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♪
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PAUL MCCARTNEY: Yeah.
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♪
4
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We were told that,
you'll never make it from Liverpool.
5
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You'll never make it.
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Of course, that just
strengthened our resolve.
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"We'll show you, mate."
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You know?
‐ Yeah.
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‐ We thought we were different.
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‐ Yeah.
‐ We knew we were different.
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And then that, um...
found its way into the music.
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♪ Lovely Rita playing ♪
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‐ ♪ Ah ♪
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♪ Lovely Rita, meter maid ♪
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♪ Lovely Rita, meter maid ♪
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PAUL [on recording]:
♪ Lovely Rita, meter maid ♪
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♪ Nothing can come between us ♪
18
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♪ When it gets dark
I tow your heart away ♪
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♪ Standing by a parking meter ♪
20
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♪ When I caught a glimpse of Rita ♪
21
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♪ Filling in a ticket
in her little white book ♪
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♪ In a cap
she looked much older ♪
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♪ And the bag
across her shoulder ♪
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♪ Made her look a little
like a military man ♪
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♪ Paul humming music ♪
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PAUL: Hm.
RICK RUBIN: It's just so interesting.
27
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The choices
you're making in the playing.
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♪
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I think the bass is really straight.
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‐ Pretty straight, yeah.
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I come in and ruin it.
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‐ Good thing you wrote it.
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‐ ♪ Lovely Rita, meter maid ♪
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♪ Where would I be without you? ♪
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♪ Give us a wink
and make me think of you ♪
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♪ Lovely Rita meter maid ♪
37
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♪ Lovely Rita meter maid ♪
38
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‐ It feels almost like
the bass is doing
39
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like what an orchestra
would do, you know.
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It's adding all
of the other counterpoint...
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‐ Yeah.
‐ ...and extra rhythm.
42
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‐ But then when the vocal comes in,
I get out the way.
43
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[humming]
44
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But then I come back,
I'm too tempted‐‐
45
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[rapid humming]
‐ Yeah, yeah.
46
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‐ But, uh, I like
doing that, you know.
47
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‐ You started
as a guitar player though.
48
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‐ Yeah, me and John were
the guitar players. Yeah.
49
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I used to think I could be lead guitar.
50
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‐ Yeah.
51
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‐ Because at home, I could,
I could play nice little songs.
52
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But I got terrible stage fright
at a place in Liverpool
53
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um, called Broadway,
funnily enough.
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Oh, it just came my time
to play the solo
55
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and I, aah,
56
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I, like, froze, you know,
57
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sticky fingers
and nothing would work.
58
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And after that, I thought,
right, no more lead.
59
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That's it, you know, we'll give that
to somebody else.
60
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‐ Wow.
61
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‐ But yeah, I did start on guitar,
originally acoustic,
62
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and then, uh,
when we went to Hamburg,
63
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I bought a little electric guitar,
very cheap.
64
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But it looked good.
‐ Yeah.
65
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‐ Looked kind of rock and roll.
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Kind of red thing,
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Rosetti Lucky 7.
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But it was terrible.
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But I could‐‐ you know, it worked
until we got to Hamburg
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and then it fell apart.
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So then I would, I was turning
my back on the audience
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and playing piano.
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But it was good. Good practice.
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For a bass player, we had Stuart,
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who was a friend of John's
from art school,
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but he ended up wanting
to stay in Hamburg
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because he fell in love.
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So then it was a question of me,
John, or George becoming the bass player,
79
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and the two of them said,
well, I'm not doing it.
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[both laugh]
81
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So it was‐‐ I was left.
82
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‐ Were you already writing songs
at this point or not really?
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‐ Yeah. Yeah.
84
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‐ Even from the Hamburg days?
85
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‐ Before.
86
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‐ Really?
‐ Yeah.
87
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I wrote, um,
my first one when I was like 14.
88
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‐ Wow.
89
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‐ And that was just a little,
little guitar thing.
90
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Uh, do you want me to show you?
‐ Yes.
91
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‐ Okay.
‐ Let's go.
92
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‐ I will find a guitar.
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♪
94
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Yeah, I liked the idea
that the baseline would go up.
95
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♪
96
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Then I wanted this to come down.
97
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♪
98
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So you get that little thing.
That was the big thing for me.
99
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‐ Yeah.
‐ So it was just‐‐
100
00:04:32,481 --> 00:04:35,067
♪ I woke up late this morning ♪
101
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♪ My head was in a whirl ♪
102
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♪ Only then I realized ♪
103
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♪ I lost my little girl ♪
104
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♪ Her clothes were not expensive ♪
105
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♪ Her hair didn't always curl ♪
106
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♪ Ah, ah, ah, ah, ah ♪
107
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♪
108
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But it is interesting,
the first song I should write
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has got a little
contra vocal thing going.
110
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‐ Absolutely.
111
00:05:01,969 --> 00:05:03,762
‐ I'm fingering down on that‐‐
112
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‐ Two parts going on
at the same time right out of the box.
113
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‐ Yeah.
‐ Unusual for a young kid.
114
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‐ Yeah. You know,
and it's a funny thing
115
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as you get older, you think,
116
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well, how did I know that?
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‐ Yes.
‐ And I, I haven't got an answer.
118
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♪ vocalizing ♪
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♪
120
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♪
121
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When John and I had got together
122
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and I told him about
that little song that I'd written,
123
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and I'd written a couple of others.
124
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And he said, so have I.
125
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And that was,
that was the big difference.
126
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I talked to other people,
127
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and they sort of said,
"Well, what do you do?"
128
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I said, "Oh, I've got a hobby,
129
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I kind of, I've written
a couple of songs."
130
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And most people would just
ignore that and go,
131
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"Oh okay, you know, what sports
do you like," and move on.
132
00:05:58,984 --> 00:06:02,070
But, uh, when I said that to John,
he said, "Yeah, so have I."
133
00:06:03,030 --> 00:06:04,907
I said, "Oh yeah, great.
