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[Mary McCartney] My name is Mary.
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Abbey Road Studios has been part of
my life for as long as I can remember.
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Every time I walk through these corridors,
it feels magical.
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I don't remember
the first time I came here.
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This is me in Studio Two. A photograph
taken by my mom who was a photographer,
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and was in a band with my dad.
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I want to tell the story
of some of the iconic recordings
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made here over the last nine decades.
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From classical to pop to film scores.
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One of the reasons
I wanted to do this documentary,
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was I remember seeing a picture of Mom
leading Jet across the zebra crossing.
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- [laughs] Oh, yeah!
- [Mary] Do you remember that?
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Yeah! Absolutely, yeah.
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What happened was we lived close by,
as you know.
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And we had this little pony called Jet.
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And she just loved horses so much that
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when we were coming over here
to do something, she just brought Jet.
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And so, there's a picture of her...
him doing the level crossing.
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["Jet" playing]
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And he came into the studio.
I don't think he disgraced himself.
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♪ Jet! ♪
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♪ I can almost remember
Their funny faces ♪
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♪ That time you told them that you
Were gonna be marrying soon ♪
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♪ And Jet ♪
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♪ I thought the only lonely place
Was on the moon ♪
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♪ Jet! ♪
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[Mary]
'Cause you came back here with Wings?
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Do you remember
making a decision thinking,
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"I could go anywhere,
but I'm actually gonna do this next phase
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in my musical career in the same studio"?
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Yeah.
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I mean, in London we had used
other studios besides Abbey Road.
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But we always liked this the best.
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So that when I was looking to record
with Wings, I thought,
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"Well, this is the best studio. I know it.
I know a lot of the people here."
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A lot of them were still here.
A lot of them still are. [chuckles]
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♪ Well, I just can't get enough
Of that sweet stuff ♪
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♪ My little lady gets behind ♪
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[piano playing]
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♪ Hey, now ♪
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[McCartney] It's just a great studio.
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You know, all the microphones work.
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I mean, that sounds silly to say,
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but you can go to some studios
where they don't.
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So, it was great.
It was great to come back home.
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♪ Yeah, yeah, yeah, yeah ♪
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♪ Ooh, yeah ♪
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[Elton John] When you drive through
the little gates by the zebra crossing,
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never gets old.
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And every time I drive by,
I look at the graffiti and think,
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"It's magic going across
that zebra crossing. Magic happened here."
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It's history.
You can feel it seeping from the walls.
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[Noel Gallagher]
Somewhere now, some kid, somewhere,
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his dream will be to walk in here
and just do a tune in here.
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And you can't let that dream die. Ever.
You can't.
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It's a very spiritual thing.
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Yeah, no, it's amazing. Um...
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Hopefully,
it'll be here for millions of years.
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It's a national treasure, innit?
You know what I mean?
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[Celeste] The first time I'd been here,
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I just felt a sense of accomplishment
in reaching something
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which I'd sort of fantasized
in my bedroom about as a child.
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[John Williams]
I think about Abbey Road as being
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a kind of mother of the music
that's been performed there.
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She has preserved it for us.
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She has embraced it
with her personal acoustic.
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And so, it's a gift to us.
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You know, we use it. We think we hire it.
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It's something more spiritual than that.
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[news broadcaster]
The 12th of November, 1931,
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Sir Edward Elgar is about to
formally open a unique recording studio.
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The esteemed composer is a supporter
of the novel recording medium.
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And prepares to cut his composition
directly to disc...
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- You all ready?
- ...with the London Symphony Orchestra.
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Right.
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[music starts]
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[news broadcaster] Three years ago,
the Gramophone Company
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purchased number 3 Abbey Road
of St. John's Wood, London, at auction.
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A detached residence of nine bedrooms,
five reception rooms,
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servant's quarters,
and a large garden at the rear
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have been converted into the largest
and best-equipped studios in the world.
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A disc of wax.
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The mother disc from which
thousands of copies will be produced
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to be enjoyed across the globe.
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[Lockwood] When I arrived,
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the company was losing
half a million a year.
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You know, there's no money
in the classical record business.
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And I started searching
for who we've got in the business
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that knew anything about pop music.
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[Cliff Richard] I was singing
from the days I was at school.
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So I would've been 14, 15.
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And I made my first record at Abbey Road
when I was 17.
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And we were given an audition
by Norrie Paramor,
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who was a producer with EMI.
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[guitar playing]
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And that's when we first played him
the song called "Move It."
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That's when we got really excited that we
were actually going to be in a studio.
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And it turned out to be Abbey Road.
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And, in fact, Studio Two
became our home for many, many years.
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♪ Come on, pretty baby
Let's a-move it and a-groove it ♪
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♪ Shake, oh, baby
Shake ♪
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♪ Oh, honey
Please don't lose it ♪
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♪ And it's rhythm that gets
Into your heart and soul ♪
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♪ And, now, let me tell you, baby
It's called rock and roll ♪
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[song fades]
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[Richard] Abbey Road gave
rock and roll its life, I think.
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Because it was on the forefront
of one of the biggest musical changes.
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I believe, historically,
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rock and roll was the biggest, fastest,
and most long-term change.
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♪ Real country music
That just drives along ♪
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♪ Yeah, honey
Move it ♪
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[news broadcaster] In 1950,
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British record sales totaled
a mere three-and-a-half million pounds.
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By 1960,
this figure had risen to £15 million.
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Easily the biggest company is
Electric and Musical Industries, EMI,
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which sells
just under half of all the records.
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EMI's labels include
Parlophone, HMV, Capitol.
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EMI is the world's largest record company.
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Its chairman, Sir Joseph Lockwood,
keeps a realistic eye on the competition.
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Well, it's a free-for-all.
The competition's absolutely terrific.
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And anyone who thinks that, um, this is an
easy business should come and have a try.
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[Martin] I started in
the recording business in November 1950.
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I'd studied
at the Guildhall School of Music,
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and I had an invitation to go
to EMI Studios for an interview.
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Um, surprisingly, for me,
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they put me in the position of power
at Parlophone,
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and Joe Lockwood said to me,
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"Well, now you're the youngest label head
we've ever had. You better do well."
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So I went,
and I started looking for something.
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I started looking for something
like a Cliff Richard.
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The Beatles had already been signed by
Decca, made a record, and not released.
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And Brian Epstein came to see 'em
as a last resort.
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I mean, really as a last resort.
He'd been to see everyone else.
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And my dad just liked Brian.
Brian was a very likable man.
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And said, "Maybe you can bring them down."
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Yeah, so we came into here,
and, um, George Martin arrived.
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Came down, "Okay, chaps.
What are we gonna do?" You know?
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[Giles laughs]
He didn't think they were that good.
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But he liked spending time with them.
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He also was looking at them, thinking,
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"Okay, which one's Cliff,
and who are the Shadows?"
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["Love Me Do" playing]
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[Martin]
And I listened to them performing.
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And the songs they offered me
weren't very good.
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"Love Me Do" was the best I could find.
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George was incredible.
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We could never say anything else but,
"George was incredible."
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And we were buskers. I mean, no one can
write or read music. We're just buskers.
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We got a minor hit with "Love Me Do."
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And then, later,
we brought in "Please Please Me."
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[Lennon] What are you doing?
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[McCartney] Just... [grunts]
It's murder. I can't do it.
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- Can't keep it up. I just go... I'm truly...
- [plays bass guitar]
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I haven't got one.
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[McCartney] And George Martin
wasn't very impressed.
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And he said, uh, "Could we do it faster?"
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And we all go, "No."
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Or we didn't. [laughs]
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No. We thought, "No," but we went, "Yeah."
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[sound engineer] Doing take seven.
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- [clicks]
- ["Please Please Me" playing]
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♪ Last night
I said these words to my girl ♪
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And we weren't that impressed,
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but he said,
"That'll be your first number-one hit."
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And he was right.
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♪ Come on, come on
Come on, come on ♪
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♪ Come on, come on
Come on, come on ♪
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♪ Please please me, whoa, yeah
Like I please you ♪
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[Martin] Once we had
a success with "Please Please Me,"
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they seemed to blossom as songwriters.
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"From Me To You" followed,
and "She Loves You," and so on.
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And each one was a great song.
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And I realized very early on that
we needed an album pretty damn quick.
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[song ends]
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It was in February of '63
that we... we made the album.
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And we did it in one day.
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[Lennon]
Should we do it on the second verse?
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[McCartney] Yeah.
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[Lennon] Hello?
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So we came in nice and early.
Set up. Got ready.
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And then just played everything we knew.
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["Twist and Shout" playing]
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The engineers and everybody were
up the stairs, would just mix 'em.
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♪ Well, shake it up, baby, now ♪
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- ♪ Shake it up, baby ♪
- ♪ Twist and shout ♪
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[McCartney] They were actually mixing
as they went along.
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They knew how loud the drums had to be,
how loud the bass drum should be,
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so they kind of had it all balanced.
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And, in fact, in those days,
they were called "balance engineers."
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[Giles] The idea is to capture
a band as a live performance.
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This is them straight from the Cavern Club
into Abbey Road.
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[Martin] I just worked them very hard.
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And just recorded them almost like a...
like a broadcast, you know?
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Where all I had was two tracks.
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♪ Twist and shout ♪
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[Giles] That's the band
just playing live in the room.
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And on track two...
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- ♪ Come on, baby ♪
- ♪ Come on and work it on out ♪
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...we have John's ripped vocal.
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And Paul and George
are singing live with him.
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- ♪ Come on and twist a little closer now ♪
- ♪ Twist a little closer ♪
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- ♪ And let me know that you're mine ♪
- ♪ Let me know you're mine ♪
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[Starr] And we did it just under 12 hours
from start to finish.
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You know what I mean? It wasn't like,
"Oh, I'm so tired. I'm this"...
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00:13:33,960 --> 00:13:35,840
No, man. If we were playing...
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00:13:35,920 --> 00:13:40,240
That was the great thing about the Beatles
was we all were in it for the music.
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00:13:40,320 --> 00:13:43,000
You know, we were playing.
That was what was important.
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And, uh, you know,
it worked out pretty well for us.
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[music ends]
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[Suvi Raj Grubb] Music being one of
the most important things in my life,
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we said we'd take a risk,
a gamble, if you like,
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and, uh, come here to England
to see whether I could find a job.
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September 19th, 1960,
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I duly reported at the Abbey Road Studios.
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So that's how I started.
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[all laughing]
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- I say if you were there...
- But I wouldn't be this bad.
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00:14:42,840 --> 00:14:44,720
If she were...
Just what I was going to say!
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[all laughing]
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- I think that's enough. Let's go and play.
- It's fine by me.
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00:14:49,760 --> 00:14:51,360
- Yes.
- Are you happy with the sound?
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00:14:51,440 --> 00:14:53,920
- Absolutely. Absolutely.
- Good. Come. Come on.
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[Grubb] Jacqueline du Pré was
the perfect person to record with
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because she never got impatient
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00:15:01,280 --> 00:15:03,840
however much time you took
to get a satisfactory balance.
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00:15:03,920 --> 00:15:07,760
And with her bulges of sound,
she was a very difficult person to record.
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00:15:15,320 --> 00:15:17,120
- [laughs]
- [Grubb] That's fine for balance.
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Play from the repeated D's.
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[Sheku Kanneh-Mason] Many musicians
that I admire recorded here.
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And many of my, sort of,
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- favorite recordings were made here.
- Yeah.
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[Kanneh-Mason] Artists like
Jacqueline du Pré, Daniel Barenboim.
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These people, I grew up with their sound.
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And the sound that I grew up listening to
was recorded here.
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We used to listen to a lot of music
in the car on car journeys.
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And my parents had a CD
of her recording of Elgar Concerto.
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I would've been five or six years old.
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When you listen, you really feel
that she is giving everything,
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all of her soul,
to every single note that she plays.
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Jacqueline du Pré's recordings
of the Elgar Concerto was made here,
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and a few years ago,
when I recorded the Elgar Concerto,
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it was in this very, um, studio.
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Probably in this exact spot
that I'm sitting in.
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It's a massive honor for me, of course,
and incredibly special to think about.
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[piano playing]
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[interviewer] Now, Jacqueline,
in July '71, it was announced
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that you had nervous exhaustion
and were going to rest for a year.
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And everyone had said,
"Oh, poor girl. She's been overdoing it."
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Then we realized
that it wasn't just nervous exhaustion.
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[du Pré] No, it turned out,
in fact, to be multiple sclerosis.
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One is, naturally, very frightened by it.
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But I was lucky, you see,
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because my talent was one
which developed very early.
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So that by the time I got
the symptoms of MS
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severely enough
to interfere with playing instruments,
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I had done everything I could've wanted to
with the cello.
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[Grubb]
After the illness had taken hold of her,
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Daniel, one day, rang me and said,
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"What is your number one studio
doing tomorrow?
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Can you book it under the title
'Daniel Barenboim test'?"
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So he said,
"We will try and record something.
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Don't be disappointed
if nothing transpires."
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[Mary]
I thought you'd be interested in this.
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[mutters]
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[Mary] These are the engineer notes
for her last recording here.
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[Kanneh-Mason] Sessions,
but two of them are crossed out,
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so I guess that might mean
that only two were used.
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It says she was ill after two sessions.
I see.
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Wow.
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[cello playing on recording]
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There's something incredibly vulnerable
and fragile about this.
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I absolutely love it,
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and for us to be able to listen to that
now, I think we're very, very lucky.
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[music ends]
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[Grubb] Started opus five,
played the first few bars,
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put the cello back, and said,
"That ends the entertainment for the day."
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That was her last appearance
in the studios.
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[Giles] Brian Epstein and my father had
a very, very good relationship.
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[Mary] Yeah.
