Give us a wink
and make me think of you ♪♪
36
00:01:55,970 --> 00:02:00,141
♪♪ Lovely Rita meter maid ♪♪
37
00:02:00,808 --> 00:02:05,355
♪♪ Lovely Rita meter maid ♪♪
38
00:02:05,647 --> 00:02:07,941
It feels almost like
the bass is doing
39
00:02:07,941 --> 00:02:10,109
like what an orchestra
would do, you know.
40
00:02:10,109 --> 00:02:13,571
It's adding all
of the other counterpoint...
41
00:02:13,571 --> 00:02:15,240
Yeah.
...and extra rhythm.
42
00:02:15,240 --> 00:02:17,825
But then when the vocal comes in,
I get out the way.
43
00:02:17,825 --> 00:02:20,119
(humming)
44
00:02:20,119 --> 00:02:21,913
But then I come back,
I'm too tempted‐‐
45
00:02:21,913 --> 00:02:23,498
(rapid humming)
Yeah, yeah.
46
00:02:23,498 --> 00:02:26,751
But, uh, I like
doing that, you know.
47
00:02:26,751 --> 00:02:28,378
You started
as a guitar player though.
48
00:02:28,962 --> 00:02:32,882
Yeah, me and John were
the guitar players. Yeah.
49
00:02:33,883 --> 00:02:37,178
I used to think I could be lead guitar.
50
00:02:37,178 --> 00:02:37,929
Yeah.
51
00:02:37,929 --> 00:02:40,390
Because at home, I could,
I could play nice little songs.
52
00:02:40,390 --> 00:02:45,061
But I got terrible stage fright
at a place in Liverpool
53
00:02:45,061 --> 00:02:48,606
um, called Broadway,
funnily enough.
54
00:02:49,065 --> 00:02:51,818
Oh, it just came my time
to play the solo
55
00:02:51,818 --> 00:02:53,194
and I, aah,
56
00:02:53,194 --> 00:02:54,445
I, like, froze, you know,
57
00:02:54,445 --> 00:02:57,782
sticky fingers
and nothing would work.
58
00:02:57,782 --> 00:03:00,410
And after that, I thought,
right, no more lead.
59
00:03:00,910 --> 00:03:03,371
That's it, you know, we'll give that
to somebody else.
60
00:03:03,371 --> 00:03:03,955
Wow.
61
00:03:03,955 --> 00:03:07,458
But yeah, I did start on guitar,
originally acoustic,
62
00:03:07,458 --> 00:03:09,586
and then, uh,
when we went to Hamburg,
63
00:03:09,586 --> 00:03:12,797
I bought a little electric guitar,
very cheap.
64
00:03:12,797 --> 00:03:14,048
But it looked good.
Yeah.
65
00:03:14,048 --> 00:03:15,425
Looked kind of rock and roll.
66
00:03:15,425 --> 00:03:16,801
Kind of red thing,
67
00:03:16,801 --> 00:03:18,428
Rosetti Lucky 7.
68
00:03:19,220 --> 00:03:20,597
But it was terrible.
69
00:03:20,597 --> 00:03:23,391
But I could‐you know, it worked
until we got to Hamburg
70
00:03:23,391 --> 00:03:25,018
and then it fell apart.
71
00:03:25,643 --> 00:03:28,396
So then I would, I was turning
my back on the audience
72
00:03:28,396 --> 00:03:29,480
and playing piano.
73
00:03:30,064 --> 00:03:31,608
But it was good. Good practice.
74
00:03:32,525 --> 00:03:34,652
For a bass player, we had Stuart,
75
00:03:34,652 --> 00:03:36,821
who was a friend of John's
from art school,
76
00:03:37,405 --> 00:03:39,949
but he ended up wanting
to stay in Hamburg
77
00:03:39,949 --> 00:03:41,117
because he fell in love.
78
00:03:41,534 --> 00:03:45,705
So then it was a question of me,
John, or George becoming the bass player,
79
00:03:45,705 --> 00:03:47,665
and the two of them said,
well, I'm not doing it.
80
00:03:47,665 --> 00:03:50,126
(both laugh)
81
00:03:50,126 --> 00:03:51,878
So it was‐I was left.
82
00:03:51,878 --> 00:03:54,088
Were you already writing songs
at this point or not really?
83
00:03:54,088 --> 00:03:55,298
Yeah. Yeah.
84
00:03:55,298 --> 00:03:56,758
Even from the Hamburg days?
85
00:03:56,758 --> 00:03:58,009
Before.
86
00:03:58,009 --> 00:03:59,260
Really?
Yeah.
87
00:03:59,260 --> 00:04:02,055
I wrote, um,
my first one when I was like 14.
88
00:04:02,055 --> 00:04:02,680
Wow.
89
00:04:02,680 --> 00:04:05,475
And that was just a little,
little guitar thing.
90
00:04:06,226 --> 00:04:07,685
Uh, do you want me to show you?
Yes.
91
00:04:07,685 --> 00:04:08,561
Okay.
Let's go.
92
00:04:08,561 --> 00:04:10,188
I will find a guitar.
93
00:04:12,023 --> 00:04:15,527
♪♪
94
00:04:15,527 --> 00:04:18,655
Yeah, I liked the idea
that the baseline would go up.
95
00:04:18,655 --> 00:04:21,741
♪♪
96
00:04:21,741 --> 00:04:23,535
Then I wanted this to come down.
97
00:04:23,535 --> 00:04:28,206
♪♪
98
00:04:28,206 --> 00:04:31,376
So you get that little thing.
That was the big thing for me.
99
00:04:31,376 --> 00:04:32,502
Yeah.
So it was just‐‐
100
00:04:32,502 --> 00:04:35,088
♪♪ I woke up late this morning ♪♪
101
00:04:35,088 --> 00:04:37,173
♪♪ My head was in a whirl ♪♪
102
00:04:38,091 --> 00:04:40,718
♪♪ Only then I realized ♪♪
103
00:04:40,718 --> 00:04:42,345
♪♪ I lost my little girl ♪♪
104
00:04:42,345 --> 00:04:44,597
♪♪ Her clothes were not expensive ♪♪
105
00:04:45,306 --> 00:04:47,433
♪♪ Her hair didn't always curl ♪♪
106
00:04:48,351 --> 00:04:51,145
♪♪ Ah, ah, ah, ah, ah ♪♪
107
00:04:51,145 --> 00:04:54,232
♪♪
108
00:04:55,441 --> 00:04:58,278
But it is interesting,
the first song I should write
109
00:04:58,278 --> 00:05:01,155
has got a little
contra vocal thing going.