134
00:06:05,490 --> 00:06:07,367
"Well, let me see yours,
135
00:06:07,367 --> 00:06:09,328
I'll show you mine,"
kind of thing, you know.
136
00:06:09,328 --> 00:06:10,204
And that was it.
137
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We, we started writing together
138
00:06:12,414 --> 00:06:13,665
with that in mind, you know.
139
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♪ This Boy playing ♪
140
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♪
141
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‐ ♪ That boy ♪
142
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‐ You know, we were trying
to make money.
143
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We were kind of guys,
none of us was rich,
144
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so we would play pubs and ballrooms.
145
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The Aintree Institute
would have, like, a dance.
146
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RICK: Hmm.
147
00:06:39,441 --> 00:06:42,236
PAUL: But when we'd got
Brian Epstein as our manager,
148
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Brian said, you could play cabaret clubs,
149
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but you'll have to smarten up.
‐ Hm.
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‐ Because we were a bit rock and roll.
‐ Yeah.
151
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‐ He says you'll have
to sort of smarten up,
152
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and you'll have to do
your more sort of ballady songs.
153
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It can't just be
a straight rock and roll set.
154
00:06:58,794 --> 00:06:59,336
‐ Mm‐hmm.
155
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‐ But you could see this
at a cabaret club.
156
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‐ Yeah, for sure.
157
00:07:03,382 --> 00:07:07,135
‐ You know, ladies and gentlemen,
presenting the Beatles.
158
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[Rick laughs]
Lights go down, little spots come up.
159
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‐ ♪ Back again ♪
160
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‐ Let's see.
161
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‐ And then we get John's‐‐
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JOHN LENNON [on recording]:
♪ Oh, and this boy ♪
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RICK: No music.
164
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‐ ♪ Would be happy ♪
165
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♪ Just to love you ♪
166
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♪ But oh my ♪
167
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♪ That boy ♪
168
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♪ Won't be happy ♪
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‐ [singing along]
♪ Till he's seen you cry ♪
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♪ This boy ♪
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RICK: That was beautiful.
‐ Yeah.
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‐ ♪ Wouldn't mind the pain ♪
173
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♪
174
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‐ You know, we wanted to, um,
show different sides of ourselves.
175
00:07:58,604 --> 00:08:01,565
We could've just been
one guy sings the vocal
176
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and we'll back him up.
177
00:08:02,941 --> 00:08:05,861
But we kept wanting
to stretch it a little bit.
178
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So this whole song is just
a three‐part harmony thing.
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‐ ♪ This boy ♪
180
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♪
181
00:08:15,412 --> 00:08:17,706
♪ This boy ♪
182
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‐ Those were exciting things
to do, you know,
183
00:08:21,376 --> 00:08:23,420
to, to branch out like that.
184
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Then we wanted to add
these other layers,
185
00:08:26,715 --> 00:08:30,052
which as the Beatles went on,
we added more and more.
186
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♪ Something playing ♪
187
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GEORGE HARRISON [on recording]:
♪ Something in the way she moves ♪
188
00:08:42,564 --> 00:08:46,652
♪ Attracts me like no other lover ♪
189
00:08:49,279 --> 00:08:54,034
♪ Something in the way
she woos me ♪
190
00:08:56,537 --> 00:08:58,830
♪ I don't want to leave her now ♪
191
00:09:00,123 --> 00:09:01,124
[indiscernible chatter]
192
00:09:01,124 --> 00:09:02,626
♪ You know I believe and how ♪
193
00:09:03,502 --> 00:09:07,506
♪
194
00:09:07,506 --> 00:09:11,969
♪ Somewhere in her smile
she knows ♪
195
00:09:13,512 --> 00:09:15,848
‐ What is going on with the bass?
196
00:09:15,848 --> 00:09:18,100
Like, it's the greatest thing
I've ever heard.
197
00:09:18,100 --> 00:09:20,310
‐ Oh.
‐ How did this happen?
198
00:09:20,310 --> 00:09:22,104
‐ I mean‐‐
‐ How does this exist?
199
00:09:22,604 --> 00:09:25,524
‐ It's very tempting when you're
on the bass to sort of go‐‐
200
00:09:25,524 --> 00:09:30,988
[imitating bass guitar]
201
00:09:31,363 --> 00:09:33,198
And I probably started simple.
202
00:09:33,198 --> 00:09:34,616
[imitating bass guitar]
‐ Yeah.
203
00:09:35,200 --> 00:09:38,912
‐ And then you might find that the bit
we were kind of liking,
204
00:09:38,912 --> 00:09:40,455
it's a nice little melody.
205
00:09:40,455 --> 00:09:44,877
♪
206
00:09:44,877 --> 00:09:48,380
‐ ♪ You're asking me
will my love grow ♪
207
00:09:49,006 --> 00:09:50,841
‐ It's doing so much work
208
00:09:50,841 --> 00:09:54,970
that really is
in the service of the record.
209
00:09:55,387 --> 00:09:57,890
‐ It's pretty adventurous, you know.
210
00:09:57,890 --> 00:10:00,184
‐ Did you have that
all worked out before the‐‐
211
00:10:00,184 --> 00:10:01,101
‐ No.
212
00:10:01,768 --> 00:10:03,854
‐ So tell me what happens
the day of this recording.
213
00:10:03,854 --> 00:10:05,189
What happens?
214
00:10:05,189 --> 00:10:09,401
‐ Um... George comes in,
shows us the song.
215
00:10:09,860 --> 00:10:12,613
That would just be with a guitar
and all just 'round,
216
00:10:13,238 --> 00:10:15,407
a couple of chairs
'round a little circle.
217
00:10:16,325 --> 00:10:18,577
It was all fairly instant.
‐ Yeah.
218
00:10:18,577 --> 00:10:20,996
‐ You know, it's just
we've got to do this song.
219
00:10:20,996 --> 00:10:24,124
We've got to do it.