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[Giles] And they worked as a team,
so they, I think in 1964,
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I think they had 36 weeks
at number one out of 52 in the UK.
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Which will never be done again.
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I mean, if you think about...
You know, it's just crazy.
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[chattering]
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And that was with, obviously, Cilla Black,
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Gerry and the Pacemakers, and the Beatles.
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And they were all
from Brian Epstein's stable,
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all produced by my dad, all at Abbey Road.
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[reporter] Cilla, do you think
you could've got to the top
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without Brian Epstein?
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- No, I don't think so.
- [reporter] Why not?
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Um, because I came from Liverpool.
[laughs]
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Well, at the time, nobody wanted to know
anything about Liverpudlians,
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until Brian Epstein came on the scene.
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I mean, it was a bit of a handicap
to anybody who did come from Liverpool
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because of the way they spoke.
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- [producer] Move it along a bit now.
- [assistant] Right.
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Okay, Burt. Here we go.
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Get running, please.
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[Black] ♪ What's it all about, Alfie? ♪
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♪ Is it just for the moment we live? ♪
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♪ What's it all about
When you sort it out, Alfie? ♪
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[producer] One more.
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It was good, darling. We may...
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- [Black] Hello, Brian.
- Cilla, it sounds lovely.
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- Hello there. How are you?
- Fine.
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[Epstein] Good.
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- It's sure feeling better out there.
- [Black] Yeah.
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But I don't I wanna go on at it
all night though. [chuckles]
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- With each performance, it gets better.
- Actually, yeah. There's...
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- What's wro... I don't want to have to...
- Yeah, I know, but we need...
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[Martin] Burt Bacharach was extremely
persistent about doing take after take.
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Wanted to get something
that nobody else could see.
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- Just touching up the edges now.
- Me?
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[Martin] And I remember
sort of doing a great take
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and going on to about 15 takes.
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And everybody getting very, very tired
and the orchestra getting fractious.
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♪ Alfie ♪
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[Martin] And I said to...
Pressed the knob and I said to Burt,
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"Burt, what are you looking for?"
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And he said, "I just want
that little bit of magic, George."
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I said, "Well I think you got
the magic on take four."
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And of course we had.
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Take four was the one with the precision.
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♪ Alfie ♪
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♪ Alfie ♪
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- I think that's it there. Done.
- [Black chuckles]
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[audience screaming]
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♪ She loves you, yeah, yeah, yeah
She loves you, yeah... ♪
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[Giles] The Beatles were one of
Britain's biggest export industries.
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And Brian had them as this...
as this boy band in a way.
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And it was scary, it wasn't enjoyable.
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And so they needed to just basically
either split or go into a bunker.
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And that bunker was Abbey Road.
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[reporter] If you never toured again,
would it worry you?
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No, I don't think so.
Uh, if we're not listened to then,
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and we can't even hear ourselves,
then we can't improve in that.
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- We can't get any better.
- [reporter] Hmm.
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So, uh, we're trying to get better
with things like recording.
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00:24:09,160 --> 00:24:14,000
It got too, sort of, horrible, so we
started to hatch plans of what we'd do.
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So, this is gonna give us
a lot of time to record.
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And the other great thing
about Abbey Road, it was free.
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In our contract,
we had limitless recording time.
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[McCartney on recording]
Don't need that. [coughs]
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I think it'll probably be
another day singing it.
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[McCartney] No, this was our home really.
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We spent so much time here.
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[McCartney on recording]
♪ I feel it, I feel it, I feel it ♪
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[McCartney] We talked through
what we were gonna do. And, uh...
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[McCartney on recording] ♪ Free now ♪
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You know, he'd say, "What we should do,
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we should make a record
and kind of send it on tour."
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Uh, and so we started making Sgt. Pepper.
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♪ It was 20 years ago today ♪
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♪ When Sgt. Pepper taught
The band to play ♪
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♪ They've been going in and out of style ♪
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It opens with a, uh, real interesting, uh,
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nostalgic recall of old vaudeville.
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And good old times.
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[Starr] ♪ Oh, I get by
With a little help from my friends ♪
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It goes on,
"With a Little Help From My Friends."
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A statement of communal purpose.
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[Lennon]
♪ Picture yourself in a boat on a river ♪
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The next is like
a statement of imagination.
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"Lucy in the Sky With Diamonds,"
as being an element of importance.
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[Lennon] ♪ Look for the girl ♪
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- [music stops]
- [Lennon sighs]
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[Giles] With
Sgt. Pepper's Lonely Hearts Club Band,
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- the rules had changed.
- [Lennon on recording] Concentrate.
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They wanted to use the studio
as a playground.
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And they wanted to paint pictures
with sound.
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- [drumroll]
- [bass guitar playing]
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[sound engineer] Two!
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[Starr] One of my best beginnings that.
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[McCartney] The lunatics started
to take over the asylum.
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We sometimes would have one mix going on
up in the control room here in number two.
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Then we'd have another one going on
in number three.
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So you had the run of the building.
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00:25:57,800 --> 00:26:00,680
And then, you know,
there's lots of equipment around here.
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00:26:00,760 --> 00:26:03,840
So we'd sort of say,
"Can we play that? Or could we do that?"
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00:26:03,920 --> 00:26:05,480
And they had a Lowrey organ
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00:26:05,560 --> 00:26:08,360
which I use for the front
of "Lucy in the Sky With Diamonds."
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[Lennon]
♪ Picture yourself in a boat on a river... ♪
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There was an artist called Mrs. Mills
who had a particular...
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00:26:16,320 --> 00:26:17,320
There it is!
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00:26:17,400 --> 00:26:19,400
["Lady Madonna" playing]
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00:26:19,480 --> 00:26:22,120
And we'd knock around on it, you know,
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00:26:22,200 --> 00:26:24,840
and just, sort of,
"Wow, it's got a great sound!"
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00:26:24,920 --> 00:26:26,480
It's a good rock-and-roll piano.
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00:26:34,400 --> 00:26:39,400
And then there'd be, like,
Daniel Barenboim's classical Steinway.
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Uh, so there was all this stuff.
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00:26:45,520 --> 00:26:52,520
And I think that's one of the reasons
the Beatles' music was always interesting
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00:26:52,600 --> 00:26:54,600
from the instrumental point of view.
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00:26:54,680 --> 00:26:55,920
["When I'm Sixty Four" playing]
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I was there about, uh, '62 I think.
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00:27:01,320 --> 00:27:05,240
And "When I'm Sixty Four" amused me.
It's a lovely song.
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The last is, uh, "A Day in the Life"
which I thought was the best poem.
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[Martin] Probably the most momentous song
on the album, "A Day in the Life,"
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began in a very simple way.
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00:27:18,520 --> 00:27:22,600
And we caught the rehearsal take,
take one. The very first time I heard it.
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[Lennon] Have the mic
on the piano quite low, this.
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00:27:25,320 --> 00:27:27,720
Just keep it in like maracas, you know?
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00:27:27,800 --> 00:27:29,160
[Martin] John counts in by saying,
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00:27:29,200 --> 00:27:31,840
"Sugar plum fairy, sugar plum fairy,
sugar plum"...
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00:27:31,920 --> 00:27:34,720
[Lennon]
Sugar plum fairy, sugar plum fairy.
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00:27:34,800 --> 00:27:38,320
["A Day in the Life" playing]
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00:27:38,400 --> 00:27:43,440
"Day in the Life" arrived when John came
to my house for a little writing session.
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00:27:43,520 --> 00:27:47,240
And he'd been reading the newspaper.
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00:27:47,840 --> 00:27:52,000
♪ I read the news today
Oh, boy ♪
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00:27:52,800 --> 00:27:55,160
[McCartney] And I think
we then wrote the second verse
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00:27:55,240 --> 00:27:57,760
looking in the newspaper for clues.
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00:28:00,160 --> 00:28:03,280
♪ And though the news was rather sad ♪
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00:28:04,480 --> 00:28:07,160
[Giles] "A Day in the Life"
seems incredibly complicated...
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00:28:07,240 --> 00:28:08,880
♪ Well, I just had to laugh ♪
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00:28:08,960 --> 00:28:12,600
...but it's just beautifully simple
in the way it's done.
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00:28:12,680 --> 00:28:18,400
All they had was four things they could
put together to create this wall of sound.
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00:28:18,480 --> 00:28:20,480
Even the orchestra is just on one track.
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00:28:21,160 --> 00:28:24,480
It's the four of them
in a room making a sound together.
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00:28:25,800 --> 00:28:28,600
["A Day in the Life" playing]
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00:28:28,680 --> 00:28:30,560
John is singing a guide vocal here.
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00:28:31,200 --> 00:28:32,920
But he overdubs his vocal later.
422
00:28:35,480 --> 00:28:37,440
And here's the master take of his vocal.
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00:28:37,960 --> 00:28:42,040
- Which is just an extraordinary sound.
- ♪ I saw a film today, oh, boy ♪
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00:28:42,120 --> 00:28:44,360
It's, in essence, "A Day in the Life."
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00:28:44,440 --> 00:28:48,840
♪ The English Army had just won the war ♪
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00:28:50,520 --> 00:28:54,360
♪ A crowd of people turned away ♪
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00:28:56,640 --> 00:28:58,880
♪ But I just had to look ♪
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00:29:00,120 --> 00:29:04,600
♪ Having read the book ♪
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00:29:05,320 --> 00:29:08,160
Then I added in a bit that I had.
430
00:29:08,680 --> 00:29:11,840
That was, "Woke up, fell out of bed."
[imitates guitar playing]
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00:29:11,920 --> 00:29:17,280
♪ Woke up, fell out of bed
Dragged a comb across my head ♪
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00:29:17,360 --> 00:29:19,960
[Giles] And Paul brings it, sort of,
back to the real world.
433
00:29:20,480 --> 00:29:23,240
And they... they had no idea
how to connect the songs.
434
00:29:23,320 --> 00:29:24,560
They just left a gap.
435
00:29:25,800 --> 00:29:28,760
And they also didn't know
how to end the song.
436
00:29:28,840 --> 00:29:31,360
I remember it was, like,
we started talking about this and that.
437
00:29:31,440 --> 00:29:34,640
I said, "It would be great
if we could have a symphony orchestra.
438
00:29:34,720 --> 00:29:36,360
I've got some ideas." You know?
439
00:29:38,760 --> 00:29:40,040
[Giles] Paul said to my dad,
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00:29:40,120 --> 00:29:42,720
"I think what I'd like to hear is
an orchestral orgasm."
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00:29:43,520 --> 00:29:45,000
My dad said, "Oh, right. Okay, Paul."
442
00:29:45,080 --> 00:29:48,520
[McCartney] That was the other great thing
about coming here.
443
00:29:48,600 --> 00:29:51,920
The tools for that were there.
It was available.
444
00:29:52,000 --> 00:29:54,880
George Martin, number one studio.
445
00:29:55,960 --> 00:29:58,760
It was all kind of here, you know?
So we took advantage of it.
446
00:29:59,840 --> 00:30:05,360
So we did that on "Day in the Life."
We had the big orchestra and, um, idea.
447
00:30:05,440 --> 00:30:08,040
The instruction I gave them was
for them all to start
448
00:30:08,120 --> 00:30:13,960
on the lowest note on their instrument
and to go through all your notes
449
00:30:14,040 --> 00:30:16,520
till you reach the highest note
on the instrument.
450
00:30:16,600 --> 00:30:20,480
And also you have to play from very, very
quietly to as loud as you possibly can.
451
00:30:20,560 --> 00:30:23,080
But you have to meet in tune and in time
at the perfect time.
452
00:30:23,160 --> 00:30:25,600
They kind of looked at me
a little bit like,
453
00:30:25,680 --> 00:30:28,920
"We don't normally get
that kind of instruction." You know?
454
00:30:29,000 --> 00:30:32,080
So George kind of laid it out
a little bit more for them.
455
00:30:32,160 --> 00:30:37,240
He said, "I think you should've reached
halfway by this point,
456
00:30:37,320 --> 00:30:40,520
and then if you can go
to the big crescendo 'round about here."
457
00:30:40,600 --> 00:30:44,560
[orchestra going up scale]
458
00:30:47,680 --> 00:30:50,000
[conductor] Six, seven,
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00:30:50,600 --> 00:30:57,280
eight, nine, ten, 11, 12,
460
00:30:57,360 --> 00:31:04,160
13, 14, 15, 16, 17,
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00:31:04,920 --> 00:31:10,000
- 18, 19, 20, 21!
- [whistle blows]
462
00:31:11,920 --> 00:31:14,200
[music intensifies, stops]
463
00:31:14,280 --> 00:31:15,760
[engineer 1] "A Day in the Life."
464
00:31:15,840 --> 00:31:18,600
This is take eight,
and it's the choir for the end.
465
00:31:18,680 --> 00:31:19,920
[engineer 2] Choir?
466
00:31:20,000 --> 00:31:25,840
They originally thought, "Wouldn't it be
great to have this choir going of 'ums'?"
467
00:31:25,920 --> 00:31:28,480
[McCartney] What's the note?
Shall we just double-check?
468
00:31:28,560 --> 00:31:31,320
- [note plays on piano]
- [singers hum]
469
00:31:31,400 --> 00:31:35,120
It's one of the, sort of,
biggest anticlimaxes ever.
470
00:31:35,200 --> 00:31:38,560
It's like this big orchestral crescendo,
then it's like... [hums]
471
00:31:38,640 --> 00:31:39,840
[Martin] ...three, four.
472
00:31:39,920 --> 00:31:43,080
[singers hum]
473
00:31:43,160 --> 00:31:44,480
[sound engineer] Then...
474
00:31:44,560 --> 00:31:49,200
They had four grand pianos,
and we had 'em...
475
00:31:50,640 --> 00:31:53,800
And we could all see,
and we all had a count in, and we went...
