1
00:00:47,883 --> 00:00:49,363
[Mary McCartney] My name is Mary.
2
00:00:50,883 --> 00:00:55,443
Abbey Road Studios has been part of
my life for as long as I can remember.
3
00:00:59,563 --> 00:01:03,963
Every time I walk through these corridors,
it feels magical.
4
00:01:08,763 --> 00:01:11,283
I don't remember
the first time I came here.
5
00:01:11,963 --> 00:01:17,963
This is me in Studio Two. A photograph
taken by my mom who was a photographer,
6
00:01:18,043 --> 00:01:20,523
and was in a band with my dad.
7
00:01:24,963 --> 00:01:28,363
I want to tell the story
of some of the iconic recordings
8
00:01:28,443 --> 00:01:31,643
made here over the last nine decades.
9
00:01:31,723 --> 00:01:34,723
From classical to pop to film scores.
10
00:01:38,843 --> 00:01:41,283
One of the reasons
I wanted to do this documentary,
11
00:01:41,363 --> 00:01:45,403
was I remember seeing a picture of Mom
leading Jet across the zebra crossing.
12
00:01:45,483 --> 00:01:47,163
-[laughs] Oh, yeah!
-[Mary] Do you remember that?
13
00:01:47,243 --> 00:01:48,723
Yeah! Absolutely, yeah.
14
00:01:49,323 --> 00:01:54,083
What happened was we lived close by,
as you know.
15
00:01:54,163 --> 00:01:56,883
And we had this little pony called Jet.
16
00:01:58,563 --> 00:02:01,003
And she just loved horses so much that
17
00:02:01,083 --> 00:02:04,883
when we were coming over here
to do something, she just brought Jet.
18
00:02:05,483 --> 00:02:09,683
And so, there's a picture of her--
him doing the level crossing.
19
00:02:09,763 --> 00:02:11,763
["Jet" playing]
20
00:02:12,883 --> 00:02:16,483
And he came into the studio.
I don't think he disgraced himself.
21
00:02:17,243 --> 00:02:18,283
♪ Jet! ♪
22
00:02:18,363 --> 00:02:22,723
♪ I can almost remember
Their funny faces ♪
23
00:02:23,843 --> 00:02:29,243
♪ That time you told them that you
Were gonna be marrying soon ♪
24
00:02:30,723 --> 00:02:33,283
♪ And Jet ♪
25
00:02:33,363 --> 00:02:38,403
♪ I thought the only lonely place
Was on the moon ♪
26
00:02:38,483 --> 00:02:39,723
♪ Jet! ♪
27
00:02:39,803 --> 00:02:41,803
[Mary]
'Cause you came back here with Wings?
28
00:02:41,883 --> 00:02:43,963
Do you remember
making a decision thinking,
29
00:02:44,043 --> 00:02:47,283
"I could go anywhere,
but I'm actually gonna do this next phase
30
00:02:47,363 --> 00:02:49,483
in my musical career in the same studio"?
31
00:02:49,563 --> 00:02:50,563
Yeah.
32
00:02:50,643 --> 00:02:57,443
I mean, in London we had used
other studios besides Abbey Road.
33
00:02:58,363 --> 00:03:00,323
But we always liked this the best.
34
00:03:01,483 --> 00:03:05,283
So that when I was looking to record
with Wings, I thought,
35
00:03:05,363 --> 00:03:09,003
"Well, this is the best studio. I know it.
I know a lot of the people here."
36
00:03:09,683 --> 00:03:13,683
A lot of them were still here.
A lot of them still are. [chuckles]
37
00:03:13,763 --> 00:03:16,243
♪ Well, I just can't get enough
Of that sweet stuff ♪
38
00:03:16,323 --> 00:03:19,563
♪ My little lady gets behind ♪
39
00:03:19,643 --> 00:03:21,283
[piano playing]
40
00:03:21,363 --> 00:03:22,363
♪ Hey, now ♪
41
00:03:27,203 --> 00:03:29,003
[McCartney] It's just a great studio.
42
00:03:29,643 --> 00:03:32,203
You know, all the microphones work.
43
00:03:33,363 --> 00:03:35,123
I mean, that sounds silly to say,
44
00:03:35,203 --> 00:03:37,523
but you can go to some studios
where they don't.
45
00:03:38,963 --> 00:03:41,123
So, it was great.
It was great to come back home.
46
00:03:42,043 --> 00:03:48,843
♪ Yeah, yeah, yeah, yeah ♪
47
00:03:49,843 --> 00:03:51,163
♪ Ooh, yeah ♪
48
00:04:11,043 --> 00:04:14,963
[Elton John] When you drive through
the little gates by the zebra crossing,
49
00:04:15,043 --> 00:04:16,603
never gets old.
50
00:04:16,683 --> 00:04:19,723
And every time I drive by,
I look at the graffiti and think,
51
00:04:19,803 --> 00:04:23,243
"It's magic going across
that zebra crossing. Magic happened here."
52
00:04:24,243 --> 00:04:27,723
It's history.
You can feel it seeping from the walls.
53
00:04:32,083 --> 00:04:35,403
[Noel Gallagher]
Somewhere now, some kid, somewhere,
54
00:04:36,963 --> 00:04:40,163
his dream will be to walk in here
and just do a tune in here.
55
00:04:41,203 --> 00:04:43,883
And you can't let that dream die. Ever.
You can't.
56
00:04:45,083 --> 00:04:46,803
It's a very spiritual thing.
57
00:04:48,803 --> 00:04:50,843
Yeah, no, it's amazing. Um…
58
00:04:50,923 --> 00:04:54,323
Hopefully,
it'll be here for millions of years.
59
00:04:55,883 --> 00:04:58,203
It's a national treasure, innit?
You know what I mean?
60
00:05:00,323 --> 00:05:02,723
[Celeste] The first time I'd been here,
61
00:05:02,803 --> 00:05:07,123
I just felt a sense of accomplishment
in reaching something
62
00:05:07,203 --> 00:05:11,843
which I'd sort of fantasized
in my bedroom about as a child.
63
00:05:16,163 --> 00:05:17,883
[John Williams]
I think about Abbey Road as being
64
00:05:17,963 --> 00:05:21,923
a kind of mother of the music
that's been performed there.
65
00:05:22,003 --> 00:05:24,483
She has preserved it for us.
66
00:05:24,563 --> 00:05:27,163
She has embraced it
with her personal acoustic.
67
00:05:28,763 --> 00:05:31,003
And so, it's a gift to us.
68
00:05:32,323 --> 00:05:34,403
You know, we use it. We think we hire it.
69
00:05:35,003 --> 00:05:36,843
It's something more spiritual than that.
70
00:05:46,403 --> 00:05:48,483
[news broadcaster]
The 12th of November, 1931,
71
00:05:49,283 --> 00:05:54,523
Sir Edward Elgar is about to
formally open a unique recording studio.
72
00:05:54,603 --> 00:05:59,083
The esteemed composer is a supporter
of the novel recording medium.
73
00:05:59,163 --> 00:06:02,883
And prepares to cut his composition
directly to disc…
74
00:06:02,963 --> 00:06:05,243
-You all ready?
-…with the London Symphony Orchestra.
75
00:06:05,323 --> 00:06:06,323
Right.
76
00:06:08,363 --> 00:06:09,643
[music starts]
77
00:06:18,923 --> 00:06:21,883
[news broadcaster] Three years ago,
the Gramophone Company
78
00:06:21,963 --> 00:06:28,003
purchased number 3 Abbey Road
of St. John's Wood, London, at auction.
79
00:06:28,683 --> 00:06:33,763
A detached residence of nine bedrooms,
five reception rooms,
80
00:06:33,843 --> 00:06:37,723
servant's quarters,
and a large garden at the rear
81
00:06:37,803 --> 00:06:44,203
have been converted into the largest
and best-equipped studios in the world.
82
00:06:52,723 --> 00:06:54,483
A disc of wax.
83
00:06:54,563 --> 00:06:58,803
The mother disc from which
thousands of copies will be produced
84
00:06:58,883 --> 00:07:01,603
to be enjoyed across the globe.
85
00:07:04,683 --> 00:07:06,763
[Lockwood] When I arrived,
86
00:07:06,843 --> 00:07:09,163
the company was losing
half a million a year.
87
00:07:11,003 --> 00:07:14,683
You know, there's no money
in the classical record business.
88
00:07:14,763 --> 00:07:17,963
And I started searching
for who we've got in the business
89
00:07:18,043 --> 00:07:19,643
that knew anything about pop music.
90
00:07:23,883 --> 00:07:25,923
[Cliff Richard] I was singing
from the days I was at school.
91
00:07:26,003 --> 00:07:27,883
So I would've been 14, 15.
92
00:07:27,963 --> 00:07:31,803
And I made my first record at Abbey Road
when I was 17.
93
00:07:31,883 --> 00:07:36,323
And we were given an audition
by Norrie Paramor,
94
00:07:36,403 --> 00:07:39,163
who was a producer with EMI.
95
00:07:39,243 --> 00:07:40,363
[guitar playing]
96
00:07:40,443 --> 00:07:43,803
And that's when we first played him
the song called "Move It."
97
00:07:43,883 --> 00:07:47,123
That's when we got really excited that we
were actually going to be in a studio.
98
00:07:47,203 --> 00:07:49,683
And it turned out to be Abbey Road.
99
00:07:49,763 --> 00:07:54,083
And, in fact, Studio Two
became our home for many, many years.
100
00:07:54,723 --> 00:07:58,083
♪ Come on, pretty baby
Let's a-move it and a-groove it ♪
101
00:08:00,763 --> 00:08:02,003
♪ Shake, oh, baby
Shake ♪
102
00:08:02,083 --> 00:08:04,243
♪ Oh, honey
Please don't lose it ♪
103
00:08:06,763 --> 00:08:09,923
♪ And it's rhythm that gets
Into your heart and soul ♪
104
00:08:12,763 --> 00:08:16,243
♪ And, now, let me tell you, baby
It's called rock and roll ♪
105
00:08:17,523 --> 00:08:19,403
[song fades]
106
00:08:19,483 --> 00:08:23,043
[Richard] Abbey Road gave
rock and roll its life, I think.
107
00:08:23,123 --> 00:08:26,883
Because it was on the forefront
of one of the biggest musical changes.
108
00:08:26,963 --> 00:08:28,683
I believe, historically,
109
00:08:28,763 --> 00:08:33,883
rock and roll was the biggest, fastest,
and most long-term change.
110
00:08:33,963 --> 00:08:37,523
♪ Real country music
That just drives along ♪
111
00:08:39,203 --> 00:08:40,803
♪ Yeah, honey
Move it ♪
112
00:08:41,923 --> 00:08:43,003
[news broadcaster] In 1950,
113
00:08:43,083 --> 00:08:46,443
British record sales totaled
a mere three-and-a-half million pounds.
114
00:08:47,363 --> 00:08:50,843
By 1960,
this figure had risen to £15 million.
115
00:08:50,923 --> 00:08:54,443
Easily the biggest company is
Electric and Musical Industries, EMI,
116
00:08:54,523 --> 00:08:57,243
which sells
just under half of all the records.
117
00:08:57,323 --> 00:09:01,683
EMI's labels include
Parlophone, HMV, Capitol.
118
00:09:01,763 --> 00:09:04,043
EMI is the world's largest record company.
119
00:09:04,123 --> 00:09:08,243
Its chairman, Sir Joseph Lockwood,
keeps a realistic eye on the competition.
120
00:09:08,323 --> 00:09:12,003
Well, it's a free-for-all.
The competition's absolutely terrific.
121
00:09:12,083 --> 00:09:15,963
And anyone who thinks that, um, this is an
easy business should come and have a try.
122
00:09:18,683 --> 00:09:22,043
[Martin] I started in
the recording business in November 1950.
123
00:09:22,123 --> 00:09:24,603
I'd studied
at the Guildhall School of Music,
124
00:09:24,683 --> 00:09:29,203
and I had an invitation to go
to EMI Studios for an interview.
125
00:09:29,803 --> 00:09:31,643
Um, surprisingly, for me,
126
00:09:31,723 --> 00:09:34,443
they put me in the position of power
at Parlophone,
127
00:09:34,523 --> 00:09:35,843
and Joe Lockwood said to me,
128
00:09:35,923 --> 00:09:40,803
"Well, now you're the youngest label head
we've ever had. You better do well."
129
00:09:41,323 --> 00:09:43,603
So I went,
and I started looking for something.
130
00:09:43,683 --> 00:09:46,443
I started looking for something
like a Cliff Richard.
131
00:09:51,523 --> 00:09:56,203
The Beatles had already been signed by
Decca, made a record, and not released.
132
00:09:56,283 --> 00:10:00,283
And Brian Epstein came to see 'em
as a last resort.
133
00:10:00,363 --> 00:10:02,683
I mean, really as a last resort.
He'd been to see everyone else.
134
00:10:02,763 --> 00:10:05,883
And my dad just liked Brian.
Brian was a very likable man.
135
00:10:05,963 --> 00:10:07,763
And said, "Maybe you can bring them down."
136
00:10:07,843 --> 00:10:13,563
Yeah, so we came into here,
and, um, George Martin arrived.
137
00:10:13,643 --> 00:10:16,203
Came down, "Okay, chaps.
What are we gonna do?" You know?
138
00:10:16,803 --> 00:10:18,763
[Giles laughs]
He didn't think they were that good.
139
00:10:18,843 --> 00:10:20,723
But he liked spending time with them.
140
00:10:20,803 --> 00:10:22,563
He also was looking at them, thinking,
141
00:10:22,643 --> 00:10:25,283
"Okay, which one's Cliff,
and who are the Shadows?"
142
00:10:25,363 --> 00:10:26,763
["Love Me Do" playing]
143
00:10:29,083 --> 00:10:30,883
[Martin]
And I listened to them performing.
144
00:10:30,963 --> 00:10:33,203
And the songs they offered me
weren't very good.
145
00:10:33,283 --> 00:10:35,243
"Love Me Do" was the best I could find.
146
00:10:36,883 --> 00:10:38,123
George was incredible.
147
00:10:38,203 --> 00:10:42,283
We could never say anything else but,
"George was incredible."
148
00:10:42,963 --> 00:10:47,723
And we were buskers. I mean, no one can
write or read music. We're just buskers.
149
00:10:47,803 --> 00:10:50,563
We got a minor hit with "Love Me Do."
150
00:10:50,643 --> 00:10:53,723
And then, later,
we brought in "Please Please Me."
151
00:10:53,803 --> 00:10:55,043
[Lennon] What are you doing?
152
00:10:55,123 --> 00:10:57,363
[McCartney] Just… [grunts]
It's murder. I can't do it.
153
00:10:57,443 --> 00:11:00,003
-Can't keep it up. I just go… I'm truly…
-[plays bass guitar]
154
00:11:00,083 --> 00:11:01,163
I haven't got one.
155
00:11:01,243 --> 00:11:03,283
[McCartney] And George Martin
wasn't very impressed.
156
00:11:03,363 --> 00:11:05,763
And he said, uh, "Could we do it faster?"
157
00:11:05,843 --> 00:11:08,203
And we all go, "No."
158
00:11:08,803 --> 00:11:10,043
Or we didn't. [laughs]
159
00:11:10,123 --> 00:11:13,803
No. We thought, "No," but we went, "Yeah."
160
00:11:13,883 --> 00:11:15,403
[sound engineer] Doing take seven.
161
00:11:15,483 --> 00:11:17,563
-[clicks]
-["Please Please Me" playing]
162
00:11:22,923 --> 00:11:27,723
♪ Last night
I said these words to my girl ♪
163
00:11:30,243 --> 00:11:31,483
And we weren't that impressed,
164
00:11:31,563 --> 00:11:33,843
but he said,
"That'll be your first number-one hit."
165
00:11:33,923 --> 00:11:34,803
And he was right.