Let's just try it every which way,
220
00:10:24,124 --> 00:10:26,835
until we settle on,
oh yeah, this feels good.
221
00:10:27,669 --> 00:10:29,129
‐ It's the interaction.
222
00:10:30,422 --> 00:10:31,465
‐ Yeah.
223
00:10:31,465 --> 00:10:33,926
♪
224
00:10:33,926 --> 00:10:36,136
[humming]
225
00:10:36,887 --> 00:10:37,596
Yeah.
226
00:10:37,596 --> 00:10:39,765
♪
227
00:10:52,236 --> 00:10:53,820
♪ song ends ♪
228
00:10:53,820 --> 00:10:55,280
‐ Classic George song.
229
00:10:55,280 --> 00:10:57,449
‐ Alright.
[claps]
230
00:10:57,449 --> 00:11:00,702
‐ Do you remember after finishing
the song, thinking‐‐
231
00:11:01,912 --> 00:11:03,497
‐ It's a good one.
‐ Did you feel that?
232
00:11:03,497 --> 00:11:07,209
‐ Oh yeah. Yeah, yeah.
I think you know the good songs.
233
00:11:07,209 --> 00:11:08,794
‐ Yeah. Yeah.
234
00:11:08,794 --> 00:11:10,295
Would it be whoever wrote the song
235
00:11:10,295 --> 00:11:12,840
would sort of have the vision
for the project for that?
236
00:11:12,840 --> 00:11:14,508
‐ Normally was, yeah.
And then I'd butt in.
237
00:11:14,508 --> 00:11:16,260
[laughs]
238
00:11:16,260 --> 00:11:17,678
And they'd hate me for it.
239
00:11:18,178 --> 00:11:20,055
I'd go, "But it's a good idea, boys."
240
00:11:20,055 --> 00:11:22,099
‐ If you had a good idea, it's like‐‐
241
00:11:22,099 --> 00:11:24,059
‐ Mm‐hmm.
‐ Got to get 'em in.
242
00:11:24,059 --> 00:11:25,811
‐ Yeah.
‐ Got to get them in.
243
00:11:25,811 --> 00:11:27,604
‐ I mean, it was kind of
an awkward thing, you know,
244
00:11:27,604 --> 00:11:30,357
that if you had a good idea for something,
245
00:11:30,357 --> 00:11:31,483
you'd say it.
‐ Yeah.
246
00:11:31,483 --> 00:11:34,069
‐ But often the other guy would
sort of say, well, you play it.
247
00:11:34,069 --> 00:11:34,903
‐ Yeah.
248
00:11:34,903 --> 00:11:36,321
‐ You know, there was
there was a lot of freedom.
249
00:11:36,321 --> 00:11:37,281
‐ Yeah, yeah, yeah.
250
00:11:37,281 --> 00:11:38,866
‐ So we did that a lot.
251
00:11:38,866 --> 00:11:43,495
Like, I think I talked to George
a lot about the solo on Taxman.
252
00:11:44,162 --> 00:11:46,456
And I think that's what happened.
253
00:11:46,456 --> 00:11:47,666
He said, "Well, you play it."
254
00:11:47,666 --> 00:11:50,460
‐ ♪ Taxman ♪
255
00:11:50,460 --> 00:11:54,423
♪
256
00:12:04,183 --> 00:12:06,101
No wonder
George said you do it.
257
00:12:06,101 --> 00:12:08,103
‐ But what was the insp‐‐
Like, what were you‐‐
258
00:12:08,103 --> 00:12:10,147
‐ I don't know, just free, free.
259
00:12:10,147 --> 00:12:12,274
I mean, and a little bit
of Indian in there, too.
260
00:12:12,274 --> 00:12:13,400
‐ Yeah.
261
00:12:13,400 --> 00:12:16,153
‐ I wouldn't have thought about it
or written it or anything.
262
00:12:16,153 --> 00:12:19,990
It would just be like, oh, it's,
the track's so cooking...
‐ Yeah.
263
00:12:19,990 --> 00:12:22,868
‐ ...that if we're going to have a solo,
it should be just ridiculous.
264
00:12:22,868 --> 00:12:26,163
[imitating guitar riff]
265
00:12:26,163 --> 00:12:27,122
‐ Amazing.
‐ You know.
266
00:12:27,122 --> 00:12:31,919
‐ ♪ Yeah, I'm the Taxman ♪
267
00:12:33,462 --> 00:12:35,005
PAUL: Nice bass lick as well.
268
00:12:35,005 --> 00:12:37,674
‐ ♪ If you drive a car,
I'll tax the street ♪
269
00:12:37,674 --> 00:12:41,011
♪ If you try to sit,
I'll tax your seat ♪
270
00:12:41,011 --> 00:12:44,723
♪ If you get too cold,
I'll tax the heat ♪
271
00:12:44,723 --> 00:12:48,852
♪ If you take a walk,
I'll tax your feet ♪
272
00:12:49,728 --> 00:12:53,065
‐ It was funny because it was like
a double‐edged sword.
273
00:12:53,065 --> 00:12:56,109
People sort of saying,
well, couldn't you just play straighter,
274
00:12:56,693 --> 00:12:59,154
you know, and I'm going,
I don't know.
275
00:12:59,154 --> 00:13:01,782
I think it lends something
doing all this.
276
00:13:01,782 --> 00:13:05,327
I did get sort of reprimanded
once or twice,
277
00:13:05,327 --> 00:13:07,746
for just being too busy.
‐ Yeah.
278
00:13:07,746 --> 00:13:11,500
‐ But you know, by that time
I'd heard James Jamerson.
279
00:13:11,500 --> 00:13:15,629
♪ singing "What's Going On" ♪
280
00:13:16,380 --> 00:13:18,423
♪
281
00:13:41,738 --> 00:13:42,906
‐ He was great.
282
00:13:42,906 --> 00:13:46,326
He had melodic baselines,
and I love that.