476
00:31:53,880 --> 00:31:55,280
[chord plays on pianos]
477
00:32:01,240 --> 00:32:02,520
Right.
478
00:32:02,600 --> 00:32:04,856
- It was very good. Thank you. That's fine.
- [Lennon] Hey?
479
00:32:04,880 --> 00:32:06,896
I think that will do
for the vocal backing very nicely.
480
00:32:06,920 --> 00:32:08,096
We'll get the musicians in now.
481
00:32:08,120 --> 00:32:11,680
[Harrison]
I think that that period felt special
482
00:32:11,760 --> 00:32:16,720
because there was a great upsurge
of energy and consciousness.
483
00:32:16,800 --> 00:32:18,560
♪ All you need is love ♪
484
00:32:18,640 --> 00:32:21,520
It was like a sort of mini-renaissance.
485
00:32:21,600 --> 00:32:24,320
♪ All you need is love ♪
486
00:32:24,400 --> 00:32:26,880
[McCartney] It was so close
to the end of the war,
487
00:32:26,960 --> 00:32:30,040
and those of us who'd been born
in the war,
488
00:32:30,120 --> 00:32:32,280
our memories were all in black and white.
489
00:32:32,920 --> 00:32:35,920
But it gradually got better
and better and better.
490
00:32:36,000 --> 00:32:40,680
By the '60s, it was technicolor.
You know, it was all... [imitates fireworks]
491
00:32:41,960 --> 00:32:44,200
♪ All you need is love ♪
492
00:32:44,280 --> 00:32:46,000
♪ All together now ♪
493
00:32:46,440 --> 00:32:47,880
♪ All you need is love ♪
494
00:32:47,960 --> 00:32:52,320
[McCartney] So here you were in London,
which was on fire.
495
00:32:52,400 --> 00:32:56,640
You'd have artists,
novelists, poets, painters.
496
00:32:57,360 --> 00:33:01,720
If you wanted an album cover,
for instance, you knew lots of artists.
497
00:33:01,800 --> 00:33:05,040
Peter Blake, Richard Hamilton,
you know, who were on the scene.
498
00:33:05,120 --> 00:33:08,040
You know, and Peter Blake obviously did
the Sgt. Pepper cover.
499
00:33:08,120 --> 00:33:09,520
He and his then wife.
500
00:33:09,600 --> 00:33:11,160
♪ Love is all you need ♪
501
00:33:11,240 --> 00:33:13,360
- ♪ Love is all you need ♪
- ♪ Love is all you need ♪
502
00:33:13,440 --> 00:33:15,600
- ♪ Love is all you need ♪
- ♪ Love is all you need ♪
503
00:33:15,680 --> 00:33:17,280
♪ Love is all you need ♪
504
00:33:17,360 --> 00:33:21,240
[Elton John] It was the '60s, late '60s,
and it was so exciting.
505
00:33:22,040 --> 00:33:24,160
Music was exciting. London was exciting.
506
00:33:24,720 --> 00:33:26,000
Everything was exciting.
507
00:33:28,520 --> 00:33:32,000
And I always say I was so grateful
to be around at that period of time
508
00:33:32,080 --> 00:33:34,560
because you're never gonna see
a time like that again.
509
00:33:36,200 --> 00:33:39,840
And for me, um,
it was the start of my journey in a way.
510
00:33:39,920 --> 00:33:42,240
I mean, I spent three years
in a van with Bluesology.
511
00:33:42,320 --> 00:33:45,280
And I was fed up with that,
and I wanted to do something else.
512
00:33:45,360 --> 00:33:47,200
Uh, write songs is what I wanted to do.
513
00:33:47,280 --> 00:33:50,960
I never thought I'd become Elton John
singer, songwriter, artist.
514
00:33:51,040 --> 00:33:52,840
So I started to do sessions.
515
00:33:54,160 --> 00:33:56,560
[sound engineer]
"He's Heavy, He's My Brother" take one.
516
00:33:56,640 --> 00:33:57,856
[Elton John] Oh, take it, broth...
517
00:33:57,880 --> 00:33:59,760
And I did a lot of session work here.
518
00:33:59,840 --> 00:34:03,120
[Elton John] One, two, three, four.
519
00:34:04,400 --> 00:34:07,400
["He Ain't Heavy, He's My Brother"
playing]
520
00:34:14,080 --> 00:34:17,760
♪ The road is long ♪
521
00:34:17,840 --> 00:34:20,440
[Tony Hicks] Reg Dwight was
a songwriter that we knew,
522
00:34:20,960 --> 00:34:24,240
and he did the keyboards for us
on "He Ain't Heavy, He's My Brother"
523
00:34:24,320 --> 00:34:27,040
as a session musician
524
00:34:27,120 --> 00:34:29,920
which, uh, I think he got
about twelve pounds for that.
525
00:34:30,000 --> 00:34:31,320
He'd probably want more today.
526
00:34:32,360 --> 00:34:34,880
Oh, no. He wouldn't actually.
He'd probably do it for nothing.
527
00:34:37,520 --> 00:34:40,840
[Bobby Elliott] Reg with the grand piano
at the bottom of the stairs.
528
00:34:40,920 --> 00:34:42,040
Me on the drums nearby.
529
00:34:42,120 --> 00:34:45,056
We didn't wanna move the grand piano
because you could knock 'em out of tune.
530
00:34:45,080 --> 00:34:47,680
So I put the drums next to... uh, to Elton.
531
00:34:47,760 --> 00:34:50,080
And there was Bernie Calvert,
our bass player, on bass.
532
00:34:50,160 --> 00:34:53,640
That's all the basic track was.
With Clarkey singing the guide vocal.
533
00:34:53,720 --> 00:34:55,640
Uh, and Elton counted it in.
534
00:34:55,720 --> 00:34:57,400
It's still on the tape somewhere.
535
00:34:59,680 --> 00:35:03,400
♪ He's my brother ♪
536
00:35:04,360 --> 00:35:06,536
[Elton John] You can tell that's me
playing on that record.
537
00:35:06,560 --> 00:35:07,720
It's my piano style.
538
00:35:07,800 --> 00:35:10,840
["He Ain't Heavy, He's My Brother"
continues playing]
539
00:35:19,960 --> 00:35:24,040
I was so lucky, um, because once word got
around that Reg could play the piano,
540
00:35:24,560 --> 00:35:26,720
um, Reg was hired quite a lot.
541
00:35:29,640 --> 00:35:34,360
And, uh, you know, I was getting paid
money by Dick James Music as a songwriter.
542
00:35:35,080 --> 00:35:36,280
Fifteen quid a week.
543
00:35:36,360 --> 00:35:39,280
But the extra money that I got
as a session musician
544
00:35:39,360 --> 00:35:43,400
made me able to buy the records I loved,
and there were so many of them,
545
00:35:43,480 --> 00:35:45,520
buy some clothes, and pay the rent.
546
00:35:49,000 --> 00:35:51,040
And I have so many memories
of coming in here.
547
00:35:51,120 --> 00:35:52,600
The smell of Abbey Road.
548
00:35:53,680 --> 00:35:56,760
I was actually the smell of fear
when I came in. [chuckles]
549
00:35:56,840 --> 00:35:58,480
"Am I gonna mess this up?" [whimpers]
550
00:36:02,680 --> 00:36:04,320
You know, it formed me as a man.
551
00:36:04,400 --> 00:36:05,680
It formed me as a musician.
552
00:36:06,200 --> 00:36:08,560
It made me be good.
Because I had to be good in three hours.
553
00:36:08,640 --> 00:36:09,760
I had to deliver.
554
00:36:11,760 --> 00:36:14,920
I remember playing on
a Barron Knights session here.
555
00:36:15,000 --> 00:36:17,000
And "Hey Jude" had just come out.
556
00:36:17,080 --> 00:36:20,200
So I was standing with Bernie. Um...
557
00:36:20,280 --> 00:36:22,960
And your dad came in the door
and said hello to the Barron Knights.
558
00:36:23,040 --> 00:36:26,640
And that is the first time I'd ever seen
anyone that famous in my life.
559
00:36:26,720 --> 00:36:29,640
And I kind of froze and Bernie did too.
560
00:36:30,160 --> 00:36:34,600
And the Barron Knights asked Paul to play
"Hey Jude" on the piano, and he did.
561
00:36:34,680 --> 00:36:36,480
And Bernie and I have never forgotten it.
562
00:36:36,560 --> 00:36:38,920
It's like, "Oh, my God.
We saw Paul play 'Hey Jude'
563
00:36:39,000 --> 00:36:40,720
at the time the record came out."
564
00:36:40,800 --> 00:36:41,800
[chord plays on piano]
565
00:36:41,880 --> 00:36:47,000
♪ Hey, Jude
Don't make it bad ♪
566
00:36:47,960 --> 00:36:53,080
♪ Take a sad song and make it better ♪
567
00:36:54,520 --> 00:36:55,600
Can you imagine?
568
00:36:56,240 --> 00:36:59,240
For a young kid from Midd like me?
It's like, "Oh, my God."
569
00:36:59,840 --> 00:37:03,480
Um, and that was just startling.
570
00:37:03,560 --> 00:37:06,840
♪ Yeah
Na, na, na ♪
571
00:37:06,920 --> 00:37:09,320
♪ Na, na, na, na ♪
572
00:37:09,400 --> 00:37:11,760
♪ Na, na, na, na ♪
573
00:37:11,840 --> 00:37:12,880
♪ Hey, Jude ♪
574
00:37:12,960 --> 00:37:15,000
[Elton John]
How can you not dine out on that story?
575
00:37:15,080 --> 00:37:17,320
And it's still...
Bernie and I still talk about it.
576
00:37:18,000 --> 00:37:19,760
And it was incredible.
577
00:37:19,840 --> 00:37:23,320
So, um, your dad's given me
a lot of pleasure in my life.
578
00:37:23,400 --> 00:37:24,720
So much pleasure.
579
00:37:24,800 --> 00:37:28,560
And he has no idea what that moment
meant to me, but, hopefully, he will now.
580
00:37:28,640 --> 00:37:29,800
♪ Na, na, na ♪
581
00:37:29,880 --> 00:37:31,800
♪ Na, na, na, na ♪
582
00:37:31,880 --> 00:37:33,200
♪ Make it, Jude ♪
583
00:37:33,280 --> 00:37:34,280
♪ Na, na, na, na ♪
584
00:37:34,360 --> 00:37:36,240
♪ Oh, hey, Jude ♪
585
00:37:40,760 --> 00:37:42,160
[Lennon vocalizes]
586
00:37:44,560 --> 00:37:46,320
[Jimmy Page] I was a studio musician.
587
00:37:47,280 --> 00:37:53,040
And so I was coming in here
probably about the age of 17 on.
588
00:37:53,120 --> 00:37:56,120
Seventeen, 18, 19, 20, and on.
589
00:37:56,200 --> 00:37:57,520
[chuckles] Even longer.
590
00:37:57,600 --> 00:37:59,760
Jimmy Page, what is a session guitarist?
591
00:37:59,840 --> 00:38:02,280
It's a guitarist who's called in
to make records.
592
00:38:02,360 --> 00:38:04,560
Not necessarily doing one-night stands,
593
00:38:04,640 --> 00:38:06,400
hoping that they'll get
into the hit parade,
594
00:38:06,480 --> 00:38:08,400
but only getting an ordinary fee.
595
00:38:08,480 --> 00:38:10,720
[interviewer]
So how did you become a session guitarist?
596
00:38:10,800 --> 00:38:13,280
I don't know. Perhaps they thought
I had the feel for it.
597
00:38:13,360 --> 00:38:15,720
Obviously, you know me
as an electric guitarist,
598
00:38:15,800 --> 00:38:19,000
but I can also play acoustic guitar.
599
00:38:19,520 --> 00:38:22,200
So, uh... And I could play harmonica.
600
00:38:22,280 --> 00:38:27,240
So I was booked it on sessions
doing harmonica, blues harmonica,
601
00:38:27,320 --> 00:38:30,760
or be it finger-style guitar playing,
folk guitar playing,
602
00:38:30,840 --> 00:38:34,120
as it was then very much
the sort of vogue.
603
00:38:34,200 --> 00:38:37,600
And then electric guitar and slide playing
and all this sort of stuff.
604
00:38:37,680 --> 00:38:41,440
[interviewer] What is it like working with
some of the big names of show business?
605
00:38:41,520 --> 00:38:42,680
Disappointing.
606
00:38:42,760 --> 00:38:44,040
[interviewer] Why is that?
607
00:38:44,120 --> 00:38:47,440
Well, they don't come up
to how you expect them to be.
608
00:38:48,120 --> 00:38:50,240
Rather disappointing on the whole,
I would say.
609
00:38:50,960 --> 00:38:54,080
[interviewer] See, well, that's probably
bad news for some record fans.
610
00:38:54,840 --> 00:38:58,520
[Page] Done all manner of things
at big studio number one,
611
00:38:58,600 --> 00:39:00,000
where they did the film music.
612
00:39:00,080 --> 00:39:04,960
And that's where the Goldfinger track with
Shirley Bassey was recorded, in there,
613
00:39:05,040 --> 00:39:06,640
and I was on that session.
614
00:39:16,240 --> 00:39:17,600
[Bassey] ♪ Goldfing... ♪
615
00:39:17,680 --> 00:39:19,040
Oh, sorry. Can we do...
616
00:39:20,080 --> 00:39:22,520
[conductor] Take 11.
Overdub over the whole lot.
617
00:39:22,600 --> 00:39:25,000
[Page] John Barry is running it through.
618
00:39:25,080 --> 00:39:27,200
["Goldfinger" playing]
619
00:39:37,840 --> 00:39:43,040
It's absolutely, like,
spine-chilling when it starts off,
620
00:39:43,120 --> 00:39:44,520
and I'm sort of playing along.