166
00:11:35,963 --> 00:11:39,323
♪ Come on, come on
Come on, come on ♪
167
00:11:39,403 --> 00:11:42,563
♪ Come on, come on
Come on, come on ♪
168
00:11:42,643 --> 00:11:46,643
♪ Please please me, whoa, yeah
Like I please you ♪
169
00:11:46,723 --> 00:11:49,603
[Martin] Once we had
a success with "Please Please Me,"
170
00:11:49,683 --> 00:11:51,403
they seemed to blossom as songwriters.
171
00:11:51,483 --> 00:11:53,763
"From Me To You" followed,
and "She Loves You," and so on.
172
00:11:53,843 --> 00:11:55,563
And each one was a great song.
173
00:11:57,123 --> 00:12:01,083
And I realized very early on that
we needed an album pretty damn quick.
174
00:12:01,163 --> 00:12:02,283
[song ends]
175
00:12:02,363 --> 00:12:05,043
It was in February of '63
that we-- we made the album.
176
00:12:05,123 --> 00:12:06,763
And we did it in one day.
177
00:12:06,843 --> 00:12:09,083
[Lennon]
Should we do it on the second verse?
178
00:12:09,163 --> 00:12:10,163
[McCartney] Yeah.
179
00:12:10,963 --> 00:12:11,963
[Lennon] Hello?
180
00:12:12,563 --> 00:12:15,443
So we came in nice and early.
Set up. Got ready.
181
00:12:15,523 --> 00:12:18,523
And then just played everything we knew.
182
00:12:19,763 --> 00:12:23,723
["Twist and Shout" playing]
183
00:12:23,803 --> 00:12:26,563
The engineers and everybody were
up the stairs, would just mix 'em.
184
00:12:26,643 --> 00:12:28,763
♪ Well, shake it up, baby, now ♪
185
00:12:28,843 --> 00:12:31,723
-♪ Shake it up, baby ♪
-♪ Twist and shout ♪
186
00:12:31,803 --> 00:12:34,443
[McCartney] They were actually mixing
as they went along.
187
00:12:35,323 --> 00:12:39,123
They knew how loud the drums had to be,
how loud the bass drum should be,
188
00:12:39,203 --> 00:12:41,603
so they kind of had it all balanced.
189
00:12:41,683 --> 00:12:45,563
And, in fact, in those days,
they were called "balance engineers."
190
00:12:46,963 --> 00:12:49,963
[Giles] The idea is to capture
a band as a live performance.
191
00:12:50,043 --> 00:12:53,043
This is them straight from the Cavern Club
into Abbey Road.
192
00:12:54,443 --> 00:12:56,123
[Martin] I just worked them very hard.
193
00:12:56,203 --> 00:12:59,363
And just recorded them almost like a--
like a broadcast, you know?
194
00:12:59,443 --> 00:13:00,963
Where all I had was two tracks.
195
00:13:01,043 --> 00:13:02,523
♪ Twist and shout ♪
196
00:13:05,563 --> 00:13:07,803
[Giles] That's the band
just playing live in the room.
197
00:13:09,043 --> 00:13:10,043
And on track two…
198
00:13:10,123 --> 00:13:12,403
-♪ Come on, baby ♪
-♪ Come on and work it on out ♪
199
00:13:12,483 --> 00:13:14,363
…we have John's ripped vocal.
200
00:13:15,883 --> 00:13:18,643
And Paul and George
are singing live with him.
201
00:13:18,723 --> 00:13:22,483
-♪ Come on and twist a little closer now ♪
-♪ Twist a little closer ♪
202
00:13:22,563 --> 00:13:26,603
-♪ And let me know that you're mine ♪
-♪ Let me know you're mine ♪
203
00:13:26,683 --> 00:13:30,723
[Starr] And we did it just under 12 hours
from start to finish.
204
00:13:30,803 --> 00:13:33,923
You know what I mean? It wasn't like,
"Oh, I'm so tired. I'm this"--
205
00:13:34,003 --> 00:13:35,883
No, man. If we were playing…
206
00:13:35,963 --> 00:13:40,283
That was the great thing about the Beatles
was we all were in it for the music.
207
00:13:40,363 --> 00:13:43,043
You know, we were playing.
That was what was important.
208
00:13:43,683 --> 00:13:46,403
And, uh, you know,
it worked out pretty well for us.
209
00:13:48,923 --> 00:13:50,963
[music ends]
210
00:14:12,043 --> 00:14:15,483
[Suvi Raj Grubb] Music being one of
the most important things in my life,
211
00:14:16,283 --> 00:14:19,403
we said we'd take a risk,
a gamble, if you like,
212
00:14:19,483 --> 00:14:24,923
and, uh, come here to England
to see whether I could find a job.
213
00:14:27,643 --> 00:14:30,963
September 19th, 1960,
214
00:14:31,043 --> 00:14:34,923
I duly reported at the Abbey Road Studios.
215
00:14:35,003 --> 00:14:36,363
So that's how I started.
216
00:14:38,203 --> 00:14:40,523
[all laughing]
217
00:14:40,603 --> 00:14:42,803
-I say if you were there--
-But I wouldn't be this bad.
218
00:14:42,883 --> 00:14:44,763
If she were--
Just what I was going to say!
219
00:14:44,843 --> 00:14:46,403
[all laughing]
220
00:14:47,483 --> 00:14:49,723
-I think that's enough. Let's go and play.
-It's fine by me.
221
00:14:49,803 --> 00:14:51,403
-Yes.
-Are you happy with the sound?
222
00:14:51,483 --> 00:14:53,963
-Absolutely. Absolutely.
-Good. Come. Come on.
223
00:14:54,043 --> 00:14:58,083
[Grubb] Jacqueline du Pré was
the perfect person to record with
224
00:14:58,163 --> 00:15:01,243
because she never got impatient
225
00:15:01,323 --> 00:15:03,883
however much time you took
to get a satisfactory balance.
226
00:15:03,963 --> 00:15:07,803
And with her bulges of sound,
she was a very difficult person to record.
227
00:15:15,363 --> 00:15:17,163
-[laughs]
-[Grubb] That's fine for balance.
228
00:15:17,243 --> 00:15:18,803
Play from the repeated D's.
229
00:15:20,203 --> 00:15:22,923
[Sheku Kanneh-Mason] Many musicians
that I admire recorded here.
230
00:15:23,003 --> 00:15:24,203
And many of my, sort of,
231
00:15:24,283 --> 00:15:26,483
-favorite recordings were made here.
-Yeah.
232
00:15:26,563 --> 00:15:30,043
[Kanneh-Mason] Artists like
Jacqueline du Pré, Daniel Barenboim.
233
00:15:30,123 --> 00:15:32,763
These people, I grew up with their sound.
234
00:15:34,683 --> 00:15:37,963
And the sound that I grew up listening to
was recorded here.
235
00:15:57,603 --> 00:16:00,683
We used to listen to a lot of music
in the car on car journeys.
236
00:16:00,763 --> 00:16:04,483
And my parents had a CD
of her recording of Elgar Concerto.
237
00:16:06,563 --> 00:16:08,803
I would've been five or six years old.
238
00:16:13,963 --> 00:16:17,203
When you listen, you really feel
that she is giving everything,
239
00:16:17,283 --> 00:16:19,883
all of her soul,
to every single note that she plays.
240
00:16:22,603 --> 00:16:25,923
Jacqueline du Pré's recordings
of the Elgar Concerto was made here,
241
00:16:26,883 --> 00:16:29,283
and a few years ago,
when I recorded the Elgar Concerto,
242
00:16:29,363 --> 00:16:31,843
it was in this very, um, studio.
243
00:16:31,923 --> 00:16:34,843
Probably in this exact spot
that I'm sitting in.
244
00:16:35,723 --> 00:16:41,523
It's a massive honor for me, of course,
and incredibly special to think about.
245
00:17:23,803 --> 00:17:26,843
[piano playing]
246
00:17:32,643 --> 00:17:35,123
[interviewer] Now, Jacqueline,
in July '71, it was announced
247
00:17:35,203 --> 00:17:38,723
that you had nervous exhaustion
and were going to rest for a year.
248
00:17:39,523 --> 00:17:42,163
And everyone had said,
"Oh, poor girl. She's been overdoing it."
249
00:17:42,243 --> 00:17:45,043
Then we realized
that it wasn't just nervous exhaustion.
250
00:17:46,803 --> 00:17:50,363
[du Pré] No, it turned out,
in fact, to be multiple sclerosis.
251
00:17:51,163 --> 00:17:53,683
One is, naturally, very frightened by it.
252
00:17:54,843 --> 00:17:56,443
But I was lucky, you see,
253
00:17:56,523 --> 00:18:01,923
because my talent was one
which developed very early.
254
00:18:02,003 --> 00:18:06,123
So that by the time I got
the symptoms of MS
255
00:18:07,443 --> 00:18:10,843
severely enough
to interfere with playing instruments,
256
00:18:10,923 --> 00:18:17,243
I had done everything I could've wanted to
with the cello.
257
00:18:39,323 --> 00:18:42,043
[Grubb]
After the illness had taken hold of her,
258
00:18:43,363 --> 00:18:44,923
Daniel, one day, rang me and said,
259
00:18:45,003 --> 00:18:47,563
"What is your number one studio
doing tomorrow?
260
00:18:48,603 --> 00:18:52,603
Can you book it under the title
'Daniel Barenboim test'?"
261
00:18:53,803 --> 00:18:56,963
So he said,
"We will try and record something.
262
00:18:57,043 --> 00:18:59,763
Don't be disappointed
if nothing transpires."
263
00:19:00,723 --> 00:19:02,883
[Mary]
I thought you'd be interested in this.
264
00:19:02,963 --> 00:19:04,043
[mutters]
265
00:19:04,123 --> 00:19:07,003
[Mary] These are the engineer notes
for her last recording here.
266
00:19:07,763 --> 00:19:09,723
[Kanneh-Mason] Sessions,
but two of them are crossed out,
267
00:19:09,803 --> 00:19:14,123
so I guess that might mean
that only two were used.
268
00:19:14,203 --> 00:19:16,683
It says she was ill after two sessions.
I see.
269
00:19:17,523 --> 00:19:18,523
Wow.
270
00:19:20,603 --> 00:19:22,243
[cello playing on recording]
271
00:19:22,323 --> 00:19:25,923
There's something incredibly vulnerable
and fragile about this.
272
00:19:26,763 --> 00:19:28,643
I absolutely love it,
273
00:19:28,723 --> 00:19:34,723
and for us to be able to listen to that
now, I think we're very, very lucky.
274
00:19:41,443 --> 00:19:42,443
[music ends]
275
00:19:42,523 --> 00:19:45,763
[Grubb] Started opus five,
played the first few bars,
276
00:19:45,843 --> 00:19:49,923
put the cello back, and said,
"That ends the entertainment for the day."
277
00:19:50,003 --> 00:19:52,563
That was her last appearance
in the studios.
278
00:20:43,003 --> 00:20:45,523
[Giles] Brian Epstein and my father had
a very, very good relationship.
279
00:20:45,603 --> 00:20:46,443
[Mary] Yeah.
280
00:20:46,523 --> 00:20:49,883
[Giles] And they worked as a team,
so they, I think in 1964,
281
00:20:49,963 --> 00:20:53,523
I think they had 36 weeks
at number one out of 52 in the UK.
282
00:20:53,603 --> 00:20:55,323
Which will never be done again.
283
00:20:55,403 --> 00:20:58,363
I mean, if you think about--
You know, it's just crazy.
284
00:20:58,443 --> 00:21:00,403
[chattering]
285
00:21:00,483 --> 00:21:02,283
And that was with, obviously, Cilla Black,
286
00:21:02,363 --> 00:21:04,603
Gerry and the Pacemakers, and the Beatles.
287
00:21:06,363 --> 00:21:08,083
And they were all
from Brian Epstein's stable,
288
00:21:08,163 --> 00:21:10,643
all produced by my dad, all at Abbey Road.
289
00:21:10,723 --> 00:21:12,763
[reporter] Cilla, do you think
you could've got to the top
290
00:21:12,843 --> 00:21:14,483
without Brian Epstein?
291
00:21:14,563 --> 00:21:16,443
-No, I don't think so.
-[reporter] Why not?
292
00:21:16,523 --> 00:21:20,003
Um, because I came from Liverpool.
[laughs]
293
00:21:20,083 --> 00:21:24,683
Well, at the time, nobody wanted to know
anything about Liverpudlians,
294
00:21:24,763 --> 00:21:26,923
until Brian Epstein came on the scene.
295
00:21:27,003 --> 00:21:30,083
I mean, it was a bit of a handicap
to anybody who did come from Liverpool
296
00:21:30,163 --> 00:21:31,483
because of the way they spoke.
297
00:21:32,443 --> 00:21:34,283
-[producer] Move it along a bit now.
-[assistant] Right.
298
00:21:35,123 --> 00:21:36,243
Okay, Burt. Here we go.
299
00:21:36,323 --> 00:21:37,483
Get running, please.
300
00:21:37,563 --> 00:21:42,803
[Black] ♪ What's it all about, Alfie? ♪
301
00:21:43,923 --> 00:21:50,843
♪ Is it just for the moment we live? ♪
302
00:21:51,363 --> 00:21:57,963
♪ What's it all about
When you sort it out, Alfie? ♪
303
00:21:59,083 --> 00:22:00,083
[producer] One more.
304
00:22:00,163 --> 00:22:01,563
It was good, darling. We may--
305
00:22:01,643 --> 00:22:03,443
-[Black] Hello, Brian.
-Cilla, it sounds lovely.
306
00:22:03,523 --> 00:22:05,203
-Hello there. How are you?
-Fine.
307
00:22:05,283 --> 00:22:06,403
[Epstein] Good.
308
00:22:06,483 --> 00:22:08,763
-It's sure feeling better out there.
-[Black] Yeah.
309
00:22:08,843 --> 00:22:11,563
But I don't I wanna go on at it
all night though. [chuckles]
310
00:22:11,643 --> 00:22:14,003
-With each performance, it gets better.
-Actually, yeah. There's--
311
00:22:14,083 --> 00:22:17,323
-What's wro-- I don't want to have to--
-Yeah, I know, but we need…
312
00:22:17,403 --> 00:22:21,803
[Martin] Burt Bacharach was extremely
persistent about doing take after take.
313
00:22:21,883 --> 00:22:24,403
Wanted to get something
that nobody else could see.
314
00:22:24,483 --> 00:22:26,563
-Just touching up the edges now.
-Me?
315
00:22:28,603 --> 00:22:31,683
[Martin] And I remember
sort of doing a great take
316
00:22:31,763 --> 00:22:33,883
and going on to about 15 takes.
317
00:22:33,963 --> 00:22:36,923
And everybody getting very, very tired
and the orchestra getting fractious.
318
00:22:37,003 --> 00:22:38,443
♪ Alfie ♪
319
00:22:38,523 --> 00:22:41,243
[Martin] And I said to--
Pressed the knob and I said to Burt,
320
00:22:41,323 --> 00:22:43,123
"Burt, what are you looking for?"
321
00:22:45,763 --> 00:22:48,603
And he said, "I just want
that little bit of magic, George."
322
00:22:49,803 --> 00:22:52,443
I said, "Well I think you got
the magic on take four."
323
00:22:53,283 --> 00:22:54,323
And of course we had.
324
00:22:54,403 --> 00:22:56,483
Take four was the one with the precision.
325
00:22:58,683 --> 00:23:02,243
♪ Alfie ♪
326
00:23:07,043 --> 00:23:10,923
♪ Alfie ♪
327
00:23:22,203 --> 00:23:24,483
-I think that's it there. Done.
-[Black chuckles]
328
00:23:28,443 --> 00:23:31,083
[audience screaming]
329
00:23:32,163 --> 00:23:36,123
♪ She loves you, yeah, yeah, yeah
She loves you, yeah… ♪
330
00:23:36,203 --> 00:23:39,923
[Giles] The Beatles were one of
Britain's biggest export industries.
331
00:23:40,003 --> 00:23:44,563
And Brian had them as this--
as this boy band in a way.
332
00:23:45,523 --> 00:23:48,003
And it was scary, it wasn't enjoyable.