283
00:13:46,702 --> 00:13:50,205
It kind of opened my eyes to it.
It was like, oh yeah, wow.
284
00:13:50,205 --> 00:13:53,166
‐ Yeah.
‐ You can groove, make it move, you know.
285
00:13:53,542 --> 00:13:56,128
Because originally, the bass player
286
00:13:56,128 --> 00:13:59,089
in the groups in Liverpool,
it was the fat guy.
287
00:13:59,089 --> 00:14:00,382
[laughs]
288
00:14:00,382 --> 00:14:02,050
And he would just stand
at the back‐‐
289
00:14:02,050 --> 00:14:06,889
[imitating bass guitar]
290
00:14:06,889 --> 00:14:09,391
And the guitar player...
[imitating guitar riff]
291
00:14:09,391 --> 00:14:10,976
He had all the fancy stuff.
292
00:14:11,435 --> 00:14:13,979
But later, when I heard people
like James Jamerson,
293
00:14:14,646 --> 00:14:16,481
I realized, wow, you can,
294
00:14:17,441 --> 00:14:20,152
you can really do
a big thing with a bass.
295
00:14:20,152 --> 00:14:22,779
You can actually control
the band with the bass.
296
00:14:22,779 --> 00:14:23,697
‐ It's interesting.
297
00:14:23,697 --> 00:14:27,492
And it's, it's in some ways,
is why we're having this conversation is
298
00:14:28,452 --> 00:14:30,537
the fascination
with how important the bass is
299
00:14:30,537 --> 00:14:32,623
in the context of these songs.
300
00:14:32,623 --> 00:14:34,625
And the songs are so ubiquitous
in our culture
301
00:14:34,625 --> 00:14:36,710
that we don't really think
of them in pieces.
302
00:14:36,710 --> 00:14:37,669
‐ Hm.
‐ Do you know what I mean?
303
00:14:37,669 --> 00:14:40,130
We just think of them as that song.
304
00:14:40,130 --> 00:14:41,256
‐ That song, yeah.
‐ You know. Yeah, yeah.
305
00:14:41,256 --> 00:14:44,092
‐ It really happened
quite organically in the studio.
306
00:14:44,593 --> 00:14:48,472
Um... you know,
my famous occasion
307
00:14:48,472 --> 00:14:50,933
with bass radically altering
308
00:14:51,725 --> 00:14:56,188
the whole attitude of the song
was when John came in‐‐
309
00:14:56,188 --> 00:15:00,526
♪
310
00:15:00,526 --> 00:15:01,777
♪ Here come old flat‐top ♪
311
00:15:01,777 --> 00:15:03,820
♪ He come groovin' up slowly ♪
312
00:15:03,820 --> 00:15:05,906
♪ He got joo joo eyeball ♪
313
00:15:05,906 --> 00:15:08,784
♪ He one holy roller, he got‐‐ ♪
314
00:15:08,784 --> 00:15:10,953
I said, uh, uh, uh, uh,
wait a minute, wait a minute,
315
00:15:11,453 --> 00:15:12,871
that's a Chuck Berry song.
316
00:15:13,372 --> 00:15:14,873
That's a Chuck Berry song,
317
00:15:14,873 --> 00:15:16,583
which is called You Can't Catch Me.
318
00:15:17,334 --> 00:15:18,836
Which not only is like that‐‐
319
00:15:18,836 --> 00:15:20,337
♪
320
00:15:20,337 --> 00:15:21,797
♪ Yeah, come on ♪
321
00:15:22,589 --> 00:15:25,384
The opening line is,
"Here come old flat‐top."
322
00:15:25,968 --> 00:15:27,469
‐ ♪ Here come old flat‐top ♪
323
00:15:27,469 --> 00:15:29,137
♪ He was moving up with me ♪
324
00:15:29,137 --> 00:15:30,931
♪ Then come waving goodbye ♪
325
00:15:30,931 --> 00:15:32,766
♪ In a little old souped‐up jitney ♪
326
00:15:32,766 --> 00:15:34,810
♪ I put my foot in my tank ♪
327
00:15:34,810 --> 00:15:36,937
♪ And I began to roll ♪
328
00:15:37,563 --> 00:15:40,816
♪ Moaning siren,
'twas a state patrol ♪
329
00:15:40,816 --> 00:15:42,818
♪ So I let out my wings ♪
330
00:15:42,818 --> 00:15:44,987
♪ And then I blew my horn ♪
331
00:15:45,487 --> 00:15:48,532
♪ Bye‐bye New Jersey,
I've become airborne ♪
332
00:15:49,449 --> 00:15:50,868
RICK:
It actually is the Chuck Berry song.
333
00:15:50,868 --> 00:15:53,787
‐ It actually is the Chuck Berry song,
so I said, "Oh man,"
334
00:15:53,787 --> 00:15:56,832
I said, you know, "Look,
it's a great song. I love it."
335
00:15:56,832 --> 00:15:59,668
I said, "But we got to do something
to get away from that."
336
00:16:00,169 --> 00:16:02,546
So I just suggested we slowed it down.
337
00:16:02,546 --> 00:16:03,505
So instead of the‐‐
338
00:16:03,505 --> 00:16:05,757
♪ up‐tempo music playing ♪
339
00:16:05,757 --> 00:16:09,386
We go...
[humming Come Together]
340
00:16:09,386 --> 00:16:13,932
♪ Come Together playing ♪
341
00:16:14,308 --> 00:16:16,143
[imitating drum beats]
342
00:16:16,143 --> 00:16:20,814
Which now gave it a kind of
real nice swampy back and forth.
343
00:16:20,814 --> 00:16:23,483
♪ Here come old flat top
he got ♪
344
00:16:23,483 --> 00:16:25,611
And it changed his attitude to it.
345
00:16:26,028 --> 00:16:30,699
♪ Come Together playing ♪
346
00:16:30,699 --> 00:16:32,409
‐ I just want to hear the vocals,
347
00:16:32,409 --> 00:16:34,995
just to understand where it's...
the writing style.