110
00:05:01,155 --> 00:05:01,990
Absolutely.
111
00:05:01,990 --> 00:05:03,783
I'm fingering down on that‐‐
112
00:05:03,783 --> 00:05:06,244
Two parts going on
at the same time right out of the box.
113
00:05:06,244 --> 00:05:09,038
Yeah.
Unusual for a young kid.
114
00:05:09,038 --> 00:05:10,874
Yeah. You know,
and it's a funny thing
115
00:05:10,874 --> 00:05:12,834
as you get older, you think,
116
00:05:12,834 --> 00:05:14,752
well, how did I know that?
117
00:05:14,752 --> 00:05:17,422
Yes.
And I, I haven't got an answer.
118
00:05:17,422 --> 00:05:20,425
♪♪ vocalizing ♪♪
119
00:05:20,425 --> 00:05:25,179
♪♪
120
00:05:25,805 --> 00:05:31,144
♪♪
121
00:05:33,563 --> 00:05:35,690
When John and I had got together
122
00:05:35,690 --> 00:05:39,652
and I told him about
that little song that I'd written,
123
00:05:39,652 --> 00:05:41,196
and I'd written a couple of others.
124
00:05:41,196 --> 00:05:42,530
And he said, so have I.
125
00:05:43,198 --> 00:05:45,742
And that was,
that was the big difference.
126
00:05:45,742 --> 00:05:47,452
I talked to other people,
127
00:05:47,452 --> 00:05:49,162
and they sort of said,
"Well, what do you do?"
128
00:05:49,162 --> 00:05:50,371
I said, "Oh, I've got a hobby,
129
00:05:50,371 --> 00:05:53,041
I kind of, I've written
a couple of songs."
130
00:05:53,041 --> 00:05:56,002
And most people would just
ignore that and go,
131
00:05:56,002 --> 00:05:59,005
"Oh okay, you know, what sports
do you like," and move on.
132
00:05:59,005 --> 00:06:02,091
But, uh, when I said that to John,
he said, "Yeah, so have I."
133
00:06:03,051 --> 00:06:04,928
I said, "Oh yeah, great.
134
00:06:05,511 --> 00:06:07,388
"Well, let me see yours,
135
00:06:07,388 --> 00:06:09,349
I'll show you mine,"
kind of thing, you know.
136
00:06:09,349 --> 00:06:10,225
And that was it.
137
00:06:10,225 --> 00:06:11,893
We, we started writing together
138
00:06:12,435 --> 00:06:13,686
with that in mind, you know.
139
00:06:15,230 --> 00:06:18,149
♪♪ This Boy playing ♪♪
140
00:06:18,149 --> 00:06:21,236
♪♪
141
00:06:24,489 --> 00:06:26,824
♪♪ That boy ♪♪
142
00:06:26,824 --> 00:06:28,368
You know, we were trying
to make money.
143
00:06:28,368 --> 00:06:30,328
We were kind of guys,
none of us was rich,
144
00:06:30,328 --> 00:06:34,040
so we would play pubs and ballrooms.
145
00:06:34,457 --> 00:06:38,336
The Aintree Institute
would have, like, a dance.
146
00:06:38,336 --> 00:06:39,462
RICK: Hmm.
147
00:06:39,462 --> 00:06:42,257
PAUL: But when we'd got
Brian Epstein as our manager,
148
00:06:42,257 --> 00:06:46,511
Brian said, you could play cabaret clubs,
149
00:06:47,554 --> 00:06:49,722
but you'll have to smarten up.
Hm.
150
00:06:49,722 --> 00:06:51,766
Because we were a bit rock and roll.
Yeah.
151
00:06:51,766 --> 00:06:53,518
He says you'll have
to sort of smarten up,
152
00:06:53,518 --> 00:06:56,312
and you'll have to do
your more sort of ballady songs.
153
00:06:56,312 --> 00:06:58,815
It can't just be
a straight rock and roll set.
154
00:06:58,815 --> 00:06:59,357
Mm‐hmm.
155
00:06:59,858 --> 00:07:01,734
But you could see this
at a cabaret club.
156
00:07:01,734 --> 00:07:03,403
Yeah, for sure.
157
00:07:03,403 --> 00:07:07,156
You know, ladies and gentlemen,
presenting the Beatles.
158
00:07:07,156 --> 00:07:09,951
(Rick laughs)
Lights go down, little spots come up.
159
00:07:09,951 --> 00:07:12,370
♪♪ Back again ♪♪
160
00:07:12,370 --> 00:07:13,371
Let's see.
161
00:07:14,122 --> 00:07:15,290
And then we get John's‐‐
162
00:07:15,290 --> 00:07:18,668
JOHN LENNON: (on recording)
♪♪ Oh, and this boy ♪♪
163
00:07:19,335 --> 00:07:20,044
RICK: No music.
164
00:07:20,044 --> 00:07:21,963
♪♪ Would be happy ♪♪
165
00:07:22,797 --> 00:07:25,133
♪♪ Just to love you ♪♪
166
00:07:26,050 --> 00:07:30,138
♪♪ But oh my ♪♪
167
00:07:30,138 --> 00:07:31,598
♪♪ That boy ♪♪
168
00:07:32,432 --> 00:07:34,684
♪♪ Won't be happy ♪♪
169
00:07:36,519 --> 00:07:42,525
(singing along)
♪♪ Till he's seen you cry ♪♪
170
00:07:43,067 --> 00:07:45,403
♪♪ This boy ♪♪
171
00:07:45,403 --> 00:07:47,113
RICK: That was beautiful.
Yeah.
172
00:07:47,113 --> 00:07:51,659
♪♪ Wouldn't mind the pain ♪♪
173
00:07:51,659 --> 00:07:54,329
♪♪
174
00:07:54,329 --> 00:07:58,625
You know, we wanted to, um,
show different sides of ourselves.
175
00:07:58,625 --> 00:08:01,586
We could've just been
one guy sings the vocal
176
00:08:01,586 --> 00:08:02,962
and we'll back him up.
177
00:08:02,962 --> 00:08:05,882
But we kept wanting
to stretch it a little bit.
178
00:08:06,299 --> 00:08:09,052
So this whole song is just
a three‐part harmony thing.
