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[indiscernible singing]
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♪
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MAN: Well, I've been wonderful
on the last two takes.
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♪
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00:00:15,807 --> 00:00:19,311
♪ Back in the U. S. S. R playing ♪
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♪
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PAUL MCCARTNEY:
♪ Flew in from Miami Beach BOAC ♪
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♪ Didn't get to bed last night ♪
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♪ On the way the paper bag
was on my knee ♪
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♪ Man, I had a dreadful flight ♪
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♪ I'm back in the USSR ♪
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♪ You don't know
how lucky you are, boy ♪
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00:00:41,333 --> 00:00:43,836
♪ Back in the US,
back in the US ♪
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♪ Back in the USSR ♪
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Oh, come on!
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♪
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00:01:10,529 --> 00:01:12,155
♪ Oh ♪
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♪ Show me round
your snow‐peaked mountains ♪
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♪ Way down south ♪
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[volume dropping in and out]
♪ Take me to your Daddy's farm ♪
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♪ Let me hear‐‐ ♪
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♪ Bala‐‐ ♪
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♪ Ringing out ♪
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♪ Come and keep
your comrade warm ♪
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♪ I'm back in the USSR ♪
‐ Whoo!
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Hey!
27
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‐ ♪ You don't know
how lucky you are, boy ♪
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♪ Back ♪
29
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‐ Back. And we're back.
30
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‐ What do you remember about this?
‐ Whoo!
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‐ Wha‐what do you remember
about that, that moment?
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‐ Writing the song...
‐ Yeah.
33
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‐ You know,
as a kind of spin‐off,
34
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like a joke on the Chuck Berry
Back in the USA.
35
00:01:46,523 --> 00:01:47,524
‐ Mm‐hmm.
36
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‐ For some reason, I mean,
maybe I was showing Ringo
37
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what I thought
the drumming should be.
38
00:01:53,280 --> 00:01:55,115
I think, and he might've said,
"Well, you do it."
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He might've also said,
"Well, you do it."
40
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‐ So you played drums on this.
‐ I‐‐ Yeah.
41
00:02:00,829 --> 00:02:01,705
‐ I didn't know that.
‐ Yeah, yeah.
42
00:02:02,289 --> 00:02:04,041
‐ How long did you write the song
43
00:02:04,041 --> 00:02:05,792
before this was recorded,
would you say?
44
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‐ It wouldn't have been that long
45
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'cause you pretty much wrote
the thing and got in the studio.
46
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Um‐‐
47
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‐ In the old days, when you
were doing cover songs...
‐ Mmm.
48
00:02:16,136 --> 00:02:17,888
‐ ...you would all learn
the cover songs together,
49
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so you were in the habit
of learning a song quickly.
50
00:02:20,265 --> 00:02:21,099
‐ Yeah.
51
00:02:21,099 --> 00:02:22,100
‐ Anyway.
‐ That's true.
52
00:02:22,100 --> 00:02:24,520
Yeah. And we, we never rehearsed.
‐ Yeah.
53
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‐ I mean, now I rehearse
quite a bit,
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'cause you've got
a big production as well.
55
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But then, I remember us
sort of saying,
56
00:02:31,610 --> 00:02:33,320
you know,
we had a day's rehearsal
57
00:02:33,320 --> 00:02:35,531
and we were going
to do the next day.
58
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Everyone was like,
"That's enough."
59
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You know?
60
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"We've done one day,
what more do you want?"
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‐ Before the first record, though...
‐ Yeah.
62
00:02:43,163 --> 00:02:45,374
‐ ...how many hours
did you play together?
‐ Yeah.
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Yeah, yeah.
64
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Yeah, exactly.
‐ Yeah.
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‐ At least 10,000.
66
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‐ Yeah.
‐ According to the man.
67
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‐ When was the point
where it's like,
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00:02:53,924 --> 00:02:57,135
this is different than everyone else,
in terms of popularity?
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‐ Okay. So we'd played in Hamburg,
then we played in England,
70
00:03:01,431 --> 00:03:02,975
and we got more
and more popular,
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00:03:02,975 --> 00:03:04,518
and I always say,
it's a good thing.
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00:03:04,518 --> 00:03:07,980
Because, you know, a lot of kids
on these TV talent shows
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00:03:07,980 --> 00:03:09,857
are propelled into stardom,
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00:03:09,857 --> 00:03:12,150
and they don't know
how to deal with it.
‐ Yeah.
75
00:03:12,150 --> 00:03:16,321
‐ But we had this staircase
so that we would play ballrooms,
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then we played theaters,
then we'd do a bit of television,
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then we'd do a radio series,
we'd do this and this and this.
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So we were getting famous,
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and then we'd had
number‐one records,
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so I think that's when
we first started to think,
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"We're famous.
We're number one in the land."
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‐ Hm.
‐ But my thing was America.
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‐ Hm.
84
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‐ No British acts had gone
to America and been successful.
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They'd all come back.
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So I remember taking
Brian Epstein aside,
87
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saying "Brian," I said,
88
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"We can't go to America
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"until we've got
a number‐one record there.
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00:03:51,440 --> 00:03:53,400
We've got to wait."
‐ Hm.
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‐ And we did.
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00:03:54,943 --> 00:03:56,528
We waited and waited.
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And it didn't happen
until I Want to Hold Your Hand.
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‐ ♪ Oh, yeah, I ♪
95
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♪ I'll tell you something ♪
96
00:04:04,786 --> 00:04:07,247
♪ I think you'll understand ♪
97
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♪ When I'll say that something ♪
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♪ I wanna hold your hand ♪
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♪ I wanna hold your hand ♪
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00:04:16,673 --> 00:04:20,219
‐ We were playing in Paris,
when a telegram,
101
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the old fashioned email,
came through.
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"Congratulations, boys.
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I Want to Hold Your Hand,
number one in the USA."
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‐ Wow.
‐ Aah!
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And that was a party night.
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‐ ♪ I wanna hold your hand ♪
[audience screaming]
107
00:04:37,528 --> 00:04:41,240
♪ I wanna hold your hand ♪
108
00:04:41,240 --> 00:04:44,868
♪ I wanna
hold your hand ♪
109
00:04:44,868 --> 00:04:49,331
♪ I wanna hold your hand ♪
110
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‐ You think it was because
you loved American music so much,
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or wh‐‐ is that why‐‐
‐ Yeah!
112
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Yeah, that's what it was. Yeah.
We loved American music.
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It was the blues tradition,
the rock and roll tradition,
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Elvis.
‐ Yeah.
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‐ Everything we listened to
was American.
116
00:05:04,137 --> 00:05:06,431
Little Richard at the piano,
banging away.
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It blew our minds.
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RICK RUBIN: Did you ever get
to meet any of those guys?
119
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‐ Richard. We worked
with Richard in Hamburg.
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00:05:13,522 --> 00:05:14,606
‐ Really?
‐ Yeah.
121
00:05:14,606 --> 00:05:15,440
‐ What was that like?
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00:05:16,567 --> 00:05:17,693
‐ Incredible.
RICK: Yeah.
123
00:05:17,693 --> 00:05:19,778
PAUL: You know,
for young kids from Liverpool
124
00:05:20,404 --> 00:05:21,905
to work with someone
like Little Richard.