333
00:23:48,523 --> 00:23:54,083
And so they needed to just basically
either split or go into a bunker.
334
00:23:54,163 --> 00:23:55,523
And that bunker was Abbey Road.
335
00:23:55,603 --> 00:23:57,483
[reporter] If you never toured again,
would it worry you?
336
00:23:57,563 --> 00:24:00,363
No, I don't think so.
Uh, if we're not listened to then,
337
00:24:00,443 --> 00:24:03,483
and we can't even hear ourselves,
then we can't improve in that.
338
00:24:03,563 --> 00:24:05,323
-We can't get any better.
-[reporter] Hmm.
339
00:24:05,403 --> 00:24:08,603
So, uh, we're trying to get better
with things like recording.
340
00:24:09,203 --> 00:24:14,043
It got too, sort of, horrible, so we
started to hatch plans of what we'd do.
341
00:24:14,123 --> 00:24:17,283
So, this is gonna give us
a lot of time to record.
342
00:24:17,363 --> 00:24:20,883
And the other great thing
about Abbey Road, it was free.
343
00:24:21,483 --> 00:24:25,363
In our contract,
we had limitless recording time.
344
00:24:25,443 --> 00:24:27,083
[McCartney on recording]
Don't need that. [coughs]
345
00:24:27,163 --> 00:24:29,803
I think it'll probably be
another day singing it.
346
00:24:29,883 --> 00:24:32,643
[McCartney] No, this was our home really.
347
00:24:32,723 --> 00:24:33,963
We spent so much time here.
348
00:24:34,043 --> 00:24:36,043
[McCartney on recording]
♪ I feel it, I feel it, I feel it ♪
349
00:24:36,123 --> 00:24:39,083
[McCartney] We talked through
what we were gonna do. And, uh…
350
00:24:39,163 --> 00:24:40,723
[McCartney on recording] ♪ Free now ♪
351
00:24:40,803 --> 00:24:43,283
You know, he'd say, "What we should do,
352
00:24:43,363 --> 00:24:46,843
we should make a record
and kind of send it on tour."
353
00:24:46,923 --> 00:24:49,883
Uh, and so we started making Sgt. Pepper.
354
00:24:50,643 --> 00:24:53,163
♪ It was 20 years ago today ♪
355
00:24:53,243 --> 00:24:55,723
♪ When Sgt. Pepper taught
The band to play ♪
356
00:24:55,803 --> 00:24:57,963
♪ They've been going in and out of style ♪
357
00:24:58,043 --> 00:25:02,083
It opens with a, uh, real interesting, uh,
358
00:25:02,163 --> 00:25:04,203
nostalgic recall of old vaudeville.
359
00:25:04,283 --> 00:25:05,403
And good old times.
360
00:25:05,483 --> 00:25:10,043
[Starr] ♪ Oh, I get by
With a little help from my friends ♪
361
00:25:10,123 --> 00:25:12,483
It goes on,
"With a Little Help From My Friends."
362
00:25:12,563 --> 00:25:14,083
A statement of communal purpose.
363
00:25:14,163 --> 00:25:19,243
[Lennon]
♪ Picture yourself in a boat on a river ♪
364
00:25:19,323 --> 00:25:21,843
The next is like
a statement of imagination.
365
00:25:21,923 --> 00:25:25,243
"Lucy in the Sky With Diamonds,"
as being an element of importance.
366
00:25:25,323 --> 00:25:27,363
[Lennon] ♪ Look for the girl ♪
367
00:25:27,443 --> 00:25:29,403
-[music stops]
-[Lennon sighs]
368
00:25:29,483 --> 00:25:31,243
[Giles] With
Sgt. Pepper's Lonely Hearts Club Band,
369
00:25:31,323 --> 00:25:33,603
-the rules had changed.
-[Lennon on recording] Concentrate.
370
00:25:33,683 --> 00:25:36,003
They wanted to use the studio
as a playground.
371
00:25:36,883 --> 00:25:38,643
And they wanted to paint pictures
with sound.
372
00:25:38,723 --> 00:25:40,283
-[drumroll]
-[bass guitar playing]
373
00:25:40,363 --> 00:25:41,283
[sound engineer] Two!
374
00:25:41,363 --> 00:25:42,923
[Starr] One of my best beginnings that.
375
00:25:43,003 --> 00:25:45,963
[McCartney] The lunatics started
to take over the asylum.
376
00:25:46,043 --> 00:25:51,403
We sometimes would have one mix going on
up in the control room here in number two.
377
00:25:51,963 --> 00:25:55,403
Then we'd have another one going on
in number three.
378
00:25:55,483 --> 00:25:57,203
So you had the run of the building.
379
00:25:57,843 --> 00:26:00,723
And then, you know,
there's lots of equipment around here.
380
00:26:00,803 --> 00:26:03,883
So we'd sort of say,
"Can we play that? Or could we do that?"
381
00:26:03,963 --> 00:26:05,523
And they had a Lowrey organ
382
00:26:05,603 --> 00:26:08,403
which I use for the front
of "Lucy in the Sky With Diamonds."
383
00:26:08,483 --> 00:26:12,203
[Lennon]
♪ Picture yourself in a boat on a river… ♪
384
00:26:12,283 --> 00:26:15,443
There was an artist called Mrs. Mills
who had a particular--
385
00:26:16,363 --> 00:26:17,363
There it is!
386
00:26:17,443 --> 00:26:19,443
["Lady Madonna" playing]
387
00:26:19,523 --> 00:26:22,163
And we'd knock around on it, you know,
388
00:26:22,243 --> 00:26:24,883
and just, sort of,
"Wow, it's got a great sound!"
389
00:26:24,963 --> 00:26:26,523
It's a good rock-and-roll piano.
390
00:26:34,443 --> 00:26:39,443
And then there'd be, like,
Daniel Barenboim's classical Steinway.
391
00:26:42,483 --> 00:26:44,123
Uh, so there was all this stuff.
392
00:26:45,563 --> 00:26:52,563
And I think that's one of the reasons
the Beatles' music was always interesting
393
00:26:52,643 --> 00:26:54,643
from the instrumental point of view.
394
00:26:54,723 --> 00:26:55,923
["When I'm Sixty Four" playing]
395
00:26:56,003 --> 00:27:00,243
I was there about, uh, '62 I think.
396
00:27:01,363 --> 00:27:05,283
And "When I'm Sixty Four" amused me.
It's a lovely song.
397
00:27:06,763 --> 00:27:10,803
The last is, uh, "A Day in the Life"
which I thought was the best poem.
398
00:27:13,323 --> 00:27:16,203
[Martin] Probably the most momentous song
on the album, "A Day in the Life,"
399
00:27:16,283 --> 00:27:18,043
began in a very simple way.
400
00:27:18,563 --> 00:27:22,643
And we caught the rehearsal take,
take one. The very first time I heard it.
401
00:27:22,723 --> 00:27:25,283
[Lennon] Have the mic
on the piano quite low, this.
402
00:27:25,363 --> 00:27:27,763
Just keep it in like maracas, you know?
403
00:27:27,843 --> 00:27:29,163
[Martin] John counts in by saying,
404
00:27:29,243 --> 00:27:31,883
"Sugar plum fairy, sugar plum fairy,
sugar plum"…
405
00:27:31,963 --> 00:27:34,763
[Lennon]
Sugar plum fairy, sugar plum fairy.
406
00:27:34,843 --> 00:27:38,363
["A Day in the Life" playing]
407
00:27:38,443 --> 00:27:43,483
"Day in the Life" arrived when John came
to my house for a little writing session.
408
00:27:43,563 --> 00:27:47,283
And he'd been reading the newspaper.
409
00:27:47,883 --> 00:27:52,043
♪ I read the news today
Oh, boy ♪
410
00:27:52,843 --> 00:27:55,203
[McCartney] And I think
we then wrote the second verse
411
00:27:55,283 --> 00:27:57,803
looking in the newspaper for clues.
412
00:28:00,203 --> 00:28:03,323
♪ And though the news was rather sad ♪
413
00:28:04,523 --> 00:28:07,203
[Giles] "A Day in the Life"
seems incredibly complicated…
414
00:28:07,283 --> 00:28:08,923
♪ Well, I just had to laugh ♪
415
00:28:09,003 --> 00:28:12,643
…but it's just beautifully simple
in the way it's done.
416
00:28:12,723 --> 00:28:18,443
All they had was four things they could
put together to create this wall of sound.
417
00:28:18,523 --> 00:28:20,523
Even the orchestra is just on one track.
418
00:28:21,203 --> 00:28:24,523
It's the four of them
in a room making a sound together.
419
00:28:25,843 --> 00:28:28,643
["A Day in the Life" playing]
420
00:28:28,723 --> 00:28:30,603
John is singing a guide vocal here.
421
00:28:31,243 --> 00:28:32,963
But he overdubs his vocal later.
422
00:28:35,523 --> 00:28:37,483
And here's the master take of his vocal.
423
00:28:38,003 --> 00:28:42,083
-Which is just an extraordinary sound.
-♪ I saw a film today, oh, boy ♪
424
00:28:42,163 --> 00:28:44,403
It's, in essence, "A Day in the Life."
425
00:28:44,483 --> 00:28:48,883
♪ The English Army had just won the war ♪
426
00:28:50,563 --> 00:28:54,403
♪ A crowd of people turned away ♪
427
00:28:56,683 --> 00:28:58,923
♪ But I just had to look ♪
428
00:29:00,163 --> 00:29:04,643
♪ Having read the book ♪
429
00:29:05,363 --> 00:29:08,203
Then I added in a bit that I had.
430
00:29:08,723 --> 00:29:11,883
That was, "Woke up, fell out of bed."
[imitates guitar playing]
431
00:29:11,963 --> 00:29:17,323
♪ Woke up, fell out of bed
Dragged a comb across my head ♪
432
00:29:17,403 --> 00:29:20,003
[Giles] And Paul brings it, sort of,
back to the real world.
433
00:29:20,523 --> 00:29:23,283
And they-- they had no idea
how to connect the songs.
434
00:29:23,363 --> 00:29:24,603
They just left a gap.
435
00:29:25,843 --> 00:29:28,803
And they also didn't know
how to end the song.
436
00:29:28,883 --> 00:29:31,403
I remember it was, like,
we started talking about this and that.
437
00:29:31,483 --> 00:29:34,683
I said, "It would be great
if we could have a symphony orchestra.
438
00:29:34,763 --> 00:29:36,403
I've got some ideas." You know?
439
00:29:38,803 --> 00:29:40,083
[Giles] Paul said to my dad,
440
00:29:40,163 --> 00:29:42,763
"I think what I'd like to hear is
an orchestral orgasm."
441
00:29:43,563 --> 00:29:45,043
My dad said, "Oh, right. Okay, Paul."
442
00:29:45,123 --> 00:29:48,563
[McCartney] That was the other great thing
about coming here.
443
00:29:48,643 --> 00:29:51,963
The tools for that were there.
It was available.
444
00:29:52,043 --> 00:29:54,923
George Martin, number one studio.
445
00:29:56,003 --> 00:29:58,803
It was all kind of here, you know?
So we took advantage of it.
446
00:29:59,883 --> 00:30:05,403
So we did that on "Day in the Life."
We had the big orchestra and, um, idea.
447
00:30:05,483 --> 00:30:08,083
The instruction I gave them was
for them all to start
448
00:30:08,163 --> 00:30:14,003
on the lowest note on their instrument
and to go through all your notes
449
00:30:14,083 --> 00:30:16,563
till you reach the highest note
on the instrument.
450
00:30:16,643 --> 00:30:20,523
And also you have to play from very, very
quietly to as loud as you possibly can.
451
00:30:20,603 --> 00:30:23,123
But you have to meet in tune and in time
at the perfect time.
452
00:30:23,203 --> 00:30:25,643
They kind of looked at me
a little bit like,
453
00:30:25,723 --> 00:30:28,963
"We don't normally get
that kind of instruction." You know?
454
00:30:29,043 --> 00:30:32,123
So George kind of laid it out
a little bit more for them.
455
00:30:32,203 --> 00:30:37,283
He said, "I think you should've reached
halfway by this point,
456
00:30:37,363 --> 00:30:40,563
and then if you can go
to the big crescendo 'round about here."
457
00:30:40,643 --> 00:30:44,603
[orchestra going up scale]
458
00:30:47,723 --> 00:30:50,043
[conductor] Six, seven,
459
00:30:50,643 --> 00:30:57,323
eight, nine, ten, 11, 12,
460
00:30:57,403 --> 00:31:04,203
13, 14, 15, 16, 17,
461
00:31:04,963 --> 00:31:10,043
-18, 19, 20, 21!
-[whistle blows]
462
00:31:11,963 --> 00:31:14,243
[music intensifies, stops]
463
00:31:14,323 --> 00:31:15,803
[engineer 1] "A Day in the Life."
464
00:31:15,883 --> 00:31:18,643
This is take eight,
and it's the choir for the end.
465
00:31:18,723 --> 00:31:19,963
[engineer 2] Choir?
466
00:31:20,043 --> 00:31:25,883
They originally thought, "Wouldn't it be
great to have this choir going of 'ums'?"
467
00:31:25,963 --> 00:31:28,523
[McCartney] What's the note?
Shall we just double-check?
468
00:31:28,603 --> 00:31:31,363
-[note plays on piano]
-[singers hum]
469
00:31:31,443 --> 00:31:35,163
It's one of the, sort of,
biggest anticlimaxes ever.
470
00:31:35,243 --> 00:31:38,603
It's like this big orchestral crescendo,
then it's like… [hums]
471
00:31:38,683 --> 00:31:39,883
[Martin] …three, four.
472
00:31:39,963 --> 00:31:43,123
[singers hum]
473
00:31:43,203 --> 00:31:44,523
[sound engineer] Then…
474
00:31:44,603 --> 00:31:49,243
They had four grand pianos,
and we had 'em…
475
00:31:50,683 --> 00:31:53,843
And we could all see,
and we all had a count in, and we went--
476
00:31:53,923 --> 00:31:55,323
[chord plays on pianos]
477
00:32:01,283 --> 00:32:02,563
Right.
478
00:32:02,643 --> 00:32:04,843
-It was very good. Thank you. That's fine.
-[Lennon] Hey?
479
00:32:04,923 --> 00:32:06,883
I think that will do
for the vocal backing very nicely.
480
00:32:06,963 --> 00:32:08,083
We'll get the musicians in now.
481
00:32:08,163 --> 00:32:11,723
[Harrison]
I think that that period felt special
482
00:32:11,803 --> 00:32:16,763
because there was a great upsurge
of energy and consciousness.
483
00:32:16,843 --> 00:32:18,603
♪ All you need is love ♪
484
00:32:18,683 --> 00:32:21,563
It was like a sort of mini-renaissance.
485
00:32:21,643 --> 00:32:24,363
♪ All you need is love ♪
486
00:32:24,443 --> 00:32:26,923
[McCartney] It was so close
to the end of the war,
487
00:32:27,003 --> 00:32:30,083
and those of us who'd been born
in the war,
488
00:32:30,163 --> 00:32:32,323
our memories were all in black and white.
489
00:32:32,963 --> 00:32:35,963
But it gradually got better
and better and better.
490
00:32:36,043 --> 00:32:40,723
By the '60s, it was technicolor.
You know, it was all… [imitates fireworks]
491
00:32:42,003 --> 00:32:44,243
♪ All you need is love ♪
492
00:32:44,323 --> 00:32:46,043
♪ All together now ♪
493
00:32:46,483 --> 00:32:47,923
♪ All you need is love ♪
494
00:32:48,003 --> 00:32:52,363
[McCartney] So here you were in London,
which was on fire.
495
00:32:52,443 --> 00:32:56,683
You'd have artists,
novelists, poets, painters.
496
00:32:57,403 --> 00:33:01,763
If you wanted an album cover,
for instance, you knew lots of artists.
497
00:33:01,843 --> 00:33:05,083
Peter Blake, Richard Hamilton,
you know, who were on the scene.
498
00:33:05,163 --> 00:33:08,083
You know, and Peter Blake obviously did
the Sgt. Pepper cover.