179
00:08:09,052 --> 00:08:12,180
♪♪ This boy ♪♪
180
00:08:12,180 --> 00:08:15,433
♪♪
181
00:08:15,433 --> 00:08:17,727
♪♪ This boy ♪♪
182
00:08:18,186 --> 00:08:21,397
Those were exciting things
to do, you know,
183
00:08:21,397 --> 00:08:23,441
to, to branch out like that.
184
00:08:24,150 --> 00:08:26,736
Then we wanted to add
these other layers,
185
00:08:26,736 --> 00:08:30,073
which as the Beatles went on,
we added more and more.
186
00:08:30,073 --> 00:08:34,577
♪♪ Something playing ♪♪
187
00:08:34,577 --> 00:08:38,998
GEORGE HARRISON: (on recording)
♪♪ Something in the way she moves ♪♪
188
00:08:42,585 --> 00:08:46,673
♪♪ Attracts me like no other lover ♪♪
189
00:08:49,300 --> 00:08:54,055
♪♪ Something in the way
she woos me ♪♪
190
00:08:56,558 --> 00:08:58,851
♪♪ I don't want to leave her now ♪♪
191
00:09:00,144 --> 00:09:01,145
(indiscernible chatter)
192
00:09:01,145 --> 00:09:02,647
♪♪ You know I believe and how ♪♪
193
00:09:03,523 --> 00:09:07,527
♪♪
194
00:09:07,527 --> 00:09:11,990
♪♪ Somewhere in her smile
she knows ♪♪
195
00:09:13,533 --> 00:09:15,869
What is going on with the bass?
196
00:09:15,869 --> 00:09:18,121
Like, it's the greatest thing
I've ever heard.
197
00:09:18,121 --> 00:09:20,331
Oh.
How did this happen?
198
00:09:20,331 --> 00:09:22,125
I mean‐‐
How does this exist?
199
00:09:22,625 --> 00:09:25,545
It's very tempting when you're
on the bass to sort of go‐‐
200
00:09:25,545 --> 00:09:31,009
(imitating bass guitar)
201
00:09:31,384 --> 00:09:33,219
And I probably started simple.
202
00:09:33,219 --> 00:09:34,637
(imitating bass guitar)
Yeah.
203
00:09:35,221 --> 00:09:38,933
And then you might find that the bit
we were kind of liking,
204
00:09:38,933 --> 00:09:40,476
it's a nice little melody.
205
00:09:40,476 --> 00:09:44,898
♪♪
206
00:09:44,898 --> 00:09:48,401
♪♪ You're asking me
will my love grow ♪♪
207
00:09:49,027 --> 00:09:50,862
It's doing so much work
208
00:09:50,862 --> 00:09:54,991
that really is
in the service of the record.
209
00:09:55,408 --> 00:09:57,911
It's pretty adventurous, you know.
210
00:09:57,911 --> 00:10:00,205
Did you have that
all worked out before the‐‐
211
00:10:00,205 --> 00:10:01,122
No.
212
00:10:01,789 --> 00:10:03,875
So tell me what happens
the day of this recording.
213
00:10:03,875 --> 00:10:05,210
What happens?
214
00:10:05,210 --> 00:10:09,422
Um... George comes in,
shows us the song.
215
00:10:09,881 --> 00:10:12,634
That would just be with a guitar
and all just 'round,
216
00:10:13,259 --> 00:10:15,428
a couple of chairs
'round a little circle.
217
00:10:16,346 --> 00:10:18,598
It was all fairly instant.
Yeah.
218
00:10:18,598 --> 00:10:21,017
You know, it's just
we've got to do this song.
219
00:10:21,017 --> 00:10:24,145
We've got to do it.
Let's just try it every which way,
220
00:10:24,145 --> 00:10:26,856
until we settle on,
oh yeah, this feels good.
221
00:10:27,690 --> 00:10:29,150
It's the interaction.
222
00:10:30,443 --> 00:10:31,486
Yeah.
223
00:10:31,486 --> 00:10:33,947
♪♪
224
00:10:33,947 --> 00:10:36,157
(humming)
225
00:10:36,908 --> 00:10:37,617
Yeah.
226
00:10:37,617 --> 00:10:39,786
♪♪
227
00:10:52,257 --> 00:10:53,841
♪♪ song ends ♪♪
228
00:10:53,841 --> 00:10:55,301
Classic George song.
229
00:10:55,301 --> 00:10:57,470
Alright.
(claps)
230
00:10:57,470 --> 00:11:00,723
Do you remember after finishing
the song, thinking‐‐
231
00:11:01,933 --> 00:11:03,518
It's a good one.
Did you feel that?
232
00:11:03,518 --> 00:11:07,230
Oh yeah. Yeah, yeah.
I think you know the good songs.
233
00:11:07,230 --> 00:11:08,815
Yeah. Yeah.
234
00:11:08,815 --> 00:11:10,316
Would it be whoever wrote the song
235
00:11:10,316 --> 00:11:12,861
would sort of have the vision
for the project for that?
236
00:11:12,861 --> 00:11:14,529
Normally was, yeah.
And then I'd butt in.
237
00:11:14,529 --> 00:11:16,281
(laughs)
238
00:11:16,281 --> 00:11:17,699
And they'd hate me for it.
239
00:11:18,199 --> 00:11:20,076
I'd go, "But it's a good idea, boys."
240
00:11:20,076 --> 00:11:22,120
If you had a good idea, it's like‐‐
241
00:11:22,120 --> 00:11:24,080
Mm‐hmm.
Got to get 'em in.
242
00:11:24,080 --> 00:11:25,832
Yeah.
Got to get them in.
243
00:11:25,832 --> 00:11:27,625
I mean, it was kind of
an awkward thing, you know,
244
00:11:27,625 --> 00:11:30,378
that if you had a good idea for something,
245
00:11:30,378 --> 00:11:31,504
you'd say it.
Yeah.
246
00:11:31,504 --> 00:11:34,090
But often the other guy would
sort of say, well, you play it.
247
00:11:34,090 --> 00:11:34,924
Yeah.
248
00:11:34,924 --> 00:11:36,342
You know, there was
there was a lot of freedom.
249
00:11:36,342 --> 00:11:37,302
Yeah, yeah, yeah.
250
00:11:37,302 --> 00:11:38,887
So we did that a lot.
251
00:11:38,887 --> 00:11:43,516
Like, I think I talked to George
a lot about the solo on Taxman.
252
00:11:44,183 --> 00:11:46,477
And I think that's what happened.
253
00:11:46,477 --> 00:11:47,687
He said, "Well, you play it."