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‐ ♪ Good golly, Miss Molly ♪
126
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♪ Sure like to ball, whoo ♪
127
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♪ Good golly, Miss Molly ♪
128
00:05:30,330 --> 00:05:32,749
♪ Sure like to ball ♪
129
00:05:33,584 --> 00:05:35,627
♪ When you're rockin'
and a rollin', yeah ♪
130
00:05:36,128 --> 00:05:38,088
♪ Can't hear your momma call ♪
131
00:05:39,089 --> 00:05:40,257
‐ It was so great.
132
00:05:40,257 --> 00:05:42,634
It was a whole TV hour
on its own.
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You know, we'd go into his dressing room
before he went on,
134
00:05:46,847 --> 00:05:48,640
and just to hear his stories.
135
00:05:48,640 --> 00:05:50,642
‐ See, you don't have to be
the top of the bill
136
00:05:50,642 --> 00:05:51,894
to climb the hill.
137
00:05:53,020 --> 00:05:56,565
See, this is not, it ain't the size
of the ship that make you seasick,
138
00:05:56,940 --> 00:05:58,775
it's the waves in the ocean.
139
00:05:59,276 --> 00:06:01,236
It ain't the man
that run the fastest,
140
00:06:01,236 --> 00:06:03,363
but the man that endure
to the end.
141
00:06:04,198 --> 00:06:07,492
So I know that if water fall
on rock long enough,
142
00:06:07,492 --> 00:06:08,368
it's to break it.
143
00:06:08,744 --> 00:06:10,621
PAUL: It was, like,
evangelical or something.
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00:06:10,621 --> 00:06:11,163
RICK: Yeah.
145
00:06:11,163 --> 00:06:12,831
‐ And, well, he'd gone to Australia.
146
00:06:12,831 --> 00:06:16,001
Supposed to have thrown
all his rings into the water
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and renounced, you know,
materialism or whatever.
‐ Yes.
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‐ So we'd ask him,
"Hey, Richard, is it true
149
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that, you know, you threw
all your rings away and all that?"
150
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And he'd tell us all, he'd say,
151
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[imitating Little Richard]:
"Yes, child, that's true.
152
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I'll tell you."
153
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And he had this beautiful way,
Southern, Southern American way.
154
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[in normal voice]: So yeah, we were
massively excited to come to America
155
00:06:38,941 --> 00:06:43,153
because these are the people
that we loved,
156
00:06:43,862 --> 00:06:45,739
and they were loving us.
‐ Yeah.
157
00:06:45,739 --> 00:06:49,243
‐ This was like, yeah,
we've arrived. We were famous.
158
00:06:49,243 --> 00:06:50,619
‐ Yeah.
[both laugh]
159
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It's a great feeling.
‐ Yeah.
160
00:06:52,496 --> 00:06:53,580
‐ Of being accepted.
161
00:06:53,580 --> 00:06:54,998
Is really‐‐
‐ Yeah, exactly.
162
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Because you think about it,
163
00:06:55,791 --> 00:06:58,043
that's sort of what
everyone's trying to do.
164
00:06:58,043 --> 00:06:59,586
There's obviously
the cool guys who went,
165
00:06:59,586 --> 00:07:01,922
"I don't care,"
and that's great.
166
00:07:02,589 --> 00:07:06,844
But, um, most people, I think
most people want to be accepted.
167
00:07:07,344 --> 00:07:09,012
Like, "Great job."
‐ Yeah. He's good.
168
00:07:09,012 --> 00:07:10,097
‐ You go, "Thank you."
169
00:07:10,639 --> 00:07:13,684
♪ Baby's In Black playing ♪
170
00:07:14,142 --> 00:07:17,312
‐ ♪ Oh, dear, what can I do? ♪
171
00:07:17,312 --> 00:07:20,065
‐ Two voices the whole time,
harmony the whole time.
172
00:07:20,691 --> 00:07:23,735
‐ ♪ Tell me, oh,
what can I do? ♪
173
00:07:24,736 --> 00:07:27,573
♪ She thinks of him ♪
174
00:07:28,115 --> 00:07:30,868
♪ And so she dresses in black ♪
175
00:07:31,493 --> 00:07:34,371
♪ And though he'll never come back ♪
176
00:07:34,371 --> 00:07:36,248
♪ She's dressed in black ♪
177
00:07:37,791 --> 00:07:41,461
‐ You know, we'd started off with songs
which are just for the fans.
178
00:07:41,461 --> 00:07:42,129
‐ Yeah.
179
00:07:42,129 --> 00:07:45,883
‐ From Me To You,
Love Me Do, Please Please Me,
180
00:07:45,883 --> 00:07:47,301
Thank You Girl.
181
00:07:47,301 --> 00:07:50,137
We were writing
to our fan audience.
182
00:07:50,554 --> 00:07:52,931
But then, as things went on,
183
00:07:52,931 --> 00:07:55,684
we started to just write
for ourselves
184
00:07:55,684 --> 00:07:56,977
and figured
185
00:07:56,977 --> 00:08:00,606
that the fans would listen
to our extension
186
00:08:00,981 --> 00:08:02,816
of what we wanted to write.
187
00:08:02,816 --> 00:08:04,693
So we did, and we got
into kind of more
188
00:08:04,693 --> 00:08:06,486
sort of slightly different things.
189
00:08:06,486 --> 00:08:08,405
This being 3/4 time.
190
00:08:08,405 --> 00:08:11,283
[humming]
191
00:08:11,283 --> 00:08:14,828
And we used to want
to do this on stage.
192
00:08:14,828 --> 00:08:17,206
But it wasn't
a big fan favorite.
193
00:08:17,706 --> 00:08:19,750
‐ May be hard to dance to, too,
because of the‐‐
194
00:08:19,750 --> 00:08:21,376
‐ It would be hard to dance to.
‐ Because of the groove.
195
00:08:21,960 --> 00:08:23,420
But the harmonies are great.
196
00:08:23,962 --> 00:08:26,089
And the words are really good.
‐ As you say, it's very Everlys.
197
00:08:26,840 --> 00:08:29,301
‐ ♪ When I feel blue ♪
198
00:08:29,927 --> 00:08:34,264
♪ In the night
and I need you ♪
199
00:08:34,264 --> 00:08:36,517
RICK: How impactful were
the Everly Brothers on you?
200
00:08:36,517 --> 00:08:37,768
PAUL: Oh, massively.
201
00:08:38,268 --> 00:08:42,189
We always used to say
I was Phil, John was Don.
202
00:08:43,732 --> 00:08:44,650
You listen to Beatles records.
203
00:08:44,650 --> 00:08:46,777
'Cause I always take
the higher harmony than John.
204
00:08:47,569 --> 00:08:49,238
That was us being the Everlys.
205
00:08:50,781 --> 00:08:52,491
‐ ♪ Baby's in black ♪
206
00:08:52,491 --> 00:08:54,117
♪ And I'm feeling blue ♪
207
00:08:54,117 --> 00:08:57,829
♪ Tell me, oh, what can I do? ♪
208
00:08:57,829 --> 00:08:59,164
‐ You know, we were
kind of proud of this one.