621
00:39:44,600 --> 00:39:47,160
[Bassey] ♪ Goldfinger ♪
622
00:39:50,120 --> 00:39:51,680
♪ He's the man ♪
623
00:39:51,760 --> 00:39:54,000
[Bassey] And they had the enormous screen.
624
00:39:55,040 --> 00:39:59,720
And I had to sing "Goldfinger"
625
00:39:59,800 --> 00:40:03,000
to what was happening on the credits,
you know?
626
00:40:03,080 --> 00:40:05,720
♪ Such a cold finger ♪
627
00:40:08,960 --> 00:40:13,560
♪ Beckons you to enter his web of sin ♪
628
00:40:13,640 --> 00:40:18,320
I wasn't that far away from where she was.
I'm more or less in the front line of it.
629
00:40:18,400 --> 00:40:21,280
And all the orchestral stuff
is behind them.
630
00:40:21,360 --> 00:40:23,080
[Barry] Fifteen, take 15.
631
00:40:23,160 --> 00:40:26,560
Right at the end of the take,
she had a really powerful voice,
632
00:40:26,640 --> 00:40:28,760
I can hear her doing
this sort of last note.
633
00:40:28,840 --> 00:40:30,040
[recorder whirring]
634
00:40:30,120 --> 00:40:31,800
[Bassey] ♪ Loves only gold ♪
635
00:40:31,880 --> 00:40:34,760
But then when we got to the end,
and the credits didn't seem to end
636
00:40:34,840 --> 00:40:36,360
and I had to hold this note.
637
00:40:36,440 --> 00:40:38,440
[inhales sharply]
And it was, like, forever.
638
00:40:38,520 --> 00:40:42,000
[Bassey on recording] ♪ He loves gold ♪
639
00:40:42,080 --> 00:40:47,440
♪ He loves gold ♪
640
00:40:47,520 --> 00:40:49,296
And the credits are going
and going and going.
641
00:40:49,320 --> 00:40:51,800
And he's going, "Hold it, hold it."
And I was like... [gasps]
642
00:40:52,400 --> 00:40:55,176
- [Bassey groans on recording]
- [Page] Then she collapses on the floor.
643
00:40:55,200 --> 00:40:58,360
It was absolutely so dramatic.
644
00:40:58,440 --> 00:41:01,640
And, of course, when she sings, she's
doing all the histrionics and things.
645
00:41:02,160 --> 00:41:05,880
It was something that you'd never,
never forget. Absolutely.
646
00:41:05,960 --> 00:41:10,720
They gave me water, you know,
sort of patted my hands with water...
647
00:41:10,800 --> 00:41:12,800
ice-cold water and everything. I was just...
648
00:41:13,360 --> 00:41:17,160
Cruel business, show business.
It's very cruel. [laughs]
649
00:41:17,800 --> 00:41:20,280
But I had a world success with it.
650
00:41:25,640 --> 00:41:28,320
[interviewer] John, where would
you be today without Mr. Epstein?
651
00:41:28,840 --> 00:41:29,840
I don't know.
652
00:41:30,440 --> 00:41:34,320
I understand that, uh, Maharishi,
uh, conferred with you all.
653
00:41:34,400 --> 00:41:37,040
Could I ask you what he...
what advice he offered you?
654
00:41:37,920 --> 00:41:42,480
He told us to,
uh, not to get overwhelmed by grief,
655
00:41:42,560 --> 00:41:46,120
and whatever thoughts we have of Brian,
to keep them happy
656
00:41:46,200 --> 00:41:50,160
because any thoughts we have of him
will travel to him, wherever he is.
657
00:41:51,880 --> 00:41:56,720
[Giles] His death creates
a monumental change in the Beatles.
658
00:41:57,520 --> 00:41:59,960
There was an anchor
they could tie themselves to.
659
00:42:00,040 --> 00:42:01,800
Who'd been with them
before they were famous.
660
00:42:01,840 --> 00:42:03,840
And that's the key thing.
That's what people need.
661
00:42:03,920 --> 00:42:08,920
They need the reference point of knowing
who they are before they become famous.
662
00:42:10,040 --> 00:42:11,040
And he'd gone.
663
00:42:12,400 --> 00:42:15,120
It can't be overemphasized.
That's what changed things.
664
00:42:16,520 --> 00:42:19,760
[McCartney]
Oh, we were all like, "What do we do?"
665
00:42:21,480 --> 00:42:24,720
It's like what happens
when anyone exits your life.
666
00:42:25,360 --> 00:42:28,680
You have a period of grieving.
667
00:42:28,760 --> 00:42:34,160
And then you emerge, and you think,
"Well, we ought to do... We got to do this.
668
00:42:34,240 --> 00:42:38,640
We got to make a good record now.
We've got to keep going."
669
00:42:38,720 --> 00:42:41,240
["Blackbird" playing on guitar
on recording]
670
00:42:41,320 --> 00:42:42,360
[music stops]
671
00:42:42,440 --> 00:42:45,440
[McCartney clears throat] It's a decision
which voice to use, you know?
672
00:42:45,960 --> 00:42:48,600
- I think it's better quieter.
- [person] I do too.
673
00:42:48,680 --> 00:42:49,680
[guitar playing]
674
00:42:49,760 --> 00:42:51,200
It's slightly sad.
675
00:42:52,200 --> 00:42:54,440
I had a guitar very similar to this.
676
00:42:54,960 --> 00:42:58,920
And, um, I'd just written it.
677
00:42:59,000 --> 00:43:06,000
And, actually, the soundman has put
a cloth here so my foot won't bang.
678
00:43:06,520 --> 00:43:10,440
However, on the record, I am.
I am banging.
679
00:43:10,520 --> 00:43:11,520
And I'd go...
680
00:43:11,600 --> 00:43:13,600
[feet tapping]
681
00:43:15,960 --> 00:43:19,040
[McCartney on recording]
♪ Blackbird singing in the dead of night ♪
682
00:43:20,480 --> 00:43:23,640
♪ Take these broken wings
And learn to fly ♪
683
00:43:25,680 --> 00:43:28,840
♪ All your life ♪
684
00:43:29,600 --> 00:43:34,760
♪ You were only waiting
For this moment to arise ♪
685
00:43:39,800 --> 00:43:43,800
♪ Blackbird fly ♪
686
00:43:44,920 --> 00:43:49,160
♪ Blackbird fly ♪
687
00:43:49,240 --> 00:43:52,960
♪ Into the light of a dark, black night ♪
688
00:43:55,720 --> 00:43:59,720
♪ Blackbird singing in the dead of night ♪
689
00:44:00,520 --> 00:44:01,520
Yeah.
690
00:44:01,600 --> 00:44:02,440
And then finish...
691
00:44:02,520 --> 00:44:06,000
I think that, you know,
I just sort of forgot the format.
692
00:44:06,080 --> 00:44:08,080
[Lennon] "Bebe Daniels," take one!
693
00:44:08,560 --> 00:44:11,960
[Starr] When it came to the White Album,
I loved the White Album 'cause we...
694
00:44:12,040 --> 00:44:15,720
It wasn't really mentioned,
but we knew we wanna be a band again.
695
00:44:16,920 --> 00:44:19,520
And, uh, my favorite track is "Yer Blues."
696
00:44:19,600 --> 00:44:22,760
Where we took everything into a room...
697
00:44:25,480 --> 00:44:27,120
not as big as this carpet.
698
00:44:28,720 --> 00:44:30,800
[Lennon] ♪ Yes, I'm lonely ♪
699
00:44:33,360 --> 00:44:35,160
♪ Wanna die ♪
700
00:44:38,000 --> 00:44:40,200
♪ Yes, I'm lonely ♪
701
00:44:40,280 --> 00:44:41,920
[Starr] We just, like, rocked it.
702
00:44:42,000 --> 00:44:46,920
We just, you know, turned into
this incredible, closest band.
703
00:44:47,000 --> 00:44:50,200
♪ If I ain't dead already ♪
704
00:44:50,280 --> 00:44:51,280
♪ Whoo ♪
705
00:44:52,280 --> 00:44:54,240
♪ Girl, you know the reason why ♪
706
00:44:57,400 --> 00:45:00,360
It's one of
the all-time great memories for me.
707
00:45:03,680 --> 00:45:05,360
[audience cheering, screaming]
708
00:45:05,440 --> 00:45:08,520
[Martin] Abbey Road was the album
I didn't think would ever be made.
709
00:45:09,400 --> 00:45:13,840
Because, prior to Abbey Road,
we had recorded an album called Let It Be.
710
00:45:15,160 --> 00:45:16,960
It was an unhappy record.
711
00:45:17,040 --> 00:45:20,040
I was losing control.
Uh, my voice wasn't heard.
712
00:45:20,120 --> 00:45:22,000
And I got very dispirited indeed.
713
00:45:22,560 --> 00:45:26,360
Let It Be fragmented
and distorted them as people,
714
00:45:26,440 --> 00:45:28,440
and they just abandoned it.
715
00:45:29,480 --> 00:45:32,320
And Paul McCartney phoned up Dad and said,
716
00:45:32,400 --> 00:45:35,160
"Listen, we wanna go back
and make a record like we did.
717
00:45:35,800 --> 00:45:37,480
And it'll be our last record."
718
00:45:37,560 --> 00:45:40,640
He said,
"Yeah, but none of the messing 'round."
719
00:45:41,200 --> 00:45:43,160
Said, "As long as you come in,
720
00:45:43,240 --> 00:45:46,960
and we make the album
like we used to make albums. Properly."
721
00:45:47,680 --> 00:45:52,280
So, I would just, you know,
write songs and then ring 'em up.
722
00:45:52,800 --> 00:45:56,040
And it was like,
"Hi, Ringo. How you doing?"
723
00:45:56,120 --> 00:45:58,920
- We knew it's Paul.
- [Mary chuckles]
724
00:45:59,960 --> 00:46:02,360
And Paul would call and say,
"Hey, all right, lads."
725
00:46:02,440 --> 00:46:05,800
"Um, what do you think about,
you know, making a new album?"
726
00:46:06,400 --> 00:46:07,880
"Should we go back in the studio?"
727
00:46:07,960 --> 00:46:08,960
"Oh."
728
00:46:09,480 --> 00:46:11,640
'Cause they were quite happy sunbathing.
729
00:46:11,720 --> 00:46:15,280
If it hadn't have been for him, we'd have
made, like, three albums. [laughs]
730
00:46:15,360 --> 00:46:17,280
Instead of eight. [laughs]
731
00:46:18,040 --> 00:46:23,680
So, we came back in here
and did the album that became Abbey Road.
732
00:46:23,760 --> 00:46:26,920
["Something" playing]
733
00:46:27,000 --> 00:46:28,080
[laughs]
734
00:46:28,160 --> 00:46:32,920
[Harrison]
♪ Something in the way she moves ♪
735
00:46:36,400 --> 00:46:40,400
♪ Attracts me like no other lover ♪
736
00:46:43,000 --> 00:46:48,000
♪ Something in the way she woos me ♪
737
00:46:50,320 --> 00:46:53,200
[McCartney] We were in one
of the studio's control rooms
738
00:46:53,280 --> 00:46:56,200
and starting to mix the album.
739
00:46:56,280 --> 00:46:58,240
And we were thinking,
"What are we gonna call it?"
740
00:46:58,320 --> 00:46:59,800
We didn't think Abbey Road.
741
00:46:59,880 --> 00:47:04,360
We thought, the next album, we've got to
go to, like, Egypt and the pyramids.
742
00:47:04,440 --> 00:47:07,960
Or we have to go to
some volcano in Hawaii.
743
00:47:08,040 --> 00:47:11,200
You know, we always had
these big conversations.
744
00:47:11,880 --> 00:47:14,920
And then we said, "Ah, sod it.
Let's just walk across the road."
745
00:47:15,000 --> 00:47:18,120
[McCartney] ♪ And in the end ♪
746
00:47:18,760 --> 00:47:21,440
♪ The love you take ♪
747
00:47:22,600 --> 00:47:26,920
♪ Is equal to the love ♪
748
00:47:28,480 --> 00:47:30,600
♪ You make ♪
749
00:47:31,240 --> 00:47:34,640
[McCartney] I drew a little picture
of a level crossing with four people.
750
00:47:35,680 --> 00:47:39,160
Now, you can't drive your car
along there without getting stuck.
751
00:47:48,480 --> 00:47:52,360
[Mary] The staff always referred to
EMI Studios as Abbey Road.
752
00:47:52,440 --> 00:47:53,920
But, after this album,
753
00:47:54,000 --> 00:47:59,080
Ken Townsend, the studio manager,
made it official and changed the name.
754
00:48:01,880 --> 00:48:04,720
Ken invested a huge part of his life
in Abbey Road,
755
00:48:05,520 --> 00:48:08,640
starting as a trainee engineer in 1950.
756
00:48:08,720 --> 00:48:13,720
And, eventually,
retiring as chairman in 1995.
757
00:48:14,800 --> 00:48:17,720
Abbey Road has always felt
like a family to me.
758
00:48:18,240 --> 00:48:21,600
I think it's because most of the staff
begin their careers here
759
00:48:21,680 --> 00:48:23,760
and are nurtured to work their way up.
760
00:48:24,880 --> 00:48:28,880
The technicians here
have always been top-notch.
761
00:48:29,480 --> 00:48:31,040
And it's their innovation
762
00:48:31,120 --> 00:48:35,120
that sees Abbey Road enjoy
the reputation it does today.
763
00:48:36,680 --> 00:48:39,400
[McCartney] They're very cool boffins
that work here.
764
00:48:39,480 --> 00:48:42,200
And they're artists
in their own right really.