348
00:16:34,995 --> 00:16:36,788
JOHN LENNON [on recording]:
♪ Here come old flat top ♪
349
00:16:36,788 --> 00:16:39,708
♪ He come grooving up slowly ♪
350
00:16:39,708 --> 00:16:42,669
♪ He got joo joo eyeball ♪
351
00:16:42,669 --> 00:16:45,631
♪ He one holy roller ♪
352
00:16:45,631 --> 00:16:48,842
♪ He got hair down ♪
353
00:16:49,218 --> 00:16:51,094
♪ To his knee ♪
354
00:16:52,179 --> 00:16:56,892
♪ Got to be a joker
he just do what he please ♪
355
00:16:57,851 --> 00:17:00,020
♪
356
00:17:00,020 --> 00:17:01,146
‐ The signature of the song.
357
00:17:01,146 --> 00:17:04,608
♪
358
00:17:04,608 --> 00:17:05,484
‐ Ringo.
359
00:17:05,484 --> 00:17:09,154
♪
360
00:17:09,154 --> 00:17:11,365
‐ It's just the bass and the drums.
‐ It's a groove, isn't it?
361
00:17:11,365 --> 00:17:15,202
♪
362
00:17:18,705 --> 00:17:20,415
‐ ♪ ...Ono sideboard ♪
363
00:17:20,999 --> 00:17:22,960
♪ ...spinal cracker ♪
364
00:17:22,960 --> 00:17:24,044
♪ He got‐‐ ♪
365
00:17:24,044 --> 00:17:25,128
PAUL: Yeah.
366
00:17:25,128 --> 00:17:30,717
♪
367
00:17:30,717 --> 00:17:34,513
‐ ♪ ...in his armchair
you can feel his disease ♪
368
00:17:34,513 --> 00:17:36,223
‐ [singing along]
♪ Come together ♪
369
00:17:37,432 --> 00:17:38,934
♪ Right now ♪
370
00:17:41,144 --> 00:17:43,522
♪
371
00:17:43,522 --> 00:17:44,690
PAUL: That's it.
372
00:17:45,232 --> 00:17:47,025
I'm playing that piano.
373
00:17:49,111 --> 00:17:52,531
♪
374
00:17:56,034 --> 00:17:56,952
Guitars.
375
00:17:57,703 --> 00:18:02,374
♪
376
00:18:02,374 --> 00:18:03,917
That's John and George.
377
00:18:04,960 --> 00:18:07,880
RICK: Together?
PAUL: Both. No, that's George.
378
00:18:10,424 --> 00:18:11,884
‐ John's probably playing the rhythm.
379
00:18:11,884 --> 00:18:13,677
‐ Yeah, John's playing
the rhythm, yeah.
380
00:18:14,386 --> 00:18:17,973
♪
381
00:18:24,396 --> 00:18:25,397
‐ ♪ Yeah ♪
382
00:18:25,397 --> 00:18:27,649
♪
383
00:18:27,649 --> 00:18:29,067
♪ Come together ♪
384
00:18:29,735 --> 00:18:33,405
♪
385
00:18:35,657 --> 00:18:37,159
‐ Bass sounds incredible.
‐ Yeah.
386
00:18:39,536 --> 00:18:40,996
‐ Really rockin'.
387
00:18:42,206 --> 00:18:46,293
♪
388
00:18:47,085 --> 00:18:49,838
‐ And we sort of knew
we'd got something funky.
389
00:18:49,838 --> 00:18:51,465
‐ Yeah.
‐ And that was always the aim.
390
00:18:51,465 --> 00:18:54,885
Like, if you could take whatever
the little song was you had
391
00:18:54,885 --> 00:18:58,138
and just put that little
extra something on it.
392
00:18:58,138 --> 00:19:00,807
‐ Did it feel like it happened
most of the time?
393
00:19:01,683 --> 00:19:02,976
‐ Yeah.
‐ It seems like it.
394
00:19:02,976 --> 00:19:04,728
Lis‐listening to the records,
it sounds like that.
395
00:19:04,728 --> 00:19:05,854
‐ I know. Yeah.
396
00:19:06,396 --> 00:19:10,901
I mean, for me, I've grown
to be a fan of the Beatles.
397
00:19:10,901 --> 00:19:13,195
‐ Yeah. Yeah.
‐ Because then I was just a Beatle.
398
00:19:13,612 --> 00:19:17,658
But now that the Beatles' volume
of work is finished...
399
00:19:17,658 --> 00:19:18,909
‐ Yes.
400
00:19:18,909 --> 00:19:20,577
‐ I, I listen back to it,
401
00:19:20,577 --> 00:19:24,414
and, you know, like that
you just think, what was that bassline?
402
00:19:24,831 --> 00:19:27,125
Now this is good
because I actually, now I know‐‐
403
00:19:27,125 --> 00:19:29,378
‐ Now you understand how it works.
‐ Now I know what I played, yeah.
404
00:19:29,378 --> 00:19:30,420
‐ Yeah, yeah.
405
00:19:33,632 --> 00:19:36,760
You talked a little bit about becoming
a fan of the Beatles again.
406
00:19:36,760 --> 00:19:38,846
‐ Yeah.
‐ So tell me first about,
407
00:19:38,846 --> 00:19:40,264
Beatles break up.
408
00:19:40,264 --> 00:19:41,932
‐ Mm.
‐ In that moment,
409
00:19:42,307 --> 00:19:45,644
what's your feeling
about your last ten years of music?
410
00:19:46,270 --> 00:19:48,689
‐ I knew we'd done
something great.
411
00:19:48,689 --> 00:19:51,733
‐ Yes.
‐ We'd had a lot of fun in the studio,
412
00:19:51,733 --> 00:19:54,319
and I was sad to see it break up.
‐ Yeah.
413
00:19:54,319 --> 00:19:56,321
‐ I thought I'd be
in this band forever.