209
00:08:59,164 --> 00:08:59,748
‐ This is a good one.
210
00:08:59,748 --> 00:09:02,626
‐ We thought we were kind of,
you know, getting really funky folk.
211
00:09:02,626 --> 00:09:05,838
‐ ♪ And so she dresses in black ♪
212
00:09:07,005 --> 00:09:10,050
♪ And though he'll never come back ♪
213
00:09:10,050 --> 00:09:11,969
♪ She's dressed in black ♪
214
00:09:12,845 --> 00:09:15,138
‐ Tell me about albums
versus singles,
215
00:09:15,138 --> 00:09:17,599
because in modern time,
216
00:09:17,599 --> 00:09:19,601
when you put out an album,
all your singles are on that album.
217
00:09:19,601 --> 00:09:20,352
‐ Yeah. Yeah.
218
00:09:20,352 --> 00:09:23,188
‐ But were you guys
the first guys to do singles
219
00:09:23,188 --> 00:09:25,107
that were not part of albums?
220
00:09:25,107 --> 00:09:27,734
‐ We had the luxury to do that.
‐ Yeah.
221
00:09:27,734 --> 00:09:28,777
‐ You know,
somebody's coming in,
222
00:09:28,777 --> 00:09:31,029
and they're only going
to ever have one hit.
223
00:09:31,029 --> 00:09:31,822
‐ Yeah.
224
00:09:31,822 --> 00:09:33,365
‐ Then that had better be
on the album.
225
00:09:33,365 --> 00:09:34,867
‐ Yeah, yeah, yeah.
‐ You know.
226
00:09:34,867 --> 00:09:37,369
But we, we were rather confident.
227
00:09:37,661 --> 00:09:39,413
‐ Yeah.
‐ And then the other great thing was,
228
00:09:39,413 --> 00:09:41,665
there used to be an A side
and a B side, as you know.
229
00:09:41,665 --> 00:09:42,207
‐ Yeah.
230
00:09:42,207 --> 00:09:44,793
‐ The B side earns
just as much money as the A side,
231
00:09:46,086 --> 00:09:49,798
so we were trying to write
good A sides, good B sides.
232
00:09:49,798 --> 00:09:50,299
‐ Yeah.
233
00:09:50,716 --> 00:09:52,634
‐ I remember Phil Spector
saying to us,
234
00:09:53,468 --> 00:09:55,512
"You throw away all your songs.
235
00:09:55,512 --> 00:09:57,598
"On a, on a, on a record,
236
00:09:57,598 --> 00:09:59,850
you're putting
two good songs on there."
237
00:09:59,850 --> 00:10:01,643
He said you should put the hit,
238
00:10:02,186 --> 00:10:04,938
and then the other side,
just like take the vocal off,
239
00:10:05,898 --> 00:10:07,691
and call it sing‐along‐with
240
00:10:08,233 --> 00:10:09,193
or something.
‐ And sell it twice.
241
00:10:09,193 --> 00:10:11,361
‐ Sell it twice.
And we said, "No, Phil.
242
00:10:11,361 --> 00:10:13,697
We can't do that."
So, because you know why?
243
00:10:13,697 --> 00:10:15,782
Because we were
recently record buyers.
244
00:10:15,782 --> 00:10:16,533
‐ Yeah.
245
00:10:16,533 --> 00:10:18,827
‐ And we would have felt
so cheated
246
00:10:18,827 --> 00:10:19,995
if we'd have bought that record.
247
00:10:20,579 --> 00:10:22,456
‐ Was it typically
an album a year?
248
00:10:22,456 --> 00:10:24,291
‐ It was typically, it was like
an album a year,
249
00:10:24,291 --> 00:10:25,626
and four singles a year.
250
00:10:26,168 --> 00:10:28,212
‐ An album plus
four additional singles?
251
00:10:28,212 --> 00:10:28,879
‐ Yeah.
252
00:10:28,879 --> 00:10:30,672
‐ The songs were varied
on each album,
253
00:10:30,672 --> 00:10:32,549
and then every album
was varied from the other.
254
00:10:32,549 --> 00:10:33,133
‐ Yeah.
255
00:10:33,133 --> 00:10:34,676
It was like, ah, ah, ah.
256
00:10:34,676 --> 00:10:36,178
And the pace
you were working at‐‐
257
00:10:36,178 --> 00:10:36,678
‐ Yeah.
258
00:10:36,678 --> 00:10:38,597
‐ It'd be like, "Go down,
do the solo, then come on."
259
00:10:38,597 --> 00:10:40,015
"Yeah, okay."
260
00:10:40,015 --> 00:10:42,351
Run down...
[humming]
261
00:10:42,351 --> 00:10:43,393
Done, great.
262
00:10:44,019 --> 00:10:45,312
‐ Next.
‐ Yeah. Next.
263
00:10:45,312 --> 00:10:46,855
‐ Yeah, yeah, yeah.
‐ You know.
264
00:10:46,855 --> 00:10:47,814
‐ Amazing.
265
00:10:47,814 --> 00:10:49,858
‐ I remember, with And I Love Her.
‐ Yeah.
266
00:10:49,858 --> 00:10:52,444
‐ I brought it in, and it was just,
I had the chords.
267
00:10:52,778 --> 00:10:54,279
[humming]
268
00:10:54,279 --> 00:10:55,239
And then George Martin said,
269
00:10:55,239 --> 00:10:57,366
"It would be nice
if we could have a little intro."
270
00:10:57,366 --> 00:10:58,033
‐ Mm‐hmm.
271
00:10:58,033 --> 00:11:00,410
‐ And George Harrison just went‐‐
272
00:11:00,410 --> 00:11:01,912
[hums]
273
00:11:01,912 --> 00:11:04,414
♪ And I Love Her playing ♪
274
00:11:04,414 --> 00:11:05,332
Yeah.
275
00:11:05,707 --> 00:11:07,918
♪
276
00:11:07,918 --> 00:11:09,002
RICK: Yeah. Integral.
277
00:11:11,296 --> 00:11:14,675
PAUL [on recording]:
♪ I give her all my love ♪
278
00:11:14,675 --> 00:11:15,843
‐ Now, see and that‐‐
279
00:11:15,843 --> 00:11:18,554
‐ ♪ That's all I do ♪
280
00:11:18,554 --> 00:11:21,598
‐ You know, I couldn't imagine
this song without that.
281
00:11:21,598 --> 00:11:22,599
‐ Yeah.
‐ Yeah.
282
00:11:23,809 --> 00:11:26,144
‐ ♪ You'd love her too ♪
283
00:11:26,144 --> 00:11:27,396
‐ It was good, you know.
284
00:11:27,396 --> 00:11:28,272
‐ Yeah.
285
00:11:28,272 --> 00:11:29,231
[chuckles]
286
00:11:29,606 --> 00:11:32,317
♪
287
00:11:33,443 --> 00:11:34,611
‐ Ooh. Switches.
288
00:11:34,611 --> 00:11:38,907
George, now he does this part,
instead of... [hums]
289
00:11:38,907 --> 00:11:40,117
‐ That was not a preplanned‐‐
290
00:11:40,117 --> 00:11:40,826
‐ No.