765
00:48:43,080 --> 00:48:44,600
But we challenged them.
766
00:48:45,240 --> 00:48:48,400
I think it was intriguing for them.
767
00:48:48,480 --> 00:48:53,640
"Could we do that? We've never done
that before, but maybe if we did this."
768
00:48:53,720 --> 00:48:55,280
And, you know, they're boffins,
769
00:48:55,360 --> 00:48:57,840
so they're just, like,
trying to work out the enigma machine.
770
00:49:01,040 --> 00:49:04,200
[technician] When someone's got
a problem, they say, "Go and see Lester."
771
00:49:04,280 --> 00:49:05,760
[laughs]
772
00:49:05,840 --> 00:49:08,760
If someone wants a battery,
or a nut and bolt
773
00:49:08,840 --> 00:49:13,840
or a valve, or a anything,
"Uh, Lester's got some."
774
00:49:14,480 --> 00:49:16,440
[Mary]
What's that you're working on, Lester?
775
00:49:17,400 --> 00:49:21,920
Uh, a 1960s microphone
that's been dropped,
776
00:49:22,000 --> 00:49:26,000
and there's the broken parts
that I'm gluing together.
777
00:49:26,080 --> 00:49:29,360
- [Mary] Who dropped it?
- [Smith laughs] No one ever owns up.
778
00:49:29,440 --> 00:49:30,440
[laughing]
779
00:49:30,520 --> 00:49:33,400
[Giles] I mean, Abbey Road has
the best equipment in the world.
780
00:49:33,480 --> 00:49:36,800
Something like Dark Side Of the Moon
or Sgt. Pepper stood the test of time
781
00:49:36,880 --> 00:49:40,480
because they're great records, but they're
also technically brilliant, as well.
782
00:49:40,560 --> 00:49:41,840
And they don't sound old.
783
00:49:41,920 --> 00:49:42,920
And that's the key.
784
00:49:43,000 --> 00:49:46,760
["Interstellar Overdrive" playing]
785
00:49:59,200 --> 00:50:02,600
[Roger Waters] Syd's first idea for
the name for the band was "The Tea Set."
786
00:50:03,600 --> 00:50:07,080
We got a gig, and, um, they said,
"You can't be 'The Tea Set.'"
787
00:50:08,240 --> 00:50:10,560
"We've already got
a band called 'The Tea Set.'"
788
00:50:12,440 --> 00:50:15,600
And that's when Syd came up
with the name Pink Floyd.
789
00:50:25,320 --> 00:50:28,080
[Nick Mason]
We'd signed a deal, uh, with EMI.
790
00:50:28,800 --> 00:50:31,920
And that sort of brought us here.
791
00:50:32,000 --> 00:50:34,960
And we were in Studio Three,
792
00:50:35,040 --> 00:50:36,400
which is where we are now.
793
00:50:37,920 --> 00:50:39,920
And the Beatles were in Studio Two.
794
00:50:41,640 --> 00:50:44,480
And we were...
I won't say "granted an audience,"
795
00:50:44,560 --> 00:50:47,680
but there was an invitation to go
and sort of see what was going on.
796
00:50:48,680 --> 00:50:53,200
Yeah, it was very much a sense of we were
the new boys, and they were the prefects.
797
00:50:56,960 --> 00:51:00,680
[Waters] It's a sort of fascinating
kind of piece of history.
798
00:51:00,760 --> 00:51:04,160
Oh, my goodness. We were in Abbey Road
when they were making Sgt. Pepper
799
00:51:04,240 --> 00:51:06,240
and we were making our first album.
800
00:51:08,760 --> 00:51:10,640
And, um, it came out,
801
00:51:11,880 --> 00:51:16,440
and we were driving up to a gig somewhere
in the north of England in a Zephyr Six.
802
00:51:16,520 --> 00:51:22,320
And June Child, who was driving us,
pulled over into a lay-by.
803
00:51:22,400 --> 00:51:23,400
Ooh, and it was about...
804
00:51:23,480 --> 00:51:29,240
And we sat in a lay-by and listened, uh,
to Sgt. Pepper, and I was just...
805
00:51:30,320 --> 00:51:34,120
"**** me.
This is an amazing piece of work."
806
00:51:34,200 --> 00:51:36,880
And it was. And it is, obviously.
807
00:51:38,160 --> 00:51:45,080
And I believe it freed a whole generation
of young Englishmen and women
808
00:51:45,160 --> 00:51:49,080
to be given permission to write songs
about real things.
809
00:51:49,160 --> 00:51:55,600
And having the courage
to accept your feelings.
810
00:51:55,680 --> 00:51:58,480
[acoustic guitar playing]
811
00:52:06,960 --> 00:52:11,040
[David Gilmour] Uh, I became a member
of Pink Floyd because, um, Syd Barrett,
812
00:52:11,120 --> 00:52:16,000
my predecessor and my friend,
um, had lost his marbles.
813
00:52:16,080 --> 00:52:17,800
Not to put too fine a point on it.
814
00:52:21,040 --> 00:52:23,400
It was his band. He had basically, um...
815
00:52:23,480 --> 00:52:27,320
I mean, he didn't start it,
but he was the very obvious talent.
816
00:52:27,400 --> 00:52:32,720
I mean, he was a poet and a painter
and a very talented guy.
817
00:52:32,800 --> 00:52:36,280
And, um, he was two to three years younger
than all the others,
818
00:52:36,360 --> 00:52:40,520
but he was definitely in charge
in his brief tenure.
819
00:52:44,920 --> 00:52:48,800
[Waters] And, uh, and when he went,
he went so fast.
820
00:52:49,560 --> 00:52:52,440
And so completely and utterly gone,
you know?
821
00:52:52,520 --> 00:52:53,840
And never came back.
822
00:52:55,200 --> 00:52:56,280
It was, um...
823
00:52:57,920 --> 00:53:01,800
It was deeply, deeply,
deeply shocking, and still is.
824
00:53:19,600 --> 00:53:22,440
The great thing about Abbey Road
in those days,
825
00:53:22,520 --> 00:53:26,160
was that they were
all the same people working there
826
00:53:26,240 --> 00:53:27,800
when we made that first record,
827
00:53:27,880 --> 00:53:31,280
as were still working there when
we made Dark Side of the Moon.
828
00:53:31,360 --> 00:53:35,000
Which was, like, six years later
or something like that.
829
00:53:35,080 --> 00:53:38,760
♪ Got to keep the loonies on the path ♪
830
00:53:42,240 --> 00:53:46,040
♪ The lunatic is in the hall ♪
831
00:53:49,720 --> 00:53:51,856
[Gilmour] There are many things
that make it very, very good.
832
00:53:51,880 --> 00:53:53,680
The lyrics are very, very good,
833
00:53:53,760 --> 00:53:56,920
and Roger's concept and lyrics,
you know, was...
834
00:53:57,880 --> 00:54:02,360
Yeah, I think he had taken
a step forward in, um, his abilities.
835
00:54:03,040 --> 00:54:04,120
So...
836
00:54:04,200 --> 00:54:05,800
And all those things together
837
00:54:07,040 --> 00:54:11,720
tie up into something that's, um,
yeah, has obviously worked. [chuckles]
838
00:54:16,720 --> 00:54:17,560
And the struggle...
839
00:54:17,640 --> 00:54:18,856
[sound engineer] Feedback jump.
840
00:54:18,880 --> 00:54:20,056
[Gilmour] ...was part of, um...
841
00:54:20,080 --> 00:54:21,480
Don't worry about that.
842
00:54:21,560 --> 00:54:23,520
...what made it interesting.
843
00:54:23,600 --> 00:54:25,240
And what made it work.
844
00:54:25,320 --> 00:54:26,400
Right.
845
00:54:27,480 --> 00:54:29,440
Where would rock and roll be
without feedback?
846
00:54:29,520 --> 00:54:31,880
- [tape machine plays]
- ♪ ...away the key ♪
847
00:54:32,640 --> 00:54:33,840
♪ And there's someone... ♪
848
00:54:33,920 --> 00:54:37,000
[Gilmour] There are nostalgic,
um, moments of thinking,
849
00:54:37,080 --> 00:54:40,640
"God, you know,
some of those fights were really ugly,"
850
00:54:40,720 --> 00:54:43,640
but, you know,
you were still back at it the next day.
851
00:54:43,720 --> 00:54:47,720
And the fights were about getting
the very, very best
852
00:54:47,800 --> 00:54:51,280
and, um, having disagreements
about how that could be achieved.
853
00:54:51,360 --> 00:54:53,520
Could you get me a fruit pie and cream?
854
00:54:53,600 --> 00:54:55,800
[person] I don't know.
I was really drunk at the time.
855
00:54:57,320 --> 00:55:00,640
[Waters] Dave always wanted the voices
to be so you couldn't hear them.
856
00:55:00,720 --> 00:55:03,720
And I'd go,
"Well, no. No, you gotta be a...
857
00:55:03,800 --> 00:55:06,120
If you can't hear it,
what's the point of it?" [mumbles]
858
00:55:06,200 --> 00:55:08,880
So it was like that. It was just... [groans]
859
00:55:12,440 --> 00:55:13,960
[Gilmour] We were young and arrogant
860
00:55:14,040 --> 00:55:17,840
and thought we knew exactly what we want
to do and how we wanted to do it.
861
00:55:17,920 --> 00:55:20,600
And wouldn't listen to good advice
half the time.
862
00:55:20,680 --> 00:55:24,120
- [piano playing]
- [Gilmour on recording] So that's the one.
863
00:55:24,200 --> 00:55:25,936
[Gilmour]
Suspect there's things you have to do.
864
00:55:25,960 --> 00:55:30,040
You have to have a lot of self-belief,
and you could call it arrogance.
865
00:55:30,120 --> 00:55:33,120
["Us and Them" playing]
866
00:55:36,080 --> 00:55:38,280
[Waters]
I think it's a really good record.
867
00:55:38,360 --> 00:55:40,920
I think it's really well crafted.
868
00:55:41,480 --> 00:55:45,960
And of course, you know,
Rick contributed "Great Gig in the Sky."
869
00:55:46,480 --> 00:55:48,480
And let's not forget "Us and Them."
870
00:55:50,200 --> 00:55:51,360
And it's a great song.
871
00:55:51,440 --> 00:55:55,440
I'm so glad that I have that collaboration
with Rick from those days.
872
00:55:55,520 --> 00:55:58,680
'Cause he... You know,
he had something very special.
873
00:55:59,560 --> 00:56:00,640
[Gilmour] ♪ Us ♪
874
00:56:05,280 --> 00:56:07,080
♪ And them ♪
875
00:56:07,960 --> 00:56:11,960
[Gilmour] When you're making an album,
you record everything separately.
876
00:56:12,720 --> 00:56:18,760
So, you've never listened to the whole
of what you're doing until it's all done.
877
00:56:21,160 --> 00:56:25,160
And then press the play button, then you
sit there and listen to a whole album.
878
00:56:27,000 --> 00:56:29,800
Um, it's absolutely magical.
879
00:56:29,880 --> 00:56:33,920
It was the...
I mean, the best time I ever heard it.
880
00:56:34,520 --> 00:56:36,920
I took it home, okay?
881
00:56:37,000 --> 00:56:40,000
And I played it to Judy,
who was my first wife.
882
00:56:41,320 --> 00:56:42,640
And when it finished,
883
00:56:44,400 --> 00:56:46,480
I turned to say, "What do you think?"
Like that.
884
00:56:46,560 --> 00:56:48,160
And she was sitting there crying.
885
00:56:48,960 --> 00:56:54,000
And I feel quite emotional now because
I thought, "**** me. We've cracked it.
886
00:56:54,080 --> 00:56:55,120
Look at that."
887
00:56:55,680 --> 00:56:56,680
[inhales sharply]
888
00:56:56,760 --> 00:56:58,840
That is very special.
889
00:56:58,920 --> 00:57:00,920
["Eclipse" playing]
890
00:57:08,880 --> 00:57:13,880
[Waters] We achieved something
in Pink Floyd with that record.
891
00:57:13,960 --> 00:57:16,880
And we could well have gone...
[scoffs] ..."We're done."
892
00:57:16,960 --> 00:57:18,120
Like the Beatles did.
893
00:57:18,720 --> 00:57:21,720
But we didn't.
We were too frightened to do that.
894
00:57:21,800 --> 00:57:25,200
And, in a way,
I'm kind of glad that we did struggle on.
895
00:57:26,080 --> 00:57:28,880
Um,
because we did some good work after that.
896
00:57:28,960 --> 00:57:30,880
You know, there's Wish You Were Here
and Animals
897
00:57:30,960 --> 00:57:32,560
and The Wall and The Final Cut.
898
00:57:32,640 --> 00:57:34,920
We made those four albums together.
899
00:57:35,560 --> 00:57:40,960
And they're a pretty solid,
you know, block of work.
900
00:57:41,920 --> 00:57:44,000
♪ And all you create ♪
901
00:57:44,560 --> 00:57:46,400
♪ And all you destroy ♪
902
00:57:46,480 --> 00:57:49,040
- ♪ Whoa ♪
- ♪ And all that you do ♪
903
00:57:50,760 --> 00:57:52,120
[Gilmour] Well, it's...
904
00:57:52,200 --> 00:57:56,760
How can one not be extremely pleased
to have been so fortunate as
905
00:57:56,840 --> 00:58:02,760
to have had something that has clicked
with, uh, the world's music listeners
906
00:58:03,360 --> 00:58:06,200
so deeply and for so long
907
00:58:06,280 --> 00:58:10,680
over all these, um,
nearly 50 years since it came out?
908
00:58:10,760 --> 00:58:12,080
It just seems, um...
909
00:58:13,400 --> 00:58:18,400
It just seems quite extraordinary to me
that that is... can be done.