499
00:33:08,163 --> 00:33:09,563
He and his then wife.
500
00:33:09,643 --> 00:33:11,203
♪ Love is all you need ♪
501
00:33:11,283 --> 00:33:13,403
-♪ Love is all you need ♪
-♪ Love is all you need ♪
502
00:33:13,483 --> 00:33:15,643
-♪ Love is all you need ♪
-♪ Love is all you need ♪
503
00:33:15,723 --> 00:33:17,323
♪ Love is all you need ♪
504
00:33:17,403 --> 00:33:21,283
[Elton John] It was the '60s, late '60s,
and it was so exciting.
505
00:33:22,083 --> 00:33:24,203
Music was exciting. London was exciting.
506
00:33:24,763 --> 00:33:26,043
Everything was exciting.
507
00:33:28,563 --> 00:33:32,043
And I always say I was so grateful
to be around at that period of time
508
00:33:32,123 --> 00:33:34,603
because you're never gonna see
a time like that again.
509
00:33:36,243 --> 00:33:39,883
And for me, um,
it was the start of my journey in a way.
510
00:33:39,963 --> 00:33:42,283
I mean, I spent three years
in a van with Bluesology.
511
00:33:42,363 --> 00:33:45,323
And I was fed up with that,
and I wanted to do something else.
512
00:33:45,403 --> 00:33:47,243
Uh, write songs is what I wanted to do.
513
00:33:47,323 --> 00:33:51,003
I never thought I'd become Elton John
singer, songwriter, artist.
514
00:33:51,083 --> 00:33:52,883
So I started to do sessions.
515
00:33:54,203 --> 00:33:56,603
[sound engineer]
"He's Heavy, He's My Brother" take one.
516
00:33:56,683 --> 00:33:57,843
[Elton John] Oh, take it, broth--
517
00:33:57,923 --> 00:33:59,803
And I did a lot of session work here.
518
00:33:59,883 --> 00:34:03,163
[Elton John] One, two, three, four.
519
00:34:04,443 --> 00:34:07,443
["He Ain't Heavy, He's My Brother"
playing]
520
00:34:14,123 --> 00:34:17,803
♪ The road is long ♪
521
00:34:17,883 --> 00:34:20,483
[Tony Hicks] Reg Dwight was
a songwriter that we knew,
522
00:34:21,003 --> 00:34:24,283
and he did the keyboards for us
on "He Ain't Heavy, He's My Brother"
523
00:34:24,363 --> 00:34:27,083
as a session musician
524
00:34:27,163 --> 00:34:29,963
which, uh, I think he got
about twelve pounds for that.
525
00:34:30,043 --> 00:34:31,363
He'd probably want more today.
526
00:34:32,403 --> 00:34:34,923
Oh, no. He wouldn't actually.
He'd probably do it for nothing.
527
00:34:37,563 --> 00:34:40,883
[Bobby Elliott] Reg with the grand piano
at the bottom of the stairs.
528
00:34:40,963 --> 00:34:42,083
Me on the drums nearby.
529
00:34:42,163 --> 00:34:45,043
We didn't wanna move the grand piano
because you could knock 'em out of tune.
530
00:34:45,123 --> 00:34:47,723
So I put the drums next to-- uh, to Elton.
531
00:34:47,803 --> 00:34:50,123
And there was Bernie Calvert,
our bass player, on bass.
532
00:34:50,203 --> 00:34:53,683
That's all the basic track was.
With Clarkey singing the guide vocal.
533
00:34:53,763 --> 00:34:55,683
Uh, and Elton counted it in.
534
00:34:55,763 --> 00:34:57,443
It's still on the tape somewhere.
535
00:34:59,723 --> 00:35:03,443
♪ He's my brother ♪
536
00:35:04,403 --> 00:35:06,523
[Elton John] You can tell that's me
playing on that record.
537
00:35:06,603 --> 00:35:07,763
It's my piano style.
538
00:35:07,843 --> 00:35:10,883
["He Ain't Heavy, He's My Brother"
continues playing]
539
00:35:20,003 --> 00:35:24,083
I was so lucky, um, because once word got
around that Reg could play the piano,
540
00:35:24,603 --> 00:35:26,763
um, Reg was hired quite a lot.
541
00:35:29,683 --> 00:35:34,403
And, uh, you know, I was getting paid
money by Dick James Music as a songwriter.
542
00:35:35,123 --> 00:35:36,323
Fifteen quid a week.
543
00:35:36,403 --> 00:35:39,323
But the extra money that I got
as a session musician
544
00:35:39,403 --> 00:35:43,443
made me able to buy the records I loved,
and there were so many of them,
545
00:35:43,523 --> 00:35:45,563
buy some clothes, and pay the rent.
546
00:35:49,043 --> 00:35:51,083
And I have so many memories
of coming in here.
547
00:35:51,163 --> 00:35:52,643
The smell of Abbey Road.
548
00:35:53,723 --> 00:35:56,803
I was actually the smell of fear
when I came in. [chuckles]
549
00:35:56,883 --> 00:35:58,523
"Am I gonna mess this up?" [whimpers]
550
00:36:02,723 --> 00:36:04,363
You know, it formed me as a man.
551
00:36:04,443 --> 00:36:05,723
It formed me as a musician.
552
00:36:06,243 --> 00:36:08,603
It made me be good.
Because I had to be good in three hours.
553
00:36:08,683 --> 00:36:09,803
I had to deliver.
554
00:36:11,803 --> 00:36:14,963
I remember playing on
a Barron Knights session here.
555
00:36:15,043 --> 00:36:17,043
And "Hey Jude" had just come out.
556
00:36:17,123 --> 00:36:20,243
So I was standing with Bernie. Um…
557
00:36:20,323 --> 00:36:23,003
And your dad came in the door
and said hello to the Barron Knights.
558
00:36:23,083 --> 00:36:26,683
And that is the first time I'd ever seen
anyone that famous in my life.
559
00:36:26,763 --> 00:36:29,683
And I kind of froze and Bernie did too.
560
00:36:30,203 --> 00:36:34,643
And the Barron Knights asked Paul to play
"Hey Jude" on the piano, and he did.
561
00:36:34,723 --> 00:36:36,523
And Bernie and I have never forgotten it.
562
00:36:36,603 --> 00:36:38,963
It's like, "Oh, my God.
We saw Paul play 'Hey Jude'
563
00:36:39,043 --> 00:36:40,763
at the time the record came out."
564
00:36:40,843 --> 00:36:41,843
[chord plays on piano]
565
00:36:41,923 --> 00:36:47,043
♪ Hey, Jude
Don't make it bad ♪
566
00:36:48,003 --> 00:36:53,123
♪ Take a sad song and make it better ♪
567
00:36:54,563 --> 00:36:55,643
Can you imagine?
568
00:36:56,283 --> 00:36:59,283
For a young kid from Midd like me?
It's like, "Oh, my God."
569
00:36:59,883 --> 00:37:03,523
Um, and that was just startling.
570
00:37:03,603 --> 00:37:06,883
♪ Yeah
Na, na, na ♪
571
00:37:06,963 --> 00:37:09,363
♪ Na, na, na, na ♪
572
00:37:09,443 --> 00:37:11,803
♪ Na, na, na, na ♪
573
00:37:11,883 --> 00:37:12,923
♪ Hey, Jude ♪
574
00:37:13,003 --> 00:37:15,043
[Elton John]
How can you not dine out on that story?
575
00:37:15,123 --> 00:37:17,363
And it's still--
Bernie and I still talk about it.
576
00:37:18,043 --> 00:37:19,803
And it was incredible.
577
00:37:19,883 --> 00:37:23,363
So, um, your dad's given me
a lot of pleasure in my life.
578
00:37:23,443 --> 00:37:24,763
So much pleasure.
579
00:37:24,843 --> 00:37:28,603
And he has no idea what that moment
meant to me, but, hopefully, he will now.
580
00:37:28,683 --> 00:37:29,843
♪ Na, na, na ♪
581
00:37:29,923 --> 00:37:31,843
♪ Na, na, na, na ♪
582
00:37:31,923 --> 00:37:33,243
♪ Make it, Jude ♪
583
00:37:33,323 --> 00:37:34,323
♪ Na, na, na, na ♪
584
00:37:34,403 --> 00:37:36,283
♪ Oh, hey, Jude ♪
585
00:37:40,803 --> 00:37:42,203
[Lennon vocalizes]
586
00:37:44,603 --> 00:37:46,363
[Jimmy Page] I was a studio musician.
587
00:37:47,323 --> 00:37:53,083
And so I was coming in here
probably about the age of 17 on.
588
00:37:53,163 --> 00:37:56,163
Seventeen, 18, 19, 20, and on.
589
00:37:56,243 --> 00:37:57,563
[chuckles] Even longer.
590
00:37:57,643 --> 00:37:59,803
Jimmy Page, what is a session guitarist?
591
00:37:59,883 --> 00:38:02,323
It's a guitarist who's called in
to make records.
592
00:38:02,403 --> 00:38:04,603
Not necessarily doing one-night stands,
593
00:38:04,683 --> 00:38:06,443
hoping that they'll get
into the hit parade,
594
00:38:06,523 --> 00:38:08,443
but only getting an ordinary fee.
595
00:38:08,523 --> 00:38:10,763
[interviewer]
So how did you become a session guitarist?
596
00:38:10,843 --> 00:38:13,323
I don't know. Perhaps they thought
I had the feel for it.
597
00:38:13,403 --> 00:38:15,763
Obviously, you know me
as an electric guitarist,
598
00:38:15,843 --> 00:38:19,043
but I can also play acoustic guitar.
599
00:38:19,563 --> 00:38:22,243
So, uh-- And I could play harmonica.
600
00:38:22,323 --> 00:38:27,283
So I was booked it on sessions
doing harmonica, blues harmonica,
601
00:38:27,363 --> 00:38:30,803
or be it finger-style guitar playing,
folk guitar playing,
602
00:38:30,883 --> 00:38:34,163
as it was then very much
the sort of vogue.
603
00:38:34,243 --> 00:38:37,643
And then electric guitar and slide playing
and all this sort of stuff.
604
00:38:37,723 --> 00:38:41,483
[interviewer] What is it like working with
some of the big names of show business?
605
00:38:41,563 --> 00:38:42,723
Disappointing.
606
00:38:42,803 --> 00:38:44,083
[interviewer] Why is that?
607
00:38:44,163 --> 00:38:47,483
Well, they don't come up
to how you expect them to be.
608
00:38:48,163 --> 00:38:50,283
Rather disappointing on the whole,
I would say.
609
00:38:51,003 --> 00:38:54,123
[interviewer] See, well, that's probably
bad news for some record fans.
610
00:38:54,883 --> 00:38:58,563
[Page] Done all manner of things
at big studio number one,
611
00:38:58,643 --> 00:39:00,043
where they did the film music.
612
00:39:00,123 --> 00:39:05,003
And that's where the Goldfinger track with
Shirley Bassey was recorded, in there,
613
00:39:05,083 --> 00:39:06,683
and I was on that session.
614
00:39:16,283 --> 00:39:17,643
[Bassey] ♪ Goldfing-- ♪
615
00:39:17,723 --> 00:39:19,083
Oh, sorry. Can we do--
616
00:39:20,123 --> 00:39:22,563
[conductor] Take 11.
Overdub over the whole lot.
617
00:39:22,643 --> 00:39:25,043
[Page] John Barry is running it through.
618
00:39:25,123 --> 00:39:27,243
["Goldfinger" playing]
619
00:39:37,883 --> 00:39:43,083
It's absolutely, like,
spine-chilling when it starts off,
620
00:39:43,163 --> 00:39:44,563
and I'm sort of playing along.
621
00:39:44,643 --> 00:39:47,203
[Bassey] ♪ Goldfinger ♪
622
00:39:50,163 --> 00:39:51,723
♪ He's the man ♪
623
00:39:51,803 --> 00:39:54,043
[Bassey] And they had the enormous screen.
624
00:39:55,083 --> 00:39:59,763
And I had to sing "Goldfinger"
625
00:39:59,843 --> 00:40:03,043
to what was happening on the credits,
you know?
626
00:40:03,123 --> 00:40:05,763
♪ Such a cold finger ♪
627
00:40:09,003 --> 00:40:13,603
♪ Beckons you to enter his web of sin ♪
628
00:40:13,683 --> 00:40:18,363
I wasn't that far away from where she was.
I'm more or less in the front line of it.
629
00:40:18,443 --> 00:40:21,323
And all the orchestral stuff
is behind them.
630
00:40:21,403 --> 00:40:23,123
[Barry] Fifteen, take 15.
631
00:40:23,203 --> 00:40:26,603
Right at the end of the take,
she had a really powerful voice,
632
00:40:26,683 --> 00:40:28,803
I can hear her doing
this sort of last note.
633
00:40:28,883 --> 00:40:30,083
[recorder whirring]
634
00:40:30,163 --> 00:40:31,843
[Bassey] ♪ Loves only gold ♪
635
00:40:31,923 --> 00:40:34,803
But then when we got to the end,
and the credits didn't seem to end
636
00:40:34,883 --> 00:40:36,403
and I had to hold this note.
637
00:40:36,483 --> 00:40:38,483
[inhales sharply]
And it was, like, forever.
638
00:40:38,563 --> 00:40:42,043
[Bassey on recording] ♪ He loves gold ♪
639
00:40:42,123 --> 00:40:47,483
♪ He loves gold ♪
640
00:40:47,563 --> 00:40:49,283
And the credits are going
and going and going.
641
00:40:49,363 --> 00:40:51,843
And he's going, "Hold it, hold it."
And I was like… [gasps]
642
00:40:52,443 --> 00:40:55,163
-[Bassey groans on recording]
-[Page] Then she collapses on the floor.
643
00:40:55,243 --> 00:40:58,403
It was absolutely so dramatic.
644
00:40:58,483 --> 00:41:01,683
And, of course, when she sings, she's
doing all the histrionics and things.
645
00:41:02,203 --> 00:41:05,923
It was something that you'd never,
never forget. Absolutely.
646
00:41:06,003 --> 00:41:10,763
They gave me water, you know,
sort of patted my hands with water--
647
00:41:10,843 --> 00:41:12,843
ice-cold water and everything. I was just…
648
00:41:13,403 --> 00:41:17,203
Cruel business, show business.
It's very cruel. [laughs]
649
00:41:17,843 --> 00:41:20,323
But I had a world success with it.
650
00:41:25,683 --> 00:41:28,363
[interviewer] John, where would
you be today without Mr. Epstein?
651
00:41:28,883 --> 00:41:29,883
I don't know.
652
00:41:30,483 --> 00:41:34,363
I understand that, uh, Maharishi,
uh, conferred with you all.
653
00:41:34,443 --> 00:41:37,083
Could I ask you what he--
what advice he offered you?
654
00:41:37,963 --> 00:41:42,523
He told us to,
uh, not to get overwhelmed by grief,
655
00:41:42,603 --> 00:41:46,163
and whatever thoughts we have of Brian,
to keep them happy
656
00:41:46,243 --> 00:41:50,203
because any thoughts we have of him
will travel to him, wherever he is.
657
00:41:51,923 --> 00:41:56,763
[Giles] His death creates
a monumental change in the Beatles.
658
00:41:57,563 --> 00:42:00,003
There was an anchor
they could tie themselves to.
659
00:42:00,083 --> 00:42:01,803
Who'd been with them
before they were famous.
660
00:42:01,883 --> 00:42:03,883
And that's the key thing.
That's what people need.
661
00:42:03,963 --> 00:42:08,963
They need the reference point of knowing
who they are before they become famous.
662
00:42:10,083 --> 00:42:11,083
And he'd gone.
663
00:42:12,443 --> 00:42:15,163
It can't be overemphasized.
That's what changed things.
664
00:42:16,563 --> 00:42:19,803
[McCartney]
Oh, we were all like, "What do we do?"
665
00:42:21,523 --> 00:42:24,763
It's like what happens
when anyone exits your life.