291
00:11:40,826 --> 00:11:43,287
♪
292
00:11:43,287 --> 00:11:45,414
But he knew the chords,
and that was enough
293
00:11:45,414 --> 00:11:47,708
so he could transpose stuff.
294
00:11:48,125 --> 00:11:50,836
♪
295
00:11:53,589 --> 00:11:57,092
‐ ♪ A love like ours ♪
296
00:11:57,593 --> 00:12:00,429
♪ Could never die ♪
297
00:12:01,805 --> 00:12:04,016
♪ As long as I ♪
298
00:12:04,474 --> 00:12:07,352
♪ Have you near me ♪
299
00:12:08,979 --> 00:12:11,899
♪ And I love her ♪
300
00:12:12,566 --> 00:12:13,859
‐ [imitating himself]
♪ Her ♪
301
00:12:16,528 --> 00:12:18,071
Once we'd started to write,
302
00:12:18,363 --> 00:12:20,616
we discovered other people
who were writing.
303
00:12:20,616 --> 00:12:21,450
‐ Hm.
304
00:12:21,450 --> 00:12:22,951
‐ This was like a,
305
00:12:22,951 --> 00:12:26,163
like a sort of disease
that spread, a good disease.
306
00:12:26,163 --> 00:12:26,955
‐ Yeah, everyone could see‐‐
307
00:12:26,955 --> 00:12:28,332
‐ Of songwriting,
everyone sort of started‐‐
308
00:12:28,332 --> 00:12:29,708
‐ "He's doing it, I'll try it."
309
00:12:29,708 --> 00:12:30,667
‐ Yeah.
310
00:12:30,667 --> 00:12:33,795
At one point
quite early days,
311
00:12:33,795 --> 00:12:36,381
we were supporting
Roy Orbison.
312
00:12:36,381 --> 00:12:36,840
‐ Hm.
313
00:12:36,840 --> 00:12:39,843
‐ I think he'd always written
his stuff,
314
00:12:39,843 --> 00:12:42,554
but a very favorite memory
of mine is,
315
00:12:42,554 --> 00:12:44,806
we were on the tour with Roy,
316
00:12:45,182 --> 00:12:47,768
and we stopped off somewhere
for a cup of tea.
317
00:12:48,268 --> 00:12:49,770
Roy stayed on the bus.
318
00:12:50,270 --> 00:12:53,899
And I remember John and I
coming back on the bus afterwards
319
00:12:53,899 --> 00:12:56,360
and there, sitting at the back
of the bus with his guitar...
320
00:12:56,360 --> 00:12:58,904
♪ Oh, Pretty Woman playing ♪
321
00:12:58,904 --> 00:13:00,447
♪
322
00:13:00,447 --> 00:13:01,740
...is Roy.
323
00:13:01,740 --> 00:13:03,200
He's going...
♪ Pretty woman ♪
324
00:13:03,200 --> 00:13:06,828
‐ ♪ Pretty woman
walking down the street ♪
325
00:13:06,828 --> 00:13:10,499
♪ Pretty woman,
the kind I'd like to meet ♪
326
00:13:10,499 --> 00:13:12,209
♪ Pretty woman ♪
327
00:13:12,209 --> 00:13:14,795
‐ And you learned things
from people like that.
328
00:13:14,795 --> 00:13:15,420
RICK: Yeah.
329
00:13:15,420 --> 00:13:17,089
‐ I'd do a little songwriting class,
330
00:13:17,089 --> 00:13:19,091
in my old school
up in Liverpool.
331
00:13:19,091 --> 00:13:22,052
And one of the things
I nearly always point out
332
00:13:22,052 --> 00:13:23,345
to the students
333
00:13:23,345 --> 00:13:26,056
is that it's good
to have an end to a song
334
00:13:26,515 --> 00:13:30,227
because you've got to let
the audience know it's finished.
335
00:13:31,186 --> 00:13:32,646
When we're on tour,
336
00:13:32,646 --> 00:13:35,190
every song
of Roy's got a big end.
337
00:13:35,190 --> 00:13:36,233
♪
338
00:13:36,233 --> 00:13:40,988
‐ ♪ It's over ♪
339
00:13:40,988 --> 00:13:43,866
‐ [sing‐songy]
And always like a great big note.
340
00:13:44,533 --> 00:13:45,868
And he stopped.
Then it's like‐‐
341
00:13:45,868 --> 00:13:47,202
[imitating cheering]
342
00:13:47,202 --> 00:13:49,454
There's nowhere else to go.
You've got to clap there.
343
00:13:49,454 --> 00:13:50,372
‐ Yeah.
344
00:13:50,372 --> 00:13:52,291
‐ So I said, well, yeah,
I don't want you to do that.
345
00:13:52,291 --> 00:13:57,045
But think about letting
the audience know you've finished.
346
00:13:57,045 --> 00:14:01,008
So we'd pick up little tricks
like that off, off Roy.
347
00:14:01,675 --> 00:14:03,510
‐ Remember any other moments
where you saw something
348
00:14:03,510 --> 00:14:05,888
and you just, like,
never saw anything like it
349
00:14:05,888 --> 00:14:07,556
or felt anything
like it before?
350
00:14:07,556 --> 00:14:08,390
‐ Kinks.
351
00:14:08,390 --> 00:14:09,558
♪ You Really Got Me playing ♪
352
00:14:09,558 --> 00:14:11,310
I mean, we loved
their first hit.
353
00:14:11,935 --> 00:14:13,979
You Really Got Me, and the guitar riff.
‐ Great riff too.
354
00:14:13,979 --> 00:14:14,938
[imitating guitar riff]
355
00:14:15,647 --> 00:14:18,442
‐ ♪ Yeah, you really got me now ♪
356
00:14:18,442 --> 00:14:21,153
♪ You got me
so I can't sleep at night ♪
357
00:14:22,738 --> 00:14:25,532
♪ Yeah, you really got me now ♪
358
00:14:25,532 --> 00:14:26,241
♪ You got me... ♪
359
00:14:26,241 --> 00:14:28,785
PAUL: They supported us.
We were in Brighton.
360
00:14:29,286 --> 00:14:31,538
We were due
to come on second half,
361
00:14:31,538 --> 00:14:33,123
and they did the first half.
362
00:14:33,123 --> 00:14:36,168
We all kind of came out,
sort of hid a bit,
363
00:14:36,168 --> 00:14:37,628
so we could watch them, you know.
364
00:14:38,587 --> 00:14:41,215
‐ ♪ Girl, you really got me goin' ♪
365
00:14:41,215 --> 00:14:43,967
‐ ♪ You got me... ♪
[humming]
366
00:14:43,967 --> 00:14:44,676
Good little song.
367
00:14:44,676 --> 00:14:45,802
‐ Yeah.
368
00:14:45,802 --> 00:14:49,389
‐ Uh, Seeing Dylan at the Albert Hall
was very special.
369
00:14:49,973 --> 00:14:51,558
Because his first‐‐
‐ That was when it was still acoustic‐‐
370
00:14:51,558 --> 00:14:53,143
‐ His first half was acoustic,
371
00:14:53,143 --> 00:14:55,562
and then the band came on
for his electric.