910
00:58:24,800 --> 00:58:26,800
[music ends]
911
00:58:26,880 --> 00:58:30,080
[singer scatting]
912
00:58:30,600 --> 00:58:33,120
["Alu Jon Jonki Jon" playing]
913
00:58:38,680 --> 00:58:43,400
[producer] The first time I met Fela
was here in Studio Three.
914
00:58:44,520 --> 00:58:46,600
He was an obvious leader. You knew that.
915
00:58:46,680 --> 00:58:49,360
You meet some people,
they have that charisma about them,
916
00:58:49,440 --> 00:58:52,680
so you know that they're
a strong personality.
917
00:58:52,760 --> 00:58:54,440
But he was absolutely charming.
918
00:58:54,520 --> 00:58:57,320
The minute he walked into the studio
with the musicians,
919
00:58:58,040 --> 00:58:59,560
he became a different person.
920
00:58:59,640 --> 00:59:03,680
He became this magical music man.
921
00:59:03,760 --> 00:59:04,816
[Fela Kuti on recording] Jeff.
922
00:59:04,840 --> 00:59:06,600
- [Jarratt] Yeah?
- [Kuti] I want to take...
923
00:59:06,680 --> 00:59:08,776
- [Jarratt] We'll take it, uh, Fela.
- [Kuti] You take it.
924
00:59:08,800 --> 00:59:11,160
[Jarratt] So that was
on the first day of recording.
925
00:59:11,240 --> 00:59:14,440
Oh, I think we recorded pretty much
a whole album on that first session.
926
00:59:14,520 --> 00:59:16,536
[Jarratt on recording]
When the light's on. Here we go.
927
00:59:16,560 --> 00:59:19,680
[Kuti] One, two, three, four.
928
00:59:20,200 --> 00:59:21,640
["Eko Ile" playing]
929
00:59:21,720 --> 00:59:22,720
[Kuti scatting]
930
00:59:26,960 --> 00:59:28,200
[scatting continues]
931
00:59:28,280 --> 00:59:29,720
[song stops]
932
00:59:29,800 --> 00:59:32,920
- [Kuti] No. I'm tired. Let's play back.
- [Jarratt] That's fine for me though.
933
00:59:33,000 --> 00:59:35,600
[Afrobeat song playing]
934
00:59:43,560 --> 00:59:47,600
I was born in 1936,
and I joined Fela's band
935
00:59:47,680 --> 00:59:50,160
1965, February.
936
00:59:52,520 --> 00:59:55,520
My role was to play
the baritone saxophone.
937
00:59:59,880 --> 01:00:04,680
At that time, his recording company
wanted him to record in Nigeria,
938
01:00:04,760 --> 01:00:08,200
but the studios were not very good.
939
01:00:10,680 --> 01:00:14,920
So Fela was the very reason why we went
940
01:00:15,000 --> 01:00:18,640
to Abbey Road Studios in London.
941
01:00:19,880 --> 01:00:23,200
Because he insisted on recording
942
01:00:24,080 --> 01:00:26,720
in a standout studio.
943
01:00:30,840 --> 01:00:37,240
[Jarratt] On the second time that we were
in the studios, Ginger Baker came along.
944
01:00:38,280 --> 01:00:44,720
And we had arranged to record
that particular album live that night.
945
01:00:44,800 --> 01:00:46,416
[Kuti] I'd like you to meet Ginger Baker!
946
01:00:46,440 --> 01:00:48,040
Everybody, big hand. Come on, everybody.
947
01:00:49,000 --> 01:00:51,440
[Ani] People already knew we were coming.
948
01:00:51,520 --> 01:00:54,560
Fela himself, he had friends.
949
01:00:54,640 --> 01:00:59,240
And of course some of us
had our friends over there,
950
01:00:59,320 --> 01:01:02,800
and so the news spread like a wildfire.
951
01:01:02,880 --> 01:01:03,920
"Fela is in town!
952
01:01:04,000 --> 01:01:05,960
- Fela is in town with his band."
- [Kuti] Yeah.
953
01:01:07,000 --> 01:01:09,040
Don't worry now.
That's enough. That's enough.
954
01:01:09,120 --> 01:01:11,960
The record is moving.
The record is moving. Now, let's start.
955
01:01:12,040 --> 01:01:14,080
[scatting]
956
01:01:14,160 --> 01:01:16,440
One, two, three, four.
957
01:01:16,520 --> 01:01:18,720
- ["Ye Ye De Smell" playing]
- [scatting continues]
958
01:01:26,440 --> 01:01:29,040
[Ani] We had the late Tony Allen.
959
01:01:29,560 --> 01:01:31,160
Allen was on drums.
960
01:01:31,240 --> 01:01:35,200
And then we had Ginger Baker on drums too.
961
01:01:36,600 --> 01:01:37,600
Before we left,
962
01:01:37,680 --> 01:01:41,960
we had already rehearsed the songs
that we were going to record.
963
01:01:42,840 --> 01:01:44,360
Very, very important,
964
01:01:44,880 --> 01:01:49,080
because by the time you decided
to go to the studio,
965
01:01:49,680 --> 01:01:52,920
the whole sound is in everybody's body.
966
01:01:53,000 --> 01:01:54,920
[song continues]
967
01:02:21,480 --> 01:02:22,560
[song ends]
968
01:02:22,640 --> 01:02:28,280
It was received worldwide,
not only in Africa or Nigeria.
969
01:02:29,000 --> 01:02:30,360
All over the world.
970
01:02:30,440 --> 01:02:35,000
And today you can... you can testify to
the fact that Fela is everywhere.
971
01:02:35,080 --> 01:02:37,080
[crowd cheering, whistling]
972
01:02:39,600 --> 01:02:40,640
[Kuti] Yeah.
973
01:02:44,320 --> 01:02:48,240
[television host] Here, what's the
difference between EMI and the Titanic?
974
01:02:48,320 --> 01:02:50,400
At least the Titanic had a good band.
975
01:02:56,520 --> 01:03:00,440
[news broadcaster] 1979 has been
a year of despair for the record industry.
976
01:03:00,520 --> 01:03:04,840
Profits have plummeted and the '60s bands
just aren't selling records anymore.
977
01:03:17,320 --> 01:03:20,400
[studio manager]
I started in, uh, May 1979.
978
01:03:21,360 --> 01:03:23,200
There was lots of smaller studios
springing up
979
01:03:23,280 --> 01:03:24,800
all over the place at that time.
980
01:03:24,880 --> 01:03:28,840
And, you know, in fairness we were...
we were more expensive.
981
01:03:30,440 --> 01:03:34,240
[McCartney] I'd get phone calls
from Ken Townsend who had run the studio.
982
01:03:34,320 --> 01:03:38,560
And he'd say, "Oh, you know, another
group has taken over the ownership,
983
01:03:38,640 --> 01:03:42,080
and they've come in and they brought in
accountants who are saying,
984
01:03:42,160 --> 01:03:44,560
'Do we need all this rubbish?
What is this?
985
01:03:44,640 --> 01:03:46,240
Get rid of this! Sell it all.'"
986
01:03:46,880 --> 01:03:48,280
And he said, "Would you take it?
987
01:03:48,360 --> 01:03:52,160
You know, 'cause I wanna see it's got
a good home. Someone who cares about it."
988
01:03:52,240 --> 01:03:54,520
So I took a lot of that equipment.
989
01:03:54,600 --> 01:03:59,480
This is what happened. 1980.
We had so much stuff.
990
01:04:00,400 --> 01:04:03,880
We had a two-day sale.
A Saturday and a Sunday.
991
01:04:03,960 --> 01:04:05,920
[Barber] Everything was
about Abbey Road for Ken.
992
01:04:06,000 --> 01:04:10,720
It was for the good of Abbey Road.
And he... he fought as hard as he could.
993
01:04:10,800 --> 01:04:13,960
Because sometimes we weren't quite as busy
as we should've been.
994
01:04:17,200 --> 01:04:20,840
[Smith] Number One stayed empty
for month after month.
995
01:04:20,920 --> 01:04:25,840
We laid out white sticky tape, uh,
for our badminton area,
996
01:04:26,440 --> 01:04:28,840
and we used to go in there
every lunchtime.
997
01:04:28,920 --> 01:04:30,320
[sneakers squeaking]
998
01:04:34,040 --> 01:04:36,160
[Barber] There was all sorts of rumors
going around
999
01:04:36,240 --> 01:04:40,280
that we might change
it into a lot of smaller size rooms.
1000
01:04:40,360 --> 01:04:43,160
And I think there was even talk
about turning it into a car park.
1001
01:04:43,240 --> 01:04:45,200
But, I mean,
I always thought that was ridiculous.
1002
01:04:45,240 --> 01:04:47,080
But then somebody said they saw the plans.
1003
01:04:48,240 --> 01:04:50,080
So yes, something had to be done.
1004
01:04:50,160 --> 01:04:52,240
We needed to move into another area.
1005
01:04:52,320 --> 01:04:54,320
[Indiana Jones theme song playing]
1006
01:04:56,960 --> 01:04:57,960
[horse neighs]
1007
01:04:58,040 --> 01:04:59,040
[shouts]
1008
01:05:04,640 --> 01:05:09,000
Our arrival at Abbey Road was...
was a happy thing.
1009
01:05:09,080 --> 01:05:12,040
We had a wonderful movie.
Harrison Ford was fabulous.
1010
01:05:12,120 --> 01:05:16,480
Everyone was in a great mood.
I just remember playing that silly march
1011
01:05:16,560 --> 01:05:19,800
and having the trumpets blow the roof
off the place and it was great fun.
1012
01:05:22,320 --> 01:05:25,040
[crowd clamoring]
1013
01:05:26,240 --> 01:05:29,320
[Barber] There was a big scoring stage
down in Denham.
1014
01:05:29,400 --> 01:05:31,680
And we heard that that was closing down,
1015
01:05:31,760 --> 01:05:36,520
and I think Ken approached them about
maybe bringing their operation down to us.
1016
01:05:37,360 --> 01:05:39,080
We had to buy the projectors.
1017
01:05:39,160 --> 01:05:41,720
We had a 35 mil projector in Studio One
1018
01:05:41,800 --> 01:05:45,520
and an eight-foot screen in Studio One,
as well.
1019
01:05:45,600 --> 01:05:48,480
It was another means of income
for Abbey Road.
1020
01:05:48,560 --> 01:05:51,080
And we needed it to be able to survive.
1021
01:05:54,280 --> 01:05:56,160
[Williams] We all loved London.
1022
01:05:56,680 --> 01:05:59,400
An American group coming,
and we were so happy to be there.
1023
01:05:59,480 --> 01:06:01,160
We loved it so much.
1024
01:06:01,240 --> 01:06:05,160
The whole atmosphere of the studio
was so different.
1025
01:06:05,800 --> 01:06:08,200
Abbey Road was sort of younger
and lighter,
1026
01:06:08,280 --> 01:06:09,760
and we just had a great time.
1027
01:06:10,320 --> 01:06:13,560
And then the film came out,
and the audience loved it.
1028
01:06:13,640 --> 01:06:16,680
So things were right. Things were working.
1029
01:06:17,360 --> 01:06:20,360
And there wasn't any question
that we would come back to Abbey Road.
1030
01:06:20,440 --> 01:06:23,800
Always knew someday
you'd come walking back through my door.
1031
01:06:23,880 --> 01:06:27,400
John Williams and George Lucas
came back to do Return of the Jedi
1032
01:06:27,480 --> 01:06:29,560
which was, again, pretty amazing.
1033
01:06:29,640 --> 01:06:33,320
Part of the Star Wars franchise.
I mean, who doesn't want to do Star Wars?
1034
01:06:33,400 --> 01:06:34,480
[crowd clamoring]
1035
01:06:36,440 --> 01:06:37,440
[grunts]
1036
01:06:41,560 --> 01:06:43,720
[shouting]
1037
01:06:43,800 --> 01:06:45,480
[screaming]
1038
01:06:45,560 --> 01:06:49,000
[Williams] I first began to work
on the score for Star Wars.
1039
01:06:49,080 --> 01:06:51,400
It emerged more and more every day
as I wrote more
1040
01:06:51,480 --> 01:06:53,320
that this score needs
a symphony orchestra.
1041
01:06:53,400 --> 01:06:57,040
It can't just be a pickup band
of some certain amount of players.
1042
01:06:58,080 --> 01:07:00,960
And our music director at Fox Studios
said to her,
1043
01:07:01,040 --> 01:07:04,000
"Why don't you hire a symphony orchestra
in London?"
1044
01:07:04,080 --> 01:07:05,680
And I said, "Well, great. Let's do it.
1045
01:07:05,760 --> 01:07:08,240
We'll try it with the London Symphony
Orchestra." Which we did.
1046
01:07:09,520 --> 01:07:12,680
And that was thrilling for me.
I said at the time and I say it now,
1047
01:07:12,760 --> 01:07:14,640
it's kind of like driving a Rolls,
you know?
1048
01:07:14,720 --> 01:07:17,760
You think, "Oh, whoopee, this is...
Wow, what a... what a sound.
1049
01:07:17,840 --> 01:07:20,640
What perfection.
What balance, you know? What sonority."
1050
01:07:25,360 --> 01:07:31,960
The real thrill was going to Abbey Road,
hearing it with a full orchestra.
1051
01:07:32,040 --> 01:07:34,840
'Cause they would run through it
once just to play it,
1052
01:07:34,920 --> 01:07:37,080
to see how... where they were.
1053
01:07:37,160 --> 01:07:39,360
[sound engineer] 6-M-7 new. Take 106.
1054
01:07:39,440 --> 01:07:41,560
It was amazing. You know, it was like...
1055
01:07:41,640 --> 01:07:43,600
Suddenly, it was like
opening a Christmas present.