666
00:42:25,403 --> 00:42:28,723
You have a period of grieving.
667
00:42:28,803 --> 00:42:34,203
And then you emerge, and you think,
"Well, we ought to do-- We got to do this.
668
00:42:34,283 --> 00:42:38,683
We got to make a good record now.
We've got to keep going."
669
00:42:38,763 --> 00:42:41,283
["Blackbird" playing on guitar
on recording]
670
00:42:41,363 --> 00:42:42,403
[music stops]
671
00:42:42,483 --> 00:42:45,483
[McCartney clears throat] It's a decision
which voice to use, you know?
672
00:42:46,003 --> 00:42:48,643
-I think it's better quieter.
-[person] I do too.
673
00:42:48,723 --> 00:42:49,723
[guitar playing]
674
00:42:49,803 --> 00:42:51,243
It's slightly sad.
675
00:42:52,243 --> 00:42:54,483
I had a guitar very similar to this.
676
00:42:55,003 --> 00:42:58,963
And, um, I'd just written it.
677
00:42:59,043 --> 00:43:06,043
And, actually, the soundman has put
a cloth here so my foot won't bang.
678
00:43:06,563 --> 00:43:10,483
However, on the record, I am.
I am banging.
679
00:43:10,563 --> 00:43:11,563
And I'd go…
680
00:43:11,643 --> 00:43:13,643
[feet tapping]
681
00:43:16,003 --> 00:43:19,083
[McCartney on recording]
♪ Blackbird singing in the dead of night ♪
682
00:43:20,523 --> 00:43:23,683
♪ Take these broken wings
And learn to fly ♪
683
00:43:25,723 --> 00:43:28,883
♪ All your life ♪
684
00:43:29,643 --> 00:43:34,803
♪ You were only waiting
For this moment to arise ♪
685
00:43:39,843 --> 00:43:43,843
♪ Blackbird fly ♪
686
00:43:44,963 --> 00:43:49,203
♪ Blackbird fly ♪
687
00:43:49,283 --> 00:43:53,003
♪ Into the light of a dark, black night ♪
688
00:43:55,763 --> 00:43:59,763
♪ Blackbird singing in the dead of night ♪
689
00:44:00,563 --> 00:44:01,563
Yeah.
690
00:44:01,643 --> 00:44:02,483
And then finish--
691
00:44:02,563 --> 00:44:06,043
I think that, you know,
I just sort of forgot the format.
692
00:44:06,123 --> 00:44:08,123
[Lennon] "Bebe Daniels," take one!
693
00:44:08,603 --> 00:44:12,003
[Starr] When it came to the White Album,
I loved the White Album 'cause we--
694
00:44:12,083 --> 00:44:15,763
It wasn't really mentioned,
but we knew we wanna be a band again.
695
00:44:16,963 --> 00:44:19,563
And, uh, my favorite track is "Yer Blues."
696
00:44:19,643 --> 00:44:22,803
Where we took everything into a room…
697
00:44:25,523 --> 00:44:27,163
not as big as this carpet.
698
00:44:28,763 --> 00:44:30,843
[Lennon] ♪ Yes, I'm lonely ♪
699
00:44:33,403 --> 00:44:35,203
♪ Wanna die ♪
700
00:44:38,043 --> 00:44:40,243
♪ Yes, I'm lonely ♪
701
00:44:40,323 --> 00:44:41,963
[Starr] We just, like, rocked it.
702
00:44:42,043 --> 00:44:46,963
We just, you know, turned into
this incredible, closest band.
703
00:44:47,043 --> 00:44:50,243
♪ If I ain't dead already ♪
704
00:44:50,323 --> 00:44:51,323
♪ Whoo ♪
705
00:44:52,323 --> 00:44:54,283
♪ Girl, you know the reason why ♪
706
00:44:57,443 --> 00:45:00,403
It's one of
the all-time great memories for me.
707
00:45:03,723 --> 00:45:05,403
[audience cheering, screaming]
708
00:45:05,483 --> 00:45:08,563
[Martin] Abbey Road was the album
I didn't think would ever be made.
709
00:45:09,443 --> 00:45:13,883
Because, prior to Abbey Road,
we had recorded an album called Let It Be.
710
00:45:15,203 --> 00:45:17,003
It was an unhappy record.
711
00:45:17,083 --> 00:45:20,083
I was losing control.
Uh, my voice wasn't heard.
712
00:45:20,163 --> 00:45:22,043
And I got very dispirited indeed.
713
00:45:22,603 --> 00:45:26,403
Let It Be fragmented
and distorted them as people,
714
00:45:26,483 --> 00:45:28,483
and they just abandoned it.
715
00:45:29,523 --> 00:45:32,363
And Paul McCartney phoned up Dad and said,
716
00:45:32,443 --> 00:45:35,203
"Listen, we wanna go back
and make a record like we did.
717
00:45:35,843 --> 00:45:37,523
And it'll be our last record."
718
00:45:37,603 --> 00:45:40,683
He said,
"Yeah, but none of the messing 'round."
719
00:45:41,243 --> 00:45:43,203
Said, "As long as you come in,
720
00:45:43,283 --> 00:45:47,003
and we make the album
like we used to make albums. Properly."
721
00:45:47,723 --> 00:45:52,323
So, I would just, you know,
write songs and then ring 'em up.
722
00:45:52,843 --> 00:45:56,083
And it was like,
"Hi, Ringo. How you doing?"
723
00:45:56,163 --> 00:45:58,963
-We knew it's Paul.
-[Mary chuckles]
724
00:46:00,003 --> 00:46:02,403
And Paul would call and say,
"Hey, all right, lads."
725
00:46:02,483 --> 00:46:05,843
"Um, what do you think about,
you know, making a new album?"
726
00:46:06,443 --> 00:46:07,923
"Should we go back in the studio?"
727
00:46:08,003 --> 00:46:09,003
"Oh."
728
00:46:09,523 --> 00:46:11,683
'Cause they were quite happy sunbathing.
729
00:46:11,763 --> 00:46:15,323
If it hadn't have been for him, we'd have
made, like, three albums. [laughs]
730
00:46:15,403 --> 00:46:17,323
Instead of eight. [laughs]
731
00:46:18,083 --> 00:46:23,723
So, we came back in here
and did the album that became Abbey Road.
732
00:46:23,803 --> 00:46:26,963
["Something" playing]
733
00:46:27,043 --> 00:46:28,123
[laughs]
734
00:46:28,203 --> 00:46:32,963
[Harrison]
♪ Something in the way she moves ♪
735
00:46:36,443 --> 00:46:40,443
♪ Attracts me like no other lover ♪
736
00:46:43,043 --> 00:46:48,043
♪ Something in the way she woos me ♪
737
00:46:50,363 --> 00:46:53,243
[McCartney] We were in one
of the studio's control rooms
738
00:46:53,323 --> 00:46:56,243
and starting to mix the album.
739
00:46:56,323 --> 00:46:58,283
And we were thinking,
"What are we gonna call it?"
740
00:46:58,363 --> 00:46:59,843
We didn't think Abbey Road.
741
00:46:59,923 --> 00:47:04,403
We thought, the next album, we've got to
go to, like, Egypt and the pyramids.
742
00:47:04,483 --> 00:47:08,003
Or we have to go to
some volcano in Hawaii.
743
00:47:08,083 --> 00:47:11,243
You know, we always had
these big conversations.
744
00:47:11,923 --> 00:47:14,963
And then we said, "Ah, sod it.
Let's just walk across the road."
745
00:47:15,043 --> 00:47:18,163
[McCartney] ♪ And in the end ♪
746
00:47:18,803 --> 00:47:21,483
♪ The love you take ♪
747
00:47:22,643 --> 00:47:26,963
♪ Is equal to the love ♪
748
00:47:28,523 --> 00:47:30,643
♪ You make ♪
749
00:47:31,283 --> 00:47:34,683
[McCartney] I drew a little picture
of a level crossing with four people.
750
00:47:35,723 --> 00:47:39,203
Now, you can't drive your car
along there without getting stuck.
751
00:47:48,523 --> 00:47:52,403
[Mary] The staff always referred to
EMI Studios as Abbey Road.
752
00:47:52,483 --> 00:47:53,963
But, after this album,
753
00:47:54,043 --> 00:47:59,123
Ken Townsend, the studio manager,
made it official and changed the name.
754
00:48:01,923 --> 00:48:04,763
Ken invested a huge part of his life
in Abbey Road,
755
00:48:05,563 --> 00:48:08,683
starting as a trainee engineer in 1950.
756
00:48:08,763 --> 00:48:13,763
And, eventually,
retiring as chairman in 1995.
757
00:48:14,843 --> 00:48:17,763
Abbey Road has always felt
like a family to me.
758
00:48:18,283 --> 00:48:21,643
I think it's because most of the staff
begin their careers here
759
00:48:21,723 --> 00:48:23,803
and are nurtured to work their way up.
760
00:48:24,923 --> 00:48:28,923
The technicians here
have always been top-notch.
761
00:48:29,523 --> 00:48:31,083
And it's their innovation
762
00:48:31,163 --> 00:48:35,163
that sees Abbey Road enjoy
the reputation it does today.
763
00:48:36,723 --> 00:48:39,443
[McCartney] They're very cool boffins
that work here.
764
00:48:39,523 --> 00:48:42,243
And they're artists
in their own right really.
765
00:48:43,123 --> 00:48:44,643
But we challenged them.
766
00:48:45,283 --> 00:48:48,443
I think it was intriguing for them.
767
00:48:48,523 --> 00:48:53,683
"Could we do that? We've never done
that before, but maybe if we did this."
768
00:48:53,763 --> 00:48:55,323
And, you know, they're boffins,
769
00:48:55,403 --> 00:48:57,883
so they're just, like,
trying to work out the enigma machine.
770
00:49:01,083 --> 00:49:04,243
[technician] When someone's got
a problem, they say, "Go and see Lester."
771
00:49:04,323 --> 00:49:05,803
[laughs]
772
00:49:05,883 --> 00:49:08,803
If someone wants a battery,
or a nut and bolt
773
00:49:08,883 --> 00:49:13,883
or a valve, or a anything,
"Uh, Lester's got some."
774
00:49:14,523 --> 00:49:16,483
[Mary]
What's that you're working on, Lester?
775
00:49:17,443 --> 00:49:21,963
Uh, a 1960s microphone
that's been dropped,
776
00:49:22,043 --> 00:49:26,043
and there's the broken parts
that I'm gluing together.
777
00:49:26,123 --> 00:49:29,403
-[Mary] Who dropped it?
-[Smith laughs] No one ever owns up.
778
00:49:29,483 --> 00:49:30,483
[laughing]
779
00:49:30,563 --> 00:49:33,443
[Giles] I mean, Abbey Road has
the best equipment in the world.
780
00:49:33,523 --> 00:49:36,843
Something like Dark Side Of the Moon
or Sgt. Pepper stood the test of time
781
00:49:36,923 --> 00:49:40,523
because they're great records, but they're
also technically brilliant, as well.
782
00:49:40,603 --> 00:49:41,883
And they don't sound old.
783
00:49:41,963 --> 00:49:42,963
And that's the key.
784
00:49:43,043 --> 00:49:46,803
["Interstellar Overdrive" playing]
785
00:49:59,243 --> 00:50:02,643
[Roger Waters] Syd's first idea for
the name for the band was "The Tea Set."
786
00:50:03,643 --> 00:50:07,123
We got a gig, and, um, they said,
"You can't be 'The Tea Set.'"
787
00:50:08,283 --> 00:50:10,603
"We've already got
a band called 'The Tea Set.'"
788
00:50:12,483 --> 00:50:15,643
And that's when Syd came up
with the name Pink Floyd.
789
00:50:25,363 --> 00:50:28,123
[Nick Mason]
We'd signed a deal, uh, with EMI.
790
00:50:28,843 --> 00:50:31,963
And that sort of brought us here.
791
00:50:32,043 --> 00:50:35,003
And we were in Studio Three,
792
00:50:35,083 --> 00:50:36,443
which is where we are now.
793
00:50:37,963 --> 00:50:39,963
And the Beatles were in Studio Two.
794
00:50:41,683 --> 00:50:44,523
And we were--
I won't say "granted an audience,"
795
00:50:44,603 --> 00:50:47,723
but there was an invitation to go
and sort of see what was going on.
796
00:50:48,723 --> 00:50:53,243
Yeah, it was very much a sense of we were
the new boys, and they were the prefects.
797
00:50:57,003 --> 00:51:00,723
[Waters] It's a sort of fascinating
kind of piece of history.
798
00:51:00,803 --> 00:51:04,203
Oh, my goodness. We were in Abbey Road
when they were making Sgt. Pepper
799
00:51:04,283 --> 00:51:06,283
and we were making our first album.
800
00:51:08,803 --> 00:51:10,683
And, um, it came out,
801
00:51:11,923 --> 00:51:16,483
and we were driving up to a gig somewhere
in the north of England in a Zephyr Six.
802
00:51:16,563 --> 00:51:22,363
And June Child, who was driving us,
pulled over into a lay-by.
803
00:51:22,443 --> 00:51:23,443
Ooh, and it was about--
804
00:51:23,523 --> 00:51:29,283
And we sat in a lay-by and listened, uh,
to Sgt. Pepper, and I was just…
805
00:51:30,363 --> 00:51:34,163
"**** me.
This is an amazing piece of work."
806
00:51:34,243 --> 00:51:36,923
And it was. And it is, obviously.
807
00:51:38,203 --> 00:51:45,123
And I believe it freed a whole generation
of young Englishmen and women
808
00:51:45,203 --> 00:51:49,123
to be given permission to write songs
about real things.
809
00:51:49,203 --> 00:51:55,643
And having the courage
to accept your feelings.
810
00:51:55,723 --> 00:51:58,523
[acoustic guitar playing]
811
00:52:07,003 --> 00:52:11,083
[David Gilmour] Uh, I became a member
of Pink Floyd because, um, Syd Barrett,
812
00:52:11,163 --> 00:52:16,043
my predecessor and my friend,
um, had lost his marbles.
813
00:52:16,123 --> 00:52:17,843
Not to put too fine a point on it.
814
00:52:21,083 --> 00:52:23,443
It was his band. He had basically, um--
815
00:52:23,523 --> 00:52:27,363
I mean, he didn't start it,
but he was the very obvious talent.
816
00:52:27,443 --> 00:52:32,763
I mean, he was a poet and a painter
and a very talented guy.
817
00:52:32,843 --> 00:52:36,323
And, um, he was two to three years younger
than all the others,
818
00:52:36,403 --> 00:52:40,563
but he was definitely in charge
in his brief tenure.
819
00:52:44,963 --> 00:52:48,843
[Waters] And, uh, and when he went,
he went so fast.
820
00:52:49,603 --> 00:52:52,483
And so completely and utterly gone,
you know?
821
00:52:52,563 --> 00:52:53,883
And never came back.
822
00:52:55,243 --> 00:52:56,323
It was, um…
823
00:52:57,963 --> 00:53:01,843
It was deeply, deeply,
deeply shocking, and still is.
824
00:53:19,643 --> 00:53:22,483
The great thing about Abbey Road
in those days,
825
00:53:22,563 --> 00:53:26,203
was that they were
all the same people working there
826
00:53:26,283 --> 00:53:27,843
when we made that first record,
827
00:53:27,923 --> 00:53:31,323
as were still working there when
we made Dark Side of the Moon.
828
00:53:31,403 --> 00:53:35,043
Which was, like, six years later
or something like that.
829
00:53:35,123 --> 00:53:38,803
♪ Got to keep the loonies on the path ♪
830
00:53:42,283 --> 00:53:46,083
♪ The lunatic is in the hall ♪
831
00:53:49,763 --> 00:53:51,843
[Gilmour] There are many things
that make it very, very good.
832
00:53:51,923 --> 00:53:53,723
The lyrics are very, very good,
833
00:53:53,803 --> 00:53:56,963
and Roger's concept and lyrics,
you know, was…
834
00:53:57,923 --> 00:54:02,403
Yeah, I think he had taken
a step forward in, um, his abilities.