372
00:14:56,355 --> 00:14:59,399
‐ ♪ Just don't put on any airs ♪
373
00:15:00,025 --> 00:15:04,571
♪ When you're down
on Rue Morgue Avenue ♪
374
00:15:04,571 --> 00:15:06,865
PAUL: All the folkies
kind of booed him.
375
00:15:06,865 --> 00:15:09,409
They thought he's gone over
to the other side.
376
00:15:09,952 --> 00:15:11,828
He's sold out to the enemy,
you know.
377
00:15:12,454 --> 00:15:13,705
But we loved it.
‐ Hm.
378
00:15:13,705 --> 00:15:16,041
‐ Then, you know, we were talking
about Jimi Hendrix.
379
00:15:16,041 --> 00:15:17,751
‐ Yeah. Where did you
see him play?
380
00:15:18,126 --> 00:15:21,213
‐ We used to go to this club
called the Bag O' Nails,
381
00:15:21,713 --> 00:15:24,007
which is where
I would eventually meet Linda.
382
00:15:24,007 --> 00:15:24,758
RICK: Hm.
383
00:15:24,758 --> 00:15:26,260
PAUL: But it was
our regular hangout.
384
00:15:27,177 --> 00:15:30,889
Because we were in groups,
you never got to go to the pub.
385
00:15:31,473 --> 00:15:33,517
When you stopped working,
the pubs are closed,
386
00:15:34,017 --> 00:15:36,979
so you had to get, like, a drink
and maybe something to eat.
387
00:15:36,979 --> 00:15:38,897
And this club,
Bag O' Nails, was that.
388
00:15:38,897 --> 00:15:40,190
So I went down there,
389
00:15:40,524 --> 00:15:43,360
and you would just sit
in an alcove
390
00:15:43,360 --> 00:15:45,028
and you'd mainly listen
to records.
391
00:15:45,028 --> 00:15:47,489
The live bands normally
weren't that good.
392
00:15:47,865 --> 00:15:49,950
Anyway, one night, there was
hardly anyone in the club,
393
00:15:49,950 --> 00:15:52,286
and I'm there late
with a couple of friends.
394
00:15:52,953 --> 00:15:57,291
And you hear, to me,
some sort of exciting sound,
395
00:15:57,791 --> 00:16:00,002
an electric guitar plugging in.
396
00:16:00,544 --> 00:16:01,628
If it's all live‐‐
397
00:16:01,628 --> 00:16:02,754
[imitating guitar plugging in]
‐ Yeah.
398
00:16:02,754 --> 00:16:03,922
‐ That's‐‐ Whoa!
399
00:16:03,922 --> 00:16:06,508
It's a little bit too loud,
but it's very cool.
400
00:16:06,967 --> 00:16:08,177
He plugged it in.
401
00:16:08,177 --> 00:16:10,220
Oh, that got our attention
and he goes‐‐
402
00:16:10,220 --> 00:16:12,014
[imitates guitar riff]
403
00:16:12,014 --> 00:16:13,724
♪ Hey, Joe ♪
404
00:16:15,434 --> 00:16:17,895
‐ ♪ Where you going
with that gun in your hand? ♪
405
00:16:18,645 --> 00:16:22,900
♪
406
00:16:22,900 --> 00:16:24,651
PAUL: And that was another kind of,
407
00:16:24,943 --> 00:16:26,153
wow,
408
00:16:26,153 --> 00:16:27,571
electric moment.
409
00:16:27,571 --> 00:16:29,114
And even though there's
hardly anyone in the club,
410
00:16:29,114 --> 00:16:32,284
he played this great set,
teeth and the whole thing.
411
00:16:32,284 --> 00:16:35,787
♪
412
00:16:38,957 --> 00:16:41,335
I think that was like
on a Friday night.
413
00:16:41,335 --> 00:16:43,921
And then he played again,
same club on the Tuesday.
414
00:16:44,296 --> 00:16:45,380
Well, it was packed.
415
00:16:45,839 --> 00:16:47,508
‐ ♪ I'm going way down south ♪
416
00:16:49,676 --> 00:16:51,929
♪ Way down Mexico way ♪
417
00:16:52,930 --> 00:16:54,765
‐ Just the word of mouth
from how great Friday‐‐
418
00:16:54,765 --> 00:16:58,060
‐ Word around London was
you've got to see this guy.
419
00:16:58,060 --> 00:16:58,894
‐ Wow.
420
00:16:58,894 --> 00:17:02,314
‐ So we all went, uh, I went back
to check him out again.
421
00:17:02,314 --> 00:17:03,232
‐ Great.
422
00:17:03,232 --> 00:17:06,568
‐ And it was Pete Townshend
in the audience, Eric Clapton.
423
00:17:06,985 --> 00:17:08,028
Word had got around.
424
00:17:09,154 --> 00:17:12,157
♪
425
00:17:12,533 --> 00:17:15,536
It was very exciting,
but we're kids, living it.
426
00:17:15,536 --> 00:17:19,706
What's great is, as time goes by,
th‐they become legends.
427
00:17:19,706 --> 00:17:20,624
‐ Yeah.
428
00:17:20,624 --> 00:17:22,167
‐ It was a great camaraderie,
you know,
429
00:17:22,167 --> 00:17:24,795
and it was a great generation.
430
00:17:25,295 --> 00:17:25,879
‐ Yeah.
431
00:17:25,879 --> 00:17:28,799
‐ And it wasn't just us,
it was artists as well.
432
00:17:29,341 --> 00:17:32,344
So you'd be hanging with artists
and looking at a lot of art,
433
00:17:33,178 --> 00:17:37,266
and so I had a few friends
who were of that ilk
434
00:17:37,266 --> 00:17:40,143
and would turn me on
to, like, cool books
435
00:17:40,143 --> 00:17:41,144
and cool music.
436
00:17:41,812 --> 00:17:43,730
It wouldn't necessarily find
its way onto a record,
437
00:17:43,730 --> 00:17:45,357
but it influenced
your thinking.
438
00:17:45,357 --> 00:17:48,151
♪ Lucy In The Sky With Diamonds playing ♪
439
00:17:48,151 --> 00:17:52,781
Yeah. This is an instrument
they had lying around EMI,
440
00:17:52,781 --> 00:17:54,449
called a Lowrey organ.
441
00:17:54,449 --> 00:17:55,826
‐ Who played this?
‐ Me.
442
00:17:57,619 --> 00:18:00,163
JOHN LENNON [on recording]:
♪ Picture yourself ♪
443
00:18:00,163 --> 00:18:02,791
♪ In a boat on a river ♪
444
00:18:02,791 --> 00:18:05,794
♪ With tangerine trees ♪
445
00:18:05,794 --> 00:18:09,464
♪ And marmalade skies ♪
446
00:18:10,465 --> 00:18:15,512
♪ Somebody calls you,
you answer quite slowly ♪
447
00:18:16,054 --> 00:18:22,019
♪ A girl with kaleidoscope eyes ♪
448
00:18:24,354 --> 00:18:26,857
♪ Cellophane flowers ♪
449
00:18:26,857 --> 00:18:29,526
♪ Of yellow and green ♪
450
00:18:29,526 --> 00:18:33,739
♪ Towering over your head ♪
451
00:18:33,739 --> 00:18:35,365
‐ This is all on two track.