254
00:11:47,687 --> 00:11:50,481
♪♪ Taxman ♪♪
255
00:11:50,481 --> 00:11:54,444
♪♪
256
00:12:04,204 --> 00:12:06,122
No wonder
George said you do it.
257
00:12:06,122 --> 00:12:08,124
But what was the insp‐‐
Like, what were you‐‐
258
00:12:08,124 --> 00:12:10,168
I don't know, just free, free.
259
00:12:10,168 --> 00:12:12,295
I mean, and a little bit
of Indian in there, too.
260
00:12:12,295 --> 00:12:13,421
Yeah.
261
00:12:13,421 --> 00:12:16,174
I wouldn't have thought about it
or written it or anything.
262
00:12:16,174 --> 00:12:20,011
It would just be like, oh, it's,
the track's so cooking...
Yeah.
263
00:12:20,011 --> 00:12:22,889
...that if we're going to have a solo,
it should be just ridiculous.
264
00:12:22,889 --> 00:12:26,184
(imitating guitar riff)
265
00:12:26,184 --> 00:12:27,143
Amazing.
You know.
266
00:12:27,143 --> 00:12:31,940
♪♪ Yeah, I'm the Taxman ♪♪
267
00:12:33,483 --> 00:12:35,026
PAUL: Nice bass lick as well.
268
00:12:35,026 --> 00:12:37,695
♪♪ If you drive a car,
I'll tax the street ♪♪
269
00:12:37,695 --> 00:12:41,032
♪♪ If you try to sit,
I'll tax your seat ♪♪
270
00:12:41,032 --> 00:12:44,744
♪♪ If you get too cold,
I'll tax the heat ♪♪
271
00:12:44,744 --> 00:12:48,873
♪♪ If you take a walk,
I'll tax your feet ♪♪
272
00:12:49,749 --> 00:12:53,086
It was funny because it was like
a double‐edged sword.
273
00:12:53,086 --> 00:12:56,130
People sort of saying,
well, couldn't you just play straighter,
274
00:12:56,714 --> 00:12:59,175
you know, and I'm going,
I don't know.
275
00:12:59,175 --> 00:13:01,803
I think it lends something
doing all this.
276
00:13:01,803 --> 00:13:05,348
I did get sort of reprimanded
once or twice,
277
00:13:05,348 --> 00:13:07,767
for just being too busy.
Yeah.
278
00:13:07,767 --> 00:13:11,521
But you know, by that time
I'd heard James Jamerson.
279
00:13:11,521 --> 00:13:15,650
♪♪ singing "What's Going On" ♪♪
280
00:13:16,401 --> 00:13:18,444
♪♪
281
00:13:41,759 --> 00:13:42,927
He was great.
282
00:13:42,927 --> 00:13:46,347
He had melodic baselines,
and I love that.
283
00:13:46,723 --> 00:13:50,226
It kind of opened my eyes to it.
It was like, oh yeah, wow.
284
00:13:50,226 --> 00:13:53,187
Yeah.
You can groove, make it move, you know.
285
00:13:53,563 --> 00:13:56,149
Because originally, the bass player
286
00:13:56,149 --> 00:13:59,110
in the groups in Liverpool,
it was the fat guy.
287
00:13:59,110 --> 00:14:00,403
(laughs)
288
00:14:00,403 --> 00:14:02,071
And he would just stand
at the back‐‐
289
00:14:02,071 --> 00:14:06,910
(imitating bass guitar)
290
00:14:06,910 --> 00:14:09,412
And the guitar player...
(imitating guitar riff)
291
00:14:09,412 --> 00:14:10,997
He had all the fancy stuff.
292
00:14:11,456 --> 00:14:14,000
But later, when I heard people
like James Jamerson,
293
00:14:14,667 --> 00:14:16,502
I realized, wow, you can,
294
00:14:17,462 --> 00:14:20,173
you can really do
a big thing with a bass.
295
00:14:20,173 --> 00:14:22,800
You can actually control
the band with the bass.
296
00:14:22,800 --> 00:14:23,718
It's interesting.
297
00:14:23,718 --> 00:14:27,513
And it's, it's in some ways,
is why we're having this conversation is
298
00:14:28,473 --> 00:14:30,558
the fascination
with how important the bass is
299
00:14:30,558 --> 00:14:32,644
in the context of these songs.
300
00:14:32,644 --> 00:14:34,646
And the songs are so ubiquitous
in our culture
301
00:14:34,646 --> 00:14:36,731
that we don't really think
of them in pieces.
302
00:14:36,731 --> 00:14:37,690
Hm.
Do you know what I mean?
303
00:14:37,690 --> 00:14:40,151
We just think of them as that song.
304
00:14:40,151 --> 00:14:41,277
That song, yeah.
You know. Yeah, yeah.
305
00:14:41,277 --> 00:14:44,113
It really happened
quite organically in the studio.
306
00:14:44,614 --> 00:14:48,493
Um... you know,
my famous occasion
307
00:14:48,493 --> 00:14:50,954
with bass radically altering
308
00:14:51,746 --> 00:14:56,209
the whole attitude of the song
was when John came in‐‐
309
00:14:56,209 --> 00:15:00,547
♪♪
310
00:15:00,547 --> 00:15:01,798
♪♪ Here come old flat‐top ♪♪
311
00:15:01,798 --> 00:15:03,841
♪♪ He come groovin' up slowly ♪♪
312
00:15:03,841 --> 00:15:05,927
♪♪ He got joo joo eyeball ♪♪
313
00:15:05,927 --> 00:15:08,805
♪♪ He one holy roller, he got‐♪♪
314
00:15:08,805 --> 00:15:10,974
I said, uh, uh, uh, uh,
wait a minute, wait a minute,
315
00:15:11,474 --> 00:15:12,892
that's a Chuck Berry song.
316
00:15:13,393 --> 00:15:14,894
That's a Chuck Berry song,
317
00:15:14,894 --> 00:15:16,604
which is called You Can't Catch Me.
318
00:15:17,355 --> 00:15:18,857
Which not only is like that‐‐
319
00:15:18,857 --> 00:15:20,358
♪♪
320
00:15:20,358 --> 00:15:21,818
♪♪ Yeah, come on ♪♪
321
00:15:22,610 --> 00:15:25,405
The opening line is,
"Here come old flat‐top."