835
00:54:03,083 --> 00:54:04,163
So…
836
00:54:04,243 --> 00:54:05,843
And all those things together
837
00:54:07,083 --> 00:54:11,763
tie up into something that's, um,
yeah, has obviously worked. [chuckles]
838
00:54:16,763 --> 00:54:17,603
And the struggle…
839
00:54:17,683 --> 00:54:18,843
[sound engineer] Feedback jump.
840
00:54:18,923 --> 00:54:20,043
[Gilmour] …was part of, um…
841
00:54:20,123 --> 00:54:21,523
Don't worry about that.
842
00:54:21,603 --> 00:54:23,563
…what made it interesting.
843
00:54:23,643 --> 00:54:25,283
And what made it work.
844
00:54:25,363 --> 00:54:26,443
Right.
845
00:54:27,523 --> 00:54:29,483
Where would rock and roll be
without feedback?
846
00:54:29,563 --> 00:54:31,923
-[tape machine plays]
-♪ …away the key ♪
847
00:54:32,683 --> 00:54:33,883
♪ And there's someone… ♪
848
00:54:33,963 --> 00:54:37,043
[Gilmour] There are nostalgic,
um, moments of thinking,
849
00:54:37,123 --> 00:54:40,683
"God, you know,
some of those fights were really ugly,"
850
00:54:40,763 --> 00:54:43,683
but, you know,
you were still back at it the next day.
851
00:54:43,763 --> 00:54:47,763
And the fights were about getting
the very, very best
852
00:54:47,843 --> 00:54:51,323
and, um, having disagreements
about how that could be achieved.
853
00:54:51,403 --> 00:54:53,563
Could you get me a fruit pie and cream?
854
00:54:53,643 --> 00:54:55,843
[person] I don't know.
I was really drunk at the time.
855
00:54:57,363 --> 00:55:00,683
[Waters] Dave always wanted the voices
to be so you couldn't hear them.
856
00:55:00,763 --> 00:55:03,763
And I'd go,
"Well, no. No, you gotta be a--
857
00:55:03,843 --> 00:55:06,163
If you can't hear it,
what's the point of it?" [mumbles]
858
00:55:06,243 --> 00:55:08,923
So it was like that. It was just… [groans]
859
00:55:12,483 --> 00:55:14,003
[Gilmour] We were young and arrogant
860
00:55:14,083 --> 00:55:17,883
and thought we knew exactly what we want
to do and how we wanted to do it.
861
00:55:17,963 --> 00:55:20,643
And wouldn't listen to good advice
half the time.
862
00:55:20,723 --> 00:55:24,163
-[piano playing]
-[Gilmour on recording] So that's the one.
863
00:55:24,243 --> 00:55:25,923
[Gilmour]
Suspect there's things you have to do.
864
00:55:26,003 --> 00:55:30,083
You have to have a lot of self-belief,
and you could call it arrogance.
865
00:55:30,163 --> 00:55:33,163
["Us and Them" playing]
866
00:55:36,123 --> 00:55:38,323
[Waters]
I think it's a really good record.
867
00:55:38,403 --> 00:55:40,963
I think it's really well crafted.
868
00:55:41,523 --> 00:55:46,003
And of course, you know,
Rick contributed "Great Gig in the Sky."
869
00:55:46,523 --> 00:55:48,523
And let's not forget "Us and Them."
870
00:55:50,243 --> 00:55:51,403
And it's a great song.
871
00:55:51,483 --> 00:55:55,483
I'm so glad that I have that collaboration
with Rick from those days.
872
00:55:55,563 --> 00:55:58,723
'Cause he-- You know,
he had something very special.
873
00:55:59,603 --> 00:56:00,683
[Gilmour] ♪ Us ♪
874
00:56:05,323 --> 00:56:07,123
♪ And them ♪
875
00:56:08,003 --> 00:56:12,003
[Gilmour] When you're making an album,
you record everything separately.
876
00:56:12,763 --> 00:56:18,803
So, you've never listened to the whole
of what you're doing until it's all done.
877
00:56:21,203 --> 00:56:25,203
And then press the play button, then you
sit there and listen to a whole album.
878
00:56:27,043 --> 00:56:29,843
Um, it's absolutely magical.
879
00:56:29,923 --> 00:56:33,963
It was the--
I mean, the best time I ever heard it.
880
00:56:34,563 --> 00:56:36,963
I took it home, okay?
881
00:56:37,043 --> 00:56:40,043
And I played it to Judy,
who was my first wife.
882
00:56:41,363 --> 00:56:42,683
And when it finished,
883
00:56:44,443 --> 00:56:46,523
I turned to say, "What do you think?"
Like that.
884
00:56:46,603 --> 00:56:48,203
And she was sitting there crying.
885
00:56:49,003 --> 00:56:54,043
And I feel quite emotional now because
I thought, "**** me. We've cracked it.
886
00:56:54,123 --> 00:56:55,163
Look at that."
887
00:56:55,723 --> 00:56:56,723
[inhales sharply]
888
00:56:56,803 --> 00:56:58,883
That is very special.
889
00:56:58,963 --> 00:57:00,963
["Eclipse" playing]
890
00:57:08,923 --> 00:57:13,923
[Waters] We achieved something
in Pink Floyd with that record.
891
00:57:14,003 --> 00:57:16,923
And we could well have gone…
[scoffs] …"We're done."
892
00:57:17,003 --> 00:57:18,163
Like the Beatles did.
893
00:57:18,763 --> 00:57:21,763
But we didn't.
We were too frightened to do that.
894
00:57:21,843 --> 00:57:25,243
And, in a way,
I'm kind of glad that we did struggle on.
895
00:57:26,123 --> 00:57:28,923
Um,
because we did some good work after that.
896
00:57:29,003 --> 00:57:30,923
You know, there's Wish You Were Here
and Animals
897
00:57:31,003 --> 00:57:32,603
and The Wall and The Final Cut.
898
00:57:32,683 --> 00:57:34,963
We made those four albums together.
899
00:57:35,603 --> 00:57:41,003
And they're a pretty solid,
you know, block of work.
900
00:57:41,963 --> 00:57:44,043
♪ And all you create ♪
901
00:57:44,603 --> 00:57:46,443
♪ And all you destroy ♪
902
00:57:46,523 --> 00:57:49,083
-♪ Whoa ♪
-♪ And all that you do ♪
903
00:57:50,803 --> 00:57:52,163
[Gilmour] Well, it's--
904
00:57:52,243 --> 00:57:56,803
How can one not be extremely pleased
to have been so fortunate as
905
00:57:56,883 --> 00:58:02,803
to have had something that has clicked
with, uh, the world's music listeners
906
00:58:03,403 --> 00:58:06,243
so deeply and for so long
907
00:58:06,323 --> 00:58:10,723
over all these, um,
nearly 50 years since it came out?
908
00:58:10,803 --> 00:58:12,123
It just seems, um…
909
00:58:13,443 --> 00:58:18,443
It just seems quite extraordinary to me
that that is-- can be done.
910
00:58:24,843 --> 00:58:26,843
[music ends]
911
00:58:26,923 --> 00:58:30,123
[singer scatting]
912
00:58:30,643 --> 00:58:33,163
["Alu Jon Jonki Jon" playing]
913
00:58:38,723 --> 00:58:43,443
[producer] The first time I met Fela
was here in Studio Three.
914
00:58:44,563 --> 00:58:46,643
He was an obvious leader. You knew that.
915
00:58:46,723 --> 00:58:49,403
You meet some people,
they have that charisma about them,
916
00:58:49,483 --> 00:58:52,723
so you know that they're
a strong personality.
917
00:58:52,803 --> 00:58:54,483
But he was absolutely charming.
918
00:58:54,563 --> 00:58:57,363
The minute he walked into the studio
with the musicians,
919
00:58:58,083 --> 00:58:59,603
he became a different person.
920
00:58:59,683 --> 00:59:03,723
He became this magical music man.
921
00:59:03,803 --> 00:59:04,803
[Fela Kuti on recording] Jeff.
922
00:59:04,883 --> 00:59:06,643
-[Jarratt] Yeah?
-[Kuti] I want to take--
923
00:59:06,723 --> 00:59:08,763
-[Jarratt] We'll take it, uh, Fela.
-[Kuti] You take it.
924
00:59:08,843 --> 00:59:11,203
[Jarratt] So that was
on the first day of recording.
925
00:59:11,283 --> 00:59:14,483
Oh, I think we recorded pretty much
a whole album on that first session.
926
00:59:14,563 --> 00:59:16,523
[Jarratt on recording]
When the light's on. Here we go.
927
00:59:16,603 --> 00:59:19,723
[Kuti] One, two, three, four.
928
00:59:20,243 --> 00:59:21,683
["Eko Ile" playing]
929
00:59:21,763 --> 00:59:22,763
[Kuti scatting]
930
00:59:27,003 --> 00:59:28,243
[scatting continues]
931
00:59:28,323 --> 00:59:29,763
[song stops]
932
00:59:29,843 --> 00:59:32,963
-[Kuti] No. I'm tired. Let's play back.
-[Jarratt] That's fine for me though.
933
00:59:33,043 --> 00:59:35,643
[Afrobeat song playing]
934
00:59:43,603 --> 00:59:47,643
I was born in 1936,
and I joined Fela's band
935
00:59:47,723 --> 00:59:50,203
1965, February.
936
00:59:52,563 --> 00:59:55,563
My role was to play
the baritone saxophone.
937
00:59:59,923 --> 01:00:04,723
At that time, his recording company
wanted him to record in Nigeria,
938
01:00:04,803 --> 01:00:08,243
but the studios were not very good.
939
01:00:10,723 --> 01:00:14,963
So Fela was the very reason why we went
940
01:00:15,043 --> 01:00:18,683
to Abbey Road Studios in London.
941
01:00:19,923 --> 01:00:23,243
Because he insisted on recording
942
01:00:24,123 --> 01:00:26,763
in a standout studio.
943
01:00:30,883 --> 01:00:37,283
[Jarratt] On the second time that we were
in the studios, Ginger Baker came along.
944
01:00:38,323 --> 01:00:44,763
And we had arranged to record
that particular album live that night.
945
01:00:44,843 --> 01:00:46,403
[Kuti] I'd like you to meet Ginger Baker!
946
01:00:46,483 --> 01:00:48,003
Everybody, big hand. Come on, everybody.
947
01:00:49,043 --> 01:00:51,483
[Ani] People already knew we were coming.
948
01:00:51,563 --> 01:00:54,603
Fela himself, he had friends.
949
01:00:54,683 --> 01:00:59,283
And of course some of us
had our friends over there,
950
01:00:59,363 --> 01:01:02,843
and so the news spread like a wildfire.
951
01:01:02,923 --> 01:01:03,963
"Fela is in town!
952
01:01:04,043 --> 01:01:06,003
-Fela is in town with his band."
-[Kuti] Yeah.
953
01:01:07,043 --> 01:01:09,083
Don't worry now.
That's enough. That's enough.
954
01:01:09,163 --> 01:01:12,003
The record is moving.
The record is moving. Now, let's start.
955
01:01:12,083 --> 01:01:14,123
[scatting]
956
01:01:14,203 --> 01:01:16,483
One, two, three, four.
957
01:01:16,563 --> 01:01:18,763
-["Ye Ye De Smell" playing]
-[scatting continues]
958
01:01:26,483 --> 01:01:29,083
[Ani] We had the late Tony Allen.
959
01:01:29,603 --> 01:01:31,203
Allen was on drums.
960
01:01:31,283 --> 01:01:35,243
And then we had Ginger Baker on drums too.
961
01:01:36,643 --> 01:01:37,643
Before we left,
962
01:01:37,723 --> 01:01:42,003
we had already rehearsed the songs
that we were going to record.
963
01:01:42,883 --> 01:01:44,403
Very, very important,
964
01:01:44,923 --> 01:01:49,123
because by the time you decided
to go to the studio,
965
01:01:49,723 --> 01:01:52,963
the whole sound is in everybody's body.
966
01:01:53,043 --> 01:01:54,963
[song continues]
967
01:02:21,523 --> 01:02:22,603
[song ends]
968
01:02:22,683 --> 01:02:28,323
It was received worldwide,
not only in Africa or Nigeria.
969
01:02:29,043 --> 01:02:30,403
All over the world.
970
01:02:30,483 --> 01:02:35,043
And today you can-- you can testify to
the fact that Fela is everywhere.
971
01:02:35,123 --> 01:02:37,123
[crowd cheering, whistling]
972
01:02:39,643 --> 01:02:40,683
[Kuti] Yeah.
973
01:02:44,363 --> 01:02:48,283
[television host] Here, what's the
difference between EMI and the Titanic?
974
01:02:48,363 --> 01:02:50,443
At least the Titanic had a good band.
975
01:02:56,563 --> 01:03:00,483
[news broadcaster] 1979 has been
a year of despair for the record industry.
976
01:03:00,563 --> 01:03:04,883
Profits have plummeted and the '60s bands
just aren't selling records anymore.
977
01:03:17,363 --> 01:03:20,443
[studio manager]
I started in, uh, May 1979.
978
01:03:21,403 --> 01:03:23,243
There was lots of smaller studios
springing up
979
01:03:23,323 --> 01:03:24,843
all over the place at that time.
980
01:03:24,923 --> 01:03:28,883
And, you know, in fairness we were--
we were more expensive.
981
01:03:30,483 --> 01:03:34,283
[McCartney] I'd get phone calls
from Ken Townsend who had run the studio.
982
01:03:34,363 --> 01:03:38,603
And he'd say, "Oh, you know, another
group has taken over the ownership,
983
01:03:38,683 --> 01:03:42,123
and they've come in and they brought in
accountants who are saying,
984
01:03:42,203 --> 01:03:44,603
'Do we need all this rubbish?
What is this?
985
01:03:44,683 --> 01:03:46,283
Get rid of this! Sell it all.'"
986
01:03:46,923 --> 01:03:48,323
And he said, "Would you take it?
987
01:03:48,403 --> 01:03:52,203
You know, 'cause I wanna see it's got
a good home. Someone who cares about it."
988
01:03:52,283 --> 01:03:54,563
So I took a lot of that equipment.
989
01:03:54,643 --> 01:03:59,523
This is what happened. 1980.
We had so much stuff.
990
01:04:00,443 --> 01:04:03,923
We had a two-day sale.
A Saturday and a Sunday.
991
01:04:04,003 --> 01:04:05,963
[Barber] Everything was
about Abbey Road for Ken.
992
01:04:06,043 --> 01:04:10,763
It was for the good of Abbey Road.
And he-- he fought as hard as he could.
993
01:04:10,843 --> 01:04:14,003
Because sometimes we weren't quite as busy
as we should've been.
994
01:04:17,243 --> 01:04:20,883
[Smith] Number One stayed empty
for month after month.
995
01:04:20,963 --> 01:04:25,883
We laid out white sticky tape, uh,
for our badminton area,
996
01:04:26,483 --> 01:04:28,883
and we used to go in there
every lunchtime.
997
01:04:28,963 --> 01:04:30,363
[sneakers squeaking]
998
01:04:34,083 --> 01:04:36,203
[Barber] There was all sorts of rumors
going around
999
01:04:36,283 --> 01:04:40,323
that we might change
it into a lot of smaller size rooms.
1000
01:04:40,403 --> 01:04:43,203
And I think there was even talk
about turning it into a car park.
1001
01:04:43,283 --> 01:04:45,203
But, I mean,
I always thought that was ridiculous.
1002
01:04:45,283 --> 01:04:47,123
But then somebody said they saw the plans.
1003
01:04:48,283 --> 01:04:50,123
So yes, something had to be done.
1004
01:04:50,203 --> 01:04:52,283
We needed to move into another area.
1005
01:04:52,363 --> 01:04:54,363
[Indiana Jones theme song playing]
1006
01:04:57,003 --> 01:04:58,003
[horse neighs]
1007
01:04:58,083 --> 01:04:59,083
[shouts]
1008
01:05:04,683 --> 01:05:09,043
Our arrival at Abbey Road was--
was a happy thing.