1056
01:07:44,640 --> 01:07:46,720
[choir vocalizes]
1057
01:08:05,840 --> 01:08:10,080
[Williams] We went to Abbey Road because
it was available and it could do the work,
1058
01:08:10,160 --> 01:08:13,760
and we stayed there and wanted to
come back because it did it so well.
1059
01:08:14,840 --> 01:08:18,800
There's no reason to think that we'd ever
wanna go anywhere else to this day.
1060
01:08:18,880 --> 01:08:20,120
[Lucas] Perfect.
1061
01:08:20,200 --> 01:08:22,016
- [Williams] And, uh...
- Just... Just what it needed.
1062
01:08:22,040 --> 01:08:23,096
- [Williams] Good.
- It took...
1063
01:08:23,120 --> 01:08:26,560
[Lucas] The recording session was
the most fun part. Especially with Johnny.
1064
01:08:26,640 --> 01:08:29,040
And it was like a second home.
1065
01:08:30,160 --> 01:08:32,320
You know, you'd go in
and you'd go to the canteen,
1066
01:08:32,400 --> 01:08:33,760
they had pictures on the walls.
1067
01:08:33,840 --> 01:08:37,320
And you did spend
eight to ten hours a day there.
1068
01:08:38,040 --> 01:08:41,040
So it's an important space to be in
that's comfortable.
1069
01:08:41,120 --> 01:08:43,560
Well, the canteen is
a particularly British thing, you know?
1070
01:08:43,640 --> 01:08:44,880
We don't have that.
1071
01:08:44,960 --> 01:08:49,480
Well, we have studio commissaries,
uh, but they don't serve alcohol.
1072
01:08:49,560 --> 01:08:54,520
It didn't seem to extend the length
of the intermissions that I noticed.
1073
01:08:54,600 --> 01:08:57,960
And everyone came back from lunch
maybe a little more relaxed.
1074
01:08:58,040 --> 01:08:59,280
Which was good.
1075
01:08:59,360 --> 01:09:01,360
[laughing]
1076
01:09:01,440 --> 01:09:03,120
- [chattering]
- Ah!
1077
01:09:03,200 --> 01:09:04,280
This piece is beautiful.
1078
01:09:04,360 --> 01:09:06,280
- Does it work all right?
- Yeah, it works great.
1079
01:09:06,880 --> 01:09:08,080
That's a key scene there.
1080
01:09:10,920 --> 01:09:14,400
[Williams] Abbey Road is
very, very special. Very individual.
1081
01:09:16,120 --> 01:09:20,400
The room has a sound.
It makes a noise that is its own.
1082
01:09:22,040 --> 01:09:25,680
It didn't seem perfect by size
and configuration. Seemed too small.
1083
01:09:27,800 --> 01:09:29,880
It's a little... little bit of a shoebox.
1084
01:09:29,960 --> 01:09:35,360
You know, whereas the old shooting stages,
something like we had in Hollywood,
1085
01:09:35,440 --> 01:09:37,440
have a huge amount of volume.
1086
01:09:37,520 --> 01:09:40,720
So it's a...
a very long echo and a beautiful bloom,
1087
01:09:41,600 --> 01:09:46,160
which can detract from the articulation
and specific instruments.
1088
01:09:53,200 --> 01:09:57,760
Abbey Road seemed perfect.
It was dry enough. Not too reverberant.
1089
01:09:57,840 --> 01:10:01,480
And... And... And not so dry
that it didn't have a nice bloom about it.
1090
01:10:01,560 --> 01:10:03,800
It has a nice face, a nice sound.
1091
01:10:03,880 --> 01:10:06,120
Okay, Shawn. We can take, please.
1092
01:10:06,200 --> 01:10:08,880
[Williams] Ideal, really,
for that size orchestra
1093
01:10:08,960 --> 01:10:10,440
and that kind of work.
1094
01:10:11,160 --> 01:10:13,120
It's a gift to music, I have to tell you.
1095
01:10:27,680 --> 01:10:29,520
And I haven't gone around
and tapped the walls,
1096
01:10:29,600 --> 01:10:31,720
but whatever they are, they're right.
1097
01:10:31,800 --> 01:10:33,656
I don't believe
there's another studio in London
1098
01:10:33,680 --> 01:10:36,280
that's anything close with it,
that I know of.
1099
01:10:36,360 --> 01:10:38,000
Or perhaps in the world.
1100
01:10:42,840 --> 01:10:44,000
Bravo. Intermission.
1101
01:10:44,080 --> 01:10:46,080
[chattering]
1102
01:11:01,000 --> 01:11:03,760
[Noel Gallagher]
We started Be Here Now here in '97.
1103
01:11:03,840 --> 01:11:07,920
In... In '97, we were a bit boisterous
and we were asked to leave.
1104
01:11:08,400 --> 01:11:09,480
Uh...
1105
01:11:10,080 --> 01:11:13,400
Which we were quite proud of at the time.
Getting kicked out of Abbey Road is...
1106
01:11:13,480 --> 01:11:15,200
The Stones
never got kicked out of anywhere.
1107
01:11:15,240 --> 01:11:17,360
Well, I may remember
having a party here one night.
1108
01:11:17,440 --> 01:11:20,216
I mean, there was talk of us getting
kicked out of here. That never happened.
1109
01:11:20,240 --> 01:11:21,520
I don't think.
1110
01:11:21,600 --> 01:11:25,760
And we smashed it all up.
Whoever come in here and smash things up
1111
01:11:25,840 --> 01:11:27,656
needs smashing up themselves.
You know what I mean?
1112
01:11:27,680 --> 01:11:29,536
That would never have happened.
You know what I mean?
1113
01:11:29,560 --> 01:11:34,040
Oh, the reason we got asked to leave was
1114
01:11:34,880 --> 01:11:38,160
we were in here one night and we...
all the lights were off,
1115
01:11:38,240 --> 01:11:41,800
and we played all the Beatles albums
back-to-back in the dark,
1116
01:11:42,560 --> 01:11:44,080
at excruciating volume.
1117
01:11:44,160 --> 01:11:46,320
And I think
one of the things got blown up.
1118
01:11:46,400 --> 01:11:50,320
["Yer Blues" playing, distorted]
1119
01:11:50,400 --> 01:11:52,456
[Liam Gallagher]
I remember us staying here one night late
1120
01:11:52,480 --> 01:11:54,760
and we were all just, like,
sort of just spaced out,
1121
01:11:54,840 --> 01:11:57,240
like, just in corners just, like,
having a little drink,
1122
01:11:57,320 --> 01:12:00,720
listening to Rubber Soul and Pepper,
and all that stuff and...
1123
01:12:00,800 --> 01:12:02,840
That's about as mad as it got.
You know what I mean?
1124
01:12:04,400 --> 01:12:07,800
When we did our last record, uh, together,
so we did the entire thing here.
1125
01:12:10,320 --> 01:12:14,000
The second time they came in,
we were a bit more prepared for them,
1126
01:12:14,080 --> 01:12:16,840
and we set up a kind of cozy area
in the studio for them.
1127
01:12:17,920 --> 01:12:20,920
Put settees in,
so if they wanted to relax and things.
1128
01:12:22,800 --> 01:12:26,800
[chuckles] I remember going downstairs
and it was about 9:00 in the morning,
1129
01:12:26,880 --> 01:12:30,120
and Liam appeared
all dressed up with this really nice hat.
1130
01:12:30,960 --> 01:12:33,240
And, um, I said,
"Oh! Hello. You're here early.
1131
01:12:33,320 --> 01:12:35,720
We weren't expecting you, you know,
quite as early as this."
1132
01:12:35,800 --> 01:12:38,760
And he goes, "I've been up for ages
trying to decide what to wear
1133
01:12:38,840 --> 01:12:40,520
for my first day at Abbey Road."
1134
01:12:40,600 --> 01:12:42,800
♪ I'm back in the fire ♪
1135
01:12:42,880 --> 01:12:45,800
♪ Out of control
But I'm tied up tight ♪
1136
01:12:45,880 --> 01:12:48,880
♪ Come in
Come out tonight ♪
1137
01:12:48,960 --> 01:12:51,496
[Liam Gallagher] I'd be the first in here
and I'd be the last one out.
1138
01:12:51,520 --> 01:12:53,576
You got to feel it, haven't you?
You know what I mean?
1139
01:12:53,600 --> 01:12:55,320
You got... You can't just pop in and...
1140
01:12:55,920 --> 01:12:58,320
You know, like,
"Give us a shout when... when I'm needed."
1141
01:12:58,400 --> 01:12:59,856
I can't have that. You know what I mean?
1142
01:12:59,880 --> 01:13:05,000
You gotta let it all seep into your veins.
You know what I mean?
1143
01:13:05,080 --> 01:13:06,520
And your soul and that, I think.
1144
01:13:08,200 --> 01:13:11,400
No, it was like going to church, innit?
Coming to Abbey Road.
1145
01:13:11,480 --> 01:13:13,120
I think that might've been the end of it.
1146
01:13:13,200 --> 01:13:16,720
I think that was the last record, sort of.
Dig Out Your Soul.
1147
01:13:23,320 --> 01:13:25,320
[song ends]
1148
01:13:25,400 --> 01:13:30,480
You know, a... a huge, massive part of my
record collection was made in this room.
1149
01:13:31,120 --> 01:13:33,520
My musical language was born in this room.
1150
01:13:33,600 --> 01:13:35,480
My hairstyle was born in this room.
1151
01:13:36,600 --> 01:13:40,080
There was no bigger Beatles fans than us
than maybe the Beatles themselves.
1152
01:13:44,160 --> 01:13:49,480
It must've been such a privilege to be
in your 20s in the '60s.
1153
01:13:49,560 --> 01:13:52,480
You know, it starts with the Beatles,
and then The Stones appear,
1154
01:13:52,560 --> 01:13:54,336
and then The Who,
and then The Kinks and all that.
1155
01:13:54,360 --> 01:13:55,896
I mean, what a time to be alive, you know?
1156
01:13:55,920 --> 01:13:57,400
That's drugs for you, innit?
1157
01:13:58,880 --> 01:13:59,960
Do you know what I mean?
1158
01:14:00,040 --> 01:14:03,560
Or maybe not. All this whatever...
the swinging... Whatever it was.
1159
01:14:03,640 --> 01:14:09,160
It was like it all went a bit from the war
period and all that to just like a bit of...
1160
01:14:09,240 --> 01:14:12,280
You know, people will call it drugs,
people will call it this and that.
1161
01:14:12,360 --> 01:14:14,696
People will call it the miniskirt,
people will call it everything,
1162
01:14:14,720 --> 01:14:16,680
but you could just see everyone
just seem to go.
1163
01:14:16,760 --> 01:14:18,400
Let their hair down a little bit.
1164
01:14:20,520 --> 01:14:24,920
[Noel Gallagher] Subsequent generations
tend to look back a bit more.
1165
01:14:25,000 --> 01:14:28,880
Whereas that generation
that came out of the horrors of the war,
1166
01:14:28,960 --> 01:14:31,040
there was nothing to be nostalgic about.
1167
01:14:32,560 --> 01:14:35,280
Rationing and the Blitz. No, thanks.
1168
01:14:35,360 --> 01:14:37,000
So they were forward-looking.
1169
01:14:37,080 --> 01:14:38,176
And God bless them, you know,
1170
01:14:38,200 --> 01:14:42,840
because they gave us some of
the greatest musical art of all time.
1171
01:14:43,360 --> 01:14:45,360
[birds chirping]
1172
01:14:55,720 --> 01:14:58,360
[Nile Rodgers] Abbey Road is
just not a studio of the past.
1173
01:14:59,080 --> 01:15:01,240
But it is certainly
a studio of the future.
1174
01:15:05,160 --> 01:15:07,600
[sighs] Maybe it's just because
I'm old school
1175
01:15:07,680 --> 01:15:12,800
and because I love what Abbey Road
represents in my life, I wanna share that.
1176
01:15:12,880 --> 01:15:18,640
Because people taught me music
by sharing with me
1177
01:15:18,720 --> 01:15:21,720
what other music had meant in their life.
1178
01:15:21,800 --> 01:15:23,856
- [student] Elyse.
- Hey! Oh, that's how you pronounce it.
1179
01:15:23,880 --> 01:15:25,000
[student] Yes.
1180
01:15:25,080 --> 01:15:30,640
[Rodgers] So many massive
rock-and-roll records were made here.
1181
01:15:31,440 --> 01:15:36,240
Uh, people don't believe
that it was just done by accident.
1182
01:15:36,320 --> 01:15:39,000
[funk music playing on speaker]
1183
01:15:39,720 --> 01:15:43,920
They think that there is
some magical thing in Abbey Road.
1184
01:15:44,000 --> 01:15:48,800
The truth of the matter is I feel like
that magical thing exists in the artist.
1185
01:15:50,920 --> 01:15:53,800
But artists are superstitious.
1186
01:15:55,720 --> 01:15:59,120
And Abbey Road in a strange way,
as soon as we walk in,
1187
01:15:59,920 --> 01:16:06,800
a lot of that bonding that needs
to take place between artists and producer
1188
01:16:06,880 --> 01:16:09,080
happens almost instantly.
1189
01:16:09,160 --> 01:16:10,240
[both vocalizing]
1190
01:16:12,400 --> 01:16:19,240
So, I find that Abbey Road is
the great leveler in our relationship.
1191
01:16:19,880 --> 01:16:24,240
♪ Sunlight, new life
Made my head right ♪
1192
01:16:24,320 --> 01:16:25,896
[musician]
It doesn't matter what your, like,
1193
01:16:25,920 --> 01:16:27,760
- taste in music is or...
- Different passions.
1194
01:16:27,840 --> 01:16:29,800
Yeah. Or what your passions are.