322
00:15:25,989 --> 00:15:27,490
♪♪ Here come old flat‐top ♪♪
323
00:15:27,490 --> 00:15:29,158
♪♪ He was moving up with me ♪♪
324
00:15:29,158 --> 00:15:30,952
♪♪ Then come waving goodbye ♪♪
325
00:15:30,952 --> 00:15:32,787
♪♪ In a little old souped‐up jitney ♪♪
326
00:15:32,787 --> 00:15:34,831
♪♪ I put my foot in my tank ♪♪
327
00:15:34,831 --> 00:15:36,958
♪♪ And I began to roll ♪♪
328
00:15:37,584 --> 00:15:40,837
♪♪ Moaning siren,
'twas a state patrol ♪♪
329
00:15:40,837 --> 00:15:42,839
♪♪ So I let out my wings ♪♪
330
00:15:42,839 --> 00:15:45,008
♪♪ And then I blew my horn ♪♪
331
00:15:45,508 --> 00:15:48,553
♪♪ Bye‐bye New Jersey,
I've become airborne ♪♪
332
00:15:49,470 --> 00:15:50,889
RICK:
It actually is the Chuck Berry song.
333
00:15:50,889 --> 00:15:53,808
It actually is the Chuck Berry song,
so I said, "Oh man,"
334
00:15:53,808 --> 00:15:56,853
I said, you know, "Look,
it's a great song. I love it."
335
00:15:56,853 --> 00:15:59,689
I said, "But we got to do something
to get away from that."
336
00:16:00,190 --> 00:16:02,567
So I just suggested we slowed it down.
337
00:16:02,567 --> 00:16:03,526
So instead of the‐‐
338
00:16:03,526 --> 00:16:05,778
♪♪ up‐tempo music playing ♪♪
339
00:16:05,778 --> 00:16:09,407
We go...
(humming Come Together)
340
00:16:09,407 --> 00:16:13,953
♪♪ Come Together playing ♪♪
341
00:16:14,329 --> 00:16:16,164
(imitating drum beats)
342
00:16:16,164 --> 00:16:20,835
Which now gave it a kind of
real nice swampy back and forth.
343
00:16:20,835 --> 00:16:23,504
♪♪ Here come old flat top
he got ♪♪
344
00:16:23,504 --> 00:16:25,632
And it changed his attitude to it.
345
00:16:26,049 --> 00:16:30,720
♪♪ Come Together playing ♪♪
346
00:16:30,720 --> 00:16:32,430
I just want to hear the vocals,
347
00:16:32,430 --> 00:16:35,016
just to understand where it's...
the writing style.
348
00:16:35,016 --> 00:16:36,809
JOHN LENNON: (on recording)
♪♪ Here come old flat top ♪♪
349
00:16:36,809 --> 00:16:39,729
♪♪ He come grooving up slowly ♪♪
350
00:16:39,729 --> 00:16:42,690
♪♪ He got joo joo eyeball ♪♪
351
00:16:42,690 --> 00:16:45,652
♪♪ He one holy roller ♪♪
352
00:16:45,652 --> 00:16:48,863
♪♪ He got hair down ♪♪
353
00:16:49,239 --> 00:16:51,115
♪♪ To his knee ♪♪
354
00:16:52,200 --> 00:16:56,913
♪♪ Got to be a joker
he just do what he please ♪♪
355
00:16:57,872 --> 00:17:00,041
♪♪
356
00:17:00,041 --> 00:17:01,167
The signature of the song.
357
00:17:01,167 --> 00:17:04,629
♪♪
358
00:17:04,629 --> 00:17:05,505
Ringo.
359
00:17:05,505 --> 00:17:09,175
♪♪
360
00:17:09,175 --> 00:17:11,386
It's just the bass and the drums.
It's a groove, isn't it?
361
00:17:11,386 --> 00:17:15,223
♪♪
362
00:17:18,726 --> 00:17:20,436
♪♪ ...Ono sideboard ♪♪
363
00:17:21,020 --> 00:17:22,981
♪♪ ...spinal cracker ♪♪
364
00:17:22,981 --> 00:17:24,065
♪♪ He got‐♪♪
365
00:17:24,065 --> 00:17:25,149
PAUL: Yeah.
366
00:17:25,149 --> 00:17:30,738
♪♪
367
00:17:30,738 --> 00:17:34,534
♪♪ ...in his armchair
you can feel his disease ♪♪
368
00:17:34,534 --> 00:17:36,244
(singing along)
♪♪ Come together ♪♪
369
00:17:37,453 --> 00:17:38,955
♪♪ Right now ♪♪
370
00:17:41,165 --> 00:17:43,543
♪♪
371
00:17:43,543 --> 00:17:44,711
PAUL: That's it.
372
00:17:45,253 --> 00:17:47,046
I'm playing that piano.
373
00:17:49,132 --> 00:17:52,552
♪♪
374
00:17:56,055 --> 00:17:56,973
Guitars.
375
00:17:57,724 --> 00:18:02,395
♪♪
376
00:18:02,395 --> 00:18:03,938
That's John and George.
377
00:18:04,981 --> 00:18:07,901
RICK: Together?
PAUL: Both. No, that's George.
378
00:18:10,445 --> 00:18:11,905
John's probably playing the rhythm.
379
00:18:11,905 --> 00:18:13,698
Yeah, John's playing
the rhythm, yeah.
380
00:18:14,407 --> 00:18:17,994
♪♪
381
00:18:24,417 --> 00:18:25,418
♪♪ Yeah ♪♪
382
00:18:25,418 --> 00:18:27,670
♪♪
383
00:18:27,670 --> 00:18:29,088
♪♪ Come together ♪♪
384
00:18:29,756 --> 00:18:33,426
♪♪
385
00:18:35,678 --> 00:18:37,180
Bass sounds incredible.
Yeah.
386
00:18:39,557 --> 00:18:41,017
Really rockin'.
387
00:18:42,227 --> 00:18:46,314
♪♪
388
00:18:47,106 --> 00:18:49,859
And we sort of knew
we'd got something funky.
389
00:18:49,859 --> 00:18:51,486
Yeah.
And that was always the aim.
390
00:18:51,486 --> 00:18:54,906
Like, if you could take whatever
the little song was you had
391
00:18:54,906 --> 00:18:58,159
and just put that little
extra something on it.
392
00:18:58,159 --> 00:19:00,828
Did it feel like it happened
most of the time?
393
00:19:01,704 --> 00:19:02,997
Yeah.
It seems like it.
394
00:19:02,997 --> 00:19:04,749
Lis‐listening to the records,
it sounds like that.
395
00:19:04,749 --> 00:19:05,875
I know. Yeah.