452
00:18:35,365 --> 00:18:36,408
[chuckles]
453
00:18:36,909 --> 00:18:39,995
‐ It's a lot of information
for two, two tracks, isn't it?
454
00:18:39,995 --> 00:18:43,248
♪
455
00:18:43,248 --> 00:18:44,583
‐ ♪ Lucy in the... ♪
456
00:18:44,583 --> 00:18:48,170
♪
457
00:18:48,170 --> 00:18:49,338
♪ Lucy in the sky‐‐ ♪
458
00:18:49,338 --> 00:18:51,381
‐ I think that's me making 'em all...
459
00:18:53,425 --> 00:18:56,845
‐ ♪ Lucy in the sky with diamonds ♪
460
00:18:56,845 --> 00:18:58,138
‐ High‐‐ The high harmony.
‐ Yeah.
461
00:18:58,639 --> 00:19:00,098
[strained singing]
462
00:19:00,098 --> 00:19:01,308
[laughs]
463
00:19:01,308 --> 00:19:03,352
JOHN: ♪ Follow her down‐‐ ♪
464
00:19:04,102 --> 00:19:06,563
‐ Rick this is why we don't go
into tapes.
465
00:19:06,563 --> 00:19:07,689
‐ That's beautiful.
466
00:19:07,689 --> 00:19:09,274
It's beautiful.
‐ Aaaah!
467
00:19:10,317 --> 00:19:11,109
Yeah.
468
00:19:11,443 --> 00:19:13,487
You know the story.
Everyone thought it was LSD.
469
00:19:13,487 --> 00:19:14,988
Lucy, Sky, Diamond.
470
00:19:15,322 --> 00:19:18,784
But it was actually his son,
Julian, Julian Lennon,
471
00:19:19,326 --> 00:19:22,538
who'd been at school
and had brought back
472
00:19:22,538 --> 00:19:26,083
a little drawing
of his school friend, Lucy.
473
00:19:26,375 --> 00:19:29,294
He'd drawn stars around her.
474
00:19:29,878 --> 00:19:33,257
And so he called them diamonds,
and this was Lucy,
475
00:19:33,257 --> 00:19:35,133
and because she was
sort of floating,
476
00:19:35,133 --> 00:19:37,219
she was Lucy in the sky
with diamonds.
477
00:19:37,511 --> 00:19:39,555
He said, "I think
it's a good title for a song."
478
00:19:39,555 --> 00:19:40,472
‐ Yeah.
479
00:19:40,472 --> 00:19:42,891
‐ And we were big
Lewis Carroll fans,
480
00:19:42,891 --> 00:19:45,269
Alice in Wonderland,
Alice Through the Looking Glass.
481
00:19:45,727 --> 00:19:50,190
And, uh, that was another point
of contact for me and John,
482
00:19:50,732 --> 00:19:53,944
these lyrics, you know,
the kaleidoscope eyes.
483
00:19:53,944 --> 00:19:55,988
It's sort of
straight out of Alice,
484
00:19:55,988 --> 00:19:57,322
almost the Cheshire cat.
485
00:19:57,322 --> 00:20:00,576
‐ Mm‐hmm.
‐ It was, you know, vanishes,
486
00:20:00,576 --> 00:20:03,078
the caterpillar smoking
his big hookah.
487
00:20:03,078 --> 00:20:03,787
‐ Yeah.
488
00:20:03,787 --> 00:20:06,456
‐ And it was a head job,
you know, it was like‐‐
‐ Yeah.
489
00:20:06,456 --> 00:20:08,375
‐ The truth is,
everyone was getting stoned.
490
00:20:08,375 --> 00:20:08,834
‐ Yeah.
491
00:20:08,834 --> 00:20:12,671
‐ And it was intentionally
a sort of fun album
492
00:20:12,671 --> 00:20:15,674
for the... high times.
493
00:20:16,008 --> 00:20:17,676
‐ Yeah. It worked.
[laughs]
494
00:20:18,427 --> 00:20:19,428
‐ It did, yeah.
495
00:20:20,053 --> 00:20:21,638
‐ Tell me about first time
in India.
496
00:20:22,264 --> 00:20:25,225
‐ So we were in the middle
of sort of the drug culture
497
00:20:25,225 --> 00:20:28,979
and we were pretty wasted,
you know, pretty burned out.
498
00:20:29,730 --> 00:20:32,858
We'd seen Maharishi
when we were kids
499
00:20:32,858 --> 00:20:34,818
on sort of black and white television.
500
00:20:35,152 --> 00:20:36,695
And he giggles,
and we're going, you know,
501
00:20:36,695 --> 00:20:39,364
just kids in Liverpool,
we're going, "Love this guy."
502
00:20:40,532 --> 00:20:43,911
And then years later,
we did a little course in England,
503
00:20:43,911 --> 00:20:47,414
and then we ended up
going out to India.
504
00:20:47,414 --> 00:20:50,125
♪ Within You Without You playing ♪
505
00:20:50,125 --> 00:20:52,461
Why we were doing it is
because we needed it.
506
00:20:52,461 --> 00:20:53,045
RICK: Yeah.
507
00:20:53,045 --> 00:20:55,172
PAUL: It's all like, "Oh my God,"
we were working a lot,
508
00:20:55,172 --> 00:20:56,548
and recording a lot.
509
00:20:57,299 --> 00:21:02,262
So... going there was
a great relief, you know.
510
00:21:04,515 --> 00:21:09,228
So yeah, we went out and stayed
at this place in Rishikesh,
511
00:21:10,687 --> 00:21:11,897
which are now apparently,
512
00:21:11,897 --> 00:21:14,900
it's The Beatles meditation camp.
[Rick laughing]
513
00:21:14,900 --> 00:21:17,861
It's a little bit rundown.
I met someone who'd been there.
514
00:21:17,861 --> 00:21:21,114
But it was a very gentle time,
it was a very beautiful time.
515
00:21:21,114 --> 00:21:22,574
And we'd all brought our guitars,
516
00:21:22,574 --> 00:21:24,326
so we were all writing.
517
00:21:24,326 --> 00:21:26,745
♪ Dear Prudence playing ♪
518
00:21:26,745 --> 00:21:29,498
I wrote Ob‐La‐Di, Ob‐La‐Da there,
519
00:21:30,040 --> 00:21:32,793
which is not really spiritual.
520
00:21:32,793 --> 00:21:34,086
It was just a song.
521
00:21:35,128 --> 00:21:36,630
And John wrote this.
522
00:21:36,630 --> 00:21:39,007
JOHN: ♪ Dear Prudence ♪
523
00:21:39,007 --> 00:21:42,469
♪
524
00:21:42,469 --> 00:21:45,764
♪ Won't you come out to play? ♪
525
00:21:45,764 --> 00:21:48,809
‐ So is this like you imagined
when John played it for you first‐‐
526
00:21:48,809 --> 00:21:49,560
‐ Yeah.
‐ It was like this?