414
00:19:56,321 --> 00:19:57,573
‐ Hm.
415
00:19:57,573 --> 00:19:58,991
‐ But various things were happening.
416
00:19:58,991 --> 00:20:01,034
There was a lot
of heavy business stuff
417
00:20:01,034 --> 00:20:03,412
that had,
that had influenced decisions.
418
00:20:03,412 --> 00:20:05,706
‐ Mm‐hmm.
‐ So we, we split up,
419
00:20:05,706 --> 00:20:09,793
and, uh, I was heartbroken, really.
420
00:20:10,669 --> 00:20:12,921
And I kind of disappeared
off the face of the Earth.
421
00:20:12,921 --> 00:20:15,549
I went up to a farm in Scotland
422
00:20:15,924 --> 00:20:20,387
and just became a sort of
hippie farmer, which was great.
423
00:20:20,387 --> 00:20:22,723
‐ ♪ Motorcars ♪
424
00:20:22,723 --> 00:20:24,558
♪ Handlebars ♪
425
00:20:24,558 --> 00:20:27,436
♪ Bicycles for two ♪
426
00:20:28,562 --> 00:20:33,233
♪ Broken‐hearted jubilee ♪
427
00:20:37,404 --> 00:20:40,324
When you've been
a musician all that time,
428
00:20:41,033 --> 00:20:46,330
the idea of just not doing it
was a bit sad.
429
00:20:47,581 --> 00:20:49,875
I just wanted to keep going with music.
430
00:20:49,875 --> 00:20:50,542
‐ Yeah.
431
00:20:50,542 --> 00:20:52,878
‐ You know, it was
a very difficult thing to shake off
432
00:20:53,253 --> 00:20:56,173
if you're this invested
like you and I are.
433
00:20:56,173 --> 00:20:56,924
‐ Yeah.
434
00:20:56,924 --> 00:20:58,675
‐ You just can't sort of say,
oh, I'll do it tomorrow.
435
00:20:58,675 --> 00:21:00,594
‐ Can't imagine it. Can't imagine.
436
00:21:00,594 --> 00:21:05,849
‐ So I just went right back
to basics, and it wasn't easy.
437
00:21:05,849 --> 00:21:08,352
♪
438
00:21:08,352 --> 00:21:11,939
‐ ♪ Da, da, ya, da, da, da
da, da, da ♪
439
00:21:12,397 --> 00:21:13,732
‐ Never finished the lyrics.
440
00:21:15,192 --> 00:21:16,610
‐ No, this is jazz.
441
00:21:16,610 --> 00:21:18,111
[laughing]
442
00:21:19,446 --> 00:21:22,199
I had some recording equipment at home.
443
00:21:22,533 --> 00:21:26,203
I had an amp, guitar, piano,
a little drum set.
444
00:21:26,870 --> 00:21:30,123
So I just thought, well,
I'll just record some stuff, you know.
445
00:21:30,123 --> 00:21:33,001
‐ And literally yourself,
meaning not even an engineer.
446
00:21:33,001 --> 00:21:35,212
Nobody was there except you.
‐ No. Nobody.
447
00:21:35,212 --> 00:21:39,132
‐ ♪ ...the junk in the yard ♪
448
00:21:40,050 --> 00:21:44,972
♪ Da, da, ya, da, da, da
da, da, da ♪
449
00:21:44,972 --> 00:21:46,348
♪
450
00:21:46,348 --> 00:21:47,266
‐ Wow.
451
00:21:47,266 --> 00:21:50,143
♪
452
00:21:53,605 --> 00:21:56,567
♪ song ends ♪
453
00:21:56,567 --> 00:21:58,110
Beautiful.
454
00:21:58,110 --> 00:22:01,196
This was the first album
that you made in this way.
455
00:22:01,196 --> 00:22:02,656
Everything at home, all by yourself.
456
00:22:02,656 --> 00:22:03,407
‐ Yeah.
457
00:22:03,407 --> 00:22:05,075
I mean, once you do
something like this,
458
00:22:05,075 --> 00:22:07,202
it's a nice little home project.
459
00:22:07,202 --> 00:22:08,078
‐ Yeah.
460
00:22:08,078 --> 00:22:11,206
‐ It's like, you know,
if you've built a table,
461
00:22:11,206 --> 00:22:13,917
you've got some time off,
I'll build a chair, something.
462
00:22:13,917 --> 00:22:18,213
You know, it's just that good feeling
you're doing something for yourself.
463
00:22:18,213 --> 00:22:19,006
‐ Yeah.
464
00:22:19,006 --> 00:22:21,925
‐ But then, you know,
you've suddenly got
465
00:22:21,925 --> 00:22:23,677
enough tracks for an album.
466
00:22:23,677 --> 00:22:28,473
♪ Maybe I'm Amazed playing ♪
467
00:22:28,473 --> 00:22:32,644
♪
468
00:22:46,533 --> 00:22:51,288
PAUL [on recording]:
♪ Baby, I'm amazed at the way
you love me all the time ♪
469
00:22:52,706 --> 00:22:56,335
♪ Maybe I'm afraid
of the way I love you ♪
470
00:22:59,004 --> 00:23:03,467
♪ Maybe I'm amazed at the way
you pulled me out of time ♪
471
00:23:04,218 --> 00:23:06,428
♪ You hung me on a line ♪
472
00:23:07,554 --> 00:23:11,725
♪ Maybe I'm amazed at the way
I really need you ♪
473
00:23:14,394 --> 00:23:17,689
♪ Baby, I'm a man,
maybe I'm a lonely man ♪
474
00:23:17,689 --> 00:23:20,067
♪ Who's in the middle of something ♪
475
00:23:20,442 --> 00:23:23,529
♪ That he doesn't really understand ♪
476
00:23:26,490 --> 00:23:29,826
♪ Baby, I'm a man and maybe
you're the only woman ♪
477
00:23:29,826 --> 00:23:31,995
♪ Who could ever help me ♪
478
00:23:32,454 --> 00:23:35,791
♪ Baby, won't you help me to understand? ♪
479
00:23:35,791 --> 00:23:36,792
♪ Ooh‐ooh ♪
480
00:23:36,792 --> 00:23:38,293
PAUL: Once you've been to the top,
481
00:23:38,293 --> 00:23:39,878
going back down
to the bottom of the ladder,
482
00:23:39,878 --> 00:23:43,799
and clawing your way back up,
is, uh, is a bit of a number.