1195
01:16:29,880 --> 01:16:35,160
They do lie on like... in the walls
and on the desks and everything here.
1196
01:16:35,240 --> 01:16:40,800
So it's like coming is... It's almost like
being able to smell the inspiration.
1197
01:16:40,880 --> 01:16:43,240
- It's just, like, "Ah! I'm in this room..."
- Yeah.
1198
01:16:43,320 --> 01:16:45,080
"...that so-and-so once sat in."
1199
01:16:45,160 --> 01:16:47,000
And it then makes you feel like
1200
01:16:47,080 --> 01:16:49,720
- you can be part of Abbey Road's history.
- Yeah.
1201
01:16:49,800 --> 01:16:52,000
[chattering]
1202
01:16:52,080 --> 01:16:53,240
I'm so excited.
1203
01:16:53,320 --> 01:16:56,200
[Rodgers] As far as I'm concerned,
that's the record. Just leave here.
1204
01:16:56,280 --> 01:16:58,040
- Thank you! [chuckles]
- [students laughing]
1205
01:16:58,640 --> 01:17:01,600
- That's the right start.
- [Rodgers] It's cool though. [chuckles]
1206
01:17:01,680 --> 01:17:04,440
Yeah, "Whoop! Good God!" [laughs]
1207
01:17:07,400 --> 01:17:10,480
[Mary] Making this film
and collecting these stories,
1208
01:17:10,560 --> 01:17:15,360
I've found artists are inspired to push
creative boundaries within these walls.
1209
01:17:16,880 --> 01:17:20,600
Like Kate Bush,
who brought her third album here,
1210
01:17:20,680 --> 01:17:23,480
which saw her start to produce
her own music.
1211
01:17:27,080 --> 01:17:29,000
[Bush] We were working in Studio Two.
1212
01:17:29,080 --> 01:17:32,120
It still had the valve desk
that the Beatles had used.
1213
01:17:33,720 --> 01:17:37,400
And the live room was completely untouched
since they'd been there.
1214
01:17:38,200 --> 01:17:42,120
There was a genuine fear that the
sound in the room might be changed
1215
01:17:42,200 --> 01:17:43,840
if they even repainted it.
1216
01:17:47,440 --> 01:17:48,800
["Sat in Your Lap" playing]
1217
01:17:52,880 --> 01:17:56,880
We shot the video for the song
"Sat In Your Lap" in Studio Two.
1218
01:17:58,040 --> 01:18:02,040
♪ I see the people working
And see it working for them ♪
1219
01:18:02,920 --> 01:18:07,040
♪ And so I want to join in
But then I find it hurts me ♪
1220
01:18:07,640 --> 01:18:11,040
It was a lot of fun
and the first time I directed.
1221
01:18:12,000 --> 01:18:14,400
So many commercial studios have closed.
1222
01:18:15,080 --> 01:18:19,720
But Abbey Road hasn't just survived,
it continues to evolve.
1223
01:18:20,520 --> 01:18:23,000
[singer vocalizes]
1224
01:18:24,800 --> 01:18:28,280
[Mary] Studio One was built
for orchestral performances.
1225
01:18:29,400 --> 01:18:34,280
The first live recording was Edward Elgar
and the London Symphony Orchestra.
1226
01:18:35,640 --> 01:18:41,520
And 70 years later, Kanye West
and John Legend brought it full circle.
1227
01:18:43,520 --> 01:18:44,736
[Kanye West] You just want this?
1228
01:18:44,760 --> 01:18:48,880
I was... I was definitely aware of the...
the history of Abbey Road.
1229
01:18:49,800 --> 01:18:53,360
And that's one of the reasons
why it felt so important.
1230
01:18:53,440 --> 01:18:56,240
Yeah, and we put
so much time and effort in just...
1231
01:18:56,320 --> 01:19:00,480
We came out way in advance and...
and practiced so hard
1232
01:19:00,560 --> 01:19:02,960
'cause we wanted
to live up to the tradition.
1233
01:19:03,040 --> 01:19:07,040
We wanted to live up to the...
the mystique of this legendary studio.
1234
01:19:07,120 --> 01:19:09,680
♪ Before you ask me
To go get a job today ♪
1235
01:19:09,760 --> 01:19:12,240
♪ Can I at least get a raise
In the minimum wage? ♪
1236
01:19:12,320 --> 01:19:14,600
♪ And I know the government
Asked me to go easy ♪
1237
01:19:14,680 --> 01:19:17,600
♪ So I guess we just pray
Like the minister say ♪
1238
01:19:17,680 --> 01:19:20,160
♪ Allahu Akbar
And throw him some hot cars ♪
1239
01:19:20,240 --> 01:19:22,480
♪ The things we seen on the screen
Is not ours ♪
1240
01:19:22,560 --> 01:19:25,160
♪ But these **** from the hood
So these dreams not far ♪
1241
01:19:25,240 --> 01:19:27,760
♪ Where I'm from
The dope boys is the rock stars ♪
1242
01:19:27,840 --> 01:19:30,080
♪ But they can't cop cars
Without seeing cop cars ♪
1243
01:19:30,160 --> 01:19:32,320
♪ I guess they want us all behind bars ♪
1244
01:19:32,400 --> 01:19:33,400
♪ I know it ♪
1245
01:19:33,480 --> 01:19:34,960
- ♪ And I heard 'em say ♪
- ♪ Ooh ♪
1246
01:19:35,040 --> 01:19:37,280
[West] Performing at Abbey Road was just...
1247
01:19:37,360 --> 01:19:38,640
It's one of those type of things
1248
01:19:38,680 --> 01:19:42,040
when you're dreaming of being
a musician or a rapper,
1249
01:19:42,120 --> 01:19:44,000
you don't even fathom that.
1250
01:19:44,080 --> 01:19:47,720
And when it's brought up, it's like,
"Oh, wow! W-We can actually do that?"
1251
01:19:52,240 --> 01:19:54,200
And we did a lot of orchestrations.
1252
01:19:54,280 --> 01:19:58,760
And just... It was a no-brainer
for us to work with the strings.
1253
01:19:58,840 --> 01:20:01,640
And I thought it would bring
this performance to another level.
1254
01:20:02,160 --> 01:20:04,160
This another class of hip-hop.
1255
01:20:04,240 --> 01:20:05,360
♪ ...that you see him ♪
1256
01:20:05,440 --> 01:20:08,240
♪ Till then, walk in his footsteps
And try to be him ♪
1257
01:20:08,320 --> 01:20:10,760
♪ The devil is alive
I feel him breathing ♪
1258
01:20:11,560 --> 01:20:17,640
Yeah, Abbey Road, it felt like a kid in
a candy store or a artist in a art store.
1259
01:20:17,720 --> 01:20:20,760
You just get all these paints and say,
"I can do this! I can do that!"
1260
01:20:20,840 --> 01:20:23,640
And, you know, having John be there
with the piano,
1261
01:20:23,720 --> 01:20:25,760
the instrumentation, the orchestration.
1262
01:20:26,840 --> 01:20:30,640
All that just... It sent my mind racing.
1263
01:20:34,160 --> 01:20:36,360
[cheering]
1264
01:20:36,440 --> 01:20:37,520
[West] Thank you!
1265
01:21:04,040 --> 01:21:07,360
[Celeste] My seminal moment
was coming here for the first time.
1266
01:21:07,440 --> 01:21:11,400
Really, I think you never forget
doing something for the first time and...
1267
01:21:11,480 --> 01:21:14,200
So many people
that have passed through here
1268
01:21:14,280 --> 01:21:17,280
and made such significant pieces of music
1269
01:21:17,360 --> 01:21:21,840
that have changed the way
a people or a person look at something.
1270
01:21:22,760 --> 01:21:28,920
And with that, it kind of encourages you
to want to elevate your performance.
1271
01:21:30,200 --> 01:21:32,760
It's just something about the space.
1272
01:21:33,720 --> 01:21:36,320
And if you read into it and you take it,
1273
01:21:36,400 --> 01:21:41,120
then that's where you make something
really moving and genuinely beautiful,
1274
01:21:41,200 --> 01:21:42,280
I think.
1275
01:21:45,920 --> 01:21:52,000
♪ Hear my voice ♪
1276
01:21:52,600 --> 01:21:58,360
♪ Hear my dreams ♪
1277
01:21:59,520 --> 01:22:02,880
[Elton John] When you enter a place
with so much history around it,
1278
01:22:02,960 --> 01:22:04,920
it's kind of sacred in a way.
1279
01:22:05,000 --> 01:22:06,480
All that's gone before you.
1280
01:22:07,240 --> 01:22:10,600
You know, people want to come here.
They want to record.
1281
01:22:10,680 --> 01:22:12,440
They want the sound of Abbey Road.
1282
01:22:13,360 --> 01:22:19,080
♪ Hear my words ♪
1283
01:22:19,160 --> 01:22:22,360
You only get these...
these fleeting moments as they go by.
1284
01:22:22,440 --> 01:22:26,240
And if you make connections with people
that are meaningful,
1285
01:22:26,320 --> 01:22:30,800
and filled with emotion and love
and all of that.
1286
01:22:30,880 --> 01:22:35,880
And some of that happened in Abbey Road.
It was very special.
1287
01:22:40,440 --> 01:22:43,800
[Richard] I always feel that I
was born in that corner of Studio Two
1288
01:22:43,880 --> 01:22:50,480
and that Abbey Road brought me to life
and taught me how to do it.
1289
01:22:52,720 --> 01:22:55,720
It started here, and it might
one day end here. I don't know.
1290
01:22:55,800 --> 01:22:58,520
But it's... it's that big for me.
1291
01:23:00,080 --> 01:23:03,320
♪ Of hope and desire ♪
1292
01:23:03,400 --> 01:23:06,440
♪ And I'll let them free ♪
1293
01:23:06,520 --> 01:23:10,360
[Noel Gallagher] Studios are great
gathering places of like-minded people.
1294
01:23:10,440 --> 01:23:12,320
The same as record shops,
and the same as pubs,
1295
01:23:12,400 --> 01:23:14,240
and the same as football stadiums.
1296
01:23:14,320 --> 01:23:15,560
And it's where...
1297
01:23:16,720 --> 01:23:20,440
hanging out with other musicians
and making music with other musicians.
1298
01:23:21,240 --> 01:23:25,280
It's a... It's a very spiritual thing.
It can't be overstated.
1299
01:23:25,360 --> 01:23:30,480
♪ Hear my dreams ♪
1300
01:23:30,560 --> 01:23:33,640
[Giles] You know, with Abbey Road,
you can't ignore the legacy.
1301
01:23:33,720 --> 01:23:38,280
And I think it's a bit like, um,
you're never meant to clean out a teapot.
1302
01:23:38,360 --> 01:23:40,920
You know you're meant
to leave the residue of the tea
1303
01:23:41,000 --> 01:23:42,880
because then the tea infuses.
1304
01:23:42,960 --> 01:23:44,640
And I think studios are a bit like that.
1305
01:23:46,200 --> 01:23:48,440
You walk down into Studio Two,
1306
01:23:49,360 --> 01:23:53,000
and you feel as though
the walls are saturated with great music.
1307
01:23:56,200 --> 01:23:58,440
[McCartney]
The songs that we recorded here,
1308
01:23:59,360 --> 01:24:03,000
um, are incredible memories.
1309
01:24:03,720 --> 01:24:07,000
The people that we worked with
are fantastic.
1310
01:24:08,960 --> 01:24:11,960
So I've got great, great memories.
1311
01:24:15,480 --> 01:24:18,040
You know, if these walls could sing.
1312
01:24:21,200 --> 01:24:28,080
♪ Hear my voice ♪
1313
01:24:30,120 --> 01:24:32,360
[Mary] I have someone for you.
1314
01:24:32,440 --> 01:24:34,120
- [McCartney] Hello?
- [Elton John] Hello!
1315
01:24:34,200 --> 01:24:36,480
[McCartney] Ah! Hi, guys.
1316
01:24:36,560 --> 01:24:37,640
- How's it going?
- Hello.
1317
01:24:37,720 --> 01:24:39,720
- Good. We're done!
- Good! We're done.
1318
01:24:39,800 --> 01:24:41,360
- Oh, you're done?
- Yeah. There you go.
1319
01:24:41,440 --> 01:24:43,360
- [Mary laughs]
- Listen, I love you. Take care.
1320
01:24:43,440 --> 01:24:45,056
- [McCartney] Yeah, I love you.
- All right. Bye.
1321
01:24:45,080 --> 01:24:46,536
- [Mary] See you later.
- [Elton John] Bye.
1322
01:24:46,560 --> 01:24:48,440
[Mary] Were you a fan of any of the music?
1323
01:24:48,520 --> 01:24:50,560
- Hello.
- [Starr] Ask him that question again.
1324
01:24:50,640 --> 01:24:52,640
[all laughing]
1325
01:24:53,440 --> 01:24:56,160
- Oh, fantastic.
- [Mary] I was about to say why are you...
1326
01:24:56,240 --> 01:24:57,720
[chuckles] I love it.
1327
01:25:00,200 --> 01:25:01,840
All these really cool people.
1328
01:25:01,920 --> 01:25:02,960
Where's my picture?
1329
01:25:06,640 --> 01:25:08,256
[Mary] Can't believe
he nearly ran him over!
1330
01:25:08,280 --> 01:25:09,400
[groans]
1331
01:25:10,400 --> 01:25:12,840
[Giles] Power's gone off.
I can't work with this environment.
1332
01:25:12,920 --> 01:25:15,616
- [engineer] Press 15 amps. Press play.
- [Giles] Oh, it's already... Sorry.
1333
01:25:15,640 --> 01:25:17,880
[all laughing]
1334
01:25:22,280 --> 01:25:23,280
That's your lot.