527
00:21:49,560 --> 00:21:50,727
‐ Pretty much, yeah.
528
00:21:51,270 --> 00:21:52,896
It wasn't double tracked,
of course, but I mean,
529
00:21:52,896 --> 00:21:54,982
just the simple version
of this, yeah.
530
00:21:56,149 --> 00:21:59,361
There was a girl there
who was called Prudence Farrow,
531
00:21:59,987 --> 00:22:02,030
and she was Mia Farrow's sister.
532
00:22:02,573 --> 00:22:05,701
The word got out
that she was in her chalet
533
00:22:06,034 --> 00:22:07,536
and wouldn't come out.
534
00:22:08,370 --> 00:22:11,164
So we all sort of wanted
to go over.
535
00:22:11,748 --> 00:22:14,668
And John was playing
and singing this to her.
536
00:22:15,127 --> 00:22:16,044
♪ Dear Prudence ♪
537
00:22:16,753 --> 00:22:20,215
‐ ♪ Won't you come out to play? ♪
538
00:22:20,215 --> 00:22:21,884
♪
539
00:22:21,884 --> 00:22:23,093
‐ Yeah.
‐ Yeah.
540
00:22:23,093 --> 00:22:25,053
‐ It's that juxtaposition thing, again.
541
00:22:26,096 --> 00:22:27,723
It's really a real folk song.
542
00:22:28,849 --> 00:22:29,892
♪ isolates bass ♪
543
00:22:29,892 --> 00:22:30,893
‐ That's not.
544
00:22:30,893 --> 00:22:32,394
‐ No, this is not folky.
545
00:22:33,687 --> 00:22:35,022
Interesting tone.
546
00:22:35,606 --> 00:22:38,358
‐ Wow. Really percussive, like‐‐
547
00:22:38,358 --> 00:22:39,651
‐ With the treble.
‐ Yeah.
548
00:22:39,651 --> 00:22:40,903
I liked to do that.
549
00:22:40,903 --> 00:22:45,240
You know, we'd use a pick,
then you get that very treble end,
550
00:22:45,240 --> 00:22:46,992
but then you get
the bass as well.
551
00:22:46,992 --> 00:22:47,951
‐ Yeah.
552
00:22:48,952 --> 00:22:51,997
‐ ♪ Dear Prudence ♪
553
00:22:54,666 --> 00:23:00,672
♪ See the sunny skies ♪
554
00:23:02,049 --> 00:23:04,468
♪ The wind is low,
the birds will sing ♪
555
00:23:04,468 --> 00:23:05,344
‐ It's long.
556
00:23:06,386 --> 00:23:07,763
‐ Yeah.
‐ How'd that happen?
557
00:23:08,138 --> 00:23:10,182
‐ ♪ Dear Prudence ♪
558
00:23:10,182 --> 00:23:13,101
‐ I think we were like, you know,
that was like a challenge.
559
00:23:13,101 --> 00:23:14,269
‐ Yeah. See who can‐‐
560
00:23:14,269 --> 00:23:15,729
‐ Who can hold
the note that long.
561
00:23:15,729 --> 00:23:18,482
♪
562
00:23:18,482 --> 00:23:23,820
♪ vocalizing ♪
563
00:23:23,820 --> 00:23:27,199
♪
564
00:23:27,199 --> 00:23:30,619
♪ vocalizing continues ♪
565
00:23:30,619 --> 00:23:32,204
‐ Wow, that's long.
566
00:23:33,163 --> 00:23:33,997
‐ Breathe in.
567
00:23:33,997 --> 00:23:38,085
♪
568
00:23:38,085 --> 00:23:39,628
Yeah.
‐ Incredible.
569
00:23:39,628 --> 00:23:41,338
‐ Yeah, it was just,
you know, it's like,
570
00:23:42,130 --> 00:23:43,549
you wanted it to go
right through.
571
00:23:43,549 --> 00:23:45,425
We could have stopped it halfway.
‐ Yeah, yeah, yeah.
572
00:23:45,425 --> 00:23:46,552
‐ Taken a breath.
‐ Yeah.
573
00:23:47,177 --> 00:23:49,221
‐ But it was like,
it's like mischief.
574
00:23:49,221 --> 00:23:51,306
"No, you know, let's try
and see if we can hold it."
575
00:23:51,306 --> 00:23:52,641
So it was like...
[inhales deeply]
576
00:23:53,225 --> 00:23:54,726
♪ Ah ♪
‐ Yeah.
577
00:23:54,726 --> 00:23:55,978
[squeaks]
578
00:23:56,270 --> 00:23:56,937
‐ You know.
579
00:23:57,521 --> 00:24:00,315
‐ And that would have been you,
John, and George?
580
00:24:00,315 --> 00:24:01,525
‐ Yeah, I think so.
‐ Singing together, probably?
581
00:24:01,525 --> 00:24:02,484
‐ Yeah.
‐ Typically.
582
00:24:02,484 --> 00:24:04,403
‐ Yeah. That high note's me.
583
00:24:04,403 --> 00:24:05,612
‐ Yeah.
‐ Yeah.
584
00:24:05,612 --> 00:24:08,407
No, I remember that.
We would do that.
585
00:24:08,407 --> 00:24:10,284
It would be like,
"It's so long, sorry."
586
00:24:10,284 --> 00:24:12,369
"Yeah. But you can do it.
We can do it."
587
00:24:12,911 --> 00:24:15,038
"No, we can't. It's too long."
‐ Yeah, yeah.
588
00:24:15,038 --> 00:24:16,123
‐ "Let's try it."
‐ Yeah, yeah.
589
00:24:16,123 --> 00:24:17,457
‐ You know, and it‐‐ we‐‐
590
00:24:17,457 --> 00:24:19,626
You were playing around.
Yeah, it's fun, you know.
591
00:24:20,002 --> 00:24:21,253
So you're pushing yourself.
592
00:24:21,879 --> 00:24:25,257
‐ ♪ Won't you come out to play? ♪
593
00:24:26,967 --> 00:24:27,843
It was great.
594
00:24:27,843 --> 00:24:30,637
I, I say to people, you know,
who are into meditation,
595
00:24:30,637 --> 00:24:34,600
I was very lucky 'cause I got
my mantra off Maharishi himself.
596
00:24:34,600 --> 00:24:35,350
‐ Directly.
597
00:24:35,350 --> 00:24:37,561
‐ So I feel kind of privileged,
you know...
‐ Yes.
598
00:24:37,561 --> 00:24:40,022
‐ ...that we were just there,
at that time.
599
00:24:40,606 --> 00:24:43,901
He basically said,
"I'm going to give you a mantra."
600
00:24:43,901 --> 00:24:44,443
‐ Hm.
601
00:24:44,443 --> 00:24:46,653
‐ "These are ancient words,
602
00:24:47,154 --> 00:24:49,323
"uh, and why I would give you
these words
603
00:24:49,323 --> 00:24:51,992
"is they've been tried
and tested.
604
00:24:51,992 --> 00:24:53,327
"So I'll give you your word.
605
00:24:53,702 --> 00:24:56,580
"And I would like you
to just repeat it back to me.