483
00:23:44,299 --> 00:23:46,301
But I had Linda by my side,
484
00:23:46,301 --> 00:23:48,095
and she'd helped me through that period.
485
00:23:48,762 --> 00:23:50,848
She was very, a great strength.
486
00:23:51,348 --> 00:23:53,851
♪
487
00:23:53,851 --> 00:23:56,728
‐ ♪ Baby, I'm amazed at the way
you helped me... ♪
488
00:23:56,728 --> 00:23:57,980
‐ Bringing the energy.
489
00:23:59,147 --> 00:24:01,108
‐ ♪ You right me when I'm wrong ♪
490
00:24:01,108 --> 00:24:03,527
‐ I wonder if that's tucked in there,
I never heard that before.
491
00:24:03,527 --> 00:24:05,153
‐ No.
‐ No, you left it out?
492
00:24:05,153 --> 00:24:06,446
‐ I don't know.
493
00:24:06,446 --> 00:24:07,948
It might be this.
‐ Yeah, it might be‐‐
494
00:24:07,948 --> 00:24:09,908
‐ Sounds like I mixed it out.
I can't remember.
495
00:24:10,534 --> 00:24:11,702
‐ ♪ Oh ♪
496
00:24:11,994 --> 00:24:15,789
♪ Ooh‐ooh‐ooh ♪
497
00:24:16,498 --> 00:24:18,000
♪ Yeah‐yeah, yeah ♪
498
00:24:18,000 --> 00:24:21,253
♪
499
00:24:21,253 --> 00:24:22,254
‐ That got it.
500
00:24:22,254 --> 00:24:23,255
‐ ♪ Oh ♪
501
00:24:23,839 --> 00:24:27,968
♪
502
00:24:27,968 --> 00:24:29,845
♪ Yeah‐yeah, yeah ♪
503
00:24:29,845 --> 00:24:33,682
♪
504
00:24:35,601 --> 00:24:39,438
‐ That's when the audience applauds,
you go, wait for it, wait for it.
505
00:24:39,980 --> 00:24:44,234
‐ ♪ Maybe I'm amazed at the way
you love me all the time ♪
506
00:24:46,069 --> 00:24:49,448
♪ And maybe I'm afraid
of the way I love you ♪
507
00:24:49,990 --> 00:24:52,951
‐ I'd seen something
that made me think,
508
00:24:52,951 --> 00:24:54,870
oh, John's got a new record out,
509
00:24:54,870 --> 00:24:56,788
and it's called Lennon.
510
00:24:57,372 --> 00:24:59,082
I thought, wow, that's great.
511
00:24:59,458 --> 00:25:01,752
Oh boy. I missed that boat.
512
00:25:01,752 --> 00:25:02,711
‐ Yeah.
‐ You know.
513
00:25:02,711 --> 00:25:04,838
And it turned out not to be so.
‐ Wow.
514
00:25:04,838 --> 00:25:07,257
‐ So I said, well,
that's a great idea though.
515
00:25:07,257 --> 00:25:08,592
‐ Yeah.
‐ You just call it your surname.
516
00:25:08,592 --> 00:25:10,427
‐ Yes.
‐ So I said, I'll have that.
517
00:25:10,886 --> 00:25:13,263
So I just named my first record McCartney.
518
00:25:13,847 --> 00:25:16,975
‐ ♪ That he doesn't really understand ♪
519
00:25:20,020 --> 00:25:22,147
♪ Baby, I'm a man... ♪
‐ Whoa.
520
00:25:22,147 --> 00:25:25,526
‐ ♪ You're the only woman
who could ever help me ♪
521
00:25:25,984 --> 00:25:29,488
♪ Baby, won't you help me to understand? ♪
522
00:25:29,488 --> 00:25:33,200
♪ Ooh ♪
523
00:25:33,200 --> 00:25:34,660
‐ You were feeling good that day.
524
00:25:37,329 --> 00:25:42,584
♪
525
00:25:43,794 --> 00:25:46,255
When was the moment
when it switched from,
526
00:25:46,797 --> 00:25:48,298
okay, the old band broke up,
527
00:25:48,298 --> 00:25:50,384
there's some bad feelings,
business stuff,
528
00:25:50,384 --> 00:25:51,718
and now I'm moving on.
529
00:25:51,718 --> 00:25:55,097
I'm starting at the bottom
myself, over again.
530
00:25:55,097 --> 00:25:58,475
When could you look back
and realize,
531
00:25:58,475 --> 00:26:02,896
oh, what we did back then
was really good and special?
532
00:26:02,896 --> 00:26:06,066
‐ I think once I'd got over the fact
533
00:26:06,066 --> 00:26:07,442
that the Beatles had broken up.
534
00:26:08,068 --> 00:26:13,615
Um, once I could allow myself to do
a Beatles song in, in our show.
535
00:26:13,615 --> 00:26:15,868
‐ Would that have been five years
or ten years or‐‐
536
00:26:15,868 --> 00:26:18,203
‐ No, I think it was,
it was a few years.
537
00:26:18,203 --> 00:26:20,789
I wanted a whole new thing.
‐ Yes.
538
00:26:20,789 --> 00:26:23,333
‐ Whole new sound, new songs.
‐ Yeah.
539
00:26:23,917 --> 00:26:26,378
‐ So once we'd got that...
‐ Yes.
540
00:26:26,378 --> 00:26:29,298
‐ I felt vindicated and I thought, okay,
541
00:26:30,215 --> 00:26:33,677
now, why don't‐‐ I can,
I can now safely put a Beatles song in.