396
00:19:06,417 --> 00:19:10,922
I mean, for me, I've grown
to be a fan of the Beatles.
397
00:19:10,922 --> 00:19:13,216
Yeah. Yeah.
Because then I was just a Beatle.
398
00:19:13,633 --> 00:19:17,679
But now that the Beatles' volume
of work is finished...
399
00:19:17,679 --> 00:19:18,930
Yes.
400
00:19:18,930 --> 00:19:20,598
I, I listen back to it,
401
00:19:20,598 --> 00:19:24,435
and, you know, like that
you just think, what was that bassline?
402
00:19:24,852 --> 00:19:27,146
Now this is good
because I actually, now I know‐‐
403
00:19:27,146 --> 00:19:29,399
Now you understand how it works.
Now I know what I played, yeah.
404
00:19:29,399 --> 00:19:30,441
Yeah, yeah.
405
00:19:33,653 --> 00:19:36,781
You talked a little bit about becoming
a fan of the Beatles again.
406
00:19:36,781 --> 00:19:38,867
Yeah.
So tell me first about,
407
00:19:38,867 --> 00:19:40,285
Beatles break up.
408
00:19:40,285 --> 00:19:41,953
Mm.
In that moment,
409
00:19:42,328 --> 00:19:45,665
what's your feeling
about your last ten years of music?
410
00:19:46,291 --> 00:19:48,710
I knew we'd done
something great.
411
00:19:48,710 --> 00:19:51,754
Yes.
We'd had a lot of fun in the studio,
412
00:19:51,754 --> 00:19:54,340
and I was sad to see it break up.
Yeah.
413
00:19:54,340 --> 00:19:56,342
I thought I'd be
in this band forever.
414
00:19:56,342 --> 00:19:57,594
Hm.
415
00:19:57,594 --> 00:19:59,012
But various things were happening.
416
00:19:59,012 --> 00:20:01,055
There was a lot
of heavy business stuff
417
00:20:01,055 --> 00:20:03,433
that had,
that had influenced decisions.
418
00:20:03,433 --> 00:20:05,727
Mm‐hmm.
So we, we split up,
419
00:20:05,727 --> 00:20:09,814
and, uh, I was heartbroken, really.
420
00:20:10,690 --> 00:20:12,942
And I kind of disappeared
off the face of the Earth.
421
00:20:12,942 --> 00:20:15,570
I went up to a farm in Scotland
422
00:20:15,945 --> 00:20:20,408
and just became a sort of
hippie farmer, which was great.
423
00:20:20,408 --> 00:20:22,744
♪♪ Motorcars ♪♪
424
00:20:22,744 --> 00:20:24,579
♪♪ Handlebars ♪♪
425
00:20:24,579 --> 00:20:27,457
♪♪ Bicycles for two ♪♪
426
00:20:28,583 --> 00:20:33,254
♪♪ Broken‐hearted jubilee ♪♪
427
00:20:37,425 --> 00:20:40,345
When you've been
a musician all that time,
428
00:20:41,054 --> 00:20:46,351
the idea of just not doing it
was a bit sad.
429
00:20:47,602 --> 00:20:49,896
I just wanted to keep going with music.
430
00:20:49,896 --> 00:20:50,563
Yeah.
431
00:20:50,563 --> 00:20:52,899
You know, it was
a very difficult thing to shake off
432
00:20:53,274 --> 00:20:56,194
if you're this invested
like you and I are.
433
00:20:56,194 --> 00:20:56,945
Yeah.
434
00:20:56,945 --> 00:20:58,696
You just can't sort of say,
oh, I'll do it tomorrow.
435
00:20:58,696 --> 00:21:00,615
Can't imagine it. Can't imagine.
436
00:21:00,615 --> 00:21:05,870
So I just went right back
to basics, and it wasn't easy.
437
00:21:05,870 --> 00:21:08,373
♪♪
438
00:21:08,373 --> 00:21:11,960
♪♪ Da, da, ya, da, da, da
da, da, da ♪♪
439
00:21:12,418 --> 00:21:13,753
Never finished the lyrics.
440
00:21:15,213 --> 00:21:16,631
No, this is jazz.
441
00:21:16,631 --> 00:21:18,132
(laughing)
442
00:21:19,467 --> 00:21:22,220
I had some recording equipment at home.
443
00:21:22,554 --> 00:21:26,224
I had an amp, guitar, piano,
a little drum set.
444
00:21:26,891 --> 00:21:30,144
So I just thought, well,
I'll just record some stuff, you know.
445
00:21:30,144 --> 00:21:33,022
And literally yourself,
meaning not even an engineer.
446
00:21:33,022 --> 00:21:35,233
Nobody was there except you.
No. Nobody.
447
00:21:35,233 --> 00:21:39,153
♪♪ ...the junk in the yard ♪♪
448
00:21:40,071 --> 00:21:44,993
♪♪ Da, da, ya, da, da, da
da, da, da ♪♪
449
00:21:44,993 --> 00:21:46,369
♪♪
450
00:21:46,369 --> 00:21:47,287
Wow.
451
00:21:47,287 --> 00:21:50,164
♪♪
452
00:21:53,626 --> 00:21:56,588
♪♪ song ends ♪♪
453
00:21:56,588 --> 00:21:58,131
Beautiful.
454
00:21:58,131 --> 00:22:01,217
This was the first album
that you made in this way.
455
00:22:01,217 --> 00:22:02,677
Everything at home, all by yourself.
456
00:22:02,677 --> 00:22:03,428
Yeah.
457
00:22:03,428 --> 00:22:05,096
I mean, once you do
something like this,
458
00:22:05,096 --> 00:22:07,223
it's a nice little home project.
459
00:22:07,223 --> 00:22:08,099
Yeah.
460
00:22:08,099 --> 00:22:11,227
It's like, you know,
if you've built a table,
461
00:22:11,227 --> 00:22:13,938
you've got some time off,
I'll build a chair, something.
462
00:22:13,938 --> 00:22:18,234
You know, it's just that good feeling
you're doing something for yourself.
463
00:22:18,234 --> 00:22:19,027
Yeah.
464
00:22:19,027 --> 00:22:21,946
But then, you know,
you've suddenly got
465
00:22:21,946 --> 00:22:23,698
enough tracks for an album.