1009
01:05:09,123 --> 01:05:12,083
We had a wonderful movie.
Harrison Ford was fabulous.
1010
01:05:12,163 --> 01:05:16,523
Everyone was in a great mood.
I just remember playing that silly march
1011
01:05:16,603 --> 01:05:19,843
and having the trumpets blow the roof
off the place and it was great fun.
1012
01:05:22,363 --> 01:05:25,083
[crowd clamoring]
1013
01:05:26,283 --> 01:05:29,363
[Barber] There was a big scoring stage
down in Denham.
1014
01:05:29,443 --> 01:05:31,723
And we heard that that was closing down,
1015
01:05:31,803 --> 01:05:36,563
and I think Ken approached them about
maybe bringing their operation down to us.
1016
01:05:37,403 --> 01:05:39,123
We had to buy the projectors.
1017
01:05:39,203 --> 01:05:41,763
We had a 35 mil projector in Studio One
1018
01:05:41,843 --> 01:05:45,563
and an eight-foot screen in Studio One,
as well.
1019
01:05:45,643 --> 01:05:48,523
It was another means of income
for Abbey Road.
1020
01:05:48,603 --> 01:05:51,123
And we needed it to be able to survive.
1021
01:05:54,323 --> 01:05:56,203
[Williams] We all loved London.
1022
01:05:56,723 --> 01:05:59,443
An American group coming,
and we were so happy to be there.
1023
01:05:59,523 --> 01:06:01,203
We loved it so much.
1024
01:06:01,283 --> 01:06:05,203
The whole atmosphere of the studio
was so different.
1025
01:06:05,843 --> 01:06:08,243
Abbey Road was sort of younger
and lighter,
1026
01:06:08,323 --> 01:06:09,803
and we just had a great time.
1027
01:06:10,363 --> 01:06:13,603
And then the film came out,
and the audience loved it.
1028
01:06:13,683 --> 01:06:16,723
So things were right. Things were working.
1029
01:06:17,403 --> 01:06:20,403
And there wasn't any question
that we would come back to Abbey Road.
1030
01:06:20,483 --> 01:06:23,843
Always knew someday
you'd come walking back through my door.
1031
01:06:23,923 --> 01:06:27,443
John Williams and George Lucas
came back to do Return of the Jedi
1032
01:06:27,523 --> 01:06:29,603
which was, again, pretty amazing.
1033
01:06:29,683 --> 01:06:33,363
Part of the Star Wars franchise.
I mean, who doesn't want to do Star Wars?
1034
01:06:33,443 --> 01:06:34,523
[crowd clamoring]
1035
01:06:36,483 --> 01:06:37,363
[grunts]
1036
01:06:41,603 --> 01:06:43,763
[shouting]
1037
01:06:43,843 --> 01:06:45,523
[screaming]
1038
01:06:45,603 --> 01:06:49,043
[Williams] I first began to work
on the score for Star Wars.
1039
01:06:49,123 --> 01:06:51,443
It emerged more and more every day
as I wrote more
1040
01:06:51,523 --> 01:06:53,363
that this score needs
a symphony orchestra.
1041
01:06:53,443 --> 01:06:57,083
It can't just be a pickup band
of some certain amount of players.
1042
01:06:58,123 --> 01:07:01,003
And our music director at Fox Studios
said to her,
1043
01:07:01,083 --> 01:07:04,043
"Why don't you hire a symphony orchestra
in London?"
1044
01:07:04,123 --> 01:07:05,723
And I said, "Well, great. Let's do it.
1045
01:07:05,803 --> 01:07:08,243
We'll try it with the London Symphony
Orchestra." Which we did.
1046
01:07:09,563 --> 01:07:12,723
And that was thrilling for me.
I said at the time and I say it now,
1047
01:07:12,803 --> 01:07:14,683
it's kind of like driving a Rolls,
you know?
1048
01:07:14,763 --> 01:07:17,803
You think, "Oh, whoopee, this is--
Wow, what a-- what a sound.
1049
01:07:17,883 --> 01:07:20,683
What perfection.
What balance, you know? What sonority."
1050
01:07:25,403 --> 01:07:32,003
The real thrill was going to Abbey Road,
hearing it with a full orchestra.
1051
01:07:32,083 --> 01:07:34,883
'Cause they would run through it
once just to play it,
1052
01:07:34,963 --> 01:07:37,123
to see how-- where they were.
1053
01:07:37,203 --> 01:07:39,403
[sound engineer] 6-M-7 new. Take 106.
1054
01:07:39,483 --> 01:07:41,603
It was amazing. You know, it was like…
1055
01:07:41,683 --> 01:07:43,443
Suddenly, it was like
opening a Christmas present.
1056
01:07:44,683 --> 01:07:46,763
[choir vocalizes]
1057
01:08:05,883 --> 01:08:10,123
[Williams] We went to Abbey Road because
it was available and it could do the work,
1058
01:08:10,203 --> 01:08:13,803
and we stayed there and wanted to
come back because it did it so well.
1059
01:08:14,883 --> 01:08:18,843
There's no reason to think that we'd ever
wanna go anywhere else to this day.
1060
01:08:18,923 --> 01:08:20,163
[Lucas] Perfect.
1061
01:08:20,243 --> 01:08:22,003
-[Williams] And, uh--
-Just-- Just what it needed.
1062
01:08:22,083 --> 01:08:23,083
-[Williams] Good.
-It took…
1063
01:08:23,163 --> 01:08:26,603
[Lucas] The recording session was
the most fun part. Especially with Johnny.
1064
01:08:26,683 --> 01:08:29,083
And it was like a second home.
1065
01:08:30,203 --> 01:08:32,363
You know, you'd go in
and you'd go to the canteen,
1066
01:08:32,443 --> 01:08:33,803
they had pictures on the walls.
1067
01:08:33,883 --> 01:08:37,363
And you did spend
eight to ten hours a day there.
1068
01:08:38,083 --> 01:08:41,083
So it's an important space to be in
that's comfortable.
1069
01:08:41,163 --> 01:08:43,603
Well, the canteen is
a particularly British thing, you know?
1070
01:08:43,683 --> 01:08:44,923
We don't have that.
1071
01:08:45,003 --> 01:08:49,523
Well, we have studio commissaries,
uh, but they don't serve alcohol.
1072
01:08:49,603 --> 01:08:54,563
It didn't seem to extend the length
of the intermissions that I noticed.
1073
01:08:54,643 --> 01:08:58,003
And everyone came back from lunch
maybe a little more relaxed.
1074
01:08:58,083 --> 01:08:59,323
Which was good.
1075
01:08:59,403 --> 01:09:01,403
[laughing]
1076
01:09:01,483 --> 01:09:03,163
-[chattering]
-Ah!
1077
01:09:03,243 --> 01:09:04,323
This piece is beautiful.
1078
01:09:04,403 --> 01:09:06,003
-Does it work all right?
-Yeah, it works great.
1079
01:09:06,923 --> 01:09:08,123
That's a key scene there.
1080
01:09:10,963 --> 01:09:14,443
[Williams] Abbey Road is
very, very special. Very individual.
1081
01:09:16,163 --> 01:09:20,443
The room has a sound.
It makes a noise that is its own.
1082
01:09:22,083 --> 01:09:25,723
It didn't seem perfect by size
and configuration. Seemed too small.
1083
01:09:27,843 --> 01:09:29,923
It's a little-- little bit of a shoebox.
1084
01:09:30,003 --> 01:09:35,403
You know, whereas the old shooting stages,
something like we had in Hollywood,
1085
01:09:35,483 --> 01:09:37,483
have a huge amount of volume.
1086
01:09:37,563 --> 01:09:40,763
So it's a--
a very long echo and a beautiful bloom,
1087
01:09:41,643 --> 01:09:46,203
which can detract from the articulation
and specific instruments.
1088
01:09:53,243 --> 01:09:57,803
Abbey Road seemed perfect.
It was dry enough. Not too reverberant.
1089
01:09:57,883 --> 01:10:01,523
And-- And-- And not so dry
that it didn't have a nice bloom about it.
1090
01:10:01,603 --> 01:10:03,843
It has a nice face, a nice sound.
1091
01:10:03,923 --> 01:10:06,163
Okay, Shawn. We can take, please.
1092
01:10:06,243 --> 01:10:08,923
[Williams] Ideal, really,
for that size orchestra
1093
01:10:09,003 --> 01:10:10,483
and that kind of work.
1094
01:10:11,203 --> 01:10:13,163
It's a gift to music, I have to tell you.
1095
01:10:27,723 --> 01:10:29,563
And I haven't gone around
and tapped the walls,
1096
01:10:29,643 --> 01:10:31,763
but whatever they are, they're right.
1097
01:10:31,843 --> 01:10:33,643
I don't believe
there's another studio in London
1098
01:10:33,723 --> 01:10:36,323
that's anything close with it,
that I know of.
1099
01:10:36,403 --> 01:10:38,043
Or perhaps in the world.
1100
01:10:42,883 --> 01:10:44,043
Bravo. Intermission.
1101
01:10:44,123 --> 01:10:46,123
[chattering]
1102
01:11:01,043 --> 01:11:03,803
[Noel Gallagher]
We started Be Here Now here in '97.
1103
01:11:03,883 --> 01:11:07,963
In-- In '97, we were a bit boisterous
and we were asked to leave.
1104
01:11:08,443 --> 01:11:09,523
Uh...
1105
01:11:10,123 --> 01:11:13,443
Which we were quite proud of at the time.
Getting kicked out of Abbey Road is--
1106
01:11:13,523 --> 01:11:15,203
The Stones
never got kicked out of anywhere.
1107
01:11:15,283 --> 01:11:17,403
Well, I may remember
having a party here one night.
1108
01:11:17,483 --> 01:11:20,203
I mean, there was talk of us getting
kicked out of here. That never happened.
1109
01:11:20,283 --> 01:11:21,563
I don't think.
1110
01:11:21,643 --> 01:11:25,803
And we smashed it all up.
Whoever come in here and smash things up
1111
01:11:25,883 --> 01:11:27,643
needs smashing up themselves.
You know what I mean?
1112
01:11:27,723 --> 01:11:29,523
That would never have happened.
You know what I mean?
1113
01:11:29,603 --> 01:11:34,083
Oh, the reason we got asked to leave was
1114
01:11:34,923 --> 01:11:38,203
we were in here one night and we--
all the lights were off,
1115
01:11:38,283 --> 01:11:41,843
and we played all the Beatles albums
back-to-back in the dark,
1116
01:11:42,603 --> 01:11:44,123
at excruciating volume.
1117
01:11:44,203 --> 01:11:46,363
And I think
one of the things got blown up.
1118
01:11:46,443 --> 01:11:50,363
["Yer Blues" playing, distorted]
1119
01:11:50,443 --> 01:11:52,443
[Liam Gallagher]
I remember us staying here one night late
1120
01:11:52,523 --> 01:11:54,803
and we were all just, like,
sort of just spaced out,
1121
01:11:54,883 --> 01:11:57,283
like, just in corners just, like,
having a little drink,
1122
01:11:57,363 --> 01:12:00,763
listening to Rubber Soul and Pepper,
and all that stuff and…
1123
01:12:00,843 --> 01:12:02,603
That's about as mad as it got.
You know what I mean?
1124
01:12:04,443 --> 01:12:07,843
When we did our last record, uh, together,
so we did the entire thing here.
1125
01:12:10,363 --> 01:12:14,043
The second time they came in,
we were a bit more prepared for them,
1126
01:12:14,123 --> 01:12:16,883
and we set up a kind of cozy area
in the studio for them.
1127
01:12:17,963 --> 01:12:20,963
Put settees in,
so if they wanted to relax and things.
1128
01:12:22,843 --> 01:12:26,843
[chuckles] I remember going downstairs
and it was about 9:00 in the morning,
1129
01:12:26,923 --> 01:12:30,163
and Liam appeared
all dressed up with this really nice hat.
1130
01:12:31,003 --> 01:12:33,283
And, um, I said,
"Oh! Hello. You're here early.
1131
01:12:33,363 --> 01:12:35,763
We weren't expecting you, you know,
quite as early as this."
1132
01:12:35,843 --> 01:12:38,803
And he goes, "I've been up for ages
trying to decide what to wear
1133
01:12:38,883 --> 01:12:40,563
for my first day at Abbey Road."
1134
01:12:40,643 --> 01:12:42,843
♪ I'm back in the fire ♪
1135
01:12:42,923 --> 01:12:45,843
♪ Out of control
But I'm tied up tight ♪
1136
01:12:45,923 --> 01:12:48,923
♪ Come in
Come out tonight ♪
1137
01:12:49,003 --> 01:12:51,483
[Liam Gallagher] I'd be the first in here
and I'd be the last one out.
1138
01:12:51,563 --> 01:12:53,563
You got to feel it, haven't you?
You know what I mean?
1139
01:12:53,643 --> 01:12:55,363
You got-- You can't just pop in and…
1140
01:12:55,963 --> 01:12:58,363
You know, like,
"Give us a shout when-- when I'm needed."
1141
01:12:58,443 --> 01:12:59,843
I can't have that. You know what I mean?
1142
01:12:59,923 --> 01:13:05,043
You gotta let it all seep into your veins.
You know what I mean?
1143
01:13:05,123 --> 01:13:06,563
And your soul and that, I think.
1144
01:13:08,243 --> 01:13:11,443
No, it was like going to church, innit?
Coming to Abbey Road.
1145
01:13:11,523 --> 01:13:13,163
I think that might've been the end of it.
1146
01:13:13,243 --> 01:13:16,763
I think that was the last record, sort of.
Dig Out Your Soul.
1147
01:13:23,363 --> 01:13:25,363
[song ends]
1148
01:13:25,443 --> 01:13:30,523
You know, a-- a huge, massive part of my
record collection was made in this room.
1149
01:13:31,163 --> 01:13:33,563
My musical language was born in this room.
1150
01:13:33,643 --> 01:13:35,523
My hairstyle was born in this room.
1151
01:13:36,643 --> 01:13:40,123
There was no bigger Beatles fans than us
than maybe the Beatles themselves.
1152
01:13:44,203 --> 01:13:49,523
It must've been such a privilege to be
in your 20s in the '60s.
1153
01:13:49,603 --> 01:13:52,523
You know, it starts with the Beatles,
and then The Stones appear,
1154
01:13:52,603 --> 01:13:54,323
and then The Who,
and then The Kinks and all that.
1155
01:13:54,403 --> 01:13:55,883
I mean, what a time to be alive, you know?
1156
01:13:55,963 --> 01:13:57,443
That's drugs for you, innit?
1157
01:13:58,923 --> 01:14:00,003
Do you know what I mean?
1158
01:14:00,083 --> 01:14:03,603
Or maybe not. All this whatever--
the swinging-- Whatever it was.
1159
01:14:03,683 --> 01:14:09,203
It was like it all went a bit from the war
period and all that to just like a bit of…
1160
01:14:09,283 --> 01:14:12,323
You know, people will call it drugs,
people will call it this and that.
1161
01:14:12,403 --> 01:14:14,683
People will call it the miniskirt,
people will call it everything,
1162
01:14:14,763 --> 01:14:16,723
but you could just see everyone
just seem to go.
1163
01:14:16,803 --> 01:14:18,443
Let their hair down a little bit.
1164
01:14:20,563 --> 01:14:24,963
[Noel Gallagher] Subsequent generations
tend to look back a bit more.
1165
01:14:25,043 --> 01:14:28,923
Whereas that generation
that came out of the horrors of the war,
1166
01:14:29,003 --> 01:14:31,083
there was nothing to be nostalgic about.
1167
01:14:32,603 --> 01:14:35,323
Rationing and the Blitz. No, thanks.
1168
01:14:35,403 --> 01:14:37,043
So they were forward-looking.
1169
01:14:37,123 --> 01:14:38,163
And God bless them, you know,
1170
01:14:38,243 --> 01:14:42,883
because they gave us some of
the greatest musical art of all time.