542
00:26:33,677 --> 00:26:37,472
‐ Yes.
‐ And, uh, then you started to think,
543
00:26:38,182 --> 00:26:39,850
ooh, what about that one?
544
00:26:39,850 --> 00:26:42,436
And I never would do a John song.
‐ Hmm.
545
00:26:42,436 --> 00:26:46,732
‐ Because I would just only go
to songs that I'd instigated.
546
00:26:46,732 --> 00:26:47,941
‐ Yeah.
‐ Um‐‐
547
00:26:47,941 --> 00:26:49,860
But after a while, I got
so comfortable with it,
548
00:26:49,860 --> 00:26:51,403
I thought, yeah,
I'll do a John song.
549
00:26:51,403 --> 00:26:52,487
I love that song.
550
00:26:52,487 --> 00:26:54,656
‐ I want to read to you one little thing.
551
00:26:54,656 --> 00:26:55,365
‐ Yeah.
552
00:26:55,365 --> 00:26:57,951
‐ It says, "Paul is one of
the most innovative bass players
553
00:26:57,951 --> 00:27:00,871
"that ever played bass, and half
of the stuff that's going on now
554
00:27:00,871 --> 00:27:03,457
"is directly ripped off
from his Beatle period.
555
00:27:03,457 --> 00:27:06,293
"He has always been a bit coy
about his bass playing,
556
00:27:06,293 --> 00:27:08,170
but he's a great, great musician."
557
00:27:09,296 --> 00:27:11,173
‐ Did I write that?
‐ That is John Lennon.
558
00:27:11,173 --> 00:27:12,341
‐ That's John?
‐ Yeah.
559
00:27:12,341 --> 00:27:13,342
‐ Alright.
560
00:27:13,342 --> 00:27:14,760
Come on, Johnny.
561
00:27:15,219 --> 00:27:16,261
‐ Yeah.
‐ That's beautiful.
562
00:27:16,261 --> 00:27:17,513
I hadn't‐‐ I hadn't heard that before.
563
00:27:17,513 --> 00:27:19,556
‐ It's interesting
considering obviously,
564
00:27:19,556 --> 00:27:23,018
you're two leaders of something,
and just competitive situation.
565
00:27:23,018 --> 00:27:24,394
‐ Yeah, yeah. Yeah.
‐ So to hear that.
566
00:27:24,394 --> 00:27:26,438
‐ He'd never said that to me.
‐ Yeah.
567
00:27:26,438 --> 00:27:29,191
‐ So, but it's nice to hear
that he said it to someone.
568
00:27:29,650 --> 00:27:30,734
That's amazing.
569
00:27:31,818 --> 00:27:34,863
♪ Helter Skelter playing ♪
570
00:27:34,863 --> 00:27:38,408
‐ ♪ When I get to the bottom,
I go back to the top of the slide ♪
571
00:27:38,408 --> 00:27:41,495
♪ Where I stop, and I turn,
and I go for a ride ♪
572
00:27:41,495 --> 00:27:46,041
♪ 'Til I get to the bottom,
and I see you again! ♪
573
00:27:46,041 --> 00:27:48,210
♪ Yeah, yeah, yeah! ♪
574
00:27:49,545 --> 00:27:52,506
♪ Well, do you, don't you
want me to love you? ♪
575
00:27:55,259 --> 00:27:58,470
♪ I'm coming down fast,
but I'm miles above you ♪
576
00:28:01,098 --> 00:28:03,308
♪ Tell me, tell me, tell me ♪
577
00:28:03,308 --> 00:28:05,853
♪ Come on,
tell me the answer! ♪
578
00:28:06,562 --> 00:28:11,024
♪ Well, you may be a lover,
but you ain't no dancer ♪
579
00:28:12,192 --> 00:28:13,861
♪ Come on!
Helter skelter ♪
580
00:28:15,445 --> 00:28:17,155
♪ Helter skelter ♪
581
00:28:18,323 --> 00:28:19,950
♪ Helter skelter ♪
582
00:28:21,159 --> 00:28:21,869
♪ Yeah ♪
583
00:28:21,869 --> 00:28:24,872
♪
584
00:28:29,501 --> 00:28:32,713
♪ Oh, will you, won't you
want me to make you? ♪
585
00:28:32,713 --> 00:28:35,424
♪
586
00:28:35,424 --> 00:28:38,427
♪ I'm coming down fast,
but don't let me break you ♪
587
00:28:38,427 --> 00:28:41,221
♪
588
00:28:41,221 --> 00:28:43,932
♪ Tell me, tell me,
tell me the answer! ♪
589
00:28:43,932 --> 00:28:46,894
♪ You may be a lover,
but you ain't no dancer ♪
590
00:28:46,894 --> 00:28:48,604
♪
591
00:28:48,604 --> 00:28:49,688
♪ Look out! ♪
592
00:28:49,688 --> 00:28:51,231
♪ Helter skelter ♪
593
00:28:52,649 --> 00:28:54,151
♪ Helter skelter ♪
594
00:28:55,485 --> 00:28:57,029
♪ Helter skelter ♪
595
00:28:58,780 --> 00:28:59,865
♪ Ooh ♪
596
00:29:01,825 --> 00:29:02,951
♪ Look out! ♪
597
00:29:03,577 --> 00:29:05,287
♪ 'Cause here she comes ♪
598
00:29:05,287 --> 00:29:09,917
♪
599
00:29:18,008 --> 00:29:21,637
♪ When I get to the bottom,
I go back to the top of the slide ♪
600
00:29:21,637 --> 00:29:24,556
♪ And I stop, and I turn,
and I go for a ride ♪
601
00:29:24,556 --> 00:29:29,019
♪ And I get to the bottom,
and I see you again! ♪
602
00:29:29,019 --> 00:29:31,021
♪ Yeah, yeah, yeah! ♪
42657
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