466
00:22:23,698 --> 00:22:28,494
♪♪ Maybe I'm Amazed playing ♪♪
467
00:22:28,494 --> 00:22:32,665
♪♪
468
00:22:46,554 --> 00:22:51,309
PAUL: (on recording)
♪♪ Baby, I'm amazed at the way
you love me all the time ♪♪
469
00:22:52,727 --> 00:22:56,356
♪♪ Maybe I'm afraid
of the way I love you ♪♪
470
00:22:59,025 --> 00:23:03,488
♪♪ Maybe I'm amazed at the way
you pulled me out of time ♪♪
471
00:23:04,239 --> 00:23:06,449
♪♪ You hung me on a line ♪♪
472
00:23:07,575 --> 00:23:11,746
♪♪ Maybe I'm amazed at the way
I really need you ♪♪
473
00:23:14,415 --> 00:23:17,710
♪♪ Baby, I'm a man,
maybe I'm a lonely man ♪♪
474
00:23:17,710 --> 00:23:20,088
♪♪ Who's in the middle of something ♪♪
475
00:23:20,463 --> 00:23:23,550
♪♪ That he doesn't really understand ♪♪
476
00:23:26,511 --> 00:23:29,847
♪♪ Baby, I'm a man and maybe
you're the only woman ♪♪
477
00:23:29,847 --> 00:23:32,016
♪♪ Who could ever help me ♪♪
478
00:23:32,475 --> 00:23:35,812
♪♪ Baby, won't you help me to understand? ♪♪
479
00:23:35,812 --> 00:23:36,813
♪♪ Ooh‐ooh ♪♪
480
00:23:36,813 --> 00:23:38,314
PAUL: Once you've been to the top,
481
00:23:38,314 --> 00:23:39,899
going back down
to the bottom of the ladder,
482
00:23:39,899 --> 00:23:43,820
and clawing your way back up,
is, uh, is a bit of a number.
483
00:23:44,320 --> 00:23:46,322
But I had Linda by my side,
484
00:23:46,322 --> 00:23:48,116
and she'd helped me through that period.
485
00:23:48,783 --> 00:23:50,869
She was very, a great strength.
486
00:23:51,369 --> 00:23:53,872
♪♪
487
00:23:53,872 --> 00:23:56,749
♪♪ Baby, I'm amazed at the way
you helped me... ♪♪
488
00:23:56,749 --> 00:23:58,001
Bringing the energy.
489
00:23:59,168 --> 00:24:01,129
♪♪ You right me when I'm wrong ♪♪
490
00:24:01,129 --> 00:24:03,548
I wonder if that's tucked in there,
I never heard that before.
491
00:24:03,548 --> 00:24:05,174
No.
No, you left it out?
492
00:24:05,174 --> 00:24:06,467
I don't know.
493
00:24:06,467 --> 00:24:07,969
It might be this.
Yeah, it might be‐‐
494
00:24:07,969 --> 00:24:09,929
Sounds like I mixed it out.
I can't remember.
495
00:24:10,555 --> 00:24:11,723
♪♪ Oh ♪♪
496
00:24:12,015 --> 00:24:15,810
♪♪ Ooh‐ooh‐ooh ♪♪
497
00:24:16,519 --> 00:24:18,021
♪♪ Yeah‐yeah, yeah ♪♪
498
00:24:18,021 --> 00:24:21,274
♪♪
499
00:24:21,274 --> 00:24:22,275
That got it.
500
00:24:22,275 --> 00:24:23,276
♪♪ Oh ♪♪
501
00:24:23,860 --> 00:24:27,989
♪♪
502
00:24:27,989 --> 00:24:29,866
♪♪ Yeah‐yeah, yeah ♪♪
503
00:24:29,866 --> 00:24:33,703
♪♪
504
00:24:35,622 --> 00:24:39,459
That's when the audience applauds,
you go, wait for it, wait for it.
505
00:24:40,001 --> 00:24:44,255
♪♪ Maybe I'm amazed at the way
you love me all the time ♪♪
506
00:24:46,090 --> 00:24:49,469
♪♪ And maybe I'm afraid
of the way I love you ♪♪
507
00:24:50,011 --> 00:24:52,972
I'd seen something
that made me think,
508
00:24:52,972 --> 00:24:54,891
oh, John's got a new record out,
509
00:24:54,891 --> 00:24:56,809
and it's called Lennon.
510
00:24:57,393 --> 00:24:59,103
I thought, wow, that's great.
511
00:24:59,479 --> 00:25:01,773
Oh boy. I missed that boat.
512
00:25:01,773 --> 00:25:02,732
Yeah.
You know.
513
00:25:02,732 --> 00:25:04,859
And it turned out not to be so.
Wow.
514
00:25:04,859 --> 00:25:07,278
So I said, well,
that's a great idea though.
515
00:25:07,278 --> 00:25:08,613
Yeah.
You just call it your surname.
516
00:25:08,613 --> 00:25:10,448
Yes.
So I said, I'll have that.
517
00:25:10,907 --> 00:25:13,284
So I just named my first record McCartney.
518
00:25:13,868 --> 00:25:16,996
♪♪ That he doesn't really understand ♪♪
519
00:25:20,041 --> 00:25:22,168
♪♪ Baby, I'm a man... ♪♪
Whoa.
520
00:25:22,168 --> 00:25:25,547
♪♪ You're the only woman
who could ever help me ♪♪
521
00:25:26,005 --> 00:25:29,509
♪♪ Baby, won't you help me to understand? ♪♪
522
00:25:29,509 --> 00:25:33,221
♪♪ Ooh ♪♪
523
00:25:33,221 --> 00:25:34,681
You were feeling good that day.
524
00:25:37,350 --> 00:25:42,605
♪♪
525
00:25:43,815 --> 00:25:46,276
When was the moment
when it switched from,
526
00:25:46,818 --> 00:25:48,319
okay, the old band broke up,
527
00:25:48,319 --> 00:25:50,405
there's some bad feelings,
business stuff,
528
00:25:50,405 --> 00:25:51,739
and now I'm moving on.
529
00:25:51,739 --> 00:25:55,118
I'm starting at the bottom
myself, over again.
530
00:25:55,118 --> 00:25:58,496
When could you look back
and realize,
531
00:25:58,496 --> 00:26:02,917
oh, what we did back then
was really good and special?
532
00:26:02,917 --> 00:26:06,087
I think once I'd got over the fact
533
00:26:06,087 --> 00:26:07,463
that the Beatles had broken up.
534
00:26:08,089 --> 00:26:13,636
Um, once I could allow myself to do
a Beatles song in, in our show.
535
00:26:13,636 --> 00:26:15,889
Would that have been five years
or ten years or‐‐
536
00:26:15,889 --> 00:26:18,224
No, I think it was,
it was a few years.