1171
01:14:43,403 --> 01:14:45,403
[birds chirping]
1172
01:14:55,763 --> 01:14:58,403
[Nile Rodgers] Abbey Road is
just not a studio of the past.
1173
01:14:59,123 --> 01:15:01,283
But it is certainly
a studio of the future.
1174
01:15:05,203 --> 01:15:07,643
[sighs] Maybe it's just because
I'm old school
1175
01:15:07,723 --> 01:15:12,843
and because I love what Abbey Road
represents in my life, I wanna share that.
1176
01:15:12,923 --> 01:15:18,683
Because people taught me music
by sharing with me
1177
01:15:18,763 --> 01:15:21,763
what other music had meant in their life.
1178
01:15:21,843 --> 01:15:23,843
-[student] Elyse.
-Hey! Oh, that's how you pronounce it.
1179
01:15:23,923 --> 01:15:25,043
[student] Yes.
1180
01:15:25,123 --> 01:15:30,683
[Rodgers] So many massive
rock-and-roll records were made here.
1181
01:15:31,483 --> 01:15:36,283
Uh, people don't believe
that it was just done by accident.
1182
01:15:36,363 --> 01:15:39,043
[funk music playing on speaker]
1183
01:15:39,763 --> 01:15:43,963
They think that there is
some magical thing in Abbey Road.
1184
01:15:44,043 --> 01:15:48,843
The truth of the matter is I feel like
that magical thing exists in the artist.
1185
01:15:50,963 --> 01:15:53,843
But artists are superstitious.
1186
01:15:55,763 --> 01:15:59,163
And Abbey Road in a strange way,
as soon as we walk in,
1187
01:15:59,963 --> 01:16:06,843
a lot of that bonding that needs
to take place between artists and producer
1188
01:16:06,923 --> 01:16:09,123
happens almost instantly.
1189
01:16:09,203 --> 01:16:10,283
[both vocalizing]
1190
01:16:12,443 --> 01:16:19,283
So, I find that Abbey Road is
the great leveler in our relationship.
1191
01:16:19,923 --> 01:16:24,283
♪ Sunlight, new life
Made my head right ♪
1192
01:16:24,363 --> 01:16:25,883
[musician]
It doesn't matter what your, like,
1193
01:16:25,963 --> 01:16:27,803
-taste in music is or--
-Different passions.
1194
01:16:27,883 --> 01:16:29,843
Yeah. Or what your passions are.
1195
01:16:29,923 --> 01:16:35,203
They do lie on like-- in the walls
and on the desks and everything here.
1196
01:16:35,283 --> 01:16:40,843
So it's like coming is-- It's almost like
being able to smell the inspiration.
1197
01:16:40,923 --> 01:16:43,283
-It's just, like, "Ah! I'm in this room…"
-Yeah.
1198
01:16:43,363 --> 01:16:45,123
"…that so-and-so once sat in."
1199
01:16:45,203 --> 01:16:47,043
And it then makes you feel like
1200
01:16:47,123 --> 01:16:49,763
-you can be part of Abbey Road's history.
-Yeah.
1201
01:16:49,843 --> 01:16:52,043
[chattering]
1202
01:16:52,123 --> 01:16:53,283
I'm so excited.
1203
01:16:53,363 --> 01:16:56,243
[Rodgers] As far as I'm concerned,
that's the record. Just leave here.
1204
01:16:56,323 --> 01:16:58,083
-Thank you! [chuckles]
-[students laughing]
1205
01:16:58,683 --> 01:17:01,643
-That's the right start.
-[Rodgers] It's cool though. [chuckles]
1206
01:17:01,723 --> 01:17:04,483
Yeah, "Whoop! Good God!" [laughs]
1207
01:17:07,443 --> 01:17:10,523
[Mary] Making this film
and collecting these stories,
1208
01:17:10,603 --> 01:17:15,403
I've found artists are inspired to push
creative boundaries within these walls.
1209
01:17:16,923 --> 01:17:20,643
Like Kate Bush,
who brought her third album here,
1210
01:17:20,723 --> 01:17:23,523
which saw her start to produce
her own music.
1211
01:17:27,123 --> 01:17:29,043
[Bush] We were working in Studio Two.
1212
01:17:29,123 --> 01:17:32,163
It still had the valve desk
that the Beatles had used.
1213
01:17:33,763 --> 01:17:37,443
And the live room was completely untouched
since they'd been there.
1214
01:17:38,243 --> 01:17:42,163
There was a genuine fear that the
sound in the room might be changed
1215
01:17:42,243 --> 01:17:43,883
if they even repainted it.
1216
01:17:47,483 --> 01:17:48,843
["Sat in Your Lap" playing]
1217
01:17:52,923 --> 01:17:56,923
We shot the video for the song
"Sat In Your Lap" in Studio Two.
1218
01:17:58,083 --> 01:18:02,083
♪ I see the people working
And see it working for them ♪
1219
01:18:02,963 --> 01:18:07,083
♪ And so I want to join in
But then I find it hurts me ♪
1220
01:18:07,683 --> 01:18:11,083
It was a lot of fun
and the first time I directed.
1221
01:18:12,043 --> 01:18:14,443
So many commercial studios have closed.
1222
01:18:15,123 --> 01:18:19,763
But Abbey Road hasn't just survived,
it continues to evolve.
1223
01:18:20,563 --> 01:18:23,043
[singer vocalizes]
1224
01:18:24,843 --> 01:18:28,323
[Mary] Studio One was built
for orchestral performances.
1225
01:18:29,443 --> 01:18:34,323
The first live recording was Edward Elgar
and the London Symphony Orchestra.
1226
01:18:35,683 --> 01:18:41,563
And 70 years later, Kanye West
and John Legend brought it full circle.
1227
01:18:43,563 --> 01:18:44,723
[Kanye West] You just want this?
1228
01:18:44,803 --> 01:18:48,923
I was-- I was definitely aware of the--
the history of Abbey Road.
1229
01:18:49,843 --> 01:18:53,403
And that's one of the reasons
why it felt so important.
1230
01:18:53,483 --> 01:18:56,283
Yeah, and we put
so much time and effort in just…
1231
01:18:56,363 --> 01:19:00,523
We came out way in advance and--
and practiced so hard
1232
01:19:00,603 --> 01:19:03,003
'cause we wanted
to live up to the tradition.
1233
01:19:03,083 --> 01:19:07,083
We wanted to live up to the--
the mystique of this legendary studio.
1234
01:19:07,163 --> 01:19:09,723
♪ Before you ask me
To go get a job today ♪
1235
01:19:09,803 --> 01:19:12,283
♪ Can I at least get a raise
In the minimum wage? ♪
1236
01:19:12,363 --> 01:19:14,643
♪ And I know the government
Asked me to go easy ♪
1237
01:19:14,723 --> 01:19:17,643
♪ So I guess we just pray
Like the minister say ♪
1238
01:19:17,723 --> 01:19:20,203
♪ Allahu Akbar
And throw him some hot cars ♪
1239
01:19:20,283 --> 01:19:22,523
♪ The things we seen on the screen
Is not ours ♪
1240
01:19:22,603 --> 01:19:25,203
♪ But these **** from the hood
So these dreams not far ♪
1241
01:19:25,283 --> 01:19:27,803
♪ Where I'm from
The dope boys is the rock stars ♪
1242
01:19:27,883 --> 01:19:30,123
♪ But they can't cop cars
Without seeing cop cars ♪
1243
01:19:30,203 --> 01:19:32,363
♪ I guess they want us all behind bars ♪
1244
01:19:32,443 --> 01:19:33,443
♪ I know it ♪
1245
01:19:33,523 --> 01:19:35,003
-♪ And I heard 'em say ♪
-♪ Ooh ♪
1246
01:19:35,083 --> 01:19:37,323
[West] Performing at Abbey Road was just--
1247
01:19:37,403 --> 01:19:38,643
It's one of those type of things
1248
01:19:38,723 --> 01:19:42,083
when you're dreaming of being
a musician or a rapper,
1249
01:19:42,163 --> 01:19:44,043
you don't even fathom that.
1250
01:19:44,123 --> 01:19:47,763
And when it's brought up, it's like,
"Oh, wow! W-We can actually do that?"
1251
01:19:52,283 --> 01:19:54,243
And we did a lot of orchestrations.
1252
01:19:54,323 --> 01:19:58,803
And just-- It was a no-brainer
for us to work with the strings.
1253
01:19:58,883 --> 01:20:01,683
And I thought it would bring
this performance to another level.
1254
01:20:02,203 --> 01:20:04,203
This another class of hip-hop.
1255
01:20:04,283 --> 01:20:05,403
♪ …that you see him ♪
1256
01:20:05,483 --> 01:20:08,283
♪ Till then, walk in his footsteps
And try to be him ♪
1257
01:20:08,363 --> 01:20:10,803
♪ The devil is alive
I feel him breathing ♪
1258
01:20:11,603 --> 01:20:17,683
Yeah, Abbey Road, it felt like a kid in
a candy store or a artist in a art store.
1259
01:20:17,763 --> 01:20:20,803
You just get all these paints and say,
"I can do this! I can do that!"
1260
01:20:20,883 --> 01:20:23,683
And, you know, having John be there
with the piano,
1261
01:20:23,763 --> 01:20:25,803
the instrumentation, the orchestration.
1262
01:20:26,883 --> 01:20:30,683
All that just-- It sent my mind racing.
1263
01:20:34,203 --> 01:20:36,403
[cheering]
1264
01:20:36,483 --> 01:20:37,563
[West] Thank you!
1265
01:21:04,083 --> 01:21:07,403
[Celeste] My seminal moment
was coming here for the first time.
1266
01:21:07,483 --> 01:21:11,443
Really, I think you never forget
doing something for the first time and--
1267
01:21:11,523 --> 01:21:14,243
So many people
that have passed through here
1268
01:21:14,323 --> 01:21:17,323
and made such significant pieces of music
1269
01:21:17,403 --> 01:21:21,883
that have changed the way
a people or a person look at something.
1270
01:21:22,803 --> 01:21:28,963
And with that, it kind of encourages you
to want to elevate your performance.
1271
01:21:30,243 --> 01:21:32,803
It's just something about the space.
1272
01:21:33,763 --> 01:21:36,363
And if you read into it and you take it,
1273
01:21:36,443 --> 01:21:41,163
then that's where you make something
really moving and genuinely beautiful,
1274
01:21:41,243 --> 01:21:42,323
I think.
1275
01:21:45,963 --> 01:21:52,043
♪ Hear my voice ♪
1276
01:21:52,643 --> 01:21:58,403
♪ Hear my dreams ♪
1277
01:21:59,563 --> 01:22:02,923
[Elton John] When you enter a place
with so much history around it,
1278
01:22:03,003 --> 01:22:04,963
it's kind of sacred in a way.
1279
01:22:05,043 --> 01:22:06,523
All that's gone before you.
1280
01:22:07,283 --> 01:22:10,643
You know, people want to come here.
They want to record.
1281
01:22:10,723 --> 01:22:12,483
They want the sound of Abbey Road.
1282
01:22:13,403 --> 01:22:19,123
♪ Hear my words ♪
1283
01:22:19,203 --> 01:22:22,403
You only get these--
these fleeting moments as they go by.
1284
01:22:22,483 --> 01:22:26,283
And if you make connections with people
that are meaningful,
1285
01:22:26,363 --> 01:22:30,843
and filled with emotion and love
and all of that.
1286
01:22:30,923 --> 01:22:35,923
And some of that happened in Abbey Road.
It was very special.
1287
01:22:40,483 --> 01:22:43,843
[Richard] I always feel that I
was born in that corner of Studio Two
1288
01:22:43,923 --> 01:22:50,523
and that Abbey Road brought me to life
and taught me how to do it.
1289
01:22:52,763 --> 01:22:55,763
It started here, and it might
one day end here. I don't know.
1290
01:22:55,843 --> 01:22:58,563
But it's-- it's that big for me.
1291
01:23:00,123 --> 01:23:03,363
♪ Of hope and desire ♪
1292
01:23:03,443 --> 01:23:06,483
♪ And I'll let them free ♪
1293
01:23:06,563 --> 01:23:10,403
[Noel Gallagher] Studios are great
gathering places of like-minded people.
1294
01:23:10,483 --> 01:23:12,363
The same as record shops,
and the same as pubs,
1295
01:23:12,443 --> 01:23:14,283
and the same as football stadiums.
1296
01:23:14,363 --> 01:23:15,603
And it's where…
1297
01:23:16,763 --> 01:23:20,483
hanging out with other musicians
and making music with other musicians.
1298
01:23:21,283 --> 01:23:25,323
It's a-- It's a very spiritual thing.
It can't be overstated.
1299
01:23:25,403 --> 01:23:30,523
♪ Hear my dreams ♪
1300
01:23:30,603 --> 01:23:33,683
[Giles] You know, with Abbey Road,
you can't ignore the legacy.
1301
01:23:33,763 --> 01:23:38,323
And I think it's a bit like, um,
you're never meant to clean out a teapot.
1302
01:23:38,403 --> 01:23:40,963
You know you're meant
to leave the residue of the tea
1303
01:23:41,043 --> 01:23:42,923
because then the tea infuses.
1304
01:23:43,003 --> 01:23:44,683
And I think studios are a bit like that.
1305
01:23:46,243 --> 01:23:48,483
You walk down into Studio Two,
1306
01:23:49,403 --> 01:23:53,043
and you feel as though
the walls are saturated with great music.
1307
01:23:56,243 --> 01:23:58,483
[McCartney]
The songs that we recorded here,
1308
01:23:59,403 --> 01:24:03,043
um, are incredible memories.
1309
01:24:03,763 --> 01:24:07,043
The people that we worked with
are fantastic.
1310
01:24:09,003 --> 01:24:12,003
So I've got great, great memories.
1311
01:24:15,523 --> 01:24:18,083
You know, if these walls could sing.
1312
01:24:21,243 --> 01:24:28,123
♪ Hear my voice ♪
1313
01:24:30,163 --> 01:24:32,403
[Mary] I have someone for you.
1314
01:24:32,483 --> 01:24:34,163
-[McCartney] Hello?
-[Elton John] Hello!
1315
01:24:34,243 --> 01:24:36,523
[McCartney] Ah! Hi, guys.
1316
01:24:36,603 --> 01:24:37,683
-How's it going?
-Hello.
1317
01:24:37,763 --> 01:24:39,763
-Good. We're done!
-Good! We're done.
1318
01:24:39,843 --> 01:24:41,403
-Oh, you're done?
-Yeah. There you go.
1319
01:24:41,483 --> 01:24:43,403
-[Mary laughs]
-Listen, I love you. Take care.
1320
01:24:43,483 --> 01:24:45,043
-[McCartney] Yeah, I love you.
-All right. Bye.
1321
01:24:45,123 --> 01:24:46,523
-[Mary] See you later.
-[Elton John] Bye.
1322
01:24:46,603 --> 01:24:48,483
[Mary] Were you a fan of any of the music?
1323
01:24:48,563 --> 01:24:50,603
-Hello.
-[Starr] Ask him that question again.
1324
01:24:50,683 --> 01:24:52,683
[all laughing]
1325
01:24:53,483 --> 01:24:56,203
-Oh, fantastic.
-[Mary] I was about to say why are you…
1326
01:24:56,283 --> 01:24:57,763
[chuckles] I love it.
1327
01:25:00,243 --> 01:25:01,883
All these really cool people.
1328
01:25:01,963 --> 01:25:03,003
Where's my picture?
1329
01:25:06,683 --> 01:25:08,243
[Mary] Can't believe
he nearly ran him over!
1330
01:25:08,323 --> 01:25:09,443
[groans]
1331
01:25:10,443 --> 01:25:12,883
[Giles] Power's gone off.
I can't work with this environment.
1332
01:25:12,963 --> 01:25:15,603
-[engineer] Press 15 amps. Press play.
-[Giles] Oh, it's already-- Sorry.
1333
01:25:15,683 --> 01:25:17,923
[all laughing]
1334
01:25:22,323 --> 01:25:23,323
That's your lot.