606
00:24:56,580 --> 00:24:59,499
"And, uh, if it's right,
I'll say yes,
607
00:24:59,499 --> 00:25:01,168
and you don't ever say it again."
608
00:25:01,627 --> 00:25:05,214
So he told me,
and I repeated it back,
609
00:25:05,214 --> 00:25:06,798
and that was it.
‐ Yeah.
610
00:25:06,798 --> 00:25:09,676
‐ I used that mantra,
and we continued,
611
00:25:10,052 --> 00:25:11,637
and, um, it was good.
612
00:25:12,012 --> 00:25:16,975
‐ I learned when I was 14
based on... Beatles meditated,
613
00:25:16,975 --> 00:25:19,520
so I've got to learn that.
614
00:25:19,520 --> 00:25:21,146
So I'm, I'm, I'm there.
615
00:25:21,146 --> 00:25:22,731
[laughs]
I'm right‐‐ I'm with you.
616
00:25:22,731 --> 00:25:24,858
And it changed
my life only for the better.
617
00:25:24,858 --> 00:25:26,610
‐ Yeah.
‐ A million percent.
618
00:25:26,610 --> 00:25:28,487
‐ Well, I love that
about The Beatles.
619
00:25:28,487 --> 00:25:29,112
‐ Yeah.
620
00:25:29,112 --> 00:25:31,448
‐ A lot of our influences
were, like, really good.
621
00:25:31,448 --> 00:25:32,282
‐ Yeah.
622
00:25:32,282 --> 00:25:36,119
‐ You know, sort of
spiritual meditation,
623
00:25:36,119 --> 00:25:37,371
this kind of thing,
624
00:25:38,163 --> 00:25:42,376
and, you know, so I think we laid out
a few paths for people to follow.
625
00:25:43,043 --> 00:25:46,547
And it has, I think it's had
a good effect on the world, you know.
626
00:25:46,547 --> 00:25:47,548
‐ Absolutely.
627
00:25:47,923 --> 00:25:51,301
‐ But you're looking back on it,
it's a great blessing
628
00:25:51,301 --> 00:25:53,345
that people picked up on it
629
00:25:53,345 --> 00:25:56,265
and it actually helped them
in their lives,
630
00:25:57,099 --> 00:25:58,642
and that's a great thing.
631
00:25:58,642 --> 00:26:01,854
♪ Hey, Jude ♪
632
00:26:01,854 --> 00:26:03,939
♪ Don't make it bad ♪
633
00:26:05,607 --> 00:26:08,485
‐ ♪ Take a sad song ♪
634
00:26:08,485 --> 00:26:11,321
♪ And make it better ♪
635
00:26:12,614 --> 00:26:17,077
♪ Remember to let her
under your skin ♪
636
00:26:17,870 --> 00:26:20,122
♪ Then you'll begin ♪
637
00:26:20,747 --> 00:26:23,667
♪ To make it better ♪
638
00:26:23,667 --> 00:26:27,671
♪ Better, better,
better, better, better♪
639
00:26:27,671 --> 00:26:30,340
♪ Oh yeah ♪
640
00:26:30,340 --> 00:26:32,926
♪ Yeah, yeah, yeah,
yeah, yeah, yeah, yeah ♪
641
00:26:32,926 --> 00:26:35,137
‐ ♪ Na na na na ♪
642
00:26:35,929 --> 00:26:38,473
♪ Na na na na ♪
643
00:26:38,473 --> 00:26:40,142
♪ Hey, Jude ♪
644
00:26:42,561 --> 00:26:48,025
♪ Naa na na na na na na ♪
645
00:26:49,193 --> 00:26:51,737
♪ Na na na na ♪
646
00:26:51,737 --> 00:26:53,780
♪ Hey, Jude ♪
647
00:26:55,782 --> 00:27:01,163
♪ Naa na na na na na na ♪
648
00:27:02,456 --> 00:27:04,958
♪ Na na na na ♪
649
00:27:04,958 --> 00:27:06,668
♪ Hey, Jude ♪
650
00:27:09,087 --> 00:27:14,510
♪ Naa na na na na na na ♪
651
00:27:14,510 --> 00:27:15,594
‐ ♪ Oh yeah ♪
652
00:27:15,594 --> 00:27:18,263
‐ ♪ Na na na na ♪
653
00:27:18,263 --> 00:27:20,599
♪ Hey, Jude ♪
654
00:27:22,351 --> 00:27:27,773
♪ Naa na na na na na na ♪
655
00:27:28,982 --> 00:27:31,485
♪ Na na na na ♪
656
00:27:31,485 --> 00:27:32,736
♪ Hey, Jude ♪
657
00:27:32,736 --> 00:27:35,697
‐ ♪ Jude, Jude, Judy,
Judy, Judy, Judy ♪
658
00:27:35,697 --> 00:27:41,203
‐ ♪ Naa na na na na na na ♪
659
00:27:42,037 --> 00:27:44,540
♪ Na na na na ♪
660
00:27:44,540 --> 00:27:46,458
♪ Hey, Jude ♪
661
00:27:46,458 --> 00:27:48,710
‐ ♪ Come on and make it, Judy ♪
662
00:27:48,710 --> 00:27:54,049
‐ ♪ Naa na na na na na na ♪
‐ ♪ Yeah, yeah, yeah ♪
663
00:27:54,716 --> 00:27:57,427
‐ ♪ Na na na na ♪
664
00:27:57,427 --> 00:27:58,679
♪ Hey, Jude ♪
665
00:27:58,679 --> 00:28:01,557
‐ ♪ Yeah, yeah, yeah, yeah,
yeah, yeah, yeah, yeah ♪
666
00:28:01,557 --> 00:28:06,687
‐ ♪ Naa na na na na na na ♪
667
00:28:07,729 --> 00:28:10,399
♪ Na na na na ♪
668
00:28:10,399 --> 00:28:12,776
♪ Hey, Jude ♪
669
00:28:13,068 --> 00:28:14,403
MAN: Goodnight,
ladies and gentlemen.
670
00:28:14,403 --> 00:28:19,741
‐ ♪ Naa na na na na na na ♪
671
00:28:20,826 --> 00:28:23,328
♪ Na na na na ♪
672
00:28:23,328 --> 00:28:25,747
♪ Hey, Jude ♪
673
00:28:27,291 --> 00:28:32,045
♪ Naa na na na na na na ♪
674
00:28:32,045 --> 00:28:33,755
‐ ♪ Oh yeah, yeah ♪
675
00:28:33,755 --> 00:28:35,215
‐ ♪ Na na na na ♪
676
00:28:36,175 --> 00:28:37,759
♪ Hey, Jude ♪
677
00:28:40,220 --> 00:28:43,807
♪ Naa na na na na na na ♪
‐ ♪ Oh, yeah ♪
678
00:28:43,807 --> 00:28:46,101
♪ Take a load off, baby ♪
679
00:28:46,643 --> 00:28:49,104
‐ ♪ Na na na na ♪
680
00:28:49,104 --> 00:28:49,938
♪ Hey, Jude ♪
681
00:28:49,938 --> 00:28:51,899
‐ ♪ Take a load off for me ♪
682
00:28:51,899 --> 00:28:53,400
♪ Put it back on me ♪
47885
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