537
00:26:18,224 --> 00:26:20,810
I wanted a whole new thing.
Yes.
538
00:26:20,810 --> 00:26:23,354
Whole new sound, new songs.
Yeah.
539
00:26:23,938 --> 00:26:26,399
So once we'd got that...
Yes.
540
00:26:26,399 --> 00:26:29,319
I felt vindicated and I thought, okay,
541
00:26:30,236 --> 00:26:33,698
now, why don't‐I can,
I can now safely put a Beatles song in.
542
00:26:33,698 --> 00:26:37,493
Yes.
And, uh, then you started to think,
543
00:26:38,203 --> 00:26:39,871
ooh, what about that one?
544
00:26:39,871 --> 00:26:42,457
And I never would do a John song.
Hmm.
545
00:26:42,457 --> 00:26:46,753
Because I would just only go
to songs that I'd instigated.
546
00:26:46,753 --> 00:26:47,962
Yeah.
Um‐‐
547
00:26:47,962 --> 00:26:49,881
But after a while, I got
so comfortable with it,
548
00:26:49,881 --> 00:26:51,424
I thought, yeah,
I'll do a John song.
549
00:26:51,424 --> 00:26:52,508
I love that song.
550
00:26:52,508 --> 00:26:54,677
I want to read to you one little thing.
551
00:26:54,677 --> 00:26:55,386
Yeah.
552
00:26:55,386 --> 00:26:57,972
It says, "Paul is one of
the most innovative bass players
553
00:26:57,972 --> 00:27:00,892
"that ever played bass, and half
of the stuff that's going on now
554
00:27:00,892 --> 00:27:03,478
"is directly ripped off
from his Beatle period.
555
00:27:03,478 --> 00:27:06,314
"He has always been a bit coy
about his bass playing,
556
00:27:06,314 --> 00:27:08,191
but he's a great, great musician."
557
00:27:09,317 --> 00:27:11,194
Did I write that?
That is John Lennon.
558
00:27:11,194 --> 00:27:12,362
That's John?
Yeah.
559
00:27:12,362 --> 00:27:13,363
Alright.
560
00:27:13,363 --> 00:27:14,781
Come on, Johnny.
561
00:27:15,240 --> 00:27:16,282
Yeah.
That's beautiful.
562
00:27:16,282 --> 00:27:17,534
I hadn't‐I hadn't heard that before.
563
00:27:17,534 --> 00:27:19,577
It's interesting
considering obviously,
564
00:27:19,577 --> 00:27:23,039
you're two leaders of something,
and just competitive situation.
565
00:27:23,039 --> 00:27:24,415
Yeah, yeah. Yeah.
So to hear that.
566
00:27:24,415 --> 00:27:26,459
He'd never said that to me.
Yeah.
567
00:27:26,459 --> 00:27:29,212
So, but it's nice to hear
that he said it to someone.
568
00:27:29,671 --> 00:27:30,755
That's amazing.
569
00:27:31,839 --> 00:27:34,884
♪♪ Helter Skelter playing ♪♪
570
00:27:34,884 --> 00:27:38,429
♪♪ When I get to the bottom,
I go back to the top of the slide ♪♪
571
00:27:38,429 --> 00:27:41,516
♪♪ Where I stop, and I turn,
and I go for a ride ♪♪
572
00:27:41,516 --> 00:27:46,062
♪♪ 'Til I get to the bottom,
and I see you again! ♪♪
573
00:27:46,062 --> 00:27:48,231
♪♪ Yeah, yeah, yeah! ♪♪
574
00:27:49,566 --> 00:27:52,527
♪♪ Well, do you, don't you
want me to love you? ♪♪
575
00:27:55,280 --> 00:27:58,491
♪♪ I'm coming down fast,
but I'm miles above you ♪♪
576
00:28:01,119 --> 00:28:03,329
♪♪ Tell me, tell me, tell me ♪♪
577
00:28:03,329 --> 00:28:05,874
♪♪ Come on,
tell me the answer! ♪♪
578
00:28:06,583 --> 00:28:11,045
♪♪ Well, you may be a lover,
but you ain't no dancer ♪♪
579
00:28:12,213 --> 00:28:13,882
♪♪ Come on!
Helter skelter ♪♪
580
00:28:15,466 --> 00:28:17,176
♪♪ Helter skelter ♪♪
581
00:28:18,344 --> 00:28:19,971
♪♪ Helter skelter ♪♪
582
00:28:21,180 --> 00:28:21,890
♪♪ Yeah ♪♪
583
00:28:21,890 --> 00:28:24,893
♪♪
584
00:28:29,522 --> 00:28:32,734
♪♪ Oh, will you, won't you
want me to make you? ♪♪
585
00:28:32,734 --> 00:28:35,445
♪♪
586
00:28:35,445 --> 00:28:38,448
♪♪ I'm coming down fast,
but don't let me break you ♪♪
587
00:28:38,448 --> 00:28:41,242
♪♪
588
00:28:41,242 --> 00:28:43,953
♪♪ Tell me, tell me,
tell me the answer! ♪♪
589
00:28:43,953 --> 00:28:46,915
♪♪ You may be a lover,
but you ain't no dancer ♪♪
590
00:28:46,915 --> 00:28:48,625
♪♪
591
00:28:48,625 --> 00:28:49,709
♪♪ Look out! ♪♪
592
00:28:49,709 --> 00:28:51,252
♪♪ Helter skelter ♪♪
593
00:28:52,670 --> 00:28:54,172
♪♪ Helter skelter ♪♪
594
00:28:55,506 --> 00:28:57,050
♪♪ Helter skelter ♪♪
595
00:28:58,801 --> 00:28:59,886
♪♪ Ooh ♪♪
596
00:29:01,846 --> 00:29:02,972
♪♪ Look out! ♪♪
597
00:29:03,598 --> 00:29:05,308
♪♪ 'Cause here she comes ♪♪
598
00:29:05,308 --> 00:29:09,938
♪♪
599
00:29:18,029 --> 00:29:21,658
♪♪ When I get to the bottom,
I go back to the top of the slide ♪♪
600
00:29:21,658 --> 00:29:24,577
♪♪ And I stop, and I turn,
and I go for a ride ♪♪
601
00:29:24,577 --> 00:29:29,040
♪♪ And I get to the bottom,
and I see you again! ♪♪
602
00:29:29,040 --> 00:29:31,042
♪♪ Yeah, yeah, yeah! ♪♪